Thank you to Hayato Fujioka for his photographic skills.
A life changing residency in Japan chronicled through a daily blog. Click the link here: BLOG Mokuhanga, Japan to read and see.
3rd Year Rhodes University Students who participated in City Spaces, a two week module taught by Natasha Norman as part of the Visual and Art History curriculum in March 2013.
Please down load the full text as a pdf here: derive_booklet.pdf
The invited artists are Ulf Aminde (DE), Yael Bartana (IL/DE), Candice Breitz (ZA/DE), Gabrielle Goliath (ZA), Asta Gröting (DE), Nandipha Mntambo (ZA), Athi-Patra Ruga (ZA), Penny Siopis (ZA), James Webb (ZA) and Ming Wong (SG/DE) with keynote addresses in Cape Town by Achille Mbembe (CM/ZA) and Hubertus von Amelunxen (DE).
Between the Lines is funded by Germany’s Federal Ministry of Education and Research in the context of The German-South African Year of Science 2012/2013, a year of exchange between South Africa and Germany that aims to strengthen cooperation and create new networks between the two countries.
All events are open to the public and free of charge.
SYMPOSIUM SOUTH | 25 February to 2 March 2013
Venue: Michaelis School of Fine Art, University of Cape Town.
Concept: Colin Richards (UCT) and Candice Breitz (Braunschweig University of Art)
Conveners : Andrew Lamprecht (UCT) and Candice Breitz (Braunschweig University of Art)
Coordinators: Natasha Norman (UCT) and Undine Sommer (Braunschweig University of Art)
Exhibition Curator (Michaelis Galleries): Nadja Daehnke (UCT), assisted by Elizabeth Wurst
Exhibition texts by Natasha Norman
2008, Single channel, HD video, stereo soundtrack, 14 minutes. Courtesy Format Digital Production and Art Source South Africa © Paul Emmanuel
2012, Mirage F1 CZ, courtesy Chris Teale of the SAAF Museum at Ysterplaat, Dimentions variable.
Ruacana, 1988, 1988, Archival print, 42 x 59,4cm.
“They can’t do this.”
It was almost a whisper. He may even have sworn under his breath and I realised that the stillness was fear. It was the fear that shocked me. This great, invincible, bearded, gentle giant: was afraid.
The year was 1988 and it was a letter from the military. My father had been recalled to do a civilian camp despite having served an extra year of conscription at the time to avoid being called up for camps. I was suddenly aware of a bigger world opening up around me.
Shortly after they finished high school our fathers were conscripted into the South African Defence Force (SADF). Most were put through rigorous physical and skills training and many sent to fight in South Africa’s so-called Border War in Northern South West Africa and Southern Angola in what has been popularly mythologised as a ‘coming of age’ initiation for the white South African male.
Up until 1994, almost all able-bodied white male South Africans were called up for National Service around the year they turned 18. As far as most of these young men were concerned there was little option but to perform this duty. One’s call-up could be deferred for a few years if one studied, but to avoid it meant facing harsh consequences. The options were to object on conscientious or religious grounds and face a six-year jail term, or flee the country.
Since the radical shift in political power in 1994, the Border War and those who fought it have been cast in an insidious light. From an institutional point of view the conflict is now widely regarded as one that upheld the racist interests of Apartheid. The Border War, it would seem, has become easier to officially forget in post-Apartheid South Africa then to struggle to reconcile the propaganda, trauma, heroism and racism implicit in a discussion of its nature.
In recent years a large amount material concerning South Africa’s Border War in Namibia/Angola has exploded onto the cultural landscape. Where a decade ago such material was scarce, in the last five years there has been a considerable surge of novels, biographies, documentaries, films, theatre, photography and visual art all dealing with this subject. It would seem that the muzzle on South Africa’s ‘silent war’ – in the cultural sphere at least – has begun to lift.
Marking the 25th anniversary of the war’s bloodiest and most decisive battles, most notably at Cuito Cuanavale, NOT MY WAR looks at how a number of significant South African artists have been impacted by and responded to the Border War. Furthering the resurgence of dialogue around this ‘silent war’, NOT MY WAR will echo the multiple viewpoints on this complex conflict, as well as highlight its continuing relevance and effect on South African society.
Particpating artists are Wayne Barker, Christo Doherty, Paul Emmanuel, John Liebenberg, Jo Ractliffe, Colin Richards, Chad Rossouw, Penny Siopis, Christopher Swift & Daniella Mooney and Gavin Young. Exhibition texts by Natasha Norman.
Copyright Natasha Norman. All Rights Reserved.