Laura Gonzalez

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Plan of Work — 13 Dec 2004

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No Pressure — 9 Dec 2004

I am submitting my application today if I can resist the temptation to proffread it for the 459th time. I am sure there are things I could do but my eyes won’t see anymore. With 2 part time jobs, a full time course, a social life and a few articles to write, I must let something go. This text is the thing I have most cared for in a long time and I can’t stop thinking of the step it represents. It is very important for me. I feel vulnerable thinking how much I want to do this research. One of my jobs has a lot to do with this necessity, though. I feel trapped, I need to extend the boundaries, I need to be a bit more in control.

During this last 3 months, the feedback on my proposed project as been wonderful: I got given books, my text has been checked a few times for intellectual consistency, articulation and spelling, interesting people have kept my brain away from complacent thoughts and someone whom I want as a supervisor send me a very supportive email even through I still haven’t applied. I can’t complain: people are interested and that is one of the signs of good research.

Because of its reflective and carefully planned nature, the submission feels to have more weight than when I moved countries from Spain to Portugal, then to Britain. Then, I was led by life, love and the need to experiment. I simply had to do it. Now, I lead and I wonder if supporting other people’s research will make mine easier or more difficult. The stakes are slightly higher in my case.

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Law of Desire — 8 Dec 2004


…necesitaba tenerte asi al precio que fuera…
…I needed to have you like this at whatever the price…

Law of desire by Pedro Almodovar, 1986

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One Seduction Per Month — 6 Dec 2004


iPod / Philippe Starck’s Juicy Salif Gold, 2000 / Manolo Blahnik’s design for Ossie Clark, 1972


Asolut Vodka bottle / Marcel Duchamp’s La mariee mise a nu par ses celibataires, meme / Lego


Post-it notes / Kevin Robert’s book Lovemarks, 2004 / Sueno amargo by Victoria Civera


Hello Kitty / La ley del deseo, Pedro Almodovar, 1986 / Robert Venturi’s house for his mother, Vanna, Philadelphia, 1964

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Research Cult — 3 Dec 2004

It must be professional deformation or mental illness. Each time I have to present in front of an audience, about any subject whatsoever, I appear to be the only one who has written it down in grammatically correct text rather that bullet pointed keywords, the only one who has rehearsed and timed the talk, one of the few with an actual point.

You may think that my systematic way of approaching presentations, conference papers or talks is a rigorous sensible one, but I very rarely get any feedback comments or questions apart from ‘oh, that sounds good’ or ‘you seem to have a pretty good idea of what you are doing’. Sometimes I can even hear a ‘phew!’ with that gesture of a hand going over a head.

I can’t wait to start my PhD and distance myself even more from the majority. I think was born to be a small minded researcher who will spend her whole live furthering knowledge for the benefit of other people. That, ladies and gentleman, requires rigour, rehearsals and arguments, to mention just a few qualities.

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About Me

I am an artist and writer. My recent practice performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have 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 I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.

I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, investigates 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.