JOHANNES SCOTT​

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.

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 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.

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.

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

‘Not a pianist,’ Witold describes himself, ‘simply a man who plays the piano.’

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

SANG 23/12/2022 - J Scott. Johannes Scott – January 2023 With exhibition halls designed in the fashion of a boutique hotel and walls...

Foucault and Lacan interpret the gaze of authority operative in a painting that signals the rupture between Classical and Modern knowledge.

‘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