In this thesis I use the example of Emily Jacir’s recent artwork to show how some contemporary artists from Palestine are working from within the safe boundaries of Nationalist exhibitions of Palestinian arts to subtly critique and question traditional markers of Palestinian identity. Recent curatorial interventions by curators have attempted to reify a body of art tied in one way or another to Palestine. What is at stake in these curatorial contexts is the act of claiming nationhood for Palestine by acts of memorializing and selectively emphasizing one face of the Palestinian—the Arab exile. In contexts of major international exhibitions, the work of Emily Jacir and artists like her is rarely interpreted as work that problematizes contemporary Palestinian identity. Yet her work consistently questions the operational boundaries of both Palestinianness and art. I chose this topic because of my interest in an interdisciplinary approach and methodology to questions of cultural translation. I hoped to illustrate how the concrete spaces and boundaries created by curators allow artists to question rather than reinforce. My analysis is a springboard for interpreting the future of Palestinian geopolitical displacement within a contemporary, globalized framework.
Keywords: Palestine, Palestinianness, Emily Jacir, Displacement, postcolonial art.
|School:||The American University of Paris (France)|
|Source:||MAI 56/02M(E), Masters Abstracts International|
|Subjects:||Fine arts, Middle Eastern Studies|
|Keywords:||Curators, Displacement, Jacir, Emily, Palestine, Palestinian identity, Postcolonial art|
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