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Enia Art

Informazioni di contatto, mappa e indicazioni stradali, modulo di contatto, orari di apertura, servizi, valutazioni, foto, video e annunci di Enia Art, Galleria d'arte, Rome.

04/09/2026

By 2002 Emin had not shown in a British public gallery for five years. Her fame had outrun her work: everyone knew the bed, far fewer knew the drawings. Modern Art Oxford would give her the room to answer for herself that November. Television arrived nine months earlier.

Handed a line written for a broadcaster, she refused to treat it as a caption. The words climb across the cloth in her unsteady capitals, and below them runs a composition drawn along a single ground line, a dog holding a bone in its teeth: the oldest emblem there is for a mind that has taken hold of something and will not let go.

The phrase went on to introduce the channel for years, spoken in the even voice of an institution. On this square of cotton it never stopped being hers.

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• Everybody Needs a Place to Think, 2002
• 54 × 54 cm
• Screenprint in Prussian blue on cotton handkerchief
• Edition of 1,500
• Signed and dated within the image

02/09/2026

The first programme BBC Four ever broadcast, on the evening of 2 March 2002, was a film about Michael Landy, the artist who had spent two weeks of the previous year publicly destroying everything he owned. A channel that opened on that note was making its allegiances very clear.

Two nights earlier, the same conviction had shaped the gift waiting for the guests. The BBC had commissioned an artwork from Tracey Emin, then thirty-eight, two years on from her Turner Prize nomination and known across the country as the woman who had exhibited her own bed.

Cloth was the obvious thing to ask her for: she had been sewing for a decade, from the appliquéd blankets to the tent lined with names, and a handkerchief was already her territory.

Fifteen hundred VIP guests, fifteen hundred handkerchiefs. The invitation carried her handwriting too, ending with a warning nobody else would have written: bring it with you, otherwise you are not getting in. At the door, the cards were collected and kept.

What she drew on the cloth, in our next post.

Credits in the comments.

30/08/2026

The body on this sheet is losing its own outline. Emin drew it months after A Fortnight of Tears, the exhibition she built at White Cube in 2019 around her mother’s death, and it carries the language of that period at its highest pitch: an uninhibited energy, a gestural figuration at once freer and more assertive.

Her own life is her primary material, and the body she draws is never observed from outside; it is the instrument the feeling passes through, which is what has long placed her beside Käthe Kollwitz, Edvard Munch and Egon Schiele.

Everything in the composition is coming apart, and Emin knows it. The title she wrote on the front in pencil is not a description of what she drew. It is her answer: No Surrender.

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• No Surrender, 2019
• 69 × 86 cm
• Four-colour lithograph on Somerset Velvet Warm White 400gsm
• Edition of 75
• Hand-signed, numbered, dated and titled by the artist on the front

25/08/2026

The first impression usually stays with the artist: the sheet closest to the act of making, the proof that everything has come right, and almost never allowed to leave the studio.

Munch gave his away. At the lower right, in his own hand, he named the work and set down a dedication that says the rest: “E M // The Princess of Ilmenau / first impression / most warmly, from E. Munch”.

From an artist remembered above all for his solitude, it is a startling gesture of tenderness, and it leaves this sheet the only one of its kind.

The face he parted with is Munch at his most concentrated: half apparition, half portrait, meeting the viewer with a gaze that looks inward as much as out, in a line nervous and vibrant yet entirely held.

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• The Princess of Ilmenau, 1906
• 24.5 × 16.8 cm
• Etching and drypoint in brown ink on wove paper
• Unique work, first proof
• Hand-initialled and inscribed by the artist in the lower right, signed within the dedication

22/08/2026

By 1905 Munch had been in motion for years, from one German city to the next, and it had begun to cost him. In late October he stopped. He took a cure at Elgersburg, in the wooded hills of Thuringia, and stayed in that quiet country until the following March.

From there he made only short journeys: Weimar, Jena, and a small town called Ilmenau. On the wooded slope above it, more than a century before, Goethe had written one of the most quoted lines in German poetry: over all the summits, there is peace.

Munch had come looking for exactly that. What he found was a face. She took the name of the town. We present her in our next post.

Credits in the comments.

$Johnson unveiled his Broken Men in 2018: figures assembled from fractured ceramic and mirrored tile, with squared heads,...$

20/08/2026

Johnson unveiled his Broken Men in 2018: figures assembled from fractured ceramic and mirrored tile, with squared heads, hollowed eyes and colour flashing across the cracks.

“They are broken and we cannot ‘unbreak’ them”, the artist has said; yet every work in the series is an act of reassembly, of holding the pieces together.

This edition translates that language onto paper: twenty-seven colours, laid down splinter by splinter.

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• Broken Men, 2019
• 139.7 × 106.7 cm
• 27-colour silkscreen with mylar collage
• Edition of 51
• Hand-signed by the artist

17/08/2026

In the spring of 2020, confined with his family to the basement of a Long Island house with barely any materials to hand, Johnson turned his long-running Anxious Men red for the first time. Asked why, he gave the simplest of answers: red looked like what everyone was feeling.

Untitled Large Anxious Red carries that moment onto a grand scale, in an experimental technique conceived to preserve the speed and immediacy of the artist’s hand. An impression of this edition is held by the Philadelphia Museum of Art.

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• Untitled Large Anxious Red, 2021
• 121.9 × 91.4 cm
• Silkscreen with hand-applied pigment
• Edition of 51
• Hand-signed by the artist

11/08/2026

Every other surface came to him. This one he was already standing on.

Slawn was skating long before he was painting. He spent his late teens working at Wafflesncream in Lagos, the first shop in Nigeria to sell boards, and Motherlan, the label he built there with two friends, grew out of that world. When Slawn paints a deck, nothing is being borrowed.

But not every board he has touched is the same thing. Set against the printed decks and the rapid marker drawings that came later, this one is unmistakable: three panels painted entirely by hand in spray and acrylic, the composition carried across all three and resolved to a degree he rarely allows himself.

Unique, unrepeatable, and made on the one surface in his practice that was his before the art world was.

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• Untitled, 2024
• Overall 60 x 80 cm; each 20 x 80 cm
• Spray paint and acrylic on skate decks
• Unique work, set of three

09/08/2026

The first shop in Nigeria to sell skateboards opened in Lagos, and a teenager called Olaolu Akeredolu-Ale was working behind the counter. Today he is known simply as Slawn.

Wafflesncream was less a shop than a headquarters. He spent his late teens there and, with two friends, built a skate label called Motherlan out of that one room: boards, clothes, films, an entire scene assembled from nothing.

Then Virgil Abloh, the most influential designer in fashion at the time and head of menswear at Louis Vuitton, started wearing their clothes and telling people about them. Slawn still says his career began there.

Painting came later, picked up out of boredom in a London flat during the 2020 lockdown. What followed is hard to believe. Sotheby’s in 2022. In 2023, at twenty-two, the youngest artist ever and the first born in Nigeria to design the BRIT Awards statuette.

In 2024 the Football Association asked him to reimagine the FA Cup, something no artist had ever been invited to do. Then Nike, who gave him a sneaker of his own, the first Nigerian-born creative to receive one, and after that the artwork for Nigeria’s World Cup kit.

He is twenty-five.

He has been asked to redraw some of the most protected objects in British culture. But there is one object he never needed an invitation to touch.

We present it in our next post.

Credits in the comments.

05/08/2026

Noj Barker is on the cover of The Human Thread.

Its latest issue, “The Gravity of Colour”, follows the path that brought him from the ballet stage to the language that is now unmistakably his: the dot, repeated into rhythm and built into worlds. A dancer who came to painting as a return, Barker gives movement a surface and colour a weight of its own.

The recognition now gathering around his work only confirms what his collectors have long known.

DM us to explore the world of Noj Barker.

Noj Barker, THT_ae MAG

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