Laura Gonzalez

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Lucretia — 25 May 2007

From my excellent trip to Berlin, I brought you the most beautiful piece of work I have seen in a long time… Look at the knife, the necklace, the transparent fabric… And there there is the look. What is that look saying? Ah, so much defiance… She will do it if you push her, you know? Then again, maybe she is playing up, putting you where she wants you to be, just like seducers do. THAT is the look of the seducer.

Lucas Cranach 1472-1553
Lucretia, 1533
37.3 x 23.9 cm
Gemäldegalerie

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This is what I am up to… — 21 May 2007

AcropolisRigorous Holes: Perspectives on Psychoanalytic Theory in Art and Performance Research.

A conference on the use of Psychoanalytic Theory in Art and Performance for doctoral students, organised by The Research Centre at Wimbledon College of Art and the School of Social Sciences, Brunel University.

The Red Room, Chelsea College of Art, Millbank 29 and 30 May 2007

Speakers include: Dr Malcolm Quinn, Professor Dany Nobus, Dr Stijn Vanheule, Dr Joanne Morra, Dr Jane Rendell, Dr Maria Walsh, Professor Naomi Segal.

I will be chairing the session entitled ‚ÄòPsychoanalysis in Doctoral Research‚Äô on the morning of the 30th May. My opening presentation is provisionally entitled ‘When Freud visited the Acropolis‘. Want to know what happened?

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Will fuck for shoes — 12 May 2007

From the beautiful Locher’s collection and with a zillion thanks to Michael.

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Shoe art… (part I) — 12 May 2007


… from Susanna Hesselberg


… from Melanie Pullen


… from Sylvie Fleury


… from Pilar Albarracin

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Summarizing — 9 May 2007

So far we have:

reflexivity and mystery and Object (a) and systems;
screens and layers and me and not-me;
the subject and the object and desire and the fetish;
use value and exchange value and surplus and commodification;
gaze and the fall of gaze and tripping and not quite seeing;
things and wanting to posess them and the impossible, the unattainable;
of course seduction and anxiety and womanhood and woman‘s construction;
readings and interpretations and things that can’t be articulated and power;
roundness and innocence an the image and a smile;
the difference between art and design and windows everywhere and play, play;
flesh and need and survival and historical context;
status and objecthood and artefacts and what escapes me;
strategies and che vuoi and not recognizing myself or seing myself as other;
transformation and duality and masculinity and enjoyment;
whips and submission and his desire and the cure;
theatricality and fashion and victims and Frank Sinatra;
the hysteric and attraction and the devil and the Bible;
sexuality and definition and improper conduct and…

All this in just one image.

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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.