Tag Archives: Marius Engh


This weekend, join Marius Engh for the opening of his new show, BOHEMIA, at K.O.S.A.

Marius Engh travelled to Bohemia to see St. Joachimsthal, whose mined bowels had given birth to the silver dollar, to cobalt and uranium, to polonium and radium, all of which led to vast, almost incomprehensible consequences for the world.

The large, though rarely examined concentration of dystopian material in the history of St. Joachimsthal, today called Jáchymov, is the background and the context that reveals Engh’s concerns as an artist and as a person in the world. It became a place to go to and a site of his investigations, inadvertently, while he was tracing the origin of the dollar sign. He chose to follow it in his role as a journeyman, engrossed in the atmosphere such experience invokes—travelling suspended between times and places.

The works in the BOHEMIA exhibition are extractions drawn from that travel, encapsulating materiality of the time they draw from (Jáchymov), and the time they are produced in (Oslo), as merging time vessels. They are executed with precision and a formal decisiveness that renders them laconic and mysterious, radiating a pending atmosphere of works that anticipate reading.*


Opening: Saturday, August 31, from 3 pm to 7 pm.

Weekends through September 15, and by appointment.

Krutthuset Oslo SA

Gamle Maridalsvei 128, Oslo.

Marius Engh, Bohemia, K.O.S.A., 2019. Photographs by Marius Engh for PARIS LA, courtesy and © the artist.


John Divola, from Zuma Series, 1977-1978. Courtesy of artist.

John Divola, from Zuma Series, 1977-1978. Courtesy of artist.

In PARIS, LA #11, John Divola, Marius Engh and Dorothée Perret discuss current practice, form, history, and the importance of ambiguity in art.

In 2013, John Divola‘s work was featured in a career-spanning series of exhibitions, titled As Far As I Could Get. It was on view at three Southern California institutions – the Santa Barbara Museum of Art, the Pomona College Museum of Art, and the Los Angeles County Museum of Art. The exhibition at LACMA is still on view until July 6, 2014. Divola’s Zuma Series was also featured in the landmark 2011 survey Under the Big Black Sun: California Art 1974-1981 at the Museum of Contemporary Art in downtown L.A. His images of abandoned beach shacks, featured in issue #11 of PARIS, LA, remain among the most influential – and appropriated – works of 20th Century photography.

Marius Engh is an artist from Norway who shows in galleries across Europe. At the time of his conversation with John Divola and Dorothée Perret he was enjoying his first extended stay in Los Angeles. How objects tell us stories through layers of space and time is the focus of his work.


Marius Engh, Lead, Follow or Get the Hell Out of the Way, 1-3/1-14, 2008. Courtesy of the artist and Galerie Emanuel Layr (Photo by Ralf Kliem)

Marius Engh, Lead, Follow or Get the Hell Out of the Way, 1-3/1-14, 2008. Courtesy of the artist and Galerie Emanuel Layr (Photo by Ralf Kliem)





ISSUE #10 / SPRING 2014



Optic Nerve | Catherine Opie in conversation with Dorothée Perret

Collisions Ahead | By Brendan Fowler and Sarah Lehrer-Graiwer

Perversion is Bliss | By Andrew Berardini and Torbjørn Rødland

Anarchy in the Belle Epoque | By Aaron Sandnes and Barlo Perry

Through a Glass, Darkly: a Mapplethorpe Portfolio | By OHWOW and the Robert Mapplethorpe Foundation

Out There | John Divola and Marius Engh in conversation with Dorothée Perret

Traces | By Marlene Marino

Still Life, and Mask | By Hanna Liden

COVER Ron, 2013 by Catherine Opie

CENTERFOLDChanel Summer 2014 Ad Campaign Remix by Pierre-François Letué

POSTERExterior: from Zuma Series, 1977-1978 | Interior: from Dogs Chasing My Car in the Desert, 1996-1998 By John Divola