Paperback: 159 pages
Publisher: Sternberg Press, 2019
Heirloom documents the development of the artistic research for Palestinian artist Larissa Sansour’s project for the Danish Pavilion at the 58th Venice Biennale. It explores how recurrent notions in Sansour’s oeuvre, such as memory, trauma, identity, and belonging, intertwine with the discourses of science fiction and environmental disaster narratives. The volume also explores what it means to produce work from within contested geographies, specifically considering how, through research and the process of production, the artist grapples with complex issues of national representation. In keeping with the focus in this series on the research that informs the elaboration of an artist’s work over time, the material for this publication has been collated in parallel with its development over the past year.
Larissa Sansour was born in East Jerusalem and studied fine art in Copenhagen, London, and New York. Her work is interdisciplinary and uses film, photography, installation and sculpture. Solo exhibitions include the Danish Pavilion at the 58th Venice Biennale, New Art Exchange in Nottingham, Nikolaj Kunst in Copenhagen, Turku Art Museum in Finland, and DEPO in Istanbul. Sansour’s work has featured in the biennials of Istanbul, Busan, and Liverpool. She has exhibited at venues such as Tate Modern, London; Centre Pompidou, Paris; LOOP, Seoul; Barbican, London; Third Guangzhou Triennial, Guangzhou, China; Haus der Kulturen der Welt, Berlin. She lives and works in London.
Anthony Downey is Professor of Visual Culture in the Middle East and North Africa (Birmingham City University). He is currently a Co-investigator on AHRC and GCRF–funded research projects that focus on cultural practices, education, and digital methodologies in Lebanon, Palestine and Jordan. He sits on the editorial boards of Third Text and Digital War, respectively, and is the series editor for Research/Practice (Sternberg Press, 2019–ongoing).