lacanian ink is taking up on biology as it breaks in with a story that tells of the stone that doesn't have a world, of the lizard with something of a world, of man: he has a world because he has the logos. In "The Symptom and the Body Event," Jacques-Alain Miller carries on, "We find here the lizard and the stone, but the stone has writing - precisely, the inscription of a proper name, that of one Augustus... a name which had the function of a master signifier."
With François Regnault the certain having of man takes up the logos at its utmost. Art goes beyond the symbolic as it uses the structure of language even if it doesn't use words. The experience characterizes the object that has never been lost, still the case is to search for it. Again this object hasn't been spoken. "It slides between the words and the things, in the illusion that words correspond to things. An incessant illusion denied by the misunderstanding, the object is forever being re-born." Alain Badiou's most precise thoughts numerate "The Political..." to infinity, and ordain it in three groups: "that of the situation; that, indeterminate, of the state of the situation; that of the prescription, which interrupts indetermination and permits the State distance." What singularizes the prescription as political procedure is that it enables the autonomy of the State. Slavoj Zizek touches on the science concerned with the study of living things in his "The Only Good Neighbour is a Dead Neighbour!" overall the drama of Hannibal cutting off his palm. So, "Hannibal may be eating the brain, but this brain really does not smell." David Ebony's "The Interpretation of Dreams," reviews Andres Serrano's latest show - on June 2001, at the Paula Cooper Gallery, in NYC - putting the signifiers to work affected by their own traditional meaning.
Wim Delvoye, the Belgian artist, will exhibit "Cloaca," January 2001, at the New Museum, in NYC.
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