Arena for Contemporary African, African-American and Caribbean Art

Author: Athi Mongezeleli Joja

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Dada Khanyisa: Good Feelings


She makes use of what we could call ordinary materials such as wood, plastic glass, mirrors, record cases, and so on; as well as creatively abstract instances of black people inside bars, restaurants, shebeens, homes, and different kinds of interiorities, with great humor and play.

Athi Mongezeleli on the new works of Dada Khanyisa
precoital convos, 2019, all works courtesy Stevenson Gallery, SA.

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A Black Aesthetic: A View of South African Artists (1970-1990)

SB'The Poet' by Nathaniel 'Nat' Ntwayakgosi Mokgosi (1946-2002).

A Black Aesthetic: A View of South African Artists (1970-1990) was an exhibition in the Standard Bank Gallery in Johannesburg. The presentation was curated by Dr Same Mdluli and was praised and criticized. Mdluli deceided to react on the critique she got. For Athi Mongezeleli Joja it was necessary to respond.

Nathaniel-Nat-Ntwayakgosi Mokgosi, The Poet

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What is the Role of Art Criticism Today?


Is the art critic an endangered species? Is he a mystical figure dubbed a critic? Is he white writing on blacks? Critic Athi Mongezeleli Joja is looking for answers.

Photo: Athi Mongezeleli Joja

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‘All Your Faves Are Problematic’


“The historical definitely has much to teach us today, in fact sometimes far more than the contemporary”, says art critic Athi Mongezeleli Joja. A recent exhibition of the Johannesburg Art Gallery – All Your Faves Are Problematic – proves that using history not always works out in the way he has in mind. “Most of the work shown in the exhibit coalesces around the voyeuristic and primitivistic impulse of the white artist, which over the last century has constructed black bodies as objects of anthropological and artistic fascination.“

Poster image of the exhibition

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What Does Land Mean for South African’s Culture? Part 1


A little reminiscent of the early 1990s Steve Hilton-Barber controversy following the white photographer’s unseemly pictures of naked Sotho initiates (largely an inaccessible site) aroused unflinching backlash from black theatre audiences. Hilton-Barber’s pictures not only instantiated a debased pornotropic and ethnographic palate prevalent in colonial photographic practice but, rather less memorable than the representativity of the disrobed native body, was the fact that Hilton-Barber’s access to the “sacred” site and exposed body of initiates was precisely due to the fact that his family owned those rolling mountains where black rituals were actualized.

Athi Mongezeleli on land politics in South Africa
The Landless People’s Movement outside the Constitutional Court, 14 May 2009 (photographer unknown)


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