Louise Bourgeois: the return of the repressed - Fundación Proa.
Louise Bourgeois: The Return of the repressed opened in Bow on March 19 and presented for the first time in Argentina a complete picture through 86 works, drawings, objects, paintings, sculptures and installations, the Franco-American artist Louise Bourgeois, born in Paris in 1911 and died recently at age 98 in New York. Curated by Philip Larratt-Smith, organized by Louise Bourgeois Studio, New York, the Tomie Ohtake Institute in Sao Paulo and Fundación Proa, the sample links the work of the artist with some of the most important concepts of psychoanalysis. In the words of the curator, the way in which the artist is "equivalent plastic" from "psychological states:" All works have been chosen to highlight the continuing presence of psychoanalysis as a driving inspiration and space exploration in his life and work. " Ghost
father, echoes of childhood, imaginary autobiographical, being a mother, hysteria, lines, themes, ideas, writings found in the exhibition spanning 60 years of artistic production in a comprehensive tour of the artists Top, unclassifiable and remarkable of the century.
Gender and phallic symbol. The physiological. The dream and the unconscious dimension. Oscillating, the work of Louise Bourgeois are not pursuing a unique geometry and adapt to the realism. For Instead, they activate a personal vocabulary and pursue an emotive function: "My job is to take care of pain," writes the artist.
Installed in the courtyard of Bow, the monumental and iconic spider Maman (1999) prefaced the exhibition. Giant threat. Huge in its protection: Proa located in public space a major work of Louise Bourgeois, and make timely London, Tokyo and Paris.
With Louise Bourgeois: the return of the repressed, Proa again offering the opportunity to know the work of iconic artists of the twentieth century. Louise Bourgeois lived with the artistic movements of his time. Louise Bourgeois thought deepened radical at the time. Louise Bourgeois was the concerns that had many artists. However, his legacy is irreducible to the order of the artistic movements and avant-garde art. Own world.
The catalog, published in two volumes under the supervision of the curator, plays, first, a series of essays that highlight the richness of his thought, accompanied by the works in the exhibition. The edition of 93 unpublished writings of Louise Bourgeois, never before published in English or English, reveals the impact of psychoanalytic practice had always been in their creative processes.
A historical display that consolidates According to publicize the most outstanding works of contemporary art, and with the support of Tenaris / Techint in Brazil and Argentina allows Louise Bourgeois: the return of the repressed was present at the Instituto Tomie Ohtake in São Paulo and the Museu de Modern Art in Rio de Janeiro.
Introduction by Philip Larratt-Smith
Louise Bourgeois: the return of the repressed
More than any other twentieth century artist, Louise Bourgeois (1911 - 2010) has produced a work that is linked consistently deep with psychoanalytic theory and practice. The surrealists have found a way Local Access to the imagery of sleep and the spontaneity of the Abstract Expressionist gesture is linked to the unconscious, but the art of Bourgeois allows a privileged way to understand the connection between the creative process and its cathartic function. Together, art and writings of Bourgeois represent an original contribution to psychoanalytic research on the formation of the symbol, the unconscious, the talking cure, family history, maternal and paternal identification, and the fragmented body. Through the exploration of materials, shapes and sculptural processes, Bourgeois is equivalent plastics psychological states and the mechanisms of fear, ambivalence, compulsion, guilt, aggression and withdrawal.
Bourgeois Making art was for a "form of psychoanalysis" and was there a direct path to the unconscious. In his view, the artist, deprived of power in everyday life, has the gift of sublimation and thus becomes powerful in the creative act. But the artist is also a kind of tormented Sisyphus, doomed to endlessly repeat the trauma through art production. The creative process is thus a form of exorcism, a way to ease tensions and aggression, and an act of catharsis. It is also, like psychoanalysis, a source of self-knowledge. Or Bourgeois used to say: "Art is a guarantee of sanity."
Bourgeois's career in New York began with two solo exhibitions of paintings in 1945 and 1947, followed by three samples of wood sculpture and environmental facilities in 1949, 1950 and 1953. Never again expose individuals until 1964, when he presented an innovative suite of abstract sculptures in the famous Stable Gallery in New York. These seminal figures of plaster, rubber and latex were included in the famous example of Lucy Lippard "Eccentric Abstraction", exhibited at the Fischbach Gallery in New York in 1966, along with works by Bruce Nauman and Eva Hesse. But while Hesse Nauman and reached the post-minimalist forms through of philosophy and conceptualism, the evolution of Bourgeois derived from and inspired by his own experience of psychoanalysis.
Bourgeois began to psychoanalyze with Dr. Leonard Cammer in 1951, the year of the death of his father. In 1952 Henry began his therapy Lowenfeld. Born in Berlin in 1900, a disciple of Freud in Vienna, emigrated to New York Lowenfeld the same year as Bourgeois (1938), became a leading member of the New York Psychoanalytic Society and published numerous works. Bourgeois psychoanalyzed with him until the early eighties. In the fifties, during a period of withdrawal and depression, not only discussed but sank reading of psychoanalytic texts of Sigmund Freud to Erik Erikson, Anna Freud, Melanie Klein, Heinz Kohut, Susanne Langer, Otto Rank, Wilhelm Reich and Wilhelm Stekel.
Shortly before the retrospective organized by the Tate Modern in 2007, Bourgeois's house they found two boxes of papers and two in 2010. This material, hitherto unpublished, can expand and enrich our understanding of artistic development and complete the course Bourgeois offered his copious diaries and notes of work. For its literary quality and historical importance, comparable to Eugène Delacroix's diaries and letters of Vincent van Gogh. Is a complementary work that accounts of their mental and the legacy of the past. These documents Bourgeois recorded and analyzed her dreams, her emotions and anxieties, and above all, his mixed feelings about how to be both an artist, mother and wife. The relationships between feeling, thinking and sculptural process clearly outlined there. The writings, such as sculptures, also represent a critique of psychoanalytic theory in relation to female sexuality and identity. Illuminate both their transition from figurative works of abstract expressionist period to abstract pieces that opened the way to postminimalism, and can appreciate how his relationship with psychoanalysis continued production until the end of his life.
The return of the repressed will be the first thorough analysis of the relationship between psychoanalysis and art in the work of Bourgeois. The exhibition includes drawings, paintings and sculptures, as well as a large selection of their journals. The broad spectrum of the exhibited works ranges from paintings Femme Maison by late 1940, to works on canvas and red watercolors 2009. The monumental outdoor sculpture Maman (1999), an ode to his mother, will be installed in front of the Foundation. All works have been chosen to highlight the continuing presence of psychoanalysis as an inspiring force and space exploration in your life and work. Accompany the sample a publication in two volumes, edited by Philip Larratt-Smith. The first will be devoted to the unpublished writings of the artist, while the latter includes contributions from renowned art historians and psychoanalysts. Collaborators include Larratt-Smith, Elisabeth Bronfen, Donald Kuspit, Juliet Mitchell, Mignon Nixon, Meg Harris Williams and Paul Verhaeghe & Julie Ganck.
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