Kunstkritikk’s Editor-in-Chief Mariann Enge revisits a year marked by emotional storms, memory work, and the scent of wood lingering on her hands.
Kunstkritikk’s Swedish editor on a year marked by fragile ways of seeing.
Ramshackle, utterly quiet, and cunning as a fox. Kunstkritikk’s editor in Copenhagen reveals the cosmologies she most adored in 2025.
Medieval psychedelia on jute canvas punched a hole through wall and time for Kunstkritikk’s Norwegian editor, Stian Gabrielsen.
This year, Joanna Nordin, Artistic Director of Bonniers Konsthall, cherished the positive effects of recession.
In 2025, artist Oliver Bak took a close look at the left hand of one of art history’s most famous painters.
Anawana Haloba’s exhibition at the National Museum of Norway is so visceral it sets your tongue tingling.
Lina Selander turns Marabouparken into a field of dazzling, haunting, and ethically unresolved images.
The major museums in the Nordics are reaching out to expand their audiences like never before. But who is keeping contemporary art and history alive?
How do we hold onto what is materially sacred in a time that worships the cloud?
Pure hypocrisy: Denmark’s Minister for Culture praises art and culture in the fight against AI while the budget for the National Collection of Photography is slashed.
Will poverty save us? A dispatch from Helsinki.
With the birth of the dealer-critic-system in 1870s France, criticism shifted its focus from the artwork to the artist. It’s been all downhill from there.
The enemies of culture and the arts haven’t just rallied, they’re gaining ground.
Britain’s bawdiest artist defanged in Helsinki.
Does Tate’s Turbine Hall have room for anything other than monumental one-liners? Máret Ánne Sara gives it a try.
Matilda Kenttä traces the heritage of the Tornedalians, a Swedish minority whose quiet endurance speaks of belonging across generations.
Arthur Köpcke arrived in Copenhagen in 1953. Not long after, the city became a centre of the European avant-garde. When might that happen again?
At Kunsthalle Zürich, body, space, and language converged in quiet gestures charged with visceral energy.
Lars Fredrikson’s paintings are never flat.
Hilde Skancke Pedersen’s ránut can be felt in my fingers and on my tongue, even when I see them from a distance.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
‘For Indigenous people it can be a little scary to think about erasure and removal when talking about monuments’, says collective New Red Order.
There is widespread frustration with what contemporary art has become, says the British critic Dean Kissick. Now his much debated 2024 essay is being published in an extended Danish version.
While Gaza is being razed to the ground, an exhibition strives to present Palestinian art to a global audience. Gaza Biennale’s Danish Pavilion opens this week.
A new book uncovers the Nazi past of Swedens foremost postwar photographer.
What is worth going to war for? ask Inuk Silis Høegh and Asmund Havsteen-Mikkelsen in a 2004 work that is now more topical than ever.
The West succumbs to tech-oligarchy and neo-feudalism in artist Jakob Boeskov’s forthcoming novel.
At Henie Onstad, Ann Lislegaard’s brooding, apocalyptic tone feels less unsettling than predictable, trading genuine tension for a well-worn sense of gloom.
A glossy promise hovers just beyond the frame at the artist-run space Antics in Stockholm.
Inuuteq Storch captures the life-or-death struggle between indigenous identity and its image.
Who steps up when the world is running amok? Kåre Frang draws a razor-sharp portrait of our era’s frayed nervous systems.
