Photo Garfunkel, visual artist.
In the framework of the visit to the exhibition "The return of the repressed" (based in Fundación Proa) of the French-American artist Louise Bourgeois, along with visual artist and Arsomnibus Garfunkel Hannibal, "the journalist Juan Calegari invited me to write a few lines about this singular artist.
cope with this demand, concerns began to circulate that he had on his life and work. On the inexhaustible nature of them, I made a cut on the issue of repetition that stretches across the work of Bourgeois.
Transit through this exhibition, opens a time for reflection as the artist used as working material issues being mobilized concerning human nature. Bourgeois uses their misery and their pain, anxiety operates as an engine of his creative process.
respect, Freud tells us in his article "Multiple interest of Psychoanalysis. The interest of psychoanalysis for Aesthetics "that the exercise of artistic activity is aimed at mitigating the wish fulfillment, which occurs both in the creative artist and the viewer of the artwork. The driving forces of art are those same conflicts that lead to other individuals to the neurosis and society have prompted the creation of its institutions. What is linked closely to the words of the artist, "art is guarantee of sanity. "
The artist has made their fantasies through a transformation as a lever concealed their unfulfilled desires, subject to aesthetic standards, providing the public with artistic enjoyment. This is borne out in part his work "The Destruction of the Father (The destruction of the father)", where his father Bourgeios destroys the fantasy, given the rivalry installed in front of the father figure.
What emerges from the work of Louise Buorgeios is a conflicting plot that revolves around themes that are repeated over and over again in a compulsive and thus perpetuate indefinitely. Namely, the issues it addresses are: the management of libido and aggression, affective ambivalence (a trait that is repeated for excellence), the dialectic of identifications with parental figures, motherhood, guilt and center stage is occupied by their fear, fear is the flipside of desire . This suggests how the passions of being (love-hate, ignorance), show resistance to prevent the subject access to their desire and therefore retain it.
As noted by Philip Larrat-Smith, curator of that show, "... the artist is also a kind of tormented Sisyphus, doomed to endlessly repeat the trauma through artistic production." Indeed, repetition is a key concept in psychoanalysis, both theory and praxis, and praxis is where Freud notes that the first repetition and described in his text "Remember, repeat and develop." In its statement, "Beyond the Pleasure Principle" introduces the concept of death instinct he built from his reading of the repetition compulsion. For his part, Lacan in the seminar "The Logic of Fantasy" thinks the status of repetition as a constituent of the subject and articulates itself in relation to the act. The minimum tour described on this concept, requires respectful reading of these texts and others that give theoretical support but I will not dwell on it at this time.
However, in the work of Louise Bourgeois repetition unfolds in your dreams, personal writings, sculptures, drawings, watercolors, etc. Since the unconscious does not resist, but repeated, insists manifest. In the words of Bourgeois "A theme grabs me and then I make sketches and drawings. That means that the obsession will last several months. Then disappears and reappears years later. I never feel completely satisfied. If he were, he would stop working and would be very happy. " Thus, trying to master their conflicts, repeated as "how do" with anguish.
The unconscious only asks speak and give us their programs, dreams, symptoms, fantasies, etc., appointed as the return of the repressed (due to failure of repression). The repressed material can only return to consciousness a condition of being deformed, the effect of censorship ", that is veiled by a disguise to protect the ego against anxiety.
In short, the exhibition "The return of the repressed" invites the viewer to be part of the scenes of private life of the artist and plunge into the deep waters of his unconscious. His works serve as a great mirror in which we reflect, and certainly moves us see what this mirror us back to ourselves.
Finally there is a question I find interesting state: the unconscious is structured like a language, Lacan says, a language that never dies so that the unconscious becomes a timeless dimension where the child lives with an adult. Thus, past and present appear embedded in the thread of hope that passes through them.
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