Post African Futures / Curated by Tegan Bristow

Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
Post African Futures / Curated by Tegan Bristow
21 May - 20 June 2015
Installation View
NTU
Nervous Conditioner, 2015
Mixed media
Variable
Dineo Seshee Bopape
I am sky, 2013
Digital video, colour, sound
17min 48sec
Brooklyn J Pakathi
IOSupdatemtlife (Depression), 2015
cotton rag innova matt 280gsm using epson ultra chrome inks
22,5 x 14 cm
Muchiri Njenga
Kichwateli, 2015
Film

Sam Hopkins
Moroko (08.10.2012), 2013
Digital Video

Brooklyn J Pakathi
IOSupdatemtlife (Booty), 2015
cotton rag innova matt 280gsm using epson ultra chrome inks
22,5 x 14 cm
Emeka Ogboh
Àlà, 2014
2 channel video + stereo sound

Cuss Group
Coming Soon (Change Initiated), 2015
Digital print on canvas, triptych
180 x 420cm
Muchiri Njenga
Kichwateli 1, 2015
Mixed media
Variable
Muchiri Njenga
Kichwateli 2, 2015
Mixed media
Variable
Tabita Rezaire
Sorry for Real, 2015
Holographic projection

Sam Hopkins
Lucy (11.10.2012), 2013
Digital video

Jepchumba
Don’t shoot I, 2015
Digital print, using ultra chrome inks, on archival, cotton rag, baryte paper.
145 x110 cm
iMagineering Lagos
Lagos 2060 - The Newsstand , 2015


Jean Katambayi Mukendi
Migration, 2015
paper, cardboard and copper wire
160 x 95 x 98cm
Muchiri Njenga
Moonset meditation, 2015
Digital print on cotton rag paper
56 x 126cm
Brooklyn J Pakathi
IOSupdatemtlife (Anxiety), 2015
Cotton rag Innova matt 280gsm using epson ultra chrome inks
22,5 x 14 cm
Pamela Sunstrum and Thenjiwe Nikki Nkosi
Notes from the Ancients (The Disrupter X project), 2015
Mixed media
Variable
Jepchumba
Don’t shoot II, 2015
Digital print, using ultra chrome inks, on archival, cotton rag, baryte paper
145 x110 cm
Muchiri Njenga
Chambers of The Dystopians, 2015
Digital print on cotton rag paper
81 x 126cm
Brooklyn J Pakathi
IOSupdatemtlife (True Love), 2015
Cotton rag innova matt 280gsm using epson ultra chrome inks
22,5 x 14 cm
Muchiri Njenga
Passport 2091, 2015
Digital print on cotton rag paper
126 x 87cm
Muchiri Njenga
Afrocyberpunk Rebel , 2015
Digital print on cotton rag paper
56 x 126cm
Kapwani Kiwanga
Ifa Organ , 2013
Organ paper
Installation Variable
Muchiri Njenga
Ruins of the Dystopians, 2015
Digital print on cotton rag paper
40 x 66cm
Brooklyn J Pakathi
IOSupdatemtlife (Opportunity), 2015
Cotton rag innova matt 280gsm using epson ultra chrome inks
22,5 x 14 cm
Muchiri Njenga
Run KT Run, 2015
Digital print on cotton rag paper
66 x 46cm
Muchiri Njenga
Observant, 2015
Digital print on cotton rag paper
78 x 125cm
Kapwani Kiwanga
Ifa Organ film performance , 2013
Film

Sam Hopkins
Carol (26.11.2012), 2013
Digital video

Muchiri Njenga
Meditation on Apocalypse, 2015
Digital print on cotton rag paper
40 x 66cm
Haythem Zakaria
Anamnesis, 2015
Photography and digital processing
64 x 226cm
Tabita Rezaire
Sorry for real to be deleted , 2015
Holographic projection
Variable
Brooklyn J Pakathi
IOSupdatemtlife (Calandar), 2015
Cotton rag innova matt 280gsm using epson ultra chrome inks
22,5 x 14 cm

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

Post African Futures / Curated by Tegan Bristow - Installation View

21 May - 20 June 2015

NTU

Nervous Conditioner

Dineo Seshee Bopape

I am sky

Brooklyn J Pakathi

IOSupdatemtlife (Depression)

Muchiri Njenga

Kichwateli

Sam Hopkins

Moroko (08.10.2012)

Brooklyn J Pakathi

IOSupdatemtlife (Booty)

Emeka Ogboh

Àlà

Cuss Group

Coming Soon (Change Initiated)

Muchiri Njenga

Kichwateli 1

Muchiri Njenga

Kichwateli 2

Tabita Rezaire

Sorry for Real

Sam Hopkins

Lucy (11.10.2012)

Jepchumba

Don’t shoot I

iMagineering Lagos

Lagos 2060 - The Newsstand

Jean Katambayi Mukendi

Migration

Muchiri Njenga

Moonset meditation

Brooklyn J Pakathi

IOSupdatemtlife (Anxiety)

Pamela Sunstrum and Thenjiwe Nikki Nkosi

Notes from the Ancients (The Disrupter X project)

Jepchumba

Don’t shoot II

Muchiri Njenga

Chambers of The Dystopians

Brooklyn J Pakathi

IOSupdatemtlife (True Love)

Muchiri Njenga

Passport 2091

Muchiri Njenga

Afrocyberpunk Rebel

Kapwani Kiwanga

Ifa Organ

Muchiri Njenga

Ruins of the Dystopians

Brooklyn J Pakathi

IOSupdatemtlife (Opportunity)

Muchiri Njenga

Run KT Run

Muchiri Njenga

Observant

Kapwani Kiwanga

Ifa Organ film performance

Sam Hopkins

Carol (26.11.2012)

Muchiri Njenga

Meditation on Apocalypse

Haythem Zakaria

Anamnesis

Tabita Rezaire

Sorry for real to be deleted

Brooklyn J Pakathi

IOSupdatemtlife (Calandar)

As facilitator of emergent forms, the Goodman Gallery works with curators and artists who question the current status of the art world, specifically problems that emerge from restrictive labels and one dimensional readings of the process of making of art in African contexts.

This year the Goodman Gallery has invited curator Tegan Bristow to curate the exhibition POST AFRICAN FUTURES around her cohesive research into technology based art in Africa. The works allow for a new engagement with practice that uses technology and explodes the myth of AfroFuturism in Africa. It is the belief of the Goodman Gallery that the barrier breaking, innovative works which have emerged as artists have responded to Bristow’s call for participation are a move away from staid ideas of art making in Africa. The Goodman Gallery is proud to present a show allowing for works which critique and question systems and structures that the commercial art industry has often relied upon.

The Background

Taking cue from the phrase ‘research made tangible’, the exhibition POST AFRICAN FUTURES expands on research being developed by Bristow on art and culture practice that critically reflects on technology and the myth of AfroFuturism in Africa. The title of the exhibition was first used at the Fak’ugesi Digital Africa Conference at Wits University in December 2014, in which Bristow invited academic reflections on the state and meaning of critical engagements with technology, particularly communication technology, in African art and culture.

The exhibition expands on the subject by exhibiting the work of a number of artists and cultural practitioners from across the African continent that reflect these engagements in their practice. Bristow is curating the exhibition as an extension of this research, in collaboration with Emma Laurence of the Goodman Gallery.

The Exhibition

The exhibition proposes a challenge to art by viewing engagements around communications technology and technology use as a site for critically engaging African identification and a resistance to the globalisation of culture. Bristow’s research for the exhibition began as a survey of work, focusing on South Africa, Kenya and small amounts in Nigeria. What Bristow found in this survey was a rich and complex reference to technology that serves a number of critical positions, the most important being a pointed focus on identification and differentiation.

Here artists are using the conceptual frame of digital technologies and technology languages as a way to talk about how African cultures are against what they are perceived to be. This is multi-faceted and acts as a critique of both of globalised media practices and of romanticised Africanisms. These practices have their foundation in the socio-cultural, global image generation, traditional practices and performance. Digital Art as a medium-specific engagement in this frame addresses the digital as an imagined metaphysical conduit. Artists use the digital’s metaphorical capacity to represent the unseen and the magical, both as representation of cultural practices that cannot be adequately portrayed through image or film and as a critique of Western systems of knowledge.

This frames a critique of globalised forms and a resistance against a cultural predomination.What Bristow sees in digital aesthetics in Africa is a response, represented as a perceived dissonance but also an appropriation by breaking and playing with visual cultures, mixing globalised image norms into local memes, exploring a well thought through and critical perspective. It is important to understand that the practice is definitely not a romantic indigenisation of technology or cute innovations for the irrevocably poor.

It is rather a type of border thinking, a live conversation with the world that brings contemporary culture together with African socio-cultural knowledge systems. Post African Futures as a title challenges a number of notions. The first being AfroFuturism as a title for any African work that addresses technology or science fiction subject matters. Many African artists have been lumped into this criterion yet they present articulations that are unique to their particular regions. The exhibition is an exploration of multiple “African cultures of technology” that have unique socio-political and economic histories.

For instance, technology in South Africa is historically tied to apartheid, a possessive aggressive system of control where communications technology is still a power driven medium. South African artists reflect this works are visually aggressive and challenge relationships to power, reflecting a lo-fi abrasiveness, an exploration of extremes and failures making for rich visual and aural work. While Kenyan histories for instance, are tied to social rebellion and change, here works strongly interrogate social justice, using networks and social narrative as primary conduits.

Post African Futures challenges the notion of “futures and innovation” as failure in bypassing current issues and current social and cultural transformation. Post African Futures asks its audience to see the socio-cultural and metaphorical use of technology in critiquing histories while dealing the importance of now. The format of the exhibition will include online work, installation, performance, “post future” artifacts, video installations and screenings.

About Tegan Bristow:

Bristow is an interactive digital media artists and Head of Interactive Media at the Digital Arts Division of the Wits School of Arts at Wits University. Bristow is writing her PhD on Technology Art and Cultural Practices in Africa with the Planetary Collegium. This exhibition follows research through which Bristow is proposing a new ways of teaching technology arts specific to Africa, as well as challenging norms around technology’s role in art and culture in Africa.

Artists

CUSS Group (SA), Tabita Rezaire (SA), Nolan Oswald Dennis (SA), Pamela Phatsimo Sunstrum (SA), Thenjiwe Nkosi (SA), Emeka Ogbho (Nigeria), Haythem Zakaria (Tunisia), Jean Katambayi Mukendi (DRC), Sam Hopkins (Kenya), Muchiri Njenga (Kenya), Jepchumba (Kenya), Brooklyn J Pakathi (SA), Wanuri Kahui (Kenya), Dineo Sheshe Bopape (SA), Kapwani Kiwanga (CAN), The Brother Moves On (SA), Just A Band (Kenya), Lebogang Rasethaba & Nthato Mokgata (SA), Imagineering Lagos Collective (Nigeria).

EVENT LINEUP

In addition to the gallery exhibition, a series of talk, screenings, and performances will take place over the four-week duration of the show.

OPENING PERFORMANCES
Thurs 21 May | Goodman Gallery, JHB
• 18:30 The DISRUPTER X Project: NOTES FROM THE ANCIENTS by Pamela Phatsimo Sunstrum & Thenjiwe Niki Nkosi, featuring Dion Monti and Lisa Jaffe (SA)
• 19:00 Anamnesis initiatory vision by Joël-Claude MEFFRE (FR) for artist Haythem Zakaria (FR / TN).

DIGITAL AFRICA & NARRATIVE
Sat 23 May | Goodman Gallery, JHB
• 14:00 Hallu-Ci, short screening and talk by Brooklyn J Pakathi (SA)
• 14:30 Lagos 2060, feature screening and talk by Olamide Udo-Udoma of Lagos Imaginarium (NG)

POST FUTURES, KENYA: TRADITION IN THE GLOBALISED DIGITAL
Thurs 28 May | Goodman Gallery, JHB
• 18:30 Kichwateli, short screening + Q & A with Muchiri Njenga (KE)
• 19:00 Silicon Savannahs & Digital Landscapes, talk by Jepchumba (KE)
• 19:30 Pumzi, feature screening of Kenya Sci-Fi Film by Wanuri Kahui (KE)

DATA FUTURES
Sat 6 June | Goodman Gallery, JHB
• 14:00 SWAARTNET, talk by NTU (SA)
• 15:15 WWW GLOBAL COM, short screening of NTU artist’s works.

SOUND & AFRICAN CULTURES OF TECHNOLOGY
Thurs 18 June | Goodman Gallery, JHB
• 18:30 Mr Gold & Makmende, short screening and talk by The Brother Moves On and Just A Band (SA & KE)
• 19:15 Future Sound of Mzanzi, feature screening of documentary film by Lebogang Rasethebe & Nthato Mokgata (SA)

CLOSING PERFORMANCE
Sat 20 June | King Kong, 6 Verwey Street, Troyville, JHB
In collaboration with Keleketla @ King Kong
• 20:00 “The Afterlife with Mr Gold”, featuring The Brother Moves One (SA), Just A Band (KE) and OkMalumKoolKat (SA)

In addition to the exhibition at the Goodman Gallery, the interactive space Future Lab Africa has been developed for the show by digital artist Jepchumba. Future Lab Africa hopes to create lasting networks and public engagements which extend beyond the exhibition incorporating research and multidisciplinary methodologies as a basis of understanding new developments in the African digital art space. A podcast series produced by Jepchumba in conversation with the featured artists, released over the period of the exhibition on the Future Lab Africa site. Future Lab Africa can be accessed at http://futurelabafrica.org.

Tabita Rezaire

Tabita Rezaire (b.1989, Paris, France) is a French-born Guyanese/Danish new media artist, intersectional preacher, health practitioner, tech-politics researcher and Kemetic/Kundalini Yoga teacher based in Guyana.

Rezaire’s practice explores decolonial healing through the politics of technology. Navigating architectures of power – online and offline – her works tackle the pervasive matrix of coloniality and its effects on identity, technology, sexuality, health and spirituality. Disseminating light, her digital healing activism offers substitute readings decentering occidental authority, hoping to assist in the ‘dismantling [of] our white-supremacist-patriarchal-cis-hetero-globalized world screen’, according to Rezaire.

Rezaire is also a founding member of NTU, half of the duo Malaxa, and mother of the energy house SENEB.

Artsy declared her among the 10 International Black artists to watch in 2016, and True Africa among the top 100 innovators and opinion makers on the continent in 2015. Rezaire has shown her work internationally at the Berlin Biennale, Tate Modern London, Museum of Modern Art Paris, MoCADA NY, The Broad LA, and Serpentine Gallery in London. Rezaire has presented her work on numerous panels, including Het Nieuwe Institut Rotterdam, Royal Academy The Hague, Kunsthalle Bern, National Gallery Harare, Cairotronica, Fakugezi Digital Art Africa Johannesburg. She has curated screenings at the Institute of Contemporary Art London, led technology and ‘booty politics’ workshops worldwide, conducted at yoga session at Museum of Modern Art in New York and has her writings published by Cambridge Scholars.

Rezaire holds a Bachelor in Economics (Paris) and a Master in Artist Moving Image from Central Saint Martins College (London).

Kapwani Kiwanga

Kapwani Kiwanga studied anthropology and comparative religion at McGill University (Montreal, CA). She has followed the program “La Seine” at the Ecole Nationale Supérieure des Beaux-Arts de Paris, and also works at Le Fresnoy (a french national center for contemporary art). She was artist in residence at the MU Foundation in Eindhoven (NL) and at the Box in Bourges (FR).

Working with sound, film, performance, and objects, Kapwani Kiwanga relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation. The Paris-based artist’s work focuses on sites specific to Africa and the African diaspora, examining how certain events expand and unfold into popular and folk narratives, and revealing how these stories take shape in objects and oral histories. Trained as an anthropologist, Kiwanga performs this role in her artistic practice, using historical information to construct narratives about groups of people. Kiwanga is not only invested in the past but also the future, telling Afrofuturist stories and creating speculative dossiers from future civilizations to reflect on the impact of historical events.