Stuckism is a radical art movement founded in London in 1999 to advance new figurative painting with ideas as the most vital artistic means of addressing contemporary issues.Stuckism is a rebuttal of the twentieth century development of Modernism, which has resulted in an increasingly fragmented, isolated, material-obsessed and stultifying academia, existing not by virtue of the work but institutional and financial power, flattered by critical acquiescence.Stuckism regards the foundation of Modernism in art as an opportunity for vision, integrity and communication which has never been fulfilled.The Stuckists are, therefore, opposed to the current pretensions of so-called Brit Art, Performance Art, Installation Art, Video Art, Conceptual Art, Minimal Art, Body Art, Digital Art and anything claiming to be art which incorporates dead animals or beds – mainly because they are unremarkable and boring.


Id, ego, and super-ego

Id, ego, and super-ego are the three parts of the psychic apparatus defined in Sigmund Freud’s structural model of the psyche; they are the three theoretical constructs in terms of whose activity and interaction mental life is described. According to this model of the psyche, the id is the set of uncoordinated instinctual trends; the ego is the organised, realistic part; and the super-ego plays the critical and moralising role.[1]

via Id, ego, and super-ego – Wikipedia, the free encyclopedia.

Jacques Lacan

In lijn met de structuralistische methode introduceerde Lacan de taal in de psychoanalyse. Hij formuleerde een nieuwe theorie van begeerte: deze is volgens hem nooit volledig in taal uit te drukken en dus ook nooit geheel te bevredigen, waardoor vervreemding ontstaat. Tevens ontstaat een splitsing in de psyche tussen enerzijds het bewuste, talige subject, het moi, dat overeenkomt met Freuds Ich en Saussures signifiant, en anderzijds het onderbewuste subject, het (Franse) je, overeenkomend met Freuds Es en Saussures signifié.

via Jacques Lacan – Wikipedia.

Simulacra and Simulation

“Simulacra and Simulation” breaks the sign-order into 4 stages: 1. The first stage is a faithful image/copy, where we believe, and it may even be correct that, a sign is a “reflection of a profound reality” pg 6, this is a good appearance, in what Baudrillard called “the sacramental order”. 2. The second stage is perversion of reality, this is where we believe the sign to be an unfaithful copy, which “masks and denatures” reality as an “evil appearance-it is of the order of maleficence”. Here, signs and images do not faithfully show us reality, but can hint at the existence of something real which the sign itself is incapable of encapsulating. 3. The third stage masks the absence of a profound reality, where the simulacrum pretends to be a faithful copy, but it is a copy with no original. Signs and images claim to represent something real, but no representation is taking place and arbitrary images are merely suggested as things which they have no relationship to. Baudrillard calls this the “order of sorcery”. 4. The fourth stage is pure simulation, in which the simulacrum has no relationship to any reality whatsoever. Here, signs merely reflect other signs and any claim to reality on the part of images or signs is only of the order of other such claims.

via Simulacra and Simulation – Wikipedia, the free encyclopedia.

The pervert’s guide to cinema van slavoj zizek als zondige kunstkritiek

Wie vandaag de dag iets meer wil weten over film en hiervoor zijn soelaas zoekt in de filmtheoretische analyses, moet al erg hard zijn best doen om niet met het Sloveense fenomeen Slavoj Ziek te worden geconfronteerd. Dit vrolijke enfant terrible van de filosofie, ook wel de ‘Iggy Pop van de filmkritiek’ genoemd, is berucht voor zijn opmerkelijke psychoanalytische duidingen van vooral westerse cultuurproducten.

Wie vertrouwd is met Zizeks kunstfilosofische geschriften zoals Everything You Always Wanted to Know About Lacan…But Were Afraid to Ask Hitchcock of Looking Awry, weet dat hij een erg eigenzinnige en chaotische stijl heeft. Naar eigen zeggen wil hij hier de psychoanalytische denkpistes uitleggen aan de hand van bekende filmscènes. Allerlei Hollywoodfilms doen bijgevolg dienst als plaatje bij het praatje.

via The pervert’s guide to cinema van slavoj zizek als zondige kunstkritiek.