Stian Gabrielsen er norsk redaktør for Kunstkritikk. Han er utdannet ved Kunstakademiet i Oslo, hvor han også er bosatt.
‘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.
What were the most memorable art events of 2019? Kunstkritikk’s Norwegian editor, Stian Gabrielsen, gives his bid.
– I had to find a more sustainable way of working, says Anders Smebye. His exhibition Kraft is currently showing at 222T in Oslo.
This autumn season, the Norwegian art scene will see a record-breaking number of mid-career solo shows, and paintings that engage with nature and architecture.
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.
Cultural ownership, decolonial listening, and Pablo Picasso were up for debate at Malmö Art Museum’s symposium on the mediation of public art collections.
Anne Haaning’s video montage is an elegant reminder of how an important chapter in Danish colonial history disappeared from our collective memory.
The Physical World Was Still There at Konsthall C is a gripping account of the human desire to escape reality. It has tenderness, grief, pain and lyricism.
The web of global entanglements and flows described by A beast, a god, and a line at Kunsthall Trondheim omits the exhibition’s immediate context.
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