Theft: Prints and Drawings
April - May 2016
Eildon Gallery
Alliance Française
51 Grey Street, St Kilda, Melbourne

In her recent text, Lacan: In Spite of Everything, Elizabeth Roudinesco writes that the famous psychoanalyst’s patients formed a mute palimpsest beneath the structure of Lacan’s theoretical work. Roudinesco refers to a particular incident: in the 1930s, Lacan appropriated a woman’s novels for his doctorate dissertation. The woman, Marguerite Pantaine, became Lacan’s patient after she attempted to stab an actress, Hugette Duflos, in the foyer of a Parisian theatre. Duflos was the object of the patient’s delusions; amongst other things, Pantaine believed that the actress was preventing the publication of her novels – semi-erotic fantastical odes, dedicated to the Prince of Wales. In his work, Lacan referred to Pantaine as “Aimee”. He stole her manuscripts and now they are lost. These novels are an absence within the narrative of psychoanalytic theory. The exhibition Theft: Prints and Drawings is intended to act as a substitute for an absent text.

Image credit | Andrew Curtis