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“We fight Rhodes because he means so much for oppression, injustice, & moral degradation to South Africa - but if he passed away tomorrow there still remains the terrible fact that something in our society has formed the matrix which has fed, nourished and built up such a man.”
His creative signature is unmistakable. He has fused symbols and geometry with Abstract Expressionism, an interstellar vision of God with a dervish-like mania that echoes the ghost of Jackson Pollock.
In an age fatigued by Reason, driven by hysterical conflict and division, the utter collapse of neo-liberal democracy, it is unsurprising that we find the resurgence of an oppressive and exclusionary identity politics – Us versus Them.
Beginning Sept. 15, members of the public are invited to an exhibition designed to support and amplify South African artists whose work pushes boundaries and provokes important conversations. Featured artists include Blessing Ngobeni, Patrick Bongoy, Luke Radloff, Nelisiwe Xaba & Mocke Jansen van Veuren, and Ayana V. Jackson.
Doing what is not locked in the fetish of “soulful stuff” which is the domain and constriction that female DJs are wrongly mostly confined to, Buhle defines her sound in a way that its liberatory impulse translates into the workshopping of the soul.
The year is 1990. President F.W. de Klerk announces the beginning of the end of apartheid, the release of Nelson Mandela and other political prisoners, and the end of the South African state of emergency. The African National Congress's armed wing, Umkhonto we Sizwe, suspends its armed actions after 29 years. Charles J. Fourie premiers his play The Parrot Woman, at the Market Theatre, Johannesburg.
The Library of Things We Forgot to Remember and What’s Wrong With Groovin’? bring you a wonderful readaptation of Max Roach's We Still Insist avant-garde jazz album and a vocal-instrumental suite on themes related to the Civil Rights Movement.
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