As an artist, and drawing on her cross-disciplinary knowledge in visuals arts, philosophy and psychoanalysis, Bracha L. Ettinger discusses her seminal concept of Matrixial gaze, screen, time and copoiesis, to problematise the accelerated hyper-connectivity whose effect of digital stupor she assigns to “a fused screen-gaze in symbiosis with the psychic eye” which, mounted upon narcissistic routes in denial of differences, collapses the psychic future time at the service of a phallic Web of webs. Starting with an analysis of Caravaggio’s Narcissus in terms of Death-drive, Ettinger ends with a discussion of care, deceleration and compassion-beyond-empathy in relation to her painting Eurydice, The Graces, Demeter (2006-2012).
L. Ettinger is an international visual artist, painter and theorist, psychoanalyst and philosopher, whose wide-ranging artworks and writings have influenced art theory, feminism, cultural studies, philosophy and psychoanalysis. Her artworking revolves around historical, transgenerational and personal trauma of women in war. She is participating in Espressioni at Castello di Rivoli, 2020-2021, and has exhibited in Kochi Biennale, 2018, Colori at GAM Turin and Castello di Rivoli, 2017, 14th Istanbul Biennial, 2015, ELLE at Centre Pompidou, Face à l’Histoire at Centre Pompidou, Archive at Stedelijk Museum. She has coined the concept of Matrixial sphere. Her recent books include And My Heart Wound-Space (2015); Matrixial Subjectivity, Aesthetics, Ethics, Vol I: 1990-2000 (Palgrave 2020), Vol II: 2000-2010.