Laura Gonzalez


14 Nov 2008

Destruction of the father, indeed…

Charcot was modest. He was only a scientist and not a theorist. Lacan was a guérisseur, through charm and through the verbal. He was not a scientist. He was a con man. Freud and Lacan did nothing for the artist. They were barking up the wrong tree. They don’t help any. I simply can’t use them.

Breton’s teacher was really Bousette. Bousette was interested in the grandiose style and social connections — that search for the grandiose and the religious. Breton, Lacan and Freud disappointed me. They promised the truth and just came up with theory. They were like my father: to promise so much and deliver so little.

Bourgeois, L. Destruction of the father, reconstruction of the father. Writings and interviews 1923-1997. Cambridge, Mass & London, MIT Press, 1998. pp. 229

Posted in Blog, Psychoanalysis, Seduction

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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.