Nora Joung er kunstner og kritiker, basert i Oslo. Hun er en av Kunstkritikks faste bidragsytere.
The Chrononaut
Ukrainian-born artist Lesia Vasylchenko on image politics, predictive technologies, and the burial of the future.
Ukrainian-born artist Lesia Vasylchenko on image politics, predictive technologies, and the burial of the future.
The most interesting aspect of Eliza Douglas’s exhibition at VI, VII in Oslo is how little the artist labours for it.
In a field where so many desire high visibility, Mickael Marman addresses the discomfort of being recognised.
What were your most memorable art experiences of 2019? Artist and writer Nora Joung gives her bid.
In Steinar Haga Kristensen’s solo show at Kunstnerforbundet in Oslo the characters haul art and art history around as if they were both a burden and a source of nourishment.
Sandra Mujinga’s exhibition Real Friends at Oslo Kunstforening is well-orchestrated, feverish, and ultimately has faith in the spectator. In the form of a gorilla.
– If coexistence was imaginable then, where are we now? That is the question posed by curator Nada Raza in the exhibition The Missing One, opening at OCA in Oslo today.
Through her work with the organisation W.A.G.E., Lise Soskolne is attempting to change the working conditions for American artists. In Oslo she exhibits her own paintings for the first time in 14 years.
– I use lower case letters because they are beautiful and anti-hierarchic, says Jean-Michel Wicker, who opens the solo exhibition futurbella in Bergen Kunsthall tomorrow.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.