This place has insane energy and a distinctively effortless cool that flows through the streets. It’s no wonder that this inexplicable local flair is increasingly resonating globally and major international brands are acknowledging the unique cool factor that defines South Africa. As more brands come knocking, it means more to us than mere recognition; it’s a nod to our unstoppable and ungovernable spirit. So it’s always a vibe when we see a suitable synergy between said big brands and the manifest movements we make on the ground.
Initially rooted in denim mastery, Diesel was established in 1978 by Renzo Rosso. It’s now known as an innovative international lifestyle company and a leader in premium fashion, but what makes it interesting to us is that it’s remained a genuine alternative to the established luxury market. Beyond apparel, Diesel produces fragrances, watches, jewellery, interior design, and real estate projects through Diesel Living. Bolstered by its parent company OTB, Diesel continues to foster creativity.
Originating in Hackney in 2011 as a DIY passion project, NTS is a global music platform and radio station that broadcasts from over fifty cities monthly with permanent studios in Los Angeles, Manchester, and Shanghai, with over 600 resident hosts, including musicians, DJs, and artists. Aiming to provide an alternative to mainstream radio, over half of the music played on NTS is unavailable on mainstream platforms like Spotify or Apple Music. With a growing global audience of 2.8 million monthly listeners, NTS continues to broadcast the best in underground music on a mass scale, free of charge and without on-air advertising.
Now the collaboration between NTS and Diesel TRACKS, which initially launched worldwide last year, has made its debut in South Africa. With a foundation in the fusion of music and nightlife, TRACKS gathers progressive musical talent from various corners of the world to champion the universal language of club culture, connection, and celebration. The focus is now on spotlighting emerging DJs who represent the distinctive local music scene and nightlife culture.
Scheduled to take place every last Friday of the month, starting November 3rd, 2023, this initiative will champion a diverse array of sounds, including GQOM, House, Amapiano, Techno, Club, Experimental, and drum’n’bass. The inaugural artist, Teno Afrika, aka Lutendo Raduvha, unleashed the sounds of Soweto with his musical style that skillfully blends techno and electro with deep house, infusing elements of soul and jazz to craft harmonies, percussions, and basslines—an embodiment of the DIY essence of amapiano.
Teno Afrika is rapidly rising in the realm of South Africa’s electronic music scene and has gained considerable international recognition. Growing up in the townships of Gauteng province, Teno Afrika discovered his passion for DJing and production on his father’s computer in 2007. His debut album, Amapiano Selections (2020), received acclaim for its minimal yet impactful exploration of the genre, while his second album, Where You Are (2022), features stellar collaborations with fellow artists, contributing to the genre’s evolution.
With features like this, TRACKS promises to be a sonic fusion that brings together mind-blowing musical mavericks and ignites the universal and invincible spark of club culture. Through dynamic mix series, electric live club nights, intriguing radio shows, stunning talent showcases, and generative roundtable discussions hosted by influential music professionals and collectives, who knows what kind of boundaries could be shifted and where this could take the future of nightlife? TRACKS is not just about music; it’s an invitation to dive into a world where beats and cultural connections collide in a symphony of transcendental energy.
After years of remaining silent and never truly sharing herself, Caster Semenya was ready to tell her story, and boy did she leave it all on the page. Few memoirs can be called more than autobiographical, however, Caster has managed to tell her story with humour, raw honesty, and an admirable sense of confidence that starts from the first sentence, “I am Mogkadi Caster Semenya. I am one of the greatest track and field athletes to ever run the 800-m distance.” I know of no other athlete who has shared their story so authentically, and honestly before.
Caster’s memoir encompasses her childhood in rural Limpopo, the first moments she knew she would be special at the age of 8, an athletic career that made her one of the most famous athletes of her generation, meeting her beloved wife, and the painful moments she suffered at the hands of the IAAF. “The Race to Be Myself” is conversational, and no rock is left unturned in this emotionally moving and enlightening book.
From an outside perspective, as someone who has only watched Caster run and talk in a few interviews over the years, it’s hard to think of her as someone who is larger than life. However, her personality comes off the page as she synthesizes her past and present, in colourful and often humorous language, ” Seme looked like one of those cartoon characters where the eyes would roll with dollar signs or his face turned into one of those casino slot machines…” (The Race To Be Myself, pg 108)
Writing her story right from the beginning, and including her days climbing trees, hunting with her male cousins, and growing up amongst her sisters puts into perspective where Caster’s confidence stems from. What may sometimes come across as arrogance in her interviews, is actually the product of growing up in an environment where Caster was never othered or treated any differently, her parents brought a girl into this world, and Caster’s unwavering belief in who she is never faltered even as the world told her otherwise, because the people that mattered most to her allowed her to boldly be just Caster.
The book is laugh-out-loud funny at times, especially as Caster describes how she has zero tolerance for bullies and how she often settled those disputes with her fists as a child. This is a belief that she has carried into adulthood, as she faces the IAAF and continues to fight for the human rights of other female athletes who have been the subject of gender testing. But as much as Caster’s light-hearted tone introduces humour to the story, it also breaks one’s heart as she recounts the times when her body and human rights were grossly violated. One of the most profound things about the book is that Caster never stops to pity herself, all that comes through every page is her determination, “I want to run. I want to win. That’s it.”
In just 306 pages, Caster manages to cover a lifetime in vivid detail. No name is left off the page, and no detail is considered too small, she remembers and writes about small moments of kindness as much as the moments of cruelty that she faced at the hands of her fellow athletes. Even as Caster rightfully names and shames some people, the moments that truly mark her as the resilient and powerful person that we know and love, are the quiet moments often away from the track. For example, how she came to create her signature cobra sign that we are so familiar with or the meet-cute with her wife Violet, all are the actual hallmarks of the book. Moments that we have only witnessed through the media, like her two-time Olympic wins, are given arresting detail in the book, so one not only sees Caster as one of the greatest living athletes of all time but also one of the most resilient and iconic women that have ever lived.
This is a book you inhale, simply because it is that gripping. Written in simple but clear language, Caster pours out her life and also takes the time to reflect on some of the moments that she lived through. There are many take-aways from the book, mostly, Caster’s absolute determination and discipline, and some the sheer cruelty and eugenics that still govern the athletics world. This is perhaps one of the most important memoirs to come out of South Africa, since President Nelson Mandela’s “Long Walk to Freedom”.
Selecting Maneo Mohale as the function’s facilitator was fitting. Not only did the poet and feminist writer have unstoppable chemistry with the guest of honour, but they were also incredibly qualified to take on such delicate subject matter. Mohale has contributed to various publications and served as a contributing editor at i-D Magazine. Their debut poetry collection, Everything is a Deathly Flower (2019), was shortlisted for the Ingrid Jonker Poetry Prize and long-listed twice for the Sol Plaatje European Union Poetry Anthology Award.
The recipient of the 2019 Standard Bank Young Artist Award, Gabrielle Goliath’s work is featured in numerous public and private collections globally including Constellas Zurich, Tate Modern, and Iziko South African National Gallery. Her new body of work Beloved at Goodman Gallery, features drawings and prints. The exhibition, running from October 28 to November 24, 2023, features representations of radical Femme figures like Gabeba Baderoon, Caster Semenya, Sylvia Wynter, Yoko Ono, Sade, and Winnie Madikizela-Mandela. While primarily recognised for her sound and performance art, the day was all about Goliath’s autographic practice.
Mohale began by inviting the audience to take three grounding breaths. They followed by sharing a poem, The Autobiography of Spring by queer Palestinian poet George Abraham, proceeding thereafter to introduce Goliath’s Beloved. Peering out the coffee table in front of the speakers, one could see Toni Morrison’s own Beloved (1970). This setting and sequence of events set a very specific tone for the day. From the get-go, it was clear that Goliath and Mohale were engaging at the intersection of Blackness, well-being, and creativity, with a soft emphasis on themes of sensuality, and queerness.
The way they spoke to each other was gentle and generous. When asked about her practice, Goliath replied, “I want to first speak about this notion of mark-making as a means of being close…” Echoing the mood in the room, Mohale praised this tactile, material, and more physically engaged process. Goliath continued, “… that really refuses the sort of sanctioned genius of the male artist, who works from a removed distance. And I refuse that. The physicality of the way in which I work and work on the floor. I work really close to these drawings. I relinquish the control of the hand. It’s not about the precious fidelity of the mark … it’s about relinquishing to the miraculous, what comes of that moment.”
Of course, it would be difficult to speak of love and intimacy without mentioning their antitheses. Goliath characterised her past work Elegy (2015), as a lament-driven work that addresses fatal acts of violence against women while avoiding the perpetuation of trauma. She said, “I did not want to return to the scene of subjection, I did not want to repeat the violence.”
At the nexus of art and violence, Mohale skillfully identified space for Femme rage, saying “ … in the wake of so much violence enacted upon my own body, it was really important for me to think it and hook it up to Empire … Not just these giant spectacular eruptions of violence, but legacies of violence.” Drawing inspiration from Glen Coulthard’s concept of “righteous rage,” Mohale invited us to view rage as a tool for Black Femme resistance.
Mohale prompted Goliath to reflect on the implications of portraying Winnie Madikizela-Mandela in this show. For a while, the pair lingered there and we saw something of a rupture in the way the two saw rage, with Mohale remarking, “I enjoy how my understanding of rage differs from you.” Goliath went on, “ … for me, what is really interesting with Madikizela-Mandela’s portrait specifically, is I find it very vulnerable. … it’s magisterial, but there’s a resignation … when I look at her.”
One of the seemingly many roots of the strong intellectual chemistry between Goliath and Mohale was the impact of Christina Sharpe on both of their work. Goliath’s encounter with Sharpe’s Monstrous Intimacies (2010) brought her towards an understanding of violence as both spectacular and insidious. Goliath insists: “We may need to bear our rage, and allow it to be transformed into the possibility of something else.”
In an audience-pleasing turn, Mohale asked Goliath about her portrayal of artist Desire Marea. As Mohale notes, “Desire being an initiated Sangoma is also not a footnote. … so much of their spiritual power is ancestral, is linked to bloodlines. … I think the sense of the sublime is also something that I chase in my own work, but … I’m seeing the clear instances and connections that are happening now between … contemporary queer artists.”
The intimate intellectual interaction between Goliath and Mohale prompts a collective reconsideration of the role of rage in desire and queerness in African artistic practices. It also did the long and thankless work of taking up space in an almost impervious institution. As we looked around the room and saw reflections of ourselves, both in the flesh and on the walls, we allowed ourselves to yearn for, perhaps even celebrate the dynamic and precarious possibilities within Black queer existence. Even amid this briefly beautiful moment of perceived reprieve, we were reminded of the violence that surrounds us as Mohale closed the discussion with a steady citation of Gabeba Baderoon’s War Triptych (2004).
uKhoiKhoi is a live-looping duo that blends opera, indigenous chants, and praise poetry. Their sound, which they describe as “indigenous electro” is a fusion of traditional and contemporary instruments. uKhoiKhoi’s name pays homage to the KhoiSan tribe that once thrived in Southern Africa, but it is the vibrant city of Johannesburg that inspires the duo’s sound.
This band consists of musician and composer Yogin Sullaphen and vocalist and performing artist Anelisa Stuurman, also known as Annalyzer. Since 2019 their partnership has resulted in two EPs and a series of performances across South Africa and Europe. Not to mention that uKhoiKhoi performed at the BubblegumClub-produced Spotify X Thebe Magugu event at the Nirox Foundation earlier this year.
Anelisa Stuurman came up in the rural setting of the Eastern Cape, South Africa. Raised in a family steeped in musical traditions within the village of Sterkspruit, Anelisa’s childhood introduced her to choral, classical, and indigenous music. Her passion for the arts led her to Durban, where she honed her skills on the stage, hosting events, and producing music under her pseudonym, Annalyzer.
Yogin Sullaphen is a multi-instrumentalist musician and composer, holding a degree in Jazz Composition from the University of Witwatersrand. His musical dexterity encompasses guitar, bass, keyboard, drums, flute, and an array of traditional African instruments. As a music producer with such a palette of instruments at his fingertips, Yogin found his true calling in live looping when he joined forces with Anelisa, resulting in the popular sound that defines uKhoiKhoi.
Appearing on their EPK of the same name, uKhoiKhoi’s latest track is named after Nongqawuse. Born around 1841 in Gxarha, Cape Colony (modern-day Centane, South Africa), the controversial Xhosa prophet Nongqawuse is known for her role in the significant historical event of the Xhosa cattle-killing movement and the ensuing famine of 1856–1857 in the Eastern Cape.
Largely known through colonial and oral traditions, Nongqawuse’s early life remains a mystery. What we do know is that she was thought to be an orphan and was raised near the border of the British Kaffraria, formerly a British colony or subordinate administrative region in what is now known as Qonce and East London. She is said to have been brought up by her uncle Mhlakaza, who had been heavily influenced by Christianity during his time in the Cape Colony. Mhlakaza was known to interpret and organise Nongqawuse’s prophecies.
In April 1856, Nongqawuse, then 15 years old, claimed to have met the spirits of her ancestors near the Gxarha River. The spirits promised that the dead would return, and the European settlers would be swept into the sea, restoring prosperity to the Xhosa people if the Xhosa people destroyed their crops and cattle, their source of wealth and sustenance, in exchange for divine salvation.
Initially, when she relayed her message, not all Xhosa people believed in her prophecies. While a minority refused to obey her instructions, leading to the failure of her predictions over fifteen months, over time, many became inclined to believe her as her visions emerged during a period of prolonged Xhosa resistance against British colonialism. In addition, many Xhosa people had been afflicted by “lung sickness”, likely introduced by European cattle. She gained a large following and people began following her instructions.
Nongqawuse predicted that the prophecies would come true by February 18, 1857, and that the sun would turn red as a sign. Once her predictions proved to be inaccurate, her following dwindled and the prophetess was handed over to colonial authorities. Her later life remains shrouded in uncertainty and she passed away in 1898.
Widespread famine was the unfortunate consequence of her prophecies and subsequently, the population in the British Kaffraria decreased significantly. Despite this, Nongqawuse is often heralded as a hero by many. Today, the location where she claimed to have encountered the spirits is known as Intlambo kaNongqawuse, which translates to “Valley of Nongqawuse” in isiXhosa.
So it comes as no surprise that the band uKhoiKhoi chose to name their latest song after this confounding figure. Nongqawuse blends traditional African musical elements with afrobeat, resulting in a distinctively uKhoiKhoi sound. Nongqawuse is a ballad with earnest lyrics that pose the age-old question: “What became of the Xhosa people’s land and wealth?” Through this track, uKhoiKhoi offers their own account of the legend that is Nongqawuse.
According to the World Economic Forum 15-20 million young Africans are expected to join the workforce every year for the next three decades —begging the question; what opportunities will exist to allow these young individuals meaningful work; work that is challenging, impactful and unexploitative.
Surviving as an independent artist has always been a particularly difficult endeavour. In an increasingly difficult economy thronged with high levels of unemployment and competition, artists find themselves at wit’s end on how to survive while earnestly pursuing their work.
The 2018 South African Wealth Report estimates the global top-end art market for African Art accounts for US$1 billion, of which US$450 million (R5.5 billion) is held in South Africa specifically. The report estimates that South African art prices have risen by 28% over the past 10 years (in dollar terms) far above the 12% rise in global fine art prices. However, the manner in which this creation of value is distributed remains skewed — with very few leading artists at the top; Irma Stern, Maggie Laubser, JH Pierneef, Alexis Preller, Gerard Sekoto, Hugo Naude, William Kentridge and John Meyer. It is unfortunate that the art world mirrors the rest of society in terms of how value is created and how the cake is divided.
What are the tenets of a sustainable career in the arts? In which ways are artists at differing levels of experience and “success” sustaining their careers and their lives? Through engagement and conversations with artists across various mediums and platforms; from those who recently left art school to those with decades of experience in the art world, (specifically fine artists practicing in photography, filmmaking, painting, printmaking, performance art and writing), I fill in this context and my own observations.
What instantly became clear is that pursuing a career in the arts and opting to remain independent requires dedication and commitment and should be inspected through the lens of entrepreneurship.
The blended approach
Many artists opt for the blended approach in terms of how they make money. They seek to work with a range of brands and corporates over and above passion and personal projects. Many are open to part-time work as well as other work outside of the industry as a strategy to supplement income; this ranges from tutoring, baby-sitting, retail and working for institutions and galleries.
A stable source of income is seen as an important component to creating more spaciousness as they work on strategies for a more scalable income.
“The secret to working part time is finding something that grows, teaches and inspires you. Outside of film my first career opportunities came from galleries to create performance artworks – specifically avant-garde Hollywood-genre immersive narratives.” – Emma Tollman (writer, singer/songwriter, actress).
In the same light, some artists are able to fully fund their work and their lifestyles without needing to supplement with additional work. Factors such as; length of time spent in the industry, visibility and a substantial portfolio contribute to where artists find themselves on the part-time/full time artist scale.
“I try to balance freelance and corporate work. Corporate always pays better and on time, but it is often not the most exciting thing. Freelance is often great because you have the luxury to pick what you want to work on.” – Lidudumalingani Mqombothi (writer, filmmaker and photographer).
Additional avenues which can provide a source of income include residencies, prizes and grants from art institutions as well as the government.
Understanding the market
Artists feel the pressure as they tug between making work that is commercial and work that is more honest, a constant negotiation between authenticity and relevance. Commercial work sometimes results in overproduction —prioritising sales over growth and experimentation.
A key observation is that South African art buyers tend to be rigid in terms of what they’re looking for; there are very specific narratives and aesthetics that the market is interested in, making it very difficult for more conceptual and experimental artists to succeed financially.
Brands and corporates are also less open to risk; they gravitate towards artists that already have a strong following and a certain level of visibility —a popularity trap that results in brands approaching the same “trendy artists”.
“Usually those spaces are looking for trendy or cool people or work that is ‘accessible’ in ways that one can exploit the term. There’s a particular aesthetic that such commitments require.” – Nyakallo Maleke (multidisciplinary artist in installation, printmaking, sculpture and performance).
It is difficult to conclude with certainty what factors exactly will result in success. Is it the quality of the work, social capital, seizing opportunities as they occur or merely an air of celebrity? However, we speculate that some level of awareness of industry dynamics and politics allow different artists the ability to navigate with agility and to plan around ways in which they can approach opportunities.
“By grade 12, I was already selling designs and charging consultation fees, I started exhibiting my work in my second year — that became one stream of income. I think diversifying my practice has also helped financially.” – Banele Khoza (Visual artist).
Administrative competence goes a long way in ensuring a more professional art practice, which often has a bearing on the type of work and clients artist work with. Quite simply, these include:
the ability to price work fairly and appropriately
client acquisition strategies
securing a reliable support team
sending quotes and invoices on time.
Thinking for the future
Sustaining an art practice requires investment through time, mentorship and training. A contested issue among artist is the idea of working for free — while some artists use this as a long-term strategy to build a considerable portfolio, others refuse on principle. A resistance towards the exploitative nature of brands, corporates and institutions.
“Sometimes you need to weigh up your options and see what would be sustainable for you to gain; what would be beneficial as an opportunity in the long run. Sometimes you need to turn down a gig, especially if the client wants to underpay you or doesn’t see the value in what you do. It’s also okay to take a break to work a 9-5 so that you can plan further for your future and really focus on where you want to be after that.” – Nadia Myburgh (recent graduate and photographer).
A key theme that emerges is the importance of saving; many of the artist we spoke to mention this is a key learning area in their journey. Saving allows greater freedom where a highly unpredictable and precarious income stream is a reality.
“I’ve learnt along the way to always stay true to what I want to achieve and to let go of fear. I was afraid of how long it would take me to get on my feet without a 9-5 or how I would be able to sustain myself. Sometimes you’re held back by financial constraints as well as time constraints but also by fear. I’ve learnt that I need to be fearless and brave.” –Malebona Maphutse (Printmaker, photographer and filmmaker).
Social Media to generate professional currency
More and more artists are embracing social media as a way to enhance their marketability and reach. They continue to use social media (to varying degrees) as a way to make their work more accessible while drawing in new audiences. “Social media and galleries play an important role in exposing my works to potential buyers; both local and international.” – Themba Khumalo (Visual Artist).
Social media is often the vessel through which many collaborative efforts are cultivated. Artists are pointing to the importance of learning and growing together whilst also alerting each other to opportunities that can be financially beneficial. They are pointing towards ideas of honing your skill and making yourself more marketable and thereby creating a competitive edge.
“Collaboration creates space and a platform for people to share ideas and tackle difficulties. But I think it’s difficult when we are still obsessed with this myth of the genius, we idolise creatives and put them on a pedestal. I think that can be a hindrance to collaboration. You kind of [have] to do your own thing and benefit from it alone, monetary or otherwise, but there is something to be said for collaboration. You can create a bigger network in that way.” – Nikita Manyeula (Masters student at the University of Witwatersrand).
Through this process of conversing with artist about the often, unnamed pains and joys of building a sustainable art practice, I was able to gain some insights into the different possibilities of navigation. Although there are no easy or guaranteed answers, keep in mind the key takeaways; be patient, save money, understand the dynamics of the industry and invest in the work. I am inspired by the idea of celebrating small victories as a way to sustain energy and passion – a simple concept that allows emotional and mental wellbeing.
In a moment where debates about land are at their peak in South Africa, Uriel Orlow‘s Theatrum Botanicumon show at Pool Space in Johannesburg fertilizes ideas around the botanical world as a stage for politics through film, photography, installation and sound. This ongoing project follows the trajectory of most of his work; research-based contemplations with collaborative methodologies, focusing on specific locations and histories, combining various visual evocations with layered narratives.
The beginning of the project was inspired by an accidental visit to Kirstenbosch Botanical Gardens. Struck by the fact that most of the plant labels were in English and Latin, Orlow began to question what this means in South Africa where there are 11 official languages. This connects to a colonial history of exploration and conquest. Through this process botanists from Europe “discovered” new plants, and proceeded to name and classify them according to European systems of organisation. Through forcefully exporting this methodology for categorization and understanding, it displaced indigenous knowledge systems and views on the world. Orlow seeks to question this forced application of taxonomic methods, and in so doing unearths issues around assumed universality, colonialism and its legacies, plant migration, and how examining the botanical offers insight into labour, race relations, pleasures and sustenance within South Africa’s history.
The significance of the work is twofold. Firstly, framing plants as databases, organic stores of information. Juicy, fleshy memory banks that can testify to South Africa’s political past and present, and offer alternative entry points from which we can assess and think about history and politics. Secondly, Orlow’s work ascribes plants a form of agency, presenting them as active participants in the link between nature and humans.
The project offers encounters and observations that are gateways to meditations on the above. Grey, Green, Gold forms part of Theatrum Botanicum, and is up in Gallery 1989 at Market Photo Workshop. The Fairest Heritage, a single channel video piece within the exhibition, perfectly exemplifies the larger aims of the project. Here Orlow, through his extensive research in the library of the botanical garden, found films that were commissioned in 1963 to commemorate the anniversary of founding Kirstenbosch by documenting its history.
The film’s main characters – scientists and visitors – are all white, with the only people of colour featured being those who worked on the gardens. Orlow collaborated with artist and performer Lindiwe Matshikiza, who inserts herself in front of these film, viscerally speaking back to their contents. A performative contestation to this archive, placing herself into the frame as a protagonist existing outside of the frameworks of passivity and labour for people of colour created within the archival footage. This work also highlights that plants are not neutral and passive, with flowers attached to ideas around nationhood, segregation and liberation.
To accompany the work, Orlow teamed up with editor Shela Sheikh on a book that catalogues the different works, but also connects with the research that is the seed from which project continues to grow. Writers were invited to contribute essays that do not necessarily respond to the works directly, but contemplate the thematics that come to the fore through their presence. Other artists with work relating to art, nature and history were also invited to share their work in the book.
Both exhibition spaces are pollinated with works that share the entanglements between plants and us across time and space. Go inhale the fragrance of latent histories until 21 October at Gallery 1989, and 3 November at Pool Space.
In an ever-increasing digital age where modes of technology seep into everyday use, TMRW Gallery operates as a platform at the frontier of innovation. Rooted in the desire to extend knowledge and experience – the objectives of the space are to produce world-class work and promote South Africa as a thought leader. Its core focus is invested is the integration of contemporary art and technology.
Director Ann Roberts describes the space as, “platform agnostic” emphasizing that TMRW Gallery is open to engaging with artists of all disciplines. The contemporary art space pairs both emerging and established artists with technologists who collaborate in actualizing a creative vision. Based on the premise that art guides and dictates the process by pushing the technology, creating a context in which “innovation is exponential.”
The gallery provides artists with access to new technologies including virtual reality, 3D printing, performance and augmented reality. This allows them to explore the medium and incorporate it as an extension of their practice – “tech is just another paintbrush”. Ann notes that “the outcomes need to be flexible” in order to allow for the plasticity of the process.
The not-for-profit space also presents an alternate gallery model, whereby the creation of exceptional work and not salability is the primary focus. However, the space is dependent on sponsorship and brand association. TMRW Gallery also poses an alternative to the ‘White Cube’ space – opting for a far more engaging and immersive environment.
The space promotes an audience-driven experience in which viewers are captivated and engulfed in an imagined reality. This model operates as an opportunity to develop the visual and digital vocabulary of its audience members – making the work intergenerationally accessible. The gallery’s upcoming show exhibits in September, featuring Lady Skollie and Wayne Barker. In the future, the space will also engage with extensive public programming, residencies, as well as group and solo shows.
Soft shades of pinks and blues, coupled with smiles, twirls and giggles. “I think it is important to always protect your sisters,” says a voice. This is the beginning of the fashion film created by Cape Town-based sleepwear and intimates brand Koeksuster for their latest campaign. Working with director Thea Small for the visuals, and Elu Eboka to create a specific soundtrack, the film is an ode to high school and coming of age. It acknowledges that being at school is a time when young womxn can become insecure, feeling scrutinized by society and their peers. For this campaign, it was important to reclaim the school grounds as a place where young womxn can encourage one another and feel confident in their bodies. I had an interview with designer and founder Marli Grobbelaar about the brand and the concept behind the film.
Please share more about the Koeksuster brand, and the name ‘Koeksuster’?
Koeksuster started as an hypothetical business idea and kind of spiraled into something much much bigger. I’ve been conceptually working on the idea for about 2 years, but our website has been live since July 2017.
I think when people first here the word, Koeksuster, they immediately think of the South African dessert! And they’re not wrong. But if you take it apart, The word “koek” is an Afrikaans word for a prude, and suster is an Afrikaans word for sister. And so the combination felt perfect for a feminist intimates brand, and also my alter ego!
Only as the brand started growing I started coming across more and more people who also use the word as either a nickname or alter ego as well. Even one of the models from the film told us about how she and her friends used to call each other ‘Koeksisters’ in school.
Our mission is to not only create feminist inspired products, but to also create a educational safe space for womxn and to promote feminist content in and around South Africa. The brand is aimed at promoting social change and wants to change the way society views womxn and more so how young females see themselves.
You have a feminist approach to how the brand is presented. How do you think this ties in well with the brands designs for sleepwear and intimates?
I’ve always been a fan of delicate intimates, but seemed to feel ashamed to admit it. I think it was because of the stigma and sex shaming, that I felt was associated with intimates when I was younger. I wanted the brand to promote the message that intimates don’t have to be sexualized. You can wear intimates just for yourself. But in the same breath there’s also nothing to be ashamed of! I wanted to create a brand that encourages young womxn to know themselves better, explore who they are sexually and ultimately become comfortable with who they are.
Please share more about the concept behind the fashion film for your latest campaign?
I think it all started when I drove pass a beautiful School Building in Woodstock. The pink building seemed so on brand, and I could already imagine the styling that could accompany a shoot there. So when I met up with Thea, the director, for the first time we started brainstorming around the concept of incorporating a school setting. We wanted to create an authentic representation of girls that might be nostalgic for older generations while inspiring for younger girls. While exploring the theme of coming of age, we realized it was a place where many young women feel insecure about their bodies, and we felt that by setting the film in a school environment, and styling the intimates there, we would be reclaiming that space. It was also important that it was just the girls by themselves, without the distraction of parents, authority figures or boys – we were intentional about creating a gynocentric representation of high school.
Please share more about Thea Small and how working together enabled the creation of this film?
I met her through Instagram, where she messaged me to meet up to discuss a possibly collaborating on a fashion film together. I think we were both in a space where we wanted to find a new creative outlet as well as work on our own portfolios. It was also really important to me that she was a female filmmaker, and upon our first meeting, I knew she understood and shared the brand’s vision.
She taught me so much as a fellow creative, but I think some of the biggest takeaways for me from the project is the power of collaboration. It was so amazing to be able to rely on someone else, especially someone as hard working as Thea. She had the perfect vision for bringing our brand to life on film. I think if you have multiple people contributing to an idea, the concept can become so much stronger and far more refined. So I can’t be happier with how this project has brought a next dimension to the brand.
Why did you decide on a fashion film for this?
I have to admit that I would have never thought to do a film if it wasn’t for Thea reaching out to the brand. After talking to Thea for the first time it felt like the right next step to expand the brand. I really wanted to push the brand into a more conceptual direction, while still showcasing the products. Also this is by far the brands most theme-driven project, so I think it’s a bonus to have more than just stills to fully translate the idea.
Who do you imagine as the people who wear your designs? Do you keep this imagined wearer in mind when bringing out new collections and campaigns?
I think unfortunately the product design process is very much influenced by what materials are available. But once I do have the materials, it’s all about finding the most versatile way of working. I try to make patterns that I can adjust to different cup sizes and bust sizes. The dream is to make most of the products on request so that you have to submit your measurements online to make a custom bra that fits you perfectly. For now I’m still finding the balance between what’s available and within my skill range as a small business owner. Eventually I really want to expand to be able to accompany more body types and preferences. Because I suppose, I imagine all womxn wearing the designs eventually, or at least that’s the dream!
Anything else about the fashion film or Koeksuster that you would like to share?
Our film also had a soundtrack composed especially for the production. We wanted the perfect sound to accompany our film, and spent time creating music to edit to. The track also includes voices that further emphasizes our focus on Sisterhood and Solidarity.
A picture is worth a thousand words. This idiom speaks to the premise behind the 2018 Aperture Summer Open exhibition titled The Way We Live Now. Aperture Summer Open is an annual open-submission exhibition at Aperture Foundation’s gallery in New York. It features work selected by a prominent curator or editor, with the exhibition unpacking critical themes and trends influencing international contemporary photographic practice.
As a point of departure for this year’s exhibition, the photographs from the selected artists and photographers look at how images come to capture and become visual markers of rapid change in society, politics, beauty, and self-expression. The exhibition features 18 artists and the way in which they engage with the “currents and contradictions of life” in the 21st century. These artists and photographers reflect on how we define images and how images define our lives. This year Bubblegum Club was selected as one of the displaying artists.
As an online magazine and content agency reporting on and contextualizing trends across creative practices in South Africa, Africa and across the world, we have developed a fluid aesthetic that responds and contributes to cultural moods. This taps into grunge, DIY approaches to styling and photographic strategies that plug into references that are reflective of the discursive and visual languages present in urban subcultures. The construction of the image becomes a condensed moment in time, a contextualized mirror of current ways of being.
The images chosen by Bubblegum Club were drawn from different aspects of our work, including cover shoots and editorials. Makeup artists Orli Oh, Katelyn Gerke and Nuzhah Jacobs, as well as hair stylist Mimi Duma and styling assistant Lebogang Ramfete, contributed to the creation of the images on show, with styling and photography by creative director Jamal Nxedlana. Lightfarm has continued to assist with post production and with printing. A special thank you to adidas South Africa for supporting the trip to New York.
The 2018 exhibition taking place from 27 June – 16 August is curated by Siobhán Bohnacker, senior photo editor, the New Yorker; Brendan Embser, managing editor, Aperture magazine; Marvin Orellana, photo editor, New York magazine; and Antwaun Sargent, independent writer and critic.
M.I.A will be performing for the first time in Africa in Cape Town and Johannesburg on the 7th and 8th of June, and some of South Africa’s best talent will be sharing the stage with her. The selection of DJs and performers bring together sonic and creative experiences that touch on South African genres and their evolution. K-$, Jakinda, and Angel-Ho, will inject SA flavour at the performance in Cape Town, passing the torch to Buli, DJ Doowap, Phatstoki and Dear Ribane the following evening in Johannesburg. I interviewed the supporting artists to find out about their connections to M.I.A’s work and what audiences can expect at the shows.
This will be the first time Cape Town will get to experience one of Angel-Ho’s live sets. When asked about the connection M.I.A’s fearlessness and determination and their own musical journey, they expressed that, “being fearless is something I grew into, being on stage my whole life, I developed a strong sense of self playing the roles of many characters. The same sensibility and comfort of performing is my greatest strength and I think that speaks to my journey to empower the voiceless.” Buli shared similar sentiments stating that, “I’ve always stayed true to my sound. I’ve never compromised my art for the purpose of trying to appeal to mainstream/commercial crowds. I think that’s the one thing I’ve always taken away from observing M.I.A as an artist. She always stays true to herself and sound; she never tries to compromise her music or herself.”
K-$ will be kicking off with a 2 hour set, taking the audience on a trip down memory lane, and then increasing momentum for a real jol. Jakinda will draw on his Afro-futurist and industrial sound, while allowing space for experimentation. Phatstoki’s appreciation of feeding off the crowd’s energy will be the guiding premise for the set. As someone who enjoys re-inventing herself through fashion and music, DJ Doowap will be mimicking her brightly coloured hair and striking clothing with bass tunes. Transcendental and futuristic will be the name of the game with Dear Ribane, while Buli brings together a mix of electronic and ambient elements backed up by hip-hop based/inspired drums.
With fearlessness, determination and an understanding of the connection between music and movement as the thread that is present in the journey’s and work of each performer, these shows are definitely not ones to miss.
M.I.A fans will be happy to know that the visit includes the screenings of the critically acclaimed documentary MATANGI/MAYA/M.I.A. Following its world premiere at Sundance Film Festival in January, South African audiences will be able to be the first on the continent to engage with the documentary that offers colourful insight into the origins of M.I.A., from her journey as an immigrant teenager in London to becoming a global star. Directed by her former art school friend Steve Loveridge, it includes personal clips shot by M.I.A and her closest friends over the last 22 years. Fans will appreciate this raw, intimate invite into M.I.A’s world.
In addition to the screenings, M.I.A will have two live shows in Cape Town and Johannesburg on the 7th and 8th of June respectively. She will be teaming up with some of South Africa’s own musical and performance gems. This specially curated selection of South African dancers, artists and DJs radiate the same feeling of fearlessness and presence that Maya Arulpragasm has presented throughout her life. The Cape Town collaborators include Angel-Ho, K-$, and Jakinda. The Johannesburg artists are DJ Doowap, Phatstoki and Dear Ribane. This selection of artists represents various genres and perspectives on performance.
Tickets and more information for M.I.A.’s live shows are available on the Black Major Selects site.
Cape Town
Date: Thursday 7th June 2018
Venue: Old Biscuit Mill, 375 Albert Road, Woodstock
Johannesburg
Date: Friday 8th June 2018
Venue: Newtown Music Factory, 10 Henry Nxumalo Street, Newtown
The Amsterdam-based lifestyle and streetwear brand Daily Paper present their third women’s collection as part of their “Transcend Borders” Spring/Summer 18 campaign. Founded by Jefferson Osei, Hussein Suleiman and Abderrahmane Trabsini, who have their roots in Ghana, Somalia and Morocco, aim for every collection to have an element that pays homage to their cultural homes.
In an interview with the Head of Design at Daily Paper, Berivan Cemal, she explained that this collection was built on the idea of transcending expectations. The idea came from a conversation she had with Jefferson, Hussein and Abderrahmane about their travels and global connections. Related to this was a larger discussion about why we seek relationships with people across the globe and how it is possible to identify with people from different countries.
Conceptually, the collection also makes a comment on how bodies are governed through the use of passports and documents that are necessary for the policing of borders. “We challenge a system that aims to keep us within boxes and borders.” The collection tells a story that is influenced by globalization, with the intention of putting an end to ideas like racism and truly embracing multiculturalism. The focus on eroding borders has always been part of the Daily Paper DNA, but it was with the SS18 collection that they engaged in this conversation intensely. “We want the youth to talk to each other. If a conversation arises from someone noticing a print on a t-shirt then so be it. We realize that these kids are the future and they love to express their identity through clothing.”
Oversized silhouettes, taking the form of trousers, blazers, pullovers and a statement snake-skin set, exhibits a revolving activewear theme with tracksuits and printed shirts all making noteworthy appearances.
The editorial plays on afrofuturistic aesthetics, where shadows create a cryptic, other-worldly mood, visually tapping into the idea of transcending borders. Reflecting on the shoot, Berivan stated that she loves “when something looks beautiful and glamorous from afar and up close you discover small elements of surprise. We wanted it to seem like it was shot in a studio but reality, it’s a beautiful colored wall outside, taking advantage of Africa’s beautiful lighting. I wanted to create something only possible in South Africa, something only feasible with a team of amazing creative locals.”
Check out the Daily Paper website to get a hold of this new collection.