With <a href="https://www.enth-projects.com/?utm_source=chatgpt.com">Enth Projects</a>, Shem Jacobs launches a new platform dedicated to discovery, connection, and collecting, sharing with L’Officiel his vision of a borderless contemporary art world, where physical and digital experiences come together.

With the launch of Enth Projects, British-Polish curator and cultural strategist Shem Jacobs introduces a new curatorial platform that connects artists, collectors and institutions through carefully considered online releases, nomadic exhibitions and cultural collaborations. Rather than replacing the traditional gallery model, Enth Projects proposes another way of experiencing contemporary art—one that is more flexible, transparent and globally connected. We spoke with Jacobs about the evolution of collecting, the changing role of the curator and why inspiration still begins with human connection.<o:p></o:p>
L’OFFICIEL:&nbsp;Enth Projects has just launched. What led you to create this platform now?<o:p></o:p>
SHEM JACOBS: Looking back, I don't think there was a single defining moment, as much as a gradual accumulation of experiences. Over the past fifteen years I've worked across institutions, commercial galleries, luxury brands, independent projects and advisory, often moving between sectors that don't naturally speak to one another. Rather than seeing those experiences as separate chapters, I began to realise they were all pointing towards the same question: what might a more connected and fluid model for engaging with contemporary art look like?<o:p></o:p>
I've always been less interested in fitting into a single role than in creating meaningful connections—between artists and collectors, exhibitions and editorial, physical experiences and digital ones. The future of the art world, I believe, lies in embracing that kind of fluidity rather than fixed definitions. Not because traditional models have become irrelevant, but because artists and audiences increasingly move between them with ease.<o:p></o:p>
Enth Projects grew from that conviction. I wanted to build a platform that could bring together exhibitions, editorial, online releases and cultural collaborations within a single framework At its heart, Enth is about creating thoughtful encounters between artists, audiences and collectors, wherever they are
L’O:&nbsp;The name Enth comes from the Greek word entheos, to be inspired from within. Why was that concept so important to the identity of the project?
SJ: I've always believed that the most meaningful encounters with art begin internally. You can't predict which work will stay with you or why. Sometimes it's an image, sometimes a conversation with an artist, sometimes an exhibition you find yourself thinking about years later. Those experiences gradually shape the way you see the world, often long before you fully understand why.<o:p></o:p>
When I came across the word entheos, it immediately resonated because it gave a name to something I'd been thinking about for a long time. It describes that quiet internal movement that art can provoke. It isn't about spectacle or immediacy; it's about the way a work continues to unfold long after you've left the gallery or closed the book.<o:p></o:p>
That idea has become the foundation of Enth Projects. Every exhibition, editorial feature or online release begins with the same ambition: to create the conditions for that kind of encounter. I hope people come away having discovered an artist they hadn't encountered before, looked at a work differently, or simply found themselves curious enough to continue exploring. To me, that's where a meaningful relationship with art begins.<o:p></o:p>
L'O: You describe Enth Projects as neither a gallery, nor an auction house, nor simply an online marketplace. If you had to define it in one sentence, how would you describe it?<o:p></o:p>
SJ: I've never felt the need to define Enth Projects by a single category because that's not how I see contemporary art today. I'd describe it as a contemporary curatorial platform that brings together exhibitions, editorial, online releases and cultural collaborations to create more meaningful ways of discovering, experiencing and collecting art. Ultimately, Enth Projects isn't defined by a single format, but by its commitment to creating thoughtful encounters with contemporary art.<o:p></o:p>
L'O: Throughout your career you've worked across New York, London and Shanghai. How have these very different cultural landscapes shaped your approach to curating?<o:p></o:p>
SJ: Throughout my career I've had the opportunity to work across very different parts of the art world—from institutions and foundations to advising luxury brands on cultural strategy and collection building, alongside developing independent exhibitions and working directly with artists and collectors. Each of those environments has its own priorities, pace and way of thinking, and moving between them has shaped how I approach every project.<o:p></o:p>
I've never been particularly good at staying in one lane, which has probably served me quite well. The art world can be quite segmented, but I've always been drawn to the intersections—between artists and collectors, galleries and institutions, commercial and non-commercial contexts, and ultimately between a work of art and the person who will live with it.
<o:p></o:p>Working across Europe, Asia and the United States has taught me that cultural context profoundly shapes how people engage with art. Every place brings its own perspectives, priorities and ways of building relationships, and understanding those nuances has been an important part of my work. At the same time, I've found that the qualities which underpin lasting relationships are remarkably universal. Trust, transparency, consistency and respect matter regardless of geography.

L'O: We often hear that the art world is changing. From your perspective, what are the biggest shifts taking place today in the way people discover and collect contemporary art?<o:p></o:p>
SJ: The biggest shift is that discovery is no longer tied to a single place or moment. People might first encounter an artist through an exhibition, an essay, a recommendation from a friend, while travelling, or through a thoughtfully curated digital platform. Those experiences increasingly build on one another rather than existing in isolation.<o:p></o:p>
As a result, collecting has become a much more considered process. People aren't simply looking to acquire an artwork; they want to understand the artist, the ideas behind the work and the wider context in which it sits. That desire for context creates a more informed and personal relationship with art.<o:p></o:p>
Technology has certainly expanded access, but I don't think that's the most interesting change. What's really changed is behaviour. People are more curious, more independent in how they research, and more comfortable moving between physical and digital experiences. Rather than replacing one another, those different points of encounter have become part of the same journey.<o:p></o:p>
L'O: Enth Projects presents artworks through carefully curated first-come, first-served releases rather than traditional exhibitions or fairs. What advantages does this model offer both artists and collectors?<o:p></o:p>
SJ: One of the things I value most about the online model is its flexibility. Because Enth Projects isn't built around a fixed roster of represented artists, I'm able to collaborate with artists on a project-by-project basis and introduce a much broader range of practices. It creates space for unexpected conversations between artists working across different generations, geographies and disciplines, while giving each release its own distinct identity.<o:p></o:p>
It also allows the programme to reach a genuinely international audience. Someone in New York, Warsaw or Tokyo can engage with the work in exactly the same way, wherever they are. Rather than being limited to a particular place or opening night, the presentation remains accessible, allowing people to return to it, spend time with the editorial content and explore the works at their own pace.<o:p></o:p>
For collectors, I think it offers a more direct and transparent way to discover and collect contemporary art. Each release is accompanied by original editorial content that provides greater context around the artists and their practices, making the experience about more than simply viewing available works. New releases are introduced every few weeks, creating an evolving programme with something new to discover throughout the year while remaining grounded in thoughtful curation rather than volume.<o:p></o:p>
L'O: Digital platforms have transformed almost every creative industry, yet many collectors still believe that buying art requires a physical gallery experience. How do you see the relationship between digital and physical spaces evolving?<o:p></o:p>
SJ: Perhaps this isn’t a question of one replacing the other. They fulfil different roles within the same journey of discovering and collecting art.<o:p></o:p>
There are aspects of an artwork that can only be experienced in person—its scale, materiality, presence and the atmosphere created by an exhibition. Those experiences remain irreplaceable and, in many ways, become even more valuable because of their physicality.<o:p></o:p>
What digital platforms offer is something different. They remove geographical barriers, extend the life of a project beyond the exhibition itself, and make it possible for people to engage with artists and their work wherever they are. Editorial content, films, interviews and thoughtfully curated online presentations all allow that relationship to deepen over time rather than ending when an exhibition closes.<o:p></o:p>
I think the future lies in recognising that these experiences complement one another. A lasting encounter with an artwork might begin online, continue through a physical exhibition, and then return to a digital platform for further exploration. It's no longer about choosing between physical and digital, but about creating a richer ecosystem in which each strengthens the other.<o:p></o:p>
L'O: Beyond exhibitions, Enth Projects also offers curatorial consultancy and collection development. When advising collectors, what qualities do you encourage them to look for beyond market value?<o:p></o:p>
SJ: The first thing I encourage is curiosity. You don't need to have all the answers before you begin collecting—in fact, I think the most rewarding collections often grow out of genuine curiosity rather than certainty.<o:p></o:p>
Of course, it's important to understand an artist's practice, career and wider context, but I also encourage collectors to pay attention to their own response. Which works continue to stay with you? Which ones do you find yourself returning to? The artworks that become most meaningful are often those that continue to reveal something new over time.<o:p></o:p>
Ultimately, I see collecting as the beginning of a long-term relationship rather than a transaction. A thoughtful collection reflects not only the artists within it, but also the curiosity, values and perspectives of the person who has built it.<o:p></o:p>
I don't think my role is to tell someone what they should collect. It's to help them better understand what they're responding to and why. From there, the right decisions tend to become much clearer.<o:p></o:p>
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L’O: Many young collectors feel intimidated by the contemporary art world. What advice would you give someone buying their very first piece of art?<o:p></o:p>
SJ: I'd encourage people to look for a genuine connection with the artist and the work. The most meaningful collections are often built around works that resonate emotionally, intellectually or intuitively, rather than simply following market trends.<o:p></o:p>
Understanding an artist's practice and context is important, but so is trusting your own response. Meaningful collecting begins with curiosity, connection and the confidence to follow what genuinely moves you.<o:p></o:p>
L'O: Luxury and contemporary art have become increasingly intertwined through collaborations with fashion houses, hotels and global brands. Where do you think these worlds genuinely enrich each other, and where should they remain independent?<o:p></o:p>
SJ: These relationship can be incredibly valuable when built on genuine cultural curiosity rather than simply borrowing the language or aesthetics of contemporary art. At their best, both worlds share a commitment to craftsmanship, creativity and creating experiences that leave a lasting impression.<o:p></o:p>
Having worked with both artists and luxury brands, I've found that the strongest collaborations begin with mutual respect. The role of a brand shouldn't be to direct an artist's voice, but to create the conditions for ambitious ideas to happen—whether that's commissioning new work, supporting exhibitions or investing in long-term cultural initiatives. For me, the most thoughtful partnerships are those that leave something behind: supporting an artist's practice, creating opportunities for new audiences to engage with art, or making a lasting contribution to the wider cultural landscape.<o:p></o:p>
Where I think it's important to remain independent is around artistic integrity. Contemporary art has the ability to question, challenge and open up difficult conversations, and that freedom should never be compromised by commercial objectives. The strongest collaborations are those where both worlds bring their strengths to the table while respecting the role of the other.<o:p></o:p>
L'O: Enth Projects is built around emerging as well as established artists. What usually captures your attention when discovering a new artist? <o:p></o:p>
SJ: There isn't a checklist. What captures my attention is an artist whose practice feels genuinely distinctive—work that opens up new ways of seeing or continues to provoke questions rather than offering easy answers.<o:p></o:p>
I'm less interested in whether an artist is emerging or established than in the strength of the practice itself. If I'm going to dedicate my time and energy to an artist, it has to come from personal conviction rather than strategy.<o:p></o:p>
Ultimately, my role isn't to shape an artist's voice, but to create thoughtful contexts in which others can encounter their work and form their own connection with it.<o:p></o:p>

L'O: Looking ahead, what kinds of exhibitions, collaborations or cultural projects can we expect from Enth Projects over the next year?
SJ: You'll certainly see the online programme continue to evolve through regular curated releases, introducing both emerging and established artists from different parts of the world. But what interests me most is how those releases can connect with other forms of programming rather than existing in isolation.<o:p></o:p>
A recent example was Paul Hutchinson's exhibition, City Within, in New York. The project didn't end when the exhibition closed—it continued through editorial, film and an online presentation of works, allowing new audiences to engage with his practice beyond the physical exhibition. I'd like to develop more projects that move fluidly between physical and digital formats in that way, with each element enriching the others rather than standing alone.<o:p></o:p>
I'm also interested in continuing to create more intimate gatherings that bring artists, collectors and the wider cultural community together. Over the years I've hosted dinners and salon-style conversations, and I've always been struck by how some of the most rewarding exchanges happen around a shared table. I see those moments as another way of supporting artists and creating thoughtful opportunities for dialogue beyond exhibitions, editorial and online presentations.<o:p></o:p>
L'O: Finally, what does success look like for Enth Projects, not in terms of sales, but in terms of cultural impact?<o:p></o:p>
SJ: Success, for me, would be knowing that Enth Projects has helped create lasting connections between artists and the people encountering their work. If someone discovers an artist through Enth who changes the way they see the world, begins collecting with greater confidence, or simply spends more time looking and engaging with contemporary art, I'd consider that a meaningful contribution.<o:p></o:p>
I'd also hope that Enth encourages a broader conversation around how art can be presented and experienced. Not by replacing existing models, but by showing that exhibitions, editorial, digital platforms and cultural collaborations can complement one another in thoughtful ways.<o:p></o:p>
Ultimately, I'd like Enth Projects to be remembered less for what it was, and more for what it enabled—for the artists it championed, the conversations it started and the connections it helped create.<o:p></o:p>

For more information:
Enth-projects.com

Enth Projects, the platform redefining the art of collecting

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