Emily Jacir’s current ‘Europa’ exhibition was a little hit and miss for me… whilst I certainly enjoyed several pieces, I found that many failed to have an impact as standalone pieces of art, and it was only once I had read more about their political contexts that I could appreciate them. Spanning two floors of Whitechapel Gallery the exhibition includes multimedia installations, films, soundscapes, photography, archival material and texts – and covers the last two decades of Jacir’s work with a focus on Europe. All of the pieces have a heavy political leaning but some still manage to be amusing, such as ‘Change/Exchange’ which displays eye-level photographs of different Bureau de Changes across Paris alongside their receipts, detailing the journey of a $100 bill that Jacir changed into francs which she then changed back into dollars and so forth, until sixty exchanges later the paper money was gone and only coins which could not be exchanged remained. Others in contrast are very solemn; ‘Material for a film’ tells the moving story of Wael Zuaiter who was assassinated by Israeli Agents in his hotel room in Rome and features family photographs, personal anecdotes, literature and music to explain the Palestinian artists’ life and untimely death. Other pieces in the show include an installation akin to a luggage conveyor belt which only moves when it senses people nearby, feminist comments on her days living in Saudi Arabia where Vogue magazine was banned, a series of 26 photographs and accompanying diary extracts from a solo protest at a market square in Linz, and photographs of her Arabic translations of bridge stops in Venice in the lead-up to the Biennale festival (which were quickly removed). ‘Europa’ certainly provides food for deep thought, however I left the exhibition still feeling hungry for something more.
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