Pernille Albrethsen, f. 1971, kritiker, forfatter og redaktør for Kunstkritikk i Danmark. Cand.mag. i Moderne kultur fra Københavns Universitet og New York University. Virker også som kunstkritiker på Weekendavisen.
The climate has no time to wait, and nature cannot hurry. Camilla Berner is raising a forest on the island of Ærø.
The Danish art institutions offer female pleasure and Artificial Intelligence. Meanwhile, art students in Aarhus are well prepared for an autumn of activism.
Henriette Heise studies the late work of deceased artists to learn how others found the strength to make art despite living lives full of adversity, crisis, and war.
The work Take the Money and Run becomes part of the collection.
In Denmark, the International Women’s Day was about women of the nation cast in bronze and women of the desert of flesh and blood.
Denmark is awash with spring blockbusters – plus glimpses of experiments and resistant poetics.
A visit to a flower shop was one of the strangest encounters of the year, reports Kunstkritikk’s editor in Denmark.
This year’s first opening night in Copenhagen whetted our appetite for more. The season’s dictates are British 90s art, French 80s sculpture, and Georgian folk painting. Oh, and Arken is rebranding.
In 2022, art was at its best in the dark or seen through the hole of a doughnut, says Kunstkritikk’s editor in Denmark.
Election bullshit, hot air, down-at-heel flip-flops, and a delightful drop-out artist. The Danish art autumn is whipping into a frenzy.
Det Kosmiske Hierarki takes Freetown Christiania’s local currency outside the commune. The result is also a song of freedom.
The 59th Venice Biennale was not a great year for the pavilions – until Ukraine stole the show.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
The climate has no time to wait, and nature cannot hurry. Camilla Berner is raising a forest on the island of Ærø.
Manifesta 15 in Barcelona forces visitors to spend time in the periphery and confront the central issues of our time.
Allegations of sexual misconduct in a Vaginal Davis work at Moderna Museet raise questions about art’s toxic culture of privilege.
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