Artist
Rebecca Belmore

© Rebecca Belmore, Manifesto, TIME TIME TIME, FADO, 2003. Photo Paul Couillard.

Lac Seul First Nation / Canada
www.rebeccabelmore.com

A member of the Lac Seul First Nation (Anishinaabe), Rebecca Belmore is an internationally recognized multidisciplinary artist. Rooted in the political and social realities of Indigenous communities, Belmore’s works make evocative connections between bodies, land and language. Solo exhibitions include: Facing the Monumental, Art Gallery of Ontario (2018); Rebecca Belmore: Kwe, Justina M.Barnicke Gallery (2014); The Named and The Unnamed, Morris and Helen Belkin Art Gallery, (2002). In 1991, Ayumee-aawach Oomama-mowan: Speaking to Their Mother was created at the Banff Centre for the Arts with a national tour in 1992 and subsequent gatherings took place across the Canada in 1996, 2008, and 2014.

In 2017, Belmore participated in documenta 14 with Biinjiya’iing Onji (From Inside) in Athens, Greece and Kassel, Germany. In 2005, at the Venice Biennale, she exhibited Fountain in the Canadian Pavilion. Other group exhibitions include: Landmarks2017 / Reperes2017, Partners in Art (2017); Land Spirit Power, National Gallery of Canada (1992); and the IV Bienal de la Habana (1991).

Belmore received the Jack and Doris Shadbolt Foundation’s VIVA Award (2004), the Hnatyshyn Visual Arts Award (2009), the Governor General’s Award in Visual and Media Arts (2013), and the Gershon Iskowitz Prize (2016). She received honourary doctorates from OCAD University (2005), Emily Carr University of Art + Design (2018), and NSCAD University (2019).

Performance
Manifesto by Rebecca Belmore

FADO continues its 12-month duration performance art series, TIME TIME TIME, with Manifesto, a new work by Canadian artist Rebecca Belmore.

Sitting in a storefront window where she can be viewed and heard from the street, Belmore will spend twelve hours writing and speaking. At the end of twelve hours, she will organize her writing into a neat pile and invite people to an ‘opening’—the exhibition of her writing.

Belmore says of this piece: “I do not enjoy writing about my own work. But I like writing. I speak about my work in front of others. Revisiting sites. Places. Looking again at my ideas. Hearing the sounds made by my voice trying to remember time. ‘Manifesto’ is a place to hear the sound of my own writing. It is a private inner place made public. I like writing. But never real writing like a writer. Just my hand and my head working to mark down and speak beyond my body…. I view this experience as a process where I have the time and space to make my thoughts into an object. The result of this performance work will be the writing, not to be read but to exhibited as an object.”

For the past ten years, Rebecca Belmore has been exploring issues of identity and place through installation and site-specific works as well as performance art pieces. She has performed in numerous festivals, conferences, public galleries, artist-run centres and unofficial spaces for a wide range of audiences. Some venues include the Havana Biennale (1991), two performance biennials in Québec City (Premiere biennale d’art actuel de Québec, 1990; Rencontre internationale d’art performance de Québec, 1994), the American Indian Art Institute (1995), the Banff Centre (1997), 7a*11d Performance Art Festival (1997) and a tour of Germany organized by Boris Nieslony in 1998.

Image (above) © Rebecca Belmore, Manifesto, 1999. Photo by Paul Couillard.

Series
TIME TIME TIME

TIME TIME TIME was a 12-month series of durational performance art works by artists from the UK, US and Canada, presented in Toronto and curated by Paul Couillard. TIME TIME TIME presented works ranging from 12 hours to several days. Ritual, endurance, attention span, community-building, altering states of consciousness, boundaries between public and private, narrative, linearity and transformation were explored in the series by artists presenting their compelling, urgent visions of ourselves and our world at the end of the 20th Century.

January: Linda Montano
February: Alastair MacLennan
March: Rebecca Belmore
April: Tanya Mars
June: Roddy Hunter
June: Shannon Cochrane
August: Frank Moore
September: Otiose (Ailith Roberts and John Dummett)
October: Jennifer Nelson and Glen Redpath
November: Jenny Strauss
December: Clive Robertson
December: Paul Couillard



Curatorial Statement by Paul Couillard

‘Performance art’ is a difficult beast. Not many people really know the term, and even less could say what it means. For those ‘in the know’, the definitions vary widely: some definitions are very personal, while others are tied to very precise and limited historical references.

My own approach to understanding or defining the term ‘performance art’ is ‘radical’ – in the sense of looking to the ‘roots’ of the practices grouped under the term ‘performance’. Performance has four basic formal elements: time, space, the body of the performer(s), and the relationship between performer and audience. In broad terms, performance includes the various established forms of ‘theatre’ (in all its genres from recitation to puppetry to melodrama and so forth); ‘dance’ (from ballet to tap to ballroom); and ‘music’ (classical, a cappella, rap…). I use the term ‘performance art’ to name works that engage the four elements of performance, but use one or more of them in ways that are unfamiliar, unexpected, or initially unrecognizable within the cultural context that they are presented.

For the past 15 years, I have been creating and producing works that I call performance art. In calling them performance art, I am suggesting that the ‘project’ of these works, or at least of my involvement with them, has been to explore the basic elements of performance, to experiment, to research—often, to push at what appear to be the established boundaries of form. To create new forms. To look at forms outside of my personal cultural currency. To be consciously a misfit.

The premise of TIME TIME TIME is to look at the element of time or duration through performance art.

We have very odd ways of understanding time. This is apparent in how we mark time in units that can seem relatively ‘objective’ (‘days’ and ‘years’, determined by the earth’s relationship to the sun – and useful for things like planting crops or knowing when it will be dark or light) or ‘subjective’ (e.g. ‘the millennium’), depending on what we know or imagine about how these measurements came to be. Is a second meant to be a heartbeat? Why are there 60 of them in a minute? Why 24 hours in a day? Why 12 months in a year?

Here in North America at the end of the 20th Century, the measurement of time seems to press heavily upon us. Our attention spans have been perhaps sharpened but undoubtedly shortened by technologies of our own creation, while an artificial row of zeroes may be poised to wreak havoc on the electronic infrastructures of what we call ‘civilization’ and possibly on our collective psyches as well. It seems an appropriate time to look at ‘time’, to return to our ‘roots’ in time.

TIME TIME TIME is a series of 12 works by different artists, presented in Toronto over the course of a year (1999) – approximately one a month – with each work lasting a minimum of 12 continuous hours.

Twelve continuous hours is one full sweep of the face of a clock, a commonly understood time marker that surely holds many conscious and unconscious cultural connotations. Half the length of a day, twelve hours is generally long enough to encompass at least one transition of light—from ‘day’ to ‘night’ or vice versa. It is longer than the average work period, but within the realm of many types of shift work. Twelve hours is certainly a far longer time period than that normally associated with either spectatorship or entertainment, but not an unheard-of length of time for engagement in a task, or for many forms of teaching, community activity, or spiritual practice.

Twelve hours is also a long enough period to raise several practical bodily considerations for the artist in terms of going to the bathroom, drinking, eating and sleeping. Artistry is, in many ways, a response to restrictions; it is the agency that one carves out of the confrontations and resistances one encounters in the struggle to create or express. With but a single formal restriction (that the piece must be a minimum of 12 continuous hours in length), TIME TIME TIME offers the audience a chance to look at how 12 sets of artists solve these ‘practical’ problems that time brings about. How do these artists turn 12 or more hours into a performance? How do they invite an audience to engage with this work? And what clues does this provide to us about how these artists understand what performance is, what time is, and how meaning is produced through time?

This sampling of work is in no way meant to be taken as a definitive survey of the durational performance work being produced right now. Although I attempted to bring together a range of artists and approaches, the curatorial process was limited by both financial restrictions and my own ignorance. Every day I learn of other artists and works that I would have liked to have seen included here. Nevertheless, I am extremely proud of the calibre of work in this series—by artists from several cultural backgrounds, of varying ages, and at various stages of their careers. They are teaching me a great deal about the mysteries of time. It is a rare privilege to be able to observe and participate so closely in the process of these generous, creative souls—and I am forever transformed by their work.

Series Purple

An ode to FADO's history, Series Purple is composed of a collection of purple fragrance materials dating back to the Roman Empire. Dense, intense, and meandering, this fragrance tells us non-linear stories.

Top Notes

huckleberry, violet

Middle Notes

cassis, lilac, heliotrope

Base Notes

orris root, purple sage, labdanum