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The Cut word...

What is the Real?
JACQUES- ALAIN MILLER

Beyond Prince Charming
& Pink Swords

MARIE HÉLÈNE-BROUSSE

Note on the Treatment
of the Symptom
by the Analytic Act

PIERRE-GILLES GUÉGUEN

Lacan's Legacy:
From the Universal to
the Particular
NATALIE WULFING

Lacan as Analysand
ERIC LAURENT

The Real
& the Semblance

JACQUES- ALAIN MILLER

Everlasting Couch
MARIE HÉLÈNE-BROUSSE

The Emperors Heron
FRANÇOIS REGNAULT

Psychoanalyis
& Our Time
ERIC LAURENT

The Staged Real
SLAVOJ ŽIŽEK

Wolfgang Tillmans
FM INTERVIEWS JA











        

Wolfgang Tillmans





Forrest Muelrath interviews Josefina Ayerza

[...]I first glimpsed Wolfgang Tillmans at his New York debut at the Andrea Rosen Gallery in SoHo. I saw a photo of a man’s pants that had gone unwashed so long they could stand-up on their own——they kept the shape of whoever had inhabited them. The fly was unbuttoned. Something in that photograph made me say

——who is the photographer? I want to meet him. Hello Andrea, can you take me to the artist...!?

It was the time when sexuality was being questioned, and the conservative minds were being confronted... Paul McCarthy’s performances, for instance, out there rubbing food on naked bodies, humping trees, humping floors, grass... There were still prohibitions. When McCarthy’s Cultural Gothic—the sculpture of the father pushing his child towards the goat, saying “fuck the goat”—was still shocking. Now it’s much more legal. I like transgression.

Does art have to be transgressive?

Yes. Because art responds to truth. Art does not deal with the transmission of knowledge; it deals with truth, and truth wants to be revealed. A certain truth. It’s meant to appear right there. You look, look, look until you say “I see.” When you see, you stop looking. We don’t want to look at the goat-fucking anymore...

 

 

 


art: Wolfgang Tillmans, Mistress Formica, 1919



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