Some deviations of form: a little essay on psychoanalysis, art and aesthetics

This work intends to investigate the use of psychoanalytical theory within the aesthetic and critical contemporary art field. To this purpose, it focuses on two philosophers who have become significant in our time: the art critic Hal Foster and the art historian Georges Didi-Huberman. This study aims to show how far the concepts generated in psychoanalytic praxis allowed interpretations that disrupt the traditional aesthetics field. This type of analysis is possible once we abandon the paradigm of “applied psychoanalysis”, which is still current in non-clinical setting. Finally, the proposal wants to argue that the category of the amorphous may clarify certain aesthetic experiences that range from the modernity of art through postmodernity.

A pintura de Jesuíno do Monte Carmelo na Igreja da Ordem Terceira do Carmo em São Paulo

Pós-graduação em Artes - IA

Pintura Naïve: características e análises - quatro exemplos em São Paulo

Pós-graduação em Artes - IA

Os movimentos da sensibilidade: o diálogo entre Mário Pedrosa e Alexander Calder no projeto construtivo brasileiro

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Nas trilhas do real: mais além da psicologia do espectador

This essay to discusses the relationship between psychoanalysis and aesthetic thinking, through the prism of Lacan’s theory on visuality, as perceived by the critic and art historian Hal Foster. In my opinion, this intersection would allow us to enlighten new ways of reading the work of art towards a paradigm of a non-applied psychoanalysis. Therefore, this paper intends to tackle aspects which concern the Lacanian concept of real in order to question some problems that concern the contemporary work of art.

Desligamentos da crítica: psicanálise e reflexão sobre arte

This paper intends to discuss the relationship between psychoanalysis and aesthetic thinking under the prism of the “unbinding” theory – earlier conceived by the psychoanalyst Andre Green –, linking it to some theories proposed by Hal Foster, art historian and art critic, where we can find the lacanian “real” as the linking concept. One could say, in this linkage made here, that both authors are dealing, in a very particular way, with a question that refers to the theory of the real (as it was conceived by Jacques Lacan), even in the case of Green it is not referred directly; Green’s theory, however, seems to discuss some kind of a regredience that could be linked to the death drive. Accessing the psychoanalytical dispositive, and using it as it is appropriated to the (art) object to be interpreted, Foster, for example, advances in both the field of aesthetic reflection and in the more specific field of psychoanalysis. It should be noted that Foster’s reflection refers strictly to the post-pop images, observed mainly in the 1990’s photography. Thus, I think that this intersection between aesthetics and psychoanalysis might allow us to shed some light on a new art reading possibility towards a “non-applied” psychoanalytical paradigm, which, in my opinion, seems to be an appropriate way to understand some of the contemporary art production.