Kunstkritikk er Norges ledende nettsted for samtidskunst. Kunstkritikk is Norway's leading online art journal.
Malmö Art Academy has been given notice to vacate its premises in one year. According to Dean Gertrud Sandqvist, this could imply that the school is will be forced to close.
Manifesta 11 is about work and collaboration. During the press conference in Zürich the set-up appeared noncommittal, almost politically evasive.
Nav Haq has been appointed curator of the 9th Gothenburg Biennial, which will deal with the topic of secularism in Europe.
Copenhagen is hardly overrun by international events, says Mikkel Carl, one of the organisers behind a new international art fair that includes prominent galleries.
Loopholes where new artists could be added were discovered well into the final months of planning, the curators of the Berlin Biennale reveal to Kunstkritikk.
– A group effort can show that differences can be overcome and that coexistence is possible, says Elmgreen & Dragset, the artist duo set to curate the 15th Istanbul Biennial in 2017.
Art and finance's co-dependence isn't new. But as financial markets continue to abstract, art and finance increasingly look similar as they offer alternative sites for speculation.
– Archives are really important for the future, says Carlos Motta, ahead of his opening at Hordaland Kunstsenter on Friday.
Pop icons rising from the grave and homages to dictators – Adel Abidin shows comedic flair at Fotogalleriet and Oslo S, but his satire is not always spot on.
In the exhibition VERTICALSEAT
at Kunsthalle Basel, Yngve Holen is haunted by the humanist subject he has driven out.
The exhibition Reset Modernity!
at Zenter für Kunst und Medientechnologie in Karlsruhe, deploys art as an indicator in theorist Bruno Latour’s reassessment of modernity.
Manifesta 11 is the very quintessence of Old Europe with routine visits to the dentist, dog salon and church. Meanwhile, a single wheelchair rolls across Lake Zürich.
The Berlin Biennale hopes that digital capitalism vill save us from the historical exhaustion of contemporary art. Result: aesthetic formalism and political paralysis.
With Unlearning Optical Illusions
at Trondheim Kunstmuseum, Toril Johannessen shows how art’s claim to ambiguity can open up a space of aesthetic transcendence.
Eivind Furnesvik shares some of his thoughts after having run the gallery Standard (Oslo) for a decade. The story is a study in obstinacy at its most fertile.
Annica Karlsson Rixon and Anna Viola Hallberg’s project State of Mind – Queer Lives in Russia
is both a documentary field study and a way of supporting political activism.
The Tom of Finland exhibition at Kunsthalle Helsinki is the largest to date to feature the gay hero, yet it misses the opportunity to contextualize his work as an artist.
Nasjonalmuseet does a fine job of addressing Norwegian process art and conceptual art in Silent Revolt
. Their explanations for why such art has been passed over by art history are more problematic.
– I see my work as an attempt at hacking the virtual pornographic body, says Sidsel Meineche Hansen, whose exhibition at Trondheim Kunstmuseum opened yesterday.
Sublime depictions of boundless masses of refugees dominate the media. But artistic responses to the political migration crisis can be more than just an aesthetic breather – they can also take part in the fight for the right to breathe.
Mexican artist Damián Ortega’s exhibition at Malmö Konsthall is a worrying signal of the populist, for-all approach currently besieging many contemporary art institutions.