Mollecular organization studies the functioning of semio-capitalism and develops soft technologies of cooperation, tools for building the impossible communities of abstract work and its performers. Molle is a laboratory of schizoanalysis. We operate in the soft stomach, “il ventre molle“, of arbitrary power. Or more precisely: we are the soft belly of arbitrary power. Mollecular organization is a group of losers, sad figures, dark souls, cynical opportunists and depressed princesses. We are not tough or macho, we are soft and wet, impotent and feeble. We don’t march or demonstrate. We have difficulties in getting up from the bed.  We are molle people, the future of cooperation.


The Halo of the String. A Masterclass with Bracha Ettinger

Organized by Mollecular Organization, Academy of Fine Arts, Therapeia Foundation and Future Art Base

26-28.4. Academy of Fine Arts, 29.4. Therapeia Foundation


Each one senses when s/he is given, not only receiving, because we do sense the inside of one another, we know a giving in the other as we know it in ourselves, and we sense this occurence as beauty. You can´t do any tricks here. This is art.

– Bracha Ettinger

What we should think about today is how a subject, constantly ensuring and strengthening herself, should instead let free a little bit of herself and think about the place of resistance again as a place of her own “self-fragilization”, or even “self-resistance”. As we breath through our exhausted cells, within our paranoid flesh… maybe instead of keep on looking for the one to blame, the greedy bankers… we should put into the question rather the resuscitation of the relation of the subject with it´s own outside – that is the question and horizon where the new aesthetical paradigm opens. In introducing compassion and awe to the poietic field of arts we want to call forth such ways of criticality that would create affective, non-paranoiac knowledge, beyound anxiety and reasoning, that that would give us wings of jointness with which to fly.

This sensing of this giving with-in art, this form of musicality, of attunement; how does it link with the ethical? How would it be to meet the other from inside to inside beyound relations, like the transconnectedness of birds or butterflies? What is it that gives us life? What is it to work for life? What is art? What is art in life? Where is this place of resistance really that should be repositioned today? What is the difference between self-relinguishement and surrending out of frailty? What is it to become ready for coemergence in self-fragilization and trust? How do we keep on trusting in the conditions of distrust or contempt? How do we keep trusting, keep wondering, keep being amazed, return to trusting, return to respecting, containing anxieties, allowing room for surprises? How can we get over the tendency for reactive criticality in us, which is senseless and arrive at resisting critique? Is it anxiety that makes me open myself to the Other and Cosmos as an artist, or is it just mainly anxiety? Or is it at the same time anxiety, compassion and awe towards life? What is freedom today?

Bracha L. Ettinger is a contemporary artist based in Paris and Tel Aviv. She is a painter, but also one of the well known intellectuals associated with contemporary French feminist and psychoanalytical thought.  Ettinger is also activist against the Israeli occupation of Palestinian territories in the frame of Physicians for Human Right – Israel. She is Professor of Psychoanalysis and Art at the Media & Communications Division, EGS, Saas Fee and a collaborator of Mollecular organization. Her current exhibition takes place at the Museum of Fine Arts (Beaux-arts) in Angers, France (in March-June 2011) and at the Pompidou Centre in Paris (2010-2011). Her recent Solo exhibitions took place at the Tapies Foundation, Barcelona, in 13th May 2010 and at the Freud Dream Museum, St Petersburg, in September 2010 and in the summer of 2009 at the Freud Museum (in June-July) in London, and at the Finnish Academy of Fine Arts in Helsinki (in August). Her paintings, photos, drawings and notebooks have been exhibited extensively in major museums of contemporary art.

Ettinger is also an author of several books and more than eighty psychoanalytical essays on what she has named “matrix” and “matrixial trans-subjectivity” in the mid 1980s. In her works, artistic, theoretical and psychoanalytical, she repeatedly asks the same question of what does it mean to borderlink with someone? What is able to shift from one mind to another, or from an artwork to the viewer, and how? What does it mean to link with the trauma of somebody else? How can the trauma of another become ones own and why is this mechanism so urgent today for artworking, for therapy and for politics? Her book Yhdessätuotanto (Copoiesis) was published 2009 by Tutkijaliitto, Polemos-series.

Art as Compassion – The Halo of the String. A Masterclass with Bracha Ettinger.

The masterclass will be composed of three lectures and a related ongoing
 workshop. The lectures deal with “the halo of the
 string” and 
the workshop will treat the ideas of uncanny compassion, uncanny awe,
 resistance, implicated criticability, beauty and sublimity in the age 
of co-emergence.

Tue 26.4. Academy of Fine Arts, Kaikukatu 4, Tohtoritila.

13.00-15.00 The Halo of the String I: Remember your passage in fluidity, remember being a woman-born? Introduction to matrixial sphere and to the Memento Fluidus project

15.30-17.00 Screening of Alain Renais: Yö ja usva (Nuit et brouillard)

Wed 27.4. 11-13, Academy of Fine Arts, Kaikukatu 4, Tohtoritila.

11.00-13.00 The Halo of the String II: Uncanny Compassion, Uncanny Awe. Resistance, Implicated Criticability.

14.00-18.00 Memento Fluidus: rescue craft building workshop

Thurs 28.4., Academy of Fine Arts, Kaikukatu 4, Tohtoritila.

11.00-13.00 The Halo of the String III: Beauty and Sublimity in the Age
 of Co-emergence.

14.00-18.00 Memento Fluidus: rescue craft building workshop

Fri 29.4., Therapeia-foundation, Töölön kirjasto, Topeliuksenkatu 6, Mika Waltari -sali, 4. krs

11.00-12.30 The matrixial sphere

13.30-15.00 The three primal mother-phantasies, the ready-made-mother-monster and empathy-within-compassion and within-respect

15.15-16.00 Beyond uncanny anxiety: compassion and awe as resistance


Study cirle meetings in Helsinki 5 Thursdays at 16-18, Academy of Fine Arts (Seminar room 3)

Meeting schedule:

15.3. 16-18, Academy of Fine Arts, Seminar room 3

Virtanen, Akseli: Todellinen ongelma. Yhdessätuotannon organisaatio ja Bracha Ettingerin käsitteet (versio 10.3.2011, ilmestyy Psykoterapia 2/2011)

Ettinger Bracha & Virtanen Akseli: Mikä antaa meille elämää? (versio 10.3.2011, ilmestyy Psykoterapia 2/2011)

22.3. 16-18, Academy of Fine Arts, Seminar room 3

Ettinger, Bracha: Matriisinen transsubjektiviteetti (versio 10.3.2011, ilmestyy Psykoterapia 2/2011)

29.3. 16-18, Academy of Fine Arts

 Ettinger, Bracha: Co-poiesis (available at

5.4. 16-18, Academy of Fine Arts:

Ettinger, Bracha: Fragilization and Resistance.

Butler, Judith: Brachan työstä – On Bracha’s Work 2009

12.4. 16-18 Academy of Fine Arts:

Rolnik, Suely: Deleuze, Schizoanalyst

Aholainen, Leena: Resisting Death. Or what made Luca Guzzetti Jump into Ashtrey?

Ettinger Bracha & Virtanen Akseli: Art, Memory, Resistence

(both texts available at

Ihanus, Juhani: Kytkeytymisiä ja eriytymisiä matriisisissa rajatiloissa (Review of Bracha Ettinger: Yhdessätuotanto. Helsinki: Tutkijaliitto 2010.)

Memento Fluidus

Art project (proposed by Bracha Ettinger and Ilana Salama Ortar in cooperation with artists from the Finnish Academy of Fine Arts and Mollecular organization) for exhibition Boat, Turku River-Bank, 2011. Site-specific project: Installation and performing encounter-event. Notebooks artworking in Rescue craft.

In a territory under constant threat of geopolitical conflict (i.e. few communities claiming the same territory), in a climate of social heterogeneity (composed with immigrants and refugees), a human being can find itself in liminal states that brings to mind Foucault’s Narrenschiff: “He is the passenger par excellence: that is, the prisoner of the passage”.

Time-space of passage – time-space of suspension. Time-space of freedom? Time-space of the loss of freedom?

In a room, a tent, a barrack, a boat, a sphere, tow or few human beings can find themselves in a shared reverie. Is the subject an hostess? Is the subject a guest? Is the encounter traumatic? And who will witness the pains and joys of encounters in the condition of passage?

Memento Mori, remember mortality, remember being a passing human being;  Memento Fluidos, remember your passage in fluidity, remember being a woman-born. Remember archaic borderlinking between the few, re-spect neighbourhood. Fluidus solicites primary states of suspension in a liquid time-space in jointness.

Water – bodily, maternal, geographic, spiritual, cosmic.

The Rescue craft (in continuity of Ilana Salama Ortar’s crafts, tents and Refugees & Immigrants transit barracks projects) – a boat/tent space that elicits contemplation of the continual flow of river and sea that silently overwhelms the entire area as it recalls a fear of loss, danger, shelter and the hyphenated identity between trauma and resilience. Shelters and Notebooks (in continuity of Bracha L. Ettinger’s notebooks, artist’s books, conversations and encounter-events projects and the Doctor and Patient installation-encounter-event) starting from the artist’s water drawings and reverie-like notations (alone and with others) – will embrace and trace fluidity of thoughts, listening, wit(h)nessing, inventing, in drawing and writing, rowing forward around sharing of associations of/from fluid ambiances, to capture traces of complex relations between trauma and beauty in sharing a dream-like difference-in-proximity.

A transformation of the physical and mental space-time of being exposed to loss and confined in  claustrophobic cave in smooth and in stormy waters, occurs by sharing in emotional, mental and metaphorical sheltering waters. Intimate cavity in ephemeral conditions. Silence, conversation, exchange, reverie-like time-space, reverie, reverance. The guests will be invite to share water-like and dream-like  ideas. Traces from their co-presence will be rescued. The notebooks as a splicing space will inscribe strings between different guests and different hosts. The artist’s books as traces of traces of memento fluidus.

Technical description


March-April 2011. The project had already begun in Tel Aviv. Ettinger and Ortar open a dialogue around closed spaces and exile, closed spaces and rescue, closed spaces and catastrophy, closed spaces and birth, natural waters and body liquids.

April 2011. Bracha will share ideas and start working on the project together with artists from the Finnish Academy of Fine Arts and members of Mollecular organization and Future Art Base in Helsinki.

May-July 2011. The work continues, the rescue boat is created according to jointly-decided definitions.

August 2011. Ilana Salama Ortar will place the rescue boat. Bracha L. Ettinger and other artists will sit in the boat, listen, write and draw during encounters in their notebooks. The guests to the boat are invited to talk, and can also write and draw  in the artist’s notebooks.  Artists from the Finnish Academy of Fine Arts, Future Art Base and Mollecular organization will join in possible copoiesis and gradually will take Bracha’s place as the exhibition continues.

September 2011. At the end of the exhibition the notebooks-artist’s books will either be given to the Museum of Turku or to the Kiasma, or will be kept in the  artist’s Archive. The rescue craft, montable and demontable, will find other river banks; more notebooks – projects to be continued.

Preliminary technical data for the Rescue craft


Made of wooden planks (2 zoll & 1 zoll), plywood & Percy glass. Height: 220 cm. Width: 250 cm. Depth: 350 cm.  Floor: raised from the ground, approached by a step. Step: 17 cm. high. Total height 237 cm. Interior: At 2/3 of the depth – two benches, one on the right, the other on the left, both integral to the body of the craft. Plywood back of the craft; a shelf of wood or Percy glass hung on the inside back board; between back and benches a space, 1/3 of the craft’s depth.