JOHANNES SCOTT​

It is precisely in this orbiting gaze—neither too close to pierce the illusion nor too distant to disengage—that the aesthetic object as objet a reclaims the philosophical terrain of the sublime. Lacan’s theory of sublimation does not merely elevate the lost object; it stages a drama of desire at a safe remove, where the viewer is invited to admire without consummation. This “Goldilocks distance,” calibrated by fantasy and sustained by symbolic elevation, echoes the classical

It is not a container but a frame for absence, a poetic ruin of wholeness. The montage itself threatens to unravel, disintegrating into charcoal smears and a trash of pulp—back to the graphite rubble from which the animation emerged.

This Frankensteinian act—simulating life in a dead bloom—epitomizes our obsession with beautiful deception.

In the art installation PRELUDE at Marian Goodman Gallery in New York, the artist Álvaro Urbano conjures a spectral mise en scène of a 19th century landscaped area situated in the heart of Central Park.

The title Exile frames the vase as a subject in transit, a figure of displacement, no longer at home in its symbolic function. It is not a domestic ornament, but a mnemonic device—a placeholder for a lost origin.

On the group exhibition titled SUMMER READS, 2025 at Galerie Le Long in Chelsea, Coyne’s memorial dome can be read as a vessel of desire and loss, preserving the floral signifier while deferring its decay.

Modern art theory is shaped by a constellation of concepts that unsettle perception, reframe familiarity, and interrogate the conditions of meaning. Among these, the uncanny occupies a pivotal place—bridging psychoanalytic insight, linguistic mediation, and aesthetic estrangement.

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

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