Solo

    2016

  • Invitation to Love Thomas Duncan Gallery, Los Angeles, CA

  • MAD HORIZON (with John Skoog), Index, The Swedish Contemporary Art Foundation, Stockholm, SE

    2013

  • Wey Museo de la Ciudad de Querétaro, Santiago de Querétaro, (MX)

Group

    2011

  • MART Rua Red Arts Center, Dublin, (IRL).

    2010

  • Group show Galleri Thomassen, Gothenburg, (SWE).

  • MART Stattbad, Berlin (DE)

Curated Exhibitions

Publication and Catalogues

    2021

  • Sten A Ohlsson Foundation for Research and Culture 2021 Awards Catalogue

  • Rilkes Hundar Rilkes Hundar, ISBN 978-91-89113-26-8

    2018

  • "De-Ruining", in Elin Elfström & Emanuel Röhss, Installationer i Parken, published on the occasion of the exhibition at Thielska Galleriet, Stockholm, (SWE)

  • "Monster Dialectics, The Symptomatic Nature of Mayan Revival", Filmögon Journal #4, Stockholm, (SWE)

    2017

  • Corona, in "I hope the roof flies off, and I get sucked up into space", Neo Fakt publishing, Berlin, (DE)

    2016

  • Location Scout, CURA BOOKS, Rome, (IT), ISBN 978-88-97889-25-0

    2013

  • The Journey of L, in "Kunsthalle Roveredo", Edition Taube, Berlin, (DE), ISBN-978-3-9814518-5-6

Press

    2018

  • ”Review of Out of Joint exhibition”, CURA Magazine

  • ”In Broad Daylight”, BON Magazine

    2017

  • ”Emanuel Rohss: End Frames”, by Samantha Prodromou, Weekend Notes

    2016

  • ”John Skoog and Emanuel Röhss, Mad Horizon”, by Ulrika Pilo, Svenska Dagbladet.

  • ”Interview with Emanuel Rohss”, Sophia Nyberg, Barnebys Magazine

  • ”Lava Lamp Modernism”, by Catherine Wagley, LA Weekly

  • ”Invitation to Love”, online exhibition pick, Mousse Magazine

  • ”Esperanto @ Rowing reviewed”, by Willow, AQNB

Awards and Residencies

    2021

  • The Swedish Arts Grants Committee International Exhibition Grant, One Year Work Grant, and Artist Assistance Grant.

  • Sten A Ohlsson Foundation for Research and Culture 2021 Art Award

    2020

  • Foundation for Contemporary Artist Assistance Grant.

  • The Swedish Arts Grants Committee, two year work grant.

  • Los Angeles Department of Cultural Affairs, Production Grant.

    2016

  • Foundation for Contemporary Arts Emergency Grant.

    2014

  • FAAP Residência Artística, São Paulo, Brazil.

    2013

  • Museo de la Ciudad de Queretaro, Residency, Mexico.

  • Residency at Kunsthalle Roveredo, Roveredo, Switzerland.

Talks and Lectures

    2020

  • The Garage Will Do, MAK Center, Los Angeles, CA

    2019

  • Emanuel Röhss, California State University, Graduate Sculpture Program, Fullerton, CA

    2017

  • End Frames, Coma Gallery, Sydney, Australia

    2016

  • Mad Horizon, Index, The Swedish Contemporary Art Foundation, Stockholm, Sweden

  • Emanuel Röhss, San Francisco Art insititute, Painting and Sculpture Programs.

    2015

  • Emanuel Röhss, Rhode Island School of Design, Rome, Italy (EHP program)

    2014

  • On Recent Work, Chisenhale Gallery, London, UK.

    2013

  • Emanuel Röhss, Painting Department, Glasgow School of Art, Glasgow, UK

  • Emanuel Röhss, Painting Department, National College of Art and Design, Dublin, IRL

  • Emanuel Röhss, Art Business Department, Christies Education, London, UK

Education

  • MFA, 2013, Royal College of Arts, London, UK, (Painting)
  • BFA, 2011, National College of Art & Design, Dublin, IRL, (Painting)
  • BA, 2010 Valand Academy, Gothenburg, SE, (Fine Art)

Emanuel Röhss

All projects

Belly of the Beast

Belly of the Beast is an exhibition by Emanuel Rohss staged at the Gothenburg Museum of Art from 12/04/2021 - 03/20/2022. The show was produced with the support from the Sten A Ohlsson Foundation for Research and Culture from which Rohss was the single recipient of the visual art award in 2021. The project attempts to unite extensive research on the binary relationship between Frank Lloyd Wright’s 1920’s Los Angeles architecture and their role in Hollywood Cinema and TV. The central work in the exhibition is the recent essay film Monster Dialectics that aims to unpack the architects psychological trauma and its reverberance in the many fictions that have utilized his buildings as dramatic devices. The film is framed by an installation in the form of a deconstructed stage set, in part based directly on Wright’s textile blocks, in part on architectural elements from the 1923 building named Minneshallen in the Jubilee Exposition in Gothenburg from the same year. An adjacent section of the show deals with notions of time and transience. The recorded seismic activity in California’s recent history serve as point of departure in a sound and light piece titled Earth Song. The work aims to make a fragment of geological time somewhat tangible and serve as a reminder of Earth’s constant mutability.