Laura Gonzalez


15 Nov 2012

Berggasse 19

Berggasse, 19

Papa Freud’s hat and cane


Ueber Cocain


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

Posted in Blog, Dreams, Hysteria, Psychoanalysis

2 Responses to “Berggasse 19”

  1. Brian said:

    Laura, thank you for posting such wonderful pictures. Someday I hope to visit there as well. I trust you had a great trip.

  2. Laura said:

    Thank you, Brian! I think you would love Berggasse 19, but, as a museum, the London one is much better (the couch is there, as well as all the other objects). Yet, visiting is house in Vienna was mystical for me. Being in the room where Dora spoke, despite it being completely empty, was incredible. I think you would like Vienna. Well worth a visit!

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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.