Laura Gonzalez

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Today, 7am — 30 Nov 2015

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Today, 7am — 25 Nov 2015

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Today, 7am — 23 Nov 2015

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On the Genealogy of Morality by Friedrich Nietzsche*** — 20 Nov 2015

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Reading dates: 19 September—19 November 2015.

This is an interesting book to read but an even more interesting one to discuss. Structured like a monumental rant against everything and not very much substantiated with any evidence, it is energetic and fun, even if a little contemptible. It turns morality on its head: what if what we understood as good was actually not good, but just culturally good, dependent on context? The book comprises three essays and the third is against the ascetic’s values. Nietzsche is an advocate of life, of ancient Greek culture, of the Dyonisian and, I have to say, having a choice between Apollonian and Dionysian is something that does appeal to me. Why does good only hold one possibility? Here’s Nietzsche, looking dapper with Lou Salomé (who is holding a nice whip):

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Of course, for much of the night, we drifted to discuss terrorism and the Paris attacks, to look at these recent events from Nietzsche’s moral philosophy perspective. Why terrorism? What values do they uphold? Are they wrong and we are right? Is it so simple? These were the actual examples missing from Nietzsche’s narrative.

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Today, 7am — 19 Nov 2015

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Today, 7am — 18 Nov 2015

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Today, 7am — 16 Nov 2015

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Poems Selected by John Fuller by W.H. Auden*** — 15 Nov 2015

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Reading dates: 01 October–14 November 2015

Reading poetry is still a challenge for me, even 16 years after I made English my main language. Reading poetry aloud is a challenge, but also the best training to understand it. Neil and I read two of Auden’s poems per night. He always let me chose which one I wanted; for the other, I just lay down and listen to him. Such a luxury. It is one of those moments I will remember forever, and, when the time comes, I will also miss deeply.

In this collection, Auden’s poems are organised chronologically. I liked the earlier ones much more than I thought; I even understood something in them. As the book went on, some images were still beautiful but I think he became too formal and I liked the poems less.

Detective Story was one of my favourites (and not only because of the theme):
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At the risk of being corny, I also liked Funeral Blues, featured in the rom com ‘Four Weddings and a Funeral’. I suppose that, with all the sadness around the world, the expression of grief and loss by someone who is precise and articulate, as well as having the gift of words, is a small breath.

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Today, 7am — 12 Nov 2015

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Today, 7am — 11 Nov 2015

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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.