Video installation, Color/Sound, 11:20 min, 2019.
Freud Film suggests a rearticulation of Orientalism, surrealism and psychoanalysis in the context of Austria's colonial past under the Habsburg monarchy. "Film" unfolds thereby through several layers of moving images, placing them on top of or beneath each other. This method of uncovering and discovering performs the main signifyers of orientalism: archaeology and travel. A walk through the present-day Freud museum in Vienna builds the main course of the film, while archival and found footage from Bosnia are placed within it. These shots insert the political history of the first world war into the inner space of psychoanalysis, reinstalling the repressed role of ethnographic exploration of Bosnia for the creation and developement of the unconscious. Among the archaic objects from Freud's private collection, which are exhibited in the present-day museum appear images of Bosnian women, the market in Sarajevo and officers in Austrian uniforms. The contextualization of psychoanalysis by its implicit temporal displacement into ancient times is traversed by a spatial displacement: that of orientalizing images of Bosnia circulating in Freud's direct proximity.
The third layer of moving images in "Freud Film" examines the implementation of the unconscious in the historical avant-garde. These include excerpts from Man Ray's surrealist film "Les mysteres du chateau de de" as well as photographs of the avant-garde magazine "Zenit", a Yugoslav journal of the 1920s. The internal space of the museum, which used to be the Freud's family apartment, is suggested as a container of surrealist phantasies, it serves as a background for the aesthetic and political redefinition of colonial and gendered relations.