MARIANNE BERENHAUT: LACAN, THE EXHIBITION

The exhibition should be seen and understood as a journey through specifically Lacanian notions (the Mirror, the Lalangue, the Void, the Hole, Nothingness, the Object, the Gaze, the Voice, the Name-of-the-Father etc.), filled with artistic references, both direct (Diego Vélasquez, Hans Holbein, Salvador Dalí, Marcel Duchamp) and indirect (the encounter of these ideas with the works of art of our time). The main stages in Lacan’s life are traced, as well as his relations with the Surrealists (Salvador Dalí, Diego Masson, Georges Bataille, Pablo Picasso, Dora Maar) and with the intellectual figures he rubbed shoulders with (Alexandre Kojève, Maurice Merleau-Ponty, Claude Lévi-Strauss, Martin Heidegger and many others). 

Lacan had a close relationship with the art and artists of the 20th century and never ceased immersing himself in the art of all ages in his teaching. Although he never spoke directly about his approach to Art, he looked at works as powerful means to show to us and think about the world. Like psychoanalysis. Creating an exhibition about Lacan does not mean interpreting art through psychoanalysis. The aim is more to interpret psychoanalysis through art. Because art looks at psychoanalysis, but art should even be a royal road to psychoanalysis.

CURATORS