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Bracha Ettinger
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The Matrixial Borderspace (Volume 28) (Theory Out Of Bounds) Paperback – Illustrated, October 22, 2006

by Bracha Ettinger (Author)
4.3 4.3 out of 5 stars 17 ratings
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Artist, psychoanalyst, and feminist theorist Bracha Ettinger presents an original theoretical exploration of shared affect and emergent expression, across the thresholds of identity and memory. Ettinger works through Lacan’s late works, the anti-Oedipal perspectives of Deleuze and Guattari, as well as object-relations theory to critique the phallocentrism of mainstream Lacanian theory and to rethink the masculine-feminine opposition. She replaces the phallic structure with a dimension of emergence, where objects, images, and meanings are glimpsed in their incipiency, before they are differentiated. This is the matrixial realm, a shareable, psychic dimension that underlies the individual unconscious and experience. 

Concerned with collective trauma and memory, Ettinger’s own experience as an Israeli living with the memory of the Holocaust is a deep source of inspiration for her paintings, several of which are reproduced in the book. The paintings, like the essays, replay the relation between the visible and invisible, the sayable and ineffable; the gaze, the subject, and the other. 

Bracha Ettinger is a painter and a senior clinical psychologist. She is professor of psychoanalysis and aesthetics at the University of Leeds, England, and Bezalel Academy, Jerusalem. 

Judith Butler is professor of rhetoric and comparative literature at the University of California, Berkeley. Griselda Pollock is professor of fine arts at the University of Leeds. Brian Massumi is professor of communication at the University of Montreal.
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Previous page
  1. Print length
    208 pages
  2. Language
    English
  3. Publisher
    Univ Of Minnesota Press
  4. Publication date
    October 22, 2006
  5. Dimensions
    7 x 0.7 x 10 inches
  6. ISBN-10
    0816635870
  7. ISBN-13
    978-0816635870
  8. See all details
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Product details

  • Publisher ‏ : ‎ Univ Of Minnesota Press; First Edition (October 22, 2006)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 208 pages
  • ISBN-10 ‏ : ‎ 0816635870
  • ISBN-13 ‏ : ‎ 978-0816635870
  • Item Weight ‏ : ‎ 1.01 pounds
  • Dimensions ‏ : ‎ 7 x 0.7 x 10 inches
  • Customer Reviews:
    4.3 4.3 out of 5 stars 17 ratings

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Bracha Ettinger

Bracha Ettinger

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Customer reviews

4.3 out of 5 stars
4.3 out of 5
17 global ratings

Top reviews from the United States

Alyssa A.
5.0 out of 5 stars Really Interesting.
Reviewed in the United States on September 23, 2013
Verified Purchase
Ettinger is an important feminist psychoanalytic critic. This work is an interesting introduction to her work, her art, and contemporary feminist critical thought.
5 people found this helpful
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Thaddeus
1.0 out of 5 stars Small b/w paintings appear xeroxed, writings tedious and over intellectualized
Reviewed in the United States on June 5, 2013
Verified Purchase
I had looked forward to viewing the several paintings mentioned but there are only extremely poor b/w apparently xeroxed reproductions in small size revealing so little that the contents of the original paintings seems hidden and completely inaccessible within the book. The writing seems over intellectualized and tedious too. Why not write in a language that is accessible to a wider audience? If there are paintings, why not show them in a way they can be viewed? If the writing and paintings are to be inaccessible, why bother?
11 people found this helpful
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Belinda mjw Brenner
5.0 out of 5 stars Art At The Order Of All Survival by Belinda MJW BRENNER
Reviewed in the United Kingdom on September 18, 2015
Verified Purchase
Giorgio Agamben speaks of what remains after Auschwitz is ‘an impersonal zone beyond good or evil Auschwitz cannot be explained intellectually: He who would like to understand it has to seek it and experience it’ (Agamben 85). Artist Bracha Ettinger’s incorporation of photographs and painting openly questions the role of visual memory. Her juxtaposition between two media reveals that the traumatic past keeps coming back, permeating both collective and personal historical consciousness. For her Painting is a language, silent, unspoken that as insight speaks a dialogue between images, between people and across time where it seeks to heal the cultural rifts of Europe’s Historic other. Screened on the surface in infra thin oil paint in series of paintings, the initial image is pure fantasy in which the too full of photographic reality is progressively emptied out of all visibility.The ultimate finish is a feeling. It is a dynamic between the two surfaces, and between the images. From grain to grain, so that in every found image from the Lodz Ghetto that she tore early from the toner of the photocopier, means that the over writing that she wrote of the Hebrew and the meaning of French, overlaps and echoes to fade ,before finding a final understanding. To paint from this space is to cross through major trauma, both collective and personal in which art is on the order of survival.
6 people found this helpful
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