lacanian ink 36 is taking up the Gaze as its main project.
As claimed by Jacques-Alain Miller it is the Wolf Man’s playing the role of spectator, “going so far as to say that the subject’s fundamental passivity—at first related to the seduction at the age of three and a half by his sister, but then retranslated into homosexuality when the genital signification steps in—is maybe fundamentally present from the subject’s position in the primal scene.”
After Badiou throughout Plato it is the gaze that has seen it all, “from the young proletarian who’s arrested and roughed up just for smoking a joint outside his apartment building, to the high-society serial killer who’s unmasked only later on…
Marie-Hélène Brousse ponders over a certain feminine know-how arising from three “R” words: Ruse, Ravaging, Ravishment, “Because they constitute a discourse, they entail semblance and fiction… There is a link that is sexuated.”
For François Regnault, the function of the subject can be taken both by the capitalist and by the worker, as can that of the object… “which is also the case with the Master and the Slave (as the Slave can become the Master.”
With Asunción Alvarez you read CODA, in the front and the back part of the letters, simultaneously.
Says Slavoj Žižek “I am free if the substance of my being is not a full causal network, but an ontologically incomplete field… signaled by a desiring opaque god who is himself marked by imperfections and finitude. What does he want?”
Alongside Eric Laurent the vision of Inhotim turns to be a lost paradise. Thus the Art of extraction inherent in the phallic object, “What is inside me is also outside, and this ensures the link to the other by means of the ex-timacy of jouissance.” Again, in line with Rivane Neuenschwander’s current show at the New Museum, the timing is actual, stunning coincidence.
As for Barbara Probst—the German artist along LI 36—her art impersonalizes the gaze. To a point that you might say it reproduces the certain structure over an over again. The gaze is the discourse of art. Whether Jacques Lacan’s Otherness, if Freud’s “place of dreams” it is the prospective from this other scene to draw the distinction between seeing and looking. I see from a single point, but I am looked at from everywhere. Of that, the Other prone to convey your desire, you know your subjectivity does not simply depend on what you see but also on how you are looked at.
Because looking has the sense of searching, because seeing has the sense of knowing, the gaze makes use of the structure of language even if with art it has no use for words.
A prismatic side to Probst structure, her photographic equipment gets scattered throughout. Using a radio she will now set off the cameras, all at the same time. As the severed in her act comes to reveal the instant, it will in turn uncover the many points of views from where the scene is being looked at—more so,