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Home , Battletruck, Day the World Ended, Earth 2100, Human Highway, Last Woman on Earth, Mad Max 2

NOBODY,

NOWHERE THE LAST MAN (1805) THE END OF THE WORLD (1916) END OF THE WORLD (1931) DELUGE (1933) THINGS TO COME (1936) PEACE ON EARTH (1939) FIVE (1951) WHEN WORLDS COLLIDE (1951) THE WAR OF THE WORLDS (1953) ROBOT MONSTER (1953) (1955) KISS ME DEADLY (1955) FORBIDDEN PLANET (1956) INVASION OF THE BODY SNATCHERS (1956) WORLD WITHOUT END (1956) THE LOST MISSILE (1958) ON THE BEACH (1959) THE WORLD, THE FLESH AND THE DEVIL (1959) THE GIANT BEHEMOTH (1959) THE TIME MACHINE (1960) BEYOND THE TIME BAR- RIER (1960) (1960) BATTLE OF THE WORLDS (1961) THE LAST WAR (1961) THE DAY THE EARTH CAUGHT FIRE (1961) THE DAY OF THE TRIFFIDS (1962) LA JETÉE (1962) PAN- IC IN YEAR ZERO! (1962) THE CREATION OF THE HUMANOIDS (1962) THIS IS NOT A TEST (1962) LA JETÉE (1963) FAIL-SAFE (1964) WHAT IS LIFE? THE TIME TRAVELERS (1964) THE LAST MAN ON EARTH (1964) DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) THE DAY THE EARTH CAUGHT FIRE (1964) CRACK IN THE WORLD (1965) DALEKS – INVASION EARTH: 2150 A.D. (1966) THE WAR GAME (1965) IN THE YEAR 2889 (1967) LATE AUGUST AT THE HOTEL OZONE (1967) (1968) PLANET OF THE APES (1968) THE BED-SITTING ROOM (1969) THE SEED OF MAN (1969) COLOSSUS: THE FORBIN PROJECT (1970) BE- NEATH THE PLANET OF THE APES (1970) NO BLADE OF GRASS (1970) GAS-S-S-S (1970) THE ANDROM- EDA STRAIN (1971) THE OMEGA MAN (1971) GLEN AND RANDA (1971) ESCAPE FROM THE PLANET OF THE APES (1971) SILENT RUNNING (1972) DO WE HAVE FREE WILL? BEWARE! THE BLOB (1972) CONQUEST OF THE PLANET OF THE APES (1972) A DISTANT THUNDER (1972) A THIEF IN THE NIGHT (1972) THE FINAL PROGRAMME (THE LAST DAYS OF MAN ON EARTH)(1973) IDAHO TRANS- FER (1973) GENESIS II (1973) BATTLE FOR THE PLANET OF THE APES (1973) (1973) PHASE IV (1974) (1974) PLANET EARTH (1974) WHERE HAVE ALL THE PEOPLE GONE? (1974) THE THIRD CRY (1974) PROPHECIES OF NOSTRADAMUS (1974) DAWN OF THE DEAD (1974) BLACK MOON (1975) BLACK MOON (1975) THE NOAH (1975) THE ULTIMATE WARRIOR (1975) A BOY AND HIS DOG (1975) LOGAN'S RUN (1976) THE LATE, GREAT PLANET EARTH (1976) THE PEOPLE WHO OWN THE DARK (1976) END OF THE WORLD (1977) DAMNATION ALLEY (1977) THE LAST WAVE (1977) HOLOCAUST 2000 (1977) WIZARDS (1977) DAWN OF THE DEAD (1978) A DISTANT THUNDER (1978) INVASION OF THE BODY SNATCHERS (1978) DEATHSPORT (1978) QUINTET (1979) THE SHAPE OF THINGS TO COME (1979) RAVAGERS (1979) STALKER (1979) (1979) INDUCED SYN- DROME (1979) PLAGUE (1979) METEOR (1979) THE APPLE (1980) VIRUS (1980) FLASH GORDON (1980) THE MARTIAN CHRONICLES (1980) PHOENIX 2772 (1980) (THE ROAD WARRIOR) (1981) MALEVIL (1981) ESCAPE FROM NEW YORK (1981) IMAGE OF THE BEAST (1981) (1982) THE THING (1982) WORLD WAR III (1982) WHAT IS CONSCIOUSNESS? (1982) THE AF- TERMATH (1982) HUMAN HIGHWAY (1982) SHE (1982) WARRIORS OF THE WASTELAND (1982) CAFÉ FLESH (1982) ENDGAME (1983) LE DERNIER COMBAT (1983) TESTAMENT (1983) THE PRODIGAL PLAN- ET (1983) EXTERMINATORS OF THE YEAR 3000 (1983) THE LAST BATTLE (1983) EXTERMINATORS OF THE YEAR 3000 (1983) THE DAY AFTER (1983) STRYKER (1983) 2019, AFTER THE FALL OF NEW YORK (1983) TESTAMENT (1983) WARRIOR OF THE LOST WORLD (1983) YOR, THE HUNTER FROM THE FUTURE (1983) (1984) WHEN THE WIND BLOWS (1984) THREADS (1984) THE NOAH’S ARK PRINCIPLE (1984) (1984) NAUSICAÄ OF THE VALLEY OF THE WIND (1984) NAUSICAÄ OF THE VALLEY OF THE WIND (1984) WHEN THE WIND BLOWS (1984) DARK ENEMY (1984) THREADS (1984) MAD MAX BEYOND THUNDERDOME (1985) THE QUIET EARTH (1985) CITY LIMITS (1985) RADIOACTIVE DREAMS (1985) STARCHASER: THE LEGEND OF ORIN (1985) DAY OF THE DEAD (1985) DEF-CON 4 (1985) AMERICA 3000 (1986) FIST OF THE NORTH STAR (1986) 'S LETTERS (1986) THE SACRIFICE (1986) DEAD MAN’S LETTERS (1986) SOLARBABIES (1986) RO- BOT HOLOCAUST (1986) FIST OF THE NORTH STAR (1986) LAND OF DOOM (1986) WHOOPS APOC- ALYPSE (1986) CHERRY 2000 (1987) CREEPOZOIDS (1987) URBAN WARRIORS (1987) INTERZONE (1987) DEATH RUN (1987) STEEL DAWN (1987) SOLAR WARRIORS (1987) AKIRA (1988) WORLD GONE WILD (1988) EMPIRE OF ASH (1988) HELL COMES TO FROGTOWN (1988) THE SEVENTH SIGN (1988) MIRACLE MILE (1988) SHE-WOLVES OF THE WASTELAND (1988) THE BLOOD OF HEROES (THE SA- LUTE OF THE ) (1989) BUNKER PALACE HÔTEL (1989) OMEGA COP (1989) ROBOT JOX (1989) CYBORG (1989) MILLENNIUM (1989) WILL WE EVER HAVE A THEORY OF EVERYTHING? VISITOR TO A MUSEUM (1989) SLIPSTREAM (1989) GUNHED (1989) MOONTRAP (1989) A VISITOR TO THE MUSEUM (1989) THE HANDMAID’S TALE (1990) HARDWARE (1990) A WIND NAMED AMNESIA (1990) SOLAR CRISIS (1990) CIRCUITRY MAN (1990) BY DAWN'S EARLY LIGHT (1990) DELICATESSEN (1991) UNTIL THE END OF THE WORLD (1991) TERMINATOR 2: JUDGMENT DAY (1991) NEON CITY (1991) THE RAPTURE (1991) MINDWARP (1992) SPLIT SECOND (1992) CYBORG 2 (1993) SUPERNAT- URAL (1993) BODY SNATCHERS (1993) DEMOLITION MAN (1993) ROBOT WARS (1993) PLUGHEAD DIANA VIVES REWIRED: CIRCUITRY MAN II (1994) IN THE MOUTH OF MADNESS (1994) WITHOUT WARN- ING (1994) THE STAND (1994) TANK GIRL (1995) (1995) SCREAMERS (1995) 12 MON- 2020 (PGDIP) KEYS (1995) JUDGE DREDD (1995) SENTINEL 2099 (1995) THE PROPHECY (1995) THE ARRIVAL (1996) MICHAELIS SCHOOL OF FINE ART 3 Introduction

Works:

7 Second Nature 11 Eden Road 15 Nobody, Nowhere 17 The Navel-Gazers 19 The Duellists 22 What-goes-without-saying 24 Everything, and Everything Else 29 Objections 31 All Our Yesterdays — The Ends (Inside Cover)

40 Endnotes

MY THANKS TO -

Douglas, for all the keys. And the gift of time. Jane Alexander, for firm and gentle guidance. Ben Orkin, for parallel play and sounding boards. Zoe, for her love and encouragement. These sculptures, produced in the extraordinary year 2020, address situations which hold some meaning for me. They explore human follies, including our relationship to nature – both as the environment we subjugate, and the superset of which we are a finite part. Often placed in states of suspended motion that negotiate with gravity, they suggest rhythms of imbalance, displacement and emergence. In the following pages, each of my works is presented alongside material and historical references.

I am a capitalist who is troubled by the continuous growth of overproduction, overcon - sumption, depletion of resources and excess waste creation that is inscribed in capital - ism. The inevitable outcome of which will be to consume our own, partially recycled waste products. Arguably, art is a bad way of addressing sustainability, if one considers the cost and the environmental chain of consequences in producing much of it. But all that would remain of this exhibition, and which hadn’t been subsumed by the environment, are bronze statuary fragments and clay bases that could be assigned to other millennia, as well as a few steel pins and a sheet of lead.

While the materials I use aren’t ‘precious’ – being mostly salvaged – they are rich in natural or functional properties, imprints of human action, cultural associations and connotations. El Anatsui (2013) says: ‘If you work with what is around you, the cost of the work is different from the value of the work.’1 By becoming art, they are welcomed back into the same econ- omy that discarded them, recalling the clashes of natural beauty and human aesthetics.

I seek a quality for my work that considers art an open language, which I speak neither from a position of identity, nor against that of others. In this, I generally defer to Alain Ba - diou’s view that contemporary art should abstract itself from all particularity, including a specific public or audience. 2

The exhibition takes its title from one of my works which ties the materials and themes of the sculptures together and is also a self-portrait of sorts. ‘Nobody, Nowhere’ is a column of rammed earth about my height but almost five times my weight, bound in leather string and capped by a wood spool. As an allegory, it spans the history of land ownership from historical incursions, to its legal foundations, culminating in current-day encroachments and erosions of private property, both in land and body. As an effigy, it stands for my self-contained and rootless individuality, lost lands and impossible dreams. Over the last five generations, no woman in my family has known the certitude of a motherland. Root - ed in six different nationalities, we have moved countries seven times, replacing mother tongues with borrowed languages, and raised children in houses that didn’t have the

Eden Road (Detail) 6 INTRODUCTION 7 time to become homes. Brimming with individual and collective myths/memories, we are émigrés everywhere. In lieu of identity, there is a sense of belonging to places of non-be - longing, awareness of communalities and desires for ‘another way’ that gives form to my secular spirituality, my life, and now my work.

Perhaps it is due to this peripatetic life that I relate to the passante, the female equiva- lent of Charles Baudelaire’s flaneur3: the observer who wanders through the spaces of modern life with an acquisitive eye, an archetypal modernist explorer, and ‘whose aim is to derive “the eternal from the transitory” and to see the “poetic in the historic.”’(Walter Sugimoto, H. 1990. ‘ XXXX’ Benjamin, 2002)4

I think of my materials as keys to locks I didn’t know existed. In this exhibition, I have worked wood, stone, metal (cast bronze and forged steel) and fired clay, as well as ex - ercising some of the freedom with materials and process which came with Modernism Sugimoto, H. 1996. ‘Baltic Sea, Rügen’ Sugimoto, H. 1990. ‘Ionian Sea, Santa Cesarea’ through the use of beeswax, plant fibre, rammed earth, animal hide and found objects. The works are materially diverse because their form and formalisation of meaning follow Sugimoto’s thoughts are echoed in a different tone by Alicja Kwade, who uses her work on from the encounter with the material, which activates thoughts and feelings towards to explain ‘the same questions that science and philosophy try to ask, the same as those the world that recognise a vessel through which to shape themselves. of the first man looking at the stars.’ (Kwade, 2018) In an interview aptly titled ‘Time, Space, Gravity’, she muses: ‘We are sitting on a rock, a spinning sphere somewhere The relationship to base material introduced to the history of sculpture by both the - in the Universe rotating at 3600 km an hour. It is absurd. It places daily problems in no-ha ‘School of Things’ – which can be considered a pioneer of the categories of En - context.’ She concludes with ‘There is no answer, for sure. We are poor animals, able vironmental and Earth art – and their Italian counterpart, the Arte Povera movement, to ask, but too stupid to get the answer. There is a certain freedom to accept that.’ 6 Her have influenced my practice. Allowing found natural materials to speak of their origins is formal and conceptual intentions, as well as the sense that the questions are important a way of introducing the pre-industrial age as a coordinate within the work. It allows for but perhaps unanswerable, resonate strongly within me and my work, but my hopes lie questions such as why we give value to certain objects while discarding others without a closer to Sugimoto’s. second thought, leading to notions that influence how we decide what is important, who is useful, and how those distinctions shape us individually or socially, and as a species. Existential angst has driven the long history of eschatology (the study of end times), And it also acknowledges the past as an active aspect of the present. as an expression of the same cognitive capacity that has enabled us to dominate the planet. The inside cover of this catalogue contains my typographic work ‘The Ends’ In his lifelong series of seascapes, Hiroshi Sugimoto shows us water, air and light that – a chronological list of apocalyptic and dystopian fantasies, mostly cinematic and have been seen for the whole existence of the human species, and that are the primary by no means exhaustive, which have pervaded our entertainment culture for over a constituents of the accident of earthly life. As he says: ‘We should see once again the century. Their speculative fiction offers an out, a hero, glimpses of second chances. seascapes that the ancients saw – to revert us to our innocent minds, to think before de - In addition to ‘unknown unknowns’ such as impact events and so-called grey goo stroying ourselves.’5 (Sugimoto, 2018) For my works in stone, I take the same inspiration scenarios, strains within these narratives are also shadows of ‘known knowns’: the from the primaeval material that evokes the infinite and immeasurable and the constant trauma of colonialism, fear of the Other, vying for dominance and scarce resources, flux of matter. Stone and wood, timely and timeless, primaeval and classical mediums of cyber-misinformation, , nuclear fallouts and . Research on art, also speak in the language of mountains and forests. the fear system within neuroscience has found that the genre produces complex

8 INTRODUCTION 9 responses: ‘apocalyptic beliefs make existential threats ­– the fear of our mortality – pre - dictable.’ (Lissek, 2012)7 Rather than increasing agency, the symbolic excess also helps us to make sense of complex phenomena and reduce our sense of responsibility due to the notion that it is no longer just up to us. A further study found that unpleasant or painful experiences are more tolerable when they are anticipated. 8 (Grillon, Baas, Lissek, Smith, Milstein, 2004) In other words, we tell stories about the end to mitigate our fears, and perhaps to distract from reality – a sort of doomsday prepping for the imagination.

At the outset of 2020, two important words in thinking about work to make were ‘cur - rent’ and ‘witness’, mediated by a sense of art having a potency and duty across time and space, and a witnessing that does more for the witnessed than the witness. Little did I know how the year would unfold. I have drawn on mythological, social, political, biological, ethical, historical and spiritual references to make sculptures in which nature, land and human intervention recur, and through which I try to address balance and precarity, as well as ‘the state of things’ and unquestioningly adopted beliefs and judg - ments. Through their formal conditions for equilibrium and metaphorical character, the works and their stories are attempts to claim responsibility in materialising and verbal - ising my own reflections and questions. Despite these interventions, I also believe the essence of their material invites one not just to look at the work but through it, opening up the possibility that the unseen and unsayable can nonetheless be experienced.

10 INTRODUCTION 11 SECOND NATURE, 2020

Palm frond, yellowwood, air-dried clay, oil paint, lead, stainless steel pin 12 3200 (l) x 3200 (h) x 29cm (w) 13 This extraordinary palm frond was salvaged from a pile of waste At second glance this modest domestic object, in an urban environment of Cape Town, around the time that common to all cultures across time, is seen to reports emerged of a pathogen allegedly originating in a wet have six legs. Could it be an error of hybridisation, market in Wuhan. a residue of primaeval nature in man that says something about taxonomies, or the smoking gun As it was pared down and sculpted, the familiar emblem of trop - of zoonotic incidents? At face value, the words ical destinations and decorative horticulture took on the less ‘Second Nature’ imply distinct ‘natures’ in poten - familiar guise of mythic creatures from first beliefs, original life tially infinite series, which foil this process. forms that came from the deep, or a microscopic organism. Towards the close of 2020, a global meta-analysis The palm itself is a living fossil which survived the extinction of tested the theory that climate change is causing a the dinosaurs, emerging 94 million years ago and once revered surge in infectious diseases – with notable chang- throughout the ancient near-East and Mediterranean world as es in patterns and intensity – among wildlife pop - a sacred symbol of man’s great dreams of eternal life, peace ulations. The data amassed on parasite prevalence across 7346 wildlife populations and and .9 2021 host-parasite combinations leads researchers to conclude that ‘as climate change accelerates, hosts adapted to cooler or milder climates may suffer increasing risk of in - As the mature palm leaf breaks off from the tree’s crown, fronds fectious disease outbreaks, whereas those adapted to warmer climates could see mild are invariably damaged. By imagining its wholeness and fol - reductions in infectious disease risk.’ 12 lowing the logic of nature’s streamlined symmetry in my sculpting, I created something entirely artificial. This word describes much of our modern world, and future: ‘made or The stool is filled with lead to resist the cantilevered weight of the frond. Pinned to each produced by human beings rather than occurring naturally, especially as a copy of some - other, adapting and mutating in ways that would have been inconceivable before the thing natural’.10 Yet if nature is an infinite set, would it not also include the so-called event, the two subjects negotiate a balance that recalls the asymmetry and precarity of ‘unnatural’? The title ‘Second Nature’ refers to the term for deeply ingrained behaviours our power relationship to the rest of the natural world. which become almost instinctive, and at the same time invokes a separation between the cultural and natural.

As the began to unfold, my negotiations with the material were accompa - nied by thoughts on the futures we so confidently project, based on estimates about a natural world that sits outside of any moral framework, and contemporary myths of hu - man nature.

This motivated me to stage an encounter with the seemingly foreign agent, disrupting our daily life represented as a wooden stool. In situations of uncertainty, we rely on the retrieval of memories for swift decision-making which can be an evolutionary advantage. Yet it is also a cognitive process mined with ‘false hits’, and ‘misses’ – such as the failure to identify that ‘we have been here before’, or the mistaken dismissal of a new occurrence as familiar11.

14 SECOND NATURE, 2020 15 EDEN ROAD, 2020

Beefwood, mild steel 16 196 (h) x 43 cm (⌀); ~ 135 kgs 17 ‘Eden Road’ is an impossible whole assembled from discarded the aesthetic shift with which we admire the cabinetmakers’ fragments of four different beefwood trees, held up by hand- ’nudes’ in contrast to raw wood. forged wedges against the force of gravity, revealing the internal cracks that speak of a suffering, and its cumulative weight over Everything that happens leaves some residual record, and time. The wedges inflict further wounds, yet they are also the their wood holds the place of collateral history - the rhythms thing that holds up the work and opens it to part of its biography of people who used the street, and their relations to this par - and interior properties. Despite its seeming inertia, the structure ticular form of nature. Their bark fell away to reveal a new is internally active, as each member responds to atmospheric surface character rich with metaphors, anthropomorphic rip - conditions and exerts or resists pressure, maintaining balance. ples, wrinkles, wounds and signs of struggle – a bent nail, scars from severed limbs, violent impacts and brandings. The As one of the oldest shapes of tool, used over the last 2.6 million dualities of the gnarled and hardened skin, and the smooth years13 in various materials, the wedge is a weapon of human pro - richness of its core also say something about impermanence gress. Employed here for its narrative potential, it is reminiscent and time. Even now, the sculpture continues to frame its envi- of Jean de La Fontaine’s Fable No. 16 14, in which ronment: with in-between spaces as placeholders for absent receives from a tree the gift of one of its limbs to fix his tool, from things, the reflections on its polished surfaces, and glimpses which he makes an axe with which he chops down his benefactor. The Hidden Life Within, 2007 of real things through voids.

This work speaks of an attachment to Eden Road on which a These aesthetically ill-considered ‘worker trees’ fit Heidegger’s description of standing life was transformed, and of failed attempts to piece things back reserve15: not good in and of itself, but only good for something. Deemed unfit for land - together with the same tools, or the same words, that were used scaping or marquetry, and known by many names – as beefwood, ironwood, bull-oak, to break them. While the parts seem to relate, they do not in fact she-oak or Casuarina – their genus was most widely disseminated throughout the 20th fit, challenging the fantasy of seamless repairs in the wake of century, imported to South around 1902 from by the colonial forest self-destructive drives. The four trees grew out of the cracked service and planted to serve as evergreen shelterbelts or windbreaks, for beams and tar pavement on Eden Road for seventy years. They were nei - posts, fenders, mine props and fences, or firewood 16. Their naturalised populations set- ther intentional landscaping, nor attractive. But they were some - tle on riverbanks, in inundated soil, neglected roadsides, as well as interestingly termed thing green, always resilient and consistent, asking nothing, and ‘disturbed areas’ – where the land is subject to accelerated erosion after having been granting a measure of shade and privacy to business conducted disrupted, uncovered, compacted or moved. One can imagine that they may survive into in cars that rocked gently in the dark. our destructive future, or even delay it through their high rate of sorption and ability to fix atmospheric nitrogen17, which clears the air and soil in polluted urban and industrial In 2016, they were felled to make way for a large, low-cost resi - areas so that other life may regenerate. dential development. Such dismemberments break our connection to trees, both visually and through language – they become timber, wood, waste to the living world. In its ‘treeness’, the ignored beauty laid bare, wounds of its anthropomorphic skin and its proposition for ongoing dynamics, ‘Eden Road’ stands in the wake of Giuseppe Pe - Although they had essentially been obstructions of sorts, they revealed levels of mean - none’s series of stripped trees he calls alberi, begun in 1969. In ‘The Hidden Life Within’ ing about the negative space of human life and conditions that surrounded them. Inte - (Penone, 2007), by removing the outer growth rings of the mature timber to reveal the rior properties and unexpected beauty were opened up by sanding. There is a certain memory of the sapling at the trunk’s core, he draws the viewer’s attention to the grandeur pleasure, a maker’s vanity, attached to ‘making something shine’ – perhaps a relative of of things or to the modest processes that are always around us and either overlooked or

18 EDEN ROAD, 2020 19 concealed. Much like in ‘Eden Road’, his trees are in a way metaphorical companion pieces to humans and their rhythms of breathing, ageing and death, as well as bearing traces of encounters. A work of his which manifests this literally is ‘It Will Continue to Grow Ex - cept at that Point’ (Penone,1968-2003), a series of trees whose growth is hindered and mediated by the grip of a bronze hand around their trunk. Speaking in an interview with the Nasher Sculpture Centre 18, Pe- none explains that he had the intuition to use nature in the form of a young tree, constricted at a point, fixing the typical hand gesture of a sculptor shaping mallea - ble matter, and then to let the tree/nature do the work. What Penone does with the aesthetic gesture of the human intervention in nature, perhaps to demonstrate its resilience (a work which nature itself creates, as captured in my photograph of a tree incorporating a fence), ‘Eden Road’ presents as posthumous evidence without violent intervention to a living organism.

Lastly, this work is an expression of devotion, a mon- ument to trees and wood, and a gesture that takes what we consider waste material and attempts to Maritime Alps - It Will Continue to Grow except at That Point. © 2018 Artists Rights Society (ARS), New York/ make it valuable, as an appeal to our times. ADAGP, Paris

20 EDEN ROAD, 2020 21 NOBODY, NOWHERE, 2020

Soil, cement, ox hide, African Blackwood, brass 22 1614 (h) x 250 mm ⌀ ; (column in 5 parts; ~ 220 kgs) 23 ‘Nobody, Nowhere’ is a pillar of rammed earth, like a core pros - tified with cement) alongside its void in the ground. This work pecting sample with sedimentary strata, or a fragment of the launched the Mono-ha ‘School of Things’ which was founded infinite column of ownership imagined in ad coelum, the 13th in Tokyo in the mid-60s by a group of young artists who in - century maxim of Roman property law: ‘whoever’s is the soil, tended for their installations to reveal the world as it is, in a it is theirs all the way up to the Heavens and all the way down critique of Japan’s accelerated industrialisation and saturation to Hell’19. The ongoing quest for land, begun with the transi - with imagery. The earth is revealed through a wound tion from hunting and gathering to agrarian life around 30,000 that invokes the idea of its depth against the ant-size of the hu- B.C.E., was a first step towards ‘everything’: society, the free man. The hole recalls human endeavours that push at earth’s market economy, nation states, wars, government, taxes, and surface, with consequences and crimes that are often hidden restrictions to personal freedom, as well as unequal opportunity from sight and emerge only over time. An example close to divided along global borders home are Johannesburg’s mine holes, comparatively modest in their surface openings, while the accrual of their excavated Samples of clay-rich soil were claimed from state and roadside Phase-Mother-Earth, 1968 earth changes the landscape on a geological scale. My own land in the Cape peninsula, sifted of stones and other inclu - Photo: Osamu Murai. © Nobuo Sekine removal of some soil from land which does not belong to me, sions, mixed with 12% cement for stabilisation, and pounded made me think of the intuitive distinctions we draw between into a reinforced tubular mould. Devil’s Peak, Cape Town. earth and land, as if there was an infinite supply of the former; you can remove the soil, but property remains. The 682 meters of leather string in which it is bound, cut from the skin of one single ox, is a reference to the land claim 20 performed by the Phoenician Queen Dido. On her arrival as a refugee in North Africa, she asked a Berber king for as much land as she could cover with the hide of one bull, which she cut into such fine thread that she was able to encircle an entire hillside. This became the ancient city of Carthage, and the solution to the isoperimetric problem of enclosing a maximum area is still known as Dido’s Theo - rem in calculus. Records show that the ‘hide trick’ was used repeatedly by early Euro - pean colonialists as a ploy to optimise land purchase throughout the world – including in the Cape of Good Hope during the first Dutch settlements of the 17 th century21.

The materiality of the hide references our agricultural past, the ox tail like an idle plumb line, the kite-less spool weighed down. The gathering of soil reclaimed from state and corporate land, the column with nothing to hold up, a ruin reminiscent of archaeological trophies and triumphal columns, offers some commentary on the gradual erosion of our communal lands and freedoms, from mineral, alluvial and air rights, to the contaminations and extinctions of our shared environment, and the last boundary of the human body that stands to be breached by technology.

Moving earth mass created negative spaces reminiscent of Nobuo Sekine’s ‘Phase-Moth - er Earth’, 196822 which displayed a 2.7m excavated cylinder of compacted soil (also for -

24 NOBODY, NOWHERE, 2020 25 THE NAVEL-GAZERS, 2020

Non-indigenous stone pine, clay, beeswax 26 14 (h) x 14 (d) x 56cm (w) 27 Among the favoured images of material, as do the Melissae of the Homeric Hymns, oracular Dao is the uncarved block, rep - bee nymphs who fed on honey to enter states of ecstatic trance resenting simplicity and natural and speak the truth – and perhaps inspired Beuys’ self-anoint - wholeness. The Daoist purpose ment in his notorious performance with a dead hare 23. was to enable the realisation that, since human life is real - The Louvre collection includes a sculpture depicting four sa - ly only a small part of a larger tyrs engaged in this kind of navel-gazing which is quite distinct process of nature, the only hu - from today’s synonym for self-centredness. In this age of ‘in - man actions which ultimately clusivity’, the way identity is leveraged as a means of asserting make sense are those which social hierarchy, has resulted in political, social, racial, sexual, are in accord with ‘The Way’ religious, dietary, medical, aesthetic and moral fragmentations. – a term for the flow of nature. Against the urgency to act as one species, seeking sustaina - Some and sages say bility and preservation, this current-day version of navel-gazing that everything is energy, and would appear to conceal us from ourselves and each other. energy is all there is. The facet - ed individual, the decomposing From a position of their heavily cut surfaces, mounted on feet of waste cliffs of , cosmic dust The Omphalos clay, only one of them pierced by an opening, ‘The Navel-Gaz - Photo: Delphi Archaeological Museum – all the same basic particles in constant motion and transformation – and all of humanity ers’ therefore speak to both the problem and the potential for in this vast continuum, a small and finite part in time and space. a way through.

These heavily cut stone pine beams are of the kind laid down in a lumber yard to buffer the sawblade. The simplicity and possibilities of the uncut woodblock are lost to what shapes us – the knowledge, memories, histories and our driving fear of endings. They both stand on feet of clay, fired to stone and cut to the same inorganic profile. This lends them more figurative proportions and connects them notionally to the earth.

One of the beams is pierced at the level of the umbilicus, whereas the other is only par - Satyrs en Atlante, 2nd century AD tially penetrated, notably at the same level despite their differences in height. The open - Photo: Louvre Museum ing is a reference to navel-gazing, practised by the monks of Mount Athos and Hindu mystics as a method to meditate on the cosmos and human nature. These interventions hint at the spiritual superseding the physical, as well as suggesting that its potential is not always realised and can remain but a surface imprint.

The opening is lined with beeswax, which has a texture, colour and translucence that re - call anatomical passages. Throughout the ancient world, bees were held in extraordinary regard. The ‘omphalos’ at the temple of Delphi is a stone carved in the shape of a bee hive, considered at the time to be the navel of the world. This offers further motivation for the

28 THE NAVEL-GAZERS , 2020 29 THE DUELLISTS, 2020

Oregon pine, old steel nail, brass plate 30 230 (h) x 40 (w) x 52 cm (d) 31 Things are often held together and apart and lifestyle-related diseases; ongoing ecological precarity, by the same events, in a state of ‘motion - political ruptures and radical socio-economic imbalance; the less motion’. Through the imbalance that outbreak of SARS, Swine Flu, Ebola, Zika, Dengue fever, and results from these events, they may no in 2020, the first global pandemic since the 1918 Spanish Flu, longer stand on their own, but lean into which may be abetting the simultaneous growth of the state each other in an adversarial dependency. and control that stands to be consolidated by technology and Like exhausted boxers in the ring, who are the unfolding of artificial intelligence. It is as if every pressure bound by an intimacy that excludes their removed, is replaced by another. divided audience, or old enemies whose very reason for being remains inextricable Somewhere between Good and Evil, social media became from the other. ubiquitous through the advent of Facebook, YouTube and Twit- ter, all founded in quick succession between 2004 and 2006, The reflective brass surface is a polished and manufactured record of the rift, in the followed by the release of the iPhone in 2007 and Instagram tradition of commemorative plaques. Rulers provide ‘key data’ that recall historical in 2010; veils were lifted on secrets and surveillance by the 2.0 events reduced to empirical dates and facts – failed inscriptions that offer different antihero of the whistle-blower; mammals cloned from somatic accounts of distance, and say nothing about the dynamics of engagement, protracted cells included cattle, sheep, cat, deer, dog, horse, mule, rabbit conflicts, wounds and tensions of the equipoise. and rat, as well as a rhesus monkey by embryo splitting in 199925. In 2019, China began to modify humans. Shortly before This is as much about emotional templates that persist even after significant re - the global pandemic, Avengers: Endgame became the highest grossing movie of all time, lationships are formally concluded, as about the oft competing drives of nature as a hopeful narrative of the apocalypse averted only by the collaboration of the entire and humankind. pantheon of gods and superheroes.

Historian Noah Yuval Harari 24 speaks of modern civilisation as a balancing act between On the other hand, alongside the resurgence of racist populism in the democracies of the objective reality of nature, and the fictions which have enabled our species to im - the developed world, there was equally a quest for emancipation in 2011; the Human agine things collectively and facilitated large-scale human cooperation. The so-called Genome Project and the Large Hadron Collider were completed, Higgs Boson was Anthropocene is shrouded by myths of individualism in an irreversibly fragmented so - discovered and Tesla launched the first electric Roadster. There have been global ciety, and the notion that the inheritance of past crimes against man and nature is too mobilisations for change with effective results through media-driven #metoo and the complex, too entrenched in our culture, to atone for, repair or forgive. recent #blacklivesmatter movements, and the global lockdowns have provided data for hitherto unthinkable environmental, political and human scenarios which might yet Accounting for facts, the 21st century divided the world anew with ‘the war on terror’, a prove useful. decade after the end of the Cold War. In addition to the conflicts in Algeria, the Congo, Liberia, Sri Lanka and Chechnya carried over from 20 th century, it brought new wars in Harari proposes this : on the one hand, although we are made to think that we Afghanistan, Darfur, Lebanon, Gaza, South Ossetia; repeated civil wars in Ivory Coast, live in a state of constant emergency, there has been great progress, especially in terms Syria and Libya; revolutions in Georgia, Ukraine, Kyrgyzstan, Lebanon, Tunisia, Egypt, of life expectancy and security; on the other hand, our lived experience, quality of life and Yemen and Bahrain; countless terrorist attacks and bombings with civilian casualties; disposable time have not improved compared to our hunter-gatherer forebears. Thomp - worldwide riots; mass shootings; the European migrant crisis; the west bank barrier; son further qualifies the cost of progress by stating that our pre-agrarian ancestors the 2007 global recession and 2008 financial crash; a global crisis of mental health actually practiced egalitarianism, although we are led to believe that human existence

32 THE DUELLISTS, 2020 33 was filled with misery, poverty and chaos before small tribes and communes, and the eventual creation of the social contract enforced by the state (Thompson, 2020) 26.

A fundamental post-modern question then, to borrow from Or - well, is perhaps to ask if we can take off the mask or whether it has grown to fit 27. And if in the logic of equilibrium of the Hobbesian state, kept in place by the alliance of violence and security28, what Fanon described as ‘motionless motion’ 29, can be shifted, other than through mutual collapse.

34 THE DUELLISTS, 2020 35 WHAT-GOES-WITHOUT-SAYING, 2020

Bluegum sticks, stones from the Malmesbury Group 36 165 (h) x 135 (w) x 72.5 cm(d) 37 These are stones held up by sticks. society…in parts of the world, certain politicians and media outlets have found it easy to mobilise support Yet in our anthropomorphic subjugation of the material, they could be seen to present pri - by means of populist and xenophobic campaigns that marily as figures engaged in a conference from which the viewer is excluded. In witness - project systematically negative images of migrants.’ ing seemingly secretive exchanges, there can be a discomfort and sense of foreboding (Freeman, 2008) – these emotions course through fiction and history, and colour our paranoia of betrayals, conspiracy, and surveillance. The choice of these materials also places the work in the realm of language, with the widely known saying Alongside a worldwide surge in mental illness in the 21 st century, social scientists and : Sticks and stones will break my bones, but words psychologists have noted an increase in paranoia. Extensive academic literature shows will never harm me.’ This fallacy ties in with the title of a marked rise in psychosis in urban environments (Kirkbride et al., 2006; Marcelis et al, the work, ‘What-goes-without-saying’, as a challenge 1998; Sundquist et al., 2004; van Os, 2001), and for the first time in our 200,000-year his - to the ‘givens’, the ‘known knowns’ which constitute tory, half of humanity lives in cities (Freeman, 2008). It is a significant shift: whereas only conventions, perspectives and popular opinions that are too often verbalised without 5% of the world’s population was urbanised in 1800, this figure is estimated to reach 65% scrutiny. It is drawn from Roland Barthes, who described his motivation for writing My- by 2030. As epidemiologist Tony McMichael commented: ‘This ongoing move from coun- thologies in better words ‘…a feeling of impatience with the “naturalness” which common tryside to city is as momentous a change in human ecology as was the ancient move from sense, the press, and the arts continually invoke to dress up a reality which, though the hunter-gatherer itineracy to agrarian settlement.’ 30 (Freeman, 2000) While urban net - one we live in, is nonetheless quite historical: in a word, I resented seeing Nature and works can offer better education, healthcare and employment for the economically dis - History repeatedly confused in the description of our reality, and I wanted to expose in advantaged, they can also mean greater poverty, disease and mental illness, with causal the decorative display of what-goes-without-saying the ideological abuse I believed was factors ranging from isolation and job instability, to the documented effects of migration. hidden there.’ (Barthes, 1957) 34

Our perceptions of ‘things’ as human or non-human influences our behaviour towards them as objects or moral agents, they colour how we interpret their actions in the present and expect them to behave. Our tendency to anthropomorphism is well documented: we confer a familiar appearance to a diversity of approximately 1.75 million known species with unique phylogenetic characteristics (Heywood, 1995), 10,000 distinct religions with their own set of supernatural beings (D. Barrett, Kurian & Johnson, 2001) and a prolifera - tion of technological devices. The inverse process is the dehumanisation by which human agents are ‘seen’ as nonhuman (Epley, Waytz, Cacioppo, 2007) 31, and there is an irony in the way we resist the projection of sameness when viewing others of our own species.

Emerging psychological research documents the connection between urbanisation, par - anoia and migration. These are indigenous stones, but the sticks are from gum trees listed in South Africa as invaders due to their impact on scarce local resources 32. The global population of migrants reached an estimated 272 million, or 3.5% of the world pop - ulation in 2019, according to the United Nations 33. In his book Paranoia: The 21st Century Fear, Freeman notes that ‘migrants are often viewed with suspicion by other members of

38 WHAT-GOES-WITHOUT-SAYING, 2020 39 This is a work in two parts, as both a commission and a collaboration. Though it may seem distinct from the rest of the exhibition in its direct reference to the human body, 35 it follows a similar logic as some of the other works in presenting a beauty all its own. It is also an extension of the themes of human emotions, perceptions, othering, moral agents and the weight of words introduced in ‘What-goes-without-saying’, adding to these a critique of social justice based on perceptions. (see Endnote 35)

EVERYTHING, AND EVERYTHING ELSE, 2020

Bronze, African blackwood, pine, paint, lead 40 144.5 (l) x 14.7 (h) x 15.6 cm (d) 41 42 EVERYTHING, AND EVERYTHING ELSE, 2020 43 I II

The work came out of unexpected conversations with my colleague Tasneem Hartley While engaging the gaze of the viewer and its potential about her hands as signifiers of her singularity. Born with multiple joint contractures 36, failures, these hands are also employed in a critique she developed her extreme competence and sense of self against her legal identity as of aestheticization that challenges prejudicial assess - ‘disabled’. In her own words: ‘At times, I forget that I am an individual with a disability and ments founded on established norms. As relentless that I have these hands. But it is through my interactions with people that I am so often visual competition continues to shape our perspec - brought back to reality and suddenly it is all about them. And although everything about tives and expectations in today’s global marketplace, me has been built with them, from them and in relation to them, there is always a part of our consumer society is shrouded in ‘many layers me that denies them.’ of fetish and illusion’ of which John Berger speaks 37. These are mostly harmless vanities and indulgences, Their disembodiment has allowed their owner, as well as the viewer, to encounter her but when normative beauty is confused with compe - hands as beautiful and enigmatic material objects. Captured in an evocative gesture that tence, it can be an impetus for decadence in the literal sense of moral or cultural decline. is in fact their resting state, these are bronze casts in the tired tradition of statuary frag - ments. Yet they are, as a colleague remarked, ‘so much more about hands than any others As blindfolded Justizia holding scales and a sword, the current personification of the Law because they make one reconsider what it is to have them and what they might and can is a direct descendant of the high classical era. The same thinkers who shaped Western express (among other things), which, had one cast yours or mine, I don’t believe would ideals of physical perfection and myths of competence or power, declared any departure have been possible in this way.’ from the physical norm as unworthy of existence. Aristotle, who called the hand ‘the tool of tools’, wrote in Politics ‘let there be a law that no deformed child shall live’(Aristotle, 4 th Presented as spontaneously familiar objects, they invite the viewer to admire them, and century BC). This aberrant view echoed through the ages, and it took over twenty-two inadvertently discover the differences that they would not want to be seen to be looking centuries for legislature on disability to evolve significantly, in the wake of the 1960s civil at. This dynamic, often activated within disability art, confronts the viewer with their silent rights movement. The blindfold is intended for our use. appraisals and judgments, the ‘weighing up’ the utility, aesthetics and the burdens of disability – all of which lie within their own realm of fantasy, loaded with cultural values, If these hands can offer themselves up in an alternative allegory of Justizia, it is that of compensatory reactions and projections. absolute justice, in the broadest abstract sense and which stands above the law, norms and contingent decrees of all states. The position of the fulcrum on the horizontal plank indicates a variance in the effort and the load acting on its extremities, and which sug - gests that the hands are filled with intangibles of different weights. This is a challenge to the idea that there can be universally acknowledged wrongs deserving of the same judgment, in view of vast inequalities in circumstance. Perhaps absolute justice requires compensations which can only lie in the intelligence of human hands, materialised in these evocative and expressive life casts, and not the mechanical action of a scale.

Far removed from the hierarchical constructs of the courtroom, the used scaffolding plank recalls its attending conventions only in the materiality of wood, and the effaced references to the black, red and white trimmings of judicial costume. But they are equally the placeholder of a child’s longing to be held by her father as effortlessly as he cradled the planks brought home every evening from building sites.

44 EVERYTHING, AND EVERYTHING ELSE, 2020 45 OBJECTIONS (I-III), 2020

I 55 (h) x 41 (w) x 18 cm (d) II 55 (h) x 26 (w) x 28.5 cm (d) 46 II 49 (h) x 13 (w) x 14.5 cm (d) 47 48 OBJECTIONS (I-III), 2020 49 The corner is both a void and an outward protrusion, as well as a defining feature of the human-built rectilinear environment. With ‘Objections’, in the form of small sea-worn boulders, a frag - ment of nature is invited back into what is often the dead space of corners. Their aesthetic quality is echoed in the work of art - ists who draw inspiration from organic forms, such as Moore, Arp or Brancusi. But there is equally a sense of a tumescent growth, of the fantasy of nature growing back into the artificial environment, blurring its boundaries.

While a cornerstone is traditionally the first stone placed as a reference for all others to be laid in a construction, orienting a building in a specific direction, ‘Objections’ are stones in cor - ners, from which 270 degrees of mass had to be removed in or - der for them to fit the form. It is a reminder of the cost to nature involved in the convenience of human constructions.

50 OBJECTIONS (I-III), 2020 51 ALL OUR YESTERDAYS, 2020

Stones of different local formations, lichen, glass 52 Dimensions variable 8.5 – 22 cm (h) 53 Seers were relied upon throughout ancient cultures, from the Greeks, Babylonians and Egyptians, to the Celts, and Norse, among many others. Believed to be vested with the power of sight, a number of them blind, they predicted the future, interpreted dreams thought to be messages from the gods, and were consulted in matters of politics and religion.

One’s first encounter with these stones is that while they are more or less banal in external appearance, resting on the ground, each has a cylindrical shaft fitted with a magnifier, inviting us to inspect their interiors that were kept from sight in the hundreds of millions of years since their for - mation. The reading implies a desire to have even the most mundane be recognised and acknowledged.

The form reminiscent of the lens of a telescope equally conjures an interpretation of these rocks as ‘Seers’, gazing upwards at the rest of the universe and everything that passes overhead. In contrast to the historical seers, their silent presence implies a universe that doesn’t need a human witness and posits a world that will survive us.

Through numerous processes of erosion, these small stones all broke free from larger original formations: the white feldspar crystal would have crystallised deep in the earth after intruding into the Malmesbury Group some 540 million years ago as molten rock 38, and was exposed through prolonged uplift and erosion; the red dolerite is a volcanic plume which is assumed to be about 182 million years old39. They have lain for eons under the sky.

Bernard Matemara spoke of there being ‘spirits everywhere, in the air, in the rocks, in the wood, in the fruit. And just as you peel the fruit you need to open the rocks’ 40. However compelling this idea that there is something in it for us, that such autopsies of nature will yield riches or wisdoms, the image they conjure of all our yesterdays, lights the path to dusty death all the more clearly 41.

54 ALL OUR YESTERDAYS, 2020 55 1 Anatsui, E. (2013), ‘The El Anatsui Interview’. Interview by Oyiza 20 Virgil. The Works of Virgil Containing His Pastorals, Georgics Adaba for Messengers, 21 May (6:37) and Aeneis, 216 (I. 367-68) 2 Badiou, A. (2003). Fifteen Theses on Contemporary Art , Laca- 21 Arbousset, T. (1842). Narrative of An Exploratory Tour to the nian Ink 22, Drawing Centre. Available: https://www.lacan.com/ North-East of the Colony of the Cape of Good Hope , p 24-26. frameXXIII7.htm [accessed 10.10.2020] Available:https://www.cambridge.org/core/journals/itinerario/ 3 Baudelaire, C. (1863). The Painter of Modern Life and Other article/dido-story-in-accounts-of-early-modern-european-im- Essays. Translated and edited by Jonathan Mayne 1986. London: perialisman-anthology [accessed 05.06.20) Phaidon Press. 22 Sekine, N. 1968. 1 st Kobe Suma Rikyu Park Contemporary 4 Butler, C., (1994). Early Modernism: Literature, Music and Painting Sculpture Exhibition. Kobe: Japan, 1968. in 1900 – 1916. Oxford: Oxford University Press 23 Beuys, J. 1965 .’ Wie man dem toten Hasen die Bilder erklärt’ , 5 Sugimoto, H. (2018), ‘Between Sea and Sky’. Interview by Haruko Schelma Gallery, Dusseldorf, 26 November Hoyle for the Louisiana Channel, Louisiana Museum of Modern Art 24 Harari, Y.N. 2014. Sapiens: A Brief History of Humankind . Lon- at the Enoura Observatory in Odawara. June. Available: https:// don : HarperCollins. www.youtube.com/watch?v=JWh4t67e5GM [accessed 5.11.20] 25 https://www.genome.gov/about-genomics/fact-sheets/ 6 Kwade, A. (2018), ‘Time, Space and Gravity’. Interview by Rox - Cloning-Fact-Sheet anne Bagheshirin Laerkesen for Louisiana Channel, Louisiana 26 Thompson, M., 2020. On (Myth) Making History. In Recon- Museum of Modern Art, 13 September. Available: https://www. structing public housing: Liverpool’s hidden history of collec - .com/watch?v=jCr5rV2Mbno) [accessed 7.11.20] tive alternatives (pp. 291). Liverpool: Liverpool University Press. 7 Yuhas, D. (2012). Psychology Reveals the Comforts of the Apoc- 27 Orwell, G (1936). Shooting an Elephant , New Writing literary alypse. Scientific American, December 18, 2012. Available at: magazine https://blogs.scientificamerican.com/observations/psychology-re- 28 Hobbes, T. (1651) Leviathan. 2008 New York : Atria Books veals-the-comforts-of-the-apocalypse/. Retrieved 12.12.2020 29 Fanon, F (1963), The Wretched of the Earth , translated by 8 Grillon C., Baas J.P., Lissek S., Smith K., Milstein J. (2004). Anx- Constance Farrington, New York : Grove Weidenfeld (p 51) ious Responses to Predictable and Unpredictable Aversive Events. 30 Freeman, D. , Freeman, J., (2008). Paranoia: The 21 st Century Journal of Behavioural Neuroscience, Vol. 118, No. 5, 916-924 Fear. Oxford: Oxford University Press (p. 53) 9 Available: https://en.wikipedia.org/wiki/Arecaceae 31 Epley, N., Waytz, A., Cacioppo, J.T., (2007). On Seeing Human: 10 Available: https://www.lexico.com/definition/artificial A Three-Factor Theory of Anthropomorphism . Psychologival 11 Rotello, C.M., (2017). Cognitive Psychology of Memory, in Learn- Review, Vol 114, No. 4, 864-886. ing and Memory: A Comprehensive Reference (2 nd edition) Availa- 32 National Environmental Management: Biodiversity Act, 2004 ble: https://www.sciencedirect.com/topics/neuroscience/recog- (NEMBA), The Alien and Invasive Species Regulations , Govern- nition-memory (accessed 14.11.20) ment Gazette. August 1 2014. 12 Cohen J.M., Sauer M.J., Santiago E. L., Santiago O., Spencer S., 33 UN Global Commission on International Migration Rohr J.R. (2020). Divergent impacts of warming weather on wildlife 34 Barthes, R. 1957. Mythologies, Preface. Paris : Editions du disease risk across climates . Science 20 Nov 2020: Vol. 370, Issue Seuil. 6519, abb 1702, DOI: 10.1126/science.abb 1702 35 While this commission does not strictly abstract itself from 13 Oldest Evidence of Stone Tool Production Discovered in Ethio - the particularity of which Badiou speaks, in that it partially be - pia, 2019. Columbian College of Arts & Sciences. June 12. Availa - longs to the tradition of disability art, which serves to document ble: https://columbian.gwu.edu/oldest-evidence-stone-tool-pro- and empower the agent as well exacting self-awareness from duction-discovered-ethiopia-0 [accessed 10.11.20] the viewer, it was made from a critical standpoint with regard 14 de la Fontaine, J. (1668). Fables de Jean de la Fontaine - La Forêt to strategies that emphasise Otherness rather than according/ et le Bûcheron, X11.16, p 563. Hachette: Paris claiming equivalent value to a dominant and often discriminato- 15 Heidegger, M. (1954). The Question Concerning Technology. Gar- ry norm. In the collaboration, the hands are engaged as material land Science : New York, pp. 319-324 for their allegorical and strategic potential within a broad con - 16 Badran, O.A., Tawfik, S.A. (1973). A study of some technological ceptual framework, in a similar vein to the other works. properties of some Casuarina spp. grown in Egypt. Alexandria J. 36 arthrogryposis multiplex congenita Agric. Res. 21:149-158. 37 Berger, J. 1972. Ways of Seeing. London : Penguin. 153-154 17 Elkiey, T., Ormrod D.P, (1987). Casuarina and Eucalyptus response 38 http://www.geology.uct.ac.za/cape/town/geology to single and multiple gaseous air pollutants. Water, Air, and Pol - 39 Else-Ragnhild Neumann E.R., Svensen H., Galerne C.Y., lution 36(3/4):365-370. Planke S. Multistage Evolution of Dolerites in the Karoo Large 18 Penone, G (2015). Metaphysical Conversations with Nature: Igneous Province, Central South Africa . Journal of Petrology, Artist Giuseppe Penone speaks with Curator Jed Morse . Nasher Volume 52, Issue 5, May 2011, Pages 959-984, https://doi. Sculpture Centre. September 19. Available: https://www.youtube. org/10.1093/petrology/egr011 com/watch?v=zZXyuPYnNpk (accessed 20.11.20) 40 Matemara, B. (2013), ‘The El Anatsui Interview’. Interview by 19 Fellmeth, A.X, Horwitz, M. (2009). Guide to Latin in International Oyiza Adaba for Messengers, 21 May Law. Oxford: Oxford University Press 41 Shakespeare, W., 1606. Macbeth, Scene 5, Act 5.

56 ENDNOTES 57 ADDITIONAL THANKS TO: STAR TREK: FIRST CONTACT (1996) ESCAPE FROM L.A. (1996) INDEPENDENCE DAY (1996) MARS AT- TACK! (1996) OMEGA DOOM (1996) THE END OF EVANGELION (1997) THE POSTMAN (1997) ALIEN Photos – Nicole Fraser, Douglas Gimberg, Emme Pretorius, Diana Vives RESURRECTION (1997) FUTURE FEAR (1997) INVASION (1997) ARMAGEDDON (1998) SIX STRING SAMURAI (1998) LAST NIGHT (1998) THE PROPHECY 2 (1998) DEEP IMPACT (1998) THE FACULTY Advice and technical support – Otto du Plessis, Leroux Hofmeyr, (1998) DOGMA (1999) BLUE GENDER: THE WARRIOR (1999) END OF DAYS (1999) THE MATRIX (1999) Trevor Pottre, Guy Wood, Manus Holm, Joseph Mhlanga, Jimmy and Arthur Clift, THE OMEGA CODE (1999) BATTLEFIELD EARTH (2000) FAIL SAFE (2000) TITAN A.E. (2000) ON Ishumael Khumalo, Grant Bramwell THE BEACH (2000) THE PROPHECY 3: THE ASCENT (2000) LOST SOULS (2000) LEFT BEHIND (2000) WHAT HAPPENS AFTER YOU DIE? EVER SINCE THE WORLD ENDED (2001) A.I. ARTIFICIAL INTEL- Catalogue – Ben Johnson (Design) and Regan Wood (The Bookbinding Company) LIGENCE (2001) KAIRO (2001) MEGIDDO: THE OMEGA CODE 2 (2001) FINAL FANTASY: THE SPIRITS WITHIN (2001) EQUILIBRIUM (2002) 28 DAYS LATER (2002) TEENAGE CAVEMAN (2002) THE TIME MA- CHINE (2002) JASON X (2002) RETURNER (2002) 20 YEARS AFTER (2002) REIGN OF FIRE (2002) 28 DAYS LATER (2002) 28 WEEKS LATER (2002) RESIDENT EVIL (2002) THE TIME MACHINE (2002) TIME OF THE WOLF (2003) DRAGON HEAD (2003) IT'S ALL ABOUT LOVE (2003) THE MATRIX REVOLU- TIONS (2003) TERMINATOR 3: RISE OF THE MACHINES (2003) GALERIANS: RION (2003) DREAM WAR- RIOR (2003) THE MATRIX RELOADED (2003) DREAMCATCHER (2003) THE ANIMATRIX (2003) SAVE THE GREEN PLANET! (2003)APPLESEED (2004) DAWN OF THE DEAD (2004) CASSHERN (2004) SKY CAPTAIN AND THE WORLD OF TOMORROW (2004) RESIDENT EVIL: APOCALYPSE (2004) THE DAY AFTER TOMORROW (2004) SHAUN OF THE DEAD (2004) IDIOCRACY (2004) ÆON FLUX (2005) SU- PERVOLCANO (2005) ALIEN APOCALYPSE (2005) SERENITY (2005) THE PROPHECY: FORSAKEN (2005) LAND OF THE DEAD (2005) A SOUND OF THUNDER (2005) WAR OF THE WORLDS (2005) LITTLE THINGS (2006) IDIOCRACY (2006) SOLAR ATTACK (2006) CHILDREN OF MEN (2006) SUPER- NATURAL (2006) SOUTHLAND TALES (2006) ARE WE ALONE IN THE UNIVERSE? THE WORLD SINKS EXCEPT JAPAN (2006) THE COLD HOUR (2006) RIGHT AT YOUR DOOR (2006) (2007) TOOTH AND NAIL (2007) PLANET TERROR (2007) SUNSHINE (2007) RESIDENT EVIL: EXTINCTION (2007) THE GENE VARIATION (2007) SUPER COMET: AFTER THE IMPACT (2007) THE INVASION (2007) INVASION OF THE POD PEOPLE (2007) (2007) BABYLON A.D. (2008) PONTYPOOL (2008) DAYBREAKERS (2008) DOOMSDAY (2008) CITY OF EMBER (2008) THE DAY THE EARTH STOOD STILL (2008) BLINDNESS (2008) ZOMBIE WARS (2008) THE HAPPENING (2008) WALL-E (2008) HAPPY END (2009) AUTUMN (2009) KNOWING (2009) PANDORUM (2009) BATTLESTAR GALACTICA: THE PLAN (2009) CARRIERS (2009) 2012 (2009) EARTH 2100 (2009) I AM A HERO (2009) THE ROAD (2009) (2009) WATCHMEN (2009) ZOMBIELAND (2009) (2010) RESIDENT EVIL: AFTERLIFE (2010) BLAST (2010) LEGION (2010) MAXIMUM SHAME (2010) VANISHING ON 7TH STREET (2010)MONSTERS (2010) SKYLINE (2010) STAKE LAND (2010) 4:44 LAST DAY ON EARTH (2011) HELL (2011) PERFECT SENSE (2011)DEADHEADS (2011) RISE OF THE PLANET OF THE APES (2011) TAKE SHELTER (2011) MELANCHOLIA (2011) THE DIVIDE (2011) 5 SHELLS (2012) THE HUNGER GAMES (2012) RESIDENT EVIL: RETRIBUTION (2012) SEEKING A FRIEND FOR THE END OF THE WORLD (2012) IT'S A DISASTER (2012) DREDD (2012) COCKNEYS VS ZOMBIES (2012) CLOUD ATLAS (2012) BATTLE: LOS ANGELES (2012) GOODBYE WORLD (2013) THESE FINAL HOURS (2013) WARM BODIES (2013) WORLD WAR Z (2013) THE WORLD'S END (2013) THIS IS THE END (2013) THE HOST (2013) THE COLONY (2013) ANTISOCIAL (2013) PACIFIC RIM (2013) HOW I LIVE NOW (2013) THE LAST DAYS (2013) SNOWPIERCER (2013) EDGE OF TOMORROW (2013) OBLIVION (2013) AFTER THE DARK (2013) AFTER EARTH (2013) NOAH (2014) (2014) THE LAST SURVIVORS (2014) THE MAZE RUNNER (2014) WYRMWOOD: ROAD OF THE DEAD (2014) SNOWPIERCER (2014) YOUNG ONES (2014) INTERSTELLAR (2014) DAWN OF THE PLANET OF THE APES (2014) DIE GSTETTENSA- GA: THE RISE OF ECHSENFRIEDL (2014) AFTERMATH (2014) GODZILLA (2014) ZODIAC: SIGNS OF THE APOCALYPSE (2014) AIR (2015) Z FOR ZACHARIAH (2015) WHAT COMES AFTER HOMO SAPI- ENS? EXTINCTION (2015) INTO THE FOREST (2015) MAZE RUNNER: THE SCORCH TRIALS (2015) MAD MAX: FURY ROAD (2015) HIDDEN (2015) THE END OF THE WORLD AND THE CAT'S DISAPPEARANCE (2015) TERMINATOR GENISYS (2015) ATTACK ON TITAN (2015) THE SURVIVALIST (2015) CLOVER- FIELD LANE (2016) THE GIRL WITH ALL THE GIFTS (2016) TRAIN TO BUSAN (2016) ARRIVAL (2016) DIVERGE (2016) THE NORTHLANDER (2016) CELL (2016) JIL JUNG JUK (2016) BOKEH (2017) IT COMES AT NIGHT (2017) RESIDENT EVIL: THE FINAL CHAPTER (2017) BLADE RUNNER 2049 (2017) THOR: RAGNAROK (2017) CARGO (2017) STEPHANIE (2017) GEOSTORM (2017) WAR FOR THE PLANET OF THE APES (2017) AVENGERS: INFINITY WAR (2018) BIRD BOX (2018) BLUE WORLD ORDER (2018) WHAT STILL REMAINS (2018) AVENGERS INFINITY WAR (2018) THE DARKEST HOUR (2011) THE DAY (2017) DEEP (2017) THE DOMESTICS (2018) HOW IT ENDS (2018) (2018) PATIENT ZERO (2018) I THINK WE'RE ALONE NOW (2018) LIGHT OF MY LIFE (2019) CHAOS WALKING (2019) TERMINATOR: DARK FATE (2019) CAPTIVE STATE (2019) TERMINATOR: DARK FATE (2019) ZOMBIE- LAND: DOUBLE TAP (2019) I AM MOTHER (2019) THE LAST MAN (2019) DAYBREAKERS (2019) BATTLE ANGEL ALITA (2019) IO (2019) AVENGERS: ENDGAME (2019) INVASION (2020) GREENLAND (2020) LOVE AND MONSTERS (2020) PENINSULA (2020) THE BLACKOUT (2020). DIANA VIVES

2020 (PGDIP) MICHAELIS SCHOOL OF FINE ART