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.
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.
Artist Kirsten Langkilde will be the new rector of the Royal Danish Academy of Fine Arts in Copenhagen
The Danish Arts Foundation has selected Danish-Palestinian artist Larissa Sansour to represent Denmark at the 2019 Venice Biennale.
Solid solo exhibitions, even of a more woke variety, lie ahead this autumn season. But this year, it was the Danish minister for culture who set the ball rolling.
Relocating Documenta 14 to the orange-scented streets of Athens is a radical gesture that will not go unnoticed. Still, the exhibition itself seems strangely bewildered.
Myths of the Marble at Henie Onstad Kunstsenter boasts luminous algae, computer games and prosthetics. But a fondness for new technology gives it a rather one-sided swipe-friendly tactility.
Kunsthal Aarhus cancels the private view of its new Thomas Hirschhorn and Cécile B. Evans shows, remaining closed on 20 January as part of the international #J20 art strike.
Kunstkritikk’s own writers and invited guests share their top picks from the art scene of 2016. Today: Pernille Albrethsen.
Manifesta 11 is the very quintessence of Old Europe with routine visits to the dentist, dog salon and church. Meanwhile, a single wheelchair rolls across Lake Zürich.
Copenhagen is hardly overrun by international events, says Mikkel Carl, one of the organisers behind a new international art fair that includes prominent galleries.
Norwegian artists mobilise, the first comprehensive Greta Knutson-Tzara exhibition, and new initiatives in Copenhagen: a kunsthalle and yet another commercial art fair.
SPEED 2 at Malmö Konsthall highlights our lack of genuine filmic communication.
In constellations of kitschy furniture, Henrike Naumann’s show at KOW in Berlin addresses the still-fraught aftermath of German reunification.
How can a film be a landscape? This is at the core of Swedish artist John Skoog’s first feature-length film, showcased at the CPH:DOX festival opening today.
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