Jayce Salloum

Jayce Salloum's video work exists within and between the very personal, local and the trans-national. It aligns itself with social and political struggles through an intimate subjectivity and discursive challenge. He has worked in installation, photography, drawing, performance, text, and video since 1975, as well as curating exhibitions, conducting workshops and coordinating cultural projects. As a cultural activist, his work critically engages itself in the perception of social manifestations and political realities. Salloum has lectured worldwide and has exhibited at the widest range of local and international venues possible, from the smallest unnamed storefronts & community centres to institutions such as The Museum of Modern Art, New York; National Gallery of Canada; Kunstlerhaus Bethanien, Berlin; Centre Pompidou, Paris; Rotterdam International Film Festival; CaixaForum, Barcelona; 8th Havana Biennial and the 7th Sharjah Biennial. His texts have appeared in many journals such as, Third Text, Documents, Framework, Fuse, Felix, Mix, Public, Pubic Culture, and Semiotext(e). His most recent essay, "sans titre /untitled: the video installation as an active archive" is forthcoming in: Projecting Migration: Transcultural Documentary Practice (Wallflower Press: London, 2007, dist. Columbia Univ. Press), as well as in the Documents of Contemporary Art series title The Archive, Whitechapel Gallery, London. In 2006 his work was featured in the 15th Biennale Of Sydney and in a solo installation at the Museum Villa Stuck, Munich.

Artist Code: 018


untitled part 9: this time

2020, 06:13 minutes, colour, Hazaragi, with English subtitles

untitled part 8: esquina caliente

2016, 11:55 minutes, Colour, Spanish

untitled part 7.2: assembly

2010, 14:13 minutes, yes, Hazaragi Persian, English subtitles

untitled part 6: upon the resonance/weight of histories

2010, 146:45 minutes, colour, English

untitled part 3b: (as if) beauty never ends...

2004, 11:22 minutes, colour/B&W, Arabic with English subtitles

untitled part 3a: occupied territories

2001, 23:00 minutes, colour, Arabic with English subtitles

untitled part 2: beauty and the east

2001, 50:15 minutes, colour, English

untitled part 1: everything and nothing

2001, 43:00 minutes, colour/B&W, English, Arabic, French

This is Not Beirut (There Was And There Was Not)

1994, 48:00 minutes, colour/B&W, English, Arabic, French

Up To The South (Talaeen a Junuub)

1993, 60:00 minutes, colour, Arabic, French, English

Once You've Shot The Gun You Can't Stop The Bullet

1988, 08:00 minutes, colour, English

Episode 1: So. Cal.

1988, 33:00 minutes, colour, English

The Ascent of Man

1987, 24:00 minutes, colour, English

...In The Absence Of Heroes...

1984, 45:00 minutes, colour, English

Critical Writing

Occupied Space, Here and There: Jayce Salloum, history of the...
by Bart Gazzola. Fuse, Spring 2012, v. 35, no. 2.
So You Want to Make Social Change...
by Nora Gardner. Splice Magazine, Spring 2008.
Practical Dreamers: Conversations with Movie Artists
by Mike Hoolboom. Coach House Books, 2008.
Politics in Aspic: Reflections on the Biennale of Sydney and its...
by Jen Budney. Fuse, Jan. Winter 2007, v. 30, no. 1.
The Lingering Present: Canadian Video Art in its Youth: 1968-1986
by Lisa Steele. Analogue, 2006. Preston: Electronic and Digital Art Unit, 2006.
Triangulation: Three Points Made Plane in the Art of Jayce Salloum
by Trevor Boddy. Jayce Salloum: Everything and nothing and other works from the ongoing video installation, 'untitled',1999-2004, 2004. Vancouver: Western Front, 2004.
Witnessing Encounters
by Chris Harker. Front, May 2004, v. 15, no. 3.
Jayce Salloum: Everything and Nothing and Other Works From The...
by ?. GALLERY-101, 2003. Ottawa: The Canadian Council for the Arts, 2003.
Crossing the distance: Travels with Jayce Salloum
by Isa Tousignant. Hour, Sept. 25 Fall, 2003.
What Is That and between Arab Women and Video?: The Case of Beirut
by Laura U. Marks. Camera Obscura, 2003, v. 18, no. 3.
Towards an Artbeat: New Media in Los Angeles
by Erika Hernandez. PAJ: A Journal of Performance and Art, May 2003, v. 25, no. 2.
What is That and between Arab Women and Video?: The Case of Beirut
by Laura U. Marks. Camera Obscura, 2003, v. 18, no. 3.
Reality Check
by Sheila Heti. Now, Oct. 24 Fall, 2002, v. 22, no. 8.
Occupied Territories: Mapping the Transgressions of Cultural...
by Molly Hankwitz and Jayce Salloum. Framework: The Journal of Cinema and Media 43.2, Fall 2002, v. 43, no. 2.
Portraits and Places in the Videography of Jayce Salloum
by Michael Allen. Parachute, Oct. 1, 2002.
occupied territories
by Molly Hankwitz. Front, Nov. 2001, v. 12, no. 5.
History of our present: new Arab film and video
by Jayce Salloum. Argos Festival, 2001. Brussel: Argos Festival, 2001.
Of Arabs and Museum and Civilizations
by Rawi `Hage. Fuse, Feb. Winter 2001, v. 25, no. 1.
The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses
by Laura U. Marks. Durham and London: Duke University Press, 2000.
untitled: Jayce Salloum
by Jim Drobnik and Jennifer Fisher.
Jayce Salloum: Is Oz at the middle of the Middle East?
by Molly Hankwitz. Front, Mar. 1995.
Video Description: (Talaeen a Junuub) Up to the South: A Videotape...
by Jayce Salloum. Up to the South (Talaeen a Junuub), 1993.
Disrupting the Perfect Picture Flow: Stupid Pleasures by Jayce...
by Harald Fricke. Die Tageszeitung, May 5, 1991.
Stereotypes in the Sand: The Pacific Film Archive screens a new...
by Jill Hamburg. The Sanfranciscno Bay Guardian, 1990.
Imagining Intifada and measures of Distance
by Dennis Harvey. The Daily Californian, Aug. 29, 1990.
Palestinian film defies media norms at truth's expenses
by Nancy Steidtmann. Jewish Bulletin, San Francisco CA, Sept. 29, 1990.
Culture Without a Country
by Ammiel Alcalay. Afterimage, May 1990, v. 17, no. 10.
Document & Dream
by Dan Walworth.
A Space chooses evolution over revolution: New shows a return to...
by John Bentley Mays. The Globe and Mail, Nov. 26, 1983.
New Canadian Photography
by Jeanne Randolph. Parachute, Winter 1982, no. 29.