Jonas Ekeberg

Jonas Ekeberg (f. 1967) er kurator og kritiker. Han var sjefsredaktør for Kunstkritikk fra høsten 2009 til høsten 2013, og fra januar 2015 til ultimo januar 2020. Han har vært sjefkurator for Momentum – Nordisk Festival for Samtidskunst (2000), grunnlegger av Oslo Kunsthall (2000), kurator for Office for Contemporary Art Norway (2002-2004) og direktør for Preus Museum (2004-2009). Hans bok Postnordisk – Den nordiske kunstscenens vekst og fall 1976–2016 ble utgitt på Torpedo Press i 2019.

All articles by Jonas Ekeberg

How Can Criticism Grow Stronger?

How Can Criticism Grow Stronger?

In my last words as editor, I will articulate the role of art criticism in four main points – and say something about how it can get even better.

Trouble With Politics

Trouble With Politics

Bergen Assembly 2019 mainly shows political art that is densely packed with information. This creates a sense of community, but it also produces new exclusions.

Spring Sonata – Norway

Spring Sonata – Norway

It’s time to stop grieving over the National Gallery and look forward to a new era for the Norwegian art world. Here are the must-see exhibitions coming up in the months ahead.

– Colonial Logics Remain in Force Today

– Colonial Logics Remain in Force Today

Art historian Mathias Danbolt believes that it is necessary to take a new look at Nordic art history from a decolonial point of view.

Autumn Sonata – Norway

Autumn Sonata – Norway

A rowing trip to Tromsø, critique of the silencing of women and a speculative approach to the concept of ‘extraction’. It is the many kunsthalles across Norway that lead the way the coming art season.

Colonising the Norwegian Art Scene

Colonising the Norwegian Art Scene

Every alarm bell should be ringing when the art fair Art Basel wants NOK 3.4 million to tell us how to be more international.

Privileged and Less Privileged Pavilions

Privileged and Less Privileged Pavilions

At this year’s Venice Biennale, the German, Nordic and Iraqi pavilions in particular set themselves free from biennale politics and offer interesting explorations of the history of the contemporary.

A New Art History Emerging

A New Art History Emerging

The National Museum’s presentation of Sidsel Paaske reveals the contours of a new, cultural art history. But the method prompts doubts: Can the artworks not stand their ground outside a rhetorical scenography?

Politically Evasive Manifesta

Politically Evasive Manifesta

Manifesta 11 is about work and collaboration. During the press conference in Zürich the set-up appeared noncommittal, almost politically evasive.

Curating in Precarious Times

Curating in Precarious Times

– A group effort can show that differences can be overcome and that coexistence is possible, says Elmgreen & Dragset, the artist duo set to curate the 15th Istanbul Biennial in 2017.

Public Art and Criticism

Public Art and Criticism

Art criticism has mainly focused on art shown in galleries and museums. It is time that it began engaging with public art, too.

Evokes a Need for Rebellion

Evokes a Need for Rebellion

Olafur Eliasson’s exhibition at Moderna Museet is a model for a society of control where we are all allowed to have fantastic sensory experiences.

Recently published

Let’s Stay in Touch

Let’s Stay in Touch

What does it mean to be important in the art world? Marie Karlberg’s Stockholm show answers the question, one oversized business card at a time.

Still So Much Left Unsaid

Still So Much Left Unsaid

The feminist exhibition No Master Territories at Kunstnernes Hus unfolds as an open research project that can be extended and reconfigured through new voices.

Pressure Mounts in Venice

Pressure Mounts in Venice

Strong reactions from European leaders to Russia’s participation in this year’s biennial. Danish minister open to boicott.

The End Is Nigh…ish

The End Is Nigh…ish

Contemporary art’s rhetoric of doom has become a comfortable cliché, as the scramble for relevance turns resistance into a risk-free, legible aesthetic.