ARIUS MARTINUSSEN

1 MARIUS MARTINUSSEN

Reflection and Refraction September 11 – October 9, 2021

3 FORWARD

Amenor Gallery in Stavanger, Norway is pleased to announce the opening of ‘Reflection and Refraction’, the solo exhibition by the Norwegian artist, Marius Martinussen.

In Marius Martinussen’s art, the formal abstraction is in focus. Through a long series of paintings, he has explored the possibilities of abstraction over the past 15 years, both for the painting itself, and also for the viewer.

His painting are banquet of colours and lines which reflect and refract the light of serenity through layers of expressive emotion. It is as if spectator become a jeweller looking at the gem of life for evaluation of its purity and geometrical substance. This exciting abstract colourist is unafraid of using strong and unexpected colour combination to create a dynamic expression and drama.

For the audience the concept of golden ratio in the painting is imperative but Martinussen approach to this notion is idiosyncratic, instead of having a focal point evocative he forms the association of edges, lines, and colour shade layers so the whole painting speak to the viewers and give them an imprint of the feeling.

Martinussen’s confront the abstraction with fresh, distinctive apparent urgency and he embraces the medium without fear of being outdated and irrelevant. The artist takes on a philosophy to his practice, the multi-layered method of taping and colouring to the whole new level in this new collection.

The paintings featured in `Reflection and Refraction` take a spectator back to the idea of language as the principal element of artistic innovation.

Vincent Gorbani Amenor, Stavenger

4 5 ARTIST STATEMENT

Marius Martinussen was born in Kristiansand 19. April 1978. He grew up in Arendal and moved to Oslo when he started Einar Granum Artschool. He was accepted at Trondheim art academy where he would paint the next 5 years which a small exception of a small stay in Kuvataide academia in Helsinki. After his studies he moved to Berlin and worked there for 2 years. Now he lives and works in Oslo.

He has a large number of solo and group exhibitions behind him both in Norway and abroad. Previously purchased by Norges Bank, SKMU, Trondheim Artmuseum, KLP, REV ocean and so on..

Martinussen has also performed several decorating assignments for div. institutions as Sam Eyde VGS, UIA, SIA, MS Roald Amundsen, TUI Cruise ship,St. Olavs Hospital and NSB school.

In Marius Martinussen’s art, the formal abstraction is in focus. Through a long series of paintings, he has over the past 15 years explored the possibilities of abstraction, both for the painting itself, but also up to the viewer. From previously combining several pictorial expressions, Martinussen has in recent years moved towards a cleaner design language and a desire to refine and refine this. In these works, we generally find a relatively strict geometry where all points and lines relate to the golden ratio.

In this new series, the perspective is both completely flat and with an incredible depth. With references to both Cubism and Abstract Expressionism, the paintings are without a clear focal point, and rather have

several possible entrance portals for the viewer.

Martinussen works out of a desire for a digital-like precision, but avoids the lifelessness of the digital expression and unsatisfactory color. The works are highly controlled exercises. The soft and hard transitions go elegantly across the canvas one after the other, and the color choices are both elegant and unexpected while the precision is unparalleled.

Martinussen is a painter with many facets. In just a few years, he has distinguished himself as one of the most productive and prominent painters who grew up in the 80s and 90s. He gives our contemporaries an artistic expression through the use of the media and the advertising language in the visual arts. He is a skilled colorist and does not hold back on the colors. His paintings are colorful and extravagant with a wide range of references to the popular visual culture. The smooth surface and finish are extremely important to Martinussen, he does not like traces of brushstrokes and would rather have an expression that resembles a print. But he does not print the pictures, and the techniques he uses, he will not reveal. Reference is made to pop art, expressionism and modernist abstraction when talking about his paintings.

Marius Martinussen

6 7 Previous pages SoriaMoria, 2019 (detail)

ART CRITIC

TEXT

8 9 Erlend G. Høyersten When Martinussen selects these two (in Director Sørlandets Art Museum Norway) well-known faces, he uses the same device Andy Warhol used in the 1960s, of re-producing popular culture’s icons, in the form of things and people. Yet Martinussen’s choice of Nilsen as icon is also conspicuously Marius Martinussen (b. 1978) is a painter with different. Kurt Nilsen can indeed be described many facets. He approaches the problematics as charming, yet he is far from photogenic. and challenges of painting through formal The first thing you notice is the gap between experiments, but also through references to art the singer’s front teeth. This wily twist on the history, different stylistic expressions, and art idea of ‘an ideal’ also arises when the crown- theory. Thus the formal and physical spectra princess portrait becomes the décor in a bar of his work is relatively large. Just as with many (which, it is worth noting, is placed in an of his fellow contemporary artists, Martinussen art gallery). By emphasizing that the royal is often on the move, and always has new family is first and foremost a part of popular projects underway in a variety of contexts. He culture, and no longer a pure aristocracy, he works just as happily with small canvases, such carefully disrupts, consciously or unconsciously, as in the project Eye Candies, as with large our ingrown conceptions about the difference surfaces, for example Feed Me to the Forest or between high and low culture. In one sense, Norwegian Trace. Martinussen presents them both as idols— as unachievable ideals. Simultaneously he Martinussen has painted large portraits dismantles their status by highlighting their directly on walls. He has painted the winner of normality and the chance nature of destiny. Norwegian Idol and World Idol competitions, Kurt Nilsen, and Norway’s Crown Princess Mette Marit. The faces are painted in a naturalistic style based upon photographs. The representation of and enthusiasm for The style and the size of the portraits can popular culture, trivial culture, music culture, be reminiscent of wall paintings used as advertising, interior design, etc., can also be propaganda during different dictatorships and traced in Martinussen’s other paintings. These political regimes. can be described as precise and energetic. The artist uses a masking technique and When considering these two projects in acrylic paint, which creates a clean and precise tandem, we notice that the princess and the transition between the fields of colour; the even Idol-competition winner share a similar destiny. monochrome quality enhances the graphic Each comes from a middle-class background; expression afforded by the precise lines. Some one was a plumber, the other a typical single of Martinussen’s works have an almost linear mother with a rich mix of life-experiences. Both and calligraphic style of representation. At first became involved in a situation that changed glance, they draw associations to art Nouveau their lives drastically and completely. Their and certain graphic elements from 1960s lives are like fairy tales from reality. Their new and ‘70s interior design. This is particularly social roles have become objects for ardor, apparent in a work such as Hunted. admiration and criticism.

Golden Ratio, 2018 (detail)

10 11 Martinussen is an adept and exciting colourist, a postmodern perspective. Martinussen’s unafraid of using strong colours or unexpected paintings deal with the established contrasts: colour combinations. These cords of colour of abstraction versus figuration, figure versus create a dynamic expression and seem related pictorial surface, content versus form, colour to big-city neon signage, graffiti, psychedelic versus line, and political versus personal issues. posters from the 1960s and diverse cartoon- series experiments from the ‘70s. In an essay from 2002, Barry Schwabsky has claimed that the contemporary In works such as Solo, Star and Crowd, painting carries, as its distinct inheritance these same formal elements are also readily from Modernism and Conceptualism, the noticeable. The pictures are abstract and can presupposition that a painting is not just a seem chaotic. By the artist’s own account, painting, but also a representation of ideas they are inspired by visual elements from rock tied to painting as a phenomenon. This is one concerts. They can look like small explosions, of the reasons why today there are so few chance flashes from searchlights or refractions antagonisms between representational and in photo-lenses. On closer inspection, we see non-figurative painting. In both cases, the that this energy is ordered into an aesthetic painting’s raison d’être is not to reproduce a expression that reveals a fair amount of motif; rather, the motif is chosen in order to control. The dualistic feature—the tension visualize the ideas and practice of painting, in between chaos and control—creates an other words: the idea of painting as such. interesting feeling of energy. The continuously undulating colour and structure gives the The contemporary painting is created in pictures a physical anchoring, which stands in a cultural context where it is no longer contrast to the smooth, perfect, and almost possible to claim that art is one thing. Art no cold surface-treatment the artist often prefers. longer tries to answer to a given problem, for example, to demonstrate the essence The contemporary painting. of painting, such as was the case for many of Modernism’s practitioners. Therefore, We cannot take a particular theme, style, we cannot claim that one way of viewing method or use of materials as the point of an artwork is more correct than another. origin for defining the contemporary painting Meanwhile, we can still claim that there are of which Martinussen is a part. The variations modes of are too great and the distance in time is too short for it to be appropriate to think in terms reception, which have more explanatory power, of categories. are more fitting, and thus are more relevant than others. Nevertheless, Martinussen deploys an analytical approach to his works, which, to a large degree, is a hallmark of contemporary art as such. For if we look more closely at The contemporary painting’s fragmentary and his project, it is the modernistic and classical pluralistic character must be seen in light of concerns of painting he chooses for his the international art scene’s development over theme, reflects over, and problematizes. It the last 30 years. It is no longer the case that is an approach many would describe as particular cities dominate the development of painting, such as New York in the Twentieth-

Shimmering, 2021 (detail)

12 13 Inclusion. 2019 (detail)

14 15 Century, or Paris in the Nineteenth Century. Martinussen’s works thus reflect different Better communication and mobility have cultural movements of today. His project deals challenged the monopoly of the center in more with the possibilities and than one field. Today it is difficult to speak of differences between the center and the limitations of painting, its theory and tradition. periphery, precisely because It concerns the relation between art history and our own time, the tension between ‘a centre’, in our conceptual framework, is conceptions of what it is to be ‘Norwegian’ synonymous with the place where development and that of being international, about the and innovation take place, and which the carnivalesque tension between high and periphery follows or copies. Nowadays low culture, and between those things which contemporary painting is developing in a are deeply serious and those which are parallel mode in many places, and numerous spontaneously humorous (often reflected in small stories can be told about visual his work titles). As such, Martinussen balances achievements. Hence different discourses as between a local cultural past and a global well as geographical and cultural points or visual present, between center and periphery. origin mark the contemporary painting, and these are linked with international voices and The steadfastness of painting actors. Throughout art history, painting has held Even though the large problematics a central, dominant position, and thus has of painting, rich in tradition, are what been the most important artistic medium for Martinussen (along with many of his ecclesial art, public buildings and, not least, for contemporaries) broaches, his artistic practice the art world. In the last decades, this unique must also be seen in light of international position has been challenged and weakened aesthetic tendencies, and the cultural ballast by an increasing interest amongst artists and he has inherited through his geographical the public for new media, e.g., installation, origin. Such a perspective comes to bear in photo, video, etc. For this reason, many have his various approaches to Norwegian culture, questioned whether painting has played out for example, the two previously mentioned its role as an art form. Does the medium still “idol” portraits. Other more marked examples have significance for the contemporary art with clear references to Norwegian culture scene? In spite of intense competition from are works such as Welcome to the Mountains other media, all indicators point towards and Black Spruce Wood. * The motifs of both painting’s endurance and its ability to invoke works are found in Norwegian nature, woods the public’s interest. Given that many young and western fjords, but they also refer to the artists, such as Marius Martinussen, choose concept of what it is to be Norwegian and painting as their preferred medium, this fact other cliché about Norway. Not least, the bears witnesses to the enduring viability of choice of motifs is an art-historical reference painting as an art form. Although it no longer to Norwegian National Romantic painting may be deemed the most important means for from the first half of the Nineteenth- Century artistic expression, it would still be correct to (created by Norwegian painters based in say that painting retains a very important role Germany). in the contemporary art of today, much thanks to young painters such as Martinussen.

16 17 Previous pages Shimmering, 2021 (detail)

INTERVIEW WITH

ABSTRACT ARTIST

18 19 Do you enjoy painting?? Do you go to the studio regularly?

Marius: Of course, I love painting, but Marius: I go to the studio every weekday everything is not just a joy. It’s all About from 9-4 except the weekends. and before the search. The One moment When an exhibition / deadline, I normally do a everything is just right. So painting is night’s shift/ and weekends doing the same over and over to perhaps experience it once again. Why do you do this type of art?

What actually happens when you walk into your Marius: There is a lot of painting that studio? Are there certain rituals? interests me, but my focus lately has been My studio is organized in 3 parts. clean, supersharp geometrical painting. I wanted to limit my options to focus on Marius: simpler things to achieve a better result. - A white cube space where I look at my paintings and plan my workshop-progress. What does your artwork represent? - Next is my office/ where I sketch, emails, lunch, and do masking tape. Marius: My work is an expression of color and shapes in an abstract form. Works - The last room is messier One. Where I use Are kind of open for interpretation, but my compressor and airbrush. I need A fan you might find references to our visual (fan exhaust) to Get rid of dust and fumes. landscape that are manmade or exist in nature. So, during a day I start off with masking out areas that I will paint. I can work for maybe 4-6 pictures at once. This is from As an artist, do you think your work makes you morning to noon. Then I make a layer with different from others? paint. Marius: I think I am more focused on This must dry. Then lunch. After that I finesse that many other artists. Maybe I repeat. And then a new layer. I can Do have my own way with color that just come a Max of 2-3 layers on a canvas a day natural to me. considering the dry time of paint.

20 21 What is your most emotional experience in con- nection with your painting? And is there such an experience related to the work of another artist?

Marius: A painting is a result of many days, months with failure and success, some days can feel like a nightmare, but then suddenly you get to a point where it’s finished and reach the climax, then I understand the enjoyable part of art making process.

Could you name other artists who were also important to you?

Marius: Gerhard Richter, Olav Christopher Jensen, Gunnar S Gundersen, Michael Majerus, Takashi Murakami, Rembrandt.

What is the hardest part and most enjoyable of creating a painting?

Marius: The hardest part is to accept that things don’t go as planned.

But when you learn to appreciate that your plan can change and evolve during the artwork creation process.

Do we need art?

Marius: Things would be a lot more boring without. What is happiness to you?

Marius: My family, my studio, art, travel food and wine make me happy

22 23 RECENT

WORKS

24 25 26 27 Previous pages Cave, 2019 Acrylic on canvas, 65 x 80 cm.

Curfew, 2019 Acrylic on canvas, 100 x 80 cm.

28 29 30 31 Previous pages SoriaMoria, 2019 Acrylic on canvas, 65 x 80 cm.

Battle Royal, 2021 Acrylic on canvas, 120 x 100 cm.

32 33 Blaze, 2021 Acrylic on canvas, 120 x 100 cm.

34 35 36 37 Chains, 2020 Acrylic on canvas, 100 x 80 cm.

38 39 40 41 Previous pages Glazing, 2020 Acrylic on canvas, 120 x 100 cm.

Untitled, 2020 Acrylic on canvas, 100 x 80 cm.

42 43 Inclusion, 2019 Acrylic on canvas, 100 x 80 cm.

44 45 Predetermined Variables-I, 2018 Predetermined Variables-II, 2018 Predetermined Variables-III, 2018 Predetermined Variables-IV, 2018 Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm.

46 47 48 49 Previous pages Prismatic, 2021 Acrylic on canvas, 120 x 100 cm.

Pure, 2019 Acrylic on canvas, 120 x 100 cm.

50 51 Rose, 2019 Acrylic on canvas, 100 x 80 cm.

52 53 In front of the window-I, 2011 Oil on canvas, 200 x 160 cm.

54 55 Previous pages Shimmering, 2021 Acrylic on canvas, 120 x 100 cm.

Window, 2020 Acrylic on canvas, 100 x 80 cm.

56 57 Arrical, 2019 Acrylic on canvas, 120 x 100 cm.

58 59 Battle Royal, 2019 Acrylic on canvas, 120 x 100 cm.

60 61 Blade, 2019 Acrylic on canvas, 120 x 100 cm.

62 63 64 65 Previous pages Golden Ratio, 2017 Acrylic on canvas, 120 x 100 cm.

Portal, 2019 Acrylic on canvas, 120 x 100 cm.

66 67 Rendezvous, 2019 Acrylic on canvas, 120 x 100 cm.

68 69 Schedule, 2019 Acrylic on canvas, 120 x 100 cm.

70 71 72 73 SApotlight, 2019 Acrylic on canvas, 120 x 100 cm.

74 75 UT, 2019 Acrylic on canvas, 120 x 100 cm.

76 77 Uturn, 2019 Acrylic on canvas, 120 x 100 cm.

78 79 80 81 ARTIST

BIOGRAPHY

82 83 MARIUS MARTINUSSEN

(b.1976 - Norwegian)

Marius Martinussen was born in Kristiansand 19. April 1978. He grew up in Arendal and moved to Oslo when he started Einar Granum Artschool. He was accepted at Trondheim art academy where he would paint the next 5 years which a small exception of a small stay in Kuvataide academia in Helsinki. After his studies he moved to Berlin and worked there for 2 years. Now he lives and works in Oslo.

He has a large number of solo and group exhibitions behind him both in Norway and abroad. Previously purchased by Norges Bank, SKMU, Trondheim Artmuseum, KLP, REV ocean and so on...

Martinussen has also performed several decorating assignments for div. institutions as Sam Eyde VGS, UIA, SIA, MS Roald Amundsen, TUI Cruise ship,St. Olavs Hospital and NSB school.

84 85 SOLO EXHIBITION 2010 Galleri Allmenningen, Bergen 2021 Amenor Contemporary, Stavanger, NO 2009 Kunstnerforbundet, Oslo 2020 QB Gallery, Oslo, NO 2009 Galleri SG, Trondheim 2019 Kunstparken, Risør, NO 2008 Sandefjord Kunstforening 2018 Galleri LNM, Oslo, NO 2008 Guldenkunstverk, Steinberg 2018 KHÅK, Ålesund, NO 2008 Kunstnersenteret Møre og Romsdal, Molde 2018 Kunstgalleriet, Stavanger, NO 2008 Galleri J. Aasen. Ålesund 2018 Galleri Ask, Åsgårdstrand, NO 2007 Galleri Stadskleiv, Bø 2017 Oslo Ø, Oslo, NO 2007 Galleri Brandstrup, Oslo 2017 Galleri SG, Trondheim, NO 2007 Galleri F15, Moss 2016 Galleri NB, Viborg, DK 2006 Galleri Babel, Festspillutstiller, Trondheim 2016 Sunndal Kunstlag, Sunndalsøra, NO 2006 Galleri LNM, Oslo 2014 Galleri NB, Viborg,Dk 2006 Kunstverket galleri, Oslo 2013 Kunstgalleriet, Stavanger 2005 Projekt 0047, Berlin, De 2013 Christiansand Kunsthall, Kristiansand 2004 Trondheim kunstforening, Trondheim 2013 Galleri J Aasen, Ålesund 2003 Arendal Kunstforening 2012 Galleri NBex, Viborg, Dk 2003 Sandefjord kunstforening 2012 Haugesund Billedgalleri, Haugesund 2003 Kunstverket galleri, Oslo 2012 Tromsø Kunstforening, Tromsø 2003 Rogaland Kunstsenter 2012 Nils Aas Kunstverksted, Inderøy 2002 Bomuldsfabrikken Kunsthall, Arendal 2012 Heimdal Kunstforening, Heimdal 2002 Galleri Blunk, Trondheim 2012 Galleri Hans, Ørlandet Kultursenter, Brekstad 2012 Galleri Hillestad, Dølemo GROUP EXHIBITION 2012 Galleri NB, København,Dk 2021 «As Far as My Eye can Sea,» Bomuldsfabrikken, Arendal, NO 2012 Guldenkunstverk, Steinberg 2021 WAOU, Gallery NB, Viborg; DK 2011 Kunstgalleriet, Stavanger 2019 QB Gallery, Olje og begjær, Oslo.NO 2011 Trondheim Prosjektrom, Trondheim 2019 Blomquist Kunsthandel,Oslo Grafikkmesse, Oslo, NO 2011 Neadalen Kunstforening, Selbu 2018 KUSTOM KULTURE, Artendal 2010 Galleri J Aasen, Ålesund 2018 Galleri Briskeby, Oslo,NO

86 87 2017 Galleri NB, “30 års jubileumsutstilling”, Viborg, DK 2009 “Side Show”, Sten Are Sandbeck, Pål Jomaas, Torill Johannessen, Marius Martinussen, Linn Anita Pedersen, Kåre M. Bergh & Simen Larutizen, Arne Vinnem, Frode 2017 Galleri NB, Viborg, DK Markhus, Sverre Gullesen og Sveinung Unneland, Galleri Gathe, Bergen 2017 International Billboard Painting festival, Viborg, DK 2009 Christianssands kunstforening 2016 Nils Aas Kunstverksted, Inderøy, NO 2009 Kunstnerforbundet, Oslo 2016 GrafiskStentrykk, Norske Grafikere, Oslo,NO 2008 “rykk tilbake til start” Galleri 0047, Oslo 2015 Galleri G.R.A.F.O, Vilnius, LT 2008 Norskebilder, Rådhuset/Galleri Brandstrup, Oslo 2015 Galleri Briskeby, Oslo 2008 “Bjørn Båsen, Øystein Dahlstrøm & Marius Martinussen”, Galleri Brandtrup, Oslo 2015 Galleri NB, Viborg, DK 2008 Artikkel 27, Amnesty international, Galleri KIT, Trondheim 2015 Galleri 0047,”Bon Voyage”, Oslo, NO 2008 Christianssands Kunstforening 2015 Galleri Hillestad, Dølemo, NO 2007 Galleri Gann, Sandnes 2014 Nord Art, Büdelsdorf, DE 2012 2007 Sørlandsutstillingen 2012 ”X Malerier” Bergen Kjøtt, Bergen 2007 Norskebilder, Rådhuset/Galleri Brandstrup, Oslo 2012 Galleri NB 25års Jubileumsutstilling, Viborg, dk 2007 “Believers & Illusionists”, R. T. Hansen, Berlin 2011 Høstutstillingen 2007 Isfit, trondheim 2011 ”November” Galleri Festiviteten, Eidsvold Værk 2007 “6 Unge” Aalesundskunstforening, Ålesund 2011 Grimstad Kunstforening: Brian Albers, Marius Martinussen. Erik Pirolt, Roderic Read 2007 “Pluss Minus Tredve Unge Norske Kunstnere”, Gulden Kunstverk, Drammen 2010 ”HotchPotch” lisboa, Portugal 2006 PERIFERI OG SENTRUM. Verk fra samlingen, Sørlandets Kunstmuseum, Kristiansand 2010 ”Untittled” , Lautom contemporary, Oslo 2006 Nordkappmuseet, Honningsvåg 2010 ”Ellipse”, Bomulldsfabrikken Kunsthall, Arendal 2010 ”Salong 2010”, Rodbianco, Oslo EDUCATION 2010 Artendal avdeling Bomulldsfabrikken Kunsthall, Arendal 1999 - 2004 KIT, Trondheim academy of Fine Art Trondheim, Norway 2010 ”Ellipse, Sølvberget Galleri, Stavanger 2001 Kuvataideacademia, Utveksling Helsinki, Finland 2009 “WALL TO WALL” Ane Graff, Thomas Hestvold, johannes Høie, Marius Martinussen, Nathalie Fuica SánchezOG kristian Skylstad. Galleri LNM, Oslo 1997 - 1999 Einar Granum Kunstskole Oslo, Norway 2009 “Last Resort” Frode Markus, Sten are Stenbeck & Marius Martinussen, Stichting M4, Amsterdam , Nederland 2009 Cosmic Debris, Erik Tidemann, Marius Martinussen, David Lamignan Larsen, Hans Christian Skovholt, Alyssa Taylor Wendt, Stig Tommy Høvik , Thomas Falstad, Petter Buhagen, Rina Lindgren, Prins Preben, Maja Nilsen, Dahl & Aas. Cosmic Debris, Podium , Oslo

88 89 PUBLIC COLLECTIONS 2006 Kunst på arbeidsplassen 2020 REV Ocean 2006 Trondheim 2020 Norges Bank 2006 Trondheim kommune 2018 Utenriksdepartementet 2005 Arendal 2018 Norges Bank 2005 Gasco, Stavanger 2017 Trondheim Kommune 2005 Sørlandets Kunstmuseum 2016 Grundfos 2004 Norsk kulturråd 2016 KLP 2003 Sandefjord kunstforrening 2016 Hycast AS 2002 Norsk kulturråd 2016 Viborg kunstforening 2001 Kronprinsess Mette-Marit og Kronprins Haakon, bryllupspresang, Arendal 2014 Entra eiendom 2001 Trondheim kunstmuseum 2013 KLP 2000 Trondheim 2012 Haugesund Kunstmuseum 2012 Viborg Kunstforening GRANTS, PRIZES AND RESIDENCIES 2011 Statoil Hydro 2021 Norsk kulturråd, workgrant 5 years 2011 Ernst&Young 2019 Bildende Kunstneres Vederlagsfond 2 years 2011 Handelsbanken 2018 Bildende Kunstneres Vederlagsfond 2011 Royal Carribean 2017 Norske Grafikeres Fond 2011 Nord Troms Tingrett 2017 Ingrid Lindbäck Langaards stiftelse 2010 Nordal Grieg videregående skole 2013 Bildende Kunstnernes Vederlagsfond 2010 Entra eiendom 2012 Bildende Kunstnernes Vederlagsfond 2010 Royal Carribean 2012 Exhibitiongrant, Norsk Kulturråd 2009 Johan Stray Stiftelse 2011 La Cité Internationale, recidency, Paris, Ingrid Lindbäck Langaards stiftelse 2009 Argentum Fondsinvesteringer 2009 Bildende Kunstneres Vederlagsfond 2008 Statoil Hydro 2008 Bildende Kunstneres Vederlagsfond 2008 Sentralarresten Politihuset, Oslo 2007 Exhibitiongrant, Norsk Kulturråd 2008 Norges Bank 2006 Workinggrant, Statens arbeidsstipend for yngre/nyetablerte -2år 2007 Statoil 2006 Travelgrant, Sleipnir 2006 Rederiforbundet 2005 The international Emaar Art Symposium, Dubai

90 91 2005 Workinggrant, Statens arbeidsstipend for yngre/nyetablerte kunstnere - 1 år 2011 Sam Eyde VGS, Arendal 2004 Etableringsstipend 2011 Sushi Fredrikstad 2004 Debutant stipend 2010 Ålesund sykehus 2004 Inger og Edvard Munchs legat 2010 NSB skolen, Drammen 2004 Trøndelagsustillingens publikumspris 2010 Teigar skole, Nøtterøy 2003 Utstillings stipend 2009 Bjørnestien Barnehage, Horten 2003 Debutantstøtte 2009 Tjuvholmen Sjømagasin, Oslo 2009 Birkenlund Ungdomsskole, Arendal COMMISSIONS 2008 Fredheim eldrehjem, Fredrikstad 2021 SIA, Kristiansand, NO 2008 Hisøy skole, Arendal 2021 Frydenborgsenteret, Risør, NO 2008 Kjell Henriksen Observatory, Svalbard 2020 Jessheimbadet, NO 2008 AKS- Kulturhus, Hammerfest 2019 UIA, Grimstad, NO 2006 Sola Distriktspsykiatriske senter, Stavanger 2019 Norges Bank, Oslo , NO 2006 Gosen skole, Stavanger 2018 MS Roald Amundsen, NO 2006 St. Olavs Hospital, Trondheim 2017 Voss vgs, Voss, NO 2005 Burj Dubai, Emaar, Dubai 2017 Bjørnestien Barnehage, Horten, NO 2005 Arendal Kulturhus 2017 Nes svømmehall, Årnes, NO 2005 St. Olavs Hospital, Trondheim 2017 Universitetet i Agder, Kristiansand, NO 2017 Helsenett, Trondheim, NO ASSIGNMENT 2016 Randers Statskole, Randers, DK 2016-2017 NBK Stipendkomiteen Burj 2015 Granstangen skole, Oslo, NO 2010-2014 Landsforeningen Norske Malere, Styret 2015 Meinschiff 4, TUI Cruise ship. DE 2014 Norske Grafikere 2014 Viborg Gymnasium, Viborg, DK 2014 Kunnskapsparken, Finnsnes, NO MEMBERSHIP 2014 Kunnskapssenteret, Sandvika, NO Norske Billedkunstnere 2013 Bok og Blueshuset, Notodden Landsforeningen Norske Malere 2012 Bjerke VGS, Oslo Norske Grafikere 2012 Universitetssykehuset i Nord-Norge

92 93 94 95 INDEX

pp. 26 - 27 p. 29 pp. 30 - 31 p. 46 p. 46 p. 47

Cave, 2019 Curfew, 2019 SoriaMoria, 2019 Predetermined Variables-I, 2018 Predetermined Variables-II, 2018 Predetermined Variables-III, 2018 Acrylic on canvas, 65 x 80 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 65 x 80 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 100 x 80 cm.

p. 33 p. 34 p. 38 p. 47 pp. 48 - 49 p. 51

Battle Royal, 2021 Blaze, 2021 Chains, 2020 Predetermined Variables-IV, 2018 Prismatic, 2021 Pure, 2019 Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm.

pp. 40 - 41 p. 42 p. 45 p. 52 pp. 54 - 55 p. 57

Glazing, 2020 Untitled, 2020 Inclusion, 2019 Rose, 2019 Shimmering, 2021 Window, 2020 Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 100 x 80 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 100 x 80 cm.

96 97 INDEX

p. 58 p. 61 p. 62 p. 78

Arrival, 2019 Battle Royal, 2019 Blade, 2019 Uturn, 2019 Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm.

pp. 64 - 65 p. 67 p. 68

Golden Ratio, 2017 Portal, 2019 Rendezvous, 2019 Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm.

p. 71 p. 74 pp. 77

Schedule, 2019 Spotlight, 2019 UT, 2019 Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm. Acrylic on canvas, 120 x 100 cm.

98 99 Acknowledgements We would like to extend our sincere gratitude and appreciation to Marius Martinussen and our art collectors who make such adventures possible.

The scenography has been conceived by Farzad Shariatpanahi

Authors Erlend G. Høyersten, Vincent Gorbani

Pictures of the artworks Marius Martinussen

Designer Nima Sayar

Proofreading Farzad Shariatpanahi

Cover Predetermined Variables-I, 2018

Copyright Published by AMENOR Contemporary Gallery to coincide with ‘Reflection and Refraction’, presenting works of Marius Martinussen, 2021.

All rights reserved. Except for the purpose of review, no part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic , mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

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