Artist in Residence: Rehema Chachage
- Authors: Chachage, Rehema
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146479 , vital:38529 , https://www.ru.ac.za/artsofafrica/exhibitionsperformances/inzwi/
- Description: Inzwi! was an art event during the 2017 National Arts Festival in Grahamstown that celebrated the 5th anniversary of the Lucid Lunchbox, a student-led series of talks linked to the Arts of Africa and Global Souths research programme at Rhodes University. During the festival, five sets composed of three videos interjected the talks presented by Dineo Seshee Bopape and Beth Diane Armstrong, as well as a conversation between Andrew Tshabangu, Thembinkosi Goniwe and Philiswa Lila. The event intended to trigger reflection and dialogue, through a ‘wake-up call’ to grapple with our collective heritage and struggles, our fears and points of departure in order to envision futures. The selection of videos drew from the work of Rhodes Fine Art students, Alumni and Artists in Residence. Works on display addressed matters of identity (social, political and/or fictional); social engagement and activism; religious and spiritual practices in African contexts; race and white supremacy; and, finally, patronising relations in the art world. Borrowing from the words of Weléla Mar Kindred, the choreography of this event, like others that have been propelling black body politics in recent movements, is one of "communal healing, strength and solidarity".
- Full Text:
- Date Issued: 2017
- Authors: Chachage, Rehema
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146479 , vital:38529 , https://www.ru.ac.za/artsofafrica/exhibitionsperformances/inzwi/
- Description: Inzwi! was an art event during the 2017 National Arts Festival in Grahamstown that celebrated the 5th anniversary of the Lucid Lunchbox, a student-led series of talks linked to the Arts of Africa and Global Souths research programme at Rhodes University. During the festival, five sets composed of three videos interjected the talks presented by Dineo Seshee Bopape and Beth Diane Armstrong, as well as a conversation between Andrew Tshabangu, Thembinkosi Goniwe and Philiswa Lila. The event intended to trigger reflection and dialogue, through a ‘wake-up call’ to grapple with our collective heritage and struggles, our fears and points of departure in order to envision futures. The selection of videos drew from the work of Rhodes Fine Art students, Alumni and Artists in Residence. Works on display addressed matters of identity (social, political and/or fictional); social engagement and activism; religious and spiritual practices in African contexts; race and white supremacy; and, finally, patronising relations in the art world. Borrowing from the words of Weléla Mar Kindred, the choreography of this event, like others that have been propelling black body politics in recent movements, is one of "communal healing, strength and solidarity".
- Full Text:
- Date Issued: 2017
Biogeographical comparison of the emergent macrophyte, Sagittaria platyphylla in its native and introduced ranges
- Kwong, Raelene M, Sagliocco, Jean Louis, Harms, Nathan E, Butler, Kym L, Green, Peter T, Martin, Grant D
- Authors: Kwong, Raelene M , Sagliocco, Jean Louis , Harms, Nathan E , Butler, Kym L , Green, Peter T , Martin, Grant D
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/76980 , vital:30652 , https://doi.org/10.1016/j.aquabot.2017.05.001
- Description: Understanding why some plant species become invasive is important to predict and prevent future weed threats and identify appropriate management strategies. Many hypotheses have been proposed to explain why plants become invasive, yet few studies have quantitatively compared plant and population parameters between native and introduced range populations to gain an objective perspective on the causes of plant invasion. The present study uses a biogeographical field survey to compare morphological and reproductive traits and abundance between the native range (USA) and two introduced ranges (Australia and South Africa) of Sagittaria platyphylla (Engelm.) J.G. Sm (Alismataceae), a highly invasive freshwater macrophyte. Introduced and native populations differed in sexual reproductive output with the number of achenes per fruiting head and individual achene weight found to be 40% and 50% greater in introduced populations respectively. However, no other morphological traits were found to be consistently different between the native and both introduced ranges, especially after taking into account differences in environmental conditions between the three ranges. Although populations in introduced regions were larger and occupied greater percentage cover, no differences in plant density were evident. Our results suggest that, apart from sexual reproduction, many of the trait patterns observed in S. platyphylla are influenced by environmental and habitat conditions within the native and invaded ranges. We conclude that the enemy release hypothesis best explains the results observed for sexual reproduction. In particular, we hypothesise that a release from natural enemies, specifically a pre-dispersal seed predator, may induce reproductive plasticity in S. platyphylla.
- Full Text:
- Date Issued: 2017
- Authors: Kwong, Raelene M , Sagliocco, Jean Louis , Harms, Nathan E , Butler, Kym L , Green, Peter T , Martin, Grant D
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/76980 , vital:30652 , https://doi.org/10.1016/j.aquabot.2017.05.001
- Description: Understanding why some plant species become invasive is important to predict and prevent future weed threats and identify appropriate management strategies. Many hypotheses have been proposed to explain why plants become invasive, yet few studies have quantitatively compared plant and population parameters between native and introduced range populations to gain an objective perspective on the causes of plant invasion. The present study uses a biogeographical field survey to compare morphological and reproductive traits and abundance between the native range (USA) and two introduced ranges (Australia and South Africa) of Sagittaria platyphylla (Engelm.) J.G. Sm (Alismataceae), a highly invasive freshwater macrophyte. Introduced and native populations differed in sexual reproductive output with the number of achenes per fruiting head and individual achene weight found to be 40% and 50% greater in introduced populations respectively. However, no other morphological traits were found to be consistently different between the native and both introduced ranges, especially after taking into account differences in environmental conditions between the three ranges. Although populations in introduced regions were larger and occupied greater percentage cover, no differences in plant density were evident. Our results suggest that, apart from sexual reproduction, many of the trait patterns observed in S. platyphylla are influenced by environmental and habitat conditions within the native and invaded ranges. We conclude that the enemy release hypothesis best explains the results observed for sexual reproduction. In particular, we hypothesise that a release from natural enemies, specifically a pre-dispersal seed predator, may induce reproductive plasticity in S. platyphylla.
- Full Text:
- Date Issued: 2017
In conversation with Andrew Tshabangu and Thembinkosi Goniwe "Footprints" exhibition:
- Authors: Lila, Philiswa
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146489 , vital:38530 , https://www.ru.ac.za/artsofafrica/exhibitionsperformances/inzwi/
- Description: Inzwi! was an art event during the 2017 National Arts Festival in Grahamstown that celebrated the 5th anniversary of the Lucid Lunchbox, a student-led series of talks linked to the Arts of Africa and Global Souths research programme at Rhodes University. During the festival, five sets composed of three videos interjected the talks presented by Dineo Seshee Bopape and Beth Diane Armstrong, as well as a conversation between Andrew Tshabangu, Thembinkosi Goniwe and Philiswa Lila. The event intended to trigger reflection and dialogue, through a ‘wake-up call’ to grapple with our collective heritage and struggles, our fears and points of departure in order to envision futures. The selection of videos drew from the work of Rhodes Fine Art students, Alumni and Artists in Residence. Works on display addressed matters of identity (social, political and/or fictional); social engagement and activism; religious and spiritual practices in African contexts; race and white supremacy; and, finally, patronising relations in the art world. Borrowing from the words of Weléla Mar Kindred, the choreography of this event, like others that have been propelling black body politics in recent movements, is one of "communal healing, strength and solidarity".
- Full Text:
- Date Issued: 2017
- Authors: Lila, Philiswa
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146489 , vital:38530 , https://www.ru.ac.za/artsofafrica/exhibitionsperformances/inzwi/
- Description: Inzwi! was an art event during the 2017 National Arts Festival in Grahamstown that celebrated the 5th anniversary of the Lucid Lunchbox, a student-led series of talks linked to the Arts of Africa and Global Souths research programme at Rhodes University. During the festival, five sets composed of three videos interjected the talks presented by Dineo Seshee Bopape and Beth Diane Armstrong, as well as a conversation between Andrew Tshabangu, Thembinkosi Goniwe and Philiswa Lila. The event intended to trigger reflection and dialogue, through a ‘wake-up call’ to grapple with our collective heritage and struggles, our fears and points of departure in order to envision futures. The selection of videos drew from the work of Rhodes Fine Art students, Alumni and Artists in Residence. Works on display addressed matters of identity (social, political and/or fictional); social engagement and activism; religious and spiritual practices in African contexts; race and white supremacy; and, finally, patronising relations in the art world. Borrowing from the words of Weléla Mar Kindred, the choreography of this event, like others that have been propelling black body politics in recent movements, is one of "communal healing, strength and solidarity".
- Full Text:
- Date Issued: 2017
Justin Davy of Burning Museum: an interview
- Authors: Dantas, Nancy
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147070 , vital:38590 , https://www.on-curating.org/issue-32-reader/justin-davy-of-the-burning-museum.html#.Xs0mCmgzbIU
- Description: The Burning Museum is an arts collective based in Cape Town, South Africa. This interview is the result of a three-part Skype conversation between Justin Davy of the Burning Museum and Nancy Dantas, an independent curator and researcher with an interest in recovering the neglected and overlooked exhibition histories and practices of the south.
- Full Text:
- Date Issued: 2017
- Authors: Dantas, Nancy
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147070 , vital:38590 , https://www.on-curating.org/issue-32-reader/justin-davy-of-the-burning-museum.html#.Xs0mCmgzbIU
- Description: The Burning Museum is an arts collective based in Cape Town, South Africa. This interview is the result of a three-part Skype conversation between Justin Davy of the Burning Museum and Nancy Dantas, an independent curator and researcher with an interest in recovering the neglected and overlooked exhibition histories and practices of the south.
- Full Text:
- Date Issued: 2017
Looking after freedom?:
- Authors: Dantas, Nancy
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147081 , vital:38591 , https://www.buala.org/en/ill-visit/looking-after-freedom
- Description: Did freedom come to South Africa in 1994? Should it be marked and set in time, or is it a fragile process, an ambition and a becoming? Do we see ourselves coming closer to this ideal, or desperately receding from it as an invisible rip current pulls us away? To think of freedom as a given, a day in the year or a landmark on the horizon is to neglect that liberty from bondage and oppression, in all its disastrous and fatidic forms requires vigilance, nurturing and a spirit of insatiable demand. When our freedom becomes commodified, transformed into a mark on annual calendars, a mere commemoration; something we think have obtained and cannot possibly stand to loose, we are all in for trouble.
- Full Text:
- Date Issued: 2017
- Authors: Dantas, Nancy
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147081 , vital:38591 , https://www.buala.org/en/ill-visit/looking-after-freedom
- Description: Did freedom come to South Africa in 1994? Should it be marked and set in time, or is it a fragile process, an ambition and a becoming? Do we see ourselves coming closer to this ideal, or desperately receding from it as an invisible rip current pulls us away? To think of freedom as a given, a day in the year or a landmark on the horizon is to neglect that liberty from bondage and oppression, in all its disastrous and fatidic forms requires vigilance, nurturing and a spirit of insatiable demand. When our freedom becomes commodified, transformed into a mark on annual calendars, a mere commemoration; something we think have obtained and cannot possibly stand to loose, we are all in for trouble.
- Full Text:
- Date Issued: 2017
Overlaps and organisms: Beth Diane Armstrong’s ‘in perpetuum’
- Mukendi, Jean-Sylvain Tshilumba
- Authors: Mukendi, Jean-Sylvain Tshilumba
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147171 , vital:38599 , https://artthrob.co.za/2017/07/21/overlaps-and-organisms-beth-diane-armstrongs-in-perpetuum/
- Description: ‘in perpetuum,’ Beth Diane Armstrong’s Young Artist Award exhibition at the National Arts Festival, draws lines of growth, visually exploring life’s continuum. At first glance the exhibition evokes a geometric organism, with lines of growth, of stagnation or of regression. Armstrong admits openly that there is a substantial insecurity that runs beneath her work. We are not looking at a final concept but a work in progress, a process of back and forth, of distance and proximity, of minimalism and monumentalism, pushing of physical and mental boundaries.
- Full Text:
- Date Issued: 2017
- Authors: Mukendi, Jean-Sylvain Tshilumba
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147171 , vital:38599 , https://artthrob.co.za/2017/07/21/overlaps-and-organisms-beth-diane-armstrongs-in-perpetuum/
- Description: ‘in perpetuum,’ Beth Diane Armstrong’s Young Artist Award exhibition at the National Arts Festival, draws lines of growth, visually exploring life’s continuum. At first glance the exhibition evokes a geometric organism, with lines of growth, of stagnation or of regression. Armstrong admits openly that there is a substantial insecurity that runs beneath her work. We are not looking at a final concept but a work in progress, a process of back and forth, of distance and proximity, of minimalism and monumentalism, pushing of physical and mental boundaries.
- Full Text:
- Date Issued: 2017
Tate Intensive: Art Matters
- Authors: Mulenga, Andrew
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146711 , vital:38550 , https://www.tate.org.uk/whats-on/tate-modern/course/tate-intensive-art-matters
- Description: Tate Intensive: Art Matters took place 9-14 July 2017. A diverse group of 28 museum professionals – from Armenia, Australia, China, Colombia, Egypt, Ethiopia, Germany, Ireland, Kenya, Lithuania, New Zealand, Norway, Poland, South Africa, Singapore, South Korea, Turkey, the US, Zambia, Zimbabwe, and the UK – came together for a series of activities and workshops led by contributors including Tate staff and other culture professionals.
- Full Text:
- Date Issued: 2017
- Authors: Mulenga, Andrew
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146711 , vital:38550 , https://www.tate.org.uk/whats-on/tate-modern/course/tate-intensive-art-matters
- Description: Tate Intensive: Art Matters took place 9-14 July 2017. A diverse group of 28 museum professionals – from Armenia, Australia, China, Colombia, Egypt, Ethiopia, Germany, Ireland, Kenya, Lithuania, New Zealand, Norway, Poland, South Africa, Singapore, South Korea, Turkey, the US, Zambia, Zimbabwe, and the UK – came together for a series of activities and workshops led by contributors including Tate staff and other culture professionals.
- Full Text:
- Date Issued: 2017
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