The exhibition room was plunged into darkness for the duration of Maurice Owen’s exhibition, Burial, shown throughout the summer of 1999.
Werner Reiterer’s soft interventions could not have found a more appropriate setting than the Freud Museum: a house already inhabited by charged objects, things displaced in time and in space, things offered for contemplation and open to question.
Calle’s intervention at the Freud Museum injects an aggressive feminine touch into the master’s masculine preserve.
These paintings inhabit the seemingly minor interstices of childhood experience to remind and confront the shades and memories of them.
In 1994 Lauren Bon designed the stage set for a production of Beckett's A Piece of Monologue.
A rough but not inadequate analogy to this supposed relation of conscious to unconscious activity might be drawn from the field of ordinary photography.
I have been using imagery which explores the idea of a journey and how we use objects to establish ourselves and our identity.
Created for the Freud Museum in 1994 as part of Book Works multi-site project, Susan Hiller's great work After the Freud Museum, has been a remarkable popular and critical success wherever it has been shown.
Sándor Ferenczi (1873-1933) was one of the most innovative psychoanalysts of his generation.