Jalal Toufic Resume - Kadir Has Üniversitesi

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Archive, Berkeley, USA, 23 November 2004; Nuevo Video Árabe, La Casa Encendida, Madrid, Spain, August-September 2005. — Two Posthumous <strong>Resume</strong>s, 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, <strong>Toufic</strong>,” 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).
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Jalal Toufic Resume - Kadir Has Üniversitesi

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