Laura Gonzalez


11 Jun 2006

The split

I want to paste this quote from the magnificent K-Punk journal because I suspect I am going to want to refer to it later:

Deleuze proclaims that the ‘only enemy is two’. He understoods perfectly well that a split is involved but is unable to grant any ontological specificity to the concept of the split, and rushes to reduce it to a dualism: ‘the source of dualism, it seems to me… is this flattening of all statements of thought, precisely, by this speculative, Oedipal apparatus in which the statement, on the one hand, is related to the subject, to a subject, and on the other hand, and simultaneously, the subject is split into a subject of the statement and the subject of enunciation.’ (By contrast with Deleuze, the Irigarayan concept of the ‘not one’ – with its Imaginary figuration as the lips which are neither one nor two – does grant ontological consistency to the split.) Perhaps we can oppose the Lacanian spaltung to the Deleuzian ‘between’; whereas the between takes its place in the interstitial gap between unities, the spaltung breaks unities into less than one (there is no possibility of unification) and more than one (the subject is always doubled, which is not to say dual).

The split (Lacanian, Deleuzian and Irigarayan) is a subject that fascinates me as it defies logic, mathematics and even dialectics. “1??2=1” is a seductive thought, in the same way as the luxury equation, developped by Sally Mara, alias Raymond Queneau (“1+1=32”), leads thoughts astray. An enigma (like the analyst); a teaser; a riddle (like the “even” in The Bride Stripped Bare By Her Bachelors, Even) ‚Äîperhaps a product of appearances as well‚Äî is what keeps my desire for knowledge (all desire is a desire for knowledge) in constant flow.

Posted in Blog, Notes to self, Psychoanalysis

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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.