the games are real, the stakes are real, the players themselves are unknowable except for what they carefully want you to know. the narratives are real, but the league knows you care about them, so they amplify them. the graphics next to the player's heads to tell you this is how their season is going, the camera lingering on them as they lean down to tie their shoes or their skates, looking solemn, the commentators tell you this is important, the marketing tells you this is important, in case you didnt know. the stories are already there but theyre also well-crafted. you care about these players. you care about how they perform. not just because you want to see your team win but because you want to see the conclusion of the narrative being built around them.

If psychoanalysis teaches us to take contradiction seriously, sport offers a domain in which contradiction is not only present but constitutive. It is simultaneously high-stakes and trivial, governed by rules but saturated with unpredictability, a site of peak physical control and of bodily breakdown. The athlete is both master and servant of their body, while the fan is both distanced observer and emotionally over-invested participant. Victory requires loss, joy requires pain. Psychoanalytic approaches do not resolve these contradictions but rather dwell within them. As in the phenomenon of ‘the twisties’ in gymnastics, where a gymnast suddenly loses their bodily orientation mid-air, we see a striking metaphor for the disintegration of conscious control under psychic strain. To psychoanalyse sport, then, is not to impose coherence but to work with what repeats, what refuses sense, and what breaks down. It is to recognise that contradiction is not failure, but structure.

From the artist’s Inprnt: