Mariann Enge er ansvarlig redaktør for Kunstkritikk.
Mariann Enge is editor-in-chief of Kunstkritikk.
The main exhibition at this year’s Venice Biennale is an effective and timely problematisation of the hierarchies in art.
Artists and cultural workers in Ukraine and Eastern Europe ask the international art community to do all we can to support the Ukrainian people.
Experiences of Oil at Stavanger Art Museum is infused by a sense – all too familiar in Norway – of a polite reluctance to act.
Kunstkritikk’s Editor-in-Chief Mariann Enge shares three of the art events that were most important to her this year.
The Munch Museum was recently the scene of a climate-activist performance stunt.
Hanan Benammar’s recent performance in Harstad, This Is Our Body, staged a collective reckoning with the legacy of Greenland’s first coloniser.
When the Munch Museum, spearheaded by Director Stein Olav Henrichsen, uses Munch as a kind of zombie influencer to sell cars, it has crossed a line.
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.
In Nikita Teryoshin’s exhibition in Oslo, a coffee mug encounters high-tech missiles on a trade fair table.
The Arts and Culture Magazine Publishers Forum announces an open call for a writer to join a research trip to Oslo.
Cecilie Norgaard at O-Overgaden is painting about painting in the best possible sense.
Nikolaj Kunsthal tries to turn Lars von Trier’s films into visual art, but ends up advertising for the genius.
