Nashilongweshipwe Mushaandja

b. 1987, Katatura, Namibia; lives in Katatura/ Cape Town.

Nashilongweshipwe Mushaandja is a performer, educator and writer with practice-research interests in performance, archives and public culture. His research on Oudano — an African concept of performance — looks at its mobilisations of queer praxis, sonic and movement formation, as well as critical pedagogies and spatialities.


Nashilongweshipwe Mushaandja is a performer, educator and writer with practice-research interests in performance, archives and public culture. He is currently completing his PhD research work at the University of Cape Town, with a thesis on Oudano, an African concept of performance. This study looks at how Oudano mobilises queer praxis, sonic and movement formation as well as critical pedagogies and spatialities.

Mushaandja’s work has been performed widely at festivals, museums, theatres and archives in Germany, Switzerland, South Africa, Zimbabwe, Mozambique, Cameroon and Namibia. Previous records of Mushaandja’s performance work as Tschuku Tschuku include Black Bantu Child (2012) and Trance !Namib Freedom Station (2017). The latest Tschuku record Ondaanisa yo pOmudhime was released in September 2021 and is available on all online platforms and on CD. Mushaandja’s latest performance project is ZILIN: for the first and future African sonic stars was premiered in 2021 at the National Arts Festival (Makhanda, South Africa) and Zürcher Theater Spektakel (Zurich, Switzerland) where it was awarded the ZKB Public Choice Award.


2018: [ongoing] PhD, Performance Studies, University of Cape Town, Cape Town.

Thesis: "Oudano Praxis: Movement, Audiotopia & Archive" 

2015: Master of Arts, Applied Theatre: (Social, Educational and Community Contexts), University of Witwatersrand, Johannesburg.

Thesis: "The performer as shaman: an auto ethnographic performance as research project"

2013: Master of Arts, Performing Arts, University of Namibia, Windhoek.

Thesis: "Organizational Theatre as Applied Theatre in the Namibian context: A case study"

2010 Bachelor of Arts, Media Studies and Performing Arts, University of Namibia, Windhoek.

Performances (Namibia & International)

ondaanisa yo pOmudhime (The Dance of the Rubber Tree)

2020: Zürcher Theater Spektakel, Zurich, Switzerland.
2019: The Burden of Memory, Yaoundé, Cameroon; Spielart, Munich, Germany; Infecting the City Public Art Festival, Cape Town, South Africa; Basler Afrika Bibliographien and Atelier Mondial, Basel, Switzerland; Owela Festival, National Theatre of Namibia, Windhoek, Namibia; Ruhrfestspiele, Recklinghausen & TAK Theatre, Berlin, Germany; Impossible Bodies Festival, Kunstlerhaus Musountrum, Frankfurt, Germany.
2018: Museum am Rothenbaum, Kulturen und Künste der Welt & M. Bassy, Hamburg, Germany.

Other Performances

2018: Site-specific performance, Live Museum of Afrotekismo and the Future Africa Visions in Time (FAVT), Old Location Cemetery, Windhoek.
2017: CIS/SIES Dolly Potgieter and Other National Trashisms, Kalahari International Art Festival, Windhoek & StartArt Gallery, Windhoek.
2016: The State of (with Oupa Sibeko), part of "Conversations", National Art Gallery of Namibia, Windhoek.
2014 - 2015: Eenganga: Translations and Trace formation, MA Performance as research (autoethnography) project, University of Witwatersrand, Johanesburg.
2014: Performance, Camel Stables, Windhoek.
2014: The Journey of Connection: Reflecting on the paths and patterns of human connection, Participatory Design Conference, Windhoek.
2014: Aluta’s Children: Re-visiting the footsteps of the Namibian struggle child through the lenses of disorder and inequality,, Independent Theatre solo performance, Theatre School, Windhoek.


2018 - 2019: Ovizire Somgu: From where do we speak?, MARKK & M.Bassy, Hamburg, Germany.


2019: Prohelvetia Artist in Residence, Atelier Mondial and Basler Afrika Bibliographien, Basel, Switzerland. [Archival and performance research] 2018: Research Centre for Hamburg’s (Post)Colonial Legacy, University of Hamburg, Germany. [Archival and performance research]


2021: Zürcher Kantonalbank Price for Public Choice [for ZILIN Performance], Zürcher theater spektakel, Zurich, Switzerland.

Conference Presentations

2016: "Eenganga: Translations & Trance Formation," Third Space Symposium: Decolonization and the creative arts, Institute for Creative Arts, University of Cape Town & 2016 AFTA Annual International Conference: Paradigm Shifts in African Theatre and Performance, University of Abuja, Nigeria. [performance presentation] 2015: "The performer as Shaman," Drama for Life Annual Conference: Re/Location: Dis/Location: Migration, Culture & Public Health, Eduardo Mondlane University, Maputo, Mozambique.
2014: "The Journey of Human Connection: Reflecting on the paths and patterns of human connection," 13th Participatory Design Conference: Reflecting Connectedness, Windhoek.

Academic Publications

2021: “Embodiments of love on the margins of Windhoek’s cinematic landscape,” Social Dynamics 47, no 1 (April 2021): 100-117.
2021: [with Gunkel, H] “Orientation Towards the Here and Now: Care and Presence in the work of Frieda Orupabo and Nkikura Oparah,” in HERE & NOW at Museum Ludwig: Dynamic Spaces, edited by Romina Dümler (Cologne: Verlag der Buchhandlung Walther und Franz Konig, 2021). 
2021: “'Making Love:' Solidarity in Decolonial Times, in Changes in Direction, edited by Laura Horelli and Heidi Brunnschweiler (Berlin: Archive Books, 2021).
2020:“Ons Dala die Ding by Odalate Naiteke. The curative, performance and publicness in Katutura,” Journal of Namibian Studies: History Politics Culture 28 (December 2020): 65-89.
2020: with LaFleur, I, Fink, K; and Siegert, N., “A Conversation around Trauma, Healing and Things Not To Touch,” in Ghosts, spectres, revenants: Hauntology as a means to think and feel future, edited by Katharina Fink, Marie-Anne Kohl and Nadine Siegert (Bayreuth: Iwalewa Books, 2020). 
2020: “Black Boxes and White Cubes as Concentration Camps: Concerning Institutional Violence and Intergenerational Trauma,” in Echoes of a Place, edited by Jorge Munguía (Mexico City: Buró—Buró, 2020), 149-163.
2019: with researchers from Namibia, Cameroon, Togo, Tanzania, Burundi and Germany, “Documenting and Representing Legacies of Violence: (De)Coloniality?”, in German Colonial Heritage in Africa: Artistic and Cultural Perspectives (Goethe Sub-Saharan Africa, 2019).
2018: “When Applied Theatre is no Rehearsal for the Revolution,” in Writing Namibia: Literature in Transition, edited by Sarala Krishnamurthy and Helen Vale (Windhoek: Unam Press, 2018).

Essays, Reviews & Zines

2021: “Critical Visualities & Spatialities: Protest, Performance, Publicness and Praxis,” Namibian Journal of Social Justice 1 (2021): 193-205. [photo essay] 2021: “Moral and Ethical Questions on the Muafangejo Copyright Tragedy,” The Namibian, June 6, 2021.
2021: “Pleasure and Consent in Comprehensive Sexuality Education: Towards a Feminist Curriculum for Health Workers,” Sister Namibia, July 2021.
2020: “Thinking Love, Thinking African Queer Masculinities,” Sister Namibia, November 2020.
2020: “FIRE,” In Handle with Care [zine], (Iwalewa Books, 2020).
2019: with Koni Benson and Asher Gamedze, "Radical Histories II: Ottilie Abrahams Speaks," and "Mapping the Life Journey and Movements of Ottilie Abrahams: Revolutionary, Teacher, Feminist," In Owela: The Future of Work, edited by Kaleni Kollective, (Kaleni Kollectiv, 2019), 40-49. 
2019: Owela: The Future of Work (Kaleni Kollectiv, 2019).
2018: "What Feminism Means to Me," Monochrome Magazine, March 30, 2018.

Cultural and Research leadership

2021: Jury Member, Sound Connects Fund, Music in Africa Foundation.
2020 - 2021: Steering Committee Member, Museum Futures Africa. [a Pan-African project established to support the conceptual development of museums throughout the African continent.] 
2020 - 2021: National Expert, UNESCO/EU Intellectual Property and Local Content (IPLC Namibia) Initiative. [European Union and United Nations Educational, Scientific and Cultural Organisation (UNESCO) in collaboration with the Directorate of Arts, Ministry of Education, Arts and Culture. This initiative has objectives of designing a measure to support local content production and revising a copyright legislation taking into account the digital environment.] 2018 and 2020: Curator, Operation Odalate Naiteke. [organising and curating radical learning and culture through performance, public art and trans-historic work in Katutura and Windhoek city at large.] 2015 - 2018: Project Manager, John Muafangejo Art Centre. [Curating exhibitions, organising residencies, workshops and studio programmes, cultural leadership and research. JMAC is a creative think tank focused on establishing collaborative methodologies in contemporary arts practice and forging expansive networks. Its vision is to promote and provide innovative and practical visual arts programs in Namibia to enable artists to grow to their full potential and prepare them for self-empowerment. Notable projects included curating a week-long John Muafangejo Season: Arts, Archivism & Activism (2016) and Katutura Ketu (2017) - a SADC collaborative project of critical creative engagement with artists and curators from Namibia, South Africa, and Zimbabwe.] 2011 - 2016: Writer/Columnist, The Weekender's “The Chanting Warrior column,” The Namibian. [socio-political and cultural commentary in the Namibian context] 2011 - 2012: Research Assistant, Scholarly Communication in Africa Programme (SCAP), University of Namibia, Windhoek. [Project was aimed at promoting open access paradigms as a means of making the scholarship of Sub-Saharan researchers more visible and was largely focused on the exploration of new affordable business models for open online scholarly publishing as well as the establishment of infrastructure such as repositories to promote open content sharing.]

Press & Interviews

Martha Mukaiwa, "Mushaandja's Rubber Tree Hits Zurich," The Namibian, 23 August, 2020.

"Jacques Mushaandja on Violent Art Institutions: Breaking Heteropatriarchy and Decoloniality," NamibInsider, 27 June, 2018.

"Life Goes On: Nashilongweshipwe Mushaandja," Start Art Gallery, April 3, 2020. 

Greer Valley, "Decolonization can't just be a Metaphor," Africasacountry, November 12, 2019.


Watch Tshuku Tshuku's NANDJILA Video
Watch Tshuku Tshuku's Odalate Naiteke Video, featuring Jackson Wahengo
Watch Tshuku Tshuku's Ongovela Video, featuring Diolini

Thami Jali

b. 1955, Lamontville, Durban.
Thami Jali is a painter, ceramicist and printmaker. As an alumni of the Rorke’s Drift Art & Craft Centre, he helped to re-establish the ceramics studio for their 2004 re-opening. Jali’s subject matter is as broad as his skill set, engaging areas from political life, dreams and the surreal, to forms from nature. 



1983 - 1984: Ceramics, Natal Technikon, KwaZulu-Natal.
1981 - 1982: Rorke's Drift Art & Craft Centre, Kwa-Zulu Natal.

Solo Exhibitions (South Africa)

2024: Mphendla Ndlela, KwaZulu-Natal Society of Art (KZNSA) Gallery, Durban.
2014: Restless Spirt, Durban Art Gallery, Durban.
2007: Transformation, BAT Centre - Menzi Mchunu Gallery, Durban.
1998: Ungqofo Ulalele, BAT Centre - Menzi Mchunu Gallery, Durban.

Group Exhibitions (South Africa)

2014: Retroactive, KwaZulu-Natal Society of Art (KZNSA) Gallery, Durban.
2011: Three Parts More Harmony, Durban Art Gallery, Durban.
2011: Amandla, BAT Centre - Menzi Mchunu and Democratic Galleries, Durban.
2010: Amandla, Durban Art Gallery, Durban.
2009: A Known Heritage, Kizo Art Gallery, Umhlanga.
2004: InniBos Kunstefees, Nelspruit.
1995: Africus: Johannesburg Biennale ’95, Johannesburg
1995: 38 Essex Road, NSA Gallery, Durban, Kwa-Zulu Natal
1994: National Arts Trust Exhibition, BAT Centre, Durban.
1992: Thupelo Workshop Exhibition, Federated Union of Black Artists (FUBA) Gallery, Johannesburg.
1991: Thupelo Workshop Exhibition, Federated Union of Black Artists (FUBA) Gallery, Johannesburg.
1990: Vulamehlo – Open Eye,  Durban Art Gallery, Durban.
1989: Five Friends, (Paul Sibisi, Mpolokeng Ramphomane, Sfiso kaMkame, Gordon Gabashane and Thami Jali), Natal Society of Art (NSA) Gallery, Durban.
1989: Objects of Utility, Federated Union of Black Artists (FUBA) Gallery, Johannesburg.
1988: Friends of Freedom, Federated Union of Black Artists (FUBA) Gallery, Johannesburg.
1980 - 1982: Festival of African Art, University of Zululand, Richards Bay.

Group Exhibitions (International)

1997: New Dehli Triennale, Lalit Kala Akademi, New Dehli.
1993: ART OMI, International Artists Workshop, New York.
1990: Art from South African Townships, Institute for Contemporary Arts, London.
1983: Art Communication, Indingilizi Gallery, Mbabane.

Workshops & Residencies

2023: ASAI Print Access Workshop, Wits School of Arts, Johannesburg.
1997: Artist in Residence, Edgewood College, Wisconsin.
1990: Zabalaza Festival, Institute of Contemporary Art, London.


1982: First Prize - Sculpture, Festival of African Arts, University of Zululand, Richard's Bay.


2017: Judge, PPC Imaginarium Awards, South Africa.
2004: Re-established the ceramics studio, Rorke's Drift Art & Craft Centre, Kwa-Zulu Natal.
2000: Ceramic tile project, Matsulu Art Centre, Mpumalanga. 
1991: Trustee, Community Mural Projects, Cultural Trust, Durban.
1987: Pottery and sculpture teacher, Mofolo Art Centre, Soweto.
1983 - 1984: Founder, Art Communications, Natal Technikon (now Durban University of Technology).

Public collections

Artists for Human Rights Trust
Caversham Press
Campbell Collection, University of KwaZulu-Natal, Durban.
Durban Art Gallery, Durban.
Phansi Museum
Iziko South African National Gallery, Cape Town.
Tatham Art Gallery, Pietermaritzburg.
The Constitutional Court, Johannesburg.
University of Zululand, Richard's Bay.

Russel Hlongwane, Thami Jali, Mphendla Ndlela, (KZNSA Gallery, 2024).
Sithembiso Sangweni, Thami Jali, artist on a mission, (ASAI, 2018).
Thami Jali, Recalling Community Mural Projects, (ASAI, 2018).
Jenny Stretton, Thami Jali: Restless Spirit, (ASAI, 2018; originally published in 2014 by Durban Art Gallery).
Jenny Stretton, Thami Jali talks to curator Jenny Stretton about his vision for the future, (ASAI, 2018; originally published in 2014 by Durban Art Gallery).
Bren Brophy, Terry-Anne Stevenson reflects on an artistic life shared with Thami Jali, (ASAI, 2018; originally published in 2014 by Durban Art Gallery).
Witty Nyide, Directions to find Thami Jali (ASAI, 2018; originally published in 2014 by Durban Art Gallery).

KZNSA Gallery, Thami Jali: Mphendla Ndlela (2024).

Michael Barry

b. Port Elizabeth, Eastern Cape, South Africa, 1954.
Michael Barry is an artist and educator. He studied fine art at the University of Cape Town and is currently pursuing a PHD at Nelson Mandela University where he heads up the Department of Arts and Culture. Barry was an active member of the Imvaba Arts Association. He continues to be involved in numerous cultural development projects around Port Elizabeth. 

Art Education

2012: Masters, Nelson Mandela Metropolitan University, Port Elizabeth.
1981: Bachelor of Art, Fine Art, Michaelis School of Fine Art, Cape Town.
1985: Higher Degree, Education, University of Cape Town, Cape Town.

Group Exhibitions (South Africa)

2017: Just Painting, Nelson Mandela Metropolitan Art Museum, Port Elizabeth.
2016: #TheVoices, National Arts Festival, Albany Museum, Grahamstown.
2015: Art State, Gallery NOKO, Port Elizabeth.
2014: Redefinition of the status quo – collector’s edition, Gallery NOKO, Port Elizabeth.
2013: Collective 2013, artSPACE Gallery, Durban.
2012: A4 Ideas, Boomtown, Port Elizabeth.
1981: Young South African Photographers, South African National Gallery, Cape Town.

Public Commissions

Route 67, Nelson Mandela Bay Arts Journey, Port Elizabeth.
2013: Kite boy and Skipping girls, Helenvale Urban Renewal Programme, Thusong Centre, Port Elizabeth.
The Sunday Times 100 year celebration public art work, Queenstown.


Jonathan (Jon) Berndt

b. 1950, Ladybrand, Free State, South Africa; d. 2010, Cape Town.
Jon Berndt was one of the founders of the Poster Workshop at the Community Arts Project. Best known for his political and educational graphics,  Berndt’s early creative practice was influenced by the Arte Povera movement. His last major project took the form of imagined public art works, where his acute political and graphic sensibilities are amply evident.


b. 1979, Cape Town. Lives in Los Angeles, USA. Faith XLVII (previously Faith47) is a street and studio-based artist who works with a wide range of media.  Her approach is explorative and substrate appropriate – from found and rescued objects, to time-layered and history-textured city walls and their accretions, to studio prepared canvas and wood. Her murals can be found in many cities in Europe, the USA, Africa and Asia.

Solo Exhibitions

2023: CLAIR – OSCUR, Musée des Beaux-arts, Nancy, France.
2023: CLAIR – OSCUR, Daynsz Gallery, Paris, France.
2021: CHANT, Everard Read Gallery, Cape Town. 
2018: Elixir, Fabien Castanier Gallery, Miami.

2015: AQUA REGALIA, Jonathan Levine Gallery, New York. 
2014: Aqua Regalia, London, UK
2013: Fragments of a burnt history, David Krut Gallery, Johannesburg.
2009: Epitaph, Mrego, Brussels. 
2008: The Restless Debt Of Third World Beauty, Atm Gallery, Berlin.
2008: The Restless Debt Of Third World Beauty, The Woom Gallery, Birmingham, UK

Group Exhibitions - International

2023: CO\LAB 5, Torrence Museum, California, USA.
2021: ‘The Land War’ Installation, MUCA Museum, Munich, Germany.
2021: Foundation, Group Show, Heron Gallery, San Fransisco, USA.
One World, Fabien Castanier Gallery, Miami. 
2020: Unprecedented Times, Kunsthaus Bregenz, Vienna.
2019: 20 Year Anniversary Exhibition, Cory Helford Gallery, Los Angeles.
2019: Together, KP Projects Gallery, Los Angeles.
2019: Conquête Urbaine, Calais Museum of Fine Art, Paris. 
2019: Veni, Vidi, Vinci, Fluctuart, Paris.
2019: Tàpia, B-Murals, Barcelona. 
2019: Capture the Street, River Tales, Germany.
2019: We Rise, Los Angeles, USA.
2019: Beyond the Streets, New York City.
2019: Women in Street Art, Bernard Magrez Foundation, France.
2019: Art Miami, Miami.
2019: Art Basel, Miami. 
2018: One Way Through, Heron Gallery, San Francisco. 
2018: Women in Street Art, The Bernard Magrez Foundation, Paris. 
2018: True Will, Chins Gallery, Bangkok, Thailand.
2018: Moniker Art Fair, New York and London.
2018: Art Miami, Fabien Casteneir Gallery, Miami.
2018: Art Basel Miami, Miami.
2017: Urban Currents, Gallerie Kirk, Denmark.
2017: Magic Cities, Munich, Germany.
2017: the UrbanArt Biennale® , UNESCO Voelklinger Huette World heritage site,  Germany.
2017: Homeless, Void Projects, Miami.
2016: XX: A moment in time, Saatchi Gallery, London.
2016: Freedom as Form, Wunderkameren Gallery, Milan. 
2016: PM10, Urban Nation Museum, Berlin. 
2016: Agitprop, Brooklyn Museum, New York. 
2014: Artscape , Malmoe, Sweden.
2014: Forest for the trees mural festival, Portland.
2014: Rencontres Australes d’Imaitsoanala, Antananaraivo, Madagascar.
2014: A study of Hair, Backwoods Galley, Melbourne.
2014: Redux , Inoperable Gallery, Vienna.
2014: Outdoor Urban art festival, Rome, Italy.
2014: Wywood walls, Art Basel, Miami.
2013: Anniversary Group Show ,White Walls Gallery, San Fransisco.
2013: Memorie Urbane Contemporary Festival, Gaeta, Italy.
2013: Escape the Golden Cage , Vienna, Austria.
2013: XII. Into the Dark, Unit44, The Victoria Tunnel, Newcastle.
2013: Scupltura Viva International Symposium, San Benedetto del Tronto, Italy.
2013: DOS, Toronto.
2013: Women on the walls, Jeffrey Deitch and Wynwood Walls, Miami. 
2013: Beyond Eden, Thinkspace Gallery, Los Angeles.
2013: Wall Therapy, New York. 
2013: Wooster Collective 10 Year Anniversary Show, Jonathan Levine Gallery, New York. 
2013: Nuart Festival, Stavanger, Norway.
2013: Avant-Garde Urbano Festival, Tudela de Navarra, Spain.
2013: Los Muros Hablan, San Juan, Puerto Rico. 
2012: Antenna Garden, Rtist Gallery, Melbourne.
2012: Carbon Event, Melbourne.
2012: Warrington Museum, London.
2012: Herzensbrecher, Strychnin Gallery, Berlin.
2012: Kulturhuset , Stockholm.
2012: Wynood Walls, Miami.
2011: Urban Painting, Milan.
2011: MSA Gallery, Paris.
2011: Urban Mural Project, Greece. 
2011: Gossip Well Told, Second Edition, Warrington Museum, London.
2011: City Leaks Festival, Cologne.
2011: Inner Walls, Milan.
2011: Les murs litinerrance, Paris.
2011: Gossip Well Told, Blackall Studio, London.
2011: Visual Intervention, Rochester.
2011: Archetypes, View Art Gallery, England.
2011: Artmosh, Munich.
2011: Wuppertal Museum, Germany. 
2010: Moniker Art Fair, London.
2010: Stroke03 Art Fair, Berlin.
2010: Escape 2010, Veinna.
2010: Biennial, Sao Paulo.
2010: Urbanus International Mural Project, China.
2010: Focus10, Switzerland.
2010: Le Salon Du Cercle De La Culture A Berlin, Circle Culture Gallery, Berlin.
2010: Design For Humanity, Thinkspace, Los Angeles.
2010: or Those Who Live In It…, Mu Gallery, Eindhoven.
2010: Muao Project, A Coruna, Spain. 
2010: Paint Your Faith, Aayden Gallery, Vancouver.
2010: A Cry For Help, Thinkspace, Los Angeles. 
2009: The Generations, The Showroom Gallery, New York.
2009: Artmosh, Paris.
2009: Artotale International Mural Project, Lueneberg, Germany.
2009: No New Enemies , Mr Ego, Brussels. 
2009: Four, 34 Long Fine Art Gallery , Cape Town.
2008: 1st Internationale Graffiti Bienale, belo Horizonte, Brazil. 
2008: Anything Could Happen, Carmichael Gallery, Los Angeles. 
2008: Fatally Yours, Crewest Gallery, Los Angeles.
2007: Crossover, Showroom Gallery, New York.
2007: Be Girl Be, Jntermedia Arts, Minneapolis.
2007: Pick Of The Harvest: Batch Four, Thinkspace Gallery, Los Angeles.
2005: Subglob, Orebro, Sweden
2005: Go Gallery, Amsterdam

Group Exhibitions - South Africa

2020: Staring Straight to the Future, Everard Read Gallery, Cape Town.
2020: PINK, Everard Read Gallery, Johannesburg. 
2020: Investec Cape Town Art Fair, Cape Town. 
2019: On Main Road, Constitution Hill Women’s Jail, Johannesburg, South Africa 
2019: FNB Art Joburg, Johannesburg.
2018: Investec Cape Town Art Fair, Cape Town. 
2017: Dislocation, Everard Read Gallery, Cape Town.
2017: Invisible Exhibition, The Centre for the Less Good Idea, Johannesburg.
2017: Investec Cape Town Art Fair, Cape Town.
2011: Outside, 34 Long Gallery, Cape Town.
2010: Cool Stuff, 34 Fine Art Gallery, Cape Town. 
2010: Nothing Is Everything, Word Of Art Gallery, Cape Town.
2009: Group Soup, Word Of Art Gallery, Cape Town.
2007: The Art Of The Living Dead, Baseline Studios, Johannesburg. 
2006: New Suburbia, Pretoria.
2006: Lines Of Attitude, South Africa and Kenya. 

Murals - International

2020: Y/our Vote, USA. 
2019: Universal Studios Indoor Artwork Commission, Los Angeles. 
2019: Dictator Art Installation, Columbia.
2019: United Labor Organization 100 Year Mural, New York City.
2019: Maya Angelou School Mural Upliftment Project, Los Angeles. 
2019: Mural Arts Large Mural Production, Philadelphia.
2019: Projection Mapping Mural, BLINK, Cincinnati. 
2019: RED, Mural Project for HIV Awareness, Lyon.
2018: Summit LA18, Los Angeles. 
2017: Artscape Festival, Sweden.
2017: Art Republic Mural Project, Jacksonville. 
2017: Art Council Public art intervention, New Orleans.
2017: Art Miami, Juxtapoz Clubhouse installation, Miami. 
2016: Cities of Hope Mural Project, Manchester. 
2016: Inter|urban Mural Project, Cleaveland. 
2016: Wynwood Walls, Art Basel, Miami.
2015: The Psychic Power of Animals Street Intervention, New York. 
2015: Dragon Tiger Mountain Mural Project, Nanachang, China.
2015: Pow Wow Taiwan, Taipei. 
2015: Ono’u Mural Project, Tahiti.
2015: Festival Mural, Montreal, Canada.
2015: Murals for Oceans Expedition Mural Project, Cozumel, Mexico.
2014: 5 Sector Mural Project, Glasgow.
2014: Berlin Wall 25th Anniversary Group Show, Paris.
2014: Djerbahood, Djerba, Tunisia.
2013: Pow Wow Mural Project, Hawaii.
2013: Upfest Mural Project, Bristol.
2013: MAUS Mural Project, Malaga, Spain.
2012: Mural Project, Tel Aviv.
2012: Aarhus International Mural Project, Aarhus, Denmark.
2012: Mural Project, Sion, Switzerland.
2012: Mural Project, Melun, France.
2012: Paris Free Walls, Paris.
2012: Wall Therapy, Mural Project, New York.
2012: World Open Walls, Miami.

Murals - South Africa

2017: Johannesburg Mural, Sandton. 
2016: 1200 - 900 BC, Cape Town, South Africa. 
2016: Unearth, Napier, South Africa. 
2015: Landfill Meditation Street Intervention, Johannesburg.
2015: Feet Don't Fail Me Now, Johannesburg. 
2014: A Study of Warwick Triangle at Rush Hour, Durban.
2015: Una Salus Victus Nullam Sperare Salutem, Johannesburg, 2015.
2014: Harvest, Cape Town. 
2012: The Long Wait, Johannesburg.

Selected Publications & Links

Dave Mann, "CHANT: Faith XLVII’s public practice", Daily Maverick, April 22, 2020.

Ilana Herzig, "The Renegades Making Feminist Art In the Streets", Hyperallergic, October 31, 2019.

Petra Mason, "15 Young local artists that have wowed the world in 2019/", Times Lives, December 15, 2019.

Charu Suri, "Five Women Reinventing the Face of Street Art", Muse, August 8, 2018.

Liz Ohanesian, "This South African Street Artist Moved to L.A. to Explore the Politics of Being Human", LA Mag, April 17, 2018.

Brent Lindeque, "South African graffiti piece tops the worlds best list!', Good Things Guy, January 11, 2018.

Petra Mason, "Re-Mixing History: African Women Artists at Art Basel Miami Beach 2017", Whitehot Magazine, December 2017.

Elizabeth Mccray, “Faith47”, Bliss magazine, April 2014

Ashraf Jamal, “Graffiti art: Faith 47,” Financial mail, April 23, 2014.

Brendon Bell-Roberts; Ashraf Jamal, “100 Good Ideas,” March, 2014.

Lisa van Wyk, “Faith47: Street Artist,” Mail & Guardian. 

Daisy Wyatt, “In search of a female Banksy: Aiko and Faith47 take on a male-dominated street art world,” The Independent, October 15, 2013.

Charlie Finch, “The Savage Street,” Artnet. 

Bsrat Mezghebe, “Faith47, Street Art and South Africa’s Contradictions,” CIMAMAG, October, 2013.

Dal + Faith,” Very Nearly Almost Magazine, March, 2013.

Foadmin, “Faith47: Sea to Sea,” Fair Observer, December 26, 2012.

Andy Davis, “We Close Our Eyes to Stay Blind,” November 21, 2012.

“Interview with Faith47,” Dumbwall.

Matthew Krouse, “Streets ahead in the realm of public art,” Mail & Guardian, October 26, 2012.

“Faith47 (ZA),” Art Bastard.

“Walls & Frames: Fine Art from the Streets,” September, 2011.

Nicholas Ganz, “Graffiti World," 2009.

Kiriakos Iosifidis, “Mural Art,” November, 2008.

Nicholas Ganz, “Graffiti Woman,” 2006.


Nirveda Alleck

b. 1975, Mauritius. Currently lives in Mauritius.

Nirveda Alleck is a multi-disciplinary artist who explores the psychology of human social life in public and personal spaces. In her paintings, she works with a combination of staged and studied portraiture, adding elements of fiction, or removing backdrops from otherwise hyperreal representations. In her three dimensional work, which studies a variety of objects and scenes, the centrality of human presence is always implied as a central point of interest.


2012: Cultural Leadership Training, African Arts Institute, South African Centre for the Netherlands and Flanders, Cape Town.
2001: Master of Fine Art (MFA), Glasgow School of Art, Glasgow.
1997: Bachelor of Art in Fine Arts (Hons.), First Class, Michaelis School of Fine Art, University of Cape Town, Cape Town.

Solo Exhibitions (Mauritius)

2023: No Story is an Island, Caudan Arts Centre, Port Louis.
2020: De quel noirceur sont tes pensées, Institut Français de Maurice, Mauritius
2018: Divine Weapons, Imaaya Art Gallery, Vacoas-Phoenix.
2013: Select Works, Angsana Balaclava, Balaclava.
2012: Art Party, Henessy Park Hotel, Quatre Bornes.
2007: Présent Immobile, La Citadelle, Port Louis.
1998: Zilch And All, Max Boullé Gallery, Beau Bassin-Rose Hill.
2004: Duad, Max Boullé Gallery, Beau Bassin-Rose Hill.

Solo Exhibitions (International)

2019: Car, vois-tu, tu as droit d’être obscur, Cité internationale des arts Paris, Paris.

Group Exhibitions (Mauritius)

2016: Edge Effects, La Citadelle, Port Louis.
2016: Porlwi by Light, Company Garden, Port Louis.
2016: Metaform, Roger's House, Mauritius.
2015: Charles Beaudelaire exhibition, Helen de Senneville Gallery, Mauritius
2015: Parl’eau- Collaborative work with Katia Bourdarel during La Peau des Choses
exhibition, IFM, Mauritius
2015: Amnesia: 180th anniversary commemorating the abolition of slavery, Rabindranath
Tagore Institute, Mauritius
2014: Glories of Bihar, Rabindranath Tagore Institute, Mauritius
2014: Femlink- Feminin Plurielles, International Video Art exhibition, IFM, Mauritius
2013: La Belle Peinture II, Phoenix le Halles, Port Louis.
2012: We Have Lost The Way, Port Louis.
2010: The Landing of the Dodos, public, Quatre Bornes.
2010: 200 Years after the Battle of Grand Port, Commemorative Exhibition, Mauritius.
2009: Indian Diaspora International Exhibition, Mauritius.
2008: INTERLACE - Drawing Connections between SA, Finland and Mauritius, IMAAYA Gallery, Vacoas-Phoenix.
2008: Imaaya Group Exhibition, Imaaya Gallery, Vacoas-Phoenix.
2008: Omada, Live video performance.
2007: Liberté D’expression, Right Now! Exhibition, IBL Gallery, Port Louis.
2007: International Women’s Exhibition, Mahatma Ghandi Institute Gallery, Moka.
2005: 2nd Triennale of Contemporary Art, Mauritius.
2005: Salon de Mai, Mahatma Ghandi Institute Gallery, Moka.

Group Exhibitions (International)

2024: The Sun Never Sets II: More Than One Memory. Unit, London.
2019: Streams of Consciousness, Rencontres de Bamako -  Biennale Africaine de la photographie, National Museum of Mali, Bamako.
2017: Ethics in a World of Strangers: Nirveda Alleck and Eric van Hove, Richard Taittinger Gallery, New York City.
2017: Tous, des sang-meles, Musée d´art contemporain du Val-de-Marne MAC/Val, Paris.
2016: Dakar-Martigny: Hommage À La Biennale D’art Contemporain, Le Manoir, Matrigny.
2016: Le Tour de Origines, Chapelle Saint Thomas des Indiens, Réunion Island.
2016: Kwe I Espas, Le Hangart, Réunion Island.
2016: We the People, Casablanca International Biennale, Cassablanca.
2014: Des hommes, des mondes, College des Bernardins, Paris.
2014: Where are we now?, Marrakech Biennale Parallel projects, Marrakech.
2014: African Artists: Still Fighting Ignorance & Intellectual Perfidy (SFIP), Ben Uri Gallery & Museum, St. John's Wood, London. 
2014: Africa Utopia, Digital Africa: The Future is now, Southbank Centre, London.
2014: Analogue Eye: Video art from Africa, National Arts Festival, Grahamstown.
2014: !Kauru, Unisa Art Gallery, Pretoria. 
2014: Des hommes, des mondes, College des Bernardins, Paris, France
2013: Origins of a new world tour, Made in India,  Reunion Island.
2013: Still Fighting Ignorance and Intellectual Perfidy, Ben Uri Gallery, London; Malmö Konsthall, Malmö.
2013: Art Warning the World, Klaus Guingand, online.
2012: One Colour Screening, La Cinematheque Quebequoise, Quebec.
2012: Dak'art African Contemporary Art Biennale, La Gare, Dakar.
2011: One Colour, Pfeister Gallery, Bornholm.
2011: To Africanize is to Civilize, Paris Photo OFF, Paris.
2011: Festival Africain d'Images Virtuelles Artistiques (FAIVA) Residency Exhibition, Center Soleil d'Afrique, Bamako.
2011: Migrant-C, FNB Joburg Art Fair, Johannesburg.
2011: One Minutes Africa Awards, Townhouse Gallery, Cairo.
2011: FOCUS11: Contemporary Art Africa, Art Basel, Basel.
2011: Open Studio, Omi International Art Centre, New York.
2011: One Minutes Video Africa, Bamako.
2010: African Renaissance, World Festival of Black Arts International, Dakar.
2010: La Foire des Mascareignes, Le Port, Reunion Island.
2010: Dak'art African Contemporary Art Biennale, La Gare, Dakar.
2009: The Réunion Island Biennale of Art, Design, Création, Numérique et Immatérielle, Reunion Island.
2009: Vieme Jeux de la Francophonie, Beirut.
2009: African Renaissance: Africa is Back, Pan-African Art Festival, multiple venues, Algiers.
2008: 10th year Anniversary Raffle, Greatmore Studios, Cape Town.
2008: House Games Triennale, Anna Ruth and Juho Jäppinen's apartment, Jyväskylä.
2008: Tulipamwe International Artists Exhibition, Goethe-Institut Namibia, Windhoek.
2007: International Urban Workshop Exhibition, Thupelo, Cape Town.
2006 - 2007: Femlink International Video Collage, shown at venues worldwide, including Cinematic Lab, Bandung; Foundation of Contemporary Art, Montevideo; Cyber Arts Night Vision Festival, Massachusetts; Espace Dialogos, Cachan; Centre Videofemmes, Quebec and many more.
2006: Resident Artists Exhibition, Bag Factory Artists studios, Johannesburg.
2005: The 2nd East Africa Art Biennale (EASTAB), Dar es Salaam.
2005: International Painters Exhibition, Karnataka Chitrakala Parishek Gallery, Bangalore.
2005: Tomorrow Land, 11th Triennale India, New Delhi.
2003: Pond, Cochrane Street, Glasgow.
2001: Diplomatic Immunity, Times Square Gallery, New York City.
1999: Glasgow Art Fair, St Georges Square, Glasgow.
1999: Interim Show, Glasgow School Of Art, Glasgow.
1998: 6th Seychelles Biennial Of Contemporary Art, National Gallery, Victoria.
1997: Graduate Exhibition, Michaelis School of Fine Art, Cape Town.
1997: Preface, Centre For African Studies Gallery, Cape Town; Association for Visual Arts (AVA) Gallery, Cape Town.

Video Works

2011: They spoke different tongues, 2 channel, 15:00.
2011: L’Offrande, 01:00, (nominated for One Minutes Africa Prize).
2011: one color, 03:00.
2011: The return, 02:00, (commissioned by One Minutes Africa).
2009: Ephemeral, 08:00.
2008: Omada, video performance with music and dance, 08:00.
2007: Tragedy of a swing and a chair, 02:00.
2007: Histories, documentary, (commissioned by Right Now! Association, Mauritius).
2006: Power, 20:00.
2006: Perfect Match, video performance.
2005: Ravinal Man, 17:00.
2004: Counter Currents, synchronised video work.
2001: Gist, video with installation.

Collections and Commissions

Porlwi by Light Festival of Contemporary Culture, Mauritus.
Ministry of Arts and Culture, Mauritius.
Azuri Radisson Blue, Mauritius.
Okombahe Community, Namibia.
Lalit Kala Akademi, India.
Reinsurance Consultants, Mauritius & South Africa.
Holcim Cements, Mauritius.
Shields Mural Project, Peugeot Centre, Scotland.
Church House, Bridgeton, Scotland.
UCATT (Workers Union) March Banner, Scotland.
Isle of Arran Distillers, Scotland.
J.D.Weatherspoons Ltd, Glasgow and Edinburgh Branches, Scotland.
Hannibal (historic documentary), Channel 5, Wark Clements Productions, Scotland.
Citigate, Scotland.
McCabe Contemporary Art (Cecily Getty), South Africa.
Independent Outdoor Media, South Africa.


2021: African Artists: From 1882 to Now. Phaidon: London
2012: Dak’Art 2012: 10e`me Biennale de l’art africain contemporain, Secretariat general de la biennale des arts, Dakar.
2011: FNB Joburg Art Fair 2011, Cobi Laubuscagne (ed), ArtLogic: Johannesburg.
2011: Migrant C, Nirveda Alleck (curator), Johannesburg.
2011: Fanzines, Focus Contemporary African Art, Basel.
2010: Dak’art 2010: 9ème Biennale De L'art Africain Contemporain, Secrétariat général de la biennale des arts, Dakar.
2009: Biennale Arts Actuels, Ecole Supérieure des Beaux-Arts: Reunion Island.
2009: 2009 Francophonie Games, Beirut.
2009: African Renaissance: Africa is Back, 2nd Pan African Festival, Zéhira Yahi (Arts and Culture Department), Algiers.
2009: Indian Diaspora International, Mahatma Ghandi Institut, University of Mauritus, Moka.
2007: International Urban Workshop Exhibition, Thupelo, Cape Town.
2007: Présent Immobile, La Citadelle, Port Louis.
2007: Art in Mauritius, Hans Ramduth (author), MGI Publication, Moka.
2007: 1st Salon d’Ete, National Art Gallery, Port Louis.
2006: Bag Factory Residents Exhibition, Bag Factory Artist Studios, Johannesburg.
2005: Tomorrow Land, 11th Triennale India, New Delhi.
2005: The 2nd East Africa Art Biennale (EASTAB), Yves Goscinny (author), La Petite Gallerie, Dar es Salaam.
2001: Diplomatic Immunity, UKwithNY Festival, New York City.
1998: 24 Artworks by selected South African Artists, McCabe Gallery Publication, Cape Town.

Awards and Prizes

2012: Emma Award for Arts and Culture, Bank One, Mauritius.
2011: FNB Art Prize Finalist, FNB Joburg Art Fair, Johannesburg.
2011: 'One Minutes Africa' Nominee, Townhouse Gallery, Cairo.
2011: Francis J Greenburger Fellowship, Omi International Arts Centre, Ghent.
2011: Recipient, International Artist Scheme Grant, Ministry of Arts and Culture, Mauritius.
2010: Soleil d’Afrique Prize, Dak'art African Contemporary Art Biennale, Dakar.
2008: HIVOS Sponsorship, Tulipamwe International Artists Workshop and Exhibition, National Art Gallery of Namibia, Windhoek.
2004: Selected for ‘1er Fond D’Aide au Développement du Film’, Mauritius Film Development Corporation, Mauritius. 
1999: Postgraduate Scholarship, Glasgow School of Fine Art, Glasgow.
1998: Most Promising Young Artist Award, 6th Seychelles Biennial of Contemporary Art, National Gallery, Victoria.
1997: Dean’s Merit List, Michaelis School of Fine Art, University of Cape Town, Cape Town.
1994: Edward Louis Ladan Bursary used for undergraduate studies in fine art, Michaelis School of Fine Art, University of Cape Town, Cape Town.

Residencies and Workshops

2011: Soleil d’Afrique Residency, Centre Soleil d'Afrique, Bamako.
2011: Omi International Artists Residency, Art Omi, Ghent.
2011: One Minutes Africa workshop, Centre Soleil d'Afrique, Bamako.
2009: Biennale Arts Actuels Residency, Ecole Supérieure des Beaux-Arts, Reunion Island.
2009: Vieme Francophonie Games Painting Workshop, Beirut.
2009: Indian Diaspora International Workshop, Mahatma Ghandi Institut, Moka.
2008: Tulipamwe International Artists Workshop, Goethe Institut Namibia,Windhoek.
2007: Artist in Residence, Greatmore Studios, Cape Town.
2007: Thupelo International Workshop, Ruth Prowse School of Art, Cape Town.
2006: Artist in Residence, Bag Factor Artist Studios, Johannesburg.
2005: International Painters Camp, Karnataka Chitrakala Parishek, Bangalore.
2004: Scriptwriting workshop with Mama Keita, Mauritus Film Development Corporation, Vacoas-Phoenix.
2001 - 2002: Artist in Residence, St Patrick’s Primary School, Glasgow.

Other Projects

Chair, Arterial Network, Mauritius Chapter, Port Louis.
Co-ordinator, The Landing of The Dodos public art project, Quatre Bornes.
Project Leader, Migrant-C: Mauritius Indian Ocean Artists Collective, Mauritus.

Professional Experience

2013: Visiting Lecturer, Experimental Video, Visual Art and Digital Arts, University of Mauritius, Moka.
2012: One Day Create, Outdoor Creative Art Classes, Casela Nature Parks, Black River.
2012: Visiting Lecturer, Critical Issues on Contemporary Art, Mahatma Gandhi Institute, University of Mauritius, Moka.
2011: Arts Consultant, Aapravasi Ghat World Heritage Site, Port Louis District.
2008 - 2009: Lecturer, Mauritius Institute of Education, Moka.
2006: Visiting Lecturer, Painitng, Mahatma Gandhi Institute, University of Mauritius, Moka.
2004 - 2008: Education Officer, Ministry of Education and Human Resources, Vacoas-Phoenix.
1998-1999: Community Arts Teacher, Coatbrigde Community Centre, Glasgow.

Burning Museum

“The Burning Museum is a collaborative interdisciplinary collective rooted in Cape Town, South Africa… We are interested in the seen and unseen, the stories that linger as ghosts on gentrified street corners; in opening up and re-imagining space as potential avenues into the layers of history that are buried within, under, and between.”

Burning Museum Blog (click here)

“TO LET” , Palimpset from “TO LET” exhibition 2013

TO LET from Burning Museum on Vimeo.

The Mission and the Message: ‪#‎colonialproblems‬

Burning Museum – #colonialproblems (2015) from Burning Museum on Vimeo.

Selected images from “TO LET” exhibition , Centre for African Studies – September 2013


Solo Exhibitions

2015 Cover Version, Gallery MOMO, Cape Town
2014 Manufractured activation with Artefakte Aktivierung, Northern Suburbs Train line, Cape Town and Cafe Art, Stellenbosch
2013 "TO LET" , Centre for African Studies Gallery, University of Cape Town

Group Exhibitions

2015 Boundary Objects. Madrid, Spain.
2015 Boundary Objects/ KÜNSTLICHE TATSACHEN, Kunsthaus Dresden. Dresden, Germany.
2015 Fortunes Remixed, Group exhibition, Bag Factory Art Studios. Johannesburg, South Africa
2015 Fortunes Remixed, Group exhibition, Underculture Contemporary. Port Elizabeth, South Africa
2015 Fortunes Remixed, Group exhibition, Art South Africa gallery. Cape Town, South Africa
2014 "Plakkers" - Brundyn+. Cape Town.
2014 Joburg Fringe video screening, Maboneng Precint, Johannesburg
2014 "Bring your own beamer" - Brundyn & Goncalves
2013 Greatmore Showcase
2013 Cape Town ArtWalk - Collaboration with "Future Nostalgia" as "Future Museum"


Madi Phala

Madi Phala

b. Kwa-Thema, Springs, 1955. d. Langa, Cape Town, 2 March 2007

From his early Black Consciousness oriented drawings to his imaginative mixed media treatment of the herd-boy theme, Madi Phala’s works invariably represent a preoccupation with African culture as dynamic and emancipatory.

Madi Phala, original herd-boy (1955-2007)

© Mario Pissarra, 03 March 2007

Madi Phala, artist, designer, educator and original herd-boy, was robbed and fatally stabbed outside his home in Langa, Cape Town on the evening of Friday 2nd March 2007.

Born in Kwa-Thema, Springs in 1955, Phala was a member of the Bayajula Arts Society from the mid to late 1970s, a community initiative that sought to uplift the position of art and culture in the townships. Phala also worked for the SABC for several years as a sound effects maker, and sporadically ventured into producing textiles and clothes. For the better part of the 90s he taught art to children in his garage, and only began practicing as a full time artist in 1998. Despite making a shift towards his own art practice, Phala never seemed to quite leave his role as an educator behind, evident in his recent appointment (on short term contract) by Iziko Museums’ Education division.A largely self-taught artist, Phala featured in the seminal Tributaries exhibition, curated by Ricky Burnett in 1985, and appeared in various ‘early’ texts on black South African art such as Matsemela Manaka’s Echoes of African Art (1987), Gavin Younge’s Art of the South African Townships (1988) and E de Jager’s Images of Man (1992. Associated with the Thupelo Workshop from its inception in 1985, Phala became resident at Greatmore Studios when he moved to Cape Town in 2004. He exhibited regularly in recent years, with most of these exhibitions being well received by the buying public. This year also marked his debut as an exhibitor at the Design Indaba in Cape Town. Phala was commissioned last year by The Sunday Times to commemorate the tragic sinking of the S.S. Mendi in 1917, when black South African soldiers who served in France went down in the English Channel.Perhaps Phala’s most endearing artistic contribution in recent years was his development and treatment of the theme of ‘herd-boys’. In these works Phala appears to have adapted the notion of herd-boys as traditional guardians of cattle (symbols of wealth, and the ‘African way’). He reinvented herd-boys as muses and playful guides for an ongoing series of reflections on cultural beliefs and traditional practices. Much of this work is extremely rich: it is as dreamlike, evocative, contemplative and spiritual as it is physical, tangible and tactile. His was a poetic and sensory art that explored cultural practices in a very personal way, with humour interceding in gentle ways, adding a warm glow to his creative interrogations of culture and identity.

Madi Phala has gone to join the ancestors. I think he would not have been offended if I were to ask: are they ready for him?


Rest In Peace

Rest In Peace
M Maluka, 04 March 2007

This is very sad news

This is very sad news
KekeTop, 04 March 2007

Madi Phala

I didn’t have the privilege of meeting Mr. Phala or knowing him, I am however saddened by his death. It highlights again the level of needless and senseless violence that accompanies petty crimes in SA. It’s not that there’s not the same level of crime in other countries (in some perhaps more), its just the manner in which human life seems to be so easily expendable. It scares the hell out of me. What has become of our humanity? There is hunger and poverty all over the world but that does not give any human being the excuse to exterminate another human being like a common roach. It really makes me so mad!!

May Madi Phala’s soul rest in perfect peace, and may the Lord grant his family, friends and colleagues the fortitude to bear the loss.
Ijeoma Uche-Okeke, 04 March 2007

M Phala

What an absolute needless tragedy! The best are going – have gone. ENOUGH!
Wilma Cruise, 04 March 2007

To Madi

Dear Madi,

I am deeply saddened at your untimely death. Your spirit was an inspiration to me, your laughter like the reflection of light on water.

May your art continue to speak for you, and so remain within our midst.

All my love,
Sonya Rademeyer, 04 March 2007

Re: Madi

I was so shocked and saddened to hear of the tragic passing of Madi. We met during the Sessions Ekapa and kept in touch periodically since then. Tears well up and feelings of anger collide with a sense of shock and sadness. When a society starts gnawing at its imaginary structure we are in deep trouble. Go well, Madi my friend. You will be missed.

Premesh Lalu, 04 March 2007

Madi Phala

Mario, thank you for the posting. News of Madi Phala’s death brings great sorrow here, across the Atlantic as well. To his family, friends and nearby colleagues I send my hearfelt sympathies. His spirit and love of life lives on in those he touched and the works that are his legacy.
J. McGee, 04 March 2007

an infectious laugh

Such an infectious laugh and smile – Madi was a hugely positive guy – especially about his neighbourhood and people around him – all the more cruel then, that this, should happen to him. Best wishes from the UK.
Andy Harper, 04 March 2007


I too met Madi at the sessions Ekapa and came to know and admire him and his work in all the forms it took. This is such a shock and senseless loss. Madi, your creativity, humanity and sensitivity will be deeply missed and the sadness that the news of your passing brings will no doubt hang over Cape Town much like your energy invigorated those of us who came into contact with you in this city.
Noeleen Murray, 04 March 2007


I met Madi during the Thupelo Workshop in Durban. We were planning an exhibition of his work here in Durban in early 2008!! I am shocked and so sad. I was so looking forward to getting to know him better. How many more need to die senselessly before something is done?
Karen Bradtke, 05 March 2007

His soul is in his paintings

Madi was a man of change and full of ideas, I learned a lot from him in a short time.
Sitting with a wise man is worth than reading numbers of books, so he was one of a kind. With his kind and cheerful face. My deepest sympathy to his family, friends and colleagues.I will never forget him.
Teferi Gizachew, 05 March 2007

Madi Phala

I’m thankful I had the privilege of knowing you –
Yvette Dunn
, 05 March 2007

RIP Madi

I met and came to know Madi during a recent residency at Greatmore studios in late 2006. During that time he came to be a friend who “looked out” for me and took me under his wing. I will not forget a character whose warmth of spirit, infectious laugh and positive energy could change the atmosphere of any room he walked into.
His passing is a great loss for South Africa. He will be sorely missed. On that note, I wish to give my deepest condolences and sympathies to the friends, family and all those who knew this unique personality. It is a great tragedy.

Newell Harry, Sydney Australia
Newell Harry, 05 March 2007

Sleeping Herdboy

I intentionally went to Madi Phala’s site on Wednesday the 28th of Feb to check on his new work. I had met him once in CTown at Thupelo workshop in 2005. For some reason I thought of him and wanted to know what he has been up to this year. I am greatly saddened at the loss of such a creative soul. Rest in peace my brother.
Maggie Otieno, 05 March 2007


It is very sad indeed. Madi was a very good friend from the first moment at Thupelo Workshop in 2004. Great pity that I never had the opportunity of inviting you to Nigeria. Rest in Peace.
, 05 March 2007


I met Madi on 26 January 2007 (this year) at Guga S’thebe Arts and Culture Centre in Langa where he also worked. Its funny how you meet someone for the first time and manage to make a connection that makes you feel like you’ve known them forever. Because after my guests had long gone (I was hosting an event at the centre that weekend) I stayed and chatted to Madi for hours. What a loss! This guy was so wise, had so much intergrity and he was such a visionary. I was so excited and proud when I saw him exhibiting at the Design Indaba. We spoke about the fact that he wanted to explore his work on ‘mother’s looking for their children’ more and I was telling him how much I relate to the work. Eish, what a waste! Madi was one of those people that made me really proud. U robale hantle, Madi. What an ancestor you are going to make…
Ukhona Mlandu-Letsika
, 05 March 2007

Madi a shining light

Dear Madi,
From the moment I met you I adored you. Who could resist such a commanding presence ? A beautiful man with confident maturity, an extraordinarily happy artist, thrilled with your recent successs and new role as educator , it was a privilege to know you. But, alas too short.

On Thursday I saw you radiantly giving your first ever guided tour to an enchanted school group .
How is it possible that a huge presence and a visionary i could have his life snuffed out like that?
I know that many of us grieve for your lost life and the loss to your children and their mothers. I also know that many of us are fearful.
Go well Madi you will not be forgotten,.
Your friend and colleague


Iziko SA National Gallery, Cape Town.Carol Kaufmann, 05 March 2007

We will miss you, Madi

To have met Madi was to never forget him. I had the pleasure during the early days of the Thupelo workshops in Johannesburg and I was thrilled at his appointment in the Iziko Education and Public Programmes Department. I mourn his untimely and violent passing with my colleagues at Iziko South African National Gallery. Some met him only recently, but his enthusiasm, energy and excitement about his work here impressed everyone and the sense of loss is palpable. He loved the environment, which – as he said – opened up new avenues and possibilities for education and for his own work. Madi’s life has been extinguished, but he lives and shines through his work and in our hearts.Marilyn Martin, 05 March 2007

Watch over usOh how sad for us all – another beautiful, gentle soul lost when we really needed him in Cape Town. We will miss you, Madi.
J Ranson, 05 March 2007

A kernel of my research, for MadiHere I share a portion of my upcoming book (UMinn 2007)
in which Madi was the crux….It is my profound regret that Madi did not live to see this eulogy in print.In 1989, in a moving defense of what she called “Black Abstract Art,” against the contemporary writing of critics like Richards, Marilyn Martin pointed out that Gavin Younge neglected to comment on the work pictured above his own paragraphs on the Thupelo Project in Art of the South African Townships . The image was a mixed media work on canvas by Madi Phala that contained several stick figures and what appeared to be a hint of the corrugated metal wall of an urban slum shack. According to Martin, these figural elements, together with Phala’s title, These Guys Are Heavy, actually contradicted the thrust of Younge’s own argument about a non-referential, apolitical art emanating from the Thupelo workshops. I am inspired to expand upon Martin’s perceptive remarks on Madi Phala’s work. First, the title of the piece was a reference to the black American slang term, “heavy,” with its connotation of ponderous, serious, or deeply significant political or emotional implications as in the name of the 1990s rap group with a retro 1960s “Black Power” aesthetic: “The Brand New Heavies.” Martin’s essay cited other titles of abstract works by Phala, to strengthen her case that they held political implications: Garrison, and Adversity I.

Who are the figures in These Guys Are Heavy? Are they some township toughs, some youths, amatsosti, or Comrades, confronting the viewer with their crazed eyes, and meaning to make him or her a bit uneasy? Are they security police come to harass the youth? Are they political prisoners, sitting in their jail-box waiting? Planning their next revolutionary move?

If one were to study Madi Phala’s earlier graphic art, as published in the radical culture journal Staffrider, it becomes clear that his Thupelo Workshop-inspired paintings evolved from earlier figural work in what was locally referred to as an “African surrealist” mode. The style of this graphic work was similar to the early art of Thami Mnyele and to the mystical figural landscapes of Fikile Magadlela, both of whom were heavily involved with the Black Consciousness Movement during the 1970s. Madi Phala’s own drawings followed the example of these other artists, too, in his use of the theme of woman as a sign of the African soul, as something rooted in the soil and bursting under stress. An illustration of the popularity of this “Mother Africa” theme, and of its application among “BC”- oriented artists of the period, appeared in the March 1979 issue of Staffrider, in a poem titled, “Black Woman, Black Woman,” by Bonisile Joshua Motaung:Black woman, Black woman
Beautiful like sunset across the horizon,
With plaited hair and a face
Shining with vaseline, making her
More black in the night:
Her face wears the look of nature.
[. . .] Black woman, Black woman
She moves with the
Dignity of a funeral,
It is not tears
Shining in her eyes
But petals of blood
Mourning the history
Of her suffering:
Obituaries of her children
Deeply line her face
Leaving freckles to mark
Their graves.
[. . .]

This poem at first seems to so closely paraphrase “Femme Noire” (1945) by Léopold Senghor, that it might be considered an homage to the poet who was a cofounder of Négritude philosophy and a touchstone for the Black Consciousness Movement. Compare the final two stanzas of Senghor’s poem:

Femme nue, femme obscure
Huile que ne ride nul souffle, huile calme aux flancs de l’athlète, aux
flancs des princes du Mali
Gazelle aux attaches célestes, les perles sont étoiles sur
la nuit de ta peau
Délices des jeux de l’Esprit, les reflets de l’or ronge ta
peau qui se moire
A l’ombre de ta chevelure, s’éclaire mon angoisse aux
soleils prochains de tes yeux.

Femme nue, femme noire
Je chante ta beauté qui passe, forme que je fixe dans l’Eternel
Avant que le Destin jaloux ne te réduise en cendres pour
nourrir les racines de la vie.

Naked woman, dark woman
Oil no breeze can ripple, oil soothing the thighs
Of athletes and the thighs of the princes of Mali
Gazelle with celestial limbs, pearls are stars
Upon the night of your skin. Delight of the mind’s riddles,
The reflections of red gold from your shimmering skin
In the shade of your hair, my despair
Lightens in the close suns of your eyes.

Naked woman, black woman
I sing your passing beauty and fix it for all Eternity
before a jealous Fate reduces you to ashes to nourish the roots
of life.

“Femme Noire” was a statement, in verse, of the place of woman in Négritude philosophy. Senghor’s language reified black woman as the embodiment of sensuousness and as a place of comfort and warmth for men. In this poem, too, death was a metaphor for the entombment of Africa’s mythical past, as well as a source of sustenance for Africa’s future. Motaung’s description was more somber. For him the African woman suffered, she aged, and her tears bespoke the tragedy of the early death of her children. This perspective was shared among Black Consciousness writers in South Africa, most notably Mongane Wally Serote, whose poem “The Three Mothers,” began with the lines:
This the silence of our speedy uncurling youth-tangles
Forms folds, curves little surprised faces
That gape at our heritage,
Our age,
That grab son from mother like the cross did Jesus from Maria
The faces that have eyes that are tears
Tears from mothers,
This has left me so silent!

Through Motaung and Serote’s poetry, as well as that of other Black Consciousness writers, the rhythmic sensuousness of Senghor’s Négritude was translated into the cruel realism of the South African revolution. They described women’s hardship as much as their sensuality. Their women carried the most unbearable burden: the sacrifice of their children. Sections of Motaung’s poem also seem to have been a direct inspiration for Madi Phala’s images. Motaung’s lyric so closely approximated in word what Phala’s drawing achieved with line that it might as well have been an illustration of the drawing, or vise-versa. In addition to mirroring the poet’s theme of “Africa as a woman,” the images published by Phala in Staffrider also adapted and improved upon a theme then common among black South African artists: the black musician as a metaphorical sign of the condition of the race. Along these lines, it is noteworthy that the drawings that accompanied an article on Bob Marley, in the January 1981 issue of Staffrider, were credited not as “art” but as “Music by Madi Phala” (Figure 6.11). In each of two untitled graphite-on-paper drawings, a nude woman was illustrated playing an instrument similar to a saxophone or a bass clarinet. The figure’s beaded flesh seems to drip like sweat or blood from her ponderous breasts, her elbows, her mouth, and her bald head. She is completely covered with bubble-like spots, or freckles. Her fingers stick deep inside the instrument, which itself wraps around her body like a snake, and represents the horn’s music visually. The instrument and its player become soulfully one.

By moving beyond the quaint genre of street musicians associated with township art, Phala’s pictures extended the musical theme so that musicians could also be seen as interpreters of the crushing effects of apartheid on human bodies, and of an irrepressible desire for resistance. This perspective on the expressive and revolutionary role of the musician as a stand in for all types of artists can also be seen in the photograph of Abe Cindi by veteran Drum photographer Alf Kumalo, on the cover of Staffrider for February 1980 (Figure 6.12). The shirtless musician was photographed as he sprayed his horn defiantly in the face of the viewer. And there is the photo of jazz saxophonist from the 1950s Sophiatown era, Kippie Moeketsi, in the November 1981 Staffrider (Figure 6.13). The musician, whose tragic story was recalled on the pages that followed, stares intently at his own horn, as if wondering what kind of noise the thing is going to produce next. How will it speak for him? This photograph of “Kippie” was one of the images copied over into drawings by Thami Mnyele during the 1980s. Mnyele used it in a montage with photographs of the uprising in Soweto, and of Comrades in battle on the South African border.

Senghor, Motaung, Serote, Mnyele, Dumile, Kippie, Fikile, and Madi Phala. Why not call attention to connections made between these artists and between music, and the body in distress, and poetry? Why reduce the work of South African artists during the last decades of apartheid to a polemic distinction between abstract and figurative art, that only seeks to ask whether the one is more committed to the struggle than the other?

Moving beyond this boundary, it is possible to discern that there were also European art references in Phala’s image from Thupelo. Clearly the work owes a debt to Paul Klee, especially in its economical use of line to simply make figures out of sticks, thread, or squirts of paint direct from the tube. And its theme riffs off Picasso, especially the Picasso of Guernica and even more so the Three Musicians of 1921. These two are works from Picasso’s planar and colorful studies in Synthetic Cubism. In purely technical terms, Phala’s work is not Synthetic Cubism; its style is more a marriage of Klee’s spare technique with some Abstract Expressionist flourishes. But These Guys Are Heavy seems to jump off directly from several key aspects of Three Musicians: the flat frame with three men staring out flatly from it, the hatch marks indicating a beard, and the light square ground surrounded by a darker rectangular ground. The overall feel of the abstraction itself is more in line with Klee’s child-like glyph style, but the thematic influence here is certainly Picasso. Phala’s painting scat-sings over the form of a famous Picasso, itself an icon for all modernist painters, but that does not mean that Phala meant to depict the same thing as Picasso. There is also memory work in this piece: a memory of township art, the art of shacks and squalor. There is also a consciousness of protest art, with its titular hint, an evocation of heinous conditions and of their refusal through music. This is a tough mixture. The eye, if attentive to art and to history, is led from the discovery of the Picasso Three Musicians reference, to Phala’s earlier work on musicians, and back again.

Are Phala’s musicians swinging, bluesy, and heavy with political portent? Are they singing yakhal’inkomo, “the cry of cattle” at the slaughterhouse that could also be seen in Dumile’s tortured drawings, heard in Kippie’s jazz, and read in Wally Serote’s poems? Abdullah Ibrahim had already suggested the conflation of music and political protest at the Culture and Resistance Festival in 1982. If Ibrahim’s purely tonal piano music could have a revolutionary appeal, could not the abstraction of color and line in visual art do the same? Phala mined this golden vein in his painting. Seen in light of his earlier drawing, Phala’s painting seems to be searching for a further means to make the visual more musical. I read it as a kind of acid-dipped sheet music, wherein the body and the music and the visual sign are as one, and are heavy with radical political intention. These are some of the meanings of These Guys are Heavy.

John Peffer Copyright 2006
John Peffer, 05 March 2007

Madi Phala

Madi was such an beautiful human being, it is with great sadness that I receive this news, he always visited me at my shop and he always left a energy of inspiration and positivity. He left us a happy man I am sure, but I dont think he was finished with what he was busy with here. My deepest sympathy. What a great, great man. I will miss his visits and his smile and his voice. I feel angry for the way he left, he didn’t deserve to go like this.
Erick, 05 March 2007

Murder of Madi Another cultural hero has been stolen from us. They say the spirit of a nation shall be judged by its artists, through acts like this the soul of our nation is being robbed, raped and bludgeoned to death.

I wish there was more time
Sanet Visser, 05 March 2007
I wish there was more time to honor him as an artist. He was engaged and involved in his art and as an educator and artist always inspired me with his stories. To see him at Design Indaba and experience his excitement and his new designs will last forever in my mind. I wish that I was on his first tour at the National Gallery, I wish he could read what everybody writes about him, we only walk this road once in our life, let us reach out and touch somebody’s life like he did.Hazel Friedman, 05 March 2007

Madi, friend of my heart

… to meet you, to walk a distance together with you, talking, laughing, discussing, planning, inspiring each other – what a wonderful time this was … and even by email, over 10.000km this connection never ended … what’s now with your exhibition in Germany, the kids workshops and the idea of swap-working together again ?! you really leave me alone … not only me !
Madi, mad-I, wonderful, crazy, lovable person … Cape Town is different now, because it was both at once, meeting you and the mother-city … you showed me a lot about the way of living and thinking and history of South Africa, you made me understand your view to the world and your vision and optimism that things will become better …
Talking about “those old times in Jo’burg” you always called yourself a township-soldier who survived so many situations.War is still not over.
I am so sorry and sad, nothing will fill up the hole your senseless death brought into my world … you’re in my heart, my friend. MASEGO – as you always told me ! Gehe Deinen Weg in Schönheit und Frieden ! UTA from Aachen-Germany

Uta Göbel-Groß, 05 March 2007

Dear Madi

…things been hard since you left. Your’e in God’s hands now but I’m so scared about the future and don’t want to die all alone: you came through to visit and supported my career, sat down spoke deeply to me in words hard to put in writing. I looked up to you with pride as a brother able to humble himself down and part wisdom and support in so many ways.

Sharing the same platform at your last show was really an honour I will keep with the highest ideal. Thank you for showing me the way in this journey of life we all pilgrim through…

Rest in Peace Madi…
H.Bruce, 05 March 2007

Madi Phala

I’m very saddened by this news. I had occasion to spend time in a workshop here in Durban during 2006 and he was a great inspiration to me. May he rest in peace, and dance his dance of joy.
Terry-Anne Stevenson, 05 March 2007

great loss

I am so deeply saddened by the news and angry about how this could have happened.

South Africa is supposed to have the most “advance” constitution of the world, but in reality even the most basic human right -the right to live safely-is not protected!

I hope Mr President Mbeki has the wisdom to see that in order to promote the “African Renaissance”, one must protect the safety of the African equivalence of Da Vinci’s.
Kristin Hua Yang, 05 March 2007

Madi Phala

Madi was an inspiration to artists and had the courage to say and do what he thought was correct. He was a leading light at GreatMore studios and his influence will be greatly missed.
The South African art scene has lost a valuable member who had a great deal of energy and enthusiasm. Such a senseless act of violence will have a significant effect on the lives of many including those not actively pursuing a career as an artist.
Isky Gordon, 06 March 2007

CRIME that we know & live with

The crime that we know and live with has yet robbed us of our dearest friend.This was a very humbled,soft spoken, dedicated man who poured all his energies to his work.He loved doing what he did with all his heart ART. Lives in our townships are seen valueless & hence the CRIME that we know and live with will continue to tore our hearts & take our valuable, beloved ones.All my sympathies goes to the Phala family in Kwa Thema, Springs.I will miss those rainy Friday nights at your place listening to some Music and having cold one, till we meet agin.Terrible way for a person of your calibre to get recognition if he is ever gonna get any.

‘Robala ka kgotso Phala, Mmino wa molodi wa hao o tla o dula o lla ha monate.’
Gaoutwe Styles Mosala, 06 March 2007

I Missed Meeting You!

I’ve heard so much about this great Artist but it’s very unfortunate that I didn’t have a chance to meet him!

Rest in peace Madi
Mary Ogembo, 06 March 2007

Is it True?Madi Son of the soil.
I had a privilege meeting you in my life and what a great person. You will not only be missed by South Afrikans but all your friends around the world my dear Brother. Yet another son of the soil taken by the Criminals who no longer respect human life, its sad. We will all miss you and your smilling face will always reflect all your loving heart.

I am running out of words and your love for the development of art will be missed by many my dear brother. lots luv
Raphael chikukwa Chinovava, 06 March 2007

Madi PhalaI met Madi Phala at AVA at the opening of his exhibition in 2004. His charisma remains with me.
Malcolm Payne, 06 March 2007

Lala ngoXolo Madi

I read with shock the sudden death of Madi at the hands of crimininals who have no respect for sanctity of life. It was befitting for Madi to have been commissioned to do work on the sinking of the S.S. Mendi…with this let’s remember the last dance of the black heroes with Reverend Wauchope leading them on…..’ Ukuntsika kweMendi”
Ulale ngoXolo
Andile Magengelele, 06 March 2007

Madi, my Brother

What a great loss! We will remember your infectious laughter, sense of humour, your unique & colourful style of dressing. You were a very peace loving person who did not deserve such a violent death.

Madi, you were more than just a friend with whom we played football on the dusty streets of Kwa Thema as teenagers. You were more than a colleague in model design at the SABC. You were more than a colleague in art. You were a brother. You epitomized humanity. Your art will continue to truly represent you. Like the oils you used in your paintings, your memories will take long to dry & once they dry, they will not fade away.

Rest in peace Madi, the artist, designer, teacher, avid reader and once again, Brother. SAM NHLENGETHWA
Sam Nhlengethwa, 07 March 2007


I remember meeting you in 2005 in May when you were at bag factory as if it was a moment ago. We sat and talked about cattle like two herd boys from different tribes. shared their passion of cattle. I remember your laughter at my theories of lobola and cattle.

Such memorable laughter and smile you had. It would have been nice to meet you again.

May soul rest in peace.
Anawana Haloba
, 07 March 2007

To Madi Phala

“Death is not a journey to a strange country; it is a journey home. We are not going to a foreign country, but to our father’s house where we will be with our family and friends”.

Madi you’ve been with us when we lost our beloved sister last month, it is so sad now to say that about you. You’ve been a very good & kind family friend to us and, we will definitely miss that lovely smile of yours every time you enter our house and the twins will miss your sweets too.

Uhambe kakuhle, ulale ngoxolo, sohlala sikukhumbula Madi!
Bukelwa Soha, 07 March 2007

Robala ka Kgotso

Robala ka Kgotso Ta Madi, you’ll forever be remembered, Rest in Peace Son of the Soil.
Kgomotso Raborife, 07 March 2007

tragic and senseless

I had the privilege of meeting Madi Phala through Mario Pissarra, when I was in Cape Town very briefly in November of 2006. Our meeting is one I’m unlikely to forget. Such a tragic and senseless loss of life. My deepest and most sincere condolences to his family and close friends.
Eddie Chambers, 07 March 2007

Madi Phala

One abiding memory of Madi Phala is observing his encounter with a very young artist at an exhibition opening in Cape Town last year. The young artist recognised Madi, and came up to him somewhat awestruck, nervously trying to convey how much he admired his work. Madi responded with absolute humility, saying “YOU are an inspiration to ME.”

Peace, Madi. I look forward to meeting you again.
Matthew Cannon, 07 March 2007


Madi, I was going to write to you to tell you I miss you, but then I read the news that we will all be missing you for a very long time.

The memories of you dancing and laughing make me smile. The last time we spoke was such a short time ago and you were smiling like the sun; it was as if anything could flourish under the warmth and light you radiated…and still do.

Madi, I am glad to have met you and I am shocked and sad you are gone so soon. I send my thoughts and sympathies to the Phala family.
Maryalice Walker, Maine, USA, 07 March 2007

Bra Madi

I have no words to express the state I’m undergoing. Such realities in our society are inconceivable to imagine. It is in such times that one’s presence become apparent in the case of one’s absence. I remain grateful to have had an opportunity to exchange ideas and receive professional advice from ‘Bra Madi’. The warmth and love of your fellow artists you had at all times. Your presence will remain with all those you came across. Lala ngoxolo Madi Phala.
Loyiso Qanya, 07 March 2007

Aluhlanga lungehlanga

Madi mfowethu ulale ngoxolo.
Velile Soha, 08 March 2007

Madi Phala

I am shocked to hear how someone who seems so alive in my memory is no longer around. I am in cold and gloomy London, but am taken back to my memory of speaking with Madi on a sunny day in Cape Town and his warmth and enthusiasm that still seems so present. There is no excuse for a needless death but the least one can do is try to enable life to continue the way the person who left it would want us to.
Jade Gibson, 08 March 2007


What a tragedy. Wonderful to have met and worked with
such a charismatic and talented man. Pse forward my condolences to
the studio and family.

Ros Lurie, 09 March 2007


Lala ngoxolo Madi, You’re a great inspiration to many , young and old. Am thnkful that I got the chance to be arround you even if it was for a short time.Your star will forever shine
Zipho, 09 March 2007


I was very suprised to hear about Madi’s death because the way I saw him he was a good person. I don’t know why some people can do bad things like this.
I met him on the 28/02/07 at the gallery but to what I saw HE WAS A DARLING.
May the good lord be with his family in this time. MAY HIS SOUL REST IN PEACE!
Obedience Motlhanke @ CPUT BELLVILLE CAMPUS, 09 March 2007

You made such an impression

Dear Madi

You made such an impression on me.

I met you in the week preceeding the opening of parliament at the National Gallery. You came in to visit a calligraphy workshop several times. Your infectious laugh, love of life, life philosophy and your hair were just fabulous. We had a good laugh about how you had put up your hair and how incredible it looked. We talked about happiness and about life and you made such an impression on me – I will not forget you.

Rest in peace. I am sure you will walk with us as an angel. Know that you have touched so many hearts …
Leesette, 12 March 2007

A Kings child

“A King’s child” Madi said to Reason and I when we briefly spoke at the iLetters workshop. My aching heart finds comfort in his answer.

Dit is ons kalligrawe se gebed dat God elkeen wat treur met Sy Liefdeskombers sal vertroos.
Heleen de Haas, 13 March 2007

Madi Phala

I never had the opportunity cross paths twith the well-known and celebrated Madi Phala, but have heard so much rich and joyful things about him that it was quite a shock for me…However, I have the pleasure of sharing a history with one of his children who, to me, is a direct image in art and character as his father. Although Madi is gone, I know that his spirit is living through the hearts and lives of his children…Madi, I know that I have not met you, but I do know that we would have chatted about life and art (in all its spheres) till the sun would rise…Rest in Peace
Anon, 14 March 2007

Its a shame

The news of the death of Madi Phala came to me with great shock. He was made of so much energy and humour, intelligent and vibrant. The international art community will miss his creativity and friendship. Its a pity he had to go in such a brutal way.
We will all miss you Madi.
My sincere sympathy to the greatmore community, his family and friends. may his soul rest in Eternal peace.
Anon, 15 March 2007

Madi Phala

If you were a star
we would hate to see sunlight.

but then again what is life without sunshine

may your brightness dazzle us
may our rainbow’s colours be richer.

may the tears of your kith and kin be wiped by the HEAVENS ANGELS and their smiles be restored because you were one of a kind and with that they and all of us can walk tall and proud;

because in you, with you, around you, about you our humaneness was defined.

Anon, 20 March 2007

gentle mentor

Madi was the first artist that I ever collaborated with on a show called Exfoliate, curated by Norman O’Flynn in 2003. I can’t remember how I ended up being paired up with Madi, but I do remember a man that was full of grace, stories and passion. We both loved paper, but he taught me extremes that paper and collage could be taken to, with me definitely in his shadow. He welcomed me as a visitor to Greatmore and guided my students where I fell short. He was our Mentor. Most of all in collaboration he awakened the practicing artist in me that had been lost in so much theory. Thus dawned a beginning for me, which I will always remember.
I’ll rememeber the last I saw you, your intrigued smile at my show in January, I’ll remember your art, burned into my memory.
What a pity to have to say good bye.

, 01 April 2007

Madi Phala

I’m mainly shamefully ignorant about our black artists but I’m trying to catch up and educate myself …… I’d never heard of Madi Phala, but his beautiful face stopped me in my tracks, and the story of his senseless death broke my heart. My deepest sympathy goes to his family and friends. I will catch up now Madi, and learn more about you – thank you for leaving us your beautiful work.
Elaine Hurford, 10 April 2007


I wonder where are those killers because I was a student to Madi Phala. Artists they die like nothing. May Madi’s soul rest in peace.
Tshepo Senyeho, artist from Kwa Thema, 15 May 2007

Unbelievable!!!! RIP

I am extremely devasted by Madi’s passing. Who could do such a mean thing to the world? I vivsted Madi Phala while i was doing my study tours of South Africa. I once spent a week at his house in Langa, Cape Town! May the GOOD MAKER rest him in eternal peace. Collin
Collin Sekajugo, 01 December 2007

RIP Madi

Madi’s works rocked my heart! I first met during an international artists workshop in Lusaka Zambia. I pray that his inspirational works continue to impact positively on other people’s lives.
Rest in Peace. Collin Sekajugo, Kampala, Uganda
Collin Sekajugo, 01 December 2007

Thank you!

The bewildering talent, vision and style of an artist like Madi… will never die! May his soul fare and excel as well on “the other side” as his creative physical did on this one…thank you for what you left us with, my friend – boundless inspiration!!!
Courtney Anthony Forbes, 11 December 2007

Madi Phala

It is exactly two years since your death Madi but your’e always remembered, loved, missed by your friends, colleagues and family. I always think of the past where we used to enjoy together with your fellow friends the late Nhlanhla Xaba and Sam Nhlengethwa. May your soul rest in peace.
Your brother Teboho Xaba.

Teboho Xaba, 14 May 2009

Madi Phala

Madi, did not know you. Could not because our paths were thousands of miles away from each other. However, in spirit were knew each other. We are Africans.

I contemplate the waste that took your life – and the lives of so many others – before our time and now in our own time. It troubles my soul.

In the past, others did it to us. A few who cared for humanity protested. Our people fought with their blood.

Today we seem to be doing it all to ourselves. We should all be outraged. Beyond outrage we should all be doing something to stop the blight of violence. We do not have replacement for the Madis of our world.
Nativeson, 04 September 2009

Rest in peace My Brother.Sohla sikukhumbula

i remember Madi making his trips to my granny’s house to see my uncle how is also an artist,sohlala sikukhumbula
lorraine plaatjies, 02 March 2010


… 3 years ago our talking stopped … the conversation is not over … it takes place here and there in my life and in my art … you are remembered, still here, with your art, your laughter, your spirit … I will come back to CT soon – and meet you here and there wihin the remembrances of friends and artist-colleagues … still miss you … with a SMILE …
UTA Göbel-Groß, 13 April 2010

Artworks Looks at Traditions of Past & Present Melvyn Minnar, Businessday September 2007

Madi Phala: The herd boy artist in his prime Chris Barron The Sunday Times 11 March 2007
Langa Artist brutally murdered.Jazz Concert to Honour His Name Tarzan Mbita

Phala se dood ruk kunsgemeenskap Liza Grobler, Die Burger

Arts community mourns tragic loss of Phala Melvyn Minnaar, Cape Times March 8 2007

Madi Phala: Obituary Cape Times 8 March 2007

Artist stabbled to death Thulani Magazi, Vukani 8 March 2007

Tin Hats

Honouring the brave

Local artists shine Melvyn Minnar 2005

Bayjula.By the People for the People

Art Education

Arts and crafts, Tlakula High School, Springs.

Solo Exhibitions (South Africa)

2007: Madi Phala: A Tribute Exhibition, Association for Visual Arts, Cape Town.
2005: Herdbooyz, Association for Visual Arts, Cape Town.
2005: Exhibition, Bag Factory, Johannesburg.
2004: Exhibition (mixed media collage and found object constructions), Association for Visual Arts, Cape Town.

Group Exhibitions (South Africa)

2005: Madi Phala & Nkoali Nawa, Claremont Renault Showroom, Cape Town.
2005: Encompass, Cape Gallery, Cape Town.
2004: 10 years of Democracy Renaissance, (project with Truworths, Hardground, BASA, Sanlam), Cape Gallery, Cape Town.
2004: Three man show, Greatmore Studios, Cape Town.
1992: Three Man Show, Fedreated Union of Black Artists (FUBA) Gallery, Johannesburg.
1985: Tributaries: a view of contemporary South African art, fka Africana Museum (now Museum Africa), Johannesburg.
1982: Exhibition, Shell House, Johannesburg.
1982: Exhibition, Goodman Gallery, Johannesburg.
1979: Exhibition, Germiston Town Council, Germiston.

Group Exhibitions (International)

2005: SADC Artists, Thapong, Gaborone.
Phala was also part of a group show in France that served as a benefit for Gerard Sekoto.

Workshops & Residencies

2005: Studio Residency, Bag Factory, Johannesburg.
2004 - 2007: Studio Residency, Greatmore Studios, Cape Town.
1992: Triangle Workshop (with Triangle Network), United States.
1985 - 1992: Thupelo Workshops, South Africa.


French Embassy, South Africa.
De Beers, London.
Phala's work is also included in several private collections including those of former minister Pallo Jordan and art historian Barbara Lindop.


2004, 2005, 2005, 2006: Mario Pissarra, Botaki catalogues, Exhibitions 1 – 4, Old Mutual Asset Managers, Cape Town.
1992: E.J De Jager, Images of Man: Contemporary South African Black Art and Artists, East London: Fort Hare University Press.
1988: Gavin Younge, Art of the South African Townships, University of Michigan: Random House Incorporated.
1987: Matsemela Manaka, Echoes of African Art: A Century of Art in South Africa, Johannesburg: Skotaville Publishers.
1985: Ricky Burnett, Tributaries: A View of Contemporary South African Art, Johannesburg: BMW Kulturprogramm.

Madi Phala was also published in Staffrider numerous times.


1984: Jazz Art Poetry Appreciation Award.


Member, Bayajula Arts Society (1975 - 1979).
Worked for SABC as a sound effects maker.
Founder, Arts Enhancement Programme. In this role, Madi Phala taught children art in his garage from 1992 - 1998. Amongst those he is credited with mentoring is the late Nhlanhla Xaba.

Sophie Peters

b. 1968, Johannesburg, South Africa; lives in Cape Town.

Printmaker, painter and musician, Sophie Peters’ images reflect her personal history, her spiritual connections, and her relationship to the places and times in which she grew up, and continues to live.

Sophie Die Heldersiende KunstenaarDalena Van Jaarveld Kuier. 25 November 2009

Beyond Borders. Voyage Ensemble Sipho Velaphi & Linda Nkosi Ngwenya. Rootz. 2007

A cry from the heart: Sophie Peters

Her days are numbered Sanlam Exhibition

Black Artists Exhibit:Truth,reconciliation in art Lloyd Pollak. Cape Times. 29 September 1999

Breek of baas
Marie Claire. June 1997

Read article

Resolute Sophie Fulfills her dream The Argus. 14 June 1995

Read article

Life’s experiences as art Gareth Van Blerk. June 1995

Life and art: Sophie’s choice Shannon Neill. South Side 9. April 1994

Sophie Skets’wat sy voel’ Shireen Adams. Metro- Burger. Dongerdag. 25 November 1993

Sophie Peters. Group Show



“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2007. Exhibition booklet.

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2007. Exhibition booklet. Sophie


“voyage ensemble, a journey together” , scalabrini centre, cape town 2006

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2006 - Sophie


Conversations with Sophie Peters [essay for exhibition catalogue]

This essay featured in the catalogue for Botaki Exhibition 3: Conversations with Sophie Peters, an exhibition curated by Mario Pissarra for Old Mutual Asset Managers, Cape Town , 2005 


Art Education

1994: Advanced Teacher Training, Community Arts Project (CAP), Cape Town.
1988: Ceramics training with Barbara Jackson, Cape Town.
1986 - 1987: Community Arts Project (CAP), Cape Town.

Solo Exhibitions (South Africa)

2007: Hand To Plough Landscapes, The Framery Gallery, Cape Town.
1994: Cry from the Heart, Belville Association of Arts, Cape Town.

Group Exhibitions (South Africa)

2010: 1910-2010: From Pieneef to Gugulective, Iziko South African National Gallery, Cape Town.
2010: Exhibition, Gill Alderman Gallery, Kenilworth, Cape Town.
2008: Provoke, Association for Visual Arts, Cape Town.
2008: Some South African Voices, Rose Korber Art Consultancy, Cape Town.
2007: africa south, Association for Visual Arts Gallery, Cape Town.
2006: Art in Business, Artscape, Cape Town.
2006: Face (In) Cape Town, Castle of Good Hope, Cape Town.
2006: A Journey Together, Voyage Ensemble, Scalabrini Centre, Cape Town.
2005: Botaki: Exhibition 2, Old Mutual Asset Managers, Cape Town.
2005: Botaki: Exhibition 4, Old Mutual Asset Managers, Cape Town.
2004: Her Story, Association for Visual Arts Gallery, Cape Town. 2004: Renaissance, Cape Gallery, Cape Town.
2004: A Decade of Democracy, Iziko South African National Gallery, Cape Town.
2003: Dreams of Our Daughters, Klein Karoo Kunstefees, Oudtshoorn.
2001: The Hourglass Project: A Women’s Vision, Art on Paper, Johannesburg; UNISA Gallery, Pretoria.
2001: Homecoming, Guga S’Thebe, Cape Town.
2000: How the Land Lies, Chelsea Gallery, Cape Town.
2000: Greatmore Studios Official Opening, Greatmore Studios, Cape Town.
1999: Print Exchange 1998-1999: Portfolio for Playing Cards, Sasol Art Museum, Stellenbosch; Pretoria Art Museum, Pretoria; Gencor Gallery, Johannesburg.
1999: Ten Years of Printmaking, Hard Ground Printmakers, Sanlam Art Gallery, Cape Town.
1998: Siwela Ngaphesheya, Crossing the water, Robben Island Museum, Robben Island.
1998: Ekhaya, travelling exhibition, Western Cape.
1998: Dis Nag - The Cape’s Hidden Roots in Slavery, Iziko South African Cultural History Museum, Cape Town.
1998: Recent Publications, Hard Ground Printmakers, Grahamstown Festival, Grahamstown.
1997: Recent Publications, Hard Ground Printmakers, Association for Visual Arts Gallery, Cape Town.
1997: Body Politic,Association for Visual Arts Gallery, Cape Town.
1996: Human Rights, South African Cultural History Museum, Cape Town.
1996: Barricaded Rainbow, Centre for African Studies, University of Cape Town, Cape Town.
1996: Artists Against Apartheid, Parliament, Cape Town, South Africa.
1994: Creating Image, Castle of Good Hope, Cape Town.
1993: South Africa in Black and White, Iziko South African National Gallery, Cape Town.
1993: Picturing Our World, Grahamstown Festival, Grahamstown; Iziko South African National Gallery, Cape Town.
1993: Women on Women, Seef Trust Art Gallery, Cape Town.
1992: Looking Back, Community Arts Project, Cape Town.
1992: Visual Arts Group Travelling Exhibition, Zolani Centre, Nyanga East; Uluntu centre, Gugulethu; Mannenberg People's Centre; Centre for African Studies, University of Cape Town.
1992: Tapestry Wall, Pretoria Art Museum, Pretoria.
1991: Visual Arts Group Travelling Exhibition, Cape Town.
1991: Transition, Baxter Theatre Gallery, Cape Town.
1991: Art in the Avenue, Cape Town.
1989: Nude, South African Association of Arts, Cape Town.
1989: Serendipity, Gallery, Cape Town.
1987: Invited Artists, Johannesburg Art Foundation.
1987: Volkskas Atelier Exhibition, Cape Town.
1986: The Eye of an Artist, Gugulethu.
1986: Young Blood, South African Association of Arts, Cape Town.

Group Exhibitions (International)

2008: Mapping Cultural Echoes - Voyage Ensemble, Harare International Festival of Arts (HIFA), Harare.
2001: Canada.
2000: Germany. Iceland.
1998: Artist for Africa, Sweden.
1997 - 1998: Sicula Sixhentsa Xa Sisonke – The South Africa Aesthetic, (USA travelling exhibition), Mississippi, Detroit, New York.
1995: Peace for Africa, Geneva.
1994: Exhibition, (USA travelling exhibition), Brooklyn, Massachussets.
1994: Relief in Black and White, Brighton Festival, Brighton.
1990: Zabalaza Festival, Institute for Contemporary Art, London


Iziko South African National Gallery, Cape Town.
Durban Art Gallery, Durban.
Constitutional Court of South Africa, Johannesburg.
Western Cape Provincial Government, Cape Town.
Mayibuye Centre, University of the Western Cape.

Sophie Peters also has work in private collections in South Africa, Europe, the United States of America and Australia.

Commissions (mural painting and book illustrations)

2007: four paintings, Safmarine, Cape Town.
2005 - 2004: mural, Pentecostal Rapha Mission.
2004: Cape Span, Sea Point Protea Hotel, Cape Town.
1998: illustrations, Puleng and the Pumpkin, (children’s book).
1998: illustrations, Hair, (children’s book).
1998: linoprints, Truworths’ Millenium Calendar.
1997: illustration, True Love at Last, (Ginwala Dowling book).
1997: illustation, No More Stars in my Roof, (Ginwala Dowling book).
1997: illustation, The Original Natural Living Diary.
1996: mural, Robben Island Museum, Cape Town.
1996: mural, District Museum, Cape Town.
1996: mural, Department of Health, Cape Town.
1996: mural, Mayibuye Centre, University of Western Cape, Cape Town.
1996: book cover illustration, The Black Sash Trust Annual Report.
1996: illustration, Day by Day - English Pupils’ Book 5 (M. Niller Longman book).
1993 - 1994: mural, (with Tshidi Sefako and Xolile Mtakatya), Nico Malan Opera House, Cape Town.
1991: mural, Transitions, (with members of Hard-Ground Printmakers Workshop), Baxter Gallery, Cape Town.
1990: four murals, (in collaboration with other artists), Zabalaza Festival, London.
1989: murals (in collaboration with other artists), Community House, Salt River, Cape Town.

Workshops & Residencies

2023: ASAI Print Access Workshop, Michaelis School of Fine Art, Cape Town.
2018: ASAI Print Access Workshop, Michaelis School of Fine Art, Cape Town.
2006: Community Art Workshop, Castle of Good Hope, Cape Town.
2004: Renaissance Printmaking Workshop, Castle of Good Hope, Cape Town.
2001: Greatmore Studios, Cape Town.
2001: Caversham Press, KwaZulu-Natal, South Africa.
2000: Print 2000, Maastricht, Netherlands.
1997: Printmaking Project, Robben Island, Cape Town.
1990: Zabalaza Festival, London.

Publications (books, magazines, catalogues)

2008: SA Art Times, issue 11 vol. 3.
2006: Conversations with Tyrone Appollis, in Botaki: Exhibition 4, (catalogue), Mario Pissarra (curator), Old Mutual Asset Managers, Cape Town.
2005: Conversations with Donovan Ward, in Botaki: Exhibition 3, (catalogue), Mario Pissarra (curator), Old Mutual Asset Managers, Cape Town.
2004: Conversations with Sophie Peters, in Botaki: Exhibition 2, (catalogue), Mario Pissarra (curator), Old Mutual Asset Managers, Cape Town.
2004: 10 years 100 artists: Art in a Democratic South Africa, Sophie Perryer (ed.), Bell Roberts Publishing, Cape Town.
2004: Renaissance Printmakers Exhibition, (catalogue), Cape Gallery, Cape Town.
2004: Die Burger, October 1, p7.
1999: The Hourglass Project - A Women’s Vision, (catalogue), R Christian (curator), Fulton Country Arts Council, Atlanta.
1998: Marie Caire Magazine.
1998: Stern Magazine, Germany.
1997: A Decade of Democracy: South African Art 1994-2004, Emma Bedford (ed.), Double Storey Books, Cape Town.
1997: E Rankin & P Hobbs, Printmaking in a Transforming South Africa, David Phillip Publishers, Cape Town.
1997: Contemporary South African Art 1985-1995, Third Text, vol 11 issue 39, pp 95-103.
1994: Sarie Magazine.
1993: Femina Magazine.
1992: Culture and Empowerment: Debates, Workshops, Art and Photography from Zabalaza Festival, A Oliphant (ed.), Staffrider, vol 10 no 3, Cosaw Publishing, Johannesburg.


Numerous awards for book illustrations.


Sophie Peters has taught art to children since 1987, including at Sakhile Children's Art Project, the Community Arts Project, and the Visual Arts Group in Cape Town.

Manfred Zylla

b. Augsburg, Germany, 1939. Lives between Munich & Cape Town

Manfred Zylla uses drawing, painting and printmaking to produce biting commentaries on global politics, economy and ecology. Working between the political situations of Germany and South Africa, Zylla has historically challenged capitalist-driven processes that forcefully re-render peoples’ relation to their own land, history and culture. 

Work created for various Handicap International campaigns

Art Education

2023: ASAI Print Access Workshop, Michaelis School of Fine Art, Cape Town.
2018: ASAI Print Access Workshop, Michaelis School of Fine Art, Cape Town.
1959 - 1960: Mostly self taught, student with Prof. Butz at the Art Academy in Augsburg, Germany
1957 - 1960: Apprenticeship as a lithographer in Augsburg, Germany.

Exhibitions (solo)

2024: Manfred Zylla, Odyssey, Michaelis Galleries, University of Cape Town, Cape Town.
2017: Manfred Zylla: Fur Jeden Etwas, Erdmann Contemporary, Cape Town.
2014: Prints & Drawings 1960 - 1990, Lanz 7 Gallery, Munich, Germany.
2014: I want to Swim a Thousand Miles, Erdmann Contemporary, South Africa.
2013: 120 Days of Sodom, Munich, Germany.
2012: In Retrospect, Oliewenhuis Art Museum, Bloemfontein; William Humphreys Art Gallery, Kimberley; Nelson Mandela Metropolitan Art Museum, Gqeberha/Port Elizabeth, South Africa.
2010: Future Memories, Centro Luigi Di Sarro, Rome, Italy.
2010: Again and Again, Erdmann Contemporary, Cape Town. Future Memories, Centre Luigi Di Sarro, Rome.
2008: New Paintings, Erdmann Contemporary, Cape Town.
2008: Faces of Saron, Suidoosterfees, Artscape.
2008: Portraits, Klein Karoo Nasionale Kunstefees, Oudtshoorn, South Africa.
2007: Faces of Vredendal, Artscape, Cape Town.
2005: Work on Paper, Erdmann contemporary, Cape Town.
2004: Gallery Momo, Johannesburg.
2003: Interim, Munich. Obz Cafe, CapeTown.
1993: Dritte Welt Cafe, Munich; Ecke Gallery Kneipe, Augsburg.
1992: Glokenbachwerkstatt, Munich.
1991: Art des Foyer, Munich.
1990: Association for Visual Arts, Cape Town.
1986: Amnesty International, Munich.
1980: South African Association of Art, Cape Town.
1978: Kleine Schlossgalerie, Munich.
1975: Space, Cape Town.
1966: Ecke Stuben, Augsburg, Germany.
1965: Obere Stube, Ulm, Germany.

Group Exhibitions (South Africa)

2020:  Cafe Ganesh, Observatory, Cape Town.
2018: Once when we were free, Erdmann Contemporary, Cape Town.
2016: Auf Wiedersehen is Not Good Bye, Erdmann Contemporary, Cape Town.
2016:  Beyond Binaries, Essence Festival, Durban.
2015:  Co-Existence part II – Manfred Zylla, Garth Erasmus and Antonin Mares, Erdmann Contemporary, Cape Town (Click here for opening remarks).
2015:  Cape Town Art Fair, Cape Town.
2015:  Breaking Surface, Galerie NOKO, Port Elizabeth.
2015:  The Industrial Karoo - Fear and Loss, Pretoria Art Museum, Pretoria.
2014:  The Industrial Karoo - Fear and Loss, Oliewenhuis Art Museum, Bloemfontein.
2014:  The Trouble With Memory, Erdmann Contemporary, Cape Town.
2013:  Crossing the Divide, ErdmannContemporary, Cape Town, South Africa
2013:  Re-Drawn Conclusion, ErdmannContemporary, Cape Town
2008:  Painful Earth, Gallery Momo, Johannesburg.
2007:  Artseasons, Franchhoek. 
2007: Riempie Vasmaak (with Garth Erasmus & Roderick Sauls), Erdmann Contemporary, Cape Town.
1985:  Art for Peace, Baxter Theatre Gallery (organised by End Conscription Campaign).
1984  (With Paul Grendon), South African Association of Art, Cape Town.
1980:  Biennale, Cape Town.

Group Exhibitions (International)

2015:  Beijing Biennale, Beijing, China.
2014:  The Secret Garden, Museo di Villa Vecchia, Rome, Italy.
2014:  Twenty: Contemporary South African Art, The Appalachian State University, North Carolina, USA.
2013:  Zylla & Erasmus, EineWeltHaus, Munich, Germany.
2009: (with Garth Erasmus) Fernwarme Kapstadt, BBK Ulm, Germany. Havanna Biennale, Cuba.
1997 - 2000: Various exhibitions with Handicap International in Munich, Berlin and Augsburg. Designed the Handicap Bus Exhibitions with Sans Papiers.
1993: Art Against Racism, Dritte Welt Cafe, Munich.
1989: South African Anti-Apartheid Festival, Amsterdam.
1987: South African Conference on Literature, Bad Boll, Germany.
1986: 120 Hours Action, Kunstakademie, Munich.
1983: Krieg und Frieden, Bremen, Germany.
1982: Culture and Resistance, Gaberone, Botswana.
1965: Anti-Vietnam War, travelling exhibition through Germany (organised by Workers Union).
1964: Socialistic Realism (from West and East Germany), Augsburg, Germany.
1961: Junge Westen, Recklinghausen, Germany.
1960 - 1962: Spring and Autumn Exhibition, Artists’ Union, Augsburg, Germany.


2010: As Is (with Garth Erasmus, Roderick Sauls and Niklas Zimmer), Breytenbachsentrum, Wellington.
2002: (With Charles Bhebe) Mural at Eine Welt Haus, Muenchen. Revised in 2009 (with Garth Erasmus).Numerous performances as a musician.
2002: Voices in Transit, drawings of refugees at Cape Town train station for Cape Town Festival.
1992: Stand Up For Tolerance, billboard action paintings, Muenchen.
1991: Ozone, billboard action paintings, Muenchen.
1990: Puzzle Action (organised by South African Scholarship Fund), Tuebingen, Germany.
1982: Interaction, CAP, Cape Town.Other experience
1961 - 1970: Worked as a lithographer in various parts of Germany, landscape painter and print maker, mainly in the medium of wood.
1974 - 1985: Worked as a lithographer and educator at Hirt and Carter in Cape Town.
1981 - 1986: Teacher and organizer at the Community Arts Project, Cape Town.
1981 - 1984 Taught photographic image in print making at Michaelis School of Fine Art.

Publications (Books, newspapers, journals)

2009: "Manfred Zylla, Interaction," Critical Interventions: Journal of African art history and visual culture, numbers 3/4 Spring: pp. 206-222.
1989: Sue Williamson, Resistance Art in South Africa (Cape Town: David Philip).
1988: G. Ogilvie, The Dictionary of South African Painters and Sculptors (Johannesburg: Everard Read). Staffrider, Contrast, Cape Times, Weekly Mail, ADA, Varsity, Vula, Tendenzen, Zeitschrift fuer Kulturaustauch Dritte Welt (IKA), Anti-Imperialistic Bulletin (Germany), The Guardian (New York), Tri-Quarterly (USA). Collections Iziko SANG, Oliewenhuis Art Museum, Nelson Mandela Metropolitan Art Museum, Bredasdorp Municipal Collection, University of Cape Town, South Africa; Archiv, Augsburg, Germany; University of Botswana, Botswana.

Private Collections

England, Switzerland, Germany, America, South Africa.


Maurice Mbikayi

b. 1974, Kinshasa, DR Congo; lives in Cape Town, South Africa.
Maurice Mbikayi is a multimedia artist, working in sculpture, installation, performance and photography. Mbikayi skillfully integrates digital debris with political themes, foregrounding the problems of Africa’s continued exploitation for the progress of the global tech industry. By repurposing tech waste into sculpture, Mbikayi highlights the underbelly of ‘advancement’ – exploitation of Black mining labour, environmental damage and systemic health risks.

A Creative Exchange

Getting under our skinSuzy Bell, Cape Times January 21, 2011

Maurice Mbikayi Art South Africa 2011

Maurice Mbikayi: The Creative Exchange

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2007. Exhibition booklet.

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2006

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2006 - Maurice


Arts Education

2015: Master of Fine Art with distinction, Michaelis School of Fine Art, Cape Town.
2009: Higher Certificate in Photography, Vega Brand Communication School, Cape Town.
2000: Graphic Design and Visual Communication, Institut des Beaux-Arts, Kinshasa.
1994: Diploma in Fine Art, Institut des Beaux-Arts, Kinshasa.

Solo Exhibitions (South Africa)

2019: Coucou Crumble, Gallery MOMO, Cape Town.
2016: Mupia-Mupia, Gallery MOMO, Johannesburg.
2011: Notre Peau, Association for Visual Arts, Cape Town; Centre for African Studies Gallery, Cape Town; Villa Arcadia, Johannesburg.
2010: Echoes, Alliance Francaise, Cape Town.
2007: Maurice Mbikayi, The Framery Gallery, Cape Town.

Solo Exhibitions (International)

2018: Mupia-Mupia, Fondation Friedrich Naumann, Dakar.
2018: Masks Of Heterotopia, Officine dell’Immagine, Milan.

Group Exhibitions (South Africa)

2019: Still Here Tomorrow to High Five You Yesterday…, Zeitz MOCAA, Cape Town.
2016: Paradoxal Stranger, Gallery MOMO, Cape Town.
2016: Troubled Land, Iziko South Africa National Gallery, Cape Town.
2015: On Entropy and Becoming, AVA Gallery, Cape Town; Constitution Hill, Johannesburg.
2011: Thinking Africa and the Diaspora Differently, Centre for African Studies Gallery, Cape Town.
2010: reasons to live in a small town, Goethe on Main Gallery, Johannesburg.
2010: Amani Festival, LookOut Hill, Cape Town.
2009: Artreach in progress, Association for Visual Arts, Cape Town.
2008: Soul of Africa, Development Bank of Southern Africa, Johannesburg.
2007: Human Rights Day, Iziko Slave Lodge, Cape Town.
2007: Reconciliation Day, Iziko Slave Lodge, Cape Town.
2007: Group Exhibition, Blank Projects, Cape Town.
2007: X-Cape Circuit, Scalabrini Centre, Cape Town, South Africa
2006: A Response to Picasso and Africa, Alliance Francaise, Cape Town.
2006: A journey together, Scalabrini Centre, Cape Town.
2006: Portrait, Association for Visual Arts, Cape Town.

Group Exhibitions (International)

2019: Face with Tears of Joy, Blitz, Malta.
2019: Digital Imaginaries: Africas in Production, Wits Art Museum, Johannesburg; Kër Thiossane, Dakar; ZKM, Karlsruhe.
2018: Congo Stars, Kunsthaus Graz, Graz.
2018: ON/OFF, Casa Victor Hugo, Havana; 17 Biennale De Lubumbashi, Lubumbashi.
2018: YOUNG CONGO, Kin ArtStudio, Kinshasa.
2018: Urban Axis / Another Antipodes, PS Art Space, Freemantle.
2018: WE CALL IT “AFRICA”, Artists From Sub-Saharan Africa, Officine dell’Immagine, Milan.
2014: Art of the Lived Experiment, The Bluecoat School Lane, Liverpool; Urban Institute for Contemporary Arts (UICA), Grand Rapids, Michigan.
2012: Window Exhibition/ Traces at Dock, Basel.
2011: Celeste Prize Finalists Exhibition & Awards, The Invisible Dog, New York City.
2010: AFRIKA SUR L’ÉVENEMENT POÉTIQUE, Centre Culturel des Mazades, Toulouse.
2008: The art of determination, Harare International Festival of Arts (HIFA), National Gallery of Zimbabwe, Harare.


2010: Voices, Spier Contemporary 2010 Biennale, City Hall, Cape Town.
2010: Minky Mwendo (Distant relationships), Mullineux Wine Cellar, Cape Town.
2010: Healing (with Lodi Paul Inga), Khayelitsha Festival of Cultural Diversity, Cape Town.
2008: Talking Heads (with Magdelena Kunz and Daniel Glaser), Pro Helvetia, Cape Town.


The Development Bank of South Africa, Midrand.
Hollard Corporate, Johannesburg.
Iziko South African National Gallery, Cape Town.
Scheryn Art Collection, Cape Town.
Progressive Art Collection, Mayfield Village, Ohio.
Yellowwoods Art, Cape Town.


2011: Business Art South Africa, July 27, p. 6. SA Art Times, February, p. 28. What’s on in Cape Town, Mail and Guardian, January 28 to February 3, p. 3. Cape Times, January 21
2010: Ruth Simbao, Cosmolocalism: The audacity of place, CCA Lagos Newsletter, no. 10, September-December. Jay Pather (ed.), Spier Contemporary 2010, Africa Center, Cape Town
2010 Sean O’Toole, Parting shot, Sunday Times, March 28. Art South Africa, Winter, vol. 8, issue 4
2007 Andrew Mulenga, Artistically brushing out xenophobia in SA, Weekend Post, November 30


2010-2011: The Hollard Creative Exchange Programme, Cape Town and Johannesburg.
2007: Best group proposal, Table Mountain Cable Way Station Award, Cape Town.


2010: Up and Down with Steve Bandoma (research project from '2010 Reasons to live in small town'), VANSA, Cape Town and Johannesburg.
2010: Performance Arts Workshop (with Spier Contemporary), Hiddingh Hall, Cape Town.
2010: Portrait (film documentary for Red Cross Exchange programme), Cape Town.
2010: Stroke of genius (workshop facilitator), Department of Sport and Cultural Affairs & Department of Trade and Industry, Cape Town.
2009: Facilitator at Art therapy workshop for adolecents and elderly, CWD Trauma and Healing Project, Cape Town.
2009: Facilitator at Art therapy workshop for women with HIV/AIDS, CWD Trauma and Healing Project, Cape Town.
2009: Facilitator at Art therapy workshop for children, Lawrence House Shelter, Cape Town.
2007: Educational youth programmes with Kathy Coates (a series of mixed media installations), Annexe at Iziko South African National Gallery, Cape Town.
2007: The art of dissent (a film documentary with Lionel Davis, Jonathan Zapiro, Ruth Carneson), Cape Town.
2006-2007: Multimediations, Cape Africa Platform (with City Varsity), Cape Town.
2006: Facilitator at Art therapy workshop for refugee women and children, Scalabrini Centre, Cape Town.


Garth Erasmus

Garth Erasmus

b. 1956, Uitenhage, Eastern Cape, South Africa. Lives in Brackenfell, Cape Town.

Visual artist and musician best known for his innovative use of materials, Garth Erasmus has extensive experience as a facilitator and teacher. Garth Erasmus unsettles the hegemonic, exclusionary constructions of African and coloured identity through introspective explorations of his decolonial identity, frequently presented on an intimate scale.