Opening days before Heritage Day, celebrating 30 years of South African democracy, We, The Purple at The Javett Art Centre at the University of Pretoria plays on Pretoria’s brand as the “Jacaranda City”, reflecting on events like #FeesMustFall and the 1989 “purple rain protest,” with themes of protest, identity, and land rights. In part thanks to Gabi Ngcobo’s visionary groundwork, this ambitious project manages to fuse the past with the present in a smoothly curated dialogue that seeks resonance with a nation writhing in stubborn growing pangs.
Indisputably, the hearth of the exhibition is the great Noria Mabasa‘s mammoth tree trunk sculpture carved with strange and sinewy figures. It does not operate merely as a sculpture; but becomes an altarpiece, towering and carrying the weight of time immemorial. You can all but hear the artist reaching up, around and into its every crevice, resolved to make it bend illogically and phenomenologically. Simultaneously an evocation of joy and rhythm, and toiling and torment; seated, standing, squating, leaning over the entrance to the gallery space.
As one approaches, a dramatic earthy aroma emanates from its form—an amalgamation of nature, work, life, and death—inviting viewers to experience its presence with all senses engaged. This singular work, more than a decade away from the public eye, now anchors the exhibition, yanking the viewer into its embrace, whispering unremembered stories, and enveloping them in a maternal, yet paternally protective peace. Mabasa’s sculpture gives a gratingly tough love. It makes us traverse terrains we may rather forget—lest we forget.
It commands attention in a way that few things do these days and sets the tone for the rest of the exhibition. As the viewer moves through the vastness of the multi level exhibition space, Mabasa’s sculpture echoes, inevitably comparing and contrasting itself with the works that follow, some more traditional and some more contemporary and familiar. The presentation resonates with such thoughtful curatorial strokes of genius, which provide a deep, grounding experience illuminated by the more colorful aesthetics filling the space.
Guest curator Khumo Sebambo orchestrated this exhibition with a curatorial approach that blends works from collections held by Javett-UP with pieces from the Bongi Dhlomo, South32, and Javett Family Collections—featuring iconic artists such as Gerard Sekoto, Mme Mmakgabo Mmapula Mmangankato Helen Sebidi, John Mohl, Marlene Dumas, Athi-Patra Ruga, and George Pemba. In addition, there are works on loan from the Tshwane-based University of Pretoria Museums, UNISA Art Gallery, and Ditsong National Museum of Cultural History.
There are works from Zanele Muholi, Sethembile Msezane, Bonnie Ntshalintshali, Lerato Shadi, Moshekwa Langa, Sabelo Mlangeni, Thabiso Sekgala, and Nozuko Madokwe. The exhibition’s scope is so broad, it offers a truly varied survey of South Africa’s artistic landscape. Not only that, the exhibition is an encouraging amplification of the collectors and cultural workers that actually care about South African art. As if that weren’t enough, We, The Purple fosters active dialogue, with public programs and workshops extending beyond the gallery.
For many art, history and culture lovers, this will certainly be an essential pilgrimage. It becomes a vital capsule of Pretoria’s—and by extension, South Africa’s—artistic and democratic development. The team at Javett-UP have proven themselves to be worthy custodians of a narrative that honors the past while addressing contemporary challenges, staying true to its mission of making African art accessible and thought-provoking. We, The Purple is a multi-sensory extravaganza that dares to stare into the face of the South African conundrum.
The exhibition is festive, but it asks unpleasant questions. Is this really all we can muster after all these years of democracy? Have we come as far as we can go? Have we seen all there is to see when it comes to South African art? Will there ever be more than this? Naturally, one art exhibition can’t resolve national existential angst, but it is remarkable when an audience is reminded of what art can do. The harmonies and rhythms emitted through and undoubtedly inspired by We, The Purple are a promising speculation of infinite potential.
“We, The Purple” is on show at the Javett-UP until the end of 2024 and is open to visitors from Tuesday to Saturday, 10 am to 5 pm, with the final entry at 4 pm. Tickets are available at the Javett-UP reception upon arrival, and entry is complimentary for children under six and students enrolled at public universities.
