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Giuliana Bruno
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Journal Articles
Publisher: Journals Gateway
October (2019) (169): 105–163.
Published: 01 August 2019
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Nineteen scholars, writers, and friends remember Annette Michelson (1922–2018), cofounder of October . Written tributes by Giuliana Bruno, Scott Bukatman, Enrico Camporesi, Edward Dimendberg, Jean-Michel Frodon, Amos Gitai, Vivian Gornick, Gertrud Koch, Antonia Lant, Stuart Liebman, Anne McCarthy, Tony Pipolo, Robert Polidori, Yvonne Rainer, Ethan Taubes, Allen S. Weiss, and Federico Windhausen, and a series of photographs by Babette Mangolte.
Journal Articles
Publisher: Journals Gateway
October (2016) (155): 162–167.
Published: 01 January 2016
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Film historian Giuliana Bruno commemorates celebrated filmmaker Chantal Akerman (1950–2015), whose intimate portraits of cities, lands, and homes captured the passing of everyday life and intensified our own sense of time, memory, and space. Akerman's breakthrough film, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975), exposed the strictures of women's time and space while creating a new cinematic language of observation and duration. She continued to experiment with moving images throughout her life, moving easily between fiction and documentary, cinemas and gallery exhibitions. In the mid-1990s, Akerman began to engage in an expanded field of film-based installation art, at an early stage of the cultural movement that still drives today's filmmakers and artists to work between media. Bruno's personal evocation of Akerman's oeuvre highlights the filmmaker's use of the screen as both filter and threshold, in order to convey a relationship between interiority and exteriority, and physical and mental space, a relationship delicately tailored to Akerman's particular version of empathy.
Journal Articles
Publisher: Journals Gateway
October (2016) (155): 3–110.
Published: 01 January 2016
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Recent philosophical tendencies of “Actor-Network Theory,” “Object-Oriented Ontology,” and “Speculative Realism” have profoundly challenged the centrality of subjectivity in the humanities, and many artists and curators, particularly in the UK, Germany, and the United States, appear deeply influenced by this shift from epistemology to ontology. October editors asked artists, historians, and philosophers invested in these projects—from Graham Harman and Alexander R. Galloway to Armen Avanessian and Patricia Falguières to Ed Atkins and Amie Siegel—to explore what the rewards and risks of assigning agency to objects may be, and how, or if, such new materialisms can be productive for making and thinking about art today.