Psychical Realism

Alexander Streitberger is professor of art history at UCLouvain.

Au cours de cette traversée érudite de l’oeuvre de Burgin, ce sont trois domaines historiographiques qui sans cesse entrecroisent leurs problématiques : une histoire des images qui fait de ce livre une contribution importante aux études visuelles ; une histoire des idées qui permet de parcourir un enchaînement de courants intellectuels marquants ; une histoire des technologies, enfin, indissociable de l’avènement du capitalisme mondialisé. Ce qui ressort d’une telle densité réflexive et expérimentale, c’est l’indéfectible intelligence critique qui meut l’oeuvre de l’artiste. - Valérie Mavridorakis, Focales, 8 | 2024, 1 June 2024, DOI : https://doi.org/10.4000/11r5o

• AcknowledgmentsIntroduction 1. Situational Aesthetics 1.1. Beyond Minimalism: From Object to Perception 1.2. Role-playing: Behavior and Memory 1.3. Photography between Reflection and Recollection 1.4. Serial Art and Systems 1.5. The Text Works and the Perceptual Field 1.6. Linguistic Art and Ideology 2. Toward a Politics of Representation 2.1. The Politicization of Art in Britain 2.2. Guerrilla Rhetoric: The Antanaclastic Works 2.2.1. The Discordance of Ideologies 2.2.2. Semiotic Theory and Artistic Practice 2.2.3. Heroes Don’t Smell Very Nice! 2.3. The Author as Producer 2.3.1. Work Outside and Inside the Gallery 2.3.2. The Tradition of Political Photocollage 2.3.3. The Author as Producer 2.4. Toward a Rhetoric of the Unconscious 2.4.1. The Rhetoric of Art Photography and Advertising 2.4.2. Framing Sexual Difference 2.4.3. Scopophilia and Surveillance 3. Tales from Freud 3.1. Toward a Psychical Realism 3.2. From Socio-history to Psycho-history 3.2.1. A Socio-historical “Psychodrama” 3.2.2. The Shattered Composite 3.2.3. Visual Pleasure and the Photographic Fetish 3.3. The Rebus as a Model of “Critical Seeing” 3.3.1. The Suspended Peripeteian Moment 3.3.2. Voyeurism, Masculinity, and the Uncanny Dance of Ideology 3.4. Between: From Intertext to Masquerades in the Gallery 3.4.1. Hetero-optic Writing 3.4.2. Between Gallery and Cinema 3.4.3. Between the Masks 4. Psychotopologies 4.1. The Discursive Spaces of Postmodernism 4.2. Epistemophilia 4.3. Psychical Space and Postmodernism 4.4. The Paranoiac Space of the City 4.5. Third Space. The Interstitial Location of Culture 4.6. Fiction Films 4.7. The Teletopological Puzzle 5. The Psychomediatic 5.1. The Uncinematic 5.2. The Psychomediatic: Remembering, Repeating, and Working Through 5.3. Photofilmic Psycho-panoramics 5.4. Panorama and Sequence-Image 5.5. Paths through the Virtual Sphere 5.6. Monuments of Melancholia 5.7. The Peripatetic Mode of Spectatorship 5.8. Afterlife Dear Urania Plates Notes Bibliography