‘Progress and catastrophe are two sides of the same coin’, according to Charles Teyssou and Pierre-Alexandre Mateos, curators of Stavanger Secession.
Matias Faldbakken will create memorial to the 2011 terror attack in Oslo.
Many Nordic artists and cultural workers have signed. Moderna Museet, which is responsible for this year’s Nordic Pavilion, will not work to exclude other countries.
Ann Cathrin November Høibo plays on our desire to witness art’s conception.
The opening of the Barents Spektakel festival in Kirkenes will coincide with the anniversary of Russia’s invasion of Ukraine. Curators Neal Cahoon and Ingrid Valan explain why.
The new exhibition at Henie Onstad Art Center prompts us to ask why the HIV-virus still haunts the gay community today.
Ventura Profana’s exhibition at Tenthaus in Oslo trains the organism to escape the grip of pornographic capital.
Momentum’s director, Dag Aak Sveinar, responds to allegations of sabotage put forth in an open letter from dismissed curator Théo-Mario Coppola.
The Momentum Biennial opens this weekend against the will of its curator, Théo-Mario Coppola, who was recently fired.
At Kunsthall Stavanger, Jamian Juliano-Villani accelerates the visual logic of commercialism to expose contemporary culture for what it is: an absurd nightmare.
After a year of fierce conflicts, the newly elected rector of the Oslo National Academy of the Arts, Markus Degerman, wants to look ahead.
Partner of ex-minister used all available channels to throw suspicion on the play Ways of Seeing, according to Oslo District Court. Director Pia Maria Roll is relieved over the verdict passed on Friday.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.
