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.
Soft architecture and woven columns which bear no loads. Viewing Ragna Braase at the National Gallery of Denmark is seeing art history being written.
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 rush to make online substitutes for events derailed by the COVID-19 pandemic promises an influx of viewing technologies that approximate real life.
The 22nd Biennale of Sydney is a highly located and physical exhibition experience which, after being open for just 10 days, can only be accessed online.
The most important artists of the 2010’s were the ones who helped us to navigate through private and social neuroses, perversions, and psychoses.
Per Kirkeby’s bronze sculptures mould struggles with the paradoxes of representation into a theology of total incarnation.
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