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Born in Cotonou, Benin in 1961, Meschac Gaba moved to the Netherlands in 1996 to take up a residency at the Rijksakademie. It was there that he conceived Museum of Contemporary African Art 1997 – 2002, an ambitious work, that took him five years to complete and that cemented his reputation as one of the most important artists working today.
Moira Forjaz worked as photojournalist in Southern Africa and as a photographer and documentary filmmaker in Mozambique. Moira is the author and photographer of the book Mozambique 1975/1985, which was the Jenny Cwrys-Williams book of the year in 2015.
800×600 Normal 0 false false false EN-ZA X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:”Table Normal”; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:””; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:”Calibri”,”sans-serif”;} Volume 5 gives an overview of a scene of photographers in Kenya who use the medium both for visual art practice and sociopolitical documentary…
Nyambura is going to visit her Gogo! She arrives at the bustling market place to find that she is last in the queue and that the bus has not yet arrived. While she waits for the bus, Nyambura remembers the fun things that she and her Gogo have done together.
Book available in English, Afrikaans, Xhosa and Zulu
Nyambura is going to visit her Gogo! She arrives at the bustling market place to find that she is last in the queue and that the bus has not yet arrived. While she waits for the bus, Nyambura remembers the fun things that she and her Gogo have done together.
Book available in English, Afrikaans, Xhosa and Zulu.
Design and layout of a major book accompanying the inaugural exhibition at Norval Foundation, Re/discovery and Memory: The works of Sydney Kumalo, Ezrom Legae, Serge Alain Nitegeka and Edoardo Villa, curated by Karel Nel, 28 April – 10 September 2018.
Retrospectives of the work of both Sydney Kumalo and Ezrom Legae were shown alongside an exhibition of their friend and colleague Edoardo Villa, while Serge Alain Nitegeka was commissioned to create an immersive installation in the atrium.
800×600 Volume 2 presents the work of visual artist Sam Hopkins, who lives and works in Nairobi. Hopkins, who has been educated in Kenya, Cuba, at the Bauhaus University in Weimar and in Edinburgh, is a crucial representative of a certain young, transnational art scene in Nairobi. The scene is oriented towards, and part of,…
In the era of technological advancement astronomers want to build the most powerful telescope ever, to see back to before the first stars and galaxies formed
Seedtimes – the title of Omar Badsha’s photographic retrospective is drawn from a poem by Mafika Gwala written in the wake of the Soweto Uprising of 1976, a period when the cultural and political movement against apartheid really began to develop momentum in the townships of South Africa.
Stellenbosch is where people meet in bustling pavement cafes, browse in interesting galleries and bookshops or simply soak up the surrounding natural beauty. Importantly, it is also the heart of one of the most successful wine-growing regions in the world, and wine is its lifeblood.
This publication brings together thinkers and experts such as Wieland Gewers, President of the Academy of Science of South Africa and Senior Deputy Vice-Chancellor at the University of Cape Town; High Court Judge Denis Davis who looks at evolution from a “somewhat dissident Jewish perspective”; Professor Caroline Odora-Hoppers, whose passionately pleads for the education of our children to include indigenous knowledge; and a myriad of curriculum developers, book publishers, teachers and religious scholars.
Describes guesthouses and hotels, vineyards and vintners, restaurants and recipes; artists of the Overberg region of Western Cape Province; and its marine life.
For over thirty years, William Kentridge has been combining fine arts, performance, theatre, and opera to create dreamlike, political, and humanist works. His installations , films, and drawings often deal with the political situation in South Africa, apartheid, and the consequences of colonialism. This book gives an in-depth examination of his performance piece The Head & The Load, which explores the role of Africa during World War I. Throughout the war, more than one million Africans carried provisions and military equipment in hazardous conditions for British, French, and German troops at minimal or no pay.
This work examines African art that engages with the presence of white people in the ‘contact zones’ and colonial states in sub-Saharan Africa.
A major strength of this collection is its precisely noted and rendered detail. Whatever the themes-whether the dilemmas of being differently abled; trapped in lower-income constraints; or born female in an abusively gendered world-they are relayed with authenticity. There is a strongly visceral component to the stories, with the body and its various vulnerabilities, captivities, and seductions featuring in many of them. Some pieces broaden out, both creatively and topically, to explore less obvious facets of staying afloat.
The collection includes works by the young student leaders turned academic and public commentators such as David Maimela, Thapelo Tselapedi and Sisonke Msimang; student newspaper journalists that were covering the protests like Natasha Ndlebe; public writing commentators with aims to inform and teach the broader South African society about the aspects of the movement like Yamkela Spengane and Rofhiwa Maneta; lecturers who were assisting the students articulate and find clarity in the way they shaped and voiced their ideas such as Sabelo Ndlovu-Gatsheni and then of course others were foot soldiers on the ground leading students through the police brutality of rubber bullets and pepper spray like Mcebo Dlamini, Loverlyn Nwandeyi, Ntokozo Qwabe and Ramabina Mahapa.
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