Lindsey de Roos
dogs especially German Shepherds were used by the police during apartheid to control populations and their control bodies, there's no getting away from that visual but he's also reluctant to let those be read in one way there was a belief that if you took sleep from a dog's eyes and placed it on your own eyes you would then be able to sing to the spiritual realm that spiritual world became also a productive metaphor for me to look at the past or history generally the one almost has to wear a certain kind of eyes or pair of eyes in order to be able to engage with time which is no longer pleasant - kemange wa lehlere show
According to Foster (2012, p. 2),
‘’under apartheid (which means ‘’apartness’’ in Afrikaans), one’s identity was established chiefly on the basis of skin color: you were European (white), Coloured (mixed race), Asian (Indian), or Native (black). The vast majority had been governed, for centuries, by the white minority’’
, ‘’... Africans, who accounted for over 70 per cent of the population, still had no effective political rights in 83 per cent of the country, land that was reserved for whites, (...) Almost half of all South Africans lived below the poverty line, eight million people were totally destitute, and 25 per cent of all households lived on less than half of poverty line income’’ (Picard, 2005, p. 4).
The big apartheid thus was the main reason for the forced displacements of people. The state-societal relationship remained historically defined, even after the abolishing of the apartheid (Picard, 2005).
In colonized spaces, cultural power was a tool to control and dominate subordinated populations. The traditions of the colonial, non-western cultures were denigrated, and the culture of the western cultures was presented as superior. An emphasis presented in Aitkin & Valentine on postcolonialism is that ‘’the formal end of European colonialism would not necessarily mean the end of colonial forms of power’’ (Aitkin & Valentine, 2006, p. 147)
Quote by Zanele Muholi
Out of 100 artists 20 would be considered to be a part of Venice have to have experience and you have to have a certain type of intellect as per those as those who decide to be given access and not which in itself is political. And and those African artist or not or not equipped with the language that is required with in hi art systems such as proposals and statements.
When I work with emerging artists who are producing work and when that retrospective is being performed it is not with in some bad way and I think the last of that heritage is traumatic and. We still need to build a space that is supporting artists in this community and not forcing us to compete against one another in order to gain recognition with outside of South Africa.
When you are collecting aren’t from artist within Africa you need to consider the ethics of the fact that you are collecting work that exist within a various economic condition. Artist cannot be used as another form of exploitation. Export. The popularised notion of an African which is one that is to be saved still exist with in that international collection of African art. Artis of minority groups I still seen as children that I need to be saved. Professionalism is ignored.
Being white is a construct which we have too heavily invested in emotionally and spiritually, and which asks us to turn a blind eye to oppressive behaviour that continues to destroy our humanity