TITLE AND ABSTRACTS FOR FLORENCE 2020
|DR. ANNA BENTINCK VAN SCHOONHETEN
How Giovanni Segantini’s paintings inspired Karl Abraham to develop new ideas about psychoanalysis.
|ABSTRACT||In 1907 Karl Abraham as a young man, 30 years old, visited Freud for the first time in Vienna and became a devoted colleague and friend for the rest of his short life. And in that same period, when he was just starting to become an analyst, Abraham became so fascinated by Segantini’s paintings that he tried to analyse Segantini from his work and from what was known about Segantini’s life. Being fascinated means that the fascination is conscious, but the underlying connection is unconscious. What inspired Abraham?
Nel 1907 il trentenne Karl Abraham visitò Freud per la prima volta a Vienna e divenne un collega ed amico devoto per il resto della sua breve vita. E proprio in quel periodo, appena agli inizi della sua carriera di analista, Abraham fu così affascinato dai dipinti di Segantini che tentò di analizzare Segantini attraverso i suoi lavori e in base a ciò che si conosceva della sua vita. L’essere affascinati comporta che l’affascinamento sia a livello conscio, ma la relazione sottesa è inconscia. Cos’è che ha ispirato Abraham?
It is by The Carracci’s, we did it all together!
|ABSTRACT||A report of the Carracci family story: Ludovico, Agostino and Annibale worked together for a period in their ‘Accademia degli Incamminati’, and proudly presented one of their masterpieces after having provocatively challenged to reveal who was the real only author of it. An amazing sample of close team cooperation at the highest artistic level for a period; and then, they went their separate ways. Psychoanalytic notes on the interpsychic dimension in art, its rarity and its wonderful intrinsic frailty.
“Ella è dei Carracci, l’abbiam fatta tutti insieme!”
|DEBORAH BROWNING SCHIMEK
Letters and Watercolors From Behind Barbed Wire. The Creative Survival of Hans Reichel in WWII France.
|ABSTRACT||We will look at a selection of letters and watercolors written by the German-born School of Paris painter Hans Reichel, who was interned as an enemy alien during WWII in a series of restrictive French situations, including two years as a prisoner in the internment camp Gurs. The letters written to Lily Klee, the art critique Wilhelm Uhde, and to a woman with whom he was in love, reveal the extent to which Reichel made use of these friendships during this time to sustain himself, as he he had nearly starved to death, and to inspire his creativity.
Lettere e acquerelli da dietro il filo spinato. La sopravvivenza creativa di Hans Reichel nella Francia del Secondo conflitto mondiale. Si guarderà ad una selezione di lettere ed acquerelli creati dal pittore di origine tedesca presso la Scuola di Parigi, Hans Reichel. Fu internato come straniero nemico durante la seconda guerra mondiale in una serie di situazioni restrittive in Francia, compresi due anni come prigioniero nel campo di Gurs. Le lettere scritte a Lily Klee, il critico d’arte Wilhelm Uhde e ad una donna di cui si era innamorato, rivelano la dimensione entro la quale Reichel fece uso di tali amicizie in questo periodo per sostenersi, visto che quasi morì di fame, come fonte d’ispirazione per la sua creatività.
|PHILLIP FREEMAN, MD
On Creative Ambitions in the Psychoanalyst.
|ABSTRACT||I have not come across papers in the psychoanalytic literature that specifically address the creative impulse in the psychoanalyst. This omission seems odd given the number of psychoanalysts who, like the author, have channeled significant portions of their time and energy indulging and pursuing some form of artistic expression. This paper will attempt to mine the psychoanalyst’s experience of an artistic pursuit, in this case, fiction writing, for what that experience might contribute to a discussion about motives for creativity, and the relation of the creative impulse to the creativity of the working psychoanalyst.
Sulle ambizioni creative nello psicoanalista
|JANE MCADAM FREUD
Lost in Space – the interaction between studio space and body space as partnered in the creation of sculpture.
|ABSTRACT||The first sentence of Jane Freud’s abstract should read: Lost in Space examines the effect that the artist’s studio space has on the art object itself (goldfish bowl effect) and in parallel, the effect that one’s working space may have on the physical body. From both professional and personal experience I examine my own recent works and working conditions in context with my own body.
Along with the peripatetic conditions implicit in ‘artists residencies’ comes a dramatic call on the artists’ body to adjust to the diverse stimuli and to respond analogously. The body may also ‘create’? The artists output, the ‘body of work’ could be a metaphor for the work of the body, that is, in the process of transformation; i.e. in the shuffling of ideas/cells and in the formation of authentic response/ creative formations.
In short the body may follow the mind’s instruction (the call for transformation); the call of the body to create ‘her’ internalised object (akin to Klein’s good and bad breasts), and for that internalised object to come to life, as we want art to do in the way Mary Shelly wanted for character, Victor’s Frankenstein.
Perso nello spazio esamina l’effetto che lo spazio dello studio d’artista ha sull’oggetto artistico stesso (effetto vaschetta del pesciolino rosso) e in parallelo, l’effetto che lo spazio di lavoro può avere sul corpo fisico. Dal punto di vista dell’esperienza sia professionale che personale, esamino i miei lavori recenti e le condizioni lavorative in contesto con il mio stesso corpo. Oltre alle condizioni peripatetiche implicite nelle ‘residenze d’artista’ avviene una richiesta drammatica sul corpo dell’artista per potere far fronte ai diversi stimoli e risponderne coerentemente. Può anche il corpo ‘creare’? Ciò che crea l’artista, il ‘corpus’ potrebbe essere una metafora per il lavoro del corpo, e cioè, nel processo di trasformazione la mescolanza di idee/cellule e la formazione di autentiche reazioni/formazioni creative.
And in the beginning there was an urn…
|ABSTRACT||Intimacies and complexities between visual cultures and psychoanalysis were present, it can be said, from the very start. This presentation will focus on the various lives of a particular Etruscan vessel, among the very first ‘antiquities’ that Freud acquired. We will reconstruct its numerous identities – as an archaeological artifact, a desirable object of the art market, a material and psychical phantasm, and the subject of one of its owner’s dreams – as they all circulated through the early history of Freud’s project of ‘mind.’
All’inizio c’era un’urna…
Artist and viewer-necessary partners in creation
|ABSTRACT||Art does not just happen in the artist’s studio; it also – and essentially – happens in the mind of the viewer. Artist, art object, viewer: without all three there is no artistic experience. Artist and viewer are partners in creation. Psychoanalysis likewise involves an analyst, what the analyst offers, and what the patient makes of the analyst’s offering. Analyst and patient, like artist and viewer, are partners in creation.
L’artista e l’osservatore – partner necessari nel processo creativo.
Partnership in music.
|ABSTRACT||After their huge success with ‘Le Nozze di Figaro’ and ‘Don Giovanni’, Mozart seemed to find in librettist Lorenzo da Ponte his long-wished-for ideal artistic partner. For their third and last collaboration they embarked on doing something quite unusual for its time, and created a new opera not based on a previous play, book, ballet or any other preexisting source. At the heart of this opera, ‘Cosi Fan Tutte’, Mozart and Da Ponte conspire to create a composition that by subtly breaking the rules produces a musical tableau where prayer and desire are confused, and nothing is at it seems.
La collaborazione in musica
The neuroaffective foundations of artistic activity.
|ABSTRACT||There has recently been much interest in the topic of ‘neuro-aesthetics’. Existing work has focused mainly on cognitive mechanisms, and on aesthetic perception in particular. I will counterbalance this focus with some observations on the affective brain mechanisms that are most implicated in artistic experience and activity, with a particular emphasis on the mammalian emotion called PLAY.
L’interesse per le ‘neuro estetiche’ è all’ordine del giorno. Finora i contributi si sono focalizzati principalmente sui meccanismi cognitivi, e sulla percezione estetica in particolare. Desidero controbilanciare tale focus con alcune osservazioni riguardo ai meccanismi affettivi del cervello che sono implicati nell’esperienza artistica e nella sua attività, con una particolare enfasi sull’emozione mammifera denominata GIOCO.
Reality and the Artist: A Creative Partnership.
|ABSTRACT||Each modern artist -Matisse, Picasso and Giacometti- responded to a traumatic external event and transformed it into an astonishing work of art. For Matisse it was World War I; for Picasso it was Guernica, and for Giacometti it was the Holocaust. All three artists combined memories from their own pasts with the horror of recent events to give the world new ways of envisioning reality.
Ogni artista moderno, Matisse, Picasso e Giacometti, ha risposto a un traumatico evento esterno e l’ha trasformato in un’opera d’arte sorprendente. Per Matisse era la prima guerra mondiale; per Picasso era Guernica, e per Giacometti era l’Olocausto. Tutti e tre gli artisti hanno combinato i ricordi del proprio passato con l’orrore degli eventi recenti per dare al mondo nuovi modi di concepire la realtà.