Synnøve Persen’s landscapes imagine the Arctic beyond the tourist sublime.
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.
SUPERFLEX’s rescue ark is not intended for humans alone. Yet it is laden with human products and critiques of capitalism – all dressed up as capitalism.
‘I take my position of power very seriously’, says Tone Hansen, who will lead the Swedish museum through a major institutional merger.
Vibeke Tandberg is not one of those artists who stopped experimenting with age.
Curator and researcher Antonio Somaini thinks artists are essential for understanding what AI is doing to culture.
