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A Reading of the Seminar From an Other to the other IV
J - A
The Other Side of Lacan
J - A
The Son's Aleatory Identity in Today's World
The Imgage in the Fantasy
Madness and Structure in Jacques Lacan
Strange Foreign Bodies
Why Lacan Is Not a Heideggerian
For want of a fortuitous body-part, the gallery-goer needs to spend time in the looking, the search of what will not become visible before the eyes get used to the certain humongous mix. Suddenly you visualize a skull’s head “painted in place” while feminine members, arms and legs, become part of the certain landscape. To a point that when you find/read Skulldiver IV’s name, you feel the inescapable relief prone to turn the switch off. You have stopped looking, but you haven’t seen enough.
Next you discover the clear reference to other artists. The artist herself has something to say about it:
“I’m very interested in sublimation. I love the way Francis Bacon talked about the grin without the cat, the sensation without the boredom of its conveyance… I’ve always wanted to be able to convey figurative imagery in a kind of shorthand, to get it across in as direct a way as possible. I want there to be a human presence without having to depict it in full.”
As far as the psychic structure is concerned the place to find Jacques Lacan’s objet a is in the fantasm, especially to the extent that the subject is not represented in it. Instead of thinking of the fantasm as something happening to you, it is more accurate to conceive it as a visualization of the sort that appear in your daydream. A phantom image—in the like of a bull walking into your living-room, a deer opening the fridge, an owl sitting on your bed—it emerges when you are not expecting it and it vanishes after having produced its effect.
The paradigmatic fantasm in Freud is of course “a child is being beaten.” Here Lacan’s object, as stand-in, is the same as the one that appears in the work of art. There is a truth of the Real. In the implicit or explicit axiom: there is a sense to truth because there is a truth of the Real.
Art: Cecily Brown
Skulldiver IV - oil on linen, 2006-7
Carnival and Lent - oil on linen, 2006-7
courtesy Gagosian Gallery, NYC.
Art: Doug Aitken
Migration (Empire installation) - 3 channel video installation and 3 billboards, 2008
courtesy 303 Gallery, NYC.
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