#emily jacir

[neshamama]

emily jacir, from where we come from, 2001-2003

“if i could do anything for you, anywhere in palestine, what would it be?” this question was recently posed to palestinian exiles by palestinian-american artist emily jacir. taking advantage of her ability to move about relatively freely in israel with an american passport, jacir promised to realize the desires of those forbidden entry into their homeland. a series of texts, black lettering on white panels, describes the various requests. color photographs, presented by their side, document jacir’s actualization of them.  (sfmoma)

[garadinervi]

Emily Jacir, From Paris to Riyadh (drawings from my mother) November 1977, (marker on vellum), 1999-2001 [Beit al Beiruti, Darat al Funun, Amman. © Emily Jacir]

[christianaaahhh]

Emily Jacir

Memorial to 418 Palestinian Villages which were Destroyed, Depopulated and Occupied by Israel in 1948

in ΕΜΣΤ National Museum of Contemporary Art Athens

[meamegirl]

[jacobwren]

Emily Jacir. Untitled. Media: Books in a 36” doorway, installation dimensions variable.

[vsthepomegranate]

Detail from “Material for a Film” by Emily Jacir (2004)

Photo by Emily Jacir

[thesobsister]

“The university claims that the 2021 missive, signed by about 16,000 artists among them Nan Goldin, Emily Jacir, and Kara Walker, ‘takes up boycott demands of the anti-Israeli BDS [Boycott, Divest, Sanctions] movement,’ an initiative the German parliament equated with antisemitism in a 2019 resolution.”

If you pass a law that can be used to force visionary artists such as Laurie Anderson out of university teaching positions, you’re doing Life wrong.

[marilynlennon]

Emily Jacir

Wael Zuaiter, a Palestinian artist and intellectual, was assassinated by Mossad agents as part of a spree of Israeli state-sponsored murders taking place in Europe in 1972. He was killed outside his apartment in Rome on October 16. So begins the story of Zuaiter as it is told by artist Emily Jacir on the Electronic Intifada in 2007.1 The name of Jacir’s installation is derived from the title of a chapter written by Elio Petri and Ugo Pirro, friends of Zuaiter, and included in the book For a Palestinian: A Memorial to Wael Zuaiter, which was written in 1979 by Zuaiter’s girlfriend Janet Venn-Brown. Before his death, Petri had planned on making a film about Zuaiter, which explains why the date of Jacir’s project implies it is ongoing and unfinished – the film was never made. Jacir tells us how in 2005 she went to Rome to collect material to realize this hitherto unmade film. She provides very exact details about her trip to Massa Carrara, visiting Zuaiter’s sister in Nablus, and her prolonged discussions with Venn-Brown in Rome over a period of three years. What adds interest to the story is the fact that Zuaiter was well-known in cultural circles and was friends with the famous writer Alberto Moravia, as well as Jean Genet, Pier Paolo Pasolini, Rafael Alberti, Antonio Gambini and other European literati. As a point of curiosity, Jacir lets us know that Zuaiter played a part as an extra in Blake Edwards’ 1963 film The Pink Panther. She herself seems to be an amateur Inspector Clouseau. She tells us where he lived, in apartment number 4, on the seventh floor of the Piazza Annibaliano. On the day he was killed, Zuaiter left Venn-Brown’s home and took buses 93 and 80 to then reach the entrance to his wing of the apartment building. He made a telephone call at the Bar Trieste next door to his place, and then, in front of the elevator, at around 10:30 pm, he was shot to death.

[szczutek]

Installation and Exhibition

Installation is an ergonomically charged practice in which items are arranged to human anatomical convenience in order to pique the highest amount of interest in an audience while still maintaining commercial standards of aesthetics so as not to repulse. Like the task of building an office chair the way a body of works is arranged or what it displays must be innovative enough to gain intrigue, appealing enough to get looks and comfortable enough to sell. We were tasked with exhibiting five works reflecting on the Israel-Palestinian conflict in a way that may effectively communicate its meaning. Taking works of various Palestinian war photographers such as Peter van Agtmael, Fatima Sbhair and images of Emily Jacir’s tent installation embroidered with the names of 419 villages decimated in the Nakba; arranging them at approximate eye level 150cm from the floor in a sequence: Nakba, black ash covered sink (hospital use or other), Gaza in flames, faces from the Jewish Museum, three orphaned siblings navigating a barren street. The narrative is expressed in the contrast of themes and colours. The task brought many interpretations to light – most curiously a coffin arrangement of the images. It brought into discussion the severity of the conflict and how particularly photography, is not expression in these conditions but a form of survival. Many photographers and journalists the likes of Motaz Azaiza use images as language to reach out internationally.

[neshamama]

artist emily jacir in derry, ireland, 2009

[garadinervi]

Emily Jacir, From Paris to Riyadh (drawings from my mother) November 1977, (marker on vellum), 1999-2001 [Beit al Beiruti, Darat al Funun, Amman. © Emily Jacir. Photo: Otto Saxinger]

[sataniccapitalist]

Artist Emily Jacir: Rampant Censorship Is Part of the Genocidal Campaign to Erase Palestinians

We speak with award-winning Palestinian American artist and filmmaker Emily Jacir, whose event in Berlin in October was canceled after Israel launched its ongoing assault on Gaza. Jacir decries a pattern of "harassment, baseless smear campaigns, canceling shows, canceling talks" conducted against Palestinian artists in Germany and around the world. "It's very much part of a coordinated movement," she says, connecting global censorship of diasporic Palestinian voices with the violent "targeted destruction of culture in Gaza," which she calls a "part of genocide."

[meamegirl]

Emily Jacir, Memorial to 418 Palestinian Villages Which Were Destroyed, Depopulated, and Occupied by Israel in 1948, 2001, refugee tent, embroidery thread, record book, Collection National Museum of Contemporary Art, Athens.

[mirandamckenni1]

Liked on YouTube: Meeting this Syrian toymaker was nothing like I expected it to be || We Were Here || https://www.youtube.com/watch?v=RoWbPi1EEDI || I'm so excited for you to meet my new friend Mohammad. Thanks to everyone who helped make this happen, here's more information on the project: In support of World Refugee Day, We Were Here is an original documentary series from YouTube and UNHCR, the UN Refugee Agency, that seeks to challenge stereotypes and perceptions about refugees by focussing on what unites us rather than sets us apart - our shared passions. You can see the other episodes in the series here: The Permaculturist - on the Gaz Oakley YouTube Channel - https://www.youtube.com/channel/UCF-ACPYNN0oXD4ihS5mbbmw The Musicians - on the Jax Jones YouTube Channel - https://www.youtube.com/channel/UCj95pmTj8-hClQPPc972VOw All episodes of the series are also featured on the YouTube playlist - http://yt.be/wewerehere Learn more at https://ift.tt/v4SsQHd #worldrefugeeday Directed by: Mahmoud Al Massad @massada Contributors: Mohammad Waheed Hussein Asaf, Simone Giertz Production Company: Uncommon Creative Studio @uncommon_london In Association With: Lief @we.are.lief Producers: Shananne Lane, Margo Mars, Rosie Woods @shanannelane @margomars @rosie_esme_woods Executive Producers: Alma Har’el, Nils Leonard, Charlie Gatsky Sinclair @alma.harel @nilsleonard Series Director: Laura Checkoway @laurachecks Casting Director: Six Minutes @sixminutes_casting Production Managers: Luke Tilbury, Laura Jenkins @thetilla Director of Photography: Ahmad Jalboush @ahmad_jalboush Editor: Simon El Habre @simonelhabre Additional Editing: Lewis Noll @lewisnoll Colourist: Yoomin Lee @yoominleecolourist Sound Designers: Patch Rowland & Nigel Mannington @patchland Music Supervisor: Bridget Samuels @bridgetsamuels Jordan Unit Producer: Faris Halaseh @faris_halaseh Service Production Company: Where To Film 1st AD & Translator: Leen Hamarneh @leenwithit 1st AC: Hussein Qadan @hussein_qadan Camera Operator / AC: Amr Khaled @_amr_khaled Location Manager: Ahmad Shehdeh @ahmad_jello Art Director: Ayoub Nahhas @ayoub.g.n Sound Recordist: Hussam Sabanekh @hussam.sabanekh DIT: Saif Abu Rabear @saif.aburabeea Sound Assistant: Bashar Khawaja Production Assistant: Hamzeh Hamidah @hamza.o.hamida Driver: Rashed Zghool @rahidzgh Assistant Editor: Patil Aynedjian Audio Post-Production: Machine Sound @machinesound.co Audio Executive Producer: Rebecca Boswell @rebeccajboswell Audio Producer: Amber Clayton @amberimogen1 Machine Music Supervisor: Brice Cagan @@bricecagan Audio Assistant: Chas Langston @chaslangston Colour: Company3 @company_3 Colour Producer: Kerri Aungle @kerrilondon Post-Production Company: Jam VFX @jamvfxuk Online Post Producer: Angus Berryman @angusberryman Title Design: Uncommon Creative Studio @uncommon_ldn Translations / Subtitles: Wael Joudeh @donotgooutside Production Assistant: Gaaron Clarke @gaaron_clarke Director Assistant: Tally Francis @tallyfrancish Director Assistant: Sasha Nicolas @sashanicolas Junior Researcher: Ethan Elliott @ethyweathy Photographer: Emily Garthwaite @emilygarthwaite Uncommon Creative Studio Creative Director: Shaun Savage @shaunsavage_ Uncommon Creative Studio Creative: Luke Carlisle Uncommon Creative Studio Business Director: Johnny McManus @johnny_mcmx Uncommon Creative Studio Legal: Murray Taylor Uncommon Creative Studio Head of Production: Goldie Robbens @goldie_robbens Special Thanks To: Meshal Elfayez Syrian Refugee Affairs Directorate Annemarie Jacir Roland Schoenbauer Peter Sripol Extra Special Thanks To: Osama Sabbah MUSIC CREDITS Emsallam, The Archiducer - Licensed c/o Keife Records Arabic Trap - Harry T Croxford, Theo Golding, Primetime Productions Ltd, licensed ℅ Universal Production Music Plant Hope - Cavendish Music, licensed ℅ PRS Major With Oohs & Ahhs - Taz Conley, Music Bed, licensed ℅ PRS Drifting With The Current 2 - licensed ℅ Machine Sound