There is a genre called psychoanalytic fiction and I have recently read two examples. The first one was Jed Rubenfeld’s The interpretation of murder; the second Brenda Webster’s Vienna Triangle. These two are as far apart as the category of genre allows.
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In order to do more than just talking the talk, I joined a Burlesque class. If you have participated in such activities before, you will know that one of the first tasks of the Burlesque student is to come up with a name. Our teacher (Viva Misadventure) does not want to know our birth names [...]
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The other day, someone accused me of lack of engagement. This was mainly directed at my online life but also had a bearing in what I do in real life. Lack of engagement is not a good thing when you are trying to study seduction, which needs mindfulness. I was engaged when I took my photographs, I was there 100% and remember every action, every thought related to my fall for the object.
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I really like the Freud Museum. For those of us interested in psychoanalysis, it is a magical place. (…) The closest I can come to describing what happened is that I went back in time, that I confronted some sort of history in front of me, I was there, but I was not there now. Nachträglichkeit, or something.
When I first read, many years ago, Titian, nymph and shepherd by John Berger, I discovered the strange power communicating by letters can have. I find there is something mesmerising about them. Not only in their physicality, which of course counts (the things themselves, the handwriting of the loved one, the journey through the postal system…) but the voice.
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Laura Gonzalez is an artist and writer. Her recent practice encompasses film, dance, photography and text, and her work has been exhibited and published in the UK, Spain and Portugal. She has 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 she is not following Freud, Lacan and Marx’s footsteps with her camera, she lectures postgraduate students at the Glasgow School of Art.
Her doctoral project, completed in 2010, investigated 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.She is currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric.