2025 on Tumblr: Trends That Defined the Year
trying on a metaphor

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Lint Roller? I Barely Know Her

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@dom-contemp
The plant that I share feelings and thoughts with.
Reflective collages of previous works.
Mind map of making
Rising Times.
Installation/ video
2020.
A piece to help save our seas and allow us to come home.
Review on Smac and Blank shows:
Wallen Mapondera - Chirema Chine Mazano Chinotamba Chakazendama Madiziro Part 2.
Wallen’s solo show exhibited large scale works using mainly found materials such as litter and domestic materials in order t convey their message. After viewing the show and reading up on Wallen, it is evident to note that the show was based around their home country, Zimbabwe, and the economic crisis they are currently in. Wallen has used the materials chosen in order to convey this message of a dying economy. Toilet paper, litter, old frames and dilapidated materials are shown to us in this solo show. Collaged together or placed in a way that shows claustrophobia and excess really brings the viewer into the space and allows one to feel the excess of decay.
I believe the use of making big works brings the viewer right into where Wallen wants them to be in order to feel the reality that Zimbabwe is in. Using materiality as his way of conveying his message is shown through these interesting collage type sculptures and installations covering the gallery space. The lighting in the space adds to the darkness that surrounds his subjects. Using a sound aspect to the show can be distracting at times, bringing one’s attention and imagination to a place where Wallen sees his country. At times, Wallen uses new materials, and at other times, found and recycled materials. What was interesting was his use of toilet paper in his two pieces, Tuck shop 1 and Tuck shop 2, Wallen has used new toilet paper, and has rendered it useless of its natural function. He has, too, used cheap and more expensive toilet paper in Tuck shop 1. This speaks to the different values the same material can have. Coming back to a dying economy, it is important to note what recycled materials Wallen has chosen to use, especially in his piece Tuck shop 4. Some items come from more expensive shops such as Woolworths, and other cheaper items. He is, again, showing the difference in value, in this case, regarding branding. He has successfully portrayed and questioned the meaning of value by lighting these pieces up and having them suspended in front of the viewer. The curation of these pieces hanging just in front of the walls allows us as the viewer to view these works from all sides. There is no hiding anything of these works, which I found important when using materiality in this way. There is no illusion in his work; he is not trying to hide anything from the viewer.
Igshaan Adams and Sabelo Mlangeni - stukkinne stories and The Royal House of Allure.
To view a show made up of two artists work was a first for me. These two artists have two very distinct ways of art making, and having them curated in the same space at the same time worked well. These artists, in one way speak to two different subjects, but in another, speak to the same. Igshaan’s work brings one to see the metaphysical side of the world through his extravagant sculptures made of glass, beads and crystals. One is transported into a fantasy type world where the viewer has the freedom to create their own personal meaning through the works. The organic shapes of these sculptures brings one’s imagination to play with what one sees within the sculpture. They become immersive when looking at one. Along side these sometimes map like sculptures draped on the walls and the floor are these ceremonial looking photographs by Sabelo. Curated in a way that ones eye keeps following the photos to the sculptures and visa versa. The photographs sometimes resemble the essence of the sculptures in the way they portray extravagance and a beauty that is similar to Igshaan’s work. There is a journey in these photographs, taking the viewer along from start to finish. The photographs are displayed in a linear way showing many aspects and scenes from within this house on a particular day. This way of curation allows the viewer to follow Sabelo’s story, highlighting the sensitivity of this house and the people in the house.There is a metaphysical aspect to Sabelo’s photographs when entering the second part of the gallery. Along side Vloer lap, Sabelo’s photograph, Prayer for Truth IV. Ola, Icon and Tom shows a ceremony going on. Both of these pieces speak to each other in a vulnerable and a truthful way. Without labels, these pieces can be left to the viewer to interpret. It is important to note the vulnerability that these artists are speaking to, being of colour and gay in communities where this is frowned upon. These artists are speaking to their truths which shines light onto these positions many people are in and have no way to express their truth.
Thus it is beautiful to see these two artists show their work together in the same space. Each artist’s work works off each other, highlighting each other.
Research
Artists relevant to my current practice:
Yayoi Kusama. After reading book about Yahoo, I took interest in her intricate work surrounding herself and her life situation. Her repetition of patterns dots resonates with my current practice of wanting to show reception and patterns in everything. I love her large scale paintings and her polka dot installations.
Francis Alÿs. Francis is mainly a video artist, performing simple but powerful acts in his pieces, speaking to political issues surrounding his background and country. He deals with government issues as well as psychological issues. His piece, Watercolour speaks to my practice because he deals with the essence of water by transporting water from the red sea into the indian ocean. This simple act of transportation holds meaning speaking to immigration and fluidity.
Joshua Pearce. Although I have not read much about Pearce, I took to his video installation at the Open 24HR show, Re imagined realities last year. I love his use of stillness when making this video piece. The calm rising tide covering the statue resonates and speaks to how I wish to show movement and calmness.
Walter De Maira - Walter showed his work New York Earth Room, in the 80′s in New York City. This piece is in one way Land art, and another way, intervention art. He has intervened with the gallery space in an eco conscious way. The space smells like earth, and needs to be nurtured in order for it to last.
Techniques/ materials relevant to this project:
Installation. I read up on Yayoi Kusama’s installation as well as Walter De Maira’s. I resonate with taking up an entire space and filling it with one thing. Using simplicity to create meaning.
Video.
Sound
Found materials
Painting
Other sources that deepen my current practice:
Sea Change. A book on under water animal tracking. A man by the name of Craig Foster has pioneered the movement of tracking sea creatures to see what roles they play in the intricate eco systems under the sea. From big fish, to plankton to octopus. This book speaks to my practice because it revolves around ocean conservation and tapping into other live that seem way different to ours, but are actually very similar. I am interested in looking at other life forms and how they perceive the world and how they survive in this world.
Igshaan Adams. After viewing Adams latest show, I resonated with what he speaks to in his bright and intricate sculptures. Looking at spiritually and the greater ‘higher power’ in the universe, I feel that Igshaan portrays his feeling towards this in a beautiful way that I relate to.
Eco - Aesthetics. A book revolving around art with an eco conscious outlook. Views on how we can go forward in the world with a new consciousness about the environment, and different artists performing or displaying work surrounding the environment.
Bibliography:
Miles, M. 2014. Eco -aesthetics. London: Bloomsbury Publishing Plc.
Hoptman. L. 2000. Yayoi Kusama. New York: Phaidon Press.
Dempsey. A. 2006. Destination art. London: Thames & Hudson.
Frylinc. R. 2019. Sea Change. Cape Town: Quivertree Publications.
Comer, S. 2009. Film and Video Art. London: Tate.
Carson, S. 1962. Silent Spring. New York: Houghton Miffin Company.
Gallery questions
SMAC: Wallen Mapondera.
1. Mapondera has used materiality as their way of conveying meaning. How has their use of materiality assisted with speaking to fragility and the decay of economy in their country?
2. Many materials used have contrasting values such as toilet paper v.s egg packaging. One material being recycled and reused as an artwork, the other has taken its natural use away. Why has Mapondera chosen to use these two contrasting materials to speak to contrasting values within the artwork and within the message of survival?
3. Majority of the exhibition is interactive by allowing the viewer to view the artworks from behind and front. How has suspending these works allowed the viewer to become either more part of the work or set away from the work?
BLANK: Igshaan Adams and Sabelo Mlangeni.
1. How has exhibiting two artists work at once, intertwining with one another allowing for a new message to be conveyed, rather than showing these works as two separate shows?
2. Mlangeni’s photographs show a linear narrative, where as Adam’s has a more fluid narrative allowing for open ended questions. Do you think showing these two different narratives at once highlights each narrative, or combines the two narratives?
3. Both artists seem to show a sense of ceremony in their work. Dealing with sexuality and identity, in what ways do these two artists show a ceremonial narrative in their work?
STEVENSON: Barthélémy Toguo
1. In this body of work, Toguo has displayed both free flowing painting and very structured text. Why do you think they have chosen to show these two contrasting techniques in showing their work? What narrative is being told through these techniques?
2. Why has Toguo chosen to portray the people in their portraits as traditional almost ‘colonial’ type portraits?
3. Some portraits are carved in wood whilst others are drawings. What is being said by displaying these portraits next to each other? Is the one portrayal of people more important than the other?
This space creates a sense of isolation. By placing these objects in a corner creates a lonely space.
Three object on different background.
This background reads more as busy and creates movement between objects. It conveys a meaning around cluster and busyness.
Neutral background.
Answered questions for Chris
Question 1: what is a curator?
I feel like a curator is someone who plans an art show, be it an exhibition or any form of showing art. The curator is in charge of what work goes up, where it goes up and how much work goes up. The curator puts the blue print of the show onto paper and transfers it to reality. A curator needs an eye for aesthetic and conceptual value. To know the artist or artists one works with makes a good curator. A curator is not only the person in charge of showing work, but in charge of making sure the show itself is good and reflects the right message the artists and the curator wish to convey. As a curator, one creates a space for viewers to create meaning through what they are seeing and experiencing.
Question 2:
An interesting part of the article is where he says the curator needs to know what is best for the city that the art show is going to be put up. That is an important factor because the main people who will attend the show are the people based in the city that it is shown in. One has to know what the people want to see, and what is best for the city. It opened my mind to a deeper level of what a curator is. Not just someone showing work, but someone who is aware of their surroundings to a whole new level.
Another interesting point was that of that a good show doesn’t necessarily have to have good art, but if all the art is displayed well, the show can still be really good. A good curator can make something beautiful out of a collective of things maybe not so beautiful.
Finally, when defining a curator as a career was eye opening. The role of a curator is to care for the artist and the work the artist creates. This ties in with the curator discovering a promising work that the artist cannot see yet. To have a solid relationship with the artist and to care for them definitely makes for a good curator.
These three points have allowed me to gain more knowledge of the importance of a curator, and to see what make for a good curator.
Question 3:
Okwui Enwesor states that there needs to be a place where a curator can act. He is looking away from the institution in which a curator works, and looks more at where the curator can freedom to express their work. He see that there are less spaces where curators can act, and finds that many curators are conforming to the formalities of a curator.
Koyoh Kuoh is raising awareness around the sensitivity around African art. She states that there needs to be a calling to decolonizing artistic practices within an African context.
There is a lot of hesitance towards showcasing African art in the Eurocentric world view. This is due to many years of struggle and lack of support around Africa.
Simon Njami speaks on a political note surrounding the importance and truth around African art. By curating an African Bienalle he calls for politicians to seek education around truth africanism and the truth African art holds.
He goes as far as to say that everything starts from Africa, and people, especially politicians around the world need to know this.
After viewing these videos, each curator states importance points around curation and African art. It was eye opening to listen to the lack of support surrounding African art, and the will these curators have to boost the importance of true African art. A difference I noticed around two curators was that of Enwesor and Kouoh. Enwesor speaks more to the curatorial practice and the freedom curators need to gain, whereas Kouoh speaks to the lack of legitimization of African art. The different views between these two curators is that of context. One is speaking towards curation, whereas the other speaks towards culture and socio political awareness.
Enwesor is an independent curator, therefore working for himself, and speaks towards leaving the institution in order to gain freedom and expression. Kouoh speaks towards the institution and what it holds against African art.
Potential art show ideas.
Sketch of Hear Now. Performance from the Neo-individualist movement.
NEO-INDIVIDUALISM
NEO-INDIVIDUALISM.
Technology has been gathering information on us since it was invented. From the invention of the computer, to the newest biometric systems built into one’s phone, technology is reading our movements on a daily basis. Not only is it reading our movement, but it is slowly sucking us of our individuality. This is evident when looking at social media platforms and profiles. All of our information is on these platforms allowing whomever to view us. To look deeply at this case, when interacting with someone in person, one can feel the lack of self. Technology has taken all of that self and hidden it in code and alga-rhythms. Therefore, the Neo-individualist movement came about out of protest in order to gain that individuality back from which technology has taken from us. This is not to say we will take the information back and delete it from cyber space, it is to say that our pure individualism will be expressed and felt through this movement. This a movement that is open to whoever feels the need to express their feelings and authority against what technology has done to our individuality, and create a more human based connection between one another; viewer and artist.
The Neo-Individual movement has investigated the primary theme of how we as humans experience art, and that is through feeling and question. Therefore, the artworks that come out of Neo-Individualism provoke feeling and raise questions about what it means to be human now, what it means to feel and how it feels to be an individual again. The Neo-individualist movement praises the individual inside everyone, and wishes to bring that individual out in people. To look back on the history of art, there was a time where indiviualism was seen through art making and within the art world, but since consumer culture came about, the art world along with the rest of the world has become more part of a collective controlled society, submitting to authorities and consuming life mindlessly.
One could say the goals of the Neo-individualist movement is the raise the human condition. The modern human condition, at this point in time, is in need of more human interaction with feeling and truth. Therefore, the Neo-individualist movement executes these interactions through their art making.
Artworks that come out of Neo-individualism are mainly performance based artworks. Lasting for only a moment in time, pure self expression and question come up within these performances. Some performances will take place within a controlled space, whereas others will be intervention performances, taking place in public and open spaces. This movement will not only perform, but also create environments for displaying their work in which viewers can become involved in the space. Creating spaces for displaying work and hosting performances creating a sense of nowness and presence is a key theme for the artists.
Neo-individual art can belong in a gallery space, however it normally belongs in public spaces for short periods of time. Basing the artworks around performance and intervention, Neo-individual artists tend to record their work.
Getting in touch with the individual self through art making is felt through the artist making the work and the viewer experiencing the work. Often, these artworks are interactive and involve the viewer in a way that makes them part of the art, where they can question the art themselves, as well as feel the meaning of the art. Neo-individualism does not wish to create illusions of reality through distortion of reality, it wishes to create true reality between people. True reality is subjective, thus Neo-individualism wishes to demonstrate this through questioning the reality we are in now, a technology driven reality.
To demonstrate a particular artwork coming from the Neo-individual movement, one might look at a performance by Neo-individualist artist Dom de Villiers. Inspired by former Neo-Individualist artist Nazeer Jappies, Within Arms Reach, a silent interactive performance, Dom de Villiers has created an interactive performance as well. Hear Now is a performance, originally performed in the CBD in Cape Town, but has made appearance in the Smith Gallery too. This performance demonstrates vulnerability, inquisitiveness and love.
The artist is hidden in a large square box, with only one hole at the front of the box, allowing them to speak out of. An introduction to the work is placed next to the box, so the viewers are aware of what is happening. The intention behind this work is to create a comfortable vulnerable space with a stranger, thus evoking a feeling of connection between oneself and someone you cannot see. The piece begins with with artist stating their greatest desires and longings. The performance goes on to the artist stating their confessions and sins they have made. The viewer, at anytime is allowed to intervene by asking questions or stating their confessions or desires. Towards the end, the viewer and the artist could be having a conversation, a laugh, a cry. Regardless of the outcomes, the viewer and artist have shared a deep insightful moment exploring someones individual self. Hear Now, puts one into the present moment, just for a little bit, to share stories, memories or just some time with someone who may or may not be real. By leaving the artist hidden, the viewer can create their own version of the artist in order to feel comfortable enough to share their thoughts with. Again, the viewer may choose to just listen to the artist, which is powerful in itself. To just listen to someone is an important part of connecting to someone.
Thus, this piece is demonstrated in public or in a gallery, bringing people together, hearing each other and feeling that vulnerable individual self that we have come to lose since technology has created a force field around ourselves, hiding ourselves from ourselves.