Opening

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Installation

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Mawanda ka Zenzile

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Tracy Rose

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Hard Black on Cotton, single channel colour HD, sound, 36’56”, 2019, Realised with the support of the South African Department of Arts and Culture. Simon Njami and Denzel Edgar, Filming and editing by Zen Marie, Latin translations by Astrid Khoo.

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The work is a story, narrated by two voices, of the continent of Africa and her diasporas. Rose seeks to tell the history of the region through the prism of her own heritage as an African woman, creating a subverting critique of Western theories around history and historiography.

Two locations have been used, each hosting a male character, one in Johannesburg, one in Paris. A single channel projection shows the South African
actor Denzel Edgar narrating in Latin a translation of the text which Rose has written. This is an homage to Africa’s past, narrated in one of the original languages of European intellectual self-identity and presumed exceptionalism. Edgar plays The Profiteering Prophet, a comment on the masculine usurpation of spiritual work and practices on the continent, which hints at the exclusion of women for profit and gain. Edgar’s portrayal of the prophet is of one who, while he has the desire for it, does not quite have the calling: he wants it, he could have had it, but the knowledge has been lost somehow. He tries and fails to call upon a past before distorted, doctored historical propaganda. His character attempts, through an alchemy of words, objects and symbols, to reactivate a truthful historical past referencing Mansa Musa, a great African icon of the past whose presence, if called up now, would bring forth a great recollection of the lost past of Africa’s greatness: An Illusion or a Myth worth calling upon.

The eminent Cameroonian-Swiss curator and writer Simon Njami is The Prophessor, reading from Paris the voiceover of Medieval Latin which forms the broken
telephonic cosmic communication with Edgar’s clairaudient profiteering pseudo-prophet, who tries unsuccessfully to understand it in Classical Latin, a disjuncture in the communication and the information meant to be shared or disseminated. Having formed a practice over the last twenty years in which her own body is central to the form and narrative of her video works, Rose is taking a critical distance, becoming the portrait maker, pursuing an active, subjective stance and removing herself as object from the canvas. This work is an investment in a different human body from her own, within the framework of a video, which is a series of entirely aesthetic decisions. In this work, Rose’s bodily agency will be realized through her holding of the camera, her hand directing the dance of the building of the layers of imagery; a long, slow, passionate tribute to a man and a people and peoples. Rose is grasping the obsessive dedication which the painter has for the canvas as a route to unfurling her story through the moving image. As paint dries on a canvas it dries before one’s eyes, changing colour and light. Rose’s camera follows Edgar closely through his narration, filmed on a set created in Johannesburg to form a still-life painting as background to his person. The camera follows him lovingly, gazing off into the background to record various symbolic objects and strange compositions,
unexpected characters and precarious spaces. Deeply saturated, beautifully coloured light and shadows will form a Caravaggian Chiaroscuro, emulating that fine line between insanity and genius.[/full_width]

 

Dineo Seshee Bopape

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Marapo a yona Dinaledi (Its bones the stars)

Sketch no22

2019​

Realised with the support of the South African Department of Arts and Culture

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A: araba……………………
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…kobamelo.
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………………le yona…
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…………………………………………………………………… (And its bones, the stars);
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………………………………byale ke lerole.
Marapo.
Morithi/Moritshana.
O tseba bjang? E tseba byang.
Moso o mo botse.
e tseba byang?
toro ya gona.
maraga.letsopa. maswika. molora. molori. pitsi.
a cosmic horse. boloko.bolopo.
mmele wa mmu.
Raisibe.
Aramela.
Bebenya byale ka legadima la kgole.
Gogolwana.

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………………………………………………tša swa moyeng ……………………
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……………………………………………………………………………………………tša kgakgatha,
tša wela … mafahleng: ………………… ……………………………………………………;
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……………………………………………… Mmupi a re …………
MARAPO A YONA:DINALEDI.
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………………………………………………golola. phurulloga.[/full_width]