Prof. Dr. Eric de Bruyn

• "Learning Mazes, or a Political Topology of Behavior". In: These are Situationist Times! An Inventory of Reproductions, Deformations, Modifications, Derivations, and Transformations, ed. Ellef Prestsaeter (Oslo: Torpedo Press, 2019): 168-175.

• "Corridors, Tunnels, and Mazes. Bruce Nauman and the Spaces of Behavioral Control". In: Bruce Nauman: A Contemporary, eds. Eva Ehninger and Martina Venanzoni (Basel, Schaulager, 2018): 185-212.

• "Vanishing Acts: Notes on a Genealogy of Dematerialisation”. In: DeMaterialisations in Art and Art-Historical Discourse in the Twentienth Century, eds. Wojciech Bałus and Magdalena Kunińska (Cracow: Artibus et Historiae, 2018): 107-125.

• “Polke’s Spectral Media.” In Sigmar Polke: Film and Art, eds. Barbara Engelbach and Ursula Frohne (Cologne: Walther Konig, 2016): 98-117. [On the televisual and phantasmagoric effects in Polke’s films.]

• “Bateau/Tableau/Drapeau: On Eva Meyer and Eran Schaerf’s Pro Testing.” In Allegorie: DFG-Symposion 2014, ed. Ulla Haselstein (Berlin: De Gruyter, 2016): 697-727. [An essay on the contemporary politics of allegory in relation to Eva Meyer and Eran Schaerf’s Pro Testing, Marcel Broodthaers’ Bateau Tableau, Anna Halprin’s Blank Placard Dance, and Allan Sekula’s Fish Story.]  de Bruyn_Bateau (pdf)

• “Empire’s Hologram,” in: Cinema in the Expanded Field, eds. François Bovier & Mey Adeena (Zurich: JRP/Ringier, 2016): 14-53. [On the political theology of expanded cinema and the ‘hologrammatization’ of networked power by way of Gene Youngblood’s futurist vision of holographic cinema, the strange phenomenon of ‘real images’ and E.A.T.’s Pepsi Pavilion as the social diagram of an emergent post-Fordist society.] de Bruyn_Empire’s Hologram (pdf)

• “A Mini-Tragedy: Supposing I love you. And you also love me,” in Amateur: Wendelien van Oldenborgh (Berlin: Sternberg Press, 2015): 233-44.

• “Revolutions within Revolutions.” In Stan Douglas: The Secret Agent (Brussels: Ludion, 2015): 160-181. [Stan Douglas’s The Secret Agent, which is based on the Joseph Conrad novel and set during the Portugese Carnation Revolution, provides the pretext for a reflection on the legacy of ‘political cinema’ and ‘militant film’] de Bruyn_Douglas (pdf)

• “Das holografische Fenster und andere reale Anachronismen,” in Kunstgeschichtlichkeit: Historizität und Anachronie in der Gegenwartskunst, ed. Eva Kernbauer (Paderborn: Wilhelm Fink, 2015): 67-98. [A reflection on the trope of anachronism in contemporary art and theory by way of the many return(s) of the holographic myth since the 1960s. I touch, among matters, on Paolo Virno’s “Déja Vu and the End of History” and Hito Steyerl’s lecture-performance ‘The Body of the Image.’ This text is conceived as a complementary piece to “Empire’s Hologram.”]  de bruyn_Holografische Fenster (pdf)

• “Three Exchanges,” in Zachary Formwalt (Amsterdam: Roma, 2015): 54-79. [A discussion of the ‘becoming media’ of the financial economy in relation to Zachary Formwalt’s recent series of video installations about the rise of algorithmic trading and the futurities market, or how the market and digital technology try to stitch together a world of autonomous movement…)  de bruyn_Three Exchanges (pdf)

• “The Empty Studio: Bruce Nauman’s Studio Films,” in Hiding Making Showing Creation: The Studio from Turner to Tacita Dean, eds. Rachel Esner, Sandra Kisters and Ann-Sophie Lehmann (Amsterdam: Amsterdam University Press, 2013): 188-208. de Bruyn_The Empty Studio (pdf)

• “From Jersey City to Cybernetics,” in Dan Graham, Video-Architecture-Television (Zurich: Lars Muller, 2013): insert.

• Reading Film,” in David Lamelas. In Place of Film (Granada: Centro José Guerrero, 2012): 159-210 de Bruyn_Reading Film (pdf)

• “A Show of Hands: Richard Serra’s Films,” in Kinematographische Räume. Filmische Ästhetik in Kunstinstallationen und inszenierter Fotografie, eds. Lilian Haberer and Ursula Frohne (Munich: Wilhelm Fink Verlag, 2012): 661-686. de Bruyn_A Show of Hands (pdf in German)

•  “Entertaining Conceptual Art: Dan Graham on Dean Martin,” in Minor Photography: Connecting Deleuze and Guattari to Photography Theory, red. Mieke Bleyen (Leuven: University of Leuven Press, 2012). Revised version of “Entertaining Conceptula Art” published in Perform a Lecture, eds. Ellen Blumenstein and Fiona Geuss (Berlin: Argobooks, 2011): 10-17.  de Bruyn_Entertaining Conceptual Art (pdf)

• “Social Choreographies: On Florian Pumhösl’s Expressive Rhythm, in Florian Pumhösl (Vienna: MuMOK, 2011).

•  (with Sven Lütticken), “In the Vicinity of… : A Dialogue on Broken Circle/Spiral Hill and/as Cinema,” in: Robert Smithson: Art in Continual Movement, eds. Ingrid Commandeur and Truydy van Riemsdijk-Zandee (Amsterdam: Alauda, 2012): 113-133.

• “Marcel Broodthaers: Cinéma Modèle,” in Von Realer Gegenwart : Marcel Broodthaers Heute (Dusseldorf : Kunsthalle Düsseldorf, 2010): 15-33. Reprint of Texte zur Kunst 29 (March 1998): 33-49.

• “Constellations: On Josiah McElheny’s Island Universe,” in Josiah McElheny, eds. Louise Neri and Josiah McElheny (New York: Rizzoli, 2010). Reprint of Josiah McElheny, ed. Lynne Cooke (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2009): 64-78. de Bruyn_Constellations (pdf)

•  “Being Then within a Context of Revolution: Six Notes on Two Films by Lawrence Weiner,” in Film Avantgarde Biopolitik, eds. Sabeth Buchmann, Helmut Draxler, and Stephan Geene (Vienna: Schlebrügge, 2009): 364-391. de Bruyn_Weiner (English)

• “Marcel Broodthaers and the Section Cinéma,” in Art and the Moving Image: A Critical Reader (London, Tate, 2008): 112-121. Revised version of essay in Kunst – Kino, Jahresring 48, Jahrbuch für Moderne Kunst, ed. Gregor Stemmrich (Cologne: Oktagon, 2001).

• “A Film in Five Episodes,” in David Lamelas (Vienna: Secession, 2006): 49-63.

• “The Expanded Field of Cinema, or Exercise on the Perimeter of a Square,” in X-Screen: Film Installations and Actions in the 1960s and 1970s (Vienna: MuMOK, 2004): 152-176. de Bruyn_Expanded Field of Cinema (pdf)

• “Land Art in the Mediascape: On the Politics of Counterpublicity in the Year 1969,” in Ready to Shoot: Fernsehgalerie Gerry Schum (Dusseldorf: Kunsthalle, 2004): 134-146. de Bruyn_Land Art in the Mediascape (pdf)

• “On Top Of Above The Water: Some Notes on a Work by Lawrence Weiner,” in Look and Feel (Zeewolde: De Verbeelding, 2004).

• “Shadows of the Spectacle,” in Argosfestival (Brussels: Argos, 2003): 42-59.

• (with Chrissie Iles), “Flashing into the Shadows: The Artist Films in America, 1966-76,” in Argosfestival (Brussels: Argos, 2003): 36-41.

• “The Filmic Topology of Dan Graham,” in Dan Graham: Works 1965 – 2000 (Porto: Fundação de Serralves, 2001). de Bruyn_Filmic Topology of Dan Graham (pdf)

• Catalog entries in Marcel Broodthaers: Cinéma (Barcelona: Fundació Antoni Tàpies, 1997).