Laura Gonzalez


9 May 2005

Calle and Medem en Español

For those of you who are Spanish or hispanophiles, I have uploaded translations of my writings on Sophie Calle and Julio Medem, published in The Mind’s Construction. Great thanks go to Juan Martin Pinila, who helped me undertand the boundaries between the two languages and made shake off some of this provincial Spanglish.


Para vosotros Españoles o hispanófilos, he cargado traducciones de los articulos sobre Sophie Calle y Julio Medem, originalmente publicados en The Mind‚Äôs Construction. Eterno agradecimiento a Juan Martin Pinilla que me ha hecho comprender algunas de las diferencias entre las dos lenguas y me ha ayudado a quitarme este Spanglish provincial.

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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.