Laura Gonzalez


25 Jul 2006

What are friends for…

If Julio asked me to title his latest collage, I would call this one “Solipsism, or the view that the self is the only thing known to exist”. I like it. Especially since, like often happens with one’s images, I did not instantly recognise myself. Obviously I was not there ‚Äìthis is what these images are about, after all‚Äì but I did doubt it, for a negligeable split second. Have you ever wondered if you are here or there when in front of a mirror?

Julio Arriaga. Txitxarros en la butxaca: Las fotos de la inauguracion

If any of you are in Barcelona, please visit his very postmodern studio (xtudio) / gallery. Details here.

Posted in Blog, News, Peripheral thoughts

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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.