Love Enqvist

<body bgcolor="#FFFFFF" text="#000000"> <hr><h1>Phone</h1> <h2>LOVE ENQVIST</h2> <h2>PRESENTATION</h2> <h3>With much of Love Enqvist’s work, there is a concern with how we stand in relation to one to another, how relation is constantly in flux determines community and how individuality is inextricably bound to relation, rather than alienation or separation. His projects draw upon the process of living and the condition of life. By questioning how we live and dwell, and reflecting upon that, the everyday appears transformed, so that what is reflected is the fragmented, mysterious and often imaginary nature of our being. <br><br>As everyday observations form a starting point, the context directs, positions and forms the work. Diggers and Dreamers draws upon a myriad of utopian visions which are expressed through architecture, community and personal reflections. But, here the notion of a social document is transformed to re-present a heterogeneous relationship to language and meaning, where we also encounter an inner, subjective language of drawings, writings and other inscriptions. <br><br>The journey to and from the everyday becomes a constant theme. The body moves and the journey’s end is undefined, unfinished even. Here the works occupy a site of physicality, a way of residing in the world that implies borders and confines, yet also the freedom of humanity. A kayak is taken, an excursion to an unknown place in Stockholm, Istanbul: a paddle trip through the Baltic, Danube and the Black Sea. A quality is present that manoeuvres things into well-wrought but delicate doubt – shifting between taughtness and mess, fact and fiction, leaving traces of dreams and reality.<br><br>Enqvist integrates elements that are usually given over to architecture, politics, philosophy, science and esoteric thought, so that art forms only one element among others in a complete thought process. Using film, performance, sound, photography, drawings and objects, his work occupies a place that is pervaded by a sense of elusiveness, a search for something that exists as much in the imagination as anywhere else.</h3> <h2>CURRENT EXHIBITIONS: </h2> <h3></h3> <h2>CLICK ON THE PROJECT TO YOUR RIGHT</h2> <h2>DIGGERS & DREAMERS </h2> <h3>Diggers and Dreamers is a long-term project. It consist of photographs, texts, sculptures, films, drawings and an artist book. </h3> <h2>JONAS AND FRODO</h2> <h3>WHO DID WHAT TO WHOM AND WASN´T THERE AT ALL<br /><br />When I saw Jonas Lövgren for the first time it struck me that he looked very much like someone else.It seems like we always tend to compare what we see with something already seen. Who decides what images we see and how we understand and judge them?<div><br />Even before the Lord of the rings films came out Jonas´s friends thought that he looked like Frodo. In fact, he looks like himself, but there is a likeness that is something other than surface. In Jonas own words ”who resembles whom is questionable”.<br /><br />Frodo is represented in most media; In musicals, radio, film, books, puppets, role-playing games and drawings. Today Jonas lives in the same suburb outside stockholm that i grew up in. I´m interested in telling a different story than the commercial one. What does it mean for jonas to exist? The poster and the video are meant to produce a certain kind of uncertainty and is tragic and comic at the same time.<br /><br />Hillel Schwartz wrote in her book The Culture of the Copy” something like this : we are condemned to become doppelgangers who desperately tries to restore the wholeness of a singular other, and at the same time we are driven to look similar to others at all costs by an economic system.<br /><br />My interests lay not in fiction nor in reality, but in to what extent we can stretch the limitations of fiction and its collective uses.<br /><br /><br /></div></h3> <h2>HENRY SOLUDDE</h2> <h3><br /> <br />First time I met Henry was in 1987 while sailing with my father in the Swedish archipelago of Stockholm. Dad and Henry had known each other since the 60s.We had interests in common, such as music and kayaking.<br /><br />In 2005, Henry and I met again. Prior to this my father had told me that Henry had become a sound therapist and also changed his name to ”Soludde” (sunny cape) after the place where he lived. In his crystal temple on Soludden, Henry had a collection of earth samples from various countries. Henry’s idea was that the essance of each country emits an individual frequency, and that he could tune in those frequencies. I met with him to talk about his work in relationship to my art. I carried out interviews and it turned out that the earth collection wasn’t yet complete.<br /><br />So I became inspired to begin my own earth collection -- a collection of soils, a collection of pieces of the earth from countries around the world. Maybe it was an attempt to understand Henry’s project. I got in touch with friends, and friends of friends that were travelling or living abroad and asked them to send me earth. Through conversations with Henry, I had understood that his vision was ultimately to blend together the earth he had collected. I also learned that Henry’s earth collection was not yet complete, so I worked to complete Henry’s collection. <br /><br /><br /></h3> <h2>STOCKHOLM- ISTANBUL</h2> <h3>Istanbul and Tirana Biennial 2003<br /><br />I have been interested in finding ways to shape ongoing processes and social relationships in relation to time and geography. Paddling between Stockholm and Istanbul can be seen as a gesture intended to express an idea. An interest to experience a physical reality that we are often lacking today, becoming more and more passive observers. In contemporary society optical illusion is converted to reality, capital to images, and escapist endeavours dominate. An attempt at a mobile perspective,becoming a mobile subject, on how we live and occupy space. <br /><br /><br /><br /></h3> <h2>KAIROS</h2> <h3>Dunkers Culture Centre 2003<br /><br />At the Dunkers Culture Centre there are a number of areas used as passages to and from the concert and theatre halls. I have chosen to place the interactive drapes in those passages, creating a choreography when someone passed the sensors. I have always liked presences that come as a total surprise. Entering another time  -kairos, kronos, werfremlung.<br /><br />The piece consists of two drapes made of spinnaker fabric on L-shaped frames with motors and infrared movement sensors that trigger a programmed choreography. The drapes create a room and obscure the horizon at varying rhythms and speeds.<br /></h3> <h2>Reasons for making eight wooden boxes in regard to everyday life</h2> <h3><div><span class="Apple-style-span" style="color: rgb(0, 0, 0); font-family: Times; font-size: 16px; "><div style="font-size: 13px; color: rgb(100, 105, 100); font-family: ’Century Gothic’, ’Times New Roman’, Arial, Verdana; text-decoration: none; "><br /></div><div style="font-size: 13px; color: rgb(100, 105, 100); font-family: ’Century Gothic’, ’Times New Roman’, Arial, Verdana; text-decoration: none; ">During the autumn of 2004, I started to build eight mobile wooden boxes, which I designed to store my things in. By the College´s spring exhibition I had decided to ask two other artists to use the boxes as functional objects. I wanted to try to make the cramped group show work better, to be invisible, to point to empty boxes as objects to fill with meaning. These boxes also had a relationship to other exhibition furniture such as shelves, podiums and screens. A great effort to do as little as possible.To be seen but not noticed. </div></span></div></h3> <h2>ECHOES NEVER STOP</h2> <h3>The Mejan Gallery 2004<br /><br />An attempt at a ‘mental sculpture’ using methods similar to those used in hypnosis. An audio loop of associative, open metaphors, to a certain extent place-specific, hinted towards allowing the listener to create an inner image without foregoing the sensory experience. A second part of the installation consisted of four parabolic speakers, each on its own wall, wich played  echoes and melodies in various frequencies. The speakers built by the artist created interference waves and bi-tones in the room. A way of defining and re-creating the room. <br /></h3> <h2>TELL TALES</h2> <h3><br />An open window creates draughts in the room. Yarn attached to the window  reacts to the changing wind.<br />Perhaps it can be seen as an expression of a desire for freedom, away from the object.No possesions.<br />The open window places  focus on the view over Frankfurt skyline. The window could be a sail, driving the pirate ship that the art college could be. <br /></h3> <h2>SLIDING ON THE...</h2> <h3><br />120 slides of 5 people who have been photographed from all 360 degrees. The slides loop through two slide projectors´round magazines. The projectors run at a top speed and create an animated effect of heads turning, creating various relationships with each other; The pictures  can only be shallow images of the the sitters´ personalities. Through the projectors´ sounds and flashing lights, I wanted to draw attention to their presence in the room, especially compared to projected film, and to point out their temporality.<br /></h3> <h2>SENSING, SURFING, SURFACE</h2> <h3>Kuvataide gallery, Helsinki, Finland 2002<br /><br />My starting point was the term ‘surface’, in memories and in surfing culture. On entering the gallery the observer meets a shop-like room with an inlaid varnished floor that hits the walls in waves. Cast slip-on shoes and surfboards.<div><br />In the second room hangs a mother-of-pearl varnished speaker sending out an audio loop inspired by a head wind rushing past your ears. The design of the speaker affects the quality of the sound, and due to  resonances the wiever cannot locate the origin of the sound. <br /><br />In the third room the wiever meets an 8 metre long, trumpet shaped tunnel (tube) made of a stretchy material.<br /><br />The entire installation points towards a physical presence, where every room can be used in a variety of ways. The floor points the attention to the room itself. The tunnel warps the scale of another room. Standing inside the bell-like speaker makes you easily loose the perspective. <br /> <br /></div></h3> <h2> I TRY EVERYTHING ONCE, IF I LIKE IT I TRY IT TWICE. 2003 </h2> <h3>This work studies an everyday act in a commercially organised situation through interviews, conversations, and a symbolic act. Buying the same packet of chewing gum ten times in the same supermarket. Is it possible to change a place or situation through repetitive irrational behaviour without representing a new kind of dogma?<div><br />Utopian ideas such as the Cooperative have lost power. Acceptance from the public is low, and adverts are in charge and control our dreams, ideals, and opinions.<br /><br />At Hemköp (one of Sweden’s biggest supermarket chains), everything is well organised, labyrinthine, and supremely colourful. It is as calm and quiet as a museum, with the exception of the jingles that are played on the monitors above the check-outs. Sale items attract the eye, to give the owners better margins. The food, in packets, with images on the outside. We place the food on the conveyor belt and we are very particular not to mix up our items with someone else’s. This is done with the little divider on the conveyor belt that still hasn’t been given a name.</div><div>  <br />There is almost no large scale cooking anymore, despite our part of the world being obsessed with new kitchen fixtures, cookbooks, and cooking programmes.<br /><br />An apparently equivalent everyday act becomes displaced. The option, the impulse, and the necessity have been removed. A rumour spreads.</div><div>  <br />The question is if I, with my twelve receipts, have procured a kind of deposit, which can be collected. Did I have a right to the eleven packets of chewing gum I hadn’t collected? Is the one packet I do have worth more? Maybe this act, registered by a barcode, will just be noted as a future surplus in the check-out. <br /><br /><br /><br /></div></h3> <h2>ZOMBIE WALK</h2> <h3><p class="MsoNormal">A Zombie walk is a performance documented on film where the artist walks as a zombie through Stockholm.</p><p class="MsoNormal">The soundtrack is paranormal music recorded 1968 by <span lang="EN-GB" style="mso-ansi-language:EN-GB">Affolter-Zinner who got contacted through the spiritualist medium Seutmann, passing on some technical instructions for improving the reception of a television set, from Thomas Alva Edson (1847-1931) which in turn worked on the development of an aparatus to communicate with the dead.</span></p><p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language:EN-GB">The artists starting point is the increased popularity of the Zombie in popular culture which could be seen as a critique of our society.The zombie is currently understood as simultaneously powerless and powerful, slave and slave rebellion.</span></p><p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language:EN-GB">One could say that the zombie has transitioned from a representation of the laboring, enslaved colonial body, to a dual image of capitalist enslavement: the zombie now represents the new slave, the capitalist worker, but also the consumer, trapped within the ideological construct that assures the survival of the system.</span></p><p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language:EN-GB">We can see the organization of a consumer environment for the immediate satisfaction of anticipated desires where entire populations move zombie-like and intellectually silent beneath exaggerated images of their unconscious drives.The Zombie also reveals what we fear the most namely losing one’s consciousness- “the self”<span style="mso-spacerun: yes">  </span>and become a part of the monstrous horde. Ultimately the zombie reflects our own mortality.</span></p></h3> <h2>OVERHEARD</h2> <h3>OVERHEARD - CONTRACT & DRAWINGS<div><br /></div><div><p class="MsoNormal" style="margin-bottom:16.0pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt;font-family:Verdana"><i>Overheard</i></span><span style="font-size:13.0pt;font-family:Verdana"> or<i> the illustrators contract </i></span><span style="font-size:13.0pt;font-family:Verdana">(2007) in collaboration with Maria Karlsson, Alison Gerber we hired the illustrator Åsa Harvard. Based upon previous performances of each of us we asked Åsa to make coherent illustrations out of our descriptive texts.<o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom:16.0pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:13.0pt;font-family:Verdana">In addition we wrote a contract to clear the ownership and authorship and declare what constituted the art piece and what/how it could be sold and shown again.<o:p></o:p></span></p><span style="font-size:13.0pt;font-family:Verdana;mso-ansi-language:SV;mso-fareast-language:SV">Insted of a direct experience of the performance the experience was transformed to be the illustrations made by 3rd part. The piece was rather transfered to a legal contract than representing an original. The project brought up questions about illustration as very subjective.The viewers belief to look at original drawings was disrupted by the contract thus shifting the content of the piece to a conceptual level.</span></div></h3> <h2>CLICK ON A PERFORMANCE TO THE RIGHT</h2> <h3>CV-LOVE ENQVIST <br /><div><br /></div><div><div><br /></div><div>SELECTED EXHIBITIONS AND PROJECTS</div><div><br class="webkit-block-placeholder" /></div><div>SOLOSHOWS:</div><div>2010 "A moment of innocence". Rogaland Kunstsenter. Stavanger. Norway</div><div>2007 Diggers and Dreamers. Uppsala Art Museum.Uppsala.Sweden<br /></div><div>2005 "EARTH.Two collections.Two stories".Mejan Gallery. Stockholm. Sweden<br class="webkit-block-placeholder" /></div><div>2004 "Echoes never stop"-Mejan Gallery. Stockholm. Sweden<br class="webkit-block-placeholder" /></div><div>2003 "Stockholm-Istanbul".part1,2. Maritime Museum. Stockholm. Sweden<br class="webkit-block-placeholder" /></div><div>2002 "sensing,surfing,surface". Kuvataide gallery. Helsinki. Finland <br class="webkit-block-placeholder" /></div><div><br class="webkit-block-placeholder" /></div><div>GROUPSHOWS AND PERFORMANCES</div><div>2011 LIVING. Louisiana Art Museum. Humlebaek. Denmark</div><div>2011 A Functional Dreamworld. Art Cube. Jerusalem. Israel</div><div>2010 The Imaginarium. A theater for constructed ecologies. Berlin. Germany</div><div>2010 Hypernatural. Stilwerk. Berlin. Germany</div><div>2010 Radical Adults. The forgotten bar project. Berlin. Germany</div><div>2009 Göteborg International Biennial-What a wonderful world.Sweden</div><div>2009 Fotografi:Nu 09. Photo Biennial. Stockholm and Brussels</div><div>2009 Labyrint 09.Writings and observations. Botkyrka Konsthall. Sweden</div><div>2009 Anti realism 2-3. Gallery Adéle-C. Rome. Italy and Besancon. France</div><div>2008 Anti realism 1. Norrköping. Sweden</div><div>2008 "Tell a Friend". Bonniers Konsthall. Stockholm. Sweden<br /><div>2007 "Overheard".Gallery Box. Gothenburg. Sweden<br />2007 Navinki festival. Minsk. Bellarussia<br />2006 Graduate show."Frodo" Royal College of Art. Stockholm.Sweden<br />2006 "Goods to declare"." Henry Soludde" . Tel Aviv.Israel<br />2005 Performance."Marine Aquarelle". Wetterling Gallery. Stockholm. Sweden<br />2005 Performance. La-bás. Helsinki, Finland<br />2004 Liverpool Biennial. Magnetic North. UK<br />2004 Rundgang. Staedelschule. Frankfurt. Germany<br />2003 Leena Kuomola gallery. Helsinki. Finland<br />2003 "Stockholm-Istanbul."within the frame of the Istanbul biennial. Turkey<br />2003 “Utopos“. Tirana-biennial. Tirana. Albania<br />2003 “Invasion“. Dunkers culture center. Helsingborg. Sweden<br />2002 "Electronic hot dog kitchen", performance. Frankfurt. Germany<br />2002 Cétinje-biennale. Cétinje. Montenegro<br />2002 “The Situationists“. Royal Academy. Stockholm. Sweden<br />2001 "Xanadu". Gallery sculptor. Helsinki. Finland <br />2001 Svenska Bilder Gallery. Stockholm. Sweden <br />2000 “Light dialogue“. Helsinki. Finland <br /><br />REPRESENTED <br />The Swedish art council </div><div>Nifca.Public Comissioned work <br /><br />SELECTED PUBLICATIONS</div><div>Cat. Living. Louisiana Art museum 2011</div><div>Diggers and Dreamers. Oyster Press. 2009</div><div>Cat.What a wonderful world. Gothenburg Biennale 2009</div><div>Dharavi- documenting informalities, ICE. 2008</div><div>Cat. Anti-realism. 2008</div><div>Cabinet Magazine-Issue 30. Paletten-Brasil Issue. Re-public magazine. 2008</div><div>EARTH-collected footnotes 2005</div><div>RECORDING N° ONE 25´12´´.(Coll proj on vinyl) Portikus 2003</div><div>Cat. Tirana Biennale 2003.</div><div>Cat. Gasthof. Portikus Frankfurt. 2002</div><div><br /></div><div>GRANTS</div><div>Swedish Art Council. Travel Grant 2011</div><div>Two year working grant. Swedish Art Council.2009-10<br /><div style="">One year working grant. Swedish art Council. 2007</div><div style="">Swedish Art Council. Travel Grant 2006</div><div style="">Research and development in the arts (KU) 2003,05<br style="" />Ida Unman 2005 <br style="" />Swedish-American Foundation 1995</div><div style=""><br /></div><div style="">SCHOOLS<br />2001-06 MFA. Royal University College of fine arts. Stockholm. Sweden<br />2004-07 PGC. Art and Architecture.Royal University College of art.<br />2003-04 Staedelschule. Frankfurt. Germany<br />2000-01 Academy of fine arts. Helsinki. Finland<br />1998-00 Gerlesborg Art school. Stockholm. Sweden<br />1996-97 Basis Art school. Stockholm. Sweden<br />1994-95 Linfield College. Oregon. U.S.A<br /></div></div></div></div><div style=""><br /></div><div style="">OTHER</div><div style="">Co founder of Oyster Press. Publishing.</div><div style="">Public playground project in Botkyrka. Sweden. </div></h3> <h2>PRESS UPPSALA ART MUSEUM DIGGERS & DREAMERS 2007-08</h2> <h2>GÖTEBORG INTERNATIONAL BIENNIAL INTERVIEW</h2> <h3><p>LOVE ENQVIST<br /><br /><br /><font color="#034da4">mobil</font> +46(0)706-860195<br /><img alt="" src="http://www.loveenqvist.se/rwdx/images/list/71.gif" border="0" /></p></h3> <h2>Contactform</h2> </body>