Abstract Spatial fragmentation is the fundamental condition of Palestinian life, whether under occupation, or under siege, or in the global dispersal that has been the fate of refugees, denied their right of return to historic Palestine. Palestinian artist Emily Jacir’s work inhabits this space and time of fragmentation, committed to the redemption of the fragments of violently broken histories. Working in the mode of assemblage and installation, she pieces together into constellations of memory and correspondences the overlooked objects and damaged archives that bear historical memory and future hope. This article explores this dialectic of fragmentation as a response to the conditions settler colonialism in Palestine that draw lines of solidarity with other sites of colonialism and resistance. The article focuses on her recent site-specific installation, ‘Notes for a Cannon’ (2016) at the Irish Museum of Modern Art, which explores the intervention of British and Israeli colonial regimes into temporality itself.

中文翻译：

---

救赎星座

摘要 空间碎片化是巴勒斯坦人生活的基本条件，无论是在占领下，还是在围困之下，还是在全球分散的情况下，难民的命运都被剥夺了返回历史悠久的巴勒斯坦的权利。巴勒斯坦艺术家 Emily Jacir 的作品栖息于这个碎片化的空间和时间，致力于救赎被暴力破坏的历史碎片。她以拼装和装置的方式，拼凑成记忆的星座，将那些承载着历史记忆和未来希望的被忽视的物件和受损的档案进行对应。本文探讨了这种分裂的辩证法，作为对巴勒斯坦定居者殖民主义与其他殖民主义和抵抗地点的团结线的回应。