I recently started ‘following’ the blog of Dr. Tina Kinsella.
I found an article on an exhibition by Treacy Emin, located by the Tate Galleries at Turner Contemporary in Margate in 2012, alongside works by Turner and Rodin. The exhibition was part of a journey for Emin, a search for home and also a journey back to painting. In essence this is a journey related to my own. She was looking for a way to say what she wanted through painting and drawing again, rather than installation and object. In work she is also re codifying the symbol of woman as an object of erotic love, giving the representation of woman in art a different power. Artists through their work have the capacity to see and think in a way which defies Western logic, we have the capacity to shift the way people perceive and contemplate.
The article is placed in the context of Bracha Ettinger’s work and her discoveries in both intellectual and practical aspects of her art practice and psychoanalytic practice collide and inform one another.
“The most graceful moments in the covenant between art and theory occur when theoretical elements, only indirectly or partly intended for particular works of art, and visual elements which refuse theory, collide. In doing so, they transform the borderline between the two domains so that art is momentarily touched by theory while theory takes on a new meaning” (Ettinger, 1993a, p. 38).