Jalal Toufic Resume - Kadir Has Üniversitesi

Professor 

Kadir Has University 

Faculty of Communication 

Department of Communication Design 

Cibali Merkez Kampüsü 

34230 Cibali 

Istanbul, Turkey 

Website: http://www.jalaltoufic.com 

jtoufic@gmail.com 

Cellular Phone: +90 (0) 534 229 86 95 

Born: 1962 

Jalal Toufic 

Education: 

⎯ Ph.D. in Radio/TV/Film, Northwestern University, 1992. 

⎯ M.A. in Cinema Studies, New York University, 1987. 

⎯ B.A. in Philosophy, American University of Beirut, 1984. 

Books: 

— Undeserving Lebanon. Forthcoming Books, 2007 (available for download as a PDF file at 

http://www.jalaltoufic.com/publications.htm). 

— ‘Âshûrâ’: This Blood Spilled in My Veins. Beirut, Lebanon: Forthcoming Books, 2005. 

— Two or Three Things I’m Dying to Tell You. Sausalito, CA: The Post Apollo Press, 2005. 

— Undying Love, or Love Dies. Sausalito, CA: The Post Apollo Press, 2002. 

⎯ Forthcoming. Berkeley, CA: Atelos, 2000. 

⎯ Over-Sensitivity. Los Angeles: Sun & Moon Press, 1996. 

⎯ (Vampires): An Uneasy Essay on the Undead in Film. Barrytown, New York: Station Hill Press, 

1993; revised and expanded edition, Sausalito, CA: The Post Apollo Press, 2003. 

⎯ Distracted. Barrytown, NY: Station Hill Press, 1991; 2 nd ed., Berkeley, CA: Tuumba Press, 

2003. 

Academic Employment: 

⎯ Professor, Department of Communication Design, Kadir Has University, Istanbul, Turkey, 1 

October 2007-present. 

⎯ Associate Professor and Head of the MA Program in Film and Video Studies, Department of 

Visual and Performing Arts, Faculty of Fine and Applied Arts, Holy Spirit University— 

Kaslik, Lebanon, Spring 2000-Spring 2007. 

⎯ Co-teacher, with Walid Raad, of the seminar “Untimely Collaboration,” part of Prognoses on 

Movement(s): Ten Future-Scenarios (a project organized by the Zentrum für 

Bewegungsforschung at the Theatre, Dance and Performance Studies Department of the 

Berlin Free University, in cooperation with Hebbel Am Ufer [HAU] theatre), Hebbel 

Theater am UferBerlin, 6-7 June 2008. 

⎯ Visiting Thinker, The Centre for Ideas, Victorian College of the Arts, University of 

Melbourne, Australia: taught the graduate seminars “Two or Three Things I’m Dying to 

Tell You about The Thousand and One Nights” and “Arriving Too Late for Resurrection,” 6 

and 7 March 2008, respectively, and gave “The Dancer’s Two Bodies” in the lecture series 

“The Poetics of the Body,” 10 March 2008. 

⎯ Co-teacher, with Walid Raad, of the seminar “The Withdrawal of Tradition Past a 

Surpassing Disaster,” unitednationsplaza, Berlin, 31 January through 11 February 2007. 

unitednationsplaza is exhibition as school; it is organized by Anton Vidokle in collaboration 

with Liam Gillick, Boris Groys, Martha Rosler, Walid Raad, Jalal Toufic, Nikolaus Hirsch, 

Natascha Sadr Haghighian and Tirdad Zolghadr. http://www.unitednationsplaza.org/ 

⎯ Visiting Artist, The Rijksakademie, Amsterdam: taught the seminar “You Said ‘Stay,’ So I 

Stayed” (part of the “Reenactment” program) and gave studio visits, 14-15 June 2007; taught

the seminar “Saving the Living Human’s Face and Backing the Mortal” and gave studio 

visits, 20-22 October 2003. 

⎯ Guest Teacher, DasArts, Amsterdam, the Netherlands, 15-20 October and 28 October-11 

November 2001. 

⎯ Adjunct Professor, School of Critical Studies, California Institute of the Arts, Fall 1996- 

Spring 1999. 

⎯ Visiting Artist, Department of Fine Arts, University of Southern California, Summer 1998: 

Special Topics Seminar: Radical Closure. 

⎯ Visiting Scholar at the Center for Middle Eastern Studies, and Lecturer in the Comparative 

Literature Department, University of California at Berkeley, Fall 1996. 

⎯ Lecturer, Cinema Department, San Francisco State University, 1993-1996. 

⎯ Visiting Associate Professor, Communication Arts Department, Lebanese American 

University, Spring and Fall 2000. 

⎯ Taught two Seminars at the Institut d’Études Scéniques, Audiovisuelles et 

Cinématographiques, Université Saint-Joseph, Beirut, Lebanon, March 13/20/27 and April 

3, 2000: Radical Closure; May-June 2002: Saving the Living Human’s Face & Backing the 

Mortal. 

⎯ Lecturer, Communication Arts Department, Beirut University College, Fall 1986. 

Memberships: 

— Member of the Arab Image Foundation, 2001-2004. 

— Member of the editorial board of Discourse: Journal for Theoretical Studies in Media and Culture 

(), 1997-2003. 

Editorial Activity: 

— Editor of Review of Photographic Memory. Beirut: Arab Image Foundation, 2004. 

— Editor of the special Discourse issue Mortals to Death, no. 24.1, Winter 2002 

(). 

— Editor of the Audio-Visual/-Theoretical Supplement of the bimonthly journal Al-Âdâb, 

Beirut, Lebanon, July-August 2001 issue and September-October 2001 issue. 

— Editor of Qabla ’an yartadda ’ilayka Tarfuka: tajârib lubnâniyya fî as-sînamâ wa-l-vîdîyû wa-ltajhîz 

(Before Thy Gaze Returns to Thee: Experimental Lebanese Cinema/Video/Installation 

Works), a dossier of the journal Al-Âdâb, January-February 2001, Beirut, Lebanon, pp. 18-76 

(). 

— Editor of the special Discourse issue Middle Eastern Films Before Thy Gaze Returns to Thee, no. 

21.1, Winter 1999. 

— Co-editor of the special Discourse issue Gilles Deleuze: A Reason to Believe in this World, no. 

20.3, Fall 1998. 

— Co-editor of the special Discourse double issue The Silent Beat, no. 20.1-2, Winter and Spring 

1998. 

Screened/Exhibited Works: 

— Lebanese Performance Art; Circle: Ecstatic; Class: Marginalized; Excerpt 3, video, 5 minutes, 

2007. 

Né à Beyrouth film and video festival, Beirut, 29 August 2007. 

— The Dual-Use Memorial, mixed media, 2007. 

Memorial to the Iraq War, Institute of Contemporary Arts (ICA), London, 23 May 

2007-27 June 2007. 

— Mother and Son; or, That Obscure Object of Desire (Scenes from an Anamorphic Double Feature), 

video, 41 minutes, 2006. 

“Thinking the Future: Art, Design and Creativity,” the 2006 ACUADS (the 

Australian Council of University Art and Design Schools) Conference, co-hosted 

by the Faculty of Art and Design at Monash University and the School of Art at 

the Victorian College of the Arts, Melbourne, Australia, 29 September 2006; 

Pressure Points: Arabic Perspectives on Tradition and the City series, organized by the

Writing and Society Research Group of the University of Western Sydney and 

Casula Powerhouse Arts Centre, Blacktown Arts Center, Australia, 23 September 

2006; “TransPractice and Collaborations” symposium, the Biennale of Sydney 

2006, 12 August 2006; Né à Beyrouth film and video festival, Beirut, 29 August 

2007; The Centre for Ideas, Victorian College of the Arts, University of 

Melbourne, Federation Hall, Australia, 12 March 2008. 

— Mother and Son: A Tribute to Alexander Sokurov, mixed media, 2006. 

Out of Beirut, curated by Suzanne Cotter, Modern Art Oxford, Oxford, England, 13 

May to 16 July 2006. 

— ‘Âshûrâ’: This Blood Spilled in My Veins, c-prints, 2005. 

The Resilient Landscape, Ivan Dougherty Gallery, College of Fine Arts, University 

of New South Wales, Sydney, Australia, 22 November 2007-22 December 2007. 

— The Lamentations Series: The Ninth Night and Day, video, 60 minutes, 2005. 

Home Works III: A Forum on Cultural Practices, Masrah al-Madina, Beirut, Lebanon, 

21 and 23 November 2005; Insa Art Space of Arts Council Korea, Seoul, South 

Korea, 16 December 2005; Kunsthalle Fridericianum, Kassel, Germany, 12 April- 

14 May 2006; Modern Art Oxford, Oxford, England, 18 and 28 June and 9 July 

2006; Venice Biennale, Cyprus Pavilion, 8 June 2007. 

— Minor Art: Conceptual Posters and Book Covers (aka Minor Art: Conceptual Film and Video 

Posters), 2000-present. 

Go Between, the Bregenzer Kunstverein and Magazin 4, Palais Thurn & Taxis and 

Magazin 4, Austria, 16 July-4 September 2005; [‘Âshûrâ’: This Blood Spilled in My 

Veins, 2004; Eternity and a [Groundhog] Day, 2001; Being There, 2004; The Passion of 

Joan of Arc, 2005; A Special Effect Termed “Time”; or, Filming Death at Work, 2005,] 

Affiche Museum/Dutch Poster Museum, Netherlands, April 2005; [The Passion of 

Joan of Arc, 2005,] Memory Lane, the Biennial Portfolios, curated by René Block, 

the 9th International Istanbul Biennial, Goethe-Institut Istanbul, Galeri Dürer, 13 

September-30 October 2005, Goethe-Institut Ankara, 8 November-3 December 

2005, Goethe-Institut Izmir, 12 December 2005-6 January 2006; Sequence of Tense, 

curated by Park Chan-Kyong, Alternative Space Pool, Seoul, South Korea, 16 

December 2005-11 January 2006; Filming Death at Work, curated by René Block, 

Kunsthalle Fridericianum, Kassel, Germany, 12 April-14 May 2006; Art, Life & 

Confusion, curated by René Blöck and Barbara Heinrich, 47th October Salon, 

cooperative venture between the Belgrade Cultural Center and the Kunsthalle 

Fridericianum Kassel, The Art Gallery, Belgrade, Yugoslavia, 29 September-5 

November 2006; Art Now in Lebanon, exhibition curated by Andrée Sfeir and 

hosted by Darat al Funun, Amman, Jordan, 4 March-29 May 2008; The Lebanese 

Association for Plastic Arts, Ashkal Alwan’s Home Works IV: A Forum on Cultural 

Practices, Sfeir Semler Gallery, Beirut, 12 April-31 May 2008. 

— http://www.jalaltoufic.com, launched in March 2005. 

— A Special Effect Termed “Time”; or, Filming Death at Work, video, 32 minutes, 2005. 

Tanit Gallery at Arte Fiera (Art First), BolognaFiere, Italy, 27-31 January 2005; 

..né.à Beyrouth festival, Beirut, Lebanon, 23 August 2005; 15 th edition of Festival 

Côté Court, Ciné 104, Pantin, France, 31 March-9 April 2006; “Dying To Tell 

You: Videos by Jalal Toufic + Walid Raad,” Hallwalls Contemporary Arts Center, 

Buffalo, USA, 23 September 2006. 

— This Is Not to Say that This Is Not the Case, mixed media, 2004. 

Present Absence: Contemporary Art from Lebanon, Galerie Tanit, Munich, 7 May-25 

June 2004; Love it or Leave it, the 5th Biennial of Cetinje, curated by René Block, 

Kassel, and Natasa Ilic, Zagreb, and realized by the National Museum of 

Montenegro in cooperation with Kunsthalle Fridericianum, Kassel, Germany, 20 

July-19 September 2004. 

— I Am the Martyr Comrade Jamâl Sâtî, mixed media, 2003.

The 6th Sharjah International Biennial, United Arab Emirates, 8 April-8 May 

2003; Normalization, Platform Garanti Contemporary Art Center, Istanbul, 

Turkey, 10 March-23 April 2005. 

— Saving Face, 8-minute video, 2003. Distributed, as part of the compilation Resistance[s]”: 

Experimental Films from the Middle East and North Africa vol. 2, by Lowave 

(www.lowave.com): 


2003; DisORIENTation: Contemporary Arab Artistic Practices from the Middle East, 

House of World Cultures, Berlin, April 12, 2003; 14 th Festival Internacional De Arte 

Electrônica—Videobrasil, SESC Pompéia, Sao Paulo, 23 September 2003; Festival 

International du Cinéma Méditerranéen Montpellier, 25 October and 1 November 

2003; Home Works II: A Forum on Cultural Practices, Madina Theater, Beirut, 1 

November 2003; “Focus Jalal Toufic,” 16 th International Documentary Filmfestival 

Amsterdam (IDFA), 22 and 25 November 2003; Popular Art Center, Ramallah, 

Palestine, 21 January 2004; Townhouse Gallery of Contemporary Art, Cairo, 28 

January 2004; Al-Ma‘mal Foundation, Jerusalem, 18 February 2004; International 

Center of Bethlehem, Palestine, 11 March 2004; Khalil Sakakini Cultural Centre 

Foundation, Ramallah, Palestine, 27 March 2004; Centre pour l’image 

contemporaine, Geneva, Switzerland, 18 May 2004; Nuevo Video Árabe, Centro 

Cultural Cajastur, Muralla Romana, Gijon, Spain, May 2004; “Love it or Leave it, 

the 5th Biennial of Cetinje,” 20 July-19 September 2004; Né à Beyrouth Festival, 

Beirut, 30 August 2004; The Face on Film, organized by the Documentary 

Filmmakers Group, the Other Cinema, London, 21 November 2004; Pacific Film 

Archive, Berkeley, USA, 23 November 2004; California College of the Arts, 2 

December 2004; Nuevo Video Árabe, La Casa Encendida, Madrid, Spain, August- 

September 2005; “New Orient,” curated by Catherine David, KunstFilmBiennale, 

the Kunststation Sankt Peter, Cologne, Germany, 19 to 24 October, and 

thenceforth until the end of ArtCologne on 1 November 2005; 18es Instants Vidéo, 5 

November 2005 at La Compagnie and 19 November 2005 at La Friche de la Belle 

de mai, Marseille, France; Insa Art Space of Arts Council Korea, Seoul, South 

Korea, 16 and 29 December 2005; The 2 nd edition of International Festival of 

Creative Film and Video, co-sponsored by the Lebanese Academy of Fine Arts 

(ALBA) and Goethe-Institut, Beirut, 5 March 2006; 15 th edition of Festival Côté 

Court, Ciné 104, Pantin, France, 31 March-9 April 2006; Artspace, Sydney, 

Australia, 21 September 2006; “Dying To Tell You: Videos by Jalal Toufic + Walid 

Raad,” Hallwalls Contemporary Arts Center, Buffalo, USA, 23 September 2006; 

Pressure Points: Arabic Perspectives on Tradition and the City series, organized by the 

Writing and Society Research Group of the University of Western Sydney and 

Casula Powerhouse Arts Centre, Blacktown Arts Center, Australia, 23 September 

2006; Carte blanche Lowave/Résistance(s), Centre Pompidou, Paris, 19 April 2007; 

Lowave, “Résistance(s)—Experimental Films from the Middle East and North 

Africa,” Internationale Kurzfilmtage Oberhausen, Germany, 4 May 2007; “Touring 

Lebanon—There’s No Place Like Home,” Internationales KurzFilmFestival 

Hamburg (The Hamburg International Short Film Festival), 7 and 9 June 2007; 

Festival Paris Cinéma 2007, 7-9 July 2007; Venice Biennale, Lebanese Pavilion, 7 

June-30 September 2007; Carte blanche Lowave/Résistance(s), Festival Aurora 

Norwich, UK, 10/11/2007; The Centre for Ideas, Victorian College of the Arts, 

University of Melbourne, Federation Hall, Australia, 12 March 2008; Museet for 

Samtidskunst (The Museum of Contemporary Art), Roskilde, Denmark, 18 May 

2008. 

— ‘Âshûrâ’: This Blood Spilled in My Veins, mixed-media work with 7 monitors, two 80-min 

videos and 5 looped videos (16 min; 16 min; 10 min; 7 min; 1 min), and 3 banners, 2002. 

“Contemporary Arab Representations,” an exhibition curated by Catherine David, 

Fundació Antoni Tàpies, Barcelona, 3 May-14 July 2002; “Contemporary Arab 

Representations: Beirut/Lebanon,” Witte de With, Rotterdam, 15 September-24 

November 2002; “Synopsis II-Theologies,” an exhibition curated by Anna Kafetsi, 

the National Museum of Contemporary Art, Athens, 15 October 2002-5 January 

2003; BüroFriedrich, Berlin, 7 December 2002-25 January 2003; “Contemporary

Arab Representations: Beirut/Lebanon,” BildMuseet, Umeå University, Sweden, 9 

February-21 April 2003; Plug In, curated by Mario Rizzi, Centre for 

Contemporary Art FUTURA, Prague, 7 May-27 June 2004. 

— ‘Âshûrâ’: This Blood Spilled in My Veins, 80-minute video, 2002. 

Townhouse Gallery of Contemporary Art, Cairo, 21 September 2002; Théâtre 

Béryte, USJ, Beirut, 17 June 2003; Al-Ma‘mal Foundation for Contemporary Art, 

Jerusalem, 16 July 2003; né @ Beyrouth, Centre Culturel Français, Beirut, 21 

August 2003; Pacific Film Archive, Berkeley, USA, 26 August 2003; The Possible 

Narratives, curated by Christine Tohme (Ashkal Alwan) and Akram Zaatari, 14 th 

Festival Internacional De Arte Electrônica—Videobrasil, SESC Pompéia, São Paulo, 27 

September 2003; “Focus Jalal Toufic,” 16 th International Documentary Filmfestival 

Amsterdam (IDFA), 22 and 29 November 2003; “The Lebanese/ Palestinian 

Documentary Films Week,” Tehran, Documentary and Experimental Film Center 

(DEFC), 23 and 26 December, 2003; Centre pour l’image contemporaine, Geneva, 

Switzerland, 18 May 2004; Laughter, curator: Christine Tohme, LIFT (London 

International Festival of Theatre), the Barge House, London, 20 June 2004; 

“Critical Positions,” Brighton Cinematheque, 7 November 2004; “Flicker at Buffalo: 

Correspondences in New Media, Film, and Poetry,” Squeaky Wheel, 17 November 

2004; Museum of Contemporary Art (Museet for Samtidskunst) in Roskilde, 

Denmark, 22 May 2005; Insa Art Space of Arts Council Korea, Seoul, South Korea, 

16 and 29 December 2005; Pressure Points: Arabic Perspectives on Tradition and the 

City series, organized by the Writing and Society Research Group of the 

University of Western Sydney and Casula Powerhouse Arts Centre, Blacktown 

Arts Center, Australia, 23 September 2006; Coding: Decoding, in Images of the Middle 

East festival, the Museum of Contemporary Art, Roskilde, Denmark, 23 September 

2006, and Nikolaj, Copenhagen Contemporary Art Center, Denmark, 1 October 

2006; Offene Akademie der Münchner Volkshochschule, Munich, 5 November 

2006; Mourning and its Hospitalities | (after...) conference, University of Queensland, 

Australia, 18 July 2007. 

— The Sleep of Reason: This Blood Spilled in My Veins, 32-minute video, 2002. 

Home Works: A Forum on Cultural Practices in the Region: Egypt, Iran, Iraq, Lebanon, 

Palestine and Syria, the Lebanese Association for Plastic Arts, Ashkal Alwan, 

Madina Theatre, Beirut, Lebanon, 4/7/2002; né @ Beyrouth, Centre Culturel 

Français, salle Montaigne, Beirut, 23 August 2002; the 6th Sharjah International 

Biennial, United Arab Emirates, 8 April-8 May 2003; DisORIENTation: 

Contemporary Arab Artistic Practices from the Middle East, House of World Cultures, 

Berlin, April 12, 2003; “Focus Jalal Toufic,” 16 th International Documentary 

Filmfestival Amsterdam (IDFA), 22 and 25 November 2003; Townhouse Gallery 

of Contemporary Art, Cairo, 28 January 2004; Khalil Sakakini Cultural Centre 

Foundation, Ramallah, Palestine, 27 March 2004; “Flicker at Buffalo: 

Correspondences in New Media, Film, and Poetry,” Squeaky Wheel, 17 November 

2004; California College of the Arts, 2 December 2004; Insa Art Space of Arts 

Council Korea, Seoul, South Korea, 16 and 29 December 2005; 15 th edition of 

Festival Côté Court, Ciné 104, Pantin, France, 31 March-9 April 2006; The Centre 

for Ideas, Victorian College of the Arts, University of Melbourne, Federation Hall, 

Australia, 12 March 2008. 

— Phantom Beirut: A Tribute to Ghassan Salhab, 15-minute video, 2002. 


2003; OVNI 2003 Archivos del Observatorio, Centro de Cultura Contemporánea 

de Barcelona, Spain, 29 May 2003; “Focus Jalal Toufic,” 16 th International 

Documentary Filmfestival Amsterdam (IDFA), 22 and 25 November 2003; 

Townhouse Gallery of Contemporary Art, Cairo, 28 January 2004; Khalil Sakakini 

Cultural Centre Foundation, Ramallah, Palestine, 27 March; Nuevo Video Árabe, 

Centro Cultural Cajastur, Muralla Romana, Gijon, Spain, May 2004; Pacific Film

Archive, Berkeley, USA, 23 November 2004; Nuevo Video Árabe, La Casa 

Encendida, Madrid, Spain, August-September 2005. 

— Two Posthumous Resumes, 2000. 

Exist, Espace SD, Beirut, Lebanon, 25 November-2 December 2000. Published in 

Tamáss: Contemporary Arab Representations, Beirut, Lebanon 1 (Barcelona: Fundació 

Antoni Tàpies, 2002), pp. 118-121. 

— Overlooking the Unsightly to See, mixed media, as well as a conceptual poster for Robert 

Bresson’s Au Hazard Balthazar, 2000. 

Hamra Street Project, an event organized by the Lebanese Association for Plastic 

Arts “Ashkal Alwan” and Kentertainment, cinema Colisée, Beirut, Lebanon, 

November 17-27, 2000. 

⎯ Radical Closure Artist with Bandaged Sense Organ, installation, 1997. 

Tampering with the Reel, Artists Space, New York, 7 June-19 July 1997. 

⎯ ‘Âshûrâ’: This Blood Spilled in My Veins, 17-minute two-channel video, 1996. 

Pacific Film Archive, Berkeley, 5 November 1996; Yerba Buena Center for the 

Arts, as part of a San Francisco Cinematheque program (and in conjunction with a 

reading from Over-Sensitivity), 27 March 1997. 

⎯ Credits Included: A Video in Red and Green. 46-minute video, 1995. Distributor: Arab Film 

Distribution (2417 10th Avenue East, Seattle, WA 98102. tel.: [888] 591-FILM; [206] 322- 

0882; fax: [206] 322-4586; web: www.arabfilm.com; email: info@arabfilm.com). 

Yerba Buena Center for the Arts, as part of a San Francisco Cinematheque 

program, 9 March 1995; Image/Quest, Théâtre de Beyrouth, Lebanon, 23 June 

1995; East of Here … (re) Imagining the “Orient”, YYZ Artists’ Outlet, Toronto, 

Canada, 14 December 1996; CineArabic, UCLA Film and TV Archive, Los Angeles, 

15 April 1997; Tampering with the Reel, Artists Space, New York, 7 June-19 July 

1997; “Selected Memories,” Constant-organized exhibition, Le Palais des Beaux- 

Arts, Brussels, 18 June-17 August 1997; Bottoms Up, The Lab, San Francisco, 5 

June-3 July 1998; Poésie et cinéma Américains contemporains: parallèlles et circulations, 

Centre international de poésie, Marseille, 14-28 October 1998; OVNI 2005 

RESISTANCES, Centre de Cultura Contemporania de Barcelona, Spain, 30 

January 2005; “To Capture Beirut (Essays from Earlier), Salloum, Toufic,” 

Woodland Pattern Experimental Film/Video Series, presented by the University 

of Wisconsin-Milwaukee Department of Film, 29 September 2006. 

— Eisenstein: A Few Lines, a Few Colors: 18-minute video, 1986. 

Lebanese TV, 9 December 1986. 

Curating: 

— Curator of the Lebanese segment in “Art of the Mediterranean,” Museum of Contemporary 

Art Roma (MACRO), 4 June-19 September 2004. 

Articles and Artist’s Projects: 

— “Ruins”/”Harabeler,” Turkish translation by Eliz Konat, Anber Onar and Johann Pillai, in 

Kayitsiz/Unrecorded (bilingual: Turkish/English), ed. Başak Şenova (Istanbul, Turkey: 

Akbank Sanat/Akbank Art Center, 2008), pp. 1-8. 

— “Realistic Magic; or, I Never Cared about Magical Realism”/”Gerçekçi Sihir; ya da, Hiçbir 

zaman Sihirsel Gerçekçilik Umrumda Olmadı,” Turkish translation by Johann Pillai and 

Pelin Tan, Muhtelif 3 (bilingual: Turkish/English), ed. Pelin Tan, Turkey, Spring 2008. 

— “Something I’m Dying to Tell You, Lyn” A Prior Magazine #16 (Belgium: February 2008, 

pp. 262-274. Available online at: http://www.aprior.org/articles/38. 

— “Martyrs” and “‘Âshûrâ’: This Blood Spilled in My Veins,” The Resilient Landscape, Ivan 

Dougherty Gallery, College of Fine Arts, University of New South Wales, Sydney, 

Australia, 2007, pp. 21-29 and 30-31 respectively. 

— “Minor Art: Conceptual Posters and Book Covers,” artist’s project, Art Journal, vol. 66, no. 2, 

Summer 2007 (College Art Association [CAA], USA), pp. 85-97.

— “Realistic Magic; or, I Never Cared about Magical Realism,” in Old Earth, No More Lies, I’ve 

Seen You… Haris Epaminonda, Mustafa Hulusi, ed. Denise Robinson (Art Books 

International, 2007; exhibition catalogue of the Cyprus Pavilion in the 52 nd Venice Biennale; 

trilingual), pp. 94-98 (Greek translation by Constantinos Taliotis, pp. 99-104; Turkish 

translation by Pelin Tan, pp. 105-109). 

— “If You Prick Us Do We Not Bleed? No,” in Rene Gabri, Trebisonda; or, Sonia Balassanian in the 

Time of the Foxes, with additional texts, fragments, and responses from: Salar Abdoh, Ayreen 

Anastas, Sonia Balassanian et al. (Macerata, Italy: Quodlibet, 2007), pp. 97-103. 

— “Resurrecting the Arab Apocalypse STOP [THE WORLD],” foreword to Etel Adnan’s The 

Arab Apocalypse, 3 rd edition (Sausalito, CA: The Post-Apollo Press, 2007), pp. 9-11. 

— “The Writing Is on the Wall,” Naked Punch 8 (London, England), October 2006, pp. 73-77. 

— Reading, Rewriting Poe’s The Oval Portrait—In Your Dreams (bilingual edition: English and 

Arabic). Beirut, Lebanon: Ashkal Alwan, 2006; reprinted in The Canary 6 (USA), 2006, pp. 

32-39. 

— “Transit Visa to Post-War Lebanon!”, Over Here: International Perspectives on Art and Culture, 

ed. Gerardo Mosquera and Jean Fisher (MIT Press and The New Museum of Contemporary 

Art [New York], 2004), pp. 286-304. 

— “Editor’s Foreword: Reviewing a Picture Worth a Thousand Words” and “Saving Face,” 

Review of Photographic Memory (Beirut: Arab Image Foundation, 2004), pp. 4-5 and 6-26 

respectively. 

— Two spreads regarding my video ‘Âshûrâ’: This Blood Spilled in My Veins in Plug In, ed. 

Mario Rizzi (Zug, Switzerland: Fine Arts Unternehmen Books, 2004). 

— “Je suis la martyre Sana Yûsif Muhaydlî,” trans. Emmanuel Rongérias, Revue d’études 

palestiniennes 89, Autumn 2003, pp. 63-68. 

— “Se Você Nos Pica, Nós Não Sangramos? Não” and “If You Prick Us Do We Not Bleed? No,” in 

Deslocamentos, catalogue of the 14 th Festival Internacional De Arte Electrônica—Videobrasil, 

Sao Paulo, pp. 104-109 and 250-251 respectively. 

— “The Dancer’s Two Bodies,” Ballettanz, August/September 2003, pp. 48-56. 

— “Kneeling Angel with Mountainous Wings (a.k.a. Toward a Title for a Gibran Watercolor 

Left Untitled),” Discourse, no. 24.1, Winter 2002, pp. 23-37 

(). 

— “I Am the Martyr Sanâ’ Yûsif Muhaydlî,” Discourse, no. 24.1, Winter 2002, pp. 76-84 

(); and catalogue of the 6th 

Sharjah International Biennial (Museum of Art, United Arab Emirates, 2003), pp 26-29. 

— “Postscript: Introductionless Death,” Discourse, no. 24.1, Winter 2002, pp. 185-186 

(). 

— “Transit Visa to Postwar Lebanon!”, DisORIENTation (Berlin: The House of World 

Cultures, 2003), pp. 130-135 (bilingual; German translation by Herwig Engelmann). 

— “The Emperor’s New Costume, Or the Case of the Missing Mask,” Enough, ed. Rick London 

and Leslie Scalapino (Oakland, CA: O Books, 2003), pp. 43-48; The Weird but True Book, part 

1 of a 5-book set, The Black Box, ed. Sofía Hernández Chong Cuy, Raimundas Malasauskas, 

Alexis Vaillant, with Catherine Hemelryk and Simon Rees (Contemporary Art Center, 

Vilnius & Revolver, 2005), pp. 109-118. 

— Excerpts from Forthcoming, in Walid Raad, “Sweet Talk or Photographic Documents of 

Beirut,” Camera Austria no. 80, 2002, pp. 43-45 and 55-56 (bilingual; German translation by 

Wilfried Prantner). 

— “‘Âshûrâ’; or, Torturous Memory as a Condition of Possibility of an Unconditional Promise,” 

catalogue of the exhibition “Synopsis II-Theologies,” curated by and ed. Anna Kafetsi 

(Athens: the National Museum of Contemporary Art, 2002), pp. 231-236 (bilingual; Greek 

translation by Titika-Maria Saratsi, pp. 224-230); Home Works: A Forum on Cultural Practices 

in the Region: Egypt, Iran, Iraq, Lebanon, Palestine and Syria, compiled by Christine Tohme and 

Mona Abu Rayyan (Beirut, Lebanon: the Lebanese Association for Plastic Arts Ashkal 

Alwan, 2003), pp. 94-101 (bilingual; Arabic translation by Karl Sharro, pp. 20-27). 

— “Saving Face,” Camera Austria no. 78, 2002, pp 26-32 (bilingual; German translation by 

Wilfried Prantner).

— “Ruins,” Tamáss: Contemporary Arab Representations, Beirut, Lebanon 1 (Barcelona: Fundació 

Antoni Tàpies, 2002), pp. 19-25; The Atlas Group (1989-2004), A Project by Walid Raad (Köln, 

Germany: Verlag der Buchhandlung Walther König, 2006) p. 55-59. 

— “Transit Visa to the Labyrinth,” and “Quickly, a Stereotype!” in Transit Visa: On Video and 

Cities, ed. Akram Zaatari and Mahmoud Hojeij, Beirut, 2001, pp. 9-11 and p. 81. 

— “Al-Atlâl (Ruins),” trans. Fadî al-‘Abdallâh, Al-Âdâb’s Audio-Visual/-Theoretical Supplement, 

July-August 2001, Beirut, Lebanon, pp. 108-111. 

— “Ana as-Shahîda Sanâ’ Yûsif Muhaydlî (I Am the Martyr Sanâ’ Yûsif Muhaydlî),” trans. Fadî al- 

‘Abdallâh, Al-Âdâb, January-February 2001, Beirut, Lebanon, pp. 44-51; reprinted in the 

catalogue of the 6th Sharjah International Biennial (Museum of Art, United Arab Emirates, 

2003), pp. 585-587. 

— “Intelligent and Subtle Incomprehension,” trans. Al-Âdâb, Al-Âdâb, January-February 2001, 

Beirut, Lebanon, pp. 18-19. 

— “Disregarding the Unsightly to See,” Hamra Street Project catalogue (Beirut, Lebanon: the 

Lebanese Association for Plastic Arts “Ashkal Alwan,” 2000). 

— “Recommending Deleuze—in 1998!” with Réda Bensmaïa, Discourse 20.3, Fall 1998, pp. 4-16. 

— “If you prick us, do we not bleed? No,” Discourse 20.3, Fall 1998, pp. 165-169. 

— “Every Name in History Is I,” Discourse 20.3, Fall 1998, pp. 172-174. First published in David 

Blair’s Waxweb at 

— “Introduction—That’s All,” Discourse 21.1, Winter 1999, pp. 11-13. 

— “Middle Eastern Films Before Thy Gaze Returns to Thee—in Less than 1/24 of a Second,” 

Discourse 21.1, Winter 1999, pp. 56-75. 

— “Notes Towards Cinematic Biographies of some Qur’ânic Prophets,” Discourse 21.1, Winter 

1999, pp. 140-153. 

— Contribution on the poetics of the filmmaker Paradjanov, trans. Éric Giraud and Holly Dye, 

Le Cahier du Refuge, 1998, pp. 25-27—in conjunction with Poésie et cinéma Américains 

contemporains: parallèlles et circulations, October 14-28, 1998 organized by Centre 

international de poésie, Marseille. 

— “Monstrous Units Over the Plateau,” in Site of Sound: of Architecture & the Ear, ed. Brandon 

LaBelle & Steve Roden (Los Angeles: Errant Bodies Press in association with Smart Art 

Press, 1999), pp. 11-15. 

— Contribution to Blind Date (catalogue of the Blind Date exhibition), ed. Steven Hull 

(Valencia, CA: California Institute of the Arts, 1998), pp. 43-44. 

— “Leibnizian Letter,” in I’m Still in Love with You, curated by and ed. Steven Hull (1998), p. 5. 

— “Nahwa zilzâl shakhsî (Toward a Personal Quake),” 5 poems, Mawâqif 51-52 (Beirut, Autumn 

and Summer 1984): 99-103. 

Lectures and Artist Talks: 

⎯ “Am I in a Film?”, New Directions in Turkish Film Studies Conference IX: Cinema and Reality, 

Kadir Has University, Turkey, 2 May 2008. 

⎯ “You Said ‘Stay,’ So I Stayed,” Akbank Art Center, Istanbul, 31 March and 1 April 2008. 

⎯ “Two or Three Things I’m Dying to Tell You about The Thousand and One Nights,” Piet 

Zwart Institute, Rotterdam, Netherlands, 26 November 2007. 

⎯ “A Thousand and One Nights After the Surpassing Disaster; or, An Arab Should Watch the 

Movie First (Pasolini’s Arabian Nights) then, One Day, Read the Book,” On Cultural 

Translation conference, U-Turn Quadrennial for Contemporary Art, Copenhagen, Denmark 

24 November 2007. 

⎯ “Untimely Collaborators,” “TransPractice and Collaborations” symposium, the Biennale of 

Sydney 2006, 12 August 2006 (the text was read by artist Mireille Astore since I could not 

leave Beirut as a result of the Israeli air, sea and land blockade of Lebanon during that 

country’s most recent war on Lebanon [12 July-14 August 2006]); “Thinking the Future: 

Art, Design and Creativity,” the 2006 ACUADS (the Australian Council of University Art 

and Design Schools) Conference, co-hosted by the Faculty of Art and Design at Monash 

University and the School of Art at the Victorian College of the Arts, Melbourne, Australia, 

29 September 2006.

⎯ “The Withdrawal of Tradition Past a Surpassing Disaster,” inaugural lecture of the Pressure 

Points: Arabic Perspectives on Tradition and the City series, organized by the Writing and 

Society Research Group of the University of Western Sydney and Casula Powerhouse Arts 

Centre, Blacktown Arts Center, Australia, 23 September 2006; Platform Garanti 

Contemporary Art Center, Istanbul, Turkey, 8 September 2007; Darat al Funun, Amman, 

Jordan, 20 May 2008. 

⎯ Panelist in “Biennial as School at The Cooper Union,” organized by the School of Art at The 

Cooper Union in cooperation with the Department 2 of Manifesta 6 School, New York, 28 

April 2006. 

⎯ Artist’s Talk with Anne Maier, Kunsthalle Fridericianum, Kassel, Germany, 11 April 2006. 

⎯ Panelist in “The Art School in Context: at Home and Abroad,” Manifesta Coffee Break: Art 

Education, Nicosia, Cyprus, 21 January 2006. 

⎯ “‘Âshûrâ’: A Condition of Possibility of an Unconditional Promise” and “Saving the Living 

Human’s Face and Backing the Mortal,” Insa Art Space of Arts Council Korea, Seoul, South 

Korea, 12 December 2005. 

⎯ “Saving the Living Human’s Face and Backing the Mortal,” unitednationsplaza, Berlin, 

Germany, 12 February 2007; The School of Art History, Cinema, Classics & Archaeology 

(AHCCA), University of Melbourne, Australia, 27 September 2006; Artspace, Sydney, 

Australia, 21 September 2006; Modern Art Oxford, Oxford, England, 16 May 2006; 

Kunsthalle Fridericianum, Kassel, Germany, 12 April 2006; The School of the Art Institute 

of Chicago, 15 March 2006; Platform Garanti Contemporary Art Center, Istanbul, Turkey, 

12 March 2005; California College of the Arts, cosponsored by Small Press Traffic Literary 

Arts Center and the Visual Criticism Program at CCA, 2 December 2004; Brown University, 

cosponsored by the departments of Modern Culture and Media, Theatre, Speech and Dance, 

and Literary Arts, 29 November 2004; the Center for Behavioral Research, the American 

University of Beirut, 25 October 2004; Akademie der Bildenden Künste (the Academy of 

Fine Arts), Munich, 24 June 2004. 

⎯ “Saving the Living Human’s Face and Backing the Mortal” and “The Withdrawal of 

Tradition Past a Surpassing Disaster,” inaugural lectures at “Flicker at Buffalo: 

Correspondences in New Media, Film, and Poetry,” State University of New York at Buffalo, 

17 and 18 November 2004. 

⎯ “Backing Mortals’ Proper Names,” part of Irruptions of the Real: 2 Videos and 1 Lecture by Jalal 

Toufic, DisORIENTation: Contemporary Arab Artistic Practices from the Middle East, House of 

World Cultures, Berlin, 12 April 2003. 

⎯ Panalist in “Politics and Aesthetics — the Political Context for Artists and Art Production,” 

part of the symposium “Creativity, Crisis and Critics — Art Production in the Arab World,” 

DisORIENTation: Contemporary Arab Artistic Practices from the Middle East, House of World 

Cultures, Berlin, 5 April 2003. 

⎯ “Artist Talk: Jalal Toufic,” BüroFriedrich, Berlin, 7 December 2002. 

⎯ “Discussion between Paul Perry and Jalal Toufic,” Witte de With, Rotterdam, 29 October 

2002. 

⎯ “‘Âshûrâ’: A Condition of Possibility of an Unconditional Promise,” in Home Works, A Forum 

on Cultural Practices with participants from Egypt, Iran, Iraq, Lebanon, Palestine, Syria, 

The Lebanese Association for Plastic Arts, Ashkal Alwan, Madina Theatre, Beirut, Lebanon, 

3 April 2002. 

⎯ “Backing Mortals’ Proper Names,” Klein Yalta 101, DasArts, the Netherlands, 2 November 

2001. 

⎯ “Forthcoming,” in the seminar “Contemporary Arab Representations,” Direction: Catherine 

David, the International University of Andalusia, Seville, Spain, 22-26 October 2001. My 

presentation is published online at: 

http://www.unia.es/arteypensamiento02/mundo/proy_1inv03.htm 

⎯ Panelist in the roundtable discussion “Photography and Memory,” Musée Nicolas Sursock, 

Beirut, 25 June 2001. 

⎯ “Backing Mortals’ Proper Names,” Department of Architecture and Graphic Design, 

American University of Beirut, 9 May 2001.

⎯ Panalist in the symposium “In Need of the Other Identity,” Malmö University, Sweden, 21 

September 2000. 

⎯ Guest Lecturer, Department of Theatre and Film Studies, University of Canterbury, New 

Zealand, 26 July 2000: “The Withdrawal of Tradition Past a Surpassing Disaster.” 

⎯ Panalist in Kahlil Gibran: Horizons of the Painter, Musée Nicolas Sursock, 27 January 2000: 

“Kneeling Angel with Mountainous Wings.” 

⎯ Visiting Artist, Film Department, California College of Arts and Crafts, 25 March 1999. 

⎯ Roundtable discussion with John Baldessari, Dick Hebdige, David Bunn, and Mary Ellen 

Solt, in conjunction with the exhibition “Text,” California Institute of the Arts, 15 April 

1998. 

⎯ Guest Lecturer, Department of Theatre and Film Studies, University of Canterbury, New 

Zealand, 2 April 1998: “Radical Closure.” 

⎯ Panalist (with Etel Adnan and Ibrahim Muhawi; moderator: Ammiel Alcalay) in “From al- 

Mashriq to San Francisco: Arab Writers of the Bay Area,” 7th Annual San Francisco Bay 

Area Book Festival, 2 November 1996. 

⎯ Critical Arts Forum, California Institute of the Arts, 22 October 1996: “The Withdrawal of 

Tradition Past a Surpassing Disaster”. 

⎯ Guest Lecturer, Film Department, California College of Arts and Crafts, 16 October 1996: 

“Immobilization in Undeath, Trance, and Dance: Landscapes of People.” 

⎯ Guest Lecturer, Art Department, University of California at Davis, 20 January 1996: 

“Reality as Filmic in Vampire Films.” 

⎯ Reading (with Lebanese writer and painter Etel Adnan), New Langton Arts, San Francisco, 

2 February 1995. 

Lectures in Other Artists’/Filmmakers’/Videomakers’ Classes: 

— Guest Lecturer in a Walid Raad class at Cooper Union, New York, 22 November 2004: “The 

Withdrawal of Tradition Past a Surpassing Disaster,” and “Ruins.” 

— Guest Lecturer in a Sharon Lockhart class at the Art Department, UCLA, 19 May 1997: 

“Irruptions of Photographs and Colors in Radical Closures.” 

— Guest Lecturer in Trinh T. Minh-ha’s seminar Film, Feminism and the Avant-Garde, 

Department of Women’s Studies, University of California at Berkeley, 28 February 1996: 

“Maya Deren.” 

— Guest Lecturer in Trinh T. Minh-ha’s seminar Film (De)Aesthetics, Department of Women’s 

Studies, University of California at Berkeley, 11 and 27 September 1995. 

⎯ Visiting Artist (with screening of Credits Included) in a Lynn M. Kirby class, Film 

Department, California College of Arts and Crafts, 10 April 1995. 

⎯ Guest Lecturer in a Trinh T. Minh-ha class, Department of Women’s Studies, University of 

California at Berkeley, 5 April 1995: “Marguerite Duras: Between ‘You have seen nothing in 

Hiroshima’ and ‘It would have been a film; it is a film.’” 

Interviews: 

— “Epilogue” (interview with me by Hans Ulrich Obrist), Global Art Forum: Transcripts: 1, ed. 

Maria Finders (Dubai: IMC, 2007), pp. 311-324. 

— Graziella Rizcallah, “The Sacrifice of the Promise: An Interview with Jalal Toufic,” No: A 

Journal of the Arts, issue 6 (USA, 2007), pp. 293-312. 

— Kaelen Wilson-Goldie, “Interview with Jalal Toufic,” in Towards a Foreign Likeness Bent: 

Translation, ed. Jerrold Shiroma, Duration Press, 2005, 

http://www.durationpress.com/poetics/translation.htm. 

— Aaron Kunin, “Interview with Jalal Toufic,” Rain Taxi Online, Fall 2001, 

http://www.raintaxi.com/online/2001fall/toufic.shtml 

Published Conceptual Film and Video Posters: 

— ‘Âshûrâ’: This Blood Spilled in My Veins, 2002; The Passion of Joan of Arc, 2005; and Saving 

Face, 2005, published in Go Between, ed. Bregenzer Kunstverein/Magazin 4, Wolfgang Fetz 

and Peter Lewis (Frankfurt am Main, Germany: Revolver Books, 2005), pp. 206-213.

— The Face of the Savior, 2003, published in Review of Photographic Memory (Beirut: Arab Image 

Foundation, 2004), p. 16. 

— Double Feature, 2003, published in the revised and expanded edition of (Vampires): An Uneasy 

Essay on the Undead in Film (Post-Apollo Press, 2003), p. 197. 

— Al-Abd wa yawm, 2001, published in Transit Visa: On Video and Cities, ed. Akram Zaatari and 

Mahmoud Hojeij, Beirut, 2001, p. 8. 

— Au Hazard Balthazar, 2000, published in Al-Adâb, January-February 2001, Beirut, Lebanon, 

p. 51; and in (Vampires): An Uneasy Essay on the Undead in Film, revised and expanded edition 

(Post-Apollo Press, 2003), p. 166. 

Translated Works: 

— “Post-War Lebanese Photography: Between the Withdrawal of Tradition and Unworldly 

Irruptions,” in “The Middle East and ‘Us,’” ed. Ahn Kyunghwa, BOL 2 (bilingual: English, 

Korean), Spring 2006, Seoul, South Korea, pp. 181-206. 

— “Nachkriegsfotografie aus dem Libanon: Zwischen dem Rückzug der Tradition und 

unweltlichen Einbrüchen,” “Post-War Lebanese Photography: Between the Withdrawal of 

Tradition and Unworldly Irruptions,” 52 nd International Short Film Festival Oberhausen, 4-9 

May 2006 (Festival Catalogue), ed. Birgit Konopatzki and Sabine Häcker (Oberhausen, 

Germany: Karl Maria Laufen, 2006), bilingual (German, English), pp. 96-102. 

— “Ruins” and “Ruines”; “Post-War Lebanese Photography: Between the Withdrawal of 

Tradition and Unworldly Irruptions” and “La Photographie libanaise de l’après-guerre : 

Entre le retrait de la tradition et les irruptions surnaturelles,” in We Can Make Rain but No 

One Came to Ask: Documents from The Atlas Group Archive, ed. Michèle Thériault, bilingual 

(English, French), translations to French by Ghassan Salhab (Montreal, Canada: Leonard & 

Bina Ellen art gallery, Concordia University, 2006), pp. 7-26 and pp. 73-100 respectively. 

— Aflâm sharq awsatiyya qabla ’an yartadda ’ilayka tarfuka—fî aqal min wâhid ‘ala arba‘ wa ‘ishrîn 

minal-thâniya (Middle Eastern Films Before Thy Gaze Returns to Thee—in Less than 1/24 of a 

Second), trans. Jalal Toufic, Al-Âdâb’s Audio-Visual/-Theoretical Supplement, October- 

November 2001, Beirut, Lebanon, pp. 88-98. 

— “Mulâhazât nahwa siyar sînamâ’iyya liba‘d anbiyâ’ al-Qur’ân” (“Notes Towards Cinematic 

Biographies of some Qur’ânic Prophets”), trans. Fawwaz Traboulsi, Al-Âdâb, January- 

February 2001, Beirut, Lebanon, pp. 52-63. 

— Excerpt from Distracted, trans. Éric Giraud and Holly Dye, If 13 (France, 1998), pp. 15-24. 

My Translations of Others’ work: 

— Jean Baudrillard, “Total Duplicity of this War,” trans. Jalal Toufic, Discourse 22.1, Winter 

2000, pp. 4-9. 

— Joana Hadjithomas and Khalil Joreige, Tayyib Rah Farjîk Shighlî (OK, I’ll Show You My 

Work), trans. Jalal Toufic, in Mortals to Death, Discourse 24.1, Winter 2002, pp. 85-98. 

Online: 

— “The Writing Is on the Wall,” MUSEION Museum of Modern and Contemporary Art, 

Bozen/Bolzano, Italy, issue 6, June 2008: 

http://www.museion.it/Museion_Journal/english/Issue_06/ 

— “Es Steht Auf Der Mauegeschrieben,” trans. Nicola Behrman, MUSEION Museum of 

Modern and Contemporary Art, Bozen/Bolzano, Italy, issue 6, June 2008: 

http://www.museion.it/Museion_Journal/deutsch/Ausgabe_06/ 

— “La Scrittura è Sul Muro,” trans. Giorgio Maragliano, MUSEION Museum of Modern and 

Contemporary Art, Bozen/Bolzano, Italy, issue 6, June 2008: 

http://www.museion.it/Museion_Journal/italiano/numero_06/ 

— “Bury Me Dead,” MUSEION Museum of Modern and Contemporary Art, Bozen/Bolzano, 

Italy, issue 5, April 2008: 


— “Begrabt Mich Tot,” trans. Nicola Behrman, MUSEION Museum of Modern and 

Contemporary Art, Bozen/Bolzano, Italy, issue 5, April 2008:


— “Seppelliscimi Da Morto,” trans. Jennifer Scappettone, MUSEION Museum of Modern and 

Contemporary Art, Bozen/Bolzano, Italy, issue 5, April 2008: 


— “To Think or Not to Think,” MUSEION Museum of Modern and Contemporary Art, 

Bozen/Bolzano, Italy, issue 4, March 2008: 


— “Denken Oder Nicht Denken,” trans. Nicola Behrman, MUSEION Museum of Modern and 

Contemporary Art, Bozen/Bolzano, Italy, issue 4, March 2008: 


— “Pensare O Non Pensare,” trans. Giorgio Maragliano, MUSEION Museum of Modern and 

Contemporary Art, Bozen/Bolzano, Italy, issue 4, March 2008: 


— Ishrabha… ti‘sha’ha!; Or, Drink Her, You’ll Love It Ardently!, 

http://todayeveryday.lightmachine.info/, added 20 February 2008. 

— “Realistic Magic; or, I Never Cared about Magical Realism,” MUSEION Museum of Modern 

and Contemporary Art, Bozen/Bolzano, Italy, issue 3, February 2008: 


— “Realistische Magie Oder: Magischer Realismus Hat Mich Nie Interessiert,” trans. Nicola 

Behrman, MUSEION Museum of Modern and Contemporary Art, Bozen/Bolzano, Italy, 

issue 3, February 2008: 


— “Magia Realistica, Ovvero Il Realismo Magico Non Mi Ha Mai Interessato,” trans. Giorgio 

Maragliano, MUSEION Museum of Modern and Contemporary Art, Bozen/Bolzano, Italy, 

issue 3, February 2008: 


— “A Hitherto Unrecognized Sublime Photographer: The Universe,” from Forthcoming 

(Berkeley, CA: Atelos, 2000), pp. 226-239: 

http://www.slashseconds.org/issues/002/003/articles/jtoufic/index.php 

— “Dying Before Dying; or, Living to Tell the Tale,” MUSEION Museum of Modern and 

Contemporary Art, Bozen/Bolzano, Italy, issue 1, Novembre 2007: 

http://www.museion.it/Museion_Journal/english/Issue_01/pdf/Museion_Journal_01_EN 

G.pdf 

— “Morire Prima Di Morire; O Vivere Per Raccontare La Storia,” trans. Giorgio Maragliano, 

MUSEION Museum of Modern and Contemporary Art, Bozen/Bolzano, Italy, issue 1, 

Novembre 2007: 

http://www.museion.it/Museion_Journal/italiano/numero_01/pdf/Museion_Journal_01_I 

T.pdf 

— “Sterben Vor Dem Sterben Oder Weiterleben, Um Zeugnis Zu Geben,” trans. Wolfgang 

Astelbauer, MUSEION Museum of Modern and Contemporary Art, Bozen/Bolzano, Italy, 

issue 1, Novembre 2007: 

http://www.museion.it/Museion_Journal/deutsch/Ausgabe_01/pdf/Museion_Journal_01_ 

DT.pdf 

— “Quicker/Slower than Oneself” (excerpt from Distracted, 2 nd edition [Tuumba Press, 2003], 

pp. 66-70), MUSEION Museum of Modern and Contemporary Art, Bozen/Bolzano, Italy, 

issue 0, October 2007: 

http://www.museion.it/Museion_Journal/english/Issue_00/pdf/Museion_Journal_00_EN. 

pdf 

— “Più Veloce/Più Lento Di Se Stesso,” trans. Giorgio Maragliano, MUSEION Museum of 

Modern and Contemporary Art, Bozen/Bolzano, Italy, issue 0, October 2007: 

http://www.museion.it/Museion_Journal/italiano/numero_00/pdf/Museion_Journal_00_I 

T.pdf 

— “Schneller/Langsamer Als Man Selbst,” trans. Wolfgang Astelbauer, MUSEION Museum 

of Modern and Contemporary Art, Bozen/Bolzano, Italy, issue 0, October 2007:

http://www.museion.it/Museion_Journal/deutsch/Ausgabe_00/pdf/Museion_Journal_00_ 

DT.pdf 

— “Black Holes Radiate Lovingly,” Lina Saneh Body Studio, 30 May 2007, 

http://www.linasaneh-body-p-arts.com/images/blackholes.pdf 

http://www.callforbodypartsignature.blogspot.com/ 

— “Composites,” from (Vampires): An Uneasy Essay on the Undead in Film, revised and expanded 

edition (Sausalito, CA: The Post-Apollo Press, 2003), pp. 172-174. 

http://www.slashseconds.org/issues/002/001/articles/02_jtoufic/index.php 

— “I Am the Martyr Sanâ’ Yûsif Muhaydlî,” from (Vampires): An Uneasy Essay on the Undead in 

Film, revised and expanded edition (Sausalito, CA: The Post-Apollo Press, 2003), pp. 161- 

172. http://www.slashseconds.org/issues/002/001/articles/03_jtoufic2/index.php 

— “Monstrous Units Over the Plateau,” http://www.rova.org/foodforthought/toufic.html 

— “‘Âshûrâ’; or, Torturous Memory as a Condition of Possibility of an Unconditional Promise,” 

http://underfire.eyebeam.org/?q=node/540 

— “Forthcoming,” from Forthcoming (Berkeley, CA: Atelos, 2000), pp. 46-75. 

www.unitednationsplaza.org/readingroom/Jalal%20Toufic,%20Forthcoming.pdf 

Reviews: 

— Thom Donovan, review of Undeserving Lebanon, Modern Painters, April 2008, p. 91. 

— Serhan Ada, “Yaşananları hak etmek,” Radikal newspaper, Turkey, 29/12/2007, 

http://www.radikal.com.tr/haber.php?haberno=242977 

— Boris Groys, “Ritualizing Life: Videos of Jalal Toufic,” Art Journal, Vol. 66, no. 2, Summer 

2007 (College Art Association [CAA], USA), pp. 83-84. 

— Ben Lerner, review of Two or Three Things I’m Dying to Tell You, in First Intensity: A 

Magazine of New Writing #21, Fall 2006, pp. 227-230. 

— Kaelen Wilson-Goldie, “The Unease of Jalal Toufic,” The Daily Star, 21 August 2004, p. 12 

(http://www.dailystar.com.lb/article.asp?edition_id=10&categ_id=21&article_id=7560). 

— Leslie Scalapino, “Fiction’s Present without Basis,” Symploke vol. 12, no. 1-2, 2004, pp. 35-52 

(http://muse.jhu.edu/journals/symploke/v012/12.1scalapino.html) 

— Ammiel Alcalay, “Disaster Areas,” Village Voice Literary Supplement, April 2001 

(): review of Forthcoming. 

— Elliott Colla, “The Image of Loss: Jalal Toufic’s Filmic Beirut,” Visual Anthropology, Vol. 10, 

1998, pp. 305-317: review of Credits Included: A Video in Red and Green and ‘Âshûrâ’: This 

Blood Spilled in My Veins. 

— Allen S. Weiss, Sulfur 42, Spring 1998, p. 169: review note on Over-Sensitivity and (Vampires): 

An Uneasy Essay on the Undead in Film. 

— Allen Hibbard, Review of Contemporary Fiction, Spring 1997, pp. 184-185: review of Over- 

Sensitivity. 

— “Have To Stick Together,” adapted for performance by Barbara Campbell from a story by 

Anna Gibbs (and reference to Jalal Toufic, Reading, Rewriting Poe’s “The Oval Portrait” — In 

Your Dreams, Beirut: Ashkal Alwan, 2006), Performance #497, 1001 Nights Cast: A 

Durational Performance by Barbara Campbell, http://1001.net.au/Prompt/1451 

Other Professional Activities: 

— Member of the Advisory Group for “Seeing the South,” a national competition for landscape 

projects in southern Lebanon organized by the United Nations Office of the Personal 

Representative of the Secretary-General for Southern Lebanon (OPRSG). 

— UNESCO Digi-arts in the Arab States: First Regional Expert Meeting, Beirut, 15-16 

September 2003. 

— Judge for the 1998 America Awards: Belles-Lettres category. 

— Jury member for the Golden Gate Awards of the 1995 San Francisco International Film 

Festival.

Curated Film Programs: 

— “Radical Closure: A Jalal Toufic Program”: screening of Bunuel’s The Exterminating Angel, 

Lynch’s Lost Highway, and Kubrick’s The Shining, followed, for each film, by a short lecture 

by Jalal Toufic, Metro Club, a collaboration between Ashkal Alwan and Metropolis Art 

Cinema, Metropolis Art Cinema, Beirut, 25, 27, and 29 June 2007. 

— Difference and Repetition (Dedicated to Gilles Deleuze): Lina Saneh’s, I Had a Dream, Mom… and 

Jalal Toufic’s The Lamentations Series: the Ninth Night and Day, Venice Biennale, Cypriot 

Pavilion, 8 June 2007. 

— Carte blanche, “Radical Closure: Five Films,” part of Constant’s Jonctions, Brussels, 3/27-29, 

1998. 

— Curator of the Film Series at the Center for Middle Eastern Studies, University of California 

at Berkeley, Spring 1995 and Fall 1996. 

Appearances in Others’ Videos: 

— 10-minute intervention in Lamia Joriege’s Objects of War no. 2 (2003), premiered at Musée 

Nicéphore Niépce (Ville de Chalon-sur-Saône), France. 

Grants: 

— Commissioning grant for the creation of new work by a contemporary artist from the Islamic 

World, the Islamic World Arts Initiative, supported by the Doris Duke Foundation for Islamic 

Art and administered by the Lower Manhattan Cultural Council, 2004-2005. 

— 1995-1996 Artists’ Project Grant administered by New Langton Arts, with funding from the 

National Endowment for the Arts and the Presenting and Commissioning Program, The 

Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, the San Francisco 

Publicity and Advertising Fund’s Hotel Tax/Grants for the Arts, and The William and Flora 

Hewlett Foundation; and a grant from the Institute for Modern Communication at 

Northwestern University: to produce ‘Âshûrâ’: This Blood Spilled In My Veins, a two-channel video 

partly shot in Nabatiyya in South Lebanon and revolving around the Shi’ite ritual ‘Âshûrâ’. 

Reprints: 

— “Dead Air” from Over-Sensitivity, in Public 16 (Toronto, Canada, 1998), pp. 55-63. 

— One-page from Over-Sensitivity, in Ribot #5, 1997. 

Other Texts: 

— “Letter of Recommendation by Jalal Toufic,” The Long Overdue Guide to Lebanon’s Restaurants, 

ed. Sahar Omran (Beirut, Lebanon, 2006), pp. 51-61.

Jalal Toufic Resume - Kadir Has Üniversitesi

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