Laura Gonzalez


Note to Self — 30 Aug 2005

Also, this wonderful website. What has this project got to do with seduction?

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Art of a fine kind — 24 Aug 2005

Miranda July‘s new film, Me and you and everyone we know is out in the UK.

For those of you who don’t know her work, she is the excellent mind behind the Learning To Love You More web-art project. Its latest assignment is: Take a flash photo under your bed. Start creating.

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Reconciling the Perfect Lovers — 18 Aug 2005

One of the troubles I am having in my research has to do with identifying contemporary seductive artworks. Vicky Civera’s Sue?ɬ±o Amargo has been the only piece secured in that position. However, having been thinking about for so long has also made it become a little bit of an obsession and I am conscious that the study could become somewhat biased if I don’t find a way out.

The artist that moves the most is still Felix Gonzalez-Torres. His takable sweets and printed papers sparkled my thoughts on precarious art, which then crystallized in the form of an MA dissertation. When I moved away from ideas of transparency, reproducibility and transportability, I also left Felix Gonzalez-Torres behind.

Last night, I had an epiphany, whilst thinking about my forthcoming presentation on seductive objects. I have been looking at Beverly Semmes and E V Day‘s works trying to extract contemporary seductiveness out of them. And I wasn’t convinced at all. Where are these works leading me astray from? Where to?

I had resolved to take them out of the talk completely but still felt there was a gap that I wasn’t addressing. It is then when the image of the Perfect Lovers appeared in my head. In the animation played by my brain (lying in bed, my eyes were closed), those 2 clocks were in my office wall. I couldn’t avoid looking at them, waiting for the second-counting hand of one of them to stop while the other carried on.

Google-ing the piece today, I found that Portable Temporary Services had decided to approximately recreate Gonzalez-Torres’ work. Moreover, they give you instructions on how to do it yourself.

Can precariousness be seductive? Can precarious art lead one astray from the art establishment’s right behaviour?

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Seduce Me — 13 Aug 2005

Why a study of seduction, even if in the field of Fine Art, may have wider applications.

Magnum 5 Senses Limited Editions

Ad storyline: Sensual images of couple together appear among a montage of images to represent the 5 senses of touch, vision, sound, taste and aroma.

Creative agency McCann Erickson Advertising Ltd
Creative Martyn Smith, Mark Hurst
Production Co Quad Films, Paris
Director Bruno Aveillan
Post Production Wizz
Planner David Hook
Editor Fred Olzack

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Banksy’s new work — 6 Aug 2005

…on the Palestinian side of the barrier Israel is constructing in the West Bank.


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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.