Laura Gonzalez

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Frisson — 21 Mar 2007

Sometimes, at periodic intervals, my job takes the task of delicately reminding me why I am doing this out of all possible career options. I am currently working with a student whose work is intense and exciting, both at an intellectual and practical level. I have a lot of respect for most of my students work as I think they are a really intelligent, engaged group. With her, however, it goes beyond that, as I think she is on to something potentially important in her project. Today, she showed me this:

Tabitha Moses Hairpurse, Metal clasp and human hair, 2004

I haven’t felt like this about a piece of work (or my job) for a long while…

More information on this artist here and here

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Obituary — 8 Mar 2007

Baudrillard has died. I was a bit sad when I found out. After all, seduction ruled the world for him and we had that in common.

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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.