Time folded itself into perfect layers of puff pastry during one of critic Maria Moseng’s most cherished art experiences this year.
Britta Marakatt-Labba’s exhibition at the National Museum in Oslo confirms that alternative imaginaries to capitalism do exist.
In Apichaya Wanthiang’s solo show at Munch Museum, intimacy is accompanied by a yearning for closeness.
For Synnøve Anker Aurdal’s vibrant textile work, the Astrup Fearnley Museum’s intrusive architecture is an easy match.
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
Matthew Barney’s rebirth ritual at the Astrup Fearnley Museum makes fertile detours from the cult of his own person.
In spite of some gentle institution-critical kicks, Elmgreen & Dragset seem perfectly at home in Astrup Fearnley’s homoerotic and readymade-fetishised universe.
Kunstkritikk’s Editor-in-Chief Mariann Enge revisits a year marked by emotional storms, memory work, and the scent of wood lingering on her hands.
Kunstkritikk’s Swedish editor on a year marked by fragile ways of seeing.
Ramshackle, utterly quiet, and cunning as a fox. Kunstkritikk’s editor in Copenhagen reveals the cosmologies she most adored in 2025.
Medieval psychedelia on jute canvas punched a hole through wall and time for Kunstkritikk’s Norwegian editor, Stian Gabrielsen.
