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The Arts and Culture Magazine Publishers Forum announces an open call for a writer to join a research trip to Reykjavík.
Transgressive creatures in the Nordic Pavilion.
Nordic nostalgia and a fraught sponsorship collaboration at Market Art Fair in Stockholm.
What does it mean to be important in the art world? Marie Karlberg’s Stockholm show answers the question, one oversized business card at a time.
Halloween vibes at the Munch Museum as Kim Hankyul gives form to our increasingly intimate relation to media.
Cultural theorist Paul Gilroy argues that today’s diasporic networks demand a new vocabulary.
Synnøve Persen’s landscapes imagine the Arctic beyond the tourist sublime.
Inuuteq Storch captures the life-or-death struggle between indigenous identity and its image.
Greenland’s art scene has arrived. Shamans assist the curators, and the world’s first-ever national gallery devoted to the art of an Indigenous People is taking shape in Nuuk.
At last, Greenland’s largest cultural event is about the art and survival of Indigenous Peoples.
Does Tate’s Turbine Hall have room for anything other than monumental one-liners? Máret Ánne Sara gives it a try.
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.
A glossy promise hovers just beyond the frame at the artist-run space Antics in Stockholm.
Who steps up when the world is running amok? Kåre Frang draws a razor-sharp portrait of our era’s frayed nervous systems.
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?
A new book by artist Afrang Nordlöf Malekian and art historian Nour Helou explores beauty as a geopolitical force, from the Iranian Qajar dynasty into the present.
Contemporary art’s rhetoric of doom has become a comfortable cliché, as the scramble for relevance turns resistance into a risk-free, legible aesthetic.
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 Swedish spring is marked by aesthetic confidence and structural uncertainty.
This spring the Norwegian art scene is bursting with sci-fi, political vision, and largest-ever presentations of female artists.
Cultural theorist Paul Gilroy argues that today’s diasporic networks demand a new vocabulary.
‘Sexuality has been fundamental to technological development’, says artist Mindy Seu.
Architect, historian, and curator Nadi Abusaada visits Oslo to give a lecture on Palestinian art before the Nakba.
‘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.
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.
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.
SUPERFLEX’s rescue ark is not intended for humans alone. Yet it is laden with human products and critiques of capitalism – all dressed up as capitalism.
‘I take my position of power very seriously’.
Vibeke Tandberg is not one of those artists who stopped experimenting with age.
Curator and researcher Antonio Somaini thinks artists are essential for understanding what AI is doing to culture.
