Mariann Enge er ansvarlig redaktør for Kunstkritikk.
Mariann Enge is editor-in-chief of Kunstkritikk.
Norwegian proposals for increased funding for periodicals and criticism should not only be heeded by the authorities, but also serve as inspiration for colleagues in other countries.
The National Museum of Norway must take responsibility for contextualising Christian Krohg’s controversial nineteenth-century painting Leiv Eiriksson Discovering America.
Suddenly, you know someone in Oslo who has started a new centre for contemporary art in Lusaka.
The war in Ukraine and international biennials put their mark on our list of most popular articles for 2022.
After a year of experience overload, Kunstkritikk’s Editor-in-Chief Mariann Enge singles out three exhibitions she cannot forget.
Condemning activists who take action against art is easy. But do museum directors actually take the climate crisis seriously?
This year’s instalment of the Lofoten International Art Festival offers an inspirational meeting between art and a very special place.
Angela Davis’s visit in Oslo was an event that may well have ripple effects.
In a society characterised by growing inequality, Norway’s new National Museum seeks to respond to demands for greater accessibility and wider representation.
The main exhibition at this year’s Venice Biennale is an effective and timely problematisation of the hierarchies in art.
Artists and cultural workers in Ukraine and Eastern Europe ask the international art community to do all we can to support the Ukrainian people.
Experiences of Oil at Stavanger Art Museum is infused by a sense – all too familiar in Norway – of a polite reluctance to act.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.
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