Ariella Aïsha Azoulay
Présentation
CV
Ariella Aïsha Azoulay est titulaire d’une chaire d’excellence Amidex où elle mène un projet de recherche - Habiter le monde Juif Musulman. Elle est également professeure à Brown University. Sa recherche porte sur la théorie politique d’une perspective anticoloniale à travers l’usage de la photographie, des bijoux, des films (qu’elle fait) et des archives qu’elle crée afin de désapprendre les différentes formes de violence onto-épistémologique et de pratiquer l’histoire potentielle (un terme central de sa pensée). Site: https://cargocollective.com/AriellaAzoulay Parmi ses livres : Les bijoutiers de l’umma – Histoire potentielle du monde juif musulman (traduction collective, Éditions Terrasses, 2026). Fils d’Or, (Kulte, 2025, Francis & Arabe), JBC Prize (2025) & Children’s Africana Book Award (2026). The Jewelers of the Ummah – Potential History of the Jewish Muslim World (Verso, 2024). La résistance des bijoux (Rot-Bo-Krik, 2023). La photo – une histoire des collaborations (coédité avec W. Ewald, S. Meiselas, L. Raiford et L. Wexler, Delpire, 2024). From Palestine to Israel: A Photographic Record of Destruction and State Formation, 1947–1950 (Pluto Press, 2011). Civil Imagination: The Political Ontology of Photography (Verso Books, 2012) ; Fils d’or (livre pour enfants, Kulte, 2025). The Civil Contract of Photography (Zone Books, 2008). Parmi ses derniers articles : “Seeing Genocide, Ending Genocide”, Rising for Palestine Africans in Solidarity for Decolonisation and Liberation, Edited by Raouf Farrah & Suraya Dadoo, Pluto Press, 2026, pp. 19-25. « Au fond de la mosquée – une synagogue », Expressions Maghrébines. Revue de la coordination internationale des chercheurs sur les littératures Maghrébines, hiver 2025, Vol. 24, No 2, pp. 177-196. Ariella Aïsha Azoulay & Adel Ben Bella, « Introduction : Transmissions, travail en cours… », Expressions Maghrébines - Algérie : Chemins non empruntés, chemins ouverts et (re)transcriptions photographiques, hiver 2025, Vol. 24, No 2, pp. 9-14. “Genocide is the Temporality of Photography,” Third Text, October 2025, http://www.thirdtext.org/thinkinggaza-azoulay-photography
« Les ruines doivent être habitées pour pouvoir être réparés, » Contre l’antisémitisme et ses instrumentalisations, La Fabrique, 2024. « Tous ces vœux insensés et ces serments immoraux… sont nuls et non avenus », UJFP, 14.10.2024. “Striking Against Empire – Ariella Aïsha Azoulay in conversation with Nnenna Onnoha, Owned by Others (Eds. Anna-Sophie Springer & Raul Walch), K. Verlag. “Ending World War II: The Visual Literacy Class in Cold War Human Rights,” Cold War Camera (Eds. Thy Phu, Andrea Noble & Erina Duganne), Duke University Press, 2023. “Toward the Abolition of photography’s Imperial Rights,” Capitalism and the Camera (Eds. Kevin Coleman & Danny James), forthcoming, Verso, 2022, pp. 27-54. “Amicus Curia Brief, Lanier vs Harvard,” Sasha Huber (artist and editor), The Power Plant 2022.
“’He Is My Ancestor,’ Lanier Argues, Not a Museum Asset,” Lucid Knowledge: The Currency of the Photographic Image, (Eds. Koyo Kouoh & Rasha Salti), Hatje Cantz, 2022. Parmi ses derniers expositions : 2022 The Natural History of Rape (Berlin Biennale, Foto Vien)
2019 Errata (Tapiès Foundation, HKW, Berlin)
2016 Enough! The Natural Violence of New World Order, (F/Stop photography festival,
Leipzig). Collection muséales Act of State 1967-2007, Collection du Centre Pompidou, Paris, France.
Enough! La grève doit continuer I, Collection du CNAP, Paris, France.
Enough! La grève doit continuer II, Collection du musée Reina Sofia, Madrid, Espagne.
The Body Politic - A Visual Declaration of Human Rights, Collection du musée Reina Sofia, Madrid, Espagne.
Sans-Papiers - Désapprendre l’Impérialisme I (38 min), Collection du musée Reina Sofia, Madrid, Espagne, CNAP. Filmographie 2026 La Palestine est là, où elle a toujours était, 43 min 2019-2025 La trilogie Désapprendre le pillage impérial :
2025 Mille et un bijoux (III), 118 min, Decolonial film festival 2023 Le monde comme un bijou dans le creux de la main (II), 58 min,
CIVA Brusselles,
Cinema Palace, Vera LIst Center, NY, Columbia University, FOAM, Amsterdam,
KV, Berlin, Yale University, New Heaven. 2019 Sans-Papiers (I), 38 min, Black Femme Supremacy Film Festival, NY, CIVA
Brusselles, Museum Nacional Centro d’Art Reina Sofia, Madrid, Tàpies Fundació,
Barcelona, Artspace Arteaora, Bristol Photo Festival 2012 Pactes Civiles - Palestine 47-48 (Civil Alliance, Palestine 47-48), 52 min 2005 À la tombée de la nuit (At Nightfall), 17 min 2004 Moi aussi, je vis parmi votre peuple - conversation avec Azmi Bishara
(I Also Dwell Among Our Own People – Conversations with Azmi Bishara) 2004 La chaîne alimentaire (The Food Chain), 17 min. 2002 Le sourire de Chaira (Chaira's Smile), 2 min. 2000 L’ange de l’histoire (The Angel of History), 70 min, New Territories, Venice film
Festival. 1995 Un signe du ciel : un film en 24 lettres, 55 min Prix / recherche & écriture sur la photographie 2024 The Center for Photography at Woodstock (CPW) Vision Award for the best photobook of the year Collaboration – Potential History of Photography (co-authored with Wendy Ewald, Susan Meiselas, Leigh Raiford & Laura Wexler), Thames & Hudson. 2023 Royal Photographic Society Award. 2023 Infinity Award by the International Center of Photography (ICP) for excellence in critical writing, theory and research on photography. 2022 Berlin Prize, American Academy of Berlin. 2010 Award for innovative curatorial approaches and theoretical research in contemporary visual arts from Igor Zabel Competition (for the exhibition Untaken Photographs, Museum of Modern Art, Ljubljana). 2002 Infinity Award by the International Center of Photography (ICP) for the best book written on photography for the year 2001 (Death’s Showcase, MIT Press).
Publications
Publications
“Genocide is the Temporality of Photography,”Third Text, 2025 |
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Ce que l’histoire potentielle fait à l’histoire des mondes coloniauxL'Année du Maghreb, 2024, 32, ⟨10.4000/13615⟩ |
A letter to my beloved children – IJournal of Visual Culture, 2022, 21 (1) |
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Errata in retro-prospectThe A-line – a Journal of Progressive Thought, 2020, 2 (3) |
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The Imperial Condition of Photography in Palestine: Archives, Looting and the Figure of the InfiltratorVisual Anthropology Review, 2017, 33 (1) |
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Actions, Non-Actions, Interactions, and So On and So ForthJournal of Visual Culture, 2016, 15, pp.25-28 |
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Between Nuremberg and Jerusalem: Hannah Arendt’s Tikkun OlamDifferences, 2016, 27 (1), pp.48-93 |
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Arendt’s guidelines for a fictionalized cinematic portraitDifferences, 2015, 26 (2), pp.121-131 |
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What are Human Rights?Comparative Studies of South Asia, Africa and the Middle East, 2015, 35 (1), pp.8-20 |
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Photographic Conditions: Looting, Archives, and the Figure of the ‘Infiltrator’Jerusalem Quarterly, 2015, 61, pp.6-22 |
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Palestine as Symptom, Palestine as Hope: Revising Human Rights DiscourseCritical Inquiry, 2014, 40 (4) |
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Potential HistoryCritical Inquiry, 2013, 39 (3), pp.548-574 |
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A Tour of the Museum of Regime-Made DisastersHumanity, 2013, 4 (3), pp.345-364 |
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Revolution.” Political Concepts: A Critical LexiconThe New School, 2012, 2 |
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Getting rid of the distinction between the aesthetic and the politicalTCS Annual Review, 2011, 7 (8) |
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Outside The Political Philosophy Tradition, and Still Inside Tradition: Two Traditions of Political PhilosophyConstellations, 2011, 18 (1) |
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Declaring the State of Israel: Declaring a State of WarCritical Inquiry, 2011, 37 (2), pp.265-285 |
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Archive.” Political Concepts: A Critical LexiconThe New School e-journal, 2011, 1 |
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De-prostitution Through Five Historical DocumentsTheory and Criticism, 2010, Vol 36 |
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The Absent Philosopher-Prince: Thinking Political Philosophy with Olympe de GougesRadical Philosophy, 2009, 158, pp.36-47 |
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The Tradition of the OppressedQui Parle: Literature, Philosophy, Journal of Critical Theory University of Berkley, 2008, 16 (2), pp.73-96 |
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Female TraumaTrauma and Memory: Subjective & Collective Experiences, 2008, pp.49-64 |
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Citizens of DisasterQui Parle: Literature, Philosophy, Journal of Critical Theory University of Berkley, 2005, Vol. 15 (2), pp.105-138 |
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The Ethics of the SpectatorAfterimage: The Journal of Media and Cultural Criticism, 2005, 3 (2) |
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The Loss of Critique and the Critique of ViolenceCardozo Arts and Entertainment Law Journal, 2005 |
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A Moment of Silence Please, The Disaster Would Like to Say SomethingThe journal of culture and the unconscious, 2002, 2 (1) |
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An Alien Woman/A Permitted Woman: on JM Coetzee's DisgraceScrutiny, 2002, 7 (1) |
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The Contraction of Being: Deleuze after BadiouUmbr(a) a journal of the unconscious, 2001 |
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You didn’t see anything in Hiroshima(a) the journal of culture and the unconscious, 2000, 1, pp.1-9 |
Seeing Genocide, Ending Genocide – Ariella Aïsha AzoulayRaouf Farrah & Suraya Dadoo. Rising for Palestine Africans in Solidarity for Decolonisation and Liberation, pp.19-25, 2026, 9780745351926 |
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Les ruines doivent être habitées pour pouvoir être réparésContre l’antisémitisme et ses instrumentalisations, La Fabrique, 2024, 978-2358722872 |
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Striking Against Empire – Ariella Aïsha Azoulay in conversation with Nnenna OnnohaOwned by Others, K. Verlag, 2024, 978-3-947858-39-2 |
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Ending World War II: The Visual Literacy Class in Cold War Human RightsCold War Camera, Duke University Press, 2023, 978-1-4780-1859-9 |
Tous ces vœux insensés et ces serments immoraux… sont nuls et non avenus2026 |