Between 10 and 5 http://10and5.com The South African creative showcase Fri, 06 Mar 2015 10:58:51 +0000 en-US hourly 1 http://wordpress.org/?v=4.1.1 Markus Wormstorm Re-Mixes the Sounds of the New Volkswagen Scirocco http://10and5.com/2015/03/06/markus-wormstorm-re-mixes-the-sounds-of-the-new-volkswagen-scirocco/ http://10and5.com/2015/03/06/markus-wormstorm-re-mixes-the-sounds-of-the-new-volkswagen-scirocco/#comments Fri, 06 Mar 2015 10:56:14 +0000 http://10and5.com/?p=103524

Ogilvy Cape Town teamed up with electronic musician Markus Wormstorm to record three tracks using the sounds of the new Volkswagen Scirocco.

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the new volkswagen scirocco

 

Celebrating the launch of the new Volkswagen Scirocco, Ogilvy Cape Town teamed up with electronic musician Markus Wormstorm to record three tracks using the sounds of the car. To create these tracks, Markus spent a day with the Scirocco travelling around the Western Cape to record 7 hours of audio. Starting in an abandoned warehouse in Salt River, the production team mic’d up the car’s chassis, rear-view mirrors and exhaust. They then visited the Huguenot Tunnel to record environmental driving scenes and to a church parking lot in Paarl to record the sounds inside the car, like the movement of the leather seats.

 

Using these recordings, Markus created three tracks to aurally communicate the experience of driving the car. Control focusses on the luxurious interior and comfort of the New Scirocco, Passion demonstrates the Scirocco’s roaring engine and Speed is a dub-step track which highlights its cornering and handling abilities. Forming part of the launch campaign, these tracks are free to download from Sonic Highway – a digital showroom that re-creates the experience of driving a Scirocco.

 

Brand Manager at Volkswagen South Africa, Bridget Harpur, said, “With the Sonic Highway we wanted to give users the opportunity to feel what it’s like to be behind the wheel of the New Scirocco – the raw power, the growling engine. For the tracks to successfully convey the thrill of driving an expertly designed car, we needed somebody with the ability to string unusual sounds together into something emotionally provocative.”

 

Credits:

 

Agency: Ogilvy & Mather Cape Town
National Group Creative Director: Nic Wittenberg
Creative Group Head: Neil White
Head Digital Producer: Kurt Paulse
Head of Digital Development: Le Roux Steyn
Digital Designer: Alex van Niekerk
Junior Copywriter: Matthew Moss
Motion Designer: Rob van Zyl
Client Service: Vicki Hey, Miche Marquard, Lauren Baker, Loren Westoby
Art Buying: Merle Bennett

 

Production:
Markus Wormstorm at Honeymoon Studios
Recording assistance from Resonate Studios

 

Listen to or download the tracks via Sonic Highway

Visit markuswormstorm.tv for more of his work.

 

 

 

 

Sonic Highway:

Sonic Highway
Sonic Highway
Sonic Highway
Sonic Highway
the new volkswagen scirocco
the new volkswagen scirocco
the new volkswagen scirocco
the new volkswagen scirocco
the new volkswagen scirocco

 

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Southern African Mythology and Folklore in Over 40 Illustrated Posters for Paper Planes http://10and5.com/2015/03/06/southern-african-mythology-and-folklore-in-over-40-illustrated-posters-for-paper-planes/ http://10and5.com/2015/03/06/southern-african-mythology-and-folklore-in-over-40-illustrated-posters-for-paper-planes/#comments Fri, 06 Mar 2015 10:00:16 +0000 http://10and5.com/?p=103467

See the entire collection of posters by over 40 South African illustrators and graphic designers that Alexander's Band curated for the Paper Planes exhibition.

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Trevor Paul

Trevor Paul – Tokoloshe and the children

 

Independent illustration representation service Alexander’s Band was invited to show an exhibition of South African illustration at the Design Indaba Expo this year. The result, Paper Planes, was a showcase of over 40 artworks and was one of our highlights. All the prints on show were on sale and a printer set up alongside the showcase made sure every buyer received their print there and then. Alexander’s Band founder, and exhibition curator, Emma Cook let us know that the printer ran non-stop from Thursday to Sunday. They sold just over 300 prints and close to 500 postcard versions of the works.

 

In a pre-Indaba interview Emma let us know about the theme for the show, “Paper Planes is themed around some of our favourite local myths, legends and creatures. Storytelling is an integral part of any kind of illustration, be it commercial or publishing. We invited 44 illustrators who have each illustrated one of 22 stories. We’ll be displaying images inspired by the same story side by side, not as a means of comparing talent (’cause you just can’t compare some of these pieces, they’re all so great) but rather as a vehicle to help educate the public at the expo about how different illustrators can be and show how different artists can approach identical source material. So it’s gorgeous work being displayed, but with a little bit of education thrown into the mix.”

 

The brief to the artists was fairly open and each participant could choose which Southern African myth or folk tale they wanted to portray. Emma says, “We got some surprises out of this approach. Some illustrators with vastly different approaches selected the same stories, while some with similar aesthetics chose the same story. And each has ended up complementing the other really nicely. I suppose it helps when you’re working with some awesomely talented and lovely people.”

 

www.alexandersband.com
www.designindaba.com

 

skraal - antjie somers

Skraal – Antjie Somers

 

kirsten sims - the enchanted forest

Kirsten Sims – The Enchanted Forest

sonia dearling - nonqawuse

Sonia Dearling – Nonqawuse

ian jepson - the spectral hitchhiker

Ian Jepson – The Spectral Hitchhiker

nina torr - how the animals chose a king

Nina Torr – How the Animals Chose a King

llewellyn van eeden - nonqawuse

Llewellyn van Eeden – Nonqawuse

muti - how the hole was made in the assvoegelberg

Muti – How the Hole Was Made in the Assvoegelberg

amber smith - umuveli and teh bird

Amber Smith – Umuveli and the Bird

amber smith - umuveli and teh bird

Justin Southey – King Lion’s Presents

hann van zyl - teh spectral hitchhiker

Hanno van Zyl – The Spectral Hitchhiker

greg darroll - van hunks

Greg Darroll – Van Hunks

maria lebedeva - hare's harelip

Maria Lebedeva – Hare’s Harelip

justin poulter - lion's wife

Justin Poulter – Lion’s Wife

bruce mackay - umuveli and the bird

Bruce Mackay – Umuveli and the Bird

chris valentine - how the birds chose a king

Chris Valentine – How the Birds Chose a King

rikus ferreira - tokoloshe and teh children

Rikus Ferreira – Tokoloshe and the Children

maaike bakker - the great thirst

Maaike Bakker – The Great Thirst

toby newsome - the enchanted forest

Toby Newsome – The Enchanted Forest

rudssel abrahams - savuri and the rainbull

Russel Abrahams – Savuri and the Rainbull

daniel du plessis - the rain queen

Daniel du Plessis – The Rain Queen

dani loureiro - savuri and the rain bull

Dani Loureiro – Savuri and the Rain Bull

adrie le roux - jakkals trou met wolf se vrou

Adrie le Roux – Jakkals Trou Met Wolf se Vrou

willeen le roux - wolf jackal and teh barrel of butter

Willeen le Roux – Wolf Jackal and the Barrel of Butter

anja venter - aintjie somers

Anja Venter – Aintjie Somers

linsey levendall - racheltjie de beer

Linsey Levendall – Racheltjie de Beer

khaya mtshali - wolf jackal and teh barrel of butter

Khaya Mtshali – Wolf Jackal and the Barrel of Butter

jade klara - die keks van hex rivier

Jade Klara – Die Keks van Hex Rivier

jesse breytenbach - die heks van hex rivier

Jesse Breytenbach – Die Heks van Hex Rivier

hylton warburton - the flying dutchman

Hylton Warburton – The Flying Dutchman

jono garrett - jakkal trou met wolf se vrou

Jono Garrett – Jakkal Trou Met Wolf Se Vrou

rudi de wet - the flying dutchman

Rudi de Wet – The Flying Dutchman

pearly yonn - the great thirst

Pearly Yon – The Great Thirst

radio - how the hole was made in the assvoegelberg

Radio – How the Hole Was Made in the Assvoegelberg

katlego phatlane - how teh animals chose a king

Katlego Phatlane – How the Animals Chose a King

marlize eckard - the tug of war

Marlize Eckard – The Tug of War

rayaan cassiem - hare's harelip

Rayaan Cassiem – Hare’s Harelip

nicolas rix - van hunks

Nicolas Rix – Van Hunks

meike van der merwe - king lion's presents

Meike van der Merwe – King Lion’s Presents

shaun swainland - the rain queen

Shaun Swainland – The Rain Queen

sibusiso fanti - lion's wife

Sibusiso Fanti – Lion’s Wife

 

 

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Gavin Krastin’s Surreal And Extreme Performance Art Piece, On Seeing Red http://10and5.com/2015/03/06/dance-umbrella-gavin-krastin-sees-red/ http://10and5.com/2015/03/06/dance-umbrella-gavin-krastin-sees-red/#comments Fri, 06 Mar 2015 09:02:08 +0000 http://10and5.com/?p=103330

Gavin Krastin's work is deliberately shocking, but not in a bad way. His performance art aims to interrogate space, th epolitics of boundary-crossing and transgressions, choreograph the visual and augment the body-silhouette.

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On Seeing Red (Photo by John Hogg)

Gavin Krastin in On Seeing Red (Photo by John Hogg)

 

There’s nothing polite or subtle about performance artist Gavin Krastin‘s work. Last year at the National Arts Festival he invited us into an icy chapel to feast off a banquet laid out on his body. He’s vacuum sealed himself in plastic, been paraded through the streets of Grahamstown strapped to a back-bending contraption hitched behind a donkey cart, he’s donned heal-less thigh-high pleather bondage boots, worn wigs, makeup, feathers, a deflated plastic dolphin skin, and most often nothing at all. Gavin’s interests lie in the permeability and politics of boundaries – of the body and how it is represented, of theatre conventions, gender, and space – within the larger South African socio-political context.

 

In his new work, On Seeing Red which premiered at the Dance Umbrella last night, Gavin continues to explore the extremes of the macro and the micro. On seeing red presents a view of the dystopian world we have created for ourselves – of excess, insanity and insecurity. As in all his pieces, a strong aesthetic defines the work. In this instance it’s IRL Tumblr on crack, with the set comprised of plastic inflatable toy objects with glitter everything and rainbow-coloured lights. We spoke to Gavin prior to the show to find out more about this new work.

 

 

Does your new work at Dance Umbrella 2015, On seeing red, continue on from previous works or take off in a new direction?

 

The work certainly continues to look at rituals, cultural performance and myth-making/demonstrating, which I think is common in my work. In particular, themes surrounding dystopian existence are overriding factors in the work, as with “Discharge” (2012) (in collaboration with Alan Parker and Rat Western). Also in this work are images strongly associated with celebration and the marking of particular times, which is a theme that was explored in my work last year “#omnomnom”. All of these works as well as “Rough Musick” (2013) were inspired by a questioning of land, ownership, displacement and colonisation and On seeing red most definitely continues on this sort of thought trajectory, as these issues reach boiling point in our socio-political climate. But stylistically I am also playing with something different with regards to theatre and performance.

 

DISCHARGE (photo by Charlton Reimers)

DISCHARGE (photo by Charlton Reimers)

Rough Musick (photo by Mark Andrews)

Rough Musick (photo by Mark Andrews)

Epoxy (photo by Owen Murray)

Epoxy (photo by Owen Murray)

#omnomnom (photo by Sarah Schafer)

#omnomnom (photo by Sarah Schafer)

#omnomnom (photo by Sarah Schafer)

#omnomnom (photo by Sarah Schafer)

Missus/Misses 1: The Pied Piper Pipe Bomber (photo by Alan Parker)

Missus/Misses 1: The Pied Piper Pipe Bomber (photo by Alan Parker)

Missus/Misses 3: Lady exhibiting Satirical Fruit Salad (photo by Alan Parker)

Missus/Misses 3: Lady exhibiting Satirical Fruit Salad (photo by Alan Parker)

Missus/Misses 2: Let them eat cake (photo by Alan Parker)

Missus/Misses 2: Let them eat cake (photo by Alan Parker)

 

The body has always figured prominently in your work. What interests you in the body, and your body as a performer, as site?

 

The body is both time and space (it lives and occupies), it is also incredibly fragile yet absolutely resilient, so as an artist operating in a time-based medium it is really the ultimate choice of instrument for me. It is also irreplaceable and its productions ephemeral when present in live performance. I think the body is relatable and yet contentious and highly politicised and to be in a body is an incredibly treacherous feat to endure. My own body is also often a starting point or point of departure in my work – being conscious and critical of my body as white, male, androgynous, homosexual, and ‘other’.

 

 

How is the body implicated in On seeing red?

 

The work is performed in and with and through the body. It is implicated in many ways, through challenging its representation, emphasising its presence, playing with its transformation, and constructing its inevitable demise.

 

 

In this work you interrogate the tension between form and consequent limitation. Can you please tell us more about this?

 

Art forms are often bound by their making. Cabaret, for example, is the product of a particular time, and a particular context and in a way serves a specific function. Transgressing the boundaries of an art form exposes these limitations and through its destruction the ‘traditional’ form becomes something else and does something else. On seeing red looks a lot at fantasy and art/performance forms such as cabaret, burlesque, surrealism, drag and fairy tales (Disney) and how in turning to fantasy these forms distract from the reality from which they have arisen. In deconstructing these forms, this escapist tendency is highlighted and the dystopian realities that these fantasies work to conceal are made visible.

 

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

Alan Parker in On Seeing Red (Photo by John Hogg)

Alan Parker in On Seeing Red (Photo by John Hogg)

 

You also play with notions of ‘staging’. How does this relate to the broader themes of this work?

 

Yeah, the idea of staging and demarcating a place of pretend is a theme in the work. We see bodies constantly trying to create a place of play and fantasy and make-believe, a staged space where imagination manifests into physicality, but a staged space that cannot hold out to imminent disaster and so the two bodies continually attempt to create a refuge of fantasy but also continually fail. In the work, space and the creation of a stage, taking into account the aforementioned forays into cabaret, aims to sort of shroud the dystopian authentic with utopian artifice (like cabaret, burlesque and surrealism did and fantasy does). Staging, in regards to the work, is perhaps an exercise in blissful ignorance and a denial of reality.

 

 

How does your work engage with broader social and political experiences, if at all?

 

For me at the heart of the work is contention surrounding land, war (historical and present), the unfair disenfranchising of human rights to those deemed other and the absolutely absurd dick-measuring contest the powers of the world seem to have descended into as we continuously harm and destroy our fellow citizens in order to fly our flag the highest. It is a statement of anger and rage emerging from my existing in an oppressive war-mongering system that I have no desire to be a part of yet am inherently complicit in.

 

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

 

Your work has a strong visual aesthetic to it – what influences this?

 

I also operate as a designer and scenographer for performance and so the visual does play an important part. However, I have no reverence for objects – body and object must merge to form a hybrid of something that occupies time and space. I think the aesthetics of performance have a great ability to speak a subtext or subvert a statement that gesture and performance might not necessarily be able to – It has to do with proximity and relational aesthetics of real body and design factors. We exist in an incredibly visual culture, a constant visual onslaught, and one has to acknowledge that people are visual organisms and that audiences relate to signs and images (so much so that we even ‘read’ bodies as objects instead of living flesh with histories). Strong visual aesthetics can often provide an initial ‘hook’ or entry point into an otherwise complex or corporeal performance.

 

 

What references or intentions have informed your movement vocabulary in On seeing red?

 

Although the work is at the Dance Umbrella, it is certainly not ‘dance’ (in the conventional sense) as there is very little (actual) dance in it. It is strongly movement driven, with an emphasis on presence and transformation (of body and space), but there is very little codified dance. Movement languages that were researched and were drawn from include burlesque and striptease, and the watered-down glitter-embalmed bubblegum-pop trash that plagues the sort of generic music videos we see today. Strangely enough the movement language actually began by learning the Haka (indigenous war dance of New Zealand) and the physicalities of izikothane (the crews in the township that burn money and waste food), although the movement language has subsequently morphed into something unrecognisable from these initial starting points.

 

 

What do you hope or intend for audience members to take from this piece?

 

A sense of introspection, questions and hopefully a laugh at my expense. I aim to generate curiosity and an adventure of meaning-making and deciphering for the audience – a journey of points to connect and interpret in a supportive and productive environment.

 

 

Please tell us a little about your creation/choreographic process – do you work collaboratively, with improvisation, off a set idea, etc.?

 

Works often begin with a single vision, with just a very simple image or statement in mind. It is then through interfacing with other artists, collaborating and improvising that things are fleshed out and material is developed. And it is through repeating this process and constantly changing the composition of the action or space that the structure emerges. It really is through trial and error, and the repetition and re-creation thereof, and working through the failure, that a work comes to be. It is very important to surround oneself with a strong team that is open to working collaboratively and supportively.

 

Alan Parker in On Seeing Red (Photo by John Hogg)

Alan Parker in On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

On Seeing Red (Photo by John Hogg)

 

On Seeing Red is showing tonight, Friday 6th March 2015, at 8:30pm at the Barney Simon Theatre in Newtown Johannesburg as part of the Dance Umbrella programme.

 

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A Look Into Michael Chandler’s Notebooks: The Source of a New Range at Mr Price Home http://10and5.com/2015/03/06/a-look-into-michael-chandlers-notebooks-the-source-of-a-new-range-at-mr-price-home/ http://10and5.com/2015/03/06/a-look-into-michael-chandlers-notebooks-the-source-of-a-new-range-at-mr-price-home/#comments Fri, 06 Mar 2015 07:00:03 +0000 http://10and5.com/?p=103435

Michael Chandler shares the personal notebooks from which he drew his new collaboration with Mr Price Home.

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Click here to view the embedded video.

 

Mr Price Home recently announced another collaboration with Cape Town based creative and owner of Chandler House, Michael Chandler. In a video released alongside this range of homeware, Michael shares the personal notebooks from which he drew this collection. He has been jotting down his thoughts since high school, illustrating and writing the things he observes around him every day. One recurring theme in his notebooks and his work is the Cape’s history. He is fascinated by the interesting aesthetics that emerged from the blend of cultures which came together here. Wanting to share these stories through his work, Michael looked to his archives of notes and sketches for inspiration and created playful pieces which speak of the Cape’s rich past.

 

See Michael’s full range at colab.mrphome.com or shop it online mrphome.com.

Follow Michael on InstagramTwitter or see Chandler House’s website and Facebook page.

 

Michael Chandler

Michael Chandler

Michael Chandler

Michael Chandler

Michael Chandler

 

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#NowPlaying: Identity Heft, South Africa http://10and5.com/2015/03/05/nowplaying-identity-heft-south-africa/ http://10and5.com/2015/03/05/nowplaying-identity-heft-south-africa/#comments Thu, 05 Mar 2015 12:00:52 +0000 http://10and5.com/?p=103421

Jasper Berg recently spent some time in Cape Town, a trip which provided him with ample inspiration to curate an all-local playlist for David Byrne Radio.

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John Wizards

John Wizards

 

Todo Mundo’s music coordinator Jasper Berg recently made his way to South Africa, which provided him with ample inspiration to compile the March playlist for David Byrne Radio. Titled ‘Identity Heft, South Africa’, the tracks were chosen by Jasper with the help of his cousin Tourmaline Berg and the naasMUSIC team.

 

“While there isn’t much genre continuity,” he says of his selections, “this month’s playlist represents an overall paradigm shift in popular music produced in South Africa.” He goes on to offer some thoughts on the success of SA music abroad saying, “Perhaps the reason why South African musicians have had little success in ‘the West’ is because there has been an expectation that it all needs to sound…you know…African. There had been a period where it seemed as though musicians were fascinated by the success of artists overseas, and looked to create music that would cater specifically to Western audiences. I couldn’t help but notice that in following that school of thought, the music suffered, and unfortunately, that particular model for success didn’t seem to work.”

 

During his semi-annual visit to Cape Town to see his parents and extended family, Jasper developed a keen excitement for the general direction that local music seemed to be heading in. “The music sounded unique; all to its own,” he says. “The music celebrates who they are as a people, as South Africans, with melodies, rhythms, and lyrics unique to that corner of the world. The desire for overseas success appears to have disappeared.”

 

‘Identity Heft, South Africa’ comes in at over 2 hours full of our favourites. Give it a whirl below, and find the tracklist on Mixcloud.

 

 

Browse our archives, 8tracks or Soundcloud for more #NowPlaying.

 

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Khuli Chana ‘9 Shots’ Music Video by Kyle Lewis http://10and5.com/2015/03/05/khuli-chana-9-shots-music-video-by-kyle-lewis/ http://10and5.com/2015/03/05/khuli-chana-9-shots-music-video-by-kyle-lewis/#comments Thu, 05 Mar 2015 11:28:02 +0000 http://10and5.com/?p=103405

In late October 2013, South African hip hop artist Khuli Chana was shot at by police in Johannesburg in a case of mistaken identity. A year later he released '9 Shots' as a free download. Today he released the official music video for the track directed by Arcade Content's Kyle Lewis.

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Click here to view the embedded video.

 

In late October 2013, South African hip hop artist Khuli Chana was shot at by police in Johannesburg in a case of mistaken identity. A year later he released ‘9 Shots’ as a free download. Today he released the official music video for the track directed by Arcade Content‘s Kyle Lewis. The visuals are rich in symbolism, a style that’s becoming a signature for the director who says, “I feel like I’ve found my style. I’m using almost photographic compositions, with small, subtle movements, and very symbolic, very African imagery, that people can think a bit deeper about. It’s a look I want to continue to explore in my hip hop videos.”

 

Khuli wanted the video to be a reflection on his journey from anger to forgiveness and his fluctuation between hopelessness and hopefulness. The video is apparently not meant to be an attack on the SAPS but rather a story about “Khuli’s journey to healing in the medium that ultimately saved his life: music.”

 

Credits:

 

Directed by Kyle Lewis
Shot by Roscoe Vercueil
Edited by Stephen du Plessis
Make-up and styling by Kaley Meyer

 

khulichana.com

 

Khuli-Chana-9-Shots-3 Khuli-Chana-9-Shots-music-video Khuli-Chana-9-Shots

 

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The Art of Andrzej Urbanski | A Short Film by Makhulu http://10and5.com/2015/03/05/the-art-of-andrzej-urbanski-a-short-film-by-makhulu/ http://10and5.com/2015/03/05/the-art-of-andrzej-urbanski-a-short-film-by-makhulu/#comments Thu, 05 Mar 2015 10:00:07 +0000 http://10and5.com/?p=103215

Andrzej Urbanski relates his art to his other obsession, MMA fighting, in this video profile by Rowan Pybus of Makhulu.

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Click here to view the embedded video.

 

Filmed and edited by Rowan Pybus of Makhulu Productions, The Art of Andrzej Urbanski is a short film that profiles Cape Town based, Polish artist Andrzej Urbanski. The video is a showcase of the artist in studio turning a bare canvas into a piece of graffiti-inspired artwork bursting with colour, but constructed with systematic lines and shapes.

 

Narrated by Andrzej himself, the film gives the viewer a peak into his life as he speaks of some of the things that inspire him and his ongoing effort to create handmade art that looks computer-generated. He also shares insights into how he relates his painting to MMA fighting and speaks about the balance between the two disciplines.

 

The filmmaker and the artist are close friends and have been supporting each other’s careers for almost four years. Rowan says, “This video is a culmination of that time together. A time often spent discussing the power of art and the effect that colour and shape has on us all.”

 

Credits:

 

Filmed and edited by Rowan Pybus
Produced by Makhulu Productions
Music by Ross Fink

 

www.aurbanski.com

Andrzej will be exhibiting his work at Salon91 from 18 March to 18 April.

 

 

The Art of Andrzej Urbanski (2)

The Art of Andrzej Urbanski (1)

The Art of Andrzej Urbanski (6)

The Art of Andrzej Urbanski (7)

The Art of Andrzej Urbanski (8)

The Art of Andrzej Urbanski (5)

The Art of Andrzej Urbanski (9)

 

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A Guide to First Thursdays | 5 March 2015 http://10and5.com/2015/03/05/a-guide-to-first-thursdays-5-march-2015/ http://10and5.com/2015/03/05/a-guide-to-first-thursdays-5-march-2015/#comments Thu, 05 Mar 2015 08:43:45 +0000 http://10and5.com/?p=103363

It's First Thursdays in Cape Town tonight, which means there will be more events and exhibitions around town than you could possibly attend in 4 hours. Here's our pick of 10 things to see and do between 5pm and 9pm tonight.

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It’s First Thursdays in Cape Town tonight, which means there will be more events and exhibitions around town than you could possibly attend in 4 hours. Here’s our pick of 10 things to see and do between 5pm and 9pm tonight, good luck not getting distracted.

 

Stop 1: Brundyn Gallery | 170 Buitengracht Street

 

Precious Obsession, a pop-up jewellery exhibition is taking place at Brundyn Gallery. See the Facebook event for more info.

 

Precious Obsession

 

Stop 2: Friends of Design | 186 Bree Street

 

Greymatter, a photography exhibition by Nicette dos Santos is opening at Friends of Design. See the Facebook event for more info.

 

 Nicette dos Santos

 

Stop 3: The Pit at Clarke’s | 133 Bree Street

 

The Road Is Home, a photography exhibition and zine launch by Thomas Pepler is taking place at Clarke’s The Pit. See the Facebook event for more.

 

Thomas Pepler

Thomas Pepler

 

Stop 4: SAM | 1st floor, 107 Bree Street

 

Tour of Arae 2014, a new installation of photographs, maps, artefacts and actual bicycles by photographer and bicycle enthusiast Stan Engelbrecht is opening at South African Market (SAM). See the Facebook event for more.

 

Stan Engelbrech

 

Stop 5: Luvey ‘n Rose | 66 Loop Street

 

Two exhibitions are opening at Luvey ‘n Rose. Too Young to Die by Wilhelm Saayman is opening alongside Studio Bomb by Stephen Allwright. Find Luvey ‘n Rose on Facebook for updates.

 

Stephen Allwright

Stephen Allwright

Wilhelm Saayman

Wilhelm Saayman

 

Stop 6: Gallery F | 78 Shortmarket Street

 

PAPA Chapter Two, a retrospective group photography show of B/W analogue photography from the 70s – 90s is opening at Gallery F. All images are South African generated works and highly collectable.

 

PAPA Chapter Two

 

Stop 7: Chandler House | 53 Church Street 

 

INSTAGENIC #sontagged, an exhibition of Instagram photos by 9 local Instagrammers to showcase their daily lives in the Cape is opening at Chandler House’s Voorkamer Gallery. Find Chandler House on Facebook for updates.

 

Gabrielle Guy (@gabrielleguy)

Gabrielle Guy | instagram.com/gabrielleguy 

 

Stop 8: The Jan Royce Gallery | 64 Church Street 

 

Young Guns, an exhibition of sculptures and objects by emerging artists Adriaan Diedericks, Stanislaw Trzebinski and Victor Kirov is opening at The Jan Royce Gallery. The artists work with bronze, resin, and stainless steel. See the gallery’s Facebook page for more.

 

Click here to view the embedded video.

 

Stop 9: Worldart | 54 Church Street 

 

The nature of our presence, Ricky Lee Gordon’s first ever indoor solo show is opening at Worldart. See their Facebook page for more.

 

Ricky Lee Gordon

 

Stop 10: AVA Gallery | 52 Church Street 

 

AVA Gallery

 

Forming Impressions: The Ghost in the Machine, an exhibition of original prints from Warren Editions and Artist Proof Studio is on show at the AVA Gallery. See the gallery’s website for more.

 

Top tip: Use the Lucha Libre Piggyback Taxi Service to get around. 

 

Watch out for five burly Lucha Libre wrestlers at a special ‘piggyback taxi rank’ at the top of Shortmarket Street (in front of The House of Machines). They will be offering free piggyback rides between bars and galleries tonight. While being ferried by these colourfully dressed wrestlers, you’ll get to experience the new ZANG caffeinated chocolate.

 

To hail a ZANG Lucha Libre piggyback taxi, just tweet #ZangLift @ZangChocolate and go to the ZANG taxi rank.

 

Top tip: Use the Lucha Libre Piggyback Taxi Service to get around.

 

 

Join the First Thursdays Facebook event, see #FirstThursdays on Twitter or find them on Instagram for more.

Also see the First Thursdays website for the full lists of monthly highlights.

 

 

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Unathi Mkonto’s Collection in an Otherworldly Shoot by Kope | Figgins http://10and5.com/2015/03/05/unathi-mkontos-collection-in-an-otherworldly-shoot-by-kope-figgins/ http://10and5.com/2015/03/05/unathi-mkontos-collection-in-an-otherworldly-shoot-by-kope-figgins/#comments Thu, 05 Mar 2015 08:40:53 +0000 http://10and5.com/?p=103334

A dusty and vacant scene is injected with pastel tones, electric blue and blacks in Kope | Figgins‘ recent shoot showcasing a collection by Unathi Mkonto.

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Unathi Mkonto x Kope Figgins (9)

 

A dusty and vacant scene is injected with pastel tones, electric blue and blacks in Kope | Figgins‘ fantastic fashion story for Contributor, showcasing a collection by Unathi Mkonto. The nonsensical, off-beat props by artist Kerry Chaloner add another dimension of unreality to the already surreal set of images.

 

“Unathi Mkonto approached us to shoot some of his collection,” Jonathan Kope and Jarred Figgins told us. “Instead of going the whole flowery, cute girls in a field, boho route that seems to be quite fancied at the moment, we decided to try and push it more towards the other end. We, as a general industry, can be quite restricted at times. So it’s really great to do something a bit more left field and not necessarily conventional.”

 

It was this unconventional approach that drew Unathi to the photography duo to begin with. “We were looking for authenticity in fashion,” he says. “I wanted to portray a girl who has left her past behind and is ready to invent a new world for herself, and Kope | Figgins created that radical context.” Unathi’s collection addresses the darker side of fashion. “The clothes directly offend, but are at the same time inviting,” he says. The silk dresses modelled by Alexa at Boss Models are deliberately oversized and inspired by an active attitude.

 

For a long time Unathi has been interested in Kerry’s use of available resources in her process. As well as props, she provided additional styling and direction to augment the concept Kope | Figgins had in mind. “In all my work I take cues from site and the materials at hand. Unathi’s dresses hint at the liberated women of the Roaring 20s with an impeccable ultra-modern cut and luxe fabric,” Kerry explains. “We used contrasting texture and a play between evening, street and workwear to highlight their modernity. Alexa is otherworldly, and I wanted to gesture towards the destruction and construction of new worlds. This was happening quite literally at the location under a blazing midday sun with bulldozers around us.”

 

Credits:

 

Photography: Kope | Figgins

Fashion: Unathi Mkonto

Props, styling and direction: Kerry Chaloner

Hair and make-up: Nandi Kai

Model: Alexa @ Boss Models

 

Unathi Mkonto x Kope Figgins (2)

Unathi Mkonto x Kope Figgins (3)

Unathi Mkonto x Kope Figgins (4)

Unathi Mkonto x Kope Figgins (8)

Unathi Mkonto x Kope Figgins (5)

Unathi Mkonto x Kope Figgins (6)

Unathi Mkonto x Kope Figgins (7)

Unathi Mkonto x Kope Figgins (10)

Unathi Mkonto x Kope Figgins (11)

 

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Ovahimba Youth Self Portraits by Kyle Weeks http://10and5.com/2015/03/04/ovahimba-youth-self-portraits-by-kyle-weeks/ http://10and5.com/2015/03/04/ovahimba-youth-self-portraits-by-kyle-weeks/#comments Wed, 04 Mar 2015 14:12:35 +0000 http://10and5.com/?p=102949

There is a palpable sense of self expressed in the young Himba men depicted in Kyle Weeks' striking ongoing photographic series, The Ovahimba Youth Self Portraits.

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Kyle Weeks

Maerivanga Ndiaombe

 

There is a palpable sense of self expressed in the young Himba men depicted in Kyle Weeks‘ striking ongoing photographic series, The Ovahimba Youth Self Portraits. The series captures the men’s distinctly unique personalities, but also reflects something universal about being young and being human; the viewer and the sitter are likely to come from vastly different environments, but the subjects’ expressions and openness create a cord of relatability.

 

After completing his BA in photography at the Stellenbosch Academy in 2013, Kyle returned to his home in Namibia, where he shot this project. The Ovahimba people are semi-nomadic pastoralists who live in the north-western part of Namibia. They have been viewed as one of the last groups of people untouched by Western civilisation, and this is often reiterated in the pictures taken by tourists. This negation of nuance in an evolving cultural identity echoes the Western world’s tendency to exoticise foreign cultures. The rift between representation and reality is what prompted Kyle to photograph the Ovahimba men. He chose subjects all very close to his own age, so as to narrow the societal and cultural gap and allow for a heightened sense of relation between himself and his subjects, which is conveyed in the candid, intimate portraits.

 

Initially, the photographs remind one of ethnographic portraits taken in the 1900s by Western photographers and documentarians. Such representations reduced subjects to objects, where the camera was merely a tool in cultural reductionism and served to maintain existing power structures. Thus, it is significant that this is a series of self portraits: Kyle puts the shutter release cable into the hands of his subjects, allowing them to take control of their own image. The power dynamic is therefore shifted: we see these young men as they wish to be seen, self-styled in their favourite items of clothing. The attire reflects a hybridisation of traditional cultural dress and Western influence: Puma, Louis Vuitton and Lacoste are worn with necklaces and beaded collars. Each outfit is a site of self expression: some T-shirts have been cut and reworked, bright colours and patterns abound and jackets are donned with downright swag.

 

The unmarried men of the Ovahimba all wear their hair in a single plait extending down the back of the head, with the rest of the head shaved. This is called an ondatu and indicates their status in society, in which they are designated the role of herding cattle (something they take great pride in). There remains a strong affinity for tradition and culture in the Ovahimba community. The portraits thus depict conscious reflection on cultural and personal identity in a rapidly modernizing, globalized world.

 

Ovahimba Youth is not only a beautiful series of images; it shows photography can be an empowering art form giving voice to individuality and raising significant issues in the ethics of representing difference.

 

Kyle Weeks

 Tjimbininyama Hivita

 

Kyle Weeks

 Nduombe Ndjundja

 

Kyle Weeks

Ndepee Muundjwa

 

Kyle Weeks

 Ngatangwe Tjiuma

 

Kyle Weeks

 Kaondi Mbendura

 

Kyle Weeks

Vezepaumwe Hembinda

 

Kyle Weeks

 Matuvetwapi Tjiposa

 

Kyle Weeks

 Wakarerera Tjondu

 

Kyle Weeks

 Vanavaina Tjiumbua

 

Kyle Weeks

Kaunda Muhenye

 

Kyle Weeks

 Waandja Rumuno

 

Kyle Weeks

 Zatumbwamo Muniombara

 

Kyle Weeks

 Vevakeramo Ngombe

 

Kyle Weeks

 Vemuvirira Mutambo

 

Kyle Weeks

 Kapanda Mbendura

 

Kyle Weeks

Vapanenamo Tjiposa

 

Kyle Weeks

 Nambata Tjiposa

 

Kyle Weeks

Maezepako Tjindunda

 

Kyle Weeks

Kandu Kapika

 

Kyle Weeks

 Kazeru Muundjwa 

 

 

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