“Which exhibitions, events and publications were the most important, most cutting-edge or most affecting of 2016? The Kunstkritikk Best of cavalcade sums up the art scene of 2016 in contributions written by our own staff and specially invited guests. “
Ellef Prestsæter, curator, critic, member of Scandinavian Institue for Computational Vandalism and PhD scholar in Art History from the University of Oslo choose The edge must be scalloped.

I en tid der installasjonsbildet så å si alltid trumfer installasjonen, og et installasjonsbilde bare er et bilde blant alle andre i strømmen, er det oppløftende å oppleve noen som faktisk bryr seg om utstillingsrommet og som ved hjelp av enkle og presise grep tar rommet i bruk, med sikte på å forvandle betrakteren. For Sanna Helena Berger er ikke den hvite kuben noe speilskap eller ekkokammer, men et subtilt instrument for å modulere sosiale relasjoner, vaner, minner, kropper. «Even in swimming».

In a time when the image of installations trumps the installation itself and an installation-image is nothing but just another one adding to the flood, it is uplifting to experience someone’s work who actually cares about the physical room in which installation occurs. And who by the help of minimal and precise tools makes use of this room with consideration of the visitor, the viewer.
For Sanna Helena Berger, the White Cube is neither mirror or ecochamber but a subtle instrument to moderate social relations, habits, memories and bodies. Even in swimming.
(free translation)