I recently contributed to issue 12 of Der Greif magazine. Guest editors Adam Broomberg and Oliver Chanarin sent out a call for images that are too private, too quiet, too violent, too political, too subversive or too explicit to share online. My work is from the series Fail Deadly about South Africa’s secret nuclear weapons program during apartheid and I especially like that it is the only landscape image selected.
I recently contributed to the first volume of Voltface, a contributor-led online forum dedicated to research methodologies of transdisciplinary practice from varied knowledge sets and locales. Founded and edited by johannesburg-based researchers, Robyn nesbitt and Sara-Aimee Verity. My contribution can be viewed here.
Erin Davis / Max C Lee are pleased to announce the 21st iteration of Re: Art Show, guest curated by Efrem Zelony-Mindell, This Is Not Here: RE 21.
Duration of Show: May 26th - June 17th
Gallery Hours: Saturday - Monday 11AM-6PM
FOR IMMEDIATE RELEASE
The General Consulate of Colombia in New York
10 East 46 street
New York, NY 10017
212 798 900I
Invites you to the exhibition:
Lights from the Island – Luces desde la Isla
“Es una isla. Gente Blanca estuvo construyendo, en 1924 más o menos, un museo, una capilla, una pileta de natación. Las obras están concluidas y abandonadas.” — La
invención de Morel, Adolfo Bioy Casares
Andrea Arrubla - Vincent Bezuidenhout - Andrés Burgos - Julián Chams -C.J. Chueca - María Elvira Dieppa - Sarah Grass - Christian Hincapié -Diana
Sofia Lozano - Iliana Ortega - Juan Camilo Rodelo – Zulu Padilla
Curator: Alexis Pacheco – Maria Elvira Dieppa
Opening: Thursday Abril 12, 2018
On View: Abril 12 – May 1, 2018
Lights from the Island is a contemporary art exhibition in which six Colombian artists, living and working in New York City, were asked to invite further six with the
premise of each artist’s work relating to one another. This unconventional curatorial methodology is inspired by Abby Warburg’s Atlas, famous for revealing secret connections between images apparently distant in appearance. In the exhibition the work of 12 artists/islands interlock forming an archipelago of thoughts and ideas. The project refers to the Caribbean which parts intersect with other often alien territories and cultures, and because of that it has to constantly deal with belonging and not, with being here and at the same time somewhere else, like the characters
in Bioy Casares novel La invención de Morel.
RUBBER FACTORY is pleased to present a group exhibition examining nationalism and violence based on the text "Imagined Communities" by Benedict Anderson. The show includes works by Jon Henry, Yael Malka, Myeongsoo Kim, Pacifico Silano, Maggie Shannon, Minstrel Kuik, Carlos Jimenez Cahua, Catalina Ouyang, Hank Willis Thomas, Res, Vincent Bezuidenhout, Farideh Sakhaeifar, Lionel Cruet, Hong-An Truong & Huong Ngo.
Imagined Communities investigates the origins of Nationalism as a modern condition and serves as the starting point for our group exhibition. From the influence of rationalist secularism to the conception of homogenous, empty time, Anderson outlines the convergence of factors which led to nationhood as a vehicle for the creation of meaning and ultimately self-sacrifice.
As Nationalism is revitalized through increasingly extreme rhetoric whether it is nativism or protectionism, the exhibition explores this new wave of anxiety around nation-hood and ways nation-ness is constructed. Whether it is through the oblique nature of our informational channels which function as echo chambers reminiscent of the earliest ways Nationalism spread through print media or the conflation of meaning with sacrifice, it is clear that there are precedents for how Nationalism as a construct has led to and sustained cycles of violence.
Imagined Communities includes Hank Willis Thomas's reflective mirror pieces which appropriate imagery from the civil rights era, George W. Bush's family home as documented by Maggie Shannon and a video by Farideh Sakhaeifar which conflates NASA spaceship launches with ISIS bombings. The group exhibition aims to complicate and implicate conversations around the theme by co-opting Anderson's own way of contextualizing Nationalism, " ... nationalism has to be understood by aligning it, not with self-consciously held political ideologies, but with the large cultural systems that preceded it, out of which - as well as against which - it came into being". By acknowledging larger cultural systems such as capitalism, slavery, the industrial military complex, perhaps Nationalism can be delineated from the politics of Nationalism; allowing us to consider more open-ended questions. For example, is Nationalism intrinsically violent since it assumes an other and requires intensive cycles of suffering/glory as modes of imagining communities.
Imagined Communities: Nationalism & Violence December 16 - January 31, 2017 - 2018
Opening: December 16, 6 to 8
I am a participant in the 2017 Immigrant Artist Mentoring Program: Visual and Multidisciplinary Arts. The latest addition of NYFA’s Immigrant Artist Mentoring Program pairs immigrant artists working in the visual and multidisciplinary arts with artist mentors who provide one-on-one support for their artistic practice.
During the program, mentors will guide their mentees to achieve specific goals, providing them with broader access to the New York cultural world through an exchange of ideas, resources, and experiences. Additionally, the mentoring program aims to foster a community, providing opportunities to connect with other immigrant artists through group meetings, peer learning, and information gatherings that include alumni from 2007 to the present. Through access to other artists, arts professionals, and organizations, the program offers immigrant artists the opportunity to focus on their creative practice and gain support and exposure to their work while upholding their distinctive identities.
I am thrilled to be exhibiting in Australia with some of the foremost African artists of my generation including Mohau Modisakeng, Michael Macgarry, Athi Patra Ruga, Gerald Machona and many more, in what will be the most important exhibition of African contemporary art shown in Australia in recent times.. Curated by Gerald Sanyangore, Valerie Kabov and Roelof van Wyk,. More...
I participated in this podcast by journalist Rasmus Bitsch on 'Nuclear South Africa' in terms of my research presented in the project Fail Deadly.
It is a great listen, connecting the struggle against apartheid, the Cold War, and South Africa’s development of nuclear weapons. Listen Here
Nobushige Kono and I collaborated on a video project which will be screened as part of the second biennial of the Boda Boda Lounge Project, a cross-continental video art project
hosted by 15 arts organisations across the continent on the weekend of 18 – 20 November.
The Hosting Hubs across the continent are:
HASSET, Addis ababa university school of fine art and design, Addis Ababa, Ethiopia; Médina Art & Culture, Bamako, Mali; KZNSA Gallery, Durban, South Africa; Greatmore Studios, Cape Town, South Africa; Kër Thiossane, Dakar, Senegal; Les Ateliers SAHM, Brazzaville, Congo; Yolé!Africa, Kinshasa, DRC; Accra[dot]Alt, Accra, Ghana; Nafasi Art Space, Dar es Salaam, Tanzania; 32º East | Ugandan Arts Trust, Kampala, Uganda; /a.r.i.a/ Artist Residency In Algiers in partnership with Espace d’art contemporain Espaco, Algiers, Algeria; Logomatic design and graphic art studio, Lusaka, Zambia; La Rotonde des Arts, Abidjan, Cote d'Ivoire; Centre d'Art Waza, Lubumbashi, DRC and Van Lagos, Lagos, Nigeria
Together with a selection of other African artists I was asked by APhI to reinterpret some archival images from the Cameroon Press Photo Archives. The publication will be available in 2017 but in the meantime here is the online edition:
From Afrika Süd. Magazine, no.5, 2016, Germany, Tymon Smith.
I have some work on the exhibition 100 Geographies at the University of Stellenbosch Museum. Organised by the Society of South African Geographers to celebrate a century of geography teaching and research the exhibition presents an interesting intersection between art and geography.
More information here.
Artist Vincent Bezuidenhout’s latest exhibition, Fail Deadly, examines the country’s clandestine nuclear weapons programme in the 1970s and ‘80s. But, more important, it asks who is constructing our history – both then and now. By MARELISE VAN DER MERWE.
Full interview here.