work
Body of proof
| category | Installation |
| subject | Erothism |
| tags | |
| base | 88 cm |
| height | 72 cm |
| depth | 10 cm |
| year | 2018 |
Body of proof
Psychoanalysis, on the one hand Sigmund Freud on the other Carl Gustav Jung, the rebellious father and son. Theirs was a "love", which initially resulted in an evolutionary spurt, according to our considerations.
But what was "the body of the crime" and the cause of the schism between the two great masters of modern psychology? The sex. Freud claimed with his libido theory that he had found the universal engine of all human desires and goals, he thought that all this emerged for human beings from sexuality. Jung, on the other hand, rejected the idea that sex could be the only engine of this human energy. Freud meanwhile even analyzed Jung, assuming that a Christian son of a Protestant father was able to free himself from his ideas and mysticism about sex. Jung, on the other hand, is able to identify a reconnection to archetypes and a mental energy in libido and sex.
Our installation works are inspired by Jung's concept of sex and his ability to identify the human being through it, entering into all human aspects from the body, heart, soul and mind. In this regard, we prefer to illustrate our works, proposing our personal concept about it, taken from an analysis by the Swiss (Jungian) psychologist Adolf Guggenbuel-Craig.
Jung detailed identification through sex. One of the main tasks is to deal with the personal, collective and archetypal shadow, understand and take into account our opposing personal and collective ideals that have been suppressed and then relate to the archetypal destructive part that cannot be reduced to anything else. . Another no less important task of the identification process is the way in which men treat their feminine side and women their masculine side, that is, to deal with the Soul or the Animus. The comparison with the part of the opposite sex and the mysterious conjunction with it gives us the possibility to experience and understand the polarities of the psyche and the world, of man and woman, of man and God, of good and evil, of conscious and unconscious, of rational and irrational. Of course, the so-called union of opposites is only one of many patterns or symbols of the purpose of individuation. Jung strongly emphasized the importance of dreams, fantasies) active imagination, religious mythology and artistic expression in the individuation process. Through these means we can experience the symbols through which we identify ourselves. Here we encounter living symbols that touch and transform us. Symbols sometimes have a tendency to become the property of a small elite of highly educated people. We are led to identify, to get in touch with all the parts of the microcosm of our psyche and, in doing so, with the macrocosm, with God and the Devil, in us and outside of us. This can only be done through symbols. But where are the most alive symbols, living and effective symbols like the Greek gods or the alchemical process? Sexuality is therefore a symbol, it is not just procreation, it is not just drive. How does a man, young or old, treat his soul? Sometimes through relationships with real women, but often mostly through sexual fantasies. The purpose of these is not essentially procreation or human relationship, but is to enter into relationship with the Soul. The same is true for women and the Animus.
The sexual fantasies of most men and women are far wilder and more bizarre than their actual lived sex life. And unfortunately the analyst or psychologist often makes discrediting observations on this. The comment on the patient's lively and deviant sexual fantasies may be: this young man is not yet mature, he is still caught up in the brutal sexual impulse. Either he says: the old man or the old woman is lewd. Or it could be talking about escapist fantasies etc. The discrediting view can be very destructive. Individuation cannot be experienced only in projection nor only in human relationships. The process must continue internally, in the living symbols, not only in the reflected images, in the symbolic ones they take body and soul, they grasp the whole human being. We want to emphasize that sex life is essentially an intense symbolic process of individuation, and this process must be respected and recognized. It must not be ruined by trying to consider it as something primitive that could have some vulgar meaning. "
The sexuality of our installations is therefore the body of the crime for the minds of taboo and cultural and evolutionary closure.
Sex and love coincide when the two elements merge and confuse in the totality of two human beings.
If the child is born naked, and clings to the mother's breast not only to feed itself, but to feel the enjoyment of the senses and of life itself, also the nakedness and every touch between humans whether it is love-seeking sex or love. and sex, contain an intrinsic sacredness.
In our body of proof installations, man feeds on the nectar of the gods of his woman, as a source of life. Both the woman and the man are winged, and sacred in the sacred, fluid touch that arises from processes of freedom and self-identification through others. The penetration and fusion of two bodies. Angels that appear to form the letter Yod, Phoenician, Aramaic, Hebrew, Syrian and Arabic. The Yod was a symbol of the profound understanding of the higher mysteries of the soul and psychic dynamics in the time of King Solomon (ca. 970-931 BC).
We were inspired by some of Picasso's concepts in choosing the colored background to give to our installations. We quote the artist verbatim:
"Painting is not just an aesthetic operation: it is a form of magic intended to carry out a work of mediation between this world alien and hostile to us."
"When I no longer have blue, I put some red on."
“Painting is not meant to decorate apartments. It is an instrument of offensive and defensive warfare against the enemy. "
Pablo Picasso
We are well aware of the fact that body of proof can be perceived in a simplistic way and also with a strong impact at the same time, but our order in chaos, and chaos in the order of artists tells us it guides us towards a goal that is a truth, mine yours or ours, the courage to admit that we are body beyond mind, heart through body, soul in body, ...
Desires never fade with age, like iron (the main material of the work), it changes color, shades, appearance and reflections, sometimes it is corroded ... what makes you come alive is a new feeling.
GoldCaos
Body of proof:
Dimensions:
Length: 88 cm
Height: 72 cm
Thickness: 10 cm
Processing technique: drawing on metal, welding, cutting on iron with oxyacetylene torch, grinding, painting, brushing materials: recycled iron shelves, paint, back panel in PVC and colored plexiglas, luminous LEDs
Psychoanalysis, on the one hand Sigmund Freud on the other Carl Gustav Jung, the rebellious father and son. Theirs was a "love", which initially resulted in an evolutionary spurt, according to our considerations.
But what was "the body of the crime" and the cause of the schism between the two great masters of modern psychology? The sex. Freud claimed with his libido theory that he had found the universal engine of all human desires and goals, he thought that all this emerged for human beings from sexuality. Jung, on the other hand, rejected the idea that sex could be the only engine of this human energy. Freud meanwhile even analyzed Jung, assuming that a Christian son of a Protestant father was able to free himself from his ideas and mysticism about sex. Jung, on the other hand, is able to identify a reconnection to archetypes and a mental energy in libido and sex.
Our installation works are inspired by Jung's concept of sex and his ability to identify the human being through it, entering into all human aspects from the body, heart, soul and mind. In this regard, we prefer to illustrate our works, proposing our personal concept about it, taken from an analysis by the Swiss (Jungian) psychologist Adolf Guggenbuel-Craig.
Jung detailed identification through sex. One of the main tasks is to deal with the personal, collective and archetypal shadow, understand and take into account our opposing personal and collective ideals that have been suppressed and then relate to the archetypal destructive part that cannot be reduced to anything else. . Another no less important task of the identification process is the way in which men treat their feminine side and women their masculine side, that is, to deal with the Soul or the Animus. The comparison with the part of the opposite sex and the mysterious conjunction with it gives us the possibility to experience and understand the polarities of the psyche and the world, of man and woman, of man and God, of good and evil, of conscious and unconscious, of rational and irrational. Of course, the so-called union of opposites is only one of many patterns or symbols of the purpose of individuation. Jung strongly emphasized the importance of dreams, fantasies) active imagination, religious mythology and artistic expression in the individuation process. Through these means we can experience the symbols through which we identify ourselves. Here we encounter living symbols that touch and transform us. Symbols sometimes have a tendency to become the property of a small elite of highly educated people. We are led to identify, to get in touch with all the parts of the microcosm of our psyche and, in doing so, with the macrocosm, with God and the Devil, in us and outside of us. This can only be done through symbols. But where are the most alive symbols, living and effective symbols like the Greek gods or the alchemical process? Sexuality is therefore a symbol, it is not just procreation, it is not just drive. How does a man, young or old, treat his soul? Sometimes through relationships with real women, but often mostly through sexual fantasies. The purpose of these is not essentially procreation or human relationship, but is to enter into relationship with the Soul. The same is true for women and the Animus.
The sexual fantasies of most men and women are far wilder and more bizarre than their actual lived sex life. And unfortunately the analyst or psychologist often makes discrediting observations on this. The comment on the patient's lively and deviant sexual fantasies may be: this young man is not yet mature, he is still caught up in the brutal sexual impulse. Either he says: the old man or the old woman is lewd. Or it could be talking about escapist fantasies etc. The discrediting view can be very destructive. Individuation cannot be experienced only in projection nor only in human relationships. The process must continue internally, in the living symbols, not only in the reflected images, in the symbolic ones they take body and soul, they grasp the whole human being. We want to emphasize that sex life is essentially an intense symbolic process of individuation, and this process must be respected and recognized. It must not be ruined by trying to consider it as something primitive that could have some vulgar meaning. "
The sexuality of our installations is therefore the body of the crime for the minds of taboo and cultural and evolutionary closure.
Sex and love coincide when the two elements merge and confuse in the totality of two human beings.
If the child is born naked, and clings to the mother's breast not only to feed itself, but to feel the enjoyment of the senses and of life itself, also the nakedness and every touch between humans whether it is love-seeking sex or love. and sex, contain an intrinsic sacredness.
In our body of proof installations, man feeds on the nectar of the gods of his woman, as a source of life. Both the woman and the man are winged, and sacred in the sacred, fluid touch that arises from processes of freedom and self-identification through others. The penetration and fusion of two bodies. Angels that appear to form the letter Yod, Phoenician, Aramaic, Hebrew, Syrian and Arabic. The Yod was a symbol of the profound understanding of the higher mysteries of the soul and psychic dynamics in the time of King Solomon (ca. 970-931 BC).
We were inspired by some of Picasso's concepts in choosing the colored background to give to our installations. We quote the artist verbatim:
"Painting is not just an aesthetic operation: it is a form of magic intended to carry out a work of mediation between this world alien and hostile to us."
"When I no longer have blue, I put some red on."
“Painting is not meant to decorate apartments. It is an instrument of offensive and defensive warfare against the enemy. "
Pablo Picasso
We are well aware of the fact that body of proof can be perceived in a simplistic way and also with a strong impact at the same time, but our order in chaos, and chaos in the order of artists tells us it guides us towards a goal that is a truth, mine yours or ours, the courage to admit that we are body beyond mind, heart through body, soul in body, ...
Desires never fade with age, like iron (the main material of the work), it changes color, shades, appearance and reflections, sometimes it is corroded ... what makes you come alive is a new feeling.
GoldCaos
Body of proof:
Dimensions:
Length: 88 cm
Height: 72 cm
Thickness: 10 cm
Processing technique: drawing on metal, welding, cutting on iron with oxyacetylene torch, grinding, painting, brushing materials: recycled iron shelves, paint, back panel in PVC and colored plexiglas, luminous LEDs
