Here are some photographs of Rebecca Belmore’s installation for Friend or Foe at Or Gallery (curated by Darrin Martens). This video installation includes documentation from two different performances by Belmore. In each case, video from each performance is projected by miniature projectors upon small surfaces set within a miniature sculptural setting that uses mirrors and a set of chess pieces upon a pedestal. The pedestal is topped with frosted glass and conceals a projector that also projects video footage onto the flat surface of the pedestal.
The two performances represented in this piece via their video documentation are Victorious and Against Glass. Victorious was performed in 2008 as part of the HIVE 2 festival in Vancouver, BC. Victorious presented us with a constructed personage – the iconic image of Queen Victoria – as a literal construction. Belmore’s Queen Victoria starts with a seated aboriginal female body, Daina Warren (Montana Slavey Cree Nation). Belmore uses strips of newspaper and honey to build up the throne and period dress of Queen Victoria around Warren’s own form. Musical selections that played during the performance included the British national anthem, God Save the Queen, which also plays as part of this new video installation piece at Or Gallery.
Belmore worked with performer Donald Morin in her performance Against Glass, which took place at University of British Columbia’s Museum of Anthropology (MOA) in Vancouver, BC. Here is Darrin Martens’ description of Against Glass from the 1-page Or Gallery publication Friend or Foe: Rebecca Belmore:
“…Belmore methodically created a structure out of found, recycled, and natural materials that pressed up against the glass wall of the museum forming an enclosure for Morin. The act of creating a performance within the context of MOA’s Great Hall and the landscape setting signalled a challenge to the space that the museum inhabits and the experience that it evokes for its visitors. The idyllic scene, as viewed from the Great Hall, is interrupted and fractured by Belmore’s performance, the structure and the encased aboriginal man. This compartment was inhabited by Morin for nearly an hour while Belmore completed the structure, cleaned the area of unwanted debris and vacated the site. When Belmore returned, Morin left the structure; they systematically dismantled the enclosure, loaded the materials into Belmore’s truck and drove away. The complex performance raises intriguing questions related to aboriginal access and representation within MOA, the relationship between artist(s) and audience members within a performative situation, and the space for aboriginal performance within a Western museum context. The built structure, from the inside referenced a museum-like vitrine — an encasement for an object meant to be viewed.”
I’ve been thinking about this video installation work and the relationship between the objects, the projected images, and the original performances. I did not get to see the performances that make up the video part of this new installation. Does that matter? I suspect that it does. Everything that I know about the videos in this piece comes from reading the brief (but good) gallery guide that was available to take home from the exhibition, or from listing to curator Darrin Martens give a brief public talk about the exhibition. Chess is a metaphor for political maneuvering. With these videos placed on the same field, at approximately the same scale as the chess pieces, does that make the videos (and the original performances) function as another type of chess piece? Which side is which, and which side are the videos on? One miniature projection features Belmore’s co-performer from her performance Against Glass. The second miniature projector plays footage from Victorious. The larger projection that plays on the flat surface (under all the other objects) is documentation footage from Against Glass. And take a close look at the chess pieces… black and white, and all “Indians.” If a viewer does not know anything about these previous performances, what can the viewer make of this work? A tiny projection of a woman building (worshipping?) another woman sits on a screen amongst a set of chess pieces. A fuzzy projection of a man stands amongst chess pieces on the other side of the small tabletop. The same woman builds a lean-to out of junk in a projection that forms the base for all of this action. So many projected images are going on at one time that it is hard to know where to look at any given moment. Your attention is pulled from one video to another, trying to figure out the relationships between each. Is it about poverty, necessity, homelessness, and temporary shelter? Is it about how we work to build up other people into powerful icons? Are we all chess pieces on a board fabricated by homelessness and poverty in the shadow of wealth held in perpetuity by others?
It’s an ingenious installation, both in terms the technical aspects of the projections and in terms of that question about what to do with performance documentation in order to make it stand on its own. This seems to be something that Belmore is particularly good at working out. See my entry on her video installation The Named and the Unnamed for another example of Belmore’s transformation of performance documentation into an independent work.
It’s been two months since I saw Friend or Foe. Obviously, I am still thinking about it. I’ll KEEP thinking about it. I’m really interested in hearing from anyone who got to see either of the two performances (Against Glass or Victorious). I know you’re out there. What was it like to be in the audience? What did you think while it was going on? What did you think in the weeks/months afterward?