new exhibitions
FREUD MUSEUM LONDON

20 Maresfield Gardens, NW3 5SX
020 7435 2002

www.freud.org.uk
info@freud.org.uk

Wed-Sun 12-5. Admission: £8 Adults, £4 Concessions, £6 Seniors, under 12s FREE

undergroundFinchley Road Finchley Rd & Frognal


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THE LIMITS OF EDUCATION? PERFORMANCE BY GERALD DAVIDSON
Jun 7, 2017 7:00pm - 8:00pm talk/event
- All education is conservative?
- Relative to the society that delivers the education.
- But what of psychoanalytically based education?
 
Vienna 1924. Marxist psychoanalyst and Jewish youth worker Siegfried Bernfeld and Anna Freud reflect on their hopes and fears for postwar education. They discuss the failure of the Baumgarten Centre for Jewish refugee children and the development of child facilities in Social Democratic ('Red') Vienna - and what the future may hold for both of them.
 
- My views make both the Marxists and the Freudians very angry- well I say both Marx and Freud are right- but not the Marxists nor the Freudians. What is in children forced exploitation is made to appear to them as sacrificial love.
 
Gerald Davidson is joined by Helen Clapp who will read the part of Anna Freud.
 
Gerald Davidson continues his series of dramatic presentations on second generation psychoanalytic pioneers, which include Mad about Otto, What Little Hans Knew and Being Good.
 
This event coincides with the exhibition 'The Best Possible School: Anna Freud, Dorothy Tiffany Burlingham and the Hietzing School in 1920s Vienna', on display at the Museum from 10 May - 16 July 2017.
£10/£7 concessions
freud.org.uk/events/76789/the-limits-of-education/

SO THIS IS THE STRONG SEX : WOMEN IN PSYCHOANALYSIS
Nov 29, 2017 - Feb 4, 2018
“So this is the Strong Sex” explores the lives and work of a number of women from the early history of psychoanalysis. Featuring Marie Bonaparte, Helene Deutsch, Emma Eckstein, Anna Freud, Lou Andreas-Salomé and Sabina Spielrein, this exhibition shows the influence they had on Sigmund Freud and psychoanalysis, using materials from the Sigmund Freud Museum in Vienna.
 
The show will connect the achievements of these figures with the era in which they lived and seeks to challenge the ideas of: psychoanalysis as a science dominated by men and issues of childcare in Vienna of the 1920s and 1930s. It will also approach psychoanalytic topics such as the Oedipus complex, transference and counter transference, sexuality and femininity.
 
This opening up of the archive is an opportunity to discover the personal correspondence of the Freud Family, and their most trusted confidantes. There is a chance to see unpublished letters from Princess Marie Bonaparte, a figure integral to the Freud family’s escape from the Nazis.

Click to enlargeATTACHMENT & INTRAPLACES: ELENA COLOGNI - ARTIST TALK
Jan 21, 2018 to 12:00am talk/event
Discussing a Nomadic and Dialogic Approach in Spatialized Art Practice
 
Artist, Elena Cologni will be discussing the research background of her artistic project Seeds of Attachment, which looks into the attachment between parent and child (Ainsworth, 1973; Bowlby, 1969; Freud, A.,1967) as crucial to place attachment (Seamon, D., 2013). We get attached to a place through our attachment to our family (Gordon Jack, 2010), but how troubling can it be to be detached from a place and loved ones (Bowlby, 1998)?
 
Cologni attempts to investigate this through the adoption of a nomadic (Braidotti) and dialogic sculpture though a non-verbal approach, she designed based on the principles of the Margaret Lowenfeld Mosaic Box (1954). Aspects of this process were exhibited at New Hall Art Collection at Murray Edwards College of the University of Cambridge, for which she developed the series 'Intraplaces'.
 
This project is funded by Arts Council England
 
About the Artist
Cologni's in(ter)disciplinary research approach with a consistent interest in artist/audience/participant relational and perceptual dynamics has been centered around memory in the present for sometime, and in collaboration with academics (psychology, philosophy, cognitive science). Relevant projects include Present Memory and Liveness in Delivery and Reception of Video Documentation During Perfornance Art Events (AHRC funded 2004/06) in collaboration with Thomas Suddendorf, on ideas of mirror self-recognition using video delays; based on same issues, RE-MOVED, Centre for Contemporary Art, Glasgow (ACE funded 2008); GEOMEMOS, Yorkshire Scukpture Park (ACE 2009); rockfluid in collaboration with Prof Lisa Saksida, Department of Experimental Psychology, University of Cambridge, when a more specific interest in place in relation to memory is addressed, including the live installation Spa(e)cious (Wysing Arts Centre, MK Gallery, Bergamo Scienza) related to James Williams' concept of Specious Present (various Arts Council England grants 2011/); more recently Lived Dialectics, Movement and Rest at MuseumsQuartier in Vienna, was developed in dialogue with David Seamon and on place attachment (discussed at the Leonardo Laser series of talks in London).
 
Elena Cologni has a PhD in Fine Art (with psychology and philosophy) from University of the Arts, London Central Saint Martins College, 2004 (CSM). Her academic positions as artist include a Post-Doctorate Fellowship at CSM (Arts and Humanities Research Council UK 2004/06), a Research Fellowship at York Saint John’s University (Arts Council of England, 2007/09). Cologni is associate of the Creativities in Intercultural Art Network (Cambridge University). Process is central to her ‘research as art practice’ approach, and she often collaborates with academics and professionals from other disciplines with open formats as part of her process. Her work include dialogic undertakings resulting in drawings, sculptures, video and text. She has performed and exhibited in the US, Europe and the UK, including: Venice Biennale (Venice), Museum of Modern Art (Bologna), Museo Tosio Martinenego (Brescia), Galleria d’Arte Moderna e Contemporanea (Bergamo), Italy; Oslo Kunstforening, Norway; Karsy Sanat (Istanbul) Turkey; Tournai Cathedral, Tournai (Belgium); National Portrait Gallery (London), Tate Modern (London), CCA (Glasgow), Whitechapel Gallery (London), MK Gallery (Milton Keynes), UK, and has had residences at Centre for Contemporary Art Glasgow, Yorkshire Sculpture Park, and Wysing Arts Centre. She is the founder and director of Rockfluid, umbrella interdisciplinary project, outcome of a residency at the University of Cambridge, Faculty of Experimental Psychology, awarded with two Grant of the Arts, Arts Council of England, and Escalator Visual Art Retreat at Wysing Arts Centre, Escalator live art, Colchester Arts Centre. This includes many international site specific interventions, and discussions investigation the relationship memory, perception and place.
Free with admission, no need to book.
 
Admission prices are as follows:-
Adult £8
Senior £6
Student/unwaged £4
Friend of the Museum FREE
 
Event:
freud.org.uk/events/77069/attachment-intraplaces-discussing-a-nomadic-and-dialogic-approach-in-spatialized-art-practice/

PROJECTIONS: DARREN ARONOFSKY : THE CINEMA OF OBSESSION
Jan 22 - Feb 5, 2018 7:00pm - 9:00pm talk/event
Three-week evening course
Mondays, 7:00pm-9:00pm
 
American film director Darren Aronofsky was once asked if he deliberately aims to make audiences feel uncomfortable. He replied, “I definitely want to make them feel something. I'm inspired by the Cyclone roller coaster in Coney Island, where I grew up. It is the greatest ride in the world. I've always tried to construct my films with the same structure: intense, on the edge of your seat.”
 
The influence of cinema masters Polanski, Buñuel and Cronenberg is evident in Aronofsky’s ambitious oeuvre, which is built on representing extreme states: isolationists preoccupied with abstract intellectual concepts, addicts consumed with the desire to chase the next mind bending high, public performers who brutally push their bodies and psyches beyond the edge. Aronofsky’s recent release, mother!, is a strikingly violent metaphor that makes the Cyclone roller coaster seem like a walk in the park. Reactions to his films are mixed - spectators either love or loathe the controversial auteur; he certainly isn’t for the faint of heart!
 
In this 3-week lecture series, six of Aronofsky’s films will be examined in categories relating to Fixation, Performance and Cosmology, referencing psychoanalytic concepts to shed light on the running theme of obsession throughout his body of work. We will engage closely with the director’s signature style (a combination of melodrama, psychological horror, fantasy and surrealism) as he portrays the devastating pitfalls and amplified pleasures of being driven by a singular, extreme passion. The motif of obsession communicates yearning, pain and love in a supercharged way - it is difficult to name a modern director who surpasses Aronofsky in authentically representing this overwhelming emotional experience on film.
 
Advance viewing is optional, select scenes and montages will be shown during weekly sessions (see filmography below).
 
Week 1 - FIXATION
Pi (1998): A paranoid mathematician searches for a primer that will unlock the universal patterns found in nature.
Requiem For A Dream (2000): The drug-induced utopias of four Coney Island characters are shattered when their addictions spin out of control.
 
Week 2 - PERFORMANCE
The Wrestler (2008): A faded professional wrestler must retire, but finds his quest for a new life outside the ring a dispiriting struggle.
Black Swan (2010): A committed dancer wins the lead role in a production of Tchaikovsky's Swan Lake only to find herself struggling to maintain her sanity.
 
Week 3 - COSMOLOGY
The Fountain (2006): A modern-day scientist struggles with mortality, desperately searching for the medical breakthrough that will save the life of his cancer-stricken wife.
mother! (2017): A couple's relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence.
 
PROJECTIONS is psychoanalysis for film interpretation. PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act.
 
MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.
Full Price: £45
Students/senior citizens/unwaged: £36
Friends of the Museum: £36
 
Book Here:
www.eventbrite.co.uk/e/projections-darren-aronofsky-the-cinema-of-obsession-tickets-39224667035

BLACK BOOK : GIDEON RUBIN
Feb 7 - Apr 15, 2018

PROJECTIONS: NEUROSIS ON FILM
Feb 19 - Mar 26, 2018 7:00pm - 9:00pm talk/event
Six-week evening course with tutor Mary Wild
Monday evenings
 
Scottish physician William Cullen first employed the term ‘neurosis’ in 1769 to summarise "general diseases of the sense or motion" where there appeared to be no observable organic cause. Sigmund Freud redefined and popularised the neurosis diagnosis in the 20th century, developing it as a central construct in psychoanalytic theory and practice.
 
PROJECTIONS is psychoanalysis for film interpretation. PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.
 
Advance viewing is optional, select scenes and montages will be shown during weekly sessions (see filmography below).
 
Week 1 – HYSTERIA: Breakfast at Tiffany’s (1961), Opening Night (1977), Belle De Jour (1967)
Week 2 – OBSESSIONAL NEUROSIS: Brokeback Mountain (2005), Blade Runner 2049 (2017), Four Weddings and a Funeral (1994)
Week 3 – MELANCHOLIA: Les Amours Imaginaires (2010), Knight Of Cups (2015), A Single Man (2009)
Week 4 – LINGUISTIC BLOCK: Deconstructing Harry (1997), Synecdoche, New York (2008), Adaptation (2002)
Week 5 – EXISTENTIAL ANGST: Seconds (1966), Into the Wild (2007), The Zero Theorem (2013)
Week 6 – ETERNAL RETURN: Vertigo (1958), Interstellar (2014), The Duke of Burgundy (2014)
Advanced booking essential
 
Full Price: £100
Friend of the Museum: £75
Student/unwaged: £75
 
www.eventbrite.co.uk/e/projections-neurosis-on-film-tickets-41234803407

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