ENTER ART PROGRAM 2022

TALES OF LOVE AND FIGHT

A Space of Intimacy

Installations, scenography and Performances

Conceptualised and curated by Irene Campolmi

Generously sponsored by Statens Kunstfond, Augustinus Fonden and Ny Carlsberg Fondet

CURATORIAL CONCEPT:

TALES OF LOVE AND FIGHT  is a Gesamtkunstwerk, an immersive total work of art which consists in three larger art installations (a sound work, a series of sculptures and a series of costumes) that function in the Enter Art Programme section both as an exhibition and as a scenography for a performance that will be ongoing every day during the program.

TALES OF LOVE AND FIGHT is an experimental work where performance artists, painters, sculptors, sound artists and musicians will each contribute with a working proposition to the Art Program, creating a piece that stands in between a theatrical play, a durational performance and an exhibition, which could be visited onsite for the whole duration of the fair. While once a day, the space will function as a scenography for the performance, the rest of the opening hours, the same space will be a ‘stage’ where the visitors will act as ‘performers’ as a replacement of their absence.

VISION:

TALES OF LOVE AND FIGHT is the title of the 2022 live art program conceptualised and curated by Irene Campolmi for the fourth edition of Enter Art Fair, the first art fair proposing a live art program of performances, music, sound installations and talks that is shaped around the practice of emerging and mid-career artists’ research.

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


ENTER’s free guided tours of the Art Program

See the schedule for free guided tours her:


Permanent Works

Exhibitions and Scenography by:

Davide Stucchi (IT)
Louka Anargyros (FR)
Dina El Kaisy Friemuth (GE)
Ava Samii (DK)
Himali Singh Soin (existing piece) (IN/UK)

1) Dina El Kaisy Friemuth, No History at All, 2021,2) Davide Stucchi “Falli (Phalluses)” at Martina Simeti, Milan, 2021Courtesy: the artist and Martina Simeti. Photo: Andrea Rossetti3) Louka Anargyros, Art of Sport at Copenhagen Contemporary, 2021. Photo by  David Stjernholm4) Ava Samii, Fully Opalized (Ghost) at Gether Contemporary, 2022. Photo by David Stjernholm

Artists and Artworks: 

New production based on No History at All, 2021 by Dina El Kaisy Friemuth (DK)

Dina El Kaisy Friemuth (b. 1988) lives and works in Berlin and Copenhagen. In their current work, El Kaisy Friemuth has set out to investigate the politics implicated in history writing and archiving through looking at the Egyptian collection at Neues Museum in Berlin, a place Dina has visited since their childhood together with their mother, a former tourist guide in Egypt. By juxtaposing the museums grand storytelling with feminist gatherings and personal storytelling El Kaisy Friemuth asks if the power structures implicated in history writing in itself is an imperialistic practice and whether there should be a completely different way of worshiping and archiving.Dina El Kaisy Friemuth works with the complexity of collectivity and belonging. Their practice revolves around creating conversational environments, centering queer and racialised voices, and decolonial and institutional critiques. Their practice is manifold, often in collaboration with other cultural workers, and involves both curating, writing, teaching, installation and video works.Their contribution for Enter Art Program 2022, takes inspiration from their project No History at All which presented a series of panel discussions and talks taking place on a carpet. As a kind of decolonial evasive maneuver, No History at All investigates alternatives for history writing by animating the Egyptian artifacts through personal stories and visual works rather than presenting them as lifeless and fixed objects in vitrines.

New Production – A New Series of Falli (Phalluses) Curtains), 2022 by Davide Stucchi (ITA)

Davide Stucchi (b. 1988), lives and works in Milan. Davide Stucchi draws from everyday life to investigate intimacy and feelings that materialize in space as psychic dimensions. Referring to a system of objects that imply the presence of individuals, the artist stages affective and material absences, through choreographies of volumes, lights and sounds. He observes and studies the body by representing it in the smallest terms, paying attention to the traces it emanates or to the codes - including clothing - that distinguish it. Falli (Phalluses), Stucchi’s project on which is based this new production, embodies an ironic and cultured exercise on the theme of desire, on form and on the idea of ​​waiting. The sketches are sometimes abstract, other times more descriptive but in any case, they express the formal ambiguity of bodies, sexual organs, orifices that playfully transform (or reveal) other forms: writings, fashion figures, lingerie or anthropomorphic subjects. The rapid execution of those drawings seems to allude to the almost unconscious expression of a sketch made on the telephone, to the automatic writing of desire which, starting from the primordial phallic form, manifests itself in a thousand other possible declinations and narrative levels. Stucchi works using a broad set of media and creates, within the space that houses his interventions, a subtle and highly calibrated dialogue around signs. Through the juxtaposition of different elements, Stucchi’s work evokes specific imaginaries ranging from the relationship between individuals to autobiographical elements, to the relationship with the culture of fashion and the bodies it wears.

Louka Anargyros (FR) 

Anargyros’ practice as an artist is primarily sculptural. While his work can often be seen as conceptual and contextual, with theoretical research in the fields of body politics, sociology and philosophy forming an important part of his practice, his main driving force remains the physical relationship with materials and forms. In recent years, he has focused on pushing the boundaries of his ceramic technique, often spending months working on a single sculpture. His work frequently depicts human vulnerability and examines identity and intimacy, often using, indirectly or not, personal elements of his life as material. Queer politics, exile, and intergenerational trauma are ongoing research topics that Louka addresses through the lens of bodily experience.

Himali Singh Soin (IN/UK)

Himali is a writer and artist based between London and Delhi. She uses metaphors from outer space and the natural environment to construct imaginary cosmologies of interferences, entanglements, deep voids, debris, delays, alienation, distance and intimacy. In doing this, she thinks through ecological loss, and the loss of home, seeking shelter somewhere in the radicality of love. Her speculations are performed in audio-visual, immersive environments. Himali Singh Soin's art has been shown at Khoj (Delhi), Mimosa House, Serpentine Gallery (London), Gropius Bau, (Berlin),Anchorage museum (Alaska), the Dhaka Art Summit and the Shanghai Biennale, among others. She was the recipient of the Frieze Artist Award 2019. A solo exhibition of her work will open at The Art Institute of Chicago in December 2022.


Performance

AFTER Drei Bewegungen des Elektrischen Körpers (Three movements of the electric body)

A artwork between choreographer JULES FISHER and musician and composer JOSEFINE OPSAHL

1. Fischer, VANITAS, 20222. Josefine Opsahl with her cello, 2022

Time Tables:

Thursday, August 25th – Saturday, August 27th at 17.30 – 18.15
Sunday, August 28th at 15.00 – 15.45

Meeting point: 
Entrance between the fair and the Art Program Area, Enter Art Fair, Tunnelfabrikken

1 & 2) Jules Fischer, VANITAS, 20223 Louka Anargyros, Kunsthal Charlottenborg, Photo by David Stjernholm4 Louka Anargyros, Art of Sport at Copenhagen Contemporary, 2021. Photo by David Stjernholm

About the Performance: 

The Performance “AFTER Drei Bewegungen des Elektrischen Körpers” reflects and presents tales about queer love and care, and the political and social struggle and fight through which it has frequently to manifest in order to be recognized.

The performance, conceptualised by Jules Fischer (DK), will consist in a choreography on queer love developed in collaboration with Danish cello musician and composer Josefine Opsahl (DK).

The piece reflects on a private, political and sociological perspective emphasizing the interdependent connection between love and fight. The performance will be staged on the backdrop of a scenography which will collect the work of visual artists such as Dina El Kaisy Friemuth, Davide Stucchi and Himali Singh Soin, among others. The artists will take the whole space – from the floors to the walls and the ceilings – as their working space.

1 Jules Fischer, Dryppende stof in the great hall of the Glypoteket, 2021.2 Himali Singh Soin, The particle and the wave, performance still, 2021.3 & 4 ) Jules Fischer, VANITAS, 2022.

About the artists:

JULES FISCHER (DK)
New commission based on the concept of VANITAS, 2018

The total installation VANITAS takes you into a dark and dreamy world of queer bodies ruled by change and transience. In a dark and gloomy basement, we meet performers who wear several layers of used clothes, as if layers of experiences awaken other bodies and times to life, only to pass away again. The pieces many loops are composed and combined in a circular dramaturgy that promises neither an explanation nor a solution. VANITAS is instead a space that allows us to grieve over what is no longer, simultaneously with the joy of what is to become.

Josefine Opsahl (DK)

With a liberating openness to sounds, genre, the use of electronics and her main instrument the cello Opshal’s works unfold in the intersection between tradition and renewal, expertise and intuition, the score and the improvised in a search for where musical expression, art, society and we ourselves are headed as beings and creators. Opsahl connects music, art, performance and spaces in her works. At the core of her research lies a strong will for using her art to examine and rise ethical and social questions as also shows in her effort to share her thoughts and music across cultural and societal structures.

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).