Freud Museum London: Psychoanalysis Podcasts

Author's talk: Davina Quinlivan introduced by Caroline Bainbridge Filming the Body in Crisis examines the representation of the body and the ethical, psychological and embodied implications of viewing bodies on screen across a range of moving image media and mainstream films. The book draws on the work of Melanie Klein and Sigmund Freud, and is focused on notions of object relations and embodied film spectatorship, looking at a range of contemporary films including The Tree of Life (Terrence Malick), A Dangerous Method (David Cronenberg), Psychiatry and Broadmoor in the work of Pat McGrath, Hunger (Steve McQueen), Blue (Derek Jarman) and the films of Atom Egoyan. Dr. Davina Quinlivan is a Senior Lecturer in Performance and Screen Studies at Kingston University. Her first book, The Place of Breath in Cinema (EUP, 2012), examined the locus of the breathing body, gender, inter-subjectivity and corporeality in the films of Lars von Trier, Atom Egoyan and David Cronenberg with the philosophy of Luce Irigaray. She has published in many journals including Screen, Studies in French Cinema, for which she won the first Susan Hayward Prize for the Best Postgraduate Article in 2010, and Music, Sound and the Moving Image. While she has regularly contributed to the Times Higher Education culture section, her film journalism has also appeared in Dazed and Confused, Little White Lies, Sight and Sound, Vertigo and Litro. She is currently working on notions of girlhood and female expression and developing a book on women and the politics of movement. Caroline Bainbridge is Professor of Culture and Psychoanalysis at the University of Roehampton, where she teaches and researches in the Department of Media, Culture and Language. She has published widely on matters linked to psychoanalysis and popular culture in journals such as Screen and Psychoanalysis, Culture and Society. With Candida Yates, she founded the Media and the Inner World research network (www.miwnet.org) in 2009 and, together, they have edited special editions of PCS and Free Associations, as well as several anthologies including, most recently, Television and Psychoanalysis: Psychocultural perspectives (Karnac 2013) and Media and the Inner World: Psycho-cultural approaches to emotion, media and popular culture (Palgrave Macmillan 2014). Caroline is the author of A Feminine Cinematics: Luce Irigaray, women and film (Palgrave Macmillan 2008) and The Cinema of Lars von Trier (Wallflower Press/Columbia University Press 2007). She is Editor of Free Associations, series editor (with Candida Yates) of the Karnac Psychoanalysis and Popular Culture book list, and Film Section Editor of The International Journal of Psychoanalysis. Her current work takes as its focus processes of mediation and popular cultural politics. It has a particular emphasis on group dynamics, allowing her to draw on her experience as a trained organisational consultant. Filming the Body in Crisis: Trauma, Healing and Hopefulness is published by Palgrave (2015)

Author's talk: Davina Quinlivan introduced by Caroline Bainbridge Filming the Body in Crisis examines the representation of the body and the ethical, psychological and embodied implications of viewing bodies on screen across a range of moving image media and mainstream films. The book draws on the work of Melanie Klein and Sigmund Freud, and is focused on notions of object relations and embodied film spectatorship, looking at a range of contemporary films including The Tree of Life (Terrence Malick), A Dangerous Method (David Cronenberg), Psychiatry and Broadmoor in the work of Pat McGrath, Hunger (Steve McQueen), Blue (Derek Jarman) and the films of Atom Egoyan. Dr. Davina Quinlivan is a Senior Lecturer in Performance and Screen Studies at Kingston University. Her first book, The Place of Breath in Cinema (EUP, 2012), examined the locus of the breathing body, gender, inter-subjectivity and corporeality in the films of Lars von Trier, Atom Egoyan and David Cronenberg with the philosophy of Luce Irigaray. She has published in many journals including Screen, Studies in French Cinema, for which she won the first Susan Hayward Prize for the Best Postgraduate Article in 2010, and Music, Sound and the Moving Image. While she has regularly contributed to the Times Higher Education culture section, her film journalism has also appeared in Dazed and Confused, Little White Lies, Sight and Sound, Vertigo and Litro. She is currently working on notions of girlhood and female expression and developing a book on women and the politics of movement. Caroline Bainbridge is Professor of Culture and Psychoanalysis at the University of Roehampton, where she teaches and researches in the Department of Media, Culture and Language. She has published widely on matters linked to psychoanalysis and popular culture in journals such as Screen and Psychoanalysis, Culture and Society. With Candida Yates, she founded the Media and the Inner World research network (www.miwnet.org) in 2009 and, together, they have edited special editions of PCS and Free Associations, as well as several anthologies including, most recently, Television and Psychoanalysis: Psychocultural perspectives (Karnac 2013) and Media and the Inner World: Psycho-cultural approaches to emotion, media and popular culture (Palgrave Macmillan 2014). Caroline is the author of A Feminine Cinematics: Luce Irigaray, women and film (Palgrave Macmillan 2008) and The Cinema of Lars von Trier (Wallflower Press/Columbia University Press 2007). She is Editor of Free Associations, series editor (with Candida Yates) of the Karnac Psychoanalysis and Popular Culture book list, and Film Section Editor of The International Journal of Psychoanalysis. Her current work takes as its focus processes of mediation and popular cultural politics. It has a particular emphasis on group dynamics, allowing her to draw on her experience as a trained organisational consultant. Filming the Body in Crisis: Trauma, Healing and Hopefulness is published by Palgrave (2015)

This afternoon’s symposium explores how artists and writers use the creative process to face and work through traumatic and painful experiences of loss. Part 2: Fay Ballard, artist, in conversation with writer Jeremy Gavron, author of A Woman on the Edge of Time, discussing how the early and unexpected deaths of their mothers – Fay’s of a sudden acute illness, Jeremy’s by suicide – has had a profound influence on their lives and work. Chaired by Esther Dreifuss-Kattan. The death of her mother in 1964 when Fay was seven, and of her father, the novelist J G Ballard, in 2009, became the catalyst for major change in her work. Clearing the family home, Fay began to draw her mother from discovered photos as well as family possessions which evoked strong memories. These drawings were exhibited in ‘House Clearance’ at Eleven Spitalfields Gallery, London in 2014, at & Model Gallery Leeds in 2015 alongside new work. A Woman on the Edge of Time is Jeremy Gavron’s moving memoir of his mother, Hannah Gavron, who committed suicide in 1965 when he was only four. Bright, sophisticated, and swept up in the progressive politics of the 1960s, Hannah was a promising academic and the wife of a rising entrepreneur. Searching for the mother who was never talked about as he grew up, Gavron discovers letters, diaries, and photos that paint a picture of a brilliant but complex young woman grappling to find an outlet for her creativity, sexuality, and intelligence. Piecing together the events that led to his mother's suicide, Gavron discovers that Hannah's success came at a price, and that the pressures she faced as she carved out her place in a man's world may have contributed to her death. 'I was mesmerised by Jeremy Gavron's extraordinary memoir of his mother ... It's one of those works that cross over into the real life so justly that all of life is better understood by it.' Ali Smith About the book: Art and Mourning: The role of creativity in healing trauma and loss, by Esther Dreifuss Kattan, Routledge 2016 Esther Dreifuss-Kattan explores the relationship between creativity and the work of self-mourning in the lives of 20th century artists and thinkers. The role of artistic and creative endeavours is well-known within psychoanalytic circles in helping to heal in the face of personal loss, trauma, and mourning. In this book, Esther Dreifuss-Kattan analyses the work of major modernist and contemporary artists and thinkers through a psychoanalytic lens. In coming to terms with their own mortality, figures like Albert Einstein, Louise Bourgeois, Paul Klee, Eva Hesse and others were able to access previously unknown reserves of creative energy in their late works, as well as a new healing experience of time outside of the continuous temporality of everyday life. Dreifuss-Kattan explores what we can learn about using the creative process to face and work through traumatic and painful experiences of loss. Art and Mourning will inspire psychoanalysts and psychotherapists to understand the power of artistic expression in transforming loss and traumas into perseverance, survival and gain. Art and Mourning offers a new perspective on trauma and will appeal to psychoanalysts and psychotherapists, psychologists, clinical social workers and mental health workers, as well as artists and art historians. Biographies: Dr. Esther Dreifuss-Kattan is a psychoanalyst, psychotherapist and art therapist in private practice in Beverly Hills, California. Dr. Esther Dreifuss-Kattan is the President Elect of the New Center for Psychoanalysis in Los Angeles. She works with adults of all ages, adolescents and children. Given Dr. Dreifuss-Kattan’s own artistic background, she specializes in helping clients who are involved in various creative pursuits. Dr. Dreifuss-Kattan’s second specialty is working with adult and paediatric cancer patients/survivors and their families as well as those with chronic pain. In addition to her private practice, she also works extensively with Los Angeles-based organizations devoted to treating those with illness. She received her PhD in Psychoanalysis from the Southern California Institute of Psychoanalysis, now the New Center for Psychoanalysis, and earned another in Art Therapy and Psychooncology from the Union Institute in Cincinnati, Ohio. Dr. Dreifuss-Kattan is currently a senior faculty member at the New Center for Psychoanalysis. Her published books and articles center on clinical practice, theory in psychoanalysis and art, art therapy and psychooncology. She lectures nationally and internationally. Jane McAdam Freud MA RCA is a sculptor and multi-disciplinary artist educated at the Royal College of Art and is a recipient of the British Art Medal Scholarship in Rome. McAdam Freud exhibits internationally, holding twenty solo shows since 1996. Jane's work has been acquired for numerous Public Collections including the British Museum, V&A, National Gallery Archives, and the National Gallery of Greece. Fay Ballard studied History of Art at Sussex University in the late 1970s and worked at the Museum of London, Royal Academy of Arts and Tate, where she was involved in the creation of Tate Modern. She completed an MA Fine Art at Central Saint Martin’s in 2006. Commissioned by The Prince of Wales to paint flora at Highgrove, her plant portraits have been exhibited widely. Fay was elected to the Royal Watercolour Society in 2007 and served as a trustee of Camden Arts Centre and the Victoria Miro Education Trust. Fay is a member of the Drawing Room Professional Network. She teaches, most recently, at the RCA and Camberwell Art School. Jeremy Gavron is the author of two non-fiction books and three novels, including The Book of Israel, winner of the Encore Award, and An Acre of Barren Ground. A former foreign correspondent in Africa and India, he lives now in London, and teaches at Warren Wilson College in North Carolina.

This symposium explores how artists and writers use the creative process to face and work through traumatic and painful experiences of loss. Part 1: Esther Dreifuss-Kattan in conversation with Jane McAdam Freud, discussing how Jane used her artistic practice to cope with the loss of her father, Lucian Freud. Although a great inspiration to her and a regular presence in her childhood, Jane’s father Lucian Freud became only an occasional figure in his daughter’s life as she grew up; when Jane was eight years old, father and daughter lost contact, only to reconnect when Jane was 31. By then she was respected artist herself, having established a reputation as a sculptor under the name of Jane McAdam. By the end of Lucian’s life they were in regular contact. Jane says: ‘At that time I saw my father regularly and, over about six months, we made sculpture. The last time I saw my father was shortly before his death, when I finished the sketches of him. I’ve now used them to make a large portrait sculpture. It helps me to keep him alive’. About the book: Art and Mourning: The role of creativity in healing trauma and loss, by Esther Dreifuss Kattan, Routledge 2016 Esther Dreifuss-Kattan explores the relationship between creativity and the work of self-mourning in the lives of 20th century artists and thinkers. The role of artistic and creative endeavours is well-known within psychoanalytic circles in helping to heal in the face of personal loss, trauma, and mourning. In this book, Esther Dreifuss-Kattan analyses the work of major modernist and contemporary artists and thinkers through a psychoanalytic lens. In coming to terms with their own mortality, figures like Albert Einstein, Louise Bourgeois, Paul Klee, Eva Hesse and others were able to access previously unknown reserves of creative energy in their late works, as well as a new healing experience of time outside of the continuous temporality of everyday life. Dreifuss-Kattan explores what we can learn about using the creative process to face and work through traumatic and painful experiences of loss. Art and Mourning will inspire psychoanalysts and psychotherapists to understand the power of artistic expression in transforming loss and traumas into perseverance, survival and gain. Art and Mourning offers a new perspective on trauma and will appeal to psychoanalysts and psychotherapists, psychologists, clinical social workers and mental health workers, as well as artists and art historians. Biographies: Dr. Esther Dreifuss-Kattan is a psychoanalyst, psychotherapist and art therapist in private practice in Beverly Hills, California. Dr. Esther Dreifuss-Kattan is the President Elect of the New Center for Psychoanalysis in Los Angeles. She works with adults of all ages, adolescents and children. Given Dr. Dreifuss-Kattan’s own artistic background, she specializes in helping clients who are involved in various creative pursuits. Dr. Dreifuss-Kattan’s second specialty is working with adult and paediatric cancer patients/survivors and their families as well as those with chronic pain. In addition to her private practice, she also works extensively with Los Angeles-based organizations devoted to treating those with illness. She received her PhD in Psychoanalysis from the Southern California Institute of Psychoanalysis, now the New Center for Psychoanalysis, and earned another in Art Therapy and Psychooncology from the Union Institute in Cincinnati, Ohio. Dr. Dreifuss-Kattan is currently a senior faculty member at the New Center for Psychoanalysis. Her published books and articles center on clinical practice, theory in psychoanalysis and art, art therapy and psychooncology. She lectures nationally and internationally. Jane McAdam Freud MA RCA is a sculptor and multi-disciplinary artist educated at the Royal College of Art and is a recipient of the British Art Medal Scholarship in Rome. McAdam Freud exhibits internationally, holding twenty solo shows since 1996. Jane's work has been acquired for numerous Public Collections including the British Museum, V&A, National Gallery Archives, and the National Gallery of Greece. Fay Ballard studied History of Art at Sussex University in the late 1970s and worked at the Museum of London, Royal Academy of Arts and Tate, where she was involved in the creation of Tate Modern. She completed an MA Fine Art at Central Saint Martin’s in 2006. Commissioned by The Prince of Wales to paint flora at Highgrove, her plant portraits have been exhibited widely. Fay was elected to the Royal Watercolour Society in 2007 and served as a trustee of Camden Arts Centre and the Victoria Miro Education Trust. Fay is a member of the Drawing Room Professional Network. She teaches, most recently, at the RCA and Camberwell Art School. Jeremy Gavron is the author of two non-fiction books and three novels, including The Book of Israel, winner of the Encore Award, and An Acre of Barren Ground. A former foreign correspondent in Africa and India, he lives now in London, and teaches at Warren Wilson College in North Carolina.

George Makari, author of the international acclaimed Revolution in Mind: The Creation of Psychoanalysis, discusses his latest publication, a brilliant and comprehensive history of the creation of the modern Western mind. Soul Machine takes us back to the origins of modernity, a time when a crisis in religious authority and the scientific revolution led to searching questions about the nature of human inner life. This is the story of how a new concept―the mind―emerged as a potential solution, one that was part soul and part machine, but fully neither. In this groundbreaking work, award-winning historian George Makari shows how writers, philosophers, physicians, and anatomists worked to construct notions of the mind as not an ethereal thing, but a natural one. From the ascent of Oliver Cromwell to the fall of Napoleon, seminal thinkers like Hobbes, Locke, Diderot, and Kant worked alongside often-forgotten brain specialists, physiologists, and alienists in the hopes of mapping the inner world. Conducted in a cauldron of political turmoil, these frequently shocking, always embattled efforts would give rise to psychiatry, mind sciences such as phrenology, and radically new visions of the self. Further, they would be crucial to the establishment of secular ethics and political liberalism. Boldly original, wide-ranging, and brilliantly synthetic, Soul Machine gives us a masterful, new account of the making of the modern Western mind. "George Makari's brilliant, compendious "Soul Machine: The Invention of the Modern Mind" is essential reading. The story he tells so engagingly is of a vast, polyphonic argument about what it is to be a human being." - The Wall Street Journal "In 'Soul Machine,' George Makari presents an electrifying narrative of the intellectual debates that gave rise to the Western conception of the mind." - The Economist George Makari's Revolution in Mind: The Creation of Psychoanalysis was published in 2008 to international acclaim. Makari is the director of the DeWitt Wallace Institute for the History of Psychiatry, professor of psychiatry at Weill Medical College of Cornell University, and adjunct professor at both Rockefeller University and Columbia University's Psychoanalytic Center. He lives in New York City. The book is available from the Freud Museum Shop.

George Makari, author of the international acclaimed Revolution in Mind: The Creation of Psychoanalysis, discusses his latest publication, a brilliant and comprehensive history of the creation of the modern Western mind. Soul Machine takes us back to the origins of modernity, a time when a crisis in religious authority and the scientific revolution led to searching questions about the nature of human inner life. This is the story of how a new concept―the mind―emerged as a potential solution, one that was part soul and part machine, but fully neither. In this groundbreaking work, award-winning historian George Makari shows how writers, philosophers, physicians, and anatomists worked to construct notions of the mind as not an ethereal thing, but a natural one. From the ascent of Oliver Cromwell to the fall of Napoleon, seminal thinkers like Hobbes, Locke, Diderot, and Kant worked alongside often-forgotten brain specialists, physiologists, and alienists in the hopes of mapping the inner world. Conducted in a cauldron of political turmoil, these frequently shocking, always embattled efforts would give rise to psychiatry, mind sciences such as phrenology, and radically new visions of the self. Further, they would be crucial to the establishment of secular ethics and political liberalism. Boldly original, wide-ranging, and brilliantly synthetic, Soul Machine gives us a masterful, new account of the making of the modern Western mind. "George Makari's brilliant, compendious "Soul Machine: The Invention of the Modern Mind" is essential reading. The story he tells so engagingly is of a vast, polyphonic argument about what it is to be a human being." - The Wall Street Journal "In 'Soul Machine,' George Makari presents an electrifying narrative of the intellectual debates that gave rise to the Western conception of the mind." - The Economist George Makari's Revolution in Mind: The Creation of Psychoanalysis was published in 2008 to international acclaim. Makari is the director of the DeWitt Wallace Institute for the History of Psychiatry, professor of psychiatry at Weill Medical College of Cornell University, and adjunct professor at both Rockefeller University and Columbia University's Psychoanalytic Center. He lives in New York City. The book is available from the Freud Museum Shop.

In this lecture Professor Naomi Segal explores the pleasures and pitfalls of translation, particularly translating psychoanalysis, and introduces the life and work of French psychoanalyst Didier Anzieu. The lecture will be followed by the launch and drinks reception for The Skin-ego, Didier Anzieu, tr. Naomi Segal, with introductions from Estela Welldon and Dr Andrew Asibong. Translating Anzieu: This paper is in two parts. The first introduces the principles, pleasures & realities of translation, and of translating psychoanalysis in particular. Are all translators murderers, pests or parasites? Are they trustworthy or traitors, or even ‘faithful bigamists’? Might translation be a feminine/feminised activity because most translators are women, or because the target -language has to be maternal, or because it embodies the irony of the multi-skilled serving the mono-skilled? The second part introduces the life and work of Didier Anzieu. The Skin-ego is the theory of a ‘vast metaphor’ based on ‘a paradox: the centre is situated at the periphery’. Freud’s image of the ego as ‘the projection of a surface’ is comprehensively developed, and the sense of touch is ‘not only placed at the origin of the psyche but shown to provide the latter permanently with what might also be called the mental backcloth, the ground upon which psychical contents are inscribed as figures, or the containing wrapping that makes it possible for the psychical apparatus to have contents’. Didier Anzieu (1923–1999) was a French psychoanalyst and theorist whose work brings the body back to the centre of psychoanalytic enquiry. He was the author of numerous books and articles, on areas ranging from the psychology of groups and psychodrama to theories of creativity and thought; he also published short stories, literary criticism, a drama, a book of cartoons and a study of May ‘68 written from the heart of Nanterre. His research was always conducted alongside his academic and clinical practice, both characterised by inclusivity, curiosity, a broad mind and a gentle manner. Anzieu’s major work, Le Moi-peau [The Skin-ego], a psychoanalytic theory focused on the psychical skin, is presented here in a new English translation. Naomi Segal is a professor of modern languages, specialising in comparative literary and cultural studies, gender, psychoanalysis and the body. In 2004 she created and then directed the Institute of Germanic & Romance Studies, University of London. She has published 15 books, of which the most recent monographs are Consensuality: Didier Anzieu, gender and the sense of touch (2009), André Gide: Pederasty and Pedagogy (1998) and The Adulteress’s Child: authorship and desire in the nineteenth-century novel (1992). Naomi Segal is an Academic Associate of the British Psychoanalytical Society, a Chevalier dans l'Ordre des Palmes académiques and a Member of the Academia Europaea. Estela Welldon is a psychoanalytical psychotherapist who worked for three decades at the Tavistock Portman Clinics NHS Trust. She is founder and Honorary President for life of the International Association for Forensic Psychotherapy, a Fellow of the RCPsych, a Senior Member of the BAP, BPC and of the CBF. She is an honorary member of the IGA and of the SCPP, Tavistock Clinic. In 1997 she was awarded a D.Sc. (Honorary Doctorate of Science) degree by Oxford Brookes University. In 2014, she became an Honorary member of the American Psychoanalytic Association for her work in helping to understand women who harm children. Her most recent book is Playing with Dynamite (Karnac, 2011). She is the author of Mother, Madonna Whore: The Idealization and Denigration of Motherhood (1988). Dr Andrew Asibong is Reader in Film and Cultural Studies at Birkbeck, University of London, where he has worked since 2006. He read Modern Languages at Oxford University, and carried out his doctoral research on stigma and metamorphosis in French literature and film at King's College London. He is co-director of the research centre Birkbeck Research in Aesthetics of Kinship and Community, co-editor of the journal Studies in Gender and Sexuality and former convenor of the Psychoanalysis Working Group at Birkbeck. Recent publications include Marie NDiaye: Blankness and Recognition (Liverpool: Liverpool University Press, 2013) and ‘"Then look!”: un-born attachments and the half-moving image’, Studies in Gender and Sexuality (16:2), 2015.

Iain Sinclair introduced by Michael Molnar - a 30th anniversary event Join us for the latest in a special series of talks and lectures marking the Museum's 30th Anniversary, which take place throughout 2016. This evening Iain Sinclair considers the ethics, risks and illuminations in photographing the dead, with special reference to the preserved and mummified husks in the Capuchin catacombs of Palermo. Another strand of the talk will track the poet Raymond Roussel to the point of suicide in the Grand Hotel. Sinclair will pay his respects to the photographic projects of other Palermo visitors, including Mimi Mollica, Brian Catling and Tony Grisoni, and most recently the artist and printmaker Ian Wilkinson. Sinclair’s own recent visit, followed exposure to Wilkinson's prints. Iain Sinclair has lived in (and written about) Hackney, East London, since 1969. His novels include Downriver (Winner of the James Tait Black Prize & the Encore Prize for the Year’s Best Second Novel), Radon Daughters, Landor’s Tower and Dining on Stones (which was shortlisted for the Ondaatje prize). Non-fiction books, exploring the myth and matter of London, include Lights Out for the Territory, London Orbital and Edge of the Orison. In the ‘90s, Sinclair wrote and presented a number of films for BBC2’s Late Show and has, subsequently, co-directed with Chris Petit four documentaries for Channel 4; one of which, Asylum, won the short film prize at the Montreal Festival. He edited London, City of Disappearances, which was published in October 2006. In recent times, he has published Hackney, That Rose-Red Empire (2009), Ghostmilk (2011) and ‘American Smoke’ (2013). Sinclair’s account of a one-day walk around the orbital railway – London Overground - was published in June 2015. Michael Molnar is an ex-director of the Freud Museum. His latest publication was a volume of essays on Freud's photo collection: Looking through Freud's Photos (Karnac, 2015).

Iain Sinclair introduced by Michael Molnar - a 30th anniversary event Join us for the latest in a special series of talks and lectures marking the Museum's 30th Anniversary, which take place throughout 2016. This evening Iain Sinclair considers the ethics, risks and illuminations in photographing the dead, with special reference to the preserved and mummified husks in the Capuchin catacombs of Palermo. Another strand of the talk will track the poet Raymond Roussel to the point of suicide in the Grand Hotel. Sinclair will pay his respects to the photographic projects of other Palermo visitors, including Mimi Mollica, Brian Catling and Tony Grisoni, and most recently the artist and printmaker Ian Wilkinson. Sinclair’s own recent visit, followed exposure to Wilkinson's prints. Iain Sinclair has lived in (and written about) Hackney, East London, since 1969. His novels include Downriver (Winner of the James Tait Black Prize & the Encore Prize for the Year’s Best Second Novel), Radon Daughters, Landor’s Tower and Dining on Stones (which was shortlisted for the Ondaatje prize). Non-fiction books, exploring the myth and matter of London, include Lights Out for the Territory, London Orbital and Edge of the Orison. In the ‘90s, Sinclair wrote and presented a number of films for BBC2’s Late Show and has, subsequently, co-directed with Chris Petit four documentaries for Channel 4; one of which, Asylum, won the short film prize at the Montreal Festival. He edited London, City of Disappearances, which was published in October 2006. In recent times, he has published Hackney, That Rose-Red Empire (2009), Ghostmilk (2011) and ‘American Smoke’ (2013). Sinclair’s account of a one-day walk around the orbital railway – London Overground - was published in June 2015. Michael Molnar is an ex-director of the Freud Museum. His latest publication was a volume of essays on Freud's photo collection: Looking through Freud's Photos (Karnac, 2015).

Oona Grimes, Rachel Goodyear, Carol Seigel, Dr Cleo Van Velsen, chaired by Jeremy Akerman Join artists Oona Grimes and Rachel Goodyear, Freud Museum London Director, Carol Seigel and Consultant Psychiatrist in Forensic Psychotherapy Dr Cleo Van Velsen, as they explore the artists’ work in the context of both the Freud family home and the Tall Tales touring exhibition programme. Oona Grimes is a London based compulsive scribbler, maker and storyteller. She is a visiting Lecturer at the Royal College of Art, London, and Ruskin School of Art : Oxford University & University of the Arts London, represented by Danielle Arnaud. Rachel Goodyear’s practice has a primary focus on drawing. Often using familiar but incongruous images, Goodyear’s delicately rendered works reference human fears and desires and pre-sent a precarious balance between the playful and the macabre. Rachel lives and works in Manchester, is represented by Pippy Houldsworth Gallery and in 2015/2016 had a major solo exhibition Restless Guests, at The Drawing Centre, New York. Carol Seigel has been Director of the Freud Museum London since 2009. Carol is a historian, and has worked at museums in London for over twenty years, including the Jewish Museum, the Museum of London, and Hampstead Museum. Dr Cleo Van Velsen is currently the Responsible Clinician in the Personality Disorder Medium Secure Unit in East London. She has worked for the Medical Foundation for the Care of Victims of Torture and has extensive experience in the assessment, management and treatment of those suffering with personality difficulties, violence and trauma. She is the coeditor of a textbook on Forensic Psychotherapy and section editor of the Edinburgh International Encyclopedia of Psychoanalysis. Jeremy Akerman is an artist and one half of Akerman Daly (Est. 2004), an organisation dedicated to publishing writing by artists. AD’s online presence makes the case for text as image. Akerman’s city and rural landscape paintings deploy a perspectival axis that directs a viewer’s eye through the picture. The viewer’s eye travels in, finding that the painting collapses and re-constitutes itself as they do so.

Professor Brett Kahr in Conversation with Dan Chambers What actually happens in psychotherapy? And does it really work? Psychotherapy has become a mainstay of our emotional wellbeing, and yet, in spite of its century-long track record, many people still regard “therapy” with a certain suspicion. Is psychotherapy simply a self-indulgent exercise in navel-gazing for bored, well-heeled neurotics with too much time on their hands, or is it, in fact, an essential route to the achievement of solid mental health, enhanced creativity and productivity, and richer, more gratifying intimate relationships? In this seminar, the television producer Dan Chambers will speak with Professor Brett Kahr, one of Great Britain’s leading psychotherapists, and together, they will explore in detail both the myths and the realities about the psychotherapeutic process. The evening will consider such fundamental and frequently asked questions as: What actually happens in psychotherapy? How long might therapy last? Does therapy blame everything on one’s parents? Will I be cured or will I be brain-washed? How do I find an experienced and trustworthy psychotherapist? How much will psychotherapy cost? Will I still recognise myself at the end of the process? Might there be any risks associated with undergoing therapy? We will consider psychotherapy in its historical context, examining the way in which the art and science of psychotherapy has evolved since Sigmund Freud’s creation of the “talking cure”. This evening workshop will allow ample time for discussion and questions from the audience.   Professor Brett Kahr has worked in the mental health field for over thirty-five years. He is currently Senior Clinical Research Fellow in Psychotherapy and Mental Health at the Centre for Child Mental Health in London, and Senior Fellow at the Tavistock Centre for Couple Relationships at the Tavistock Institute of Medical Psychology. He has worked in many branches of the psychotherapy profession as clinician, teacher, researcher, author, and broadcaster, having served previously as Resident Psychotherapist on B.B.C. Radio 2. Author of eight books including Life Lessons from Freud and, also, the best-selling Sex and the Psyche, he is also Series Editor of the “Forensic Psychotherapy Monograph Series” for Karnac Books and Series Co-Editor of the “History of Psychoanalysis Series”. He practices psychotherapy with individuals and with couples in Hampstead, North London, and he is a Trustee of the Freud Museum and of Freud Museum Publications. Dan Chambers is the Creative Director of Blink Films, one of Great Britain’s leading factual independent television production companies, with an output covering history, science, documentary, and cookery for all the key channels in the United Kingdom and all the leading factual channels in America. Previously, he has been Head of Science Commissioning at Channel 4 and the Director of Programmes at Channel 5. He has directed science documentaries for the Equinox science strand, and he has produced the Channel 4 and P.B.S. history strand, Secrets of the Dead. Dan studied Psychology and Philosophy at the University of Oxford, and he is currently a Governor of the London Film School and a Trustee of the Freud Museum.

Professor Brett Kahr in Conversation with Dan Chambers What actually happens in psychotherapy? And does it really work? Psychotherapy has become a mainstay of our emotional wellbeing, and yet, in spite of its century-long track record, many people still regard “therapy” with a certain suspicion. Is psychotherapy simply a self-indulgent exercise in navel-gazing for bored, well-heeled neurotics with too much time on their hands, or is it, in fact, an essential route to the achievement of solid mental health, enhanced creativity and productivity, and richer, more gratifying intimate relationships? In this seminar, the television producer Dan Chambers will speak with Professor Brett Kahr, one of Great Britain’s leading psychotherapists, and together, they will explore in detail both the myths and the realities about the psychotherapeutic process. The evening will consider such fundamental and frequently asked questions as: What actually happens in psychotherapy?How long might therapy last?Does therapy blame everything on one’s parents?Will I be cured or will I be brain-washed?How do I find an experienced and trustworthy psychotherapist?How much will psychotherapy cost?Will I still recognise myself at the end of the process?Might there be any risks associated with undergoing therapy? We will consider psychotherapy in its historical context, examining the way in which the art and science of psychotherapy has evolved since Sigmund Freud’s creation of the “talking cure”. This evening workshop will allow ample time for discussion and questions from the audience.   Professor Brett Kahr has worked in the mental health field for over thirty-five years. He is currently Senior Clinical Research Fellow in Psychotherapy and Mental Health at the Centre for Child Mental Health in London, and Senior Fellow at the Tavistock Centre for Couple Relationships at the Tavistock Institute of Medical Psychology. He has worked in many branches of the psychotherapy profession as clinician, teacher, researcher, author, and broadcaster, having served previously as Resident Psychotherapist on B.B.C. Radio 2. Author of eight books including Life Lessons from Freud and, also, the best-selling Sex and the Psyche, he is also Series Editor of the “Forensic Psychotherapy Monograph Series” for Karnac Books and Series Co-Editor of the “History of Psychoanalysis Series”. He practices psychotherapy with individuals and with couples in Hampstead, North London, and he is a Trustee of the Freud Museum and of Freud Museum Publications. Dan Chambers is the Creative Director of Blink Films, one of Great Britain’s leading factual independent television production companies, with an output covering history, science, documentary, and cookery for all the key channels in the United Kingdom and all the leading factual channels in America. Previously, he has been Head of Science Commissioning at Channel 4 and the Director of Programmes at Channel 5. He has directed science documentaries for the Equinox science strand, and he has produced the Channel 4 and P.B.S. history strand, Secrets of the Dead. Dan studied Psychology and Philosophy at the University of Oxford, and he is currently a Governor of the London Film School and a Trustee of the Freud Museum.

Session 3 Sadie Murdoch Your Eyes are My Hands Griselda Pollock The Missing Wit(h)ness: Monroe, Fascinance and the Unguarded Intimacy of Being Dead The most intimate aspects of the human subject are unconscious. This symposium examines the ways in which this material becomes the basis for contemporary art, critical writing and the dynamics of the consulting room. The speakers will provide a number of perspectives on the relationship between gender, the unconscious and intimacy. As well as first hand accounts from contemporary artists there will be a new reading of Marlene Dumas’ intimate art practice. The psychoanalytic process of ‘patient presentation’ will be examined, as well as how the process of being in analysis becomes inadvertently manifest when artists exhibit their work in the Freud Museum. This symposium is hosted in collaboration with the Central Saint Martins School of Art and Design research project Intimacy Unguarded, which examines the personal as material in contemporary art and writing. Sadie Murdoch - Your Eyes are My Hands In ‘Your Eyes are My Hands’, Sadie Murdoch will discuss her solo exhibition SSS-MM, at the Museum Haus Konstruktiv in Zürich, curated by Sabine Schaschl, and her forthcoming
publication, Omnipulsepunslide, a project with Artphilein Editions. ‘Your Eyes are My Hands’, a sentence from Omnipulsepunslide, refers to the artist’s approach to image-making.Through re- imagining and re-staging she re-routs and resists a gaze which positions the female subject as image and object. The rebellious female body, self-representation and self-fashioning are explored through archival material which is submitted to processes of elision and re-assembly, to generate new symbolic economies. Murdoch’s re-interpretation of images, objects and texts by women involved in the New York and Zürich Dada movement constitutes an intimate practice of ‘inhabiting’ the archive. Sadie Murdoch is an artist living and working in London. She considers the way in which photographic archives can be interpreted through re-staging and re-making, and proposes that the codes and conventions of ‘Modernism’ and ‘modernity’ emerge from the repression of subversive counter-narratives, of gender, power and desire. Sadie received her MA in Painting from Chelsea College of Art and Design in 1990 and her PhD from Leeds Metropolitan University in 1999 and was a participant in the Whitney Museum of American Art Independent Study Program in New York from 2003-2004. She is currently represented by the Roberto Polo Gallery in Brussels, and has had solo exhibitions at The Henry Moore Institute, Leeds, The Agency Gallery, London and the Apartment Gallery in Athens, Greece. She was included in Ballet Mécanique, Timothy Taylor Gallery, London, Spectral Metropole, Vžigalica Gallery, City Museum of Ljubljana, Ljubljana, Slovenia (2012) and Modern Shorts, New Museum, New York. Sadie is presently a Lecturer on the MFA Fine Art course, Goldsmiths College, University of London. Griselda Pollock - The Missing Wit(h)ness: Monroe, Fascinance and the Unguarded Intimacy of Being Dead Since Anthony Summers first published the post-post-mortem photograph of Marilyn Monroe in his Goddess: The Secret Lives of Marilyn Monroe, (1985) as part of the tendency to challenge her death as suicide, several painters have taken up this derelict photograph, including Margaret Harrison and latterly Marlene Dumas. We know from Barthes the intimacy between the photograph of the lost love object and death; yet in his own case he refused to reproduce the counter-image of his dead mother, an image of her as a child before his life had begun. Warhol, of course, used a ’still’ from 1953 to make his memorial icon in his grief for a fellow white working class victim of modern America. In this paper Griselda Pollock will explore the violence of the unguarded intimacy of the publication and feminist re-working of this stolen image of a woman in death in relation to the forensic notion of the silent witness and a feminist aesthetic-ethic of wit(t)messing. Art historian and cultural analyst, Griselda Pollock is a Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory & History (CentreCATH) at the University of Leeds, England. Her many books and articles address feminist challenges to modernist art history, her current interests focus on the image and time, on trauma and aesthetic transformation, and feminist interventions in psychoanalytical aesthetics as well as cultural memory and the Holocaust. Her recent publications include After-images/After-Effects: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (Manchester University Press 2013) and Art in the Time-Space of Memory and Migration: Sigmund Freud, Anna Freud and Bracha Ettinger in the Freud Museum (WILD PANSY PRESS with the Freud Museum, 2013) http://www.wildpansypress.com She is editor of Visual Politics and Psychoanalysis: Art & the Image in Post-Traumatic Cultures (I B Tauris 2013) and with Max Silverman, co-editor of Concentrationary Memories: Totalitarian Terror and Popular Culture (2013) and Concentrationary Imaginaries: Tracing Totalitarian Violence in Popular Culture (2015). She has just completed a twenty-year project: The Nameless Artist: Charlotte Salomon’s Life? or Theatre? for Yale University Press and is writing Is Feminism a Bad Memory? for Verso, and editing with Anna Johnson Bracha Ettinger: The Matrixial Reader for Palgrave MacMillan. Her book on Marilyn Monroe’s Mov(i)es will appear in 2017..

Session 2 Barbara Visser Adventures beyond the intellect The most intimate aspects of the human subject are unconscious. This symposium examines the ways in which this material becomes the basis for contemporary art, critical writing and the dynamics of the consulting room. The speakers will provide a number of perspectives on the relationship between gender, the unconscious and intimacy. As well as first hand accounts from contemporary artists there will be a new reading of Marlene Dumas’ intimate art practice. The psychoanalytic process of ‘patient presentation’ will be examined, as well as how the process of being in analysis becomes inadvertently manifest when artists exhibit their work in the Freud Museum. This symposium is hosted in collaboration with the Central Saint Martins School of Art and Design research project Intimacy Unguarded, which examines the personal as material in contemporary art and writing Barbara Visser - Adventures beyond the intellect Barbara Vissers’ Manual Series is an artistic research project, which addresses different forms of psychological (self-) help since the beginning of the 20th century in a playful, critical and confrontational manner. In this paper, Visser will elaborate on three different endeavours in this realm and show excerpts from these chapters: starting with a radical translation of a best-selling American self-help book; moving on to autobiographical fiction though the file of Client 8034; and then will share footage recently recorded at the Psychological Event Lab at the University of Barcelona developing radical experiments with body and mind perception by using VR (virtual reality) techniques to influence our inner voice. Manual/1: Stop thinking, start living Manual/2: Client 8034 Manual/3: Being Sigmund Freud Barbara Visser studied photography and audiovisual arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht. From 1992onwards her work is shown internationally. Barbara Vissers’ work focuses on cultural and historical narratives and the form in which they become manifest through art, design, media and behaviour. Using photography, film, text and performance, her practice addresses the uncertain relationship between registration and dramatization, and plays with notions of authentic and constructed realities. By challenging existing modes of storytelling and image-making and questioning our memory and belief systems, Visser aims to provoke a new perception of what normality has rendered invisible. She often collaborates with other creative practices, and is currently the chair of the Royal Netherlands Society for the Arts. Visser has participated in the Bienal de Sao Paulo, Brazil (2006), Manifesta, Trento, Italy (2008), Architecture Biennale, Dutch Pavillion, Venice, Italy (2010), Art Biennale, Dutch Pavillion group show (2011). In 2011 and 12 she’s written and directed the film C.K. (2012). Awards for her work include the Dutch Cultural Media Fund Documentary Award (2010), the dr. A. H. Heineken Award for art and science (2008) , David Roell Prize 2007 from the Prins Bernhard Foundation (2007). Since 2014 she is appointed as a member of the Royal Dutch Academy of Arts. She is represented by Annet Gelink Gallery in Amsterdam, The Netherlands.

Session 1 Joanne Morra Autobiographical Fiction: Encountering Anna Freud and Melanie Klein Inside the Freud Museum Emma Talbot Unravel These Knots The most intimate aspects of the human subject are unconscious. This symposium examines the ways in which this material becomes the basis for contemporary art, critical writing and the dynamics of the consulting room. The speakers will provide a number of perspectives on the relationship between gender, the unconscious and intimacy. As well as first hand accounts from contemporary artists there will be a new reading of Marlene Dumas’ intimate art practice. The psychoanalytic process of ‘patient presentation’ will be examined, as well as how the process of being in analysis becomes inadvertently manifest when artists exhibit their work in the Freud Museum. This symposium is hosted in collaboration with the Central Saint Martins School of Art and Design research project Intimacy Unguarded, which examines the personal as material in contemporary art and writing. Joanne Morra - Autobiographical Fiction: Encountering Anna Freud and Melanie Klein Inside the Freud Museum In 1989 the Freud Museum London hosted its first contemporary art exhibition. There have been over 75 shows since then. Having art inside the Freud Museum is a form of ‘site-responsivity’, wherein the artwork and site respond to and activate one another in unexpected ways. One of the most interesting forms of site-responsive art in the context of the Freud Museum is work that gestures towards the autobiographical. Eliciting a form of ‘autobiographical fiction’, such intimate (fictional) moments exposed by the artist through the artwork become re-framed. The artist and artwork enter a psychoanalytic setting. In doing so, the artistic interventions provide us with some fundamental moments within psychoanalytic practice. This talk considers two exhibitions that, intriguingly, turn away from Sigmund Freud and move towards two female analysts. Alice Anderson’s work and exhibition relies on the process of repetition as a means of ‘fictionalizing’ and letting go of childhood anxieties. While, the curation of the Louise Bourgeois show, and the work included in it produces a form of Kleinian acting out. Joanne Morra is Reader in Art History and Theory at Central Saint Martins. She has published widely on modern and contemporary art. One of her main interests has been in understanding the potential alliances between singular spaces of practice and what occurs within them – the studio, the study, the gallery/museum, and the consulting room. Her forthcoming book is Inside the Freud Museums: History, Memory and Site-Responsive Art (I.B. Tauris, 2016). She is the co-organiser with Emma Talbot of the research project Intimacy Unguarded. Emma Talbot - Unravel These Knots ‘Unravel These Knots’, a one-person exhibition by Emma Talbot at The Freud Museum London, runs concurrently with this Intimacy Unguarded event. Using the same title, this paper will discuss the work in the exhibition, in terms of the process of thinking, making and installation. Talbot will explore the underlying themes of autobiography, psychological representation and non-linear narratives that form the basis her work. She will open out the context for the work in relation to two of Freud’s studies The Interpretation of Dreams and Screen Memories as well as other key references and will discuss the ways these texts informed her practice. Emma Talbot is an artist based in London. Her work is featured in two recent Thames and Hudson publications 100 Painters Of Tomorrow and Drawing People. Recent one-person exhibitions include Step Inside Love at Domobaal London, and Memories Turn To Dusk at Petra Rinck Galerie, Dusseldorf. Her work is included in the forthcoming Comic Tragics at The Art Gallery Of Western Australia. She is represented by DomoBaal, London and Petra Rinck Galerie, Dusseldorf. Emma is a Senior Lecturer at CSM and co-organiser (with Dr Joanne Morra) of the research project Intimacy Unguarded.