Joachim Koester’s Bringing Something Back at Bergen Kunsthall manifests a sensuous cinematic holism that merges everything from biology to history and neuroscience.
Per Barclay’s Oil Rooms, on view at Kode 4 in Bergen, invites us to reflect on the unwritten histories that lurk beneath the official edifices of our culture.
What is a valid reason for a museum to cancel an exhibition? Last Thursday, a panel at Oslo Kunsthandel debated a recent censoring of artist Ole Jørgen Ness.
Britta Marakatt-Labba delivered the first ever lecture held in Sami at the Office for Contemporary Art Norway. It was simultaneously a painful and fascinating experience.
The exhibition Diorama. Inventing Illusion at Schirn Kunsthalle in Frankfurt misses the diorama’s potential as a tool to explore our digital present.
Professor Derby English fights simplified politics on both sides of the political spectrum. His weapon? Art History.
For an exhibition that introduces a plastic medium like sculpture in its title, the ninth Norwegian Sculpture Biennial is noticeably lacking in works that invoke the haptic.
Arrested on glass vitrines at Oslo Kunstforening in the chilly manner of laboratory specimens, Camille Norment’s tender baby skeletons still bubble with becoming.
Endre Tveitan’s visually sparse video works at Kunstplass [10] tease objects that usually go unnoticed out on the dance floor.
As an art worker, my domain is the social world, says Mieke Bal, organiser of the two-day conference Modern Sensibilities that commences at the Munch Museum in Oslo today.
The Great Graphic Boom at Oslo’s Nasjonalgalleriet hardly merits the explosive connotations of its title, as it dilligently and patiently traces the history of American graphic art.
Esben Weile Kjær may be a rising star, but his Solar System in Aalborg consists of rat-infested ruins, mutations, and epoxy diamonds. Is it for real or simply fake?
In Ann-Sofie Back’s Stockholm retrospective, fashion and death go hand in hand.
War is the artist’s muse in Vanessa Baird’s retrospective at Munch Museum in Oslo.
Katalin Ladik’s first major presentation in the Nordics underscores the transformative power of the voice.
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