A recent performance in Helsinki by artist Theaster Gates resulted in a new and unexpected perspective on the city.
By Maria Hirvi-Ijäs
Amidst cries of “crisis tourism”, Documenta 14 aims to unleash the giant exhibition’s political potential as it takes over public arenas in Athens and Kassel.
By Simen Joachim Helsvig
As an art worker, my domain is the social world, says Mieke Bal, organiser of the two-day conference Modern Sensibilities that commences at the Munch Museum in Oslo today.
By Nikita Mathias
Stine Hebert, former rector of the Funen Art Academy in Denmark, has been appointed dean at the Oslo Academy of Fine Art.
By Simen Joachim Helsvig
Behind the decision to build a Hilma af Klint-museum there is a long-standing conflict between the artist’s living relatives and the anthroposophical movement in Sweden.
By Robert Stasinski
Is the virtual synonymous with the digital? Myths of the Marble at Henie Onstad Kunstsenter, argues otherwise. Kunstkritikk spoke with the curators before tonight’s opening.
By Ina Hagen
48 hours with teargas, helicopters, Bikers For Trump and the birth of a new kind of popular resistance.
By Jakob S. Boeskov
Kunsthal Aarhus cancels the private view of its new Thomas Hirschhorn and Cécile B. Evans shows, remaining closed on 20 January as part of the international #J20 art strike.
By Pernille Albrethsen
– We give advice, but it’s their project, says Alexander Koch about New Patrons, an alternative model for the production of public artworks.
By Simen Joachim Helsvig
The city council of Helsinki has voted against the proposal for a Guggenheim Helsinki. The project will be remembered as a failed collaboration on cultural politics.
By Maria Hirvi-Ijäs
– I hope that the exhibition can signal an uncertainty about one’s own existence or the present political situation, says curator Mats Stjernstedt about the 2017 Nordic Pavilion.
By Robert Stasinski
Three books by Jussi Parikka, Terry Smith, and Geoff Cox & Jacob Lund launch a new series of publications about contemporaneity at Aarhus University.
By Simen Joachim Helsvig
– If coexistence was imaginable then, where are we now? That is the question posed by curator Nada Raza in the exhibition The Missing One, opening at OCA in Oslo today.
By Nora Joung
KW Institute for Contemporary Art in Berlin has a new board of directors, a new structure and an actual director. The ambition: to rank among Europe's key exhibition venues.
By Rhea Dall
Between Brexit and last week’s crash of the British Pound, Frieze London took a tentative approach, evoking the 90s but failing to draw from the period’s exuberance.
By Matthew Rana
– I always thank the machine for its creativity, says mail art pioneer Paulo Bruscky. Tomorrow, Friday, he performs at Andquestionmark in Stockholm.
By Martin Grennberger
– Malmö is Sweden’s most exciting city, and the Konsthall is the country's most beautiful exhibition space, says Mats Stjernstedt who is new director of Malmö Konsthall.
By the editors
The 11th Gwangju Biennale is occasionally unfocused, yet it is ultimately working without pomp to tackle daunting questions of the moment.
By Aileen Burns and Johan Lundh
Malmö Art Academy has been given notice to vacate its premises in one year. According to Dean Gertrud Sandqvist, this could imply that the school is will be forced to close.
By Frida Sandström
Manifesta 11 is about work and collaboration. During the press conference in Zürich the set-up appeared noncommittal, almost politically evasive.
By Jonas Ekeberg



Kunstkritikk is published by Kunstkritikk Foundation ISSN 1504-0925

Editor-in-Chief: Jonas Ekeberg post@kunstkritikk.no

Kunstkritikk follows the Norwegian Press Association’s Rights and Duties of the Editor.

Kunstkritikk is supported by The Norwegian Arts Council, The Nordic Culture Fund, the Freedom of Expression Foundation, Oslo and the Danish Arts Council, the Swedish Arts Council, and the Swedish Cultural Foundation in Finland.