Danza con Moisés
When he extracted his Moses from the marble, did Michelangelo know that a certain Sigmund Freud would, many years later, dance around him? What resulted was an article published incognito, without its author ever revealing the reasons for that.
One detail is of particular interest to Freud: the movement of the statue's right hand, which lifts it out of the immobility of the marble and whose imprint remains on the prophet's lock of beard. Having chosen a statue, could Freud account for it, as he had done for the dream, the symptom, the joke, by means of an interpretation of a symbolic order?
Rather, it is a certain space that George-Henri Melenotte discovers here, in which Freud and Moses move, that space "between" about which Lacan had discreetly provided valuable indications.