The image included on the cover of this journal is from Tahltan artist Peter Morin’s performance, Salt. Washing. Beuys. Fat. Royalty. Copper. Canadian Club. John. Locked. Bear. Drum. Circle. The image portrays Morin being suffocated by a rye-soaked British flag while kneeling in front of the Macdonald statue in Kingston. This action, one of many taken by Morin during the performance, evoked the continuing erasure of Indigenous cultures in Canada and the stifling of Indigenous presence by assimilative forces. Kneeling in front of Macdonald, Morin connected ongoing Indigenous suffering to the Prime Minister and, more broadly, to the construction of Canada as a British colonial nation. Despite the pain of the action pictured here, through further performative actions Morin repurposed the statue into a pirate broadcasting station. Morin invited audience members to hold copper pipes to the statue’s base. He then spoke and sang into the pipes, allowing his voice to be brought up through the pipes and through the statue into the air and across the universe. Morin’s words and song communicated resilience and sovereignty to Indigenous peoples across Turtle Island and to the ancestors. In this action, and throughout his performance, Morin briefly removed the power of the colonial symbols of the statue and Prime Minister, and instead used them for his own voice. Through this repurposing of colonial iconography, Morin truly spoke back to John A Macdonald.
展开▼
机译：该期刊封面上包括的图像来自塔兰艺术家Peter Morin的表现，盐。洗涤。 Beuys。胖的。版税。铜。加拿大俱乐部。约翰。锁定。熊。鼓。圆圈。图像描绘了一个由黑麦浸泡的英国国旗窒息的莫林，同时在金斯敦的麦克唐纳雕像前跪在麦克唐纳雕像。这一行动是Morin在绩效期间的许多人之一，唤起了加拿大土着文化的持续擦除，并通过吸收力扼杀土着存在。跪在麦克唐纳，莫琳联系着持续的土着痛苦，遭受了总理，更广泛地建设加拿大作为英国殖民地国家。尽管这里的动作疼痛，但通过进一步的表现行动，Morin将雕像重新定位到海盗广播电台。 Morin邀请观众将铜管拿到雕像的基础。然后他谈到并唱着管道，让他的声音通过管道和穿过雕像来进入空中和宇宙。莫琳的言语和歌曲沟通了乌龟岛和祖先的土着人民的复苏和主权。在这一行动中，在整个表现中，Morin短暂地消除了雕像和总理的殖民象征的力量，而是为自己的声音使用它们。通过这种殖民地雕像，Morin真正发言回John A Macdonald。
展开▼
