This in-depth interview explores the motives underlying the creative oeuvre of the Belgian artist Philip Huyghe (Ieper, °1959). The guiding principle of this oeuvre, comprised of plastic work, installations, performances and videos, is the duplication of the/his mother, an idea which imposed itself on the artist in a feverish dream, and which permits the Gestaltung of 1. the liminal space, as space of opposition, and; 2. the artist’s experience of sexuality.
Many psychoanalytic theories address the question of the space of play. Based on Freud, the author first of all tries to show that the originality of psychoanalysis lets us consider the space of play as a scene (Bühne) which opens onto the Other Scene, the unconscious. A structural analogy between play space and tragic scene will be considered. Next the author will study the Winnicottian invention of potential space which allows us to explain the experience of play from a psychogenetic point of view. In this perspective it will be important to locate the area in which play takes place, an area of illusion that Winnicott describes as paradoxical. Finally a third perspective considering how play constitutes its own symbolical space will be considered. The author will propose that play institutes a third space allowing something to be said and at the same time a subjective division.
B minor sketches in manner that is filmic and poetic the pathic landscape of a corridor, the psychiatric unit of a general hospital. The evocation introduces us to a concept of “space”. The geographical or architectural geometric space is ontic. Her sense is pathic. The pathic landscape is directly and immediate revealed to us as “mood”. The rhythm is distinguished from the cadence. It opens the space and the time of waiting. The rhythm is personal; it is the “how” of our being-movement. It is the auto movement of space-time.