Laura Gonzalez


1 Sep 2006

Madonna and adandonement

Finally, one of my favorite paintings has returned home to the Munch Museum in Oslo. I have always loved this Madonna: its nudity and, more than anything, its face, which I regard as a combination of Manet’s Olympia and the abandonement of Bernini’s St Teresa.

But Munch’s virgin is a lot more than a mystic in an ecstatic position towards God. The Madonna is a sexual being, aware of her body and what that may stir in men/women, aware of her desire. She is a seductive challenge. This Madonna and her background torment are more akin to the Eve in the Garden of Eden, the Eve that fell for the Devil’s tricks, the first seducee. A more clever Madonna, if you ask me, aware both of mind and body, cunning enough to strategize, to know what she wants and lose herself in it. A Madonna with a sentient body, with pleasure and with whom, in her womanhood, I am able to identify.


Posted in Blog, Peripheral thoughts, Seductive artworks, Seductive things

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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.