Articles in Books, Conference Proceedings, and Exhibition Catalogues

  • “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 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).

Journal Articles

  • “Slants: Marcel Broodthaers,” Artforum 55, no. 9 (May 2017): 85-88. de Bruyn_Broodthaers_Artforum
  • “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)
  • “Intermittent Conversations on Leaving the Factory,” in Texte zur Kunst 79 (September 2010): 138-145.  de Bruyn_Intermittent Conversations (pdf)
  • “Topological Pathways of Post-Minimalism,” in Grey Room 25 (Fall 2006): 32-63. de Bruyn_Topological Pathways (pdf)
  • Statement on the “Means of Art History,” in Texte zur Kunst 62 (June 2006): 131-36.
  • Alfaville, or Utopics of Mel Bochner,” Grey Room 10 (Fall 2003):  76-111.
  • “On the Museum as Film Décor: Marcel Broodthaers and ‘La Bataille de Waterloo’,” Trans 8 (Fall 2000): 76-91. de Bruyn_Broodthaers and La Bataille de Waterloo (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.


  • The Filmic Anomaly: Moments in Post-Minimalism (1966-1970). Ph.D. thesis. Graduate Center, City University of New York, 2002.  de Bruyn_Filmic Anomaly


  • “Sound is Material: Dan Graham in Conversation with Eric de Bruyn,” Grey Room 17 (Fall 2004): 107-17.
  • “Interview with Dan Graham,” in Dan Graham (Santiago da Compostella: Centro Galego de Arte Contemporánea, 1998). Revised version in Two Way Mirror Power: Selected Writings by Dan Graham (Cambridge, Mass.: MIT Press, 1999).

Book reviews

  • “Pressure Points: On Beyond the Dream Syndicate: Tony Conrad and the Arts after John Cage by Branden W. Joseph, in Texte zür Kunst 70 (May 2008): 164-67.
  • “Dancing Patterns: On David Joselit, Feedback: Television Against Democracy,” in Art Journal 67, no. 1 (Spring 2008): 115-19.
  • “Itineraries into Complexity: On ‘Having Been Said’, A Collection of Interviews and Writings by Lawrence Weiner,” Texte zür Kunst 60 (December 2005):  174-79.
  • “The Optical Unconscious: On Rosalind Krauss, The Optical Unconscious,” Witte de With – Cahier 1 (1993): 78-93.

Exhibition reviews

  • “Colonial Spectres” [on Sven Augustijnen, Vincent Meessen and Wendelien van Oldenburgh], in Texte zur Kunst 85 (March 2012): 220-224.
  • “The Movement of Images,” in Jong Holland 3 (2006): 41-44. de Bruyn_Movement of Images (pdf)
  • “Mary Kelly,” Forum International 17 (1993): 123.
  • “Patrick Faigenbaum,” Artscribe 90 (1992): 91.
  • “Silvia Kolbowski,” Forum International 15 (1992): 100.
  • “Ericson & Ziegler,” Forum International 14 (1992): 94.
  • “Jennifer Bolande,” Forum International 14 (1992): 104.
  • “Thomas Locher,” Artscribe 88 (1991): 88.
  • “Mathew McCaslin,” Artscribe 87 (1991): 68-69.
  • “Rodney Graham,” Artscribe 86 (1991): 71.
  • “Guillermo Kuitca and Julio Galan,” Artscribe 86 (1991): 78-79.
  • “Robert Barry,” Forum International 11 (1991): 81.
  • “Andreas Gursky,” Forum International 11 (1991): 91.
  • “Whitney Biennial,” Forum International 9 (1991): 31-32.