20 Maresfield Gardens in Hampstead was the final home of Sigmund Freud, the founder of psychoanalysis, who came here with his family in 1938, after fleeing Nazi-occupied Vienna.
Importantly for Freud, he was able to bring his extensive library and collection of antiquities with him to London. In his new home, he recreated his study and consulting room as it been in Vienna and here you will find the original psychoanalytic couch on which Freud’s patients told him their dreams.
Senior Citizens: £7.00
Concessions £5.00 (Students with valid ID cards, children aged 12-16, unemployed persons, disabled persons.
Children under 12: Free
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In 1938 Salvador Dalí met Freud in London, bringing with him his painting Metamorphosis of Narcissus and a new article about his ‘paranoiac-critical’ method, first described in his book Conquest of the Irrational.
Freud was an inspiration for the Surrealists and they were well-versed in his ideas, particularly his work on dream theory, free association, and investigations into the workings of the unconscious. In the 1924 Surrealist Manifesto, André Breton defined Surrealism as “pure psychic automatism”, in other words, the uncensored workings of the unconscious. In later years Jacques Lacan’s close relationship with the Surrealists led to a lasting bond that continued to link psychoanalysis and surrealism until the present day. Can the paranoiac-critical method be a valid means of understanding psychosis?
This conference will address psychoanalysis and its impact on Surrealism and the impact of Surrealism on psychoanalysis, bringing together art historians, psychoanalysts, authors and artists to reflect on the many facets of this relationship.
The conference will be held at The Anna Freud Centre, 12 Maresfield Gardens, London, NW3 5SU
£45 – £65
In 1910, the prodigious young artist Egon Schiele (1890-1918) completed a series of life-studies of heavily pregnant women and new-born babies at the Second Women’s Clinic within the University of Vienna’s General Hospital. This was one of two public clinics and teaching institutions for gynaecology and obstetrics which had opened to international acclaim just two years previously.
Combining visual analysis with an investigation of the Clinic’s ‘progressive’ facilities, practices and pedagogies, the presentation will reflect upon the entanglement of the artistic and medical gaze in the modern period, and its occlusion in modernist art history.
Gemma Blackshaw, Professor of Art History at the University of Plymouth, has an international reputation for research on art in ‘Vienna 1900’. She curated the major exhibition Facing the Modern: The Portrait in Vienna 1900 for the National Gallery London in 2013. She co-curated Madness and Modernity: Mental Illness and the Visual Arts in Vienna 1900 at the Wellcome Collection, London, in 2009, which, as a result of its critical reception, was restaged in an expanded form at the Wien Museum, Vienna, in 2010. She has published widely on modernist Viennese portraiture and figuration, with a particular focus on its intersections with modern medicine’s visual, institutional and therapeutic regimes.Full Details
Deleuze centres his 1988 book The Fold on this topic. Lacan dedicates to it some intense passages of a crucial lesson of his 1972-73 Seminar Encore. In this one-day intensive course we will compare and contrast their stances on what they deem to be an exceptional form of art and thought.
We will begin by showing how Lacan and Deleuze equally single out the baroque as an aesthetics that profoundly rethinks the notion of the subject as non-substantial. In Lacan’s words, the baroque evidences that the subject is not ‘a punctiform being that gets his bearings at the geometral point from which the perspective is grasped’. In turn, these considerations lead both authors to understand the baroque object as a ‘non essential object’ (Deleuze) that is strictly connected with a meaningless event, or atopia, and what they call anamorphosis.
Secondly, we will consider Deleuze’s and Lacan’s analogous assessments of the historical and epistemological context from which the baroque originates. For Deleuze, the latter witnesses to an incipient ‘collapse of the world’ as supposedly supported by Reason, and to a ‘transition’ exemplified paradigmatically by Leibniz’s theodicy. For Lacan, the baroque should be seen as a contradictory attempt to cope with the fact that, by the sixteenth century, ‘the world is in a state of decomposition’ due to the crisis of classical episteme and Christianity.
Thirdly, we will dwell on how both authors elaborate their own philosophical and psychoanalytical projects as explicitly neo-baroque endeavours to radicalise the baroque and overcome its impasses. We will here take into account Deleuze’s metaphysics of chaos, which turns Leibniz against himself, and Lacan’s notion of enjoyment as always lacking, which takes the message of Christianity about earthly abjection one step further and subverts it.
Finally, we will discuss how Deleuze’s and Lacan’s surprisingly similar treatment of the baroque and its legacy enables us to pinpoint the general ontological disagreement on which this specific convergence rests. While for Deleuze the process of folding highlighted by the baroque ultimately points in the direction of a pre-subjective cosmogenetic factor, or ‘Fold’, for Lacan it can only be related to the structure of the subject as linguistically split.
One day intensive course with Lorenzo Chiesa
£45 – £65Full Details
Evening course exploring Jung, Klein, Winnicott and Lacan.
10 January – 28 March
Tutor: Keith Barrett BA PhD
Psychoanalysis was initiated by Freud, then transformed by a series of powerful creative figures who both extended and deepened its range, opening new intellectual horizons as they applied its methods to new problems and new fields. We will focus on four leading innovators, carefully examining their criticisms of Freud and the manner in which they modified his theories and therapeutic practice. In this way, the course will give an overview of the development of psychoanalysis across its first century and into the beginning of its second. While intended to be accessible to beginners, it will also stimulate those who already have some knowledge of the field.
Click here for full program and bookings
The Education Service caters for groups in primary, secondary and tertiary education, allowing students to explore the resources of the museum, experience the intense atmosphere of Freud’s Study and consulting room, and discuss Freud’s life and work at times when the Museum is closed to the general public.
For further information (including downloadable worksheets), please visit our website.
Freud Museum London
20 Maresfield Gardens
Finchley Road, Finchley Road & Frognal
Euston, King's Cross
13, 82, 113, 187, 268