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| 1 |
ID:
155163
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| Summary/Abstract |
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.
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| 2 |
ID:
092447
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| Publication |
2009.
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| Summary/Abstract |
In this article I explore the nature of the relationship between art and terror/ism and ask why identifications between the two are so routinely and often insistently made. In so doing, my aim is twofold. Firstly, I explore the possibility of there being a deep-seated structural link that exists between art, terror/ism and creativity. In other words, I ask if terror is a necessary corollary of the 'creative event'. Secondly, I explore explicit examples in which artists have sought to create or to emphasise this relationship, from the perspective of Contemporary Art practices. In the spirit of experiment rather than of judgment then, this article sets up a series of trials in which art and terror/ism are philosophically, aesthetically and politically blended. It asks where else should such tests be conducted, if not in relation to the artwork and in particular, in relation to those artworks which toy with terror/ism and those artists who claim on some level, to be 'terrorists'? How is the 'artist-as-terrorist' to be interpreted and understood alongside existing definitions of both terrorism and of Art? And finally, what role does imagination play in the construction of experience?
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