COPENHAGEN.- NILS ST芌K will return to Enter Art Fair with a wide-ranging presentation at Booth 37, bringing together 14 artists whose practices move between painting, sculpture, photography, installation and conceptual art. On view August 28–30, the presentation pairs established figures with emerging voices and draws connections between material experimentation, political critique, identity, perception and the ways contemporary artists rethink the objects and images that surround us.

The presentation includes works by Ikram Abdulkadir, Gardar Eide Einarsson, Dar韔 Escobar, Davide Hjort Di Fabio, FOS, Mads Gamdrup, Michael Kvium, Runo Lagomarsino, Rebecca Lindsmyr, Violeta Maya, Lea Porsager, Tove Storch, SUPERFLEX and Eduardo Terrazas.

Rather than organizing the booth around a single medium or generation, NILS ST芌K brings together practices that approach contemporary life from markedly different directions. Some artists begin with intimate bodily gestures or personal histories, while others examine political power, mass culture, ecological change and the structures through which meaning is produced.

Among the younger artists in the presentation is Swedish-Somali photographer Ikram Abdulkadir, whose images grow out of close relationships with friends, sisters and members of her community. Working within a documentary tradition, Abdulkadir focuses on everyday urban and domestic environments, using photography to explore intimacy, sisterhood, spirituality and belonging. Her approach places trust and shared experience at the center of image-making.

Material transformation is equally important in the work of Lea Porsager, whose practice crosses science, feminism, politics and esotericism. Her ICUnT works reconsider the historical function of religious icons as thresholds between visible and invisible worlds. By connecting spiritual ideas with physical matter, Porsager proposes spirituality less as an escape from the material world than as a heightened awareness of the forces and relationships operating within it.

Mexican artist Eduardo Terrazas, born in 1936, represents another approach to the relationship between systems and material. Drawing on geometric structures and techniques inspired by Huichol yarn paintings, Terrazas constructs intricate compositions using colored wool attached to wooden panels coated with Melipona bee wax. His Possibilities of a Structure series turns symmetrical frameworks into almost limitless variations, connecting geometry with ideas about the cosmos and fundamental physical forces.





For Spanish artist Violeta Maya, painting becomes an unfolding process rather than a fixed composition. Working primarily wet-on-wet on unprimed canvas, she allows pigments to spread, absorb and interact in ways that cannot be completely controlled. Her atmospheric paintings register states of movement and transformation, balancing deliberate gestures with the unpredictable behavior of the materials themselves.

That tension between control and chance also appears, in a very different form, in Tove Storch’s sculptural practice. Storch has long worked with textile structures, particularly transparent materials placed under varying degrees of tension. Her 2026 Untitled work magnifies the logic of weaving: threads suspended between wooden supports inside a transparent plexiglass structure sag under their own weight, transforming simple linear elements into what resembles a three-dimensional drawing in space.

The body leaves more direct traces in the work of Davide Hjort Di Fabio. His Skincare Routine sculptures translate familiar acts of touching, rubbing and smoothing the face into gestures performed on clay. Rather than depicting the human figure, the sculptures record its movements, turning an everyday ritual of self-care into a tactile abstract surface.

Other works at Booth 37 confront the political meanings embedded in familiar objects.

Guatemalan artist Dar韔 Escobar, for example, has spent decades recontextualizing ordinary consumer goods and industrial objects. His Crash series begins with automobile bumpers recovered from junkyards after collisions. Escobar preserves their dents and distortions before having the metal chromed, transforming evidence of impact into polished sculptural objects. The oversized bumpers also carry associations with the SUVs, tinted windows and security culture connected to wealth and privilege in Guatemala, turning damaged car parts into reflections on inequality and power.

Runo Lagomarsino approaches politics through language and historical memory. His Kill All Lies, All Lies Kill, Lies Kill All revisits a notorious 1974 incident in which Tony Shafrazi spray-painted Picasso’s Guernica at the Museum of Modern Art in New York as an antiwar gesture. Lagomarsino rearranges and layers the phrase associated with that intervention, using its instability to examine truth, protest, deception and the political life of language.

Language stripped of its original setting also drives Gardar Eide Einarsson’s work. His speech-bubble pieces appropriate fragments from comic books while removing the characters and scenes that once gave them context. What remains looks immediately recognizable yet becomes psychologically and politically uncertain. In Townships, from 2012, an isolated threat of violence gains a disturbing new intensity precisely because viewers are denied the narrative that originally surrounded it.

Questions about the future of human structures are approached more literally by Danish collective SUPERFLEX. Its As Close As We Get series imagines sculpture simultaneously as an artwork for human viewers and potential habitat for marine life. Designed with irregular planes and extensive surface areas, the modular forms anticipate a future in which rising seas could turn human architecture into underwater infrastructure occupied by fish and other organisms.

Painting remains a significant part of the presentation, but several artists use the medium to question what looking itself involves.

Mads Gamdrup’s monochrome paintings are built from layers of hand-ground pigment and linseed oil. Their seemingly uniform fields reveal variations in density, brushwork and reflected light when viewed closely. Emerging from Gamdrup’s long engagement with photography, the paintings reduce imagery to color itself, shifting attention toward perception and the physical experience of seeing.

Rebecca Lindsmyr, meanwhile, uses painting to examine the instability of identity. Her recent works incorporate repeated versions of her handwritten signature, turning what should be an unmistakably personal mark into something increasingly detached and ambiguous. In skin-deep vowel, layers are built up and partially blocked, allowing the painting to emerge through interruption rather than resolve into a complete image.

At another generational point in the booth, Michael Kvium’s Sky Piece series offers expansive atmospheric paintings interrupted by the stark silhouettes of bare birch branches. Originally begun for his 2007 exhibition Silent Eye at Ordrupgaard and later revisited, the works are quieter than much of Kvium’s more theatrical imagery but retain his longstanding interest in mortality, time and the uneasy boundary between beauty and absence.

Together, the works assembled by NILS ST芌K resist a single overarching theme. Instead, Booth 37 operates through encounters: between the bodily and the political, handmade materials and industrial objects, private rituals and public histories, ancient techniques and speculative futures.

That breadth reflects a presentation in which contemporary art is approached less as a unified language than as a field of competing perspectives—one where a strand of wool, a damaged bumper, a handwritten signature, a photograph of a friend or a structure designed for future fish can each become a way of reconsidering how people inhabit the world.

NILS ST芌K — Enter Art Fair 2026
Booth 37
August 28–30, 2026