BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Beyond the Biennial is an opportunity to join Drawing Room dire ctors for a unique opportunity to visit the studios of emerging artists who se work features in Drawing Biennial 2013\, followed by an exclusi ve tour of the Biennial in the gallery. Artists include Laura Eldret\, Nick Goss and Sarah Macdonald

DTEND:210000 DTSTAMP:20140729T125041 DTSTART:183000 GEO:51.5354677;-0.0717938 LOCATION:Drawing Room\,12 Rich Estate Crimscott Street\nLondon\, SE1 5TE SEQUENCE:0 SUMMARY:Beyond the Biennial: Studio Visits with Drawing Biennial Artists\, Laura Eldret\, Nick Goss\, Sarah Macdonald UID:272110 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Post-Wagnerian composers in Vienna actively explored the kin d of mental dissociation described in Freud and Breuer's Studies on Hysteri a. Employing vast orchestras to create swirling psychodramas\, their operas offer a beguiling artistic response to Anna O's idea of 'private theatre'. A few decades later many of those composers\, exiled by the Nazis\, employ ed the same soundworld to accompany the ultimate dissociative narratives of Hollywood's Silver Screen. Writer and musicologist Gavin Plumley looks at operas by Schreker\, Korngold and their contemporaries through a Freudian l ens.

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Gavin Plumley is a writer and broadcaster\, s pecialising in the music and culture of Central Europe. He has appeared on BBC Radio 3 and has recently spoken at the Royal Opera House\, ENO\, the CB SO\, V&\;A and the Neue Galerie New York. He has given a number of talks at the Southbank Centre’s ‘The Rest is Noise’ festival this year and was r ecently appointed commissioning editor for the English language programmes at the Salzburg Festival. www.entartetemusik.blogspot.com

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£10/£ 7 Concessions/Members of the Museum

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Book online here< /p>\n

Advance booking highly recommended

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For further information please contact eventsandmedia@freud.org.uk or +44 (0)20 7435 2002

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T icket cancellation policy: Please note we are unable to refund tickets\, or transfer the booking to another talk\, less than 48 hours before the event .

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Please note: As per our green policy\, we do not issue paper tick ets\, once you purchase your tickets you will recieve an email confirmation and we will add your name to the guest list for the event. If you have any questions please contact Gary Hetherington\, gary@freu d.org.uk.

DTEND:210000 DTSTAMP:20140729T125041 DTSTART:190000 GEO:51.548836;-0.1774426 LOCATION:Freud Museum London\,20 Maresfield Gardens \nLondon\, NW3 5SX SEQUENCE:0 SUMMARY:PRIVATE THEATRE: HYSTERICAL OPERA IN FREUD'S VIENNA An evening lect ure by Gavin Plumley UID:270647 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To mark the Wagner bi-centenary Gerald Davidson revives his performance about Freud's "Little Hans"\, first presented in 2009 to mark t he centenary of the publication of "Analysis of a Phobia in a five-year-old boy".

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Little Hans grew up to be Herbert Graf\, an opera director a t the Met\, Salzburg and also for a time at Covent Garden\, where he produc ed productions of Parsifal\, Samson et Dalila\, and Boris Godunov. Herbert Graf was the son of Max Graf\, one of Freud's early circle and a famous mus ic critic of the time. He wrote extensively\, including psychoanalytic inte rpretations of music and opera (e.g. The Flying Dutchman) and he organised the celebrations in Vienna for the 50th anniversary of Wagner's death. Herb ert also wrote about his craft in a number of books\, including reflections on significant productions of Tristan\, Mastersingers and Parsifal\; and h e introduced the first TV recordings of opera at the Met.\, a legacy that c ontinues to this day. Both Max\, the father\, and Herbert\, 'Little Hans'\, were interviewed in later life by the psychoanalyst and Freud archivist Ku rt Eissler. Using these interviews\, their respective books\, Freud's case history\, reviews\, notices\, and theatre programmes\, the actor and resear cher Gerald Davidson has created a stunning performance presentation of thi s fascinating story.

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Gerald gave the first performance of this piec e at the Freud Museum\, where he placed greater emphasis on the Freudian ca se history than other aspects of the story. For the Wagner bi-centenary he has rewritten it to give space for Herbert's reflections on Appia and Heine for the Philadelphia "Tristan"\, a section on Toscanini's "Mastersingers" at Salzburg in 1936\, Herbert's reflections on the technical shortcomings o f the 1959 Covent Garden "Parsifal"\, the subsequent Appia "Parsifal" at Ge neva\, and more. All this will be enfolded into structure of the piece as i t was first delivered at the Freud Museum.

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DTEND:210000 DTSTAMP:20140729T125041 DTSTART:190000 GEO:51.548836;-0.1774426 LOCATION:Freud Museum London\,20 Maresfield Gardens \nLondon\, NW3 5SX SEQUENCE:0 SUMMARY:WHAT LITTLE HANS KNEW: OPERA'S INVISIBLE MAN Performance presentati on by Gerald Davidson UID:270674 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140729T125041 DTSTART:183000 GEO:51.4851229;-0.1156249 LOCATION:Gasworks\,155 Vauxhall Street \nLondon\, SE11 5RH SEQUENCE:0 SUMMARY:RESOLUTION 978 HD: an exhibition by Model Court\, Oliver Rees\, Mod el Court\, Lawrence Abu Hamdan\, Sidsel Meineche Hansen\, Lorenzo Pezzani UID:267188 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140729T125041 DTSTART:110000 GEO:51.5011096;-0.1766949 LOCATION:Royal College of Art\,Kensington Gore \nLondon\, SW7 2EU SEQUENCE:0 SUMMARY:20/21 International Art Fair UID:271219 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140729T125041 DTSTART:180000 GEO:51.5167454;-0.0701196 LOCATION:StolenSpace Gallery\,17 Osborn Street \nLondon\, E1 6TD SEQUENCE:0 SUMMARY:It's All Fun & Games Until Someone Gets Hurt\, The London Police UID:275928 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join Children’s Art Commission artists Simon &\; Tom Bloor in conversation with Gavin Wade\, Director\, Eastsi de Projects.

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Tickets £4/3 concessions (£2 Members). *Proof of concession or membership to be shown on the doors.

DTEND:203000 DTSTAMP:20140729T125041 DTSTART:190000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Discussion: Simon & Tom Bloor\, Simon & Tom Bloor UID:267985 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Please join us now for a lunchtime talk with Pi l and Galia Kollectiv\, who will be joined in conversation by Jamie Stevens \, curator at Cubitt Gallery.

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Pil and Galia Kol lectiv are London based artists\, writers and curators working in collabora tion. Their work addresses the legacy of modernism and the avant-garde. Tes ting the boundaries between art and propaganda\, they explore overlaps betw een the discourses of business management and political and artistic manife stos. They are especially interested in the role of art and creativity in p ost-Fordist labour and their films and performances often use choreographed movement and ritual as both an aesthetic and a thematic dimension\, juxtap osing consumer rites and religious ceremonies.

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They have had solo shows at Te Tuhi Center for the Arts\, New Zealand\, S1 Artspace\, Sheffield and The Showroom Gallery\, London. They have also pres ented live work at Biennials in Montreal\, Berlin and Herzliya\, as well as at Kunsthall Oslo\, Arnolfini\, Bristol\, Late at Tate Britain\, Radar Lou ghborough\, HKD Rijeka and ICA London.

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They are contributing editors at Art Papers and directors of artist run pr oject space xero\, kline &\; coma. They work as lecturers in Fine Art at the University of Reading.

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Jamie Stevens is cu rator at Cubitt Gallery\, where his programme has included exhibitions by J ana Euler\, Michael Dean and Roman Vasseur. He co-founded publishing projec t Benedictions and was formerly Exhibitions Organiser at Chisenhale Gallery .

DTEND:140000 DTSTAMP:20140729T125041 DTSTART:130000 GEO:51.5055254;-0.1377582 LOCATION:Institute of Contemporary Arts (ICA)\,The Mall \nLondon\, SW1Y 5AH SEQUENCE:0 SUMMARY:Culture Now: Pil and Galia Kollectiv\, Pil and Galia Kollectiv UID:276111 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join the pioneering net artists Olia Lialina and Dragan Espenschied for a discussion about web culture in the 199 0s\, the digital vernacular and performative archiving.

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They will be dis cussing their project One Terabyte of Kiloby te Age\, currently showing on The Wall\, in which they present “an imated screenshots” - high fidelity\, pixel perfect video captures of more than 8000 Geocities home pages. 

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Geocities.com was originally founded by “Beverly Hills Internet” in July 1995. Soon it became one of the most popu lar and densely inhabited places of the World Wide Web and stayed that way through the second part of 1990s. In January 1999\, on the peak of Dot.com  mania\, it was bought by Yahoo!. However\, the new millennium proved Geocit ies to be a bad investment. Having a page on there became a synonym for dil ettantism and bad taste. Meanwhile\, the emergence of 'social platforms' su ch as Flickr\, MySpace\, Facebook and YouTube colonised the web with automa ted\, easy to use templates which changed the visual culture of the Web.

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Ten years later\, in April 2009\, Yahoo! announced that they were going to shut down Geocities. On the 26th of October 2009 Geocities seized to exist . In between the announcement and the official date of death the Archive Te am managed to rescue almost a terabyte of Geocities pages. 

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Moscow-born artist Olia Lialina has\, for the past decade\, produced many influential w orks of network-based art: My Boyfriend Came Back from the War (1996)\, Aga tha Appears (1997)\, First Real Net Art Gallery (1998)\, and Last Real Net Art Museum (2000). Currently she is a professor at Merz Akademie in Germany . Lialina writes on digital culture\, net art and web vernacular.

Dragan E spenschied was born in Germany. His music and online art has received inter national acclaim. He co-founded the home computer band Bodenständig 2000 th at toured and released records throughout Europe and the USA. He has also w on the Webby Awards People's Voice NET ART (2004)\, and the ZKM Internation al Media Art Award (2001).

DTEND:200000 DTSTAMP:20140729T125041 DTSTART:190000 GEO:51.511884;-0.127371 LOCATION:The Photographers' Gallery\,16-18 Ramillies Street \nLondon\, W1F 7LW SEQUENCE:0 SUMMARY:Artist Talk: Olia Lialina & Dragan Espenschied\, Dragan Espenschied \, Olia Lialina UID:275895 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What are the structures that frame discourse and cultural practice in No rth Africa and the so-called Middle East? Omar Kholeif is joined by artists\, writers\, curators and filmmakers including Law rence Abu Hamdan\,Achim Borchardt-Hume\,  Sheyma Buali\, Joana Hadjithomas\, Khalil Joreige and Guy Mannes-Abbott to interrogate new ways of thinking of emerging practice and artistic ecology.

This forum seeks to pose questions about what it means to curate work growing out of a territorially rooted artistic ecology. What is the relationship between site\, movement\, and artistic practice? How c an we complicate existing dialogues and narratives around geographically sp ecific curating? 

Programme


3.30pm
: Curator\, writer and Senior Editor of Ibraaz Publishing\, Omar Kholeif presents a provocation to frame the afternoon’s discussion. 

4pm: Artist-filmmakers Joana Hadjithomas and Kha lil Joreige present an illustrated talk and conversation\, which traces the ir career\, and illuminates their art making in the context of a continuall y evolving and contested public sphere. 

4.45pm: Break

5pm
: Writer Sheyma Buali discusses the aesthetic qualities inherent within visual culture in the period that follo wed the Arab Uprisings of 2011. 

5.20pm: 
Artist and researcher Lawrence Abu Hamdan presents a newly developed performance lecture. 

5.45pm
: Writer Guy Mannes-Abbott pres ents a reading from his new book In Ramallah\, Running 

6pm
: Panel discussion with all speakers 


The titl e Beyond the Former Middle East is an homage to the essay Beyo nd the Former Middle East: Aesthetics\, Civil Society\, and the Politics of Representation by Dr. Anthony Downey published by Ibraaz pub lishing and available at www.ibraaz.org. 

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Beyond The Former Middle E ast is a one-off event that forms part of a research and curatorial en quiry by Omar Kholeif\, Independent Curator\, writer and Senior Editor of < em>Ibraaz. 

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Tickets £10/8 concessions (£5 Members). *Proof of c oncession or membership to be shown on the doors.

DTEND:183000 DTSTAMP:20140729T125041 DTSTART:153000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Beyond the Former Middle East: Opening Dialogues UID:273404 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Screenings of Shawky’s epic reconstructions of the Medi eval religious wars\, told through a cast of ceramic marionettes. Introduce d by Achim Borchardt-Hume\, curator of A Love Meal. Part of the Collection Sandretto Re Rebaudengo: A Love Meal dis play.

DTEND:150000 DTSTAMP:20140729T125041 DTSTART:133000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Cabaret Crusades\, Wael Shawky UID:275696 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Michael Blackwood\, USA 1976\, 53 min

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In this film by acclaimed direc tor Michael Blackwood\, we travel to Lichtenstein’s Long Island studio and observe\, from start to finish\, the creation of one of his most elaborate compositions\, The Artist’s Studio.

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In conversation with Roy Li chtenstein\, critic Lawrence Alloway places Pop Art on a continuum of twent ieth-century art that includes collage\, Dada\, and Purism in referring to signs and objects of contemporary society\; Lichtenstein argues for distinc tions between himself\, Warhol\, Oldenburg\, and others. In his Long Island studio\, Lichtenstein works on an elaborate composition\; one of his four major paintings on the theme of ‘The Artist’s Studio’. The evolution of thi s giant canvas\, now part of the permanent collection of the Museum of Mode rn Art in New York\, figures prominently in the film.

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Finalising his pre paratory drawing\, Lichtenstein and his assistant follow the laborious proc esses that will endow the finished painting with its cool and mechanical lo ok\; projecting and outlining the drawing onto the canvas\, blocking out th e large areas and shapes\, and painstakingly refining the smaller details. As Lichtenstein himself describes his style\, it simulates ‘the mindless me thod of industrial process.’ The lively and elegant studio painting is a pr ime example of Lichtenstein’s parody of enlarged excerpts from works of art ists such as Picasso\, Matisse\, and Léger. The film concludes with the ope ning of a Pop Art exhibition at New York ‘s Whitney Museum\, where the arti st is joined by other pioneers of the movement\, including Claes Oldenburg\ , Robert Rauschenberg\, Larry Rivers and James Rosenquist.






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This event is related to the exhibition Lichtenstein: A R etrospective
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DTEND:130000 DTSTAMP:20140729T125041 DTSTART:120000 GEO:51.5081675;-0.0951608 LOCATION:Tate Modern\,Bankside \nLondon\, SE1 9TG SEQUENCE:0 SUMMARY:Film: Roy Lichtenstein UID:276157 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mark Trottenberg\, USA 1995\, 30 min

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This film offers comprehensive d ocumentation on a major public sculpture by the Pop artist\, Roy Lichtenste in.
 Just as he drew inspiration from cartoons and advertising to produce s ome of the most indelible images in contemporary painting\, Lichtenstein be came intrigued by a brushstroke he saw in a cartoon as a ‘symbol’ of painti ng.
He started ‘brushstroke paintings’ in 1965 and began making sculptures in the late 1960s\, but it wasn’t until the 1980s that he embarked on a ser ies of ‘monumental brushstroke sculptures’ which became public works in Par is\, Barcelona and\, in 1994\, Tokyo.
In this film\, we see Lichtenstein st arting from a collection of brushstrokes he created for collages\, selectin g images\, making models\, meeting with the Japanese architect and curator\ , enlarging the drawings to some thirty feet\, fabricating the sculptures i n a foundry\, and finally\, installing the sculptures in Tokyo where all th e work of preparation gives way to the mystery of creation.
In the artist’s own words\, ‘It’s just a road you start taking\, and you keep correcting a nd changing until you get something that seems right…I don’t really mind ha ving art go from me to other people\, even if I never see it again. I’m int erested in doing it…’

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Roy Lichtenstein: Reflections

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Edgar B. Howard
and Seth Schneidman\, USA 1993\, 30 min

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This film features Roy Lichtenstein discussing his work\, his artistic process\, and the sources of his inspiration. The film also includes appearances by several leading a uthorities on contemporary art\, including Diane Waldman of the Guggenheim Museum\, Kirk Varnedoe of the Museum of Modern Art\, Robert Rosenblum\, Pro fessor of Fine Arts at New York University\, and Lichtenstein’s dealer\, Le o Castelli\, interviewed in his gallery by Isabella Rossellini.
The artist was filmed in his studios in New York City and Southampton\, Long Island\, as well as on location in Los Angeles and Rome. Featured are Lichtenstein’s Large Scale Murals\, Reflections Series\, and his Interior Series.



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This ev ent is related to the exhibition Lichtenstei n: A Retrospective
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DTEND:150000 DTSTAMP:20140729T125041 DTSTART:140000 GEO:51.5081675;-0.0951608 LOCATION:Tate Modern\,Bankside \nLondon\, SE1 9TG SEQUENCE:0 SUMMARY:Film: Roy Lichtenstein: Tokyo Brushstrokes and Reflections UID:276158 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artists Shezad Dawood and Ben Rivers j oin forces to introduce their choice of influential\, genre-bending\, lost underground and genuinely leftfield films. This first in a new series featu res a cult double-bill of Lucio Fulci’s 1982 Egyptian gore-fest Manhatt an Baby and a surprise title.

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Archaeologist George Hacker is on the verge of making a monumental discovery in Egypt: unearthing a tom b believed to be guarded by a magic curse. While George is at the dig site\ , his wife Emily escorts their young daughter Susie through the local touri st sites. Susie wanders away from Emily and finds herself confronted by a b lind woman who gives her an amulet and the cryptic warning\, “tombs are for the dead.” At the same time\, her father’s team falls into a hidden room b elow the tomb. His partner is killed instantly\, and as George attempts to decipher the messages written on the walls\, he is struck temporarily blind by blue rays of light from an unknown source. The Hackers return home to M anhattan\,  but George and Emily are unaware that Susie has brought with he r the blind woman’s amulet…  

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A simple explanation of Manhattan Baby’s plot does little to give one a sense of the f ilm’s true essence. Manhattan Baby is conveyed primarily through i mages\, with long stretches of time passing without dialogue and the film a s a whole features minimal exposition. It is the most accessible of Fulci’s horror films from this period but among the most restrained in terms of go re. The film’s most terrifying scenes are often bloodless… Manhattan Ba by is… a synthesis of Fulci’s two modes of operation\, the sublimely s urreal and the mercenary\, and comes far closer to achieving a balance to t hese competing concepts than any of his other films (edited from a notcomin g.com review). 
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The surprise film< /strong>\, showing on its original 16mm\, is a classic of the US undergroun d\, made two years earlier than Manhattan Baby\, and a delirious fusion of the mythic and the countercultural. 

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Thanks to BFI and Argent / Shameless Films
www.shameless-films.com \n
\nwww.argen tfilm.wordpress.com
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Proof of concession or membership to be shown on the doors.
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\n DTEND:170000 DTSTAMP:20140729T125041 DTSTART:140000 GEO:51.5159523;-0.070212 LOCATION:Whitechapel Gallery\,77-82 Whitechapel High Street \nLondon\, E1 7 QX SEQUENCE:0 SUMMARY:Ben & Shezad’s Moviedrome Presents…\, Ben Rivers\, Shezad Dawood UID:275697 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140729T125041 DTSTART:180000 GEO:51.5128934;-0.1364552 LOCATION:Riflemaker\,79 Beak St \nLondon\, W1F 9SU SEQUENCE:0 SUMMARY:The Sculptors of Grand Rue: Apocalyptic Sculpture from Haiti UID:275534 END:VEVENT BEGIN:VEVENT DTEND:180000 DTSTAMP:20140729T125041 DTSTART:100000 GEO:51.4931052;-0.1251533 LOCATION:Tate Britain\,Millbank \nLondon\, SW1P 4RG SEQUENCE:0 SUMMARY:Focus: Play Dead\; Real Time\, Douglas Gordon UID:276144 END:VEVENT END:VCALENDAR