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.
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.
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.
This year’s instalment of the Nuuk Nordic Culture Festival opened with a call to think outside of the national frameworks that have organised history writing in the Nordic countries.
The reason the work was effective was that I thought that I did not read the text that I had to read in order to understand the work.
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.
Merike Estna’s paintings at Moderna Museet Malmö are inviting, strange, and genuinely convinced of their own vanity.
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