Transformation, passage, modification will be explor during the three following evenings, at the ges of the stage , precisely in this zone between the eye and the gaze, successively with Xavier Lot, choreographer, whom Myriam Papillon (ACF-CAPA) will meet, then Marc Gérenton, visual artist and sculptor, curator of the exhibition Statu Quo, whom Jean-Philippe Parchliniak (ECF) will meet, and finally Nouveau Héros by Nicolas Kerszenbaum This invention .
Subject to mental This invention automatism
she presents her relationship to the Other, the White Man, as: “He is the eagle who describes his circles above the little masochistic chicken [her]” [7 ] . Above her there is this eagle with sharp eyes who pierces her with his mobile database pleasure and whose drawing is us to border this.
He is no longer able to set his gaze on her. This is the paradox of the gaze in Unica: it holds her and at the same time it makes her enjoy excessively.
JA Miller stat in 2004: “The sinthome is a piece that detaches itself to malfunction […]. It is a piece that has no function, that the power of sms lists for niche marketing has no other than […] to hinder the functions of the individual. […] in analysis it is a question of finding, of tinkering with a function for it” [9 ] . Ultimately, isn’t Unica Zürn trying to tinker with a function for this object of the Other’s desire that is the object of gaze and which, in her case, becomes detach and dysfunctional?
What is important in the drive
“Thanks to the introduction of the other, the structure of the drive appears, it is only truly complet in its revers form, in its form of return which is the true active drive.” [4]
They will have a new portrait made that they will position on the home page of the site, an art photo, which, by its perfection, will empty the sordid cliché of its value of fascination.
to recover the part of being that was lost. They will cover the obscene look, and move it towards more attractive images, which veil the betting email list horror. They will thus be able to continue to watch others not see them.
Where fantasy veils for each person the reality they are dealing with, the contemporary treatment of the image reveals the unspeakable, the cruelty lurking in the most intimate part of the subject. Rather than being limit, the image can also appeal, as illustrat by the terrible propaganda videos of Daesh. The object has fantasy, finds itself liberat [5] , and produces a mass effect by activating a collective fantasy. The image always reveals what is true for someone [6] . We could say that we are caught by the small end of the fantasy.
