
Creative Presence
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Creative Presence analyzes how artists' purposeful selection of materials, media forms, and place-making in the exhibitions and performances of their work reveals the limits of conventional International Relations theories, methods, and debates on sovereignty and participates in Indigenous reclamations of lands and waterways in world politics. Brian Jungen's sculpture series Prototypes for New Understanding and Rebecca Belmore's filmed performances Vigil and Fountain exhibit how colonial power has been imagined, visualized and institutionalized historically and in contemporary settler visual culture. These contemporary visual and performance artworks by Indigenous artists that name the political violence of settler colonial claims to exclusive territorial sovereignty introduce possibilities for decolonizing audiences' sensibilities and political imagination of lands and waterways.
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Content
Chapter 2. Creative Presence: Tracing the Coloniality of Global Power and Decolonial World Politics Through the Materials, Media Forms and Place-Making of Contemporary Artwork
Chapter 3. Unsettling International Relations: Decolonizing International Relations Theories of Global Power and Settler Colonial Claims to Exclusive Sovereignty
Chapter 4. Decolonizing Settler Colonial Art Institutions: Brian Jungen's Visual Exhibition Methods of Prototypes for New Understanding
Chapter 5. Materializing Indigenous Self-Determination: Brian Jungen's Materials and Sculptural Methods in Prototypes for New Understanding
Chapter 6. The Scenario of Naming Power: Remembering Traumas of Canadian Settler Colonialism in Rebecca Belmore's filmed performance installation The Named and the Unnamed
Chapter 7. International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore's Fountain at the Venice Bienna
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