On the 30 August 2018 at the Pretoria Art Museum I had the privilege of interviewing Lebohang Khanye on her solo exhibition Mohlokomedi wa Torai. The body of work that she has produced for this project gives two matriarchical perspective of her family narratives from where Ke Sa Le Teng her SASOL New Signatures winning video installation left of
Mohlokomedi wa Tora
»On the 30 August 2018 at the Pretoria Art Museum I had the privilege of interviewing Lebohang Kganye on her solo exhibition Mohlokomedi wa Torai. The body of work that she has produced for this project gives two matriarchical perspective of her family narratives from where Ke Sa Le Teng her SASOL New Signatures winning video installation left of.
Mmutle Arthur Kgokong: Thank you Lebohang for agreeing to talk to me once more. Uhm, it is a very interesting exhibition from the winning work last year. When I first saw that it is an installation I was struck by the fact that you have included your old man in this exhibition to give us that familiar element in your work. I just wanna ask you, you know, how has it been for your to create a new body of work for this solo project? Having won the prize last year, how did you produce this work?
Lebohang Kganye: I think it is daunting, I think even when I won it, I have been thinking about working in a particular way or experimenting with something very particular which was installation. I have already done it but I have never really resolved it, I have been doing it for the animation pieces and for the photography element uhm people should experience the work in that was, but I have never resolved it how to… because it was temporal, because it was softer cardboard. How to make it stand. Or be more permanent if you can say so was not really resolved. So this was great because it allowed me the time I had a good budget to kinda figure out and experiment with that. So I think it was great because I already had an idea of what I wanted to do was an installation, even though I wanted it to move, and this and this and that, but it was just such a great starting point and I am extremely excited about how this part of it is resolved
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Mohlokomedi wa Tora
»Lebohang Kganye, SASOL New Signatures 2017 overall winner’s exhibition is up at the Pretoria Art Museum. Her 2017 winning work was groundbreaking in terms of the animation approach she used to make the video installation in telling her family’s journey to Johannesburg. The pop-up book animation effect was pervasive in twofold. While on the one hand it nuanced story telling by way of mimicking leafing through a book during reading it also recalled a stage play mode of representation. Now the results of her winnings which has to be translated into a solo project exhibitions are ready to be perused by all and sundry.
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And now that Seluj ‘oH you have alighted out of my nest into the embrace of steadfast warrior; Whisked away by consequences and cemented by conservative ideals in this world that has imbibed all and sundry.
From first sip of your cup; to quench the far away ending of a quest to look yonder for another love; its befitting to gesture that it was dreamy cool.
Oh Seluj; you whose eyes sang of hope and resilience for the dreams that swelled in your delicate bosom, yet in your fragility you gesticulated that even the fragile can dream.
For a while there I came three sixty five complete. In your breath. In your acknowledgement of my soul Seluj ‘oH.
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Itshitshi is a brave interrogation of muti killings in our society. Above all else it is also a reflection on the nature of greed prevalent in us with regards to being successful as a people at any cost, let alone running businesses. It is an exquisitely made film with a balanced palette for its production design that does justice to the script it rests on. Nhlakanipho Mapumulo will win your heart as an animatedly soft empathetic Njomane and both Dawn Thandeka King and Nomsa Bthelezi respectively hold their positions as great talent this country has ever ushered to our screens. Yes you guessed it right I loved this film
Τhere are works of art that braves to tackle contemporary issues with verve and hold water while doing so and there are those that do exactly that within the confines of a small canvas scale, as far as cinematographic time accorded them is concerned, and manage to just get it perfect, leaving no loose ends and nuancing the demise or triumphs of the human spirit for us to think about. Thapelo Motloung’s Itshitshi (2017) fits snugly into the second paradigm∇
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The LIT TVC 100 Packages then turns your home into a connected hub both in entertainment and productivity, concretely. Gradually Naspers through both DStv Now and Showmax has made its way into the OTT environment and Telkom LIT TVC 100 will provide one of the ecosystems within which it can thrive amongst other OTT’S. Make no mistake that the other internet service providers will hanker into the OTT’s application platforming over time; perhaps by platforming rather than erecting a new OTT service similar to Showmax or Netflix for that matter. It is a matter of how they will find their way there which will be of interest to those who care about the future of television. This is the new frontier that is opening up and Telkom dictates the way through data provision and platforming.
»More than a decade ago Telkom wanted to enter into the pay television foray. At that time the Soccer World Cup 2010 was just around the corner and there were pay television companies being set up to benefit from that sporting spectacle such as ODM (On Digital Media) and Sentech. Some of these licensed companies efforts would never see the light of the day despite the acquisition of licenses. Such were Telkom and Sentech’s efforts. Naspers Multichoice’s DStv established in 1995, was dominating the space as it is presently and sports coverage was, as it is today, its bargaining chip. Its future was secured«
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The Imposter is an interesting proposal and risky too if one keeps in mind what the contemporary television viewer is bombarded with these days. The screen and its multitudes of channel feeds is awashed by prison break dramas and prison soap operas or soap operas that goes into a rogue mode when a principal character goes to prison and the audiences loyalty is split between the old saying ‘crime does not pay’ and the empathy solicited on behalf of the incarcerated character; to be set free
»The consoling thing about Ferguson’s new drama series The Imposter is that the actor producer couple is not appearing in the series. Unless if a cameo appearance is planned down the line of the series airings. It would be great if the present status quo is kept as it is so that we can enjoy their craft from behind the scenes as they erect a stage for other talent to flex their muscles in the burgeoning South African television coliseum•
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if I was to introduce you to a delicious dish and you exclaimed with the expression ‘Mmmmm’ I would congenially nod with you the last roll of that ‘m’ because in silent agreement you and I would be bowing to a magnificence (magnifique) of that dish. Thus here the expression ‘Mmmmm’ would be pointedly expressing our delight, and allow me to say, resonance.
>>> Of all the expressions that I have encountered to date on the social media networks the expression ‘Mmmmmm’ is an odd encounter. In my limited experience ‘Mmmmmm’ together with its variant expressions which are en-vogue is very illusive in its intent whether read in context or out of context. You could blame me for being insensible, however I for one have always considered this expression closer to the palate than the ear drum. Unless if somehow my wires have become undone ever since hitting the big four zero•
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