Laura Gonzalez

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31 Jan 2014

Crux Desperationis 5

CRUX DESPERATIONIS_5 low 1

Crux Desperationis 5
International Journal of Conceptual Writing
January 2014, Montevideo 2014
[PDF 3.7MB]

Director and editor Riccardo Boglione
Editorial staff RB, Georgina Torello
Journal header Paolo Argeri
Journal design Massimo Alacca
All images are taken from Dr. Albert de Schrenck-Notzig, Los fenómenos de la mediumnidad,
Barcelona, 1928.

Conceptual writers:
Fabiana Faleiros
Nyein Way
Stefania Tavella
Michalis Pichler
Kim Rosenfield
Vanessa Place
Laura González
Felipe Cussen
Sharon Kivland
Madeleine Walton
Helen Frank
Steve Giasson
Robert Fitterman
Carlos Soto-Román
Swantje Lichtenstein
Karen David
Divya Victor

Previous editions here.

Posted in Blog, Dancing, News, Writing


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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.