Chirema Chine Mazano Chinotamba Chakazendama Madziro
- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
- Full Text:
- Date Issued: 2020
- Authors: Mapondera, Wallen
- Date: 2020
- Subjects: Art, Zimbabwean , Art -- Economic aspects -- Zimbabwe , Artists -- Zimbabwe , Takadiwa, Moffet , Nyandoro, Gareth , Clottey, Serge Attiku , Mapondera, Wallen -- Exhibitions
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/147457 , vital:38638
- Description: This mini-thesis has developed as a practice-based supporting document to the exhibition Chirema Chine Mazano Chinotamba Chakazendama Madziro. The exhibition responds to how people become innovative in finding alternative means of survival and staying relevant in an economically depressed country. Zimbabwe is often the first country that comes to mind when people talk about hyperinflation; the situation was and still is intolerable, but somehow its citizens find means to pull through. Unemployment and poverty are the main causes of physical and mental problems for an individual. With this thesis, I highlight the innovations employed by Zimbabweans as a way of keeping themselves busy. I approach this through analysing the Zimbabwean general public’s creative reactions, and by tracing Zimbabwean visual artists’ use of found objects as a reaction to the country’s economic hardships. As people have been pushed to find alternative ways of survival, Zimbabwean artists in particular also shifted from using conventional art materials due to their unavailability. They began to redefine what art material is by employing objects in their artworks that previously had a non-art function. As such, there is a growing need to recognise, classify and document the shifts and establish platforms to generate growth of these innovations. In this minithesis I discuss my own practice, and I analyse the works of Moffat Takadiwa, Gareth Nyandoro and Serge Attiku Clottey.
- Full Text:
- Date Issued: 2020
Narratives and home: remembering an almost forgotten walk
- Bezuidenhout, Natasha Belinda
- Authors: Bezuidenhout, Natasha Belinda
- Date: 2019
- Subjects: Home in literature , Home in art , Artists -- South Africa
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/115039 , vital:34072
- Description: The title of my exhibition Bittersoet alludes to the self-exploratory nature of my practice, as I interrogate the personal memories associated with objects that characterise the relationship between myself and my mother (mamma). This supporting document, Narratives and Home: Remembering an almost forgotten walk, considers the key conceptual concerns informing my practice. In this mini-thesis, I address the question: ‘What is a home?’. Drawing from my own Fine Art Practice, I explore how home can be examined as a product of the imagination, rather than only as a physical place. I consider how ‘home’ is constructed as the primary objective within an ideological framework defined by history, memory and narrative. Engaging beyond the idea of ‘home’ as a fixed structure or place, I examine the idea of ‘home’ as something fluid that is negotiated and defined by the interaction between objects and language. It is concerned with dialectics of memory and narrative as they pertain directly to an experience of both searching for and reimagining home through metaphorical representations. In particular, I explore how home can be seen as equally familiar and unfamiliar, existing in-between, always changing, never fixed, rather in a constant state of flux. The concept of home is addressed in a dialogical process by using Afrikaans as my mother tongue, I narrate informal conversations between myself and my mother. These conversations transform and expand into hybrid words, memories and narratives to form a layered continuous dialogue between my practice and research. This notion relates to exploring oneself and the ‘fictions’ of the past. The self being fundamental to the individual comprehension of both ‘place’ and ‘space’.
- Full Text:
- Date Issued: 2019
- Authors: Bezuidenhout, Natasha Belinda
- Date: 2019
- Subjects: Home in literature , Home in art , Artists -- South Africa
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/115039 , vital:34072
- Description: The title of my exhibition Bittersoet alludes to the self-exploratory nature of my practice, as I interrogate the personal memories associated with objects that characterise the relationship between myself and my mother (mamma). This supporting document, Narratives and Home: Remembering an almost forgotten walk, considers the key conceptual concerns informing my practice. In this mini-thesis, I address the question: ‘What is a home?’. Drawing from my own Fine Art Practice, I explore how home can be examined as a product of the imagination, rather than only as a physical place. I consider how ‘home’ is constructed as the primary objective within an ideological framework defined by history, memory and narrative. Engaging beyond the idea of ‘home’ as a fixed structure or place, I examine the idea of ‘home’ as something fluid that is negotiated and defined by the interaction between objects and language. It is concerned with dialectics of memory and narrative as they pertain directly to an experience of both searching for and reimagining home through metaphorical representations. In particular, I explore how home can be seen as equally familiar and unfamiliar, existing in-between, always changing, never fixed, rather in a constant state of flux. The concept of home is addressed in a dialogical process by using Afrikaans as my mother tongue, I narrate informal conversations between myself and my mother. These conversations transform and expand into hybrid words, memories and narratives to form a layered continuous dialogue between my practice and research. This notion relates to exploring oneself and the ‘fictions’ of the past. The self being fundamental to the individual comprehension of both ‘place’ and ‘space’.
- Full Text:
- Date Issued: 2019
Representing the unrepresentable: an exploration of gendered experiences of mental disorder
- Authors: Futcher, Charis Catheryn
- Date: 2017
- Subjects: Mental illness in art , Women -- Mental health , Art, South African -- 21st century -- Exhibitions , Sculpture, South African -- 21st century -- Exhibitions , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/42957 , vital:25252
- Description: Inspired by personal lived experiences of mental disorder; this thesis attempts to explore the representation of these complex conditions as they are deeply embedded in trauma, guilt, and stigma. The accompanying exhibition, The Inheritance, figures my own tendencies to contain and conceal my disorder, through the assembling of sculptural containers and their disordered contents. The work, presented as something surreal, comments on the complexities of being a woman with a disorder, as well as on the disease I experience in relation to a history of patriarchal ideologies and psychiatric containment that has informed understandings of ‘female madness’. Grounded in my interests in abjection and containment, the artistic processes of trying to express deeply personal experiences of distress allow for the resurfacing of underlying trauma, in regards to the memory of my mother’s struggle with Bipolar disorder and her subsequent estrangement. Instead of catharsis, the exhibition represents an inevitable failure to represent the unrepresentable, an experience inextricably bound to the history of gendered oppression and the repression of subjectivity by dominant powers of belief and control. Through my practice as research, I have ultimately grappled with my reluctance to represent my experience, precisely because the topic of mental disorder, though pervasive, is lived and felt by varying groups of people in different ways. As such, my intention is to avoid a reductive and narrow framing of what mental disorder entails. Similarly, I aim to avoid restrictive and presumptuous definitions of gender – recognizing that, historically, femininity is a contested category that has silenced many individuals who are not white, heterosexual or gender conforming. My literary research has been limited by these norms and silences, in that most texts detailing the historical visual treatment of disordered subjects fail to recognise the possibility of gender categories that transcend the binary masculinity and femininity. With these limitations in mind, my practice has allowed me to reflect upon the distress of generations of people who have been pathologised based on gender.
- Full Text:
- Date Issued: 2017
- Authors: Futcher, Charis Catheryn
- Date: 2017
- Subjects: Mental illness in art , Women -- Mental health , Art, South African -- 21st century -- Exhibitions , Sculpture, South African -- 21st century -- Exhibitions , Women in art
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/42957 , vital:25252
- Description: Inspired by personal lived experiences of mental disorder; this thesis attempts to explore the representation of these complex conditions as they are deeply embedded in trauma, guilt, and stigma. The accompanying exhibition, The Inheritance, figures my own tendencies to contain and conceal my disorder, through the assembling of sculptural containers and their disordered contents. The work, presented as something surreal, comments on the complexities of being a woman with a disorder, as well as on the disease I experience in relation to a history of patriarchal ideologies and psychiatric containment that has informed understandings of ‘female madness’. Grounded in my interests in abjection and containment, the artistic processes of trying to express deeply personal experiences of distress allow for the resurfacing of underlying trauma, in regards to the memory of my mother’s struggle with Bipolar disorder and her subsequent estrangement. Instead of catharsis, the exhibition represents an inevitable failure to represent the unrepresentable, an experience inextricably bound to the history of gendered oppression and the repression of subjectivity by dominant powers of belief and control. Through my practice as research, I have ultimately grappled with my reluctance to represent my experience, precisely because the topic of mental disorder, though pervasive, is lived and felt by varying groups of people in different ways. As such, my intention is to avoid a reductive and narrow framing of what mental disorder entails. Similarly, I aim to avoid restrictive and presumptuous definitions of gender – recognizing that, historically, femininity is a contested category that has silenced many individuals who are not white, heterosexual or gender conforming. My literary research has been limited by these norms and silences, in that most texts detailing the historical visual treatment of disordered subjects fail to recognise the possibility of gender categories that transcend the binary masculinity and femininity. With these limitations in mind, my practice has allowed me to reflect upon the distress of generations of people who have been pathologised based on gender.
- Full Text:
- Date Issued: 2017
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