Stian Gabrielsen er kunstner og skribent, og skriver fast for Kunstkritikk. Han er utdannet ved Kunstakademiet i Oslo, hvor han også er bosatt. Fra februar til desember 2016 og fra mars til juni 2017 var han norsk redaktør for Kunstkritikk.
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.
– 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.
I am in no way poking fun of painting, says Fredrik Værslev. Today his exhibition All Around Amateur opens at Bergen Kunsthall.
The driving force behind the new residency programme PRAKSIS, Nicholas Jones, says that he believes artists can engage with society in a way that creates active change.
– It would have amounted to self-censorship not to integrate the social and political into my work, says German-born New York-based artist Hans Haacke to Kunstkritikk.
Norwegian artists mobilise, the first comprehensive Greta Knutson-Tzara exhibition, and new initiatives in Copenhagen: a kunsthalle and yet another commercial art fair.
SPEED 2 at Malmö Konsthall highlights our lack of genuine filmic communication.
In constellations of kitschy furniture, Henrike Naumann’s show at KOW in Berlin addresses the still-fraught aftermath of German reunification.
How can a film be a landscape? This is at the core of Swedish artist John Skoog’s first feature-length film, showcased at the CPH:DOX festival opening today.
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