Kunstkritikk er Norges ledende nettsted for samtidskunst. Kunstkritikk is Norway's leading online art journal.
During a press conference at OCA last Thursday it was announced that US-born artist Camille Norment will represent Norway at the 2015 Venice Bienniale.
Oslo has hired Eva González-Sancho and Per Gunnar Eeg-Tverbakk to head the preparations for a large-scale presentation of public art.
Last time it was called Copenhagen Art Festival. That is no longer its name, but the same five art venues are behind the plans for a large-scale exhibition in Copenhagen in the autumn of 2015.
Next year Morten Traavik and Henrik Placht establish what may become an international art academy inside the dictatorship.
The Astrup Fearnley Museum claims that it does not have the budget to pay the artists contributing to the show Europe, Europe. However, the Arts Council Norway has granted funds earmarked for artist's fees.
It was announced today that Lina Selander will represent Sweden at the Venice Biennale 2015.
Independent critical debate is threatened when the extreme right gives the center-right Alliance the opportunity to slash state support for Swedish cultural magazines.
Why do we not object when the luxury industry dictates the conditions of contemporary art? A group of prominent intellectuals respond to the cynical argument that there is no alternative.
A number of seminal works within Swedish 1960s TV- and computer-based experimental film are being shown at Digital Art Center in Stockholm. The exhibition inspires confidence as well as a taste for more.
The wish to compromise sometimes gives the Danish art scene a ‘Truman Show’ feel, says Yvette Brackman, whose new exhibition, opening at Overgaden tonight, contains both theatre and therapy.
This year’s Moderna Exhibition
showcases art from the Baltic region, mixing work from different epochs. The result is an exhibition without a guiding idea, so contemporary that it falls out of step with the times.
While more and more artists explicitly enjoy making artworks that cannot be nailed down by a political program, art writers take even more pride in pinning it down.
With its rather random and arbitrary curatorial approach the exhibition Europe, Europe
at Astrup Fearnley ends up saying very little about European art as such.
“I had no idea that graffiti existed,” says Dan Perjovschi, who has filled the walls of Kunsthall Trondheim with a cacophony of words and simple pictograms dealing with global neoliberalism and popular revolt.
Keren Cytter makes films and reflects a lot on herself – like everyone else today. Perhaps that is why she is so exciting.
The Moderna Exhibition
inventories artists from the Baltic region, abstract imagery dominates at the galleries, while several group exhibitions adress contemporary political issues.
The autumn season on the Norwegian art scene offers exhibitions featuring the Bauhaus teacher Josef Albers, and the work of French filmmaker Chris Marker. Rameau’s nephews also make an appearance.
Olafur Eliasson’s Riverbed
at Louisiana embodies a kind of anti-seduction which wins much by the extent of time it forces you to spend inside the installation.
The autumn season on the Danish art scene contributes to 1990s history writing and includes new steps forward as prominent female artists are presented at the major Copenhagen institutions.
– With the rejection of Manet’s Déjeuner sur l’herbe
from the Salon the painting fell into a limbo of sorts. It was art denied in its art quality. That is what non-art is, says Thierry de Duve.
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.