Artist

Jamelie Hassan

Born in Canada of Arabic background, Jamelie Hassan is based in the southern Ontario city of London. She is a visual artist and activist and since the 1970s has created a body of work that is intensely driven by an engagement in both local and international politics and cultures. Her interdisciplinary installations, writing and curatorial projects explore personal and public histories. Her works are in major public collections and she is the recipient of numerous awards including the Governor General's Award in Visual and Media Arts (2001).

Hassan's engagement with film, arguably more than any other medium, demonstrates the importance of community in her practice. A film program curated by Miriam Jordan and Julian Haladyn contextualize her film projects and includes a publication The Films and Videos of Jamelie Hassan edited by Julian Haladyn and Miriam Jordan, with essays by Laura U. Marks and the editors, published by Blue Medium Press (2010). A survey exhibition of her work, Jamelie Hassan: At the Far Edge of Words organized by Museum London, London, Ontario (Spring 2009) and the Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver (Spring 2010) is circulating nationally (publication 2010).

Exhibitions include Real Stories, Museet for Fotokunst (Odense, Denmark, 1992); Disrupted Borders (U.K. 1992); Trade Routes, New Museum of Contemporary Art (New York, 1993); Le Milieu du Monde, Villa St. Clair (Sète, France, 1993); The End(s) of the Museum, Fundació Antoni Tàpies (Barcelona, 1996); Hong Kong: Cities at the End of Time (Vancouver, Canada, 1997); Warzones, Presentation House (Vancouver, B.C. 1999); Museopathy, Museum of Health Care, (Kingston, Ontario, 2001); Caribbean Books, Caribbean Contemporary Arts (Port of Spain, Trinidad 2002); Signals in the Dark: Art in the Shadow of War, University of Toronto and Concordia University, Montreal (2008); and Integración y Resistencia en la Era Global, 10th Havana Biennial (Havana, Cuba, 2009); Home/land Security, Render Gallery, The University of Waterloo (2009); Jewels in the Machine: New Media Works at the Toronto Palestine Film Festival, (Toronto, 2009).

Videography

Boutros Al Armenian / Mediterranean Modern

1997, 08:00 minutes, colour

Critical Writing

Jamelie Hassan:: At the Center of Marginality
by Amra Ali. Nutka Art, 2013, v. 8, no. 2.
Jamelie Hassan
by Sarah Mameni. Canadian Art, Spring 2011, v. 28, no. 1.
Palestine Represents: 2nd Annual Palestine Film Festival
by Nahed Mansour and Leila Pourtavaf. Fuse, 2010, v. 33, no. 1.
Chronotopic Bodies and the We of Aesthetic Discourse
by Miriam Jordan.
An Ephemeral Dialogue with Jamelie Hassan
by Miriam Jordan and Julian J. Haladyn. West Coast Line: A Journal of Contemporary Writing and Criticism, Spring 2010, v. 43, no. 4.
AVENUE Questions and Artists: DRAWING ENEMY LINES
by Leah Sandals. National Post, Jan. 17, 2008.
What Is That and between Arab Women and Video?: The Case of Beirut
by Laura U. Marks. Camera Obscura, 2003, v. 18, no. 3.
What is That and between Arab Women and Video?: The Case of Beirut
by Laura U. Marks. Camera Obscura, 2003, v. 18, no. 3.
Intimate Dwelling: Finding Our Way Home: Do you feel you belong,...
by Anne Brydon. Home Show, Sept. 12 Summer, 2002.
Home Show
by Amy Karlinsky. Home Show, Sept. 12 Summer, 2002.
Of Arabs and Museum and Civilizations
by Rawi `Hage. Fuse, Feb. Winter 2001, v. 25, no. 1.
(untitled)
Boutros Al Armenian/Mediterranean Modern: Jamelie Hassan, 2000. Windsor: Art Gallery of Windsor, 2000.
Not Laura Secord
by Jamelie Hassan. So, to Speak, 1999. Montreal: Éditions Artextes, 1999.
Geography, diaspora and the art of dialogism Jamelie Hassan
by Mireya Folch-Serra. Parachute, Apr. 1998, v. 90.
Learn the Alif-Ba Ta: an Interview with Jamelie Hassan
by Lynne Bell and Carol Williams. West Coast Line: A Journal of Contemporary Writing and Criticism, Oct. 1997, v. 31, no. 2.
(untitled)
Aldin's Gift, 1996. Toronto: Art Gallery of York University and Art Gallery of Windsor, 1996.
A Choking in the Throat: Kanehsatake: 270 Years of Resistance
by Jamelie Hassan. Matriart, 1994, v. 4, no. 2.
Let's Get Engaged
by Andy Fabo. Fuse, June 1990, v. 13, no. 5.
Inscriptions of Truth to Size
by Gayatri Chakravorty Spivak. Inscription: Jamelie Hassan, 1990. Regina: Dunlop Art Gallery, 1990.
Material Knowledge: A Moral Art of Crisis
by Christopher Dewdney. Material Knowledge: A Moral Art of Crisis, 1984. London, Ontario: London Regional Art Gallery, 1984.