This text aims to explore the political implications of the creative act of painting. The author refuses to describe creation within that field of creative art which is defined purely by its own history. His goal is to broaden this field by questioning it and also to determine what connection exists between the act of painting and its socio-historical context. The recognition of such a connection leads the author to reconsider the conditions of that creative practice. In fact, if an art work obeys any other conditions than its own, it would be important to explore their role in the creative process and also to evaluate these various practices regarding their real inscription in a history which is not reducible to art history. Only then will it be possible to speculate about the possibility of aesthetic politics. More simply, this text reformulates the problem of the power of visual creation by insisting on the relationship of reciprocity it maintains with a socio-historical context which is a condition of that creation but which is also simultaneously altered through its influence.
- “I don’t stop; I start again.” The position of the analyst in ‘long term care’By Glenn Strubbe
- Vampires, Viruses and Verbalisation: Bram Stoker’s Dracula as a genealogical window into fin-de-sièc…By Hub Zwart
- Psychoanalysis: a symptomatic problemBy Evi Verbeke
- The Violence of Right: Rereading ‘Why War?’By Jens De Vleminck
Addiction Aggression Applied psychoanalysis Architecture Art Body Case study Child analysis Collecting Death death drive desire ethics Fantasy Freud Gaze Identity Institution interpretation Jacques Lacan Jouissance Lacan Language Literature Memory Narcissism Object a Oedipus Outsider Art Psychoanalysis Psychose Psychosis Real Repetition Repression Sade Signifier Subject Sublimation the Gaze Transference Trauma Unconscious Violence Writing