themes that are overdetermined, mainly as a result of not having studied art history or curating in any kind of professional sense, but also because its completely unnatural. I kind of build from the gut, and then adjust things from there. But it’s true that this doesn’t always lead to a wall of steady verifiable information…

How would you encourage viewers to approach the reflexive and metaphorical component of the artwork on display (Ken Okiishi’s video and film stills and Nick Mauss’s platform and stairs, for example)?
I would encourage them to enter into engaging with the work as very active readers. If you find yourself in Oslo, climb the stairs and walk the plank to find Nick’s work, then walk inside the structure of the stairs, the center of which has been hollowed out to allow an intervention by Strau. There, in the underbelly of the stairs, a series of new texts by Josef lie waiting; all of which can be read. Then there’s another gorgeous drawing by Nick pressed beneath glass, that you can view too… Then spend a bit of time with Ken’s film.

‘Nobody Can Tell the Why of It’ runs May 27 through August 14 at 1857 gallery in Oslo.

Please refer to 1857 Gallery for further details.