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IMPRESSIONS OF A Psychoanalyst: Clarifications on the repetition in the work of Louise Bourgeois.

by Ms. Paola Calceranica, Psychoanalyst.

Hannibal

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.

; ; View Video. Production KONIEC

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Impressions of an Artist: From Chaos to Order in the work of Louise Bourgeois. DOMINO

Louise Bourgeois: the return of the repressed
curator Philip Larratt-Smith see sample>>

Fundación Proa
From March 19 to June 19
Admission: $ 10 .- $ 6 .- Jub Est $ 4.

recently arrived from San Luis to Buenos Aires and after being absent 50 days of the city's scene, the visual artist Hannibal Garfunkel toured for two hours with to Arsomnibus, a licensed psiconalista-the-Calceranica Paola and photographic support of Juan Cruz Lobo, the impressive display of Franco-American Louise Bourgeois, who some days ago opened in the Proa Foundation headquarters in Boca, just meters from the Riachuelo and the ineffable Vuelta de Rocha.
These are some impressions of our special guests to the 85 works that make up a mega exceptional exhibition, titled "Louise Bourgeois: the return of the repressed", which closes to the public on 19 July.

There

awe and silence, between the flood of Argentines and foreigners were the four, a Sunday afternoon, who visit daily the sample (except Mondays), and Garfunkel, who next May will present its own artistic production, within the space Barrio Joven, who every year gives artists arteBA-changed several times their mood, before the rapt gaze of those who travel the four halls for Bow to the work of the artist.
"I see great authenticity Borugeois work because she molded from itself and from a personal a work situation that allows us to get into a corner of his head, creating highly natural images of art, with admirable technique."

"There is a certain sinister charm and brutality, especially in the management of materials used to compose objects in clay, modeled with complete mastery, which works a lot internally, the hollow and the hole that seems to support the reality. "
" That is a very contemporary and coherent work representative of the world we live in. " .
"I was very impressed Maman, this monumental sculpture we saw at first, because the famous spider saves nine eggs from pure white marble, which, in my view, are related to the nine MECES of pregnancy of women".

"It's like the artist herself had woven patterns and networks, feeding on different aesthetic styles to signify a single particular way of speaking to the public and to convey his heart and disturbing inner world. "

" I think his top-conscious perhaps, was: draw and paint your mind of others. "
" Everything you see here today , is as attractive and yet sleep rough, because we played from the depths of being and where the human body, the main character of his work is seen (and headless), tissue-like most of life and things this world, we all fear. "
" It is amazing the freedom that works and produces technically his work and lack of prejudice to express the artistic result of their work. "
" The choice materials such as bronze, marble and stainless steel denote purity and strength of their beliefs, and love and preciousness technician that arrived to them "
" Bourgeois conveys visions of a world inexorably that we must accept ourselves as we where reality and contributes to permanently deform and, again, to form us as we are finally. In short, I think that the artist wants to tell us that reality is much more complex than a simple deformation, call it balanced, itself. "
" All images are very powerful and, seeing it, its disturbing spiders, although they have strong hand, I represent myself quite friendly and generous with the landscape ".
To all this, I must say that Paola and Calceranica Garfunkel, sometimes lacked the air when they saw the LB sample (and we all breathe a sigh of relief when we go back to the street), because it failed to suggest for the tour, they felt the whole work was conceived in a barbarian and dark atmosphere of nervousness and not the subtle and narrow gorge of peace, which the artist seems, never journeyed.
course, our home-the body- is an insecure wreck suggests LB in this exhibition, because his hand never negotiated with the gods and demons of modern American society, which developed much of his life.
This work (each), probably exploded through the pores of the artist, who never rejected their ties to psychoanalysis and its relationship to postwar surrealism.
Perhaps there is a lot of intimate and personal courage, not repentance, pure talent in the hands of this unique artist who, during many years of his long life paid the price of the silence of worldly criticism.
Perhaps his own sins and blessings mingled in the conversation we had with Garfunkel and Calceranica.

She died recently, aged 83, between earth and sky, finally consecrated by the abundant and obedient at all international criticism, curiously and paradoxically, before, years ago, had ignored and ignore, as one of the largest, prolific and certainly frightening (like the famous, fabulous and mortuary spider symbol hermeneutical and alter-ego of the mega mater weaver and protective, which is now in Buenos Aires and then travel directly to New York) XXI century art forms that, obviously, had not been born, but grow to the limit of old age and dive into the "for her, inscrutable and frantic human destiny.
Finally, Maman, 22 tons of bronze, performs several functions. It's literally the figurehead, because it gives unsurpassed and turbid river (which no one painted better than Don Martin and imposes Quinquela ominously at the entrance of the Foundation, which now lies installed important part of the work of LB, as a unique and creative gesture eloquent object, because it seems that from beyond speaks for itself (the artist), and precisely because and precious above and above (outside) the entry of the sample. Precisely, renowned Boca seems to lead us here and there, from the bitterness of landscape painting manifest his birth and death, to the top of the other art (LB) who claims (loudly light), much of what the national and international contemporary art houses and contains stupor and, stinking deep background (aroma) of mud.
course: something that unites and ruthless to the legendary artist and rotten natural universe (that of the river), which undoubtedly leads us to think about life and modern art, as two sides of same coin, where suffering and happiness are raised in pregnancy, to support the titanic and mythology that makes the daily effort to keep humanity alive. DOMINO