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.
The Iron Throne is vacant. Hardly any Norwegian artists have solo shows at the major museums, and everyone worries about sustainability.
This year’s top-three list from Kunstkritikk’s Norwegian editor, Stian Gabrielsen, exposes him as an irritable aesthete.
Director at the Vigeland Museum in Oslo, Jarle Strømodden, believes it is too early to say whether the sculptures have suffered permanent damage.
The Norwegian art autumn will offer plenty of laughs; just don’t forget to worry about the future and the impact of new technology.
The resurgence of Surrealism in contemporary art, with this year’s Venice Biennale as a case in point, raises a dilemma: should morality still subsume itself to desire?
Uffe Isolotto’s morbid blockbuster of an exhibition in the Danish Pavilion is first and foremost about a longing for feedback.
The third instalment of The Hannah Ryggen Triennial prompts the question of society’s technical justification.
A petition by AICA calls on the European Commission to stop the systematic persecution of dissent and minority voices.
Improvisation, underwater protests, transnational solidarity, and sumptuous painting rooted in history: the sap is rising on the Norwegian art scene.
Fire up the stove! Kunstkritikk’s Norwegian editor Stian Gabrielsen lists three exhibitions that left their imprint on him in 2021.
The Munch Museum’s opening exhibition featuring Tracey Emin and Edvard Munch is a melodrama about a subject who has nothing more to give, but keeps on giving.
Goutam Ghosh’s exhibition at Standard (Oslo) points not only to what painting has been, but also to what it is becoming.
In Malmö, Tal R and Mamma Andersson cozy up with nineteenth-century renegade Carl Fredrik Hill in a fun show that struggles to make a lasting impression.
Everything moves at Copenhagen Contemporary. But movement is, as we know, relative when we can’t stand still ourselves.
In New Visions, the considered triennial at Henie Onstad Kunstsenter, photography and new media are complicit in the exploitation of the planet’s resources.
Tarik Kiswanson’s gravity-defying sculptures imbue the brutalist interior of Bonniers Konsthall with tension – and a non-identitarian politics.
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