The concept of the uncanny has long intrigued psychologists, artists, and writers alike. Coined by psychiatrist Ernst Jentsch in 1906 and popularized by Sigmund Freud in 1919, the term refers to the experience of encountering something new or unknown that elicits a sense of unease or discomfort. Often associated with the feeling of the unfamiliar or the eerie, the uncanny has been a recurring theme in art and literature throughout the 20th century.
One of the key aspects of the uncanny is its ability to bring to light hidden or repressed elements of the psyche. Artists like Meret Oppenheim, known for her iconic work “Object” (1936), have used the concept to create tension and mystery in their pieces. Oppenheim’s teacup lined with fur challenges conventional notions of domesticity and comfort, prompting viewers to question their perceptions of the familiar.
The National Museum of Women in the Arts is set to showcase an exhibition titled “Uncanny,” featuring works by over two dozen artists exploring the theme through a feminist lens. From Louise Bourgeois to Gillian Wearing, the exhibition will present a diverse range of artworks that delve into concepts of safety, surreal imaginings, and the blurred lines between reality and fiction.
One of the highlights of the exhibition is Laurie Simmons’ “The Music of Regret IV” (1994), which features a female ventriloquist dummy surrounded by male dummy dolls, creating a sense of unease and disquiet. The use of the ventriloquist dummy as a motif taps into the horror genre’s tradition of using inanimate objects to evoke fear and discomfort.
Other artists, such as Fabiola Jean-Louis and Frida Orupabo, explore themes of physical trauma, racial violence, and the body’s relationship to the unknown. Jean-Louis’ elaborate staged photographs reveal hidden narratives of violence within seemingly innocent portraits, while Orupabo’s collages challenge colonial histories and injustices through fragmented and distorted body parts.
The exhibition also delves into the concept of the “uncanny valley,” a term coined by robotics engineer Masahiro Mori to describe the discomfort one feels when faced with something almost human but not quite. Artists like Gillian Wearing and Leonora Carrington play with the boundaries of human likeness and artificiality in their works, creating a sense of eeriness and ambiguity.
Overall, “Uncanny” offers a thought-provoking exploration of the unsettling and mysterious aspects of the human experience. By delving into themes of ambiguity, disquiet, and the blurring of boundaries between reality and fiction, the exhibition invites viewers to confront their own fears and anxieties in a visually captivating and intellectually stimulating way.
