Abstract

This article unpacks the stakes of Rebecca Belmore’s Fountain, a video installation that represented Canada at the 2005 Venice Biennale. The artwork consisted of a video installation based on a performance she gave in Vancouver. The work engaged water from a perspective informed by the artist’s Indigenous identity and heritage, framing water as a site of struggle and violence in a manner informed by settler colonialism on Turtle Island but in a way that resonates with crisis of global water inequality and hydrocolonialism today. This article unpacks the stakes of this biennial artwork, relating it to the artist’s long interest in water and Indigenous rights, the influence of Ana Mendieta’s performance work on the piece, as well as global efforts to reimagine water outside regimes of state and corporate control. It joins a growing literature on reimagining water in the current period of crisis.

摘要

这篇文章揭示了丽贝卡·贝尔莫尔的喷泉，这是一个在 2005 年威尼斯双年展上代表加拿大的视频装置。这件艺术品包括一个基于她在温哥华的表演的视频装置。该作品从艺术家的土著身份和遗产的角度出发，以海龟岛上定居者殖民主义的方式将水视为斗争和暴力的场所，但以一种与当今全球水不平等和水殖民主义危机产生共鸣的方式. 本文揭示了这件双年展作品的利害关系，将其与艺术家对水和土著权利的长期兴趣、安娜·门迪埃塔的表演作品对作品的影响以及在国家和公司控制制度之外重新构想水的全球努力联系起来。