Sigmund Freud Lecture

The Sigmund Freud Foundation invites to the annual Sigmund Freud Lecture on the occasion of Sigmund Freud's birthday on 6 May.

 

2017 - XLIV. Sigmund Freud Lecture

William Kentridge: Defence of the Less Good Idea

Sunday, 7 May 2017, 11 a.m. at Burgtheater Vienna

William Kentridge - Photo: Marc Shoul
William Kentridge - Photo: Marc Shoul

Burgtheater Wien
Universitätsring 2, 1010 Wien

Tickets available from 3 April via www.burgtheater.at and at the "Bundestheater" ticket offices

An event by the Sigmund Freud Foundation


Introduction: Erik Porath

William Kentridge’s (born Johannesburg, South Africa) practice is born out of a cross-fertilisation between mediums and genres. His work responds to the legacies of colonialism and apartheid, within the context of South Africa's socio-political landscape. His aesthetics are drawn from the medium of film’s own history, from stop-motion animation to early special effects. Kentridge’s drawing, specifically the dynamism of an erased and redrawn mark, is an integral part of his expanded animation and filmmaking practice, where the meanings of his films are developed during the process of their making. Kentridge’s practice also incorporates his theatre training. His production of Mozart’s ‘The Magic Flute’ (2005), an opera in which drawing and music were interwoven to construct a story rich with symbolism. In his production of ‘Lulu’ (Berg), shifting fragmented and reconstituted ink drawings projected across the stage exaggerate the angularity of the set and the disorientation of Lulu’s world.

Recent shows include solo presentations at Marian Goodman Gallery (New York/London), Galleria Lia Rumma (Milan, Italy), Ullens Center (Beijing, China), Metropolitan Museum of Art (New York, USA), Whitechapel Gallery (London, UK) as well as group exhibitions and biennials all over the world such as the 13th Documenta in Kassel, Germany (2012) and the 56th Venice Biennale in 2015. In summer 2017, Museum der Moderne Salzburg shows a solo exhibition ‘Thick Time. Installations and Stagings’ (29 July – 5 November 2017). At the Salzburg Festival (Salzburger Feststpiele) in July and August 2017, Kentridge directs the opera “Wozzeck” by Alban Berg.

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Partner of the Sigmund Freud Lecture 2017

 

2016 - XLIII. Sigmund Freud Lecture

Stefano Bolognini: The Humanizing Function of Contemporary Psychoanalytic Empathy

Saturday, 21 May 2016, 11 a.m. at Billrothhaus. Lecture in English

Stefano Bolognini
Stefano Bolognini

Gesellschaft der Ärzte in Wien, Billrothhaus
Frankgasse 8, 1090 Wien

Admission free, open seating

An event by the Sigmund Freud Foundation

Introduction: Gohar Homayounpour

In common language the word “empathy” evokes some superficial mix of sweet tenderness, benevolence a priori, friendly support and no interpretive penetration for disclosing the unconscious level of the psychic reality. In psychoanalysis “empathy” means something profoundly different. This paper emphasizes the difference between normal human empathy and psychoanalytic empathy, which is a much more complex phenomenon.

“True empathy is a condition of conscious and preconscious contact characterized by separateness, complexity and a linked structure, a wide perceptual spectrum including every colour in the emotional palette, from the lightest to the darkest; above all, it constitutes a progressive shared and deep contact with the complementarity of the object, with the other's defensive ego and split off parts no less than with his ego-syntonic subjectivity”(Bolognini, 1997).

Through three short clinical examples, the author will provide the audience with a lively and shareable experience of the depth, complexity and partial unpredictability of psychoanalytic empathy: something that cannot be planned, but that has to be recognized and appreciated as one of the most important and effective events that can change an analytic process and, consequently, the destiny of a patient’s life.

Stefano Bolognini; Doctor in Medicine and psychiatrist, training and supervising analyst of the Italian Psychoanalytical Society. He is the President of the International Psychoanalytical Association, after having been IPA Board Representative and chair of several IPA committees. Stefano Bolognini is a former President of the Bologna Psychoanalytic Center, former President of the Italian Psychoanalytical Society. For 10 years (2002-2012) he was member of the European Editorial Board of the International Journal of Psychoanalysis. He is the author of several books, participates regularly in radio and television debates and writes for main Italian newspapers and magazines.

Gohar Homayounpour was educated in Canada and the United States. She now lives and works in Tehran. Homayounpour is training and supervising psychoanalyst of the Freudian Group of Tehran, where she is founder and director. Lecturer at ShahidBeheshti University, Tehran. Her recent book Doing Psychoanalysis in Tehran, 2012, won the Gradiva award and it has been translated into several languages. Homayounpour is a member of the advisory board at the Sigmund Freud Foundation in Vienna, the International Psychoanalytic Association (IPA), the American Psychoanalytic Association (APsaA) and the International research group Geographies of Psychoanalysis. 

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Partner of the Sigmund Freud Lecture 2016

 

2015 - XLII. Sigmund Freud Lecture

Slavoj Zizek: Theology, Negativity, And the Death-Drive

Wednesday, 6 May 2015, 4:00 p.m. Burgtheater Wien

Slavoj Žižek
Slavoj Žižek

Tickets (8 EUR) available via http://www.burgtheater.at and at all Bundestheater ticket offices

Welcome notes by Monika Pessler (Sigmund Freud Museum) and Karin Bergmann (Burgtheater Wien)

Introduction: Victor Mazin

Rowan Williams located the root of religious experience into our (human) “capacity for perversity, addictions, self-sacrifice, self-destruction and a whole range of ‘rationally’ indefensible behaviors” – that is, the very dimension of irreducible self-sabotaging, of the “pursuit of unhappiness” –,  and does this capacity not belong into the domain of the death-drive, of the weird overlapping between negativity and inertia that we encounter in a paradigmatic way in Hamlet? Hamlet doesn't kill Claudius when he sees him praying since if he were to do it at that moment, he would not strike at more than what is here, at that X that makes Claudius a king. This is also a problem – maybe even the problem - of revolutionaries: how not only to overturn power, but strike at what is more than mere power as a fact, and thus preventing that the ancient regime will return in a new guise? It is this uncertainty which propels Hamlet to procrastinate the act (of revenge), i.e., to use Hegel’s term, to tarry with the negative. Negativity is usually thought of as a dynamic entity consisting of struggles, cuts, and other modes of negation, but, as Andrew Cutrofello pointed out, what makes Hamlet a unique figure is that it stands for tarrying with the negative: Hamlet treats negativity itself as an expression of the melancholic inertia of being. Perhaps, then, the first move of what one can call “materialist theology” should be to discern this dimension of death-drive in divinity itself.

Slavoj Zizek

In Co-operation with the Burgtheater Wien

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Partner of the Sigmund Freud Lecture 2015

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