ART PROGRAM 2021
The Shape of a Sound
A Space of Intimacy
Curated by Irene Campolmi
Installations, Talks and Performances
THE SHAPE OF A SOUND
ENTER ART PROGRAM 2021
Conceptualised and curated by Irene Campolmi
Generously sponsored by Statens Kunstfond, Augustinus Fonden and Ny Carlsberg Fondet
ENTER’s free guided tours of the Art Program for Kids and adults.
See the schedule for free guided tours her:
CURATORIAL CONCEPT
The Shape of a Sound is the 2021 artistic program curated by Irene Campolmi for the third edition of Enter Art Fair, proposing a live art program of performances, sound installations and talks presenting Danish and international artists whose practice connects vision to the realm of sounds. The Shape of a Sound program investigates the political, visceral, material possibilities of sound as a different entry point into knowledge.
To work with sound means to deconstruct the logic through which systems of power are established. Sound infiltrates these systems of power and deconstructs them. Seeing the world through sounds is an expedient way to rethink the western colonial/capitalist narrative and discourse that use images as a form of domination. This way of seeing the world through sounds recasts altogether new ‘scripts’ for a decolonized gaze moving beyond the visible realm and detecting the presence of absences through forensic forms of listening.
Music, among other sounds, is also a powerful image creator, and dance is the body’s response that attempts to create shapes of the sound and the melody heard.
VISION: A NEWLY COMMISSIONING BODY
This year, Enter Art Program The Shape of a Sound commissioned the following sound installations:
Jens Settergren, GhostBlind Loading, 2021
Stine Deja, We’re okay, 2021
Marie Munk, AirCondition, 2021
This year the Art Program will also include educational tours for kids and guided tours with Irene Campolmi, curator and Head Art Program. See timetable here.
A SPACE OF INTIMACY
Enter Art Fair is proud to launch and promote the project: “A SPACE OF INTIMACY”, which is the name where the Art Program takes place physically. It is a space of alterity separated but connected to the main fair, where emerging and mid-career artists are invited to present. Located at the outskirt of the fair structure as an of ‘hortus conclusus’ – a confined space – artists and audiences test and thus reflect on forms of intimacy and body proximity coexisting with the pandemic threat.
In the post-pandemic world, where the social choreography of bodies moving in the space and interacting one with each other is limited, performance as artistic research becomes a fundamental means to explore the process rather than the product of artistic production.
Lombard school (perhaps from De Seta), Ms. Lat. 209 DX2 14 c. 10 r codex De Sphaera: the Garden of Love or Hortus with the fountain of youth, 16th cent. XV, Miniature, Estense Library Modena
LIVE ART PROGRAM
A SPACE OF INTIMACY – The Shape of a Sound
Conceptualised and curated by Irene Campolmi
Generously sponsored by Statens Kunstfond, Augustinus Fonden and Ny Carlsberg
1) Jens Settergren, GhostBlind Loading, 2021.
2) Stine Deja, We’re Okay, 2021.
3) Marie Munk, AirCondition, 2021.
Photos by Julie Nymann.
THURSDAY, AUGUST 26th, 2021
14.00 – 16.00 (First Choice – by invitation only)
16.00 – 17.00 (VIP – by invitation only)
Sound Installations (ongoing)
Jens Settergren, GhostBlind Loading, 2021
Settergren creates an immersive artificial landscape/soundscape that plays with the dichotomies between visibility/invisibility and the idea of sound as “a ghost in the machine”. “GhostBlind Loading” is an installation that tries to hide by various means of camouflage, though failing at this attempt. Rock speakers, usually used in pool environments or parks, where it is desired to conceal the speaker, emit a soundscape consisting of ghostly voices, synth textures and recordings of “intelligent” electronic apparatuses such as flat screens, microwave ovens and fridges. It explores the collective imagination that some spirit exists within machines, while also reflecting on the uncanny feeling of being watched. The hunting gear recalls a violent act while also pointing at humanity’s attempts to simulate life.
Stine Deja, We’re okay, 2021
In a historical moment where we are forced to reassess our future on this planet, Deja realises a structure of seemingly human-shaped figures assembling in a collective embrace. Replacing their heads with speakers, the bodies mumble words of reassurance and worry. “We are okay! Will we be okay?” The sound creates a cacophony of hope and frustration, in an almost ritualistic manner. The assembly is an expression of collective optimism and insecurity.
Marie Munk, AirCondition, 2021
Munk invites the viewer to experience how it feels to be in a data centre, where our immaterial data are proccesed and stored. The only sound one hears is the noise of air ventilators. Data seem weightless and immaterial, but the data actually consume a lot of energy and power when processed in heavy energy-consuming computers. These computers heat faster, the more data they process, increasing the level of air cooling. While the vents fight to lower the temperature of the data centers they heat up the rest of the planet.Munk makes us reflect that in our world, made of weightless immaterial email, SoMe posts and images processed through our digital devices, sound could help us understand the presence of what seems, apparently, invisible. By transforming the industrial vents and cables of the data centers into disturbing and fleshy versions, Munk connects human life directly with technology and the consequences of our increasing involvement with data.
1 & 2) Michele Rizzo, Higher xtn., 2018, performance documentation. Courtesy: the artist and Stedelijk Museum, Amsterdam; photograph: Maarten Nauw.
3) Stine Deja, Thermal_Womb, Installation view from “Last Resort” at Annka Kultys Gallery (2020).
4) Marie Munk, Synthetic Seduction, Installation view, 2018.
FRIDAY, AUGUST 27th, 2021
16.00 – 17.00
Talks Program
Cinema by “other means”
Jeppe Ugelvig, Independent curator and writer
Anna Franceschini, artist and writer
Moderated by Irene Campolmi, Head Art Program, Enter Art Fair
18.00 – 19.00
Performance Program
Michele Rizzo
HIGHER xtn. (music by Lorenzo Senni)
with performers Juan Pablo Cámara, Milena Weber, Antonia Steffens, Max Göran
Free public access
1 & 2) Michele Rizzo, Higher xtn., 2018, performance documentation. Courtesy: the artist and Stedelijk Museum, Amsterdam; photograph: Maarten Nauw.
3) Stine Deja, Thermal_Womb, Installation view from “Last Resort” at Annka Kultys Gallery (2020).
4) Marie Munk, Synthetic Seduction, Installation view, 2018.
SATURDAY, AUGUST 28th, 2021
11.30 – 12.30
The German and Danish Art Scenes in Times of Crisis – Challenges and Opportunities
Dr. Ulrike Groos, Director of Kunstmuseum Stuttgart
Jeshi Khadivi, curator and writer
Christian Gether, Director of Arken Museum of Modern Art
Kirsten MacDonald, Regional Director in Scandinavia at Phillips
Moderated by Thea Dymke
13.30 – 14.15
Talks Program
What is and Who’s the Public?
Paul O’Neill, Curator, Writer and Director, PUBLICS, Helsinki
Ulrikke Neergaard, Director, KØS Museum for Art in Public Space
Milena Høgsberg, Director, The Museum of Contemporary Art, Roskilde
Moderated by: Irene Campolmi, Head Art Program, Enter Art Fair
15.00 – 16.00
Performance Program
Michele Rizzo
HIGHER xtn. (music by Lorenzo Senni)
17.30 – 18.30
Performance Program
Michele Rizzo
HIGHER xtn. (music by Lorenzo Senni)
with performers Juan Pablo Cámara, Milena Weber, Antonia Steffens, Max Göran
Free public access
Drawing from the work of theorists J. Kristeva, B. Groys, and M. Csikszentmihalyi, Rizzo considers how dance can facilitate flow, totality, and transcendence, acknowledging connections between dance and para-religious practices. Rizzo is interested in how the boundaries of the body become blurred, through the transformative and cathartic power of techno music. The use of recurring movements transform the group into one body while Lorenzo Senni´s hypnotic soundtrack intensifies. In challenging the self and the collective, HIGHER xtn. enhances the importance of nightclubs as gathering spaces for marginalized groups and a place to explore identity.
1 & 2) Fallon Mayanja.
3) ENTER TALKS 2021, Enter Art Fair, 2020.
4) Fallon Mayania performance. Photograph: Julie Nymann
SUNDAY, AUGUST 29th, 2021
14.00 – 14.45
Talks Program
#whatif: Rethinking Art Exhibitions Post-pandemic
Roberta Tenconi, Curator, Hangar Bicocca, Milan
Henriette Bretton-Meyer, Curator, Kunsthal Charlottenborg
15.30 – 16.30
Performance Program
Fallon Mayanja
FEMENINE
With performer Alen Nsambu
Video credits Nicolas Pirus & Ndoho Ange
Free public access
Feminine investigates new listening positions that question the traditional ways in which we process sound. Proposing a listening protocol, it challenges traditional hierarchies that operate in our performance. In doing so, the listeners are introduced to a space where they become more attentive to themselves, others, and the environment. Departing from Eastman´s original composition and Russell´s Glitch Feminism Manifesto,it breaks with traditional modes of perception by extending them further than the ears. Creating tension between the audible and the inaudible, a political statement is created as an exploration of sounds and bodily languages.
Credits to the Enter Art Program Staff for the realisation of this year’s project. In particular, thanks to Irene Campolmi (Head Art Program and Curator), Nora Criado Diaz (Curatorial Assistant), Francesca Bonissone (Curatorial Assistant), Kristine Bech Sørensen (Producer and Technical Assistant), Nikolaj Phillipsen (Producer and Technical Assistant).