Rebecca Belmore

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Rebecca Belmore

Rebecca Belmore (born 1960) is an interdisciplinary Anishinabe artist who is particularly characterized by politically and socially conscious performance and installation work. She is Anishinabe and a member of the Lac Seul First Nation. Belmore currently lives in Montreal , Quebec , Canada .

Belmore has exhibited nationally and internationally since 1986. Her work focuses on questions of place and identity and meets the challenges of the First Nations people. Her work deals with history, voice and speechlessness, place and identity. Belmore's art reveals a longstanding commitment to politics and how it relates to the construction of identity and concepts of representation. She has exhibited in Canada, the United States, Mexico, Cuba and Australia. In 2005 OCAD University awarded Belmore an honorary doctorate for her career. She also received the Canadian Governor General's Award in Visual and Media Arts in 2013.

Life

Belmore was born on March 22, 1960 in Upsala, Ontario, Canada. Until she was 16, Belmore spent her summers in northwestern Ontario with her grandparents. During that summer, her grandmother taught her about harvesting local vegetables. Writer Jessica Bradley describes Belmore's youth as difficult because: “Assimilation was mandated by the Canadian government; Belmore was sent to Thunder Bay High School and placed with a non-native family ”. Bradley adds that based on her experience as a young person, ideas of displacement and cultural loss "are transformed into acts or objects of reparation and protest (in their various works)." Belmore attended the Ontario College of Art and Design in Toronto in 1988 and received an honorary doctorate for her success at the Venice Biennale in 2005.

Belmore's mother was born on a small island in northern Ontario; her trip to her mother's birthplace has had a significant impact on her work.

Career

Rebecca Belmore has shown work at biennial exhibitions throughout her career. She appeared twice at the Sydney Biennale, in 1998 in the exhibition Every Day and in 2006 in the exhibition Zones of Contact. In 2005, her work, Fountain, was shown in the Canadian Pavilion at the 51st Venice Biennale , becoming the first native artist to represent Canada at the event. In the same year she exhibited at the 3rd Tirana Biennale in Albania as part of Sweet Taboos. In 1991 she exhibited at the 4th Biennale de la Habana in Cuba.

Jolene Rickard's contribution to the Venice Biennale describes Belmore's work as follows: “As a First Nations or Aboriginal, Belmore's homeland is now the modern nation of Canada; yet the art world is reluctant to recognize this state of affairs as a continuous form of cultural and political exile. The inclusion of the political base of the First Nations is not intended to marginalize Belmore's work, but to deepen it. People think Belmore is both Canadian and anishinabé - I think she's an Anishinabe who lives in continually colonial America. "

Belmore has had two major solo exhibitions, The Named and the Unnamed , a multi-part installation commemorating women missing in Vancouver's Downtown Eastside, at the Morris and Helen Belkin Art Gallery, Vancouver (2002); and 33 pieces exhibited at the University of Toronto's Blackwood Gallery at Mississauga (2001). In 2008, the Vancouver Art Gallery hosted Rising to the Occasion , a mid-career survey of Belmore's artistic production. In 2014, Belmore was commissioned to create an original work for the Canadian Museum of Human Rights . The work consists of a blanket made of hand-pressed clay beads, the production was supported by the municipality in Winnipeg.

In 2010, Belmore was involved in a lawsuit with the Pari Nadimi Gallery of Toronto, which was suing her for damages. From her future earnings, she lost $ 750,000.

In 2017, Belmore's work was exhibited at documenta 14 in Athens, Greece, and Kassel.

Create

Belmore's interactive installation Mawa-che-hitoowin: A Gathering of People for Any Purpose (1992) showed a circle of chairs from Belmore's kitchen and kitchen chairs belonging to other women in her vicinity arranged in a circle. Each chair had a pair of headphones on top of them. Visitors were invited to sit in each chair, put on their headphones, and hear the stories of the struggles and triumphs of various indigenous women in Canada, told in their own voices. The work was commissioned for an exhibition of indigenous art to mark the 500th anniversary of Columbus' arrival in Hispanola. As such, it used indigenous storytelling and wisdom-sharing traditions from elders to crack down on indigenous stereotypes and victimization.

Works (selection)

  • Twelve Angry Crinolines (1987), parade and video performance, Thunder Bay, Ontario, Canada. Collaboration with Ana Demetrakopoulos, Kim Erickson, Lori Gilbert, Joane Lachapelle-Bayak, Glenn McLeod, Karen Maki, Sandy Pandia and Lynne Sharman; organized by Lynne Sharman
  • Artifact # 671B (1988), protest in support of the Lubicon Cree and against the Olympic Flame Celebrations, Thunder Bay, Ontario, Canada
  • High Tech Teepee Trauma Mama (1988), performance installation, Indian Days Native Student Association Winter Carnival, Lakehead University, Thunder Bay Ontario, Canada
  • HOWUH! (1988), music-based performance project with Allen De Leary, Definitely Superior Art Gallery and Thunder Bay Indian Friendship Center, Thunder Bay, Ontario, Canada.
  • Nah-doe-tah-moe-win: Means an object you listen to (1989), Niagara Artists Center, Saint Catharines, Ontario, Canada; SAW Gallery, Ottawa, Ontario, Canada; Multimedia Working: A Native Perspective, AKA, Saskatoon, Saskatchewan, Canada
  • August 29, 1990 (1990), performance, Première Biennale d'art actuel de Québec, Le Lieu, Quebec City, Quebec, Quebec, Canada
  • Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother (1991), Performance, Walter Phillips Gallery, The Banff Center, Banff, Alberta, Canada; Tour to numerous locations in Canada (1991–1996)
  • Creation or Death: We Will Win (1991), performance, IV Bienal de la Habana, Havana, Cuba
  • I'm not a Fucken Squaw! (1993), Performance, Distance Learning Graduation Banquet, Sioux Lookout, Ontario, Canada
  • Affiliation / Affliction (1994), collaboration with Reona Brass, Rencontre internationale d'art performance (RIAP) de Quebec, Le Lieu, Quebec, Canada
  • Tourist Act # 1 (1995), participatory performance, Institute of American Indian Arts, Santa Fe, New Mexico, USA
  • Interview with the Spirit of Luna (1997), performance, artist residency "Apocalypso", The Banff Center, Banff, Alberta, Canada
  • Garden of Eden (1998), performance, five new works (untitled), Canadian performance art tour, Germany
  • Manifest (1999), Performance, TIME TIME TIME TIME Performance Arts Festival, Fado Performance, Inc., Zsa Zsa Gallery, Toronto, Ontario, Canada
  • The Indian Factory (2000), installation performance, high-tech storyteller: An interdisciplinary Aboriginal art project, Tribe / AKA Gallery, Saskatoon, Saskatchewan, Canada
  • Wild (2001), House Guests: Contemporary Artists in the Grange, Art Gallery of Ontario, Toronto, Ontario, Canada
  • Vigil (2002), performance, Talking Stick Aboriginal Art Festival, Full Circle First Nations Performance, Vancouver, British Columbia, Canada
  • Tongue River (2003), performance collaboration with Bently Spang, Fado Performance, Inc. in Toronto, Ontario, Canada.
  • Back to the Garden (2006), Performance, Urban Shaman / Ace Art, Inc., Winnipeg, Manitoba, Canada
  • "Freezing" with Osvaldo Yero (2006), Nuit Blanche, Toronto, Ontario, Canada
  • Painted Road (2007), performance, gravel road behind the Art Gallery of Sudbury, Laurentian University, Sudbury, Ontario, Canada
  • Making Always War (2008), Achievement, Achievement Assistant: Daina Warren, Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, British Columbia, Canada

Exhibitions

  • Wana-na-wang-ong (1993), Contemporary Art Gallery, Vancouver, British Columbia, Canada
  • I Wait for the Sun (1994), Faret Tachikawa Art Project, Art Front Gallery, Tokyo, Japan
  • Dreamers (1999), Keyano College Art Gallery, Fort McMurray, Alberta, Canada
  • Many / One (1999), Optica, Montreal, Quebec, Canada
  • in this field (2000), Rhode Island School of Design Museum of Art, Providence, Rhode Island, USA
  • Private collection (2001), Pari Nadimi Gallery, Toronto, Ontario, Canada
  • 33 pieces (2001) organized by Blackwood Gallery, University of Toronto at Mississauga, Mississauga, Ontario, Canada; Tour of the Dunlop Art Gallery, Regina, Saskatchewan, Canada (2002); Parry Sound Station Gallery, Parry Sound, Ontario, Canada (2002); Definitely Superior Gallery, Thunder Bay, Ontario, Canada (2003); WKP Kennedy Public Art Gallery, Capitol Center, North Bay, Ontario, Canada (2003)
  • The Named and the Unnamed (2002), organized by Morris and Helen Belkin Art Gallery, Vancouver, British Columbia, Canada; Tour of the Art Gallery of Ontario, Toronto, Ontario, Canada (2003); Kamloops Art Gallery, Kamloops, British Columbia, Canada (2004); Confederation Art Center, Charlottetown, Prince Edward Island, Canada (2004); McMaster Museum of Art, McMaster University, Hamilton, Ontario, Canada (2006)
  • Extreme (2003), Pari Nadimi Gallery, Toronto, Ontario, Canada
  • Temperance (2004), tribe, Saskatoon, Saskatchewan, Canada
  • Untitled 1, 2, 3 (2005), Grunzen Galerie, Vancouver, British Columbia, Canada
  • The Capture of Mary March, Pari Nadimi Gallery, Toronto, Ontario, Canada`.
  • Parallel (2006), Urban Shaman / Ace Art, Inc., Winnipeg, Manitoba, Canada
  • cosi in cielo, cosi in terra (2006), Franco Soffiantino Arte Contemporanea, Turin, Italy
  • Rebecca Belmore: Rising to the Occasion (2008), Vancouver Art Gallery, Vancouver, British Columbia, Canada
  • March 5, 1819 (2008), The Rooms Provincial Art Gallery, St. Johns, Newfoundland, Canada

Awards, honors and residencies

Belmore was awarded membership in the Royal Canadian Academy of Arts. In 2004 Belmore did a residency at MAWA (Mentoring Artists for Women's Art) in Winnipeg, Manitoba. She is also Governor General for Fine Arts and Media Art (2013) and winner of the Gershon Iskowitz Prize 2016.

bibliography

  • Daina Augaitis; Kathleen Ritter: Rebecca Belmore: Rising to the Occasion Vancouver Art Gallery, Vancouver 2008, ISBN 978-1-895442-68-7 .
  • Jessica Bradley; Jolene Rickard; Scot Watson: Rebecca Belmore: Fountain , Kamloops Art Gallery, Morris and Helen Belkin Art Gallery, Biennale di Venezia, Morris and Helen Belkin Art Gallery, Vancouver 2005, ISBN 978-0-88865-634-6 .
  • Lori Blondeau, et al : On the Fightin 'Side of Me: Lori Blondeau and Lynne Bell in conversation with Rebecca Belmore. 'Fuse Magazine', Vol. 28, No. 1. pp. 25-34.
  • Jessica Bradley: "Rebecca Belmore: Art and the Object of Performance." in 'Caught in the Act: An Anthology of Performance Art by Canadian Women' Tanya Mars AND Johanna Householder, Eds. Toronto: YYZ Books, 2004.
  • Robert Enright. The Poetics of History: An Interview with Rebecca Belmore , 'Border Crossings', Vol. 24, No. 3, 2005. * Marilyn Burgess: The Imagined Geographies of Rebecca Belmore. 'Parachute', No. 93, Jan / Feb / March, 1999. pp. 12-20.
  • Barbara Fisher: 33 pieces. Mississuaga: Blackwood Gallery, 2001.
  • Richard William Hill: "It's Very Interesting if it Works: In Conversation with Rebecca Belmore and James Luna." Fuse Magazine, Vol. 24, No. 1, 2001. pp. 28-33.
  • Built on Running Water: Rebecca Belmore's Fountain. 'Fuse Magazine'. Vol. 29, No. 1, 2006. pp. 49-51.
  • Lee-Anne Martin: "The Waters of Venice: Rebecca Belmore at the 51st Biennale." In 'Canadian Art', Volume 22, 2005.
  • Ingrid Mayrhofer: Ephemeral Monuments: The Interventions of Rebecca Belmore and César Saez. SAW Gallery, Ottawa 2006.
  • Charlotte and James Juna, Townsend-Gault: Rebecca Belmore: The Named and the Unnamed . Morris and Helen Belkin Art Gallery, Vancouver 2002, ISBN 978-0-88865-628-5 .
  • Robin Laurence: Racing Against History: The Art of Rebecca Belmore . 'Border Crossing Magazine', Volume 21, Number 3. Figures and Faces (# 83). Pages 42-48., Canada August 2002.

further reading

  • Florene Belmore; Lee-Ann Martin: Wawa-na-wang-ong: Rebecca Belmore . Contemporary Art Gallery, Vancouver 1994, ISBN 0-920751-49-0 .

Web pages

Individual evidence

  1. ↑ Daina Augaitis, Kathleen Ritter: Rebecca Belmore. Rising to the occasion . Vancouver Art Gallery, Vancouver 2008, ISBN 978-1-895442-68-7 (English).
  2. ↑ " Rebecca Belmore: Facing the monumental " , Art Gallery of Ontario , the 2018th
  3. ^ Rebecca Belmore on her gradual trek eastward and life as an artist. May 17, 2018, accessed April 11, 2019 .
  4. ↑ 1980s - Alumni Profiles - Our Alumni - Alumni - OCAD U. Accessed April 11, 2019 (English).
  5. ^ Daina, and Kathleen Ritter: Rebecca Belmore: Rising to the Occasion . Vancouver Art Gallery, Vancouver 2008, ISBN 978-1-895442-68-7 , pp. 14 .
  6. ↑ Rebecca Belmore. Accessed April 11, 2019 .
  7. ^ Rebecca Belmore Wants Us to Listen to the Land. Accessed April 11, 2019 .
  8. ↑ Jessica Bradley; Johanna Householder: Caught in the Act: An Anthology of Performance Art by Canadian Women . YYZ Books, 2006, ISBN 0-920397-84-0 .
  9. ↑ REBECCA BELMORE. Accessed April 11, 2019 .
  10. ^ The Waters of Venice: Rebecca Belmore at the 51st Biennale. In: Canadian Art. Retrieved April 11, 2019 .
  11. ^ Rebecca Belmore: Performing Power. (PDF) Jolene Rickard, accessed on April 11, 2019 .
  12. ↑ Leah Sandals: Rebecca Belmore to Make Major Human Rights Museum Piece. January 24, 2014, accessed April 11, 2019 .
  13. ^ The story behind Rebecca Belmore's "I quit" performance. May 18, 2018, accessed April 11, 2019 .
  14. ↑ Kevin Griffin: Rebecca Belmore Takes Legal Case to The Street . Ed .: The Vancouver Sun. Vancouver September 15, 2010, p. en .
  15. ↑ Rebecca Belmore. Accessed April 11, 2019 .
  16. ↑ Janet Catherine Berlo, Ruth B Phillips: Native North American art . Oxford University Press, Oxford; New York 1998, ISBN 978-0-19-284266-4 ( worldcat.org [accessed April 11, 2019]).
  17. ↑ Rebecca Belmore, 'consistently provocative' visual artist, wins $ 50K Gershon Iskowitz Prize. November 16, 2016, accessed April 11, 2019 .
personal data
SURNAME Belmore, Rebecca
BRIEF DESCRIPTION interdisciplinary Anishinabe artist
DATE OF BIRTH March 22, 1960
PLACE OF BIRTH Upsala , Ontario , Canada