The fifth exhibition, shaped by the artistic hands of Island6, seeks to explore, and carefully investigate the energy of known and unknown, conscious and subconscious behavior. Titled, “Psychic Apparatus,” the exhibition aims to dig deeper into the great abyss of subjective experience. The series explores states and their corresponding stages of wakefulness, imaginings, involuntary behavior, influential forces, and subliminal processes. The display further illuminates the collective Liu Dao and wrestles wildly for pursuit of personal identity and a sense of belongingness. Preceding exhibitions of this kind have explored the concept of consciousness as a whole, as a collective identity, and in the latest showcase (March 2010), entitled, “Libido Mortido,” focused on the depth and irrevocable foreboding of morbidity. The theme for the final presentation, and its implementation of apparatus veers towards a rare understanding of what it means to be human, elaborates on subjective reality, and is an epiphany trapped in the individual soul of all humanity.

The implication of subconscious activity within the walls of each human being, and correspondingly, their emotional capacity, has been explored across cultures, and defined in a variety of written documents throughout historical times. Unconscious recordings were evidenced and exposed in the Vedas, (Hindu texts), dating as early as 2500 B.C. Additionally, the term “subconscious,” was first coined by the German philosopher Ser Christopher Riegel, and later recorded in English by the poet Samuel Taylor Coleridge. The writings of Shakespeare, Spinoza, Kierkegaard, and Nietzsche, have each, significantly influenced man’s modern understanding of personality. Though, undoubtedly championing this cause was the master of psychoanalysis, Sigmund Freud, particularly, in his writings on the: id, ego, and Super-ego.

To come to understand and appreciate the framework of the mind and its multiple-processes we must first take into account the historical framework for the term, psychic apparatus. Freud, in his pursuit to define what so many before him had left submerged, argued that the unconscious mind is best represented in its tranquil state of dreaming. He held that the mind is explored through the memories of childhood, and in brief flashes of insight, also known as epiphanies. The mind, he argued is the very heart of the human drive. In Freud’s fervent passion to uncover individual layers of human awareness, the construct of “Psychic Apparatus” was born.

Conversely, without this construct, intellectual activity may well have remained submerged in a state of civil denial, as society in the nineteen hundreds was geared towards repression of any unknown. Consequently, it was Freud who re-shaped our understanding of the inner-self, and our personal identity, through his research; individuals were given the freedom to express their impulses.

Psychic apparatus, essentially, can be defined as a collection of non-tangible instruments developed in order to measure, interpret, and make sense of the concrete world in which we surround ourselves. This term has also been deemed “mental apparatus” and “psychical apparatus,” though both expressions reflect similar theories on objective and subjective facets of reality.

Freud’s early analysis employed a theoretical model of conscious behavior, and was ultimately entitled, “The first Topography.” It was first introduced in his manuscript, “The Interpretation of Dreams,” (Freud 1900). In this notion, topography is further divided into three realms: the id, the ego, and the super-ego, or the processes of the conscious, unconscious, and preconscious. Originally, entitled, (es, ich and uber-ich) only later was it Latinized revealing its importance on the growth of modern Psychology. According to the model, the lowest level and most basic pattern of instincts is known as the id. Its responsible and organized aspect is represented as the ego. Its moral compass and guide is the Super-ego. It is important to note however, that although Freud described the model in terms of “apparatus,” it is indeed, a characteristic of the mind, rather than the body.

The id, a facet of unconscious activity, dwells in the dark and hidden component of the mind. It contains the basic human drive for pleasure, known as the “pleasure principle,” introduced in New Introductory Lectures on Psychoanalysis (Freud 1933). Seeking to avoid pain, and embracing reckless impulsivity, the id endeavors instinctual satisfaction ignoring costs along the way. The unconscious id motivates us, seeking instant gratification, and drives us to the pursuit of pleasure.

In stark contrast to the id, stands his brother the ego, who acts as a mediator, dividing reality from subconscious activity. The ego, is defined as organized, defensive, perceptual, intellectual, and conscious, he performs as the triangular negotiator between the id, the Super-ego, as well as the external world. Upon any appearance of danger, the ego’s defense mechanisms spring to action, protecting the very core-subconscious reality, (or the weaker self). In progressive society the ego is brave, pompous, proud, and a significant value in its corresponding social arena. Nonetheless, the ego fundamentally, represents the understanding of “self.”

Like a slave, the ego serves to please both master’s: the id and Super-ego. For example, a young woman torn by her longing for the material world, as well as her understanding of the already significant dent in her pocketbook, would stare long and hard at a shiny red-leather purse in the display window of a luxury goods store. As teenager, she would have been more inclined to wander into the store, without thought, and purchase the purse, (the id). But, through the construct of the reality principle, she, now several years matured, glances at the purse and continues to walk down the street. Perhaps, she is busily calculating the number of painstaking hours at the office it will take to purchase such an object, but nevertheless, ignores her impulse to buy on demand, and remains more or less satisfied.

Notably, the Super-ego, composed of conscious and subconscious facets, is often compared to the father figure in a family unit. It is his task to regulate all household activities. Nothing gets past the Super-ego, and no decision by him is made lightly. The Super-ego is socially appropriate, well-mannered, spiritual, and the conscious that drives away instinct, feeling, emotion, imagination, and desire. Biblically, the Super-ego prohibits any act judged as self-serving and has no qualms in exercising the bullet of guilt, when deemed necessary.

Historically, the art group most closely representing a Freudian framework has come to be known as Surrealism. This civil faction emerged in the nineteen-twenties and became popular for its visual manifestation of surprise, and juxtaposition. The cultural movement developed during World War I became popular for its Dada activities, was centrally popularized in Paris. Surrealism, ultimately, was obsessed with free association, dream analysis, and liberation. The group however, piecemealed specific unconscious belief systems and which heavily focused on individual behavior known as idiosyncrasies, and furthermore, rejected overlapping and darker aspects of Freudian psychoanalysis. Surrealism, along with the influence of Freudian processes eventually spread throughout the world in the manifestation of art, film, literature, music, and language, later becoming a political and social theory.
In response to such overlapping theories, the collective Liu Dao gathers together once more, transcending in addition to incorporating traditional views on art, culture, and media, this time in a visual representation of subconscious reality. Each member, ironically, has been asked to forego the individual “self” avoiding personal privilege, in exchange for the collective realization of unity. Essentially, each artist was encouraged to deconstruct any notion of “mine” going beyond his/her ego, delicately embracing the fundamental tier of its counter-parts, the id and his ever powerful Super-ego.
         

Curator
Thomas Charvériat
Writer                
Kristen Delaney
Coordination                
Zhang Leihua, Jean Le Guyader, Pete Bradt


The fifth exhibition, shaped by the artistic hands of Island6, seeks to explore, and carefully investigate the energy of known and unknown, conscious and subconscious behavior.