Laura Gonzalez


2 Feb 2007

Feminine seduction #2

Hannah Hoch

Kiki Smith

I am still surprised to find that this subject of feminine seduction has been so unconscious within my research. But the evidence is there! With the two new images above, let’s recap where we are at:

Pilar Albarracin, Iranzu Antona, Naia del Castillo, Vicky Civera, Sylvie Fleury, Hannah Hoch, Mary Kelly, Sharon Kivland, Cathy de Monchaux, Nazareth Pacheco, Pipilotti Rist, Kiki Smith, Hannah Wilke, Francesca Woodman…

Now, like Malcolm Gladwell’s friend Howard Moscowitz did, I need to find which of three seduction categories they fit in: plain-like, spicy-like, or extra-chunky-like.

Posted in Blog, 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.