IQHAWE ISSUE NO.8

ISSUE 8 IQHAWE

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Contents

8 CREATIVE OF THE MONTH Afrotist

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COVER FEATURE Mankebe Seakgoe

24 FEATURE Zandile Tshabalala

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ARTIST BIOGRAPHY Manyaku Mashilo

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ARTIST BIOGRAPHY Duduzile Mnguni 4

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SPACES Gallery Galley Sixteen Gallery and Move Gallery Heart is in Art Overheard Gallery IQHAWE

EDITOR-IN-CHIEF PRETTY RENAE MANGENA Deputy Editor Lethabo Motlalepule Phora Copy Editor Keamogetswe Mere Noni Silomo Social Media Anastasia Nkhuna Design Koketso Maluleka Photography Thapelo Kekana Video Editor Tshegofatso Dibakwane Special thanks to Tshidi Mokoena

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EDITOR’S NOTE

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was watching an interview with Jay-Z the other day. It was a very short clip that I stumbled upon on my Instagram explore page. He was talking about how he is able to account for everything he did in the last few months and in the last year and how he had spent his days.

Yes, I agree that’s very easy to say when you are a billionaire. However, I want to highlight the importance of taking account of one’s TIME! Seconds turn into minutes then hours and you still haven’t started the projects/plans and goals you had set out to achieve. By the time you realize it, months have gone by and you are still stuck in the situation you want to change.

So to cut the long lecture short, at the beginning of this new decade instead of focusing on big goals and big ideas you may have, let’s start with how you spend your days. Are you meeting personal deadlines and goals? Have you been actually putting the daily effort needed to reach your goals? Have you created a portfolio/cv to get you new gigs?

Are you making lists and checking them off? Are you sending those proposal emails? I could go on all day.

But my point is that it’s about TIME! If we are technical about it, you only have plus or minus 200 days in the year, this is if we exclude January and December (we all know why), weekends and days that simply fade away.

I think we need to stop thinking that simply because we are in a new decade there has been a magical awakening in us to achieve our goals and that because we want them they will happen. You have IQHAWE

to want what you want so badly that you dedicate your time to achieving those goals. It even starts with something simple like making your bed each day, to get up earlier just like you promised yourself you would. The idea is to stop making excuses for yourself when you secretly know that your main obstacle is just yourself.

Let’s account for our days, account for our goals and account for every hour we spend working on greater versions of ourselves. And on that note, please do enjoy our first issue of the new decade.

We have pulled out all the stops with this one.

We have also welcomed new editions to IQhawe whose work you will be seeing very soon, it’s quite obvious that we are extremely excited about that.

Till next time folks Pretty Renae Mangena Editor-in-chief

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CREATIVE OF THE MONTH

AFROTIST @afrotist

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FROTIST is a 21-year-old Hip Hop artist and model from Johannesburg, South Africa. Afrotist’s performance style and creative work usually contain high queer sexual energy, and unapologetically tells stories by being in front of the lens and often accompanies subliminal messages to create statements.

His music catalogue includes a Chilled Hop genre EP titled AIHU (2019) and a newly released high energy trap single titled CLOUT (2020) - available on all platforms. His sound is liked by many Hip Hop fans as he incorporates a strong element of Hip Hop into a lot of other sub-genres.

Afrotist’s high energy performances usually leave the audience in awe as they always include dance, high tech and a great performance deliverance approach. With his music, he plans to perform all around Africa and to be dubbed as “the greatest gay entertainer in Africa”, and to continue setting stages on fire as he always has been for the past two years of being in the music business.

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Photography by @ngelosi.jpg

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COVER FEATURE

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THE UNRELENTING FEMME THE REPRESENTATION OF BLACK WOMEN HAS BEEN A POLITICAL ACT FROM THE VERY BEGINNING OF THE NOTION ITSELF, WE'VE COME A LONG FROM OUR MUMMY FIGURE AND AUNT JEMIMA DEPICTIONS FROM THE 1960S. WE SAT DOWN WITH ARTISTS ZANDILE TSHABALALA AND MANKEBE SEAKGOE TO SPEAK ABOUT HOW THEIR REPRESENTATION OF BLACK WOMEN IS UNDOING YEARS OF PROBLEMATIC REPRESENTATIONS OF BLACK WOMEN. IQHAWE

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@mankebeseakgoe

IQHAWE: Who is Mankebe Seakgoe?

Mankebe: Mankebe Shocky Seakgoe was born in June 1998 in Lebowakgomo, Limpopo. I grew up and attended school in Johannesburg and it’s where I currently reside. Growing up I was interested in drawing but I never really knew what ‘art’ was until I was introduced to it in primary school. Even then I didn’t think it was a career option, I was going to be an advocate and part-time writer. It was my mother who insisted I pursue art full time, having seen how passionate I was about it and the fulfilment it brought me.

IQHAWE: A lot of your work centers around Black female representation, is this intentional? If so, why is this important?

Mankebe: My work is centred around the representation of the black female. As a young black female myself, I see and experience the repercussions of black women being marginalised subjects IQHAWE: Please walk us both in art and life. Realistically through your career journey I know it would not be as an artist this far. possible to disregard the Mankebe: The first time the representation that is already public ever saw my work was out there and so I want to at LPO (Lets Play Outside) present a different narrative.

Fest at Constitution Hill in 2018 and early 2019 my work was at the Mkoko Foundation IQHAWE: What do you want Auction and later showing at people to take away from Art of Dining, the Artivist and your work? the Wits Film and Television Mankebe: I would like for awards. people to leave my work with a different perspective 14

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Photography by Thapelo Kekana

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to and can then definitely, the ‘want to’ being the most important thing because the environment is very challenging and can potentially be harmful to your mental health which is directly linked to your creative abilities. You can never know too much and sometimes you haven’t been exposed to enough methods of working to know which one communicates your message best.

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IQHAWE: As an artist that has studied for her craft, would you advise other aspiring artists to do the IQHAWE: How were you able same? If so, what are your to have your work exhibited? reasons?

And what advice would you Mankebe: I believe it is not give artists that aspire to do a necessity but if you want the same?

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Mankebe: I think some of the biggest challenges would have to be learning how to handle rejection, and how to manoeuvre myself in the space which we aren’t taught you have to learn on the job.

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IQHAWE: What would you say are the biggest challenges you faced in this space?

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Mankebe: I’ve always been into vintage things, especially the aesthetic of vintage photography and I draw from things I’ve learned and literature I’ve read and incorporate my lived experiences.

Mankebe: I think it is still clouded with old masters and there aren’t enough new and emerging artists given showcasing platforms.

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IQHAWE: Where do you draw your inspiration from?

IQHAWE: What are your thoughts on the South African Art space currently?

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to viewing the black female in art and also being more conscious of the way they think and speak about them. And for those that resonate with the imagery to see themselves being represented in a positive light.

Mankebe: I try to surround myself with people that are doing what I’m doing and we all keep our eyes and ears open for any opportunities and put each other on. So I would advise other artists who may want to have their work exhibited to do the same, always look out for “call for artists” on the internet as well as social media and to also make sure that anyone

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'I think at this point everything is building up and affecting the next like the butterfly effect' 18

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that knows you know what you do because you never know where the opportunity will come from.

Mankebe: Zanele Muholi, Carrie Mae Weems, Santu IQHAWE: What has been a Mofokeng, Dada Khanyisa career highlight for you thus and Kara Walker far?

Mankebe: I don’t specifically think of any point as the highlight of my career, I think at this point everything is building up and affecting the next like the butterfly effect and all working together to form the foundation of my career.

IQHAWE: What is the overall goal you would like to reach as an artist? And why is this goal important to you?

Mankebe: I would love to master the way I work, both technically and in the way, I speak to/about my work because I believe the message I am trying to bring IQHAWE: What has been a across has the potential of career highlight for you thus being very powerful, and if far? projected in the wrong way, IQHAWE

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COVER FEATURE

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Photography by Thapelo Kekana

ZANDILE TSHABALALA @zandilet_

IQHAWE: Who is Zandile Tshabalala?

Zandile: Zandile Tshabalala is a painter born and raised in and around Soweto. She’s highly ambitious, imaginative and passionate about her art and it is evident in her work.

IQHAWE: Please walk us through your career journey as an artist this far Zandile: Thus far my journey has been amazing, I’ve been getting great feedback and recognition from the people and it all has happened in a very short time which I am truly grateful for. Although most of the time it does get slightly scary and overwhelming I still am humbled by the love and opportunities I have been granted thus far.

IQHAWE: A lot of your work centers around Black female representation, is this intentional? If so, why is this important?

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Zandile: Yes, my work intentionally represents the black female body as I feel that we need more of these sorts of imagery of black women. To elaborate we need more images of black women in powerful positions and in full control of how they wish to be seen, and so my work by being the way it is, is meant to encourage black women to unapologetically be in touch with their desires and imagination and not shy away from bringing them to life.

IQHAWE: What do you want people to take away from your work?

Zandile: As mentioned, I really want people to not be afraid of themselves (or their desires) but instead know themselves and love themselves enough to put themselves first.

IQHAWE: Where inspiration from?

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Zandile: Most of my inspiration is drawn from other artists i.e. Kerry James Marshall, Njideka Akunyili Crosby, Henri Rosseau and of recent Cinga Samson to name a few. I look up to these artists a lot and am always grateful that they have paved the way for younger artists like myself.

IQHAWE: As an artist that has studied for her craft, would you advise other aspiring artists to do the same? If so, what are your reasons?

Zandile: Yes. The importance of studying fine art was not very clear at the early stages but the further I went in with my degree the more that I realized how much I needed all of those art history lectures and how they have contributed to my understanding of art and even my work. Also, art school is a nice way of getting to know yourself and the medium you’re most comfortable with as you get exposure to mediums and techniques that you probably weren’t familiar with initially.

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IQHAWE: What are your thoughts on the South African Art space currently?

Zandile: We need more opportunities for emerging artists. We need more females taking up more of these art spaces.

IQHAWE: What would you say are the biggest challenges you faced in this space?

Zandile: I think getting opportunities to show my work is my current concern and struggle at the moment, but the year has just begun so I think that will change over time.

IQHAWE: How were you able to have your work exhibited? And what advice would you give artists that aspire to do the same?

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' I really want people to not be afraid of themselves' 30

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Zandile: Thus far I was approached and asked to show my artworks. My advice for aspiring artists is to always grab opportunities, especially during their early careers. Don’t worry about reputation as of yet, each opportunity is a step towards your desired future self.

IQHAWE: What has been a career highlight for you thus far?

Zandile: Being featured in Bubblegum club, I think that for me was significant because I had put it in my mind the previous year but never really paid much attention to the thought again. So I think that was evident to me that what you put out to the universe matters.

IQHAWE: Who are your top 5 favourite artists of all time?

Zandile: Kerry James Marshall, Njideka Akunwyili-Crosby, Henri Rosseau, Cinga Samson and Simphiwe Ndzube. The list is long, I highly want to mention more people.

IQHAWE: What is the overall goal you would like to reach as an artist? And why is this goal important to you?

Zandile: I think my overall goal is to be able to live off my art and take care of my family using earnings that come from being an artist.

This to me is important because I would like to prove that being an artist is a valid and possible career path and also to break the stigmas around being an artist.

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ARTIST BIOGRAPHY

MANYAKU MASHILO @manyaku_mash

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anyaku Mashilo was born (1991) in Limpopo, South Africa. She currently lives and works in Cape Town. Mashilo is a selftaught multidisciplinary artist who creates mixed media, paper-based drawings and works. Portraits, landscapes and inspirations from cartography, play an important role in Mashilo’s work. Mashilo’s works offer a perspective into self-representation, desire, geography and spirituality.

For Mashilo, it is important to visualize black identities with compassion and humanity and create an accurate archive of who we are and how we choose to identify as black bodies today. Mashilo aims to capture intimate settings and use these as a gateway to ponder the complexities of black existence. The abstract environment built around her figures and sometimes as the figure gives suggestions to a place, mood, movement, and emotion only accessible beyond this realm.

Mashilo has exhibited widely across South Africa including solo shows at Breaking Bread in 2019 and The New Heritage Museum in 2017, both in Cape Town.

Group exhibitions include She Impressions at the Project Space in Johannesburg in IQHAWE

2019; Sunday Service at GUS in Stellenbosch and The Numbers Exhibition at Hazard Gallery in Johannesburg both in 2018; La Gravitas at La Provence Gallery in Franshoek in 2017.

In 2020 Mashilo will present her most recent body of work at 99 Loop Gallery in Cape Town, South Africa. Dedicated to the act of cherishing lineage with precise line work and otherworldly reimagining; Manyaku Mashilo embraces the art of portraiture to lay claim on tales lost. Spurred on by a love of storytelling inherited from her matrilineal heritage, Mashilo tasked herself with the quest of undertaking the archival of black life. Lives she then channels through a multitude of questions and recalibrated beliefs that result in the sacred space of her offerings to her chosen portrait subjects.

Focusing specifically on

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the technique of portraiture, with its depth and dedication to capturing an exactness; Mashilo immortalises the details of each of these faces, and in doing so, honours their existence in every aspect. By paying such close attention to her people, Mashilo draws on the pathways of their history that form the very makeup of their being. The focus here is sincere and sacrosanct in its undertaking; it is imperative for her as an artist to capture blackness, as there is a known history of dismissal and racism that has formed tall walls between black bodies and the art begotten from them. Manyaku actively seeks to do more than explore these bodies; she seeks to represent them as they are, and then remove them to be justly elevated beyond their given circumstances.

Over and above the act of recording, of creating a space to be seen and revered, Mashilo creates a space that transcends the reality from within which these subjects have been called from. That IQHAWE

space that she’s carved out, she shares immediately with those whose stories she hones in on, and this space is so defined by its distance from wherein these bodies would usually be scrutinised.

This space transcends even further when contextualised with the syzygy of the subject and the planets, stardust and patternmaking Mashilo surrounds them with to complete her homage.

The space these pieces live

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in is engulfed in texture, shape and glittering gold. Here they are seen as Mashilo knows they should be; with pause, with awe and with triumph.

Honing in on every facet of identity which she subsumes her works in, Mashilo manages to not only actively participate in the reclamation of living a black life, or the honouring of the black lives from before, but she places them delicately between other frames of thinking. This allows blackness to breathe; to rebuild itself beyond what it was defined as by those who are not. Manyaku chose to make her activism the decision to embolden, to lift, to codify the stories that she feared would never be told. She created a space for blackness to behold itself, and then for you to behold.

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ARTIST BIOGRAPHY

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uduzile Mnguni, 24 born and raised in Mpumalanga (Middelburg) in 1995.

She attended school at Sofunda Secondary School.

Pencil and paper were the only mediums she knew until her brother enrolled her for parttime art classes. That is when her interest in art developed. In 2015 she moved to Pretoria and studied Graphic design for a year. She then applied to study at the Tshwane University of Technology, Fine Art for three years. In her first year, she was part of the community service at the National Zoological Gardens of South Africa. In 2018 she was an intern at Fried Contemporary gallery, the same year she was a second runner up in the painting category for My Middelburg Art Competition.

In 2019 she was employed as a tutor for drawing, whilst studying for her Btech in fine and applied arts at Tshwane

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University of Technology.

She was selected as top 500 Sanlam portrait award 2019, she also was selected as top 100 and top 20 under drawing category for Thami Mnyele art completion 2019. Duduzile also participated in group exhibitions, one at Trent gallery called the living pallet, another one at Javett art centre, called living Legends exhibition.

Duduzile is currently volunteering at Modern Art Project South Africa, giving a tour guide on their current exhibition project for 2020.

She is interning so she can study for her PGCE in Fine arts.

Duduzile Mnguni is selected as one of the top 50 emerging creatives in South Africa for Design Indaba 2020.

Her work is influenced by her lived experiences. She grew up in a small family and felt emotionally neglected, through art-making she finds the lost connection. For her art-making is a form of healing, she enjoys exploring different mediums that speak to her.

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SPACES

GALLERY GALLERY

EXPERIMENTATION WITH ONE’S CREATIVITY IS THE VERY REASON WE HAVE A VAST SPECTRUM OF DIFFERENT FORMS OF ARTISTIC EXPRESSION IN THE WORLD. THEREFORE WE INTERVIEWED CHLOE REID, AN ARTIST BASED IN JOHANNESBURG EXPLORING THIS SPECTRUM THROUGH WHILE FINDING NEW WAYS TO EXHIBIT WORK.

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IQHAWE: What exactly does Gallery Gallery do? And how did the idea come about?

Chole: Gallery Gallery is a project aimed at finding ways to exhibit art in Johannesburg that foregrounds collaboration, interdisciplinary practice and experimentation. The name gallery, gallery points to role-play or playplay. It stems from my belief that there is room for a looser, more open approach to showing art than is offered by the existing gallery structures in South Africa. With Gallery Gallery, I want to see if it’s possible to be more fluid with exhibition-making - to allow for the shifting character of artistic practice and discourse to be reflected in the spaces and manner in which it is shown. Gallery Gallery is in partnership with the gallery, 44 Stanley Avenue, where all of its projects are currently based. So far, our programming has included exhibitions, residencies, workshops, screenings and book launches.

IQHAWE: Who are the people behind it?

Chloë: Gallery Gallery is my own initiative, the purpose of which is to connect and collaborate with artists, writers and curators who are interested in diversifying the models that are available for exhibition in Johannesburg. My name is Chloë Reid and I am an artist based in Johannesburg. At the gallery, I am in partnership with Fiona Pole (artist) and Didier Presse (framer) who runs the archival framing business, bookshop and fine art print specialist next door.

IQHAWE: Your info bio mentions the fact that you are a movable and collaborative template for artists, writers and curators, how do you go about this process?

Chloë: My intention for Gallery gallery is ultimately to develop a platform for art that is not confined to one physical space. I want to establish a network of support between artists, writers and curators that enables work to be produced, exhibited, published or performed according to the demands of IQHAWE

each project. This would mean finding the appropriate form for each project rather than confining every project to the same space in a rolling exhibition calendar, as is the case with a traditional gallery. I am currently incubating these ideas in the exhibition space at 44 Stanley Avenue, connecting with a community of practitioners with the ultimate aim of realizing the ‘movable’ aspect of Gallery gallery.

Each project is curated/assembled by me and at least one other artist, writer or curator. In time, when the project is better established, I hope to be able to hand over the space to other practitioners to use for independent projects that align with the thinking behind the gallery, gallery. For now, I am administering all the projects but they are conceived and carried out collaboratively. I am making a point of not focusing on individual practices, so most of the projects involve several people. Each project is a one-off and there isn’t a stable of artists or representation. This enables us to operate alongside existing gallery spaces, working with them rather than in competition.

IQHAWE: How does one collaborate with you, do you select artists or writers to work with or do they contact you?

Chloë: A bit of both! Each of Gallery gallery’s projects so far has come from conversations I have had with other artists. Some of these conversations started a few years ago and have finally found a form, others have been more spontaneous. Increasingly, I am

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working with people whose practices are entirely new to me. I take time to consider a range of disciplines and artistic communities in Johannesburg, which exposes me to new work and ways of thinking. Through varied programming, the audience is growing and this yields productive interactions. I remain open to proposals by anyone who is invested in collaboration and experimentation and it is gratifying to be contacted by practitioners whose work I am unfamiliar with.

ChloĂŤ: I want Gallery gallery to push towards making the South African art space more dynamic, less static, baggier, and less tidy!

I hope to use the gallery to try out a range of methods of exhibition. I want to see if it’s possible to create a sustainable model for an exhibition space that is run collaboratively by practitioners rather than gallerists. I want to find a balance between experimentation and financial viability, which is a constant struggle for most artists. Too much weight on either side can alienate and exclude your audience or flatten creativity. There is an acknowledgement that it is necessary to make money to make and exhibit art but that strong work emerges when money is not the motivating concern. This may seem obvious but there is a lot of smoke and mirrors in the art industry!

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IQHAWE: Does the organization generate revenue from this work and if so, how?

Chloë: Income for the gallery, where Gallery gallery is currently based, is generated from the sales of artworks. This is unpredictable but will hopefully stabilise as its audience develops. Ideally, the gallery will reach a point where it can sustain itself financially and so enable more experimentation. This point is still relatively far off but the project and work have been very well received and in its current form, it is a modest operation.

IQHAWE: What are your thoughts on the South African Artspace currently?

Chloë: The South African Artspace is directed by monolithic galleries and Art Fairs. These platforms support and promote the careers of numerous local artists. The high profile of many South African artists internationally is testament to this. I am incredibly proud to be an active part of the South African Artspace, especially after having travelled a little and seeing how strong the work coming out of here is in comparison to what I have seen elsewhere. There is a push for diversity in the work that is showcased by these institutions but this does not extend to the spaces and manner in which the work is shown. There are few sustainable alternatives to these structures and very few artist-run and, or independent spaces in South Africa. There are several reasons why this is the case, the most obvious of which is the lack of funding available for the arts.

Another, perhaps less obvious reason, is that the art space celebrates individuals and focuses on creating ‘iconic’ artists. This is a marketable strategy but when it is the only strategy, the development of the collective agency of the artistic community falls by the wayside. I am not opposed to the thriving private gallery and Art Fair spaces that currently exist. My personal practice has profited from those spaces. Rather, I think that art practice and discourse in South Africa would benefit from a few alternatives and 48

that in turn, this could enable more inclusivity in the arts.

IQHAWE: Oftentimes the Art space is viewed as elitist and only accessible to a certain group of people. How is the organization challenging this?

Chloë: Gallery gallery’s programming includes a diversity of practices and disciplines through which we hope to encourage a wide audience of all ages. Though they have much in common, the visual art, literary and film industries in South Africa don’t naturally overlap. By bringing screenings, book launches, residencies, workshops and other related events into the exhibition space, I hope to welcome more collaboration between these fields and their audiences.

Artists are invited regularly to work in the space of the gallery which provides a window into the process involved in making art. Similarly, the walkabouts and workshops that accompany each of the exhibitions offer insight to new audiences who might feel intimidated by spaces for art.

By only working collaboratively and with groups of artists, the projects automatically have a wider reach. I also try to work with artists who are interested in how an audience engages with the work – where there is a kind of equality between the viewers, the work and the artist. I don’t want this to limit the work we show, some practices function by informing audiences rather than encouraging discussion and some subject matter demands this. However, I like to think that the process of looking at art can also be a generative one. Exhibition spaces and the work itself tend to take an authoritarian approach to their audiences. The spaces are designed as sanctuaries of an elusive kind of intelligence. I would like for Gallery gallery to promote exchange between the work and its audience.

When Gallery gallery is better established and can become a movable platform, its varied locations and environments will contribute IQHAWE

further to its artist and audience base. I am developing many ideas with regards to enabling access to technical facilities for exhibition-making in South Africa. This year, with help from other organisations and individuals, I hope to formalise a database/ library of audio-visual equipment that institutions in Johannesburg are willing to lend to artists for exhibition purposes. There are already organisations that offer this service on a small scale but I would like to connect all of these resources and encourage those who have equipment lying around to sign up so that artists can have the means to show their own work on their own terms rather than depend on galleries for equipment.

IQHAWE: What has been some of the highlights since the organization started?

Chloe: The pre-screening of ‘An Ordinary People’ by Ernest Nkosi was a very special moment. The film is a documentary about car spinning in South Africa and is currently on its way to multiple festivals around the world.

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We were unbelievably lucky to have Nkosi and producers, Nhlane Enos Manthata and Thato Dhladla in the space with us, talking about their experience. Their genuinely collaborative spirit is a pleasure to be around.

I’m hoping they’ll come back again!

Having Nabeeha Mohamed as our first artist in residence was also a highlight. She produced a series of monotype prints on the Fleury Press at the gallery. Based on our conversations during her time in residence, we will be working together on an exhibition in March this year. I very much enjoyed the rock painting workshop held during the first exhibition, ‘rocks’ where children painted rocks inspired by Nukain Mabuza’s Rock Garden at Revolver Creek. The children were remarkably attentive!

IQHAWE: What has been some of the challenges by Gallery gallery?

Chloë: Running a project that I am mostly making up as I go along asks for a huge amount of creative and emotional energy. As I am stimulated by the work, this energy is given willingly but it takes its toll. To sustain the project, some elements need to be kept in balance, namely: the integrity of the work and its financial viability; the work and its audience; the artists and their expectations. This is hard and the rewards aren’t immediately apparent.

Occasionally, visitors are openly disparaging about the work and demand that it lines up with a narrow definition of art or their aesthetic preferences. It can be challenging to engage with minds that are foreclosed.

In spite of this, Gallery gallery has mostly been received with enthusiasm by artists and audiences and this makes for exciting times ahead. Word is beginning to get out and I am being contacted by artists and clients, rather than the other way around. This is gratifying.

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TAKING ART BACK TO ITS ORIGINS IN CONVERSATIONS SURROUNDING ART AND REPRESENTATION, THE LACK OF ART ENTITIES AND ART GALLERIES IN TOWNSHIP SPACES IS OFTEN AT THE CENTRE OF THE DISCOURSE, THEREFORE WE INTERVIEWED SIYA FONDS KHUPE, FOUNDER OF THE INDEPENDENT GALLERY SIXTEEN GALLERY AND PHUMELELE GUMA FOUNDER OF THE MOVE GALLERY. BOTH GALLERIES ARE SPECIFICALLY AIMED AT BRINGING ART TO THE TOWNSHIP WHILE AT THE SAME TIME CREATING A SPACE FOR CREATIVES.

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SIXTEEN GALLERY

Interview with Siya: Fonds Khupe @themovegallery

IQHAWE: The idea of a home gallery is quite interesting.

How did the Sixteen Gallery come about? And why the name Sixteen Gallery?

Siya: Sixteen Gallery is an idea that came about from most of the experiences I’ve had on my journey as a creative.

I grew up in a less creative space. In my opinion, there was nothing that screamed ‘creative’ or ‘artistic’ around my neighbourhood. Growing up, my aspirations were different from what they are right now. I had a different plan set up for my life. I am really glad it did not turn out the way I had envisioned it would. I had to get myself into creative spaces and learn about the creative industry and the arts as a whole on my own. I guess that following my instincts got me where I am right now. So after discovering all these beautiful creative spaces, I felt like I was robbed as a kid growing up without being exposed to such spaces and right there and then I knew this is what I want to do with my life. I believe that God has brought me to this world for a certain 54

purpose and the purpose is to reach out to people and show them the light that I have, or rather, to show that He has given me a light to shine upon those around me.

That is where Sixteen Gallery was formatted. Why Sixteen Gallery? It is because the gallery is situated at Block O, number 16 Chaiwelo flats and knowing me, I always look for creative and catchy names when building a brand but with this one, it made sense to keep it simple, and I still got the results I look for in a brand.

IQHAWE: Who is/are the people/person behind it?

spaces, mainly focusing on underdeveloped/ underprivileged spaces.

These spaces are spaces that do not have any art social structures or creative spaces around them. The idea is to bring art to the people, for the people to get in touch and interact with art on a personal level. The influence of choosing these spaces is the dire need to showcase the talent of the artists that don’t have exposure.

IQHAWE: How does the exhibition of work in this space work exactly? How do you get work that is exhibited?

Siya: Sixteen Gallery is founded by Siya Fonds Khupe, a creative, connector and street culture enthusiast.

Siya: We are working on a year plan for this space.

For each exhibition, there is an application process where artists will submit their work and a team that IQHAWE: The Gallery is is dedicated to this mission situated in Chiawelo, was will sit down and review all the location of the space applications received and they will choose the artists influential in any way? to feature or showcase. And Siya: Everything I do in this this will be according to the context is about building theme and the plans of the and developing social gallery curator. We will be IQHAWE

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announcing these processes very soon and we hope to host as many artists as the gallery space can host.

IQHAWE: What is your current intention with space?

Siya: Our​c​urrent intention for space is to keep the space alive, to host local and international artists. We want to feature artists that showcase at Sixteen Gallery in art fairs across the country and possibly take some of our work abroad. Sixteen Gallery is not just a space for artists’ exhibition but it is open to other creative avenues such as hosting bands for listening sessions, poetry, storytelling etc. Sixteen Gallery is also space where we have after school programs for kids.

These programs were running before the gallery was opened through Block 88 Concept Store and they were hosted by Sihle “Squire” Twala and Tebogo “Gedo” Makgato. This year we are going to expand the program and have more creatives involved in teaching and 56

transferring skills to the kids.

We are looking forward to hosting our first show for the year.

IQHAWE: What are your thoughts on the South African Art space?

Siya: I think my overall perception on gallery spaces in South Africa is quite unsettling because most of the galleries that are doing well are in ‘privileged’ spaces and these are spaces that cannot be accessed by any ‘normal’ person. The galleries exhibit artists from IQHAWE

underprivileged spaces and these artists will die without having the opportunity to showcase their work to their community, so this is a sad reality for me. I don’t think there’s anyone to be blamed, or maybe we could say that the artists coming from these spaces don’t make much effort to bring their work to their neighbourhoods. I love art spaces and I think they play a pivotal role - as one of the art quotes goes, “art has the power to unlock the mind of those who are ignorant about their surroundings - be it politics or societal issues”.

So I would say, in general, art spaces are very important to every generation because they play different roles in all the generations. We need more art spaces in our neighbourhood.

an art school, teach the kids art and we want to see kids coming from this school revolutionising the world with their work.

IQHAWE: What is the overall IQHAWE: How has the receipt been since you have vision for Sixteen Gallery? started the Gallery?

Siya: The overall vision for Sixteen Gallery is to introduce Siya: The reception has art to the townships, to been surprisingly great, to normalise having art galleries be honest, I did not think in these spaces. Sixteen we’d get such a big pool of Gallery will be a destination people coming to our launch. for tourists but more than We have daily visitors that anything it should be visit the gallery and people, frequented by locals before in general, being interested tourists. Our vision is to run in what we do and they keep IQHAWE

asking us what our plans are for the gallery. As our slogan goes “our home, your space” and I believe that people resonate a lot with this because they feel at home when they visit our gallery.

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THE MOVE GALLERY Interview with Phumelele: Guma Founder of The Move Gallery IQHAWE: Please tell us about your organization, how did it come about, who are the people behind it and what exactly do you guys do?

Phumelele: The Move Gallery is an organization that is based in Khayelitsha.

It was founded by Phumelele Guma, a young artist that saw something: the need to enlighten, educate and bring change to his community through art. The gallery also hosts events such as thrifting events through collaboration with guys from Jozi. We are a creative organization and we always try to find a means to stand out. We are still fresh off the boat but we are getting there.

IQHAWE: The Gallery is based in Khayelitsha, was the location of the gallery important? If so, why?

Phumelele: Yes the gallery’s location is very important because it allows locals who cannot find the time to go to town to have the opportunity to engage with art in their immediate space, and allows a certain ‘level of comfortability’ to ask questions about the art. The location also gives local artists a chance to be seen and give their view of art with freedom of it being seen by people who will relate to the work.

IQHAWE: What was the process behind starting The Move Gallery?

Phumelele: The move gallery was created to change the perspective of art being shown IQHAWE

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in the larger galleries in town, in spaces that feel inaccessible. This time, we as a people create our own space with the hope of it being supported and eventually becoming recognized as a proper organization.

IQHAWE: The Art Space has been known to be very elitist and only accessible to a certain kind of people. How would you say the organization is making the space more diverse?

Phumelele: The organization always involves it’s the community and we also welcome people from the outside with open arms too, by creating events that include jam sessions as a part of the job. A lot is happening and a lot is going to happen in this space. It is still too early to say what exactly is going to happen, but people should be waiting with excitement.

IQHAWE: The incorporation of Fashion into this space is amazing, how did that come about?

Phumelele: The collaboration with fashion in this space has been a part of it since day one. Creating a brand (clothing brand) for this space is what we would love to do in the future. We try by all means to show our art in our fashion, we’re also trying to create a ‘new look’ in Khayelitsha by getting people out of their comfort zones in terms of fashion.

IQHAWE: What is your intention with the space?

Phumelele: I would love to create a place 60

where people can view the art, while simultaneously having a ‘chill spot’, where people can sit and eat burgers while enjoying art. I believe that this will then start to open up a new ‘vibe’ in the location which, in turn, will start to create new networks in Khayelitsha in terms of creativity and opportunities.

IQHAWE: What would you say are some of the challenges faced by artists today?

Phumelele: I would say artists face rejection or misunderstanding of their works. There IQHAWE

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is also the challenge of lack of exposure.

Once the artist receives the right exposure, there’s a tendency to forget to open spaces and opportunities for other artists that are left behind. There’s a lack of encouragement for one another. This is why I created the gallery space to educate people on that issue by practically showing interest in other artists’ work.

IQHAWE: How does one get their work exhibited in the gallery?

Phumelele: If one wants to put their work in the gallery they send a request and a description about why they would love to put their work in this space, with an explanation of what they feel they bring to the table that the gallery doesn’t already have.

IQHAWE: How has the gallery generated a profit since it began?

Phumelele: The gallery has been selling artworks and burgers and we also ask for donations. We also gain profit through event hosting.

IQHAWE: What is your overall vision for the space and the Gallery itself?

Phumelele: The goal of the space is to create a space that is ethical and timeless, a space that is warm and welcoming, a space that educates through conversations of life and experiences. This is achieved through storytelling through the paintings as well as food and educating each other and collaborating on projects. Bicycle tours are a way in which we show Khayelitsha in the best way possible that most people never get to see. Besides the violence we hear on the news, it is still our home and our educator.

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PIONEERING FEMALE VOICES IN ART

HEART IS IN ART IS A PROJECT FOUNDED

BY MARIANNE HUYSAMER AND SUZAAN WILLERS. IT AIMS TO CHALLENGE THE WAY IN WHICH FEMALE ARTISTS ARE PERCEIVED AND REPRESENTED IN HISTORICAL ART SPACES.

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IQHAWE: How did Heart is in ART come about and who are the people behind it?

Marianne and Suzaan: We are Marianne Huysamer (Founder) and Suzaan Willers (Co-Founder). We are friends and kindred spirits with shared value for true human connection. This passion project has been a longtime idea with its roots in our mutual desire to positively contribute to our diverse society.

After many late-night discussions about arts, culture and how women are represented in this arena, the HIIA platform was born. Both of us deeply value what we consider to be two very important causes: The undeniable societal impact of Art & The Artist and nurturing female empowerment. In our discussions, we realised that – at least to our knowledge there were no art platforms that were non-curated and which predominantly focused on casting the spotlight on the faces and personal stories of the female artists behind the work. We decided to apply the principles of our philosophy in a way that connected female artists and new audiences through real,

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raw and open sharing.

In November 2019, we started reaching out to a variety of female artists to see if the idea resonated – and we were so surprised by the immediate engagement and positive feedback from women across the country. From there, Heart is in ART was born.

IQHAWE: Why is it important for you to feature stories and artworks from female artists only?

Marianne and Suzaan: As women, regardless of age, culture and ethnicity, we have so many commonalities. This is evident by the Time’s Up movement, as well as the strong female response when the topic of femicide recently made headlines and brought some tragically systemic issues to the forefront.

Women are intimately familiar with these troubling challenges, regardless of their backgrounds. However, women also share an inherent resilience.

Most women know how it feels to fight for a

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seat at the table. Some women are fighting for a seat at a boardroom table whilst others are still battling for a simple seat at a school desk. So, we are creating our own table with unlimited seats where all women can have inspirational (and sometimes difficult) discussions about our circumstances, challenges and ideas. Women now want to support other women more than ever before, especially if it encourages their financial independence.

But we need to learn and understand more about the things that make us different too – in order to become each other’s mentors.

Our female artists seem to have unwittingly mastered some qualities that all women struggle with daily. Take authenticity, vulnerability and strength as examples. Female artists, for a living, have to tap into vulnerability to make artworks that are authentic to themselves.

In diving into their work, they are essentially exposing themselves to others on a very personal level. This exposure invites not only positivity and success but potential criticism as well. How incredible that they not only lean into their passion as a purpose but keep on searching for and sharing their true selves in spite of the risks? We believe female artists have so much to teach other women about vulnerability, risk-taking and strength as they actively engage with these seeming paradoxes for a living. Hence, stressing the importance of sharing female artists’ challenges, learnings and successes in their stories.

IQHAWE: Oftentimes the Art space is viewed as elitist and only accessible to a certain group of people. How is the organisation challenging this?

Marianne and Suzaan: We love this question because it underpins so much of what we 66

stand for. We have purposefully moved away from filling the roles of art curators or art critics. Indeed, the art space is still largely inaccessible by the majority of South Africans.

Those who visit art galleries and exhibitions are typically both privileged and already familiar and comfortable with the art world.

Many more people now understand that there is value in art and would love to own original pieces - but won’t necessarily set foot in an art gallery or visit an exhibition. For some, this is rooted in the fear of their ignorance being exposed and for others the understanding that they cannot afford what is inside. This historic art space has alienated the majority of South Africans from discovering art for themselves – but things are changing thanks to our younger generations.

The way they have leveraged technological and social trends, as well as Millennials’ and Gen-Z’s rejection of the former status quo – has forced the art space to change with the times. We want to facilitate the uptake of this IQHAWE

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change by connecting a larger audience directly to the female artists.

As the societal value of arts and culture is currently being reimagined and explored by our younger generations, more new artists are emerging too. On top of their artwork, artists can now also be considered small business owners and influencers - and this is helping to change the face of that elitist art space entirely. As more people gain access to social media, ordinary people can now engage with artists - and even start affording some original pieces purchased directly from the creatives. This is an incredibly exciting development unfolding in our time.

IQHAWE: What is the overall intention of HIIA? Marianne and Suzaan: Facilitating the connection between artists, as well as doing our part to broaden the audience who follows and appreciates art through storytelling and sharing. Ultimately, we want to connect women from different backgrounds, ethnicities, cultures and economic standing and open the conversations that help to inspire each other with their various experiences and learnings. We are also intent on bringing about a change in how South Africans and international audiences buy art and interact with our female artists.

IQHAWE: What are some of the socio-political issues that your organisation is trying to understand, solve and unpack if any?

Marianne and Suzaan: This is a tough and important question. We don’t presume to have all the answers to the incredible weight and complexity of SA’s socio-political problems, but if we can help open the door to conversations about the challenges women in SA are facing on our platform, we have a place from which we can collectively start a conversation.

It is a fact that societies who uplift and em68

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power their women, especially those from impoverished communities, perform better from a socio-economic standpoint. So, without taking anything away from the men - whose support we encourage - we are merely amplifying the voices of female artists and therefore empowering these women to ultimately have the successes they deserve.

We do not want to impose an idealistic message, but rather, we’ve provided a platform for the diverse female artists to share their true experiences with us and the audience.

By doing this we want to help foster mutual learning, understanding and compassion for each other’s perspectives.

The female artists whom we feature have full autonomy about the issues of importance they want us to share and we do just that. Art and stories, particularly from the female perspective, transcend potential barriers such as language and culture, which often serve to enhance political and other tensions. We deem HIIA a collective vessel to help inspire more curiosity, learning and growth.

IQHAWE: How does one collaborate with you, do you select artists or writers to work with or do they contact you? What is your selection process?

Marianne and Suzaan: HIIA aims to help artists get noticed and provide a space for new and seasoned art lovers to discover and connect with emerging and established female artists.

If someone considers themselves a female South African artist they can get in touch with us via Instagram (@HeartisinART) or e-mail (info@heartisinart.co.za). We don’t have a selection process but require submissions to be supported by the artist’s bio, as well as quality images and descriptions of their artwork.

Oftentimes we will reach out with some questions to get a better “feel” for the person for us to translate their message and personality as authentically as possible. We then prepare an Artist Feature as a mini-biographical story, followed by posts of their artwork.

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We encourage collaboration on all fronts, so if female writers want to partake by writing a Featured Artist’s biography and story for our page and upcoming website, they can get in touch and we will credit the writing to the author.

IQHAWE: Does the organisation generate revenue from this work and if so, how?

Marianne and Suzaan: No, at this point we solely rely on our own time and the generosity of others to organically help us build HIIA into a multifaceted platform. Both of us have full-time day jobs, so we’re self-fund and run everything in our time.

It is just incredibly humbling that other women have stepped up and offered to help us realise our vision. Upon hearing about HIIA, two sisters from Spain (Maria & Ani) offered to help build our website and do some de69

sign work for us. Back home in South Africa, photographer Trudie du Toit kindly offered her services to support our projects too. Until such time that we are able to support HIIA through sustained revenue, we are all just women who have found a cause that is incredibly important to us and serve a much larger purpose.

IQHAWE: What are your thoughts on the South African Art space currently?

Marianne and Suzaan: Significant strides have been made in the art space that supports female artists becoming more prolific.

We still have an incredibly long way to go, but on a positive note, there is more diversity, gender and cultural inclusion and vibrancy in the art space than ever before. We believe that a lot of this can be attributed to the rise of social media and the fact that artists are taking control of their voice to increasingly eager and younger audiences. There also appears to be a spotlight on contemporary African arts as global audiences are coming to appreciate the unique and creative talent of our African and South African artists. It is a great time for artists to leverage current trends and to get noticed. A lot of the female artists we have engaged with tell us that their online platforms have been the key to bringing them international buyers and newly commissioned works.

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But if we are to reject the notion of the art space being purely elitist, we also have to consider the audiences who have been marginalised over time. Not all South African art buyers are collectors or have the means to make large investments but increasing numbers of young people are looking to own original art as young generations search for authenticity. The potential art market has therefore grown and our new generation artists are becoming experts in finding ways to engage with these new audiences as a market.

IQHAWE: What are you hoping to achieve with HIIA? Marianne and Suzaan: Apart from the important topics we already mentioned, we want to grow HIIA to other platforms and explore new and diverse ways of bringing the platform to South African audiences. Our website www. heartisinart.co.za will be launched early in the New Year and we also have an exciting project in the pipeline to broaden our scope even further. We will be announcing this on the Instagram page over the coming months, so readers who want to be involved can stay tuned as we will be bringing a diverse group of female artists on board for this project.

Overall, we hope to continue what we have set out to do – facilitating connection, inspiring women from all walks of life and supporting the growth and development of SA’s incredible female artists.

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OBSERVED & OVERHEARD

@overheard_in_the_gallery

IF YOU HAVE BEEN TO ANY GALLERY AROUND JOHANNESBURG LATELY, YOU HAVE PROBABLY SEEN A PAMPHLET WITH A BOX THAT HAS AN EAR WITH THE WORDS OVERHEARD IN THE GALLERY BELOW. WE WERE CURIOUS ABOUT THIS, SO WE INTERVIEWED THE PEOPLE BEHIND THE ORGANIZATION AND GOT TO KNOW MORE ABOUT THE COLLECTIVE.

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IQHAWE: Who are the people behind it?

Overheard In The Gallery: We are a collective of 5 students from Wits University.

IQHAWE: Please tell us Our collective is called ‘Deabout Overheard in the Galductum’ lery, what exactly do you guys do?

Deductum is a Latin word, meaning Withdrawal. The Overheard In The Gallery: word withdrawal means – to Essentially we take note of take something out – to exwhat we overhear in gallery tract meaning – this is what spaces and relate that to we are doing – we are – each various social commentaries in varying ways- extracting about art and our society as meaning from language and a whole. then relaying it to our conThis project seeks to empha- text. We would like to remain sise that in this modern art anonymous because often space, the viewer has, in a the things that we post are not way become the Art. In that, our opinion but simply things any person holding an opin- that we’ve overheard and we ion or making a comment as have relayed that to our audia derivative from the arts/ ence to then extract meaning artwork/artist/gallery/the in- from that themselves. In placstitution/the talk about/the ing our identities into the concuratorial statement - be- text - we become a subject of comes the critic and thereby that commentary instead of an extension of the artwork. just a collective who initiate The art critic exists in many an important conversation. forms however, one of the most important, and often overlooked forms of critique, IQHAWE: What is the orgaexist among the audience of nization’s intended goals or an exhibition (or perhaps the purpose rather? passer-by). But what value does this hold? This project Overheard In the Gallery: @ overheard_in_the_gallery seeks to unpack that.

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aims to bring to the fore, commentary that emerges from art-related spaces which are often overlooked and most importantly, contain vital critiques on the art scene. We believe that it is within these comments that important conversations start to develop around deep-set issues such as privilege, authority, access to knowledge, gendered stereotypes, toxic masculinity and race. By circulating the ‘overheard’ commentary, we hope to not only reach a wider audience but to also encourage participation from the public. In saying this, the statements that we’ve overheard cover a wide range of topics that do not just come across as a form of critique, but rather, as an immense social commentary on the current art space that exists - using South Africa as a representation of a possibly broader spectrum globally in conversations politically, socially and economically.

IQHAWE: What was the process behind making Overheard in the Gallery a reality?

Overheard In The Gallery: Overheard in the Gallery began as a university project but has turned into so much more than that. It allows us, as art students who have the privilege of easy access into gallery spaces to think critiIQHAWE

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cally about what the people who inhabit that space have to say and how that speaks to a much broader conversation about the socio-economic climate in South Africa - Johannesburg specifically. It involved us engaging in gallery culture and attending all gallery events that we possibly could to get as much material as possible. We were also lucky enough to have spoken and made contact with a lot of individuals who work in the galleries as well as online who have shared things that they’ve overheard with us that has been so beneficial to our aims. This is another reason we have chosen to remain anonymous because the content is not only from our experiences but rather from a whole network of individuals with whom we have had the privilege of engaging with.

IQHAWE: What are your views on the Johannesburg art space currently?

Overheard In The Gallery: The reason behind our collective was to make the art space more accessible, this would ultimately imply that we believe the art space isn’t at that place at the moment.

Although most spaces are trying to keep their audience inclusive and operate under the idea of accessibility many are not.

ics outside of the socio-economic hierarchy that exists in Rosebank and Sandton. We intend on making it accessible to those who cannot access it physically by critiquing them on an online platform whereby many others can contribute to those conversations. It is not just us that are critiquing the art space but also the many gallery participants, even without them realising it - we are just bringing it to the forefront.

IQHAWE: Oftentimes the Artspace is viewed as elitist and only accessible to a certain group of people. How is the organization challenging this?

Overheard In The Gallery: Attending the gallery is about so much more than viewing the work, it is about participating in the conversation that the work elicits. We aim to bring important commentary about the art space to social media - something easily accessible to the middle to upper-class individuals but does not reach the majority of the population. We found that this was not accessible enough so we extended our posts to stickers and posters that we stuck up around the city - bringing the art space and the criticism surrounding it to those who don’t have access to social media and galleries.

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CREDITS Collaborators Heart is in Art Founders Marianne Huysamer and Suzaan Willers Artist Credit (from left to right) 1)Adele Van Heerden 2)Zandile Tshabalala 3)Teneal Kotze 4)Haajirah Philander Fanie 5)Lebogang Mogul Mabusela 6)Yvette Hess 7)Adele Potgieter 8)Keneilwe Mokoena 9)Liffey Joy Social Media @heartisinart Sixteen Gallery Founder Siya Fonds Khupe Images provided Social Media @_sixteengallery The Move Gallery Founder Phumelele Guma Images provided Social media @themovegallery Gallery Gallery Founder Chloe Reid Artists Credits exhibition at the gallery

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featuring work by Nina Barnett, Nolan Oswald Dennis, Jared Ginsburg, Dan Halter, Thami Jali, Io Makandal, Garth Meyer, Nabeeha Mohamed, Daniella Mooney, Sean O’Toole, Matty Roodt, Jonah Sack, Inga Somdyala and Sitaara Stodel.

exhibition at the gallery featuring work by Naadira Patel, Robyn Nesbitt, Lavendhri Arumugam, Lauren von Gogh, Kundai Moyo, Francis Burger, Robyn Cook, Jabu Nadia Newman, volteface.online, Alannah Clamp and Sara-Aimee Verity

1. Nabeeha Mohamed, from Sea of Faces (series), 2019, watercolour, 297 x 210 mm

13 – 15. Sober & Lonely, Untitled, correspondence and magicians business cards

Mankebe Seakgoe

2. Nina Barnett, Rock Drawing: Molten Flow Filled Fracture From Meteor Impact II, 2017, graphite on rock paper, 66 x 52 cm

16. Installation image from ‘…she finds not her sum, but her differences’ (exhibition at the gallery)

@jauntslo

17. Installation image from ‘…she finds not her sum, but her differences’ featuring Jabu Newman, untitled: friends, 2019, audio

Images provided

18. Installation image from ‘…she finds not her sum, but her differences’ featuring work by Alannah Clamp, Scheherezade: A thousand nights of learning, death and storytelling, 2017 and work by Lavendhri Arumugam GREEN, mixed media, 2019

Images Provided

19 – 22. Naadira Patel, This is Futile, 2019, stills from video

Social Media @ngelosi. jpg

3. Nina Barnett, Where the Water Flows Out, 2019, rubbing on transfer paper 4. Nolan Oswald Dennis, black earth (reader), 2019, Steel shelving, plastic modular bins, micro controller, books, in collaboration with eisenia fetida earthworms 5. Sitaara Stodel, Dust to dust, 2019, cyanotype on fabriano rosapina, 50 x 25 cm 6. Sitaara Stodel, Constellation, 2019, cyanotype on fabriano rosapina, 50 x 25 cm 7. Inga Somdyala, Untitled (The Knowledge of Transgression), 2017, Digital Lithograph, 650 x 500 mm 8. Matty Roodt, Just let me sleep, 2019, video (still), duration: 5’30” Interim showing of work

by Jeanne Gaigher and Jonah Sack 9 – 12. work by Jeanne Gaigher and Jonah Sack ‘…she finds not her sum, but her differences’

23. Sara-Aimee Verity, Dos Veces, 2012, photolithograph 24. Alannah Clamp, Scheherezade: A thousand nights of learning, death and storytelling, 2017, still from video

Social media @gallerygallery.co.za Zandile Tshabalala Photography by Thapelo Kekana Social Media: zandilet_ Photography by Thapelo Kekana Social media: @mankebeseakgoe Duduzile Mnguni Social media: @deemnguni_art Manyaku Mashilo Social Media @ manyaku_mash Theo Masilela Social Media @afrotist Photography by Lungelo ‘Ngelosi’ Mackey

Overheard in the Gallery Images provided Social Media @overheard_in_the_gallery

25 - 32. Installation image from ‘…she finds not her sum, but her differences’ (exhibition at the gallery) with work by Lavendhri Arumugam and Francis Burger

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