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SA POP ARCHIVE
Middle Centre: on V Mash, radical Black aesthetic production and those honoured only in death
The text that is to follow is an exercise of sorts between writer Kneo Mokgopa and myself. An attempt at writing together from afar and from places of familiar difference, of Vinolia Mashego, who was affectionally known as V Mash to us and the rest of the nation. To write of her in remembrance and...
Thabiso Sekgala // Bôna – exploring how social borders determine visibility in society
In the entrance of Goodman Gallery Thabiso Sekgala’s Tiger, selected from his series Second Transition confronts visitors. The direct, firm gaze of the man photographed is softened by the fleece tiger beanie on his head, making him a figure that welcomes, but also introduces one to Sekgala’s thematic explorations of (in)visibility, ideas of home, belonging...
Santu Mofokeng // Moments of Resistance and Resisting the Spectacle
“The camera’s rendering of reality must always hide more than it discloses”. Susan Sontag Long shadows cast along an urban landscape, pylons peppered between leafy silhouettes. The fog begins to set in as litter is tussled in the wind. Emptiness and occupation; a moment resisting the spectacle. Santu Mofokeng, is a name synonymous with decades...
Dada Khanyisa’s Good Feelings: Sentiment, Figurations of Black Joy and Mappings of Collective Affect
Intervals of dreaming help us to stand up under days of work… What the memoir writer remembers is not the same thing the poet remembers. He may have lived less, but he photographed much more, and he re-creates for us with special attention to detail. The poet gives us a gallery full of ghosts shaken...
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