Wednesday, March 16, 2016

"Azania"






at the back- on the wall are stickers with images of flowers(a random selection) that are native to southern Africa, Madagascar, Egypt and Morrocco...




















soil from Egypt ..... Soil from Madagascar







commissioned by Marrakech Bienalle 2016...
the title I am not yet sure of really... initially it was "The Name of which escapes me now (in its whole as well as in numerous specific places)"
but it might be "(Azania-izwe lethu)"-
perhaps tomorrow I will have more clarity on it...

The (whole) sculpture/installation consists of 8 sculptural elements...
the individual elements are not yet named- except for one part-
the monument to the Haitian revolution of 1791- this is the sculpture with the mud/dung bricks (and plastic water bottles etc.)


Tuesday, March 15, 2016

Slow-co-ruption





















….._____ memory loss, dementia and data un-synchronised or destabilized,  _____ a kind of rupture that may be possible after or at the moment of corruption ||||||||||\\\ Corruption as something that destabilises what seems stable and normal – an interruption of a memory, a file, or a story – a death, a ___‘productive’ death.

The show has three main works and two supports so to speak. In the first room is same angle, same lighting, a mechanical sculptural work that I made in 2010 but is now in its third incarnation. The first version had a light that was shining repetitively – back and forth onto a dark photograph, just looking over and over again. The second version, which I had shown in Cape Town at Stevenson, had a camera that was supposed to capture the information on a photograph and send it to a nearby monitor – but the machine kept on failing and what stood in the monitor with it was a pre-recorded video showing the movement that was supposed to happen; an external memory of sorts.

Now in its third reiteration in ‘slow-co-ruption,’ the camera sends information to several monitors, screens or hosts. The camera goes back and forth scanning the information off the paper, a scanned colour photocopy of picture of a lush garden from a South African Garden & Home magazine from the early 1990s. This machine is hosted on and by these wooden supports and shop display stands. Also anchored on the wooden structure are some floating ‘place holders’ in the form of colours and shapes.

Around same angle, same lighting are several copies of the video grassgreen/sky blue and also slow-co-ruption (stickers of flowers and eyes). The flowers are an almost random selection of native South African flowers and some from the garden image in same angle. The eyes are those of an anonymous person and also those of philosophers Biko and Sobukwe, who are also known for having written much about a need for rupture – both mental, political and spatial (so to speak). Together embodying something beautiful…

In the other rooms are the videos why do you call me when you know I can’t answer the phone and is i am sky. why do you call me is a piece from 2013, which is itself about the rupture of meaning or sense, a corruption or narrative, while is i am sky speaks of a thing of absence, self presence and of a kind of a metaphysical death,


















Installation views, Dineo Seshee Bopape: slow –co– ruption, Hayward Gallery Project Space, 26 August – 27 September 2015. Courtesy Hayward Gallery, London.

images courtesy of Dineo Seshee Bopape & Hayward Gallery