Pernille Albrethsen er redaktør for Kunstkritikk i Danmark (på orlov marts-september 2023). Født 1971, kritiker og redaktør. MA i Moderne kultur fra Københavns Universitet og New York University. Virker også som kunstkritiker på Weekendavisen.
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.
No more censorship: Russian artist Sergei Prokofiev’s work is once again part of the Spring Exhibition. The chair of the Charlottenborg Foundation, artist John Kørner, has resigned from the board.
Ovartaci, Sandra Mujinga and Ulla Wiggen are among the artists featured in the biennale’s central exhibition.
This season, spectacular lawsuits are held in the name of art, the Danish gallery scene is stirring, and women are an enduring trend.
Kunstkritikk’s editor in Copenhagen looks back on an artist’s coup, sensuous cinematic darkness, and an exhibition that created new cracks in the local art scene.
The story of the museum that lent Jens Haaning half a million Danish kroner, which is now gone, has become world news. We spoke to the artist and followed the money – and the story behind a work of art.
Buffalo AKG Art Museum in upstate New York will open in 2022 and plans to boast the largest collection of Nordic art outside the region.
Horses, lions, ants and potatoes – and a new minister of culture with
gunpowder residue on her hands. The Danish art scene’s autumn season is live on
air.
Art criticism is losing its footing amid obsessive demands for distribution and relevance. This is a problem for art too.
‘We stand on the shoulders of those who came before us,’ say Julia Rodrigues and Francesca Astesani, the curators behind Charlottenborg’s anniversary exhibition.
At Accelerator in Stockholm, Lisa Tan dissects a contemporary neurotic with great accuracy.
Pussy Riot delivers a frantic and riveting exhibition at Louisiana, but it runs the risks of becoming a short-term fix.
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