» 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«
‘a small lateral or terminal protuberance on the stem of a plant that may develop into a flower, leaf, or shoot’
I am still cranky from being away from the wordmachianikon for most of this year but the writerly bug juice beckons; the writing about nothing or everything or something gropes around. There is just a myriad of experiences that flood my psyche. To log into one is to gingerly watch every step of where I am going because everything is so muggle lest I get lost in the byways. So perhaps I should use a delicate scalpel to slice off this little tale…
‘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.
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
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.
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.
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∇