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.
What will we remember from the year in art 2022? Today’s contribution is by Claudine Zia, writer at Kunstkritikk and one of the founding members of The Union.
Christmas is here! Milou Allerholm opens the first door in Kunstkritikk’s advent calendar.
Do art institutions have a particular obligation to assess the ethics of their sponsors? Directors of museums and exhibition venues in Scandinavia answer that question.
In Germany, the large-scale commemoration of Michel Majerus’s untimely death provides an opportunity to revisit the 90s as a decade of both lost optimism and sinister beginnings.
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