Both the exhibitions of Winterling and Metahaven seem somewhat infatuated with the research on which they are based.

I wonder how she transfers her motifs to the canvas. How she knows where to cut each hole. I don’t understand how it’s possible to do this by hand, but I’m equally fascinated by the way mere holes of different sizes can add up to a picture.

«Meta.Morf 2022: Ecophilia» is best when it advocates a rigorous, unsentimental approach to the ecology theme.

The exhibition is at its strongest at the point where the thread begins to fray and to expose the monument’s attempt to round things off, the point at which the viewer is invited to join an unresolved debate, a movement, to entertain doubt; to enter a conflicted space that acknowledges itself as already and always an arena of violence.

Trondhjems kunstforening has been sealed by Den norske idealstaten (The Norwegian Ideal State). Could an ideal ever be anything other than a simplification?

Hege Lønne’s retrospective is a show of great diversity, which, despite an appearance of restraint, is full of vitality.

At first glance, the exhibition «Exotic Dreams and Poetic Misunderstandings – Still Life» by Lin Wang has the appearance of a mouth-watering banquet, but the more I have of it, the worse the aftertaste it leaves in the mouth.