STEVE BANDOMA

Steve Bandoma the first young black artist at NIROX FOUNDATION

2011-05-30T05:31:00.000-07:00

Steve Bandoma is a Congolese performance and visual artist who has been in residence at NIROX for the past month. He has produced a compelling body of mixed media works on paper which he will show in the Coolroom Studio at NIROX.
This is a unique opportunity to view the work in production and to engage with the artist in the relaxed environment of his studio on the banks of the Blauwbankspruit River.

Bandoma uses water color, ink and clippings from contemporary glossy publications to interrogate the excesses and imbalances of the contemporary world, with exuberance, intelligence and a refined aesthetic which subverts stereotypical expectations of the African artist in a post-colonial world… The result is a visually dynamic reconstruction and analysis of a sometimes meaningless contemporary world overtaken with images and objects of excessive desire and affluence at the expense of the environment and humanity.

Bandoma questions the limits of his world - the physical magazines that overwhelm us; the huge effort and cost that delivers them to readers who scan them superficially and then stack them never to be considered again. Steve breathes new life into them. Deploying their own excess in the expression of his challenge against their validity - Provocatively addressing the politics, religious profusion, global environmental issues, racial differences and consumerism.

Punishment, from lost paradise, 2011, installation, variable

Steve Bandoma at his studio.

Rachel
Curator in training
NIROX Foundation
0834348541

Steve Bandoma au CCF Pointe-Noire

2011-03-06T14:22:00.000-08:00

Mon cheval blanc,form ecstasy series,2011

« Le travail actuel de Steve Bandoma semble relever d’une sorte d’expressionisme mâtiné de surréalisme. Sa façon de rendre un monde en déflagaration nous renvoie à l’idée de destruction, de bombardement, d’anéantissement et ne semble pas étranger aux violences des guerres qui ont déchirées l’Est de la République Démocratique du Congo. Mais un je-ne-sais-quoi de fragile en mitige le pathétique pour le plonger dans une sorte d’onirisme désenchanté. Peut-être est-ce du fait de l’effort volontaire de cet artiste de ne pas coller trop littéralement à une conjoncture qui, quoique mondiale, semble être devenue sur toutes les chaines de télévision du monde, sur Internet et les journaux la carte postale du Continent ?
En effet, l’artiste nous transporte dans un monde intermédiaire entre préocupations temporelles et saut dans l’ intemporel. En cela son attitude est celle des

artistes d’aujourd’hui, non strictement localisés, et qui inventent un langage nouveau à partir d’éléments rassemblés aux quatre coins du globe. D’ailleurs, si l’on ne cherche pas à établir le parallèle volontaire entre l’oeuvre et l’espace territorial originel de l’artiste, force nous est de constater sa non territorialité. Il ne s’agit donc plus ici d’une dynamique de glocalisation, comme on a pu le dire au sujet d’artistes qui investissent le coeur du monde des questions liées à leur ancrage géographique ou ethnique en partant du local vers le global, mais de celle qui sur l’établi de la motilité des influences planétaires forge un art de partout et de nulle part. Un art qui est celui né d’une culture commune, universelle et qui prend racine sur tous les sols, voir en dehors des sols.
La première impression que nous avons eu devant cette création était son apparence végétale: on aurait dit des actes épars qui cherchaient à ce raciner dans l’espace. Une sorte d’errance, de

dérive spatiale après une sorte d’explosion primordiale, mais dont les éléments seraient restés pris dans une sorte de gélatine. L’artiste serait-il en quête ou serait-il au delà de la quête, dans un ailleurs sans issue, une accélération de la prise de fuite, depuis la rupture amorcée avec les formules un peu rances de l’Académie des Beaux-arts de Kinshasa? Cela est bien possible.
Steve Bandoma a fait partie du groupe Librisme synergie (dont la naissance remonte à l’année 2002), l’une des branches du Librisme originel, mouvement de l’art contemporain kinois qui refusa dès 1996 l’enfermement dans les poncifs académiques basés sur le naturalisme et l’art négro-africain ».

Patrick Tankama
artiste plasticien et critique d’art

Steve Bandoma au CCF Pointe-Noire

2011-03-06T14:11:00.000-08:00

Vernissage le Mercredi 09 Mars à 19h

Artist in Residence at CCF

Beings and things floating on paper, hybrid characters: the latest drawings, collages of Steve Bandoma give the impression of having been executed just after the final explosion or a series of genetic mutations. Big Bang reversed the laws of evolution as reviewed and corrected in a parallel universe.
... The vocabulary of the artist, made up of elements from a mix of eras and places ... seems to enjoy the cultural backgrounds to establish an art deterritorialized as aboveground.
Expressionists, fragile, funny, acidic, these drawings would not they leak beneficial?

Bandoma Steve was born in 1981. After studying at the Academy of Fine Arts in Kinshasa, during the period which he is part of the collective Librisme Synergy, he settled in 2005 in South Africa in Johannesburg first and then to Cape Town. Winner of numerous awards and fellowships residences (Pro Helvetia, Zurich / Visa for creating, Culturesfrance / Buzz Book 2009 Art Collection, USA), he was also a teacher and coordinator of projects initiated by (Visual Arts Network in South Africa / Amani Art Festival)...

By Eric Girard Miclet

FRENCH VERSION

Êtres et choses flottant sur le papier, personnages hybrides : les derniers dessins-collages de Steve Bandoma donnent l’impression d’avoir été exécutés juste après la déflagration finale ou une série de mutations génétiques. Big-bang inversé, lois de l’évolution revues et corrigées comme dans un univers parallèle.
...Le vocabulaire de l’artiste, fait d’éléments provenant d’un mix d’époques et de lieux..., semble s’amuser des contextes culturels pour mettre en place un art déterritorialisé, comme hors sol. Expressionnistes et fragiles, drôles et acides, ces dessins ne seraient-ils pas des fuites salutaires ?

Steve Bandoma est né en 1981. Après des études à l’Académie des Beaux-Arts de Kinshasa, période pendant laquelle il fait partie du collectif Librisme Synergie, il s’installe en 2005 en Afrique du Sud, à Johannesburg d’abord, puis à Cape Town. Lauréat de plusieurs prix et bourses de résidences (Pro Helvetia, Zurich / Visa pour la création, Culturesfrance / Art Buzz Book 2009 Collection, USA), il est également enseignant et coordonnateur de projets (Visual Art Network in South Africa / Amani Art Festival).

Par Eric Girard Miclet

Up and Down – Bekkersdal, Gauteng and Masiphumelele, Western Cape

2010-12-06T23:46:00.000-08:00

Up and Down aims to create an experience of participation somewhere between sport and artistic site-specific interventions. Bandoma and Mbikayi aim to build two soccer pitches, one in Gauteng and one in the Western Cape. Playing with the metaphor of the ‘level playing field’, they will be traditional soccer fields with a difference: one will be built on a hill and the other in a valley with the fields conforming to the shape of the landscape. The project intends to foster dialogue between foreign nationals living in the town and local residents through soccer matches on these pitches.

UP and Down is one of the diverse projects supported and initiated by the Visual Art Network in South Africa (VANSA). UP and DOWN is runned by Maurice Mbikayi and Myself It's actually still in its research step as we didn't yet get all funding required for its realisation.However for the research funding we got we run two different workshops one in Bekkeersdal-Gauteng(Down)and another one in Masipumelele-Western Cape(DOWN).

In May 2010, VANSA put out a call for proposals for the project "Two Thousand reason to live in a small Town" and Ten Reasons to live in a Small Town, with a deadline for submissions in August. A series of project briefing and proposal writing workshops were held across the during the course of June and July. Please visit http://www.vansa.co.za/2010-reasons-to-live-in-a-small-town-submission-guidelines-1/
to find out more about the brief for the project.

A large number of exceptional proposals were received, and we would like to thank all who engaged with the project concept. A total of seven projects were finally chosen by the curatorial team VANSA convened for the project, comprised of Nontobeko Ntombela, Rat Western, Rike Sitas, Dorothee Kreutzfeldt and Joseph Gaylard. VANSA has also made available smaller project development commissions against four proposals that were felt to show substantial potential.

In October 2010, we convened a weekend workshop involving all of the commissioned artists and the curatorial team, aimed at sharing ideas, building a ‘community of practice’ and putting in place practical plans for the realization of projects. Kindly hosted by the Nirox Foundation, the weekend was a great success, opening up lots of new possibilities and ideas for all involved.

For ongoing updates, insights and images related to the project posted by the artists and curators, visit: http://www.vansa2010reasons.blogspot.com/

The Menippean uprising

2010-09-01T03:47:00.000-07:00

There would be tears and there would be strange laughter. Fierce births and deaths beneath umbrageous ceilings. And dreams, and violence, and disenchantment.
- Mervyn Peake (Titus Groan)

Fantasy is escapist, and that is its glory. If a soldier is imprisoned by the enemy, don't we consider it his duty to escape?. . .If we value the freedom of mind and soul, if we're partisans of liberty, then it's our plain duty to escape, and to take as many people with us as we can!
- J.R.R. Tolkien

If one is lucky, a solitary fantasy can totally transform a million realities.
- Maya Angelou

The Menippean Uprising explores the idea of the imaginary, the unreal and the fantastical. The focus is on artworks that are of an escapist nature; works that intuitively venture toward the irrational, the grotesque, the pleasurable.

The title of the exhibition references Menippean Satire*, and it aims to illustrate the power that fantastical artworks have in framing contemporary issues in new ways, while interrogating some of the traditional reservations of the genre. These reservations include the mutual dependency of realism & the fantastic, the subservience of fantastical art to literature & mythology, and the perilous proximity of the fantastical sublime to its populist counterpart - fantasy**

The following artists will exhibit works in a variety of media and presentation strategies: Steve Bandoma, Belinda Blignaut, Dirk Bell, Anja De Klerk, Adriaan de Villiers, Pierre Fouché, Alice Goldin, Liza Grobler, Walter Oltmann, Mendisa Pantsi, Michael Taylor, Hentie van der Merwe, Dale Washkansky and Niklas Wittenberg.

____________
Footnotes:
* Menippean satire is one of the earliest genres of fantastic literature. Petronius's Satyricon, Varro's Bimarcus & Lucian's Strange Story are examples of writings of this genre which had representative works from ancient Christian-, Byzantine-, Medieval-, Renaissance- and Reformation periods. Jackson, in Fantasy, the literature of subversion (1981 - Methuen) describes the genre:

Steve Bandoma, The players,2010

It was a genre which broke the demands of historical realism or probability. The Menippea moved easily in space between this world, an underworld and an upper world. It conflated past, present and future, and allowed dialogues with the dead. States of hallucination, dream, insanity, eccentric behaviour and speech, personal transformation, extraordinary situations, were the norm. It was a genre which did not claim to be definitive or knowing, Lacking finality, it interrogated authoritive truths and replaced them with something less certain (15-16).

** Populist fantasy refers to the iconography of fantasy paperback illustration, subcultures of amateur practitioners, and its often tired tropes based on medievalist and Celtic mythology.

Open studio

2010-07-27T06:43:00.000-07:00

Steve Bandoma

OPEN STUDIO
Facilitated by Contemporary African Art Connect
Friday 30th July 2010
At 18h00
On 18 Roeland street, Cape Town
(Old Ogilvy Building)
Ref: Parliament main entrance
(Parking available also inside)

Focus10

2010-06-02T05:00:00.000-07:00

After premiering in 2009 FOCUS is ready to launch its second edition. FOCUS10 is designed to present and connect the vibrant African art scene to the world. Conceived as a complement to Art Basel (June 16-20, 2010), the fair showcases Galerie Peter Herrmann (Berlin) and features emerging and established artists from Africa and the Diaspora in a show curated by Christine Eyene (London) and Lerato Bereng (Johannesburg) and supported by Fondation Blachère (Apt) and Pro Helvetia Cape Town. In a relaxed and intimate atmosphere visitors of FOCUS10 can expect to enjoy a huge variety of artistic production from the diverse scenes of the African continent and from the African Diaspora.

FEATURING Galerie Peter Herrmann (D):

Dalila Dalleas (Alg/D)- Amouzou Glikpa (Togo/D) - Bill Kouélany (RC) - Goddy Leye (Cam) - Malam (Cam/Fr) - George Osodi (Nig/UK) - Chéri Samba (RDC) - Ransome Stanley (D)

Curated Show
Curators: Christine Eyene (UK) - Lerato Bereng (ZA)

Steve Bandoma (DRC/ZA) - Faith47 and Rowan Phybus(ZA) - Justin Fiske (ZA) - Ricky Lee Gordon (ZA) - Bers Grandsinge (DRC/B) - Ibrahim el Hadad (ET/CH) - Victor Mukelekesha (Z/N) - Samuel Olou (RT/N) - Cameron Platter (ZA) - Frauke Stegmann (ZA) - thanksthanksafrica (CDN) - Christian Tundula (DRC/B) - Breeze Yoko (ZA)

Specials:
Chocolate Banana - a video project in a Stern-taxi touring around in Basel by Bill Kouelany and Goddy Leye. Call: 061 691 44 44
Carlo Mombelli and the Prisoners of Strange (European Edition) – Jazz concert on Thursday, June 17, 2010, 8 p.m.

For further details please refer to our homepage: www.focus10.ch.

AFAI Organises a Workshop with African Artists Living in Cape Town

2010-05-06T01:52:00.000-07:00

The African Arts Institute organised a workshop with African artists living in Cape Town with the view to establish some of the challenges which they are facing in the country in order to plan on how to assist them to overcome them. This workshop was also an opportunity for the organisation to introduce its three new projects, that is, the AFAI help desk, the African artists showcase and stories of African artists living in the diaspora to the artists. The workshop was attended by artists from South Africa, Zimbabwe, DRC, Congo, Malawi, Mozambique and Kenya. It established that most artists from African countries other than South Africa are facing challenges in accessing South African markets and funding. It was also noted that most artists need training in arts management.

French

African Arts Institute (AFAI) a organisé un atelier avec des artistes africains vivant à Cape Town en vue de mettre en place certains des défis auxquels ils sont confrontés dans le pays afin de planifier sur la façon de les aider à les surmonter. Cet atelier a été aussi une occasion pour l'organisation de présenter ses trois nouveaux projets, qui est, le centre d'assistance AFAI, la vitrine les artistes africains et des histoires d'artistes africains dans la diaspora, aux artistes. L'atelier a réuni des artistes de l'Afrique du Sud, Zimbabwe, RDC, Congo, Malawi, Mozambique et au Kenya. Il a établi que la plupart des artistes de pays africains autres que l'Afrique du Sud sont confrontés à des défis dans l'accès aux marchés d'Afrique du Sud et le financement. Il a également noté que la plupart des artistes ont besoin de formation en gestion des arts.

2010-04-13T01:10:00.001-07:00

The African Arts Institute (AFAI), based in Cape Town, launched three projects this month to support, showcase and market the arts of African artists living in South Africa.
In line with its vision to harness South African resources, markets and expertise in the service of Africa’s creative sector, the projects include a Help Desk for artists from behind the Limpopo, a collection of stories about the struggles and achievements of African artists in South Africa and a monthly showcase of work by artists from other African countries.

Steve Bandoma (Democratic Republic of Congo), a visual artist working in South Africa, will manage the Help Desk which will advise and assist African artists to access resources and infrastructure, distribute their work, obtain legal documents and to facilitate travel around the country, on the continent and globally.

“I am excited by this project as I see myself as a successful visual artist working and operating in a foreign country and now I am in a position to engage with the African Diaspora community in the form of AFAI’s help desk,” said Bandoma.

Zimbabwean musician Patricia Matongo will take charge of a regular forum to showcase the works of African artists to facilitate dialogue/collaboration between African artists and their South African counterparts and to educate South African publics about the arts from the continent. In this way, AFAI plans to create new markets for and greater integration of African artists living in South Africa.
Said Matongo: “This is a great opportunity for African artists to showcase their talents and to tell the world that there is more to a ‘refugee’ than meets the eye; they not only bring their expertise but also wonderful talents to South Africa.”

Mwila Mambwe, also from the Democratic Republic of Congo, an enthusiastic poet living in South Africa, will collect and compile valuable stories of African artists and the conditions they encounter in South Africa. This collection of short stories will be compiled in various forms including a book, DVD and internet video clips to be hosted on the Institute’s website.
Bandoma, Matongo and Mambwe will initially run their projects as part of internships that vary between 3 and 6 months.

Joburg launches Artists of Africa

2010-03-13T00:44:00.000-08:00

Joburg launches Artists of Africa
The Artists of Africa was launched late last week by the City of Johannesburg and the Department of Arts and Culture. VIP's and the media gathered at the Joburg Theatre for a briefing on the official 2010 FIFA World Cup Host City Johannesburg event.

Melissa Mboweni, curator, speaking at the Artists of Africa media launch
The pan African Contemporary art exhibition will be hosted at Museum Africa, Newtown, Johannesburg from 11 May to 11 July 2010. Curators, artists, writers and poets will collaborate on the project in order to showcase African talent.

The event was attended by MEC for Sports, Arts Culture and Recreation: Nelisiwe Mbatha Mtinkulu; MMC for Community Development of Johannesburg: Bafana Sithole, executive director 2010: Sibongile Mazibuko; director of Arts, Culture and Heritage: Steven Sack; COO of the LOC: Nomfanelo Magwentshu and the 2010 Joburg Soccer Legends.

Professor Pitika Ntuli opened the ceremony with a poem to capture the essence of the event.

Executive director of the 2010 office, Sibongile Mazibuko stated that the City of Johannesburg (COJ) was pleased to be partnering with The Department of Arts and Culture on this initiative. Mazibuko added that the COJ, the Department of Arts and Culture (DAC), FIFA and the Local Organising Committee (LOC) are proud of this project that will show benefits to and promote the arts industry of Africa.

Says curator Melissa Mboweni: “This exhibition will be promoted globally to people of all races, ages and cultures as it aims to educate and portray African art for what it is truly worth.”

Curator Thembinkosi Goniwe outlined the exciting curatorial concept of “Space - currencies in African contemporary art”. Thembinkosi drew attention to the relevance that the words “space” and “pace” hold for art and soccer. The defending of one's “space” and the attacking of another's is of much relevance to the game of soccer.

Space is however an important concept when related to the arts industry. This includes issues relating to the “space” that African contemporary art occupies within the global arts industry and the interaction that an artwork has with the “space” that it occupies.

The word “pace” refers to speed. Soccer players have become renowned for their ability to either use speed or talent to slow down the period of play for the benefit of the team.

“Pace” can also refer to the speed at which the African contemporary art industry is or is not changing and can bring to mind what affect we expect the 2010 FIFA World Cup to have on this industry.

In her closing, Mazibuko encouraged all art lovers, media, soccer legends, curators, artists, poets, government officials for their support in steering this project now and beyond 2010.

The sound of the iconic South African vuvuzela, gourmet food and a performance by Khanyo Maphumulo ended the occasion.

Space "Currencies in Contemporary African art" at the Museum Africa

2010-03-13T00:40:00.001-08:00

Huge art show planned for 2010

Written by Ndaba Dlamini
Friday, 18 September 2009
An exhibition of works collected from around the continent will add an artistic legacy to the football tournament, and show Africa to the world.
ARTISTS of Africa, an art and craft exhibition featuring the work of artists from all over the continent, will take place at Museum Africa in 2010.

Head curator of Artists of Africa Thembinkosi Goniwe
Billed as one of the main attractions during the 2010 FIFA World Cup™, the exhibition will run at the Newtown venue from 11 May to 11 July 2010. It is expected to attract thousands of visitors during the month-long World Cup, which kicks off on 11 June 2010.
At the official launch of the exhibition on Wednesday, 16 September at the Joburg Theatre Complex in Braamfontein, the head of the City's 2010 unit, Sibongile Mazibuko, said the exhibition was a City of Johannesburg initiative that was meant to augment the World Cup as a truly African event.
"This is an important pan-African contemporary art exhibition recognised as an official 2010 World Cup host city event. We are calling on African artists from all over the continent to participate," she said.
The member of the mayoral committee for community development, Bafana Sithole, said every passing day brought the 2010 World Cup closer. Artists of Africa was conceptualised by the City to use the pressure from hosting the football tournament to ensure that a lasting arts legacy was left after the competition was over.
"When the World Cup has come and gone, there should be something of value left behind ... This exhibition is meant to portray the continent's diverse cultures and for African artists to showcase their work. It is also meant to draw global attention to Africa. The City is proud to host the event," said Sithole.
Heritage
Also present at the launch was the MEC for sport, arts, culture and recreation, Nelisiwe Mbatha-Mtimkulu, who said the exhibition would become part of South Africa's heritage and at the same time, expose the work of African artists to the rest of the world.
"The exhibition will develop the contemporary African art industry and thus give an opportunity for African artists to make a decent living for themselves."

Head of the City’s 2010 unit, Sibongile Mazibuko
At the launch, a sneak preview of what people could expect from the exhibition was beamed on to a huge screen. The video showed some artwork from African artists.
"From what I have heard and seen about the Artists of Africa exhibition so far, the best football has to be played at the 2010 World Cup for people to attend matches, otherwise this exhibition will draw most of the crowds. The exhibition features an exciting programme that the City is putting together," he said.
Giving a brief outline of the exhibition, the head curator of Artists of Africa, Thembinkosi Goniwe, said it was entitled Space.
"We are working towards a projection of what Africa is all about. But Africa is complex; that is why we have given the exhibition the title Space - it gives us space to try to map out this continent."
Surprise
Goniwe said the exhibition would also give artists space to produce ideas about "beautiful and pleasurable things". He would not name any of the participating artists, however: "This will be a surprise," he said.
In preparing for the exhibition, 11 curators were working in different parts of Africa, looking for "diversity".
"The exhibition is also a creative and an intellectual space for African artists, curators, writers and various audiences to engage in dialogue on culture, aesthetics, politics and mobility," Goniwe explained.
One of the curators, Melissa Mboweni, said the exhibition would benefit the visual arts and, in turn, Africa.
"The visual arts, generally speaking, have little voice and are not acknowledged as a significant medium, and the role they play outside of supposed aristocracy and investment. Art has always brought to attention important and salient issues.
"It has also influenced how issues like HIV/Aids, poverty, social snobbery and the like can be seen in a different light," she said.

La Retrospective

2010-02-12T04:06:00.000-08:00

la rétrospective/le demi siècle
Sat 26th June 2010 | 12 pm to 10:30pm

The culture of the Democratic Republic of the Congo reflects much of the diversity of its hundreds of ethnic groups and their differing ways of life throughout the country—from the mouth of the River Congo on the coast, upriver through the rainforest and savanna in its centre, to the more densely populated mountains in the far east. Since the late 19th century, traditional ways of life have undergone changes brought about by colonialism, the struggle for independence, the stagnation of the Mobutu era, and most recently, the First and Second Congo Wars. Despite these pressures, the customs and cultures of the Congo have retained much of their individuality.

The Congolese are known for their art, “art is life”, a well known slogan to the locals, so prevalent that even the economic hardship of the last few decades had fail to dent the artistic spirit that prevails in every “localité”. Thousands of students still enroll to the celebrated Academie de Beaux Arts, which is the only arts academy of a university level in Central Africa. Traditional art includes masks and wooden statues, malachite, ceramic, paintings and copper. Notable contemporary artists are Chéri Samba or Bodys Isek Kingelez. The best known artists successful inside and outside the country are Lema Kusa (painting), Alfred Liyolo (sculpture), Roger Botembe (painting), Nshole (painting), Henri Kalama Akulez (painting), Mavinga (painting), Freddy Tsimba (sculpture), Claudy Khan (painting).

We have the pleasure of having Mr Serge Diantantu (based in France) and Steve Bandoma (based in South Africa) to be amongst the many artists exhibiting with us in London.

Date
Sat 26th June 2010

Venue
The Bernie Grants Art Centre
Tottenham

Time
Doors Open 12 pm to 10:30pm

Fee
TBC

Title
la rétrospective/le demi siècle

Special exhibitor
Serge Diantantu www.sergediantatu.com

Steve Bandoma at AVA Gallery

2009-07-04T01:23:00.000-07:00

The AVA
in partnership with Spier
invites you to the opening of three solo exhibitions

CONNOR CULLINAN
SATURNINE

STEVE BANDOMA

D ROOSTER
CIGPIX

opening at 6 pm
Monday, 15 June 2009
Exhibition closes on Friday 03 July 2009 at
1 o clock pm

Saturnine employs the Main gallery, this body of work utilizes acrylic paintings and screen prints to explore the victim/victimizer relationships. Stylistically, Cullinan applies Op Art devices to figurative painting; this unsettling visual effect creates a tension between a sense of intrigue and repulsion.

Steve Bandoma will be exhibiting white penis in the Long Gallery. white penis includes an installation and new photographic works created while Bandoma was in Zurich. Bandoma born in the Democratic Republic of Congo interrogates politics, power and colonialism

Upstairs in the Artsstrip D Rooster makes an entrance with his first solo exhibition Cigpix. Hundreds of ball point pen draws the size of playing cards line the gallery wall with obsessive mark making and fanciful explorations.

Féminisme, at Cité Internationale des Arts of Paris 2009

2009-06-13T05:42:00.000-07:00

If being billed on numerous local and international exhibitions does not put proof in the pudding, then taking a peek at Kinshasa-born, Steve Bandoma’s work, should do the trick as it tethers within sculptural conceptual innovations that according to him “strive to connect societies while fulfilling the needs and interests of contemporary art and cultures.” In late 2005 Bandoma moved to Cape Town where artistic doors were literally flung open to him by curator – Khwezi Gule – at Cape 07 (x-Cape).

Turning back was no longer an option as he grew to a stage worthy of an honourable mention in the Art Buzz Book 2009 Collection (USA). Apart from holding down a residency for the first three months of 2009 in Zurich hosted by Prohelvetia, he was recently laureate for "Visa pour la Création" Afrique and Caraïbes en Créations hosted by Culturesfrance at Cité Internationale des Arts in partnership with Mains D'œuvres in Paris. Bandoma is now based in Cape Town and can be contacted via email: stevebandoma@gmail.com

by Unathi Kondile

ITC New Collaboration 2009

2009-02-06T09:51:00.000-08:00

Amakwerekwere, 2009, Infecting the City festival at tibault square

Created by:
Heeten Bhagat (Zimbabwe)
Brigitte Defaix (Holland)
Athi Patra Ruga (RSA)
Steve Bandoma (DRC/RSA)

EDITORIAL:

In 2008 the Spier Performing Arts Festival moved from the wine lands into the Cape Town CBD and became ‘Infecting The City’ (ITC). The arts have transformative power, the ability to widen our perceptions, open our imaginations, and show us the world from different perspectives: they belong in the centre of society. Confined in galleries and theatres they are often beyond the bounds of most people in our unequal community. ITC aims to make a festival of groundbreaking works accessible to people from all walks of life.

One of the features of the festival is that no works are performed in theatres: all are staged in unconventional locations: public squares, museums, fountains. This adds to the immediacy and excitement of the pieces, and provides a challenge to the creative artists who make them. In addition, many of the works are ‘site-specific’: they are integrally related to the sites in which they are staged – the history, the buildings, the flux of contemporary life. They cannot simply be restaged elsewhere. They are like fleeting monuments to the moment we live in, and are very much a part of our city.

Another quality of ITC is that it has a theme that the works pivot around. This year’s theme is “Home Affairs”, named after a certain inept government department, and investigating issues of citizen/immigrant, insider/outsider, inclusion/exclusion.
Millions of people across the world are on the move or have settled in new countries fleeing persecution, poverty and hopelessness, or looking for better opportunities. The notion of national identity has become fluid in the 21st century. In host countries the fear of cultural dilution and scarcity of resources and employment can erupt into xenophobic rage, as we witnessed across South Africa in 2009. We have asked artists to grapple with this subject matter, to deepen our understanding around these tensions that haunt our country and our psyche,

So for a week we transform Cape Town into a city-sized gallery exhibiting provocative, cutting-edge international and local artworks that resonate with one another within the urban landscape; a huge theatrical happening to disturb the humdrum and concrete. On behalf of the ITC team I urge you to spend a day or two in our wonderful city imbibing diversity, culture and history, and enjoying delicious food at our partner restaurants. Get infected!

Brett Bailey (artistic curator)

Brett Bailey (curator)

E-mail: brettbailey@thirdworldbunfight.co.za
Cell: +27 (0)82 578 8209

SCHOOLS INITIATIVE

A sector of the population with very little opportunity to see exciting, challenging performances is our school learners. ITC approached the corporate sector to sponsor 50 children a day from Arts and Culture Focus Schools across the peninsula to attend the festival. We want these young people to be stimulated, inspired and educated, and to get a sense of the complex relationships between history, society, architecture and the arts.
The scholars are led on a guided tour of the city from performance to performance, snapping photos for an online archive, enjoying a lunch, and finally participating in a facilitated workshop to discuss and analyse their experience in terms of the “Home Affairs” theme.
These youths are the future artists and creative thinkers of our city. They will be the custodians of the treasures of Cape Town. We applaud the investment the sponsors have made in the development of these learners and in our heritage. Each day of ITC is named in honour of the sponsor for that day.

OBJECTIVES OF ITC:

• To put provocative, cutting-edge, high-quality performance works that engage with the complexities of our society into public arenas where they are accessible to the general public.
• To redefine and enliven the cityscape with performance.
• To make explicit the ‘hidden histories’ of the city.
• To bring culture lovers into the cbd.
• To give culturally-orientated learners a wonderful enriching experience of the history and complexities of the city, and of how the urban landscape, the arts and social issues can inter-relate.
• To establish an exciting, challenging platform to extend the skills and capacities of local and international artists.

WORKS ON THE FESTIVAL:

3 x NEW COLLABORATIVE WORKS:
Twelve established performance makers from South Africa, neighbouring states and Europe have been divided into three teams. In residency in Cape Town for five weeks, each of these teams will make a large scale, outdoor, site-specific work that investigates the issues around ‘Home Affairs’. With reference to the recent xenophobia outrage, the work of these exciting creatives will draw on the history of our city, the shadows that haunt our urban landscape, the complexities around immigrants and other ‘outsiders’ on the fringes of our society.
This aspect of ITC aims to foster a culture of vibrant street art in our city and, by bringing together diverse artists from different parts of the region and the world, to forge a creative network, to inject new skills and approaches into the city and to send these out into the region.
Some of the local collaborators include Alfred Hinkel (artistic director of Cape Town’s foremost dance company, Jazzart), Julia Raynham (avant garde Cape Town choreographer) and Athi-Patra Ruga (Johannesburg fashion designer extraordinaire).
Some of the visiting participants include Heeten Bhagat (Zimbabwean artist, curator and designer), Michael Lister (UK outdoor-theatre director), Brigitte Defaix (Dutch site-specific performance maker) and Fabrice Guillot (French aerial choreographer).

Amakwerekwere, 2009

FLEET OF ART:
Each of the twelve artists of the New Collaborations transforms the back of a bakkie (pick-up truck) into an ‘invisible’ performance installation. The bakkies tour the streets of the CBD displaying their poignant or idiosyncratic loads.

TALKING HEADS:
An evening in the ‘living archive’ of Cape Town: sixty experts from a boggling array of fields gather to share their knowledge and opinions on a chosen topic: “These are the times that we’re talking about”. Your ticket has four random numbers on it corresponding to the numbers on the experts’ tables. A bell marks the time and you move between tables engaging in four intimate and lively 20 minute interactions with a cosmologist, a politician, a sex worker, an historian, a trends analyst… who knows who you might meet and what you may learn…
The evening of Thursday 25 Feb only.

incwaba lendoda lise cankwe ndlela – the grave of a man is next to the road
A collage of stories, songs, rituals and images, looking at the dislocation of young people whose parents migrated to Cape Town from the Eastern Cape along the N2, and who are constantly on the move between the traditional space in the Eastern Cape and the space of (post)modernity in Cape Town; between the peripheries of the rural homestead and the centres of the metropolitan settlement. A stirring, vibrant multi-media work produced by one of the country’s top performance companies, Magnet Theatre, devised by Mandla Mbothwe.

An Histrionic
Celebrated Spier Contemporary award winners – anarchic performance-makers erf [31] (Peter van Heerden and Andre Laubser), and Anne Historical – take up residence in the Castle of Good Hope for a month to research the physical, architectural and mythological history of the Castle.
Members of the public will be invited to join the team on “An Histrionic” - a guided tour of the Castle that uses parody, performance and installation to explore the contradictory histories that lay claim to this, the most significant heritage site in South Africa's colonial history. History itself is presented as something that is constantly remade in the present: uncertain and uncanny.

Tuning into the Void:
A void is like an invisible body hanging in mid-air. It is the space between two objects, between two bodies, serving to distinguish two visible forms that move side by side. Suspended from a crane in a sculptural trapezium of rope, three dancers of the acclaimed French company Retouramont transform the skyline of the city in their spellbinding exploration of the void.
Designed and choreographed by Fabrice Guillot. Funded by IFAS.
Saturday 21 & Monday 22 February only.

Eyton Rd
Australian/South African, Talya Chalef’s moving meditation on displacement, traverses her grandparents’ flight through the concentration camps of the Holocaust, her own experience of shifting cities, and stories of displaced people from around the world. Eyton Rd is a journey along transit stops, through old houses, family photographs and faraway maps, tracing bloodlines and memories, sickness and trauma through the body and through times.
Directed by Talya Chalef.

Call Cutta in a Box: an intercontinental phone play
Imagine you are buying a ticket at the box office for an individual show on a specific day, but are not led to the auditorium of the theatre. Instead, you get the key for a room and a sketch of how to get there. You open the door and you find a phone ringing. You pick up the phone and a person with a strange accent strikes up a conversation with you. The voice belongs to a call centre agent from Calcutta, India. On the notebook desktop in your room images and videos are opening up out of nowhere. A story is about to develop and you realize that the call centre agent and you and your city are the very first protagonists of the plot.
By Rimini Apparat in collaboration with the Callcenter Descon Limited in Kalkutta.
Funded by Pro-Helvetia.

Interventions:
Several low key and/or volatile interventions, to be performed by a range of local performers and other artists.

Infecting the City Festival

2009-02-06T09:41:00.000-08:00

Infecting the City Festival’s international and local visual, performance and mixed media artists are reeling from an intense and exhausting week of being immersed in the theme HOME AFFAIRS.They are ready to reveal their experiences,inspiration and performance ideas for the three core site-specific works in the Festival.

Please join us for snacks and drinks.

date: 4th February 2009 at 16h30 until 18h00
venue: The Gymnasium above the New Space
Theatre, 44 Long Street
rsvp NOW: publicity@infectingthecity.com for catering purposes
For more information on the festival, visit www.infectingthecity.com

COLLABORATOR BIOGRAPHIES

Brian Geza: Creatively stimulated by social issues, Brian is the founder and director of Zvishamiso Arts, a dance, music and theatre outfit with a mandate to ‘edutain’ its audiences. He was a member of Zimbabwe’s premier dance company, Tumbuka, for 6 years until 2006.

Fabrice Guillot: Poetic choreographer, designer and dancer Fabrice is a founder member of French company, Retouramont (1990). Before that he worked with the Roc In Lichen Company, and with Kitsou Dubois. In 1992 he created his first ‘public space’ performance, on top of a building in Paris.

Kai Lossgott: A South African writer and visual artist working in video, performance and experimental film, Kai is currently the artistic director of “City Breath”, a collaborative urban video poetry and performance festival for the Cape 09 Biennale.

Julia Raynham: As a South African artist, Julia’s work is an assemblage of performance, composition and divination. Her point of orientation is ‘the body’ with its mutable capacity to exist in the metropolis and engage with augmented states of reality. She embraces high fashion and ritual plant medicines as subversive catalysts in her image making.

Alfred Hinkel:

Michael Lister:

Mary Manzole: A Zambian performer and performer-facilitator, and trained in Theatre for Development methodologies, Mary uses her skills to disseminate information to marginalized people through the arts. She has just completed her BA Honours Degree in Applied Drama at The Witswatresrand University.

Penelope Youngleson: Hailing from Durban, Penelope is a theatre maker currently studying at UCT. Her Master’s course focusses on the intersection, distillation and installation of Performance and Fine Art diciplines within her specific socio-geograhic, historical and philosophical context.

Steve Bandoma: Born in D.R Congo, Steve obtained his BA (FA) degree from Academies des Beaux-Arts University of Kinshasa, and moved to South Africa in 2005. He has participated in numerous group exhibitions both locally and internationally, and had his first solo exhibition in Cape Town in 2008.

Heeten Bhagat: An unclassically/anarchically trained arts professional, Heeten has experience in design, dance, film and education. Currently working on creative educative projects that are specifically looking at ways in which culture [present/past/future] and its innate value can be incorporated in a new post-surreal Zimbabwe.

Brigitte Defaix: Director and performer of mime/movement theatre, Dutch artist Brigitte works in and outside the Netherlands. She was with site-specific theatre company Griftheatre Amsterdam for 13 years before joining up with SLEM Landscapetheatre, and produces her own work through Stichting ZOOM.

Athi-Patra Ruga: Working in the fields of performance, photography, video installation and fashion, Jo’burg-based Athi-Patra describes his working method as resulting from 'the clash between material and memory', but notions of utopia and dystopia also form a common thread. His works have been exhibited extensively in Africa and Europe.

Steve Bandoma at " Intervention" Unisa Art Gallery in Pretoria

2008-11-03T06:03:00.000-08:00

20:20 VANSA NETWORKING SESSION

2008-10-15T09:12:00.000-07:00

19:00
8 Spin Street
Thursday 25th September 2008

With presentations by;

Kathryn Smith
Department of Visual Arts, University of Stellenbosch

Loyiso Qanya
Cape Africa Platform

Robert Weinek
Afrika Burn

Steve Bandoma
Artist

"I was proud to share the evening with other guess from different art companies. This was very good experience for my carreer, as foreigner and French speaker artist giving the overview of my concept in front of experienced people and also having such networking opportunity in the art industry, specifically in the Cape Town province where I passed most of my time from 2005 until now."

THE PANSA 48 HOUR FESTIVAL

2008-10-15T08:52:00.000-07:00

Kai Lossgott and Steve Bandoma, Soft,2008
Photo: Hannah Mentz

THE PANSA 48 HOUR FESTIVAL – IT’S BACK AND IT’S BIGGER!
PART OF PANSA’S MONTH OF PERFORMANCE
SUNDAY 21ST SEPTEMBER 2008

What do you get when you put 64 of Cape Town's hottest artists together, throw in some crazy ingredients, and allow to simmer for 48 Hours? You get five brand new plays, four totally original music pieces, four mind boggling dance pieces, and four eye watering pieces of visual art.

Starting on Friday 19 September, writers, choreographers, composers and artists will gather to hear the rules for this year's festival. With talent like last year's winners Nicholas Spagnoletti, Louise Coetzer and Nkosinathi Mgweba, along with interesting new entrants like Steve Pillemer and Fiona Du Plooy, we're sure the results will be worth watching. At 6pm on Saturday 20th, they hand over to directors, get joined by actors, dancers, designers and musicians for another crazy 24 hours. This year's talent includes Thoko Ntshinga, Jaqueline Dommisse, Floyed de Vaal, Gideon van Eeden, Thami Mbongo, Brent Palmer, Erica Glyn-Jones, to name but a few.

And then, on Sunday 21st September at 6pm, the magic begins, as all of the weekends pieces are played out in one crazy night. It's fast, it's fun, it's not for the faint-hearted - PANSA 48 Hour Festival 2008.

Theatre in The District, Chapel St, Woodstock
Tickets R40, available through www.webtickets.co.za
PANSA MONTH OF PERFORMANCE - PLAY YOUR PART www.pansa.org.za
Enquiries: PANSA OFFICE, 0214483513

Greatmore's Winter Open Studios

2008-08-09T02:58:00.001-07:00

Winter Open Studio Exhibition

The smell of cinnamon and a variety of spices being stewed up for a vegetable soup greet me as I enter Greatmore. Boiled red wine and lemons or Gluvine was the welcoming drink. Lionel Davis, one of the founders of Greatmore Studio and a self-confessed socio-political and cultural art activist, welcomed us all and highlighted the plight of the visual arts in South Africa. “14 years later and the visual arts are still not being supported by government. Music, drama and other arts get support ... But the Non-governmental sector has kept the visual arts alive,” said Davis, staying true to his fight for the arts and adding that, “Without art we are just robots in society.”

As I walked through the passages, trying not be a robot in society by not embracing the creative arts, I was engulfed with an overwhelming sense of euphoria – artists such as Garth Erasmus, Xolelani Pat Matshikiza, Ena Carstens, Norman O’Flynn, Nadja Daehnke, Madi Phala, Mandla Vanyaza, Velile Soha and Lionel Davis had all once upon a time and still upon this time graced these studios. However I was not there to peep into their studios but rather to grace the Winter Open Studio Exhibition which marked the 2nd collaborative opening at Greatmore Studios this year. Look I won’t lie the work was nice and reflected a variety of styles. Greatmore has a way in which it captures the spirit of all genres of arts whilst embracing both local and international artists in their residency programs. Sadly the greatness of Greatmore and its many talented artists and their open studios stole the limelight from the main artists on exhibit, namely: Steve Bandoma, Sadia Salim, Merid Tafesse and Mpho Ngwenya. “Focus, focus, focus,” I kept telling myself as I tried to stick to subject artists.

It would be criminal of anyone not to be in awe of Steve Bandoma’s works. Bandoma, a DRC-born artist who has been in South Africa since 2005 stood by the window ledge wearing camouflage gear. In our conversation, over a glass of gluvine, he casually told me that:

“My culture is my physique and my art is my spiritual level. So it doesn’t mean that because I am black I must show people directly my culture. I think this is globalization. We are in a time of exchanging cultures.” He then pointed me to his Cosmos piece as well as a long white rope hanging from the ceiling, with syringes infused into it and condoms at the end of it. He calls it the White Penis and says: “This work talks about education and for me White Penis is an educated penis because it knows how to protect itself with the HIV issues, you know?” he laughs and we change the subject to finding meaning in his Cosmos piece.

But seriously though, I’m tired of black artists being constantly placed in a category that is labelled: You-will-deal-with-identity-and-stick-to-navigating-your-culture-through-your-art-work-only. So to see Bandoma embracing the conceptual form is encouraging and a sign that black artists do not have to be stuck to painting and sculpture and that they are fully capable of smart conceptual work.

In the opposite room which looked like the kiddies room, in this house-turned-studio, I found Sadia Salim’s work which filled the floor. “I work with ceramics, I work with clay and here you are seeing various impressions that were formed whilst I was doing this residency in Cape Town,” she says as she welcomes me in, “The present work is made mainly by slip casting and throwing on a potter’s wheel and fired in an electric kiln.” The work resonates a feeling of serenity, beauty and meticulous craftsmanship. It is still a work-in-progress though and will be completed at the University of Johannesburg which is the second phase of Salim’s residency in South Africa.

The next room was Merid Tafesse where one was greeted by charcoal drawings that are very playful in nature. It almost feels as if they were drawn without any seriousness, but there they were – each captivatingly captioned appropriately and extracting contemporarily relevant themes such as xenophobia. When asked about the charcoal and monochrome nature of his work he replies: “Don’t ask me why black, black for a reason.” The response in itself says a lot on issues of identity and mapping out black experiences via charcoal drawings.

The last artist on exhibit was Mpho Ngwenya. Now here one tends to feel transcendence into a spiritual state of being. The pieces or let me say sculptures I paid attention to were made of corrugated iron and took no particularly fixed form, yet for him, had a meaning. “The corrugated iron as a medium of my expression was revealed to me by my underground movement or ancestors,” he says “It’s a fascinating medium and reflects the environment I come from.”

Still stuck on the gluvine I walk passed another open studio which had a lot of “oo’s” and “aah’s”. I’d profiled the four artists on exhibit, my job was done, but the “oo’s” and the “aah’s” was something I couldn’t miss. Turns out Nkoali Nkawa had put up five pieces of his work. “Oo!” I thought; I had never seen anything like it. The detail. The realness. It was real life vivified through charcoal and varnish. Born in Welkom, arrived in Cape Town in 2002 and took up his residency at Greatmore studios. Nkawa says: “You see I worked in the mines for six years of my life. So the black and white you see here is a reflection of my underground experiences where the only light was your light in that darkness. That showed that there was life in darkness,” as he explains his sharply dark black on black images. Nkoali Nkawa is, like Salim, moving to Johannesburg and is bound to captivate art audiences there. “The only place that will fully expose my work is Joburg,” Adds Nawa.

The gluvine had finally kicked in and it was time to go. Greatmore Studios is located on 47 – 49 Greatmore road in Woodstock, Cape Town. And I look forward to returning to the homely studios on the 14th of November 2008 when they will host a major 10th year celebration.

Text by Unathi Kondile

Greatmore's interview

2008-08-09T02:31:00.000-07:00

Tea with a Potter TAG takes 2 with Pakistan ceramicist Sadia Salim
Sadia Salim is Greatmore Studios’ first artist taking residency in our satellite ceramic studio at the Observatory Community Centre. A self acclaimed ‘potter’ TAG takes time to look at life through her cultural and artistic lens.

…(read more)

STEVE BANDOMA (South Africa)
Sisanda: Steve you are an artist from Kinshasa, Congo, tell us what led you to the arts ?
Steve Bandoma: I started drawing from a young age and continued until I got my bachelors degree in fine arts in 2004 at the Académie des Beaux-Arts (Academy of Fine Arts).I arrived in South Africa in 2005 during which time I acquainted myself with the unique culture of Cape Town. I got involved in a lot of initiatives with a focus on new media- I participated in the Multimediations project hosted by Cape Africa Platform.
…(read more)

DINEO SESHEE BOPAPA (South Africa)
Sisanda: Let’s go back to the art Dineo. Talk us through your choice of medium and your artistic concerns.
D.B.: I work with video, found objects and paint, incorporating various words- I really like to change from one medium to the next depending on what I want my work to say. Sticking to one technique can really inhibit you from growing and exploring. I like the quality of the media I use. My work explores themes around power, sex, loneliness, anger, tension, discomfort- things that have in essence happened to me. I take things from my personal life experiences as well as from my friends. For me my artwork is about making sense of the world. My current work attempts to engage and have relevance to the city.
…(read more)

MERID TAFESSE ( Ethiopia)
Sisanda: Merid, what is the art scene like in Addis?
Merid Tafesse: I studied fine art at the university in Addis. It was very hard to get a place because out of 500 applicants there were only 20 available openings! There is a strong interest in the arts among young people in the city.
…(read more)

Text by Sisanda

[BACK TO TOP]

Eldorado, 2008, installation, variable

2008-06-09T04:56:00.000-07:00

2008-06-09T00:27:00.000-07:00

Black penis,2008(serie of 1)

Black penis,2008,details(serie of 1)

Press release " Contempocalypse"

2008-05-12T02:39:00.000-07:00

L'Insuffisance, 2008 (detail) installation

2008-05-12T02:37:00.000-07:00

Poluation, 2008 (details) Installation performance

2008-05-12T02:35:00.000-07:00

We were so many, 2008 installation

2008-05-12T02:32:00.000-07:00

Art practice

2008-05-12T02:29:00.000-07:00

Steve Bandoma employs various materials that have specific qualities and characteristics.
Batting, rope, raffia, rubber and found objects are all but some of the materials employed in his work. He sews raffia and batting, installs forms in space, performs and sometimes does video art. All this seen together, Steve Bandoma begins to literally fuse, connect and mix media, while he conceptually surfaces the socio-political, the socio-cultural and the socio-economic climates of not locally but globally. The semi-transparency of batting allows the artist to be both absent and present while remaining unidentified.
All these concerns are sometimes conveyed in a humorous manner.

Heritage perdu, 2008 ,installation

2008-05-12T02:27:00.000-07:00

Amabokoboko, 2008, installation

2008-05-12T02:25:00.000-07:00

Democratie, 2008, installation

2008-05-12T02:23:00.000-07:00

2008-04-21T08:04:00.000-07:00

ArtHeat

2008-01-05T02:25:00.000-08:00

ArtHeat

2008-01-04T13:02:00.000-08:00

STATEMENT

In the 21st century, when technology breaks political and cultural barriers while bringing together different backgrounds to exchange their experiences. My work then, seeks to interact with the policy of defending my culture’s exigencies through concealing my inherent character behind the tangible materials used. It also strives to connect societies while fulfilling the needs and interests of contemporary art epoch.

Focus, 2007 mixed media on bord

2008-01-04T12:58:00.000-08:00

Ropes,rubbers plunger,
and vanish on board,variable

Untitled, 2007, installation

2008-01-04T12:16:00.000-08:00

Batting,raffia,ropes,rubbers plunger,ball,
installation,variable

2008-01-04T12:04:00.000-08:00

MATERIAL AND COLOR PLAY IMPORTANT ROLE IN MY WORK, I'M MORE CONCEPTUAL AND SYMBOLIC IN MY CREATIVITIES.
DEALING WITH THE COMPLEXITY GIVEN BY THE GLOBALISATION IN THIS 21 CENTURY WITH THE FOCUS ISSUE OF RACIAL AND CULTURAL DISCRIMINATION CONTEXT SO
THE FALSE IMPRESSION BY SAILING THE IMAGE IS A REFLECTION OF MY OWN PERSONALITY
I AM NOT WHAT PEOPLE ARE SEEING OR THE WAY THEY ARE LOOKING AT ME, IN MY CONCERN OF PERSONAL INTEREST I PREFER TO HIDE MY PERSONALITY IN SEARCH OF AN IDENTITY SUBJECT TO EXIGENCE OF CONTEMPORARY ART CONTRARY TO MY CULTURE, SO MY ART IS INVOLVING THE POLICY OF JOCKS BEHIND THE MESSAGE IN ORDER TO ACHIEVE MY OBJECTIVITIES.

Connection, 2007, installation

2008-01-04T12:01:00.000-08:00

Batting,raffia,cloth,electric cable
installation,variable

Time as come, 2007, Installation

2008-01-04T11:45:00.000-08:00

Jumping rope,semolina,
installation performance,variable