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Shoot an Iraqi: Art, Life and Resistance Under the Gun, by Wafaa Bilal Kari Lydersen
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From Publishers Weekly
Starred Review. Weaving together accounts of Iraq and America, art and violence, performance and reality, past and present, this gripping account all but shakes the reader by the lapels. Iraqi-born artist Bilal records the month he spent confined in his 2007 interactive performance piece entitled Domestic Tension, living under constant fire from a chat room–controlled paintball gun 24 hours a day, his every move dogged and determined by the hostility—or benevolence—of his thousands of online viewers. The nerve-rattling conditions were intended to reflect both decades of suffering endured by millions of Iraqis and Bilal's own life and the costs of surviving Saddam's regime, Gulf War bombardment, Sunni-Shia violence, a brutal Saudi refugee camp and, finally, the difficulties and joys of the American immigrant experience. The author emerges as an Iraqi everyman, and his provocative book brilliantly juxtaposes images and time frames to convey the toll of war on Americans and Iraqis: We may think we are surviving, Bilal writes, but as I... twist and turn through sleepless nights, flailing between worlds of comfort and conflict, hope and despair, I wonder. (Dec.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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From Booklist
*Starred Review* Iraqi artist Bilal immigrated to the U.S. after Desert Storm, and channeled his haunting experiences into his performance pieces, culminating in Domestic Tension. For 31 days and nights, Bilal was the target of a paintball gun controlled by online participants who were invited to “shoot an Iraqi.â€Â Video cameras recorded Bilal’s struggle to retain his composure if not his sanity as he interacted with shooters and viewers via a chat room and YouTube. Now he writes about his art and his life in Iraq, revealing overlooked daily struggles of existence under a dictator, in war, and during a long-term occupation. Ultimately the death of his brother back home via an unmanned American drone compelled Bilal to make his greatest artistic statement yet against all that makes the war in Iraq unreal to most outsiders. Recounting his own traumatic journey and the long-ranging effects of his bold installation makes for a powerful and demanding read that is, frankly, a literary punch to the gut. Bilal discloses all the risks he has taken with his art and asks why Americans are not willing to take their own chances and uncover the dirty truths about the Iraq War. --Colleen Mondor
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Product details
Paperback: 177 pages
Publisher: City Lights Publishers; First Edition edition (September 1, 2008)
Language: English
ISBN-10: 087286491X
ISBN-13: 978-0872864917
Product Dimensions:
6 x 0.5 x 8.5 inches
Shipping Weight: 11.2 ounces (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
11 customer reviews
Amazon Best Sellers Rank:
#1,091,400 in Books (See Top 100 in Books)
In November, 2010 I read about the artistic exploits of Wafaa Bilal and was intrigued. So intrigued I blogged about his latest project and posted it in several online forums. I also ordered his book, "Shoot an Iraqi; Art, Life, and Resistance Under the Gun" co-written with Kari Lydersen. I read it in one sitting. Astonishing in content and brilliantly written, Bilal and Lydersen have taken, by my first estimate, an ill-conceived, albeit somewhat artistic, publicity stunt and turned it into a MUST READ commentary on the cost of war...now my second and more accurate estimate.In a nutshell Wafaa writes about his confinement to an exhibit room at the Flat File Gallery in Chicago. He called the exhibit "Domestic Tension" and lived within its confines for one month. That's the domestic part. The tension comes from the added twist. If you visited him, either on-line or in person, he gave you the option to fire a yellow paint ball at him at 300 feet per second, all day, every day. Approximately 65,000 balls of yellow paint were fired during his ordeal. He was forced to live under the fear of being whacked at anytime. There was a field of fire available to the paint ball gun which he could escape be remaining close to the ground...inducing the stress of literally living "Under the Gun". When online visitors stopped in they could chat with him directly, setting up a tension between those who could reach out to the humanity of the situation observing and bearing witness to the ongoing persecution, and those who wanted to have sadistic fun at the expense of another human being. (NOTE: Although sadistic fun unfortunately occurs in warfare I do not believe it is a primary driver yet it does become another ugly cost of war).As he writes about his ordeal during his month in captivity he wraps in the story of his early life growing up in Iraq under the brutal dictatorship of Saddam Hussein. He describes what life was like for the Iraqi people, their hopes and dreams for education and prosperity, their day to day family existence, with both their good humor and sanity evaporating during what has now amounted to almost three decades of constant war. Wafaa escaped as a refugee to Kuwait, Saudi Arabia, and finally to the United States but carries the scars of many haunting years of fear and persecution in its countless forms. That is what he was trying to recreate in "Shoot and Iraqi" as a cathartic response to the guilt he has felt by leaving Iraq and thus surviving to tell his tale."Shoot an Iraqi" is not a war protest, though many who read it might consider it so...I might also add that some associated with his project seem to convey a clear anti-war vibe...yet Wafaa resisted the invite to preach rather he simply wants us to think about the cost of war in human terms rather than ethical or moral implications. This book is also not an indictment on the use of remotely piloted vehicles to execute war, which have gained so much favor and criticism during the wars in the Middle East...yet remain highly misunderstood. Again, Wafaa resists the temptation to draw too many parallels between what he was doing and this new brand of warfare. Early on he exhibits a desire to make the parallel, primarily when he attributes a tragic event which cost the life of many innocent civilians to reconnaissance conducted by an unmanned aircraft. Only in the sense that violence is being executed at a distance can the two be compared. No other parallels to this brand of warfare exist. But this is not a debate to have in this book review. The other parallels to the stress of those caught in the war zone and living minute by minute "Under the Gun" with the constant threat of death are quite real.Wafaa has a unique vision in his art form that will continue to elicit strong criticism, censorship, and even persecution, whether intentionally by his own hand or by the hand of ignorance. He grows and we grow as a result of what he has experienced and has shared. This book goes a long way in reducing the hand of the ignorance...in this particular case mine.
Typically I try not to get into politics of wars but as fate had it, I actually had the privilege of having Wafaa himself as a professor when I attended The School of the Art Institute of Chicago a few years back when he was still teaching there. I didn't know what to expect having an Iraqi for a professor, mostly because I had little knowledge of Iraq outside of media coverage. As I began to get to know him, not only did I start to learn about his life and his part played within the political climate, I also learned how his artwork turned into a pivotal role in his own survival. His past artwork has shown how he is able to bring up controversial issues in a way that illuminates both sides yet remains unbiased. He is truly inspirational and I was constantly in awe of him when he was my professor. I decided to buy his book sometime later out of curiosity and it stood up well to the actual man it is about. The book does a fantastic job of jumping back and forth from his life growing up in Iraq to one of his more current pieces "Domestic Tension." The book also does a tremendous job explaining his artwork, why it was necessary for him to work "Domestic Tension" (a piece that literally had people shooting paintballs at him over the internet) and also what the cost of war is on a human level. Whether you're an artist, interested in the impact of war or just interested in biographies, I highly, highly recommend this book.
I loved this book. It's well written and provides more information than just about Wafaa's art project, but his life story. I like the parallel story structure and the incite that the book provided. I'm interested in art and Iraq, so this book was perfect.
This is a excellent book about one of the more important pieces of performance art in the last ten years.
This is a moving and poignant piece that deserves a wide audience. I feel fortunate to have read it.
I had to buy this book for a college level course. The professor drew empty comparisons between Wafaa's project and the bombing of his brother. People on the internet are not US soldiers, a paintball gun is not a real gun, and Wafaa himself was not the labeled terrorist his brother was. I believe my professor is teaching it this way as that was the original purpose of the project and he is friends with Wafaa himself.Where I do believe this book has great potential value is in a psychology setting. Wafaa describes his struggles with living in a war torn Iraq very well. I see his project as his way of dealing with PTSD as it gets pretty brutal at times, his project and his life before. And in that I do believe this book has great value, but for the purpose of my course, in my opinion the professor focused on the wrong aspects to try and make it seem like the US government is bad instead of looking at the more useful aspects of the book.
Met the author. Nice guy. Likes the book. Don't agree with some of his business practices especially those with veterans.
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