{"id":146676,"date":"2019-05-01T08:19:00","date_gmt":"2019-05-01T13:19:00","guid":{"rendered":"https:\/\/esse.ca\/?post_type=portfolio&p=146676"},"modified":"2023-03-02T11:54:57","modified_gmt":"2023-03-02T16:54:57","slug":"emily-jacir","status":"publish","type":"portfolio","link":"https:\/\/esse.ca\/portfolio\/emily-jacir\/","title":{"rendered":"Emily Jacir"},"content":{"rendered":"\n

Comment continuons-nous d\u2019exister\u2009? C\u2019est la question que pose Guy Mannes-Abbott dans son chapitre sur l\u2019\u0153uvre d\u2019Emily Jacir (Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East<\/em>, 2015). Pour les artistes et les gens vivant et travaillant en zones de conflit, il existe une relation complexe entre survie et m\u00e9thodologie qui se traduit par une production culturelle imaginative et g\u00e9n\u00e9rative, ce malgr\u00e9 les conditions oppressantes. Cette question \u2013 les m\u00e9thodes et la r\u00e9silience \u2013 se rapporte directement \u00e0 la pratique de Jacir, qui conteste et examine les formes dominantes du pouvoir.<\/p>\n\n\n\n


N\u00e9e en Palestine, Jacir est une artiste et cin\u00e9aste dont le travail multidisciplinaire et multim\u00e9dia met souvent en lumi\u00e8re ses m\u00e9thodes de recherche et ses processus. Dans Where We Come from<\/em> (2001-2003), Jacir demande \u00e0 des Palestiniens : \u00ab\u2009Si je pouvais faire quelque chose pour vous, n\u2019importe o\u00f9 en Palestine, ce serait quoi\u2009?\u2009\u00bb L\u2019artiste assume ainsi le r\u00f4le presque banal de r\u00e9aliser les souhaits des participants. L\u2019installation de textes et de photographies qui en r\u00e9sulte est saisissante : un trac\u00e9 des d\u00e9placements de Jacir \u00e0 travers l\u2019espace et les barri\u00e8res, qu\u2019elle est libre de franchir gr\u00e2ce \u00e0 son passeport am\u00e9ricain. Nous voyons la r\u00e9alisation du trac\u00e9 \u2013 ou plut\u00f4t de l\u2019assemblage de trac\u00e9s \u2013 aussi dans Material for a Film<\/em> (2004-2007), o\u00f9 Jacir comm\u00e9more la vie du traducteur et intellectuel Wael Zuaiter en r\u00e9activant des archives personnelles. Prudemment et intimement, elle assemble la documentation de Zuaiter pour illustrer la probl\u00e9matique politique de l\u2019effacement des r\u00e9cits.<\/p>\n\n\n\n


L\u2019impact et l\u2019influence de l\u2019Europe sur le travail de Jacir sont peut-\u00eatre moins abord\u00e9s, mais nous les percevons dans Notes for a Cannon<\/em> (2016) et La Mia Mappa<\/em> (2018). Ces \u0153uvres rassemblent divers pays et fuseaux horaires pour \u00e9tudier leur histoire commune sous mandat britannique. La manipulation et la transformation du temps, de la m\u00e9moire et des lieux sont des \u00e9l\u00e9ments cruciaux dans son travail actuel. De plus, ces projets mettent en lumi\u00e8re la fa\u00e7on dont les identit\u00e9s sont construites \u00e0 l\u2019int\u00e9rieur et \u00e0 l\u2019ext\u00e9rieur d\u2019un conflit tout en proposant des fa\u00e7ons de concevoir l\u2019avenir.<\/p>\n\n\n\n

Traduit de l\u2019anglais par Catherine Barnab\u00e9<\/strong><\/p>\n\n\n\n

\"\"
Emily Jacir<\/strong>
Material for a film<\/em>, depuis 2004 | 2004\u2013ongoing, vue d\u2019installation | installation view, Solomon R. Guggenheim, New York, 2008.
Photo : David Heald, \u00a9 Emily Jacir, avec le support | with the support of La Biennale di Venezia<\/figcaption><\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"
Emily Jacir<\/strong>
Where We Come From <\/em>(Sonia), d\u00e9tail | detail, 2001-2003.
Photo : \u00a9 Emily Jacir, permission de | courtesy of Alexander and Bonin, New York<\/figcaption><\/figure>\n\n\n\n

<\/p>\n

Amelia Wong-Mersereau, Emily Jacir<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":146715,"template":"","meta":[],"categories":[134],"numeros":[800],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[834],"artistes":[1459],"type_portfolio":[],"yoast_head":"\nEmily Jacir – Esse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/esse.ca\/portfolio\/emily-jacir\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Emily Jacir\" \/>\n<meta property=\"og:url\" content=\"https:\/\/esse.ca\/portfolio\/emily-jacir\/\" \/>\n<meta property=\"og:site_name\" content=\"Esse\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/fr-ca.facebook.com\/revue.esse\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-02T16:54:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/esse.ca\/wp-content\/uploads\/2019\/05\/96-PORT-La-Mia-Mappa-2018_3-1-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1280\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@revue_esse\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutes\" \/>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Emily Jacir – Esse","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/esse.ca\/portfolio\/emily-jacir\/","og_locale":"fr_FR","og_type":"article","og_title":"Emily Jacir","og_url":"https:\/\/esse.ca\/portfolio\/emily-jacir\/","og_site_name":"Esse","article_publisher":"https:\/\/fr-ca.facebook.com\/revue.esse","article_modified_time":"2023-03-02T16:54:57+00:00","og_image":[{"width":1920,"height":1280,"url":"https:\/\/esse.ca\/wp-content\/uploads\/2019\/05\/96-PORT-La-Mia-Mappa-2018_3-1-scaled.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@revue_esse","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/esse.ca\/portfolio\/emily-jacir\/","url":"https:\/\/esse.ca\/portfolio\/emily-jacir\/","name":"Emily Jacir – Esse","isPartOf":{"@id":"https:\/\/esse.ca\/#website"},"primaryImageOfPage":{"@id":"https:\/\/esse.ca\/portfolio\/emily-jacir\/#primaryimage"},"image":{"@id":"https:\/\/esse.ca\/portfolio\/emily-jacir\/#primaryimage"},"thumbnailUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2019\/05\/96-PORT-La-Mia-Mappa-2018_3-1-scaled.jpg","datePublished":"2019-05-01T13:19:00+00:00","dateModified":"2023-03-02T16:54:57+00:00","breadcrumb":{"@id":"https:\/\/esse.ca\/portfolio\/emily-jacir\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/esse.ca\/portfolio\/emily-jacir\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/esse.ca\/portfolio\/emily-jacir\/#primaryimage","url":"https:\/\/esse.ca\/wp-content\/uploads\/2019\/05\/96-PORT-La-Mia-Mappa-2018_3-1-scaled.jpg","contentUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2019\/05\/96-PORT-La-Mia-Mappa-2018_3-1-scaled.jpg","width":1920,"height":1280,"caption":"Emily Jacir La Mia Mappa, vue d\u2019installation | installation view, Alexander and Bonin, New York, 2018. 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