The true story about Kunstkritikk’s attempt at interviewing the curators of We Don’t Need Another Hero, the 10th Berlin Biennale.
By Anthea Buys
The monument I Am Queen Mary forces the Danish public to realize they no longer have the stage of history to themselves, while its reception shows that colonial memory remains a battleground
By Mathias Danbolt and Michael K. Wilson
Every alarm bell should be ringing when the art fair Art Basel wants NOK 3.4 million to tell us how to be more international.
By Jonas Ekeberg
Documenta, the world’s foremost large-scale exhibition, will remain non-profit and is financially set for 2022. But two big issues relating to its artistic independence are still very much contested.
By Andreas Schlaegel
Haq’s objections to my review do not change the fact that he has failed to confront secularity as an urgent and conflicted topic.
By Sinziana Ravini
Defining the subject of this year’s Gothenburg biennial as being just about religion is a fundamental misunderstanding.
By Nav Haq
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.
By Frans Josef Petersson
If Trump heralds a new world order, the critical models of contemporary art must also be reinvented. We need a communist poetics, a poetic principle for the political struggle.
By Frans Josef Petersson
The Museum of Modern Art in New York’s exhibition history, now available online, is an invaluable resource for the reading of curatorial practice, but we are being presented with a polished story.
By Natalie Hope O’Donnell
In Helsinki, discussions about Alice Neel, Niki de St Phalle, Yayoi Kusama and Mona Hatoum emphasize clichéd female attributes. A counter strategy is to read them through classic feminist theory.
By Maria Hirvi-Ijäs
Ibrahim Mahama's work at Charlottenborg illustrates the difficulties of addressing globalisation through a warmed-over modernist vocabulary of forms
By Kristoffer Ørum
While Pokémon Go conquered the streets of the world this summer, the Berlin Biennial struggled with the friction between 2D performance and 3D actuality until Rihanna dropped by.
By Rhea Dall
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.
By Erlend Hammer
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.
By Mathias Danbolt
In this new version of the new economy, the app is just the fetish whose ideological function is to distract you from the gangmasters behind the curtain.
By Will Bradley
Held against the backdrop of urban development in east Oslo, the seminar about Prosjekt i Gamlebyen from 1994 was an excellent example of history writing in action.
By Simen Joachim Helsvig
If you really want to fail as an artist, it is enough to fail once if you do it properly.
By Vibeke Tandberg
Art criticism has mainly focused on art shown in galleries and museums. It is time that it began engaging with public art, too.
By Jonas Ekeberg
The conflict surrounding Lund’s Konsthall is self-fueling and never-ending.
By Anders Kreuger
NOK 1 million for art criticism and NOK 5.5 million for art exhibition venues: the amounts may be small, but gentle winds are blowing in Norway’s right-wing cultural policymaking.
By Jonas Ekeberg



Kunstkritikk is published by Kunstkritikk Foundation ISSN 1504-0925

Editor-in-Chief: Jonas Ekeberg post@kunstkritikk.no

Kunstkritikk follows the Norwegian Press Association’s Rights and Duties of the Editor.

Kunstkritikk is supported by The Norwegian Arts Council, The Norwegian Ministry of Foreign Affairs, The Freedom of Expression Foundation, The Relief Fund for Visual Artists, The Nordic Culture Fund, The Danish Arts Council, The Swedish Arts Council, and The Swedish Cultural Foundation in Finland.