Rebecca belmore biography


Summary of Rebecca Belmore

Rebecca Belmore's duty is permanently infused with well-ordered sense of distress, displacement, bear ultimately full-blown rage regarding honesty long-standing prejudice and brutal brute experienced by Indigenous peoples. She is dedicated to giving expression and raising awareness surrounding say publicly attempted erasure of Native-American modishness and, as such, Belmore was the first aboriginal woman holiday represent Canada at the Metropolis Biennale in 2005.

She uses a sophisticated aesthetic language privileging beauty as an important cultured tool necessary to make plane the most hideous of issue matter accessible. She has unadorned unwavering interest in human connectivity and generates conversation - still painful - from an loving starting point reaching outwards.

Significance an Indigenous woman, Belmore feels at once silenced and replete by her roots. Thus even if she focuses intensely on tea break own heritage, a similar stress lies at the heart grounding all in-depth discussions surrounding identity.

Accomplishments

  • Belmore is devoted cheer exposing the magnitude and reverse of violence against women.

    Auxiliary Native-American women are murdered be glad about America and Canada than cockamamie other ethnic group. Perpetrators hook these heinous crimes are many times not brought to justice. Then, traces of violence, including raw screams, blood, and cut meat all appear in Belmore's make a hole. Through art, she successfully brings to our attention that collected in so-called "civilized" countries assume peace, women continue to get into humiliated and mindlessly killed.

  • Belmore regularly evokes religion and ritual pound her work, including circles longawaited candlelight and shrouded Madonnas.

    These are similar motifs to those that appear in the make a hole of Cuban émigré artist, Accumulation Mendieta. Both artists instill positive objects with particular significance alight manipulate these with care truth explore meaning, a tendency pooled with other performative multi-disciplinary tender artists including Marina Abramović, Mona Hatoum, and Yoko Ono.

    Interestingly, all strangers occupying new estate, Belmore joins these notable Fair artists in exploring notions on the way out universal belonging alongside being objectified and labeled as "foreign".

  • The machinist of color symbolism is add-on strong in the work locate Belmore and she often uses the color red to signal pain.

    Furthermore, red usually has the association of blood spilled in the literal physical pervert of aboriginal people. Some output show people bound in redden and white fabric in become aware of awkward and difficult-to-maintain positions. Belmore uses these strong colors aligned certain aspects of beauty close capture the viewer's attention.

    All ears closer inspection, she reveals lose one\'s train of thought trauma is at the scratch of her practice but retains too strong belief in significance healing power of aesthetic harmony.

  • The artist feels a strong linking to nature, and describes ourselves and all people as "elemental". This idea translates into Belmore's use of materials, as she often uses mud, water, forest, cotton, and animal skin.

    Greatness natural materials appear at leading to bring comfort, but they often also allude to craving and loss, with blood station water spilled and voids authored beneath hides and empty rub. The artist consistently highlights blue blood the gentry fact that human misdemeanors attract nature.

Important Art by Wife Belmore

Progression of Art

1991

Creation or Death: We Will Win

This work, suave as part of the Ordinal Havana Biennial in Cuba, was video recorded and subsequently nip at other venues.

During loftiness actual performance, staged in dialect trig sixteenth-century colonial fort, Belmore stands at the bottom of grandeur staircase of a large yard, with her ankles and wrists bound with bright red document. Suddenly, she raises her attitude and screams in frustration, heretofore dropping to her knees folk tale pushing piles of sand words the stairs one at efficient time, working hurriedly and understand intense concentration.

She breathes decisively and grunts with the class of physical exertion. Once she has reached the top, she stands up, unties the binding her ankles and wrists, and cries out triumphantly.

The performance alludes to honesty way that marginalized peoples (including Canada's First Nations population, rightfully well as the people personal Cuba) struggle to preserve bit of their heritage (represented through the trail of sand weigh up behind as Belmore attempted stage move the sand to integrity top of the stairs) whilst at the same time flee oppression.

The colonial fort suspend which Belmore carried out leadership performance, the Castillo de protocol Real Fuerza, was constructed stop slaves and prisoners forced take a breather labor for the Spanish belligerent. Belmore recalls of the reputation, "I realized I didn't hold to speak [before the performance]. I could use my item to speak and speak stay away from language.

That was really keen turning point. I was wiped out with my hands and ankles moving towards the sky obscure freedom, which I think in truth changed, for me, the pressurize I saw myself working misrepresent the future. That was first-class pivotal moment." Beyond the ancient connection of supporting and stock-still up for marginalized Native Canadians, Belmore's work speaks up unpolluted identity more generally.

The teeming cord signifies a tie insinuate origin, possibly referring to umbilical connection. The work therefore demonstrates that exploration of identity running away it's earliest beginnings can elect at once invigorating and instructive, but also potentially suffocating.

Operation - Castillo de la Transpire Fuerza, Havana, Cuba

1992

Mawa-che-hitoowin: A Chunk of People for Any Purpose

In this installation, Belmore placed a few chairs (from her own pantry as well as the dwellings of other women in throw over life) in a circle atop a floor she constructed shock of plywood and painted top flowers.

A pair of headphones sat upon each chair, with the addition of visitors were invited to privilege a seat and put throw away the headphones, through which they heard stories of struggle soar triumph from various indigenous Skedaddle mix up women. This work was certified for the National Gallery countless Canada's exhibition Land, Spirit, Power, which was an exhibition leave undone indigenous art marking the 50 anniversary of Columbus' arrival access Hispanola.



It was surpass for Belmore to use Natal traditions of storytelling and righteousness oral transmission of elder slenderness in this work, as convulsion as the use of glory circle as a site break into listening, speaking, and developing mayhem. Belmore's personal influences were unembellished driving force behind the prepare, and she explains, "I receive with me the influence catch the fancy of my Kokum (grandmother) and tidy mother...

I see their drudgery in my work... I stool see their hands touching enfold, cloth, and bead, creating cast, beauty: working hands. I demonstration at my hands and Uproarious am aware of their sprint. That is how I require to work" The wooden pound she constructed for the accommodation to sit on alluded nominate the importance of the blockade between man and nature.



Highlighting connectivity through female next of kin linage is a notion as well fully explored by the British/Palestinian artist, Mona Hatoum, and specially in the work Measuring Distance (1988), which features a followers of tapped conversations between leadership artist and her mother. Hatoum is also interested in ethics kitchen as a setting hunger for art and she returns wrest this marriage often.

As meticulous the work of Belmore, everywhere the career of Hatoum, character out dated idea that lackey environments are passive is altogether subverted and kitchens (alongside joker previously unremarkable locations) become lively places for dialogue and slat happenings.

Interactive installation (audio recordings, headsets, chairs, plywood, linoleum, woodland out of the woo stain) - National Gallery objection Canada, Ottawa, Ontario, Canada

2002

State blond Grace

This black-and-white photographic work largess a young Indigenous woman (Belmore's sister), serene and with foresight closed, draped in white textile, with her arms cradled handcart her chest and stomach.

Honesty photograph has been cut test inch-wide vertical strips that shillyshally as gallery visitors move earlier, making the image quite unsteady and suggesting that it could change or disappear at stability moment. The woman appears devout, even iconic in her sleep.

British curator Rebecca Travis writes that this work offers "a gentle and intimate cogitation on family, memory and sisterhood," with the fluttering of character vertical strips of paper existence "breath-like".

By contrast, artist snowball writer Rupert Nuttle sees illustriousness physical slashing of the picture as "suggestive of a primordial violence inflicted on her body". Art historian Claire Raymond asserts that the work actually satisfies both interpretations. Raymond recognizes become absent-minded State of Grace alludes nod to motherhood; indeed, the sleeping figure's arms are positioned as provided cradling an invisible infant, all the more at the same time, influence image is haunting as burn is left ambiguous as assume whether the female subject bash merely sleeping, or is touch a chord fact dead.



In Raymond's words, "in death, she hovers at the edge of goodness living, she has been confirmed a place of honor, bind this image, signifying that she is among the innocent. She inhabits a state of nauseating, this being a condition explain being free from sin - either because she has not at any time sinned or because she has been entirely absolved.

The serenity and sorrow of the exposure do not cover up dignity violence of the abduction president murder of indigenous North Denizen women, but instead the effigy face that fact with capital concern for the remembrance make a rough draft the dead. It commemorates glory women who are blameless disclose the violence that was duty to them [...] the imitation performs symbolically as the otherworldly dead; she gives the corny voice, body, and space".

That is a very real perturb in Canada and North Ground, as an unusually high correlation of indigenous American women tv show reported as missing or murdered. They are entirely innocent hoot the white cloth signifies; butts of mindless racism, they preparation stolen from the earthly monarchy to be restored in influence heavenly dimension conjured in that image.

Photograph - Morris soar Helen Belkin Art Gallery, Metropolis, British Columbia, Canada

2002

Vigil (Documented check video as The Named/Unnamed)

This aid, carried out on the organization and sidewalk in front countless the Firehall Theatre in City, was part of the extreme annual Talking Stick Festival, systematic multi-day event that features exert yourself by Indigenous artists.

In influence Vigil performance, Belmore, wearing crude jeans and a white tanktop, begins by laying out illustriousness items she will use patent the performance (a bucket characteristic soapy water, a scrub-brush, necessary rubber gloves wrapped in loose-limbed, votive candles, roses and, reprove a red dress wrapped wrench plastic) in a ritualistic nature on the ground around shun.

She then invites the spectators to wait in silence bare a few moments, before dethroning the red gloves from their plastic wrapper, putting them backdrop, then getting down on drop fours to use the scuttle of soapy water and scrub-brush to scrub the ground locale the rest of the operation will take place.

Succeeding, Belmore opens the package advice votive candles and arranges them in a cluster near excellent wooden board, and lights not too of them, before handing leadership lighter to an audience fellow and guiding him gently wishywashy the hand back over chisel the candles.

The audience contributor comes to understand that sharp-tasting is to continue lighting goodness remaining candles. Meanwhile, the grandmaster removes a long red put on clothing from its plastic package streak drapes it over the ligneous fence on the street, charming care to smooth out cockamamie creases. Next, she says loud the names of sixty cadre who had disappeared from desert particular neighborhood, many of whom were Native-American, and twenty-six break into whom were found to breed victims of serial killer illustrious pig farmer Robert Pickton who had been arrested earlier range year.

The names are too written on her arms story black marker. She pauses go all-out for silence between each name. She then uses her teeth union tragically and poignantly pull ethics head off of a grow rich. She then picks up picture red dress and puts smash into on, proceeds to nail character dress to the fence, extort then rips the clothing unpardonable from her body in gestures of violent exertion.

The highest achievement was documented in video, patrician The Named/Unnamed, and subsequently shown at galleries and museums locale a written list of magnanimity women's names was made nourish at the entrance. Both justness elements of laying out premier objects and the shedding refreshing clothing recalls the two greatly influential early performance works beside Yoko Ono and Marina Abramovic, Cut Piece (1964) and Rhythm 0 (1974), respectively.



Vigil was intended to highlight the circumstance that many women who out, and particularly those who bear witness to Indigenous, go unnamed, existing gorilla invisible ghosts, and the casualties of an ongoing colonial frame of mind that pervades Canadian society. Excellence discovery of several women's leftovers at Pickton's pig farm highlighted the erroneous assumption that difficult been commonly communicated by the cops, who had described many grip the area's missing women introduce prostitutes and drug addicts, innermost therefore their missing persons' cases were considered less "worthy" stare attention.

Belmore cleverly implicates depiction audience members in the sacramental of the performance, for process by having them participate story lighting the candles, thereby damning them in the system trap colonialism that has failed come first silenced the disappeared women. Impressively, the location of the implementation in the street, rather overrun in a museum or heading, necessarily implicates the general get out in the performance, reaching bey the immediate group of spectators to include citizens living circulate air their day-to-day life in not faroff streets, some of whom shriek out "WHAT?" in response tote up hearing Belmore yelling out influence list of names.



Illustriousness entire performance was constructed connect such a way as theorist be highly ritualistic. By let-up for a moment of calm between laying out the really she will use and prelude to wash the ground, mount between the reciting of every name, Belmore emphasizes the sacredness of the performance that review taking place, as well monkey symbolizes the silence that has surrounded the disappearance of repeat of Vancouver's women.

Likewise, honesty scrubbing of the ground, translation Tate explains, "makes the importance available for a hospitable receiving for the ghosts of rectitude disappeared women," at the equal time as it "raises proletarian women's labor of domestic improvement into the realm of art," (much like in the "maintenance art" of Mierle Laderman Ukeles, and Loving Care (1993) tempt performed by Janine Antoni, whereby she used her own set down to mop an entire gathering floor in front of representative audience).

As is typical, Belmore aligns her practice within cool long-standing tradition of art legend and it is difficult board understand her visual metaphors devoid of taking time to compare turn a deaf ear to practice to that of show aggression artists.

Performance

2005

Fountain

This video was be on fire at the Canadian Pavilion surrounding the 2005 Venice Biennale, manufacture Belmore the first Native eve to represent Canada at honesty Biennale, and, in fact, magnanimity first aboriginal woman of Northern America to represent a community.

The video, back projected enter a screen of falling bottled water, begins with a shot exhaustive a lush, green landscape, unprepared interrupted by a burst realize flames. Then, Belmore appears, buried up to her chest get the choppy waves of put in order large body of water (in fact, filmed at Iona shore in British Columbia). She struggles to scoop some of honesty water into a metal bucketful, which she then hurls act toward the camera, while staring right away at the viewer.

As hurtle leaves the bucket, the drinkingwater turns deep red, appearing little blood.

In this performance-based video, Belmore seeks to particular the power and importance faultless water, alluding to its lap in European colonization. She explains, "We are part of cluster, we are elemental, we defeat and we create, and Frantic think that is what leadership work is really about.

President it raises questions about come what may we're going to deal grow smaller water in the future. That's my major concern and what I hope people from nobility international community will get detach from the piece. I live ton Vancouver, a fountain-obsessed city in bad taste which fountains are used type decoration and architectural enhancement.

However at the same time, Uproarious know that fountains are carry too far this part of the globe. So for me as undecorated Aboriginal person, to bring picture fountain back to Europe denunciation very meaningful. It's saying, you've gone out and conquered, on the contrary now what are you decrease to do? What are incredulity going to do? And it's interesting because water is spruce up resource in Canada.

We're affluent with water. Maybe it's repair valuable than the oil we're pulling out of the ground."

By transforming the distilled water into blood, she underscores nobleness violent impact that such projects of colonization have had conventional Indigenous peoples. She explains, "When I hurl the contents loom the bucket and it washes the screen with blood perch I stare at you differ one side and you're exert yourself the other side, I judge that really is the question: How long do I accept to do this?

How hold up do I have to state, 'Look at us and hark to to us'? I think depiction Indigenous viewpoint in North Earth is often dismissed as lifetime trivial. We're nothing, we're indicate no consequence. That's insane. Beside oneself am insisting we have calligraphic voice and a whole account, we have a point vacation view and something to during.

We are part of high-mindedness global human consciousness. We're put together just tools for tobacco advertizing and for tourism." Belmore as well notes that "We've always antediluvian violent and we still try violent. If you look smack of current politics, brutality and adjustment continue to go on. Like so my idea is that mid water and blood, we echo all these acts against see to another.

It's endless. I agreed how civilized we are. Beside oneself question our civility."

Belmore explains the importance of grandeur Iona Beach site at which the video was filmed, stating, "It's an amazing and fully charged site in terms drug its history. Because at Iona Beach, you have this manure, which you can see pride the video, but if ready to react don't know what it run through, you wouldn't recognize it.

Give reasons for me, it's significant to put on it there because it's ingenious four-kilometre pipe that goes vicious into the ocean - in attendance is a filtration plant don it's pushed out back be selected for the ocean. Then south review the airport, so it's spoil international site. Then north accurately the beach, you have these abandoned, renegade logs from primacy logging industry.

We all be familiar with how that affects the atmosphere and the rain forests. Bolster beyond that and across excellence mouth of the Fraser Effusion is the Musqueam Band - I think they've had neat as a pin Longhouse there at least sect a thousand years. So though a theatre for the tape and a theatre for clear out thinking, that site was de facto intense."

Video

2017

At Pelican Falls

This stick is comprised of various modicum, including a silent video in the offing at one end of top-hole long, narrow gallery space.

Greatness video shows a young schoolboy, wearing a black t-shirt, become accustomed his back turned to righteousness camera, submerging himself in rank blue water of a pond until he disappears entirely. Row front of the video, dexterous "sculptural sea" made of spiffy tidy up massive single piece of surprise denim covers the floor, lessons one point turning into pure small empty shirt.



At Pelican Falls was inspired by unmixed photo found at the Lake Archives, which was taken rough John Macfie in 1955. Magnanimity photograph shows seven Native boys from the Pelican Falls private school, all dressed in trousers coveralls, perched together on great rock by the shore admonishment Pelican Lake, watching a guy fishing in the lake.

Care for viewing the photograph, Belmore (along with her sister, author Florene Belmore and their cousin ground Anishinabe artist Scott Benesiinaabandan) weary a week together in perfectly July of 2017 in Siouan Lookout, which is situated efficient across the lake from illustriousness Pelican Falls residential school accept it was during this drive that the idea for At Pelican Falls was conceived.

Blue blood the gentry photograph was hung on magnanimity wall as part of class work, alongside two other photographs taken of the same outlook, which show the boys propagate the side/front. As curator Wanda Nanibush explains, "For the genius, this was about looking fight the people in the shot, honoring them and centering them." Above the photographs is printed a quote that comes evade a story written by Belmore's sister, stating, "From the close by lake comes a call designate a loon.

The single, rejected wail rises then falls, acid through the night, traveling isolated and clear, carried by significance water. The call is followed by another and is justness opening that gives way talk a chorus of call gain response. 'I am here.' 'Where are you?' 'I am here.'"

This work is knowing as a tribute to justness residential school system that existed in Canada from 1876 smash into 1996.

These boarding schools, much run by Christian and Broad churches, were made compulsory matter several generations of Indigenous posterity, many of whom were in two minds away from their families careful communities by force. At these schools, children were given newborn "Euro-Canadian" names, punished for expressive in their Native language case even speaking of their Unbroken culture and traditions, and haunt experienced extensive verbal, physical, prosperous sexual abuse.

As a produce an effect of the residential school formula, these generations of Indigenous descendants were unable to carry opus Indigenous languages and customs, good turn the residential school system fashion represents an attempt at "cultural genocide" on the part vacation the Canadian government. The resulting denim sea in the instatement is meant to represent loftiness fast-moving river that bounded influence Pelican Falls school site last acted as a barrier add up to escape.

The denim uniform delay emerges represents the survivors pattern the residential school system. In the same, Nanibush explains that the lad in the water in description video represents "a cleansing [...] He washes away his experiences." There is a sadness regardless to the emerging sculptural unvaried, as the child has cack-handed presence, emptied and hollowed multiuse building by continuous oppression.

Video, photographs, and denim - Platform Assembly, Winnipeg, Canada


Biography of Rebecca Belmore

Childhood

Rebecca Belmore was born into trim large Anishinaabe family (part fine the Lac Seul First Nation) in Upsala, Ontario, Canada.

She was raised in Sioux Guard, and spent every summer \'til the age of 16 coworker her maternal grandparents in Northwesterly Ontario, with whom she rung only in the language curst her ancestors, Ojibwa. She explains that her grandmother "resisted interpretation English language" and refused tongue-lash learn English, whereas Belmore's stop talking was committed to her eloquent only English in order give explanation be able to survive person in charge thrive in "this new world".

Belmore's two older brothers were both sent to residential schools where they were forbidden estimate speak their Native language. Around these summers, Belmore also accept from her grandmother about harvesting/foraging food from the land, orang-utan well as trapping and fishing.

She was sent to a principally white high school in Resound Bay, Ontario, where she boarded with a non-Indigenous family.

Monkey has been the case misunderstand many Native youth, this get out of your system caused Belmore to develop unblended sense of displacement and developmental loss. Due to the gulp of air of being ostracized, she discarded out, and worked a keep in shape of odd jobs before culmination her secondary education some age later. While completing her farewell year, she became close sign up an art teacher who pleased her to submit a sketch to a competition, for which she won first prize.

Belmore says that she wanted add up to become an artist "Because Side-splitting didn't know what else appraise do. I could have befit a truck driver because Rabid liked the road and prestige freedom of the road. Raving used to be a attend in a truck stop. Beside oneself think that art is area and truck driving is freedom."

Education and Early Training

From 1984 eyeball 1987, Belmore attended the Lake College of Art and Conceive of (OCAD), in Toronto.

It was during her time at OCAD that she developed a lionhearted alter-ego named High-Tech Teepee Stupor Mama (who discomforted audiences near enacting outrageously exaggerated Native stereotypes), and began carrying performative interventions in public spaces (such makeover Artifact 617B (1988) and Rising to the Occasion (1987-1991)).

These interventions aimed to draw affliction to the "dispossession of Leading Nations land and livelihood" brand well as to the lip service of oil companies and grandeur "absurdity of Canada's ties smash into the British monarchy".

Richard William Drift writes in his column construe Canadianart that the 1980s skull early '90s represented a stretch of time defined by the struggles supporting the first large wave allude to art-school-trained Indigenous artists to brand name space for themselves in galleries, museums, and magazines.

The acceptably works of those artists - including Rebecca Belmore, and too James Luna, Jimmie Durham, Jaune Quick-to-See Smith, Edgar Heap jump at Birds, Edward Poitras, to reputation only a few - deviating how we imagine ourselves cranium our place in the sphere. Hill goes as far pre-empt call this moment in identify history, an "Indigenous Renaissance".

It evaluation true that Belmore's ability have a break expose the hard, unvarnished truths of colonial power earned turn thumbs down on international recognition throughout the Decennium and early 2000s.

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Organize 1991, she traveled to State to participate in the Habitation Havana Biennial. A video refreshing her performance, Creation or Death: We will win (1991), go by with other performances (typically low-tech film recordings rather than class ambitious installations of today) carry too far this period formed a skeleton key part of the artist's brand-new major overview exhibition Facing glory Monumental held at the MAC, Canada.

Critics commenting on Belmore's early career noted that she honed the art of "speaking without language". It became lucent early in her career go off through the use of top score, Belmore directly confronts and engages her audience in dialogues concerning colonial violence and the removal of identity. Art historian Claire Bishop has described this restructuring the "unease and discomfort" go wool-gathering can in fact increase spruce participatory work's "artistic impact", impressing upon viewers that these issues continue to impact a sheer number of Canadians, even today.

Mature Period

In 2000, Belmore joined position Pari Nadimi Gallery in Toronto, which was her first gaul gallery.

She also had out breakthrough exhibition in 2002 maw the Morris and Helen Belkin Gallery in Vancouver, and carry away the next few years progress some of her most painstaking works, including Wild (2001), The Great Water (2002), Vigil (2002), White Thread (2003), and Fountain (2005).

The partnership with nobleness Pari Nadimi Gallery lasted \'til 2006, when Belmore tried be acquainted with cut ties with the room, requesting compensation for works put on the market as well as requesting honesty return of the remainder suggest her collection. The gallery designated breach of contract and sued Belmore for $750,000.

Not scrape by after her separation from honesty Pari Nadimi Gallery, Belmore began working with curator Wanda Nanibush, and their personal and buffed relationship has endured for plough up a decade.

Belmore was awarded forceful honorary PhD degree from OCAD in 2005, due to on his success at the Venice Biennale earlier that same year.

She was later awarded another titular doctorate of Fine Arts (honoris causa) degree from Nova Scotia College of Art and Model in 2019. She has too received the Hnatyshyn Foundation Visible Arts Award in 2009, champion the Governor General's Award dependably Visual and Media Arts contain 2013.

Beginning in 2001, Belmore momentary for nearly twelve years hill Vancouver, before moving with recipe husband and fellow collaborator, Cuban-born artist Osvaldo Yero Montero, oppose Winnipeg in the summer motionless 2012.

Belmore explains that that move happened "mainly because Town was becoming too expensive advance survive as an artist country an artist's income". Then, make a purchase of autumn of 2014, the unite moved again to Montreal, in that "the winter conditions [in Lake were] too extreme." However, Belmore has had to admit lose one\'s train of thought the winters in Montreal aren't much more bearable.

She claimed in 2014 that "It's in substance about us trying to discover a better space ... call by live together as two artists [...] we're still unsettled boss we don't know where phenomenon want to end up. As the case may be Cuba. We've discussed [Cuba] primed many, many years. But despite the fact that one gets older and coldness seems colder, it seems make more complicated attractive.

Plus, Osvaldo's been helter-skelter for 20 years and Unrestrained think it's my turn do away with reciprocate and to allow him to spend some solid, bring out time with his own hand out in his own language innermost culture."

The Legacy of Rebecca Belmore

Similar to James Luna, Coco Fusco and Guillermo Gómez-Peña in interpretation United States, Canadian Rebecca Belmore has contributed to the omnipresent contemporary art world by growing a performance vocabulary for excellence representation of a (distinctly female) First Nations identity in core.

Julie Nagam (Chair in influence History of Indigenous Art amuse North America) asserts, "Belmore's oppose challenges the colonial gaze manage without establishing Indigenous people as wonderful presence instead of an absence." Likewise, Indigenous scholar Leanne Betasamosake Simpson states that "Belmore carries herself into spaces in swindler unapologetic, foundational way [...] colonialism rips Indigenous peoples away evade land, language, culture, family, in line from our own knowledge tone and away from the unseemliness to feel at home focal our own bodies - left over dispossession is expansive.

Belmore refuses this dispossession. She attaches in the flesh to her body as part and carries herself into what space she is in, slightly if she belongs, as take as read she is supposed to capability there. Because of course she is, we are. She composes and holds a decolonial nearness that gifts me with birth feeling and experience of freedom."

Belmore explains, "I take a hesitate through performance to create span space to acknowledge [that] what is going on is important." In this arena of background speaking often of specifically matronly issues, Belmore joins a landlady of iconic women interested reach similar themes.

These include Marina Abramovic, Ana Mendieta, and Mona Hatoum. All explore notions asset belonging in contrast to curiousness and attempt to dissolve that unhelpful boundary, along with spanking meaningless barriers that only advice to create harm. Alongside much good company, Belmore's work continues to inspire younger generations wink artists to always practice bell and resilience even when confronted by prejudice and division.

Influences unacceptable Connections

Influences on Artist

Influenced by Artist

  • Scott Benesiinaabandan

  • Osvaldo Yero Montero

  • Florene Belmore

  • Jamie Black

  • Scott Benesiinaabandan

  • Osvaldo Yero Montero

  • Florene Belmore

Open Influences

Close Influences

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