Stian Gabrielsen er norsk redaktør for Kunstkritikk. Han er utdannet ved Kunstakademiet i Oslo, hvor han også er bosatt.
Summertime is collection exhibition time, and this year is no exception. The City of Oslo’s art collection presented in a roundabout is one of the more creative takes on the genre.
The introductory days of Bergen Assembly served as a reminder that art’s engagement with social issues does not necessarily translate into audience engagement.
Tiril Hasselknippe’s brew of blissful neo-materialism and banal video game aesthetics is just the right amount of a good thing, i.e. too much.
Sun and Spring in January is so overtly instrumental in its approach to art that it’s almost cute. It’s certainly comical.
– Being a little tired is conducive to sensing your surroundings, says Apichaya Wanthiang. Her exhibition at UKS (Young Artists’ Society) is open only at night.
Jumana Manna has a journalist’s feel for the effects of intimacy. Sweat pours from her sculptures and films at Henie Onstad Kunstsenter.
Let the River Flow at Office for Contemporary Art Norway culminates three years of research into Sami art. It is a skillfull display, yet haunted by decolonial paradox.
Inspired by science fiction, this year’s instalment of the Lofoten International Art Festival enters into a sensuous pact with the future.
British curator Charles Esche has delved into Norwegian archives. Here he discovered a Nordic body that is both idealised and distorted.
The opening exhibition at Kunsthall Trondheim, this is a political (painting), advances a somewhat cautious take on body politics.
Bergen Assembly 2016 dissolves the triennial genre, but nevertheless keeps its audience in mind.
In the exhibition VERTICALSEAT at Kunsthalle Basel, Yngve Holen is haunted by the humanist subject he has driven out.
Unlike a superhero movie, the 10th Göteborg Biennial does not seek to reach an audience consisting of all the people on earth.
At Statens Museum for Kunst, Shahryar Nashat has produced a captivating immersive experience that is both seductive and claustrophobic.
Dealing with bad art, the book Bad Writing is gloriously perverted in places. But it is also a slightly surly attack on what it calls ‘political correctness’.
‘In order to move on, you must also turn back’, says Lisa Rosendahl, curator of the 10th edition of the Göteborg Biennial, opening this Saturday.
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