‘A farcical act of revenge’, according to Bogdan Szyber, who was unanimously rejected by a degree committee. For the first time in Sweden, a thesis in artistic research did not pass the public defence.
‘Being an editor requires an internal drive. It’s about working for something that’s bigger than yourself’, says Mariann Enge. She is Kunstkritikk’s new editor-in-chief.
The new art academies that emerged in the Nordic region during the 2010s offer multi-functional spaces. They also prescribe a new role for the artist: project manager.
An agitational aesthetic demanding the redistribution of power and responsibility characterised the art field of the 2010s.
In the 2010s, collective action replaced individual visions as the agent of change in art institutions.
In the 2010s, money became an interpersonal issue, the patriarchy took a well-deserved beating, and a good pitch became more important than a good practice.
The most important artists of the 2010’s were the ones who helped us to navigate through private and social neuroses, perversions, and psychoses.
In the 2010s, artists abandoned the present in favour of the past, the future, and other, larger temporalities. Art is no longer contemporary, but extemporary.
Internal conflicts, crisis of management, and despair among staff and students. A new report paints a dark picture of Stockholm’s Royal Institute of Art.
The 2020 edition of the Nordic art fair Chart will feature women artists only, whose works will be displayed at the participating galleries’ own venues throughout the Nordic region
Following the revelation that the biennial exceeded its 2019 budget by NOK 6 million, Per Gunnar Eeg-Tverbakk has resigned as curator of the Oslo Biennial.
The encounter between Bella Rune’s thin, almost transparent threads and Carl Eldh’s heavy realist sculptures is remarkably beautiful and moving.
Stefanie Hessler’s astute critique of Western instrumentalisation of the ocean lacks a strategy for using that narrative as a political instrument.
MoMA in New York has asked the Norwegian authorities to reconsider demolishing the ‘Y-blokka’ building. Minister Nikolai Astrup believes that nothing new has emerged to change the decision.
Daniel Birnbaum and Sven-Olov Wallenstein’s book on Lyotard and the idea of the exhibition combines art criticism and philosophy in a way that is unlike any other.
The artists and the mentally ill have a fount of relevant experiences which the whole community can learn from in the current crisis, says Jakob Jakobsen.
In 2021, the Danish Pavilion at the Venice Biennale will feature social-realist drama, mythological references, and idyllic farmyard Romanticism. All courtesy of visual artist Uffe Isolotto.
The director of the National Museum of Norway, Karin Hindsbo, wants to use the museum’s increased acquisitions budget to enhance diversity in its collections.
In Maria Pasenau’s first photobook, mediation is not an object inserted between us and social reality, but the fundamental premise of that reality.
In a disconcerting body of work, Steve McQueen makes our eyes sore from the world’s pain.
MoMA in New York has asked the Norwegian authorities to reconsider demolishing the ‘Y-blokka’ building. Minister Nikolai Astrup believes that nothing new has emerged to change the decision.
‘The state has gotten permission to exercise complete discretion in any planning case, and that’s scary’, says Gisle Løkken, president of the National Association of Norwegian Architects.
In the midst of the COVID-19 pandemic, preparations to tear down the iconic Y-blokka in Oslo continue. That can’t possibly be good for our democracy or our public health.
‘The proposal concerns only individual artists directly’, says artist Jan Christensen, the initiator of a boycott on art commissions for Oslo’s new government building.
In his day, Erling Viksjø, architect of the Oslo Government District, was called a “bulldozer” and an “enemy of culture.” Today, his own legacy is facing demolition.
The rush to make online substitutes for events derailed by the COVID-19 pandemic promises an influx of viewing technologies that approximate real life.
Per Kirkeby’s bronze sculptures mould struggles with the paradoxes of representation into a theology of total incarnation.
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