Helga Christoffersen’s delectable group show at Galleri Susanne Ottesen leaves me angry, excited, and hungry.
At a time when Sami artists are increasingly visible, Britta Marakatt-Labba’s unsettling of ties between biography, identity, and content feels both necessary and urgent.
‘Soul of a Nation’ at the Brooklyn Museum is an outstanding exposé of the art that emerged in tandem with the promotion of black collective interests in the 1960s and 70s.
at Bergen Kunsthall reveals symbiotic relations between living and dead matter. It is an art that critically opens up to the future.
For the 16th Luleå Biennial, the darkness of the polar night is imbued with dreams of new forms of aesthetic and political resistance.
Art historian T. J. Clark’s new book sketches a vision for a new political Left through the affective registers and subtleties of painting.
Compact exhibition in Malmö shows an inclusive and pluralistic interpretation of Situationism while a giant exhibition in Berlin appears absorbed by the idea of the movement’s exclusivity.
At almost 80 years of age, Swedish sculptor Lars Kleen aspires to renew his medium at every turn. His most recent work evokes the dire consequences of climate change.
Elmgreen & Dragset’s minimalist starfish installation in Paris resonates directly with the city’s self-image after the terrorist attack in 2015.
Pierre Huyghe’s exhibition at Serpentine in London poses the question: what is the critical value of the open artwork in the age of participatory media apocalypse?
Jumana Manna has a journalist’s feel for the effects of intimacy. Sweat pours from her sculptures and films at Henie Onstad Kunstsenter.
With her New Museum retrospective, Sarah Lucas (almost) breaks free from the YBA generation, excelling with British toilet humor that speaks directly to the senses.
The Moderna Exhibition 2018, Moderna museet’s quadrennial of Swedish art, allows the present to appear in full agony and confusion, beyond the glossy surface of the art scene.
The new, comprehensively renovated Nationalmuseum in Stockholm fails in coming to terms with the institution’s colonialist heritage.
A puff of a cigarette, a scratch in a table top – resistance manifests itself in simple gestures in Liv Bugge’s project in the prisons of Ullersmo and Eidsberg.
Cross-aesthetic becomes anti-aesthetic in Louisiana’s vastly overhung exhibition The Moon
. And with so many good works on display, that is really a pity.
Maria Lindberg’s exhibition at Malmö Konsthall is a textbook example of how stripped-down everyday scenarios produce absurd effects.
The mid-career survey by Danh Vo, one of the most internationally celebrated Danish artists, hits his hometown with a pop song title. But is it a hit – or a self-congratulatory pat on the back?
This year’s edition of Steirischer Herbst in Graz offers a generous dose of overblown kitsch, but why cynicism when reality has become its own cynical self-parody?
Rosemarie Trockel’s exhibition at Moderna Museet Malmö is as crisply cool and well-installed as it is true to its Rhineland roots.