Laura Gonzalez

blog

30 Dec 2016

Ripley’s Game by Patricia Highsmith ***

Reading dates: 19—24 December 2016

I liked ‘Ripley’s Game’ less that any of the others so far but the reason is simple: Tom Ripley shares his protagonist role with someone else who becomes his sidekick but who is not as good as Tom on the page. Yet, from the point Tom appears by surprise on a certain train journey, the whole book changes for me, although I am still not convinced he needs a companion. It may work for Sherlock and Batman, and it does blur Ripley even more, but I am looking forward to selfish Tom looking out for himself and his interests, instead of trying out psychology on his neighbours. On to the next one …

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.