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.
Merlin Carpenter gives us the art he thinks we deserve at Borgenheim Rosenhoff in Oslo.
Do you fancy yourself an aesthete? Do you love finely tuned museum shows? Do you fetishise Indigenous art? Then the 60th Venice Biennale might be for you!
Nina Beier reminds us that no relationship should be considered unexpected in the 21st century.
Mariann Enge’s term as Kunstkritikk’s editor-in-chief has been renewed for four years.
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