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The Art of Extraction
[excerpt]

 

 

Eric Laurent

translated by Asunción Alvarez

 

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The Wolfman II
J-A MILLER

Disciplines of the Body
ALAIN BADIOU

Ruse, Ravaging, Ravishment
MARIE-HÉLÈNE BROUSSE

Lacan's Marx
FRANÇOIS REGNAULT

Plagiarizing from the Future
SLAVOJ ŽIŽEK

CODA
ASUNCIÓN ALVAREZ

The Art of Extraction
ERIC LAURENT

Rivane Neuenschwander
JOSEFINA AYERZA

Through Image [Ö]
Another artist dialogues with the salt floor artist, creating a broken-glass installation called Through: it brings together ready-made objects as barriers blocking the way. In the center there is a huge plastic ball that seems it could be transparent like plastic, but is actually completely solid and opaque. At last, here is what the Garden of Eden leaves us with: the impossible transparency of the body represented to itself, leaving us to wonder about the ideal of transparency and the effectiveness of an opaque body to itself.

A bodily experience, we had to inhabit the spaces proposed. How the room was entered, whether it was done quickly or with a preference to stop and wait before entering, the physical experience would provide more meaning to what was being seen.

The entire construction of this Garden of Eden demonstrated the absolute opacity of bodily experience, and that this original sin which is not a curse at all is rather an impossibility. Thus, all that remained for us was to not rely on our bodily experiences, but to instead reduce them to the mere extractions. Truth and falsity teeter on the edge as these values donít apply to art.

[Ö]




Art: Cildo Meireles
Through, 1983-1989
Glass, cellophane, various materials. 50' x 125' x 125'

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