Mariann Enge er ansvarlig redaktør for Kunstkritikk.
Mariann Enge is editor-in-chief of Kunstkritikk.
Thomas A. Østbye’s documentary film about the first Norwegian climate lawsuit draws a poignant picture of the authorities’ reluctance to act.
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.
‘If a culture is not active it ossifies and becomes a museum exhibit. And if I’m not allowed to use it, who is?’ Jessie Kleemann performs Greenland’s cultural shifts with blubber, blood, and beads.
Martha Edelheit’s The Naked Truth: Works from the 60’s & 70’s at Larsen/Warner in Stockholm overflows with an irresistible sense of sensuality and liberation.
The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
With doomsday vibes in Berlin, blockchains in Hamburg, and an art scene brat pack in Zurich, there’s every reason to renew your BahnCard. Here’s a bird’s-eye view of the autumn’s exhibitions north of the Alps.
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