Victor Burgin

Cinematic heterotopia and the uncinematic

I shall separately consider each of the three terms that comprise the title of this conference – «cinéma», «interactivité» et «société» – before considering what it may mean to associate them.

Recent publications:

1 Components of a Practice, Skira, 2008.

2 «Populism, Genre and the Blank Canvas», Parallax, vol. 14, no. 2, 2008.

3 Victor Burgin: Objets Temporels, Presses Universitaires de Rennes, 2007.

4 ‘Possessive, Pensive and Possessed: Memory and the Cinematic Heterotopia’, in Colloque internationale Max et Iris Stern: Arts de mémoire. Matériaux, médias, mythologies, Musée d’art contemporain de Montréal, 2007.

5 ‘Armide: a train of thought’, in David Hillman and Adam Phillips (eds.), The Book of Interruptions, Peter Lang, 2007.

6 Voyage to Italy, Hatje Cantz, 2006.

7 ‘La Marque de Marker’, Trafic, Automne, 2006.

8 ‘“Medium” and “Specificity”’, in James Elkins (ed.), Photography Theory, Routledge, 2006.

9 The Remembered Film, Reaktion, 2004.

10 Ensayos, Gustavo Gili, 2004.

11 Relocating, Arnolfini, 2002.

12 Victor Burgin, Fundació Antoni Tàpies, 2001.

13 Shadowed, Architectural Association, 2000.

14 ‘Jenni’s Room: exhibitionism and solitude’, Critical Inquiry, University of Chicago, Autumn, v. 27, n. 1, 2000.

15 Venise, Black Dog, 2000.

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