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Psychoanalysis: Jacques Lacan: “The Real, the Imaginary and the Symbolic”. “The Imaginary and the Concept of the Other” .-
“The Real, the Imaginary and the Symbolic”:
Lacan explains the subjective constitution as a dynamic structure organized in three registers. The French Psychoanalyst formulated the concepts of the Real, the Imaginary and the Symbolic to describe these three knots of the constitution of the subject. These three registers are imbricated according to the shape of a Borromean knot: The desanudamiento of any of the three causes the untying of the other two. It is another conceptual tool typical of combinatorial topologies, such as the Möbius Band.

Record of the Real

The reality is that which can not be expressed as language, what can not be said, can not be represented, because by representing it, the essence of it is lost, that is, the object itself. Therefore, the Real is always present but continuously mediated by the imaginary and the symbolic.

Record of the Imaginary:

The imaginary is constituted in a process that requires a certain structural alienation, it is the realm of spatial identification that starts in the mirror stage and is instrumental in the development of the psychic agency. It is in this process of formation that the subject can identify his image as the ‘I’, differentiated from the other. What is designated as ‘I’ is formed through what is the other – in other words, from the image in the mirror. It is the primitive form of symbolic thought.

Registration of the Symbolic

The imaginary, or non-linguistic aspect of the psyche, formulates the primitive knowledge of the self, while the symbolic, the term used for linguistic collaboration (coherent verbal language), generates a community-level reflection of the primitive knowledge of the self and creates the first set of rules that govern behaviour and integrate each subject into the culture. It constitutes the most evolved record and is the one that typifies the adult human being. Lacan considers that the language constructs the subject and the human being suffers from this language because it is necessary and gives each subject a heuristic quality (with the symbolic language one thinks, with this language one reasons, with such a language there is communication -symbolic- between the humans).

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“The Imaginary and the Concept of the Other”:
What becomes the Subject properly develops through its inception in the Symbolic order, at which time the infant acquires the ability to use language that is, to materialize his desire through speech. In Lacan, the Other is at At the same time the neighbour (each other separately) and the whole set of subjects that constitute the culture and society from the origin of humanity. The Other as a set of subjects that constitute the culture and society is qualified by Lacan of Treasure of the signifiers, that is to say, is of such an entity that each subject separately receives the language; that is why the Lacanian phrase is understood The subject is spoken by the Other and its variation the subject is thought by the Other. From the Other it is that the subject has a language and it is from the Other that the subject thinks (in this Lacan does a modification to the Cartesian cogito, to the cogito ergo sum – I think ergo exists – no one thinks initially from his ego or from his self same, but he does it from what he receives by tradition from the Other). Moreover, as the ego of each subject is constituted from the Other, it also turns out to be the desire installed in each subject, a desire coming from the Other and directed towards the Other, this is summarized in the apothegm(depot): the desire is the desire of the Other. The first vicarious subject or representative of the Other for every subject is his mother. However, the mother is another who will only be effective if the paternal function mediates between her and the child.

Psychoanalysis: “Dream, Work of Art and Deep Unconscious” .-
The Work of Art, through the symbolic structures that nest in it, is an expression of the man analogous to the dream, but, unlike this one that appears to us with its essential evanescence, the Work of Art is a Fixed Dream, and it is also, because it contains a potential of reverie, a centre of psychic vibration that can generate new imaginative openings in the human being.

Analytical Psychology has been able to discover in Art, the game of the same dynamic processes that act in the Oneiric Phenomenon. The aesthetic object remains at an intermediate level between the Imaginary Object of Dream and the Concrete Object of the Real World. It is a projection of the Imaginary in the Real: it is not incommunicable like the dream, but, on the contrary, it is characterized by being discernible by man.

The Symbols of art, insofar as they are “living”, behave like the symbols of the dream, but with specific differences. In the dream state, the rational, volitional and reflection functions are almost suspended, and the impulsive and trend elements are in their original habitat.

In art, the same thing does not happen: the whole personality is at stake, as the old alchemists expressed it: Ars requirit totum hominem (Technique requires a whole person…) The ideas are presented next to the images and are placed with them in the condensations. Art gathers all the regions of the spirit, even the highest ones, in a process that the dream usually puts only in the regions of the Pulsional Experiences, through Primordial Symbolic Images. Art also manifests itself in the form of images and primordial symbols, whose line is the Deep Unconscious, but the Apollonian side of art allows Consciousness to grasp the contents that come from the dark regions, and capture them in the work, thus remaining fixed by the artist’s hand.

Both the dreams and the work of art are generated by a Suprapersonal Sphere that Jung called collective Unconscious, and from this Suprapersonal Fund arise original, primitive structures, which are manifested through symbolic images of a universal nature, for which Jung expressed: “This part of the Unconscious obviously likes to express itself through mythological images, because this mode of expression is in tune with its nature” (*).

The mediator of the work, the artist, can reach the roots of his Primitive Unconscious only if he enters the dark and deep abysses of the living myth that he carries within himself in order to express his subjective visions and express them artistically and expressively.

The work of art, like the dream and the myth, is the mouth of several rivers that converge, it is the manifest purpose of the creative potentialities of the Unconscious, which are revealed in the poem, music or painting: “The human Psyche is the matrix of all the arts and sciences “(**).

Antonio Berni: “The Saga of Juanito Laguna” .-
Antonio Berni was born in Rosario in 1905 and died in Buenos Aires in 1981. For sixty years he devoted himself to painting becoming one of the most important artists in Argentina and Latin America. He was a painter, engraver, draftsman, muralist, illustrator, made objects and installations. In 1925, the Jockey Club of Rosario awarded Berni a scholarship to study in Europe. He settled in Paris and some trips through Spain, Italy, Holland and Belgium allowed him to see museums, artists and works of art history that are influencing his work. For example, in Italy, he studied the Renaissance masters of the fifteenth century and travelled through cities such as Florence visiting his churches, palaces and museums. Berni restless is constantly finding encouragement for their own works. The main discovery for Berni in those years was the relationship between art and politics, the role of the artist as a man of his time and as a social actor. Berni approaches communism and from his interest in politics, he assumes the commitment to reflect in his paintings the reality of the world that he has to live. Since then, for him, the painting will be his way of reflecting on reality and trying to transform the marginal world of workers. At the same time, he knows one of the most important artistic vanguards of that time: surrealism, and adheres for a few years to his postulates. This responsibility of the artist as the protagonist of his time is a position that Berni shares with other artists in Latin America, especially with the famous Mexican muralists. Precisely, in 1933, one of them, David Alfaro Siqueiros, visited Argentina, with whom Berni works and discusses the role of art in the revolution of the popular classes. The last ruptures of modernity will be the clean squeeze to break into the sixties, at 55 years of age.

The Saga of Juanito Laguna and Ramona Montiel will serve as a narrative excuse for retaking social criticism with an image that calls for the influx of various plastic currents of the time: informalism, pop, new figuration and expressionist realism. Since the early sixties, Antonio Bemi has been working on a new series.
«JUANITO LAGUNA»:
The works dedicated to Juanito Laguna and Ramona Montiel, two characters invented by him to use them as symbols of childhood exploited in Latin America, especially in large cities such as Buenos Aires, Lima, Rio de Janeiro and Mexico. It is about two inhabitants of the misery villages.

Juanito Laguna is a boy who lives in one of those shantytowns and Berni paints his daily life, his games, his family: Juanito watching television, Juanito climbing his kite, Juanito in the lagoon, Juanito at Christmas, Juanito going to the city, Juanito taking the food to his metallurgical worker father.

For these works, Berni uses a technique invented at the beginning of the century: the collage, the addition to the painting of real materials that are glued on the painting.

The artist uses an abundant collage transforming his images into surfaces loaded with elements such as cans, plastics, irons, woods, fabrics, shoes, toys, papers, traffic signs, etc.

The idea is to incorporate the waste that the artist collects in the marginal neighbourhoods of Buenos Aires where the protagonists could live. With this cycle, Antonio Bemi developed until the eighties, one of the most original chapters in the history of art.-

A Kiss is not just a Kiss 😊👍👍