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藝術(shù)家簡(jiǎn)介


  除去藝術(shù)家和女性這兩方面,對(duì)于艾米麗·賈西爾(Emily Jacir)而言更重要的是她的巴勒斯坦人身份,當(dāng)然她是一位擁有美國(guó)護(hù)照的巴勒斯坦人(記住這些對(duì)于理解她的藝術(shù)創(chuàng)作非常重要)。雖然故鄉(xiāng)在中東,但她的教育背景和成長(zhǎng)經(jīng)歷都是和歐美聯(lián)系在一起的。賈西爾1970年出生于沙特阿拉伯首都利雅得,并在那里度過(guò)了短暫的童年時(shí)光,之后她去了意大利,在羅馬讀完中學(xué),然后又去了美國(guó),先后就讀于達(dá)拉斯大學(xué)和孟菲斯藝術(shù)學(xué)院。1994年,賈西爾在孟菲斯藝術(shù)學(xué)院獲得碩士學(xué)位后,即開始了她的職業(yè)藝術(shù)家生涯。1998-1999年期間,她申請(qǐng)參加了著名的惠特尼美術(shù)館獨(dú)立研究項(xiàng)目(Whitney Independent Study Program),作品也開始頻繁出現(xiàn)在美國(guó)、歐洲、中東和亞洲的各種國(guó)際展覽中,近兩年來(lái)賈西爾更是贏得了包括威尼斯雙年展青年藝術(shù)家獎(jiǎng)和胡高·博斯獎(jiǎng)在內(nèi)的多項(xiàng)國(guó)際藝術(shù)大獎(jiǎng),跨入了引人矚目的一線藝術(shù)家行列。

  作為一位處于事業(yè)上升期的青年藝術(shù)家和極具活力的文化名人,目前她主要居住和奔忙于美國(guó)紐約和巴勒斯坦的拉馬拉之間。

  近幾十年來(lái),有許多來(lái)自中東的阿拉伯世界藝術(shù)家,在國(guó)際藝術(shù)界嶄露頭角,大放異彩。他們中的大部分目前都活躍在阿拉伯國(guó)家和歐美的各大城市之間,比如拿比·那哈斯 (Nabil Nahas)、西麗·娜沙特(Shirin Neshat)、瓦利德·拉德(Walid Raad)、塔瑞妮·赫瑪米 (Taraneh Hemami)、茱莉·梅赫瑞杜 (Julie Mehretu) 哈勒·鄧格爾(Hale Tenger)等等。這些阿拉伯人身處本土與國(guó)際、傳統(tǒng)與當(dāng)代、全球化與后殖民等交替混合的復(fù)雜境遇中,感受著強(qiáng)烈的矛盾激蕩,有著深厚獨(dú)特的藝術(shù)創(chuàng)作土壤,他們深刻的思考通過(guò)不同的藝術(shù)媒介展現(xiàn)給世人,東方主義、后殖民主義、女性主義都是他們常常觸及的主題。

  作為一名浸淫和成長(zhǎng)于于西方文化環(huán)境中的巴勒斯坦人,賈西爾的藝術(shù)創(chuàng)作毫無(wú)疑問(wèn)也帶有以上因素的痕跡。但更為突出的是對(duì)“身份”和“民族性的政治焦慮”問(wèn)題的關(guān)注。她的視線和作品的焦點(diǎn)始終沒有離開過(guò)家鄉(xiāng)動(dòng)蕩不安的政治局勢(shì)以及作為巴以矛盾犧牲品的巴勒斯坦人民流亡的苦難。賈西爾的創(chuàng)作手法包括各種媒介,電影、裝置、攝影、行為、影像、新媒體幾乎無(wú)所不包。她最早引起人們注意的作品是其1998年在法國(guó)實(shí)習(xí)期間創(chuàng)作的行為作品《改變/兌換》(Change/Exchange),她通過(guò)在三天時(shí)間內(nèi)六十余次的反復(fù)兌換,最終將一百美元消耗(手續(xù)費(fèi))為無(wú)法繼續(xù)兌換的小硬幣。這件早期作品體現(xiàn)了賈西爾敏感的洞察力,內(nèi)容涉及到一些微妙的價(jià)值層面,而其中對(duì)情境轉(zhuǎn)化問(wèn)題的探討和思索已經(jīng)帶有某種身份質(zhì)疑的性質(zhì)。不同于很多女性藝術(shù)家對(duì)自身性別的生理性身份的過(guò)度關(guān)注,賈西爾更為關(guān)心的是民族和文化的身份問(wèn)題。她的作品與政治因素聯(lián)系密切,并且常常流露出某種帶有斗爭(zhēng)性的強(qiáng)烈的(有時(shí)是隱藏的)控訴力量。

  比如,賈西爾2002年創(chuàng)作的影像作品《穿越薩德》(Crossing Surda),紀(jì)錄了她本人在通過(guò)拉馬拉-比爾澤特公路(該道路是拉馬拉的比爾澤特大學(xué)與三十多個(gè)巴勒斯坦村莊間現(xiàn)存的唯一通路)上的薩德檢查站(以色列人的)時(shí)的經(jīng)歷。這個(gè)檢查站自2001年由以色列軍方建立以來(lái),已經(jīng)給周圍村莊的巴勒斯坦人帶來(lái)了諸多不幸。藝術(shù)家在去往比爾澤特大學(xué)的途中邊行走邊拍攝,到達(dá)檢查站時(shí)拍攝即遭禁止,她的美國(guó)護(hù)照也沒幫上忙,最終被扣留三個(gè)小時(shí),錄像帶也被沒收。作品中的影像事實(shí)上是藝術(shù)家在返回途中將攝像機(jī)藏在背包里,通過(guò)包上的孔洞“偷拍”而成的。作品真實(shí)地展現(xiàn)了巴以矛盾沖突的一個(gè)微觀層面,反映了普通巴勒斯坦人基于民族和政治因素所遭遇的日常困境。

  《我們來(lái)自何方》(Where We Come From)是賈西爾2001-2003年間實(shí)施的一件綜合性作品,也是她最廣為人知的代表性作品之一。“如果我能為你在巴勒斯坦的任何一處地方做一件事情,你希望我做什么?”藝術(shù)家這樣詢問(wèn)那些分散在世界不同地方的巴勒斯坦同胞,她希望利用自己擁有美國(guó)護(hù)照的“行動(dòng)自由”的身份,去幫那些在行為上受到各種限制的巴勒斯坦人實(shí)現(xiàn)一些與故土有關(guān)的小小心愿。“這件作品也受到了人們?cè)谶^(guò)境時(shí)常說(shuō)的那句話:‘有什么需要幫你帶的嗎?’的啟發(fā)而產(chǎn)生。” 賈西爾說(shuō)。藝術(shù)家發(fā)現(xiàn)自己身邊的大多數(shù)巴勒斯坦人包括自己的父母都沒有真正意義上的行動(dòng)自由,“他們不能離開伯利恒,因?yàn)樗麄兊纳矸葑C在那里。”以色列人不斷擴(kuò)張的定居點(diǎn)和軍事工程在蠶食和割裂著原本屬于巴勒斯坦人的完整的土地,數(shù)百萬(wàn)巴勒斯坦難民生活和流亡在自己的家園之外,分布在各處的路障、鐵絲網(wǎng)、檢查站和真槍實(shí)彈都是他們行動(dòng)上無(wú)法逾越的阻礙。最終的三十多個(gè)人的請(qǐng)求可謂五花八門,這些“小小的心愿”按說(shuō)都是一些人們?cè)谏钪斜驹摵苋菀拙湍茏龅降氖虑?,在巴勒斯坦卻必須借助一本美國(guó)護(hù)照才能實(shí)現(xiàn)。“我想去拜特拉希亞(Beit Lahia,加沙地帶城鎮(zhèn)),帶回一張我家人的照片,特別是我哥哥的孩子們的。我在比爾澤特大學(xué)讀了三年書,我不能到加沙見我的家人。”“希望在母親生日的那天,帶上花去她的墓地看望她。我母親的墓在耶路撒冷,但我現(xiàn)在不能去,被拒簽了。”但并不是所有的請(qǐng)求都像這兩個(gè)一樣溫暖或者像到海法去點(diǎn)一支蠟燭或和見到的第一個(gè)巴勒斯坦人踢足球那樣有趣,有些請(qǐng)求是非常實(shí)際的,比如代為支付燃?xì)赓M(fèi)或去看望一位愛人。賈西爾將這些她力所能及的要求一一實(shí)現(xiàn),并通過(guò)圖片、文本和影像的方式記錄下來(lái),最終完成作品。許多看過(guò)作品的人都被其中被壓抑的美好深深打動(dòng),賈西爾用一種看似簡(jiǎn)單的善意之舉讓人們體會(huì)到了那“牢墻內(nèi)的巴勒斯坦”的巨大矛盾。

  類似主題的作品還有很多,比如2001年的裝置作品《紀(jì)念1948年被以色列毀壞和侵占的418個(gè)巴勒斯坦村莊》(Memorial to 418 Palestinian Villages Destroyed, Depopulated and Occupied by Israel in 1948),藝術(shù)家在超過(guò)一百四十位志愿者(大多是巴勒斯坦、以色列和其他國(guó)家的阿拉伯人)的幫助下,將1948年被以色列毀壞和占領(lǐng)的418個(gè)巴勒斯坦村莊的名字用黑色的粗線縫到麻布制成的難民帳篷上;而2003年的影像作品《拒絕進(jìn)入(耶路撒冷音樂(lè)會(huì))》(Entry Denied)則記錄了一支巴勒斯坦樂(lè)團(tuán)在某個(gè)空蕩的維也納劇場(chǎng)中(好似在耶路撒冷一樣)寂寞的演出;2005年的雕塑裝置作品《擁抱》是一個(gè)首尾相接的空的行李傳輸帶,象征了無(wú)家可歸的巴勒斯坦流亡者的無(wú)奈愿景,一個(gè)具有代表性的隱喻體。

  《一部電影的素材》(Material for a Film)是賈西爾在2005年推出的一個(gè)仍在進(jìn)行中的藝術(shù)計(jì)劃,也是涉及行為、裝置、攝影、文獻(xiàn)等不同媒介手段的綜合性作品。這個(gè)計(jì)劃的主題可以說(shuō)是“關(guān)于人物命運(yùn)的調(diào)查”,部分類似于小說(shuō)家或電影人用以揭示人物被掩蓋的生活細(xì)節(jié)和人生軌跡的工作。目前已實(shí)施的主要是關(guān)于巴勒斯坦學(xué)者阿卜杜拉·茲威特(Abdel Wael Zwaiter)的。茲威特生前是巴勒斯坦解放組織駐意大利代表,是意大利語(yǔ)版《一千零一夜》的翻譯者。1972年因被以色列政府懷疑參與“慕尼黑慘案”而遭以方情報(bào)機(jī)關(guān)暗殺(相關(guān)情節(jié)可參看斯皮爾伯格的影片《慕尼黑》)。此事至今在巴勒斯坦知識(shí)分子中影響很大,也是巴以復(fù)仇性暗殺事件中的典型案例,標(biāo)志著當(dāng)年以色列人針對(duì)巴勒斯坦知識(shí)分子的名為“上帝之怒”("Wrath of God")的一系列暗殺行動(dòng)的開始。據(jù)賈西爾說(shuō),她的這件作品的靈感來(lái)自于一本關(guān)于茲威特的書,這本書是茲威特的朋友編寫的,其中的一章即名為“一部電影的素材”,內(nèi)容涉及大量的對(duì)話和訪談關(guān)于茲威特在羅馬的生活,以及茲威特的意大利朋友希望為其制作一部紀(jì)錄片的愿望。這些啟發(fā)了賈西爾,使她在2005年決心開始這一計(jì)劃。為此賈西爾圍繞茲威特的生平做了大量的調(diào)查研究,包括到意大利采訪茲威特生前的朋友、同事以及去巴勒斯坦小城納布盧斯采訪茲威特的妹妹,對(duì)茲威特生前的居所和生活細(xì)節(jié)進(jìn)行拍攝和記錄等等。賈西爾還找到了茲威特遇刺身亡時(shí)所攜帶的《一千零一夜》手稿的副本(這本書當(dāng)時(shí)在茲威特的皮包里,被暗殺者的第13發(fā)子彈射中了書脊),對(duì)之進(jìn)行詳盡的拍照,還原出一千份關(guān)于那本書的圖像,人們可以看到每個(gè)圖頁(yè)上都有一個(gè)刺殺者的左輪手槍留下的彈孔。2006年,賈西爾參加悉尼雙年展時(shí)完成了這件作品的另一部分:在經(jīng)過(guò)一段時(shí)間的射擊訓(xùn)練后,賈西爾用“點(diǎn)22”口徑手槍(摩薩德組織暗殺茲威特時(shí)使用的那種左輪手槍)連續(xù)射擊分布在架子上的1000本空白書冊(cè),使之最終與她所翻拍的有彈孔的真實(shí)書頁(yè)共同構(gòu)成裝置作品。這些工作使賈西爾最終得以展現(xiàn)出一個(gè)生動(dòng)立體的關(guān)于巴勒斯坦知識(shí)分子茲威特的敘述模型。該作品也使賈西爾獲得了2007年度威尼斯雙年展40歲以下青年藝術(shù)家金獅獎(jiǎng),這也是該獎(jiǎng)首次頒發(fā)給巴勒斯坦人。

  賈西爾的作品一方面反映出巴以地區(qū)混亂的政局、尖銳的民族沖突、難以置信的暴力景象,另一方面也試圖表現(xiàn)在西方生活的巴勒斯坦人和西方人本身的生活狀態(tài),或者說(shuō)她試圖在這兩種看似截然不同的生活間架起某種橋梁。正如美國(guó)已故著名巴勒斯坦裔學(xué)者愛德華·薩義德(Edward Said) 評(píng)論的那樣:“她的作品游離于由官僚政治體系與不可協(xié)調(diào)的邊界、時(shí)間和空間構(gòu)筑的網(wǎng)絡(luò)。她所追求的不是去呈現(xiàn)一些宏偉的夢(mèng)想和凍結(jié)的夢(mèng)幻,而是要去展示那些平常的事物和簡(jiǎn)單的日?;顒?dòng)。”在2002年完成的作品《性感的閃米特人》(Sexy Semite)中,她找到六十位生活在紐約的巴勒斯坦人,讓他們?cè)趫?bào)刊上購(gòu)買刊登私人廣告,包括征婚和其他利益交換;2005年前后完成的裝置作品《收件箱》(Inbox),則是賈西爾把自己在1998至2005年間往來(lái)的四十余封電子郵件通過(guò)極為精細(xì)的繪畫手法轉(zhuǎn)換為小型木板油畫,這些被繪制的信件是某種縮影,藉由藝術(shù)家的這些交往記錄,讓人們可以聯(lián)想到一個(gè)由巴勒斯坦人或美籍阿拉伯人構(gòu)成的聯(lián)系密切的多層次的社會(huì)網(wǎng)絡(luò)。而這些反映日常生活片段的不同內(nèi)容更多則是通過(guò)賈西爾的攝影和影像作品體現(xiàn)出來(lái)的。像雙屏影像作品《拉馬拉/紐約》(Ramallah/New York)的內(nèi)容是關(guān)于在巴勒斯坦拉馬拉和美國(guó)紐約從事同一行業(yè)的巴勒斯坦人的工作對(duì)比,如咖啡館、美發(fā)店、雜貨店、旅行社等,不同的地域,相似的場(chǎng)景。事實(shí)上你很難通過(guò)畫面上的內(nèi)容把兩個(gè)城市區(qū)別開來(lái)。藝術(shù)家挖掘和展現(xiàn)的只是一些日常生活中被輕易忽視的場(chǎng)面和細(xì)節(jié),但這些也正是巴勒斯坦人社會(huì)身份的真實(shí)寫照,隱喻了某種被遮蔽的共同體價(jià)值。

  由胡高·博斯(Hugo Boss)和古根海姆博物館基金會(huì)(Guggenheim Museum foundation)共同舉辦的“胡高·博斯獎(jiǎng)”獎(jiǎng)每?jī)赡昱e辦一次,旨在鼓勵(lì)那些為當(dāng)代藝術(shù)做出杰出貢獻(xiàn)的藝術(shù)家,以往的獲獎(jiǎng)?wù)甙R修·巴尼(Matthew Barney)、皮埃爾·于熱(Pierre Huyghe)、塔西塔·迪恩(Tacita Dean)等人。2008年賈希爾獲得此獎(jiǎng)并領(lǐng)取了該獎(jiǎng)歷史上最高額度的十萬(wàn)美元獎(jiǎng)金。論及獲獎(jiǎng)原因,正如胡高·博斯獎(jiǎng)的評(píng)審委員會(huì)所言:“賈西爾嚴(yán)謹(jǐn)?shù)挠^念性實(shí)踐(包括攝影作品,錄像,表演,裝置作品等)見證了戰(zhàn)爭(zhēng)帶來(lái)的文化摧殘。她充當(dāng)了史官,活動(dòng)家和詩(shī)人的角色,她創(chuàng)作的深刻而令人心酸的藝術(shù)作品讓人們立刻對(duì)政治產(chǎn)生了極大的關(guān)注興趣。”與此獎(jiǎng)相關(guān)的主題性個(gè)展目前正在紐約的古根海姆美術(shù)館舉行(時(shí)間2009年2月6日到2009年4月15日)。

  除了自身的藝術(shù)創(chuàng)作,賈西爾還一直關(guān)心和積極致力于巴勒斯坦地區(qū)的社會(huì)性事業(yè),先后加入了很多組織,如薩卡基尼文化中心(the Sakakini Cultural Center),卡坦基金會(huì)(Qattan Foundation),奧瑪茂基金會(huì)(al-Ma'mal Foundation)等,并參與組織(創(chuàng)立)了許多重要的藝術(shù)活動(dòng),包括首屆拉馬拉國(guó)際影像藝術(shù)節(jié)和比爾澤特虛擬畫廊(Birzeit's Virtual Art Gallery)。她現(xiàn)在還是拉馬拉國(guó)際藝術(shù)學(xué)院的一名專職教師,為家鄉(xiāng)的藝術(shù)教育盡一份力。

 作者:黃寺

年鑒


Emily Jacir Biography 1970 Born in Riyadh, Saudi Arabia. Lives and works in Ramallah and New York 1992 BA in Fine Art, University of Dallas, Irving, Texas, USA 1994 MFA studies, Memphis College of Art, Memphis, USA 1998 - 1999 Whitney Independent Study Program, New York, USA Selected Exhibitions 2008 The object quality of the problem (on the space of Palestine/Israel), The Henry Moore Institute, Leeds 2008 Mediterranee II, Carre d’Art, Nimes 2008 Collection Video & Films; Isabelle & Jean-Conrad Lemaitre, Kunsthalle zu Kiel, Germany 2008 Disputed Territories: Emily Jacir, A Space Gallery, Toronto (solo) 2007 Emily Jacir, Villa Merkel, Galerien Der Stadt Esslingen Am Neckar, Germany (solo) 2007 Emily Jacir, Kunstmuseum St. Gallen, Switzerland (solo) 2007 Emily Jacir, Alberto Peola, Torino (solo) 2007 Unbound, Contemporary Art Plaform, London 2007 La Biennale di Venezia, Italy 2007 Bound, Open Eye Gallery, Liverpool 2007 Recognise, Contemporary Art Platform, London 2007 Taipei Biennial, Taipei Fine Arts Museum, Taiwan 2006 Now, Here, Over There, Fonds regional d’art contemporain de Lorraine 2006 Re: location, Alexander and Bonin, New York 2006 Venice-Instanbul, Instanbul Modern, Instanbul, Turkey 2006 Sao Paulo Biennale, Sao Paulo 2006 Biennale of Sydney, Sydney 2006 Sincerity, Finesilver Gallery, San Antonio, TX 2006 When Artists Say We, Artists Space, New York 2006 Dark Places, Santa Monica Museum of Art, Santa Monica, CA 2006 Now Voyager, Islip Art Museum, East Islip, NY 2006 Made in Palestine, touring exhibition, Bridge Gallery, New York 2006 The Only Book, The Center for Book Arts, New York 2006 The Wall & the Check Points, The Khalid Shoman Foundation - Darat il Funun, Amman, Jordan 2006 Without Boundary: Seventeen Ways of Looking, The Museum of Modern Art, New York, NY 2006 Taking place…Charlottenborg Exhibition Hall, Copenhagen, DK 2006 Slow Revolution, The Rotunda Gallery, New York, NY 2006 Une vision du monde - la collection video d’Isabelle et Jean-Conrad Lemaitre, La Maison Rouge, Paris (cat.) 2005 Emily Jacir, Anthony Reynolds Gallery, London. (solo) 2005 Where We Come From, The Jerusalem Fund Gallery, Washington D.C. (solo) 2005 accumulations, Alexander and Bonin, New York, NY (solo) 2005 This May Be What Parallel Looks Like, video screening, Sculpture Center, Long Island City, NY 2005 Episode 2 [To Lose without Being a Loser] and Episode 3 [Democracies], Tirana Biennale, Tirana, Albania 2005 General Ideas: Rethinking Conceptual Art 1987-2005, CCA Wattis Institute for Contemporary Arts, S. Francisco, California 2005 Classified Materials: Accumulations, Archives, Artists, Vancouver Art Gallery, Vancouver 2005 EindhovenIstanbul, Van Abbe Museum, Eindhoven, The Netherlands (cat.) 2005 In the Poem about Love you don't write the word Love, CCA, Glasgow 2005 In absentia: Collective Contemporary Art Exhibition, Centre d’art Passerelle, Brest 2005 Made in Palestine, touring exhibition, T.W. Wood Gallery and Arts Center, Montpellier 2005 Made in Palestine, touring exhibition, SomArts Cultural Center, San Francisco 2005 Mirage, Alexander and Bonin, New York 2005 Getting Emotional, ICA, The Institute of Contemporary Art, Boston 2005 Always a little further, Arsenale , 51 Biennale Internazionale d’Arte, Venice, Italy 2005 HOME, Cork, Ireland 2005 Mediterranean Encounters, Parco Orcynus Orca, Messina; Castle of Scilla, Reggio Calabria 2005 7th Sharjah International Biennial, Sharjah, United Arab Emirates. 2005 Flight 405, Galerie Sfeir-Semler, Beirut, Lebanon. 2005 Do Not Interrupt Your Activities, Royal College of Art, London (cat.) 2005 Desenhos: A-Z, [Drawings: A-Z], Porta 33, Funchal, Ilha da Madeira 2005 The Art of Aggression: Iraqi Stories and Other Tales, Reynolds Gallery, Inc., Richmond, VA 2005 Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, USA 2004 'Wherever I Am', Modern Art Oxford, Oxford, UK 2004 ---, Künstlerhaus Bremen, Bremen, Germany 2004 Museum of Modern Art, Arnhem, Netherlands 2004 The Khalil Sakakini Cultural Centre, Ramallah, Palestine 2004 Kunstraum Innsbruck, Innsbruck, Austria 2004 'Cover Girl: The Female Body and Islam in Contemporary Art', ISE Cultural Foundation, New York, USA 2004 'Neither Here Nor There: Video Artists Navigate Cultural Displacement', Cheekwood Museum of Art, Nashville, Tennessee, USA 2004 '5th Gwangju Bienniale', Joongoe Park, Gwangju, Republic of Korea 2004 'PhotoEspa?a 2004', Madrid, Spain 2003 - 2004 'Where We Come From', Nuova Icona, Venezia, Italy and Debs & Co., New York, USA 2003 Belongings, O-K Center for Contemporary Art, Linz, Upper Austria 2003 'Los Angeles International Art Biennial Invitational', Frumkin Duval Gallery, Santa Monica, USA and Al Ma’Mal Foundation, Jerusalem, 2003 '8th Istanbul Biennale', Istanbul, Turkey 2003 'Cynical Culture', Galerie Schüppenhauer, Cologne, Germany 2003 'VEIL', Institute of International Visual Arts (inIVA), Touring Exhibition; Liverpool, Walsall, Oxford and Stockholm 2000 'From Paris to Riyadh (Drawings for my mother)', University Gallery, University of the South, Sewanee, Tennessee, USA Literature 2008 Penelope Curtis, ‘The object quality of the problem’, The Henry Moore Institute (cat.) 2008 Kirsty Bell, ‘Another Country’, Frieze, April (ill.) 2008 Portfolio; Reinvent the wheel, March 2008 Daniela Mett, ‘Stimmen im Schrank’, Weltkunst online, 22 February 2008 Nicole Busing and Heiko Klaas, ‘Poesie und Irritationen im Alltag’, Nordsee Zeitung, 30 January 2008 Jens Ronnau, ’Audiovisuelle Kost zwischen Dreiecksbeziehung und Wiedergeburt’, Schleswig-Holsteinische Landeszeitung, 19 January 2007 Ossian Ward, ‘Critics Choice’, Time Out, August 29th – 4th September 2007 http://universes-in-universe.org, October 2007 www.kunstmuseumsg.ch, September 2007 Carola Serminato, ‘Emily Jacir’, Espoarte, no. 46, 4th May 2007 Alberto Peola, ‘Emily Jacir’, Flash Art, no 263, 4th May 2007 ‘Emily Jacir’, Futuro Contemporary Art, 3rd April 2007 Barbara Reale, ‘Emily Jacir’, Exibart.com 2007 Lisa Parola, ‘Quel concerto negato per Emily e un simbolo’, La Stampa, TorinoSette, 9th February 2006 Rasha Salti, 'Emily Jacir', Zones of Contact - 2006 Biennale of Sydney (cat.) (ill.) 2006 Demos, T.J. "Life Full of Holes." Grey Room 24, Summer 2006 Kaelen Wilson-Goldie, New Art For A New Middle East, Art and Auction, March 2006 Cotter, Holland. "Made in Palestine." The New York Times, March 2006 Emily Jacir’, Une Vision du Monde la Collection Video d’Isabelle et Jean-Conrad Lemaitre, February (cat.) (ill.) 2006 Neit Mulholland, ‘In the Poem About Love You Don’t Write the Word Love’, ArtReview, February 2005 Emily Jacir, Where We Come From, Ulrich Museum of Art, Wichita, Kansas 2005 Martin Coomer, Emily Jacir – Anthony Reynolds Gallery, June 29, 2005 2005 Kerryn Greenberg, Eva Meyer Hermann, Istanbul-Eindhoven, Vanabbemuseum 2005 Frances Richard, “Emily Jacir”, ArtForum, May 2005 Lori Waxman, “Emily Jacir”, www.artforum.com 2005 Alejandra Aguado, “Do Not Interrupt Your Activities”, Royal College of Art Galleries 2004 Gilane Tawadros, “Changing States: Contemporary Art and Ideas in an Era of Globalisation”, InIva, London 2004 Anna Kafetsi, “Transcultures” The National Museum of Contemporary Art, Athens 2004 Francesco Bonami, “Non Toccare La Donna Bianca”, Fondazione Sandretto Re Rebaudendo, Turin 2004 Andrew Nairne and Suzanne Cotter, “Wherever I Am”, Museum of Modern Art, Oxford 2004 Stella Rollig; John Menick; Edward Said; Christian Kravagna, “Emily Jacir: belongings”, Folio Verlag Wien 2004 Caroline Lagnado, “Whitney Biennial well worth the visit”, Tufts Daily, April 8 2004 Editors, “Emily Jacir”, This Much is Certain , Catalogue from the Royal College of Art, March to April 2004 Tyler Green, “Hit the Road, Whitney”, Wall Street Journal-Editorial page, March 30 2004 Jerry Saltz, “The O.K. Corral”, The Village Voice, March 15, 2004. 2004 Michael Kimmelman, “Touching all bases at the Biennial”, New York Times, March 12 2004 Celia McGee, “Whitney Sticks its Thumb Out”, New York Daily News, March 11, 2004. 2004 Holland Cotter, “Duck! It’s Whitney Biennial Season Again”, New York Times, March 7 2004 Kate Ledogar, “Screaming from the Gallery: Road Trip!”, Boston Weekly Dig, March 2004 Karen Rosenberg, “Biennial Favorites,” New York Magazine, p. 38, March 1 2004 Tom Vanderbilt, “Emily Jacir,” Artforum, p.140 –141, February 2004 Martin Sturm, et al., Emily Jacir: belongings Exhibition Catalog, January 2003 Emily Jacir: belongings. Arbeiten/Works 1998-2003, O-K Center for Contemporary Art, Linz, Austria 2003 Emily Jacir (im)mobility, Al-Ma’mal Foundation for Contemporary Art, Jerusalem 2003 T.J. Demos, “Desire in Diaspora: Emily Jacir,” Art Journal, vol. 62, no. 4 (Winter 2003), pp.68-80 2003 Tory Dent, “Emily Jacir”, PARACHUTE, 012, Fall 2003 Washington Report on Middle East Affairs, p. 32-33, November, Vol. XXII, No.9. 2003 Contemporary Art from the Islamic World, Online Magazine, 4th Issue, October, 22 2003 Eleanor Heartney, “Emily Jacir at Debs & Co.,” Art in America, October 2003 Kelly Klaasmeyer, “Peace Through Art, ‘Made in Palestine,” Humanizes the Middle East Conflict,” The Houston Press, July and August 2003 Editors, “So Much in a Simple Request,” The Los Angeles Times, July 18 2003 Tom Breidenbach, “Emily Jacir- Debs & Co,” Artforum, Summer 2003 Editors, “Emily Jacir Where We Come from Installation at the 8th Istanbul Biennial 2003 Kirsten Butler, “Enter the Ghost, Exit the Ghost, Re-enter the Ghost,” Empire/State Catalog 2003 Edward Said, “Emily Jacir”, Grand Street, Issue 72, Fall 2003 Holly Myers, “So Much in a Simple Request,” L.A. Times, July 18 2003 Louise Roug, “The Talking Pictures,” The Los Angeles Times (Calendar Weekend), July 10 2003 Holland Cotter, “Empire/State-Artists Engaging Globalization,” The New York Times, July 5 2003 Laura Auricchio, “Homeland,” Time Out New York, June 19-26 2003 Paul Bass,“Where We’re Going”, The New Haven Advocate, June 19 2003 Eugenie Tsai, “Emily Jacir, ‘Where We Come From’,” Time Out New York, May 8-15 2003 Editors, “Emily Jacir”, The New Yorker, May 12 2003 Holland Cotter, “Emily Jacir,” The New York Times, May 9th 2003 Kim Levin, “Emily Jacir,” The Village Voice, Shortlist, April 23-29 2003 Kyle MacMillan, “Timely exhibit of Arab works offers new view of raging political debate,” The Denver Post, February 28 2002 Rebecca Faulkner, “Marked Space,” 5, Rebirth 2002 Benjamin Young, “In Translation,” Social Sectors Catalog, Vienna 2002 Regina Urban, “New York im Untergrund,” Nurnberger, April 11 2002 Uma, “Vom Kunstbunker zu den Konfliktherden der Welt,” Abendzeitung, April 11 2002 Matthew McAllester, “Seeking Art Amid the Chaos,” Newsday, April 4, 2002 2002 Linda Yablonsky, “Unjustified,” Time Out New York, February 14-21 2001 Editors, “Emily Jacir”, Fisuras de la Cultura Contemporanea, Summer 2001 Editors, “My America (I am still here),” Economies/Exchanges, n.paradoxa, vol.8, July 2001 Oz Shelach, "Ohel Yizkor for the Nakba," Ha'aretz, May 18 2001 Jacqueline S. Stoeckler, "Exiles and Cosmopolitans," Afterimage, vol. 28, Jan./Feb 2000 - 2001 Herkenhoff, “Emily Jacir,” P.S.1 Studio Program Catalog 2000 Carlos Basualdo, “A Worthless Question, Many Invaluable Answers,” Moderna Galerija 2000 Carrie Lambert, “Pointing at P.S.1,” Greater New York Writer’s ProjectBrian Holmes, "Carnival in the Eye of the Storm:Kosov@,” Afterimage, September/October 2000 Susan Canning, "Greater New York Bucks the Biennial," Art Papers, July/August 2000 Colwell Carol, DWCA 1995 National Juried Exhibition Catalog, Irving Art Center, Irving, TX. 2000 Rebecca Faulkner, "Traveling Towards (Dis)appearance: A Response to Emily Jacir's Drawings," Barnard Feminist Art Conference and Greater New York Catalog 2000 Delinda C. Hanley, “Made in Palestine: A Stirring Exhibit Rocks Houston and Hits the Road”