Freud Museum London

Freud's couch
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Listed house in Hampstead where Sigmund Freud and his family lived after fleeing the Nazis in 1938. The Museum was founded in 1986. It has featured in numerous films and TV broadcasts and hosts regular exhibitions and events. It is available for hire for filming and evening functions.

Venue Type:


Opening hours

Wed 12.00-20.30
Thurs-Sun 12.00-17.00

Admission charges

Adults: £8.00
Senior Citizens: £6
Concs: £4.00 (with valid student ID card, children aged 12-16, unemployed persons, disabled persons)
Under 12s: Free


  • Museums Association

Additional info

Our library, study and research facilities are open by appointment only.

Sigmund Freud's large collection of Egyptian, Greek, Roman and Oriental antiquities and his library. His study with the psychoanalytic couch preserve his working environment. A reference library, archive and picture library document the history of psychoanalysis.

Collection details

Archaeology, Archives, Costume and Textiles, Decorative and Applied Art, Fine Art, Personalities, Social History

Key artists and exhibits

  • Freud's couch; Dali portrait of Freud; Brouillet print of Charcot; Abu Simbel print; photographs of Yvette Guilbert, Princess Marie Bonaparte, Lou Andreas-Salome, Charcot, Freud family.
Exhibition details are listed below, you may need to scroll down to see them all.
Solitary Pleasures exhibition image person sucking thumb

Solitary Pleasures

  • 18 April — 13 May 2018

Sigmund Freud famously described masturbation as the first or ‘primal’ addiction. Solitary Pleasures interrogates and investigates masturbation, and the eroticism, desire, and gratification associated with it, not just as an isolated or solitary ‘vice’, but as a pleasure that’s mutual; shared between couples, lovers, and strangers in ways that redefine desire and eroticism's possibilities.

The exhibition includes work by Shannon Bell, VALIE EXPORT, Chantal Faust, Jordan McKenzie, Annie Sprinkle and Beth Stephens, Emma Talbot, and Michelle Williams Gamaker. Together, they tell the human story, both ancient and modern, of our complex sexual, erotic, and intimate encounters with ourselves and others by way of masturbation as an all-inclusive - gay, lesbian, heterosexual, bisexual, trans, queer, + - practice.

Solitary Pleasures challenges social taboos and contributes to the arts, sex education, and sexual health and wellbeing agenda by generating original, wide-ranging dialogues on this topic central to gender, sexuality, eroticism and mental health.

Suitable for

  • Not suitable for children


Opening hours:
Wednesday - Sunday, 12.00 - 17.00

Admission Charges

Adults: £8.00
Senior Citizens: £6.00
Concessions: £4.00 (students with valid ID cards, children aged 12-16, UK unemployed persons - with proof, disabled persons)
Children under 12: Free


Breathe Exhibition image

Fay Ballard and Judy Goldhill: Breathe

  • 16 May — 18 July 2018

BREATHE presents two thought-provoking contemporary artists, Fay Ballard and Judy Goldhill, who both explore the central theme of parental loss throughout their practice.

Fay was seven when her mother, Mary, died suddenly of pneumonia, fighting for breath in the last moments of her life. She died in Spain in 1964, while the family were together on holiday. Fay never discussed her mother with her father again. However, 45 years later, the death of Fay’s father in 2009 unearthed unresolved, deep-seated feelings about her mother which she has been exploring in drawings ever since.

Judy’s father died of polio when she was one. He spent the last three months of his life encased in an iron lung. Judy has been considering unresolved questions about her father since returning to Central Saint Martin’s ten years ago, to complete an MA in Fine Art. Her dissertation was an investigation into the only building built by her architect father, addressed in relation to her own artistic practice. She has continued this theme in her artist’s books, particularly Carbon Copy.

Compelled by the spirit of place and architectural edifices, Judy has had access to the restricted portals of the nuclear industry in the UK, and later to the major astronomical observatories of North and South America, exploring the idea of making the invisible visible.

Breath, and the act of breathing, permeate the work of both artists, consciously and unconsciously, referencing not only personal loss, but also life as a creative force - Fay through drawing; Judy through photography, film and artist’s books.

This exhibition examines the work of these two captivating artists as an excavation into their traumatic losses, and considers the reparative function of personal, and wider, creativity.

Fay Ballard is visiting artist at Hammersmith hospital, helping patients in the Auchi Acute Dialysis Ward make art at their bedsides. She sits on the Arts Committee for Imperial Health Charity. Fay exhibits regularly, most recently at Charing Cross hospital and Pi Artworks (2017). Fay is invited to speak about her work at universities, art schools, and recently at Freud Museum London.

Judy Goldhill, a photographer and artist, exhibits her photographs as well as producing artist’s books, which have been acquired by major international collections. She won The Birgid Skiold Award for Excellence at the London Artist’s Book Fair held at the Whitechapel Art Gallery. Carbon Copy is a time line of her father’s life. It was recently displayed at the Tate Archive Library, and has been acquired by Tate, The British Library, Leeds College of Art and The Brotherton Library. She is currently Artist-in-Residence in the Astro-Physics department at University College London.

Caroline Garland is a Fellow of the British Psychoanalytical Society, a psychoanalyst who founded the Unit for the Study of Trauma and Its Aftermath in the Adult Department of the Tavistock Clinic. Caroline also initiated and curated the Tavistock’s own art collection, and is herself an award-winning and published poet (aka Beatrice Garland). In 2001, she won the National Poetry Prize. She took part in ‘Loss and Recovery: Conversation between Poets and Psychotherapists’, a symposium at Freud Museum London, 2013. Caroline has published and broadcast widely, including being one of the lead clinicians in the ground-breaking BBC television series on the Tavistock Clinic, Talking Cure.


Opening hours:
Wednesday - Sunday, 12.00 - 17.00

Admission Charges

Adults: £8.00
Senior Citizens: £6.00
Concessions: £4.00 (students with valid ID cards, children aged 12-16, UK unemployed persons - with proof, disabled persons)
Children under 12: Free


Events details are listed below. You may need to scroll down or click on headers to see them all. For events that don't have a specific date see the 'Resources' tab above.
Original ergonomic chair from Freud's study

Psychoanalysis After Freud

  • 11 January — 29 March 2018 *on now

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.

(The course is self-contained – as is ‘Introducing Freud at the Freud Museum’ which precedes it in the autumn term. The two courses can be taken in either order, or as ‘stand alone’ modules, but complete beginners wanting a thorough introduction to psychoanalysis should take ‘Introducing Freud’ first, then follow on with the present course.)

Week 1: Jung (1): Introduction to the course: The nature and status of psychoanalysis. The conflict between Freud and Jung over the foundations of psychoanalysis. Freud’s ‘Totem and Taboo’ versus Jung’s ‘Symbols of Transformation’.

Week 2: Jung (2): Freud’s relation to Schopenhauer and Jung’s relation to Nietzsche, and how this leads to Jung’s theory of ‘individuation’ and the self, versus Freud’s conception of the ego and the ‘personal’ unconscious. Jung’s ‘Personality Types’ and the requirement of the ‘training analysis’ for all analysts.

Week 3: Jung (3): Jung’s view of development across the life-cycle: his interpretation of Dante’s ‘Divine Comedy’. The function of religion, and of art, according to Jung and Freud. Relationships and sexuality in the Jungian perspective.

Week 4: Klein (1): Klein’s approach to the psychoanalysis of children versus the approach of Anna Freud. The beginnings of the Kleinian revolution in psychoanalysis: the world of the infant within the child. The challenge to the Freudian conception of the Oedipus complex.

Week 5: Klein (2): Klein’s interpretation of Freud’s ‘Eros’ and ‘Thanatos’, and her view of how these conflicting forces play themselves out in the inner world of the very young child. The ‘Paranoid-Schizoid position’ and the ‘Depressive position’. Klein’s ‘Envy and Gratitude’. Klein and Bion.

Week 6: Klein (3): Klein’s view of sexuality and gender, and her critique of Freud’s view of the difference between the sexes. ‘Penis envy’ and ‘Womb envy’: a ‘mother centred’ psychoanalysis, as opposed to the ‘father centred’ psychoanalysis of Freud. Karen Horney’s critique of Freud. The Kleinian view of art and of society.

Week 7: Winnicott (1): Winnicott’s critique of Klein: the crucial importance of the early environment in the development of the infant. ‘Primary maternal preoccupation’, ‘Holding’, ‘Handling’ and ‘Personalization’ in early development. The ‘true self’, the ‘false self’, and ‘going on being’.

Week 8: Winnicott (2): Winnicott’s concept of the ‘Transitional Object’: transitional phenomena and the ‘intermediate area of experience’. Winncott’s understanding of art, culture and religion. Play and the nature of psychotherapy. Winnicott, Bion and Beckett.

Week 9: Winnicott (3): A Winnicottian view of the difference between the sexes. Gender and science; science versus art; the two cultures and their relation to sexuality. The nature of psychoanalysis, and psychotherapy, and their relation to science and to art.

Week 10: Lacan (1): The Lacanian revolution: the function of speech and language in psychoanalysis, and the fateful significance of the ‘mirror stage’. How the unconscious is ‘structured like a language’.

Week 11: Lacan (2): Lacan’s three ‘orders’: the imaginary, symbolic and real. The primacy of the symbolic: psychoanalysis as the study of our relationship to language. The Lacanian understanding of neurosis and psychosis.

Week 12: Lacan (3): ‘The meaning of the phallus’: Lacan’s view of sexuality and gender. A return to a ‘father centred’ psychoanalysis? Irigaray’s critique of Freud and Lacan. Jacqueline Rose on Lacan and Klein. Lacan on Love.


Full price: £190

Friends of the Museum: £160

Students/concessions: £130


Audrey Hepburn

PROJECTIONS: Neurosis on Film

  • 19 February — 26 March 2018 *on now

Six-week evening course

Scottish physician William Cullen first employed the term ‘neurosis’ in 1769 to summarise "general diseases of the sense or motion" where there appeared to be no observable organic cause. Sigmund Freud redefined and popularised the neurosis diagnosis in the 20th century, developing it as a central construct in psychoanalytic theory and practice.
PROJECTIONS is psychoanalysis for film interpretation.

PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.

Advance viewing is optional, select scenes and montages will be shown during weekly sessions (see filmography below).

Week 1 – HYSTERIA: Breakfast at Tiffany’s (1961), Opening Night (1977), Belle De Jour (1967)
Week 2 – OBSESSIONAL NEUROSIS: Brokeback Mountain (2005), Blade Runner 2049 (2017), Four Weddings and a Funeral (1994)
Week 3 – MELANCHOLIA: Les Amours Imaginaires (2010), Knight Of Cups (2015), A Single Man (2009)
Week 4 – LINGUISTIC BLOCK: Deconstructing Harry (1997), Synecdoche, New York (2008), Adaptation (2002)
Week 5 – EXISTENTIAL ANGST: Seconds (1966), Into the Wild (2007), The Zero Theorem (2013)
Week 6 – ETERNAL RETURN: Vertigo (1958), Interstellar (2014), The Duke of Burgundy (2014)


Full Price: £100
Friend of the Museum: £75
Student/unwaged: £75


example of crafted animal

Monster Love: Facing Fauna Phobia

  • 24 March 2018 1-3pm

This workshop invites participants to bring out and tackle irrational other-than-human animal fears through crafting. The aim is to reduce biophobia, and encourage in its place biophilia and nature connection (Kellert & Wilson, 1993). The process has its roots in exposure therapy with the core protocol that one should ‘go towards that which you are afraid of’ (Wilson, 2012).

In spending time reflecting on the features of one’s fear, and drawing, cutting and sewing a cuddly version of it, there is keen potential to shift from a negative to a positive belief system. The resultant artefact prolongs the exposure experience, serving in intention to reduce the twin phobia components – fear and disgust (Richard & Lauterbach, 2006), before becoming a memento, a souvenir that commemorates one’s taming of a personal monster.

Monster Love forms part of a practice-based research programme undertaken by Sarah Johnson, a Design PhD student at Kingston School of Art. Participants will be requested to undertake a brief ‘connection to nature’ task pre- and post-workshop, and complete a short debriefing questionnaire/interview.

Research design will be given full ethics clearance by Kingston University ahead of the workshop. Sarah’s research is funded by the London Doctoral Design Centre and can be found here.

Suitable for

  • Family friendly


Free with admission - it is necessary to reserve places on Eventbrite in advance

Adults: £8
Seniors: £6
Students: £4
Children under 12: Free


Headshot Marilyn Monroe

PROJECTIONS: Marilyn Monroe's onscreen persona

  • 16 — 30 April 2018

Norma Jeane Baker transformed into Marilyn Monroe inside Hollywood’s ravenous glare. She began her entertainment career as a pinup model and soon secured her place as a bona fide international movie star. The ever-luminous Marilyn stole every scene she appeared in; many cinema scholars equate Monroe with the essence of the art form itself, due to the magic she invariably conjured up on the silver screen. She possessed an instinctive and sophisticated understanding of how to construct memorable images, and was not afraid of being vulnerable in her artistic process.

But beauty, talent and success did not diminish the pain of emotional difficulties Marilyn lived through. Abandoned in childhood by her parents, she experienced the vagaries of fame in her professional life, was bullied by powerful studio bosses, had three unsuccessful marriages and endured fertility problems, turning to alcohol and pills to cope with debilitating neuroses. Beneath the social mask of cheerful joie de vivre, Marilyn suffered enormously – and had the wherewithal to channel sorrow into her craft, evident in her interest in psychoanalysis and reliance on Method Acting to deliver authentic performances. Her untimely death at the age of 36 did not stop the ascension of her star in popular culture; quite the opposite, film experts and amateurs alike see her as a modern-day Aphrodite.

In this new PROJECTIONS series, we will examine the creation of Marilyn Monroe’s onscreen persona, and the psychological underpinnings that shaped not only how she projected herself, but also the ways in which film audiences continue to respond to her. We will consider the symbolism contained in Marilyn’s most famous film characters within three categories: the origins of her celebrity, the establishment of her icon, and a burning desire to disrupt widespread perceptions of who she was.

Advance viewing is optional, select scenes and montages will be shown during weekly sessions (see filmography below).


Ladies of the Chorus (1948), All About Eve (1950), Monkey Business (1952), Niagara (1953)


Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953), The Seven-Year Itch (1955), Some Like It Hot (1959)


Bus Stop (1956), The Prince and the Showgirl (1957), Let’s Make Love (1960), The Misfits (1961)

PROJECTIONS is psychoanalysis for film interpretation. PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.


Full price: £60
Friends of the Museum: £45
Students/concessions: £45


Eros Sculpture

Psychoanalysis and Philosophy

  • 19 April — 5 July 2018

Freud was famously ambivalent about philosophy: on the one hand, pouring scorn on academic philosophers who dismissed the notion of the unconscious mind on the pretext that it involved a logical contradiction – while on the other, stating proudly in his autobiography that after a long detour through medicine and psychotherapy he had finally returned to the philosophical preoccupations of his youth. The course will examine the ways in which psychoanalysis and philosophy inform each other, and intersect with each other - sometimes in mutual support and sometimes in sharp conflict. We begin with the great philosophers of the past who influenced and inspired Freud and later psychoanalysts, then, in the second half of the course, turn to contemporary philosophers who have reflected on psychoanalysis, either critically, or with the aim of clarifying the nature of its contribution to the understanding of the human condition.

Tutor: Keith Barrett BA PhD - having received his PhD from the Wellcome Centre for the History of Medicine at University College London, Dr Barrett specialises in both philosophy and psychoanalysis and has taught at several leading institutions, including Imperial College and Birkbeck College.

Week 1: Introduction. Freud’s study of philosophy as an undergraduate. The deep philosophical background to the emergence of psychoanalysis: the Enlightenment vision vs Romanticism.

Week 2: Schopenhauer. The formative influence on Freud’s thinking of the philosophy of Schopenhauer. ‘The World as Will and Representation’.

Week 3: Nietzsche. Anticipations of psychoanalysis in the philosophy of Nietzsche. Freud and Jung and their different relationships to Nietzsche. Psychoanalysing philosophy.

Week 4: Plato. ‘Eros’ in Plato and Freud. Freud’s view of homosexuality and Plato’s philosophy. Plato’s ‘Symposium’. Freud between Plato and Nietzsche.

Week 5: Spinoza. Sometimes referred to as ‘the philosopher of psychoanalysis’, we will examine Spinoza’s understanding of the mind/body relationship, and his views on freedom and happiness. Spinoza’s ‘Ethics’

Week 6: Popper and Grunbaum. The 20th century debate over the scientific status of psychoanalysis. Grunbaum’s ‘The Philosophical Foundations of Psychoanalysis’

Week 7: Ricoeur and Habermas. The debate over the interpretation of psychoanalysis as hermeneutics. Ricoeur’s ‘Freud and Philosophy’

Week 8: Levinas and Buber. Psychoanalysis and the philosophy of the ethical relation to the other. Levinas’ ‘Totality and Infinity’ and Buber’s ‘I and Thou’

Week 9: Marcuse and Girard. Philosophical responses to Freud’s analysis of society. Marcuse’s ‘Eros and Civilisation’ and Girard’s ‘Violence and the Sacred’. Freud and violence.

Week 10: Foucault. Foucault’s earlier view of psychoanalysis in ‘Madness and Civilisation’, and his later view in ‘History of Sexuality, vol 1’.

Week 11: Lacan. Lacan’s appropriation of philosophy for the ends of psychoanalysis. Hegel, Heidegger and Freud, according to Lacan.

Week 12: Derrida. Derrida’s relation to psychoanalysis. Derrida vs Lacan. Derrida in the Freud archives: ‘Archive Fever’


Gomez, L. ‘The Freud Wars: an introduction to the philosophy of psychoanalysis’ (Routledge 2005)

Ricoeur, P. ‘On Psychoanalysis’ (Polity 2012)

Orange, D.M. ‘Thinking for clinicians: philosophical resources for contemporary psychoanalysis and the humanistic psychotherapies’ (Routledge 2010)

Braddock, L. ‘The academic face of psychoanalysis: papers in philosophy, the & Lacewing, M. (Eds) the humanities and the British clinical tradition’ (Routledge 2007)

Cavell, M. ‘Becoming a subject: reflections in philosophy and psychoanalysis’ (Oxford UP 2006)

Tauber, A. ‘Freud, the reluctant philosopher’ (Princeton U.P. 2010)

Seung, T.K. ‘Nietzsche’s epic of the soul: Thus Spoke Zarathustra’ (Lexington Books 2005)

Chapelle, D. Nietzsche and psychoanalysis’ (SUNY Press 1993)

Della Rocca, M. ‘Spinoza’ (Routledge 2008)

Janaway, C. ‘Schopenhauer’ (Oxford U.P. 1994)

Beck, M.C. ‘The quest for wisdom in Plato and Carl Jung: a comparative study of the healers of the soul’ (Edwin Mellen Press 2008)

Grunbaum, A. ‘The Foundations of psychoanalysis: A philosophical Critique’ (U of California P 1984)

Habermas, J. ‘Knowledge and Human Interests’ (Heineman 1972)

Mills, J. (Ed) ‘Rereading Freud: psychoanalysis through philosophy’ (SUNY Press 2004)

Frie, R. ‘Subjectivity and intersubjectivity in modern philosophy and psychoanalysis: a study of Sartre, Binswanger, Lacan and Habermas’ (Rowman & Littlefield 1997)


Full price: £190

Friends of the Museum: £160

Students/concessions: £130

Advance booking essential


event image

The Psychoanalytic Organization and the Lacanian School

  • 25 April 2018 7-8:30pm

This talk will consider the history of psychoanalytic organizations and the Lacanian school as an organization, beginning with a review of Lacan’s trajectory in attempting to develop a new psychoanalytic organization consistent with the discourse of the analyst. Lacan was interested in alternative organizations in which hierarchical authority is balanced against a circular structure composed of communal, libertarian, and solidaristic forms of symbolic exchange.

The examination of Lacan’s innovations with respect to the psychoanalytic organization will be considered within the context of his contributions to psychoanalysis and how they address the current predicaments of the psychoanalytic field. Along the way we will show how Lacan’s work on the psychoanalytic organization is indebted to Bion’s work groups.

We will continue with a critical appraisal of what worked and what didn’t work in Lacan’s organization that resulted in Lacan’s dissolution of his school. Finally, we will consider the conditions under which after Lacan, a Lacanian school has been established in the US within the context of the current state of the larger international Lacanian movement. In fact, Lacan’s efforts never actually deviated from the three functions that Eitingon (1922-1925) originally assigned to a psychoanalytic clinic: therapeutic, formative, and research.

Raul Moncayo, Ph.D.
Supervising analyst of the Lacanian School of Psychoanalysis of the San Francisco, Bay Area in California. Private practice of psychoanalysis, control analysis, and consultation. Dr. Moncayo teaches a year-long Seminar at the Lacan School, has been adjunct faculty in several local universities over the years, still supervises doctoral dissertations, and has also been a visiting professor at North American, European, and South American universities. Dr. Moncayo is the author of five books, and this year’s presentation at the Freud Museum will draw from a chapter (co-authored with Dany Nobus) from a new book to be released by Palgrave Mcmillan in 2018.

Dany Nobus, Ph.D.
Psychoanalyst, Chair of Psychoanalysis at Brunel University London, and Chair of the Freud Museum London. He is the author of Jacques Lacan and the Freudian Practice of Psychoanalysis (Routledge, 2000), Knowing Nothing, Staying Stupid: Elements for a Psychoanalytic Epistemology (with Malcolm Quinn) (Routledge, 2005), and The Law of Desire: On Lacan's "Kant with Sade" (Palgrave, 2017). He has also contributed numerous papers on the history, theory and practice of psychoanalysis to academic and professional journals.


Full price: £11
Friend of the Museum: £9
Student/unwaged: £9

Advance booking required


Image of person sucking thumb on black background

SOLITARY PLEASURES in art and psychoanalysis

  • 28 April 2018 9:30am-5:30pm

A day-long conference to accompany Solitary Pleasures, a group exhibition that investigates a significant topic in the psychology of sexuality and eroticism: masturbation.

The conference explores the history of masturbation, both explicitly and implicitly, in which this ‘solitary pleasure’ has been considered as a disorder, as ‘unnatural’, ‘unhealthy’, and as a violation of a moral law; yet conversely it has been seen as a vital force, as a creative and magical act, and as ‘normal’ and ‘healthy’.

The conference, like the exhibition, reveals masturbation as a topic that can transform our understanding of human subjectivity and sexuality. Perhaps the most common form of human eroticism, it is also one of the least theorised. The conference will explore our complex sexual, erotic, and intimate encounters with ourselves and one another by viewing masturbation as an all-inclusive practice – gay, lesbian, heterosexual, bisexual, trans, queer, +. We hope to investigate masturbation as a ‘solitary pleasure’ as opposed to a ‘solitary vice’, as a pleasure that is universal and particular, collective and individual, and that’s also potentially mutual; a shared exchange and an intimate encounter between couples, lovers and strangers in ways that redefine desires and eroticism’s possibilities.

Making – masturbation in creativity and art practice
Educating – masturbation in sexual health and wellbeing
Talking – masturbation in clinical practice

Contributors include
Professor David Bennett (U. of Melbourne), Dr Sean Curran (Sutton House), Dr Chantal Faust (artist, RCA), Sarah Forbes (former Curator of the Sex Museum), Professor Johnny Golding (RCA), Natika Halil (Chief Executive, Family Planning Association), Jordan McKenzie (artist, UAL), David Morgan (clinician), Professor Michael Newman (Goldsmiths), Professor Adrian Rifkin (CSM), Florence Schechter (The Vagina Museum), Dr Marquard Smith (UCL IoE), and Dr Esther Teichmann (LCC).

Speakers’ Biographies

Prof. David Bennett is professorial fellow in the School of Culture and Communication at the University of Melbourne and has been Visiting Professor at Birkbeck University of London, the London Consortium, Durban University, and Essex University. He has published many books and articles on the history and politics of psychoanalysis, sexuality, censorship and cultural theory, including The Currency of Desire: Libidinal Economy, Psychoanalysis and Sexual Revolution (2016)

Dr Sean Curran is Community Learning Manager at Sutton House, The National Trust. A Heritage Educator, Curator, and LGBTQ culture(s) enthusiast, they teache on the MA Museums & Galleries in Education at UCL Institute of Education.

Dr Chantal Faust is an artist, writer, and Senior Tutor in the School of Arts and Humanities at the Royal College of Art. Interested in eroticism and haptic technology, her photographic, painting, video, and installation works have been exhibited in the UK, Australia, and North America.

Sarah Forbes is author of Sex in the Museum: My Unlikely Career at New York’s Most Provocative Museum (2016), a book about her time as Curator at the Sex Museum in New York. She is a sexual culturalist, writer, and Curator-in-Residence at Kindred Studios.

Prof. Johnny Golding is Professor of Philosophy & Fine Art at the RCA where she leads the PhD Research Group ‘Entanglement’. Internationally renowned for her philosophy-poetic enactments and sound-scape exhibitions, her research covers the entangled dimensionalities of Radical Matter, an intra-disciplinary arena of art, philosophy and the wild sciences.

Natika Halil is Chief Executive of the sexual health charity Family Planning Association.

Jordan McKenzie has presented performances, films, drawings and installations both nationally and internationally, including ‘Shame Chorus’, an uplifting project developed with the London Gay Men’s Choir and commissioned by the Freud Museum London. He is Lecturer in Drawing at Camberwell College of Arts, University of the Arts London.

David Morgan is a Psychoanalyst at the BPAS and a Training Analyst at the BPA. He is the organiser of the Political Minds seminars at the British Psychoanalytic Society and hosts the 'Frontier Psychoanalyst' podcasts. He is co-editor with Stan Ruszczynski of Sexuality Delinquency and Violence, published by Karnac Books. He has worked as a consultant psychotherapist in the NHS for 25 years at Camden Psychotherapy Unit and the Portman Clinic, regularly contributes to radio and television programmes, and lectures nationally and internationally.

Prof. Michael Newman is Professor of Art Writing in the Department of Art at Goldsmiths. His current research circles around the erotic, shame, and shamelessness, and has written books on Richard Prince, Jeff Wall and Seth Price.

Prof. Adrian Rifkin is a visiting professor at CSM, UNIVERSITY OF THE ARTS. He has written extensively on queer and gay sexualties amongst other things. His latest publication is Communards and Other Cultural Histories (Haymarket, 2018), a collection of essays edited by Steve Edwards.

Florence Schechter is a Science Communicator and Director of The Vagina Museum.

Dr Marquard Smith is Programme Leader of the MA Museums & Galleries in Education, UCL Institute of Education, Editor-in-Chief of Journal of Visual Culture, and curator of ‘Solitary Pleasures’ at the Freud Museum London

Dr Esther Teichmann is an artist interested in fantasy and desire, and has recently had solo and group exhibitions in Cleveland, Manchester, and Mannheim. Currently Senior Lecturer in Photography at LCC, in April she begins a new role at the RCA.

Suitable for

  • Not suitable for children


Full Price: £65
Students and Concessions: £45
£5 discount for members of the Freud Museum, and staff and students of the Royal College of Art and UCL.


Chantal Faust, Float, 2003-2018

Art Macabre: Solitary Pleasures Sketching Salon

  • 9 May 2018 7-9pm

Explore and draw the theme of masturbation, eroticism, desire and fantasy after hours within the Freud Museum. Nude figures will pose throughout the museum's domestic settings, celebrating and challenging our perceptions of the theme of self-pleasure, diverse sexualities and sexual health. Art Macabre invites you to examine, through your illustrations and mark making, our complex sexual, erotic and intimate encounters with ourselves. Capture unique snapshots of intimate moments as our model tableaux give playful private moments a public platform to be observed and sketched.

There will be the opportunity to also enjoy the Solitary Pleasures exhibition featuring work by artists Shannon Bell, VALIE EXPORT, Chantal Faust, Antony Gormley, Jordan McKenzie, Annie Sprinkle and Beth Stephens, Emma Talbot, and Michelle Williams Gamaker.

This life drawing salon is suitable for all levels of experience..

All paper and drawing materials included.
Please note: this event is for adults over 18.

Suitable for

  • 18+


Tickets £20
Advance booking essential


An image from the Freud Museum, Freud's Couch in the Study

Freud's Fabrics: Curator's Tour of the Freud Museum's Textiles

  • 10 May 2018 6:30-8pm

London Craft Week (9-13 May 2018) is an annual event that showcases exceptional craftsmanship through a journey-of-discovery programme featuring hidden workshops and unknown makers alongside celebrated masters, famous studios, galleries, shops and luxury brands.

As part of this year's London Craft Week, Freud Museum curator, Bryony Davies will be taking an exclusive tour of the significant textile pieces of the collection, including Freud's coat, Anna Freud's weaving loom, and the famous Freudian psychoanalytic couch and the q'ashqai rug that rests upon it. The evening will also include an introduction to the Freud Museum by director, Carol Seigel.

The Freud Museum's participation offers an interesting and unique contribution to the London Craft Week agenda, delving into this one-of-a-kind collection, and the life and work of Sigmund Freud, founder of the psychoanalysis, and his daugher Anna Freud, a pioneer in child psychoanalysis - both former residents of 20 Maresfield Gardens.

A glass of wine will be available for all attendees upon arrival.


Full Price £10
Friend of the Museum £8
Student with valid ID £8

Advanced booking required.Full Price £10


Chantal Faust, Float, 2003-2018

Sex, politics and men with grey/white beards

  • 12 May 2018 2-2:50pm

Join us on the final weekend of the Solitary Pleasures exhibition for a psychoanalysts hour of comedy.

Liz Bentley 'psychotherapist by day/comedian by night' has tailored her latest show to the theme of solitary pleasures. It wasn't difficult because she is addicted to solitaire.

"Like a cross between Tracey Emin and Josie Long" The Scotsman

"Simply hilarious" The Londonist


Free with admission - advance booking highly recommended.

Admission Charges

Adults: £8.00
Senior Citizens: £6.00
Concessions: £4.00 (students with valid ID cards, children aged 12-16, UK unemployed persons - with proof, disabled persons)
Children under 12: Free

National Trust Members: (NT England only): 50% discount on the full adult admission fee on presentation of a valid NT Individual Adult Membership card. (Not applicable to other types of NT memberships or NT Education Group Memberships. Please see 'Facilitated visits' below to book educational visits).

National Art Pass Members: 50% discount on the full adult admission fee on presentation of a valid membership card.


Man hugging a doll

Guys & Dolls: Intimacy in a Technological Age

  • 18 May 2018 7-8:30pm

What is it that makes a doll the ideal woman in a man’s eyes? Why would a man prefer a doll to a real woman? The Pygmalion myth, in which a man creates the woman of his dreams, indicates that the appeal of a man-made woman reaches far back in time.

We are living in an age of unprecedented technological advances. These changes are influencing what it means to be human and how we relate to each other and to inanimate objects. The subculture of men whose desire is directed at high-end love dolls is discussed. Jack, who called himself an "iDollator," was living happily with his doll, Maya for 2 years. Eventually, he sought therapy.

This lecture discusses how both he and Dr. Knafo changed in the process. It also raises questions regarding the future of relational life.

Danielle Knafo, Ph.D. is a professor in the clinical psychology doctoral program at Long Island University and a supervisor and faculty member at NYU’s Postdoctoral Program in Psychotherapy and Psychoanalysis. She has written eight books and dozens of articles and lectured internationally on the topics of psychoanalysis, creativity, gender, trauma, psychosis, and technology. Her most recent books are Dancing with the Unconscious: The Art of Psychoanalysis and the Psychoanalysis of Art and The Age of Perversion: Desire and Technology in Psychoanalysis and Culture.

Suitable for

  • 18+


Full Price £10
Friend of the Museum £8
Student £8

Advanced booking highly recommended.



Freud/Lynch: Behind the Curtain

  • 26 — 27 May 2018 9am-5pm

The films of David Lynch are sometimes said to be unintelligible. They confront us with strange dreamscapes populated with bizarre characters, obscure symbols and an infuriating lack of narrative consistency. Yet despite their opacity, they hold us transfixed.

Lynch, who once told an interviewer “I love dream logic,” would surely agree with Sigmund Freud’s famous claim that “before the problem of the creative artist, psychoanalysis must lay down its arms.” But what else do the two agree on?

Freud/Lynch: Behind the Curtain takes as its point of departure that Lynch’s work is not so much unintelligible as ‘uncanny,’ revealing what Todd McGowan has termed “the bizarre nature of normality” – and the everydayness of what we take to be strange.

This conference invites psychoanalysts, scholars and cinephiles to reflect on these Lynchian enigmas. What do we mean by ‘Lynchian’? Beyond the apparent incoherence of his films, are there hidden logics at play? Are Lynch and Freud in alignment? And what light can psychoanalysis shed on the Lynchian uncanny?


Early bird tickets until 2 April
£55 – £85
Advance booking required

Bursary places
A limited number of bursary places are available for those under financial hardship.
Bursary places are charged at £20/day.Priority will be given to UK unemployed and PIP/ESA claimants.
Apply for a bursary place


Freud Museum London
20 Maresfield Gardens
Greater London




020 7435 2002


020 7431 5452

All information is drawn from or provided by the venues themselves and every effort is made to ensure it is correct. Please remember to double check opening hours with the venue concerned before making a special visit.