• Enari Gallery is thrilled to announce its debut in Untitled Art 2025 with a selection of works by represented artists Johanna Bath and Dimitris Tampakis. The exhibition is part of the Nest section, curated by Jonny Tanna, founder and director of Harlesden High Street and co-founder of Minor Attractions in London, UK. Founded in 2012, Untitled Art is a premier contemporary art fair held annually on the sands of Miami Beach. In 2025, the fair continues to provide an inclusive platform for discovering contemporary art, emphasising collaboration across every aspect of the event. This year, Untitled Art, Miami Beach will present 157 exhibitors, including galleries and non-profit organisations from 29 countries and territories. The 2025 edition brings together participants representing over 70 cities worldwide.
     
    Bath and Tampakis exemplify the fair’s commitment to showcasing diverse artistic practices that resonate across cultures and time. Johanna Bath’s work is driven by the concept of time and its emotional ties, memory, transience, and fleeting moments. At the same time, Dimitris Tampakis’ pieces are born from a balance between meticulous preparation and spontaneous decision-making, embodying the duality of chaos and order.

  • ARTISTS
  • DIMITRIS TAMPAKIS

    DIMITRIS TAMPAKIS

    Dimitris Tampakis is an artist and designer with a Master’s degree in Visual Arts from the Athens School of Fine Arts (2019-2021) and a degree in Product and Systems Design Engineering from the University of the Aegean (2009-2015). Since 2018, he has been a co-founder of the art group un.processed.realities, which engages in art and design in Athens and Tinos. In 2021, he collaborated with Philip Raskovich on the FUGA project at the ETOPIA Center for Art and Technology in Zaragoza, Spain, and in 2022, he participated in the Bajaramovic Unlimited hosting program in Athens.
     
    His work explores a tension between vitality and numbness, reflecting the duality of being human in a desensitised world. Drawn to the space between what feels instinctively alive and what has been dulled by modern life, Tampakis creates to uncover moments of raw, existential clarity. Fascinated by the fleeting and the unsettling, the Call of the Void, his practice seeks to awaken something primal that still stirs beneath the surface.
  • JOHANNA BATH

    JOHANNA BATH

    Born in Warendorf, Germany (1980), Bath moved to Hamburg after her high school diploma in 1999 to get a professional training in Illustration Design at Bildkunst Akademie, Hamburg. She finished with a degree in 2002 but felt the need to deepen and expand her artistic skills and applied for Design Studies at the Hochschule für Angewandte Wissenschaft, Hamburg (HAW). She graduated with a diploma in Design in 2007 with a strong focus on painting.
     
    Bath's practice is characterised by a continual shift between formats, moving fluidly from large works to medium and small pieces, and then back again. This process allows for an ongoing exploration of recurring motifs and multiple approaches to the central theme of time. To further emphasise the melancholic feel of her work, she gravitates toward a washed-out colour palette. Although the pieces can be considered colourful, the tones remain muted and faded, reminiscent of photographs bleached by light.  This visual fading alludes to the notion of a “loss of the present.”

  • Dimitris Tampakis

    Entrustment, 2025 etching on zinc & inox frame
    54 x 41 cm
    21 1/4 x 16 1/8 in
  • Tampakis explains that his Untitled Miami 2025  installation explores what endures when the retual fades away, how the honorable confrontation is transformed into trace, into an uninhabited, silent dialogue. Honor, risk and participation become ethical principles: the acceptance of danger, the tributes simply to taking part, the sacrifice even when the innocent is defeated. The sound of the clash is imprecreptible to others, audible only by the opponents themselves, a kind of secret pact.
  • Johanna Bath, Gravity, 2025 (Larger version of this image opens in a popup).
    Johanna Bath, folklore, 2025 (Larger version of this image opens in a popup).
    Johanna Bath, Light I (Caroline), 2025 (Larger version of this image opens in a popup).
    Johanna Bath, gesture, 2025 (Larger version of this image opens in a popup).
    Johanna Bath, Lapse, 2025 (Larger version of this image opens in a popup).
    Johanna Bath, rosehip, 2025 (Larger version of this image opens in a popup).
    Johanna Bath, Two II, 2025 (Larger version of this image opens in a popup).
    Johanna Bath, Gravity, 2025
  • Speaking about her new body of work for Untitled Miami, Bath notes that viewers are positioned as witnesses to an intimate moment, an isolated fragment of time. The tightly cropped composition reinforces this feeling, offering only a suggestion of a larger narrative that remains both concealed and reachable. The ambiguity persists. A sense of softness permeates this work; it's light and airy, yet accompanied by a pronounced feeling of melancholy.
  • SKIN & CLOTHING
    Johanna Bath, hem, 2025, Oil on canvas, 70 x 60 x 4.5 cm

    SKIN & CLOTHING

    In this new series, Bath explores themes of seduction, sensuality, and softness through the female gaze, occasionally hinting at eroticism, yet always from a distinctly female perspective. The work is intended to resonate particularly with a female audience. The pieces are delicate and restrained, never intrusive, employing a careful, teasing approach that highlights the subtle thrill of sensuality often overlooked in male-dominated imagery. Bath seeks to create an antidote to the prevalence of overtly erotic or flesh-focused representations, emphasizing instead the elegance, tension, and daintiness inherent in the female gaze, the body, and the interplay between skin and clothing.
  • Presumption of Innocence
    Dimitris Tampakis, Presumption of Innocence, 2025, etching on zinc & inox frame, 54 x 41 cm

    Presumption of Innocence

    In this installation, artist Dimitris Tampakis brings together three metallic mobiles, sharp like weapons, and three oxidised-on-metal photographs, forming a narrative around ancient forms of duelling. Here, the duel is approached as a dialogue, an encounter reminiscent of Platonic conversations, where two figures share the same “weapons”: reason, speech, and defence. The work reflects on what is left behind when ritual dissolves how the noble moment of confrontation shifts into an image, a residue, a quiet dialogue without participants.

  • CHRAMIDES SCULPTURES

    In the series of sculptures “Charmides”, Dimitris Tampakis explores this very idea, presenting the encounter as a sculptural embodiment of philosophical tension and ritualised intellectual conflict. Charmides is precisely a contest between two figures armed with the same ‘weapons’ (speech, reason, counter-arguments). There is no physical violence, but an intellectual duel that functions like a ritual.
    Dimitris Tampakis, Charmides D.I., 2025 (Larger version of this image opens in a popup).
    Dimitris Tampakis, Charmides D.II., 2025 (Larger version of this image opens in a popup).
    Dimitris Tampakis, Charmides D.III., 2025 (Larger version of this image opens in a popup).
    Dimitris Tampakis, Charmides D.IV., 2025 (Larger version of this image opens in a popup).
    Dimitris Tampakis, Charmides D.I., 2025
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