International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale
Drawing from and contributing to the International Relations (IR) aesthetics literature, I analyse how Anishinaabe artist Rebecca Belmore’s 2005 Venice Biennale performance-based video installation Fountain is an enactment of creative presence at an intersection of international and transnational po...
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crsagepubl:10.1177/0305829817716671 2023-05-15T13:29:02+02:00 International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale Merson, Emily H. 2017 http://dx.doi.org/10.1177/0305829817716671 http://journals.sagepub.com/doi/pdf/10.1177/0305829817716671 http://journals.sagepub.com/doi/full-xml/10.1177/0305829817716671 en eng SAGE Publications http://journals.sagepub.com/page/policies/text-and-data-mining-license Millennium: Journal of International Studies volume 46, issue 1, page 41-65 ISSN 0305-8298 1477-9021 Political Science and International Relations Sociology and Political Science journal-article 2017 crsagepubl https://doi.org/10.1177/0305829817716671 2022-04-14T04:38:36Z Drawing from and contributing to the International Relations (IR) aesthetics literature, I analyse how Anishinaabe artist Rebecca Belmore’s 2005 Venice Biennale performance-based video installation Fountain is an enactment of creative presence at an intersection of international and transnational politics. Belmore’s aesthetic method of engaging with water as a visual interface between the artist and viewer, by projecting the film of her performance onto a stream of falling water in the Canadian Pavilion exhibition, offers a method of understanding and transforming settler colonial power relations in world politics. I argue that Belmore’s artistic labour and knowledge production is an expression of Indigenous self-determination by discussing how Fountain is situated in relation with Indigenous peoples’ transnational land and waterway reclamations and cultural resurgences as well as the colonial context of the international art world dynamics of the Venice Biennale. My analysis of Belmore’s decolonial sensibility and political imagination with respect to water contributes to IR aesthetics debates by foregrounding the embodiment of knowledge production and performance artwork as a method of decolonisation. Article in Journal/Newspaper anishina* SAGE Publications (via Crossref) Millennium: Journal of International Studies 46 1 41 65 |
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Open Polar |
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SAGE Publications (via Crossref) |
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crsagepubl |
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English |
topic |
Political Science and International Relations Sociology and Political Science |
spellingShingle |
Political Science and International Relations Sociology and Political Science Merson, Emily H. International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale |
topic_facet |
Political Science and International Relations Sociology and Political Science |
description |
Drawing from and contributing to the International Relations (IR) aesthetics literature, I analyse how Anishinaabe artist Rebecca Belmore’s 2005 Venice Biennale performance-based video installation Fountain is an enactment of creative presence at an intersection of international and transnational politics. Belmore’s aesthetic method of engaging with water as a visual interface between the artist and viewer, by projecting the film of her performance onto a stream of falling water in the Canadian Pavilion exhibition, offers a method of understanding and transforming settler colonial power relations in world politics. I argue that Belmore’s artistic labour and knowledge production is an expression of Indigenous self-determination by discussing how Fountain is situated in relation with Indigenous peoples’ transnational land and waterway reclamations and cultural resurgences as well as the colonial context of the international art world dynamics of the Venice Biennale. My analysis of Belmore’s decolonial sensibility and political imagination with respect to water contributes to IR aesthetics debates by foregrounding the embodiment of knowledge production and performance artwork as a method of decolonisation. |
format |
Article in Journal/Newspaper |
author |
Merson, Emily H. |
author_facet |
Merson, Emily H. |
author_sort |
Merson, Emily H. |
title |
International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale |
title_short |
International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale |
title_full |
International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale |
title_fullStr |
International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale |
title_full_unstemmed |
International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore’s Fountain at the Venice Biennale |
title_sort |
international art world and transnational artwork: creative presence in rebecca belmore’s fountain at the venice biennale |
publisher |
SAGE Publications |
publishDate |
2017 |
url |
http://dx.doi.org/10.1177/0305829817716671 http://journals.sagepub.com/doi/pdf/10.1177/0305829817716671 http://journals.sagepub.com/doi/full-xml/10.1177/0305829817716671 |
genre |
anishina* |
genre_facet |
anishina* |
op_source |
Millennium: Journal of International Studies volume 46, issue 1, page 41-65 ISSN 0305-8298 1477-9021 |
op_rights |
http://journals.sagepub.com/page/policies/text-and-data-mining-license |
op_doi |
https://doi.org/10.1177/0305829817716671 |
container_title |
Millennium: Journal of International Studies |
container_volume |
46 |
container_issue |
1 |
container_start_page |
41 |
op_container_end_page |
65 |
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1765997978453016576 |