Interview with Senzo Njabulo Shabangu (Part Two): Towards a Concrete Concept

Senzo. I met good artists at the classes offered by the Johannesburg Art Gallery, one guy Blessing Ngubeni I also met him there. He works here now. So we were kept busy drawing each other, doing portraits. I enjoyed it very much…

Mmutle. This is in 2006

Senzo. Yes, it was nice because I did not know… I never went to a place where they could offer a free art lesson, also free art material. I mean I just went there without anything so they gave us pencils and whatnot, we were seating and just drawing. Hanging around a group of artists it was also …blood to me, I felt like, very very good. For the first time in Jo’burg I was making friends and I was around people I could relate to. Sometimes we would seat and do portraits. I don’t know if I can jump to that place but what happened I found out now about those art classes they used to call them Taxi Art Classes. But back then I did not know that those art classes were funded by David Krut.

Mmutle. So you only learnt about this later…?

Senzo. I found out maybe two years ago or so. I was just chatting to David about that period of my life and he said ‘I was actually the one who funded the materials’

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Interview with Senzo Njabulo Shabangu (Part One): Today, Tomorrow, Everyday

Mmutle. What was your experience of the, of the first solo exhibition that you had …and when was it?

Senzo. My first solo exhibition I called it I ‘Naked Pressure’ it was in 2010 if I am not mistaken, because I met David Krut, no 2011, I met David Krut uhm, uhm after I won the David Koloane Award in 2010. Trhough the award I acquired a working space here at the Bag Factory for three months. I was working with three international artists, one from Holland and one from Germany. For the first time uBaba koloane, I call him Doctor Koloane, Pat Mautloa, these people were here, they were around me and they were mentoring me, being there molding me. In the morning before we worked they will have coffee with me and they will talk to me. They gave me the opportunity to explore what I wanted to explore.… Read More Interview with Senzo Njabulo Shabangu (Part One): Today, Tomorrow, Everyday

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Andrew Tshidiso Motjuoadi (Ico-Graph)

1935, May 13: Andrew 1Tshidiso Motjuoadi is Born in Limpopo (formerly Known as Northern Transvaal) 1935 – 1960: 2there is a scarcity of documentation around the artist life during this period. 1961 – 1962: Studies in Durban and University of the North 1963: First one man show in Johannesburg 1964: Motjuoadi is commissioned to paint… Read More Andrew Tshidiso Motjuoadi (Ico-Graph)

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Macaque [(selfie)] Effect

The Macaque is the ‘other’, he cannot speak for himself he is spoken for. Worse thing, he might not even care. For all that we may take a light guess: he had fun and that was that. He has moved on. On the other hand the equipment belonged to David Slater without whose equipment the jolly loving Crested Black Macaque Monkey would not have been captured. Fairness has it that credit must be given where it is due – Macaque or Slater? My verdict: I think both made the image possible. … Read More Macaque [(selfie)] Effect

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Neo Resistance Art and its Fallacy (final edit!)

Now as I jot this article that artwork has evolved from being an aggravating work praised as brave and avant-garde to a vandalized artwork following two men who entered the gallery, apparently total strangers to each other, and took turns defacing the painting. While the white man crossed both the face and the genitalia with red paint the black man smeared black paint both on the face, part of the right side of the figure and the genitalia area. While the black man who vandalized the artwork after the white man was the first to be arrested the white man almost fled the gallery uncaught if it weren’t for the press that pointed out he should be also be arrested. I shall stop here with this description of the work and the incident surrounding its defacing lest I lose sight of what I am concerned with here. But I wish to venture that the artwork now has attained a state of a performance piece with the added actions of the two men. Though defaced, it has not lost its gravity as offensive and vulgar. It has now being relegated to a pseudo avant-garde by bourgeois standards but far from kitsch considering its genesis and the new meaning it is pregnant with.… Read More Neo Resistance Art and its Fallacy (final edit!)

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