Showing posts with label performance art. Show all posts
Showing posts with label performance art. Show all posts

Monday, May 5, 2014

"Beyond the ‘After Math’" article published in Critical Arts



Beyond the ‘After Math’: exploring psychological decolonisation in a post-apartheid context of artistic praxis
Farieda Nazier, 199-215
DOI: 10.1080/02560046.2014.906340


Abstract

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.




Taylor & Francis Online - The new journals and reference work platform for Taylor & Francis
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Critical Arts, Vol. 28, No. 2, 04 Mar 2014 is now available online on Taylor & Francis Online.

This new issue contains the following articles:

It begins with you? An ubuntu-centred critique of a social marketing campaign on HIV and AIDS
Colin Chasi & Nadira Omarjee,  229-246
DOI: 10.1080/02560046.2014.906342

The reinvention of Hollywood's classic white saviour tale in contemporary Chinese cinema: Pavilion of Women and The Flowers of War
Jing Yang, 247-263
DOI: 10.1080/02560046.2014.906343

Criticising images: critical discourse analysis of visual semiosis in picture ns
Jiayu Wang, 264-286
DOI: 10.1080/02560046.2014.906344

Voice, alienation and the struggle to be heard: a case study of community radio programming in South Africa

Stanley Tsarwe, 287-310
DOI: 10.1080/02560046.2014.906345

Under fire

Under fire from all sides: a paraliterary exegesis
Jessica Webster, 311-312
DOI: 10.1080/02560046.2014.906346

Book review

Breaking the silence: South African representations of HIV/AIDS
Verena Jain-Warden, 313-316
DOI: 10.1080/02560046.2014.906347

Obituary

Stuart Hall

Keyan Tomaselli & Ruth Teer-Tomaselli, 317-318
DOI: 10.1080/02560046.2014.906348
Submission Guidelines:

Submissions should be made online via ScholarOne Manuscripts at http://mc.manuscriptcentral.com/rcrc (in cases where internet connectivity is not conducive to a ScholarOne submission, we will still accept manuscripts submitted via email to the Critical Arts office. Send to Verona Sathiyah at criticalarts@ukzn.ac.za and/or editor-in-chief, Keyan Tomaselli, at tomasell@ukzn.ac.za). Submissions should be original works not simultaneously submitted elsewhere, between 5000 to 7000 words in length. Referencing should be done according to the Chicago manual of style.

Indexes listing Critical Arts:
Social Sciences Citation Index (SSCI) [ISI ranked]; Arts and Humanities Citation Index; Alternative Press Index; ARTBibliographies Modern; British Humanities Index; Film Literature Index; Humanities International Index; Index to South African Periodicals; International Bibliography of Social Sciences; International Bibliography of Theatre & Dance; Linguistics and Language Behavior Abstracts; M L A International Bibliography; Periodicals Index Online; R I L M Abstracts of Music Literature

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Wednesday, June 13, 2012

Exhibition Update: Works in Progress...

About artefacts and new assimilations 

To date there has been really exciting progress relating to the production, planning and directing of the After Math exhibition.

The sculpture production, in the last 1.5 to 2 months, have resulted in 3 sculptural installations nearing completion! These were produced from sheet metal (2mm to 3mm) in various aluminium alloys - ranging from the 1200 grades up to 5000 grades. I am fortunate to have encountered the amazing properties of these alloys. One such quality is this metal's marvelous malleability. Once annealed (meaning softened by heating), aluminium is buttery soft and offers little resistance to the fold forming and raising techniques I have employed.

To the left is a sneak preview of a work titled 'Potret'; the Afrikaans word for portrait. In this image the components for the installation is stacked on top of each other. However, the work measures more than one square meter when laid out flat. These canvas type tablets will form the foundations (blank canvases) for an abstract composite family portrait. It will be installed into the space as a wall piece. At the moment it is more than three quarters of the way complete. I will reveal more on the meaning and significance of this work during my scheduled walk-abouts of the show. The dates for these will be published on the blog and other media soon: so watch this space.

The production of the video work (in collaboration with Mocke) will commence during my Uni vacation starting in about a week and half. My lips are sealed on the concepts for these, for now. (Wink wink)

The intense but highly productive brainstorming sessions for the performance (in collaboration with Thami) is finally beginning to unfurl and amalgamate. I am anxiously awaiting our first creative production session at the venue this Friday.

As far as planning goes:  much of the logistics for the show seems to be in place, though many hours of work still lies ahead.   An exciting development here is that the Apartheid Museum, in collaboration with the After Math project and relevant UJ staff, will be hosting a public seminar that is intimately related to the concept of the exhibition. I will reveal more here in the very near future...as I said: WATCH THIS SPACE!!!

Please feel free to comment or to ask any questions.
Greetings.