tag:blogger.com,1999:blog-21958154998290420272024-03-14T03:42:30.493-07:00farieda nazier: artist, researcher and educatorFarieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.comBlogger76125tag:blogger.com,1999:blog-2195815499829042027.post-71153092932772297362015-04-18T07:20:00.000-07:002016-03-07T23:35:20.194-08:002015<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: orange;">Research trip to the USA - March/April</span></h3>
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<span style="color: #999999;">The URL below, links to a Youtube video recorded at the </span><a href="http://www.clarkart.edu/" style="color: #999999;" target="_blank"><span style="color: #999999;">The Sterling and Francine Clark Institute</span></a><span style="color: #999999;"> on 9 April 2015. The presentation entitled </span><i style="color: #999999;">After Math: An attempted analogy - What (post-race) America can learn from (post-apartheid) South Africa and vice versa, </i><span style="color: #999999;">concluded a 10 day series of talks delivered at various host institutions including </span><a href="http://www.principiacollege.edu/" style="color: #999999;" target="_blank"><span style="color: #999999;">Principia College</span></a><span style="color: #999999;">, </span><a href="http://www.williams.edu/" style="color: #999999;" target="_blank"><span style="color: #999999;">Williams College</span> </a><span style="color: #999999;">and </span><a href="http://www.mcla.edu/" target="_blank"><span style="color: #999999;">Massachusetts College of Liberal Arts</span></a><span style="color: #999999;">.</span><br />
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<a href="https://www.facebook.com/thejohannesburgpavilion/timeline" target="_blank"><img alt="CLICK HERE" border="0" height="179" src="https://3.bp.blogspot.com/-KDaZ6Y4WYPM/VTJj6v1G9JI/AAAAAAAAAmg/FLTnhfJaawA/s1600/Picture1.png" width="320" /></a></div>
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<a href="https://www.youtube.com/watch?v=1VrUop6IxIs&feature=youtu.be" target="_blank"><span style="background-color: #666666; color: #f9cb9c;">CLICK HERE - YOU TUBE VIDEO</span></a></h3>
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A very special thank you to my sponsoring institution University of Johannesburg FADA, Jewellery Design and Manufacture Department, and all the host institutions - especially The Clark Institute, and Principia College. </div>
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<a href="http://www.berkshireeagle.com/berkshiresweek/ci_27829640/sculptor-will-reflect-south-africa-at-clark-art" target="_blank"><span style="color: #999999;">Berkshire Eagle News</span></a><o:p></o:p></div>
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Clark Art Events <br />
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Link related to exhibition:<br />
<a href="http://bluntandblack.weebly.com/blunt-news.html" target="_blank"><span style="color: #999999;">Four woundings and a sequal at Principia College </span></a></div>
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<span style="color: orange;">Johannesburg Pavilion at the Venice Biennale - May </span></h3>
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"#JP2015 is a Programme of Contemporary African Film and Performance Art that will stage an Intervention in the city during the 56th Venice Biennale 2015." <i>Right of Admission</i> will be one of the performative interventions featuring during the Bienalle. Refer to the links below for more information. For further reading follow the following links: </div>
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<a href="https://www.facebook.com/thejohannesburgpavilion/timeline" target="_blank"><span style="color: #999999;">Official FACEBOOK page </span></a></div>
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<a href="http://www.fnbjoburgartfair.co.za/the-johannesburg-pavilion/" target="_blank"><span style="color: #999999;">FNB Joburg Art Fair</span> </a></span></div>
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<span style="color: #999999;"><a href="http://www.fnbjoburgartfair.co.za/the-johannesburg-pavilion-launches-in-venice/" target="_blank"><span style="color: #999999;">FNB JOburg Art Fair (2)</span></a><br />
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<a href="http://artsouthafrica.com/220-news-articles-2013/2426-artsouthafrica-announces-partnership-with-johannesburg-pavilion-at-56th-venice-biennale.html" target="_blank"><span style="color: #999999;">Art South Africa </span></a></span><br />
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<a href="http://artreview.com/news/news_20_feb_2015_joburg_pavilion/" target="_blank"><span style="color: #999999;">Art Review </span></a></div>
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<a href="http://mg.co.za/article/2015-04-29-sa-trips-again-on-the-steps-of-the-venice-biennale" target="_blank"><span style="color: #999999;">Mail and Guardian </span></a><br />
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<a href="http://www.thespace.org/news/view/joburg-pavilion-venice-biennale" target="_blank"><span style="color: #999999;">The Space </span></a><br />
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<a href="http://www.anotherafrica.net/art-culture/56th-venice-biennale-an-uneven-african-presence" target="_blank"><span style="color: #999999;">Another Africa</span></a><br />
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<a href="http://www.taadaa.co.za/tag/the-johannesburg-pavilion/" target="_blank"><span style="color: #999999;">Tadaa </span></a><br />
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<a href="http://www.bdlive.co.za/life/entertainment/2015/02/19/emergent-sa-artists-selected-for-venice-biennale" target="_blank"><span style="color: #999999;">BD Live </span></a></span><br />
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<span style="color: #999999;"><a href="http://m.news24.com/channel24/News/Local/Stormy-waters-Notes-from-a-superexhibition-20150524" target="_blank"><span style="color: #999999;">Channel 24</span></a></span><br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-40528879016380710932014-10-16T06:18:00.000-07:002014-10-16T06:18:45.009-07:00New: Farieda Nazier Website <div dir="ltr" style="text-align: left;" trbidi="on">
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Visit my new website by clicking </h3>
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<a href="http://fariedanazier.wix.com/fariedanazier" target="_blank">HERE</a></h3>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-41701417656495593352014-10-06T02:29:00.000-07:002014-10-16T00:23:47.588-07:00Right of Admission - Let the show begin!!!<div dir="ltr" style="text-align: left;" trbidi="on">
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Right of Admission </h3>
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(Johannesburg, October 2014)</div>
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In a series of performative actions the artists Farieda Nazier and Alberta Whittle will contest the visible and invisible boundaries in Johannesburg. Using the physicality of the body and its appearance as markers for access, this performance functions as an intervention intended to challenge the “accepted narrative, which insists on an economic and social hierarchy of aspiration.”</div>
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(<a href="http://www.urbanartprojects.org/ROOM.html" target="_blank">ROOM </a>Press release September 2014)</div>
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CLICK on the links below and our <a href="http://rights-of-admission.tumblr.com/" target="_blank">TUMBLR </a>site to view documentation of the four part performative intervention.</h4>
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Right of Admission preparation<br />
<a href="https://www.facebook.com/alberta.whittle/media_set?set=a.10154644304475366.1073741828.682805365&type=1" target="_blank">CLICK HERE</a><br />
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Album by Alberta Whittle </div>
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PART 1: Classification and Pencil Test<br />
<a href="https://www.facebook.com/alberta.whittle/media_set?set=a.10154655265385366&type=1" target="_blank">CLICK HERE</a><br />
Friday, 3 October 2014 </div>
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Album by Alberta Whittle </div>
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Images Dean Hutton<br />
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PART 2: The platting<br />
<a href="https://www.facebook.com/fariedan/media_set?set=a.10152363596716674&type=1" target="_blank">CLICK HERE</a><br />
Saturday, 4 October 2014 </div>
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Album by Farieda Nazier </div>
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Images Farieda Nazier and Alberta Whittle </div>
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PART 3: Sandton </div>
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<a href="https://www.facebook.com/fariedan/media_set?set=a.10152381965911674.533256673&type=3" target="_blank">CLICK HERE</a></div>
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Friday, 10 October 2014 @ 12:00</div>
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Album by Farieda Nazier<br />
Images Farieda Nazier and Alberta Whittle </div>
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Part 4: Unravelling <br />
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<a href="https://www.facebook.com/fariedan/media_set?set=a.10152381972261674.533256673&type=3" target="_blank">CLICK HERE</a></div>
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Friday, 10 October 2014 @ 17:00</div>
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Album by Farieda Nazier </div>
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Images: Dean Hutton </div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-64856200148979625492014-10-02T06:42:00.000-07:002014-10-02T06:44:55.548-07:00RIGHT of ADMISSION - Follow us!<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.urbanartprojects.org/EXHIBITIONS.html" target="_blank">A performance in four parts by Farieda Nazier and Alberta Whittle</a></div>
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<span style="color: #f4cccc;">Opening Reception & Performance (part 1):</span></h4>
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Friday, 3 October 2014 from 16h30</div>
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<span style="color: #f4cccc;">Performance (part 2):</span></h4>
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Saturday, 4 October 2014 from 10h00 - 16h00</div>
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<span style="color: #f4cccc;">Performance (part 3)- Capet Series Episode # 5:</span></h4>
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<span style="font-weight: normal;">Friday, 10.10.2014, from 16h30 </span></div>
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<span style="color: #f4cccc;">Performance & Closing Party (part 4): </span></h4>
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Saturday, 11 October 2014 from 10h00 - 16h00</div>
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"Ariving at Sandton City, we will be attired in full glamour regalia to begin the intervention. </div>
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We will perform a series of “selfies” at key places within the shopping centres: in front of the statue of Nelson Mandela, posing in boutiques, consuming expensive coffees, trying clothing and accessories. These “selfies” will be posted on <span style="text-align: center;">tumblr and twitter as </span> we intervene into the signifiers of success and excess embedded within the idea of what Sandton City symbolises for South Africans."</div>
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<b><i>Whittle and Nazier </i></b></div>
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<a href="http://rights-of-admission.tumblr.com/" target="_blank">TUMBLR</a></h3>
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<a href="http://rights-of-admission.tumblr.com/" target="_blank"><br /></a><a href="https://twitter.com/riteofadmission" target="_blank">TWITTER</a></h3>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-79255571406068130362014-09-25T06:12:00.000-07:002014-09-29T03:44:12.625-07:00New Work - Right of Admission <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #cc0000; font-size: large;"><b><a href="http://www.urbanartprojects.org/EXHIBITIONS.html" target="_blank"> CLICK HERE</a> </b></span></div>
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Right of ADMISSION </span></h2>
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A three part performance by <a href="http://fariedanazier.wix.com/fariedanazier" target="_blank">Farieda Nazier </a>and <a href="http://purebredmongrel.com/" target="_blank">Alberta Whittle </a></div>
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4 - 11 October 2014<br />
opening: 3 October, 16h30<br />
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<a href="http://www.urbanartprojects.org/ROOM.html" target="_blank">ROOM Gallery </a></div>
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Space #3,<br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-9191089351577025492014-09-12T08:36:00.002-07:002014-09-12T08:37:41.550-07:00Futurespectives at the University of Johannesburg<div dir="ltr" style="text-align: left;" trbidi="on">
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-4768361815611094022014-08-13T07:19:00.000-07:002014-08-13T07:20:23.116-07:00Commemorating 20 Years of Democracy: A different dialogue<div dir="ltr" style="text-align: left;" trbidi="on">
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I will be presenting a paper entitled </div>
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<i>Between four sprung springs, a crime scene, red-mugabe and a horde of four fives: </i></div>
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<i>A critical retrospective of the Tension Torsion: 20 Years On exhibition</i></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 115%;"> </span> at the Msunduzi Museum conference which will be hosted by </div>
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Msunduzi Museum in Pietermaritzburg. Below, find an open invitation to attend. </div>
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<a href="http://1.bp.blogspot.com/-u17ycuy-T4Q/U-txB4b6ZTI/AAAAAAAAAh4/47Okup_3HcQ/s1600/msunduzi.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-u17ycuy-T4Q/U-txB4b6ZTI/AAAAAAAAAh4/47Okup_3HcQ/s1600/msunduzi.png" height="273" width="400" /></a></div>
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<a href="http://www.archivalplatform.org/images/resources/Msunduzi_Museum_Conference_programme.pdf" target="_blank">CLICK HERE: Conference program</a><br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-69691113992849408092014-07-29T07:14:00.002-07:002014-08-11T00:49:32.812-07:00The Arts of Human Rights at WISER <div dir="ltr" style="text-align: left;" trbidi="on">
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<br />You are invited to attend The Arts of Human Rights workshop hosted by <a href="http://wiser.wits.ac.za/" target="_blank">WISER</a>, where I will be presenting a paper entitled:<br /><i>Beyond the After Math: (Re)negotiating race, memory and consequence - </i>alongside a number of incredible colleagues who hail from a range of disciplines. </h4>
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<a href="http://wiser.wits.ac.za/sites/all/modules/civicrm/extern/url.php?u=722&qid=356311" target="_blank">CLICK HERE: The Arts of Human Rights programme </a><br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-17090935115418355122014-07-11T08:15:00.001-07:002014-07-16T02:10:12.358-07:00Emerging Arts Activist presents- Futurespectives: 10 years from Now exhibition <div dir="ltr" style="text-align: left;" trbidi="on">
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The Emerging Arts Activist program, through dialogic approaches and a range of art production methods, aims to instill critical thinking skills and agency in South African youth towards a conscientising end.<br />
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This year's jam packed 3.5 day program, launched on Monday 7 July, resulted in eleven amazing handcrafted collage posters by our talented aspiring activists who hail from New Nations School (Fietas), Ennerdale Secondary School (Ennerdale) and Phefeni Secondary School (Soweto). Each poster explored the personal perspectives of the activists, and sought to position their life experiences in post-apartheid discourse by exploring themes of race, place and class and how these persist in the present. Some of the areas explored included the growing potential for future race-based conflict, educational transformation, rising crime rates and unemployment, and over-population in our cities.<br />
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<a href="https://www.facebook.com/media/set/?set=a.10152583990094628.1073741855.168740099627&type=1" target="_blank">Futurespectives: 10 years from Now exhibition </a></h3>
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Join us at the APARTHEID MUSEUM on 17 July at 18.30,</div>
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to celebrate the creative insights of our youth and to commemorate the youth of the past who fought for South Africa's freedom.<br />
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The project would like to thank the</div>
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<a href="http://www.uj.ac.za/EN/AboutUJ/TransformationOffice/Pages/home.aspx" target="_blank">University of Johannesburg Transformation Unit</a> and the <a href="http://www.apartheidmuseum.org/" target="_blank">Apartheid Museum </a></div>
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for their generous sponsorship and ongoing support. </div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com2tag:blogger.com,1999:blog-2195815499829042027.post-10666311866496707472014-05-27T04:18:00.001-07:002014-06-17T02:07:42.180-07:00New Work: In place of Space <div dir="ltr" style="text-align: left;" trbidi="on">
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<i>In Place of Space</i>, was a site specific work, exhibited at the <a href="http://www.apartheidarchive.org/site/index.php?option=com_content&view=article&id=29&Itemid=3">Apartheid Archive Conference 2014 </a>entitled <i>Race, Place, Location, Dislocation: Then and Now. </i>The conference was hosted by the University of Pretoria from 21 May to 23 May.</h3>
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The apartheid legacy of forced removals and displacement has had long standing effects on the individual and social morale of South Africans. Besides for the perpetuated economic and political injustice, there remain psychological consequences related to the loss of financial, emotional, historical and cultural capital. The Group Areas Act of 1950, was the beginning of a number of segregation acts intended to control, divide and segregate South Africans along racial and ethnic lines. The implementation of these acts comprised a massive forced removal and demolition strategy which dislocated millions of non-whites as well as whites. </div>
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The exhibition entitled ‘In place of space’ is a show of fetishised utilitarian objects accumulated by evictees of the apartheid regime’s mass displacement project during the 1960’s, 70’s and 80’s. The theme explores the idea of home, loss and longing and the emotional trajectories of the disenfranchised within the apartheid and post-apartheid settings. The exhibition addresses this theme by visually representing ‘replacement’ or ‘transitional objects’, furniture, cutlery, implements etc. transferred from family homes in target areas to displaced dwellings in the townships or locations. The numerous losses encountered during forced relocations often render such objects, which become souvenirs of the space, precious or reliquary. ‘In place of space’ aims to elicit narrative interpretations in viewers that begin to explore the internal and physical tensions and struggles that may be encountered in the internalisation of displacement.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>'In place of Space'</i><br />
Antique table & Cement<br />
Site specific installation<br />
20 May 2014</td></tr>
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A special thanks to the Apartheid Archive Project organisers - </div>
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Prof. Norman Duncan, Prof. Garth Stevens, Marinda Maree, Hugo Canham- for an excellent platform.</div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-38242149141031045172014-05-05T01:50:00.002-07:002014-06-17T02:14:45.980-07:00"Beyond the ‘After Math’" article published in Critical Arts <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906340?ai=11q&ui=9894&af=H">Beyond the ‘After Math’: exploring psychological decolonisation in a post-apartheid context of artistic praxis</a><br />
Farieda Nazier, 199-215<br />
DOI: 10.1080/02560046.2014.906340<br />
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Abstract<br />
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This article argues that recontextualising applicable theories of Frantz Fanon through knowledge-seeking art practices can contribute to the ‘decolonisation of the mind’ in a contemporary South African context. The multimodal social intervention, entitled ‘After Math: An Exploration of Temporality, Wounding and Consequence’, hosted by the Apartheid Museum in August 2012 (principal artist and curator Farieda Nazier), is discussed and analysed. The exhibition and this retrospective article are grounded in Nazier's explorations and subsequent application of Fanonian theories and broader postcolonial postulations of place, gender and class. The intervention borrows from Fanon's theories and phenomenological approach to racial discrimination, using them as a point of departure to evoke memory and convey personal struggles within an apartheid and post-apartheid society through a number of visual and embodied modalities.<br />
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<span style="font-size: x-small;"><a href="http://www.tandfonline.com/toc/rcrc20/28/2?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Critical Arts, Vol. 28, No. 2, 04 Mar
2014</span></a><span style="font-family: "Arial","sans-serif";"> is now available online on </span><a href="http://www.tandfonline.com/"><span style="font-family: "Arial","sans-serif";">Taylor & Francis
Online</span></a><span style="font-family: "Arial","sans-serif";">. <br />
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This new issue contains the following articles: <o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span class="subj-group"><b><span style="font-family: "Arial","sans-serif";">Research
articles </span></b></span><span style="font-family: "Arial","sans-serif";"><br />
</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906338?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">To be a coconut? Thoughts provoked by
Natasha Distiller's Shakespeare and the coconuts: on post-apartheid
South African culture</span></a><span style="font-family: "Arial","sans-serif";"><br />
Michael Chapman, 165-177<br />
DOI: 10.1080/02560046.2014.906338<o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906339?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Heteroglossia in G.H. Musengezi's The
Honourable MP (1984)</span></a><span style="font-family: "Arial","sans-serif";"><br />
Nyasha Mboti & Cuthbeth Tagwirei, 178-198<br />
DOI: 10.1080/02560046.2014.906339<br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906340?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Beyond the ‘After Math’: exploring
psychological decolonisation in a post-apartheid context of artistic
praxis</span></a><span style="font-family: "Arial","sans-serif";"><br />
Farieda Nazier, 199-215<br />
DOI: 10.1080/02560046.2014.906340<br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906341?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">‘Lame ducks’ in the time of HIV/AIDS?
Exploring female victimhood in selected HIV/AIDS narratives by
Zimbabwean female writers</span></a><span style="font-family: "Arial","sans-serif";"><br />
Cuthbeth Tagwirei, 216-228<br />
DOI: 10.1080/02560046.2014.906341<o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "Arial","sans-serif";"><br />
</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906342?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">It begins with you? An ubuntu-centred
critique of a social marketing campaign on HIV and AIDS</span></a><span style="font-family: "Arial","sans-serif";"><br />
Colin Chasi & Nadira Omarjee, 229-246<br />
DOI: 10.1080/02560046.2014.906342<br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906343?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">The reinvention of Hollywood's
classic white saviour tale in contemporary Chinese cinema: Pavilion of
Women and The Flowers of War</span></a><span style="font-family: "Arial","sans-serif";"><br />
Jing Yang, 247-263<br />
DOI: 10.1080/02560046.2014.906343<br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906344?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Criticising images: critical
discourse analysis of visual semiosis in picture ns</span></a><span style="font-family: "Arial","sans-serif";"><br />
Jiayu Wang<span style="color: #1f497d;">, </span>264-286<br />
DOI: 10.1080/02560046.2014.906344<br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906345?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Voice, alienation and the struggle to
be heard: a case study of community radio programming in South Africa</span></a><span style="font-family: "Arial","sans-serif";"><br />
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Stanley Tsarwe<span style="color: #1f497d;">,</span> 287-310<br />
DOI: 10.1080/02560046.2014.906345<br />
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<span class="subj-group"><b>Under fire </b></span><br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906346?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Under fire from all sides: a
paraliterary exegesis</span></a><span style="font-family: "Arial","sans-serif";"><br />
Jessica Webster<span style="color: #1f497d;">, </span>311-312<br />
DOI: 10.1080/02560046.2014.906346<br />
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<span class="subj-group"><b>Book review </b></span><br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906347?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Breaking the silence: South African
representations of HIV/AIDS</span></a><span style="font-family: "Arial","sans-serif";"><br />
Verena Jain-Warden<span style="color: #1f497d;">, </span>313-316<br />
DOI: 10.1080/02560046.2014.906347<br />
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<span class="subj-group"><b>Obituary </b></span><br />
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</span><a href="http://www.tandfonline.com/doi/abs/10.1080/02560046.2014.906348?ai=11q&ui=9894&af=H"><span style="font-family: "Arial","sans-serif";">Stuart Hall</span></a><span style="font-family: "Arial","sans-serif";"><br />
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Keyan Tomaselli & Ruth Teer-Tomaselli, 317-318<br />
DOI: 10.1080/02560046.2014.906348<br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-73458840744128493632014-04-09T00:51:00.002-07:002014-04-09T01:00:27.448-07:00Opening Remarks by Garth Stevens: Tension Torsion: 20 Years On<div dir="ltr" style="text-align: left;" trbidi="on">
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Opening
Remarks </h3>
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at the <i>Tension Torsion: 20 Years On </i>group <span lang="EN-US">art exhibition </span>of new works </div>
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<span lang="EN-US">by
Farieda Nazier, Gordon Froud, Avitha Sooful and Oupa V. Mokwena - </span></div>
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<span lang="EN-US">curated by
Farieda Nazier, </span></div>
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Ithuba Art Gallery, </div>
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100 Juta Street, </div>
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Braamfontein, </div>
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Johannesburg,
South Africa.<o:p></o:p></div>
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<a href="http://4.bp.blogspot.com/-LI3bLJgzQI0/U0T93ffbhkI/AAAAAAAAAfM/gnql8qFTotQ/s1600/tt+kids.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-LI3bLJgzQI0/U0T93ffbhkI/AAAAAAAAAfM/gnql8qFTotQ/s1600/tt+kids.png" height="400" width="300" /></a></div>
<h4 style="text-align: left;">
Prof. Garth Stevens (Assistant Dean: Humanities Research)<br />Department of Psychology, School of Human & Community Development, University of the Witwatersrand</h4>
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Thank you
Farieda, Gordon, Avitha and Oupa, for inviting me to make a few remarks at the
opening of your exhibition this evening.<o:p></o:p></div>
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I am here
this evening not as an artist, but as a social scientist whose work intersects
with much of what you see here tonight, and that work is located in an
initiative called the Apartheid Archive Project – a project that explores the
enduring effects of our racialised past on contemporary South Africa, but
through the lens of the everyday, the ordinary and the quotidian.<o:p></o:p></div>
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When I
saw the exhibition title, I immediately thought that this was such an apt
description of the complex and often contradictory effects of our past and the
ways in which we are trying to live <i>with</i>
and <i>through</i> this legacy in the
current period. This period is of course one that is marked by racialised
flashpoints in higher education, in communities in which the threat of
xenophobic or Afrophobic violence looms large, and in the everyday mutations of
racialised social interactions; by service delivery protests; by rolling
strikes in the mining sector across the Platinum Belt; by growing inequality
between the wealthiest and poorest sectors of South Africa; by violence that
has become endemic; by recalcitrant forms of gender discrimination; and by
reduced confidence in the structures of governance in South Africa. But to mention
only this would be Afro-pessimistic at least, and so we have to recognise the increased
access to basic services since 1994, genuine attempts at community integration,
changing subjectivities, and the emergence of a new layer of youth who are
relatively untainted by the explicit and overt institutional manifestations of
racism and racialisation.<o:p></o:p></div>
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This is
therefore a timely exhibition that contributes to us reflecting on the gains
and challenges facing South African society some 20 years after our transition
to an enfranchised, democratic dispensation, but it is also a time of reckoning
for the political leadership and for ordinary South Africans, the latter who
have perhaps too easily relinquished and ceded the rights of citizens in the
face of this new found freedom.<o:p></o:p></div>
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And so
the question that arises is: How do we
live <i>with</i> and <i>through</i> this legacy, or stated differently, how do we ‘do’ or
perform freedom today? The answer of course is simple: in complicated ways! There
are no doubt tensions and distortions associated with this past in South Africa
today, but there are also genuine attempts at rapprochement and refiguring
South African society, as illustrations of this complicatedness.<o:p></o:p></div>
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Over the
last 20 years, the discourse of reconciliation has perhaps become such a lofty
ideal that it has in many ways become a free-floating signifier that now encapsulates
so many meanings, interests and agendas, that it is hard to discern what we
actually mean by it, let alone how to attain it. Perhaps the idea of
entanglement as spoken about by writers such as Mbembe, Nuttall and Straker is
one way to think about this complicated present. Entanglement refers to the
complex ways in which our histories, our past and present, our subjectivities,
and indeed our lives, are so intertwined that that disentanglement leading to a
‘clean slate’ amongst South Africans is perhaps not possible, nor necessarily
desirable. As an entry point into the complicated nature of our present, maybe
an acknowledgement of these complex relationships, leading to an understanding
and mutual recognition, is perhaps a less lofty ideal to pursue, as it compels
us to not only live with this complexity, but also to recognise that this
complexity is not necessarily only a problem but also has a range of future
possibilities. It can indeed open up moments of dialogue, intercommunal spaces
of participation, alternative subjectivities, and also the possibilities of a
critically engaged citizenry, who if necessary, may act in insurgent ways to
hold those in power accountable.<o:p></o:p></div>
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<i>Tension Torsion: 20 Years On</i> offers
one such space for promoting and provoking dialogue. As a social scientist, and
not an artist, let me briefly add that in my humble view, art offers us a
different medium through which to articulate, contest and express experiences
in the world. It cuts across the intellectual, cultural, academic and public
realms in ways that can often not be accomplished through the traditional,
formal registers and formats associated with the academy today. The arts open
up spaces for a performative social science that can promote a truly
public-intellectual engagement, making it as important, if not more important
to the project of cultural revitalisation and renewal that is central to the
social transformation project.<o:p></o:p></div>
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So as you
enjoy each other’s company, but most importantly the installations that are
part of this exhibition tonight, I hope that you will be provoked into dialogue
about the continued impact of our past on our present, the complexities and
challenges of this present, but also the possibilities of a future that is yet
to be imagined and is yet to unfold.<o:p></o:p></div>
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Thank you
and congratulations to all of you.<o:p></o:p></div>
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Garth
Stevens, 20/03/2014<o:p></o:p></div>
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<h4 style="text-align: left;">
<br />Please follow the links to view latest publications <br />Edited by <a href="http://www.palgraveconnect.com/pc/browse/advancedsearchresults?authorEditor=Garth%20Stevens">Garth Stevens</a>, <a href="http://www.palgraveconnect.com/pc/browse/advancedsearchresults?authorEditor=Norman%20Duncan">Norman Duncan</a> and <a href="http://www.palgraveconnect.com/pc/browse/advancedsearchresults?authorEditor=Derek%20Hook">Derek Hook</a></h4>
</div>
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<br /></div>
<a href="http://witspress.co.za/catalogue/race-memory-and-the-apartheid-archive/%20">http://witspress.co.za/catalogue/race-memory-and-the-apartheid-archive/ </a><br />
<br />
<a href="http://www.palgraveconnect.com/pc/doifinder/10.1057/9781137263902">http://www.palgraveconnect.com/pc/doifinder/10.1057/9781137263902</a></div>
Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-57889170666990198772014-03-30T08:15:00.002-07:002014-06-17T02:11:00.817-07:00Tension Torsion features<div dir="ltr" style="text-align: left;" trbidi="on">
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<br /></div>
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Click on the link below to view Business Day TV's feature on</div>
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Tension Torsion: 20 Years On. </div>
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<br /></div>
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<a href="http://2.bp.blogspot.com/-Myn7he2u44g/Uzg0kc08HNI/AAAAAAAAAe4/uiLOIwPGiJI/s1600/Bus+Day.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Myn7he2u44g/Uzg0kc08HNI/AAAAAAAAAe4/uiLOIwPGiJI/s1600/Bus+Day.png" height="264" width="320" /></a></div>
<br />
<h3 style="text-align: center;">
<a href="http://www.businessdaytv.co.za/shows/businessofthearts/2014/03/25/the-business-of-the-arts" target="_blank">CLICK HERE: Business Day TV Report </a></h3>
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<a href="http://1.bp.blogspot.com/-Eh-PB7d3VAo/U2d51OIxR5I/AAAAAAAAAfs/2AUC2LZUeyc/s1600/sacsis.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Eh-PB7d3VAo/U2d51OIxR5I/AAAAAAAAAfs/2AUC2LZUeyc/s1600/sacsis.png" height="256" width="320" /></a></div>
<h3 style="text-align: left;">
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://www.sacsis.org.za/site/article/1986" target="_blank"></a><a href="http://www.sacsis.org.za/site/article/1986" target="_blank">CLICK HERE: SACSIS interview</a></div>
</h3>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-23860460436947456982014-03-18T01:48:00.000-07:002014-03-18T02:24:56.072-07:00(P)review - Tension Torsion: 20 Years On <div dir="ltr" style="text-align: left;" trbidi="on">
<h3>
An alternative reading </h3>
Written by <a href="http://albertawhittlenavigation.blogspot.com/">Alberta Whittle</a><br />
<div>
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-JkSYcdAVUuU/UygQb_fDW2I/AAAAAAAAAek/ZRJ7qtfoRXU/s1600/bullets.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-JkSYcdAVUuU/UygQb_fDW2I/AAAAAAAAAek/ZRJ7qtfoRXU/s1600/bullets.png" height="222" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Bite the Bullet' by Avitha Sooful, ready for installation. </td></tr>
</tbody></table>
Tension Torsion at the Ithuba Arts Gallery brings together a group of four South African artists, whose experiences growing up under Apartheid have compelled them to reflect on the issues that surround the concept of Democracy. The South African Government News Agency proclaims March 2014, Human Rights Month (1). Against this backdrop of celebration, a variety of questions arise, <br />
<br />
How do we understand democracy today? <br />
<br />
What does democracy mean in South Africa? <br />
<br />
What is the legacy of the past 20 years?<br />
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Reflecting on this celebration of 20 years of Democracy in South Africa, Gordon Froud, Oupa Vusimusi Mokwena, Farieda Nazier and Avitha Sooful question the role and the mechanics of the distribution of power. Their work focuses on the social and political sound-bites and legends, which surround this celebration of Democracy and the deification of Mandela. Instead of passively accepting the sanitised version of events, which proclaim democracy as a completed action, the artists resist this accepted narrative. <br />
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Their works heft unwieldy themes of power, authorship, resistance and race, whilst utilising an unexpected sense of play. Political art is a serious business and these artists are serious. But there is something reminiscent of the funfair about this show. Employing the warped sense of perspective and scale found in the Hall of Mirrors of a traditional funfair, the artworks reveal alternative interpretations of a shared past. The construction of memories reveals a process of recollection, nostalgia and commemoration. Froud, Mokwena, Nazier and Sooful straddle different generations of South Africans whose knowledge of Apartheid draws from personal and collective memories, as well as accepted historical narratives urging us to question, Has freedom been achieved?<br />
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</span><span lang="EN-GB"><a href="http://www.sanews.gov.za/special-features-archive/human-rights-month-2014"><span style="font-family: "Helvetica Neue"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">http://www.sanews.gov.za/special-features-archive/human-rights-month-2014</span></a></span><span lang="EN-GB" style="font-family: "Helvetica Neue"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "Helvetica Neue"; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;">Human Rights Month is commemorated in
March to remind South Africans about the sacrifices that accompanied the struggle
for the attainment of democracy in South Africa. Human Rights Day on 21<sup>st</sup>
March falls within this period. South Africa is regarded as a beacon of hope on
the continent and internationally in the promotion and protection of human
rights.<o:p></o:p></span></div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-84244461396276019842014-03-03T02:00:00.000-08:002014-06-17T02:09:02.531-07:00Tension Torsion: 20 Years On Exhibition <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://2.bp.blogspot.com/-YhQx6KeyCek/UxRRcjIYHaI/AAAAAAAAAeE/9DBhJhj8zVY/s1600/TT+image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-YhQx6KeyCek/UxRRcjIYHaI/AAAAAAAAAeE/9DBhJhj8zVY/s1600/TT+image.jpg" height="266" width="400" /></a></div>
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Tension Torsion: 20 Years on</h3>
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A group show curated by </div>
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Farieda Nazier, with Gordon Froud, Avi Sooful and Oupa V Mokwena</div>
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20 March to 17 April 2014 </div>
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100 Juta Street, Braamfontein</div>
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<a href="https://www.facebook.com/events/1409436822645529/" target="_blank">click here to view FACEBOOK page</a></div>
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The exhibition is a platform for the art works of a demographically diverse group of artists; Farieda Nazier, Gordon Froud, Avitha Sooful and Oupa V.Mokwena. Their comprehensive body of work considers the paradoxical readings of contentious socio-political themes as it unfolds within the vexed context of lived experiences over the last 20 years. <br />
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Nazier’s work 'Nag vannie lang latte', is a satirical take on the ironies and tensions that exist within the uhuru-mythology <i>Nag van die lang messe</i>. 'Bite the Bullet' by Sooful, is a ceramic installation of 19 larger-than-life spent bullet cartridges and 5 new bullets, which reflects the contested and violent legacies of the country. <br />
Froud’s untitled art work, critiques the notions of tension and torsion in the controversial works of contemporary South African artists. Mokwena in his work entitled 'Our Gnomes', deconstructs the African <i>Tokolosh </i>mythology by positioning it within the domain of South African politics. <br />
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The intervention further engages in topical dialogue that resonates with the idea of Paulo Freire and Steve Bantu Biko’s praxis through a public educational programme. The themes for the public programme address criticality amongst South African youth that will be addressed in the Angry Youth Workshop supported by UJ CERT; running on 11 and 12 April 2014.<br />
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The project as a whole aims to raise important questions about the nation’s post-apartheid trajectory; in order to evoke critical dialogue in audiences around the discrimination-wounding-consequence theme. A broader objective of the project’s praxis element is to instill critical consciousness in marginalized and disenfranchised social groupings, contributing towards physical and mental liberation or decolonization.</div>
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Acknowledgements: </h4>
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<a href="http://www.nac.org.za/" target="_blank">National Arts Council</a></div>
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<a href="http://www.artsithuba.co.za/" target="_blank">Ithuba Art Fund </a></div>
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<a href="http://www.uj.ac.za/EN/Faculties/edu/CentresandInstitutes/CERT/Pages/home.aspx" target="_blank">University of Johannesburg: Center for Educational Rights and Transformation </a></div>
<div style="text-align: center;">
<a href="http://www.uj.ac.za/EN/Pages/home.aspx" target="_blank">University of Johannesburg </a></div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com1tag:blogger.com,1999:blog-2195815499829042027.post-69502042037807499042013-10-31T05:59:00.001-07:002013-10-31T06:01:43.424-07:00The Prince of Kliptown @ STAY- Ithuba Arts Gallery <div dir="ltr" style="text-align: left;" trbidi="on">
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KLIPTOWN: </span></span></h2>
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UNSUNG, UNREWARDED AND ON THE BRINK OF DEATH</span></span></h2>
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<b>Featuring Prince Massingham from the <i>Kliptown Stories Project </i>tonight, 6pm @ 100 Juta Street</b></h3>
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Benji Francis: Director-facilitator</div>
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Banele Motha: Cinematographer and editor</div>
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<a href="http://1.bp.blogspot.com/-Z1RG5UzrNrs/UnJJZNdTzxI/AAAAAAAAAdE/DxwJo_A5TnE/s1600/Ithuba_fund_banner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="http://1.bp.blogspot.com/-Z1RG5UzrNrs/UnJJZNdTzxI/AAAAAAAAAdE/DxwJo_A5TnE/s400/Ithuba_fund_banner.jpg" width="400" /></a></div>
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"Memory takes root in the folds of the brain: half's the concrete streets we have lived along"</div>
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Lionel Abrahams </div>
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Participating Artists: </div>
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Alexia Webster, </div>
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Tjorven Bruyeel, </div>
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Kutlwano Moagi, </div>
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Jenna Burchell, </div>
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Prince Massingham, </div>
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Desire Seko and </div>
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Vivien Kohler </div>
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<a href="http://www.artsithuba.co.za/" target="_blank">Ithuba Arts Fund </a></div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-35753314856910760482013-10-11T02:51:00.004-07:002013-10-11T02:51:53.274-07:00Kliptown Stories Exhibition UPDATE: exhibition postponed<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://1.bp.blogspot.com/-l5srBEsMyR8/UlfJJyTZlYI/AAAAAAAAAcw/wSl67nyLyyg/s1600/Klip+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-l5srBEsMyR8/UlfJJyTZlYI/AAAAAAAAAcw/wSl67nyLyyg/s400/Klip+2.png" width="378" /></a></div>
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Please like our <a href="https://www.facebook.com/kliptownstories?fref=ts" target="_blank">KLIPTOWN STORIES exhibition facebook page</a> for updates regarding our progress. </div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-71560481801285019112013-10-03T08:28:00.002-07:002013-10-03T08:35:26.282-07:00Kliptown Stories Exhibition: Opening 13 October 2013 <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://3.bp.blogspot.com/-PPbp45-wU4U/Uk2Gc0W19KI/AAAAAAAAAcg/8rMlSLrqDvQ/s1600/Invite+Kliptown.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="302" src="http://3.bp.blogspot.com/-PPbp45-wU4U/Uk2Gc0W19KI/AAAAAAAAAcg/8rMlSLrqDvQ/s320/Invite+Kliptown.png" width="320" /></a></div>
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This multimodal show entitled ‘Kliptown Stories Exhibition’ brings the Kliptown Stories book (2008) back into the spotlight and home to its origins. The artworks and archival material showcased at this event will highlight and explore selected texts and images of the said book by Prince Massingham and Clifford Charles. </div>
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(Massingham the author, was born and raised in Kliptown. He is currently still resident in Kliptown).<br />
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Through dramatic performance, readings (by Massingham), drawings and paintings (by Charles), as well as photographs and other archival material (provided by Gene Duiker); the Kliptown Stories exhibition curated by Farieda Nazier aims to re-activate the thread of historical narratives present in the Kliptown Stories book. The book, published by Chameleon publishers in 2008, is the product of collaboration between actor Prince Massingham and artist Clifford Charles. The show will highlight the often unheard histories of the still marginalised Kliptown community. <br />
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Background:<br />
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Kliptown is the origin of many iconic South African political leaders, activists and artist. The experiences and stories of its vibrant multicultural community are analogous to locations affected by the implementation of the Group Areas Act of 1950; such as Sophia Town and District 6. <br />
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The semi-auto biographical art book by Prince Massingham and Clifford Charles titled Kliptown Stories, is a valuable historical archive composed of Kliptown-based encounters and experiences. It constitutes poetry and stories of childhood memories about characters that reappear in a loosely woven structure. The narration juxtaposes a keen understanding of the traumatic political situation between the 1960’s and 1980’s and wry observations of the present day context interspersed with Charles’s impressionistic drawings. The book is a reservoir of essential historical knowledge, contributing to our understanding of both previous and current meta-narratives, twenty years post-democracy. As such, it contributes to filling gaps in apartheid and post-apartheid discourse – providing resources for researchers, scholars, students, community members and broader society. <br />
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A subsequent collaboration between Massingham and Benji Francis as director-facilitator in (2009) resulted in a theatrical performance, based on selected elements of the book. In 2012 the Rockefeller Ballagio Residency provided resources for further exploration and development of the performance piece script. In 2013, Massingham and Francis with the sponsorship of the Ithuba Arts Fund collaborated to produce a performance piece and video work entitled KLIPTOWN: UNSUNG, UNREWARDED AND ON THE BRINK OF DEATH. </div>
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The Kliptown Stories exhibition team included Khwezi Gule (Chief Curator: Soweto Museums: Hector Pieterson Memorial & Museum and Kliptown Open Air Museum), Prince Massingham (Principal Artist; Actor, writer, facilitator), Clifford Charles (Artist; <a href="http://cliffordcharles.co.uk/">http://cliffordcharles.co.uk/</a>), Farieda Nazier (Curator; Artist-curator and academic) and Mocke J van Veuren (Independent artist, experimental filmmaker, researcher and educator).</div>
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Special thank you to: </div>
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Soweto Museums: Hector Pieterson Memorial & Museum and Kliptown Open Air Museum</div>
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National Arts Council <a href="http://www.nac.org.za/">http://www.nac.org.za/</a></div>
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Ithuba Arts Fund <a href="http://www.artsithuba.co.za/artists/artists-2013/prince-massingham">http://www.artsithuba.co.za/artists/artists-2013/prince-massingham</a></div>
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University of Johannesburg: Multimedia Department </div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com2tag:blogger.com,1999:blog-2195815499829042027.post-8855567306493401182013-09-12T00:47:00.003-07:002013-09-12T01:01:23.441-07:00Emerging Arts Activist: Take's TWO on the 18th Sept @ UJ<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="color: red; font-size: large;">An opportunity to view South Africa</span></b></div>
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<b><span style="color: red; font-size: large;"> through the eyes of our youth</span></b></div>
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Visit the Faculty of Art Design and Architecture from the 18th to the 20th September, during UJ's Diversity Week to view works produced by 15 diverse Johannesburg-based youths. </div>
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<a href="http://3.bp.blogspot.com/--KjbNFjIxcA/UjFxU6m9e-I/AAAAAAAAAcM/FRqPgERqvE0/s1600/UJ_EAA_ArtExhibition_eINVITE+(4)+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://3.bp.blogspot.com/--KjbNFjIxcA/UjFxU6m9e-I/AAAAAAAAAcM/FRqPgERqvE0/s640/UJ_EAA_ArtExhibition_eINVITE+(4)+(2).jpg" width="456" /></a></div>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com1tag:blogger.com,1999:blog-2195815499829042027.post-44810878142037748152013-07-02T10:07:00.001-07:002013-07-02T10:16:25.206-07:00Chewing the Cud: Visualising a shared future rooted in a divided past<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: red; font-size: large;">emerging arts activist programme </span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ykt4IuM7mrI/UdMIUceRGiI/AAAAAAAAAbo/q041CZlSPEs/s900/1005150_10151732470114628_2006208189_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" src="http://1.bp.blogspot.com/-ykt4IuM7mrI/UdMIUceRGiI/AAAAAAAAAbo/q041CZlSPEs/s400/1005150_10151732470114628_2006208189_n.jpg" width="400" /></a></td></tr>
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<b><i><span lang="EN-ZA" style="font-size: xx-small; mso-bidi-font-size: 11.0pt;">Environmental
issues (pollution)<o:p></o:p></span></i></b></div>
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<span lang="EN-ZA" style="font-size: xx-small; mso-bidi-font-size: 11.0pt;">Theme:
Plight of township living <o:p></o:p></span></div>
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<span lang="EN-ZA" style="color: red; font-size: xx-small; mso-bidi-font-size: 11.0pt;">By: Evidence <o:p></o:p></span></div>
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<span lang="EN-ZA" style="font-size: xx-small; mso-bidi-font-size: 11.0pt;">Collage - Pencil,
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<span lang="EN-ZA" style="font-size: xx-small; mso-bidi-font-size: 11.0pt;">June
2013 </span><br />
<span lang="EN-ZA" style="font-size: xx-small; mso-bidi-font-size: 11.0pt;">Image by Jermaine Adriaanse</span></div>
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The Emerging Arts Activist programme is a partnership between the Apartheid Museum and UJ Transformation unit. The programme is an initiative of Joburg based artist-curator Farieda Nazier, who is currently an academic at the University of Johannesburg. <br />
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The aim of this three day workshop is to expose, explore and instil a basic socio-political grounding in young arts activist, towards a broader reconciliation and transformational end. This long term intervention will launch during National Youth month, which commemorates the June 16, 1976 uprising of youth against Bantu Legislation laws. An objective of the programme is to promote arts practice as a transformative tool by focussing on critical contemporary histories toward a broader reconciliatory end. The programme includes topical presentations by Farieda Nazier (sculpture and installation), Mocke J van Veuren (film and performance) and Prince Massingham (author and performer), situated in a post-colonial theory framework. <br />
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The Emerging Arts Activist programme will end in a travelling exhibition, platforming works produced by our young arts activist. This year’s exhibition titled Chewing the cud: Visualising a shared future rooted in a divided past, will launch at the Apartheid Museum on 27th June at 18h00. The exhibition will be on display for two weeks at the Museum and then move on to the UJ Transformation Unit.<br />
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Click on the links provided below for photographic documentation of the workshop:<br />
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<a href="https://www.facebook.com/photo.php?fbid=10151717712694628&set=a.10151717633729628.1073741830.168740099627&type=1&theater" target="_blank">EAA workshop Day 2</a></div>
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<a href="https://www.facebook.com/photo.php?fbid=10151719780494628&set=a.10151719779559628.1073741831.168740099627&type=1&theater" target="_blank">EAA workshop Day 3</a></div>
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<a href="https://www.facebook.com/photo.php?fbid=10151732470104628&set=a.10151732465404628.1073741833.168740099627&type=1&theater" target="_blank">EAA Opening </a><br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com1tag:blogger.com,1999:blog-2195815499829042027.post-81339727888454017582013-06-05T00:42:00.001-07:002013-06-05T07:33:43.292-07:00Visual Activism Workshop for Youth @ Apartheid Museum <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: red; font-size: large;"><b>emerging arts activist programme </b></span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The
fundamental aim of this workshop is to expose, explore and instil a basic
socio-political grounding (within a post-colonial theory framework) in young arts
activist, towards a broader reconciliation and<b><span style="color: red;"> </span></b>transformational end. This long
term intervention will launch during National Youth month, which commemorates
the June 16, 1976 uprising of youths against Bantu Legislation laws. </span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The workshop will run during the June vacation and is open to youth aged 15 to 20 who aspire to transform our nation through visual art. Artworks produced by participants will be exhibited at the Apartheid Museum for approximately 2 weeks (exhibition opening 27 June).</span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">See the official advert below:</span><br />
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<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
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<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><b><br /></b></span><span style="color: #999999; font-family: "Calibri","sans-serif"; font-size: medium; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><b>FOR BOOKINGS please contact Wayde Davy at 011 309 4700</b> </span><br />
<span style="color: red; font-family: "Calibri","sans-serif"; font-size: medium; line-height: 115%; mso-ansi-language: EN-ZA; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: #999999;">or email at</span> <a href="mailto:wayded@apartheidmuseum.org" target="_blank">wayded@apartheidmuseum.org</a></span><br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-88818236411143309042013-05-21T01:13:00.000-07:002013-05-21T05:01:53.662-07:00Tom Waits For No Man - Walkabout at UJ Art Gallery<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Tom Waits For No Man exhibition by eNCA (screenshot)</td></tr>
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<a href="http://www.youtube.com/watch?v=SO4KcU25iQE" target="_blank">Gordon Froud in eNewsChannel</a><br />
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Please join us for a walkabout!<br />
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Place: University of Johannesburg Art Gallery, Crn Kingsway and University Rd, Auckland Park, Johannesburg.<br />
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Lecture and Walkabout:<br />
Wednesday 22 May @ 10:30 am<br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0tag:blogger.com,1999:blog-2195815499829042027.post-81519570801631289342013-04-02T07:36:00.000-07:002013-04-08T02:09:23.678-07:00Tom Waits - For no Man exhibition 2013<div dir="ltr" style="text-align: left;" trbidi="on">
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"Tom Waits has been a major inspiration for artists, musicians, poets, writers and thinkers for more than 50 years. He is considered as one of the Godfathers of grunge and poetic rock and is held in high esteem by musicians, singers and artists. I see Waits as a master of contemporary narrative who is able to weave emotion and intrigue into his stories of urban grit and rural abandonment...Waits is a master wordsmith whose ability to create disturbing narratives sets him apart from other songwriters. From his achingly beautiful love songs to his social and politically charged tales, Waits creates powerful lyrics interlaced with unusual musical arrangements and with his penchant for unusual musical instruments (or objects used as instruments), the sound is a memorable one that hooks most listeners from the very first chord...</div>
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Gordon Froud (curator), 2012</div>
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The Tom Waits For No Man travelling group exhibition, curated by Gordon Froud, was recently launched (30 March) at the KKNK in the Klein Karoo. It comprises approximately 100 LP sized (30cm), multi media works. <a href="http://www.kknk.co.za/program.php?page=visuele_kuns&item=visuele_kuns_2013">http://www.kknk.co.za/program.phppage=visuele_kuns&item=visuele_kuns_2013</a><br />
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The show will be moving to Grande Provence Wine Estate for the Literary Festival in May, The University of Johannesburg Art Center in July and hopefully Oliewenhuis Gallery, Bloemfontein in August. Other venues may be explored in Natal and the Cape. Please watch this space for opening dates of this not to be missed show!<br />
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<b>Below, find the artist statement and an image of my contribution. </b></h4>
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<tr><td class="tr-caption" style="text-align: center;">Vinyls in the flat</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Formed vinyls folded, on LP players.</td></tr>
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<i>'</i><i>the wrong lips'</i><br />
Vinyl flooring, red paper and record player<br />
400 x 150<br />
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Based on song titled ‘It’s all right with me’ the work is a playful exploration of psycho sexual behaviour in pure Tom Waits fashion. More specifically, it focusses on erotic exchanges between strangers; such as flirtation and other ephemeral encounters. The work is mounted on a record player, visually enticing viewers through the slow hypnotic rotation of two voluptuous ‘lips’ produced from folded vinyl flooring.<br />
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<a href="http://www.youtube.com/watch?v=RASG2JmtDeQ">Its all right with me - Tom Waits </a><br />
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com1tag:blogger.com,1999:blog-2195815499829042027.post-7032058952500432472013-01-15T01:23:00.001-08:002013-01-17T05:36:19.193-08:00Site-Specific installation what not...<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Image by Ryan, Jimmy and Nanka </td></tr>
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The above work titled 'This is my home now...', previously exhibited at the After Math show, was later re-installed at the 'traversed and recorded' exhibition in November 2012. In a walk-about of the show I described this work as a site-specific installation. This phrase seems to be relatively novel to many viewers and required some further elaboration. I recently came across a great theoretical analysis by Miwon Kwon (cited below) that introduces the topic.<br />
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According to Kwon (2004) the idea of site-specificity first emerged in the wake of minimalism in the late 1960's and early 1970's. Kwon (2004) in his <i>One Place After Another: Site-Specific Art and Locational Identity, </i>infers that site-specific work was and is antithetical to the claim "If you have to change a sculpture for a site there is something wrong with the sculpture". He claims that both interuptive or assimilative site-specific art surrenders to its context and in fact formally determined by it. Below find a snippet from the artist statement of <b>This is my home now,</b> one of my site specific works. </div>
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<b>This is my home now...</b></div>
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<b>2012</b></div>
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<b>Fold formed aluminium </b></div>
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<b>Farieda Nazier </b></div>
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For over a century, the Johannesburg city’s buildings have undergone constant shifting effected by wave upon wave of its diverse residents. From families to businesses, homes to offices; the city has witnessed a broad demographic of settlers who varied in class, race and gender.</div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/--tX4oksV5-g/UPUZJF_9gkI/AAAAAAAAAWM/fMP3XEG3XtE/s1600/This+is+my+home+know+IAF.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://1.bp.blogspot.com/--tX4oksV5-g/UPUZJF_9gkI/AAAAAAAAAWM/fMP3XEG3XtE/s320/This+is+my+home+know+IAF.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image from:<br />
<a href="http://www.artsithuba.co.za/exhibition/exhibition-2012">http://www.artsithuba.co.za/exhibition/exhibition-2012 </a></td></tr>
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The city of Johannesburg has evidenced years and years of radical transformation brought about through shaping and erosion by humans and the environment alike. These changes have manifested and accumulated as unique traces within a relatively formal urban landscape. <br />
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The sculptural installation titled <b>‘This is my home now...’</b> addresses this by illustrating a formally controlled landscape that maintains all evidence of often random or chaotic inscription, physical indications of the history long past i.e. marks, dents and fractures.<br />
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'This is my home now'... embodies the shape-shifting nature of the construct that it depicts. Its site-specificity allows for furthered visual associations with architectural structures and <i>cityness</i> by assimilating existing elements within the space; incorporating a section of perpendicular floor-meets-wall, its depth and height, as well as playing with lighting and shadow.<br />
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References consulted: </div>
<b><span style="font-size: large;">Kwon, M. 2004. One Place After Another: Site-Specific Art and Locational Identity. MIT Press: Massachusetts</span></b><br />
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Other links:<br />
<a href="http://www.goethe.de/kue/bku/dos/rid/enindex.htm">http://www.goethe.de/kue/bku/dos/rid/enindex.htm</a></div>
Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com4tag:blogger.com,1999:blog-2195815499829042027.post-34479178059024297912012-12-04T00:11:00.001-08:002012-12-04T00:23:38.199-08:00MTN New Contemporaries Award 2012 <div dir="ltr" style="text-align: left;" trbidi="on">
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Herewith, my last exhibition invitation for 2012.</div>
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This exhibition will be showcasing a number collaborations, </div>
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including previous and new video works produced </div>
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by myself and Mocke J V Veuren. </div>
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Do join us if you are in Cape Town.</div>
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<a href="http://4.bp.blogspot.com/-RREP3arSafQ/UL2vCFJVBJI/AAAAAAAAAVM/DHamGou_ods/s1600/MTN+Invitation+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="361" src="http://4.bp.blogspot.com/-RREP3arSafQ/UL2vCFJVBJI/AAAAAAAAAVM/DHamGou_ods/s400/MTN+Invitation+.jpg" width="400" /></a></div>
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Below find a link to one of the press releases:</div>
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<a href="http://www.mediaupdate.co.za/?IDStory=50339">http://www.mediaupdate.co.za/?IDStory=50339</a>
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Farieda Nazier: Sculpture & Metalworkhttp://www.blogger.com/profile/16563543870118279722noreply@blogger.com0