Freud Museum London: Psychoanalysis Podcasts A treasure trove of ideas in psychoanalysis, exploring its history and theory, and bringing psychoanalytic perspectives to bear on a diverse range of topics. Freud Museum website: www.freud.org.uk

February 23, 2012  

Trauma and Aesthetic Transformation

Convened by Griselda Pollock,
Centre for Cultural Analysis, Theory and History University of Leeds.

AHRC Research Fellowship Symposium

at the Anna Freud Centre 20 Maresfield Gardens, London NW3 on the 18th February 2012

Two weeks before the opening of the exhibition Louise Bourgeois: The Return of the Repressed, the Freud Museum presented an afternoon symposium for anyone interested in a transdisciplinary encounter across art, psychoanalysis and feminism.

Griselda Pollock’s research has engaged with a series of artistic, cinematic and literary case studies dealing with bereavement, seduction, Holocaust survival, exile, migration and second generation transmitted trauma, in order to explore the proposition that art can be ‘a transport station of trauma’ (Bracha Ettinger). Examining the work of several different artists including Louise Bourgeois, Chantel Akerman and Vera Frenkel, the symposium will use psychoanalytical approaches to trauma in order investigate specific art practices as sites of transformation, blockage, encryption and dangerous failure.

The symposiums aim was to open up a dialogue with clinical practitioners, cultural theorists and artists working in this area in order to ask: Do artists travel away from or towards an encounter with the traces of trauma? Can aesthetic practices teach us anything significant about the possibility of transformation of trauma or the dangers of such a re-encounter? Can art produce what Geoffrey Hartman calls ‘traumatic knowledge’?

February 23, 2012  

Trauma and Aesthetic Transformation

Convened by Griselda Pollock,
Centre for Cultural Analysis, Theory and History University of Leeds.

AHRC Research Fellowship Symposium

at the Anna Freud Centre 20 Maresfield Gardens, London NW3 on the 18th February 2012

Two weeks before the opening of the exhibition Louise Bourgeois: The Return of the Repressed, the Freud Museum presented an afternoon symposium for anyone interested in a transdisciplinary encounter across art, psychoanalysis and feminism.

Griselda Pollock’s research has engaged with a series of artistic, cinematic and literary case studies dealing with bereavement, seduction, Holocaust survival, exile, migration and second generation transmitted trauma, in order to explore the proposition that art can be ‘a transport station of trauma’ (Bracha Ettinger). Examining the work of several different artists including Louise Bourgeois, Chantel Akerman and Vera Frenkel, the symposium will use psychoanalytical approaches to trauma in order investigate specific art practices as sites of transformation, blockage, encryption and dangerous failure.

The symposiums aim was to open up a dialogue with clinical practitioners, cultural theorists and artists working in this area in order to ask: Do artists travel away from or towards an encounter with the traces of trauma? Can aesthetic practices teach us anything significant about the possibility of transformation of trauma or the dangers of such a re-encounter? Can art produce what Geoffrey Hartman calls ‘traumatic knowledge’?

February 22, 2012  

An Illustrated Hampstead Authors Society Talk by Mary Bergstein

Video Recorded at the Freud Museum on 13 February 2012

Mary Bergstein, gave an illustrated talk at the Freud Museum, introduced by HAS Chaiman Zsuzsanna Ardó.

The talk explored Freud's visual imagination in terms of the photography he (and his patients) pondered. It is important that Freud believed repressed memories were unconscious, and that the most potent memories and desires would emerge in psychoanalysis from deep inside, via dreams. In the period from Freud's childhood to his old-age ruminations, several kinds of photographs were prominent: portraits, psychiatric illustrations, archaeological photography, and ethnographic documentation. These images along with the erotic photography and films of the era, that Mary Bernstein will introduce, paralleled the phenomena of Freudian memories and dreams.

Mary Bergstein is a scholar of Italian Renaissance sculpture, painting, and architecture. She has also published widely on the cultural history of photography, which includesMirrors of Memory: Freud, Photography, and the History of Art (2010). Bergstein is interested in the social history of art and visual culture, and has written on topics from Donatello and Michelangelo, to “reproductive” photography, to advertising art and contemporary manufactured dolls such as Barbie and Bratz.

The Hampstead Authors Society (HAS) is a transcultural, transdisciplinary creative society, connecting ideas, people and places. HAS venues and partners include the Royal Institute, the British Film Academy (BAFTA), Nehru Centre, Jewish Cultural Centre, French Cultural Institute, Riverside Studio, Everyman Cinemas, Artsdepot Gallery, La Notte Blu di Firenze, Casa della Creativita, 12 Star Gallery, Europe House.

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