Laura Gonzalez


To everyone reading this: it’s party shoe time! — 25 Dec 2006

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Juicy Phallus — 20 Dec 2006

Juicy Phallus by Caroline Noordijk in collaboration with Kyla Elliott.

This made me smile after a hard day’s work. Finally, someone has put Starck (and the masculinity he represents) back in its place. With thanks to Alastair, who can always make a perceptive comment or two…

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Sometimes, after analysis, I feel just like my objects — 14 Dec 2006

Email received today at 14:38:

Dear artist,

We would like to thank you again for contributing to Objects in Waiting and to GIFT. Over the six days that GIFT took place, 83 of the exhibits were given away to visitors; however, we regret that the object that you contributed was not one of these, as no suitable request was made for its use. Like the many unwanted gifts that linger in their packaging after Christmas day, the fate of your object remains as yet undecided.

If you would like to bestow the responsibility on to us, we will endeavour to resolve the matter in a way that befits the now very complex status of these objects. If you would prefer to be reunited with your object we can return it to you by post or in person.

Please consider this and let us know what you decide, and be assured that no action will take place unless we hear from you.

Best wishes,

P— and D—

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Objects in Waiting #2 — 14 Dec 2006

Documentation from the Objects in Waiting exhibition have been uploaded here.

Information on what I submitted can be found on the exhibition guide and video (exhibit number 78).

Here is a picture:

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Please report on any instances of change of direction — 6 Dec 2006

It is all gone quiet in my seduction world. I have been battling with issues of enjoyment, of desire; trying to understand where, if anywhere, the paths of seduction, perversion and fetishism cross; deciding what the picture frame and the frame of fantasy have in common; finding the key to the Lacanian universe; attempting to comprehend the limits between subjective and objective; listening to what the objects I have been creating have to tell me and how they challenge theories I have been reading about… All this, however, doesn’t make me feel I am any nearer to finding out why and how objects seduce.

But I am taking the wrong approach, aren’t I? I have finally realised that this (writing, blogging) is precisely what I should be doing. Let me tell you about my epiphany. I was watching Alan Yentob’s TV programme Imagine, which discussed the meaning of the internet in the context of cultural production, when something clicked. I tuned in mainly because my friends Pickwick and Dickon were to make an appearance in it. They are both talented bloggers, writers who have embraced new technologies and new ways of telling stories, of seeing and referring to the world. In Dickon’s journal, choosing a tie may be a matter of life and death. But Dickon and Pickwick did not get there in day or two. Dickon has been blogging since 1997, when this thing we are doing did not even have a name. His archive of events and thoughts is a testimony to what it is like to live in London in the 20th/21st Centuries. As such, it can also be contrasted with other accounts more or less amusing and well written. Dickon is building his socio-historico-anthropological account little by little, with a rendez-vous or a record release here, a TV appearance or a bad day there.

Now, this is how the epiphany took place: what I realised is that I want it all now. But the PhD is a 5 to 7 year process, one that will be arrived at by the day-to-day accumulation of experiments, data, thoughts, readings, conversations, objects, responses. Knowing about how fantasies relate to desire will not answer my research question; Dickon’s description of his suit on the 3 of August does not constitute social testimony. One has to be patient (How many times have I talked about commitment here?). One has to be systematic. Oh but don’t get me wrong, I am not talking about forgetting the aim of my quest; it needs to be there permanently, I need to think about it with every decision I make. As Malcolm said to me, a PhD is not a sprint. It’s a marathon. The aim, the distance to be ran is there. I cannot write a formulaic short story. You see? This PhD is really more like blogging. Every day a little step. A step about the minutiae of doing research, of thinking about desire, of being seduced, of finding something contradictory. In short, a process, rather than an output; answering rather than an answer. The latter will come, if it has to.

A PhD is a marathon and, with my PhD confirmation looming, I am just at the second water point.

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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.