According to Sigmund Freud, hysteria’s symptoms meet two conditions: the past and the very actual moment. If not used synonymously with creativity in the cultural field like in history, hysteria has often been conceived of as weakness – which, in turn, makes me think of it today in terms of emancipation and potential of the future. Beginning with what the French art historian Georges Didi-Huberman called the invention of hysteria at the end of the 19th century, the talk criticised any ontology of being hysterical, especially when ascribed to women. Instead, it examined hysteria as an approach and proposed its contemporary revision as a set of means and methods to disarray institutions of all, subjectivity, the arts, and the sociopolitical.