Intraparadox: Interview with Lebohang Kganye

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.

Mohlokomedi wa Tora Installation 1

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

Mohlokomedi wa Tora

Mohlokomedi wa Tora Installation 2

»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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Itshitshi

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 Imposter

»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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SWAZIGOLD, Tlale Makhene

» Tlale Makhene’s new album has hit the sound sphere. I had a chance of listening to it. Verdict? lets just say I was transported…

  1. Ntfonjeni

Outlines the musicianship that will take you through this offering.

  1. Labantfu

Piano leads, Makhene’s percussion is pervasive as the melodious chorus of Max Hoba builds. Nathi Shongwe’s Keys raises the curtains.  Wait for the guitar of Erik Paliani to chip in and the Tenor Saxophone of Ayo Solanke to exchange with it and what you’ve got is a promise of things to come in Swazigold.

  1. Mahamba To Chilomoni

This track settles us within the album. Sabu Satsha is audible at the opening supporting the lyrics. But as the song takes it second turn Nathi Shongwe reintroduce the medoc vocals led by Max Hoba. Makhene is there entranced and on fire as one of the female vocalist goes into a Busi Mhlongo mode.

  1. Lelive

This is a horn base track thanks to the antics of Ayo Solanke on Tenor and Soprano Saxophone. With Max Hoba leading the meditative vocals. Makhene percussion and Satsha’s drums interjects periodically.

  1. Mswati

Shongwe and the vocalists pays homage to the King with Makhene creating a background canvas upon which all is invited to play.  Ayo Solanke’s horn chips in further down this track. Not aggressively so as not to upset this balanced orchestra.

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Mr. Robot

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{P}erhaps you are one of a few people who at a certain point in your uneventful life you received an anonymous call or email from an unknown person claiming that they know what you have been up to as far as your online activity is concerned or in your other affairs that in one way or the other, somehow, connect to the information highway. If you have been around that corner before you will know that the thought of it raises hair you never knew you had on your backside

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Film Review: Kwaito or Nothing

(♦♦♦−−)

{I} could not help it but think of Zulu Boy while watching this flick. Menzi Biyela cuts his teeth deeper into a fully fledged film. Unlike the Capfin advertisements he is synonymous known for here his acting talent surfaces. He stars as Mondli the taxi driver from Umlazi. He is brought to Gauteng by Baba Tshabalala a.k.a Mshengo (Emmanuel Nkosi) to work for him in the city with the last of his taxi’s

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