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The exhibition casts light on transitional contemporary South Africa, defined by the history of colonialism and apartheid in a fractious global context of violence, radicalism and neo-colonialism.
The exhibition takes its name from a new work in the form of a major interactive installation, a portfolio of two-colour lithographic prints, and a two-channel film. The first truck-mounted water cannon was used for riot control in s Nazi Germany.
It was re-appropriated by the apartheid security police adding dye to the water stream. This image of purple stained people fleeing police has become iconographic of the mass liberation movement against apartheid and persists throughout the global-south.
The installation makes use of a series of shadow sculptures and timed, interactive lighting drawing parallels between the contexts: Amongst Men considers the figure of Imam Abdullah Haron, the intersecting histories of Islam and the resistance to colonialism and apartheid in South Africa.
It is accompanied by a haunting sound element: Imam had 27 bruises on his body, but she said it seemed the one side of his face was crying, and the other smiling, laughing almost.
The sculpture presents a cast of the body of the artist, set in M1 plaster and marble, wrapped in accordance with Muslim burial tradition.
Haron-Masoet was six years old when her father was killed. Her direct memory of her father is through the eyes of a child.
The artwork is made up of a hand-blown light bulb, suspended at child height, with lettering protruding from either side of its surface. The final major body of work within the show is Soft Vengeance, a series of sculptural works dealing with the current controversial Heritage debate in South Africa, which addresses the psychology of memorialisation and presents the seemingly shackled cast-iron grip the colonial West still has on Africa.
These dismembered hands offer both an appropriation and a rearticulating of disquieting symbols of preceding power, and a reflection on what their legacy has engendered today. The first work in the series was created especially for the South African pavilion at the 56th Venice Biennale, which runs until 22 November The work is motivated by the lack of transformation in South African heritage and education institutions and public spaces today, a debate that has gripped the South African media and polarised the public in Dissent has rung out against these figures countrywide, seeing the defacing of other memorials with different coloured enamel paint.
This public action has, arguably, been spurred by President Jacob Zuma, when he said earlier this year: It is a stark reminder of how much work is yet to be done. Gunn-Salie was placed in the top five of the Sasol new signatures competition in The works of both artists deal with the experience of Africans in post colonial settings fraught with migrancy, gender inequality and homophobia, as well as navigating complexities of memory.
Journalist and author Rebecca Davis will moderate the discussion. All three projects confront this legacy of inner-city fragmentation, while simultaneously pointing out the artifice or socio-political conflict often inherent in urban redevelopment.
Yet in this new development, Gunn-Salie points out a veneer of gloss and untroubled sense of safety. Residents were dumped in drab, racially divided dormitory townships on the sandy wastes of the Cape Flats, which rapidly degenerated into gang, alcohol and drug-infested dust bowls of poverty.
Gunn-Salie explores the past and future of this site in central Cape Town. Since it was bulldozed, the District has remained empty for the most part and has the potential to become a living memorial with the process of restitution.
Yet Cape Town based urban practitioners Lucien le Grange and Nisa Mammon refer to threats to restitution, such as absence of political will and looming interests of speculative development. Le Grange and Mammon explore the idea of sustainability as a trap, contesting the notion that there are basic common interests within sustainability that will resolve issues such as poverty, exploitation, congestion, ugliness and homelessness.
In the first installment of the project, Gunn-Salie used a derelict house on the periphery of District Six, which has since been demolished, to host a series of installations and interventions. In Novemberthe Witness series continued as part of the Gordon Institute for Performing and Creative Arts Land conference at a home in phase two of the District Six redevelopment programme allocated to a family of land restitution claimants.
During the time of the conference, Gunn-Salie also staged the site-specific artwork Zonnebloem Renamed.
When the residents of District Six were forcibly removed, the government officially renamed the area Zonnebloem, which still remains its official name. The Viewing Room show presents documentation of these temporary situations set up by Gunn-Salie, which refer to his history as a graffiti artist and his response to the bylaw banning all forms of public art.This essay delves deeply into the origins of the Vietnam War, critiques U.S.
justifications for intervention, examines the brutal conduct of the war, and discusses the antiwar movement, with a separate section on protest songs.
Aug 14, · Likewise, South Africans are killed by the police at higher rates. And while the police in South Africa have changed since apartheid, the people typically killed by them have not. Gary Foley's personal Koori History page, with monthly special features on aspects of the Aboriginal struggle, photos, essays, and action.
Program Overview. See ostriches and visit a colony of beach penguins on our Summer in South Africa program. Ideally situated in the heart of the Cape Winelands, Stellenbosh University is nestled in a valley flanked by mountains on all sides.
The Soweto uprising was a series of demonstrations and protests led by black school children in South Africa that began on the morning of 16 June Students from numerous Sowetan schools began to protest in the streets of Soweto in response to the introduction of Afrikaans as the medium of instruction in local schools.
It is estimated . Introduction and Background: Gould () notes that over the past few years the South African Police Service (SAPS) has lurched from crisis to crisis. ‘It seems that each week brings fresh allegations of mismanagement, corruption and political interference in the work of the police’.