South African Live Art and the Representation of its Residue: On Gabrielle Goliath's Stumbling Block
in Performativity in the Gallery: Staging Interactive Encounters, ed. Marika Leino, Laura MacCulloch, Outi Remes (Oxford: Peter Lang, 2014), 221-236.
The essays present both academic research as well as case studies of curatorial projects that have pushed the boundaries of the art historical practice.
The authors come from a wide range of backgrounds, ranging from curators and art producers to academics and practising artists. They ask what it means to present, curate and create interdisciplinary performative work for gallery spaces and offer cutting-edge research that explores the intricate relationship between art history, live and performing arts, and museum and gallery space.
Portia Malatjie in conversation with Claudia Marion Stemberger about her curatorial projects in South Africa:
I avoided a curatorial practice that results in ethnic marketing due to fixing "the others" (supposedly emerging) art practice by means of manifesting stereotypes - such as presuming art practice(s) as expression of a (post) post-Apartheid society for example. Accordingly, in Alterating Conditions the artists were not "performing their passports", nor was I.
The topic of the second exhibition, Identity II – Forming Identity, questions ambivalent models of interpreting the formation of identity, which, depending on the context, diverge between identification and ideologization: According to Jan Assmann, collective identity is only “as strong or as weak as it is alive in the thoughts and actions of the group members […]”. It is the expression of that which connects people to each other through homogeneous self- and cultural identifiers and is how individuals identify themselves.
Re-telling: A Discussion between Thomas Hörl, Peter Kozek and Claudia Marion Stemberger
in crisscross oder Langzeitstabilität durch regelmäßige Nullpunkteinstellung, ed. Thomas Hörl and Peter Kozek (Vienna: schlebrügge.editor, 2013), 15-18 [also in German edition, 117-120].
Acting as a twin-esque floating center of moving systems, artist duo kozek hörlonski creates installations, performances, videos and other multi-discipline works. Their recent publication portrays the ten year long collaboration between Thomas Hörl and Peter Kozek.
The book is designed to be a material as well as immaterial image-archive of the artists. Reading and observing it, it becomes a multi-perspective and dynamic body of work.
Landschaftsdarstellungen nehmen in der Kunstgeschichtsschreibung Südafrikas eine bedeutsame Rolle ein, waren sie doch lange Zeit die vorherrschende Ausdrucksform südafrikanischer KünstlerInnen (vgl. Godby 2010). Einerseits gibt die sprichwörtliche Popularität figurativer oder narrativer Abbildungen einen Hinweis auf deren sentimentale Aufladung. Andererseits deutet der konstruierte Charakter von Landschaft(en) die ideologische Funktion von Bildern an, ihre Vereinnahmung durch politische oder religiöse Bewegungen.
Since 1997, The Republic of South Africa has boasted one of the most progressive constitutions worldwide, particularly with regard to women's rights. Nevertheless, beyond bureaucracy and similar to countless other societies 'here and there', not only daily life and statistics but the art world as well reflect persistent gender-specific discrimination to this day.
Regarding the constriction of women's rights during the apartheid regime, a historic look at female photographers in South Africa might offer an insight into how narratives might have been written, neglecting their specific influence.
For the final show in this series, IDENTITY III – POSITIONING, the curatorial collective at Fotogalerie Wien has invited artists who deal critically with the positioning of the subject in late modernism. While in early modernism, collective identities provided a secure framework, one in which individual identities also had their place, formerly stabilizing factors (such as class, nation, ethnicity, culture, religion or gender) are subject to tendencies that dissolve such categories in late modernism. More than ever, the relevance of power structures thereby comes to the fore, in which the issue of social belonging drastically reveals itself as a struggle for inclusion and exclusion.