Visual Arts Archive

Virtual Frontiers: They’re Real

Francois Knoetze’s Virtual Frontiers is pretty incredible. A visual arts exhibition without art on the walls. The art lies in your own perception of the VR (virtual reality) you are experiencing. Six machines, six different videos, 13 minutes long, made from digitally edited 360-degree camera footage – of people and places all around Grahamstown and with

Le Rêve De Lucie: Encouraging dreams

Children’s theatre is often disregarded as something simply to keep the kids entertained and relegated to the lower rungs on the theatre hierarchy ladder, somewhere near student and (so-named) community theatre. [Side note: it’s often in these three categories where you find the most inventive and surprising theatrical experiences.] All who work in the theatre

Black body swinging

Walking down into the maelstrom of First Thursday after viewing the opening of Ayana V Jackson’s exhibition of photographs at Gallery MOMO, the Dutch photographer along for the ride remarked that he loved the space and exhibition layout but the images seemed rather narcissistic. Given that all the 30-odd images were of Ayana herself, both

Sound letters to Dumile Feni

There are many stories to be told. One of them is the story of Dumile Feni. We know his dramatic monochromatic artwork and muscular drawings, the smooth tortured lines of his sculptures. We know his biography, the list of his exhibitions is available. What we don’t know is the details, the stories comprising the moments

Othering the othered

How people choose to represent themselves can make for fascinating viewing. Less so today, where we are saturated with selfies and self-promotion, although the fact it is so ubiquitous is an indicator of our mixture of narcissism and interest in self-representation. It’s particularly revealing when it goes wrong. But I’m talking about how people chose

The vandalism of photography

As with the news, it’s easy to fall into the trap of thinking photography represents objective fact. It’s an image produced by a machine; how can a machine be subjective? But consider how Kodak film was standardised to Caucasian skin back in the 1960s, showing some of our best friends as indeterminate black blurs. Teju Cole