Stian Gabrielsen er kritiker og norsk redaktør for Kunstkritikk, bosatt i Oslo.
Stian Gabrielsen is a critic and the Norwegian editor of Kunstkritikk, based in Oslo.
From Sámi art seeking to heal colonial wounds to spray-painted bedrooms and a brand-new museum – even as budgets shrink, the Norwegian art scene still offers a lavish autumn spread.
The main exhibition at the 61st Venice Biennale is a spiritualist séance with no spirits present.
Strong reactions from European leaders to Russia’s participation in this year’s biennial. Danish minister open to boicott.
Halloween vibes at the Munch Museum as Kim Hankyul gives form to our increasingly intimate relation to media.
Inuuteq Storch captures the life-or-death struggle between indigenous identity and its image.
This spring the Norwegian art scene is bursting with sci-fi, political vision, and largest-ever presentations of female artists.
Medieval psychedelia on jute canvas punched a hole through wall and time for Kunstkritikk’s Norwegian editor, Stian Gabrielsen.
‘We all face similar challenges when it comes to building sustainable organisations,” said Vilnius-based editor Vitalija Jasaitė.
The Norwegian art scene is awash in oil on canvas this autumn.
Ghost photography has resurfaced in museum image banks.
The Norwegian art spring displays the horny energy of an 80s sitcom.
A new reality show about Odd Nerdrum’s family teases out the irony of the classical painter’s contempt for the present.
Transcaucasian film poems, a science-fiction retrospective, and an exhibition woven from nerve fibres. The Danish art autumn is all aquiver.
In election-year Sweden, the art scene is politically ambitious but institutionally cautious.
From Sámi art seeking to heal colonial wounds to spray-painted bedrooms and a brand-new museum – even as budgets shrink, the Norwegian art scene still offers a lavish autumn spread.
Matias Faldbakken’s memorial to the 2011 terrorist attacks in Norway makes security its aesthetic point.
