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Curatorial Notes on ‘(in)Visible bodies: Migrants in the city of gold’

I have included in Cities Methodologies 2012 three projects produced by artists from Johannesburg. Each of the selected projects encapsulates a particular understanding of the realities of living and working in the contemporary urban cityscape of Johannesburg. However, when grouped together, the relationship between movement and the visibility of the body becomes a central motif that allows for a more multifaceted, complex vision of the city of Johannesburg to emerge.

The concept of ‘migration’, as the movement of bodies from one place to another, is utilized as a useful framework through which to rethink the complex interplay between what is rendered in/visible by the symbolic, economic, political and historic dimensions of the city of Johannesburg.

The three works are ‘Challenging Mud – after Kazuo Shiraga’ (2008) by Johan Thom, the ‘Hillbrow/Dakar project’ (2007-8) by Hobbs/Neustetter and the ‘TrolleyWorks’ (2007) by Ismail Farouk.

1. Movement and complexity

All three works contain trace elements of the ongoing material movement of bodies within, into and from the city of Johannesburg:  Whether it concerns the physical act of carting over-sized baggage from the taxi rank in modified supermarket trolleys as shown in ‘TrolleyWorks’ by Farouk, using hand-drawn city maps to go searching for long-lost friends, family or familiar places located elsewhere in Africa as shown in the ‘Hillbrow/Dakar’ project by Neustetter and Hobbs, or witnessing the slow process of burying a body covered in gold presented by Thom in ‘Challenging Mud’.  In turn, this movement continues to shape the city of Johannesburg and its prominent place within Africa and the world.

Artists, entrepreneurs and people of vastly different interest and backgrounds from all over Africa and the globe continue to flock to Johannesburg in search of the reward and recognition it promises. In this regard it may be argued that the fact of the discovery of gold in 1886 remains ever-present in the Johannesburg’s contemporary status as a highly sophisticated, economic metropolis – one that is often locally referred to as eGoli, the ‘place of gold’, in Zulu. Today this idea is largely symbolic with the depletion of the gold reserves fast becoming a reality. (It is estimated that up to forty percent of the world gold reserves have been unearthed in and around Johannesburg). However, in its stead the world of corporate business, global banking, sports and electronic media continues to make Johannesburg the largest business center in South Africa and arguably all of Sub-Saharan Africa. In this way the city continues to engender a sense of hope and possibility, one it is argued here as being underpinned by the possibility of ‘becoming-visible’ by and through ones belonging to it.

In this regard, in choosing to group such different projects together I want to allow for complexity to emerge beyond the familiar post-apartheid South African narratives of race, exploitation and poverty: For example, the contemporary (im)migrant community at stake in the ‘Hillbrow/ Dakar’ project is Senegalese and not simply the European colonial settlers of centuries ago. Similarly, in Farouk’s ‘TrolleyWorks’, the harsh brutality of making a living within the informal economy of contemporary, urban Johannesburg is highlighted – the difficulty of which remains almost invisible to the more familiar narratives of economic growth/ inequity and racial disharmony that have, for better or for worse, become the lingua franca of South Africa’s ongoing participation in global society. Born in Johannesburg, Thom is a descendant of Scottish immigrants that first came to South Africa in search of better prospects now more than a century ago.

2. The Rainbow Nation

Perhaps in retrospect the miracle of South Africa’s peaceful transition to democracy under the banner of the ‘new South Africa’ in 1994, seems largely premised upon the fulfillment of a multi-racial vision, and not that of the recognition of a multi-cultural strata of ever-changing ‘migratory bodies’ through and by which a city like Johannesburg first came into existence.

Contemporary post-apartheid South Africa is the ‘rainbow nation’, a trope that is in turn largely premised upon reconfiguring the value of skin color within, and part of, a nation-state in the singular. In South Africa the value of race has long served only to divide: The implementation of ‘Apartheid’ (literally ‘separateness’) from 1940 by the National Party effectively split the country into separate territories for various racial groups. Under the Group Areas Act of 1948 these territories, or ‘homelands’ were placed under control of a central white government. Ordinary South African’s were not allowed to reside in each others’ legally designated territory and black South Africans were expected to carry a ‘pass’ with them at all times (the passes were something like passports showing their territory of origin, place of temporary residence and current employ). Failure to produce a pass could result in immediate detention, physical beatings and even deportation.

Such draconian policies were a direct result of the uneven workings of Apartheid, with cities such as Johannesburg effectively forming a part of ‘white’ South Africa. Of course with discovery of gold (amongst other minerals) a large labor force was needed to exploit this abundant natural resource. People from rural South Africa now flocked to Johannesburg. But through the policy of Apartheid black South African’s were rendered as a temporary and cheap resource of labor: they were merely migrant laborers on contract, with little to no recourse to the laws, amenities and general infrastructure such as healthcare provided by white South Africa for its white citizens. The black mine workers were effectively treated like prisoners, isolated in mine compounds and driven to and from their place of work by their employer. In this way highly profitable industries such as the gold mines were owned and managed by white South Africans (often in cahoots with conglomerates from western Europe) with black South Africans forming part of a largely unskilled, temporary labor force that could be drawn from, dispatched and ultimately dismissed at will.

But I daresay that not even the brutal machinery of apartheid could effectively control the mass migration people of all creeds and colors to a city like Johannesburg. Massive ‘townships’ (something like informal settlements) sprung up all over South Africa close to cities and sites of industry.  For example, near Johannesburg the township of Soweto – an acronym for ‘South Western Townships’ – quickly became a city unto itself, with hundreds of thousands of ‘temporary’ black workers finding refuge in its confines. Soweto is located on what is colloquially known as the ‘mining belt’ – a stretch of land (including Ekurhuleni, Boksburg, Germiston, Brakpan and Johannesburg, amongst others) where massive supplies of gold have been, and continue to be, unearthed.

Importantly, townships like Soweto became hotbeds of political activity, where anti-apartheid organizations such as the African National Congress and the Pan African Congress could flourish. Soweto is perhaps best known today for the ‘Soweto Riots’ of 16 June 1976, when the twelve-year-old pupil Hector Peterson was gunned down and killed by the Apartheid police.

3. Visible matter/ Invisible forces
Today the relative invisibility of the trolley pushing community, and indeed that of the huge African immigrant community in Johannesburg, also bolsters the possibility of their systematic economic, political, cultural exploitation within the confines of urban Johannesburg. The wave of xenophobic violence that engulfed South Africa in mid 2008 also affected Johannesburg, where at the height of the outbreak privately owned taxis would refuse to carry immigrants from elsewhere in Africa, for example (something this author experienced firsthand).

Here ‘Challenging Mud’ by Thom hints at the golden promise of better prospects and the somewhat ritualistic, though commonplace violence of its denial to the bulk of Johannesburg’s population. Access to wealth remains the privilege of a select few with various forms of social, cultural and economic inequity all fostering a deeply divided society. However, in configuring this division along purely racial lines of erstwhile apartheid ideology a broad range of narratives, lives and livelihoods are today effectively erased from public view.

Of course, as the projects included here would suggest this erasure is always temporary, contingent as it is upon the ongoing process of making (in)visible of migratory bodies within the ever changing city and the socio-economic and political narratives that seek to define & fix their place within it.  In this regard it is argued that the sheer materiality of the projects in question anchors them in a resistant ‘real’, one that frustrates the grand narratives of identity, place and belonging such as narrowly conceived of within the ‘apartheid’/ ‘post-apartheid’ continuum.

4. Migratory bodies, cities and identities

Though Johannesburg may be defined in large by it’s history, its continued relevance and prominence in the world is certainly also due to the relative ease with which one may engage with, move through and generally make yourself physically visible to others, whether it concerns making a living, striking up a casual conversation or even making art. For here within this curated grouping of artworks, beyond the well-known history of mining and the struggle against apartheid, the city of Johannesburg is conceived of in more intimate, personal and corporeal terms too. Bodies are not merely laborers or static placeholders that embody a single racial identity but are conceived of as being dynamic, ever-moving physical entities that constantly traverse and give palpable form to a city.

In short, despite the lingering importance of displacing the narratives of Apartheid, there exist a real need to think about the more intimate, corporeal gestures and interactions of say, drawing a map from memory whilst talking to strangers, of burying a family member, or even of pushing a shopping trolley through a massive, contemporary city in order to make a daily living.

Lastly, it is fitting to note that, despite their widely diverging content and focus, all three works are indeed collaborative in nature. Each of these works was made possible by intimate, personal exchanges between the artists and the different communities at stake. Even ‘Challenging mud’ by Thom, that may appear to be a rather straightforward video installation artwork, is in fact a deeply collaborative effort: firstly by virtue of the involvement of friends and family during the process of its making and, secondly, through its tact acknowledgement of the viewer via the exact form of its display in the gallery.

Johan Thom, 2012

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UCL Cities Methodologies 2012

UCL Urban Laboratory exhibition and events programme showcasing innovative urban research methodologies

4-7 July 2012

Launch, 4 July, 18.30, all welcome

Open Thurs to Fri 10.00-20.00, Sat 10.00-13.00

UCL Slade Research Centre, Woburn Square, London, WC1H 0NS

All events are free and open to the public. For full programme of events and exhibitors please click here

Inaugurated in 2009, Cities Methodologies is an initiative to showcase innovative methods of urban research from across UCL and the wider urban research community. Through peer-reviewed exhibits and events, it draws together undergraduate, masters, and doctoral research, alongside work produced by academics and other researchers and practitioners. Cities Methodologies promotes cross- and inter-disciplinary work and this year showcases recent research on a wide range of cities including Detroit, Paris, London, Johannesburg, Mumbai and Beirut.

This year, through a public call for participants, we particularly‚ though not exclusively‚ welcomed proposals on:

• Collaborative/public methods for urban research

• Mega events and urban change

• Housing and dishousing

Visitors to Cities Methodologies will encounter diverse methods of urban research in juxtaposition – from archival studies to digital media experiments, practice-led art, architectural and design work to film-making, soundscapes, games and public sculpture.

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2012 contributors include:

Adriana Allen-Rachel Alliston-Sarah Bayliss-Megan Bradshaw-Otto von Busch-Ben Campkin-Caterina Carola-Vanesa Castán Broto-Alejandra Celedon-Paul Charman-Julian Cheyne-Steven Chodoriwsky-Philip Comerford-Steve Dowding-Andreas Eriksson-Ismail Farouk-Gynna Franco-Hayley Gewer-Mohamad Hafeda-Hanna Hilbrandt-Steven Hobbs-Sandra Jasper-Sebastian Juhnke-David Kroll-Angela Last-Matteo Melioli-Rebecca Merrill-Ignacia Mesa-Agnieszka Mlicka-City as Interface: Ava Fatah gen Schieck, Moritz Behrens, Tasos Varoudis, Christos Chondros, Eleni Georgiadou, Lida Theodorou, Stefanos Gkougkoustamos, Yimeng Tang, Martin Traunmueller-MSc Building and Urban Design in Development-MSc Urban Studies-Azzurra Muzzonigro-Marcus Neustetter-Benny Nilsen-Farid Noufaily-Fíacha O’Dubhda-Alexandra Parry-Brent Pilkey-Hilary Powell-Liz Rideal-David Roberts-Mireille Roddier-Rebecca Ross-Troy Schaum-Rachel Scicluna-Ariel Shepherd-Rosalyne Shieh-Henrietta Simson-Martin Slavin-Carolyn Smith-Anna Subirats-Johan Thom-Evren Uzer-Jo Volley-Mike Wells-Peter R.H. Wood-Laura Weatherly-Daniele Zacchi

www.ucl.ac.uk/urbanlab

Follow us on twitter @UCLurbanlab and visit our Facebook page for further updates. 

For enquiries regarding Cities Methodologies please contact Laura Hirst, Urban Laboratory Administrator: laura.hirst.10@ucl.ac.uk

……..

Ismail Farouk, Stephen Hobbs, Marcus Neustetter and JohanThom

(in)Visible bodies: Migrants in the city of gold (curated by Johan Thom)

‘(in)Visible bodies: Migrants in the city of gold’  is a curated selection of three art projects produced by artists from and about the city of Johannesburg. The concept of ‘migration’ (as the movement of bodies from one place to another) is used as a framework through which to rethink the complex interplay between what is rendered in/visible by the symbolic, economic, political and historic dimensions of the city of Johannesburg.  The three works are ‘Challenging Mud – after Kazuo Shiraga’ (2008) by Johan Thom, the ‘Hilbrow/Dakar project’ (2007-8) by Hobbs/Neustetter and the ‘Trolley project’ (2007) by Ismail Farouk.

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The Bag Factory Artists’ Studios invites
you to the end-of-year celebratory cocktail launch of the

Portfolio of limited edition photographic prints
from the performance art workshop

Rites of Fealty/Rites of Passage

Documented by art photographer John Hodgkiss

Thursday, 26 November 2009, 6pm­ – 8pm
Bag Factory Gallery, 10 Mahlatini Street, Fordsburg, Johannesburg

Featuring the work of Nadine Hutton, Anthea Moys, Mlu Zondi, Ntando Cele, Rat Western, Ismail Farouk, Murray Turpin, Bronwyn Lace, Kemang wa Lehulere, Dinkies Sithole, Johan Thom.

Following the one-night exhibition of new performance artworks by a group of emerging South African artists held in July 2008, the Bag Factory presents the Rites of Fealty/ Rites of Passage: Print Portfolio, which comprises ten limited-edition prints from the performances in a beautifully bound portfolio.

Coordinated by pioneering South African performance artist Johan Thom, Rites of Fealty/ Rites of Passage was an exploration of the transformative capacity of art, whereby the artwork is envisioned as a rite of passage through which both artist and viewer may plot alternatives to existing modes of relating to our familiar surroundings, ordinary social interactions, physical gestures and use of language. In this way art may act as a gateway that embodies the possibility for personal and societal change through direct action and physical participation.

To watch excerpts of the performances on YouTube, go to: <http://www.youtube.com/watch?v=Ubw6M5dtGM4>.

This workshop and exhibition are made possible by:

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MAPZAR

Participating artists:

Video still 1

Video still from 'Outpost 4' by Johan Thom included in the exhibition.

Johan Thom, Ismail Farouk, Lawrence Lemaoana, Dorothee Kreutzfeldt, Abrie Fourie, Happy Dhlame and Titus Matiyane.

Alongside the individual artists, an exhibition showcasing relevant work from the MAP collection will be arranged, including works by Maja Marx, Gordon Froud, Andrew Tshabangu, Sean Slemon, Jacques Coetzer, and Shane de Lange. The MAP collection will be accompanied by an exhibition of projects by the Trinity Session. Both MAP and Trinity Session exhibits will act as platforms framing The Heart of the African City and the selected artists chosen to support the event. Each artist will be included into the MAP book for the African Perspectives event, which will become part of the prolific collection of books in the MAP black box collection.

African Perspectives:

African Perspectives is a biannual international event with various programmes and conferences held on the African continent. In 2009 the event will be held at the University of Pretoria in Tshwane, South Africa, and in 2011 in Casablanca, Morocco. The international conference is themed around the African City (re)sourced and the city as resource, and will take place from the 24th to the 28th of September 2009.

African Perspectives is an ongoing initiative of ArchiAfrika, emphasizing the construction of a global urban narrative, particularly surrounding issues of independence, globalization, and urbanization in an already decolonized, post-industrial, late-capitalist, pluralistic global community that is simultaneously divided and unified by various political, economic, religious, ethnic, tribal and cultural issues. At the same time, new technologies such as the Internet and other global
communications are ambiguously erasing and solidifying such territories and borders, based on the aforementioned issues. These territories form the basis of a dialogue that attempts to dissect the pluralisms and polarities of a constructed global community.

For official information about African Perspectives: http://www.africanperspectives.info/

For more information on ArchiAfrka please visit: http://www.archiafrika.org/

For detailed information on Modern Art Projects: http://map-southafrica.org/home.html

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