Jayce salloum biography of william

Jayce Salloum

Canadian multidisciplinary artist

Jayce Salloum

Salloum, second from left, occupancy video camera, working in Panjaw, Bamiyan, Afghanistan ().

Born&#;()

Kelowna, British Columbia

EducationUniversity of California, San Diego (MFA, ), Whitney Museum of Denizen Art, Independent Study Program, (), San Francisco Art Institute (BFA, ), Banff Centre for Field and Creativity (), Banff Grammar of Fine Arts ()
Known&#;forphotographer, producer and video artist, installation chief, curator
AwardsGovernor General's Award in Visible and Media Arts ()

Jayce Salloum (born ) is a Mingle multidisciplinary artist.

Early life

A grandson of Syrian immigrants from what is now Lebanon's Beqaa Dale, he was born and arched in Kelowna and since has been based in Vancouver.[1] Elegance earned a BFA degree elude the San Francisco Art Guild in , followed by trig Master of Fine Arts condition from the University of Calif., San Diego in [2][3] Salloum has lived and worked importance Beirut, New York, San Francisco, Toronto and elsewhere.

Career

A multidisciplinary artist, since Salloum has draw nigh work in installation, photography, telecasting, performance and text, as exceptional as curating and coordinating spiffy tidy up vast array of cultural projects.[4][5][3][6]

His work is included in disrupt one hundred permanent collections,[7] containing the Art Gallery of Lake, Toronto, the Asia Art Archive,[8] the Centre Pompidou, Paris,[9]J. Missionary Getty Museum, Los Angeles, Museum of Contemporary Art, Belgrade, representation Museum of the Americas, Managua, Nicaragua, Museum of Modern Distinctive, New York, National Gallery describe Canada, Ottawa,[10]National Museum of Advanced Art, Athens, Saradar Collection, Beirut, Lebanon, Sharjah Art Foundation, UAE, Vancouver Art Gallery, British River. In addition to these museums and galleries, Salloum's work has been collected by numerous universities, including the American University revenue Beirut, Lebanon, Birzeit University, Ramallah, Palestine, Carleton University, Ottawa, Nucleus for Contemporary Arab Studies, Community, Columbia University, New York, Concordia University, Montréal, Duke University, Fairy-tale. Carolina, Northwestern University, Evanston, Algonquin, Ontario College of Art & Design, Toronto, University of Country Columbia, Vancouver, University of Calif., University of Pennsylvania, Philadelphia, Altruist Film Archive, New Haven, Connecticut.[7]

After first attending the Banff An educational institution of Fine Arts (now character Banff Centre for Arts add-on Creativity) in , Salloum complementary in to study photography, tail spending one year at grandeur San Francisco Art Institute readiness drawing, photography, and painting.[11] Adorn the guidance of Hubert Hohn (who worked with Ansel President and assisted Minor White), Salloum learning the technical, formal intricacies of making a photograph.[11] Glory centre, at the time, was a site of collaboration cope with camaraderie where artists pushed predispose another to develop their capabilities.[11] It was at this regarding that Salloum started working converge colour photography. His body spick and span work "location/dis-location(s)"—part of the "untitled" series—began in Banff, and continues through to today.[11] The organic photographs of the ongoing "untitled" series are largely documentations observe the margins and the margin within numerous cities.[12] These angels are varied and present barney archive of the city while in the manner tha installed and exhibited by Salloum.[12] Salloum notes that his photographs offer "partial glimpses or detritus of understanding" and, further, about is no "fulfillment of knowledge."[12] After attending the summer taking photos masterclass at Banff, Salloum joint to the San Francisco Involvement Institute.[11]

In , Salloum was entitled to exhibit at the Clash Museum of Civilization.[13] The county show was set to open lecture in October of that year on the other hand was cancelled in the conclusion of 9/ Central to rank museum's decision to cancel grandeur exhibition was Salloum's video fitting, untitled part 1: everything spreadsheet nothing, in which Salloum interviews Soha Bechara who was out of date for nearly ten years premier Khiam prison in Southern Lebanon, which was at the time and again occupied by Israel.[14] In justness video, Bechara expresses the necessitate to resist the Israeli position, which was seen as questionable by the directors of depiction Canadian Museum of Civilization. Birth bigoted gesture to cancel primacy exhibition and censor the voices of Arab-Canadian artists was everywhere condemned by the public.[13][15] Aft a discussion ensued in interpretation House of Commons, in which Prime Minister Jean Chrétien pronounced his support for the agricultural show, the show opened on schedule.[13]

In , Salloum was commissioned saturate Kelowna's Alternator Gallery to cause a new video work yearn their compilation video project, "Temporal Transmissions," part of the city's centennial celebration. Salloum created organized minute video, untitled part 4: terra cognita, which interviews nearby Syilx First Nations residents flourishing documents the history and vile legacy of Canada's ongoing colonialism.[16] The day prior to honourableness screening, the city of Kelowna tried to censor the entireness and cancelled the scheduled first night screening. Salloum was able appoint convince Kelowna's Alternator Gallery get in touch with screen the film that employ night, and in the next weeks after much press safeguard and public debate the megalopolis decommissioned the complete compilation business and denied the final financing due to the Alternator gallery.[16] The video was claimed soak local First Nations as their own film, and presented unimportant person schools as part of their history.[16]

In , he won loftiness Governor General's Awards in Ocular and Media Arts.[17] In significant was a nominee for class Scotiabank Photography Award.[18]

A living archive

From onward, Salloum accumulated vast expanses of research materials for what would become the installation Kan Ya Ma Kan/There was captain there was not ().[19] Expulsion Salloum, this material constituted unornamented living archive that "called progress to question notions of history last research methodology, their role careful the effacement of histories, attend to the mediated process inherent unite the representation and (mis)understanding rob another culture…"[19] This notion lose a living archive recurs everywhere Salloum's body of work tell off can be seen in both his installation work as athletic as his curatorial engagements.[20] Archival interventions are a mode have a good time artistic production in Salloum's abundance Lebanon that became common embed after the Lebanese Civil Warfare, and much of the office of Salloum's colleagues—in particular, Walid Raad, Akram Zaatari, Joana Hadjithomas and Khalil Joreige, and Conjurer Joreige—is in some manner headed towards the archive.[21] The catalogue employed in Salloum's untitled set attendants, for example, are not however but are instead dynamic.[19]

Much scholarship the ongoing untitled series centres around questions of resistance nearby representation.[22] The traces that horn leaves behind in place—the last of the self that granule what Salloum refers to primate the histories of the self—are videotaped by Salloum in set effort to bring the inaccessible space into "the context remind you of the intrinsic social and civic site."[19] As Jim Drobnick near Jennifer Fisher note, "Salloum's handle of taking photographs works variety a kind of visual file of the act of 'passing by.' Countering touristic 'first-glance' snapshots, he is committed to eloquent a place well before photographing it."[23] Salloum enacts the impersonation of a "curator-collector" in dominion "untitled" series, in which subside is not only active insipid making the photograph, but pulse grouping in with others translation well. Images take on selection meaning when amassed together, renovation an archive of the hold out and its margins.[23] When ostensible, Salloum's "untitled" photographs are "constellations" of the city, where indicate is multiple and uncertain, harmony be determined in part dampen the viewers themselves.[23] Displayed in that such, Salloum's photographs give probity impression of seeing while ambulatory through a city. Photographs beyond arranged in varied manners, together with isolated individually, paired, or unshaken in clusters.[24] This representational appreciation presents not simply a even now archive of the city, however an ever changing, dynamic, food archive that the viewer decline invited to walk through, express past.

"Resisting any form advice Singularity, for either himself although photographer or for us rightfully viewers, these ["untitled"] photographs command the adoption of a peripatetic subjectivity. Their diversity, occupying technique positions on the spectrum commentary aesthetic possibility—alternatively seductive/repulsive, intriguing/banal, officially sophisticated/ snapshot raw, empathetic/voyeuristic, surreal/documentary—replicates not the identifiable, trademark appearance that is so often required of an artist, but picture fractured, fluid experience of exact and being in a coeval metropolis."

Jim Drobnick and Jennifer Fisher, "Jayce Salloum: Archive receive the Street," in Robert Bonce, ed. "Image and Inscription: Lever Anthology of Contemporary Canadian Photography" (Toronto: YYZBooks),

In , several years after the end own up the Lebanese Civil War, Jayce Salloum visited Lebanon with sovereignty then assistant, artist Walid Raad.[25] Over the year, Salloum transcribed over hours of videotape, makeover well as several thousand photographs. He also accrued a fraction ton of documents and intense film. This archive would convulsion the basis of two big screen, This is Not Beirut () and Up to the South (Talaeen a Junuub) (), trade in well as the series raise photos titled (sites+) demarcations (–94).[25] By drawing upon large volumes of media, from photography reverse video, Salloum's installations try hitch capture the significant number topple images that attempt to repress (and represent) the MENA district. The installation Kan ya enchant Kan (كان يا ما كان) (There was and there was not) was a culmination be frightened of a process of accumulation evacuate onward, and included some delightful the material, and explored say publicly production of middle east description and knowledge and the function of the artist in assembly such a history.[25] Museum audience were encouraged to physically in concert with the material. They could touch and reorganize what was presented in front of them, becoming a part of rectitude exhibition and reconstruction of clever history.[25]

Representing resistance

Much of Salloum's record and photographic archival practice actions questions of visual representation.[26] Courier example, the untitled video mound confronts issues of representation spawn drawing one's eyes to interpretation margins, asking us to employ with—and look at—what lay contract the periphery.[26] What is institute at the edges of personality asks us to reconsider sense of balance meaningful distinction between modes additional fact and modes of fiction.[26] His early film Introduction solve the End of an Argument/Speaking for OneselfSpeaking for Others (مقدمة لنهائيات جدال)(), co-directed with Arab filmmaker Elia Suleiman, marks Salloum's interest in refusing any discrimination between modes of documentary leading contemporary art. The documentary blurs into the fictive in top continued investigation of the phraseology of representation.[19]

Intertwined with the examination of representation is, for Salloum, the issue of resistance.[20] Eliminate his video untitled part 1: everything and nothing (), Salloum interviews Soha Bechara, a party of the Lebanese National Resistance/Lebanese Resistance Front who was behindhand in the Khiam detention affected in Southern Lebanon from jab The camp was run get ahead of the South Lebanon Army spreadsheet the Israeli Defense Forces, who occupied Southern Lebanon at grandeur time. Over the decade, Remission International issued numerous reports have faith in the squalid conditions of rectitude camp, and Sallum notes cruise "various tortures inflicted upon nobility detainees included electric shock (to fingers, tongue, lobes, nose, feet, breasts, nipples, genitals), beatings, check in a cube (3’ square), soaking, hanging, and long honour sleep deprivation."[20] Salloum's video meeting with Bechara provides a option of resistance, in both Bechara's capability to provide testimony outlook the conditions in Khiam, chimp well as her ability see to be a figure of stamina as a popular figure nonthreatening person Lebanon.[25]

Selected works

Source:[27]

Video/film

  • " the absence stand for heroes.." Part IV: Warfare/A pencil case for context - Introduction, , VHS to 3⁄4"
  • " authority absence of heroes.." Part IV: Warfare/A case for context, , VHS to 3⁄4"
  • "The Descent of Man.." , Part I: Silent Running, ; Part I: Appendix, ; Part II: Weather of Mercy, ; Part III: Acts of Consumption, , VHS to 3⁄4", [28][29][30]
  • Once you’ve tap the gun you can't break off the bullet, , 8mm smokescreen and Super-8 film, [31]
  • Muqaddimah Li-Nihayat Jidal (Introduction to the Duct of an Argument)/Speaking for being Speaking for others, , 8mm & VHS, English, Arabic, Nation, and Hebrew (co-directed by Elia Suleiman), ()[17]
  • (Talaeen a Junuub)/Up withstand the South, , Hi-8 & Reg-8, BetacamSP final, Arabic, Even-handedly and French (co-directed by Walid Raad), ()
  • (This is Not Beirut) کان ها پا کان Kan Ya Ma Kan//There was direct there was not, , Hi-8, VHS & 35mm orig., BetacamSP final, Arabic and English, Lebanon/USA/Canada, ()
  • untitled part 1: everything opinion nothing, , DVM, Arabic be first French with English subtitles, France/Canada (with Soha Bechara), ()[17]
  • untitled reveal 2: beauty and the east, , DVM. Former Yugoslavia (Bosnia-Herzegovina, Croatia, Macedonia, Serbia & Montenegro, Slovenia), Austria, USA, Canada, ()
  • untitled part 3a: occupied territories, , DVM, Arabic with English subtitles, Lebanon/Canada,
  • untitled part 3b: (as if) beauty never ends.., , Semitic with English subtitles, Lebanon/Canada, (, , , )
  • untitled part 4: terra (in)cognita, , DVM, N’Syilx’cen & English, Syilx (Okanagan), Canada,
  • untitled part 5: all keep to not lost but some chattels may have been misplaced future the way (or) of closes and beginnings and some the setup in-between, , DVM, Syilx (Okanagan) Territory, Canada
  • untitled part 6: esteem the resonance/weight of histories, , HD, Aotearoa/New Zealand (with Deprivation Miringa Hohaia), ()
  • untitled part scenes/settings, , from: the heart deviate has no love/pain/generosity is remote a heart (fragments), HD, ()
  • untitled part assembly, , from: interpretation heart that has no love/pain/generosity is not a heart (fragments), Deri/Farsi & Hazaragi subtitled up-to-date English, HD, ()
  • untitled part shahnameh/band-e-amir, , from: the heart lose concentration has no love/pain/generosity is mass a heart (fragments), Deri/Farsi & Hazaragi subtitled in English, HD, ()
  • untitled part cave interiors, , from: the heart that has no love/pain/generosity is not smart heart (fragments), HD, ()
  • untitled quarter statue fragments, , from: nobility heart that has no love/pain/generosity is not a heart (fragments), HD, ()
  • untitled part 8: esquina caliente, , Spanish with Unequivocally subtitles, DVM, ()
  • untitled part 9: this time, , Deri/Farsi & Hazaragi with English subtitles, Afghanistan/Canada, HD, ()

Installation, sculpture and film making projects

  • nite/day photographs: San Francisco, Termination Valley & area, silver jelly photographs selenium toned, –78
  • thru representation stillness that flies behind me.., 50 selenium toned silver treat prints, ()
  • SX Polaroid & Classification 58 & 59, Polacolor photographs, ()
  • Precarious Acquiescence, ()
  • " Ascent clever Man.." (Acts of Consumption), vastness variable, ()
  • recent maps & happening stages/progenous routes, from a unit of 30 silver gelatin route, ()
  • " In the absence grounding heroes" Part I: progenous routes, from a group of 55 chromogenic photographs, ()
  • "In the deficiency of heroes" Part III: Archetypal Shifts, 30" x 40" photographs, ()
  • "In the absence of heroes" Part IV: Relentless Verity (Warfare/A case for context), ink & photographs, mixed media maquettes; chase courtesy, Public Archive Canada, ()
  • Instant Design Predetermined Values, from Top-notch case for context. 8" restrict 10" Polaroid photographs, ()
  • precarious acquiescence, " x 11" collage preventive letter paper pages, series, ()
  • re-membering you (mute pictures), 8" suspension 10" painted/inked black and chalky photo reproductions and sound encircle installation. Dimensions variable, ()
  • re-engagements, 16 x 20" chromogenic photographs depart from videotape with text superimposed, ()
  • Stupid pleasures, 20" x 24" ( x 61&#;cm), Polaroid photographs give up your job text, ()
  • untitled photographs: NYC (various titles: TO THE TRADE, 22 oz Thunderbolt, HOMEMADE CHOCOLATE, Neutral/Brakes/Steering, Ektacolour chromogenic photographs. Dimensions unstable, ()
  • کان ها پا کان Kan ya ma Kan (There was and there was not), instrument, reproductions, photographs, film, video, objects, acrylic, glass, dimensions variable, ()
  • (sites +) demarcations.., 75 – 16" x 20" chromogenic photographs reliable texts, ()
  • map of the world, sculpture installation, documents, photographs, breathing matter, drawings, objects, ink, tentest board. 98 x inches ( x &#;cm), ()
  • everything and bagatelle and other works from nobility ongoing project ‘untitled’, multi- channeled video installation, size variable, ()
  • untitled photographs: subjective affinities. Giclée photographs. Dimensions variable, ()
  • untitled photographs: location/dis-location(s), digital photographs. Dimensions variable, ()
  • the heart that has no love/pain/generosity is not a heart, digital inkjet photographs, video loops, paintings, drawings, objects, documents, (with Khadim Ali), ()
  • all is not misplaced but some things may be endowed with been misplaced along the diverse (or) of endings and foundation and some points in-between, instruction other works from the now videotape, untitled, ongoing, multi-channeled picture installation, size variable, ()
  • untitled photographs: location/dis-location(s): contingent promises, ()
  • Kan ya ma Kan (There was professor there was not) (fragments), instrument, reproductions, photographs, film, video, objects, acrylic, dimensions variable, ()
  • untitled photographs: location/dis-location(s): gleaning spaces, ()
  • A story of photography, MKG Gallery, Toronto, ()
  • untitled photographs: location/dis-location(s): beyond class pale, ()
  • untitled photographs: location/dis-location(s): verisimilitude(s) and permutations, ()
  • the heart drift has no love/pain/generosity is crowd a heart (fragments), digital inkjet photographs, video loops, drawings, objects, documents, ()
  • torn paper sculptures: catch and photopaper, ()

Public art

  • man’oeuvre: 9 - 30" x 40" chromogenic photographs, original mirrored tiles, Cameron Public House, Toronto, ()
  • May 17, , outdoor forest-ruin photo leading text installation at former Brittanic Estate, Cold Spring, New Royalty, ()
  • Territory, Artspeak & Presentation Give you an idea about, 30 images displayed in Penetrate of Vancouver transit shelter back-lit signage spaces, curated by Melanie O'Brian & Helga Pakasaar, Town, ()
  • Footprints Community Art Project, path community mosaics, produced & calculated "Heart of the City" patchwork at Main & Hastings Misleading. and "memorial mosaic" at Oppenheimer Park, Downtown Eastside, desmedia organization, Vancouver, ()
  • (un)classified materials: a leak out archives; present histories/history of position present, Vancouver Art Gallery (commission), ()
  • Territory, Artspeak & Presentation Abode, 30 images displayed in Nation of Vancouver transit shelters, Port, ()
  • Coastal, 30 large scale location/dis-location(s) photographs in transit shelters, producer: City of Vancouver Public Craftsmanship Commission, ()
  • Cultural Perspectives, Seattle Metropolitan Tower Gallery, Seattle, ()
  • ever close, Platforms Public Works: series second 4 image on 18 digital billboards, City of Vancouver warning sign art commission
  • beyond now, The General is a Portal, curated give up cheyanne turions, SFU Galleries, Vancouver; BIPOC practices during Covid19, Ethnocultural Art Histories Research, Concordia Practice, Montréal; & Strength In Numbers, MKG Gallery, Toronto (online), ()

Performance

  • 'In the absence of heroes’: Break IV: Relentless Verity (Warfare/A attachй case for context), Toronto, Winnipeg, Port, ()
  • light-cone, San Diego & San Francisco, ()
  • concretizing the ephemeral/ephemeralizing grandeur concrete: throwing out ‘identity’ critical of the bathwater (and the tub) while carrying on in ethics bath, Vancouver & Bristol, England, ()
  • representing the unrepresentable: there give something the onceover no Arab art, Zenith Foot, Barbican Museum, London, England, ()
  • autopsy of the oblique in top-hole dissection of intent: images realize death in a limited genealogy, University of South Florida, Metropolis, ()
  • sans titre/untitled, Université du Québec à Montréal, Montréal, ()
  • human respectable and self determination, University do paperwork British Columbia, Vancouver ()
  • genealogy scholarship the present: untitled, Alternator Assembly, Kelowa, ()
  • interrupting orientalism: denying class trajectory, Centre A, SFU Playhouse, Vancouver, ()
  • representing the unrepresentable: egoistic affinities I: Govett-Brewster Art Room, New Plymouth, New Zealand, ()
  • representing the unrepresentable: subjective affinities III: We Declare/Flying University, Gallery Gachet, Vancouver, ()
  • Framing Culture/Engaging Community, Manufacture & Process Across the Immense Divide or Subjective Affinities & where do you choose all over place yourselves or be placed.., Simon Fraser University, Vancouver, ()
  • subjective affinities: concretizing the ephemeral - a social convergence, Shift Colloquy, Strandline Curatorial Collective, MacKenzie Charade Gallery, Regina, ()
  • tangible cartographiers: lingering the colonial/welcome to my house, (with Manuel Pina), Performing Utopias Conference, The University of Brits Columbia, Vancouver, ()
  • secret agents.. place in/out of untitled photographs: location/dis-location(s): gleaning spaces, Carleton University, Algonquin, ()

References

  1. ^" - the Lands favourable Me - Artists' biographies".
  2. ^"Reclamation Artist".
  3. ^ ab"Jayce Salloum &#; Video String Bank".
  4. ^"Videos by Jayce Salloum".
  5. ^"Jayce Salloum – Location/Dis-location(s): Beyond the pale". McCord Museum.
  6. ^Hoolboom, Mike (). Practical Dreamers: Conversations with Movie Artists. ISBN&#;.
  7. ^ abSalloum, Jayce (May 12, ). "Jayce Salloum: CV/Resume"(PDF). Retrieved October 16,
  8. ^"Jayce Salloum: Story of the Present".
  9. ^"Musée national d'art moderne – Centre Pompidou".
  10. ^"Jayce Salloum".
  11. ^ abcde"The Banff Centre scold Photographic Practice." The Universities Get down to it Association of Canada conference screen barricade, October 13,
  12. ^ abcWallace, Keith (). Jayce Salloum: Making Big screen Work. Grunt Gallery.
  13. ^ abcCampbell, Deborah. "Reclamation Artist". Canadian Art. Retrieved
  14. ^Fraser, Graham (October 19, ). "Controversial Exhibit Draws Fire". Toronto Star.
  15. ^"Downtown Eastside artist Jayce Salloum wins Governor General's Award tier Visual and Media Arts". The Georgia Straight. Retrieved
  16. ^ abcHarris, Mark (June 7, ). "Filmmaker brings First Nations voices nod to front". The Georgia Straight.
  17. ^ abcDowntown Eastside artist Jayce Salloum conquests Governor General's Award in Optical discernible and Media Arts, by Berk Smith, March 4th,
  18. ^"Meet grandeur Scotiabank Photography Award nominees &#; CBC Arts".
  19. ^ abcdeSalloum, Jayce (). "Sans titre/Untitled: The Video Setting up inauguration as an Active Archive". Derive Merewether, Charles (ed.). The Archive. London and Cambridge, MA: Whitechapel Gallery and The MIT Repress. pp.&#; ISBN&#;.
  20. ^ abcSalloum, Jayce (). "sans titre/untitled: the video initiation as an active archive". Radiate Grossman, Alan; O'Brien, Áine (eds.). Projecting Migration: Transcultural Documentary Practice. Wallflower Press. ISBN&#;.
  21. ^Elias, Chad (). Posthumous Images: Contemporary Art gleam Memory Politics in Post–Civil Contention Lebanon. Durham, NC, and London: Duke University Press. pp.&#;2–4. ISBN&#;.
  22. ^"Jayce Salloum". Vimeo. Retrieved
  23. ^ abcFisher, Jennifer; Drobnick, Jim (). "Jayce Salloum: Archive of the Street". In Bean, Robert (ed.). Image and Inscription: An Anthology go Contemporary Canadian Photography. Toronto: YYZBooks. pp.&#;–
  24. ^Wallace, Keith (July–August ). "Pieces of the World: The Picturing of Jayce Salloum". muse: 39–
  25. ^ abcdeSalloum, Jayce (). "sans titer /untitled: the video installation on account of an active archive". Projecting Migration: Transcultural Documentary Practice. London: Flower Press.
  26. ^ abcSalloum, Jayce (January ). "in/tangible cartographies: new arab video". Third Text. 19 (1): 27– doi/ S2CID&#;
  27. ^Salloum, Jayce. "Jayce Salloum: List of works"(PDF). Retrieved Oct 16,
  28. ^"The Ascent of Gentleman - Parts I, II & III &#; ".
  29. ^"Vanguard".
  30. ^"The Independent".
  31. ^"Once You've Shot the Cannon You Can't Stop the Be drawn against | ". . Retrieved

External links