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William Ludwig Lutgens (1991, Turnhout), two years after his last solo exhibition on Belgian soil, invites us into his world again, which has lately been populated by new and transformed archetypes. A man with devil ears and a tie stares before him while dragon-like hand puppets seem to conjure him. He embodies the hard-working, neoliberal achievement-subject that needs fantasies of success and money to avoid an overly harsh confrontation with reality.
Lutgens draws on Lacanian psycho-analysis and in particular that of Slovenian psychologist and philosopher Slavoj Žižek in his approach of this character and his fortunes. Žižek uses the term fantasy supplement to refer to the ways in which our imagination fills in the disturbing inconsistencies and gaps in reality. In Lutgens’ new drawings and paintings, this fantasy supplement is embodied by the Liegebeest, inspired by the BRT series of the same name from the 1980s. Whereas in the series the snake-puppet by the name of Liegebeest…
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William Ludwig Lutgens (1991, Turnhout), two years after his last solo exhibition on Belgian soil, invites us into his world again, which has lately been populated by new and transformed archetypes. A man with devil ears and a tie stares before him while dragon-like hand puppets seem to conjure him. He embodies the hard-working, neoliberal achievement-subject that needs fantasies of success and money to avoid an overly harsh confrontation with reality.
Lutgens draws on Lacanian psycho-analysis and in particular that of Slovenian psychologist and philosopher Slavoj Žižek in his approach of this character and his fortunes. Žižek uses the term fantasy supplement to refer to the ways in which our imagination fills in the disturbing inconsistencies and gaps in reality. In Lutgens’ new drawings and paintings, this fantasy supplement is embodied by the Liegebeest, inspired by the BRT series of the same name from the 1980s. Whereas in the series the snake-puppet by the name of Liegebeest…
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