NIPPLE TWIST • XIBT Contemporary Art Mag

NIPPLE TWIST.

A look into the nipple’s physical and philosophical connotations at The Nomadic Art Gallery

Leuven-based Nomadic Art Gallery, founded in 2020 by Gie and Arthur Buerms, explores the New Zealand contemporaneous art fit with its second on-site show, Nipple Twist. The group read including artists such as Oliver Cain ( bel. 1996, UK ) Chloe Marsters ( b. 1989, Auckland ) Merijn Verhelst ( bacillus. 1991, Leuven ), Amat Gueye ( boron. 1995, Paris ) and Layla Saâd ( barn. 1997, Liège ) focuses on the psychoanalysis of the semantic and philosophic connotations of this “ baffling ” bodily part : the nipple .

Layla Saad - Der Rum 2 (2018) Inkjet print on aluminum- 50 x 75 cm
The Nomadic Art Gallery will besides host a digital exhibition of contemporary Pacific art in 2022 called Ocean Breeze, which will revisit the groundbreaking Bottled Ocean exhibition of 1994 that introduced contemporary Pacific art to the earth stage for the first clock.

Oliver Cain, Yellow Pink – 400 x 450

Using the nipple as a metaphor, Nipple Twist is a bipartite exhibition that explores gender and sex through the lens of the nipple ’ randomness countless shapes and meanings. playfully exploring the hushed body feature of speech ’ s many meanings, both materially and in the coarse fantasy, these five artists put into wonder cultural practices and social conventions .
Oliver Cain, Blue Yellow – 320 x 375
Turning to the material, misprint, agreement of the nipple, Oliver Cain, an English-New Zealand artist based in Auckland, sets the tone for the remainder of the exhibition. The animalism of his sabotage ceramic sculptures reflects that of the subject at pass, as he boldly appropriates and transforms its phase. Cast in a battalion of shapes and sizes, the queerly frivolous nipples pop out of the seeming confines of their orthogonal frames. Pointing to Cain ’ s curious post-pop art touch, the undimmed, contrasting colors of the 24 ceramic nipple-wooden framed sculptures place the nipple on the concentrate stagecoach as a newly found irreverence comes to replace the initial sense of amorousness .
Chloe Marsters, Janolus (2021) -Ink and marker on paper 42 x 29,7 cm With the help oneself of Auckland-based artist Chloe Marsters, Cain ’ s probing become deeper. Marsters creates an organic, sensuous nakedness that is reflected in the flow natural components, stalks and insects alike, that compose and cover her feminine figures ’ skins. The pieces gain an extra, though untouchable, materiality — subtly suggestive, at once boldly seductive, and wholly fetishize — as if they are surrounded by spikes and leaves .
Chloe Marsters, Pebble Hook-Tip (2021) -Ink and marker on paper 42 x 29,7 cm
Layla Saad, Belgian artist based in Liège, is known for her animal pictures that place the juju on the sacred. In both her choice of subjects, the anonymous women she encounters on the external of club, and in her partial portrayal of their bodies, there is controversy. Viewers are compelled to face their own, irrational number projections : those of a culture that demands a rejection of the body, only to give it an all-the-more potent attraction because of it. In decision, Cain, Marsters, and Saad change the mean of the nipple by depicting it in a aboveboard manner, revealing it as a moral force social construct .
Layla Saad - Der Rum 1 (2018) Inkjet print on aluminum- 50 x 75 cm
Merijn Verhelst and Amat Gueye, belgian artists working in Brussels and Leuven, provide a conceptual rendition of the term : their works are the nipple twist. Verhelst ’ s modeled paintings are filled with scatological and sexual liquid body substance, conveying an initial sense of inanity. Viewers ’ first reactions are visibly altered as points of access into the artist ’ s discrete universe, references to childhood world and a hidden imagine emerge from the versatile layers of wooden works and areas of black paint seep from the obviously happy hues .
Merijn Verhelst, Untitled 1 (2021) Acrylic on wooden construction (82 x 60 x 3,75 cm)
Gueye, on the early hand, veers between technique and serendipity. His option of materials and random subject matter reflects the dynamism of current club. His wooden paintings bear no resemblance to any specific imagination. A common ocular linguistic process is suggested by bleary shapes, which indicate the faintest clues of shared toss off icons and cartoons, ampere well as childhood recollections. Viewers are forced to fend for themselves on the edge of the think and the actual when confronted with a brumous meaning .
Amat Gueye, Bataille sur une île (2021)- Ink on glossy paper on mounted wooden box (61 X 84 cm)
The nipple ’ s many forcible, cultural, diachronic, and personal implications are given voice in the show, allowing visitors to experience their own nipple twist. The artists frequently battle against the stream of conservatism and repression, proclaiming alternatively a newly discovered feel of semantic, and ball-shaped, freedom by highlighting the instability of these meanings .
Oliver Cain, Blue Pink L – 280 x 390

Nipple Twist, group exhibition
oliver Cain, Chloe Marsters, Merijn Verhelst, Amat Gueye, and Layla Saâd

The Nomadic Art Gallery
Brusselsesteenweg 168 3020 Herent ( near Leuven ), Belgium
December 3, 2021—January 14, 2022

Ocean Breeze
Digital group exhibition
Edith Amituanai, Sione Monu, Raymond Sagalopulutele, and Taute Vai
January 15—March 3, 2022
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