A triennial resembling The Blob and the fear of meeting another person’s gaze ever again: 2025 has left its mark on Tommy Olsson.
Hannah Ryggen remains the most compelling part of the Hannah Ryggen Triennial.
Marte Gunnufsen’s exhibition at Noplace lulls you into a deceptive feeling of security.
In the empty parallel world we know as Tjuvholmen, Ida Ekblad’s paintings shout out in a polyphonic chorus: ‘Steal me and take me home!’
In the 2010s, Norwegian cultural politics began the deliberate disassembly of a functioning system under the pretence of having something to replace it with.
Once the last page has been read it is difficult to shake the feeling that Bjarne Melgaard’s novel is actually a piece of quite good late modernist prose.
With such wide-ranging ambitions I Wish This Was A Song at the Museum of Contemporary Art in Oslo almost had to become a very varied affair. Which is fine when you deliver – as this exhibition does.
SUPERFLEX’s rescue ark is not intended for humans alone. Yet it is laden with human products and critiques of capitalism – all dressed up as capitalism.
‘I take my position of power very seriously’, says Tone Hansen, who will lead the Swedish museum through a major institutional merger.
Vibeke Tandberg is not one of those artists who stopped experimenting with age.
Curator and researcher Antonio Somaini thinks artists are essential for understanding what AI is doing to culture.
