JOHANNES SCOTT​

The protea as wound, desire, and refusal—This essay reads Bessie Head’s life through the protea metaphor, tracing how the art exhibition A PROTEA IS NOT A FLOWER at Zeitz MOCAA stages symbolic violence and its repetitions under apartheid, while her survival embodies the unresolved wound and the renewal of Symbolic Desire—an order always to be reimagined, always to come.

Walter Ford probes the gaze of the symbolic lion, burdened by the weight of cultural signs stacked on its back since antiquity.

Through immersive scenarios, Huyghe’s art exhibition challenges our perceptions of reality, identity, and the boundaries of time and space.

‘Berlinde De Bruyckere. City of Refuge III’, Abbazia di San Giorgio Maggiore, Venice. Collateral Event of the 60th International Art Exhibit

Like the ghost of Hamlet's father who lacks symbolic closure, the rescue of Pierneef's Station Panels begins with symbolic desire.

Artwork by Johannes Scott This writing explores beauty, as in a beautiful work of art such as a painting, theatrical drama, and a vase. The objective is to define beauty and establish its location, as in why beauty is not intrinsic to the work but rather extrinsically attributed by the social context of the viewer. In addition, why is beauty not related to the content (‘what’) but rather to the form (‘how’) of artistic representation. And lastly, since the ethical contemplati

The series of porcelain sculptures appropriates the conventional ceramic form of 18th century rococo figurines.

The American “curator” is variously called, in Germany, Ausstellungsmaker (“exhibition maker,” a rather hands-on definition); in France,...

‘In my opaque vitrines, objects move between profile and dimensionality, blur into a haze and come suddenly into focus. Which is how memory works, of course, shimmering like a mirage heralding us towards the wrong places.’ – Edmund de Waal. Edmund de Waal is a British ceramist who describes himself as a ‘potter who writes.’ At school in Canterbury, he took pottery classes from a former student of Bernard Leach and later, after graduating in English at Cambridge, found a sy

Content 1. Scheme 1.1. Metaphorology 2. Order 2.1. Metaphorology 3. Strategy 3.1. Metaphorology 4. Animot and biographical animal Bibliography Jacques Derrida, in The Animal That Therefore I Am (2008), claims that our conception of animals is grounded in literature; in particular, it is embedded in the historical writing of philosophy, mythology, and religion. These anthropocentric writings always give figure to the animal by analogy to the human. In order to give representa