Makan’s was a life of fullness and thoughtfulness; it was only in her mid-30s that she began to weave a grown-up narrative of artmaking blending her aptitude for a wide range of research interests and her love of family, with oil paint and later, the stuff of embroidery and haberdashery.
Through seducing you into engaging with it, the exhibition places you in dialogue with its artworks. It constantly asks you, “What do you think?” There is an ever-present spirit of collaboration between curator and visitor, inside and outside, space and body, prompting new relationships of meaning to form, again, again.
Movement doesn’t need a thesis statement. The imagery that Transcendent shapes is unmistakeable, evocative and simple. It need not be anything more. Movement cannot lie. A single move can make you as powerful as it can make you vulnerable. And the performers beautifully hold this tension between power and vulnerability.
Du Plessis does more than observe the individual through the eyes and words of medical professionals with a Victorian mindset. He gazes at the crumbs left by reports and throwaway descriptions – all that remains of these individuals, who were invisible because they danced to a tune different from everyone else.
Terry’s writing is replete with beauty and malice. It’s juicy with sex and sodden with Schadenfreude and self-flagellation. As a novelist, Terry has the temerity to turn his focus on things that you rarely find dealt with as side issues in novels, from late-middle aged carnal joy to colostomy bags.
Myra Egdes’s ‘The Goldfish Bowl and Other Stories’ is a kind of ‘sowing of wild oats’ series of moments for young women, and in being so, it offers a rich slice of life that comments on the world and the implicit sense of protection for young travellers from South Africa.
Ziaphora Dakile, Kitty Moepang and Barileng Malebye take hold of this script which forces them into the personas of many: old and young, black and white, good and evil, with sophisticated empathy. Vying between English, Afrikaans and isiXhosa, it uses idioms that you understand from your intestines, if not grammatically.
In this book, Rory du Plessis enables you to look into the eyes of people who were subject to mental institutions in South Africa and to experience a sanctification of them as individuals. This beautiful protest touches on the slippery issue of anonymity and intimacy without hurting the people pictured.
Now in her sixties and not afraid to take hold of the world with both hands, Elzabe Zietsman’s revue comprises a mêlée of songs which she has penned and others she has moulded to fit South Africa’s unique levels of hypocrisy, hatred and hope, sometimes all in the same breath.
The narrative of ‘A Streetcar’ is rich with tropes central to the South African taxi industry, and its complex social and economic history. Listen to the discourse. Taxiology in South Africa is a real thing, about spicy micro-narratives and social protocol as well as about God, the universe and everything.
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Geoff Sifrin
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Kapisha Ramraj
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Palesa Moore
Peta Kaplan
Robyn Sassen
Saleemah Shaik
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