Laura Gonzalez


10 Nov 2011

A depraved epistemology

Being embodied is a mixed fate for the hysteric, who does not want to be excluded by anyone from anything, and yet, given the shocking secrets of sexuality – revealed by the self’s won developing body knowledge experiences this body and what it knows as a depraved epistemology. This fact is a vital constituent in the format of the hysteric because in so many different ways – enervation in the nineteenth century, fatigue in the twentieth century – hysterics indicate trouble with the body. It imposes the unwanted, and the response to the body’s invasion of the self varies from irritated indifference to paranoid grudge.

Christopher Bollas, Hysteria, p. 19

Posted in Blog, Hysteria, Psychoanalysis, Reading

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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.