Phumulani Ntuli’s new solo exhibition explores a personal and collective sense of anxiety about a future in South Africa.

“Kwanqingetshe” is an isiZulu term that describes a state of stagnation. It’s something we are all familiar with; whether in our own lives when we feel we have lost direction; or – as many would feel is the situation in South Africa – living in a country where progress seems out of reach. 

This is the result of the prevailing climate of a chronic lack of service delivery and a never-ending cycle of corruption within our body politic. It creates an unsettling sense that we’ve long lost direction and arrived at a place of stagnation and insecurity. Combine this with the uncertainty presented by the global pandemic, and you have the perfect recipe for ‘kwanqingetshe’.

This is the subject of artist Phumulani Ntuli’s exhibition ‘A Navigation Guide to Kwanqingetshe’, which opened at the Bag Factory in Fordsburg, Johannesburg, at the weekend. It is curated by Ruzy Rusike and is the artist’s third solo exhibition.  Our destination, as the title suggests, is unresolved. We exist in limbo, left only to imagine, idealise or dread the future. 

Ntuli presents a colourful body of work, consisting of mixed media collages on canvas – a mélange of paint, print fabric and archival images. In one of these works, titled ‘Stolen Songs’, we see three figures: one facing the other two, extending a clenched fist. “The gesture of extending one’s hand is about giving something, but that’s not what this figure is doing. The clenched fist symbolises a kind of pause or silencing,” Ntuli says of this work.

One of the other two figures is made partly of archival images; old pictures from the community Thuli grew up in, in White City, Soweto, in what looks like a child’s birthday party. The other figure is made partly of images from the 2012 Marikana miners’ strike and protest that was met with brute force by the South African Police Service, leaving 34 miners dead. 

It’s a dark moment in South Africa that evoked comparisons to apartheid era massacres albeit under a democratic state premised on respect for human rights.

“There’s a sense of unreliability in the narration of stories. In Marikana, for example, the narration of that story didn’t come from the miners themselves. It’s told from a different point of view. They don’t have a voice, so this figure (with a clenched fist) is someone who comes and steals people’s memories and voices.” 

Born in 1986 during the four-year state of emergency imposed by the National Party government in the waning days of apartheid, Ntuli is part of a generation of South Africans who grew up at a time of both extreme violence and hope as epitomised by events such as the unbanning of the African National Congress, Nelson Mandela’s release from prison and the Convention for a Democratic South Africa (CODESA), culminating in the 1994 election, and the death knell to a system of oppression that had seen a decades long disenfranchisement of black South Africans.

But he is also part of a generation that has seen the years since Mandela’s hope filled reign descend into the chaos of rampant corruption, unemployment, poverty and racism that keeps rearing its ugly head almost three decades since the dismantling of apartheid. 

Compounding this political and social quagmire is the unease brought about by the covid-19 pandemic. 

“It’s that question of (how do you) navigate the status quo? Personally, I find myself in a space of anxiety, (feeling) overwhelmed by uncertainty. Kwanqingetse is not a place, but it’s about emphasising the need to navigate to another state. We’ve been forced into this space of trying to figure it out. It can be quite situational from one individual to another, but it’s also collective. Being a black South African, specifically, having a colonial inheritance and in my personal point of view, being black man, there are also ideas of representation around masculinity, so this kind of goes into different levels. I draw from aspects of my personal life because I’m familiar with these situations,” explains Ntuli. 

His first foray into art came early in life with his involvement in music at his local church. He later on developed his artistic skills, broadening his practice by using materials and found objects.  On his parent’s insistence, he pursued an education in accounting through the University of South Africa (UNISA). It wasn’t until 2008 that he enrolled for his fine arts undergrad at the University of Johannesburg. “I knew I had a talent for drawing but that wasn’t enough,” he says. “I’ve always found myself in the company of artists, visiting art galleries and going to music shows, so my desire to pursue art only grew stronger.”

This was followed by some group shows and a project titled “Umjondolo” under the auspices of the Goethe Institute in 2012. The performance piece dealt with notions of space, city, citizenship and identity in the wake of the xenophobic attacks in the years prior as well as the subsequent forced removals of illegal occupants of flats in the Johannesburg CBD by the famous Red Ants – a private security company specialising in clearing “illegal invaders” from properties in that city. 

 As with ‘A Navigation Guide to Kwanqingetshe’, Ntuli’s work straddles the real and the occult in an attempt to understand reality and make sense of the past, present and possible future in the midst of this climate of uncertainty. “I feel like we are in something like a loop where certain events keep coming up. It feels like certain things have been resolved but they haven’t; like racism, for instance. It’s something we’ve dealt with for so long but it doesn’t seem to change. Likewise, the advancement of black people seems to elude our political institutions.” – African Art Features Agency is funded by the National Arts Council of South Africa. 

A Navigation Guide to Kwanqingetshe runs at Bag Factory until June 23. A walkabout is scheduled to take place at the gallery on Saturday, June 12.

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Tel Aviv-based artist Guy Yanai chats to VISI about his colourful paintings, what he loves about being creative and his first monograph.

In what way does everyday life inspire your paintings?

Everyday life is very hard, usually boring. It’s actually what I try to avoid. Because it’s going to the bank, groceries, and waking up on time. The more you get older the more life and these systems try to take away your creativity. It’s insanely easy to be really busy doing nothing. So, for me, I try to always push doors open, to never have things close up. To find ways of living a poetic life but still filing monthly reports to my accountant.

You paint in solid blocks of colour, inspired in part by Matisse and Cezanne. When did you first start using this technique and what drew you to it initially?

Actually, I paint in lines, in these kind of stripes. Just my hand and a brush and my eye. No projections and no other tools really. The thing is, people always used to tell me that I paint in colour blocks, and I was sure it was a not a compliment. So this way I can do a block of colour and it’s still just individual stripes. It’s like both at once. A block of colour and a single line. I think it just happened slowly over time. It’s hard to pin down an exact moment.

Los Angeles, 2019, oil on canvas

How would you describe your style?

Well, I just want to keep growing and evolving. Not to really have a style. But of course when I look at the bodies of work I do, there is a sensibility, a style. I think something that is very fresh, yet aware of the past.

What do you love most about being creative?

I’ll tell you this: it’s very, very hard to be creative every day. Very. You get these tiny moments of sparkle here and there that are so exciting. I mean, listen, I’m living my dream. I wake up and walk to my studio and paint.

You’ve just released your first monograph. How did this come about and what have you most enjoyed about this process?

Print is very alive, even more alive than ever, I think. My girlfriend told me that she read that sending an email now is more harmful to the environment than producing a piece of paper because of all the server farms and the electricity they use. I have been thinking about a book like this for two years now. It was slower than usual. And was filled with a lot of anxiety. Honestly, I am still scared to open and flip through it; it’s too personal. In about a month, I’ll open it up and look at it.

If you could collaborate with any artist, who would it be and why?

Probably Jean-Luc Godard. To have his newer, denser films screened and to put an image on top of that, a frozen image. Or maybe with an architect like John Pawson. A site-specific space for a show that only Pawson can design. I just collaborated with Hermès on a beach textile collection – it will be out around Christmas.

Any exciting plans for 2020?

Yes, always! I have a solo show in Düsseldorf at Galerie Conrads and a solo show in Tokyo at Maho Kubota Gallery. I will be at the Casa Wabi Foundation in Mexico for six weeks – the building is designed by [Japanese architect] Tadao Ando, so I’m very excited to go and work there and to just be alive and working and to keep pushing!

To see more of Guy’s work, visit guy-yanai.com.

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South African artist and designer Kim van Vuuren (aka STUDIO.KIM) talks to us about her creations and what it’s like living in beautiful Barcelona.

Tell us a bit about yourself.

What inspires you and your work?

People, architecture, nature, colour, food, music, art, sculpture, films, experiences, emotions, sexuality, memories… just about everything inspires my work. Right now, this incredible city and the talented creatives in my life fuel my work. It’s one of the best cities to be a creative in. The challenge and motivational competition inspires me to try new things, even if it means failing. Here, anything and everything is possible because of the supportive creative community that exists in Barcelona.

What mediums do you use?

For my paintings, I work with water-based acrylics on cotton canvas. I used to love working with my signature palette in SA – it’s like going to buy bread and milk – I know exactly where my colours are and how much I need. Here, it’s been a bit more complicated. I’ve had to familiarise myself with new products and learn to communicate with suppliers. There is a massive selection of acrylic brands, some with more pigment than others, some matte and some more translucent. So I had to spend quite a bit of time and money finding a palette and brand that I’m happy with. I’m still looking for the perfect shade of violet. It’s out there somewhere.

Take us through your artistic process?

I love sketching ideas and take photographs, whenever and wherever I can. I always have sketchbooks or pieces of paper in my bag or I’ll simply sketch up quick ideas using a drawing app on my iPhone. That’s the good thing about not having a car, the metro is ideal for daydreaming, people watching and planning new pieces. I think I’ll be sketching designs on napkins until I’m an old lady. When I’m happy with a design, I use Illustrator to create a digital render of the idea.

Colour is very important to me. I am always looking for new colour palettes and combinations of contrasting colours.  I take hundreds of photos every week of unique and sometimes terrible colours that I find while walking around the city.  Sometimes a single colour can inspire a new piece. If I’m inspired by a colour or palette, the design seems less important. Having a graphic design background also helps me to determine what would work in a space (commercial or private). At the end of the day, I’m creating a product for people to purchase. Once I’m happy with the design and palette I go into painting mode. Headphones on, Grimes or A$AP Rocky blasting. I paint until my back starts aching – sometimes for eight hours a day – depending on my mood and how many pieces I need to get done. I love the process. It is the most fulfilling part of my life right now.

Are there any local artists on your radar at the moment?

I appreciate the work of so many different artists, product designers, fashion designers, art directors, animators, musicians, photographers and culinary artists. Right now, I’ve definitely been focusing more on my new local art and design scene here in Barcelona. However, in SA, I’ll always follow the work of Michael Taylor, Olivié Keck and Morné Visagie.  Their understanding and application of colour is superb.

What feelings are you trying to evoke through your work?

To be honest, at first I was painting for myself. I wasn’t too concerned about what people thought about my work. I was just messing around and trying new things. It was soon after I posted my first rough painting that I realised I had finally found something I was truly passionate about and something that people enjoyed as well. This was the first time I felt that I had a real connection with an audience. I started getting commissions and soon my Instagram account morphed into an artist’s profile. For me, it’s really simple – I just want people to be excited and feel inspired when they see my work.

Any exciting plans for the future?

For now, I am just taking each day as it comes. My ambition for 2019 is to really make my mark in Barcelona. This year I have already had my first solo exhibition in Barcelona and I am hoping to collaborate with more studios and product designers in the future. Right now, I’m busy working on two large commissions for clients in France and Australia. I would also like to continue working with South African clients and brands. I have been working with a few product designers and brands in CT over the past two months. Follow my Instagram page to see what I’m working on. I will also be launching my online print store before the end of the year. Just in time for Christmas.

Follow Kim on Instagram here and see more of her work on Behance.

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Collaboration is at the heart of online store Pleekō, a small print studio based in Somerset West that teams up with local artists who create a range of designs to be printed and made available to purchase online.

“We don’t do anonymous art,” says the team at Pleekō, which was co-founded by self-taught graphic designer Petro Vivier. The brand wants buyers to get to know the artists they are supporting.

You can buy canvas bags, art prints, pencil cases, tablecloths, pouches, T-shirts, wallpaper and stickers, featuring designs by artists such as Catherine Fok-Seang, WKNTZ Design, ideacircus, Julie-Ann Smith, Inge van der Post, Elana Esterhuyse, Kate Currie, Nabeela Parkar, Vos & Ink, Rozahn van Schalkwyk, Call It Magic Designs, Patricia van der Merwe, Silvan and Teresa Truda, as well as Pleekō’s own designs.

For more information and to shop online, visit shop.pleeko.co.za.

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Photojournalist Barry Havenga began documenting doors and exhibiting his finds on Instagram as Doors of Cape Town after an inspiring trip to New York.

What made you start photographing doors? 

The power of the hashtag! I was in New York in 2012 and my then girlfriend discovered Doors of New York while browsing NYC hashtags on Instagram. We thought it could work in Cape Town because of the diverse architectural influences.

Do you take your camera everywhere?

I usually make a list of doors I’ve spotted and return with my Nikon D3100 SLR. Sundays work well, as it’s quieter and most doors are closed.

Do you have a favourite door or area for finding hidden gems?

Prime areas for doors include the
Bo-Kaap, Chelsea Village in Wynberg and the city centre.

Do you feel like you may run out of doors someday?

When my archive is running low, I post fewer doors, but I certainly won’t compromise on quality. A standard has been set, so new doors have to be special to be “published”. As the account has grown, people have started tagging DoCT, which has helped with undiscovered doors.

Who inspires you on Instagram?

There’s a whole community of door enthusiasts, hence the abundance of hashtags that accompany my posts. I post a lot on my personal account (@Loose_Impediment), where I follow a diverse bunch of photographers and intriguing accounts. Favourites include @SweatEngine (mostly NYC shots), @NatGeo, @MeAndMyMagazines, @CTType and @CityofCapeTown.

What does the future hold for Doors of Cape Town?

A website is in development that will allow people to build their own collage of doors to print on canvas. There’ll be a blank template of 20 squares with the full archive available to choose a personalised print.

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Imiso Ceramics founder Andile Dyalvane headed to Art Santa Fe to showcase his latest project – textured illustrations on leather canvases.

Andile, best known as the creative force behind Imiso Ceramics, recently jetted to New Mexico in the US to exhibit a new series of leather canvases at Art Santa Fe, a biennial contemporary art fair.

Anyone familiar with his work, which we’ve celebrated on the pages of VISI many times, might think of him strictly as a ceramicist. However, Andile has been experimenting with leather for more than four years, ever since a yacht builder walked into his studio and fell in love with one of his ceramic vessels. Unfortunately, he couldn’t buy it because it would have been too fragile to keep at sea.

“At the time, my wife and I were working on leather accessories, experimenting with belts and bags, so I was getting an introduction to leather. Everyone has done canvas and paper, and I always try and do something different, so it came to my mind that I should try and illustrate on the leather. Considering the kind of techniques I use on ceramics – texture, moulding and scarification – the leather also revealed itself as the perfect surface to replicate those elements on a flat surface,” Andile says.

Fast-forward to four years later, and after much experimenting with new techniques, he has managed to translate the elements that make his ceramics so popular onto a flat leather surface. The effect is that the ubiquitous skins are translated into works of art just as stunning as any of his ceramic vessels.

See pictures from Andile’s Santa Fe trip here.

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