Pernille Albrethsen, f. 1971, kritiker, forfatter og redaktør for Kunstkritikk i Danmark. Cand.mag. i Moderne kultur fra Københavns Universitet og New York University. Virker også som kunstkritiker på Weekendavisen.
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.
Myths of the Marble at Henie Onstad Kunstsenter boasts luminous algae, computer games and prosthetics. But a fondness for new technology gives it a rather one-sided swipe-friendly tactility.
Kunsthal Aarhus cancels the private view of its new Thomas Hirschhorn and Cécile B. Evans shows, remaining closed on 20 January as part of the international #J20 art strike.
Kunstkritikk’s own writers and invited guests share their top picks from the art scene of 2016. Today: Pernille Albrethsen.
Manifesta 11 is the very quintessence of Old Europe with routine visits to the dentist, dog salon and church. Meanwhile, a single wheelchair rolls across Lake Zürich.
Copenhagen is hardly overrun by international events, says Mikkel Carl, one of the organisers behind a new international art fair that includes prominent galleries.
– I didn’t want the first exhibition to be a clear-cut aesthetic or political statement, says Jacob Fabricius about his new programme for Kunsthal Aarhus. The exhibition Baby Doc opens tonight.
The retrospective format is feared by most artists, but not by Dominique Gonzalez-Foerster: her retrospective in Paris deals fearlessly with past and future alike.
Diana Baldon ends her directorship at Malmö Konsthall. She takes pride in the programme realised during her brief time in the director’s chair.
When people move, the world moves. These movements are clearly apparent in art. Twentieth century art history is also a story about migration.
The objects at Trust in Copenhagen are neither speculative nor intelligent. They haven’t insisted on speaking. The curator allowed them to.
Carola Grahn brings a pitch-perfect wit to Sámi feminism at Liljevalchs in Stockholm.
Copenhagen is currently home to several semi-aquatic reptiles. They speak volumes about attitudes and mummification. And of what an exhibition may be.
Matias Faldbakken will create memorial to the 2011 terror attack in Oslo.
The Swedish government’s plan to create an institutional behemoth, Moderna, is ill-advised and reckless.
