Bracha L. Ettinger

Bracha Lichtenberg Ettinger
Born (1948-03-23) March 23, 1948
Tel Aviv, Mandatory Palestine (present-day Israel)
Era Art, Contemporary philosophy
Region Western Philosophy
School Psychoanalysis
Main interests
 Psychoanalysis, art, feminist theory, aesthetics, human rights, ethics, the Maternal
Notable ideas
 Matrixial gaze, matrixial trans-subjectivity

Bracha Lichtenberg Ettinger (Hebrew: ברכה אטינגר, ברכה ליכטנברג-אטינגר‎) is an Israeli-born visual artist who has mainly produced paintings, drawings, notebooks and photography. She is also a philosopher, psychoanalyst and writer.

Ettinger's work consists mostly of oil painting. Ettinger is now considered to be a prominent figure among both the French painters' and the Israeli art's scenes. Ettinger's art was recently analysed at length in the book Women Artists at the Millennium,[1] in Griselda Pollock's Encounters in the Virtual Feminist Museum[2] and in Catherine de Zegher's anthology Women's Work is Never Done.[3] 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). Over the last two decades her work has been influential in art history,[4] film studies (including feminist film theory), aesthetics[5] and gender studies.[6]

Ettinger is a Professor at European Graduate School in Saas-Fee, Switzerland.[7]

Life and work

Bracha Ettinger was born in Tel Aviv on 23 March 1948.[8] She received her M.A. in Clinical Psychology from the Hebrew University of Jerusalem.[7] She moved to London in 1975 and studied, trained and worked between 1975 and 1979 at the London Centre for Psychotherapy, the Tavistock Clinic and the Philadelphia Association with R. D. Laing. Her daughter the actress Lana Ettinger was born in London. She returned to Israel in 1979 and worked at Shalvata Hospital. Ettinger, who has painted and drawn since early childhood, is self-taught. In her early days she avoided the art scene. In 1981 she decided to become a professional artist and moved to Paris where she lived and worked from 1981 to 2003. Her son Itai was born in 1988. As well as painting, drawing and photography, she began writing, 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.[7]

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.[9] 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.[10] As well as working as an artist, Ettinger continued to train as psychoanalyst with Françoise Dolto, Piera Auglanier, Pierre Fedida, and Jacques-Alain Miller, and has become an influential contemporary French feminist.[11][12][13][14] Around 1988 Ettinger began her Conversation and Photography project. Her personal art notebooks[15][16] have become source for theoretical articulations, and her art has inspired art historians (among them the distinguished art historian Griselda Pollock and international curator Catherine de Zegher) and philosophers (like Jean-François Lyotard, Christine Buci-Glucksmann and Brian Massumi) who dedicated a number of essays to her painting.

Even though she was still 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.[7] Since 2001 she has also been visiting professor in Psychoanalysis and Aesthetics at the AHRC Centre for Cultural Analysis, Theory and History (now CentreCATH).[17] Ettinger had partly returned to Israel in 2003, and has kept studios in both Paris and Tel Aviv ever since. She was a lecturer at the Bezalel Academy of Art and Design in Jerusalem until 2006.[7] Some of her specific academic fields of endeavor are feminist psychoanalysis, art, aesthetics, ethics, the gaze, sexual difference and gender studies, Jacques Lacan, the feminine, early (including pre-birth) psychic impressions, pre-maternal and maternal subjectivity.

Artist

Bracha Ettinger, Painting: Matrix — Family Album series n.3, 2001.


Ettinger's research concerns light and space, and in this it follows from Manet and Rothko.[18][19][20] Her subjects concern the human condition and the tragedy of war, and her work in this aspect follows on after artists such as Käthe Kollwitz and Francisco Goya.[21] 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 and Hilma af Klint.[22] Another major subject in her work is the unconscious and in particular the feminine and the maternal.[23] Her notebooks accompany the painting process but are equally art works.

Bracha L. Ettinger, Eurydice, The Graces, Medusa. Oil painting, 2006-2012
Bracha L. Ettinger, Eurydice, The Graces, Medusa. Oil painting, 2006-2012

From 1981 until 1992, Ettinger's principal artwork consisted of drawing and mixed media on paper as well as notebooks and artist's books, where alongside thoughts 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 few parallel series that spread over time like: "Matrix — Family Album", "Autistwork" and "Eurydice", with themes of generational transmission of memory, personal and historical trauma, the Shoah and the World Wars, the gaze, light and the space, womanhood and maternality, inspired by classical painting and creating an abstract space where the questions of beauty and sublime become relevant for our time. Images that she obtains first by collage and xerox processing are abstracted in a long process of oil painting that takes a few years.

According to Griselda Pollock,[24][25] Catherine de Zegher[26][27][28] 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,[29] Ettinger has become one of the major artists of the New European Painting. 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 (1987, 1996, 2010[30]–2011), 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. Though from 2010 onward her work still consists mainly of oil paintings and drawings, she is also doing new media animated video-films where the images are multi-layered like her painting. In 2015, Ettinger participated in the 14th Istanbul Biennial drafted and curated by Carolyn Christov-Bakargiev.[31]

Group exhibitions

Among the venues Ettinger presented in:

Solo exhibitions

Ettinger's Solo exhibitions (Selection):

  • Galería Polivalente in Guanajuato (Universidad de Guanajuato), Mexico (2015).
  • Museo Leopoldo Flores. Univ. Autonóma del Estado de México, Toluca, Mexico (2014).
  • Illuminations Gallery, Maynooth University, Irland (2014).
  • Frued's Dream Museum, St. Petersburg, Russia (2013).
  • The State Museum of the History of St. Peterburg, Russia (2013).
  • Casco, Utrecht (2012).
  • Musée des Beaux-Arts d'Angers, France (2011).
  • Fundació Antoni Tàpies, Barcelona (2010). (Alma Matrix. Bracha L. Ettinger and Ria Verhaeghe)
  • Kuvataideakatemia / Finnish Academy of Fine Arts, Helsinki (2009).
  • Freud Museum, London (2009).
  • Gerwood Gallery, Oxford University, Oxford (2003).
  • La librairie, Les Abattoirs, Toulouse (2003).
  • Maison de France, Hebrew University, Jerusalem (2002).
  • The Drawing Center, New York (2001).
  • Centre for Fine Arts (The Palais des Beaux Arts), Brussels (2000).
  • Cinemateque, Bergen.
  • Pori Art Museum, Finland (1996), (Doctore and Patient. Bracha L. Ettinger and Sergei "Africa" Bugayev).
  • Israel Museum, Jerusalem (1995).
  • The Leeds Metropolitan University Gallery, Leeds (1994).
  • Kanaal Art Fondation, Béguinage, Kortrijk (1994).
  • The Museum of Modern Art (MOMA), Oxford (1993).
  • Galerie d'Art Contemporain du Centre Saint-Vincent, Herblay, France (1993).
  • The Russian Ethnography Museum in St. Petersburg, Russia (1993).
  • Le Nouveau Muséem, IAC — Institut d'art contemporain, Villeurbanne, France (1992).
  • Goethe Institute, Paris (1990).
  • Musée des Beaux-Arts et de la Dentelle de Calais, Calais (1988).[41]
  • Moltkerei Werkstatt, Cologne, Germany (1987).
  • The Pompidou Centre, Paris (1987).

Other activities

Robert Doisneau photographed by Ettinger in his studio in Montrouge,[42] 1992.

Since 2005 Ettinger is an activist member in "Physicians for Human Rights-Israel" ("PHR-Israel"). Dr. Ettinger contributes to the organization as a clinical psychologist, attending Palestinian patients in needed areas in the Palestinian occupied territories.[43]

Ettinger is also famous for her portrait photography, taken in the context of conversation projects. Some of her portraits, like those of Jean-François Lyotard,[44] Joyce McDougall, Edmond Jabès,[45] Emmanuel Lévinas,[46] Robert Doisneau[47] and Yeshayahu Leibowitz appear in several official publications and collections.

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 forwarded 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.[13][14][48][49] The journal Theory Culture & Society dedicated an issue to her work [TC&S, Vol.21, n.1] in 2004.

Recent selected publications

Selected publications

Bibliography - selected publications on Ettinger's work

Conversations

Lectures and seminars

See also

References

  1. ↑ Women Artists at the Millennium, 2006, Edited by Carol Armstrong and Catherine de Zegher. ISBN 0-262-01226-X, ISBN 978-0-262-01226-3. The MIT press book page.
  2. ↑ Pollock, Griselda, Encounters in the Virtual Feminist Museum. Taylor and Francis, ISBN 0-415-41374-5.
  3. ↑ De Zegher, Catherine, Women's Work is Never Done. MER Edition, 2015. ISBN 9-789490-693473.
  4. ↑ Griselda Pollock, Encounters in the Virtual Feminist Museum. Routledge, 2007
  5. ↑ see also Jean-François Lyotard, the sublime
  6. ↑ "Diotima and the Matrixial Transference." In: Van der Merwe, C. N., and Viljoen, H., eds. Across the Threshold. New York: Peter Lang, 2007. ISBN 9781433100024
  7. 1 2 3 4 5 "Bracha Ettinger Biography". egs.edu. The European Graduate School. Retrieved 2 September 2015.
  8. ↑ Library of Congress Name Authority File
  9. ↑ Face à l'Histoire. 1933-1996. Paris: Flammarion and Centre Georges Pompidou, 1996. ISBN 2-85850-898-4
  10. ↑ 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.
  11. ↑ Couze Venn, in: Theory, Culture and Society. Vol. 21 (1), 2004.
  12. ↑ Vanda Zajko and Miriam Leonard (ed.s), Laughing with Medusa. Oxford University Press. ISBN 0-19-927438-X
  13. 1 2 Humm, Maggie, Modernist Women and Visual Cultures. Rutgers University Press, 2003. ISBN 0-8135-3266-3
  14. 1 2 Humm, Maggie, Feminism and Film. Indiana University press, 1997. ISBN 0-253-33334-2
  15. ↑ Bracha Lichtenberg Ettinger, Matrix. Halal(a) — Lapsus. Notes on Painting. Oxford: MOMA, 1993. ISBN 0-905836-81-2
  16. ↑ Bracha Lichtenberg Ettinger: Artworking 1985-1999, with a reprint of Notes on Painting. Ludion: Ghent-Amsterdam, and Brussels: Palais des Beaux-Arts, 2000. ISBN 90-5544-283-6
  17. ↑ AHRC Centre for Cultural Analysis, Theory and History AHRC B.Ettinger page.
  18. ↑ Manning, Erin, Manning, Erin. "Vertiginious Before the Light." in Art as Compassion. MER Paper Kunsthalle, 2011.
  19. ↑ Benjamin, Andrew, "Lighting, Colouring, Workin" in Bracha L. Ettinger. A. And My Heart Wound-Space. Leeds: Wild Pansy Press, 2015. ISBN 9-781900687-553.
  20. ↑ Buci-Glucksmann, Christine. "Images of Absence in the Inner Space of Painting." In: Inside the Visible. MIT Press, 1996.
  21. ↑ 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. ISBN 9-781900687-553.
  22. ↑ Pollock, Griselda, "Agnes Dreaming: Dreaming Agnes", and Bracha L. Ettinger "The Art-and-Healing Oeuvre" in 3 x Abstraction. Yale University Press, 2005.
  23. ↑ 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
  24. ↑ Pollock, Griselda, Encounters in the Virtual Feminist Museum. Taylor and Francis, 2010.
  25. ↑ 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.
  26. ↑ De Zegher, Catherine, Women's Work is Never Done. MER Edition, 2015.
  27. ↑ Catherine de Zegher and Griselda Pollock (eds.), Art as Compassion. Bracha Lichtenberg Ettinger. Ghent: MER. Paper Kunsthalle & Brussels: ASA Publishers, 2011
  28. ↑ De Zegher, Catherine, Inside the Visible. MIT Press, 1996
  29. ↑ Face à l'Histoire, 1933-1996. Paris: Flammarion and Centre Georges Pompidou, 1996. https://www.centrepompidou.fr/cpv/resource/ccdkLM/rrbeEeq
  30. ↑ "Ettinger". Pompidou Centre. Retrieved 3 September 2015.
  31. ↑ "Pavilion Istanbul in/+Leeds Part 3". pavilion.org.uk. Pavilion. Retrieved 3 September 2015.
  32. ↑ Eventually we'll die. Edited by Doron Rabina. Herzliya Museum of Contemporary Art, 2008.
  33. ↑ Gorge(l). Oppression and relief in Art. Edited by Sofie Van Loo. Royal Museum of Fine Art. Antwerpen, 2006.
  34. ↑ http://www.ephemerajournal.org/issue/web-capturing-moving-mind
  35. ↑ La Mémoire. Edited by Laurence Bosse, Carolyn Christov-Bakargiev, Hans-Ulrich Obrist. Villa Medici, Rome, 1999.
  36. ↑ Face à l'Histoire. (1980-1996: curator Chris Dercon). Paris: Flammarion and Centre G. Pompidou, 1996.
  37. ↑ Body. Edited by Tony Bond. Sydney: The Art Gallery of New South Wales, 1997.
  38. ↑ Inside the Visible. Edited by Catherine de Zegher. Boston: MIT Press, 1996.
  39. ↑ Routes Of Wandering. Edited by Sarit Shapira. Jerusalem: The Israel Museum, 1991.
  40. ↑ Feminine Presence. Edited by Ellen Ginton. Tel Aviv Museum of Art, 1990.
  41. ↑ fr:Musée des Beaux-Arts et de la Dentelle de Calais
  42. ↑ 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. ISBN 3-87439-250-3.
  43. ↑ המרפאה הניידת של רופאים לזכויות אדם on YouTube.
  44. ↑ Glowacka, Dorota. "Lyotard and Eurydice: The Anamnesis of the Feminine." In: Grebowicz, Margaret, ed. Gender After Lyotard. NY: SUNY Press, 2007
  45. ↑ 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. ISBN 0-905836-86-3.
  46. ↑ 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. ISBN 0-905836-85-5.
  47. ↑ Victor Malsey, Uwe Raseh, Peter Rautmann, Nicolas Schalz, Rosi Huhn, Passages. D'après Walter Benjamin / Passagen. Nach Walter Benjamin. Mainz: Herman Schmidt, 1992.
  48. ↑ Vanda Zajko and Miriam Leonard (eds.), Laughing with Medusa. Oxford University Press, 2006. ISBN 0-19-927438-X
  49. ↑ Griselda Pollock, Inscriptions in the feminine. In: Insdie the Visible edited by Catherine de Zegher. MIT Press, 1996.

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