Installation view, Time has turned into space and there will be no more time, till I get out of here, STANDARD (OSLO), 2010
Installation view, Time has turned into space and there will be no more time, till I get out of here, 2010, Flying Geese (back), 192 x 143 cm
Installation view, Time has turned into space and there will be no more time, till I get out of here, 2010, (Lincoln's) Log Cabin, 192 x 143 cm
Marius Engh
Static, 2010
Sephacryl
Ø 190 cm
Static, 2010
Sephacryl
Ø 190 cm
Marius Engh
Ripped, 2010
wood, fabric
400 x 313 cm
Ripped, 2010
wood, fabric
400 x 313 cm
Marius Engh
Lead, Follow or Get the Hell out of the Way, 2008
C-print on Fuji DP photo paper
94 x 64 x 3,6 cm
Lead, Follow or Get the Hell out of the Way, 2008
C-print on Fuji DP photo paper
94 x 64 x 3,6 cm
Marius Engh
Lead, Follow or Get the Hell out of the Way, 2008
C-print on Fuji DP photo paper
94 x 64 x 3,6 cm
Lead, Follow or Get the Hell out of the Way, 2008
C-print on Fuji DP photo paper
94 x 64 x 3,6 cm
Installation view, Supportico Lopez, Berlin, 2009
The work of Marius Engh pushes far beyond merely simple, albeit intense documentation of the place and its scenarios to grasp the subjects of his search by creating clones of the original, thereby conquering new points of view and new conceptions of the “things” that belong to reality and experience.
This process of re-creation of what is real is an evident attempt to scan precisely the spirit and history that objects carry with them and the attempt, at the same time, to abstract them from their original context to exhibit them in new circumstances by seeking an unexpressed potential in them. In reproducing objects taken from everyday life and in this way highlighting some of their formal aspects, Engh implements a kind of transposition of the meaning of the chosen subject, managing to shift attention from historical and “archaeological” detail to formal detail with a simple gesture. The interest that the artist manifests in the details, traces and signs that civilisation has left behind it over time brought him to travel in Bosnia Herzegovina for archaeological/anthropological research. {...} (Press release, Supportico Lopez)
The work of Marius Engh pushes far beyond merely simple, albeit intense documentation of the place and its scenarios to grasp the subjects of his search by creating clones of the original, thereby conquering new points of view and new conceptions of the “things” that belong to reality and experience.
This process of re-creation of what is real is an evident attempt to scan precisely the spirit and history that objects carry with them and the attempt, at the same time, to abstract them from their original context to exhibit them in new circumstances by seeking an unexpressed potential in them. In reproducing objects taken from everyday life and in this way highlighting some of their formal aspects, Engh implements a kind of transposition of the meaning of the chosen subject, managing to shift attention from historical and “archaeological” detail to formal detail with a simple gesture. The interest that the artist manifests in the details, traces and signs that civilisation has left behind it over time brought him to travel in Bosnia Herzegovina for archaeological/anthropological research. {...} (Press release, Supportico Lopez)
Holiday in Bosnia, 2009
hand watercoloured postcards (10 postcards framed)
49 x 97 cm
hand watercoloured postcards (10 postcards framed)
49 x 97 cm
Marius Engh
Hermes, 2009
polished granite stone slabs
150 x 45 x 45 cm
Hermes, 2009
polished granite stone slabs
150 x 45 x 45 cm
Marius Engh
Center of the World 2, 2008
The Center of the World - New works, Preus Museum, Horten (N), 2009
Marius Engh (b. 1974) also uses documentary photography in the service of a historical-political project. In the exhibition at Preus Museum Engh shows a number of works that all address themes relating to power, militarism and history. In his documentary portrayals of historic military edifices – in the process of transformation to the condition of ruins – Engh shows us the erosion of power and the stratified nature of history. But first and foremost his works home in on a connection between power and weaponry on the one hand and the individual gaze on the other. The artillerist’s embrasure is an eloquent example of this linkage. To conceal oneself is synonymous with protection. To see the other is synonymous with power. (Preus Museum, Press Release)
Center of the World 2, 2008
The Center of the World - New works, Preus Museum, Horten (N), 2009
Marius Engh (b. 1974) also uses documentary photography in the service of a historical-political project. In the exhibition at Preus Museum Engh shows a number of works that all address themes relating to power, militarism and history. In his documentary portrayals of historic military edifices – in the process of transformation to the condition of ruins – Engh shows us the erosion of power and the stratified nature of history. But first and foremost his works home in on a connection between power and weaponry on the one hand and the individual gaze on the other. The artillerist’s embrasure is an eloquent example of this linkage. To conceal oneself is synonymous with protection. To see the other is synonymous with power. (Preus Museum, Press Release)
Marius Engh
Atlantic Wall 3, 2008
Atlantic Wall 3, 2008
Marius Engh
Atlantic Wall 1, 2008
Atlantic Wall 1, 2008
Installation view Standard (Oslo), Lycanthropic Chamber, 2008
Marius Engh
Hotel California, 2008
Steel frame and aluminium sheets
213 x 183 x 4 cm
Hotel California, 2008
Steel frame and aluminium sheets
213 x 183 x 4 cm
Marius Engh
Gulfstream V 1-4, 2007
C-print on Fuji archival paper
37 x 26 cm
Gulfstream V 1-4, 2007
C-print on Fuji archival paper
37 x 26 cm
Marius Engh
Pinstripes, 2008
Wielded steel and hinges
2 cm x 240 x 208 cm
Pinstripes, 2008
Wielded steel and hinges
2 cm x 240 x 208 cm
Marius Engh
Nightwatch, 2008
Walnut wood
144 x 120,5 x 105 cm
Nightwatch, 2008
Walnut wood
144 x 120,5 x 105 cm
Marius Engh
Saltire, 2008
Oak wood
228 x 119,5 x 5 cm
Saltire, 2008
Oak wood
228 x 119,5 x 5 cm
All items must fit in basket, 2006
Marius Engh
Horizontalement: Emprunt mal venu en ces pages. Verticalement: Attachante a Paris, Attrayante a Londres.
Horizontalement: Un conseil en mars. Verticalement: C‘est bien D‘en avoir une bonne.
Horizontalement: Degoutants a Paris, mais pas necessairement a Montreal. Oppose au project du suroit.
Horizonalement: Nourveau venu. Tres souvent partisane en politique.
Acrylic paint on canvas
50 x 50 cm x 4 panels
Horizontalement: Emprunt mal venu en ces pages. Verticalement: Attachante a Paris, Attrayante a Londres.
Horizontalement: Un conseil en mars. Verticalement: C‘est bien D‘en avoir une bonne.
Horizontalement: Degoutants a Paris, mais pas necessairement a Montreal. Oppose au project du suroit.
Horizonalement: Nourveau venu. Tres souvent partisane en politique.
Acrylic paint on canvas
50 x 50 cm x 4 panels
Marius Engh
Untitled (Playground structure), 2005
Wood beams, boards, screws and tint
212 x 233,5 x 233,5 cm
Untitled (Playground structure), 2005
Wood beams, boards, screws and tint
212 x 233,5 x 233,5 cm