Jacques-Alain Miller's Perversion
JOSEFINA A YERZA

The Uses of Fantasy
ERIC LAURENT

The Weight of Words
YASMINE GRASSER

Believe It or Not
MICHAEL TURNHEIM

Psychoanalysis and Literature
GERMÁN GARCÍA

Solo (Prelude)
LYNN CRAWFORD

Interview with
Guillermo Kuitca

Interview with
Cheri Samba

Plants hang in space. Space is grey, beige, blue, even black. And space may have different tonalities and texture: be it in the way of a spout, a drip or even lavish accumulated matter, sudden roughness will hastily stick out a partial statement.
Plants vary in perspective and size: they veer in sense according to presupposed purpose. It is a family apartment, an airport, a mattress, or a couple of plants which joined together produce in turn another plant.
Or they veer in non-sense according to unexpected elements: tears, hanging men, a microphone. Erotically invested, inanimate objects are screened through altering context. Drama reveals in human traces — beds, chairs, lamps, kitchen and bathroom furniture, interaction happens to reproduce endless circumstances. What is missing is not necessarily absent. People are there... they are everywhere.
Although the plant will become so abstract as to even unfold into a crown of thorns — in itself a structure — it is this phantasmal idea of a plant that sustains mythical intention. Interpellation from the phantasmal place frames a solemn square of blue: empty space...?
Mattresses on walls tackle the field of sculpture. On their quilted surface — roads, high roads and highways run afoul of one point of the capiton to another. Cities intersect at these points while coding certain meaning: a halt in an assigned way? Contingency, eventuality?
Maps privilege Poland, Germany and Holland. This sets up a question on routes seemingly marked by histrionic destinies.

  Abstracts of a conversation with the Artist

Guillermo Kuitca, Lingerie Plan, 1989

Most Modest Stories The white plant was first and inside the thought type plant. Convertible not to a diagram line, it grows into volume — to once more unroll the actual stories — family — kids — chairs — no one will perceive I am doing the same thing. Work gets carried out amidst my personal experience and the painting itself. I see not in the terminated work — reality closeness mo- ment is in greys. Degraded Impressionism attends to form — be it a color painting photo- graph — it signifies not grey things. Family situation: 2 rooms, 1 only son, a mother — what I do not know: a son, a mother and a father? — 2 sons not at home? 1 at home? This house may be transparent, it has no door. This painting one may not enter from above — one may only see from above and there is where the mirror appears. Crystal glass separates us from the house, we may see how they live but cannot live with them,we may see how they eat but cannot eat with them — an im- penetrable reality.

Guillermo Kuitca, Idea of a Passion, 1989

Idea of a Passion A plant — brick background the mother waiting for the son fights for his cause — she is in the room next door. Extreme mothers. This one with the 22 parts is of this. The light rotating was doing a graphic sign, it later turned into a luminous sign. I went through changes, I began to throw in senses, coincidences — strict in the process.The graphic sign: a light — the mother's lantern which looks for traces of her son: a button or the son himself. She will never find him — she is definitely lost: when he is in the kitchen — she is in the room. The 22 lights are lighted at the same time. There are not 22 mothers, searching for 22 kids, 22 different canvases. The painting is fragmented, it is always the same mother, the same apartment. The light rebounds on the straight apartment walls: when she is in the kitchen (green) — the background of the tiny painting is green when she is in the room (red) — the background of the tiny painting is red — when she is in the bathroom (blue) — the background of the tiny painting is blue, when she is in the kitchen the light is green, the kitchen is green. The light changes color as the space changes. She began to walk, affecting the space, the light. The antiœdipus — the father kills the son.

The Crown of Thorns Quote: "I realized the three humans may walk and that is sufficient." It is at the point where it is... I like to be generous on the whole, but not in every painting. The crown of thorns — blue. To symbolize the crown of Christ as an apartment... It is not a thorn crown, it is called a thorn crown. The blue is full of little dots. Certain galactic ideas. Heaven is infinite. The night is blue.

Guillermo Kuitca, The Crown of Thorns, 1989

Photographs of Guillermo Kuitca's work courtesy of Annina Nosei Gallery, New York.