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.
Despite rather uncertain prospects, these are the art events we look forward to in Norway, Sweden, and Denmark.
Kunstkritikk’s Danish editor looks back on a year in art that included mermaid zombies and a heartfelt glitch of a group exhibition.
The exhibition featuring Goodiepal’s collection is also a retrospective of ‘Goodiepal’ the phenomenon, which is also a school, a band, and a refugee organisation.
‘The institution should be shaped around artistic practice, not the other way around’, says Rhea Dall, new head of Overgaden in Copenhagen.
The autumn season on the Danish art scene is already well underway and looking very promising – with women, witch hunts, and an eccentric baron on the menu.
In 2021, the Danish Pavilion at the Venice Biennale will feature social-realist drama, mythological references, and idyllic farmyard Romanticism. All courtesy of visual artist Uffe Isolotto.
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.
Will Grief and Grievance: Art and Mourning in America be as formative as Documenta 11 was at the start of the millennium? A report from a panel debate in New York.
The exhibition Artists’ Film International: Language at Tromsø Kunstforening makes no attempt to mimic the cinema’s isolating darkness.
Fashion week in a time of COVID-19 offers new digital-first strategies that increasingly prevail in the art world. What’s at stake when everything turns into viral content?
In a winter of no content, can memories of artworks activate our sense of wonder when the works themselves are absent?
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