Alfredo Jaar

Artiste, architecte et réalisateur né en 1956 à Santiago, Alfredo Jaar vit et travaille à New York. Il crée des installations complexes qui combinent des éléments photographiques, architecturaux et théatraux, explorant notamment le thème des relations Nord-Sud.

Born in 1956 in Santiago, Chile. Lives and works in New York.




SOLO SHOWS



2012

Alfredo Jaar: The Way it is. An Aesthetics of Resistance, Berlinische Galerie, Neue Gesellschaft für Bildende Kunst e. V. and Alte Nationagalerie, Berlin.
Alfredo Jaar: Public Intervention, 2012 European Capital of Culture, Guimarães.
Alfredo Jaar: Public Intervention, to commemorate the 75th anniversary of the Bombing, Guernica.



2011

SCAD Museum of Art, Savannah.

A Hundred Times Nguyen, Museu Colecção Berardo, Lisbon.

Alfredo Jaar, The Ashes of Pasolini, Musée d’art de Joliette, Québec.

Three Women, kamel mennour, Paris.
The Sound of Silence, Cour vitrée, École Nationale Supérieure des Beaux-Arts, Paris.
Alfredo Jaar: Marx Lounge, Centro Andaluz de Arte Contemporáneo, Seville.
Alfredo Jaar: The Marx Lounge, Stedelijk Museum Bureau Amsterdam, SMBA.



2010

La geometria de la conciencia, Santiago.
Galeria Oliva Arauna, Madrid.
Park of the Laments, Indianapolis Museum of Art, Indianapolis.
We wish to inform you that we didn't know, Contemporary Art Galleries, University of Conecticut, Storrs.
La Isla Absoluta, Galeria Florencia Loewenthal, Santiago.
Dislocation, MAC, Santiago.



2009

Alfredo Jaar: The Sound of Silence, Galerie Lelong, New York.
Muxima, La Marrána, Montemarcello.



2008

Alfredo Jaar: Politics of the Image, South London Gallery, London.
Gold in the Morning, Kenji Taki Gallery, Nagoya.
Is the wind you? (For Kurihara Sadako), Kenji Taki Gallery, Tokyo.
It Is Difficult, Spazio Oberdan and Hangar Bicocca, Milan.



2007

Ezra and Cecile Zilkha Gallery, Center for the Arts at Wesleyan University, Middletown, Connecticut.
La Politique des Images, Musée Cantonal des Beaux-Arts, Lausanne.
Muxima, CCB, Lisbonne.



2006

Jaar SCL 2006, Sala de Arte Fundación Telefonica, and Galeria Gabriela Mistral, Santiago.
Muxima, MAMCO, Genève.
Muxima, Fundacion Tapies, Barcelona.
Muxima, Reina Sofia, Madrid.
Muxima, Galerie Lelong, New York.
Muxima, Galeria Oliva Arauna, Madrid.
Alfredo Jaar: The Eyes of Gutete Emerita, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire.



2005

Muxima, Villa Medici, Rome.
Let One Hundred Flowers Bloom, MACRO, Museo Arte Contemporanea Roma, Rome.
Le ceneri di Gramsci, Studio Stefania Miscetti, Rome.
The Eyes of Gutete Emerita, Museum of Fine Arts Houston.
Muxima, Grand Arts, Kansas City.



2004

Todo el Dolor del Mundo, Centro Portugues de Fotographia, Porto, Portugal.



2003

The Desire of the Cartographer, Kunstverein Hannover, Hannover, Germany.
Six Seconds /
It is Difficult, Galerie Thomas Schulte, Berlin, Germany.



2002

Lament of the Images, Galerie Lelong, New York, New York.



2001

Let There Be Light: The Rwanda Project, Badischer Kunstverein, Karlsruhe, Switzerland.
Clouds/Recent Projects, Badischer Kunstverein, Karlsruhe, Switzerland.
The Silence: The Rwanda Project 1994-2000, International Museum of the Red Cross, Geneva, Switzerland.



2000

Waiting, University Art Gallery, San Diego State University, California.
It is difficult, Todd Hosfelt Gallery, San Francisco, California.
New Works, Kenji Taki Gallery, Nagoya Japan and Tokyo, Japan.
Art + Public, Geneva, Switzerland.
Kalmar Konstmuseum, Kalmar, Sweden.
Emergencia, Public Library, Umea, Denmark.



1999

Lament of the Images, MIT List Visual Arts Center, Cambridge, Massachusetts; traveled to Museum of Art, Fort
Lauderdale, Florida.



1998

Let there be Light: The Rwanda Project, Centre d'Art Santa Monica, Barcelona, Spain; traveled to Koldo Mitxelena,
San Sebastian, Spain.
Let there be Light: The Rwanda Project, Stedelijk Museum Het Domein, Sittard, Netherlands.
The Rwanda Project, 1994-1998, Galerie Lelong, New York.
Public Project for Sant Boi de Llobregat, Barcelona, Spain.



1997

Todd Hosfelt Gallery, San Francisco, California.
Galeria Oliva Arauna, Madrid, Spain.
Galerie Franck + Schulte, Berlin, Germany.
The Light Factory, Charlotte, North Carolina.
Galerie Grita Insam, Vienna, Austria.
Johannesburg Biennale, Newtown, Johannesburg, South Africa.



1996

City Gallery of Contemporary Art, Raleigh, North Carolina, USA.



1995

Galerie Lelong, New York.
Museum of Contemporary Photography, Chicago, Illinois.
Art Museum, University of South Florida, Tampa, Florida.



1994

Fotografiska Museet and Moderna Museet, Stockholm, Sweden.
Galerie Tilman, Brussels, Belgium.
Galeria Oliva Arauna, Madrid, Spain.
IFA, Institut fur Auslandsbeziehungen, Stuttgart, Germany.
Frankfurter Kunstverein, Frankfurt, Germany.



1993

Miami Center for the Fine Arts, Miami, traveled to Art Museum, University of South Florida, Tampa, Florida.
Galerie Franck + Schulte, Berlin, Germany.
Gesellschaft fur Aktuelle Kunst, Bremen, Germany.
Tramway, Glasgow, Ireland.
Ruth Bloom Gallery, Santa Monica, California.



1992

The New Museum of Contemporary Art, New York.
Whitechapel Art Gallery, London, England.
Kunstnernes Hus, Oslo, Ireland.
The Museum of Contemporary Art, Chicago, Illinois.
Meyers/Bloom Gallery, Santa Monica, California.
Pergamon Museum, Berlin, Germany.
Torre de la Santa Cruz, Cadiz and Pabellon de Andalucia, Expo 92, Seville, Spain.



1991

Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Virginia Museum of Fine Arts and the Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia.
Galeria Benet Costa, Barcelona, Spain.
Galeria Oliva Arauna, Madrid, Spain.
Galerie Gabrielle Maubrie, Paris, France.
Galerie Barbara Farber, Amsterdam, The Netherlands.



1990

San Diego Museum of Contemporary Art, California; traveled to San José Museum of Art, California; Seattle Art
Museum, Seattle, Washington; Carnegie Mellon Art Gallery, Pittsburgh, Pennsylvania.

Laumeier Sculpture Park, St.Louis, Missouri.
Diane Brown Gallery, New York, New York.
London Regional and Historical Museums, London, Ontario, Canada.
Insam Gleicher Gallery, Chicago, Illinois.
Meyers/Bloom Gallery, Los Angeles, California.



1989

Brooklyn Museum, Brooklyn, New York.
Colorado University Art Galleries, Boulder, Colorado.
University Art Galleries, Wright State University, Dayton, Ohio.
L'Arche de la Fraternité, La Défense, Paris, France.
Galerie Barbara Farber, Amsterdam, The Netherlands.
Robert B. Menschel Photography Gallery, Syracuse University, New York.
University Art Museum, University of California, Berkeley, California.



1988

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania.
Photographic Resource Center, Boston University, Boston, Massachusetts.
Diane Brown Gallery, New York.
Massachusetts College of Art, Boston, Massachusetts.
Galerie Gabrielle Maubrie, Paris, France.
Galleria Lidia Carrieri, Rome, Italy.



1987

Lannan Museum, Lake Worth, Florida.
Grey Art Gallery and Study Center, New York University, New York.
Spectacolor Lightboard, One Times Square, New York.



1986

Spring Street Subway Station, New York.
Herron Gallery, Indianapolis Center for Contemporary Art, Indianapolis, Indiana.



1985

Grey Art Gallery and Study Center, New York University, New York.



1979

Galeria CAL, Santiago, Chile.





GROUP SHOWS



2012

Lux Perpetua, kamel mennour, Paris.

This Will Have Been: Art, Love & Politics, Museum of Contemporary Art, Chicago.
Intense Proximity, Contemporary Art Triennial, curated by Okwui Enwezor, Abdellah Karroum, Claire Staebler, Émilie Renard , Mélanie Bouteloup, Palais de Tokyo, Paris.
Making history, Frankfurter Kunstverein, MMK Museum für Moderne Kunst, MMK Zollamt, Frankfurt.



2011

Les nuits noires, curated by Eric Foucault, Lycée Descartes, Tours.
Il Belpaese Dell'arte, Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy.
Muxima, SCAD, Savannah.
The 29th Biennial of Graphic Arts, Moderna Galerija, Ljubljana.
Alfredo Jaar. The Ashes of Pasolini, Musée d’art de Joliette, Quebec.
Seeing is Believing, KW Institute for Contemporary Art, Berlin.
Distant Star, Regen Projects, Los Angeles; travels to Kurimanzutto, Mexico City.
Alfredo Jaar, The Ashes of Pasolini, Palace of Fine Arts, Brussels, Belgium.
PPP Pier Paolo Pasolini, Letizia Battaglia, Marlene Dumas, Graciela Iturbide, Alfredo Jaar, metis_nl, Amsterdam.
The Ashes of Pasolini, Contexts, Paris.
Time Flies, Hosfelt Gallery, San Francisco.
Les choses de la vie, Gallery Steinek, Vienna.
Interventions in the Landscape, Galerie Lelong, New York.
Contemporary Art Archipelago, Archipelago Centre Korpoström, Finland.
Déjà, Musée d'art contemporain de Montréal, Montreal.
Private / Corporate VI, Daimler Contemporary, Berlin.
ARS 11, Kiasma, Museum of Contemporary Art, Helsinki, Finland.
Cinemas du Reel, Festival International de Films Documentaires, Paris.
Les Voies de la révolte, Musee du Quai Branly, Paris.
Fotográfica Bogotá 2011, FotoMuseo, Bogotá, Colombia.
Figures of Dissent: Pier Paolo Pasolini, KASK cinema, Gent.
Sin Realidad No hay Utopia, Centro Andaluz de Arte Contemporaneo, Seville.
Dislocación: Cultural Location and Identity in Times of Globalization, Kunstmuseum Bern, Switzerland.
Sharjah Biennial 10: Plot for a Biennial, Sharjah Art Museum, Sharjah.
Legacy: The Emily Fisher Landau Collection, Whitney Museum of American Art, New York.



2010

São Paulo Biennale, São Paulo.
Disturbed Silence, Duffel, Belgium.
Viaggio in Italia. Sguardi Internazionali Sull'Italia Contemporanea, Palazzo Fabroni, Pistoia, Italy.
6th Liverpool Biennial, Liverpool.
Space, MAXXI, Rome.
The Flower of May, Biennale Hall, Gwangju, South Korea.
Undercurrents: Experimental Ecosystems in Recent Art, The Kitchen, New York.
Rewind: 1970s to 1990s, Museum of Contemporary Art, Chicago.
All That Is Solid Melts Into Air, Museu Colecção Berardo, Lisbon.
The Philosophy of Money, Lisbon City Museum, Lisbon.
Artefact Festival, STUK Arts Centre, Leuven, Belgium.
Hope, Palais des Arts et du Festival, Dinard.
Critical Fetishes. Residues of General Economy, CA2M Centro de Arte Dos de Mayo, Madrid.
The Fifth Genre, Galerie Lelong, New York.
Ars Itineris, Artium, Vitoria-Gasteiz.



2009

For You, Daros Exhibitions, Zurich.
Continual Rifts, Fowler Museum at UCLA, Los Angeles.
Aletheia, Helsinki Photography Festival, Helsinki.
Voids: A Retrospective, Centre Pompidou, Paris; Kunsthalle Bern, Bern;Centre Pompidou-Metz, Metz.
Guangzhou Photo Biennial, Guangzhou, China.
The Fear Society, Pabellón de la Urgencia, Venice Biennale.
En los márgenes del arte. Creación y compromiso politico, MACBA, Barcelona.



2008

Risky Business Art, Kunstpanorama, Lucerne.
Aurum: L'or dans l'art contemporain, Centre PasquArt, Biel.
Worlds on Video, Palazzo Strozzi, Florence.
That Was Then...This Is Now, P.S.1 Contemporary Art Center, Long Island City, New York.
Africa On: Beecroft, Jaar, Kentridge, Galleria Lia Rumma, Milan.
Arte ≠ Vida: Actions by Artists of the Americas, 1960 - 2000, El Museo del Barrio, New York.
Pictures in Series, Fisher Landau Center for Art, Long Island City, New York.
Framing and Being Unframed: The Uses of Documentary Photography, Ezraand Cecile Zilkha Gallery, Wesleyan
University, Middletown, Connecticut.



2007

To Be Continued...,: Art Created for Magasin 3 Over Twenty Years, Magasin 3 Stockholm Konsthall, Stockholm.
AfterShock, Sainsbury Centre for the Arts, University of East Anglia, Norwich, UK.
Afterglow, Galerie Pfreim, Lacoste.
Check List: Luanda Pop, 52nd International Art Exhibition, Venice Biennale, Venise.
Puntos de Vista, Zeitgenossisceh Kunst aus der Daros - Latinamerica Collection, Museum Bochum, Bochum.
Sharjah Biennial 8 - Still Life: Art, Ecology, and the Politics of Change, Sharjah Art Museum, Sharjah.
The Power of Ten: Gifts in Honor of Miami Art Museum’s 10th Anniversary, Miami Art Museum, Miami.
Macro Future, Museo Arte Contemporanea Roma, Rome.
Scenes and Sequences: Peter Blum Edition, New York - A Selection from 1980 to 2006, Aargauer Kunsthaus, Aarau.
New Perspectives in Latin American Art, 1930 - 2006: Prints, Photographs, and Media Works,

Museum of Modern Art, New York.
Equatorial Rhythms, Stenersen Museum, Oslo.
Constructing A Poetic Universe: The Diane and Bruce Halle Collection of Latin American Art,

Museum of Fine Arts, Houston.
Existencias, MUSAC Museo de Arte Contemporaneo de Castilla y León, León.
Private/Corporate IV: The Lekha and Anupam Poddar Collection indialogue with the Daimler Chrysler Collection,

Haus Huth, Berlin.
System Error: War is a Force that Gives Us Meaning, Palazzo delle Papesse - Centro Arte Contemporanea, Sienna.
Turbulence: 3rd Auckland Triennial, Auckland, New Zealand.
Negatec, Espacio Fundación Telefónica, Buenos Aires IBCA - International Biennale of Contemporary Art, Prague.



2006

Confini - Boundaries, Museo d'Arte Provincia Nuoro, Nuoro.
Primitivism Revisited: After the End of an Idea, Sean Kelly Gallery, New York.
1st Architecture, Art and Landscape Biennial of the Canaries, Canary Islands.
The Gold Standard, P.S.1 Contemporary Art Center, Long Island City, New York.
2nd International Biennial of Contemporary Art of Seville (BIACS2), Seville.
Kapital, Kent Gallery, New York.
Into me/ Out of me, P.S.1 Contemporary Art Center, Long Island City, New York; traveled to Kunst - Werke Berlin, KW
Institute for Contemporary Art, Berlin.
Beautiful Suffering - Photography and the Traffic in Pain, Williams College Museum of Art, Williamstown, Massachusetts.
Review - 25 Jahre Österreischische Ludwig Stiftung, MUMOK Museum Moderner Kunst, Vienna.
The Past Made Present: Contemporary Art and Memory, Museum of Fine Arts, Houston.
A Curator´s Eye: The Visual Legacy of Robert A. Sobieszek, LACMA Los Angeles County Museum of Art, Los Angeles.
En las fronteras, Villa Croce Museo d'Arte Contemporanea, Gênes.
La visíon impura, Fondos de la colección permanente, MNCARS Museo Nacional Centro de Arte Reina Sofía, Madrid.
Gyroscope, Hirschhorn Museum and Sculpture Garden, Washington D.C. Festival Photo et Video de Biarritz, Biarritz
Brighton / Photo Biennial, Fabrica, Brighton.
Gardens, Toyota Municipal Museum of Art, Toyota.
TRANSactions: Contemporary Latin American and Latino Art, Museum of Contemporary Art San Diego, La Jolla;
traveling through 2008 toMemorial Art Gallery, University of Rochester, Rochester, NY; High Museum of Art, Atlanta,
GA; Weatherspoon Art Museum, Greensboro, NC.
FotoFest2006: Artists Responding to Violence, DiverseWorks Artspace, Houston.
Conjonctions, Musée d’Art Moderne et Contemporain, Geneva.



2005

Outside Europe: Aus der Sammlung Daimler Chrysler, Daimler Chrysler Contemporary, Berlin.
The Fluidity of Time - Selections from the MCA Collection, Museum of Contemporary Art, Chicago.
Lichtkunst aus Kunstlicht, ZKM | Museum für Neue Kunst & Medienmuseum, Karlsruhe.
Old News, Los Angeles Contemporary Exhibitions, Los Angeles.
Nuove acquisizioni. Due anni di crescita della collezione MACRO, Museo d'Arte Contemporanea Roma, Rome.
Identity and Nomadism, Palazzo delle Papesse - Centro Arte Contemporanea, Sienna.
Figuratively Speaking, Miami Art Museum, Miami.
Flight 405, Galerie Sfier - Semler, Hamburg.
The Hours: Visual Arts of Contemporary Latin America, Irish Museum of Modern Art, Dublin; traveled to Museum of
Contemporary Art, Sydney.
Concerning War - Soft Target. War as a Daily, First - Hand Reality, BAK, Utrecht.
Marking time: moving images, Miami Art Museum, Miami Sight - Cruising, Marugame Genichiro - Inokuma Museum of
Contemporary Art, Marugame.
At The Mercy of Others: The Politics of Care, Whitney Museum of American Art Independent Study Program
Exhibition at the Art Gallery of the Graduate Center, City University of New York, New York.
Points of View: Landscape and Photography, Galerie Lelong, New York.
05 WEST Know Your Rights Festival, Leipzig.
Atomica: Making the Invisible Visible, Lombard - Freid Fine Arts and Esso Gallery, New York.
Miradas y conceptos en la colección Helga de Alvear, MEIAC Museo Extrmeño eIberoamericano de Arte
Contemporáneo, Badajoz.
Fotografia! Arte 2005: Latin American Photography, Tampa Museum of Art, Tampa.
Double Exposure, Godt - Cleary Projects, Las Vegas, Nevada.
Mapping Space: Selections from the Collection, Miami Art Museum, Miami.
Emergencias, MUSAC Museo Arte Contemporaneo de Castilla y León, León.
Veinte años y un día, Galeria Oliva Arauna, Madrid.



2004

Art by MacArthur Fellows Carl Solway Gallery, Cincinnati, Ohio.
Some Things Happening, Herron School of Art & Design, Indianapolis, Indiana.
Images of Time and Place: Contemporary Views of Landscape, Lehman College Art Gallery, City University of New
York, Bronx, New York.
About Face: Photographic Portraits from the Collection, Art Institute of Chicago, Chicago, Illinois.
The Ten Commandments, Deutsches Hygiene-Museum, Dresden, Germany.
Galerie Thomas Schulte, Berlin, Germany.
Potential Images of the World, Speed Art Museum, Louisville, Kentucky.



2003

Transferts, Palais des Beaux-Arts, Brussels, Belgium.
Upon Reflection, Sean Kelly Gallery, New York, New York.
Human Condition/Global Position: 4 Contemporary Chilean Artists, Founder's Gallery,

The Sheldon Art Galleries, St.Louis, Missouri.
Sanctuary: Contemporary Art and Human Rights, Gallery of Modern Art, Glasgow, Scotland.
Tainted Landscapes, Ezra and Cecile Zilkha Gallery, Center for the Arts, Wesleyan University, Middletown, Connecticut.
Witnessing to Silence: Art and Human Rights, Humanities Research Centre, Australian National University, Canberra,
Australia; Drill Hall Gallery, Australian National University, Canberra, Australia; School of Art Gallery, Australian National
University, National Institute of the Arts, Canberra, Australia; Canberra Contemporary Art Space, Canberra, Australia;
National Museum of Australia, Canberra, Australia.
Black President: The Art and Legacy of Fela Anikulapo-Kuti," The New Museum of Contemporary Art, New York, New York.
Pictures from Within: American Photographs, 1958-2002," Whitney Museum of American Art, New York, New York.
Experience, Rotterdam Photo Biennale, Nederlands Foto Instituut, Rotterdam, Netherlands.
Transferts, Palais des Beaux Arts, Brussels, Belgium.
Galeria Oliva Arauna, Madrid, Spain.



2002

History Now: The Presence of the Past in Contemporary Photography," Liljevalch Konsthall, Stockholm, Sweden;
traveled to Museum of Work, Norrköping, Sweden; Passagen, Linköpings Konsthall, Linköpings, Sweden; Dunkers
Kulturhaus, Helsingborg, Sweden; Midlanda Konsthall, Sundsvall, Sweden; Konsthallen, Ronneby, Sweden.
Double Exposure, Edition Schellmann, Munich, Germany and New York, New York.
Cultural Crossing, Numark Gallery, Washington, D.C.
Aquaria, Landesgalerie am Oberosterreichischen Landesmuseum, Linz; traveled to Kunstammlungen Chemnitz.
Baltic Art Center, Visby, Sweden.
Fundacion Joan Miro, Barcelona, Spain.



2001

Daros Exhibitions, Zurich, Switzerland.
The Gift, Palazzo delle Papesse, Siena, Italy.
Voir Ne Pas Voir La Guerre, Musée d'Histoire Contemporaine, Invalides, La Defense, Paris, France.
Versiones del Sur: Más allá del Documento, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
Il Dono, offerta ospitalita insidia, Palazzo Delle Papesse, Centro Arte Contemporanea, Siena, Italy.
Minimalism Past And Presence, Galerie Lelong, New York, New York.
O Espiritu da Nossa Epoca, Museo de Arte Moderna, Sao Paolo, Brazil.



2000

FaceON, Site Gallery, Sheffield, Yorkshire.
inSITE2000, San Diego/Tijuana: "The Cloud," installation at Playas de Tijuana, Mexico.
An Intelligent Pressure," Site Gallery, Sheffield.
SCULPTography, Galerie Lelong, New York, New York.
Frames of Reference from Object to Subject, Ezra and Zilkha Gallery, Center or the Arts, Wesleyan University,
Middletown, Connecticut.
Bluer, Carrie Secrist Gallery, Chicago, Illinois.
International Museum of the Red Cross, Geneva, Switzerland.



1999

Inferno & Paradiso, BildMuseet, Umeå University, Umeå, Sweden (exhibition curated by Jaar).
Scripta Manent," Esso Gallery New York, New York.



1998

Do all oceans have walls? Gesellschaft fur Aktuelle Kunst, Bremen, Germany.
The edge of awareness, World Health Organisation, Geneva, Switzerland.
Photography as Concept, 4th International Foto-Triennale, Esslingen, Germany.
Waterproof, Centro Cultural de Belem, Expo 98, Lisbon, Portugal.
Exiles, National Gallery of Canada, Ottawa, Canada.
Unthinkable Tenderness: The Art of Human Rights, Art Department Gallery,

San Francisco State University, San Fransisco, California.
The Garden of the Forking Paths, Kunstforeningen, Copenhagen, Denmark.



1997

Johannesburg Biennale, Johannseburg, South Africa.
American Stories, Setagaya Museum, Tokyo, Japan.
Absolute Landscape, Yokohama Museum of Art, Yokohama, Japan.
Asi esta la Cosa: Instalacion y Arte Objeto en America Latina, Centro Cultural Arte Contemporaneo, Mexico.
The Crystal Stopper, Lehmann Maupin Gallery, New York, New York.
FREEZE FRAME, Galerie Grita Insam, Vienna, Austria.
New Grounds: Prints and Multiples, University of South Florida Contemporary Art Museum, Tampa, Florida; traveled to
the International Center for Graphic Arts, Ljubljana, Slovenia.
Transformacion, Villa Iris, Santander, Spain.
New Editions, Galerie Lelong, New York, New York.



1996

En Reserva, Museum of Contemporary Art, Barcelona, Spain.
Thinking Print, Museum of Modern Art, New York, New York.
Blurring the Boundaries. Installation Art: 1969-1996, Museum of Contemporary Art, San Diego, California; traveled to
Miami Art Museum, Miami, Florida.
Lichtbilder, Galerie Wittenbrink, Munich, Germany.
SHIFT, Haus der Kulturen der Welt, Berlin, Germany.
Printemps de Cahors, Cahors, France.
Happy End, Kunsthalle, Dusseldorf, Germany.
Macht / Onmacht, MUHKA, Antwerp, Belgium.
Cuarta Pared, Museo del Oeste, Caracas, Venezuela.
Islands, National Gallery of Australia, Canberra, Australia.
Bienal de Vigo, Galicia, Spain.
Encontros de Fotografia, Coimbra, Portugal.
Continuity and Contradiction, Miami Art Museum, Miami, Florida.
The Luminous Image, The Alternative Museum, New York, New York.
Los Limites de la Fotografia Museo Nacional de Bellas Artes, Museo Nacional de Bellas Artes, Santiago, Chile;

traveled to Fundacion Banco Patricios, Buenos Aires.
One and Others, Galerie Lelong, New York, New York.
Walk on the Soho Side, New York, New York.
Transition-Dislocation, Cleveland Center for Contemporary Art, Cleveland, Ohio.
Sin Fronteras: Arte Latinoamericano Actual, Museo Alejandro Otero, Caracas, Spain.
Transformation of the Work in Art, Fosdick-Nelson Gallery, School of Art and Design at Alfred University, Alfred, New York.
Limited Edition Artists Books, Brooke Alexander, New York, New York.
Act/ Language: Power and Display, The Institute for Research on the African Diaspora in the Americas and the
Caribbean, City University of New York, New York, New York.
Decathlon, Fay Gold Gallery, Atlanta, Georgia.
Dream Collection, Miami Art Museum, Miami, Florida.
Hebben Wij Het Geweten? Provinciaal Museum Voor Aktuelle Kunst, Haaselt, Belgium.



1995

ARS 95, Museum of Contemporary Art, Helsinki, Finland.
The Spirit of Hiroshima and After, Museum of Contemporary Art, Hiroshima, Japan.
Dialogues de Paix, Palais des Nations, Geneva, Switzerland.
Our Century, Ludwig Museum, Cologne, Germany.
Istanbul Biennale, Istanbul, Turkey.
Kwangju Biennale, Kwangju, Korea.
Light into Art: From Video to Virtual Reality, Contemporary Arts Center, Cincinnati, Ohio.
Livres d'Artistes, Centre d'Art Contemporain, Geneva, Switzerland.



1994

Lessons in Life, Art Institute of Chicago, Chicago, Illinois.
The Origin of Things, Musée d'Art Contemporain de Montréal, Montreal, Canada.
Artaroundtown," Malmo, Sweden.
Das Americas, Galeria Luisa Strina, São Paulo, Brazil.
Equal Rights and Justice, High Museum of Art, Atlanta, Georgia.
Images Pour La Lutte Contre Le Sida, Musee National D'Art Moderne, Centre Georges Pompidou, Paris, France.
Pohjoinen Valokuva 1994 ("Contemporary Living Violence"), International Photographic Triennial, Oulu, Finland.
Public Interventions, Institute of Contemporary Art, Boston, Massachusetts.
Translucent Writings, Neuberger Museum of Art, Purchase, New York; traveled to University of Southern Florida
Contemporary Art Museum, Tampa, Florida.



1993

Latin American Artists of the Twentieth Century, Museum of Modern Art, New York, New York.
New Images of the World, Louisiana Museum of Modern Art, Humlebaek, Denmark.
Prospect 93, Frankfurter Kunstverein and Kunsthalle, Frankfurt, Germany.
Camera Politic, Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania; traveled to La Sala Mendoza, Caracas, Spain;
Contemporary Arts Center, Cincinnati, Ohio; Mendel Art Gallery, Saskatoon, Saskatchewan, Canada.
Ante America, Museo de Artes Visuales Alejandro Otero, Caracas, Spain; traveled to Queens Museum, Queens, New York.
Betrayal of Means/Means of Betrayal, Aidekman Arts Center, Tufts University, Medford, New York; traveled to
Fleming Museum, University of Vermont, Burlington, Vermont; Fontanelle, Potsdam Kunsthalle, Potsdam, Germany.
Galerie Lelong, New York, New York.
Imagemakers, Nassau County Museum of Art, Roslyn Harbor, New York.
Latin American Artists of the 20th Century, Kunsthalle, Cologne, Germany.
Magazin Im Magazin, Vorarlberger Kunstverein, Magazin 4, Bregenz, and Architectur Zentrum, Wien, Germany.
Personal Choice, Institute of Contemporary Art, Philadelphia, Pennsylvania.
Photoplay: Works from the Chase Manhattan Collection, Center for the Fine Arts, Miami, Florida; traveled to Museum
of Contemporary Art, Monterrey, Mexico; Cultural Center, Caracas, Venezuela; Museum of Art, Sao Paolo, Brazil;
National Museum of Art, Buenos Aires, Argentina; National Museum of Art, Santiago, Chile.



1992

Skulpturen - Fragmente, Wiener Secession, Vienna, Austria.
Regard Multiple, Galeries Contemporaines, Musee National d'Art Moderne, Centre Georges Pompidou, Paris, France.
Pour la Suite du Monde, Musée d'Art Contemporain de Montréal, Montreal, Canada.
1968, Le Consortium, Dijon, France.
Ameriques Latines: Art Contemporain, Hôtel des Arts, Paris, France.
Arte Amazonas. Museu de Arte Moderna, Museu de Arte, Rio de Janeiro, Brazil; traveled to Staatliche Kunsthalle, Berlin,
Germany.
Encounters/Displacements, Archer M. Huntington Art Gallery, University of Texas, Austin, Texas.
L'Art Renouvelle La Ville, Musee National des Monuments Francais, Paris, France.
Molteplici Culture, Convento San Egidio, Rome, Italy.
Proiezioni, Castello di Rivara, Torino, Italy.
AnteAmerica, Biblioteca Luis Angel Arango, Bogotá, Colombia; traveled to Queens Museum of Art, Queens, New York;
Museo de Artes Visuales Alejandro Otero, Caracas, Venezuela; Centro Cultural de la Raza, San Diego, California;
Yerbabuena Center for the Arts, San Francisco, California; Spencer Art Museum, Lawrence, Kansas; Museo de Arte y
Diseño Contemporaneo, San Jose, Costa Rica.
Betrayal of Means/Means of Betrayal, Southeast Museum of Photography, Daytona Beach, Florida.
Galerie Lelong, New York, New York.
Green Acres: Neo-Colonialism in the U.S, Washington University Gallery of Art, St. Louis, Washington.
Imaquinaciones: Dieciseis Miradas al 92," Expo 92, Seville, Spain.
Latin American Artists of the Twentieth Century, Estacion Plaza de Armas, Seville, Spain; traveled to Musee National
d'art Moderne, Paris, France; Centre Georges Pompidou, Paris, France; Hotel des Arts, Fondation Nationale des arts,
Paris, France; Museum Ludwig at Josef-Haubrich- Kunstahalle, Cologne, Germany; Museum of Modern Art, New York,
New York.
Trans-Voices, Whitney Museum of American Art and diverse Subway stations, New York, New York.
Centre Georges Pompidou and diverse Metro stations, Paris, France.



1991

Heimat, Wewerka & Weiss Galerie, Berlin, Germany.
The Anonymous Other, Friends of Photography, San Francisco, California.
Framed, Stephen Wirtz Gallery, San Francisco, California.
Imaquinaciones: Deicisies Miradas al 92, Billboards, Mexico City, Mexico.
P/A, Galeria Benet Costa, Barcelona, Spain.
Repositioning Documentary, KunstRAI 1991, Amsterdam, The Netherlands.
La Revanche de l'Image, Galerie Pierre Huber, Geneva, Switzerland.
Words & #s, Museum of Contemporary Art, Wright State University, Dayton, Ohio.



1990

To Be And Not To Be, Centre d'Art Santa Monica, Barcelona, Spain.
Savoir-vivre, Savoir-faire, Savoir-Être, Centre International d'Art Contemporain de Montréal, Montreal, Canada.
Re-Writing History, Kettle's Yard, Cambridge, England; traveled to Anthony Reynolds Gallery, London, England; Ikon
Gallery, Birmingham, England; Cornerhouse, Manchester, England;

Northern Centre for Contemporary Art, Sunderland, Scotland.
Sydney Biennale, Sydney, Australia.
On the Edge: Between Sculpture and Photography, Cleveland Center for Contemporary Art, Cleveland, Ohio.
Affirmative Actions, Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, Illinois.
Assembled: Works of Art Using Photography as a Construction Element, University Art Galleries,

Wright State University, Dayton, Ohio.
Critical Realism, Perspektief Centre for Photography, Rotterdam, The Netherlands.
The Decade Show: Frameworks of Identity in the 1980s, The New Museum of Contemporary Art, New York, New
York; The Studio Museum in Harlem, New York, New York.
Information, Terrain Gallery, San Francisco, California.
New Work: A New Generation, San Francisco Museum of Modern Art, California.
November, November, Anselm Dreher Gallery, Berlin, Germany.
Tierra Encantada, Charlotte Crosby Kemper Gallery, Kansas City Art Institute, Kansas City, Kansas.

1989

The Photography of Invention: American Pictures of the 1980s, National Museum of American Art, Washington, D.C.;
traveled to Museum of Contemporary Art, Chicago, Illinois; Walker Art Center, Minneapolis, Minnesota.
Magiciens de la Terre, Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France and la Grande Halle, La
Villette, Paris, France.
Images Critiques, Musee d'Art Moderne de la Ville de Paris, Paris, France.
Prospect Photographie, Frankfurter Kunstverein, Frankfurt, Germany.
Alfredo Jaar / Ronald Jones, Magasin 3 Stockholm Konsthall, Stockholm, Sweden.
First International Foto-Triennale, Esslingen am Neckar, Germany.
Fuller/Elwood Gallery, Seattle, Washington.
Une Autre Affaire, Le Consortium, Dijon, France.
Camera Lucida, Walter Phillips Gallery, Banff, Alberta, Canada; exhibition traveled to Presentation House Gallery,
Vancouver, British Columbia, Canada; Art Gallery of Windsor, Ontario, Canada.
A Climate of Site, Galerie Barbara Farber, Amsterdam, The Netherlands.
Effets de Miroir, C.A.C. Pablo Neruda, Corbeil-Essonne.
Fictions, Mirabel Montreal International Airport, Montreal, Canada.
Hommage à la Déclaration Universelle des Droits de l'Homme, Centre d'Art Contemporain, Geneva, Switzerland.
International Camera, Salama-Caro Gallery, London, England.
The New Concept, Forum Stadtpark, Graz, Austria.
Not Photography, Meyers/Bloom Gallery, Santa Monica, California.
Painting/Object/Photograph, Barbara Krakow Gallery, Boston, Massachusetts.
Tenir l'Image a Distance, Musee d'Art Contemporain de Montréal, Montreal, Canada.
Vis-à-Vis der Kamera, Galerie Grita Insam, Vienna; traveled to Museum voor Hedendaagse Kunst Het Kruithuis,
Hertogenbosch.
Witness, Fuller Gross Gallery, San Francisco, California.



1988

Works, Concepts, Processes, Situations, Information," Hans Mayer Gallery, Dusseldorf, Germany.
Committed to Print, Museum of Modern Art, New York, New York.
Presi X Incantamento, Padiglione d'Arte Contemporanea, Milan, Italy.
Tomoko Liguori Gallery, New York, New York; traveled to Craig Cornelius Gallery, New York, New York.
Williams College Museum of Art, Williamstown, Massachusetts.
Lo Permeable del Gesto," Centro Cultural Galileo, Madrid, Spain.
Public Discourse, Real Art Ways, Hartford, Connecticut.
Révélateurs, Galerie d'Art Contemporain, Centre Saint Vincent, Herblay, France.
Temporary Public Art, Storefront for Art and Architecture, New York, New York.



1987

Documenta 8, Museum Fridericianum, Kassel, Germany.
19e Bienal Internacional de Sao Paulo, Sao Paulo, Brazil.
American Policy, Cleveland State University Art Gallery, Cleveland, Ohio.
Art and the Dialectic Process, Everhart Museum, Scranton, Pennsylvania.
Perverted by Language, Hillwood Art Gallery, Long Island State University, C.W. Post Campus, Greenvale, New York.



1986

Aperto, Venice Biennale, Venice, Italy.
Artfor(u)m, Gracie Mansion Gallery, New York, New York.
When Attitudes Become Forms, Bess Cutler Gallery, New York, New York.



1985

18e Bienal Internacional de Sao Paulo, Sao Paolo, Brazil.
Disinformation: The Manufacture of Consent, The Alternative Museum, New York, New York.
4 Chilean Artists in the CAYC of Buenos Aires, CAYC, Buenos Aires, Argentina.
Freedom Within, Staller Center Art Gallery, State University of New York, Stony Brook, New York.
Not Just Any Pretty Picture, P.S. 122, New York, New York.



1984

Art & Ideology, New Museum of Contemporary Art, New York.
Selections from the Artists File, Artists Space, New York.
Aqua: 22 Latin American Artists Living and Working in the United States, Fisher Gallery, University of Southern
California, Los Angeles.
Art of the Americas, Kenkeleba Gallery, New York.
Call and Response: Art on Central America, Colby College Museum of Art, Waterville, Maine.
Chronicles," INTAR Latin American Gallery, New York.
L'Esprit Encyclopédique, New York Public Library, New York.
Philosophies on the Art Process, Makkom, Amsterdam.
Vision and Conscience, University Art Gallery, State University of New York, Binghamton, New York.



1983

Catchwords, Caidoz, New York.
Chile, Chile, Cayman Gallery, New York.
Contemporary Latin American Artists, The Chrysler Museum, Norfolk, Virginia.
Hispanic Achievement in the Arts, Equitable Center, New York.
In/Out: Four Projects by Chilean Artists, Washington Project for Arts, Washington D.C.
Terminal New York, Brooklyn Army Terminal, New York.



1982

Segundo Encuentro de Video, Instituto Chileno-Frances de Cultura, Santiago.
12e Paris Biennale, Musée d'Art Moderne de la Ville de Paris.
Contextos, Galeria Sur, Santiago, Chile.



1981

Segunda Bienal de Arte Universitario, Pontificia Universidad "Catlica de Chile," Museo Nacional de Bellas Artes, Santiago, Chile.
Grafica Chilena Contemporanea, Museo Nacional de Bellas Artes, Santiago.
Primer Encuentro de Video, Instituto Chileno-Frances de Cultura, Santiago.
Quinta Bienal Internacional de Valpara¹so, Chile.
Séptima Exhibicion, Colocadora Nacional de Valores, Museo Nacional de Bellas Artes, Santiago.



1980

Centenario del Museo Nacional De Bellas Artes, Museo Nacional de Bellas Artes, Santiago.
Salon de Grafica, Pontificia Universidad Catolica, Museo Nacional de Bellas Artes, Santiago.
Segundo Encuentro de Arte Joven, Instituto Cultural de Las Condes, Santiago.
Sexta Exhibicion, Colocadora Nacional de Valores, Museo Nacional de Bellas Artes, Santiago.



1979

Primera Bienal de Arte Universitario, Pontificia Universidad Catolica de Chile, Museo Nacional de Bellas Artes, Santiago
Quinta Exhibicion, Colocadora Nacional de Valores, Museo Nacional de Bellas Artes, Santiago.





PRIZES



2006

Premio Extremadura a la Creación, Spain.



2000

MacArthur Foundation, MacArthur Fellowship



1985

New York State Council of the Arts Grant



1985

Guggenheim Fellowship





PUBLIC COLLECTIONS



21C Museum Foundation, Louisville, Kentucky
Les Abattoirs de Toulouse, Toulouse, France
Art Institute of Chicago, Chicago, Illinois
Chase Manhattan, New York, New York
DaimlerChrysler Contemporary, Berlin, Germany
Daros Foundation, Zurich, Switzerland
Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts
Fonds National d'Art Contemporain, Paris, France
High Museum of Art, Atlanta, Georgia
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Indianapolis Museum of Art, Indianapolis, Indiana
The Israel Museum, Jerusalem, Israel
Los Angeles County Museum of Art, Los Angeles, California
Magasin 3 Stockholm Konsthall, Stockholm, Sweden
Miami Art Museum, Miami, Florida
Musée d'Art Contemporain, Montreal, Quebec, Canada
Musee cantonal des Beaux-Arts, Lausanne, Switzerland
Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France
Museo de Artes Visuales, Santiago, Chile
Museo de Arte Contemporáneo de Castilla y León, Léon, Spain
El Museo del Barrio, New York, New York
Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, Spain
Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Museu d'Art Contemporani de Barcelona, Barcelona, Spain
Museum het Domein, Sittard, the Netherlands
Museum of Contemporary Art Chicago, Chicago, Illinois
Museum of Contemporary Arts Los Angeles, Los Angeles, California
Museum of Contemporary Art San Diego, San Diego, California
Museum of Contemporary Photography, Chicago, Illinois
Museum of Modern Art, New York, New York
Museum voor Hedendaagse Kunst Antwerpen, Antwerp, Belgium
National Gallery of Canada, Ottawa, Ontario, Canada
New York Public Library, New York, New York
Norton Museum of Art, West Palm Beach, Florida
Queensland Art Gallery, Queensland Cultural Center, South Brisbane, Australia
Rose Art Museum, Brandeis University, Waltham, Massachusetts
Seattle Art Museum, Seattle, Washington
Tate Britain, London, England
Williams College Museum of Art, Williams College, Williamstown, Massachusetts





PUBLICATIONS




2011

Battistozzi, Ana Maria. El comunicador del arte, Ñ, July 30, pp. 30-31.
Bouwhuis, Jelle. Alfredo Jaar: The Marx Lounge, Amsterdam, The Netherlands: die Keure, Brugge.
Bruckle, Wolfgang. The Trouble with Atrocity Photography in Gerhard Richter, Robert Morris and
Alfredo Jaar, or, Art on the Brink of Failure, essay in Pictorial Cultures and Political Iconographies: Approaches, Perspectives, Case Studies from Europe and America, Berlin: De Gruyter, pp. 11, 355-356, 367-371.
Cavallo, Francesca. Re-reading The Classic, Cura, #08 Spring/Summer, pp. 58-63.
Chougnet, Jean-François. A Hundred Times Nguyen Exhibition catalogue, Museu Colecção Berardo, Lisbon.
Cirelli, Julie. Alfredo Jaar. kamel mennour. Paris, frieze, Issue 140, June, July, August, pp. 216.
Díaz-Urmeneta Muñoz, Juan Bosco. Re-reading Marx, essay in 11 to 21. The Political Constitution of the Present, CAAC Issue 1 March - June, pp. 108-113.
Frascina, Francis. Face to Face: Resistance, Melancholy, and Representations of Atrocities, Afterimage, Vol. 39, Nos. 1 & 2, pp. 49-53.
Frascina, Francis. News From Nowhere, Afterimage, Vol. 38, No. 4, Jan/Feb, pp. 6-7.
Frascina, Francis. The aesthetics of violence, Art Monthly, March, pp. 9-12.
Gothoni, Ralf, et al. Essay in Dear Markus Exhibition catalogue, Contemporary Art Archipelago, Turku.
Hart, Katherine. Alfredo Jaar and Goya’s Legacy: A Work about Rwanda’s Genocide Enters the Hood’s Collection, essay in Alfredo Jaar: The Eyes of Gutete Emerita catalogue, Hanover, New Hampshire: Hood Museum of Art.
Jaar, Alfredo. El silencio de Ai Weiwei, essay in La Vanguardia, July 20, pp. 12-13.
Jaar, Alfredo. Muxima, essay in ARS 11 Exhibition catalogue, Helsinki: KIASMA, pp. 140-143.
Jaar, Alfredo. Proposal for Piazza Matteotti, Piazza Competition. The Space Beneath The Sky, Imola: Museo di San Domenico, pp. 20-27.
Jauffret, Magali. Le retour a Paris de l’artiste Alfredo Jaar, l’Humanite, February 26, pp. 18.
Leenaerts, Daniell. Essay L'oeuvre comme dispositif réflexif dans l'art d'Alfredo Jaar, de 1979 à 1986 in Efficacité/Efficacy. How To Do Things With Words and Images?, Amsterdam/New York, Rodopi, pp. 209-223.
Loeffler, Frances. A Protest for Thinking, Talking and Reading: Alfredo Jaar's The Marx Lounge, essay in Touched Exhibition catalogue, Liverpool Biennial of Contemporary Art: Liverpool, pp. 187-195.
Macellari, Marcelo. Alfredo Jaar: Cada vez es mas dificil hacer arte en un mundo tan complejo, El Mercurio de Valparaíso, October 18, pp. 29.
Medeiros, Margarida. A poesia é a melhor forma de documentar o real, Público, June 3, pp. 16-18.
Miller, Dana, Donna De Salvo and Joseph Giovanni. The Emily Fisher Landau Collection, New Haven, Yale University Press, pp. 128-129.
Nelson, Maggie. The Art of Cruelty: A Reckoning, New York: W. W. Norton & Company, pp. 26-27.
Platt, Susan Noyes. Alfredo Jaar: Chile’s Nightmares/ Contemporary Genocides, essay in ART and POLITICS NOW: Cultural Activism in a Time of Crisis, Midmarch Arts Press: New York, NY, pp. xix, 66, 71-75,97, 166.
Pietromarchi, Bartolomeo. Italia in opera. La nostra identità attraverso le arti visive, Torino: Bollati Boringhieri, pp. 122-25, 149, 174, 189.
Prosser, Jay. Installing Atrocity: The Body of the Photograph in Susan Meisela's Reframing History, afterimage, Vol. 39, Nos. 1 & 2, pp. 74-79.
Salazar, Angelica Gallón. En Fotografica 2011, El Espectador, May 14, pp. 24-25.
Sánchez, Julio. Caravana de imágenes, adn, August 5, pp. 22-23.
Sardo, Delfim. Alfredo Jaar, essay in Stories of Material Life: People, Places, Things, Events, Fictions, Caceres, Spain: Centro de Artes Visuales-Fundacion Helga de Alvear Caceres, pp. 238-239.
Schnepf, Herbert. Les choses de la vie esel.at, Summer 2011, .
Slavick, Elin O'Hara. Empathetic Vision: Aesthetics of Power and Loss, essay in Virilio Now. Current Perspectives in Virilio Studies, Cambridge: Polity Press, pp. 116, 120, 134, 137-138.
Ursprung, Philip. La cordillera de los Andes (CB), essay in Dislocación Exhibition catalogue, Ostfildern: Hatje Cantz Verlag, pp. 128-137.
Vozmediano, Elena. Alfredo Jaar, cien veces Nguyen, El Cultural, July 15-21, pp. 32.
Wiehager, Renate. Alfredo Jaar, essay in Private / Corporate VI Exhibition catalogue, Berlin: Daimler AG, pp. 34-35.



2010

Alloa, Emmanuel. Changer de sens. Quelques effets du tournant iconique, Critique, August-September, Volume LXVI, No. 759-760, Paris: Editions de Minuit, pp. 647-658.
Andulce, Pablo. Las raíces de Jaar, Vivendia y Decoración, January 16, pp. 12-17.
Barclay Morgan, Anne. Subtle Power: Alfredo Jaar’s Recent Installations and Permanent Public Interventions, Sculpture, December, pp. 56-61.
Blocker, Jane. Seeing Witness: Visuality and the Ethics of Testimony, Minneapolis: University of
Minnesota Press, pp. xxii, xxiii, 53-57, 59, 127.
Celant, Germano and Melissa Harris. Immagini Inequietanti, Italy, pp. 322-333.
Chiodi, Stefano, and Domitilla Dardi. SPACE: From MAXXI’S Collections of Art and Architecture,
Rome: Electa, pp. 173.
Chiuminatto, Pablo. The Gramsci Trilogy: As with Weeping the Speechless Eyes, essay in The Eyes of Gutete Emerita, Santiago: DIRAC, pp. 51-62.
Corris, Michael. Word and Image in Art since 1945, Art, Word, and Image: 2,000 Years of Visual / Textual Interaction, London: Reaktion Books Ltd., pp. 215-316.
Jaar, Alfredo. Cover, Cura, October – December, pp. 1.
D’Alleva, Anne. Look! The Fundamentals of Art History, Third Edition, New York: Prentice Hall, pp.
43-44.
Denegri, Dobrilla. Alfredo Jaar, essay in The Flower of May Exhibition catalogue, Gwangju Biennale Hall, Gwangju: Gwangju Biennale Foundation, pp. 52-57.
Dobrzynski, Judith. Art and Nature, Hand in Hand, The Wall Street Journal, June 23, pp. D6.
Jaar, Alfredo. El Bicentenario Según Jaar, Que Pasa, No. 2057, September, pp. 12-19.
Espinoza, Denisse. Alfredo Jaar estrena Cintas sobre Ruanda y Pasolini e inaugura muestra colectiva, La Tercera, August 20, pp. 61.
Fournier, Anik. The Ruin in the Age of Junkspace, essay in Undercurrents: Experimental Ecosystems in Recent Art Exhibition catalogue. New York: Whitney Museum of American Art, pp.54-57.
Golonu, Berin. Format Your Intervention! The Creative Time Summit: Revolutions in Public
Practice, Art Papers, March/April, pp. 15.
Alfredo Jaar: Presentaré un proyecto muy personal sobre el Bicentenario, El Mercurio, August 15, pp. E8.
Iriarte, María Elvira. The 29th São Paulo Biennial, ArtNexus, No. 79, Volume 9, pp. 86-94.
Jaar, Alfredo. Les Cendres de Pasolini, Trafic, No. 73, pp.95-96.
Jaar, Alfredo. Host: a Project for Transmission, Transmission Annual, London: Artwords Press, pp. 35-44.
Jaar, Alfredo. Parque de los Lamentos, Trace, November 2010-January, Issue 01, pp. 90-97.
Korshak, Yvonne and Robert J. Ruben. Beyond the Text: Artists’ Books from the Collection of Robert J. Ruben, New York, pp. 82-3.
Lavoie, Vincent. Lights in the City (1999) d’Alfredo Jaar ou l’indigence furtive, Oeuvres à la rue: pratiques et discours émergents en art public, Montreal: UQAM, pp. 31-37
Lindquist, David. Nature & Art Intertwined, The Indianapolis Star, June 20, pp. A1, A15-17.
Litt, Steven. Please Touch, ArtNews, June, Vol. 109, No. 6.
Loefler, Francis. Alfredo Jaar, Liverpool Biennial: The Guide, Liverpool: Liverpool Biennial of Contemporary Art Ltd. pp. 66-7.
MacQueen, Kathleen. Murmurs of the Heart: Alfredo Jaar’s Muxima, essay in Strategic Tactical
Response: Art in an Age of Terror, Ann Arbor: UMI, pp. 124-178.
Marucci, Luciano. L’Arte della Sopravvivenza. Juliet, October - November, pp. 52.
Nair, Parvati. After-Images: Trauma, History and Connection in the Photography of Alfredo Jaar, essay in The Eyes of Gutete Emerita, Santiago: DIRAC, pp. 63-80.
Neil, Jonathan T. D. Feature, ArtReview, June, pp. 102-4.
Okamura, Keiko. Alfredo Jaar, in Searching Songs Exhibition catalogue, Tokyo Metropolitan
Museum of Photography. Tokyo: Tokyo Metropolitan Museum of Photography, pp. 66-9.
Pas, Johan, ed. Track Report 10/02: zonder beeld, Antwerp: Eric Ubben.
Pfeffer, Susanne, ed. Alfredo Jaar, For the Use of Those Who See Exhibition catalogue. Köln:
Shoeck Verlagsgesellschaft mbH, pp 65-72.
Pfeffer, Susanne, ed. My Work and Me, Köln: Verlag der Buchhandlung Walther König.
Poblete, Joel, ed. Shoot the Shooter, SANFIC6 Exhibition catalogue, Santiago de Chile: SANFIC,
pp. 130-133.
Risco, Ana María. The Disturbance of the Sensible: Reflections on Alfredo Jaar’s Politics of the Image, essay in The Eyes of Gutete Emerita, Santiago: DIRAC, pp. 27-38.
Sheets, Hilarie. 100 Acres to Roam, No Restrictions, The New York Times, June 13, pp. AR22.
Thibodeaux, Julianna. IMA’s Art & Nature Park, NUVO, June 16-23, pp. 14-20.
Tisi, Rodrigo, ed. Alfredo Jaar, SCL 2110, Texts by Adriana Valdés and Alejandro Crispiani. Santiago: Uqbar Editores, pp. 318-349.
Varblane, Reet. Kommunikatsioon ei ole vaid sonum. SIRP, April 30, pp. 1, 11.
Viñuela Díaz, José María. Margins of Silence Exhibition catalogue. Helga De Alvear Foundation, pp. 172-173.
Walker, Sydney R. Artmaking and the Sinthome, essay in Visual Arts Research, Vol. 36 No. 2 Issue 71 Winter, Illinois: University of Illinois at Urbana-Champaign, pp 75-82.
Zúñiga, Rodrigo. The Site and the Formula: A Logo for America, essay in The Eyes of Gutete Emerita, Santiago: DIRAC, pp. 39-50.



2009

Aranda-Alvarado, Rocío. Alfredo Jaar, ArtNexus, Vol. 8, No. 73, pp. 111-112.
Arestizabal, Irma. Alfredo Jaar, Arte al Día, February/March, No. 126, p. 84.
Ashton, Dore with Phong Bui and David Levi Strauss. Alfredo Jaar, The Brooklyn Rail, April, pp. 16-19.
Bickers, Patricia. 53rd Venice Biennale, Art Monthly, July-August, No. 328, pp. 24-25.
Ceresoli, Jacqueline. Alfredo Jaar, Flash Art Italia, Vol. 42, No. 273, December/January, p. 78.
Cramerotti, Alfredo. Aesthetic Journalism, Chicago: Intellect, pp.92-93.
Decter, Joshua. Alfredo Jaar, Artforum, XLVII, No. 10, Summer, p. 335.
De la Sotta Donoso, Romina. Alfredo Jaar habla de su obra para el Museo de la Memoria, El Mercurio, December 13, 2009, p. A18
Di Matteo, Roberta. Alfredo Jaar, Metro News, January 21.
Fassi, Juigi. Alfredo Jaar, Interview, Klat, Winter, No. 1, pp. 68-71.
Fiedler, Andreas. Alfredo Jaar, essay in Welt-Bilder 3/World Images 3 Exhibition catalogue, Zurich: Helmhaus, pp. 114-131.
Font, J.M. Martí. El panfleto como obra de arte, El País, July 9.
Frascina, Francis. Gaza: Lament of the Images Revisited, Art Monthly, April, No. 325, pp. 9-12.
Fumihiko, Sumitomo. Alfredo Jaar, Deep Images Exhibition Catalogue, International Festival for Arts and Media Yokohama, CREAM (Creativity for Arts and Media), p. 29.
Fumihiko, Sumitomo. Alfredo Jaar: Internet—A Beautiful Dream, Interview, Deep Images, Exhibition Catalogue, International Festival for Arts and Media Yokohama, CREAM (Creativity for Arts and Media), pp. 81-85.
Haase, Amine. Die Melancholie des Schöpferischen, Kunstforum, August-September, No. 198, pp. 50-51.
Hirsche, Faye. Be Afraid, Be in Love,: Collateral Exhibitions in Venice, Art in America, September, No. 8, pp. 113-117.
Jaar, Alfredo. Cox18 deve vivere perché la cultura è la sua raison d’être, Il Manifesto, February 4, p. 12.
Jaar, Alfredo. It is difficult, essay in book Learning Mind: Experience into Art, Eds. Mary Jane
Jacob and Jacquelynn Bass, Berkeley and Los Angeles: University of California press, pp. 83-88.
Jaar, Alfredo. -273.15° project in Voids: A Retrospective Exhibition catalogue Centre Pompidou, Paris; Kunsthalle Bern, Bern; Centre Pompidou-Metz, Metz. Zurich: JRP Ringier.
Jaar, Alfredo. En la Cárcel de Mandela, Domingo (El Mercurio), April 5, pp. 4-5.
Koenet, Jan. Kunst Als Cement van Menselijkhein: Alfredo Jaar, Streven, November 2009.
Levi Strauss, David. Alfredo Jaar and David Levi Strauss: A New Lament, Aperture, Winter, No. 197, pp. 22-23.
Luna, Claire. Alfredo Jaar, Arte al Día, May-July, No. 127, pp. 108-109.
Lundström, Jan-Erik. Alfredo Jaar, essay in Aletheia Exhibition catalogue, Helsinki Photography Festival, Helsinki City Art Museum, p. 46.
Morel, Gaëlle. the Spaces of the Image. Montreal: Le Moir De La Photo a Montreal, 2009, pp. 60-65.
Oddo, Eva. Interview with Alfredo Jaar, The Myth of Europa, January, pp. 1+.
Ortega, Soledad. Alfredo Jaar interviene las calles y el metro de Barcelona, La Tercera, April 3, p. 66.
Phillips, Patricia C. Alfredo Jaar, essay in For You exhibition brochure, Daros Exhibitions, Zurich.
Ramirez, Juan Antoni. Alfredo Jaar, essay in Objeto Y El Aura, Madrid: Akal Ediciones Sa, pp. 30-33, 161, 162, 185, 192, 203.
Rifbjerg, Synne. Billedstorm, Weekendavisen, No. 11, March 13-19, p. 1.
Schellenberg, Samuel. Millésime d’exception pour les pavillons nationaux, Le Courrier, June 13.
Smith, Roberta. Alfredo Jaar: The Sound of Silence, The New York Times, April 24, p. C23.
Smith, Roberta. One Image of Agony Resonates in Two Lives, The New York Times, April 15, pp. C1+.
Van der Stok, Frank. Mental Images, essay in book Questioning History: Imagining the Past in Contemporary Art, Rotterdam: NAi Publishers, pp. 104-119.
Van den Braembussche, Antoon. Limits to Representation: Alfredo Jaar’s Rwanda Project, essay in
book Intercultural Aesthetics: a Worldview Perspective, Ed. Antoon Van den Braembussche,
Heinz Kimmerle and Nicole Note, New York: Springer, pp. 123-126.
Whitaker, Amy. Alfred Barr Got Fired: Art Museums as Art Projects, essay in book Museum Legs:
Fatigue and Hope in the Face of Art, Tucson: Hol Art Books, pp. 169-171.
Wilson, Michael. Alfredo Jaar: The Sound of Silence, Time Out New York, April 16-22, No. 707, p. 46.
Wright, Terence. Alfredo Jaar's Rwanda Project essay in Visual Impact: Culture and the Meaning of
Images, Oxford: Berg Publishers, pp. 69-71.



2008

Aliaga, Juan Vicente, et al. Destellos de la (in)visibilidad essay in Miradas Criticas: En Torno A La
Coleccion MUSAC. MUSAC: Barcelona, pp. 88-93.
Allsop, Laura. Pressing Issues, Tank, Vol. 5, No. 3, p. 38.
Andriesse, Paul. On My Mind…, Foam Magazine, No. 11, p. 19.
Bartezzaghi, Stefano. Que punti interrogativi che affermano più di uno slogan, La Repubblica, Vol.
233, No. 299, December 17, p. 44.
Basting, Barbara. Tages-Anzeiger,’ Zurich, Art: Das Kunstmagazin, January, p. 63.
Bergòs, Monica. Alfredo Jaar, una ventana a Africa, Noticias, March.
Bernabei, Valentina. Guerrigliero dell’arte, La Repubblica, Vol. 233, No. 299, December 17, p. 44.
Bonazzoli, Francesca. Jaar: Le urla dell’arte, Corrière della Sera, October 2, p. 14.
Bouchet, Raphaële, and Samuel Schellenberg. Le travail, maux a maux, Le Mag, January 19, pp.
19-20.
Casavecchia, Barbara. Apprite gli occhi, La Repubblica, October 2, pp. 22-23.
Chow, Olivier. Alfredo Jaar and the Post-Traumatic Gaze, Tate Papers, Spring 2008,
.
Cordero, Joanna. Engagement with Africa, Moli, March, .
Drucker, Johanna. Making Space: Image Events in an Extreme State, Cultural Politics, March, Vol. 4, No. 1, pp. 25-45.
Fabbri, Paolo. Requests for Culture: Replies to Alfredo Jaar, essay in Alfredo Jaar: It Is Difficult, Exhibition catalogue Vol. 2, Spazio Oberdan and Hangar Bicocca, Milan. Milan: Corraini, pp.
178-210.
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