Mariann Enge er ansvarlig redaktør for Kunstkritikk.
Mariann Enge is editor-in-chief of Kunstkritikk.
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.
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.
For artist Simona Barbera, sound has come to be more about its consequences.
Minister of Culture Joy Mogensen wants to strengthen management in art education, set up boards of directors, and counteract overly academised teaching. At best, this breaks with decades of technocracy.
Will Grief and Grievance: Art and Mourning in America be as formative as Documenta 11 was at the start of the millennium? A report from a panel debate in New York.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.