“Beyond the Line, or a Political Geometry of Contemporary Art,” Grey Room 57 (Fall 2014): 24-49. [What is the relevance of the notion of “political geometry” to contemporary art? I answer by probing a series of artworks—Florian Pumhösl’s painting Schlacht von Manila Bay (Wendemanöver), Alan Sekula’s film Fish Story and Bouchra Khalili’s Mapping Journeys (2008–2011)—through the lens of what Carl Schmitt called “global linear thinking.” Perceived and dissimulated beneath the surfaces of these works, geometry and cartography cease being universalizing sciences of abstraction and become rather political practices, which allow us not only to locate points and lines and diagrams but also to “plot the very conceptual diagram of power within contemporary society.”] de Bruyn_Beyond the Line
“Ghost Story: Kinetic Art and New Media,” Artforum 51, no. 1 (September 2012): 526-533.[A reflection on hauntology, Guattari and Tinguely prompted by Hito Steyerl’s lecture-performance “The Body of the Image.” An expanded version of this essay appeared as “Das holografische Fenster und andere reale Anachronismen”] de Bruyn_Ghost Story (pdf)
“Uneven Seas: Notes on a Political Mythology of Maritime Space, Part 1,” in 31: Das Magazin des Instituts für Theorie no. 16/17 (December 2011): 84-100. [Part II appeared as “Beyond the Line” in Grey Room 57] de Bruyn_Uneven Seas (pdf)
“David Lamelas: Passing Time,” Texte zur Kunst 7, no. 26 (June 1997): 101-107. Revised version in Blocnotes 17 (Fall 1999): 217-27.
“Perturbations ciné-génique de la vision: Notes sur le travail filmique de Robert Smithson et Dan Graham,” Exposé. Revue d’esthétique et d’art contemporain, no. 2 (1995): 144-151.
“James Coleman: Charon and the Paradox of Time,” Forum International 13 (1992): 47-52.
