Kunstkritikk is taking a summer break. We will be back in August. Wishing all our readers a great summer!
“The intention was to create an exhibition without a manifesto,” said curator Kasper König during the press conference opening the 10th installment of Manifesta in St. Petersburg.
Henrik Olesen’s Abandon the Parents at the National Gallery in Copenhagen is a magnificent story about sons who left behind one kind of family, but perhaps created a new one.
Instead of chastising a nation that has repressed an uncomfortable past, Fadlabi and Cuzner help present Norway as a country willing to face and renounce its racist past.
The current crisis at the École des Beaux-Arts in Paris shows the difficulties in distinguishing between overall societal changes and individual leadership skills.
Danh Vo will represent Denmark at the 56th Venice Biennial in 2015.
Bergen Assembly has announced the artistic directors for 2016. Tarek Atoui, the curator duo behind Praxes, and the group freethought will each handle part of the triennial.
Petra Cortright recently opened her first show in Scandinavia. “Never before seen. Very fun”, as the “post-internet”-artist said to Kunstkritikk.
Future Library invites an imaginary leap,” says Katie Paterson, who has launched an art project in Oslo that she will never see completed.
The 2014 Whitney Biennial – the last held in the Brutalist granite box on Madison Avenue – is a somewhat old-fashioned, eclectic exhibition, but it evinces an unquestioning faith in art.
In the major Richard Hamilton exhibition in London, the renowned pop artist’s subtle ironies and games are realized as the conditions and objects of his critical works.
The 19th Biennale of Sydney reflects a curatorial belief in the artistic imagination transcending the bounds of reality - yet most of the artists seem more concerned with politics.
In spite of some gentle institution-critical kicks, Elmgreen & Dragset seem perfectly at home in Astrup Fearnley’s homoerotic and readymade-fetishised universe.
This survey show of exhibition invites, flyers and other printed ephemera, which comes to Liverpool from MoMA in New York, is rich in historical interest – and nostalgia.
This spring the Norwegian art scene offers us a midlife retrospective with Elmgreen & Dragset, a whole life retrospective with Aase Texmon Rygh, a Karl Kraus-hommage, as well as Susan Philipsz first project in Norway.
Status update on Sorø Kunstmuseum’s exhibition trilogy about the new materialism and realism that spark debate right now. But just how ‘new’ is all this, really?
Thomas Hirschhorn is a rebel, an academic, a commercial artist, and an activist. Visiting Oslo last Thursday he talked to Kunstkritikk about everything from his monuments to love.
Christopher Müller, Daniel Buchholz, Henrik Olesen
Statens Museum for Kunst (til 23. May)
Reviewed by Cecilie Høgsbro Østergaard
Elmgreen & Dragset, Ingar Dragset, Michael Elmgreen
Astrup Fearnley Museet (til 21. March)
Reviewed by Maria Moseng
Lars Cuzner, Mohamed Fadlabi
Kunst i offentlige rom (KORO) (til 15. May)
Reviewed by Stian Gabrielsen