Jayce Salloum
b. 1958 Kelowna, BC
CV
Salloum’s practise exists within and between the personal, quotidian, local, and the trans-national. While he has lived in many locales Salloum currently resides in Vancouver, Canada. His work engages in an intimate subjectivity and discursive challenge while critically asserting itself in the perception of social manifestations and political realities. He has worked in installation, photography, drawing, performance, text & video since 1978, as well as curating exhibitions, conducting workshops, and coordinating a vast array of cultural projects.
Salloum has exhibited pervasively at the widest range of local and international venues possible, from small unnamed storefronts & community centres in his downtown Eastside Vancouver neighbourhood to institutions such as the Musée du Louvre, Paris; The Museum of Modern Art, New York; National Gallery of Canada; Kunstlerhaus Bethanien, Berlin; Centre Pompidou, Paris; CaixaForum, Barcelona; 8th Havana Biennial; 7th Sharjah Biennial; 15th Biennale Of Sydney; Museum Villa Stuck, Munich; Robert Flaherty Film Seminars; European Media Art Festival; Biennial of Moving Images, Geneva and the Rotterdam International Film Festival, or the Salomon R. Guggenheim, New York.
His texts/work has been featured in many publications such as, Third Text, Documents, Framework, Fuse, Felix, Mix, Public, Pubic Culture, Semiotext(e), The Archive (Whitechapel, London/The MIT Press, 2006), Projecting Migration: Transcultural Documentary Practice (Wallflower Press, London, 2007), and Practical Dreamers: Conversations with Movie Artists, (Coach House Press, Toronto, 2008).
The exhibition "Jayce Salloum: History of the Present", examining 25 years of his practice was touring Canada from 2009 to 2012. His collaborative project on Afghanistan "the heart that has no love/pain/generosity is not a heart" was exhibited at the Royal Ontario Museum in 2010 and travelled internationally. Most recently Salloum's work was part of the overview exhibition "Photography in Canada: 1960–2000" curated by Andrea Kunard at the National Gallery of Canada (2017/2018). Beside these nationally and internationally traveling exhibitions, his work is prominently placed in international shows, such as "do it Arab" curated by Hans Ulrich Obrist & Hor Al Qasimi, Bait Al Shamsi at the Sharjah Art Foundation, UAE (2016), or "En mal d’archive" curated by Khaled Barakeh at The Station in Beirut, Lebanon (2018).
CV
Salloum’s practise exists within and between the personal, quotidian, local, and the trans-national. While he has lived in many locales Salloum currently resides in Vancouver, Canada. His work engages in an intimate subjectivity and discursive challenge while critically asserting itself in the perception of social manifestations and political realities. He has worked in installation, photography, drawing, performance, text & video since 1978, as well as curating exhibitions, conducting workshops, and coordinating a vast array of cultural projects.
Salloum has exhibited pervasively at the widest range of local and international venues possible, from small unnamed storefronts & community centres in his downtown Eastside Vancouver neighbourhood to institutions such as the Musée du Louvre, Paris; The Museum of Modern Art, New York; National Gallery of Canada; Kunstlerhaus Bethanien, Berlin; Centre Pompidou, Paris; CaixaForum, Barcelona; 8th Havana Biennial; 7th Sharjah Biennial; 15th Biennale Of Sydney; Museum Villa Stuck, Munich; Robert Flaherty Film Seminars; European Media Art Festival; Biennial of Moving Images, Geneva and the Rotterdam International Film Festival, or the Salomon R. Guggenheim, New York.
His texts/work has been featured in many publications such as, Third Text, Documents, Framework, Fuse, Felix, Mix, Public, Pubic Culture, Semiotext(e), The Archive (Whitechapel, London/The MIT Press, 2006), Projecting Migration: Transcultural Documentary Practice (Wallflower Press, London, 2007), and Practical Dreamers: Conversations with Movie Artists, (Coach House Press, Toronto, 2008).
The exhibition "Jayce Salloum: History of the Present", examining 25 years of his practice was touring Canada from 2009 to 2012. His collaborative project on Afghanistan "the heart that has no love/pain/generosity is not a heart" was exhibited at the Royal Ontario Museum in 2010 and travelled internationally. Most recently Salloum's work was part of the overview exhibition "Photography in Canada: 1960–2000" curated by Andrea Kunard at the National Gallery of Canada (2017/2018). Beside these nationally and internationally traveling exhibitions, his work is prominently placed in international shows, such as "do it Arab" curated by Hans Ulrich Obrist & Hor Al Qasimi, Bait Al Shamsi at the Sharjah Art Foundation, UAE (2016), or "En mal d’archive" curated by Khaled Barakeh at The Station in Beirut, Lebanon (2018).
bending water/fuzzy logic | Jayce Salloum and Bernadette Phan
October 4 - October 24, 2020
There is a story or two here. The lore that follows one around. It varies in pace. Has a tactility that suggests the sensorial. The auditory, the tidal amplitude of life rippling in the demarcation of one’s dna. The past is evident but the present more so. What process is so practical as to produce an encounter or an event. This, laborious and ephemeral. Celestial and rooted, ground in dust, the detritus of the everyday rhythm, nonsymmetrical, but synchronous with the unknown, inviting you to stand still, be at ease. These stories collide. A collaboration of particles with divergent speeds and intentions coming to rest for an impromptu moment. Soft eyes. A stretch of time, spill frames into the canyon scaling the gathered. Scattered yet drawn in for visits of the everyday, with the sound of water folding onto itself.
Exhibition view images "bending water/fuzzy logic" | image credit: Michael Love
"When I’m sketching out the templates for these sculptures I aim to make them referential to the moment in time that we are in. So, both from a microspective and macrospective view, referencing DNA, audio waveforms (amplitudinal), living organs/entities, mosaics/tiling, times broken down and strung together through space and the amalgamation of the spacial and temporal. The reworking, repurposing and condensing of the material carries inherent references to a previous life and the one that it is heading towards." (Jayce Salloum)
As if an itinerant geographer of conflicted territories (most everywhere), Salloum observes the world and creates/collects a subjective archive of images to make meaning from. Since arriving here - by no means of his own volition - he tries to go only where he is invited or where there is an intrinsic affinity, his projects being rooted in an intimate engagement with place. A grandson of Syrian or Lebanese immigrants he was born and raised on others’ land, the Sylix (Okanagan) territory. After 22 years living and working elsewheres he planted himself on the unceded Xʷməθkʷey̓əm, Sḵwx̱wú7mesh + Səíl̓wətaʔł territories. Salloum has lectured and published pervasively and exhibited somewhat peripatetically at the widest range of local and international venues possible (and most improbable), from the smallest unnamed storefronts in his downtown eastside Vancouver neighbourhood to institutions such as the Musée du Louvre, Museum of Modern Art, Guggenheim Museum, Centre Georges Pompidou, National Gallery of Canada, Bienal De La Havana, Sharjah Biennial, Biennale of Sydney and the Rotterdam International Film Festival.
Sculpture fabricators: Zenyase Hunsberger, Chelsea Yuill, Shayla Giroux, Corie Waugh
As if an itinerant geographer of conflicted territories (most everywhere), Salloum observes the world and creates/collects a subjective archive of images to make meaning from. Since arriving here - by no means of his own volition - he tries to go only where he is invited or where there is an intrinsic affinity, his projects being rooted in an intimate engagement with place. A grandson of Syrian or Lebanese immigrants he was born and raised on others’ land, the Sylix (Okanagan) territory. After 22 years living and working elsewheres he planted himself on the unceded Xʷməθkʷey̓əm, Sḵwx̱wú7mesh + Səíl̓wətaʔł territories. Salloum has lectured and published pervasively and exhibited somewhat peripatetically at the widest range of local and international venues possible (and most improbable), from the smallest unnamed storefronts in his downtown eastside Vancouver neighbourhood to institutions such as the Musée du Louvre, Museum of Modern Art, Guggenheim Museum, Centre Georges Pompidou, National Gallery of Canada, Bienal De La Havana, Sharjah Biennial, Biennale of Sydney and the Rotterdam International Film Festival.
Sculpture fabricators: Zenyase Hunsberger, Chelsea Yuill, Shayla Giroux, Corie Waugh
Public Art 2020
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