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Front Matter Contributors CONTENTS 1!Editorial: Locating ‘Localities’ 47!Shoot to Kill Mario Pissarra and Lize van Robbroeck Dathini Mzayiya 3!Claiming Space 51!The Ruins of Mount Coke: An Erica C Garber !inadvertent monument Brenton Maart 27!Unsettling the Canon – !Some thoughts on the design of 55!September 11, 2013 !Visual Century: South African Art Alfredo Jaar !in Context Lize van Robbroeck 56!Uncontained? The constraints of !ahistoricism in the ‘opening of the 38!A Critical Analysis of the !Community Arts Project Archive at !Proposed Sale of the Africa !the Centre for Humanities !Collection at the Wereldmuseum !Research !Rotterdam Mario Pissarra Chandra Frank 86! Uncontained and the Constraints 46!Head of an Anonymous Moor !of Historicism as Method: A reply Mawande Ka Zenzile !to Mario Pissarra Heidi Grunebaum 46!The Hide of a Black Cow Unathi L Sondiyazi 93!On Clouds with Hard Centres Clare Butcher 47!Branded Heritage 99!African Art Studies in Kenya !We need new names Lennon Mhishi Kwame Labi Third Text Africa Founding Editor Africa South Art Initiative (ASAI) Rasheed Araeen PO Box 53, Cape Town, 8000, South Africa Editorial Collective +27 (0) 21 828 9162 Natasha Himmelman, Mario Pissarra, [email protected] Lize van Robbroeck © 2013 Third Text Africa/Contributors Editorial Board Creative Commons Attribution-NonCommercial- Alda Costa, Christine Eyene, NoDerivs 3.0 Unported License Anitra Nettleton, Okello Ogwang http://www.asai.co.za/third-text-africa.html Advisory Council Third Text Africa is published by ASAI. Awam Amkpa, Raphael Chikukwa, We acknowledge the financial assistance of the Roberto Conduru, N’Gone Fall, British Council, Foundation for Arts Initiatives, Jose Antonio Ferndanes Dias, National Arts Council of South Africa and Angelo Kakande, Namuburu Rose Kirumira, Stellenbosch University. Abdellah Karroum, Yacouba Konate, Kwami Labi, Neo Matome, William Bwalya Miko, Barbara Murray, Jacqueline Nolte, Bisi Silva Pep Subiros iii Third Text Africa, Vol. 3, Issue 1, November, 2013 CONTRIBUTORS Clare Butcher (Harare, Zimbabwe) is a curator and writer who cooks. She is currently teaching in Fine Art at the Gerrit Rietveld Academie and a member of the School of Missing Studies, MFA programme at the Sandberg Instituut in Amsterdam, the Netherlands. Recently she completed her MFA at the Centre for Curating the Archive, University of Cape Town, South Africa during which time she initiated the Annex Residency Programme in collaboration with the South African National Gallery. Clare completed the de Appel Curatorial Programme in Amsterdam in 2009. Chandra Frank (Dutch/South African) received an MPhil in African Studies from the University of Cape Town in 2012. Her research looked into African art collections in the Netherlands and questioned the possible sale of the Africa Collection at the Wereldmuseum Rotterdam. Chandra has a strong interest in cultural heritage, citizenship, the legacies of slavery and colonialism and gendered racism in the Netherlands. She coordinates a module for SIT Amsterdam on feminist theory and activism. Chandra writes for the blog, Africa is a Country. Erica C Garber was a recipient of the Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) fellowship in Lagos, Nigeria, which made much of this research possible. She has curated exhibitions at the National Museum of Ghana, Columbia University, Frank Bette Center for the Arts, and the Museum of the African Diaspora in San Francisco, where she was also the Exhibitions and Public Programs Manger for several years. She has contributed articles to the International Review of African American Art and The Art of Nigerian Women. She earned her Master’s degree in Modern Art History at Columbia University, New York. Heidi Grunebaum is senior researcher at the Centre for Humanities Research, University of the Western Cape. She is co-editor, with Emile Maurice, of Uncontained: Opening the Community Arts Project Archive (2012) Her work focuses on memory, narrative, the afterlives of war and genocide; and psycho-geographies of displacement in South Africa, Germany and Palestine/Israel. Recent works include, Memorializing the Past: Everyday life in South Africa after the Truth and Reconciliation Commission (2011); and with Mark J. Kaplan, the documentary film, The Village Under the Forest (2013). Alfredo Jaar (Santiago de Chile/Nueva York) is an artist, architect and filmmaker. His work has been shown extensively around the world. A major retrospective of his work was held in 2012 at three institutions in Berlin: Berlinische Galerie, Neue Gesellschaft für bildende Kunst e.V. and the Alte Nationalgalerie. Jaar has completed more than sixty public interventions around the world including recently two important permanent public commissions: The Geometry of Conscience, a memorial located next to the just opened Museum of Memory and Human Rights in Santiago de Chile; and Park of the Laments, a memorial park within a park sited next to the Indianapolis Museum of Art. This year, he is representing Chile at the 55th Venice Biennale. Kwame Amoah Labi’s research interests include Fante asafo art, issues confronting the study of art in Africa, and contemporary art in Ghana. Labi has mounted a number of exhibitions with the most recent being ‘Kuduo, the Akan Art of Brass Casting.’ His publications include ‘An Asanteman – World Bank Heritage Development Initiative in Promoting Partnership with Ghanaian Traditional Leaders,’ ‘Reading the Intangible Heritage in Tangible Akan art,’ and ‘Towards a Museum Culture in Ghana: Processes and Challenges.’ Brenton Maart is an artist, writer and curator, currently working towards a PhD at the Centre for Curating the Archive at the University of Cape Town. He is also Curator of the South African Pavilion at the 55th la Biennale di Venezia and Artistic Committee member of the National Arts Festival. Maart has served as Director of the KZNSA Gallery, Exhibitions Curator at the Johannesburg Art Gallery, Curatorial Consultant at Freedom Park Trust and Curator of the Gauteng Provincial Legislature Art Collection. His photography and installations explore contemporary societies and structures in South Africa and have been shown in numerous solo and group exhibitions nationally and abroad. Lennon Mhishi is a PhD Candidate in Anthropology and Sociology at the School of African and Oriental Studies, University of London. He holds degrees in Social Anthropology and Sociology from the University of Zimbabwe and Monash University, South Africa. His current research focuses on Zimbabwe, migration, music and consumption and his interests include gender, sexuality and issues pertaining to Africa in general, for all its diversity. Dathini Mzayiya portrays the contradictory nature of South Africa through oil paints, charcoal and video installations. His artwork has been showcased in spaces such as the Iziko National Gallery, the Association for Visual Arts (AVA) Gallery and Bag Factory Artists’ Studios. Mzayiya has worked extensively throughout Southern Africa and has had artist residencies and exhibitions in Kenya, Liberia, Ethiopia, Germany, Austria and Holland. Additionally, he is a founding member of Visual Arts Network South Africa (VANSA), Africa South ii Contributors Art Initiative (ASAI) and Gugulective. Passionate about social work, Mzayiya spends a significant portion of the year contributing his skills to and participating in various community interventions. Mario Pissarra is the founder of the Africa South Art Initiative (ASAI), and a PhD candidate at the University of Cape Town. Active in cultural workers and community arts initiatives since the late 1980s, Pissarra has lectured on art in Africa at the University of Cape Town and the University of Stellenbosch. He has published widely and was editor-in-chief of the four-volume Visual Century: South African art in context, 1907-2007 (Wits University Press, 2011). Recently, he authored the catalogue for Against the Grain (ASAI, 2013), an exhibition featuring five wood sculptors from the Cape, which he curated for the Iziko South African National Gallery and the Sanlam Art Gallery. Unathi L Sondiyazi is an artist who prefers to remain anonymous. Lize van Robbroeck completed her Doctorate at the University of Stellenbosch on the discursive reception of modern black art in white South African writing. After completion of her Doctorate, her research focused on postcoloniality and nationalism in South African visual arts. She is one of the editors and writers of Visual Century, a four-volume revisionist history of South African art in the twentieth century. Recently, her research interests have expanded to include psychoanalytic theories of subjectivity, which she is applying to postcolonial visual culture. She is currently Associate Professor in the Department of Visual Arts at Stellenbosch University, where she coordinates the Visual Studies courses. Mawande Ka Zenzile, (Lady Frere/Cape Town) is versatile artist, working across disciplines including painting, sculpture, performance art, video art and photography. In his work, Zenzile centres Xhosa history and heritage, engaging with politics of representation, memory and epistemological politics as spaces of navigation. In addition to two solo shows, he actively participates in group exhibitions, such as the recent Sulptural Premise (2013) at the Stevenson Gallery in Cape Town, as well as public talks and symposiums. Currently, he is completing his BFA at the University of Cape Town’s Michaelis School of Fine Art. iii.
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