Laura Gonzalez

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Happy Easter

Bunny by Polly Borland. One of my favorite ever photos. Happy Easter!

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Margarita Gluzberg’s Avenue des Gobelins

With thanks to the lovely Beatriz Olabarrieta for sending me these astonishing images. So mysterious, so evocative! Well, I guess I would say that given my practice but I have spent a long while trying to figure out what goes on in the picture plain, only to be sucked in by the photograph. It is […]

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Make Me Yours photobook

I am clearing up, throwing things away, filling, and wrapping, as you do when you finish as long a project as this five-year work. I cannot quite stop yet, I am not resting, although I know I need to. I keep contacting my supervisors with more or less legitimate excuses – my new symptom, it […]

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Hard bound purple copy

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Monday photograph

Olivier Theyskens for Nina Ricci, Fall/Winter 2007/2008, by Julien Claessens.

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Exposed at Tate Modern

This looks stunning:

Exposed
Voyeurism, Surveillance and the Camera

Tate Modern 28 May – 3 October 2010

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Birthday presents and striking photographs

By now, you know I hate my birthday. I have always done so and every year, I go on a self-questioning journey, trying to find out why, to make amends. I have decided that this year will be different. I have a strange relationship to gifts, to presents, not letting myself be pampered and always wondering if I deserve it, if I will be required to give in the same way. I worry too much and I am not grateful enough. I love but don’t let myself be loved very well. This year, my birthday has reached its peak of spoiling-ness (no, it is not a real word but it will work).

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Nikon D40

I had a retail impulse and went for the Nikon D40. A strange choice, as this camera was not in any of the shortlists, but, in hindsight, it makes sense. I do not want whatever piece of kit I buy for my photography work to end up like my video camera, having not seen the day of light for about 3 years now. And when I bought it, I went as top of the range I could. What for? SO, with the D40, I bought time to test my commitment to digital photography. It is the right machine for that, lightweight and entry level, so I have no excuses to take it out everywhere.

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Nikon or Canon

The first realisation I had during my PhD was the fact that what I was looking for, the objects of seduction I longed for, were already out there. I did not need to spend unfruitful hours trying to re-create, imitate what industrialization, and capitalism had already achieved. To compete, in terms of seduction, what I had to devise was a way to capture the relationship, to apprehend what was going on, to replicate it in order to study it in depth. Photography was my discovery.

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Perversion within seduction

The talk at MFIT went very well. I realised afterwards that this is the very first time I have talked about seduction without any of the padding that you usually have to put together for conferences, in order to fit into the overall theme. I confronted seduction in a public way for the first time, and it was fantastic. I was motivated, enlivened by the subject and its curious manifestations, by its contradictions, by the philosophies that try to study it.

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About Me

Laura Gonzalez is an artist and writer. Her recent practice encompasses film, dance, photography and text, and her work has been exhibited and published in the UK, Spain and Portugal. She has spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When she is not following Freud, Lacan and Marx’s footsteps with her camera, she lectures postgraduate students at the Glasgow School of Art.

Her doctoral project, completed in 2010, investigated psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.

She is currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric.