Tag: andile buka

  • Cale Waddacor: breathing new life into analogue photography with the platform DEAD TOWN

    Cale Waddacor: breathing new life into analogue photography with the platform DEAD TOWN

    DEAD TOWN is a platform aimed at highlighting the work of contemporary analogue film photographers in South Africa. It focuses on a wide spectrum of photography styles from landscape to documentary to fashion and beyond. The definitive desire is to create a blog with interviews, print publications and distinctive exhibitions. In my interview with creator Cale Waddacor we discussed the platform and the first video interview with Andile Buka.

    DEAD TOWN created by Waddacor in January of this year was birthed out of his endearment for film photography. Waddacor tells me that he has always had an affinity for the analogue format. He had a desire to group mind-blowing film imagery in one space. DEAD TOWN currently displays in the form of a blog. He aspires to grow this newly formed platform into a physical realm. Since the inception of the platform there has been various features including interviews with Gabriella Achadinha, Kent Andreasen, Albert Retief, Duran Levinson and Matt Kay. Other posts on the blog consist of an overview of the national photographic landscape, zines, book publications and picture round-ups from their Instagram feed, as well as a video interview with photographer Andile Buka.

    Photography by Katya Abedian

    The label DEAD TOWN refers to the approaching death of film photography that has been caused by the influx of the digital shooting mode which is not only an easier route to take but also less costly.  It may also refers to a time when people captured moments in time within a frame that has now exceeded sustainability and cannot be revived organically. Waddacor also states that he chose this title as it is not obvious, it is not instantly recognized for what the platform is, and slips easily off the tongue.

    Waddacor decided to focus specifically on analogue photographers because he holds that it is more extraordinary and niche. In his opinion the analogue photographers featured on the blog have a concentrated methodology and the style has the power to conjure diverse emotional responses from its viewers. Being a film photographer himself he is thrilled by the practice and the in communicable sensation that he associates with his images when he goes through the process of creating work. DEAD TOWN commemorates South African film photographers because there are few local blogs dedicated to this practice.

    Photography by Rowan Patrick

    Showcasing different styles, DEAD TOWN is fond of showcasing photographers that are not only skilled in the craft of analogue photography but have voices that cannot be matched. Waddacor states that he’s been following the work of most of the featured photographers on the blog for years. Some of the photographers are only hobbyist photographers and others shoot so much film that it’s unbelievable.

    Striving to make DEAD TOWN into a zine within this year, Waddacor is all about the quality of his product and only features the highest standard of work. Waddacor has developed a style for both platforms that enhances each other; he meticulously curates DEAD TOWN’s Instagram and blog.

    Photography by Andile Buka

    DEAD TOWN has released their first video interview with Johannesburg based photographer Andile Buka a few days ago. The in-depth video interview looks closely at Buka’s documentary style photo work as they visit his studio. Buka speaks about shooting on film exclusively, his process and what influences him, as well as the city of Johannesburg itself and his passage that led him to where he is now.

    Buka born in Soweto, was raised in Orange Farm. He currently resides and works in Johannesburg. His work comprises of portraiture, street and fashion photography. His client base includes brands such as adidas, Levi’s and Superga. Buka is known for shooting not only in medium format, but 35mm as well. Capturing his subjects with a candid personal air, he has a knack for tone and composition. Crossing Strangers (2015), Buka’s first monograph, was published by MNK Press in Japan and launched at the Tokyo Book Fair. Buka was freshly invited to take part in the New York Times’ 5th Annual Portfolio Review. His work has been exhibited in Europe, Asia and America and Buka plans to introduce a solo exhibition in the near future.

    Waddacor explains that the video interview with Buka consisted of minimal direction. “I wanted it to be natural, and to be born out of conversation. Andile was the perfect candidate because of his amazing body of work, gentle nature, and just the sheer amount of film he goes through.” Waddacor and Buka met for the first time on the day of the shoot. They went up to Buka’s studio and had their interview straight away.

    Waddacor tells me that the interaction between them was not forced, and that they shot an extensive interview in that time. Waddacor and Ryan Jarrett (cinematography and editing) then proceeded to follow Buka around his studio to get to know him more. Afterwards they scouted out the roof captured in the interview and walked around the block in downtown Hillbrow. The filmmakers then proceeded to Buka’s home to view and capture his post-process and discuss his admiration for music and books. Speaking to Waddacor he expresses a desire to explore more video work for his platform. The first video interview with Buka has set the tone for future projects.

  • Lightfarm // Creating a Culture of Collaboration in the Print Studio

    Autumnal light cascades through the intersecting branches of a small avenue of plane trees. The occasional hoot peppers the ambient buzzing soundscape of Braamfontein. Adjacent, buildings are covered in corrugated shadow. Tucked away –  just off Henri Street – a concrete and steel structure houses Lightfarm: a fine arts and photographic print studio.

    The space is filled with machines, occasionally making quirky beeps or sprouting reams of paper. Andreas Vlachakis and Amichai Tahor started the business in late 2007 – initially working with up-coming artists. A decade later, these artists have grown and so has Lightfarm.  The likes of Zanele Muholi, Ayana Jackson, Paul Shiakallis and Mary Sibande have worked with the studio from the outset.

    Ayana Jackson, ‘Wild as the Wind’, 2015

    The studio positions itself as a space of production. However, this is not limited to the technical element of printing. Andreas and Amichai resonate with the notion of the print studio embodying collaboration. This is the heart of their focus. Their partnership relies on this kind of dynamism and fluidity.

    Both Andreas and Amichai draw on different backgrounds. Andreas comes from a photographic tradition of photojournalism, having worked for many years at the Star. Whereas, Amichai comes from a fine arts background and focuses on interdisciplinary projects. They jest that if a client doesn’t like the one, they are bound to like the other. Through their combined experience they draw on an incredible history and wealth of knowledge – one that translates through a spectrum of projects.

    The democratisation of the camera – through the accessibility of digital photography and phone cameras – has revolutionised the space of photography and modes of archiving through documentation. Andreas and Amichai pivot their practice on the mastery of when the digital is manifest in physical and tangible space. They’re intrigued to see how this eruption in accessible images alters cultural production, especially in relation to the youth.

    Benjamin Skinner, ‘White 003’, 2015

     

    Mary Sibande, ‘The Admiration of the Purple Figure’, 2013

     

    Paul Shiakallis, ‘Vicky’, 2014

     

    Andile Buka

     

    Gary Stephens
  • The incredible rise of Legend Manqele, redefining cultural production in South Africa and beyond

    “I would say to any up and comings- although we are all still up and coming- just fight for whatever… not even fight,  just be who you are. Whatever you’re trying to do, you already are. That’s why you get disappointed when you hear a ‘no’ or something… because you know that you already are. Start looking for platforms on which you can execute whatever you feel inside of yourself. And make sure that you know true love- whenever I receive love, I’m like, yoh… epic! I feed off of love and I really feel that if you work from that perspective, things will happen for you. If you do things with love, you always prosper and move forward in the direction you ought to move.”

    Legend Manqele

    It’s difficult to speak to Legend Manqele and to not feel inspired. Regardless of how high he has risen or how high he will still go, he takes the time to connect with you and your story, infusing the encounter with a sense of sincerity and purpose. He’s the ‘driven-man’, re-embodied in a form that cares less for external definitions and arbitrary constructions, than for the power of self-knowledge and a sense of what can be gained through the pursuit of a life in which you live, as much as possible, according to your own truth. It’s a startling revelation in a space like Johannesburg where people so often battle to come into their own light because of the artificial façades they figure as necessary for success. Legend’s story offers a different kind of vision, where multiple incarnations and abilities are nurtured and facilitated by the strength of setting the centre first.

    Legend was brought up by his Grandmother, until he was 13 years old, in eSinathingi, Pietermaritzburg, and although he can now occupy any boardroom with immense sophistication, presence, and perspective, he still speaks with reverence about the way those experiences shaped him; how they infused the beauty and complexity of simple rhythmic moments into his consciousness and evoked in him a sense of higher-calling. He left PMB for Durban as a teenager and so quickly developed a strong sense of independence. Although he describes himself as rather insular during this time, he speaks about some of his experiences there, as watershed moments. He tells me about his first unrequited love, which created an awareness of emotions and relationships being of a far more complicated, and authentic, order than the cookie-cutter, gift card clichés that are sold to us. He tells me about moving with a friend and his mother into the restaurants of fancy hotel spaces, how marching through corridors and occupying rooftops made him realise how so much operates on illusions of access, and drove home the fact that young people owe it to themselves to break those restrictive notions. He also tells me about working in retail after matriculating and noticing, from those experiences, the differences between selfish and selfless acts- how some people could so easily push badly-suited garments just to meet their targets, and how that didn’t sit right with him, when he was interested in the potential of more meaningful exchanges. It was perhaps this perspective that, one day, saw a prominent South African celebrity recognise and ask Legend to personally escort and assist her through the mall in order to find what she wanted. Legend tells me how that simple moment sparked a massive redefinition of understanding in his life; not only did it testify to the walls that can be broken down through perseverance, but it also affirmed the value of the qualities that he had begun to define himself by.  It was then that he knew he had to move to Johannesburg.

    Legend Manqele 4 BUBBLEGUM CLUB

    Legend landed in Hillbrow from Durban in 2009. Within the first two days of arriving, he hit the streets, walking first to Rosebank in order to suss-out further retail opportunities there. However, being, since his school days, enamoured with cultural production and particularly with acting, Legend then set out for Randburg, where he knew that Urban Brew was operating. After positioning himself within a studio audience, Legend began inquiring how things actually functioned. It was then that he encountered the Producers who immediately picked up on his infectious energy and sincere enthusiasm. This ensured that he was offered a contract of employment within his first few weeks of arriving in JHB. The rest, as they say, is history… as Legend has now gone on to establish himself as one of South Africa’s most prominent young cultural producers. He has landed several high-profile acting jobs, most recently featuring in E.TV’s popular drama series Umlilo; has established the Marvin online magazine; and has founded his own production company, BarLeader.

    Legend is an initiator who isn’t prepared to settle for substandard. He recognises tensions inherent in the corporatisation of creativity but because his priorities are so focussed, he is able to employ the business-savvy required in order to make-real the vision of creating proudly South African content; content where the majority are no longer whitewashed off screens or reduced to stereotypical projections that just don’t resonate with peoples’ lives. BarLeader is about recognising the potential of others and Legend draws on his own experiences of being mentored in order to invigorate and encourage his own team. While many companies simply cut-and-paste ‘human-centred’ notions over their pre-existing models, Legend has operated with an ethos of love, from the ground… up. BarLeader has a radically collaborative perspective in relation to the rest of the often confined and ego-driven industry, as Legend believes it is through these exchanges that South Africa will be enabled to create and push content that finally begins to reflect the incredible vitality of this country. His focus is also on increasing the visibility of, and speaking with, other African countries as cutting-edge cultural producers, and BarLeader has already begun to establish connections with Nigeria, the Democratic Republic of the Congo, and Kenya.

    Legend observes that cultural production is necessarily a youth-driven process and it is political; we often come to know of and imagine spaces through the ways the youth occupy, document and disseminate information about them. BarLeader is driven by this youthful energy (which Legend is quick to point out, is more about a perspective/positioning than a particular age-bracket) because this Production House recognises that this is where the redefinition happens, that it is from here that the beautiful scripts will finally emanate. The youth hold incredible power in producing and consuming their own content, and in not always looking towards greener grass growing somewhere else, but in watering their own spaces until they explode with abundance. They know how to create this even when supportive systems are lacking; they’re working their day jobs, running their blogs, writing their stories, throwing their parties, and generally operating well beyond predefined work hours. If they’re eating cereal for supper it’s because their priorities reach far beyond the imposed structures… they are investing now in the creation and realisation of new and better worlds, where existing means more than being echoed in hollow representations or simply getting by. Legend is one of these trailblazers and he is creating systems to propel this work forward, elevating himself in order to lift others with him… taking on and off suits and reassembling professionalism as an entirely new kind of Kingpin.

    Legend Manqele 4 BUBBLEGUM CLUB 5

    Editorial image credits

    Photography: Andile Buka

    Styling: Jamal Nxedlana

    Image 1:

    Legend wears Adidas tracksuit. All accessories The Source 

    Image 2:

    Legend wears Leather shirt jacket from CityHall. All accessories The Source 

    Image 3:

    Legend wears Leather trenchcoat from CityHall, retro tracksuit top by Puma, jogging pants by (Nike) Jordan and trainers by Nike