On the eve of the 150th anniversary of Sigmund Freud’s birth, the Henry Moore Institute in association with the Freud Museum presents a unique opportunity to explore Freud’s relationship with sculpture.
The sculptures and statuettes that Freud displayed on his desk have rarely been examined, but this exhibition highlights their meaning both individually and as an ensemble.
An avid collector of antiquities, Freud counted collecting, alongside smoking, as one of his two main addictions. Of the thousands of pieces he amassed he kept a small but changing group on his desk.
Forming an audience of bronze, wood and marble sculptures, these peices were gathered from Egypt, China, Greece and Rome. As well as being a collector and writer, Freud was, in a sense, the ‘curator’ of these objects, many of which carry intricate connections to his writings and his practice.
The sculptures' presentation at the Henry Moore Institute echoes their position on Freud’s desk, without going so far as to replicate it, provoking far-reaching questions about the relationship between sculpture and psychoanalysis.
Henry Moore Institute
74 The Headrow
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