{"id":1972,"date":"2015-05-18T10:39:46","date_gmt":"2015-05-18T10:39:46","guid":{"rendered":"http:\/\/thesouthafricanpavilion.co.za\/?page_id=1972"},"modified":"2019-04-28T19:48:52","modified_gmt":"2019-04-28T19:48:52","slug":"angus-gibson","status":"publish","type":"page","link":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/angus-gibson\/","title":{"rendered":"Angus Gibson"},"content":{"rendered":"<p><a href=\"\/wp-content\/uploads\/2015\/06\/AVZ6206-LR.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-2120\" src=\"\/wp-content\/uploads\/2015\/06\/AVZ6206-LR.jpg\" alt=\"_AVZ6206 LR\" width=\"600\" height=\"400\" srcset=\"https:\/\/sapavilion.partsandlabour.co.za\/wp-content\/uploads\/2015\/06\/AVZ6206-LR.jpg 600w, https:\/\/sapavilion.partsandlabour.co.za\/wp-content\/uploads\/2015\/06\/AVZ6206-LR-300x200.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/p>\n<p><em><strong>Telling the Truth?<br \/>\n<\/strong><\/em>2015<br \/>\nSoundtrack with 3 videos,\u00a034 min<br \/>\nResearch: Gail Behrmann<br \/>\nProducer: Harriet Perlman<br \/>\nEditor: Jeremy Briers<br \/>\nAudiovisual systems design: Gavin Olivier<br \/>\nProduced by The Bomb Shelter<br \/>\nArchive material: SABC, Mark Kaplan<br \/>\nPhotographs: Jillian Edelstein, Eli Weinberg Collection: RIM\/UWC\/Mayibuye Archives, Drum Archive: Africa Media Online, John Hrusa\/<i>Sunday Times<\/i>: PictureNET Africa, Henner Frankenfeld: PictureNET Africa, Lebohang Bocibo; Gille de Vlieg: Africa Media Online; Mtimkhulu family; Ndwandwe family; Jim McLagan: <i>Cape Argus<br \/>\n<\/i>Courtesy Apartheid Museum<\/p>\n<p>Next to Nelson Mandela, the Truth and Reconciliation Commission (TRC) is arguably the thing that the world most admires about South Africa\u2019s transition to democracy. Since the Apartheid Museum in Johannesburg opened its doors in 2001, it has reserved a space for an exhibit on the TRC.\u00a0<i>Telling the Truth?<\/i>, commissioned by the museum, occupies the heart of this space. The installation is viewed at the end of a journey through the other exhibits in the museum\u2014which present a chronology of the rise and fall of apartheid\u2014when the visitor is both physically and emotionally tired from what they have looked at. Viewing it is like visiting the TRC but witnessing only a fragment of the whole. In this fragment we get a sense of the epic nature of the undertaking, even though we can ascertain no beginning, no fixed end and no coherent order ofevents.<\/p>\n<p>With a few exceptions, all the images were recorded during the amnesty hearings of the TRC. (Amnesty was granted for politically motivated human rights abuses, provided the perpetrators confessed to their crimes.) On one screen is a person testifying. On the other two screens are texts and images that speak to what we are hearing from the victim, the perpetrator or those listening to the testimony. We are watching conversations or confrontations as though we have entered the room, as though it were possible to witness the telling, understand its import, and judge its terrible truth in the light of history.<\/p>\n<p><strong>Angus Gibson<\/strong> was a founding member of Free Filmmakers, a co-operative established in 1985 to create a relevant South African cinema.<b> <\/b>He joined the Junction Avenue Theatre Company in 1986 to workshop <i>Sophiatown<\/i><b>, <\/b>a play about the destruction by the apartheid government of a mixed-race suburb in Johannesburg.<b> <\/b>With William Kentridge, he directed and edited <i>Freedom Square<\/i> and<i> Back of the Moon<\/i> for BBC Channel 4, and went on to edit Kentridge\u2019s early films.<b> <\/b>In 1992 he directed<b> <\/b><i>7 Up South Africa<\/i>,<b> <\/b>documenting the lives and opinions of young South Africans. This won <i>The Star Tonight<\/i> Award for Best Feature Documentary.<b> <\/b>In 1994, he co-directed with Jo Menell the authorised biography, <i>Mandela, Son of Africa, Father of a Nation<\/i>, nominated for an Oscar and winning the Amnesty International Media Spotlight Award and the Pare Lorentz Award.<\/p>\n<p>In 1997, he developed and co-directed the award-winning television youth drama series, <i>Yizo Yizo,<\/i> with Teboho Mahlatsi. His other projects include an installation for Hilton Judin\u2019s exhibition, <i>Blank<\/i>, on the history of apartheid architecture; <i>14 Up South Africa<\/i>, which won the Avanti Award for Best Feature Documentary; audio-visual installations for the Apartheid Museum, Johannesburg; and audio-visual elements for the Hector Pieterson Museum. Gibson was head of development and a director on the last series of <i>Yizo Yizo<\/i>, directed four of the <i>Heartlines<\/i> series, produced <i>Zone 14<\/i>, and, with Miguel Salazar, directed <i>La Toma<\/i>, a feature documentary in Colombia. He is a producer on the daily television drama <i>Isibaya<\/i> and directed <i>28 Up South Africa <\/i>in 2013 with Jemma Jupp for Al Jazeera and ITV (nominated for a BAFTA). He designed <i>Telling the Truth?<\/i>,<b> <\/b>a permanent installation on South Africa\u2019s Truth and Reconciliation Commission for the Apartheid Museum. He is a director of The Bomb Shelter film company, along with Desire\u00e9 Markgraaff, Teboho Mahlatsi and Isaac Shongwe.<\/p>\n<div id=\"fb-root\"><\/div>\n<p><script>\/\/ <![CDATA[\n(function(d, s, id) {\n  var js, fjs = d.getElementsByTagName(s)[0];\n  if (d.getElementById(id)) return;\n  js = d.createElement(s); js.id = id;\n  js.src = \"\/\/connect.facebook.net\/en_GB\/sdk.js#xfbml=1&#038;version=v2.3&#038;appId=139617106112903\";\n  fjs.parentNode.insertBefore(js, fjs);\n}(document, 'script', 'facebook-jssdk'));\n\/\/ ]]><\/script><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Telling the Truth? 2015 Soundtrack with 3 videos,\u00a034 min Research: Gail Behrmann Producer: Harriet Perlman Editor: Jeremy Briers Audiovisual systems design: Gavin Olivier Produced by The Bomb Shelter Archive material: [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1972","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/pages\/1972","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/comments?post=1972"}],"version-history":[{"count":8,"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/pages\/1972\/revisions"}],"predecessor-version":[{"id":3595,"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/pages\/1972\/revisions\/3595"}],"wp:attachment":[{"href":"https:\/\/sapavilion.partsandlabour.co.za\/index.php\/wp-json\/wp\/v2\/media?parent=1972"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}