Tag: kalashnikovv gallery

  • Sikelela Damane’s exhibition State Of The Nation Address (SONA) – “Speaking the truth should not be substituted for being radical”

    As the high priestess of soul, Nina Simone said, “You can’t help it. An artist’s duty as far I’m concerned, is to reflect the times.” This is exactly what artist, Sikelela Damane achieved in his current exhibition titled, State Of the Nation Address (SONA).

    From the historical removal of the Cecil John Rhodes statute at the University of Cape Town to the dodging of rubber bullets while peacefully marching in the streets of Johannesburg, Sikelela was initially inspired by the South African student Fallist movements and how they have “commercialised being ‘woke’ and addressed complex patriarchal and racial constructs.”.

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    Sikelela deliberately represented the students asking for free decolonized education as “heroes of our generation” instead of being in a state of melancholy since they are a group that is both marginalised and frightened.

    Moreover, it is the chunk of land that Sikelela layered on the floor of the Kalashnikovv gallery that speaks to the state of a nation that is frightened about its mission to address the struggles of the marginalised.

    Land is a deeply contested issue in South Africa and Sikelela’s idea to address this issue in his work began when President Jacob Zuma stated that the main objective of his government would be to re-address the land. Even though, Sikelela suspects the President’s main objective is to end his term with the affection of Black South African’s, Sikelela seized the opportunity to metaphorically engage with relationship between land and Black labour.

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    It was in the process of excavating land from outside the gallery and moving it inside that was emotional for Sikelela. “I felt laboured, hard laboured in particular and reminded of Black Labour and how Black males and females in this country became cheap exploits to nourish and pamper this land.” In addition, the accidental displacement and replacement of Sikelela’s land installation helped him further speak to the illusionary ownership of South African soil.

    “I like to think of myself as not of a radical but an artist who simply paints the truth. What is a radical, and to whom? Speaking the truth should not be substituted for being radical. And it’s assumed that radical equals being a fighter, an anarchist. I say I paint out of love and hope”, said Sikelela.

    In his exhibition currently on at the Kalashnikovv gallery, Sikelela does more than paint. He sues acrylic, aerosol, markers and earth on canvases. He also uses objects such as land and a tyre to address the state of the nation.

    Check it out the art walkabout this Saturday or see his artwork on Instagram.

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  • Bubblegum Club Stories Ep3

    In our third episode of Bubblegum Club stories we visit the lovely Creative Director for Marianne Fassler, Lezanne Viviers, who gives us a sneak peek into what they are working on at the moment. We get a lesson in fashion finesse from the streets of Johannesburg. Artist and owner of Kalashnikovv Gallery, MJ Turpin gives us the load down on their latest exhibition “The whole greater than the sum of its parts” and his missions for the Cape Town Art Fair beginning next week. You get a chance to see behind the scenes footage for our current cover feature with Rosie Parade. We also visited ROOM Gallery for the opening of Sikhumbuzo Makandula’s “Ubuzwe” exploring ideas of nationhood around monuments and what constitutes you as an individual within a collective.

  • The Kalashnikovv Gallery; rise of the underdogs championing the blue-chip outsiders

    The Kalashnikovv Gallery is a hyper-vigilant and rebellious art movement born out of punches in order to roll differently within the cut-throat art industry. It is an emergency siren in recognition of what the ‘art world’ often is; a blood-sucking species of butterfly. Its Directors, MJ Turpin and Matthew Dean Dowdle are artists and long-time collaborators, which means that they have had to cut their teeth against the sharp edges of art spaces that will rinse you in a blink. They grew sick from a system that would often seize creatives just to chew them up and spit them out, lining some suit’s pocket in the process. The Kalashnokovv Gallery can see the negative spaces and rebels against this commodified bankruptcy by putting artists first; always ensuring that they are treated with respect and receive the lion’s share of profits.

    The Kalashnikovv is an independent gallery which means that it doesn’t have to rely on a model of external funding or grants to survive. It can see that this anaemic model has contributed to the ephemerality of alternative art spaces in South Africa, as well as the gatekeeper status of the well-established, and refuses to accept this as the status quo. This is an unconventional hybrid space, where the commercial gallery practice is used to facilitate project spaces with room for more edgy experimentations. The Directors have somehow learnt to work a system that worked them, with no surrender of their vision to create a resiliently rule-breaking practice able to champion the blue-chip outsider.

    Both Turpin and Dowdle are ‘slashers’, embodying multiple talents and professions (gallery owner/curator/DJ/artist etc.) which enables them to locate artistic practice in places which others may find surprising. They refuse the hierarchisation of different forms of creativity and instead, create hyper-pollinated encounters between multiple inspirations (art, music, fashion, digital culture, branding, design…). While this may be unsettling to those that doggedly guard their own definitions, it is embraced by Kalashnikovv as a necessary weapon against the reductions and redundancies of a pre-defined ‘culture’ completely at-odds with the contemporary.

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    Stasis is not an option and this is reflected in the diverse approaches of Kalashnikovv’s emerging and established artists; in the home that is created for ‘controversial’ practitioners such as Ayanda Mabulu, Vusi Beauchamp, and even the Gallery director/artist himself, MJ Turpin; in the creative collaboration on events such as the Basha Uhuru Youth Day Arts Festival and the Fakugezi Digital Africa Festival; in the experimental multi-disciplinary approach of projects like Kalashnikovv Radio and the Black Cube Sessions; in the collaborations initiated with other galleries… the list of ‘taboos’ goes on and on.  The Kalashnikovv isn’t bound by a fear of failure by someone else’s definition; they are transgressive counter-culture in constant execution.

    In a testament to the true potential of the under-dog, perseverance and perspective have seen the Kalshnikovv grow from strength to strength; soon expanding through the opening of a Gallery in Berlin, which will no doubt act as platform for the continued exhibition of South African excellence and as an interface for further exciting transmutations. Be sure to check out Kalashnikovv’s latest exhibition GIRLS! GIRLS! GIRLS! which features a collaborative encounter between creative practitioner Jana Hamman and the gallery itself, running until 24 May. You can also keep up-to-date with the many manifestations of the Kalashnikovv movement through their Facebook page, Twitter, or Instagram. Here’s to the misfit realisation of a sustainable dissident space and to an insurgent force rearticulating what South African art can mean!

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