Jayce Salloum tends to go only where he is invited or where there is an intrinsic affinity, his projects being rooted in an intimate engagement with place(s), and the people that inhabit them. A grandson of Syrian immigrants from the Beqaa Valley (Lebanon) he was born and raised on Sylix (Okanagan) territory in Kelowna, BC. After 22 years living and working in San Francisco, Banff, Toronto, San Diego, Beirut, and New York he has been based on the unceded Xwmetskwíyem/xʷməθkʷey̓əm (Musqueam), Sḵwx̱wú7mesh/sqʷx̌ʷoʔməx (Squamish) + Selíl̓witulh/səíl̓wətaʔł (Tsleil-Waututh) territories of ‘Vancouver’ for the past 23 years. His practise exists within and between the personal, quotidian, local, and the trans-national engaging in an intimate subjectivity and discursive challenge while critically asserting itself in the perception of social manifestations and political realities. He has worked in installation, photography, drawing, performance, text and video since 1978, as well as curating exhibitions, conducting workshops, and coordinating a vast array of cultural projects. Salloum has exhibited pervasively at the widest range of local and international venues possible, from the smallest unnamed storefronts & community centres in his downtown eastside Vancouver neighbourhood to institutions such as the Musée du Louvre, Paris; The Museum of Modern Art, New York; National Gallery of Canada; Kunstlerhaus Bethanien, Berlin; Centre Pompidou, Paris; CaixaForum, Barcelona; 8^th Havana Biennial; 7^th Sharjah Biennial; 15^th Biennale Of Sydney; Museum Villa Stuck, Munich; Royal Ontario Museum; Robert Flaherty Film Seminars; Biennial of Moving Images, Geneva and the Rotterdam International Film Festival.  His texts/works have been featured in many publications such as; Third Text, Documents, Framework, Fuse, Felix, Mix, Public, Pubic Culture, Semiotext(e), The Archive (Whitechapel, London/The MIT Press, 2006), Projecting Migration: Transcultural Documentary Practice (Wallflower  Press, London, 2007), Practical Dreamers: Conversations with Movie Artists, (Coach House Press, Toronto, 2008), The Militant Image Reader (Edition Camera Austria, Graz, 2015), Performing Utopias in the Contemporary Americas: Between the Local and the Global (Palgrave Macmillan, 2016) and a monograph Jayce Salloum: history of the present (Kamloops Art Gallery, 2009). In 2014 he received the Governor General’s Award in Visual and Media Arts. Recently the Art Gallery of Ontario made a major acquisition of his work, historical and contemporary from 1978 to 2019.

• Bibliography
• not the way things oughta be
• verisimilitude(s) and permutations
• Again and Again
• a history of photography
• location/dis-location(s): contingent promises
• rockpaperscissors
• location/dis-location(s)
• HBFG

• “Jayce Salloum,” Tique, December 2021.
• Terence Dick, “Jayce Salloum at MKG127, Toronto,” Akimbo, October 3,2019.
• Keith Wallace, “Pieces of the World: The Photography of Jayce Salloum,” Muse, July/August 2016.
• Brit Bachmann, “Thirsting for Art,” Megaphone Magazine, 2016.
• David P. Ball, “The most radical act of making art: Vancouver artist Jayce Salloum on his recent Governor General’s Award and his many fights against censorship,” Megaphone Magazine, May 5, 2014.
• Charlie Smith, “Downtown Eastside artist Jayce Salloum wins Governor General’s Award in Visual and Media Arts,” The Georgia Straight, March 4, 2014.
• Keith Wallace, “Jayce Salloum: Making Pictures Work,” grunt, 2013.
• Portia Priegert, “Materializing Meanings: Jayce Salloum’s history of the present (selected works 1985-2009),” Fuse Magazine, 2012.
• Jen Budney, “Engendering Audience Responsibility: The work of Jayce Salloum ‘in affinity with’,” Cultivating Canada, 2011.
• Deborah Campbell, “Jayce Salloum: Reclamation Artist,” Canadian Art, September 1, 2010.
• Portia Priegert, “Jayce Salloum, history of the present,” Galleries West, December 31, 2009.
• Mike Hoolboom, “From Lebanon to Kelowna: an interview with Jayce Salloum,” 2008.
• Christopher Harker, “‘A Close and Unbreachable Distance’: Witnessing Everything and Nothing,” ACME #6, 2007.
• Jayce Salloum, “sans titre/untitled,” Fillip #1, Summer 2005.
• Laura U. Marks, “Citizen Salloum,” Fuse Magazine, Autumn 2003.
• Michael Allan, “The Location of Lebanon: Portraits and Places in the Videography of Jayce Salloum,” Parachute #108, December 2002.
• Jim Drobnick and Jennifer Fisher, “Jayce Salloum: Archive of the Street,” Images and Inscription, 1999.
• Holland Cotter, “The elusive spirit of Lebanon,”  New York Times, June 28, 1996.
• “There was and there was not,” Optica, 1996.