Kunstkritikk’s Advent Calendar Through the Years

The Kunstkritikk advent calendar was launched in 2011. This was also the year when the magazine expanded from being a Norwegian publication (since 2003) to become a Nordic venture, with its Oslo headquarters supplemented by editorial offices in Stockholm and Copenhagen. In the early years, the advent calendar was published exclusively in Kunstkritikk’s three main languages – Norwegian, Swedish, and Danish – but since 2019 it has also been published in English on our international site, kunstkritikk.com. Throughout the years, the contributors have included the magazine’s editors and regular writers alongside invited artists, curators, critics, museum directors, gallerists, and other figures from the Nordic art world.

In the first couple of years, the task was broader in scope. In addition to looking back at the exhibitions they had seen, contributors were also asked to identify books and key events of the year. We also allowed exhibitions outside the Nordic region, which took us far afield. Before long, Umeå, Bergen, and Aarhus began to recede into the background in favour of Paris, New York, and Berlin. So we changed track in 2020, focusing specifically on the art scene that is Kunstkritikk’s main focus – and on highlighting the year’s best exhibitions in the Nordic countries.

Each year, the editorial team looks forward to seeing what our Christmas guests choose. We often learn something new: about a new venue, other ways of talking about art, or artists we should be keeping an eye on. The advent calendars rank among Kunstkritikk’s most-read articles, and our festive spirits rise appreciably when we see just how wholeheartedly our contributors commit to the task. Some advent calendars read as miniature reviews, others as commentary on cultural policy; some take the form of diary entries from a year in art.

Below, we have gathered advent calendars from every year. There are many welcome returns: the new materialism of the 2010s, or the cheeky post-internet art of the period. We are also reminded of a time when many could scarcely name an artist with Sámi or Greenlandic roots. Taken together, these records paint an expansive picture of the people and art that now make up the Nordic scene.

Dive into previous years’ advent calendars (English from 2019 onwards) – and follow along as it all rolls around again on 1 December!

Damien Ajavon (2025), Kristoffer Akselbo (2023), Ayman Alazraq (2024), Pernille Albrethsen (2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, 2023, 2024, 2025), Bianca D’Alessandro (2015), All all all (2025), Milou Allerholm (2022), Christine Antaya (2017, 2018, 2019, 2021, 2023, 2024, 2025), Peter Amdam (2011), Sara Arrhenius (2015)

Valerie Kyeyune Backström (2021), Oliver Bak (2025), Diana Baldon (2011), Eric Baudelaire (2012), Nina Beier (2013), Zahna Siham Benamor (2024), Beata Berggren (2014), Ernst Billgren (2024), Daniel Birnbaum (2016), Johannes Björk (2018), Mikkel Bogh (2015), Julia Bondesson (2017), Milena Bonifacini (2018), Maria Bordorff (2016, 2017, 2018), Yvette Brackman (2022), Andreas Breivik (2020), Emet Brulin (2024), Miriam Bäckström (2021)

Claus Carstensen (2011), Antonio Cataldo (2017), C. Grace Chang (2022), Nivi Christensen (2022), Susanne Christensen (2019, 2023), Jóhan Martin Christiansen (2024), Helga Just Christoffersen (2013)

“There’s nothing wrong with a long beige cashmere scarf, but in a time when capitalism is stifling all creativity, we also need fashion that challenges how we look at the world and ourselves,” Marie Karlberg wrote in 2024 about *Go As You Please – Ann-Sofie Back 1998–2018*, Liljevalchs Konsthall, Stockholm. Photo: Mattias Lindbäck.

Rhea Dall (2012), Mads Damsbo (2020), AK Dolven 2024), Victoria Durnak (2022)

Mia Edelgart (2019), Anders Eiebakke (2020), Helena Lund Ek (2018), Jonas Ekeberg (2011, 2012, 2015, 2016, 2018), Jesper Strömbäck Eklund (2023, 2025), Mariann Enge (2012, 2015, 2020, 2021, 2022, 2023, 2024, 2025), Marte Eknæs (2011) Power Ekroth (2011, 2013), Jonatan Habib Engqvist (2018), Leif Engström (2025), Birgitte Kirkhoff Eriksen (2014), Sara Ekholm Eriksson (2023)

Jacob Fabricius (2018), Helle Fagralid (2024), FCNN (2020), Lars Mørch Finborud (2013), Ulrikka Flink (2016), Jan Freuchen (2013), Nanna Friis (2020, 2021, 2022, 2025), Hendrik Folkerts (2025), FOS (2012), Johanna Gustafsson Fürst (2016)

Stian Gabrielsen (2012, 2013, 2014, 2016, 2017, 2019, 2020, 2021, 2022, 2023, 2024, 2025), Dora García (2019), Katya García-Antón (2014, 2022), Ida Lykken Ghosh (2021), Tue Greenfort (2025), Martin Grennberger (2015), Marija Griniuk (2023), Jonas (J) Magnusson och Cecilia Grönberg (2012), Marianne Grønnow (2016), Martin Gustavsson (2020), Ane Hjort Guttu (2021)

Asrin Haidari (2021), Nora Arrhenius Hagdahl (2023, 2024, 2025), Ingrid Halland (2018), Tore Hallas (2023), Erlend Hammer (2011), Stian Hansen (2022), Stine Lundberg Hansen (2021), Geir Haraldseth (2011), Tiril Hasselknippe (2015), Stine Hebert (2015), Marianne Heier (2018), Hannah Heilmann (2014), Henriette Heise (2014), Fatima Hellberg (2019), Simen Joachim Helsvig (2014, 2018), Hesselholdt & Mejlvang (2020), Stefanie Hessler (2014), Karin Hindsbo (2013), Geir Tore Holm (2019), Helena Holmberg (2016), Karl Holmqvist (2011), Jakob Myklebust Huus (2022), Susanne Hætta (2021), Stina Högkvist (2013), Milena Høgsberg (2016), Stine Høholt (2017), Janus Høm (2016), Steffen Håndlykken (2025)

Maria Bordorff fell in love with Sandra Mujinga’s ‘wearable sculptures’: “At once lifelike sculpture warrior creatures and loose, baggy pieces of clothing that are basically not very wearable, unless you have unusually long limbs.” Installation view, Sandra Mujinga, *Calluses*, Tranen, 2018. Photo: Jan Søndergaard.

Uffe Isolotto (2023), Alida Ivanov (2017)

Louise Jacobs (2023), Toril Johannessen (2013), Hanna Johansson (2023), Nicholas John Jones (2019), Nora Joung (2016, 2019), Kristoffer Jul-Larsen (2018)

Marie Karlberg (2024), Anders Karlin (2014), Anne Szefer Karlsen (2011), Jeff Kinkle (2015), Melanie Kitti (2022), Esben Weile Kjær (2022), Adam Kleinman (2023), Jakob Kolding (2019), Viktor Kopp (2023), Helen Korpak (2021), Daisuke Kosugi (2016), Ferdinand Ahm Krag (2011), Ingvild Krogvig (2011, 2012, 2014), Anders Kreuger (2022), Mathias Kryger (2014, 2015, 2016)

Runo Lagomarsino (2011, 2022), Lars-Erik Hjertström Lappalainen (2016, 2018, 2020, 2022), Lilith Performance Studio (2019), Maria Lind (2013), Pernille Mercury Lindstad (2020), Stense Andrea Lind-Valdan (2021, 2023), Sissel Lillebostad (2019), Jacob Lillemose (2011, 2012, 2013), Abirami Logendran (2025), Jacob Lund (2018), Lotte Konow Lund (2025), Marie Lund (2016), Karl Lydén (2012, 2013), Toke Lykkeberg (2014, 2015), Asta Lynge (2024)

Eva Mág (2018), Kristian Vistrup Madsen (2018, 2019), Jonas (J) Magnusson och Cecilia Grönberg (2012), Afrang Nordlöf Malekian (2022), Jari Malta (2025), Andreas Mangione (2015), Eliyah Mesayer (2023), Thomas Millroth (2014), Fafaya Mogensen (2021), Maria Moseng (2013, 2024), Tuva Mossin (2021), Jette Hye Jin Mortensen (2013), Hanne Mugaas (2014), Marita Muukkonen (2012), Simon Dybbroe Møller (2019)

Joar Nango (2017), Anne Hilde Neset (2017), Terje Nicolaisen (2014), Bo Nilsson (2023), Marie Nipper (2025), Joanna Nordin (2025), Nicholas Norton (2017, 2023), Rolf Nowotny (2013)

Natalie Hope O’Donnell (2015), Eamon O’Kane (2024), Sanne Kofod Olsen (2017), Arne Skaug Olsen (2011), Olof Olsson (2022 ), Tommy Olsson (2011, 2025), Kirsten Ortwed (2023)

Jaakko Pallasvuo (2024), Henrik Pask (2012), Linn Pedersen (2018), Synnøve Persen (2020), Magnus af Petersens (2024), Frans Josef Petersson (2012, 2013, 2014, 2016, 2017, 2019, 2020, 2021, 2022, 2023, 2025), Susanna Pettersson (2018), Clemens Poellinger (2022), Lea Porsager (2011), Ellef Prestsæter (2016), Jón Proppé (2012)

Tal R (2020), Matthew Rana (2014), Lilibeth Cuenca Rasmussen (2021), Hans Hamid Rasmussen (2022); Sinziana Ravini (2017), Torben Ribe (2015), Theodor Ringborg (2020), David Risley (2024), Amitai Romm (2017), Esperanza Rosales (2012), Kjetil Røed (2011)

“We seem to be dependent on international curators to give Sami art a more central place in the Norwegian art community,” wrote Kunstkritikk’s then editor-in-chief Jonas Ekeberg in 2018 about Katya García-Antón and Antonio Cataldo’s exhibition *Let the River Flow* at OCA, Oslo. Synnøve Persen, *Sameland for the Sami,* 1977, silkscreen.

Fia-Stina Sandlund (2013), Frida Sandström (2014, 2015), Tora Schultz (2025) Lap See-Lam (2020), Lina Selander (2019), Linnéa Sjöberg (2017), John Skoog (2022), Kristian Skylstad (2014), Johanne Edvarda B. Slaatta (2024), Iris Smeds (2020), Petter Snare (2017), Kjersti Solbakken (2024), South into North (2019), Mike Sperlinger (2013), Charlotte Sprogøe (2020), Ulrika Stahre (2019), Simon Starling (2021), Robert Stasinski (2017), Jon-Ove Steihaug (2018), Louise Steiwer (2017, 2018, 2019, 2020, 2021, 2023, 2024, 2025), Patrik Steorn (2021), Mats Stjernstedt (2016), Marthe Elise Stramrud (2017), Morten Stræde (2014), Superflex (2017), Oscar Svanelid (2019), Astrid Svangren (2016), Fredrik Svensk (2011, 2012, 2016, 2018), Eirik Sæther (2015), Jeanette Sætre (2012), Thorbjørn Sørensen (2012), SQ (2016),

Lisa Tan (2015), Vibeke Tandberg (2015), Leif Magne Tangen (2020), André Tehrani (2019), Constance Tenvik (2024), Maria Kjær Themsen (2011, 2012, 2013, 2014, 2015), Rebecka Thor (2012, 2013), Michael Thouber (2016), Tilpo (2021), Marianne Torp (2011), Elena Tzotzi (2013)

Jeppe Ugelvig (2017), Ahmed Umar (2023)

Lesia Vasylchenko (2025), Elin Már Øyen Vister (2018), Anna van der Vliet (2015)

Agatha Wara (2015), Johanne Nordby Wernø (2017), Kim West (2011, 2012, 2013), Synnøve G. Wetten (2012), Cecilia Widenheim (2017), Axel Wieder (2014), Josefine Wikström (2015, 2016), Mette Woller (2018), Louise Wolthers (2024)