http://www.tate.org.uk/research/tateresearch/tatepapers/11spring/pollock.shtm
I imagine I am addressing a readership of Deleuzians, Phelanists, Rancierians, and Bourriaudists. Yet I have to evoke Raymond Williams and Alain Badiou and the idea of fidelity: being faithful to an event still in need of its continuing elaboration, still virtual and hence still to come. My event is feminism. I consider feminism not as a past movement, but perpetually virtual and being created. Yet its unfinished business is currently at risk from a wilful erasure based on the imprisoning of feminism in a history that is over. Current intellectual neglect of gender and critical engagement with sexual difference because both have become embarrassingly démodé is not benign. A premature foreclosure of the still emerging critique of phallocentric power and violence has real implications in actual life worlds; critiquing phallocentric imaginaries and the Symbolic that inform our cultural realms remains as urgent as ever in a world that is daily increasing material as well as immaterial inequalities which impact disproportionately on women in real terms. Cultural critics recognise the increasingly sexualized and asymmetrical Imaginary informing globalizing culture that we, that is the intellectuals, equally seem not only unwilling to shift but actively reinforce by ‘looking away’.
PROFESSOR GRISELDA POLLOCK
Recent books:
Encounters in the virtual feminist museum: time, space and the archive
Routledge, 2007
BRACHA L. ETTINGER: Art as compassion
Edited Catherine de Zegher, Griselda Pollock
ASP Publishers 2011
As an artist and psychoanalyst, Bracha L. Ettinger (Israel, France) incorporates both practices in her work in order to develop an innovative approach to applied psychoanalysis, half-way between the artistic and therapeutic practices; but as an artist, her paintings, drawings, notebooks and installations have influenced both the field of contemporary art and the field of art-history and research over the last two decades. In her work on paper, Ettinger imprints marks linked to memory and trauma, exile and history, while reflecting on representation, the gaze and the trace. The exchange of experiences and the desire to express a common and shared unconscious manifest themselves in her drawings and painting through the absence of fixation and a tendency to ambiguity, permutation and that which is compound, flexible and ephemeral.
This books gives a wide overview of the artwork by Bracha L. Ettinger, from the beginning of her career as an artist until 2010.