Matias Faldbakken’s memorial to the 2011 terrorist attacks in Norway makes security its aesthetic point.
Vibeke Tandberg is not one of those artists who stopped experimenting with age.
When the ideas about art’s autonomy and the death of the author have been consigned to the landfill, all that remains is the naked sender.
An ASMR-rattle for stressed-out cultural workers was among author and Kunstkritikk-contributor Susanne Christensen’s most memorable art experiences this year.
Pussy Riot delivers a frantic and riveting exhibition at Louisiana, but it runs the risks of becoming a short-term fix.
Oscar Tuazon’s exhibition at Bergen Kunsthall will keep even top students at Water School busy for months.
The invasion of Ukraine began during this year’s Barents Spektakel. In one fell swoop, much of the festival’s programme took on a very different significance than planned.
Kunstkritikk’s Advent Calendar presents author and regular contributor to Kunstkritikk Susanne Christensen’s top three art events of 2019.
‘Climate emergency is about much more than global warming or melting ice’, says art historian T. J. Demos, who recently gave a lecture in Bergen.
In the Nordic Pavilion in Venice, insects, green growths in glass containers, and clusters of seaweed all thrive. Whether it is inhabitable to us humans is less certain.
Tracey Emin’s art may often be dismissed as self-centered or banal, but her unsentimental life’s work delivers the necessary reminder that the private remains common.
Everything on Reykjavík’s art scene centres on Iceland’s fierce, all-enveloping landscape – even when it’s about something else entirely.
Hélène Fauquet’s gleaming little treasure trove opened in Paris as the city burned and Art Basel Paris was forced to close early.
As established Oslo galleries fold, the artist-run scene edges ever closer to the market.
