But caught between limits of representational possibilities and the contradiction of colonial representation, here portraiture finds itself in an interesting aporia. That is between an enchanting representation, and the existential reality of knowing oneself as a problem for humanity. This performative contradiction creates problems for the lauded humanizing acts of the photograph as a general conflict in Black Chronicles IV.
Author: Athi Mongezeleli Joja
Using found material to make statements about the intimacy between sexuality, religion and race Adams’ oeuvre renews our interests in topical subjects in ways that beckon us to pay attention to subtly sustained institutionalized bigotries and discontinuities.
Athi Mongezeleli Joja on the South-African artist Igshaan Adams
The work of two British born artists – Michael McMillian’s Inna Joburg situated above, and Christine Checinska’ The Arrivants below – shown at the University of Johannesburg’s gallery FADA reconstruct quotidian moments that tend to vegetate into the margins of history.
Athi Mongezeleli Joja on two remarkable exhibitions at the University of Joburg.
Drinks Cabinet of The West Indian Front Room (Geffrye-Museum-2005-06) ©John Nelligan.
Like a true sadist, Kemang Wa Lehulere’s show disavows any grand finale by always opening up “the end.” We leave the show content, filled but not certain with what exactly.
Athi Mongezeleli Joja on Kemang Wa Lehulere.
Red Winter, 2016.
“I discovered that I come from a family of practitioners, of healers, something that in the family…a Christian family, was silenced actually. It was never spoken about, even till today,” he reveals.