Laura Gonzalez

blog

6 Oct 2007

Snail dream with written parapraxes

I dreamt Dr Sh— (my psychoanalyst) and I were in the Basque Country, taking a walk towards my Gran’s house. The way was swampy and somehow overgrown with Amazonian-type vegetation. The leaves we encuntered encountered were enormous and I put that down to my home country changing. Dr Sh— led the way in front of me. At some point, we encountered snails and I mentioned, in passing, that they disgusted me. Dr Sh— reached down the swaped swamp and pulled out a snail or slug the size of a cap cat and showed it to me. I, rationally, explained my emotions. I felt disgusted, but this was an intellectual emotion, a kind of out-of-bidybody experience.

caracol
Borrowed from El Guindo. As soon as I find out author, title, and year, I will edit this entry.

Posted in Blog, Dreams, Psychoanalysis


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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.