» Sometime in 2005 the exhibition Take Me To The River (TMTTR) took place at the Pretoria Art Museum¹. That exhibition featured a group of international artists amongst them South African artists, Nicholas Hlobo, Sharlene Khan and Churchill Madikida (now Songezile Madikida). At that time the Genesis II exhibition was at its infancy. I recall how at the opening of that exhibition on the evening of Wednesday 25 May Together with some of the Education Assistants (Museum Volunteers) of that time, Thami Msimango, Nthabiseng Rachel Montshiwa and Mxolisi Xaba, we looked at what the TMTTR as a project had achieved; which was the group exhibition as well as the incorporation of art made by learners from Gatang Secondary School. This left us with a satisfied feeling that the learners eventually when they arrived that evening to for the opening would see where art can take them and where it eventually belonged when an artists is established; when their work became heritage.
SAKHILE MOLESHE: The Final Call
Released: December 21, 2018
label: Imilozi Music
Number of tracks: 15
Here is an album that challenges monotonous conventions while proving that an album does not have to be one thing; it can be many things held together by artistic innovation and creativity.
In this essay my aim is to discuss the Biography of the Jack Purcell sneakers. It will emerge that there is no way that the story can be told without considering the space within which the shoe has been bought and the processes that leads to its acquisition.
»When I first received the invitation to this exhibition I thought I would perhaps see an array of paraphernalia of what amuses artists when they are at home chilled and not occupied with the uncertain nature of the visual art object. After all can one really work all day long without rest? As an artist, unless you are employed in a dimly lit sweatshop, there must be something else that occupies you during your art practice on any given day. I walked away from my viewing of the exhibition fortified in the idea that artists wrestle all day long with making art; even when they are suppose to be taking a breather«
‘the state of being away from a place or person’
At this time of the year people make resolutions to do better in the New Year. For a guy who does not make resolutions I think it is great if the resolutions that they have made the previous year have been realized even if it is partial. Whichever way you look at it this is the time of reflection. A time of taking stock of things. I am not a guy who shoulder New Year’s resolutions very well simply because I just think resolutions can be a strict way of living one’s life. Since in the past when I made resolutions I tended to drop them quarter-way in the New Year after a stern concentration of seeing them through for a spell. Look, I acknowledge that there are moments when one just makes a decision to do something with their life and the pursuit it naturally. For some people it comes without effort. Like those artists who work day and night, throw consignment all over Gauteng in hope, topped with some spunk, to withstand the torrents until someone gives a big break.
The UNISA’s 2016 4th Year Exhibition
» An academic exhibition for fourth year students is an important milestone in the career of the art student. Simultaneously a fourth year art exhibition is a grand gesture from the institution itself to say to art patrons that this is our achievement over the past four years or so; This is the direction that art might take. Of course the ‘direction’ will solely rely on the art students themselves should they pursue their art practice further beyond academia because there is a vast difference between making art for marks and making art to say something within the annals of the fine arts fraternity mindful of commerce and socio-political environments. Even without care to these preoccupations for the artist to make art and contribute to human culture by continuously evolving the art object towards certain possibilities or ‘direction’, to retain the set tone above, it is a resounding milestone in their art practice «
The first draft of Intraparadox: Interview with Nelmarie du Preez which I conducted on 26 September 2016 is complete. It has been long overdue but I have completed it finally ! Over the next couple of weeks I will be readying it for blogging. It has been a difficult period writerly to emerge from the 47 minutes of this interview because of other pending projects as well professional workload elsewhere. But as always it has been a great pleasure to delve into the body of work that was featured in the SASOL NEW Signatures Solo exhibition 2016 through the perspective of the interview. Du Preez comes across surprisingly as spontaneous and a humorous as a person. To a greater extent she is clinical in her execution of her technologically driven work. You can look forward to a discovery of GUI (Graphic User Interface) and the discourse between herself and this phenomenon that gives birth to her idea about art and technology. May we find the artist.
Subject – Intraparadox: Interview with Nelmarie du Preez
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Τhere is a moment in Elinye Ithuba wherein Dumisani (Blondie Makhene) and Hlengiwe (Slindile Nodangala)are reminiscing about the past and laments the time that Dumisani missed while he was in jail and music is playing in the background. Jovially he asks her who is the musician playing this good music and Hlengiwe responds that it is Blondie, surprisingly Dumisani exclaims that who would’ve thought that Blondie would still be singing after all these years∇
There are works that simply repeat what we have seen before by just changing the context within which their narratives are rooted and then push the narratives towards us. One, supposedly a discerning viewer, can forgive such narratives for their repetitive swing if they are adorned with strong points in their construction. If the work is revisionist in its take of the subject matter concerned then the discerning viewer is in for a treat. If there is a lack in this regard but the work makes up for it in its actors performances or its production design which may represent a strong center point in the delivery of the narrative, the viewer – discerning or lay, may be forgiving as far as the failure of the work to advance story telling is concerned. The Ring, which falls in the latter spectrum is rescued by an ensemble of its actors as it tries to impress¶
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