Harder Better Faster Stronger
October 12, 2026
"Harder Better Faster Stronger – Are Men OK? at Fotografiska in Stockholm is the kind of exhibition that is exceptionally hard to get right under today’s sometimes overperceptive eye, where the court of public opinion is quick to pass judgment, nitpicking wherever fodder for a particular stance can be found," finds Ashik Zaman in a review about this partly surprising new fall exhibition,
Black Carnation
October 12, 2026
"Soon after embarking on my Black Carnation series, I’ve realized that I am dealing with histories that had often left no written trace, that were deliberately forgotten or censored. I am reflecting on relationships that most likely lasted no longer than an orgasm on a gay cruising beach," shares artist Konstantin Zhukov in an in an interview, connecting to a solo exhibition at Centrum för Fotografi in Stockholm.
October 8, 2026
"Regardless of all good will and clever rhetoric, people identified as men solve their troubles by physical means," says Finnish visual artist Harri Pälviranta. He is currently showing his photographic series Battered in Harder Better Faster Stronger – Are Men OK?, the new exhibition surveying contemporary men and masculinities at Fotografiska in Stockholm.
Driscoll, Shechter, alone, together
October 7, 2026
"Neither work alone feels satisfying. Taken together, they show us a lot," finds Zachary Whittenburg in a review which considers Faye Driscoll's flesh chariot, chariot of flesh for Cullberg and Hofesh Shechter Company's Theatre of Dreams in the same breath. Where the latter holds no "partnering material", Driscoll's work in contrast makes the performers appear positively claustrophiliac.
Sarah Crowner puts herself, and us, on stage
October 1, 2026
The Fisher Center LAB at Bard College brings together choreographer Pam Tanowitz, composer Caroline Shaw, and artist Sarah Crowner in Pastoral, a contemporary reimagining of Beethoven’s Pastoral Symphony. In an in-depth interview, Crowner speaks about the project and discusses her broader interest in using gallery exhibitions as sites for experimentation.
Escarleth Romo Pozo offers three in one
September 29, 2026
“Escarleth Romo Pozo is a soloist whose presence hits you with the force of an ensemble,” writes Zachary Whittenburg in his review of La Mala at MDT. The performance moves between “ominous and weighted” scenes and a middle act of “manic glee,” exploring motherhood, resilience, ancestry, and survival.




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