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.
This autumn season, the Danish art scene offers a Nordic art fair and a mega-exhibition involving Copenhagen’s five art centres. One exhibition is entirely hors catégorie.
The triennial at the New Museum in New York did not deliver what you might expect – instead, it accurately diagnosed a generation, offering a reference point for the years to come.
“It is neither a gallery nor an institution, not commercial and not art history,” says Jacob Lillemose, the curator behind a new exhibition venue of a kind never seen before in Copenhagen.
Lutz Bacher has landed in x-rummet at the National Gallery of Denmark, raising the bar for appropriation art with a sprinkling of dust.
Last time it was called Copenhagen Art Festival. That is no longer its name, but the same five art venues are behind the plans for a large-scale exhibition in Copenhagen in the autumn of 2015.
The autumn season on the Danish art scene contributes to 1990s history writing and includes new steps forward as prominent female artists are presented at the major Copenhagen institutions.
Danh Vo will represent Denmark at the 56th Venice Biennial in 2015.
Bergen Assembly has announced the artistic directors for 2016. Tarek Atoui, the curator duo behind Praxes, and the group freethought will each handle part of the triennial.
The 2014 Whitney Biennial – the last held in the Brutalist granite box on Madison Avenue – is a somewhat old-fashioned, eclectic exhibition, but it evinces an unquestioning faith in art.
– The artist creates a sign and I carry it on my shoulders. A simple exchange of labour, says Jacob Fabricius, who is currently repeating the Sandwiched project ten years after its original inception.
Carnegie Investment Bank shuts down one of the world’s largest art awards.
This spring the Danish art scene presents Cory Arcangel, Hilma af Klint, Kerry James Marshall, an exhibition about conceptual art as a concept, and a re-staging of Palle Nielsen’s The Model from 1968.
David Hockney’s retrospective at Fondation Louis Vuitton is full of new beginnings.
Digital textures are punctured by lived experience in Ed Atkins’s retrospective at Tate Britain.
Inuit must learn from tradition and living memory in order to look ahead, was the message at a recent seminar on Greenlandic performance traditions.
Hannah Ryggen remains the most compelling part of the Hannah Ryggen Triennial.
