Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation view, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail. Photo by Nina Ross.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail. Photo by Nina Ross.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Monash University
MADA Gallery, Melbourne.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation view, Linden Art Prize '14,
Linden New Art, Photo courtesy of Linden New Art.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation view, Linden Art Prize '14,
Linden New Art, Photo by David Marks.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation view, Linden Art Prize '14,
Linden New Art, Photo by David Marks.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
Roberta Joy Rich, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, 2013.
Multi-channel video installation with wooden table, perspex, identity
documents and four chairs. HD video performance, duration 18'30" on
46" HD screen, with four SD videos, duration 8'00" on four 12" monitors
with four wireless headphones. Installation detail, Linden Art Prize '14,
Linden New Art, Photo by David Marks.
Final studio component of the MFA research project, ‘Oorspronklik’.
Ek is in ‘n Hoek Vasgekeur/I’m Cornered, (2013) re-stages Adrian Piper's video installation Cornered (1988). The appropriation endeavors to re-visit questions posed by Piper, surrounding the contradictory nature of categorical definitions of ‘race.’ Discriminated at times from both ‘white’ and ‘black’ communities, the artist similarly draws from her autobiographical position as a primary source of research, exploring how her South African and Australian identity could pass, fail and/or speak. This is attempted through the self-assigned task to perform inter-contextual identity positions (learning Afrikaans) as a means of potentially subverting a fixed identity, an ongoing theme in the artist’s practice. Through a process of translation and performance, Ek is in ‘n Hoek Vasgekeur/I’m Cornered, presents the artist’s experiences of learning and inter-contextual performativity, alongside a family heirloom that displays the artist’s mother and father’s identity documents; institutional evidence of the problematic language of ‘race’ categorisation that continues to inform identity construction.
13 - 15
<
>
© Copyright Roberta Joy Rich 2022. All images by and courtesy of the artist unless otherwise credited.