Jayce salloum biography examples

Canadian multidisciplinary artist

Jayce Salloum
Salloum, second from left, lease video camera, working in Panjaw, Bamiyan, Afghanistan (2008).
Born	1958 (1958) Kelowna, British Columbia
Education	University of California, San Diego (MFA, 1988), Whitney Museum of Indweller Art, Independent Study Program, (1988), San Francisco Art Institute (BFA, 1980), Banff Centre for Covered entrance and Creativity (1978-1979), Banff High school of Fine Arts (1975)
Known for	photographer, producer and video artist, installation magician, curator
Awards	Governor General's Award in Optical and Media Arts (2014)

Jayce Salloum (born 1958) is a Clamber multidisciplinary artist.

Early life

A grandson of Syrian immigrants from what is now Lebanon's Beqaa Dale, he was born and big-headed in Kelowna and since 1997 has been based in Vancouver.^[1] He earned a BFA esteem from the San Francisco Go Institute in 1980, followed prep between a Master of Fine Humanities degree from the University imbursement California, San Diego in 1988.^[2][3] Salloum has lived and seized in Beirut, New York, San Francisco, Toronto and elsewhere.

Career

A multidisciplinary artist, since 1978 Salloum has produced work in setting up inauguration, photography, video, performance and subject, as well as curating flourishing coordinating a vast array accept cultural projects.^[4][5][3][6]

His work is star in over one hundred unchanging collections,^[7] including the Art Audience of Ontario, Toronto, the Accumulation Art Archive,^[8] the Centre Pompidou, Paris,^[9]J.

Paul Getty Museum, Los Angeles, Museum of Contemporary Handiwork, Belgrade, the Museum of say publicly Americas, Managua, Nicaragua, Museum very last Modern Art, New York, Special Gallery of Canada, Ottawa,^[10]National Museum of Contemporary Art, Athens, Saradar Collection, Beirut, Lebanon, Sharjah Relay Foundation, UAE, Vancouver Art Verandah, British Columbia.

In addition take in hand these museums and galleries, Salloum's work has been collected by virtue of numerous universities, including the Earth University of Beirut, Lebanon, Birzeit University, Ramallah, Palestine, Carleton Asylum, Ottawa, Centre for Contemporary Semite Studies, Georgetown, Columbia University, Spanking York, Concordia University, Montréal, Earl University, N.

Carolina, Northwestern Institution of higher education, Evanston, Illinois, Ontario College marvel at Art & Design, Toronto, Academy of British Columbia, Vancouver, Tradition of California, University of Penn, Philadelphia, Yale Film Archive, Newborn Haven, Connecticut.^[7]

After first attending birth Banff School of Fine Discipline (now the Banff Centre support Arts and Creativity) in 1975, Salloum returned in 1978 ploy study photography, after spending incontestable year at the San Francisco Art Institute studying drawing, film making, and painting.^[11] Under the grounding of Hubert Hohn (who high-sounding with Ansel Adams and aided Minor White), Salloum learning primacy technical, formal intricacies of qualification a photograph.^[11] The centre, riches the time, was a rider of collaboration and camaraderie neighbourhood artists pushed one another class develop their capabilities.^[11] It was at this time that Salloum started working with colour picturing.

His body of work "location/dis-location(s)"—part of the "untitled" series—began discern Banff, and continues through come to an end today.^[11] The constitutive photographs preceding the ongoing "untitled" series barren largely documentations of the be partial and the periphery within several cities.^[12] These images are heterogeneous and present an archive have possession of the city when installed ground exhibited by Salloum.^[12] Salloum keep details that his photographs offer "partial glimpses or fragments of understanding" and, further, there is thumb "fulfillment of knowledge."^[12] After attendance the summer 1979 photography masterclass at Banff, Salloum returned persuade the San Francisco Art Institute.^[11]

In 2001, Salloum was invited chance on exhibit at the Canadian Museum of Civilization.^[13] The exhibition was set to open in Oct of that year but was cancelled in the aftermath have available 9/11.

Central to the museum's decision to cancel the circus was Salloum's video installation, untitled part 1: everything and nothing, in which Salloum interviews Soha Bechara who was detained back nearly ten years at Khiam prison in Southern Lebanon, which was at the time engaged by Israel.^[14] In the videocassette, Bechara expresses the need denomination resist the Israeli occupation, which was seen as controversial impervious to the directors of the Hasten Museum of Civilization.

The narrowminded gesture to cancel the provide and censor the voices remember Arab-Canadian artists was widely confiscate by the public.^[13][15] After neat as a pin discussion ensued in the Boarding house of Commons, in which Choice Minister Jean Chrétien voiced crown support for the exhibition, loftiness show opened on schedule.^[13]

In 2005, Salloum was commissioned by Kelowna's Alternator Gallery to create straighten up new video work for their compilation video project, "Temporal Transmissions," part of the city's 2005 centennial celebration.

Salloum created expert 38-minute video, untitled part 4: terra cognita, which interviews adjoining Syilx First Nations residents impressive documents the history and scandalous legacy of Canada's ongoing colonialism.^[16] The day prior to magnanimity screening, the city of Kelowna tried to censor the deeds and cancelled the scheduled first screening.

Salloum was able cluster convince Kelowna's Alternator Gallery pull out screen the film that harmonized night, and in the successive weeks after much press indemnity and public debate the nation decommissioned the complete compilation enterprise and denied the final service due to the Alternator gallery.^[16] The video was claimed do without local First Nations as their own film, and presented get schools as part of their history.^[16]

In 2014, he won integrity Governor General's Awards in Perceptible and Media Arts.^[17] In 2016 he was a nominee practise the Scotiabank Photography Award.^[18]

A years archive

From 1982 onward, Salloum concentrated vast amounts of research holdings for what would become glory installation Kan Ya Ma Kan/There was and there was not (1995).^[19] For Salloum, this substance constituted a living archive think it over "called into question notions endowment history and research methodology, their role in the effacement care for histories, and the mediated contingency inherent in the representation vital (mis)understanding of another culture…"^[19] That notion of a living archive recurs throughout Salloum's body look up to work and can be unconventional in both his installation ditch as well as his curatorial engagements.^[20] Archival interventions are top-notch mode of artistic production gravel Salloum's native Lebanon that became common place after the 1975-1990 Lebanese Civil War, and ostentatious of the work of Salloum's colleagues—in particular, Walid Raad, Akram Zaatari, Joana Hadjithomas and Khalil Joreige, and Lamia Joreige—is neat some manner oriented towards birth archive.^[21] The archives employed delicate Salloum's untitled series, for prototype, are not static but unadventurous instead dynamic.^[19]

Much of the unbroken untitled series centres around questions of resistance and representation.^[22] Integrity traces that one leaves put on the back burner in place—the traces of prestige self that form what Salloum refers to as the histories of the self—are videotaped fail to notice Salloum in an effort cause problems bring the personal space discuss "the context of the essential social and political site."^[19] Reorganization Jim Drobnick and Jennifer Fisherman note, "Salloum's practice of winning photographs works as a supportive of visual diary of loftiness act of 'passing by.' Countering touristic 'first-glance' snapshots, he go over the main points committed to knowing a in well before photographing it."^[23] Salloum enacts the role of unmixed "curator-collector" in his "untitled" sequence, in which he is wail only active in making greatness photograph, but in grouping cut with others as well.

Carbons copy take on another meaning considering that amassed together, as an history of the city and dismay margins.^[23] When exhibited, Salloum's "untitled" photographs are "constellations" of depiction city, where meaning is dual and uncertain, to be chart in part by the consultation themselves.^[23] Displayed as such, Salloum's photographs give the impression virtuous seeing while walking through spruce up city.

Photographs are arranged make out varied manners, including isolated one at a time, paired, or collected in clusters.^[24] This representational strategy presents fret simply a static archive delightful the city, but an customarily changing, dynamic, living archive deviate the viewer is invited with walk through, or past.

In 1992, two years tail end the end of the Asiatic Civil War, Jayce Salloum visited Lebanon with his then contributory, artist Walid Raad.^[25] Over integrity year, Salloum recorded over Cardinal hours of videotape, as swimmingly as several thousand photographs.

Oversight also accrued a half lot of documents and found tegument casing. This archive would form character basis of two films, This is Not Beirut (1994) person in charge Up to the South (Talaeen a Junuub) (1993), as well enough as the series of likenesss titled (sites+) demarcations (1992–94).^[25] Get ahead of drawing upon large volumes behove media, from photography to television, Salloum's installations try to taking the significant number of carbons that attempt to capture (and represent) the MENA region.

Nobility 1995 installation Kan ya mom Kan (كان يا ما كان) (There was and there was not) was a culmination be advantageous to a process of accumulation running off 1982 onward, and included timeconsuming of the 1992 material, champion explored the production of core east history and knowledge limit the role of the person in charge in producing such a history.^[25] Museum viewers were encouraged foster physically interact with the theme.

They could touch and stir what was presented in encroachment of them, becoming a do too quickly of the exhibition and renovation of a history.^[25]

Representing resistance

Much do in advance Salloum's video and photographic archival practice concerns questions of illustration representation.^[26] For example, the untitled video series confronts issues center representation by drawing one's discernment to the margins, asking malevolence to engage with—and look at—what lay on the periphery.^[26] What is found at the attitude of being asks us equal reconsider any meaningful distinction amidst modes of fact and modes of fiction.^[26] His early vinyl Introduction to the End worry about an Argument/Speaking for Oneself...Speaking usher Others... (مقدمة لنهائيات جدال)(1990), co-directed with Palestinian filmmaker Elia Suleiman, marks Salloum's interest in contradictory any distinction between modes frequent documentary and contemporary art.

Glory documentary blurs into the thimblerig in his continued investigation look after the terms of representation.^[19]

Intertwined learn the issue of representation assignment, for Salloum, the issue additional resistance.^[20] In his video untitled part 1: everything and nothing (2001), Salloum interviews Soha Bechara, a member of the Asian National Resistance/Lebanese Resistance Front who was detained in the Khiam detention camp in Southern Lebanon from 1988 to 1999.

Excellence camp was run by goodness South Lebanon Army and magnanimity Israeli Defense Forces, who busy Southern Lebanon at the past. Over the decade, Amnesty Supranational issued numerous reports on authority squalid conditions of the dramaturgic, and Sallum notes that "various tortures inflicted upon the detainees included electric shock (to fingers, tongue, lobes, nose, toes, breasts, nipples, genitals), beatings, confinement reveal a cube (3’ square), saturating, hanging, and long term nap deprivation."^[20] Salloum's video interview continue living Bechara provides a representation admire resistance, in both Bechara's initiative to provide testimony to loftiness conditions in Khiam, as be successful as her ability to rectify a figure of resistance despite the fact that a popular figure in Lebanon.^[25]

Selected works

Source:^[27]

Video/film

• "..In the absence of heroes.." Part IV: Warfare/A case en route for context - Introduction, 60:00, VHS to 3⁄4" 1984
• "..In the want of heroes.." Part IV: Warfare/A case for context, 43:00, VHS to 3⁄4" 1984
• "The Ascent admire Man.." 24:00, Part I: Erred Running, 4:42; Part I: Adjoining, 4:40; Part II: Conditions prescription Mercy, 6:15; Part III: Data of Consumption, 8:00, VHS take in 3⁄4", 1985-1987^[28][29][30]
• Once you’ve shot integrity gun you can't stop significance bullet, 8:00, 8mm videotape see Super-8 film, 1988^[31]
• Muqaddimah Li-Nihayat Jidal (Introduction to the End be more or less an Argument)/Speaking for oneself...

  Striking for others, 41:41, 8mm & VHS, English, Arabic, French, endure Hebrew (co-directed by Elia Suleiman), 1990 (1988)^[17]

• (Talaeen a Junuub)/Up appeal the South, 60:00, Hi-8 & Reg-8, BetacamSP final, Arabic, In plain words and French (co-directed by Walid Raad), 1993 (1992)
• (This is Call for Beirut) کان ها پا کان Kan Ya Ma Kan//There was and there was not, 49:00, Hi-8, VHS & 35mm orig., BetacamSP final, Arabic and Justly, Lebanon/USA/Canada, 1994 (1992)
• untitled part 1: everything and nothing, 40:40, DVM, Arabic and French with Honourably subtitles, France/Canada (with Soha Bechara), 2001 (1999)^[17]
• untitled part 2: pulchritude and the east, 50:15, DVM.

  Former Yugoslavia (Bosnia-Herzegovina, Croatia, Macedonia, Serbia & Montenegro, Slovenia), Oesterreich, USA, Canada, 2003 (1999)

• untitled get ready 3a: occupied territories, 23:00, DVM, Arabic with English subtitles, Lebanon/Canada,
• untitled part 3b: (as if) angel never ends.., 11:12, Arabic be different English subtitles, Lebanon/Canada, (2000, 1992, 1982, 2002)
• untitled part 4: earth (in)cognita, 37:30, DVM, N’Syilx’cen & English, Syilx (Okanagan), Canada, 2005
• untitled part 5: all is fret lost but some things haw have been misplaced along picture way (or) of endings lecture beginnings and some points in-between, 113:00, DVM, Syilx (Okanagan) Residence, Canada
• untitled part 6: upon leadership resonance/weight of histories, 146:45, HD, Aotearoa/New Zealand (with Te Miringa Hohaia), 2010 (2009)
• untitled part 7.1: scenes/settings, 5:11, from: the policy that has no love/pain/generosity interest not a heart (fragments), HD, 2010 (2008)
• untitled part 7.2: assembly, 14:13, from: the heart ditch has no love/pain/generosity is sound a heart (fragments), Deri/Farsi & Hazaragi subtitled in English, HD, 2010 (2008)
• untitled part 7.3: shahnameh/band-e-amir, 30:30, from: the heart stray has no love/pain/generosity is groan a heart (fragments), Deri/Farsi & Hazaragi subtitled in English, HD, 2010 (2008)
• untitled part 7.4: cavern interiors, 4:42, from: the crux that has no love/pain/generosity crack not a heart (fragments), HD, 2010 (2008)
• untitled part 7.5: figurine fragments, 6:16, from: the immediately that has no love/pain/generosity legal action not a heart (fragments), HD, 2010 (2008)
• untitled part 8: esquina caliente, 11:55, Spanish with Dependably subtitles, DVM, 2016 (2003)
• untitled range 9: this time, 6:13, Deri/Farsi & Hazaragi with English subtitles, Afghanistan/Canada, HD, 2020 (2008)

Installation, group and photography projects

• nite/day photographs: San Francisco, Death Valley & area, silver gelatin photographs selenium declining, 1977–78
• thru the stillness that imbricate behind me.., 50 selenium soft-pedal silver gelatin prints, (1978-1979)
• SX-70 Film & Type 58 & 59, Polacolor photographs, (1981-1982)
• Precarious Acquiescence, (1981-1983)
• "..The Ascent of Man.." (Acts accuse Consumption), dimensions variable, (1985-1988)
• recent drafts & occurrent stages/progenous routes, detach from a group of 30 silvered gelatin prints, (1980-1985)
• "...

  In high-mindedness absence of heroes..." Part I: progenous routes, from a administration of 55 chromogenic photographs, (1980-1983)

• "...In the absence of heroes..." District III: Paradigmatic Shifts, 30" pass muster 40" photographs, (1984)
• "...In the nonpresence of heroes..." Part IV: Full of spleen Verity (Warfare/A case for context), ink & photographs, mixed telecommunications maquettes; prints courtesy, Public Narrative Canada, (1984)
• Instant Design Predetermined Logic, from A case for context.

  8" x 10" Polaroid photographs, (1982)

• precarious acquiescence, 8.5" x 11" collage on letter paper pages, series, (1982)
• re-membering you (mute pictures), 8" x 10" painted/inked swarthy and white photo reproductions playing field sound loop installation. Dimensions mercurial, (1987-1988)
• re-engagements, 16 x 20" chromogenic photographs from videotape with passage superimposed, (1988)
• Stupid pleasures..., 20" inhibition 24" (50.8 x 61 cm), Film photographs with text, (1988-1989)
• untitled photographs: NYC (various titles: TO Honourableness TRADE, 22 oz Thunderbolt, Homespun CHOCOLATE, Neutral/Brakes/Steering, Ektacolour chromogenic photographs.

  Dimensions variable, (1988-2003)

• کان ها پا کان Kan ya ma Kan (There was and there was not), documents, reproductions, photographs, layer, video, objects, acrylic, glass, proportions variable, (1995-2005)
• (sites +) demarcations.., 75 – 16" x 20" chromogenic photographs with texts, (1992)
• map indicate the world, sculpture installation, certificate, photographs, organic matter, drawings, objects, ink, tentest board.

  98 check a depart 144 inches (243.8 x 365.8 cm), (1999-2009)

• everything and nothing and different works from the ongoing enterprise ‘untitled’, multi- channeled video instatement, size variable, (2001-2009)
• untitled photographs: egoistic affinities. Giclée photographs. Dimensions fickle, (2003-)
• untitled photographs: location/dis-location(s), digital photographs.

  Dimensions variable, (2004-2013)

• the heart renounce has no love/pain/generosity is plead for a heart, digital inkjet photographs, video loops, paintings, drawings, objects, documents, (with Khadim Ali), (2008-2012)
• all is not lost but tedious things may have been astray along the way (or) nominate endings and beginnings and wearisome points in-between, and other activity from the ongoing videotape, ignoble, 1999-ongoing, multi-channeled video installation, importance variable, (2010)
• untitled photographs: location/dis-location(s): bevy promises, (2012-2013)
• Kan ya ma Kan (There was and there was not) (fragments), documents, reproductions, photographs, film, video, objects, acrylic, vastness variable, (2013-2015)
• untitled photographs: location/dis-location(s): gathering spaces, (2014)
• A history of photography, MKG127 Gallery, Toronto, (2016)
• untitled photographs: location/dis-location(s): beyond the pale, (2017)
• untitled photographs: location/dis-location(s): verisimilitude(s) and permutations, (2019)
• the heart that has thumb love/pain/generosity is not a stomach (fragments), digital inkjet photographs, videotape loops, drawings, objects, documents, (2014-2015)
• torn paper sculptures: paper and photopaper, (2017-2020)

Public art

• man’oeuvre: 9 - 30" x 40" chromogenic photographs, latest mirrored tiles, Cameron Public Studio, Toronto, (1985)
• May 17, 1998, outer forest-ruin photo and text placing at former Cornish Estate, Physically powerful Spring, New York, (1988)
• Territory, Artspeak & Presentation House, 30 carveds figure displayed in City of Metropolis transit shelter back-lit signage spaces, curated by Melanie O'Brian & Helga Pakasaar, Vancouver, (1988)
• Footprints Group Art Project, sidewalk community mosaics, produced & designed "Heart make out the City" mosaic at Clue & Hastings St.

  and "memorial mosaic" at Oppenheimer Park, Downtown Eastside, desmedia collective, Vancouver, (2001)

• (un)classified materials: a public archives; involve histories/history of the present, Metropolis Art Gallery (commission), (2005)
• Territory, Artspeak & Presentation House, 30 appearances displayed in City of Navigator transit shelters, Vancouver, (2006)
• Coastal, 30 large scale location/dis-location(s) photographs pretend transit shelters, producer: City senior Vancouver Public Art Commission, (2016)
• Cultural Perspectives, Seattle Municipal Tower Audience, Seattle, (2016)
• ever close, Platforms 2020: Public Works: series of 4 image on 18 digital billboards, City of Vancouver public pass commission
• beyond now, The Pandemic psychotherapy a Portal, curated by cheyanne turions, SFU Galleries, Vancouver; BIPOC practices during Covid19, Ethnocultural Deceit Histories Research, Concordia University, Montréal; & Strength In Numbers, MKG127 Gallery, Toronto (online), (2020)

Performance

• '...In picture absence of heroes...’: Part IV: Relentless Verity (Warfare/A case reserve context), Toronto, Winnipeg, Vancouver, (1984-1985)
• light-cone, San Diego & San Francisco, (1988)
• concretizing the ephemeral/ephemeralizing the concrete: throwing out ‘identity’ with dignity bathwater (and the tub) ultimately carrying on in the bath, Vancouver & Bristol, England, (2002-2003)
• representing the unrepresentable: there is cack-handed Arab art, Zenith Foundation, Barbacan Museum, London, England, (2004)
• autopsy elect the oblique in a postmortem of intent: images of have killed in a limited genealogy, Asylum of South Florida, Tampa, (2004)
• sans titre/untitled, Université du Québec à Montréal, Montréal, (2004)
• human rights increase in intensity self determination, University of Nation Columbia, Vancouver (2004)
• genealogy of interpretation present: untitled, Alternator Gallery, Kelowa, (2005)
• interrupting orientalism: denying the trajectory, Centre A, SFU Theatre, Town, (2008)
• representing the unrepresentable: subjective affinities I: Govett-Brewster Art Gallery, Additional Plymouth, New Zealand, (2008)
• representing nobility unrepresentable: subjective affinities III: Awe Declare/Flying University, Gallery Gachet, Metropolis, (2008)
• Framing Culture/Engaging Community, Production & Process Across the Great Demarcation or Subjective Affinities & circle do you choose to preserve yourselves or be placed.., Apostle Fraser University, Vancouver, (2010)
• subjective affinities: concretizing the ephemeral - dinky social convergence, Shift Symposium, Strandline Curatorial Collective, MacKenzie Art Congregation, Regina, (2011)
• tangible cartographiers: surviving high-mindedness colonial/welcome to my house, (with Manuel Pina), Performing Utopias Forum, The University of British River, Vancouver, (2014)
• secret agents..

  working in/out of untitled photographs: location/dis-location(s): accumulation spaces, Carleton University, Ottawa, (2015)

References

External links