The City of Siena and Fondazione Monte dei Paschi di Siena in collaboration with the Fondazione Antonio Mazzotta Milan, with the exhibition “The lens of Freud. A gallery of unconscious “, edited by Giorgio Bedoni.
On display a selection of about 200 works and original graphics (etchings, woodcuts, watercolors and ink on paper) of the Fondazione Antonio Mazzotta.
Set by Nov. 27 to Feb. 22 in the Museum Complex Santa Maria della Scala in Siena, the exhibition is part of the school of psychoanalytic studies on art and creativity inaugurated by Sigmund Freud.
The works and artists in the exhibition Siena were assigned to read criticism of some of the most respected specialists in the field: Mauricio Abadi tells us of Dante, Simona Argentieri of Alfred Kubin, Francesco Barale by Max Klinger, Giorgio Bedoni of Francisco Goya y Lucientes , And John Joseph Civitarese Foresti George Grosz, Paola Golinelli Richard Müller, Fausto Petrella by Giovan Battista Piranesi and anamorphic, Salomon Resnik Peter Bruegel. Particular attention will be devoted to the path of learning that will guide visitors along the gaze that the authors have had on artists. Panels and suggest to tickle the visitor with two sections of the exhibition.
The exhibition will be open daily, including holidays, timed 10.30 – 19.30. Tickets cost 5 euros whole, reduced 3 euros, 2 euros students. To contact the ticket office tel. 0577 247220.
For information, tel. 0577 224811 – 224835 or external www.santamariadellascala.comlink
Introduction to the exhibition of Giorgio Bedoni
Ever since Sigmund Freud devoted a major part of his writings on creativity, aesthetic to the themes of illusion and symbolic, the study authors and works, the dialogue between art and psychoanalysis has continued uninterrupted, with alternating luck and intensity.
A dialogue marked by an extraordinary production of observations and research that Freud identifies forward a fruitful paradox: it is now widespread awareness that despite this major production does not have a systematic knowledge about psychoanalytical and creative processes.
All this is in some ways, a definite advantage, preventing simplifications attitudes and positions on riduzionistiche symbolic of the work and the author himself who in fact would be confined within narrow grids “psicologistiche.”
The entire body of Freudian theory, of course not reducible to “only” writings on art, has historically attracted a great interest in artists, especially in some of the vanguards of the twentieth century, identifying reciprocity and coincidences, misunderstandings and incomprehension, like that now note between Freud and Breton, producing, however, conjecture in a fertile field of study admittedly transdisciplinary: one thinks, among many, to the writings of Karl Abraham and Ernst Kris, Marion Milner and Donald Winnicott.
Are exemplary in this regard, studies on the twentieth dream and the illusion aesthetics, the interest of artists and historians for the themes of fantasy and visionary gaze from the Freudian, in a new scenario today and open, while in their belongings, and suggestions to contamination.
In terms of method, as Fausto Petrella, “the mobility required to analytical thinking to ‘talk’ work involves crossing the various levels and connections”: a look polysemic, therefore, covering the historical and anthropological Formal size and iconology, aware that the work of extending the boundaries of experience without having to rely as much as possible preconceived ideas of truth. “
In this scenario is the exhibition “The lens of Freud. A gallery of unconscious”: works and artists subject to the eye lens of Freudian, that are given to a review with the objective to solicit comments and critical interpretation assumptions, to identify and on suggestions coincidences historical and cultural.
