Laura Gonzalez


Appearance Stripped Bare — 19 Feb 2005

The more I read about him, the more puzzled I am by Marcel Duchamp‚Äôs Large Glass (The Bride Stripped Bare By Her Bachelors Even). I get as far as understanding that it is a painting of a machine and that The Green Box is roughly its instruction manual. I also more or less understand the relationship between the Bride‚Äôs section, the Bachelor’s section and the general functioning of the machine (inaccurately, or rather incompletely visualized in the videos below, I think)

I agree with Octavio Paz’s description and evaluation of the piece. However, I profoundly disagree with his interpretation and its links to Etant Donnees. Paz tries to dig an ancestral past and equate the Bride to ancient Hindi myths, to Diana and Artemis. While this reading may be appropriate as a distant context, en passant, it just presents one of the anamorphous dimensions of the Large Glass, reducing it to the 2 or 3 dimensions it is trying to avoid). The piece’s relation to technology, to the painting tradition, to science, to perspective, to gender (both feminine and masculine) are some of the other avenues which interpretation could follow, all of them interdependent.

Octavio Paz’s sets out on a huge task (to analyze the Finnegan’s Wake of the art world) without any other premise than to procure a ‘reading’ of the Large Glass. But, in Duchamp’s case, I wonder if it is not better either to follow a particular enterprise (ie. Does this work seduce?) or just leave the description and evaluation sections orphaned of the interpretation one.

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Animated Glass #2 — 9 Feb 2005

Jean Suquet with Digital Equipment France (Arnaud Gaudinat, Alain Antone, Thierry Haukingham), 1993

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Animated Glass — 3 Feb 2005

Jean Suquet with Digital Equipment France (Arnaud Gaudinat, Alain Antone, Thierry Haukingham), 1993

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Why Psychonalysis? — 1 Feb 2005

Dany Nobus’ session on psychoanalytic method was extraordinary.

I have been toying with the idea of using psychoanalysis as the core logic underpinning my research but couldn’t really articulate why I had unconsciously made this choice. My explanation was a shallow one: Lacan’s objet petit a is related to seduction and desire in a way I haven’t yet understood.

Dany’s comparison between the artist and the analyst, however, opened a new avenue in my thoughts. Psychoanalysis is one of the few methods available that conscious and unconsciously works with an unknown object and/or patient, contradicts itself, and makes a clean slate each time it faces a new problem (ie is not a method for accumulating knowledge).

Adopting a method is a adopting a type of reasoning and psychoanalysis, through free association, facilitates unpredictability. This and the search for what Dany called the Divine Detail (what defies explanation, challenges and resists being fitted to any given model) seemed to fit my research better than the strict and systematic aims and objectives I set out for myself. Method also predicts the results. As my work stood before Tuesday, reliability, validity and objectivity were at its centre and I wonder if that approach was at all realistic when dealing with such unknown quantities as seduction and art objects.

According to Dany, the analyst’s attitude, like that of the artist, should be a mixture of:

The Socratic position: or position of ignorance
‘I only know I know nothing’. The Socratic philosopher would never use the knowledge of the object to confirm his own knowledge. Instead, he starts from this atopia, this paradoxical position where knowledge is mysterious.

The Zen Master: or paradoxical position
The zen master produces enigmatic statements, rather than masterful, to facilitate dynamics (ie of the object). It neither gratifies nor frustrates the demands but brings the process further denying rationality and challenging knowledge.

The Detective: or the inquisitive and fallible position
When confronted with Divine Details, the detective formulates a hypothesis. He is not scared of discarding it if the Divine Detail can’t verify it. Instead, he formulates a new one, even if it contradicts the first one.

Not only the psychoanalytic method seemed to fit in with the subject of my investigation, this position (between Socratic, zen and detestivesque) gave a new dimension to what I thought a researcher should do and what its relationship to knowledge should be. Since I started this process, my reasoning had become more and more institutionalised: a perfect method designed to answer the hypothesis I formulated aimed at giving clear answers. What I forgot was the nature of the artist’s intuition and experimentation, the key to my discipline.

Related to the detective position is also Charles s Peirce’s Adbuction (as a process of reasoning distinct of induction and deduction), as it puts that Divine Detail at the centre stage of thought. He only mentioned it, passing by, and I wonder how many wonderfully useful and interesting concepts, unknown to me, are out there.

The session’s Divine Detail was the mention of Duchamp’s Large Glass was mentioned. This work is one of my potential case studies and what was said didn’t seem to fit what I was writing about it. The concepts ‘working through’ and ‘traversal of the fantasy’ as a new crystallised form of mental organisation negotiating meaning and non-meaning were mentioned, leaving me puzzled and wanting more.

Further Reading:
Ed Pluth on Freud and the drive (in Journal of Lacanian Studies)
Jean Suquet on The Large Glass (in Thierry De Duve’s The Definitely Unfinished Marcel Duchamp
‘Remembering, repeating and working through‚Äô by Freud (in Paper‚Äôs on technique)

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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.