Exhibitions & Fairs

ENTER Art Fair 2019

Introducing the Galleries, Part II

Next Thursday, August 29th, the inaugural edition of ENTER art fair opens to both VIP and public alike in a spectacular custom built tent in the progressive development district of Refshaleøen, close to the historic heart of Copenhagen. Unique as the Nordics only international contemporary art fair, ENTER welcomes 30 galleries from around the world. Here we meet a selection of the participants and learn of their plans for the fair.

Christian Larsen

Sturegatan 28
114 36 Stockholm
Tlf. + 46 8 30 98 30
Christian Larsen Website

Joakim Ojanen, Three friends hanging out. One in love, one got a secret and one just had a pretty bad week, 2019, glazed stoneware. Courtesy the artist and Christian Larsen.
Joakim Ojanen, Handsome handy man got that great torso-face ready for the summer, 2019, glazed stoneware. Courtesy the artist and Christian Larsen.
Joakim Ojanen, Egg with sneaky intentions two birds and ski cabin, 2019, glazed stoneware. Courtesy the artist and Christian Larsen.

Christian Larsen was founded in 1996 in Stockholm, Sweden. Over the last two decades, the gallery has built a reputation for its dedication to artists and to presenting a dynamic and rigorous exhibition programme of both emerging and established artists from Scandinavia and internationally. Over this time the gallery has fostered close and cooperative relationships with museums and curators in both Scandinavia and worldwide. The gallery has forged an ambitious program of exhibitions featuring artists as eminent and diverse as Sally Mann, Louise Lawler, Ross Bleckner, and with a new generation of Swedish artists such as Joakim Ojanen, Mårten Medbo, Anton Alvarez, Ann-Sofi Sidén, Matti Kallioinen and Max Book. Many of the renowned international artists have been brought for exposition in Sweden for the first time. Recent highlights of the program include exhibitions by Frank Bowling, Gavin Turk, Robert Mangold, Robert Mapplethorpe, Sam Samore, Horst P. Horst, Rose Wylie and John Körner. In the summer of 2018 Christian Larsen opened a second space in Falsterbo in Skåne, Sweden. In Autumn 2019 the gallery will relocate to Sturegatan 28 in the city centre of Stockholm.

For ENTER the gallery will present emerging art star Joakim Ojanen’s first exhibition in Copenhagen, featuring a new series of sculptures, paintings and drawings. In this exhibition Ojanen continues the evolution of his diverse array of endearing and surreal characters, creating sculptural and pictorial scenes where his cast of oddballs and misfits are released from isolation and increasingly begin to interact with one another. Manoeuvring around the exhibition these figures and creatures appear in conversation, seemingly unaware of how they got there and unsure about where the path may lead next. But the sense of melancholy and unease that is laced throughout Ojanen’s practice does not take over; instead the tragicomic characters that inhabit his playful world demonstrate a determination and desire to press forward, to overcome.

Working in both clay, bronze and in a new development for this exhibition, plasticine, Ojanen’s sculptures are intuitive in their making. Starting with the shape of the head, Ojanen gradually begins to prise each character’s features from the material, building and experimenting until a unique, individual personality and voice is brought to the fore. A seemingly never-ending array of peculiar noses, eyes and mouths are used that, little by little, evolve in ever-more surreal directions. Ears can function like arms, cheeks begin to stretch and flop, full human lips morph into duckbills and elongated noses sprout from their faces creating an imaginary world where anything seems possible. Ojanen’s drawings develop in much the same intuitive organic way as his sculptural works, with the artist using charcoal and pastel as a medium for this exhibition and applying colour to these for the first time.

Ojanen’s enigmatic and playful work thrives on the carefully crafted balance between childlike innocence and melancholy, with his ever increasing and diverse cast of multifaceted characters displaying the full spectrum of complicated human emotion.


4 Rue du Marché Aux Porcs,
1000 Brussels
Tlf. +32 2 217 74 00
dépendance Website

ENTER Art Fair
dépendance Gallery, Courtesy dépendance, Brussels. Photo credit: Sven Laurent
ENTER Art Fair
Richard Aldrich, Untitled, 2016, oil and wax on panel,
35,6 x 27,9 cm / 14 x 11 in. Image courtesy
of the artist and dépendance, Brussels
ENTER Art Fair
Sergej Jensen, Untitled, 2015, acrylic on canvas, 190 x 230 cm / 90 1/2 x 75 in, Image courtesy of the artist and dépendance, Brussels. Photo Credit: Sven Lauren

dépendance was founded in late 2003 by Michael Callies, regarding itself as more than a commercial space, and more as a venue and attitude sharing its artists’ critical views.

Since the very beginning, dépendance introduced young artists to Brussels when they were relatively unknown, many of whom are still now affiliated with the gallery; dépendance held the first international exhibitions for artists such as Sergej Jensen (2003), Haegue Yang (2004), Michaela Eichwald (2005), Jana Euler (2010) and Peter Wächtler (2013). Thomas Bayrle, Michael Krebber, Richard Aldrich and Ed Atkins have all shown in Belgium for the first time with dépendance. The gallery tries to strike a balance between emerging and more established artists, recognising the conceptual rigour of all as a key thread between them. In order to open up more possibilities for artistic creation, the gallery expanded in September 2014, now operating out of an enlarged premises in central Brussels. For the ENTER art fair, the first time the gallery has participated in a Scandinavian fair, dépendance will present a selection of existing and new works by gallery artists: Richard Aldrich, Ed Atkins, Will Benedict, Thilo Heinzmann, Sergej Jensen, Linder, Henrik Olesen and Haegue Yang. They elect to exhibit, side by side, artists of different generations; the presentation being a cross-section of dépendance’s portfolio, and intended as a statement of purpose.

ENTER Art Fair
dépendance founder, Michael Callies

Tom Christoffersen

Skindergade 5 
1159 København K
Tlf. +45 3391 7610
Tom Cristoffersen Website

ENTER Art Fair
Galleri Tom Christoffersen, Copenhagen
Ib Geertsen, Komposition I, 1984. Oil on canvas, 93 x 73 cm, Courtesy Estate of Ib Geertsen and Galleri Tom Christoffersen
ENTER Art Fair
Neda Zarf Saz, All the poplars and Oaks No. 1/10 and No. 2/10. From Illusion Series, 2019.
Wooden bar, photographs, paint, threads, resin and cover, 158.5 x 2.5 x 2.5 cm and 172.5 x 2 x 2 cm.
Courtesy the artist and Galleri Tom Christoffersen

Tom Christoffersen has been one of Copenhagen’s leading galleries for almost 20 years. At Enter Art Fair their plans include two separate booths; one to present a broad selection of the gallery’s artists and, two to present a small curated exhibition at the art fair at the same time. The two different approaches deliver different insights to the artists and the gallery but also because it gives the opportunity to create a special art fair experience consisting of the general and specific. The intention is to meet the visitor’s expectations of what a traditional art fair can provide with many new experiences of contemporary art while also creating a special space with a slightly narrower focus on modernist art. What connects the gallery’s presentation of contemporary art at Enter is the devotion to a skilful handling of media and an interest in today’s forms of figurative expression. The gallery has a natural interest in Danish contemporary art, but also aims to represent and exhibit a diversity of international artists as well. Due to Tom Christoffersen’s passion for The Middle East the gallery has a strong attention to contemporary art from that part of the world. While the gallery holds a focus on contemporary art another part of their artist representation is devoted to the estates of Danish modernists, giving rise to the opportunity to exhibit modernist and contemporary art side by side in the gallery.

At the main booth the gallery will present new works by Claus Carstensen, Mie Mørkeberg, Knud Odde, Allan Otte, Anna Sørensen and Neda Zarf Saz. Claus Carstensen was a leading figure in the Danish 1980’s art group “The Young Wild Ones” and subsequently influential as Professor at The Royal Danish Academy of Arts from 1993 till 2002. He is represented widely in national and international art collections. He has mainly worked with painting but his production of poetry, video, installation art, theoretical writings and curatorial work make the breadth of his artistic experience and practice remarkable. He has created new ceramic works for the fair, the first time the gallery introduces works by him in this medium.

Mie Mørkeberg graduated from The Royal Danish Academy of Arts in 2006, and she has had several solo exhibitions and commissions in Denmark. Her practice consists mainly of figurative painting and ceramic art consisting of strange and dystopic narratives. Her favoured motive currently is women either rising from or delving into dark water. Mørkeberg has a talent for creating anxious atmospheres where the viewer is presented with a scene that is not readily decipherable. For ENTER Mørkeberg has created new paintings and ceramic works.

Knud Odde is an autodidact working with ceramics, graphics and illustration in addition to painting. Alongside being committed to visual art, he has been a bass player and songwriter in the band Sort Sol from 1977 till 2001. He debuted in 1983 with his first exhibition and since then he has had several solo exhibitions in Denmark. Odde’s figurative paintings portray different human figures, often referencing or connoting literature and philosophy. His paintings’ outlines are set with a graphic expression and he seeks to create an intimacy between the portrayed and the viewer.

Allan Otte is a figurative painter who graduated from The Royal Danish Academy of Arts in 2007. His paintings are unsentimental depictions of different aspects of human culture and nature. Anna Sørensen’s practice is concerned with both painting and ceramics and her expression of colour field and abstraction is present in both medias. She has an intuitive approach to her use of line, form and colour and she takes some of her inspiration from constructivist modernist art. Sørensen graduated from The Royal Danish Academy in 1996 and her work is represented in several Danish museums and private collections. The fair will present a new selection of her latest ceramic work.

Neda Zarf Saz is an Iranian artist who the gallery presented earlier this year at the exhibition Collectors Items – The Iranian Connection. Zarf Saz explores both moments of volatility and the concept of timelessness. Inspired by nature and the landscape, she freezes and repeats moments of time and examines the fragile interconnection of the sublime landscape and the appearance of time as etched on an object.

For the curated solo booth, the gallery will present works by Ib Geertsen from the artist’s Estate. (1919-2019). Geertsen worked with constructivist painting and sculptural mobiles throughout his life and his art has become emblematic of Danish modernism. Often very simplistic in their compositions, his paintings and mobiles display an exceptional knowledge of colour and form. At Enter a collection of his work ranging from the rare 1940-50’s paintings to his tight and formalistic late work will be shown. A large yellow mobile floating in the exhibition space will connect the pieces.

ENTER Art Fair
Mie Mørkeberg, Untitled, 2019. Oil and acrylic on canvas, 120 x 100 cm. Courtesy the artist and Galleri Tom Christoffersen

Platform A

Middlesbrough Railway Station
Zetland Road
Middlesbrough, TS1 1EG
Tlf. 01642 252 061
Platform A Website

ENTER Art Fair
Platform A Gallery, Middlesborough Railway Station
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Nick Kennedy, Timecaster, courtesy the artist and Platform A Gallery
Richard Forster, Levittown, courtesy the artist and Platform A Gallery.

Platform A is presenting a variety of approaches to drawing through the work of three artists. Each has a dedication to practice that has developed skills to the highest standard. From Richard Forster’s ‘photocopyrealist’ works; meticulous graphite representations that reference abstract compositions, Tony Charles’ ‘Unpaintings’ that deconstruct painting using a drawing action through an industrial process applied to aluminium panels, to the machine drawings of Nick Kennedy where the hand is absent from the process and mechanization replaces it, the concept of the booth simply explores the notion and scope of drawing and how it can reference, confront and merge with painting and sculpture. Forster’s concerns with a global/local relationship, Charles’ investigation of industry and objecthood, and Kennedy’s exploration of order and chance pose deeper, individual, questions to do with a sense of place; concerns that have been amalgamated here through art’s most primal genre.

Tony Charles’ background involves the experience of working in the steel construction industry which continues to underpin his practice through the use of industrial process, material and concept. His investigation into drawing centres around the deconstruction of painting, with the relationship between brushstrokes and grind marks on aluminium exploring notions of drawing, object-hood and erasure.

Nick Kennedy’s work follows a path of experimentation with a practice that spans drawing, sculpture, installation and performance. His ‘experiments’ often deliberately parody scientific process to reflect a fascination with the hidden nature of things, time and materials. He seeks order in a chaotic world, recasting chance and unpredictability as his tools. In recent projects, Kennedy has distanced himself from the act of making through the introduction of delicate drawing devices and close collaboration with participants to realise works that explore the boundaries of drawing.

Richard Forster makes drawings in sequences. A key starting point for his practice is a documentary approach to time, process and sense of place. Forster has nurtured his drawing from formative years he describes as an ‘anxious teenager alienated in an English suburban bedroom’. While his intimate and compulsive attention to detail could be categorised and mistaken for photo-realism, Forster prefers to use more ambiguous categories such as the ‘nearly-photo-realistic’ or the ‘photocopy-realistic’, in an attempt to extend the reading of the work towards the meanings inherent to the medium of drawing, and the particular subject-matter of his choosing.

ENTER Art fair
Tony Charles, Dressing Down, 2015, Gloss paint and resin on aluminium,
96 1/10 × 48 × 1/5 in / 244 × 122 × 0.5 cm.
Courtesy Platform A Gallery