THE POĒSIS OF DECAY: A PAINTER’S RESPONSE TO THE DYSTOPIAN AESTHETIC By THEA LAURETTE DE JAGER THE POĒSIS OF DECAY: A PAINTER’S RESPONSE TO THE DYSTOPIAN AESTHETIC By THEA LAURETTE DE JAGER Submitted in accordance with the requirements for the degree of MASTER OF VISUAL ARTS At the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: ANDREW JAMES SMITH DATE: 31 January 2019 “I declare that THE POĒSIS OF DECAY: A PAINTER’S RESPONSE TO THE DYSTOPIAN AESTHETIC is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. I further declare that I submitted the dissertation to originality checking software and that it falls within the accepted requirements for originality. I further declare that I have not previously submitted this work, or part of it, for examination at Unisa for another qualification or at any other higher education institution.” ………………………………….. (Signature) T.L. DE JAGER Title: THE POĒSIS OF DECAY: A PAINTER’S RESPONSE TO THE DYSTOPIAN AESTHETIC Summary: This study focuses on the investigation and deconstruction of the phenomena of the South African dystopian society, as reflected in the novels of Lauren Beukes and films by Neill Blomkamp. The characteristics and signifiers of a uniquely South African dystopian society are established and investigated through a posthuman lens. The theoretical framework of this study is principally concerned with the critical posthuman writings of Rosi Braidotti, Donna Haraway and, to a lesser extent, Cary Wolfe. Feminism and post-colonialism, and their influences on posthuman theory, are applied as the secondary theoretical framework, in this study. The study is practice led, with the study of the literature serving as mutually informative to the execution of a body of work centred on the dystopian theme. The paintings are intended to be metonyms for the wide range of manifestations of social decline evident in contemporary South African narratives. List of key terms: Avarice; Beukes (Lauren); Blomkamp (Neill); Contemporary painting; Decay; Dystopia; Feminism; Identity; Post-colonialism; Posthumanism; South Africa. Acknowledgements This study would not have been possible without the continued patience, love and support of my family: Clinton, Mischa, Christopher de Jager and Laurence Nortjé. I also wish to express my sincere gratitude to Dr Gregory Kerr for his encouragement and support and not permitting me to contemplate defeat. I am grateful to Mr Dawie Malan and the staff at the UNISA library for their competent guidance in accessing information pertinent to this study. I am sincerely thankful to Dr Gwenneth Miller and the staff members of the Department of Art History, Visual Arts and Musicology of UNISA for their help and input. I am deeply grateful to my editor, Goretti Correia, who succeeds in moving proverbial mountains within seemingly impossible time constraints. Lastly, I am indebted to the supervisor of this study, Mr. Andrew Smith, for his patience, assistance and support. His consistent and invaluable guidance is greatly appreciated. i MVA Dissertation by TL de Jager -57987823 Table of Contents List of Illustrations iii List of Abbreviations v Introduction 1 Scope and focus of the study ............................................................................................ 1 Premise .............................................................................................................................. 3 Methodology ..................................................................................................................... 5 Theoretical Framework ..................................................................................................... 6 Seminal Sources .............................................................................................................. 11 Structure of the dissertation ............................................................................................ 13 CHAPTER ONE: Dystopia 16 1.1 MOXYLAND (2008).......................................................................................... 21 1.2 ZOO CITY (2010) .............................................................................................. 27 1.3 DISTRICT 9 (2009) ............................................................................................ 35 1.4 CHAPPIE (2015) ................................................................................................ 40 1.5 THE POẼSIS OF THE DYSTOPIAN AESTHETIC ............................................... 44 1.5.1 Glazing as Metaphor and Methodology ..................................................... 47 1.5.2 Transference as Metaphor and Methodology ............................................ 48 CHAPTER TWO: Decay 51 2.1 PHYSICAL DECAY ................................................................................................ 57 2.1.1 Urban Decay .............................................................................................. 57 2.1.2 Decay of the Body ..................................................................................... 60 ii 2.2 SOCIAL DECAY ............................................................................................... 62 2.2.1 Racism and colonialism .......................................................................... 63 2.2.2 Xenophobia ............................................................................................. 68 2.3 THE POẼSIS OF DECAY.................................................................................. 73 CHAPTER THREE: Identity 86 3.1 THE ABJECT: BECOMING OTHER ............................................................... 91 3.2 BECOMING ANIMAL / BECOMING HYBRID ............................................. 99 3.3 DEHUMANISATION: THE NEGATIVE MANIFESTATION OF OTHERING108 3.4 POẼSIS OF AN IDENTITY IN DECAY ......................................................... 109 CHAPTER FOUR: Avarice 120 4.1 CONSUMER CAPITALISM ........................................................................... 124 4.2 NEOLIBERALISM .......................................................................................... 130 4.3 POẼSIS OF AVARICE .................................................................................... 135 CHAPTER FIVE: The Horizon of Hope 145 APPENDIX 1: The Critical Posthuman Dystopia as reflected in the work of Jane Alexander 149 APPENDIX 2: Poetry of Decay – Digital Catalogue (Pdf attachment) 157 Glossary 158 Bibliography 163 iii MVA Dissertation by TL de Jager List of Illustrations Fig 1: Leonardo Da Vinci, The Vitruvian Man (circa 1490). Ink on paper, 34,6 cm × 25,5 cm. Gallerie dell'Accademia, Venice. Source: https://en.wikipedia.org/wiki/Vitruvian_Man#/media/File: Da_Vinci_Vitruve_Luc_Viatour.jpg 52 Fig 2: Marion Walgate, The Rhodes Statue [partially covered] (1934). Bronze, one and a half times life size. Current location unknown. Source: https://cdn.mg.co.za/crop/content/images/2015/03/27/ uctrhodesmustgoprotestpoo_landscape.jpg/1280x720/ 55 Fig 3: De Jager, L. 2015 Process documentation, Digital photograph, 728px X 175px. 74 Fig 4: De Jager, L. 2015 Process documentation, Digital photograph, 725px X 250px. 75 Fig 5: De Jager, L. 2015 Process documentation, Digital photograph, 725px X 178px 76 Fig 6: De Jager, L. 2016 Process documentation, Digital photograph, 725px X 250px. 79 Fig 7: De Jager, L. 2016 Process documentation, Digital photograph, 725px X 250px. 81 Fig 8: De Jager, L. 2016 Process documentation, Digital photograph, 704px X 250px. 82 Fig 9: De Jager, L. 2016 Process documentation, Digital photograph, 711px X 248px. 83 Fig 10: Wikus' transformation from human to Other. Source: a) https://filmreviewonline.com/wp- content/uploads/2009/08/p1010557.jpg b) https://uploadpix.files.wordpress.com/2009/10/district9- 04.jpg c) https://filmreviewonline.com/wp-content/gallery/district- 9/p1010580.jpg 96 Fig 11: Chappie 's Closing scene – Yolandi’s transformation from human to Cyborg. Source: https://vigilantcitizen.com/wp- content/uploads/2015/10/chappie18%C3%A0.png 106 Fig 12: De Jager, L. 2016 Process documentation, Digital photograph, 725px X 250px 111 Fig 13: De Jager, L. 2016 Process documentation, Digital photograph, 694px X 250px 113 Fig 14: De Jager, L. 2018 Process documentation, Digital photograph, 926px X 247px. 114 Fig 15: De Jager, L. 2016 Process documentation, Digital photograph,856px X 248px 118 iv MVA Dissertation by TL de Jager Fig 16: De Jager, L. 2016 Process documentation, Digital photograph, 850px X 243px 119 Fig 17: De Jager, L. 2017/2018 Process documentation, Digital photograph,711px X 178px. 137 Fig 18: De Jager, L. 2018 Process documentation, Digital photograph, 1141px X 390px 139 Fig 19: De Jager, L. 2018 Process documentation, Digital photograph, 1672px X 780px. 140 Fig 20: De Jager, L. 2018 Process documentation, Digital photograph, 895px X 250px. 141 Fig 21: De Jager, L. 2018 Process documentation, Digital photograph, 896px X 246px. 141 Fig 22: De Jager, L. 2018 Process documentation, Digital photograph, 888px X 250px. 142 Fig 23: De Jager, L. 2018 Process documentation, Digital photograph, 891px X 187px. 143 Fig 24: Jane Alexander, Butcher Boys (1985 - 1986). Reinforced plaster, animal bone, horn, oil paint, wood bench, 128.5 x 213.5 x 88.5cm. South African National Gallery, Cape Town. Source: https://za.pinterest.com/pin/357543657893463828/ 149 Fig 25: Jane Alexander, The Bucher Boys - detail (1985 - 1986). Reinforced plaster, animal bone, horn, oil paint, wood bench,