Mariann Enge er ansvarlig redaktør for Kunstkritikk.
Mariann Enge is editor-in-chief of Kunstkritikk.
The new Munch Museum will open in the heart of Oslo this autumn with Tracey Emin, Sandra Mujinga, and black metal band Satyricon all joining the party. Still, someone has to be a party pooper.
The Nitja Centre for Contemporary Art’s decision to centre its exhibition on one of the icons of the Black Lives Matter movement is a move that requires commitment.
Despite rather uncertain prospects, these are the art events we look forward to in Norway, Sweden, and Denmark.
Few will feel any great desire to look back on 2020. Even so, the year of the COVID-19 pandemic provided some memorable artistic highlights in the Nordic countries.
Kunstkritikk’s Editor-in-Chief Mariann Enge rounds off this year’s Christmas countdown with three exhibitions from 2020 that gave her hope.
Judging by statements made by the heads of Norwegian art institutions in the wake of this year’s Black Lives Matter protests, lack of will is not the issue when striving for greater diversity.
Joar Nango’s festival exhibition at Bergen Kunsthall is an inspiring invitation to expand our minds and knowledge and to carry out fundamental change.
On Saturday night, the statue of Hans Egede in Nuuk was defaced. Greenlandic artist Aqqalu Berthelsen passed on an anonymous statement from the group responsible.
The next great international struggle of our time should be for a universal basic income.
In the midst of the COVID-19 pandemic, preparations to tear down the iconic Y-blokka in Oslo continue. That can’t possibly be good for our democracy or our public health.
This spring, nine Scandinavian writers, critics, and curators will share their reflections on Nordic contemporary art from the decade we just left behind.
Astrup Fearnley Museum has not renewed its sponsorship agreement with Lundin Norway. The museum will review its entire sponsorship profile when Solveig Øvstebø takes over as director in May.
Momentum’s director, Dag Aak Sveinar, responds to allegations of sabotage put forth in an open letter from dismissed curator Théo-Mario Coppola.
Mamma Andersson oscillates between landscape drama and silent homes in a major solo show at Louisiana presenting confident paintings with a laid back vibrating undercurrent.
The Momentum Biennial opens this weekend against the will of its curator, Théo-Mario Coppola, who was recently fired.
In Matthew Barney’s comeback at the Hayward in London, self-mythologising has given way to a dark and icy world where environmental violence prevails.
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