The Lukas Moodysson who made Together in 2000 has been missing in action ever since. Its charmingly optimistic look at a Seventies Swedish commune and tremendous use of Abba was followed by severe and sometimes experimental films, self-flagellating and touched with despair, as Moodysson confronted how truly terrible lives can be.

Three great pianists, one of the world’s top clarinettists and two fine string players in a single concert: it’s what you might expect from a chamber music festival at the highest level. What I wasn’t anticipating on the first evening in Stavanger was to move from the wonderful cathedral to an old labour club up the hill, now a student venue with two halls, for a late-night cabaret and hear five more remarkable performers.

Based on Jens Lapidus's novel Snabba Cash (great title, even if it is meaningless to English-speakers), Easy Money is yet further evidence of the allure of the Scandi way of looking at the world. It's ostensibly a crime thriller, featuring healthy doses of violence and drug-dealing, but equally it's an examination of class warfare, divided loyalties and racial tension. It all adds up to a portrait of Stockholm and Swedish society which blows open comfortable assumptions about Scandinavia being some kind of benign social paradise.

It’s more pulse-quickening than a visit from Denmark’s actual prime minister Helle Thorning-Schmidt. This weekend Sidse Babett Knudsen, Borgen’s Statsminister Birgitte Nyborg, arrives in London to open Nordicana, an event dedicated to the ever-increasing amount of Scandinavian exports seen on our TVs. She will also be interviewed and take questions from the audience. Who needs real PMQs?

There are two dances to unheard music in Howard Brenton’s pithy Strindberg reduction. One spells trouble for the interloper between the vampire couple who suck the blood of others to sustain their 30-year hell of a marriage; the other, in the rarely-performed Second Part, is a prelude to both liberation and death. The symmetries and the differences are cleanly underlined in Tom Littler’s production and the degrees of light admitted in to Jerwood Young Designer James Perkins’s sets.

Pop that summons the word “cute” has a tendency to nauseate. If executed with the correct ratio of candy to content, however, it may persuade. The Scandinavians have proved effective in this area and Jonas Angergård and Karolina Komstedt, from the south of Sweden, add to the region’s good stock. Their latest album sits somewhere between The Cardigans and St Etienne, a very conscious electro-pop tinge coming to the fore, especially on numbers such as the toy town hi-NRG of “Taking My Time”.

Anything said about A won’t affect its sales. Guaranteed to sell millions, it’s the first album from ABBA’s former singer since 2004’s all-covers set, My Colouring Book. It’s also the first to contain original material since the one which preceded that, 1987’s I Stand Alone. In keeping with the privacy with which she leads her life, she’s not prolific. Fältskog’s return is newsworthy and welcome, so it’s deeply depressing that A is so feeble. Worse than that, her personality is hardly evident.

Nine people are on stage. Male and female. None is singing. All are dancing. No instruments are being played. For a 20-minute, three-song segment of Swedish art-dance electro-tricksters The Knife’s London show the sound was of a live concert, but nothing else was. Then, for “Networking”, the stage emptied and the music continued. All that was left were lights beaming into the audience.

With their curious juxtapositions and scrambling of pictorial space a dream-like atmosphere is conjured in Mamma Andersson’s paintings. Her scenes are often confined to the domestic or everyday realm, but, even when peopled, suggest something closer to still life than real life. Or perhaps stilled-life. The Swedish painter (Mamma is a nickname), now in her 50s, received welcome exposure in the UK with her Camden Arts Centre retrospective in 2007. This latest exhibition is, I believe, amongst her strongest work yet.

Various Artists: We Are One - Eurovision Song Contest Malmö 2013