Antigone truly allows us to perceive the focus point defined by desire. This focus is directed towards an image that hides, I don't know what kind of mystery, until now unspoken. However, this image is at the center of tragedy because it is the captivating image of Antigone herself. And this happens because we know well that beyond dialogues, beyond family and homeland, beyond moralistic developments, it is she who fascinates us, with her unbearable shine, with her characteristic trait, which both attracts and immobilizes us simultaneously, in the sense that it functions as a deterrent with the awe it inspires. - Jacques Lacan

The secret of the spectacle is you, who keep your gaze fixed on it because you enjoy it. The one who is watching is you as a subject, not the Other. Television reflects the fact that the Other does not exist. [...] As if this capture of the television spectacle had the mission and as an unconscious consequence to prove that shame has died. - J.-A. Miller

It is possible to organize collective life without relying on closed identity sets like nations, languages, religions, customs. Politics in particular can unite all humanity beyond these references. All these differences can and should exist. We do not say they should disappear. They can and should exist in a productive way, but on a political scale encompassing all humanity. - A. Badiou

Such is the gesture of Toumpl in these extreme sculptures, in which each ascent is inverted and interrupted, […] beauty that falls. It is the point of de-creation, when the artist, in his own supreme way, no longer creates but de-creates. - Giorgio Agamben

FEATURE

J. Lacan: Antigone and the ethics of psychoanalysis

JACQUES LACAN: ANTIGONE

ALAIN MILLER: NOTE ON SHAME

FEATURE ON CY TWOMBLY

GIORGIO AGAMBEN: BEAUTY THAT FALLS

VIKI SKOUMPHI: THE ORPHEUS OF CY TWOMBLY

ALAIN BADIOU: THE STORY - STRUCTURE AND EVENT