Artist Lawrence Lemaoana on coding narratives into textiles and his uneasy relationship with the art world.

Picture this scene: A toddler is trailed by his mom and dad as he plays in the gardens of an iconic art museum in Paris. The three of them are on the grass behind a spectacular ultra-contemporary museum that, according to ArchDaily, catalyzed “innovation in digital design and construction” while “evoking the tradition of 19th-century glass garden buildings.” As he walks, the dad notices several signs in French with the words Jardin d’acclimatation, but doesn’t pay too much attention. Later, back at the hotel, he googles the name, and discovers a shocking truth: less than 80 years ago, that site was a human zoo.

Read more on Futuress

The women in Sethembile Msezane’s work demand your attention. They stand, on top of mountains, on plinths in the middle of Rhodes Must Fall crowds. They wake up on beds in the middle of a field. They stand defiantly with their fists up on public holidays; ring large bells to signal the return of those women whose deaths are quickly forgotten. They kneel on top of World Heritage sites diagnosing the world’s illnesses and drawing attention to our disconnect from nature. In whichever medium we meet her work — film, photography, performance, sculpture or drawings — Sethembile Msezane is always commemorating the stories of women. Black women in particular.

You can read the rest of the story on Arts24

WESTRIDGE Senior Secondary School in Mitchells Plain seems an unlikely birthplace for South Africa’s graffiti movement, but in the late 1980s, that’s what it became.

The school provided the first canvases for young, frustrated graffiti artists who wanted a space in which to express themselves.Graffiti artist Falko is one of the pioneers of the art form in Cape Town, and started developing his skill while at Westridge.

He explains that although there already was graffiti being painted in areas in Lentegeur and Westridge, the school was the first place where he worked on a wall.

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The urban landscape includes the world of the down-trodden and faceless, who sleep under bridges and stand like landmarks at traffic intersections.

It is from this nuanced, strange and challenging existence that graffiti artist Faith47 draws inspiration.

“In the years of painting in the streets I have explored many hidden-away spaces, empty Joburg high-rise buildings, old factories and pockets of broken architecture. I have been documenting the marks I find — scrawled poems on the walls, gang tags, love stories, complaints and observations carefully pencilled on walls, drawings and sentences written by stowaways who sleep under bridges,” she says.

Read more in the Cape Argus

There is no use complaining about the heat in Namibia. You’re in a desert for crying out loud. And no one invited you to spend December there, so just get on with it.’ — my internal dialogue as I made my way up Dune 45.

One of my best friends and I had decided against spending yet another festive season in Cape Town. So instead, we booked a 12-day desert safari where we’d visit a different part of the country every single day and end up in the capital, Windhoek, a day before New Year’s eve.

Our tour group, 24 people from all over the world, was a particularly young and fit team.

Read more on Trueafrica

Picture by Alice Mann for WePresent

Every detail of the picture screams special occasion. The carefully-chosen dresses, the color-coordinated nails, the matching high-heeled shoes dangling now from a hand — a gesture of rest recognizable to anyone who’s ever tried wearing heels like that for a whole night.

An American export, the high school prom is now a raucous rite of passage around the world. It marks the end of school and the beginning of adulthood, and like many transition zones, normal rules of behavior don’t usually apply.

Read more on WePresent…

In the first months of 2019, a curious series of posters began popping up on social media and in the streets of Johannesburg.

It was just ahead of the South African national elections, and campaign posters depicting smiling politicians silhouetted against boldly colored backgrounds and sans serif slogans hung from street poles across the country.

But this series was different — more album promo than campaign design — and it featured a Black woman in a beret and gauzy pink veil. In one of the images, she stands with her back against a wall with her eyes closed.

This piece was originally published in the “Utopias” issue of Eye on Design magazine. Read more.

neo maditla

journalist, editor

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