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.
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.
The resurgence of Surrealism in contemporary art, with this year’s Venice Biennale as a case in point, raises a dilemma: should morality still subsume itself to desire?
Uffe Isolotto’s morbid blockbuster of an exhibition in the Danish Pavilion is first and foremost about a longing for feedback.
The third instalment of The Hannah Ryggen Triennial prompts the question of society’s technical justification.
A petition by AICA calls on the European Commission to stop the systematic persecution of dissent and minority voices.
Improvisation, underwater protests, transnational solidarity, and sumptuous painting rooted in history: the sap is rising on the Norwegian art scene.
Swedish-born Valeria Montti Colque will represent Chile at the 60th Venice Biennial, an event of great symbolic significance for the Chilean diaspora.
If truth is the first casualty of war, art is one of the next. This year’s Kyiv Biennial is a struggle of resistance.
Edith Hammar takes us to the queer Helsinki of the 1950s.
Curators’ efforts to blur formal hierarchies tend to veil the power they themselves wield.
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