Word View

Gender DynamiX Speaks Out Against Xingwana’s Bigotry

Gender DynamiX, 10 March 2010

Gender DynamiX is deeply concerned about the policing of bodies by the State.  A very large part of our work is centred on examining the practices of the Department of Health (DoH) and the Department of Home Affairs (DHA) and their unethical activities towards Transgender people.  We are now faced with the question whether this is becoming a government trend.

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Statement on the Violence Against Foreign Nationals

Artists for Africa, 28 May 2008

If art were to mirror our society right now, it would reflect the rainbow as a tattered farce, the African Renaissance as a bad stand-up comedy routine, the notion of ubuntu as a horror movie, and our much-admired constitution as a satire on what we have become.

Given where we have come from, with Madiba’s inaugural “never again” speech still ringing in our ears, and with the dream that we would be a beacon of humanity, dignity and tolerance, there can be little excuse for the sheer brutality in the violence wreaked against foreign nationals in the last few weeks.

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ASAI Enters a New Phase

ASAI, 18 March 2008

From its modest inception as a website a little over two years ago, the Africa South Art Initiative (ASAI) has emerged as a bona-fide organisation with a mission to develop critical resources on art in Africa.

The ‘early’ ASAI was a private initiative. However, the project always contained a collaborative element, and it was envisaged that ASAI would grow into a ‘proper’ organisation. That time has come. On the 21st February 2008 ASAI was registered as a Section 21 Company.

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Booing It, Badly: A Response to Sharlene Khan

Mario Pissarra, 15 April 2011

In response to Sharlene Khan’s sequel to her earlier “Doing it for daddy” piece, I would like to briefly make a few observations. Firstly, there is much I agree with. I concur that there is “stagnation in transformation”, although I have my doubts whether it was ever really underway. I also concur that race, gender and class and their relationship to power is still critical to consider, not least in the visual arts. I also despair at the lack of engagement of the DAC with transformation, particularly in the visual arts, although I do think we should be wary about their ability to lead on this issue, given their dismal record. Like Khan, I welcome Riason Naidoo’s appointment at Iziko SANG.

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Modernist Primitivism & Indigenous Modernisms: Transnational Discourse & Local Art Histories

Anitra Nettleton, 28 March 2011

Editor’s note: Anitra Nettleton was discussant for “Modernist Primitivism and Indigenous Modernisms: Transnational Discourse and Local Art Histories”, a panel convened by Ruth B. Phillips (Carleton University, Ottawa, Canada) for “Other Views: Art History in (South) Africa and the Global South” at the University of the Witwatersrand, 12 – 15 January 2011.[i]

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‘Ownership’ of the Community Arts Project (CAP), 1976-1997

Jacqueline Nolte, 18 February 2011

This essay was written in 1997 for a publication that was planned to commemorate 21 years of the Community Arts Project. Since none of the publishers approached thought that there was a market for a book on CAP, this essay is published here for the first time.

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Art & Decolonisation: Small Steps Towards a Global Art History

Mario Pissarra, 1 February 2011

Introduction

On 14 January 2011 I convened two sessions of a panel on “art as an act of decolonisation” for an international colloquium convened by the South African Visual Arts Historians (SAVAH).(1) The panel comprised ten papers selected from 25 abstracts submitted in response to my call.(2)

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Art, Censorship & the Gukurahundi in Zimbabwe

Sokwanele, 17 September 2010

This report was issued by Sokwanele on 15 September 2010 and it appears here with their permission.

This article is the first in a series that will look at forms of freedom of expression in Zimbabwe. Politics has so infiltrated our lives that the personal, social and cultural are all political, and as always with Zimbabwe, it is impossible to talk about one without referencing the other. What we hope to do is to encourage people to think beyond the minutiae detail of political immediacies, and to debate who we are as people in this maelstrom, how do we define ourselves, where do we want to be going, how can we get there, and is there space for this richness of identity to be defined and celebrated in Zimbabwe today?

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Art in Tunisia: A Visibility in the Making

Mohamed Ben Soltane, 14 September 2010

This has been translated from French. To read the original version click here.

One of Tunisia’s paradoxes is that it is among the wealthiest African countries economically, and the most socially stable, but is also among the least visible from a cultural point of view. This invisibility is reaching worrying proportions when we speak about contemporary art.
If North African artists  have been recognised  within the African and international scene, such as the Algerians Adel Abdessemed and Zineb Sédira, the Moroccans Mounir Fatmi and Yto Barrada, and the Egyptians Moataz Nasr and Ghada Amer, in Tunisia it is difficult to speak of two artists who have achieved a comparable reputation. Even if North Africa is not very well represented in the catalogued events of ‘contemporary African art’, Tunisia registers a significant absence in comparison with its neighbours.

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