Nicholas Norton (f.1989) er kunsthistoriker og skribent.
No Case for Renewal
While a dramatic shift towards authoritarianism is taking place in the United States, art clings to aesthetic strategies from the 1980s.
While a dramatic shift towards authoritarianism is taking place in the United States, art clings to aesthetic strategies from the 1980s.
Our obsession with instant emotional returns robs us of the ability to understand the culture in which we live.
Ayman Alazraq shows how Israel’s continued destruction of Palestinian archives is intended to deprive the Palestinians of their identity and history.
Critic and writer Nicholas Norton proclaims his three favourite exhibitions of the year.
Curators’ efforts to blur formal hierarchies tend to veil the power they themselves wield.
If Norwegian art critics have a marginal role in the public eye, they have only to blame their collective aversion to risk.
Basel Abbas and Ruanne Abou-Rahme’s voracious use of cultural fragments contradicts the idea that identity is linked to a monolithic cultural heritage.
Ahmed Umar combines a strong personal story with a critical look at European stereotypes of African culture.
This year’s Transmediale festival finds a break from digital doom and gloom in club culture’s collective moments of bliss.
Gardar Eide Einarsson questions the impact of contemporary art’s political gestures.
The Berlin Biennale overlooks the fact that art doesn’t need to be didactic.
The protagonist of Sandra Mujinga’s retro-futuristic installation at the Munch Museum tries to become invisible in a world where every action leaves an imprint.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.