樱桃河:河流交汇的地方

Mary Ellen Strom, S. Doyle
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引用次数: 1

摘要

摘要:2018年8月,多媒体展览《樱桃河,河流交汇的地方》在蒙大拿州三福克斯的密苏里水源州立公园向观众展出。早在欧洲人越过大西洋入侵之前,密苏里河的源头,或三条支流的汇合处,是北部平原印第安人的十字路口。这个基于地点的项目名为Cherry River,由艺术家Mary Ellen Strom和美国原住民研究员Shane Doyle共同创作,由蒙大拿西南部的一个艺术文化合作组织Mountain Time Arts制作。为了分析这个遗址,“山地时光艺术”召集了形形色色的参与者。他们的研究问题变成了,怎样才能改变一条河的名字?经过六个月的研究,这个项目集中在将东加拉廷河的名字改回土著乌鸦的名字樱桃河上。樱桃河这个名字是为了纪念和描述生长在河岸上的无数的樱桃树,这些树为野生动物提供了食物,也尊重了土著历史、流水生态和西北地区的河岸系统。北美对土著人民权利的关注与Okwui Enwezor在世界各地的许多开创性举措相一致。这种图像、诗歌和第一人称叙事的组合是一种实践的例子,它与恩韦佐的非殖民化行动的遗产进行了对话,并在几个开创性的展览中创新地使用策展策略,以面对“深刻的历史变化和全球转型时期当代艺术的复杂困境”。虽然Enwezor既不是樱桃河项目的灵感来源,也不是樱桃河项目的灵感来源,但在这个反殖民项目中,Enwezor的未来是显而易见的,它恢复了过去,重新想象了现在。
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Cherry River: Where the Rivers Mix
Abstract:The multimedia exhibition Cherry River, Where the Rivers Mix was presented to audiences in August 2018 at the Missouri Headwaters State Park in Three Forks, Montana. Long before the European invasion across the Atlantic, the headwaters, or the confluence of three forks of the Missouri River, was a crossroads for Northern Plains Indians. The place-based project, Cherry River, created by artist Mary Ellen Strom and Native American researcher Shane Doyle, was produced by Mountain Time Arts, a collaborative arts and culture organization in southwestern Montana. In an effort to analyze the site, Mountain Time Arts convened a diverse group of participants. Their research question became, What does it take to change the name of a river? After six months of research, the project centered on the act of changing the name of the East Gallatin River back to the Indigenous Crow name Cherry River. The name Cherry River honors and describes the numerous chokecherry trees growing on the river's banks that provide sustenance for wildlife and venerates Indigenous history, the ecology of running water, and riparian systems in the Northwest. The rise of interest in the rights of Indigenous people in North America aligns with many of Okwui Enwezor's groundbreaking initiatives around the world. This assemblage of images, poetry, and first-person narratives is an example of the kind of practice in dialogue with the legacy of Enwezor's decolonial actions and innovative use of curatorial strategies in several groundbreaking exhibitions to confront the "complex predicaments of contemporary art in a time of profound historical change and global transformation." While Enwezor was neither an explicit source of inspiration nor invoked for the Cherry River project, the futures of Enwezor are palpable in this anticolonial project restoring the past to reimagine the present.
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13
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