Laura Gonzalez


Don’t say anything

In this one-to-one durational work, I returned to Frau Emmy von N. the words Sigmund Freud wrote in his famous case history about her. I told people who sat opposite me you her story of hysteria in the first person, just as Emmy would have told it to Freud in 1889.

The work was shown for the Glasgow Open House festival, 2-4 May 2015, as part of the exhibition ‘This House Has Been Far Out at Sea’ at the Laurieston Arches.

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I made a one page publication for Cristina Garriga’s My Bookcase

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The work looked at storytelling from a wide variety of perspectives, sound, objects, participation, history, geography and adolescence.

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Photo credits: Neil Scott, Birthe Jørgensen and Lin Chau.

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.