Abstract

Spatial fragmentation is the fundamental condition of Palestinian life, whether under occupation, or under siege, or in the global dispersal that has been the fate of refugees, denied their right of return to historic Palestine. Palestinian artist Emily Jacir’s work inhabits this space and time of fragmentation, committed to the redemption of the fragments of violently broken histories. Working in the mode of assemblage and installation, she pieces together into constellations of memory and correspondences the overlooked objects and damaged archives that bear historical memory and future hope. This article explores this dialectic of fragmentation as a response to the conditions settler colonialism in Palestine that draw lines of solidarity with other sites of colonialism and resistance. The article focuses on her recent site-specific installation, ‘Notes for a Cannon’ (2016) at the Irish Museum of Modern Art, which explores the intervention of British and Israeli colonial regimes into temporality itself.

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