How to approach this theme of work as complex as it is unavoidable Beatriz Gonzalez ? The seven works exhibited during this simultaneous event aimed to question the place and function of the object gaze in the analytical experience for the six clinical cases, but also through the unprecedented reading of Rembrandt’s painting The Flayed Ox [1] Beatriz Gonzalez .
If, as Freud and Lacan tell us, “the artist paves the way for the psychoanalyst”, it is still necessary for an analyst to be present and willing to transmit what the artist teaches him. Serge Cottet [2] has thus explored this painting by Rembrandt which has aroused the interest, even the fascination, of many famous painters and iconographers. For the most part, they have concluded that it is a “still life” with accents of memento mori .
Contrary to the beaten track
Serge Cottet’s interpretation produces a tipping point, a new way of looking at the canvas, or rather, a reversal of the gaze in the painting. Thus, the spectacle as frightening as it is irresistible of a skinned ox, bathed in an amber light.
will be read differently by the gaze of the analyst who summons us to a “temporal reversal in the painting” [3] which aims beyond accurate cleaned numbers list from frist database the foreground, as if it were almost a question of ignoring the obvious, of wanting to know more.
because after all “this is not an ox” [4] … What is it about then? Well, neither more nor less than the enigma represented by the gaze of a young servant who emerges, barely recognizable, from the deep shadow in the background. Serge Cottet gives this feminine gaze the value of a gaze-cause: this gaze would thus be at the origin of the scene of the flayed beast. “This gaze by its intrusion into the crack makes a stain on the painting and eroticizes it” [5] .
Other tipping points were to follow
In each of the clinical presentations, we were able to hear the trajectory of the gaze object and the way in which it illuminates or darkens the existence of a subject; but also and above all,
Marie-Hélène Roch, surprised by an event of demonstration as unexpected as it is radical, will become a “silent gaze” for this what sort of ads are they running? subject who, from this wordless act of the analyst, traces a new path in his existence, quietly, we would say, he will discover that he “can not be a stain”.
Clotilde Leguil has transmitted to us all the subtlety of the analyst’s act when she becomes a “shooting gaze”. She thus operates the book your list opening of a new gap for the subject’s speech, who has long remained besieged by a mortifying maternal gaze. In this movement it will become possible to “play the analytical game”, a game that is played by two people.