The Oslo Biennial Ends Ahead of Schedule
The Oslo City Department of Culture has decided to end the first instalment of the city’s biennial two years earlier than planned, due in part to financial overspending.
The Oslo City Department of Culture has decided to end the first instalment of the city’s biennial two years earlier than planned, due in part to financial overspending.
Criticism has moved from the daily newspapers to niche media. This should be reflected in Denmark’s new media policy agreement, says Kamilla Löfström of United Critics Denmark.
This autumn, Sarah Lookofsky takes up her new position as dean at the Oslo National Academy of the Arts.
‘The institution should be shaped around artistic practice, not the other way around’, says Rhea Dall, new head of Overgaden in Copenhagen.
What Bogdan Szyber, in his doctoral dissertation, refers to as ‘Edu-art’ impedes artistic freedom because it is practiced according to the demands of academic research.
‘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.
On Saturday night, the statue of Hans Egede in Nuuk was defaced. Greenlandic artist Aqqalu Berthelsen passed on an anonymous statement from the group responsible.
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.
Mapping the ongoing “relocation” of the city, Kiruna Forever at Arkdes in Stockholm shows how the city and the mining corporation LKAB form an integrated social and technological system.
‘Our job is to provide the artists with the best possible framework’, says Solveig Øvstebø. This spring, she takes over as director of the Astrup Fearnley Museum in Oslo.
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