An Archive of Upset : the Shift from Commissioning to Curating through South Africa’s Representations at the Bienal de São Paulo and the Interstitial Nexus of Leonard Tshehla Mohapi Matsoso
- Authors: Dantas, Nancy Isabel
- Date: 2021-04
- Subjects: Bienal Internacional de São Paulo , Curatorship , Art -- Commissioning , Art -- Political aspects , Matsoso, Leonard Tshehla Mohapi
- Language: English
- Type: thesis , text , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/174492 , vital:42482 , https://doi.org/10.21504/10962/174492
- Description: This thesis explores the distinction between commissioning and curating, adopting the Bienal de São Paulo (or Bienal) as its conceptual propeller and point of departure. The thesis regards exhibitions as palimpsests, in other words, platforms built on previous conscious or sublimated models, beyond the Venetian model inaugurated in 1895. By looking at world expositions, particularly the Cape presence at the Colonial and Indian Exhibition of 1886, this project traces a lineage of commissioners, from Sir Henry Cole to Sydney Cowper through to the Director of the Pretoria Art Museum, Albert Werth. It distinguishes these men, their vision and allegiances from the curatorial model instantiated in South Africa by the late Okwui Enwezor as a consequence of the Second Johannesburg Biennale, held in 1997. The aim of this research has been to provide a partial but crucial account of this shift, and to remain attentive to the silences and deletions, to what happens in the interstice, at transitionary moments of ‘betweenness.’ I ask that readers consider the 1979 Bienal as an instance of an interstice where the occluded and silenced ghost of modernist artist Leonard Tshehla Mohapi Matsoso, who represented South Africa at the 1973 edition of the Bienal, garnering a substantial award for his work in drawing, resides. Matsoso was the first and only Black South African artist to receive this accolade. This thesis posits that Matsoso’s absence from the exhibition in 1979, an exhibition where he would rightly have featured, constitutes a curatorial haunting, wedged in the archive of the Bienal’s history, and an opportunity for revision and evaluation of commissioning vis-àvis curating. In reading the exhibition histories’ archive “along the grain” (Stoler 2002), the commissioner emerges as a man of letters, a privileged social category found in the archive; a colonial authority whose status was founded as much on his display of European learning as on his studied ignorance of local knowledge; an implementer of the taxonomic state and modernist art historical canon (in the case of Werth); a cultivator of the fine arts of deference, dissemblance and persuasion. At a later stage and moment of dissonance and disruption, the independent curator emerges to reconsider, question and expand the canon, distancing him/herself from the (South African) State to serve the artist or artists and a wider community. This research aims to contribute, albeit in a small way, to a reappraisal of the position of Leonard Tshehla Mohapi Matsoso in South African modernism, and the distinction between commissioning and curating. , Thesis (PhD)--Rhodes University, Faculty of Humanities, Department of Fine Art, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Dantas, Nancy Isabel
- Date: 2021-04
- Subjects: Bienal Internacional de São Paulo , Curatorship , Art -- Commissioning , Art -- Political aspects , Matsoso, Leonard Tshehla Mohapi
- Language: English
- Type: thesis , text , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/174492 , vital:42482 , https://doi.org/10.21504/10962/174492
- Description: This thesis explores the distinction between commissioning and curating, adopting the Bienal de São Paulo (or Bienal) as its conceptual propeller and point of departure. The thesis regards exhibitions as palimpsests, in other words, platforms built on previous conscious or sublimated models, beyond the Venetian model inaugurated in 1895. By looking at world expositions, particularly the Cape presence at the Colonial and Indian Exhibition of 1886, this project traces a lineage of commissioners, from Sir Henry Cole to Sydney Cowper through to the Director of the Pretoria Art Museum, Albert Werth. It distinguishes these men, their vision and allegiances from the curatorial model instantiated in South Africa by the late Okwui Enwezor as a consequence of the Second Johannesburg Biennale, held in 1997. The aim of this research has been to provide a partial but crucial account of this shift, and to remain attentive to the silences and deletions, to what happens in the interstice, at transitionary moments of ‘betweenness.’ I ask that readers consider the 1979 Bienal as an instance of an interstice where the occluded and silenced ghost of modernist artist Leonard Tshehla Mohapi Matsoso, who represented South Africa at the 1973 edition of the Bienal, garnering a substantial award for his work in drawing, resides. Matsoso was the first and only Black South African artist to receive this accolade. This thesis posits that Matsoso’s absence from the exhibition in 1979, an exhibition where he would rightly have featured, constitutes a curatorial haunting, wedged in the archive of the Bienal’s history, and an opportunity for revision and evaluation of commissioning vis-àvis curating. In reading the exhibition histories’ archive “along the grain” (Stoler 2002), the commissioner emerges as a man of letters, a privileged social category found in the archive; a colonial authority whose status was founded as much on his display of European learning as on his studied ignorance of local knowledge; an implementer of the taxonomic state and modernist art historical canon (in the case of Werth); a cultivator of the fine arts of deference, dissemblance and persuasion. At a later stage and moment of dissonance and disruption, the independent curator emerges to reconsider, question and expand the canon, distancing him/herself from the (South African) State to serve the artist or artists and a wider community. This research aims to contribute, albeit in a small way, to a reappraisal of the position of Leonard Tshehla Mohapi Matsoso in South African modernism, and the distinction between commissioning and curating. , Thesis (PhD)--Rhodes University, Faculty of Humanities, Department of Fine Art, 2021
- Full Text:
- Date Issued: 2021-04
Reminiscing In Tempo : Ubangulo
- Authors: Tutani, Zodwa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African poetry (English) -- 21st century , South African poetry (English) -- History and criticism , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/174376 , vital:42472
- Description: My thesis is a collection of poems that focuses on black mothering and motherhood, within the context of the Eastern Cape’s violent history, its oppressive patriarchal cultural traditions and religious structures. Drawing from my own experiences, my poems explore what Toni Morrison calls the historical ‘wounds’ of black women which are transferred to their daughters within everyday spaces like the kitchen and the lounge, through objects like tea cups, chair backs and the various foods that every black girl needs to be able to prepare in order to be ‘marriagable’, and how these continue to hurt and emotionally disfigure us. I also draw influence from Saidiya Hartman, Christina Sharpe and Tina Campt on black lives and the effects of slavery within their daily existences. And I am inspired by the intimacy and care with which Tadeusz Rosewicz writes about his relationship with his mother in Mother Departs and Sandra Cisneros’ use of interconnected vignettes to engage childhood, culture and community within marginalized space. Stylistically I am influenced by the structural innovations in Fred Moten’s The Little Edges and the dreamy landscape in the poetry of Federico Garcia Lorca. My collection includes prose and lyrical poetry, combining more formal sound and rhythmic structures with free verse, to bring to life motherhood and the narratives we carry from childhood into our adult lives.
- Full Text:
- Date Issued: 2021-04
- Authors: Tutani, Zodwa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African poetry (English) -- 21st century , South African poetry (English) -- History and criticism , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/174376 , vital:42472
- Description: My thesis is a collection of poems that focuses on black mothering and motherhood, within the context of the Eastern Cape’s violent history, its oppressive patriarchal cultural traditions and religious structures. Drawing from my own experiences, my poems explore what Toni Morrison calls the historical ‘wounds’ of black women which are transferred to their daughters within everyday spaces like the kitchen and the lounge, through objects like tea cups, chair backs and the various foods that every black girl needs to be able to prepare in order to be ‘marriagable’, and how these continue to hurt and emotionally disfigure us. I also draw influence from Saidiya Hartman, Christina Sharpe and Tina Campt on black lives and the effects of slavery within their daily existences. And I am inspired by the intimacy and care with which Tadeusz Rosewicz writes about his relationship with his mother in Mother Departs and Sandra Cisneros’ use of interconnected vignettes to engage childhood, culture and community within marginalized space. Stylistically I am influenced by the structural innovations in Fred Moten’s The Little Edges and the dreamy landscape in the poetry of Federico Garcia Lorca. My collection includes prose and lyrical poetry, combining more formal sound and rhythmic structures with free verse, to bring to life motherhood and the narratives we carry from childhood into our adult lives.
- Full Text:
- Date Issued: 2021-04
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