Laura Gonzalez


29 Aug 2013

A guide to my star rating system

*: I finished the book, which means I will be rating and reviewing it. But finishing it might be the only attraction of the 1*. It could as easily have got none.

**: I finished it and there must be a paragraph or two, a section or an aspect of the story that I found innovative or attractive.

***: More often than not, 3* denote two kinds of books: those that are not very good but gave me a lot of pleasure (generally due to plot or execution) or those where I know the book is good, but I did not enjoy it. Sometimes, it also denotes books with one major fault (usually length or depth).

****: A very good book, but not a priority for re-reading.

*****: If the eternal recurrence of the same was true, I would not mind reading these over and over again. In the 5*, plot, character, innovation, execution and reading experience come together seamlessly, and one is not privileged over the other.

Posted in Blog, Book Reviews, 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.