ARTIST EMILY JACIR
Emily Jacir (born in 1972, Bethlehem, Palestine) is a multidisciplinary artist who delves into various mediums, exploring themes of colonization, exchange, translation, transformation, resistance, and movement.
Her works often involve books, libraries, etymology, and the act of translation, reflecting a diaristic form shaped by direct experiences, community interaction, and intensive research. Notably, her art is not centered around nationality; instead, it investigates the complexities of historical narratives and human experiences.
In response to the question about her sense of "home," Jacir identifies the Mediterranean as her home, where she lives, works, and feels a profound sense of belonging.
Jacir's artistic repertoire spans diverse mediums, including installation, sculpture, film, photography, and drawing. She doesn't confine herself to a single medium, emphasizing that the connection between her works lies in the shared thematic elements and concepts, such as time, gathering, hospitality, public space, and the exploration of silenced historical narratives. Recently, Emily Jacir joined numerous artists in signing an open letter advocating for Palestinian liberation and calling for an end to violence against civilians, an immediate ceasefire, humanitarian aid to Gaza, and an end to complicity in human rights violations. Notable artists like Kara Walker, Tania Bruguera, Rirkrit Tiravanija, Issy Wood, and Ali Cherri also endorsed the letter.
One of Jacir's impactful works is a billboard from her ex libris series displayed on the New York City High Line since 2014. This piece, created for dOCUMENTA (13) between 2010–12, commemorates the approximately 30,000 books taken by Israel in 1948 from Palestinian homes and institutions. Six thousand of these books remain at the Jewish National Library of Israel, labeled as "A.P." (Abandoned Property). Her documentary film, "letter to a friend," exhibited at the 2020 Berlinale International Film Festival, weaves together images, textures, movements, traces, and sounds spanning more than a century, narrating the history of a home and street in Bethlehem. In his essay on her work, Where We Are From" (2001-03), Edward Said underscores the intricacies Palestinians face in matters of mobility, a complexity distinct from the experiences of many others. Jacir, in her travels to and from Palestine, carries items for relatives and friends who encounter limited freedom of movement due to imposed restrictions, such as curfews and a lack of passports. Unlike many Western artists, writers, and intellectuals who have historically enjoyed the privilege of residing in countries of their choosing, Palestinians face uncertainties and challenges, with their right to live freely not guaranteed. So yes, the war on Gaza did not begin on October 7th.
The art series "Where We Are From" comprises framed texts and photographs. Jacir poses a poignant question to her subjects: "What can I do for you in Palestine, where I can go but you can't?" The framed texts represent the responses to this query. At the same time, the accompanying photographs serve as tangible evidence—embracing one of photography's fundamental functions—to demonstrate the fulfillment of these heartfelt wishes.
