An autumnal home story, a déjà-vu, and his trademark pastels: Marc Camille Chaimowicz furnishes his exhibition in sublime ambiguity, but the tyranny of our times pulls things into perspective.
Tiril Hasselknippe’s show at Bianca d’Alessandro rubs the artists post-apocalyptic narratives against art history, marking a radical departure from her post-Internet beginnings.
The ‘Post-Internet’ concept has entered mainstream consciousness – but how does it reflect on the status quo of art criticism today? Writers, critics and editors give their responses.
The ‘Post-Internet’ concept has entered mainstream consciousness – but does it receive the critique it requires? How does it reflect on the status quo of art criticism today?
“I‘m still terrified!” Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall.
Why the unlikely trio of Gabriel Kuri, Knut Henrik Henriksen and Richard Tuttle succeed in making a convincing case for the autonomy of art, even in site-specific interventions in Bergen.
The Apocalypse revisited, pioneering sound art, and an unsettling proposal marks the Swedish art season.
A new reality show about Odd Nerdrum’s family teases out the irony of the classical painter’s contempt for the present.
Palestine, Indigenous art, the Venice Biennale, and mood as a benchmark for quality. These are the articles that engaged our readers the most in 2024.
Kunstkritikk’s editor-in-chief Mariann Enge reflects on the art that captured the state of the world in 2024.
Kunstkritikk is supported by
