Laura Gonzalez

blog

18 Aug 2005

Reconciling the Perfect Lovers

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?

Posted in Blog, Seductive artworks, Seductive things


One Response to “Reconciling the Perfect Lovers”

  1. Perfect Lovers Glasgow said:

    […] My favourite work of art, the one I would save in the event of a world catastrophe, is on show at Glasgow’s Gallery of Modern Art until 1 November. I did not know about this, I found it by chance, and mistake, while I was going to the public Library (which is just in its basement). I couldn’t believe it was there. It is an uncanny work, one I recognise as familiar (clocks are everywhere) yet strange (two clocks, together, going at the same time?). It is displayed in precise surroundings to provoke exactly this but I found, this time round, an added layer of humanity. […]

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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.