Pub Date : 2022-09-02DOI: 10.1080/00043389.2022.2152965
Catharina de Klerk
Abstract Various contemporary artists have explored people’s relationships with the natural world through artworks based on the book format, including artist’s books and book sculptures. This study contributes to the discussion on the ways visual storytelling can work towards re-visualising narratives, making untold stories visible, with specific reference to Book of Play I and Book of Play II (2017) by contemporary South African artist Guy du Toit. The aim of this article is to explore narrative suggestions of stories that remain untold, as felt through the empty spaces between the book covers. I argue that Du Toit’s book sculptures evoke experiences of loss and transience through his representation of the impact of the passage of time and the effects of the elements on the medium of bronze. Building on David Macauley’s environmental philosophy (Elemental Philosophy: Earth, Air, Fire, and Water as Environmental Ideas. New York: SUNY Press, 2010), and specifically his suggestion to re-evaluate how to relate to the natural world by viewing ecological considerations as a form of “re-story-ation”, I suggest that Du Toit’s book sculptures offer a starting point for an exploration of our fragile relationship with the natural world.
摘要许多当代艺术家通过以书籍形式为基础的艺术品，包括艺术家的书籍和书籍雕塑，探索了人们与自然世界的关系。这项研究有助于讨论视觉讲故事如何使叙事重新可视化，使不为人知的故事变得可见，具体参考了当代南非艺术家Guy du Toit的《游戏之书I》和《游戏之物II》（2017）。这篇文章的目的是探索那些不为人知的故事的叙事建议，就像通过书封面之间的空白空间感受到的那样。我认为，杜的书中雕塑通过表现时间流逝的影响和元素对青铜媒介的影响，唤起了失落和短暂的体验。基于David Macauley的环境哲学（Elemental philosophy:Earth，Air，Fire，and Water as environmental Ideas。纽约：纽约州立大学出版社，2010），特别是他提出的通过将生态考虑视为一种“重新讲述”的形式来重新评估如何与自然世界建立联系的建议，我认为杜托伊特的书籍雕塑为探索我们与自然世界脆弱的关系提供了一个起点。
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Pub Date : 2022-09-02DOI: 10.1080/00043389.2022.2146267
I. Bronner
Abstract In The New Parthenon, as with her other films, Penny Siopis pieces together fragments of found footage of anonymous home videos, shot handheld on 8 or 16 mm film. The films are digitised first for sampling, but not digitally remastered, and are then combined with music and subtitles from various sources. These films narrate the stories of individuals, set against significant historical and political events. Evocativeness and anxiety are induced by the un-specificity of the connections between images and subtitles, heightened by the materiality of the amateur home video footage, often centred on quotidian family life and holidays, that has been reframed to narrate events that continue to reshape nations. I introduce the construction of a nation as a political community and examine how Siopis subverts narratives that connect ancient and contemporary Greece and its own internal antisemitic and nationalist conflicts to those of apartheid South Africa and imperialist Britain. I propose that the numerous representations of souvenir replicas and icons in The New Parthenon appear to perform a witnessing role to public and personal histories, while symbolically holding historical traumas in frozen form. I focus on Siopis’s mediated views of the Acropolis structures in the film, considering the symbolic bleaching of the Parthenon Marbles in the nineteenth-century British imaginary to track whiteness as a signifier of power. Siopis migrates this to signifiers of apartheid South Africa in order, I argue, to critique the narratives that maintain national imaginaries and to propose instead an aesthetics of reattachment.
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Pub Date : 2022-09-02DOI: 10.1080/00043389.2022.2151228
Laura de Harde
Abstract Makumbe Cave, located in the Chinamhora Communal Lands in Eastern Mashonaland, Zimbabwe, was designated a national monument in 1949. The shelter housed a rich display of intricate paintings, with one panel reportedly stretching across ten metres of the granite wall. Visitors to the site observed that this particular frieze consisted of a palimpsest of paintings rendered in different styles and painted using different colours. The superimposition of the various layers was interpreted to have chronological significance, which generated local and international interest in the paintings. In 1929, when the paintings were still visible, a research expedition led by Leo Frobenius visited Makumbe to copy the paintings. Today, a build-up of carbon from fires lit within the cave has formed to create the most recent layer in the history of the site, in effect completely hiding the paintings from view. In this article I rely on archival documents and historical copies generated from the early engagements with Makumbe to unveil the paintings and tell their story.
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Pub Date : 2022-09-02DOI: 10.1080/00043389.2022.2149136
Lyrene Kühn-Botma
Abstract Digital sites have become increasingly popular places where bereaved individuals choose to enact grief and memorialise the deceased. Various online sites, including social media and video gaming sites, are frequently revisited by bereaved individuals, not only as an act of remembrance but also as a way of storytelling, given that certain representations of the deceased continue to live on in these digital/virtual realms. Considering this active turning and returning to virtual environments to enact mourning and to digitally perform multilayered narratives of loss—specifically in video games—I ask what the implications are for art- and image-making. Pilgrimage is an important and popularly used metaphor or trope in video game narratives, especially in role-playing games. In this article I surmise that the experience of immersion into video game narratives as a ritual of mourning allows individuals to experience greater agency by undergoing a video game pilgrimage. Moreover, I argue that related engagements and interactions with works of art informed by such imaginary worlds may shed more light on the “art” of mourning in general.
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Pub Date : 2022-05-04DOI: 10.1080/00043389.2022.2145762
Larita Engelbrecht
Abstract This article explores how conceptions of time are visualised and “storied” in the collaborative photography and video project Hemelliggaam or the Attempt to Be Here Now by Cape Town-based artists Tommaso Fiscaletti and Nic Grobler. Hemelliggaam is a digital audiovisual archive of photography and video installations “exploring the existential aspects of the human–environment– astronomy relationship” (https://hemelliggaam.squarespace.com/about). Through analysing a selection of photographs and videos, my investigation attempts to unravel the human–environment–astronomy relationship as it plays out in various narratives in the virtual archive. Combining representations of astronomic sites, such as the Square Kilometre Array (SKA) project in Carnarvon, with fragments of Afrikaans author Jan Rabie’s mid-century sci-fi novels, the archive seeks to visualise the multifaceted complexity of human engagements with time. I argue that Hemelliggaam, as an audiovisual archive that contextualises time through geology, astronomy, mythology, and science fiction, should be recognised as a project visualising the overlapping of different timescales. The article contextualises Hemelliggaam in contemporary discourses of the Anthropocene, specifically Dipesh Chakrabarty’s idea that a critical framing of the topic needs to recognise the differences between human- historical time and geological-planetary time. By examining the “storying” of overlapped timescales, I suggest that an interdisciplinary approach acknowledging the contributions of both the sciences and the humanities to meaning-making is increasingly relevant to our age of planetary crisis.
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Pub Date : 2022-05-04DOI: 10.1080/00043389.2022.2140505
Dale Washkansky
Abstract There are historical events that remain charged with trauma, thereby resisting the logic of causal progress conventionally ascribed to historical narratives. As obstacles to cohesive representations of history and national identities, these events remain ambiguous and problematic. Prompted by art historian and philosopher Georges Didi-Huberman’s proclamation “In order to know, we must imagine for ourselves” (Images in Spite of All. Chicago: Chicago University Press, 2012, p. 3), I argue that art, by not being intent on resolution or certitude, can offer opportunities to re-present, re-imagine, and re-think traumatic histories. In this article, I bring a selection of films by South African artist Penny Siopis, namely Obscure White Messenger (2010), The Master Is Drowning (2012), and Communion (2011), into conversation with the installation The Blue Skies Project (2018) by Belgian photographer Anton Kusters. I investigate how they engender affective encounters that probe the limits of the known. This is made possible by the artworks’ tangential approach to the events, activating the viewer’s imagination. The imagination facilitates a subjective, contingent, and indeterminate inquiry into the unknown, which the discipline of history often precludes. As viewers are tasked with the work of making meaning, I argue for the unique potential of art and the imagination as highly generative sources for engendering varying and differing expressions of knowledge that remain open-ended. Central to my argument is the way in which the artworks discussed grapple with the dialectics of the image, with the imbrication of the evidentiary and the imagination—knowing and un-knowing.
有些历史事件仍然充满创伤，因此抵制传统上归因于历史叙事的因果进展逻辑。作为对历史和民族身份的凝聚力表现的障碍，这些事件仍然是模糊和有问题的。艺术史学家和哲学家Georges Didi-Huberman的宣言“为了了解，我们必须为自己想象”(Images In Spite of All)。芝加哥:芝加哥大学出版社，2012年，第3页)，我认为艺术，不专注于解决或确定性，可以提供机会来再现，重新想象和重新思考创伤的历史。在这篇文章中，我将南非艺术家Penny Siopis的电影选集，即晦涩的白色信使(2010)，大师溺水(2012)和交流(2011)，与比利时摄影师Anton Kusters的装置作品“蓝天计划”(2018)进行对话。我研究它们如何产生情感接触，从而探索已知的极限。这是通过艺术作品与事件的切线方式来实现的，激活了观众的想象力。想象力促进了对未知事物的主观的、偶然的和不确定的探索，这是历史学科经常排除的。由于观众的任务是创造意义，我认为艺术和想象力的独特潜力是高度生成的来源，可以产生各种不同的知识表达，这些表达仍然是开放式的。我的论点的核心是讨论的艺术作品如何与图像的辩证法、证据和想象的交织——知道和不知道——作斗争。
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Pub Date : 2022-05-04DOI: 10.1080/00043389.2022.2135854
Jenni Lauwrens
Abstract In 2017, while living in two geographically distant locations, South African artist Katherine Bull and French artist Emmanuel de Montbron collaborated on a project in which they used mobile phones and an online blog to share stories about their experiences of place. The end product of their collaboration is Towards Telepathy (2017), a two-channel video that engages viewers on a visceral rather than a merely visual level. In a similar manner, artists who participated in the virtual exhibition of the 2020 Lagos Photo Festival, titled Home Museum (2020), used photographs to produce narratives of home and belonging that are shared with others in an online environment. In this article, I explore how Towards Telepathy and selected photographs from Home Museum draw on memories of multiple senses in order to relate stories of place-making when geographic and physical distance has become the norm. I argue that all the artists can be regarded as sensory autoethnographers, as they used digital technologies to record and present their life histories virtually. Furthermore, I analyse the video and the photographs with reference to Laura Marks’ notions of haptic visuality and recollection-objects. These lenses allow me to show how the images increase the potential for distant others to empathically connect with the artists’ personal and collective stories of place and belonging by evoking sense-based perceptions other than sight.
摘要2017年，南非艺术家凯瑟琳·布尔（Katherine Bull）和法国艺术家埃马纽埃尔·德·蒙布隆（Emmanuel de Montbron）住在两个地理位置遥远的地方，他们合作了一个项目，在该项目中，他们使用手机和在线博客分享了他们在这个地方的经历。他们合作的最终产品是《走向心灵感应》（2017），这是一个双频道的视频，吸引观众的是发自内心的，而不仅仅是视觉层面的。以类似的方式，参加2020年拉各斯摄影节名为“家庭博物馆（2020）”的虚拟展览的艺术家们使用照片来制作家庭和归属的叙事，并在网络环境中与他人分享。在这篇文章中，我探讨了《走向心灵感应》和家庭博物馆的精选照片是如何利用多种感官的记忆，在地理和物理距离成为常态的情况下，讲述地点的故事。我认为，所有的艺术家都可以被视为感官民族志学家，因为他们使用数字技术来虚拟地记录和呈现他们的生活史。此外，我参考Laura Marks关于触觉视觉和回忆对象的概念来分析视频和照片。这些镜头让我展示了这些图像是如何通过唤起视觉以外的基于感觉的感知，增加遥远的其他人与艺术家关于地点和归属的个人和集体故事产生共鸣的潜力的。
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Pub Date : 2022-05-04DOI: 10.1080/00043389.2022.2145765
Annemi Conradie-Chetty, A. Kearney
The articles in this issue and the next have been developed from papers that were presented at the 35th Annual South African Visual Arts Historians (SAVAH) Conference, hosted by the research entity Visual Narratives and Creative Outputs (ViNCO) in the Faculty of Humanities of the North-West University, Potchefstroom Campus, from September 29 to October 2, 2021. Mindful of ViNCO’s research focus on visual narratives; the location of the North-West University’s Potchefstroom campus, with its proximity to the Highveld’s mining belt; and the entanglement of Potchefstroom’s history with the South African War and apartheid, we co-convened the conference around the theme “Untold Stories”.
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Pub Date : 2022-05-04DOI: 10.1080/00043389.2022.2145033
D. Pretorius
Abstract This article offers a reflection on a research-led practice project titled Dead Living Things: A Cabinet of Curiosities in the Postcolony through which I explored how academic research can inform and be extended into creative practice. While the project resulted in both creative and textual outputs, the focus here is on the creative output, consisting of a physical cabinet of curiosities filled with a curated collection of found objects, accompanied by a catalogue/artist’s book in hard copy and digital format. The creative work aimed at exploring how a cabinet of curiosities can be used to tell stories informed by postcolonial theory that confront colonial narratives in the contemporary South African context. This article contextualises the creative output by discussing the history of cabinets of curiosities and pointing out their link to colonialism and their influence on contemporary art. This is followed by a reflection on the development of the project, which I carry out by plotting my process onto the iterative cyclic web model of practice-led research and research-led practice developed by Hazel Smith and Roger Dean. I conclude by describing the content, categorisation, and display of the cabinet and the catalogue. Research- led practice, which involved an extensive literature review, visual research, and archival research, guided the conception of the content and form of the final work and resulted in creative work with the potential to be recognised as research output. I found the iterative cyclic web model useful for describing and understanding how the project unfolded, and for understanding the many other possibilities for approaching and developing creative output as research.
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Pub Date : 2022-05-04DOI: 10.1080/00043389.2022.2144449
H. Smuts
Several publications have recently appeared on Irma Stern, who certainly keeps us challenged, more than fifty years after her death (see Berger 2020; Klopper 2017; O’Toole 2021). Godby offers a fresh approach to Stern’s working method and the broader range of her artistic experimentation, by tracing the evolution of her highly individual response to the traditional nude genre. In the studio, at the heart of her house, she would innovate with nude studies often not intended for public exhibition. These oils, gouaches, and drawings are challenging, both formally and iconographically, observes the author. They also constitute the single largest subject of Stern’s drawings and prints.
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