Stian Gabrielsen er norsk redaktør for Kunstkritikk. Han er utdannet ved Kunstakademiet i Oslo, hvor han også er bosatt.
Stian Gabrielsen is Kunstkritikk’s Norwegian editor. He was educated at the Art Academy in Oslo, where he also lives.
Experimental attitudes are back in vogue in Norway this autumn, with an archive of ground-up items and DIY biotechnology as menu highlights.
Ida Ekblad’s paintings at Peder Lund are intimate physical events.
Merlin Carpenter gives us the art he thinks we deserve at Borgenheim Rosenhoff in Oslo.
Can art address issues other than the environment in 2024? Not according to Norwegian institutions’ spring programmes.
Kunstkritikk’s Norwegian editor, Stian Gabrielsen, picks the three best exhibitions of the year.
Art criticism is losing its footing amid obsessive demands for distribution and relevance. This is a problem for art too.
The autumn season on the Norwegian art scene arrives with the auspicious scent of oil on canvas, older artists, plant-based cuisine – and garbage.
The Momentum Biennial is so in love with its own process that it makes you blush.
The Iron Throne is vacant. Hardly any Norwegian artists have solo shows at the major museums, and everyone worries about sustainability.
This year’s top-three list from Kunstkritikk’s Norwegian editor, Stian Gabrielsen, exposes him as an irritable aesthete.
Director at the Vigeland Museum in Oslo, Jarle Strømodden, believes it is too early to say whether the sculptures have suffered permanent damage.
The Norwegian art autumn will offer plenty of laughs; just don’t forget to worry about the future and the impact of new technology.
Ulla Wiggen’s retrospective at EMMA in Espoo uncovers her ever-evolving ability to worm her way beneath the surface of the ordinary.
The climate has no time to wait, and nature cannot hurry. Camilla Berner is raising a forest on the island of Ærø.
Manifesta 15 in Barcelona forces visitors to spend time in the periphery and confront the central issues of our time.
Allegations of sexual misconduct in a Vaginal Davis work at Moderna Museet raise questions about art’s toxic culture of privilege.
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