Laura Gonzalez

 

Ruth Mills Dance

gcdtlow

 

Ruth Mills, Artistic Director of Ruth Mills Dance, founded Glasgow Community Dance Theatre in 2010.

Through intensive residencies, we have developed and performed work, some of which was created for the camera.


With this group, I have danced Carnival of the Animals, for Go Dance 2011 (Theatre Royal, Glasgow, 27.01.11) and the Commonwealth Games Flag Handover Ceremony (George Square, Glasgow, 14.10.10).


Aviary, Carnival of the Animals (excuse the video, it is a phone recording of the dress rehearsal, the only documentation we have!)

I also worked with Ruth as part of her research into time and space at the Workroom in Glasgow (November 2010).

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.