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« […] les yeux ne perçoivent pas seulement les modifications du monde extérieur importantes pour la conservation de la vie, mais aussi les propriétés des objets par lesquelles ceux-ci sont élevés au rang d’objets amoureux. »
Freud S., Le trouble psychogène de la vision dans la conception psychanalytique, Névrose, psychose et perversion, Paris, PUF, 2002, p. 171.
 

"[…] the eyes perceive not only alterations in the external world which are important for the preservation of life, but also characteristics of objects which lead to their being chosen as objects of love."
Freud S., Psychoanalytic View of Psychogenic Disturbance of Vision, (1910), SE, Vol. XI (1957), 216.

 La schize de l’œil et du regard
 Dossia Avdelidi

« Le regard échappe à la vision qui s’imagine consciente. Lacan dit même que le regard est l’envers de la conscience. Le regard est insaisissable, il est, plus que tout autre objet, méconnu. »

Lire …   Read …

Weltanschauung-Delusion:
Then & Now

Neil Gorman

“When Lacan says, “[Freud] thought […], that everyone is mad, that is, delusional,” we might propose that at the level of the statement, we have Freud’s Weltanschauung, but what these signifiers slide over is what Lacan calls delusion."


Read …

 Love is Blindness
 Tsvetelina Ivanova

Contemporary love practices, influenced by the compromised presence of the Other, could be thought of as an attempt to bear its senseless empty gaze. For if, in bygone times the subject in love was taken as blind, nowadays the blindness is on the side of the Other.

Read …


The deadline for submitting texts for the blog has passed. Thanks to all contributors!

La date limite de soumission des textes pour le blog est dépassée.
Merci à tous les contributeurs !

 

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Francis Bacon & Marcel Duchamp:
Two "Windowers"

Sequence 1

Francis Bacon or The Gaze Stripped 

Bare by Her Artists, Even

Saturday 11 May 10am – 11:20am


Sequence chaired by Marie-Hélène Brousse, with

 

Dr. Margarita Cappock 

Assistant City Arts Officer & Public Collections 

Specialist with Dublin City Arts Office

&

Rik Loose : What Cannot Be Seen

 Bruno de Halleux : The Stain, It's the Accident


Conversation

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Why Bacon? Well, because Bacon is Irish and his entire studio was moved from London to Dublin. Our guest, Margarita Cappock, was the one who masterminded this incredible adventure! She is the former project manager of the Francis Bacon Studio Project at the Hugh Lane Gallery (which hosts Bacon's studio) and subsequently its Head of Collections and Deputy Director for almost twenty years.

I have taken the liberty of borrowing from Duchamp the second title he gave to his "The Large Glass" – "The Bride Stripped Bare by Her Bachelors, Even" – to introduce this sequence resolutely centred on Francis Bacon and the gaze, which will open our 2024 Congress in Dublin.

Our Executive Committee colleague Philip Dravers has provided us with a reference from the website of the Tate Gallery in London, which fits like a glove to give the right perspective to this sequence, which will be chaired by Marie-Hélène Brousse and in which our colleagues Rik Loose, from Dublin, and Bruno de Halleux, from Brussels, will also be taking part.

Perhaps my character would have been reminded that Duchamp later intended to make a whole series of works based upon windows, although only two small pieces were completed, including the punningly titled Fresh Widow1920? He would have known that the French for widow is veuve, a colloquialism for the guillotine; he may have known, or could have easily discovered, that fenêtre à guillotine is the French term for sash window. As the two elements of the window are demountable, like the two sheets in Duchamp’s original note, might he have speculated that The Large Glass be reconsidered as a sash window? If this were the case, then perhaps the Bride and her Bachelors may be reconciled after all, the one sliding, gliding, on top of the other.

Speaking to Schwarz sometime later, the artist remarked: “Instead of being a painter, I would have liked, on this occasion, to be thought of as a fenêtrier.” 

Jeremy Millar “Looking through The Large Glass” 1 May 2006 (https://www.tate.org.uk/tate-etc/issue-7-summer-2006/looking-through-large-glass)

However, unlike J. Millar, we will not wager that Bacon and the gaze emerge "reconciled" from the confrontation to which the artist bears witness: the sash window of his paintings leaves him "widowed and disconsolate" (cf. Nerval, El Desdichado).


Daniel Roy

President of the NLS

––––––––––––––––––––––––––––––––––––––––––––– 

New Lacanian School

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Francis Bacon & Marcel Duchamp:
Two "Windowers"

Sequence 1

Francis Bacon or The Gaze Stripped Bare by Her Artists, Even

Saturday 11 May 10am – 11:20am


Sequence chaired by Marie-Hélène Brousse, with

 

Dr. Margarita Cappock 

Director of the Hugh Lane Gallery (Bacon's Studio)

&

Rik Loose : What cannot be seen

 Bruno De Halleux : The Stain, It's the Accident


Conversation

image.png


Why Bacon? Well, because Bacon is Irish and his entire studio was moved from London to Dublin. Our guest, Margarita Cappock, was the one who masterminded this incredible adventure! She is currently the director of the Hugh Gallery, which hosts this studio.

I have taken the liberty of borrowing from Duchamp the second title he gave to his "The Large Glass" – "The Bride Stripped Bare by Her Bachelors, Even" – to introduce this sequence resolutely centred on Francis Bacon and the gaze, which will open our 2024 Congress in Dublin.

Our Executive Committee colleague Philip Dravers has provided us with a reference from the website of the Tate Gallery in London, which fits like a glove to give the right perspective to this sequence, which will be led by Marie-Hélène Brussels and in which our colleagues Rik Loose, from Dublin, and Bruno de Halleux, from Brussels, will also be taking part.

Perhaps my character would have been reminded that Duchamp later intended to make a whole series of works based upon windows, although only two small pieces were completed, including the punningly titled Fresh Widow1920? He would have known that the French for widow is veuve, a colloquialism for the guillotine; he may have known, or could have easily discovered, that fenêtre à guillotine is the French term for sash window. As the two elements of the window are demountable, like the two sheets in Duchamp’s original note, might he have speculated that The Large Glass be reconsidered as a sash window? If this were the case, then perhaps the Bride and her Bachelors may be reconciled after all, the one sliding, gliding, on top of the other.

Speaking to Schwarz sometime later, the artist remarked: “Instead of being a painter, I would have liked, on this occasion, to be thought of as a fenêtrier.” 

Jeremy Millar “Looking through The Large Glass” 1 May 2006 (https://www.tate.org.uk/tate-etc/issue-7-summer-2006/looking-through-large-glass)

But, unlike J. Millar, we will not wager that Bacon and the gaze emerge "reconciled" from the confrontation to which the artist bears witness: the sash window of his paintings leaves him "widowed and disconsolate" (cf. Nerval, El Desdichado).


Daniel Roy

President of the NLS

––––––––––––––––––––––––––––––––––––––––––––– 

New Lacanian School

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NLS Website – EN  /  NLS Website – FR

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CAPSULE 7 – Molly Malone
DUBLIN AWAITS / VOUS ATTEND !

Coup d'œil sur le Congrès / 
Glimpse at the Congress
Here is the 7th in a series of short videos or "capsules" towards the 
XXII Congress of the NLS which will take place in Dublin on the 11-12 May 2024. 

Voici la 7ème d'une série de courtes vidéos ou « capsules » en vue du 
XXIIe Congrès de la NLS qui aura lieu à Dublin les 11 et 12 mai 2024

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Watch the video and subscribe to our channel! / 
Regardez la vidéo et abonnez-vous à notre chaîne !

You can also find this video on the Blog / Vous pouvez également trouver cette vidéo sur le blog !

In person  / en presence 
or / ou
 Videoconference / visioconférence

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« Le monde est omnivoyeur, mais n’est pas exhibitionniste – il ne provoque pas notre regard. Quand il commence à le provoquer, alors commence aussi le sentiment d'étrangeté. »
Lacan J., Le Séminaire, Livre XI, Les quatre concepts fondamentaux de la psychanalyse, texte établi par J.-A. Miller, Paris, Seuil, 1973, p. 71-72.
 

"The world is all-seeing, but it is not exhibitionistic — it does not provoke our gaze. When it begins to provoke it, the feeling of strangeness begins too."
Lacan J., The Seminar of Jacques Lacan, Book XI,The Four Fundamental Concepts of Psychoanalysis, ed. J.-A. Miller, trans. A. Sheridan (New York: Norton, 1977), 72.

 The Gaze and the Obscure God
 Natalie Wülfing

"Films about victims of any kind always display this humanist sadism inherent in good intentions. Glazer’s film does not fall into this trap. Here, not our “vision is solicited, but our gaze is aroused”, as a nausea that reigns over the entire experience of watching this film. We are in the field of the gaze."

Read …

The Gaze as the Rock of Castration
Dana Tor-Zilberstein

“Maybe we could say that instead of extracting our own eyes like Oedipus, at the end of analysis, one extracts his own way of seeing the world, the object a which determines the fantasy, i.e., the gaze. Or, one would attest to his way of doing with it, with that which eludes, and cannot be passed."

Read …

 The Sovereignty of the Image in the Sexual
 Rik Loose

The image (of pornography) reigns supreme in our modern digitalized culture. It shows that the gaze is susceptible to being hijacked by it, but also that the visibility aspect of the image cannot capture the real of the sexual act and of the sexual relation.

Read …


The deadline for submitting texts for the blog has passed. Thanks to all contributors!

La date limite de soumission des textes pour le blog est dépassée.
Merci à tous les contributeurs !

 

BLOG →
LA BIBLIOGRAPHIE →
THE BIBLIOGRAPHY →
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Copyright © 2024 NLS.
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Our mailing address is: 
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ICLO – NLS

 

12 April – Dublin


Seminar Towards the NLS Congress

 Civilisation of the Ιmage and New Symptoms:

The Function of the Gaze

 

 
with Domenico Cosenza

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ICLO – NLS

 

13 April – Dublin


Conference

 The Gaze in the Freudian Clinical Cases

with 

Domenico Cosenza

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Lacanian Compass (USA)

 

5, 6 April – Fort Lauderdale, Florida 


Clinical Study Days

 
Transference & Interpretation 
 

with 

Christiane Alberti & Laurent Dupont



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Initiative Berlin 


6 April 2024 – Berlin


Seminar Towards the NLS Congress

What is Missing in the Image
with Yves Vanderveken

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London Workshop 


of the Freudian Field


6 April – London 
 

The Symptom

with 

Vicente Palomera


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Click here for Bibliography


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