Mariann Enge er ansvarlig redaktør for Kunstkritikk.
Mariann Enge is editor-in-chief of Kunstkritikk.
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.
This year’s instalment of the Nuuk Nordic Culture Festival opened with a call to think outside of the national frameworks that have organised history writing in the Nordic countries.
A slow pace, collective efforts, and firm local ties facilitate LIAF 2019’s successful integration with its setting.
The National Museum collaborates with the daughters of Norway’s wealthiest man, the Munch Museum collaborates with the regime in Saudi Arabia, and other hot topics from the Nordic art world.
Biennials open in Moss and Örebro, profile updates for Den Frie and Kistefos Museum, and an artists’ housing project in Oslo may become reality.
The first edition of the Oslobiennalen opens, Ai Weiwei sues Danish car company, Saskia Neuman becomes director of Market Art Fair, and other news from the Nordic art field.
Artist Germain Ngoma on why almost none of his work from the last twenty-five years has been shown in public, and his unremitting obsession with styrofoam.
Viktor Kopp’s new exhibition in Stockholm reframes the dichotomy between sensual and intellectual pleasure. He also returns to a favourite subject: chocolate.
Kirsten Ortwed’s unsentimental art appears the antithesis of our fearful contemporary. But how do you become a hardcore Rhineland sculptress? Is there a recipe?
The freedom of art may be the single most disturbing phenomenon in a thoroughly organised democratic society – and its most shocking injustice.
Kunstkritikk is supported by
