Laura Gonzalez

blog

22 Dec 2012

Closed for Christmas

I hope you all have the happiest of times this Christmas and New Year whatever you do. I am off to Spain for a while, and then back to Scotland to be the host of a modest, yet artistic, New Year’s party before joining the Ruth Mills Winter Intensive straight after the festivities. As she writes: ‘start as you mean to continue’ and that is what I wish for you all too. I will try to live up to holiday hysteria, finish writing this chapter of mine and dance maniacally whenever I can surrounded by inspiring people, which is how I mean to continue my year. See you in 2013, if not before.

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Image: Bergdorf Goodman’s ‘BG Follies of 2012’, Act I.

Posted in Blog, Hysteria, 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.