Laura Gonzalez

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Blast from the past — 30 Nov 2012

Looking online for updates on my PhD examiner (I’d like to hear her speak again), I came across the Rigorous Holes website. I was not aware that this lovely conference I participated in back in 2007 had put all the videos online. Timely finding too, for I am to travel to New York on Sunday and this will be on my list to watch.

Don’t worry, My PhD examiner and I did not meet then (not allowed in the UK), as our contributions were on different days. Still, it is great to see this record. You can even watch me speak here.

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‘While the band played on’ — 23 Nov 2012

Adam Curtis, Like Lars Von Trier, is a manipulator of emotions. I mean this as a profund compliment. Being a scholar of people’s minds, I find Curtis takes account of the viewers, showing us our own complicitness in whatever topic he is exposing. I went to see Luke Fowler‘s film on R.D. Laing, All Divided Selves, on Wednesday. I loved it, especially what he called his methodology: his academic approach to archival footage coupled with snippets of what is closest to him, his family, to achieve a work that does not position itself, that is questioning of a figure and an approach.

Fowler’s work made me think of Curtis, and the relation to archival footage, the meaning of what we keep as history and memory. Curtis is heavily positioned in his work. He knows this, explores it and exploits it. And here, I am not aligning myself with camps Fowler or Curtis in relation to the material. I am just trying to think through my own position in relation to power, to the formation of my own knowledge and emotion when I see these works.

In a sense, I am asking someone (it may fall onto me, of course) to organise a round table with both of them to work through the questions Curtis raises in his latest blog post. Watch the videos, they are a perfect example of a methodological approach through images, as is Fowler’s work.

For the last year or so I have been collecting all sorts of footage of people dancing that I found in the BBC archives. In all I gathered over two thousand shots culled from all kinds of programmes. I then cut some of them together to music by the wonderful 70s German band Neu.

I think it gives a sense that we are all together in the dance.

I then took exactly the same sequence of images – I haven’t altered even a frame – and put them to a montage of some very different music. There are all sorts of songs and pieces in there – but it owes a great deal to the great romantic musical genius of our age – Burial.

I think that this other version leads you to look at the people dancing in a very different way. The feeling it evokes is how separate we are – and how isolated we sometimes are from one another.

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Berggasse 19 — 15 Nov 2012

Berggasse, 19

Papa Freud’s hat and cane

Visitenkarte

Ueber Cocain

Traumdeutung

Custom chair design for strange reading postures

The famous mirror

Consulting room and study

Hysteria above couch

Papa’s handwriting

Condensation and displacement in the dream-work, by Joseph Kosuth

Freud est mort

L’esprit d’escalier

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Get Scotland Dancing — 1 Nov 2012

This is what I think about dance. This is why I dance. This is me dancing, with Dance House Community Company, Dane Lukic and Chris JS Wilson.

Get Scotland Dancing: The Film from Creative Scotland on Vimeo.

This summer thousands of people across the UK, from professional to amateur dancers, young and old were involved in Big Dance 2012 – the UK’s biggest celebration of dance as part of the push to Get Scotland Dancing.

This specially commissioned film follows the events in Scotland’s cities and captures the experiences of some of the participants.
Shot by Glasgow-based filmmaker Fraser Denholm. fraserdenholm.tumblr.com/showreel

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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.