Contact / About


These Are Situationist Times
–Online Interface


Postnordisk - Den nordiske kunstscenens vekst og fall 1976-2016

These Are Situationist Times!

Marianne Hurum: Krabbe

Liv Bugge: To accept theirs, to make it mine, to wish it for myself

Concrete Oslo

Ane Hjort Guttu:
Tekster, samtaler, manus

Dora Garcia: Segunda Vez – How Masotta was Repeated

Dora Garcia: Oscar Masotta – Segunda Vez, Cahier No. 1 and 2

Aktuell #1 Azar Alsharif

Lina Viste Grønli: LIBRARY

Guðrún Benónýsdóttir: 
lawlessness of dreams
colour palette

Ingrid Torvund:
When I Go Out I Bleed Magic

Benjamin A. Huseby:
Weeds & Aliens
An Unnatural History of Plants

Modelling Time: The Permanent Collection 1925-2014

Valentinas Klimašauskas: 
B and/or an Exhibithion Guide In Search of Its Exhibition

Matthew Rana:
The Theory of the Square

Eline McGeorge:
With the Free Rider into the oil age and beyond


Volupså & Postscript

Sebastian Makonnen Kjølaas: The Institute of Art and Crime

In Dependence –Collaborations and Artists´Initiatives

Bodil Furu:
The Aesthetics of Investigation

Jon Benjamin Tallerås and Ruben Steinum: Casual Maneuver – A Step Away From It

Geir Haraldseth: 

Great! I’ve written something stupid but I haven’t signed a contract with anyone to produce solely wise and perfect works

Marianne Hurum:

Mai Hofstad Gunnes:
Baby Snakes Hatching. Ruins. Ruins

Karl Larsson:
Poetical Assumption

Liv Bugge: You Make Me Want To Die In The Country Side –
A meditation on Heart of Darkness by Joseph Conrad

Marius Engh:
An Aggregation of Adversary

Kjartan Slettemark,Nixon Visions
Victor Lind, Monument


Hito Steyerl

Dan-Ola Persson:
Music for the Videos of Lars Laumann

Favoured Nations:
Momentum 5th Nordic Biennial of Contemporary Art

Steinar Haga Kristensen: Retrospective: On the Un-Subjectified Persona

Espen Dietrichson:
Sketches For A Mechanical Sunrise

Håkon Bleken:
tekster i utvalg (1964–2008)

Eivind Slettemeås:

Kunst og prekaritet

Kjersti G. Andvig:
No one here is Innocent

A Fiesta of Tough Choices: Contemporary Art in the Wake of Cultural Policies

The New Administration of Aasthetics

What Does Public Mean?
Art as a Participant in the Public Arena


Marius Engh
An Aggregation of Adversary

NOK 150,-

At the heart of Engh’s practice is an interest in the polymorph – the capacity of an object to take on different identities and functions depending on its context. Engh’s work goes far beyond mere documentation of the place and its scenarios to grasp the subjects of his search by creating clones of the original. In the process, he conquers new points of view and new conceptions of the «things» that belong to reality and experience. This process of re-creating what is real is a precise attempt to scan the spirit and history that objects carry with them and, at the same time, an attempt to abstract them from their original context, to exhibit them in new circumstances by seeking an unexpressed potential in them.

Texts by Oscar Tuazon and Stefania Palumbo

ISBN: 978-82-93104-04-9
Design: NODE Berlin Oslo
Torpedo Press 2011

“The photographic series Lead, Follow or Get the Hell Out of the Way and the sculptural works in An Aggregation of Adversary focuses on fragments of a history charged with an almost excessive emotive impact. Engh’s interest focuses precisely on the capacity that this place has had to accumulate historical meaning through the various episodes directly involved in its creation. Teufelsberg (Devil’s Hill) is an artificial mound standing on what was supposed to be the flagship project of Third Reich architect, Albert Speer, for a grandiose, new Berlin Technical University, the foundation stone for which was laid by Adolf Hitler in 1937. Only one faculty of the entire complex was ever developed and, at the end of the Second World War, various attempts were made to demolish it. According to Speer’s theory of the «value of ruins», had it been destroyed, it would have retained its dignity as a monumental construction, leaving behind it an indelible mark of its own greatness. Instead, it was decided to bury it with the remains of more than 80,000 buildings bombed by the Allies in Berlin, thereby creating the highest point in the city. As if this were not enough, during the years of the Cold War, The United States decided to locate the National Security Agency listening station on the Devil’s Hill. Over the years, it stood as the diametric opposite of French anthropologist, Marc Augé’s concept of non-place, its state of abandon suggested various new uses, from a hotel complex to a meditation centre. According to Marius Engh, such a concentration of new uses brings the very concept of ruin into question. The objects that belonged to this place and bore witness to its history are so charged with memory that they may be considered as saturated and be returned to nature, thereby absolving them of the last function left to them – that is as custodians of memory and, as such, a vehicle for healing. “

Based on excerpts from the text Devils, Werewolves and Other Myths by Stefania Palumbo.