- Feb 11, 2011 -
How cool is that? The swiss artist TIKA is in town… don’t you love the pic of her? HA HA:::: Check her out in /A WORD OF ART gallery in Cape Town
- Nov 23, 2010 -
ATHI-PATRA RUGA / THE BODY IN QUESTION IV: LA MAMMA MORTA
THE BODY IN QUESTION IV: LA MAMMA MORTA
IN 2008, RUGA WAS COMMISSIONED BY THE HEBBEL AM UFER THEATRES TO DO A SERIES OF PERFORMANCES, WHICH GAVE BIRTH TO THE BODY IN QUESTION SERIES.
“I HAD BEEN TOYING WITH THE IDEA OF MAKING A MEMENTO MORI FOR A DEAD MOTHER WITHOUT BEING SMARMY, ‘EK SÊ’. I SUMMONED THE SKILLS OF GREEK BARITONE ALEX ALEXIOU TO COLLABORATE IN RESCORING AND PERFORMING THE ARIA LA MAMMA MORTA.
I THEN WENT AHEAD TO CREATE THE CHARACTER, MODELING IT ON A FAMOUS MARIA CALLAS PORTRAIT.
MY ORIGINAL GOAL WAS TO USE THE RECURRING THEME OF DISEMBODIMENT, TOGETHER WITH EMBODIED IMAGES OF DISLOCATION TO CREATE AN ACCESSIBLE WORK THAT INTERROGATES IDEAS OF HIV/AIDS TO EVINCE THE CONSTRUCT OF HYPER-FEMININITY.
THE WORK IS DEDICATED TO MY MOTHER AND SISTER.”
THE EXHIBITION WILL BE OPENED WITH A PERFORMANCE.
OPENS WED NOV.24
18:00
- Nov 9, 2010 -
GERALD MACHONA / NDIRI BHABHA / I AM A BARBER
A PERSON’S HAIR CAN FORM PART OF ONES IDENTITY. HOW WE SHAPE, CUT AND STYLE HELPS IN DEFINING WHO WE ARE AND HOW OTHER PEOPLE IN SOCIETY PERCEIVE US.
NDIRI BHABHA (I AM A BARBER), LOOKS AT THE AN OCCUPATION THAT IS POPULARLY PERFORMED BY IMMIGRANTS. THIS PERFORMANCE IS A PART OF A LARGER BODY OF WORK THAT ATTEMPTS TO RE-IMAGINE MIGRANT WORKERS FROM THE CONTINENT IN A DIFFERENT LIGHT.
OPENS THU NOV.11 18:00 @ YOUNGBLACKMAN
- Sep 28, 2010 -
ATHI-PATRA RUGA
TEETH ARE THE ONLY BONES THAT SHOW… (I love that… awesome!!!)
OPENING: WED 06 OCT 18H00, WHATIFTHEWORLD / GALLERY 208 ALBERT ROAD WOODSTOCK CAPE TOWN
Whatiftheworld is pleased to present the first installment of the ‘Ilulwane Saga’ by Athi-Patra Ruga, entitled Teeth are the only bones that show…
In this exhibition Athi-Patra Ruga elaborates on an already dense personal iconography informed by influences as diverse as pop culture, theology, performance, ritual, and sociopolitical concerns. He presents us with visual propositions that challenge definitions of masculinity and highlight contemporary South African issues around sexuality, wealth, race and consumerism as a framework for identity. Mixing beach balls, Lamborghinis, French baroque, BEE, Cape Flats gangsters, Louis Vuitton, and Xhosa initiation rites, Ruga blends these seemingly disparate elements into his portrait of a complex and fluid society.
Go check it out, whatiftheworld is always an inspiration! x
- Sep 17, 2010 -
Remember Araminta de Clermont? Nope, then read this. She will exhibit what I spoke with her about.
Araminta de Clermont “A New Beginning”
29th September – 30th October, 70 Loop Street @ Joao Ferreira Gallery
This body of work, photographed between July 2009 and August 2010, focuses on recently initiated young Xhosa and Sotho men living in the townships surrounding Cape Town.
With their families often having found themselves displaced from rural, historically beleaguered areas like The Eastern Cape, or Lesotho, (usually for economic reasons) these young men, living in the marginalized sprawls of urban shack-lands, are holding onto their own traditions and precious cultures.
For the majority of these young men, the initiation process is a watershed, an apparent opportunity to start a fresh new way of being.
For up to 6 months after his time in the bush, a newly initiated man will wear clothing which denotes his status as a new man, showing that he has left childhood behind, has gone through the circumcision process (with all the accompanying challenges) and has entered a new phase of life, maturity, and responsibility.
This outward demonstration of an inner change is a hugely significant part of the process, and a great source of pride. “It is a great honour to wear these clothes”, said most of the men photographed. Such outfits also serve to remind the new men to behave befittingly and respectfully in this period of transition.
Subscribing to certain rigorous guidelines, (though the styles of the components are left to the individual’s personal tastes and influences), such attire is instantly recognizable within a particular culture. “New” Xhosa men, or Amakrwala, will wear blazers, buttoned up shirts, and hats. Trousers and shoes must be smart. “New” Sotho men, or Makolwane, will wear traditional blankets, hats, and beads.
Older men who see the newly initiated man wearing such an outfit will often stop him in the street to congratulate him on his new standing. Unknown people will engage with him on a completely different level than if he were dressed in his normal clothes. As these suits demand immediate respect, so too do the men wearing them.
These photographs also raise questions about the validity of a new start, when seen in the context of the surroundings in which these young men are raised.
For what may happen when the environments have not changed as the man has?
- Sep 10, 2010 -
exhibition opening @ YOUNGBLACKMAN: Charles Maggs “Eye” on Wednesday, 15. September 2010 6pm
“IT HAD STARTED WITHOUT WARNING ONE DAY. THE CHANGE HAD BEEN ACUTE. IT LEFT HIM IMOBILISED IN AN UNFAMILIAR PLACE WITHOUT THE MEANS TO ESCAPE. HE HAD TRIED STRATEGIES TO DISRUPT THE FEELINGS BUT THESE HAD LOST THEIR EFFECT OVER TIME.
THE SENSATION COULD OVERTAKE HIM AT ANY POINT.”