Presented at the Roundtable: Art representation and violence.
Organized by the Research Group Arts & Trauma.
Faculty of Humanities and Arts. UNR School of Psychology.
November 7, 2008.
Marité Colovini
Explaining the unconscious art strikes me as suspect, and that's what analysts do however. Explain the art for me seems more serious symptoms. "
Jacques Lacan, Yale University, November 24 , 1975
1 - How the art explains the symptom.
In 1913 Freud stated: "the instinctual forces of art are the same conflicts that push the other guys neurosis"
When analyzed as delusions and dreams of W. Jensen in La Gradiva, Freud had raised this disjunction : The protagonist of the novel had a psychic disposition that he was destined to be neurotic or poet.
is thus, as Freud gives us a clue to think about how someone is at the gates of the Poiesis. If the purpose of poetry is to produce purification, catharsis of the emotions of the soul in men, as assumed since Aristotle, "writes Freud," the same purpose can be described in more detail saying that it's open sources of pleasure or joy in our psychic life "Suffering
neurotic or release by the poetic act is Freud explained alternatively, from the instinctual impulses which are the fantasies and delusions of the subject, would turn the state of natural predisposition of the poet, who through their art transfigured her fantasies of desire in artistic creation. New source of satisfaction in the poetic object, or alternative source of satisfaction in the formation of symptoms.
Where does the process that allows the artist to arrange and transfigure their fantasies of desire? In the same work in 1913, Freud narrows the limits of analytical inquiry "is not a matter of psychology to find out where he is the artist the ability to create." No ignore it
Freudian principle, I will present a hypothesis about how the art operation allows a "do" with what is by definition the order of the unrepresentable and unspeakable: the grain of sand in the pearl symptom, the navel of the dream. This hypothesis and its testing in the cases mentioned, illuminate a problem analytic practice: the one formed by the incurable symptom. The economy
psychic trauma appears as a white, a "gap in the psyche," as Freud. No representation of trauma in the psyche. And on this white, this gap, which stands boundary representation, making the hole edge, allowing fantasy defense, defense, Freud recognizes, in principle, daydreams, as a result of phantasy activity and that this approach production of fantasies to the formation of dreams, shows the importance of performing individual game. It is in this sense that production fantasy is a mental training linked to the fulfillment of desires.
border representation, does not reach the status of word representation. It is a kind of brand that stands as a limit on what makes a hole by trauma. Mark of a unrepresentable, memory of the encounter with reality. I find that the words of Freud can only produce "awe." Nameless horror, that leaves only brand. Mark that divides land, island between the living and the defensive work of the unit. Without that mark, there is only "subjugation", devastation, pure abyss. The writing of that brand is what allows the plot of psychic processing of trauma.
Therefore, my hypothesis is that there, in the mysterious ability of the artist, know-how with this boundary representation, which not only allows you to build it from their fantasies, but to give such a way that, its beauty, open the possibility for the artist and the public in a new form of enjoyment.
Freud says: "What the artist seeks first is self-liberation, and gives others who have held the same desire to inform his work. It is true that listed as his most personal fantasies fulfilled desire, but they become works of art only by recasting it shocking that mitigates these desires, hide your personal home and observe rules of beauty to bribe others with pleasure incentives (...) the link between childhood impressions and adventures of the artist's life, on the one hand, and the other works as reactions to these incentives, is one of the most attractive objects in the analytical approach "
Then, the beautiful shape to what is the order of the unrepresentable, and affirming the border representation, the artist manages to trauma, a brand of enjoyment: a work, while the neurotic only made from it a symptom. Freud is authorized checking that the configuration of the poetry, repressed desires the author are displayed in such a way that complied with the rules of art, achieved another satisfaction. In addition, the poetry itself means a valuable resource in the psychic economy of men, because, through it is "purged" feelings held in the person being addressed, an operation that is not possible with the symptom of neurotic only serves the psychic economy of the wearer, who can only, through psychoanalysis, to achieve expertise with your symptoms. So
, and returning to my hypothesis, would the artist know-how to limit the representation, which exceeds the registration significant that not only works to the artist himself, but allows the public an "other" satisfaction. That is the mystery of creation, a mystery that is not for psychoanalysis to explore. But the mystery that allows learning at the same psychoanalysis, as it indicates that by achieving a "know-how, the neurotic can do something else to suffer with their symptoms incurable.
illustrate my point with some examples:
2 - Drawing is an act of faith:
Gerard Pommier in his book Birth and Rebirth of writing, place the child's scrawl as a response to the loss of enjoyment of the body , enjoyment of another mother, equivalent to original trauma. This loss is necessary for the establishment of a desiring subject in the substrate of human puppy, let the child deprived of his image, and through the scribble, infans that produces a certain recovery of the lost image. This is why it Pommier argues that drawing is an act of faith. Run a doodle, however modest, is not the first proposed communication of a message, but only hoped the body exists in spite of repression. The first drawings bear the mark of repression is proportional to the absolute prohibition of the enjoyment. "We can understand
so the child scribble before the child becomes a speaking being, gives examples of how it is possible to operate with that which does not reach the status of representation by position itself as a pure loss, and skirting the line drawing, a vacuum thereby passing of deep sucking and overwhelming, a hole. That is why, in this first appointment with a love that is death for infans becomes necessary, to the limit. There is some creativity in the children's drawing, then, and there is a lot of belief in their doodles. Perhaps the dose of each will determine whether the child is an artist or a neurotic. Is that building must stop believing?
3 - The solution sculpture: Louise Bourgeois
born in Paris in 1911, when a family was restored and sold tapestries. He currently lives in New York. Fernand Léger worked with before settling in New York. There he married the American art historian Robert Goldwater in 1938. It is one of the most famous artists in the world.
traumatic events Bourgeois life is reflected in his works of art, especially in his sculptures. As stated by the artist herself, she uses the sculpture to give their problems a tangible nature. In addition, through the cell or facilities that provide spaces for meditation, built spaces true for psychoanalysis.
"My works are a reconstruction of the past. In the past they have become tangible, but at the same time are created in order to forget the past, to defeat, to revive in the memory and enable its oblivion." All its production revolves around the emotions caused by memories of his childhood, therefore it is located in domestic spaces filled with objects that are both reality and metaphor of what we can not say. Beatriz Colomina
gives us the story of the construction of the first sculpture of Louise Bourgeois: "I was attracted to art because it isolated me from the difficult conversations in which my father bragged of good and wonderful it was ... I took a piece of white bread, mixed it with saliva and mold a figure of my father. When I started figure was made to amputate the members with a knife. I consider this as my first sculptural solution. Was appropriate for the time and helped me. It was an important experience and certainly found my future direction. "
But his works are not limited to mere representation or a certain feeling, but hold on a concept and a form of expression, new and very personal. His background in mathematics, geometry, philosophy and art history explains that sees the memory as a form of architecture, as result is often lower their inner emotions and those produced by its relationship to other structural forms and architectural images.
From 1994 to 1997 displayed the Spiders. They are works of architecture, but are sculptures in themselves that symbolize the memory of his mother, in the sense of providing protection and for your continued hard work, despite its fragility. Again appears as recovery of the memory architecture: "Architecture has to be an object of our memory. When we remember, when conjured the memory to make it clearer, piled associations the same way as we stack bricks to build a building. Memory is a form of architecture. " Louise Bourgeois
need to destroy and fragment and then perform a reconstruction using the union of all elements. The culmination of this approach is carried out with the book The destruction of the father, in 1974. Dipped pieces of meat, animal members of soft cast, then turned to the mold, drained it and molded it back into latex. It was the father of deconstruction and reconstruction embodying the dinner table, the place where they formed the daily traumas of the artist, and again the presence of fragmented bodies in relation to the slaughterhouse and sculpture as invocation of the memory to accept it. "The goal of the destruction of the father was exorcise fear, "said LB in '80. "After being exposed, I felt a different person. The reason that led me to make this work was the catharsis or purification. As a child, I was really scared when the dinner table my father kept boasting, boasted over and over again of their achievements. And the bigger the figure intended to return more insignificant we were their children. My fantasy was, I went at them with my brothers, so we put on the table, and devoured troceábamos ... In sculpture there is a bed and a table. Both furniture are part of our erotic life. In essence, both are the same object. "
4-The stylization of violence: Juan Manuel Echavarria
is a Colombian artist who uses photography as a fundamental means of expression. Alternating his time between New York and Bogota. His work has been exhibited at the Museum of Modern Art in Buenos Aires and in many museums and exhibitions in the world.
Its three photographic series exploring the "beautification of violence" as a means through which states the mechanism of institutionalized violence. In a country where violence has permeated all aspects of daily life, it has found a niche even in the realm of aesthetics. Court works Vase (1991), Bocas Ash (2000-2004) and Bolívar's Platter: (1999), can be described, each in its own way, as incredibly beautiful, however, its effectiveness lies precisely in the awful realization to see reflected in them repulsive reality. Repulsion can look without those pictures, its beauty, is how we can approach Echavarría without flinching, to this terrible reality. Perhaps then, the viewer can, think the unthinkable. Del
series title Vase Court, it is clear that the photographs are an ironic reference to a macabre re-articulation of the body. The bones are arranged to resemble flowers and the overall composition of the work refers to the scientific illustrations of the Royal Botanical Expedition in New Granada, led by José Celestino Mutis in the eighteenth century. The work consists of a series of photographs of human bones, re-configured in the forms of Colombian flora, beautifully evoked in an ironic the gruesome act of dismemberment.
"Bocas de Ceniza" confronts us with a group of people displaced by armed conflict to sing, each in its own way and capella, their own history. Stories that meet a key role not only cathartic order to interpret it and to the listener, but also the writing of history. The third
photographic series Bolívar's Platter: 1999, originally exhibited as a video installation, the artist uses a replication of a tray that was given to Simon Bolivar at the consecration of the newly founded Republic of Colombia. In the midst of a lush garden paradise of flowers, the tray reads the inscription "Republic of Colombia for good."
Gradually, the tray is being ripped apart, while an incessant hammering impact in space. This spraying process the end result is the image of an unexpected pile of white powder, presumably cocaine.
face violence, usually we have two options: terror and escape. Echavarria's work confronts us with a third, closer to reality lined with art resources.
5 - "We have no more than an appeal against the death
: making art before it comes." (René Char)
as a struggle between Eros and Thanatos, the book (posthumous "? Last? True rite of black ink), C'Est Tout by Marguerite Duras, combines, as an executor, this fight announced by Freud the last paragraphs of discomfort in the culture.
Since its title announces a conclusion, "that's all." Death is also a cessation, a cut, final.
But what is written in the dedication, also said no-it all ends when one accepts the inevitability of the fate of being-towards-death, but that little freedom to meet the possibility of death is what open to all possibilities.
"For Yann.
never know in advance what is written
.
not take too long to think of me.
For Yann my lover of the night.
Signed: Marguerite, the mistress of this
adored lover,
November 20, 1994, Paris, Rue Saint-Benoit. " Dedication
writing to start writing, and not as is usually done when the book is finished. Because Marguerite knew that the finish was Yann who will make these manuscripts was a book. I knew that from that dedication opened hiancia including the dying and surviving. And I say Marguerite, the undersigned, the adored lover lover, and not Duras, writer. Because he loves is Marguerite, the dying, he writes without knowing in advance what he writes. And Duras, the author, surviving in their writing. Quote
love with death, Marguerite teaches us about love another. It was not by chance that his writing has been taken to provide what the feminine as specified structural logic, contrary to feminist attempts to find the signifier of the woman.
6 - A feminine style, but each one:
Just as the style is thought of writing as a sublimation operation, the feminine style can be seen as the result of operations on the marks left by the child-relationship mother. A woman's style is characterized, in short, so that she can do with these brands, both in its passage through the Oedipus and his love for the father, as in the position taken in connection with the discovery of sex differences anatomical, ie in front of his own castration. In other words, the style of a woman is defined by what it can do with the marks left by his encounter with maternal desire. "The style marra vacuum, a slave always coming and which supports continuous, and should throw his stroke again, renewing its form." Thus, each woman will find his style, feminine and unique. Style to be found as the order is not spontaneous. Style that can forge if you find a know-how to slaughter. Style made of love and hate and kneaded with deprivation.
access to writing, and therefore the writing of the law, depend upon the registration of the mark-read operation by-and therefore metaphorization Name. There is an identity of operation accounts for the specificity of the name in psychoanalysis, what is at stake in the origin of writing, and clarifies the structure of the unconscious.
feminine style, his unique style, will report on the relationship of a woman's name, the instance of the letter, with the unconscious, and have the hallmark of this period pre-Oedipal relationship with his mother.
7 - Letting yourself be taught by the artist: Freud and Lacan
invite psychoanalysts to let us teach by the work of art. That is why I insist that it is not "psychoanalyze" the art, but to collect what the artists "know" without knowing it, for question through the same analytical know our practice.
I apologize for the tightness of my speech, as I believe that every point of it might result in a much more vast.
also thank warmly invited to this panel, and that forced me to enjoy that power tamer providing art to the "Seres thrown into the world," which, in terms heiddeggerianos, must be emptied to get transformed into its possibility.
Finally, let me state a wish: I wish the practice of skirting the gap was as simple as playing the instrument of the Italian shepherd called Scaccia pensiero, "dispels thoughts." This instrument is played by pressing a metal tape to the lips and cupping his mouth once for maximum resonance. This will serve the shepherds to communicate from valley to valley, empty vacuum.
My Italian ancestors used it and perhaps the intergenerational transmission took me to meet with the passion of a practice that is between vacuum and vacuum.
November 2008.
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