Stian Gabrielsen er norsk redaktør for Kunstkritikk. Han er utdannet ved Kunstakademiet i Oslo, hvor han også er bosatt.
The collaboration between curator Théo-Mario Coppola and the biennial management has been broken off.
Despite rather uncertain prospects, these are the art events we look forward to in Norway, Sweden, and Denmark.
Long live pataphysics! Kunstkritikk’s Norwegian editor, Stian Gabrielsen, shares his top three exhibitions of 2020.
Who Wants to Live Forever? at Kunsthall Trondheim is a morality play that urges us to reconcile with our impermanence.
After a trying spring, parts of Norwegian art life are rising again as if nothing had happened. But not everyone has finished recovering.
Dag Erik Elgin’s copyist painting refuses to parade life as an economic resource.
Following the revelation that the biennial exceeded its 2019 budget by NOK 6 million, Per Gunnar Eeg-Tverbakk has resigned as curator of the Oslo Biennial.
‘Everyone contributes jointly to limiting the spread of the coronavirus. We should show the same solidarity with those who lose their income’, says Ruben Steinum, chairman of the Association of Norwegian Visual Artists.
‘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.
The waves in Kinga Bartis’s painting Egg timer do not move in vain.
With a Danish ghost ship and humorous decolonial propaganda, the 11th Gothenburg Biennial wants to serve as a counter-narrative to the city’s official 400-year anniversary.
Damla Kilickiran’s exhibition at The Young Artists’ Society in Oslo shows how the pandemic has made us so focused our own bodies that our surroundings dissolve.
The collaboration between curator Théo-Mario Coppola and the biennial management has been broken off.
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