Gallery and Publisher

LIBERTINE is a Gallery, Guild, and Atelier with a physical location in Los Angeles. LIBERTINE emerged from Analytica and serves as a vector of analysis in extension: as a space for art and performance, a publisher of writings, and a production house of other limited edition works.

LIBERTINE fulfills the final unfinished project of psychoanalysis and modern art to move beyond the alienation of human culture by means of “introducing the object into discourse.” The invisible object of phantasy which emerges at the incorporation of trieb and geist in the embodied subject is introduced into the collective symbolic practice of social culture by means of an act of writing – signs, signifiers, letters, and diagrams.

LIBERTINE takes its initiative as a Salon of Independents. By means of returning to the unfinished political, sexual, artistic, and scientific freedom begun after the middle ages with the formation the guild, the libertine, and the salon des refuses which brought forth sovereign subjectivity, autopoesis, and inner experience through modernity. In this sense the project of the sovereign artist is at one with the project of psychoanalysis: to bring the intension of psychic reality as spirit into the outer world of symbolic social reality by means of extension. In modernity this took the form of expressionist, abstract, concrete, and conceptual art en route to a form of magickal science fiction at one with the European political-ecological project of psychoanalysis and its futurist, dadaist, surrealist, situationist art – as well as the American logical-philosophical project of pragmatism and its beat, hippy, punk, grunge ethical-aesthetic paradigm.

LIBERTINE operates in the original form of the guild, but by means of the analytic practice of cartel, demonstration, and assemblage it incorporates and rotates the four discourses or positions of artist, critic, gallerist, and collector into its process thus transcending the degenerated form of the current postmodern condition of the “art world.” It resolves the current “symptom of art” by means of the “art of the symptom.” This co-operation of studio and atelier allows for the creator to integrate the means of production and distribution in relation to a community of others that integrate object-language and meta-language in situ – and introduce the object into discourse by means of the signifier, moving beyond the impasse of Beuys’s social sculpture fluxus and Warhol’s pop art factory into a new general economy of the future.

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