Slow – Co – Ruption by Dineo Seehee Bopape
An interview with the South African artist on her first UK solo exhibition at the Hayward’s Project Space, London.
Dineo Seshee Bopape is one of South Africa’s most admired, unconventional artist. Her first UK solo exhibition at the Hayward’s Project Space, Southbank, can best be termed as surprising, unexpected, puzzling or wonderful that your brain cannot comprehend it. Too many gadgets going on at the same time. It’s like you are not supposed to grasp what the display is about? Comprehending the works isn’t really the idea here I gathered. You walk into the space and you are challenged by a tremor of everything but the kitchen sink. From sculptural installation with video montages to constant flash photography, two TV set with no pictures flipping between analogue and digital visuals, a machine mix and re-mix ear-splitting sound. What is more? Timber, bricks, mirrors and plants, form multifaceted and wobbly configurations, often across the walls and on grass floor of the gallery, alongside a fresh sculpture conceived especially for Hayward Gallery Project Space. The presentation is overwhelmingly imposing.
Dineo Seshee Bopape
Video still from why do you call me when you know i can’t answer the phone, 2012
Digital video, colour, sound
Duration: 10 minutes 42 seconds
Photo credit: © Dineo Seshee Bopape. Courtesy of STEVENSON Cape Town, Johannesburg
DSB: I was born in 1981 in Polokwane, South Africa. I was born on a Sunday. If I were Ghanaian, my name would be akosua/akos for short. During the same year of my birth, the name ‘internet’ is mentioned for the first time Princess Diana of Britain marries Charles; AIDS is identified/created/named; Salman Rushdie releases his book “Midnight’s Children” bob Marley dies ‐ more events of the year of my birth are perhaps too many to have accounted for... I did my undergraduate studies in Art at Durban University of technology, South Africa, (2004), and attained my MFA from Columbia University, USA, in 2010. I work generally in a variety of mediums, mostly installation and video and drawing. My work has generally dealt with issues/ideas of representation so to speak... and memory, whilst some resist the pressure of having to mean something.
Here and now, what made you want to take part in Africa Utopia festival and what do you hope to pull off?
DSB: I was invited to take part. And what I hope to attain is to brush up my talking skills, I get often nervous when I speak in public, and often unsatisfied after because there is so much stuff that remains unsaid. Perhaps agreeing to participate is a chance for another rehearsal for the next time.
How would you describe your art? Is it redemptive, ethical or relative and political. And when putting together your installations what is your end goal?
DSB: It depends on who the viewer is I guess. It can be redemptive. Whilst in the process of making a work, goal posts changes. There is a freedom of sorts that comes with not having a strict goal. The goal is an unamiable thing.
Dineo Seshee Bopape
Video still from is i am sky, 2013
Digital video, colour, sound
Duration: 17 minutes 48 seconds
Photo credit: © Dineo Seshee Bopape. Courtesy of STEVENSON Cape Town, Johannesburg
Dineo Seshee Bopape
Video still from is i am sky, 2013
Digital video, colour, sound
Duration: 17 minutes 48 seconds
Photo credit: © Dineo Seshee Bopape. Courtesy of STEVENSON Cape Town, Johannesburg
Talk to us about your Africa Utopia exhibition at the London Hayward Gallery project Space?
DSB: "Slow-co-ruption" is the title of the show. I was thinking about data corruption, the data of narrative, of memory, of liberal socio-politics, self, language, sense and order and all thatcorruption implies… rupture... An interruption of a memory/a file/a story... about politics of space and the metaphysics of being... A death… ‘Productive’ death…The show has 3 main works and 2 supports, so to speak. In the first room is “Same Angle, same lighting”, a mechanical sculptural work which I made in 2010 but is now in its 3rd incarnation. The first version had a light that was shining repetitively, back and forth on to a dark photograph (just looking over and over again). The 2nd version which I had shown in Cape town at Stevenson had a camera that was supposed to capture the information on a photograph and send it to a nearby monitor, but the machine kept on failing and what stood in the monitor with it was a pre-recorded video (showing the movement that was supposed to happen); an external memory of sorts…
(Flabbergasting response or what?) Rendered speechless.
Dineo Seshee Bopape
Video still from is i am sky, 2013
Digital video, colour, sound
Duration: 17 minutes 48 seconds
Photo credit: © Dineo Seshee Bopape. Courtesy of STEVENSON Cape Town, Johannesburg
And now in its 3rd reiteration in Slow-co-ruption, the camera sends information to several monitors/screens (hosts). The camera goes back and forth scanning the information off the paper (a scanned colour photocopy of picture of a lush garden from a garden and home magazine from the early 1990’s). This machine is hosted on and by these wooden supports and shop display things. Around “same angle, same lighting”- (the other supports) are several copies of video grass green/sky blue and also slow-co-ruption (stickers of flowers and eyes) the flowers are an almost random selection of native SA flowers and some from the garden image in same angle…. The eyes are those of an anonymous person and also those of philosophers Biko and Sobukwe who are also known for having written much about a need for rupture – both mental and spatial (so to speak). In the other rooms are the video “why do you call me when you know I can’t answer the phone” a piece from 2013 which is itself about the rupture of meaning or sense, a corruption or narrative. Whilst “Is I am sky” also speaks of a thing of absence, self-presence and of a kind of a metaphysical death to make a very insufficient summary…
Dineo Seshee Bopape
Video still from Grass Green, 2008
SD digital video, sound
Duration: 6 minutes 52 seconds
Photo credit: © Dineo Seshee Bopape. Courtesy of STEVENSON Cape Town, Johannesburg
Do you have a favourite piece from this exhibition and what next for DSB?
DSB: Not really, I love the different pieces differently...but currently I must say I am most excited about the "slow-co-ruption" stickers. On what next? I would like to show my work more on the African continent (abroad too), I would like to grow as an artist, to clarify my thoughts, for my work to be sharper, to continue being curious and continue to play... also to share with others... to remain healthy and able.
Africa Utopia 2015 art and ideas from Africa that are impacting the world
AFRICA UTOPIA was back for a third year – bigger and better. We interview designer SOBOYE.
Toumani Diabate, Baba Maal, Damon Albarn ,Tony Allen. Photo by Ade Omoloja
This year was one breath-taking summer for arts, music, dance and fashion festivals in London. What is more? The recently concluded third edition of the Africa Utopia Festival was one of the capital's forthright and most spectacular festival ever, celebrating all aspect of the creative arts industry.
Africa Utopia was a creative explosion of Jedi proportion that featured performance arts, music, dance, fashion, theatre, visual-techno art exhibition, family events and mouth-watering food market and much more besides. The whole shebang was spread out - in the streets, galleries, library, public buildings, and every available space and corner of London’s most vibrant cultural quarters – The Southbank Centre. This four-day fiesta enthused by the African continent and Diaspora delved into the dynamic and ever-changing contribution of modern Africa to art, culture and ultimately to our society. Organisers hope the festival will also help make connections between artists and activists, get more accessible; to engage.
Discussions and debates deliberated on sustainability vs profit, digital journalism and digital activism, youth education and power to African feminism. Furthermore, in a nod to the present refugee crisis, the migration debate asked the question: “Why do people flee? What awaits them where, and if they reach their destination?” It’s a question for us all to ponder on at this time. The Talks/Debates consisted of defining speakers including the traditional suspect, journalist, author and arts programmer Ethiopian-born Hannah Pool, who must be noted has been involved in Africa Utopia from the very start. Next in line is singer-song-writer and UN Ambassador for HIV/AIDS Malian, Baaba Maal, who also has been involved with AU from its birth. As well as Jude Kelly CBE, Artistic Director, Southbank Centre. The lot are experts in contemporary art, art history, music and green politics, each addressing the historical relevance of arts and culture - including the power of art in activism and the role of women and young people who have made a huge contribution to our arts as part of our lives and still motivates us all in creating future change. These themes are conceived to appeal to taste, of all ages, colour, cultural aficionados and newcomers alike.
Chineke Junior Orchestra with founder Chi Chi Nwanoku and conductor Wayne Marshall. Photo by Ade Omoloja
Even more so, the tune line-up was a must-hear for anyone and everyone fascinated by great live performing. First on stage was Malian singer Kassé Mady Diabaté of royal stock and acknowledged as one of West Africa's finest singers. He was accompanied by fellow Malians: Ballaké Sissoko, a noted player of the kora; Lansiné Kouyaté performing on Kora & Balafon (The balafon, also known as balafo is a wooden xylophone - percussion idiophone from West Africa) and Makan Tounkara, a gifted composer, arranger, singer, and n'goni artiste. (The n’goni, an ancient traditional lute found throughout West Africa). To bring the festival to a close was the master of it all - Nigeria’s Tony Allen with friends. And oh boy were they great!
Tony, is a skilful drummer, composer and songwriter and once musical director of late Fela Anikulapo Kuti's band Africa 70 from 1968 to 1979. Furthermore, he’s famed as the powerhouse behind the late Fela Kuti’s Afrobeat movement. It’s recognised that Fela said: “without Tony Allen, there would be no Afrobeat music”. In alliance with Tony on stage; Baaba Maal, multi award-winning singer/song writer and Toumani Diabaté, a Malian kora player, genius of African music and widely recognised as the greatest living kora player. And in a rare father-and-son kora-playing collaboration, Toumani Diabaté and his son Sidiki Diabaté put down a spell-binding presentation. It was a mind-blowing ensemble. A-ma-zing! And to put the last bit on the Tony Allen and friend’s fusion was French star rapper Oxmo Puccino (born Abdoulaye Diarra) a hip hop musician born in Mali. The whole shebang brought the house down. It was a high octane musical extravaganza of fantastic proportion that received a rapturous reception at every song and every notes that rings out. These musicians nailed and killed it in equal measures. There was an eight minute standing ovation. For a man who turned 75 in August, Tony Oladipo Allen, is remarkably springily. He still hits the studio (and treadmill, I suppose) every day. He is just as you’d imagine, small, frail and thin looking, dressed in a classic white African traditional classic number with bold abstract designs and he outdone it with a white Fedora Hat. Maybe this is what comes from churning out some five gigs a year for over 50 years. He has delivered some of the music most indelible music albums and concerts from Africa to Europe and North America to Australia and the Americas – straight-up.
Toumani and Sidiki Diabate, Baba Maal. Photo by Ade Omoloja
With all the serious shows and presentations that took place, however, the three that stood-out for the festival – in my modest view - are the music performances and fashion presentation curated by Samson Saboye, of Nigerian parentage, from Shoreditch-London. Soboye brings together a team of leading designers from Africa and the African Diaspora to present an inspirational and exciting women’s wear, menswear and accessories.
“I’ve been a Fashion Stylist for many years now with a spell designing and manufacturing soft furnishings, which led me to open SOBOYE.
Africa Utopia is a great showcase to celebrate the importance and significance African Culture to the rest of the World. London has the highest population of African nationals from all over the continent and the contribution that Africans have made to the city is noteworthy. Our presentation is called DIASPORA CALLING! A presentation of African Contemporary style, inspired by Street Style photography. Our show producer Agnes Cazin from Haiti 73 Agency conceived the concept as we were searching of different ways to present fashion that was away from a traditional catwalk show. We are showing the diversity of Africa that will linger on even after the festival: the Joy, the vibrancy and richness of its people, who mostly have an innate sense of style that is not dictated by the latest trends or Designer head-to-looks. The Modern Style-conscious African’s style is a mash-up of pop culture, vintage clothes, self-made fashion and images fed daily through Instagram and Pinterest, of which they are fully engaged in. All these influences are absorbed in to the visual memory banks and stored for future referencing at any time. This then in turn manifests itself in the Individualist looks that we see influencing mainstream Western style today”.
On the small matter of who SOBOYE designs for: “SOBOYE designs are for the fashion savvy, confident, style literate person, with their fingers on the pulse and a zest for life. The Women’s wear came a year after the Men’s collection and is designed in collaboration with Designer and friend Chi Chi Chinakwe”. (A moniker moment in this festival is the premiere of Chineke, the UK’s first professional classical orchestra made up entirely of musicians of African descent and minority ethnic classical artists performed a tribute to the black teenager Steven Lawrence that was murdered in a raciest attack in 1995) Soboye expressed: “Our customers tend be in the creative industries and have an eye for well fitting, original clothes with an attention to detail. Our clothes add to the enjoyment of dressing up and I’ve yet to see someone wear any of our pieces and not look and feel better for wearing them… Sidney Poitier is my all-time style icon. Not only was he well-dressed, he always carried himself with such dignity and broke so many barriers by being such an accomplished actor. Currently Pharrell Williams and Solange Knowles would both be great brand ambassadors for SOBOYE." So if they are both reading this come on in… we are waiting for you. Yes, of course they read roomsmagazine.com.
Beside ambitious philosophy in the horizon: What does the future hold for Samson Soboye? “We plan to expand our online business and build the brand. We’d like to secure good investment to consolidate the business and allow for expansion and growth and for that to be manageable. We’d like to be the ‘go-to’ brand for the talented, ambitious discerning globe trotter “.