Laura Gonzalez


26 Mar 2009

What the artwork wants


I have uploaded the paper Sharon Kivland and I delivered at last year’s Research into Practice Conference. In it, we tried to answer the question of interpretation in Art and Psychoanalysis, through a different approach to one expects in this sort of conferences. To me, it was a great learning exercise. Every time I read this it fills me with energy as I realise what it is possible to do with words if one is free enough (that refers more to Sharon’s contribution, but I am learning). It is my favourite conference contribution, one that I enjoyed preparing for and delivering and one which, whilst in the midst of a difficult chapter which I don’t know how to approach, provides me with a glimmer of hope.

Posted in Blog, News, PhD, Psychoanalysis, Writing

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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.