<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[johannesscott]]></title><description><![CDATA[johannesscott]]></description><link>https://www.johannesscott.com/blog</link><generator>RSS for Node</generator><lastBuildDate>Thu, 21 May 2026 10:10:31 GMT</lastBuildDate><atom:link href="https://www.johannesscott.com/fr/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[How Form Performs: Audience, Frame, and Autobiographical Reframing in Steven Cohen’s LONG LIFE]]></title><description><![CDATA[This essay argues that performance aesthetic arises from Symbolic framing rather than intrinsic content. Through Steven Cohen’s Coq/cock and Long Life, it shows how shifts from Symbolic distance to Imaginary fusion transform meaning, revealing the fragility of performance’s signifying conditions and the form dependence of aesthetic recognition.]]></description><link>https://www.johannesscott.com/single-post/how-form-performs-audience-frame-and-autobiographical-reframing-in-steven-cohen-s-long-life</link><guid isPermaLink="false">6a006a3bb1ac8cd94fa61780</guid><pubDate>Sun, 10 May 2026 11:58:40 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_addb0bdcc9ba4a0d8ede63947a35333f~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[PING! Frances Goodman and the Resonance of Desire]]></title><description><![CDATA[This essay examines Frances Goodman’s PING! through the interplay of Lacanian psychoanalysis, digital semiotics, and ceramic materiality. It argues that Goodman’s ceramic emojis disrupt the ideological fantasy of digital transparency by relocating Unicode signifiers into an aesthetic frame where their meaning shifts from communicative clarity to theatrical artifice. Drawing on Dr. Roelof Petrus van Wyk’s curatorial statement, the essay situates Goodman’s work as a critique of the bureaucratis...]]></description><link>https://www.johannesscott.com/single-post/ping-frances-goodman-and-the-resonance-of-desire</link><guid isPermaLink="false">6947ee6c278ff96e54eaf195</guid><pubDate>Sun, 21 Dec 2025 15:42:18 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_5d28ab4fdf21436eac4dff74196504b0~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[The Protea, Flowers, and Symbolic Violence]]></title><description><![CDATA[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. ]]></description><link>https://www.johannesscott.com/single-post/the-protea-flowers-and-symbolic-violence</link><guid isPermaLink="false">691312bb4d01cb460b640e5d</guid><category><![CDATA[Lacanian psychoanalysis]]></category><category><![CDATA[Aesthetics]]></category><pubDate>Tue, 11 Nov 2025 11:24:25 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_262f73a5083943889d40ada7880d386d~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[Orbiting the Sublime: Lacan’s Objet a and the Aesthetic Function of Desire]]></title><description><![CDATA[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 sublime: an enc....]]></description><link>https://www.johannesscott.com/single-post/orbiting-the-sublime-lacan-s-objet-a-and-the-aesthetic-function-of-desire</link><guid isPermaLink="false">68ca9912b71c8fd10d8ef0e2</guid><pubDate>Wed, 17 Sep 2025 11:54:36 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_ffe751d918da404b805e0b998bfb96ca~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[Let Me Live Again by William Kentridge: The Undead and the Poetics of Absence]]></title><description><![CDATA[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.]]></description><link>https://www.johannesscott.com/single-post/let-me-live-again-by-william-kentridge-the-undead-and-the-poetics-of-absence</link><guid isPermaLink="false">68c9497ccbb7f0f98178635a</guid><pubDate>Tue, 16 Sep 2025 11:52:25 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_ec54d9bca09d4c0badd0106334b0c0bf~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[Frankensteinian Bloom]]></title><description><![CDATA[This Frankensteinian act—simulating life in a dead bloom—epitomizes our obsession with beautiful deception.]]></description><link>https://www.johannesscott.com/single-post/frankensteinian-bloom</link><guid isPermaLink="false">68c03e9a79e788be281a87ad</guid><pubDate>Tue, 09 Sep 2025 14:58:37 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_27c936a788244b4597b45a0812e10887~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[Álvaro Urbano’s Prelude: Chimeric Bloom]]></title><description><![CDATA[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.]]></description><link>https://www.johannesscott.com/single-post/%C3%A1lvaro-urbano-s-prelude-chimeric-bloom</link><guid isPermaLink="false">68b9d66498886589b9fba313</guid><pubDate>Thu, 04 Sep 2025 18:29:47 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_80bebc7adfc84e06889d8de34b50228f~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[EXILE by Nova Jiang]]></title><description><![CDATA[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.]]></description><link>https://www.johannesscott.com/single-post/exile-by-nova-jiang</link><guid isPermaLink="false">68b9d2a8b8338a1ae193e3c0</guid><pubDate>Thu, 04 Sep 2025 18:02:57 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_0cda678fbdea459e87670c8db971bf22~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[FLORAL DOME by Petah Coyne]]></title><description><![CDATA[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. ]]></description><link>https://www.johannesscott.com/single-post/floral-dome-by-petah-coyne</link><guid isPermaLink="false">68b8586b9c892374b0b02e26</guid><pubDate>Wed, 03 Sep 2025 15:21:20 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_c4ac2abd35b04a1384d3f5ddee5d56e4~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[The Uncanny in Art and Poetics]]></title><description><![CDATA[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.]]></description><link>https://www.johannesscott.com/single-post/the-uncanny-in-art-and-poetics</link><guid isPermaLink="false">68b80010567844ddb9288481</guid><pubDate>Wed, 03 Sep 2025 08:57:21 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_396da1cda1c44137885dba5d13807070~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[LION OF GOD by Walter Ford]]></title><description><![CDATA[Walter Ford probes the gaze of the symbolic lion, burdened by the weight of cultural signs stacked on its back since antiquity. ]]></description><link>https://www.johannesscott.com/single-post/lion-of-god-by-walter-ford</link><guid isPermaLink="false">66efeebd456b18e38b118072</guid><category><![CDATA[Aesthetics]]></category><category><![CDATA[PARODY]]></category><pubDate>Sun, 22 Sep 2024 10:59:51 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_a73fd85c41a840199863323187dbf840~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[LIMINAL by Pierre Huyghe]]></title><description><![CDATA[Through immersive scenarios, Huyghe’s art exhibition challenges our perceptions of reality, identity, and the boundaries of time and space.]]></description><link>https://www.johannesscott.com/single-post/liminal-by-pierre-huyghe</link><guid isPermaLink="false">66d4728bc1b52384c9c282e6</guid><category><![CDATA[Aesthetics]]></category><pubDate>Sun, 01 Sep 2024 14:42:20 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_dbaf1860b95548a9917333d3e81cafd3~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[ANGELS: Berlinda De Bruyckere]]></title><description><![CDATA[‘Berlinde De Bruyckere. City of Refuge III’, Abbazia di San Giorgio Maggiore, Venice. Collateral Event of the 60th International Art Exhibit]]></description><link>https://www.johannesscott.com/single-post/angels</link><guid isPermaLink="false">66980231f2af9b626ca00d87</guid><category><![CDATA[Aesthetics]]></category><pubDate>Thu, 18 Jul 2024 05:00:12 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_a891466a992b41588d33c5d85310e5c9~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[Desire in THE POLE by JM Coetzee]]></title><description><![CDATA[‘Not a pianist,’ Witold describes himself, ‘simply a man who plays the piano.’]]></description><link>https://www.johannesscott.com/single-post/desire-in-the-pole-by-jm-coetzee</link><guid isPermaLink="false">66842e8e57c779c1a3a7e760</guid><category><![CDATA[Narratology]]></category><pubDate>Wed, 03 Jul 2024 17:24:14 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_4c68bfb41a834fa18a831fe4cbba6ad8~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[TO SAVE A GHOST]]></title><description><![CDATA[Like the ghost of Hamlet's father who lacks symbolic closure, the rescue of Pierneef's Station Panels begins with symbolic desire.]]></description><link>https://www.johannesscott.com/single-post/to-save-a-ghost</link><guid isPermaLink="false">647203ac109ae6c38589ef6f</guid><category><![CDATA[Aesthetics]]></category><pubDate>Sat, 27 May 2023 13:47:37 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_f96323fd49674cb481a2790782f442ea~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[BREAKING SALON: SANG art collection.]]></title><description><![CDATA[SANG 23/12/2022 - J Scott. Johannes Scott – January 2023 With exhibition halls designed in the fashion of a boutique hotel and walls...]]></description><link>https://www.johannesscott.com/single-post/breaking-salon-sang-art-collection</link><guid isPermaLink="false">63c17ec70a6d3be2d40aaa19</guid><pubDate>Fri, 13 Jan 2023 16:12:56 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_1cd0fa9caea449399650457384757fe9~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[Celebrities forsake Ego for Art]]></title><description><![CDATA[Nick Cave, Thomas Houseago, and Brad Pitt at Sara Hildén Art Museum, Tampere, Finland: 18.9.2022 – 15.1.2023 Johannes Scott While...]]></description><link>https://www.johannesscott.com/single-post/celebrities-forsake-ego-for-art</link><guid isPermaLink="false">634eb32c2dae446bcd07e4ab</guid><category><![CDATA[Lacanian psychoanalysis]]></category><pubDate>Tue, 18 Oct 2022 15:21:17 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_e266eca6e9254a048011de5c940d00be~mv2.jpg/v1/fit/w_929,h_768,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[FANTASY OF THE FLOWER VASE: theory in practice]]></title><description><![CDATA[The popular use of the potter’s vase to display a bunch of cut flowers in water was first recorded in ancient Egyptian culture. The purpose of this enduring custom is not need, instead, its significance has always been symbolic pleasure.]]></description><link>https://www.johannesscott.com/single-post/fantasy-of-the-flower-vase-theory-in-practice</link><guid isPermaLink="false">62054297f177677b476d6a02</guid><category><![CDATA[Discourse]]></category><pubDate>Thu, 10 Feb 2022 17:16:30 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_9ffb911115b44bcebb7c3313f3760643~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[Cut Flowers, a Vase, and the Uncanny ]]></title><description><![CDATA[When we cut flowers from nature, some primal Thing is lost. The absence of the Thing – the lack – is present within the flower vase convention. It is present as vacant place – a placeholder for the Thing that is void. This is the designated place for the uncanny object: objet a.]]></description><link>https://www.johannesscott.com/single-post/uncanny-vase-theoretical-exposition</link><guid isPermaLink="false">62039d0a21c4f46a829b91eb</guid><category><![CDATA[Psychoanalysis]]></category><pubDate>Wed, 09 Feb 2022 11:19:10 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_9b364429b4a8450da4d268a187e0c6ef~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item><item><title><![CDATA[BEAUTY AND THE VASE: aesthetic exposition]]></title><description><![CDATA[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 contemplation of aesthetics...]]></description><link>https://www.johannesscott.com/single-post/beauty-and-the-vase</link><guid isPermaLink="false">61d41c63bc4064001694bd99</guid><category><![CDATA[Aesthetics]]></category><pubDate>Tue, 04 Jan 2022 10:33:48 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/1f1b56_15537349d2e44f4a94126ccea86ab591~mv2.jpg/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Johannes Scott</dc:creator></item></channel></rss>