Laura Gonzalez


5 Dec 2013

The Turn of the Screw by Henry James*

Reading Dates: 26 October – 2 December 2013

Frankly, I found Henry James’ prose unbearable, the story inconsequential — more confusing that eerie – and the characters, despite the winks to my favourite topic of hysterical women, rather unbelievable, although the sentences in these 160 really annoying pages made me learn to control my breath as Neil and I read the whole book aloud to each other, thinking as we did that it would fit Halloween and not knowing that our reading would be so extended beyond the holiday of the dead.

Writing Jamesian sentences is hard and, I must say, the effort does not pay of.

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.