#nahmadprojects

#JeanTinguely was a Swiss sculptor, best known for his sculptural machines or #kineticArt, in the #Dada tradition; known officially as metamechanics. #Tinguely's art satirized the mindless overproduction of material goods in advanced industrial society. You can see and interact with some of his pieces at @NahmadProjects #London. #ArtSegrelles #ContemporaryArt @nahmadcontemporary #NahmadProjects #LondonArt (at Nahmad Projects)

Nahmad Projects - London | Repost: @kanghyewonnie #museumpeople #london #nahmadprojects (at Nahmad Projects)

Nahmad Projects - London | Repost: @mokcheryl #museumpeople #nahmadprojects #london (at Nahmad Projects)

Nahmad Projects - London | Repost: @inigoart #museumpeople #nahmadprojects #london (at Nahmad Projects)

#TTTOPart @choi_seung_hyun_tttop 's 🎨📸➡️#felixgonzaleztorres #pierreaugusterenoir @nahmadprojects - 1st the exhibition #Bliss - 1) Pierre Auguste Renoir, various world inc. Portrait de Jeanne Samary, C. 1879-80 Courtesy of Nahmad Projects, London 2)Felix Gonzalez-Torres "Untitled" (Revenge), 1991 (on the floor) © The Felix Gonzalez-Torres Foundation Courtesy of Andrea Rosen Gallery, New York and Nahmad Projects, London 3) Felix Gonzalez-Torres "Untitled" (Beginning), 1994 (🔝 has posted work by him before.) BLISS 30 SEPTEMBER - 08 DECEMBER 2016
Gallery Opening and Private View | 29 September 6-8PM Eroticism in art has the capacity to both indulge and terrify us. Distinct from pornography, there is a subversive potential within the representation of erotic pleasure. In Bliss, three artists’ conceptions of the psychological and cultural complexities of sexuality highlight their historical and theoretical context: Felix Gonzalez-Torres, Jason Rhoades and Pierre Auguste Renoir. A dialogue between these artists has never been presented, and it will be an exciting opportunity to emphasise new connections through their diverse practices. The work of Felix Gonzalez-Torres has the potential to suffuse everyday objects with erotic resonance, and despite the formally reticent compositions of the work, it expands the approach to eroticism beyond pleasure with recurrent allusions to broader potential meanings. Rhoades challenges his viewers with the vulgarity of his euphemisms for vagina, shaping pornographic vocabulary into dazzling neon light compositions, reaching towards a new sublime where sanctity meets profanity in a ‘heavenly hash of ridiculous’ (I. Schaffner, Jason Rhoades, Four Roads, p. 22). Renoir exploits the tension between the representation of the nude and the 19th century cultural restrictions on nakedness in real life. His subjects refer to the artistic canon of the idealised nude, but their fleshy rendering in thick paint, paired with hints at contemporary interiors, show his subjects as real women caught in intimate and private moments. The realisation of cross-category shows is rooted in the identity of #NahmadProjects " (at Nahmad Projects)