The Exhibition 2019-02-28T17:35:53+00:00


The International Journal of Psychoanalysis Exhibition

FREUD MUSEUM LONDON, 6 June – 4 August 2019

Linder, Goshka Macuga, Simon Moretti,
Daniel Silver, Paloma Varga Weisz


with additional works by Duncan Grant, Barbara Ker-Seymer with John Banting and Rodrigo Moynihan


An exhibition to mark the centenary of The International Journal of Psychoanalysis curated by Simon Moretti with Goshka Macuga and Dana Birksted-Breen

Opening reception 06 June 2019 6.30-8.30

Venue: Freud Museum London
20 Maresfield Gardens
London NW3 5SX

On the occasion of the centenary of the International Journal of Psychoanalysis the exhibition The Enigma of the Hour:100 Years of Psychoanalytic Thought at the Freud Museum London aims to present archival material around specific themes, which touch on the origins and life of The International Journal alongside contemporary artworks. Originally conceived by the journal’s editor-in-chief Dana Birksted-Breen and curated by artists Simon Moretti and Goshka Macuga with Dana Birksted-Breen, the exhibition brings together themes central to both psychoanalysis and art: translation, transformation, temporality, the unconscious, metaphor and dreams. The artworks in the exhibition address these ideas, creating a conversation that reverberates throughout the evocative rooms of the Freud Museum. The archival presentation, explores  the prehistory of the journal, the hidden role of women in its early years,  its beginnings and connections with the Bloomsbury Group , and the influence of classical art and culture on Freud’s ideas and the visual identity of the International Journal.

The exhibition includes new commissions by Simon Moretti and Goshka Macuga made in response to themes and archives chosen as a focus for the exhibition, as well as especially selected works by their invited artists, Linder, Daniel Silver and Paloma Varga Weisz and loans from the British Psychoanalytic Society, Tate and The Wellcome Trust as well as including items from The Freud Museum Collection.

The Museum itself is a key inspiration to the artists and provides an evocative setting for the contemporary works and a backdrop to the archival presentation showcasing the developments over the 100 years since the Journal was founded by Ernest Jones under the direction of Sigmund Freud.

Simon Moretti and Goshka Macuga have collaborated with an international research group composed of psychoanalysts from Germany, Austria, the USA, Israel, and the UK, invited and led by Dana Birksted-Breen.

The exhibition will be accompanied by a public programme of talks and a book will be published with an introduction to the exhibition by Dana Birksted-Breen, with newly commissioned essays by critic and novelist Marina Warner and by writer Michael Newman, professor of art writing at Goldsmiths, University of London, and is supported by Outset Contemporary Art Fund.

We would like to acknowledge the support of the British Psychoanalytical Society, the European Psychoanalytical Federation, the Robert Bosch Foundation, Sigmund-Freud Institut, Heidehof-Stiftung Foundation, the International Psychoanalytic Association, the Barbara Ker-Seymer Estate, the Melanie Klein Trust and Outset Contemporary Art Fund.

Tickets will be sold by The Freud Museum London

Meet the Artists

Simon Moretti
Simon Moretti is an artist and curator based in London and co-founder of Dadadandy. Previous exhibitions include, Thank You for the Music, curated by Johannes Fricke Waldthausen, Sprueth Magers, Munich/London, The Art Parade, Deitch Projects, New York, From A to B and Back Again, Galerie Chez Valentin, Paris, Le Palais des Etoiles, commissioned by Selfridges, London, Dadadandy The Guerrilla Show with Vedovamazzei, MADRE Napoli, L’Intime , Le Collectioneur Derrier la Porte, La Maison Rouge. Paris, None of the Above, curated by John Armleder, Swiss Institute, New York, Ideal Standard curated by Elena Filipovic, Gebouw Vanferborght, Bruxelles, Now & Then curated by Adrian Dannatt, Harris Lindsay, London, Dadadandy Boutique Artprojx Space, London,The Sleep of Ulro, with Goshka Macuga, A Foundation, Liverpool Biennial 2006 and The Camera Exposed curated by Marta Weiss and Bronwen Colquhoun, Victoria & Albert Museum, London.

Goshka Macuga
Goshka Macuga was born in Poland. A graduate of Central St. Martins College of Art and Design and Goldsmiths, University of London, she works across mediums from Jacquard woven tapestries to sculptures and robotics. Macuga is known for taking on the role of a curator and archivist within her practice, as her installations often incorporate other artists’ work alongside a variety of disparate objects. Macuga’s work is commonly made for the specific institution in which it will be shown, her place-based installations involve many months worth of historical research and have been considered rich storytelling devices.

In 2009 Macuga had an exhibition at the newly re-opened Whitechapel Gallery in London wherein she incorporated a 1955 tapestry version of Picasso’s 1937 antiwar painting Guernica into a year-long installation about the 1930s-era controversy generated by the original painting. After 24 years on display just outside the Security Council at the Headquarters of the United Nations, the tapestry commissioned by Nelson Rockefeller was removed and loaned to Whitechapel for Macuga’s installation. Along with the borrowed tapestry, Macuga made a bronze cubist sculpture of Colin Powell, a documentary film, sourced a handwoven Middle Eastern rug, and installed a conference table. As part of the installation, Macuga invited groups to hold meetings in the space free of charge. While in residence at the Walker Art Center in 2010-11, Macuga produced work for her first solo show in the United States that would investigate the cultural and political context of the Walker Art Center itself. Culminating in the exhibition, It Broke From Within, Macuga investigated the history of the shaping of the Walker Art Center as an institution through its archives. The exhibition explored the political orientation, community theory, lumber, financial history, and serendipity of clerical errors concerning the Walker. Macuga designed enormous woven tapestries of photographs taken in Minnesotas oldest pine forests and used the textile as a backdrop for select pieces from the Walker’s permanent collection, including works from Marcel Duchamp and Joseph Beuys.

In 2012 Macuga created a two large photorealistic tapestries for dOCUMENTA, one was displayed in Kassel, Germany and its counterpart in Kabul, Afghanistan. The two-part work called Of what is, that it is; of what is not, that it is not is to be exhibited simultaneously but never together in the same place. Part 1 depicts a diverse crowd of Afghans and Westerners in front of Darul Aman Palace outside of Kabul, Afghanistan. Part 2, originally exhibited in Kabul, shows a photoshopped collage of an art-world crowd and protesters gathering outside of the Orangerie in Kassel. Macuga’s composition technique of collaging together historical photographs and subsequently having the image woven into a unified textile allows her to ‘illuminate the elusive relationship between historic documentation and truth’. Goshka Macuga is based in London and was one of the four nominees for the 2008 Turner Prize.