As Jacques Derrida painfully pointed out, the frequent mistake that is made in working with and on Freud is not to imagine that Freud's work itself changed the terms of all of our work as scholars. To work with psychoanalysis, apsychoanalytically, to imagine that one's desires, fantasies, aggressions and delusions are not always in play, is to fall at the very first hurdle. Freud's texts have themselves been studied for their own unconscious and this appears in his own private museum, discussed in this volume. We need not merely to work with but also to work on psychoanalysis. Mieke Bal explores the troubling implications of psychoanalysis as something we cannot do without, without denying ourselves a theoretical route into subjectivity and its plays. Yet it is implicated. Her paper moves between a study of the dream-as-artwork-as-dream re-theorised by an installation by Bill Viola and the British analyst Christopher Bollas and a reading of an installation by American artists Kathleen Gilje and Joseph Grigely who staged a parodic exhibition on a "recovered' painting by Italian Baroque painter Caravaggio "restored' to "reveal' its eroticised under-painting by Gilje. In this installation parody of "art historical, psychoanalytical and museal conventions', our desires for origins and truths behind layers of obscuring amnesia are played off against the projections and fantasies in play in scholarly interpretation. Mieke Bal raises here the questions of sexuality and sexual difference to allow a mobility that responds to the invitation to play that allows the artist to perform art history "with psychoanalysis'.
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