Kunstkritikk er Norges ledende nettsted for samtidskunst. Kunstkritikk is Norway's leading online art journal.
– It is important to insist on a non-Eurocentric, post-colonial and queer-feminist position, says Carla Zaccagnini, new professor at the Royal Danish Academy of Fine Arts.
New artistic director of Checkpoint Helsinki Paul O’Neill marks the anniversary of the October Revolution with an exhibition in a small apartment and a large congressional center.
Seeking to nuance the image of secularization in the Nordic countries, curator Nav Haq has invited actively religious artists to take part in the 8th Gothenburg biennial.
– Goethe was wrong in believing that certain colours produce specific emotions, says artist Henriette Heise, who has devised a new theory of colour.
– I don’t see how many of the works tie into alienation on the surface of it. Kunstkritikk spoke to Amah-Rose Abrams, journalist for Artnet, during the preview of the Momentum Biennial in Moss yesterday.
– Do you realize that in this ecosystem there are no humans around? asks Pinar Yoldas, one of the artists represented at Momentum 9, which opens in Moss tomorrow.
What is the secret to Faldbakken’s artistic and literary success? Fearlessness.
Documental 14 is about to go down in history as an exhibition whose weak realization was outmatched only by its lack of financial and administrative direction.
At Lunds Konsthall, Simryn Gill adopts the serpent as an emblem of the exhibition’s generative ambivalence.
The Ovartaci exhibition at Charlottenborg is a welcome presentation of a vast, beautiful and peculiar body of work. It also highlights how contemporary art has lost all spirituality.
The 8th Gothenburg biennial takes on one of the pressing issues of our time. Yet the disparity between its its aspiration and the result couldn’t be greater.
Inspired by science fiction, this year’s instalment of the Lofoten International Art Festival enters into a sensuous pact with the future.
Swedish art historian Kim West’s dissertation analyses how the 1960s vision of a ‘museum in movement’ transformed into an idea of the museum as a ‘catalyst for social change’.
Professor Derby English fights simplified politics on both sides of the political spectrum. His weapon? Art History.
Light, dance, sound, life and fog. A-form
was performed on the roof of the unfinished National Museum in Oslo, blurring the borders between object and environment.
British curator Charles Esche has delved into Norwegian archives. Here he discovered a Nordic body that is both idealised and distorted.
This year´s Skulptur Projekte Münster is invested in a socially paralyzed and market-oriented public sculpture not much different from the kind it was once inititated to counter.
Becoming a stage for the voices of the oppressed is a means for Documenta 14 to unburden itself from the weight of its own prominence.
For an exhibition that introduces a plastic medium like sculpture in its title, the ninth Norwegian Sculpture Biennial is noticeably lacking in works that invoke the haptic.
At this year’s Venice Biennale, the German, Nordic and Iraqi pavilions in particular set themselves free from biennale politics and offer interesting explorations of the history of the contemporary.
The international exhibition at the 57th Venice biennial makes an important, if not entirely convincing, case for the artist’s right to sleep at work and heal the planet through dance.