Unframed | ICTAF Announces Site-Specific Special Projects

Lungiswa Gqunta, Turiya Magadlela and Sethembile Msezane have been commissioned to present installations about the everyday lives of ordinary women, using the object as a tool of disruption in the Unframed section of Investec Cape Town Art Fair (ICTAF2018), which will run from 16-18 February 2018 at Cape Town International Convention Centre (CTICC).

Art fair curator Tumelo Mosaka says of the second edition of the section, “We have invited four artists whose work speaks in dialogue to materiality, not only in art production but in the everyday lives of contemporary women. On multiple levels, we are allowing visitors to experience installation outside of the gallery booth context. ”


Sethembile Msezane | Gallery MOMO

Sethembile Msezane (b.1991, South Africa) maps out how the process of commemorative practice informs constructions of history, mythmaking, and ultimately addresses the paucity of the black female body in the monumentalisation of public spaces. Msezane has received numerous awards, including the TAF & Sylt Emerging Artist Residency Award (2016), the inaugural Rising Light award at the Mbokodo Awards (2016), and the Sasol New Signatures Merit Award (2015), and was a finalist in the ANTI Festival International Prize for Live Art (2017). Her performance at the removal of the John Cecil Rhodes statue at UCT (2015) has become iconic.

Msezane’s solo exhibitions include a show entitled Kwasuka Sukela (2017), held at Gallery MOMO (Cape Town). Selected group shows include All Things Being Equal, Zeitz MOCAA (Cape Town, 2017); Women’s Work and The Art of Disruptions, the Iziko South African National Gallery (Cape Town, 2016); Dis(colour)ed Margins, the National Gallery of Zimbabwe (Harare, 2017); Re[as]sisting Narratives, Framer Framed, (Amsterdam, 2016); and Translations, Emergent Art Space and Reed College, Portland, Oregon (2015), among others. Her work is held in prominent collections such as Zeitz MOCAA and the Iziko South African National Gallery.


Lungiswa Gqunta | WHATIFTHEWORLD

Lungiswa Gqunta (b. 1990, South Africa) grapples with the complexities of the South African post-colonial cultural and political landscape. Focusing on creating multi-sensory experiences that attempt to articulate the social imbalances that persist as a legacy of both patriarchal dominance and colonialism, Gqunta exposes different forms of violence and the systemic inequality in South Africa. Working with found materials (empty beer bottles, petrol, torn bed sheets and worn wooden bed frames) Gqunta’s work confronts the viewer with a series of uncomfortable negotiations. Her work unflinchingly cuts through idealized notions of domestic space, enclaves of privilege, and political apathy.

Gqunta created a site-specific installation at the Istanbul Biennial (2017), exhibited alongside internationally-renowned artists such as Njideka Akunyili Crosby and Fred Wilson. Recent solo exhibitions include Poolside Conversations, Kelder Projects (London, 2017); Stranger’s Location, Michaelis Galleries (Cape Town, 2017) and Qokobe, WHATIFTHEWORLD (Cape Town, 2016). Selected group shows include All Things Being Equal, Zeitz MOCAA (Cape Town, 2017); Everyday Anomaly, WHATIFTHEWORLD (Cape Town, 2017); Young Now, Hazard Gallery (Johannesburg, 2017) and iQhiya Collective, AVA (Cape Town, 2016). Her work also forms part of the public collections of the Nelson Mandela Metropolitan University, the University of Cape Town, and Zeitz MOCAA. In addition to her independent practice, Gqunta is one of the founding members of the influential collective iQhiya, with whom she recently participated in Documenta 14.


Turiya Magadlela | blank projects

 Working primarily with common yet loaded fabrics, from pantyhose to correctional service uniforms, Turiya Magadlela (b.1978, South Africa) creates abstract compositions by cutting, stitching, folding and stretching these materials across wooden frames, and deploying them in site-specific installations. Her subject matter moves between articulations of personal experience of woman- and motherhood, and narratives from Black South African history.

Magadlela has had seven solo exhibitions to date, including at the Johannesburg Art Gallery in 2015. Most recently, she presented Wabona lapho isifebe, wangena kuso at blank projects in 2017. She has participated in numerous group exhibitions, both locally and internationally including Blue Black, curated by Glenn Ligon, Pulitzer Arts Foundation (St. Louis, Missouri, USA, 2017), Simple Passion, Complex Vision: The Darryl Atwell Collection, Gantt Centre (Charlotte, North Carolina, USA, 2017), The Past is Present, Jack Shainman Gallery (New York, 2017), Les jour qui vient, curated by Marie-Ann Yemsi, Galerie des Galeries (Paris, 2017), Blackness in Abstraction, Pace Gallery (New York, 2016) and The Quiet Violence of Dreams, Stevenson (Cape Town, 2016).

Image Credit: Turiya Magadlela, 'Liberal, Wozo hlala kwam, Ngihlale kwakho 2' (2017), Nylon- and cotton pantyhose, thread, and sealant on canvas, 120 x 120 cm (Courtesy of the artist and blank projects)

 ICTAF runs from 16 to 18 February 2018. For more information, visit investeccapetownartfair.co.za.

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