Stian Gabrielsen er norsk redaktør for Kunstkritikk. Han er utdannet ved Kunstakademiet i Oslo, hvor han også er bosatt.
Itinerant exhibitions and foraging artists: autumn on the Norwegian art scene suggests that art has discovered its potential as a parallel society.
Lene Berg, next year’s official festival artist at Bergen Kunsthall, wants to tell the story of her late father, film director Arnljot Berg.
The deformed bodies in Nicole Eisenman’s exhibition at the Astrup Fearnley Museum testify to the artwork as liberating event.
The collaboration between curator Théo-Mario Coppola and the biennial management has been broken off.
Despite rather uncertain prospects, these are the art events we look forward to in Norway, Sweden, and Denmark.
Long live pataphysics! Kunstkritikk’s Norwegian editor, Stian Gabrielsen, shares his top three exhibitions of 2020.
Who Wants to Live Forever? at Kunsthall Trondheim is a morality play that urges us to reconcile with our impermanence.
After a trying spring, parts of Norwegian art life are rising again as if nothing had happened. But not everyone has finished recovering.
Dag Erik Elgin’s copyist painting refuses to parade life as an economic resource.
Following the revelation that the biennial exceeded its 2019 budget by NOK 6 million, Per Gunnar Eeg-Tverbakk has resigned as curator of the Oslo Biennial.
‘Everyone contributes jointly to limiting the spread of the coronavirus. We should show the same solidarity with those who lose their income’, says Ruben Steinum, chairman of the Association of Norwegian Visual Artists.
‘Out with the old’ might be Norwegian art’s motto this spring, which will see numerous changes to buildings as well as directors – and plenty of experiments with new technology.
The 11th Gothenburg Biennial tells a powerful story about seafaring, colonialism, and racism, but suffers from a certain artistic and intellectual predictability.
With doomsday vibes in Berlin, blockchains in Hamburg, and an art scene brat pack in Zurich, there’s every reason to renew your BahnCard. Here’s a bird’s-eye view of the autumn’s exhibitions north of the Alps.
With the show Hummings, KØS Museum shows its ambitions to move its programme towards public space, but delivers unconvincing results.
The idyllic setting of Momentum 11 threatens to drown out the biennial’s well-meaning gestures towards activism.
Kunstkritikk is supported by
