Pernille Albrethsen er redaktør for Kunstkritikk i Danmark. Født 1971, kritiker og redaktør. MA i Moderne kultur fra Københavns Universitet og New York University. Virker også som kunstkritiker på Weekendavisen.
In 2021, the Danish Pavilion at the Venice Biennale will feature social-realist drama, mythological references, and idyllic farmyard Romanticism. All courtesy of visual artist Uffe Isolotto.
Soft architecture and woven columns which bear no loads. Viewing Ragna Braase at the National Gallery of Denmark is seeing art history being written.
While Danish museums celebrate record-high visitor numbers, others want to shut down the Ministry of Culture. In a way, the two are connected. Also, institutional collaborations have become the order of the day.
Today, the three best exhibitions of the year have been selected by Pernille Albrethsen, Kunstkritikk’s Copenhagen editor.
Are we seeing a ketchup effect? Two years after #MeToo arrived, Denmark discusses equality and gender quotas in typically haphazard fashion, but at a new level.
X-rummet is officially part of the National Gallery of Denmark, but over the course of its existence it became an institution in its own right.
Carsten Höller looms large over the Danish art scene this autumn, alongside dreadfully thin-skinned pottery and a hospital for self-medication.
This summer’s shows include an extraterrestrial ‘breast creature’ with a built-in fountain in Vejle Fjord. And you’ll soon find a huge Congolese tree trunk in a sculpture park near you.
Twenty years after quitting the art world, Cady Noland pops up with a retrospective in Frankfurt.
Kunstkritikk relaunches with a new design and an expanded international edition – with substantial support from the New Carlsberg Foundation.
The upcoming general elections are unlikely to change the dazed confusion of Danish cultural politics. But an exhibition about the EU and a Sonja Ferlov Mancoba retrospective look promising.
Rosemarie Trockel’s exhibition at Moderna Museet Malmö is as crisply cool and well-installed as it is true to its Rhineland roots.
The world becomes so depressingly flat when there’s no difference between a face and a selfie. But how do we keep reality from being swallowed by its image, and art from being swallowed by reality?
‘A farcical act of revenge’, according to Bogdan Szyber, who was unanimously rejected by a degree committee. For the first time in Sweden, a thesis in artistic research did not pass the public defence.
‘I am concerned with the complexities of human existence and with breaking down polarised opposition’, says this year’s Festival Exhibitor at Bergen Kunsthall, Joar Nango.
‘Being an editor requires an internal drive. It’s about working for something that’s bigger than yourself’, says Mariann Enge. She is Kunstkritikk’s new editor-in-chief.
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