Mariann Enge er skribent, kritiker og ansvarlig redaktør for Kunstkritikk. Hun er basert i Oslo.
Mariann Enge is a writer, critic, and editor-in-chief of Kunstkritikk. She is based in Oslo.
In Oslo, Cecilia Vicuña presents two monumental collective works about the struggle for life in the sea.
Many of the pavilions at the 61st Venice Biennale manage to transcend the outdated structure of national representation.
Viewed from a range of perspectives, our top ten articles of 2025 all grapple with questions about art’s role in today’s challenging times.
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.
Architect, historian, and curator Nadi Abusaada visits Oslo to give a lecture on Palestinian art before the Nakba.
The 13th edition of the Momentum Biennial in Moss is a rarity: a large-scale presentation of sound art.
In Nikita Teryoshin’s exhibition in Oslo, a coffee mug encounters high-tech missiles on a trade fair table.
A recent international panel on art institutions called for more solidarity in the art field.
Palestine, Indigenous art, the Venice Biennale, and mood as a benchmark for quality. These are the articles that engaged our readers the most in 2024.
Kunstkritikk’s editor-in-chief Mariann Enge reflects on the art that captured the state of the world in 2024.
Is Berlin losing its position as a haven for artists due to German repression of pro-Palestinian voices? Six Nordic artists and curators respond.
Ilavenil Vasuky Jayapalan’s exhibition Eezhavati at Kunsthall Oslo, serves as a space for gathering strength.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.
