“Le Jardin de la douleur” (2017)

English title, “The Garden of the Pain”. The opening scene starts with a photograph image of a person with her face buried in her hands in a closed place, and it was taken, in France, the next day after her undergoing psychoanalysis executed by Psychoanalyst A who had been in psychoanalysis conducted by Lacan. The image, at last, ends up in the empty waiting room of Psychoanalyst A.
 
The telop tells us the analysand’s question of being that has arisen in her mind as a result of the psychoanalytic relationship with Psychoanalyst A, who does not appear in this work itself.
 
However, there follows also the contrasting appearance of Japanese Psychoanalyst B who is talking in his free association style by improvising as he responds to the request.  Furthermore, the psychoanalytic relationship for representation purpose in the film overlaps with the former psychoanalytic relationship between B and the analysand.
 
Thus, these images in which each of the different locations and the analysand’s story including a mixture of facts and fictions constitute a collage of things, and in addition, Psychoanalyst B’s discourse toward the Videographer (OKADA) in a free association style is edited and incorporated  with an alteration of the combination of time and content.
 
By leading the relation between truth and falsehood onto a representation phase of the image, and then presenting the process of conclusion of the associations of  Psychoanalyst B as an answer to the question of the meaning of being by the Analysand, and also thus giving an answer to the question found at the beginning of the presentation by chance, this artwork deals with, and keeps track of the process of a visitation of the return of the meaning of being on the neurotic or paranoiac “speaking subject”.

Le Jardin de la douleur, The Garden of the Mind – The Final, ART SPACE NIJI, Kyoto December 2017