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.
A new reality show about Odd Nerdrum’s family teases out the irony of the classical painter’s contempt for the present.
A small gnome hiding inside a fountain pump sent Kunstkritikk’s Norwegian editor, Stian Gabrielsen, into a nostalgic fit.
War is the artist’s muse in Vanessa Baird’s retrospective at Munch Museum in Oslo.
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.
The Apocalypse revisited, pioneering sound art, and an unsettling proposal marks the Swedish art season.
A new reality show about Odd Nerdrum’s family teases out the irony of the classical painter’s contempt for the present.
Palestine, Indigenous art, the Venice Biennale, and mood as a benchmark for quality. These are the articles that engaged our readers the most in 2024.
Kunstkritikk’s editor-in-chief Mariann Enge reflects on the art that captured the state of the world in 2024.
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