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.
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.
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.
In the 2010s, Norwegian cultural politics began the deliberate disassembly of a functioning system under the pretence of having something to replace it with.
In his day, Erling Viksjø, architect of the Oslo Government District, was called a “bulldozer” and an “enemy of culture.” Today, his own legacy is facing demolition.
Set against an iconic cinematic backdrop depicting the streets of New York, the Frieze Los Angeles art fair has every opportunity to juggle with the artificial, the commercial, the superficial – and Hollywood.
During the 2010s it has become apparent that the fascination of the archive can not be separated from the ideology of the digital data base.
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