Bracha Lichtenberg Ettinger (born 23 March 1948) is an Israeli-French artist, writer, psychoanalyst and philosopher based in France. Born in Mandatory Palestine, she lives and works in Paris. She is a feminist theorist and artist in contemporary New European Painting who invented the concepts of the matrixial space, Matrixial Gaze and related concepts around trauma, aesthetics and ethics.[1][2][3][4][5][6][7] Ettinger is a professor at European Graduate School in Saas-Fee, Switzerland[8] and at GCAS, Dublin.[9] In 2023, she was part of the Finding Committee for the Artistic Director of Documenta's 2027 edition.[10] She resigned from that role with a public letter intended to open a radical discussion in the artworld, following the administration's rejection of her request for a pause due to the attacks on civilians in Israel and in Gaza and the ongoing heavy losses of life.[11][12][13]
Bracha Lichtenberg was born to Jewish-Polish Holocaust survivors in Tel Aviv on 23 March 1948.[14] She received her M.A. in Clinical Psychology from the Hebrew University of Jerusalem where she worked as research assistant for, then as personal assistant of, Amos Tversky (1969/70, 1973/74, 1974/75) and Danny Kahneman (1970/71).[8] She moved to London for 4 years where she studied, trained, and worked between 1975 and 1979 at the London Centre for Psychotherapy (with Elsa Seglow), the Tavistock Clinic, and the Philadelphia Association (with R. D. Laing) and became a British citizen. She married Loni Ettinger in 1975 and divorced him in 1981; her daughter, the actress Lana Ettinger,[15] was born in London.
Ettinger returned to Israel in 1979 and worked at Shalvata Hospital. She has painted and drawn since early childhood, self-taught. In her early days she avoided the art scene. In 1981, she divorced her first husband, decided to become a professional artist and moved to Paris where she lived and worked from 1981 onward. Her son, Itai Toker, was born in 1988. She works between Paris and Tel Aviv since 2003. As well as painting, drawing, artist-books (notebooks) and photography, she began writing her theory of the matrixial space in ethics, aesthetics and psychoanalysis, and received a D.E.A. in Psychoanalysis from the University Paris VII Diderot in 1987, and a Ph.D. in Aesthetics of Art from the University of Paris VIII in 1996.[8]
Ettinger had a solo project at the Pompidou Centre in 1987, and a solo exhibition at the Museum of Calais in 1988. In 1995, she had a solo exhibition at the Israel Museum in Jerusalem, and in 1996 she participated in the Contemporary art section of Face à l'Histoire. 1933–1996 exhibition in the Pompidou Centre.[16] In 2000, she had a mid-life retrospective at the Centre for Fine Arts (The Palais des Beaux Arts) in Brussels, and in 2001 a solo exhibition at the Drawing Center in New York.[17] She continued to train as a psychoanalyst with Françoise Dolto, Piera Auglanier, Pierre Fedida, and Jacques-Alain Miller, and became an influential contemporary French feminist.[18][19][20][21] Her recent solo shows include Centre Pompidou, Paris, 2024 and Castello di Rivoli, Turin, 2022. Ettinger had solo exhibitions in major museums like the Tapies Foundation in Barcelona, Moma in Oxford, The Russian Museum in Saint Petersburg, the Museum of Angers and more.
Based mainly in Paris, Ettinger was visiting professor (1997–1998) and then research professor (1999–2004) in psychoanalysis and aesthetics at the School of Fine Art, History of Art and Cultural Studies at the University of Leeds.[8] Since 2001, she has been visiting professor in Psychoanalysis and Aesthetics at the AHRC Centre for Cultural Analysis, Theory and History (now CentreCATH).[32] She was a lecturer at the Bezalel Academy of Art and Design in Jerusalem between 2023 and 2006, when she became Chair and Professor at the EGS.[8] She founded the matrixial theory in psychoanalysis.[33]
Bracha Ettinger, Painting: Matrix — Family Album series n.3, 2001.
Ettinger's art engages in the subjects of trauma, mothers and women during the Shoah and during wars, as well as the feminine in mythology: Eurydice, Medusa, Demeter, Persephone, and matrixial Eros. Her abstract research in painting concerns light and space, which follows Monet and Rothko.[34][35][36] Her subjects concern the human condition and the tragedy of war, and her work in this aspect joins artists such as Käthe Kollwitz and Francisco Goya.[37] The painting process engages a space of passage between figures and abstraction, and her attitude to abstraction resonates with the spiritual concerns of Agnes Martin, Emma Kunz and Hilma af Klint.[38][39] Her notebooks accompany the painting process but are equally artworks.[40]
Bracha L. Ettinger, Eurydice, The Graces, Medusa. Oil painting, 2006–2012
From 1981-92, her principal artwork consisted of drawing and mixed media on paper as well as notebooks and artist's books, where alongside theoretical work and conversations she made ink and wash painting and drawing. Since 1992, apart from her notebooks, most of her artwork consists of mixed media and oil paintings, with a few parallel series that spread over time like "Matrix — Family Album", "Autistwork" and "Eurydice", with themes of transgenerational transmission of personal and historical trauma, traces of memory and remnants of oblivion, the passage from pain to beauty Shoah and the World Wars,[41][42][43] the gaze, light, color and the space,[44] female body, womanhood and maternality, inspired by classical painting and creating an abstract space where the questions of beauty[45] and sublime are renewed for our time.[46]
According to Griselda Pollock,[47][48]Catherine de Zegher[49][50][51] and Chris Dercon, director of the Tate Modern who had chosen her work for the contemporary art section of the Pompidou Center's major exhibition of 20th Century art Face à l'Histoire,[52] Ettinger has become one of the major artists of the New European Painting and a major feminist thinker. Along with painting she has worked on installations, theoretical research, lectures, video works, and "encounter events". Her paintings, photos, drawings, and notebooks have been exhibited at the Pompidou Centre,[53] and the Stedelijk Museum in 1997. In the last decade, Ettinger's oil on canvas paintings involve figures like Medusa, Demeter and Persephone, and Eurydice, and the subject matter of the Pietà, the Kaddish, Eros, and Chronos. From 2010 onward, her work still consists mainly of oil paintings, notebooks (artist's books) and drawings, she is doing new media digitally animated video films where the images are multi-layered like her painting. In 2015, she participated with a solo show in the 14th Istanbul Biennial drafted and curated by Carolyn Christov-Bakargiev.[54] In 2018-19 she participated with a solo show at the Kochi-Muziris Biennale 2018 in India.2019.[55] Bracha L. Ettinger is represented by Andrew Kreps, New York[56] and High Art, Paris.[57]
Solo exhibitions
A selection:
Bracha L. Ettinger: Eurydice - Kaddish – Medusa, Pompidou Centre, Paris (2024)
Bracha Lichtenberg Ettinger. Radicants, Paris (2022).[58][59]
Bracha L. Ettinger. Andrew Kreps Gallery NY (2022).[60][61]
Bracha L. Ettinger: BRACHA's Notebooks. Castello di Rivoli Museum, Torino (2021-2023).[62]
Ettinger's work consists mostly of oil painting and writing. Ettinger is now considered to be a prominent figure among both the French painters' and the Israeli art's scenes. Her art was analysed at length in the book Women Artists at the Millennium,[90] in Griselda Pollock's Encounters in the Virtual Feminist Museum[91] and in Catherine de Zegher's anthology Women's Work is Never Done.[92] Her ideas in cultural theory, psychoanalysis, and French feminism (see Feminist theory and psychoanalysis) achieved recognition after the publication of Matrix and Metramorphosis (1992), fragments from her notebooks (Moma, Oxford, 1993) and The Matrixial Gaze (1995). Ettinger established a new area of studies in psychoanalysis, art and feminism.[93] Over the last three decades, her work has been influential in art history.[94]
Psychoanalyst
Ettinger is a theoretician who invented and developed a language for a feminine-maternal-'matrixial' (matricial) dimension in artistic creativity[95] and in ethics of care and responsibility. She coined the concept of matrixial (matricial) space and matrixial gaze first in her artistic Notebooks from 1985 onward,[96] and in academic publications from 1992 onward.[97]
Ettinger's 'matrixial theory' articulating transjectivity and transubjectivity in the subject and in human relationships had proposed an unconscious feminine/maternal and pre-maternal/prenatal time-space of feminine sexuality and femininity in all genders, which go together with ethics of care and wonder,[98] 'seduction-into-life'[99] and responsibility, where trans-subjectivity is in an ontology of string-like subject-subject (trans-subjective) and subject-object (transjective) transmissivity and affective co-emergence, transformed the way to think both the feminine and the human subject, both the analyst in transference relation[100] and the analysant in its relation to her, in psychoanalysis. Working on the question of trauma, memory and oblivion[101] at the intersections of human subjectivity, feminine sexuality, maternal subjectivity, psychoanalysis, art[102] and aesthetics, she contributed to psychoanalysis the idea of a feminine-maternal sphere of sexuality and ethics, function, and structure where symbolic and imaginary dimensions are based on femaleness in the real (the meaning of matrix is womb). This dimension, as symbolic, contributes to ethical thinking about human responsibility to one another and to the world. The French philosopher Jean-Francois Lyotard related to Ettinger's writing and painting in two famous articles written in 1993 and 1995, Anima Minima (Diffracted Traces)[103] andL'anamnese (anamnesis).[104] She is a senior clinical psychologist, and a supervising and training psychoanalyst. Her artistic practice and her articulation, since 1985, of what has become known as the matrixial theory of trans-subjectivity have transformed contemporary debates in contemporary art, psychoanalysis, women's studies, and cultural studies. Ettinger was an analysand of Ronald Laing in London and of Piera Aulagnier in Paris. She is member of the Tel Aviv Institute for Contemporary Psychoanalysis (TAICP),[105] the New Lacanian School (NLS) and the World Association of Psychoanalysis (AMP / WAP).[106]
For Ettinger, the Freudian attitude to psychoanalysis is crucial as it emphasizes the phantasmatic value of materials that arise during regression. To Freud and Lacan she adds, however, a feminine-maternal space-time with its particular structures, functions, Eros, Aesthetic, Ethics and ethical potentiality (she names matrixial proto-ethics) and dynamics in the unconscious. She claims that, in a similar way, when seduction is assigned to the paternal figure during regression, it is recognized in most cases as a result of the therapeutic process itself. The analyst therefore must become aware to her capacity for a 'seduction into life' as well as for retraumatizing the analysand. A matrixial ethical countertransference can be worked-through only in 'empathy within compassion' in where therapist avoids parent-blaming. The analyst develops her psychic womb-space to be able to work with the matrixial sphere for the directing of healing. Therapists must likewise realize that during regression phantasmatic maternal "not-enoughness" appears and must also be recognized as the result of the process itself, and be worked-through without the mother-hating that Ettinger considers contributes to a "psychotization" of the subject, which blocks the passage from rage to sorrow and from there to compassion. To be able to recognize the phantasmatic status of the psychic material arising during therapy, the Lacanian concepts of the Symbolic, the Imaginary and the Real are useful to her. Ettinger works between the fields of psychoanalysis and philosophy to change Ethics according to the feminine-maternal-matrixial source after Levinas and Lacan. She is also rethinging and gives new meaning the concepts of beauty and of the sublime.[107][108][109]
Psychoanalytic theory
Major concepts
Ettinger revolutionized the field of psychoanalysis and cultural studies when she coined in artist's books (Notebooks) that she exposed publicly starting from 1985 and in a long series of articles published since 1991 the concept of the matrixial (matricial) space and proposed the feminine matrixial time-space of feminine/prenatal encounter-event as source of human aesthetics and proto-ethics, and femininity as the deep core of ethics, which enters the human subjectivity via the maternal.[110][111][112][113][114][115][116][117][118] Ettinger invented and developed the Matrixial Trans-subjectivity theory, or simply "The Matrixial", with original concepts like matrixial gaze, borderlinking, borderspacing, matrixial time-space, copoiesis, wit(h)nessing, co/in-habit(u)ation, transubjectivity, transjectivity, fascinance, seduction-into-life and carriance. She named the processes of transformation in a matrixial sphere: metramorphoses, and proposed the coemergnce of partial-subjects of I and non-I, female-prematernal-prenatal encounter, Encounter-event, ethical seduction into life, uncanny compassion and uncanny awe (that supplement the uncanny anxiety), fascinance, proto-ethics, being-toward-birth with being-toward-birthing, seduction into life, empathy within compassion, carriance (caring-carrying in the unconscious space of psychic pregnancy) and the matricial feminine-maternal Eros.[119][120]
The early theory: from 1985 through the 1990s
Ettinger invented the concept 'matrixial space' ('matricial space' from etymology of 'womb'), matrixial gaze, matrixial sphere, a feminine-maternal and feminine-prematernal transjective dimension, space, function, Eros and dynamics in the human Unconscious that as the source of humanized ethics and aesthetics, and developed a theoretical philosophical field in her artist's books and notebooks starting 1985,[121] and in books and journals printed in academic journals from 1991 onwards. She had suggested that pre-natal impressions, connected to the phantasmatic and traumatic real of the pregnant becoming-mother, are trans-inscribed in the emerging subject and form the primary phase and position of the human psyche. "I" and "non-I", without rejection and without symbiotic fusion, conjointly inscribe memory traces that are dispersed asymmetrically but in a trans-subjective mode. Trans-subjective mental and affective unconscious "strings", connecting the prenatal emerging subject to the archaic m/Other, open unconscious routes ("feminine", non phallic, in both males and females) that enable subjectivizing processes all throughout life whenever a new matrixial encounter-event takes place. The matrixial encounter-event forms specific aesthetical and ethical accesses to the Other. Ettinger articulated the 'matrixial gaze' and the process of 'metramorphosis' and 'co-poiesis'. This allows new understanding of trans-generational transmission, trauma and artistic processes. Ettinger formulates the woman(girl)-to-woman(mother) difference as the first sexual difference for females to be viewed first of all according to the matrixial parameters. The feminine-maternal Eros informs also the father/son and mother/son relations. According to Ettinger, in parallel but also before expressions of abjection (Julia Kristeva) or rejection (Freud on Narcissism) of the other, primary compassion, awe and fascinance (which are unconscious psychic affective accesses to the other, and which join reattunement and differentiating-in-jointness by borderlinking) occur. The combination of fascinance and primary compassion does not enter the economy of social exchange, attraction and rejection; it has particular forms of Eros and of resistance that can inspire the political sphere and reach action and speech that is ethical-political without entering any political institutional organization. The infant's primary compassion is a proto-ethical psychological means that joins the aesthetical fascinance and creates a feel-knowing that functions at best within maternal (and also parental) compassionate hospitality. Awareness to the matrixial time-space, pre-maternal com-passion and maternal compassion together with the ethical 'seduction-into-life' it involves, is source of responsibility.[122][123] Here, one witnesses in jointness: The I wit(h)ness while borderlinking (bordureliance) to the non-I and borderspacing (bordurespacement) from the other. Ettinger calls for the recognition of the matrixial transference as a dimension in the transferential relationships in psychoanalysis. They must entail besideness to (and not a split from) the archaic the m/Other (Autremere) and parental figures; jointness-in-differentiation rather than their exclusion. She sees in the trans-subjectivity a distinct dimension of human specific linkage and shareability, different from, and supplementary to "inter-subjectivity" and "self" psychology. Her most prominent and comprehensive book regarding this theory is "The Matrixial Borderspace" (reprint of essays from 1994–1999) published in French in 1999[124] and in English in 2006,[125] but her most recent concepts are mainly elaborated in the different essays printed in 2005–2006.[126]
The theory in the 2000s
Her more recent artistic and theoretical work centers around the spiritual in art and ethics. In the domain of psychoanalysis, around the question of same-sex differences, the primary feminine difference is the difference opened between woman (girl) and woman (m/Other), maternal subjectivity, maternal/pregnance Eros of com-passion, the effects of compassion and awe and the passion for borderlinking and borderspacing[127] and the idea that three kinds of fantasy (that she names Mother-fantasies) should be recognized, when they appear in a state of regression aroused by therapy itself, as primal: Mother-fantasies of Not-enoughness, Devouring and Abandonment. Their mis-recognition in psychoanalysis (and analytical therapy), together with the ignorance of maternal Eros of com-passion leads to catastrophic blows to the matrixial daughter-mother tissue and hurts the maternal potentiality of the daughter herself, in the sense that attacking the "non-I" is always also attacking the "I" that dwells inside an "I"-and-"non-I" trans-subjective matrixial (feminine-maternal) tissue. Contributing to Self psychoanalysis after Heinz Kohut, Ettinger articulated the difference between com-passionate borderlinking, compassion (as affect) and empathy, and between "empathy without compassion" and "empathy within compassion", claiming that the analyst's empathy without compassion harms the matrixial psychic tissue of the analysand, while empathy within compassion leads to creativity and to the broadening of the ethical horizon. Ettinger explains how by empathy (toward the patient's complaints) without compassion (toward the patient's surrounding past and present family figures, no less than toward the patient itself), the therapist "produces" the patient's real mother as a "ready-made monster-mother" figure, that serves to absorb complaints of all kinds, and thus, a dangerous splitting is induced between the "good" mother figure (the therapist) and a "bad" mother figure (the real mother). This splitting is destructive in both internal and external terms, and mainly for the daughter-mother relations, since the I and non-I are in any case always trans-connected, and therefore any split and projected hate (toward such figures) will turn into a self-hate in the woman/daughter web. Such a concept of subjectivity, where "non-I" is trans-connected to the "I", has deep ethical implications[128] as well as far-reaching sociological and political implications that have been further developed by Griselda Pollock in order to rethink modern and postmodern art and History. Ettinger's recent theoretical proposals starting around 2008 include the three Shocks of maternality and the paternal infanticide impulses (Laius Complex)[129] Carriance[130] and the Demeter–Persephone Complex, working around Greek Mythology and the Hebrew Bible, the woman artists Eva Hesse, Hilma af Klint and Emma Kunz and the poets and writers Sylvia Plath, Marguerite Duras and Alejandra Pizarnik.[131]
Other activities
Robert Doisneau photographed by Ettinger in his studio in Montrouge, 1992.
Ettinger led the biggest rescue, evacuation and saving operation in the history of the Middle East: saving the drowning young men of the Eilat shipwreck (in 1967), when she was 19 years old. She was wounded during the operation and suffered shell-shock after it. More than a half-century later, the details of this event were declassified and she was awarded the highest Air-Force Medal for Heroism.[133][134][135][136][137][138]
Ettinger is a supporter of human rights and stands for coexistence of two states, Israel and Palestine, side by side in mutual respect. She is feminist activist for peace and against the occupation for few decades, engaged in the efforts towards cohabitation in the frame of four different organizations of Israelis and Palestinians collaborating together: "Women Make Peace", "Forum of Bereaved Families", "Combatants for Peace" and "Physicians for Human Rights" ("PHR-Israel"). Ettinger contributes to the organization as senior clinical psychologist, attending Palestinian patients in needed areas in the Palestinian territories.[139]
The other and the earth need to be known through affective communicaring in self-fragilization. The knowledge revealed in this way, of the invisible chords to which our senses are not yet attuned, is at the basis of the ethical obligation to attend to the vulnerability of the other, human, animal, and even our shared earth, through care and compassion and in wonder and reverence. Lets work together against retraumatization and toward an understanding of a human subject which is informed by feminine transubjectivity in all genders, and become sensitive to the particular Eros of borderlinking between each I and non-I, which is a kind of love...[145][146][147]
—Bracha L. Ettinger on launch of Fascinance: Forum for Ettinger Studies[148] started by Srishti Madurai
Fascinance is forum which was started by Srishti Madurai in South India on 24 December 2013[148] which offers Introductory Course in Ettingerian Psychoanalysis[146][149]
The aims of the forum are:
To Read, Study and Discuss the works of Bracha L. Ettinger.
To apply the matrixial theory in arts, philosophy, psychoanalysis and art criticism.
To Find the possible implications of the concept of "non-life" of Bracha Ettinger in conjunction with the knowledge from various branches of biology such as clinical embryology, nenonatal immunology and developmental biology etc.
To elaborate on the works on Matrixial Thanatos and Matrixial Eros and how Ettinger's approach differs from the traditional views on death drive.
To identify how the Ettingerian theory differs from other psychoanalytic tradition and to discuss the philosophical aspects of matrixial borderspace.
To identify the possible connections of Ettinger's works with natural sciences and social sciences.
Publications
Ettinger is author of several books and more than eighty psychoanalytical essays elaborating different aesthetical, ethical, psychoanalytical and artistic aspects of the matrixial. She is co-author of volumes of conversation with Emmanuel Levinas, Edmond Jabès, Craigie Horsfield, Félix Guattari and Christian Boltanski. Her book Regard et Espace-de-Bord Matrixiels (essays 1994–1999) appeared in French in 1999 (La lettre volée), and has been published in English as The Matrixial Borderspace (2006, University of Minnesota Press, edited by Brian Massumi and foreword by Judith Butler and Griselda Pollock). Ettinger is one of the leading intellectuals associated with contemporary French feminism and feminist psychoanalytical thought alongside Julia Kristeva and Luce Irigaray.[20][21][150][151] The journal Theory Culture & Society dedicated an issue to her work [TC&S, Vol.21, n.1] in 2004.
Selected books
Matrixial Subjectivity, Aesthetics, Ethics. Vol 1: 1990-2000. Selected papers edited with Introduction by Griselda Pollock. Pelgrave Macmillan 2020; ISBN978-1-137-34515-8
The Matrixial Borderspace. (Essays from 1994 to 1999). University of Minnesota Press (2006); ISBN0-8166-3587-0
Proto-ética matricial. Spanish Edition translated and Introduced by Julian Gutierrez Albilla (Gedisa 2019); ISBN978-84-17690-86-1
Yhdessatuotanto. Translated by Akseli Virtanen et al. Helsinki: Tutkijaliitto (Polemos-sarja), 2009.
Thrown. Poems by James Wagner to Paintings by Bracha L. Ettinger. There Press (2014)
Regard et Espace-de-bord matrixiels. Brussels: La lettre volee (1999); ISBN2-87317-102-2
Matrix et le Voyage à Jerusalem de C.B. [Conversation with Christian Boltanski 1989, portrait photographs of C.B in his studio, by BRACHA, 1990, notebook fragments 1985-1989]. Artist's book. Paris: BLE Atelier (1991)
Matrix. Halal(a) – Lapsus. Notes on Painting, 1985–1992. Translated by Joseph Simas. Oxford: MOMA (1993)
The Matrixial Gaze (1994) Feminist Arts & Histories Network – Dept. of Fine Art, Leeds University (1995)
Selected publications
"What is Intelligence". Spike Art Magazine, vol 77: 36-37 (2023)
"Beyond the Death-drive, Beyond the Life-drive—Being-toward-Birthing with Being-toward-Birth. Copoiesis and the Matrixial Eros—Metafeminist Notes", Aberrant Nuptials. Leuven University Press (2019).
"Translucent Fore-images. Glowing through Painting." Colori. Torino: Castello di Rivoli & GAM, SilvanaEditorials (2017)
"Laius Complex and Shocks of Maternality. Reading Franz Kafka and Sylvia Plath", Interdisciplinary Handbook of Trauma and Culture, eds. Y. Ataria et al, NY & Heidelberg: Springer (2016).
"And My Heart, Wound-Space With-in Me. The Space of Carriance", And My Heart Wound-Space. 14th Istanbul Biennial. Leeds: Wild Pansy Press (2015)
"Carriance, Copoiesis and the Subreal", Saltwater. 14th Istanbul Biennial Catalogue. Ed. by Carolyn Christov Bokargiev (2015)
"The Sublime and Beauty beyond Uncanny Anxiety". In: Intellectual Birdhouse. Artistic Practice as Research. Edited by F. Dombois, U. M. Bauer, C. Marais and M. Schwab. London: Koening Books (2011); ISBN978-3-86335-118-2
"Antigone With(out) Jocaste". In: Interrogating Antigone. Edited by S. E. Wilmer and A. Zukauskaite. Oxford University Press, 2010 (189–214); ISBN978-0-19-955921-3
"Communicaring: Reflexion around Hiroshima mon amour". In: PostGender: Sexuality and Performativeivity in Japanese Culture. Edited by Ayelet Zohar. Newcastle upon Tyne: Cambridge Scholars Publishing, 2010; ISBN965-7067-61-8
"Diotima and the Matrixial Transference: Psychoanalytical Encounter-Event as Pregnancy in Beauty", Across the Threshold (Explorations of Liminality in Literature). Edited by C. N. van der Merwe and H. Viljoen. New York: Peter Lang. 2007; ISBN978-1-4331-0002-4
"Fragilization and Resistance". In: Bracha L. Ettinger: Fragilization and Resistance. Edited by Tero Nauha and Akseli Virtanen. Finnish Academy of Fine Arts with Aivojen yhteistyo, Helsinki, 2009. Maternal Studies
"Com-passionate Co-response-ability, Initiation in Jointness, and the link x of Matrixial Virtuality". In: Gorge(l). Oppression and Relief in Art. Edited by Sofie Van Loo. Royal Museum of Fine Art. Antwerpen, 2006; ISBN90-76979-35-9
"Gaze-and-touching the Not Enough Mother", Eva Hesse Drawing. Edited by Catherine de Zegher, NY/New Haven: The Drawing Center/Yale University Press. 2006; ISBN0-300-11618-7
"Matrixial Trans-subjectivity". Theory Culture & Society – TCS, 23:2–3. 2006; ISSN 0263-2764
"Art and Healing Matrixial Transference Between the Aesthetical and the Ethical." In Catalogue: ARS 06 Biennale. 68–75; 76–81. Helsinki: Kiasma Museum of Contemporary Art (2006)
"Fascinance. The Woman-to-woman (Girl-to-m/Other) Matrixial Feminine Difference". In: Psychoanalysis and the Image. Edited by Griselda Pollock. Oxford: Blackwell (2006); ISBN1-4051-3461-5
"Art-and-Healing Oeuvre." 3 X Abstraction. Edited by Catherine de Zegher and Hendel Teicher, 199–231. NY/New Haven: The Drawing Center/Yale University Press (2005); ISBN0-300-10826-5
"Trenzado y escena primitiva del ser-de-a-tres" (7 June 2000). In: Jacques-Alain Miller, Los usos del lapso, Los cursos psicoanaliticos de Jacques-Alain Miller. Buenos Aires: Paidos. 2004, pp. 466–481; ISBN950-12-8855-2
"Trans-subjective transferential borderspace" (1996). Reprinted in Brian Massumi (ed.), A Shock to Thought. (Expression after Deleuze and Guattari). London & NY: Routledge, 2002, pp. 215–239; ISBN0-415-23804-8
"The Red Cow Effect" (First printed in 1996 in: Act 2, ISSN 1360-4287). Reprinted in: Mica Howe & Sarah A. Aguiar (eds.), He Said, She Says. Fairleigh Dickinson University press & London: Associated University Press, 2001, pp. 57–88; ISBN0-8386-3915-1
"Matrixial Gaze and Screen: Other than Phallic and Beyond the Late Lacan." In: Laura Doyle (ed.) Bodies of Resistance. Evanston, Illinois: Northwestern University Press, 2001, pp. 103–143; ISBN0-8101-1847-5
"Art as the Transport-Station of Trauma", Bracha Lichtenberg Ettinger: Artworking 1985–1999, Ghent-Amsterdam: Ludion & Brussels: Palais des Beaux-Arts, 2000, pp. 91–115. ( ISBN90-5544-283-6) Extract in
"Trauma and Beauty." In: Kjell R. Soleim [ed.], Fatal Women. Journal of the Center for Women's and Gender Research, Bergen Univ., Vol. 11: 115–128 (1999)
"The Feminine/Prenatal Weaving in the Matrixial Subjectivity-as-Encounter." Psychoanalytic Dialogues, VII:3, The Analytic Press, New York, 1997, pp. 363–405; ISSN 1048-1885
"Metramorphic Borderlinks and Matrixial Borderspace." In: John Welchman (ed.), Rethinking Borders, Minnesota University Press, 1996. 125–159; ISBN0-333-56580-0
The Matrixial Gaze. (1994), Feminist Arts & Histories Network, Dept. of Fine Art, Leeds University, 1995; ISBN978-0-9524899-0-0. Reprinted as Ch. I in The Matrixial Borderspace.
"The Becoming Threshold of Matrixial Borderlines.". In: Robertson et als. (eds.) Travelers' Tales. Routledge, London, 1994, pp. 38–62; ISBN0-415-07016-3
Matrix . Halal(a) — Lapsus. Notes on Painting, 1985–1992. Translated by Joseph Simas. Museum Of Modern Art, Oxford, 1993; ISBN0-905836-81-2. (Reprinted in Artworking 1985–1999. Ghent: Ludion, 2000; ISBN90-5544-283-6)
"From transference to the aesthetic paradigm: a conversation with Felix Guattari" (1989). Reprinted in Brian Massumi (ed.), A Shock to Thought. London & NY: Routeledge, 2002; ISBN0-415-23804-8.
Matrix et le voyage à Jérusalem de C.B. (1989). Artist book, limited edition, with 60 photos of Christian Boltanski by Ettinger, and Conversation between Ettinger and Boltanski. 1991.
Edmond Jabès in conversation with Bracha Ettinger (1990, selection). "This is the Desert, Nothing Strikes Root Here", Routes Of Wandering. The Israel Museum, Jerusalem, 1991, pp. 246–256; ISBN965-278-116-9.
Edmond Jabès in conversation with Bracha L. Ettinger (1990, selection). A Threshold Where We are Afraid. Translated by Annemarie Hamad and Scott Lerner. MOMA, Oxford, 1993; ISBN0-905836-86-3
Emmanuel Levinas in conversation with Bracha L. Ettinger (1991–93, selection). Time is the Breath of the Spirit. Translated by C. Ducker and J. Simas. MOMA (Museum of Modern Art), Oxford, 1993; ISBN0-905836-85-5
Emmanuel Levinas in conversation with Bracha L. Ettinger (1991–93, selection). "What would Eurydice Say?"/ "Que dirait Eurydice?" Reprint of Le féminin est cette différence inouïe (livre d'artiste, 1994 that includes the text of Time is the Breath of the Spirit). Trans. C. Ducker and J. Simas. Reprinted to coincide with the Kabinet exhibition, Stedelijk Museum, Amsterdam, Paris: BLE Atelier, 1997; ISBN2-910845-08-7. Reprinted in: Athena: Philosophical Studies. Vol. 2 (Vilnius: Versus); ISSN 1822-5047.
"Working-Through." A conversation between Bracha Lichtenberg Ettinger and Craigie Horsfield. In: Bracha Lichtenberg Ettinger: Eurydice Series. Drawing Papers, n.24. NY: The Drawing Center. 2001, pp. 37–62.
"Conversation: Craigie Horsfield and Bracha L. Ettinger". September 2004. In: Craigie Horsfield, Relation. Edited by Catherine de Zegher. Paris: Jeu de Paume, 2006.
Conversation between Bracha L. Ettinger and Akseli Virtanen, "Art, Memory, Resistance." In Framework: The Finnish Art Review 4: Permanent Transience and in Web Journal Ephemera, vol. 5, no. X.
Feminist film theory is a theoretical film criticism derived from feminist politics and feminist theory influenced by second-wave feminism and brought about around the 1970s in the United States. With the advancements in film throughout the years feminist film theory has developed and changed to analyse the current ways of film and also go back to analyse films past. Feminists have many approaches to cinema analysis, regarding the film elements analyzed and their theoretical underpinnings.
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Film theory is not to be confused with general film criticism, or film history, though these three disciplines interrelate.
Gender studies is an interdisciplinary academic field devoted to analysing gender identity and gendered representation. Gender studies originated in the field of women's studies, concerning women, feminism, gender, and politics. The field now overlaps with queer studies and men's studies. Its rise to prominence, especially in Western universities after 1990, coincided with the rise of deconstruction.
Psychoanalytic film theory is a school of academic thought that evokes the concepts of psychoanalysts Sigmund Freud and Jacques Lacan. The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory. The theory is separated into two waves. The first wave occurred in the 1960s and 70s. The second wave became popular in the 1980s and 90s.
Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.
Écriture féminine, or "women's writing", is a term coined by French feminist and literary theorist Hélène Cixous in her 1975 essay "The Laugh of the Medusa". Cixous aimed to establish a genre of literary writing that deviates from traditional masculine styles of writing, one which examines the relationship between the cultural and psychological inscription of the female body and female difference in language and text. This strand of feminist literary theory originated in France in the early 1970s through the works of Cixous and other theorists including Luce Irigaray, Chantal Chawaf, Catherine Clément and Julia Kristeva, and has subsequently been expanded upon by writers such as psychoanalytic theorist Bracha Ettinger. who emerged in this field in the early 1990s,
Feminist theory is the extension of feminism into theoretical, fictional, or philosophical discourse. It aims to understand the nature of gender inequality. It examines women's and men's social roles, experiences, interests, chores, and feminist politics in a variety of fields, such as anthropology and sociology, communication, media studies, psychoanalysis, political theory, home economics, literature, education, and philosophy.
Feminist art is a category of art associated with the feminist movement of the late 1960s and 1970s. Feminist art highlights the societal and political differences women experience in their lives. The goal of this art form is to bring a positive and understanding change to the world, leading to equality or liberation. Media used range from traditional art forms, such as painting, to more unorthodox methods such as performance art, conceptual art, body art, craftivism, video, film, and fiber art. Feminist art has served as an innovative driving force toward expanding the definition of art by incorporating new media and a new perspective.
Griselda Frances Sinclair Pollock is an art historian and cultural analyst of international, postcolonial feminist studies in visual arts and visual culture. Since 1977, Pollock has been an influential scholar of modern art, avant-garde art, postmodern art, and contemporary art. She is a major influence in feminist theory, feminist art history, and gender studies. She is renowned for her innovative feminist approaches to art history which aim to deconstruct the lack of appreciation and importance of women in art as other than objects for the male gaze.
Christine Buci-Glucksmann is a French philosopher and Professor Emeritus from University of Paris VIII specializing in the aesthetics of the Baroque and Japan, and computer art. Her best-known work in English is Baroque Reason: The Aesthetics of Modernity.
Eurydice was a character in Greek mythology and the Auloniad wife of Orpheus, whom Orpheus tried to bring back from the dead with his enchanting music.
New European Painting emerged in the 1980s and reached a critical point of major distinction and influence in the 1990s with painters like Gerhard Richter, Sigmar Polke, Georg Baselitz, Anselm Kiefer and Bracha L. Ettinger whose paintings have established and continue to create a new dialogue between the historical archive, American Abstraction and figuration. The major new European painters of this era show strong engagements with painful personal and general history, as well as shared history; its memory and its oblivion; and with life under the shadow of World War II, utilizing research in new and old materials, photography and oil painting.
Poststructural feminism is a branch of feminism that engages with insights from post-structuralist thought. Poststructural feminism emphasizes "the contingent and discursive nature of all identities", and in particular the social construction of gendered subjectivities.
Feminist ethics is an approach to ethics that builds on the belief that traditionally ethical theorizing has undervalued and/or underappreciated women's moral experience, which is largely male-dominated, and it therefore chooses to reimagine ethics through a holistic feminist approach to transform it.
The Matrixial Gaze is a 1995 book by artist, psychoanalyst, clinical psychologist, writer and painter Bracha L. Ettinger. It is a work of feminist film theory that examines the gaze as described by Jacques Lacan, criticises it, and offers an original theory concerning feminine and female gaze. Beginning in 1985, Ettinger's artistic practice and her theoretical invention of a matrixial space articulated around her proposal of a feminine-maternal sphere of encounter that begins in the most archaic (pre-maternal-prenatal) humanised encounter-event, led her to publish a long series of academic articles starting 1992, articulating and developing for some decades what she has called the matrixial theory of trans-subjectivity. The matrixial theory formulates Aesthetics and artistic creativity in terms of withnessing, compassion, wondering and 'fascinance', as well as Ethics of witnessing, responsibility, respect, compassion and care, and the passage from co-response-ability to responsibility and from com-passion to compassion. Bracha L. Ettinger invented a field of concepts that have influenced debates in contemporary art, psychoanalysis, women's studies, film studies, feminism, gender studies and cultural studies.
Catherine de Zegher is a Belgian curator and a modern and contemporary art historian. She has a degree in art history and archaeology from the University of Ghent.
Feminist art criticism emerged in the 1970s from the wider feminist movement as the critical examination of both visual representations of women in art and art produced by women. It continues to be a major field of art criticism.
In feminist theory, the male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. The concept was first articulated by British feminist film theorist Laura Mulvey in her 1975 essay, "Visual Pleasure and Narrative Cinema". Mulvey's theory draws on historical precedents, such as the depiction of women in European oil paintings from the Renaissance period, where the female form was often idealized and presented from a voyeuristic male perspective. Art historian John Berger, in his work Ways of Seeing (1972), highlighted how traditional Western art positioned women as subjects of male viewers’ gazes, reinforcing a patriarchal visual narrative.
Archaic mother is the mother of earliest infancy, whose continuing influence is traced in psychoanalysis, and whose (repressed) presence is considered to underlie the horror film.
The female gaze is a feminist theory term referring to the gaze of the female spectator, character or director of an artistic work, but more than the gender it is an issue of representing women as subjects having agency. As such, people of any gender can create films with a female gaze. It is a response to feminist film theorist Laura Mulvey's term "the male gaze", which represents not only the gaze of a heterosexual male viewer but also the gaze of the male character and the male creator of the film. In that sense it is close, though different, from the Matrixial gaze coined in 1985 by Bracha L. Ettinger. In contemporary usage, the female gaze has been used to refer to the perspective a female filmmaker (screenwriter/director/producer) brings to a film that might be different from a male view of the subject.
↑ Bracha L. Ettinger, "Matrix and Metramorphosis", Differences. Vol. 4, nº 3, 1992.
↑ Bracha L. Ettinger, The Matrixial Borderspace. (Essays from 1994 to 1999). University of Minnesota Press, 2006
↑ Bracha L. Ettinger, Régard et éspace-de-bord matrixiels. Brussels: La Lettre Volée, 1999.
↑ Bracha L. Ettinger, Proto-ética matricial. Psychoanalytical writings from the 1990s. Spanish Edition translated and Introduced by Julian Gutierrez Albilla (Gedisa 2019)
↑ Bracha L. Ettinger, "Diotima and the Matrixial Transference." In: Van der Merwe, C. N., and Viljoen, H., eds. Across the Threshold. New York: Peter Lang, 2007; ISBN978-1-4331-0002-4
↑ Bracha L. Ettinger, Matrixial Subjectivity, Aesthetics, Ethics. Vol 1: 1990-2000. Selected papers from the 1990s edited with Introduction by Griselda Pollock. Pelgrave Macmillan (2020).
↑ Face à l'Histoire. 1933–1996. Paris: Flammarion and Centre Georges Pompidou (1996); ISBN2-85850-898-4
↑ Bracha Lichtenberg Ettinger: Eurydice Series. Edited by Catherine de Zegher and Brian Massumi. Drawing Papers, n.24. NY: The Drawing Center, 2001. With texts by Judith Butler, Bracha Ettinger, Adrien Rifkin and the editors, and including a conversation between the Bracha Ettinger and Creigie Horsfield.
↑ Bracha Lichtenberg Ettinger: Artworking 1985–1999, with a reprint of Notes on Painting. Ludion: Ghent-Amsterdam, and Brussels: Palais des Beaux-Arts, 2000; ISBN90-5544-283-6
↑ Brian Massumi, "Painting: The voice of the grain" in Bracha L. Ettinger, The Matrixial Borderspace, University of Minnesota Press, 2006
↑ Jean-François Lyotard, "Diffracted Traces / Anima Minima, Matrix - Halala Autistwork, Israel Museum, 1995 and in: Noam Sigal, Bracha Lichtenberg Ettinger, Radicants / Le press du reel, Paris, 2022
↑ Jean-François Lyotard, "Anamnesis", in Noam Sigal (ed.), Bracha Lichtenberg Ettinger, Radicants / Le press du reel, Paris, 2022
↑ Christine Buci-Glucksmann, "Inner space of painting", Halala - autistwork, Israel Museum 1995
↑ Griselda Pollock, Encounters in the Virtual Feminist Museum, Routledge, 2007
↑ Catherine de Zegher, Women's Work is Never Done, Ghent: Mer. Papers Kunsthalle, 2015
↑ de Zegher, Catherine and Pollock, Griselda, eds. Art as Compassion, Ghent: Mer. Papers Kunsthalle, 2011.
↑ de Zegher, Catherine, Inside the Visible, MIT Press, 1996.
↑ Bracha L. Ettinger, Matrixial Subjectivity, Aesthetics, Ethics. Vol I: 1990-2000. Edited by Griselda Pollock, Pelgrave-Macmillan, 2020.
↑ Manning, Erin. "Vertiginious Before the Light", Art as Compassion. MER Paper Kunsthalle, 2011.
↑ Benjamin, Andrew. "Lighting, Colouring, Workin" in Bracha L. Ettinger. And My Heart Wound-Space. Leeds: Wild Pansy Press, 2015; ISBN978-1-900687-55-3
↑ Buci-Glucksmann, Christine. "Images of Absence in the Inner Space of Painting", Inside the Visible. MIT Press, 1996.
↑ Kinsella, Tina, "Sundering the Spell of Visibility", and Pollock Griselda, "Between Painting and the Digital" in Bracha L. Ettinger. A. And My Heart Wound-Space. Leeds: Wild Pansy Press, 2015; ISBN978-1-900687-55-3.
↑ Pollock, Griselda. "Agnes Dreaming: Dreaming Agnes", and Bracha L. Ettinger "The Art-and-Healing Oeuvre" in 3 x Abstraction. Yale University Press, 2005.
↑ Pollock, Griselda,Art in the Time-Space of Memory and Migration: Sigmund Freud, Anna Freud and Bracha L. Ettinger in the Freud Museum. Leeds: Wild Pansy Press and London: Freud Museum (2013)
↑ Nicolas Bourriaud, Bracha Ettinger: Off [hors] Figures, in: Bracha L. Ettinger - And My Heart Wound-Space. Leeds: Wild Pansy Press and 14th Istanbul Biennial (2015)
↑ Griselda Pollock. Between painting and the Digital, in: Bracha L. Ettinger - And My Heart Wound-space. Leeds: Wild Pansy Press and 14th Istanbul Biennial, 2015; ISBN978-1-900687-55-3
↑ Marianne Hirsch, The Generation of Postmemory. New York: Columbia University Press, 2012.
↑ Bracha L. Ettinger, Translucent Fore-images. Glowing through painting. In: Colori. Curator and Editor: Carolyn Christov-Bakargiev. Castello di Rivoli, Museum of Modern Art, Turin, 2017; ISBN9-788836-636693
↑ Tina Kinsella, Sundering the Spell of Visibility, in: Bracha L. Ettinger: And My Heart Wound-space. Leeds: Wild Pansy Press and 14th Istanbul Biennial, 2015.
↑ Pollock, Griselda, Encounters in the Virtual Feminist Museum. Taylor and Francis, 2010.
↑ Pollock, Griselda, Art in the Time-Space of Memory and Migration: Sigmund Freud, Anna Freud and Bracha L. Ettinger in the Freud Museum. Leeds: Wild Pansy Press, 2013.
↑ De Zegher, Catherine, Women's Work is Never Done. MER Edition, 2015.
↑ Catherine de Zegher and Griselda Pollock (eds.), Art as Compassion. Bracha Lichtenberg Ettinger. Ghent: MER. Paper Kunsthalle & Brussels: ASA Publishers, 2011.
↑ De Zegher, Catherine, Inside the Visible. MIT Press, 1996.
↑ Savatier, Thierry (23 May 2011). "Bracha Ettinger expose à Angers"[Bracha Ettinger exhibits in Angers]. Les Mauvaises Fréquentations [Bad Associations] (in French). Archived from the original on 1 August 2018. Retrieved 15 March 2022.
↑ Griselda Pollock, Encounters in the Virtual Feminist Museum. Routledge, 2007.
↑ Bracha L. Ettinger, "Fascinance. The Woman-to-woman (Girl-to-m/Other) Matrixial Feminine Difference", Psychoanalysis and the Image. Oxford: Blackwell, 2006.
↑ Bracha L. Ettinger, Matrix. Halal(a) – Lapsus. Notes on Painting, 1985–1992. Oxford: MoMA, 1993. Reprinted in: Artworking, 2000.
↑ Bracha L. Ettinger, "Matrix and Metramorphosis." Differences. Vol. 4, nº 3, 1992.
↑ Bracha L. Ettinger, "From Proto-ethical Compassion to Responsibility: Besidedness, and the three Primal Mother-Phantasies of Not-enoughness, Devouring and Abandonment", Athena Philosophical Studies. Vol. 2 (Vilnius: Versus, 2006), pp. 100–135.
↑ Bracha L. Ettinger, “Uncanny Awe, Uncanny Compassion and Matrixial Transjectivity beyond Uncanny Anxiety”, FLS, Volume XXXVIII, 2011.
↑ Bracha L. Ettinger, "Diotima and the Matrixial Transference: Psychoanalytical Encounter-Event as Pregnancy in Beauty." In: Van der Merwe, Chris N., and Viljoen, Hein, eds. Across the Threshold: Explorations of Liminality in Literature. NY: Peter Lang & Potchefstroom: Literator, 2007.
↑ Bracha L. Ettinger, "Wit(h)nessing Trauma and the Matrixial Gaze: From Phantasm to Trauma, from Phallic Structure to Matrixial Sphere." Parallax 21. Vol. 7, nº 4: 89–114, 2001.
↑ Bracha L. Ettinger, "Weaving a Woman Artist With-in the Matrixial Encounter-Event", Theory, Culture and Society. Vol. 21 (1): 69–94, 2004.
↑ Lyotard, Jean-François (1993). "Anima Minima". Printed as "Des traces diffractées" / "Diffracted Traces." (“Anima Minima”), in: Christine Buci-Glucksmann, Jean-François Lyotard, Griselda Pollock. Bracha Lichtenberg Ettinger: Halala – Autistwork. Aix en Provence: Cité du Livre & Jerusalem: The Israel Museum, 1995.
↑ Lyotard, Jean-François. "L'anamnèse" (1995). In: Mazin, Victor, Turkina, Olessia, and Seppala, Marketta, eds. Doctor and Patient. Memory and Amnesia. Ylojarvi: Pori Art Museum Publications, 1997.
↑ Bracha L. Ettinger, "What is Intelligence". Spike Art Magazine, vol 77: 36-37, 2023.
↑ Bracha L. Ettinger, "Uncanny Awe, Uncanny Compassion and Matrixial Transjectivity beyond Uncanny Anxiety", FLS, Volume XXXVIII, 2011.
↑ Bracha L. Ettinger, "The Sublime and Beauty Beyond Uncanny Anxiety." In: Dombois, Florian, Mareis, Claudia, Meta Bauer, Ute, and Schwab, Michael, eds. Intellectual Birdhouse: Art Practice as Research. London: Koenig, pp. 205-231, 2011.
↑ Bracha L. Ettinger in conversation with Emmanuel Lévinas. Time is the Breath of the Spirit. Lim. ed. Oxford: MOMA, 1993.
↑ Bracha L. Ettinger in conversation with Emmanuel Lévinas. What Would Eurydice Say. Stedelijk Museum print, 1997; Reprinted at Athena n.2, 2006.
↑ Pollock, Griselda. Art in the Time-Space of Memory and Migration: Sigmund Freud, Anna Freud and Bracha L. Ettinger in the Freud Museum. Wild Pansy Press & London: Freud Museum, 2013.
↑ de Zegher, Catherine. Inside the Visible. MIT Press, 1996.
↑ Vandenbroeck, P. Azeta. Paris: Flammarion, 2000.
↑ Pollock, Griselda. "Abandoned at the Mouth of Hell" In: Florence, P., and Pollock, G., eds. Looking Back to the Future. NY: G&B New Arts Press, 2001.
↑ Vandenbroeck, P. A Glimpse of the Cocealed. Royal Museum of Fine Art Antwerp, 2017.
↑ Gutierrez-Albilla, J., Aesthetics, Ethics and Trauma in the Cinema of Pedro Almodovar. Edinburch University Press, 2017.
↑ Bracha L. Ettinger, "Matrixial Trans-subjectivity" in: Problematizing Global Knowledge. Theory, Culture and Society, vol 23, Numbers 2–3, 2006; ISSN 0263-2764
↑ “Carriance, Copoiesis and the Subreal.” In: Saltwater. Theory of Thought Forms. 14th Istanbul Biennial Catalogue. Edited by Carolyn Christov Bokargiev, 2015. Printed also in: Bracha L. Ettinger. A α א And My Heart Wound-Space.
↑ Ettinger, Bracha Lichtnberg, Matrix. Halala - Lapsus. Notes on Painting 1985-1992. Museum of Modern Art, Oxford, 1993
↑ Mainly: "From Proto-ethical Compassion to Responsibility", "Fascinance" and "Com-passionate Co-response-ability, Initiation in Jointness, and the link x of Matrixial Virtuality". All published in 2006 — see list of recent publications.
↑ Bracha L. Ettinger, "Diotima and the Matrixial Transference: Psychoanalytical Encounter-Event as Pregnancy in Beauty." In: Van der Merwe, Chris N., and Viljoen, Hein, eds. Across the Threshold: Explorations of Liminality in Literature. New York: Peter Lang & Potchefstroom: Literator (2007); ISBN1-4331-0002-9
↑ Bracha L. Ettinger, "From Proto-ethical Compassion to Responsibility: Besideness, and the three Primal Mother-Phantasies of Not-enoughness, Devouring and Abandonment". In: Athena: Philosophical Studies. Vol. 2 (Vilnius: Versus). 2006. pp. 100–135; ISSN 1822-5047.
↑ Bracha L. Ettinger, "Laius Complex and Shocks of Maternality. Reading Franz Kafka and Sylvia Plath", Interdisciplinary Handbook of Trauma and Culture, Yochai Ataria, David Gurevitz, Haviva Pedaya, Yuval Neria, eds., New York and Heidelberg: Springer (2016)
↑ Bracha L. Ettinger, "And My Heart Wound-space With-in Me. The Space of Carriance" In: And My Heart Wound Space, Leeds: Wild Pansy Press and 14th Istanbul Biennial (2015); ISBN978-1-900687-55-3
↑ Rosi Huhn (Interview), Bracha L. Ettinger (Portraits of R. Doineau) and the Parisian Photographs of Robert Doisneau, "Promenades dans les passage de Paris avec Robert Doisneau." In: Passages d'après Walter Benjamin / Passagen Nach Walter benjamin. [Ed. V. Malsey, U. Rasch, P. Rautmann, N. Schalz]. Verlag Herman Schmidt, Mainz, 1992; ISBN3-87439-250-3
↑ Ettinger, Bracha L., Matrix et le voyage a Jerusalem de C.B., 1991
↑ Glowacka, Dorota. "Lyotard and Eurydice: The Anamnesis of the Feminine", Gender After Lyotard. NY: SUNY Press, 2007.
↑ Edmond Jabès in conversation with Bracha L. Ettinger (1990). A Threshold Where We are Afraid. Translated by Annemarie Hamad and Scott Lerner. MOMA, Oxford (1993); ISBN0-905836-86-3
↑ Emmanuel Levinas in conversation with Bracha L. Ettinger (1991–1993). Time is the Breath of the Spirit. Translated by C. Ducker and J. Simas. MOMA (Museum of Modern Art), Oxford, 1993; ISBN0-905836-85-5
↑ Victor Malsey, Uwe Raseh, Peter Rautmann, Nicolas Schalz, Rosi Huhn, Passages. D'après Walter Benjamin / Passagen. Nach Walter Benjamin. Mainz: Herman Schmidt, 1992.
↑ Griselda Pollock, Inscriptions in the feminine. In: Inside the Visible edited by Catherine de Zegher. MIT Press (1996)
Further reading
Catherine de Zegher and Griselda Pollock (eds.), Art as Compassion. Bracha Lichtenberg Ettinger. [Monography]. Ghent: MER. Paper Kunsthalle & Brussels: ASA Publishers, 2011; ISBN978-94-6117-008-8
Patrick le Nouene (ed.), Le Cabinet de Bracha. [English and French]. [Monography]. Musee d'Angers, 2011; ISBN2-35293-030-8
Christine Buci-Glucksmann, "Le devenir-monde d'Eurydice", published to coincide with the project "Capturing the Moving Mind", Paris: BLE Atelier, 2005. Trans. Eurydice's Becoming-World and reprinted as brochure for "The Aerials of Sublime Transscapes", Breda: Lokaal 01, 2008.
Dorota Glowacka, "Lyotard and Eurydice: The Anamnesis of the Feminine", Gender After Lyotard. SUNY Press: NY (2007); ISBN978-0-7914-6956-9
Griselda Pollock, Ch. 6: "The Graces of Catastrophe", Encounters in the Virtual Feminist Museum: Time, Space and the Archive. Routledge, 2007; ISBN0-415-41374-5.
Sofie Van Loo, "Eros and Erotiek" in ThRu1. Text / catalogue for virtual solo exhibition at Lokaal01, Antwerp, 2007. .
Brigid Doherty, "Dwelling on Spaces". In: Women Artists as the Millennium. Edited by Carol Armstrong and Catherine de Zegher. Cambridge Massachusetts: October Books, MIT Press, 2006; ISBN978-0-262-01226-3
Griselda Pollock, "Rethinking the Artist in the Woman, The Woman in the Artist, and that Old Chestnut, the Gaze." In: Women Artists as the Millennium. Edited by Carol Armstrong and Catherine de Zegher. Cambridge Massachusetts: October Books, MIT Press, 2006, pp. 35–83; ISBN978-0-262-01226-3
Griselda Pollock, "Beyond Oedipus. Feminist Thought, Psychoanalysis, and Mythical Figurations of the Feminine." In: Laughing with Medusa. Edited by Vanda Zajko and Miriam Leonard. Oxford University Press, 2006, pp. 87–117; ISBN0-19-927438-X
Sofie Van Loo, Gorge(l): Oppression and relief in Art. Royal Museum of Fine Arts, Antwerp & Gynaika, 2006.
Sofie Van Loo, "Titian and Bracha L. Ettinger: an artistic dialogue between the 16th and the 20th/21st centuries". In: Antwerp Royal Museum Annual, 2006.
Jean-François Lyotard (1995), "Anamnesis: Of the Visible", Theory, Culture and Society, Vol. 21(1), 2004; ISSN 0263-2764
Jean-François Lyotard (1993), "Scriptures: Diffracted Traces" (First version of "Anima Minima"), Theory, Culture and Society, Vol. 21(1), 2004.
Griselda Pollock, "Does Art Think?", Art and Thought. Oxford: Basil Blackwell, 2003; ISBN0-631-22715-6.
Heinz-Peter Schwerfel, "Matrix und Morpheus" in: Kino und Kunst. DuMont Literatur und Kunst Verlag, Koln. 2003; ISBN3-8321-7214-9
Catherine de Zegher and Brian Massumi (eds.), "Bracha Lichtenberg Ettinger: The Eurydice Series". Drawing Papers, n.24. NY: The Drawing Center, 2001.
Brian Massumi, "Painting: The Voice of the Grain", In: Bracha Lichtenberg Ettinger: The Eurydice Series. [Catherine de Zegher and Brian Massumi (eds.)]. Drawing Papers, n.24. NY: The Drawing Center, 2001.
Adrian Rifkin, "...respicit Orpheus", Bracha Lichtenberg Ettinger: The Eurydice Series. [Catherine de Zegher and Brian Massumi (eds.)]. Drawing Papers, n.24. NY: The Drawing Center, 2001.
Christine Buci-Glucksmann, "Eurydice and her doubles. Painting after Auschwitz", Bracha Lichtenberg Ettinger: Artworking 1985–1999. Ghent-Amsterdam: Ludion & Brussels: Palais des Beaux-Arts, 2000; ISBN90-5544-283-6
Griselda Pollock and Penny Florence, Looking Back to the Future: Essays by Griselda Pollock from the 1990s. G&B Arts Press, 2000; ISBN90-5701-132-8.
Paul Vandenbroeck, Azetta — L'art de femmes Berberes. Paris: Flammarion, 2000; ISBN90-5544-282-8
Adrien Harris, "Beyond/Outside Gender Dichotomies: New Forms of Constituting Subjectivity and Difference." Psychoanalytic Dialogues, VII: 3, 1997; ISSN 1048-1885.
Christine Buci-Glucksmann, "Images of Absence in the Inner Space of Painting", Inside the Visible. MIT Press, Boston, 1996.
Rosi Huhn, "Die Passage zum Anderen: Bracha Lichtenberg Ettingers äesthetisches Konzept der Matrix und Metramorphose", Silvia Baumgart (Hrsg), Denkräum. Zwischen Kunst und Wissenschaft. Reimer, Berlin, 1993; ISBN3-496-01097-5
Rosi Huhn, Bracha L. Ettinger: La folie de la raison / Wahnsinn der Vernunft. Goethe Institut, Paris, 1990.
Bracha L. Ettinger, "From transference to the aesthetic paradigm: a conversation with Felix Guattari." Reprinted in Brian Massumi (ed.), A Shock to Thought. Expression after Deleuze and Guattari. London & NY: Routeledge, 2002; ISBN0-415-23804-8
Fintan Walsh, "From Enthusiasm to Encounter-Event: Bracha L. Ettinger, Samuel Beckett, and the Theatre of Affect. Parallax, 17:2 (2011), pp. 110–123.
Podcast of UCD Humanities Institute lecture - Beauty in the Human: Uncanny Compassion, Uncanny Awe 2012 Podcasts | Bracha L. Ettinger, ucd.ie. Accessed 5 April 2024.
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