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A CLOUD The exhibition looks into a cloud of ideas that are explored by contemporary African artists that are currently living and working within South Africa. The world is currently changing in front of our eyes, and it is unbelievable the amount of turmoil that humanity is enduring at the moment. Since the world was struck by the Covid-19 pandemic, we have been forced to reconsider our approach to life as we have always known and navigated it. This pandemic has yet again reminded us of our mortality in a manner that my generation has never witnessed and experienced before. As a response to the fatigue of everyday mass media statistics about both the infections and mortality rates, conspiracy theories pertaining vaccines, spats regarding the origins of this pandemic and the discomfort caused by global lockdown regulations; Musa Nxumalo curates this exhibition with the intention of highlighting work being explored by contemporary visual artists actively engaging with concepts and producing work during this complex moment in our lifetime. The exhibition functions as a search, not for reassurance, but for fluid ideas and thought processes that could possibly help us to continue to explore life, to live and be mindful of all the problems and opportunities during these trying times. In this instance, Nxumalo presents a selection of visual artists who are thought leaders and alternative voices of reason to pundits who have been showering us with overwhelming information and statistics through mass media. Curated by Studio Nxumalo in association with Gallery 2 Exhibition dates 31.07.2021 - 28.08.2021 Address - 142 Jan Smuts Ave, Parkwood, Johannesburg, 2193 Contact - info@gallery2.co.za | info@studionxumalo.com


Featured Artists | Mfundo Mthiyane, Teresa Firmino, Abongile Sidzumo, Asanda Kupa, Kaelik Dullaart, Madikotsi “Mummy” Khumalo, Ayanda Mabulu, Nyakallo Maleke, Thonton Kabeya, Lerato Lodi, Olwethu de Vos, Malebona Maphutse, MJ Turpin, Zwelethu Machepha, and Turiya Magadlela.


Siyagoduka Ka Flying Saucer Babez: Back To The Future is about being on the move and the journey that lies ahead. It is about going home. Home in this instance is the future, it is the promise of a better future, a better tomorrow in the face of chaos. Home is also the new planet that the inhabitants are travelling to. The inhabitants of Tshipa Tshipa Healing Ministries are called amagoduka, godukas, magoduka, always on the move and in search of home. The work takes on a science fiction, dystopian aesthetic to also emulate the extraordinary nature of the times we live in. This iteration will offer a small peek into Mamoloyi’s Universe through painted landscapes, pamphlets, sound and a sculptural installation set to transport the viewer into this universe - Malebona Maphutse These works form part of a series of etching prints (First etching prints as a Professional Art Practitioner) exploring the interactive interplay between real and unreal experiences of black bodies/people tied to colonial bondages. With this series, I explore and fantasize about possible ways to decolonise the mind, the process of shedding layers of bondage, through reimagined case studies by reclaiming our shine in light to heal – Zwelethu Machepha The work titled ‘Intwana yam’ which directly translates as ‘my boy’ is a phrase that is used to refer to a friend. The second artwork is ‘Luxolo’ titled after the name of the figure portrayed in the work. Luxolo means peace. The two artworks are part of a series that is focused on depicting friends, family and people I’m familiar with from my community – Abongile Sidzumo

If darkness is the absence of light, and in darkness, we find comfort or solace in prayer and meditative practices. Why has it become overwhelmingly difficult to combat feelings of fear and in moments of panic? ‘Kopano’, is a rush of spontaneous watercolour strokes and in code journal mark-making - written with urgency and recklessly to capture a scene that can not be verbally expressed but can only be experienced. In this silence, a ‘voice’ announces itself, in my solitude, I would like to imagine it to be that of a familiar someone (or something). It recites: ‘...drape a white cloth around your waist and remember to cover your shoulder and head Prepare a glass of water and instu Kneel on the straw mat Light a white candle and burn iMphepho Ngwana Badimo, speak...’ - Lerato Lodi To acknowledge blackness is to be human. To see me is to acknowledge the discourse of the funk…The raw history, the raw reality and the mortality denied by all races. Blackness has a mystical infinity, it is an ancestral spiritual manifestation and a success long-overdue. Remember your sense of influence, the importance of your existence and don’t be afraid of being who you are; Be visible, stamp your existence, for where you are, you belong…. You are the light! Be Be the light so we can all shine! For the blackness residing in the shadows of shame and self-pity is the doctrine of weakness. So be, Let there be resurrection! Wake up and away from things in our life that are buried in graves of hatred and anger, self-doubt and self-hate. So shine! And may you revive your greatness! - Ayanda Mabulu


The “Holy One” is represented by the middle figure. Originally inspired by Ishtar/Innana, the Mesopotamian goddess of love and war. Although my intention is to depict divine femininity/mother goddess in a broader sense, as an archetype ingrained within the universal consciousness. In the first of three intended drawings, “The Holy One” is surrounded by a mass of emaciated bodies…Portraying the masses empty obsession with material wealth, the tendency of how our egoistic desire starves us. The mother goddess displays divinity by shedding this illusion, and accepting desire as suffering. The second drawing “The Holy Two” is an interpretation of madonna and child. Mary being a characterisation of this same archetypal mother goddess. The intention with this second piece is to juxtapose purity/divinity with the filth and danger inheriting the earth. The use of the Ouroboros is to allude to the recurring nature of existence. And to how this phenomenon existed almost identically as long as humans have existed - Kaelik Dullaart

Multiple sheets of paper rest within a demarcated floor of a studio, whose measurements on either side is less than 2 meters. Within this form, a conversation takes place, and it calls for particular moments of re-enacting to occur. Gestures for harmonizing a drawing are navigated through a series of processes such as: pressing down, rotating, and aligning until a number of offcuts are discarded. Remnants of thoughts that were ‘too much’ or ‘too other’, run out of space/place. Each individual drawing will appear in and out of the frame, away from a guideline that is supposed to hold the assemblage together - Nyakallo Maleke

I regard the pandemic as a storm; “a storm that tramples so we may see the things that matter. A storm that decimates everything so that we may appreciate more, undertake new adventures and open new doors” - Olwethu de Vos

The term social distancing bolstered what I’ve observed happening before it was introduced last year 2020. These two acting figures in this painting are in a public space but they’re not engaging with each other and they are engrossed on their phones rather than actually having a real life social interaction. The painting is a reflection that we are growing further away from each other without realizing it, even a simple act of greeting a person/people in public is becoming scarce and ignoring each other like no one exists but you is becoming a new norm - Mfundo Mthiyane

Teresa Firmino is re-writing History, for her, rewriting history is an act of reimagining one’s past in a world of pre-inscribed histories that have set themselves as truth. With her work, Firmoni investigates these histories, especially African history through a series of paintings that are made up of constructed scenes of the past and present, and sometimes they intertwine. Teresa carefully collects images, old and new images, from magazines, newspapers, historical documents, social media est. and places them in her colourfull boxlike stages where the characters can retell their stories or be in a completely new story. This process allows her to create alternative past, present and future narratives of Africa, thus rebuilding her own archive of African history – Teresa Firmino

I have created this amphibian being using a pattern that flows like water, which speaks to ideas of flawless beauty that is often imposed on women. The figure is intentionally repulsive and intends to push women step away from the ideas of perfection as imposed on them by a patriarchal society. My work intends to encourage women to embrace their imperfections and proposes our society look at the female body as a force and space to explore ideas of self-identity, environmental consciousness, through which we can dispel gender inequality, power and beauty. The female body in my work is therefore portrayed as a multifaceted organism or rather assimilates one, and it possesses the power to adapt or reject, fight and nurture at the same time. These are abilities I believe it is capable of in reality, however, it is reduced to a singular gender-role by the history and current patriarchal systems and ideals that persist in our society - Madikotsi “Mummy” Khumalo


MFUNDO MTHIYANE B. 1991, Durban, lives and works in Johannesburg, South Africa. After graduating with a Diploma in Multimedia Studies at the Centre for Fine Art, Animation and Design College, Mthiyane earned his stripes in design at a number of studios and advertising agencies in Johannesburg. His love for paintings saw Mthiyane pursue an artistic practice that is founded on exploring and critiquing social and spiritual norms through figurativism and portraiture. Mthiyane’s most recent body of work titled “In search of the miraculous” (inspired by Russian philosopher P.D Ouspensky, allegories, metaphors and mythologies to name a few) explores miracles as an extension of God. This body of work explores the use of doves that denote peace, love and harmonious energy that surrounds and guards us throughout our existence. Throughout his work, Mthiyane probes self-awareness and the idea of reality. Mthiyane has participated in a number of group exhibitions including “Emerge” at The Station House DSTP in Florida, USA and the “Portrait Show” at Everard Read in Johannesburg. Mthiyane was awarded the SAFFCA Artist of The Month in September 2020, which resulted in a two man exhibition titled “In Search” alongside emerging artist Lindo Zwane, Mfundo is currently featured in a group show titled In Your Shadow – Masking Realities at SMAC gallery in Cape Town.

Mfundo Mthiyane, I’m Hating It, 2021. Oil on Canvas. 88 x 70cm


Mfundo Mthiyane, SOCIAL DISTANCING, 2021. Oil on Canvas. 88 x 70cm


Lerato Lodi, Kopano, 2021. Water Colour and Charcoal on Paper. 36 x 26 cm


LERATO LODI B. 1996, Pretoria, South Africa Lerato Lodi was born in 1996, in Ga-Rankuwa, Pretoria, South Africa. Lodi is currently study- ing towards an M-Tech Fine Arts Degree at the Tshwane University of Technology in her hometown. Lodi’s artistic practice explores themes centred around her spirituality. She uses acrylic paint on canvas as well as beads and cloth to interrogate ideas and ideals of African spirituality and Christianity as it manifests in her own life and the lives of those she encounters. Lodi exam- ines the different ways in which people worship and pray as she explores shrines, temples and materials brought into those sites as offerings. Lodi has participated in the following group exhibitions: Initiative: Blessing Ngobeni Studio Art Award at Room Gallery; Genesis X’Ibition at Pretoria Art Museum (2018); Emergence: A group exhibition at mm-Arthouse Gallery; Blessing Ngobeni Art Prize Group Exhibition at Aspire Art Auctions; The Aesthetics of time: in space of time at Polokwane Art Museum and Genesis Group Exhibition at Bkhz Gallery (2019) to name a few.

Lerato Lodi, The Gathering II, 2021. Enamel Paint, Charcoal Powder and Impepho Ashes on Canvas. 152 x 98 cm


ABONGILE SIDZUMO B. 1996 , Cape Town, South Africa Abongile Sidzumo was born in 1996 in Cape Town, where he currently lives and works. He completed his degree in Fine Arts at the Michaelis School of Fine Arts in 2019. Sidzumo works with leather offcuts and repurposed materials to create works that reflect and interrogate humanity, the way we co-exist and our relationship with nature; he revisits memories and connects them to spaces he has lived in as well as the everyday life of marginalised communities. Leather is often associated with luxury, wealth and power. Through his process of restichting and weaving this precious material, Sidzumo is proposing that we start thinking about repurposed materials, connecting it and his process of stitching to notions of healing trauma that has been inflicted on black communities during apartheid, in a sense, his practice also functions as a manner of interrogating the continuous healing of black communities in post-apartheid South Africa. His work was shown in “We’ve come to take you home”, an exhibition of works recently acquired by the University of Cape Town. Sidzumo is a recipient of the Blessing Ngobeni Art Prize, which has afforded him a solo exhibition at Everard Read Gallery in Johannesburg in 2020. In that same year, he was a runner-up for the Cassirer Welz award, hosted by Strauss & Co auctioneers.

Abongile Sidzumo, Luxolo, 2021. Leather and Thread on Tarpaulin. 110 x 80cm


Abongile Sidzumo, iNtwana Yam’, 2021. Leather, Thread and Ink on Canvas. 70 x 50cm


OLWETHU DE VOS B. 1992, South Africa De Vos received her Baccalaureus Technologiae degree from the acclaimed Tshwane Univer- sity of Technology where she majored in glass blowing, sculpture and figure drawing. Through- out her career, De Vos has been the recipient of the Teresa Lizamore Curatorial Mentorship Programme in 2017. She also participated in the Thami Mnyele National Fine Arts Award where she was selected as one of the top fifteen finalists. De Vos has had the pleasure of par- ticipating in numerous exhibitions such as the Arts Alive exhibition (2015), Thou Art Woman Group exhibition at MM Art House (2018) and All Womxn Matter by Julie Miller and Art@ Africa in 2020. De Vos has also participated in prestigious art fairs in the county such as the Fringe Art Fair at Victoria Yards (2019), Turbine Art Fair (2019), and FNB Art Joburg (2020). De Vos further co- ordinates and facilitates workshops and programs within the arts sec- tor and has participated in practical and research seminars. As a curator De Vos has curated over fifteen exhibitions at nationally applauded institutions such as the Pretoria Art Museum (2017), August House (2020), and the Goethe Institute (2021) amongst others. Beyond her artmaking and curatorial career, Olwethu De Vos also serves as the Co-founder of the For Sale Project and the Blessing Ngobeni Art Prize which aim at developing emerging artists ‘careers. Exploring both two- and three-dimensional artistic approaches and techniques, De Vos’s body of work centres around the emotional, psychological and social wellbeing of individuals advocating for new positive ways of relating to one another.

Olwethu de Vos, A Beautiful Shit Storm II, 2021. Steel Wool, Pot Scourer, Copper and Charcoal on Board. 150 x 100cm


TERESA KUTALA FIRMINO B. 1993, Pomfret, South Africa Teresa Kutala Firmino was born in Pomfret, a remote town in the North West province of South Africa where ex-Angolan soldiers who fought with South African forces in the South African Border War (1966-1989) were relocated to after the war. Her father later joined the South African Defense force which resulted in Firmino spending her school years in Zeerust and Johannesburg before she went to the University of Witwatersrand where she obtained a Master of Art Degree in Fine Arts in 2018. Firmino’s present narrative is contained in a broader theme that enquires into history. “History as presented is often biased and one-sided, so to get a better understanding I reimagine my past in this so-called truth.” Personal memories and historical events are combined and presented in interior scenes that present themselves as both possibilities and invitations to reimagine history. Firmino is also part of KutalaChopeto, a collective with fellow artist Helena Uambembe which they use as a vehicle to challenge and change some of the stereotypes presented in existing history narratives.

Teresa Firmino, Visiting the Slave Museum, 2019. Acrylic and Mixed Media on Canvas. 80 x 63cm


NYAKALLO MALEKE B.1993, Johannesburg, South Africa Nyakallo is a multidisciplinary artist based in Johannesburg. She works with installation, sculp- ture, printmaking, video and performance. She recently graduated with a Master of Art in Public Sphere at École de design et haute école d’art du Valais (Summa Cum Laude), Switzer- land. Her practice is currently focused on literature practices to think about vulnerability in the public space. She also produces collective and participatory performances. “Being sentimental is potentially one type of methodology for mediating between a conversation about the body, vulnerability and space. It is one thing to speak of these ideas through a theoretical framework however, it is more necessary to engage this conversation from a particular context, which would enable one to reimagine the experiences that are embodied in the present. If a sentimental eye were to be removed, it would be like removing every bit of affection that it possesses. It would be like expecting us to view the body only as a kind of object that is incapable of experiencing the world, even if it desired to. Perhaps, this is why this methodology exists, in order to resuscitate its purpose.” Source: https://asalubrioussaccharine.wordpress.com/2019/05/30/about-sentimental-space/ Maleke is an Asiko 2016, Addis Ababa alumni. She has participated in the School of Anx- iety research project curated by Moses Serubiri, as part of the 10th Berlin Biennale 2018. Maleke has participated in the exhibition Canine Wisdom for the Barking Dog-The Dog Done gone deaf Exploring The Sonic Cosmologies of Halim El Dabh for the 13th Dakar’t Biennale 2018. Nyakallo obtained her BFA from the University of the Witwatersrand (2015). Her first solo show was in Windhoek, Namibia for the inaugural John Muafangejo Art Season in 2016. Group shows include NGO – Nothing Gets Organised, Johannesburg (2016) and The New Parthenon at Stevenson Gallery Cape Town (2017).

Nyakallo Maleke, Manuscript III, 2021. Mixed Media Drawing on Wax, Baking and Handmade Paper. 200 x 190 cm


AYANDA MABULU B. 1981, Eastern Cape, South Africa Ayanda Mabulu is a self-taught artist whose work focuses on social upheavals and matters affecting the politics of the black body. He currently lives and works in Jo- hannesburg. Mabulu is best known for using hyper-realistic imagery in his paintings and sculptures to depict and juxtapose powerful leaders, masters, and mistresses with common African traditional people. Tackling the issues of inequality through his experiences in South African society, especially those that set the black body as an area where violence occurs, Mabulu is an internationally recognized South African artist. The discourse of power, culture, and identity arranged in narrative sequences that fur- ther exaggerate the already grotesque history of exploitation and its inheritance in postcolonial African states. Mabulu’s narrative is exhibited daily in the minds of his people and dances on their tongues during conversations that seek to rebuild the global African community. Mabulu is an established artist with an almost cult-like following of artists, activists and writers. Whilst exhibiting in private and public institutions around the world, Mabulu’s thought-provoking and critically acclaimed works are often covered by the New York Times, BBC, and Al Jazeera to name a few. Mabulu’s work is highly col- lected internationally by influential museums, galleries, diplomats, business people and celebrities alike.

Ayanda Mabulu, Addicted to Black, 2021. Mixed Media on Canvas. 160 x 140 cm


MADIKOTSI “MUMMY” KHUMALO B. 1988, Sebokeng, lives and works in Johannesburg, South Africa. Madikotsi “Mummy” Khumalo was born in Sebokeng, Gauteng. She had an interest in art since she was a teenager, taking private art lessons to hone her talent. While studying entrepreneurship at the Vaal University of Technology, she also enrolled at the Artist Proof Studio to study professional printmaking such as intaglio and relief. Khumalo’s work is influenced by her lived experience and her exploration of both the physical and spiritual realms within which humanity exists. She depicts narratives that have formed a part of past and present political discourse. Khumalo has participated in a number of exhibitions in Sebokeng. In 2019 she was selected to exhibit at the Johannesburg Art Fair in Sandton and was also part of a group exhibition called ‘Resist’ at Strauss & Co in collaboration with Artist Proof Studios.

Madikotsi “Mummy” Khumalo, Metswalle, 2021. Acrylic, Ink and Candle Drops on Canvas. 97 x 153 cm


THONTON KABEYA B. 1983, Lubumbashi, D.R.C, lives and works in Johannesburg, South Africa. He was finalist from the Institute of Fine Arts of Lubumbashi, Painter, Sculptor, he also does installation, art performance and design. In 2006 he won two awards: the UNAIDS AWARD and the BELGIUM COUNCIL AWARD. He is part of many collections around the world such as the Contemporary Art Museum of Vitoria (ARTIUM) in Spain, Unisa art collection (South Africa). George Forest in D.R.C. Erick Vellard in Paris (France). Kabeya has participated in many different exhibitions, meeting and artistic projects across Africa and Europe. “My work begins with a conversation between my culture and my spirit and soul. Them through meditation to understand the past, to highlight the future and to understand the space that lies between. My ultimate question is: How would African classic art have developed organically, if there was no interference or influence of colonialism and Western society? I’m not asking this question in order to get a response, but to explore what remains of it and use my understanding and skills to fill that gap with the little I can. My work focuses on the process, the technicality and the spirituality of African classic art. My work becomes a series of questions such as “What material is this?’ and “How did you make this?”. These are unusual questions in the art world today. However, when you look at African classic art, these are the questions you may naturally ask in the first place. I’m not looking for a message in my work, rather I am looking to unearth the deep and subtle power that can project the meaning of my work to the viewer.”


Thonton Kabeya, Rumba Girl, 2019. Walnut powder, Acrylic and Newspaper Ink transfer on Canvas. 102 x 67 cm


Thonton Kabeya, Untitled (Portrait 3),2021. Walnut Powder, Acrylic and Newspaper Ink transfer on Canvas. 82 x 67 cm


KAELIK DULLAART B. 1996, Johannesburg, South Africa. Kaelik Dullaart was born in 1996 in Johannesburg, South Africa. Growing up with photographer parents inspired Dullaart to pursue his own studies in photography at the Market Photo Workshop. His exposure to the medium has been an integral part of how he deals with imagery and composition in his creative process. Dullaart is currently obsessed with drawings, predominantly working with pen on paper, however continues to explore multiple mediums such as handmade skateboard decks and self-publishes zines. His work explores his journey to self-discovery by navigating and expressing his personal experiences through his artistic practice. Kaelik zooms into his interest in human behaviour, which is largely shaped by internal dialogues and prevalent expressions. It is Dullaart’s hope to build connections with his audience, both intellectual and emotional. Dullaart’s work has been shown in group shows including “The Cat Show”, David Krut Projects, Joburg Art Fringe 2018, he was included in the Thami Mnyele Fine Arts Awards top 100 and recently exhibited works with the Peanut Noir collective, at Through The Lens (TTLC), Victoria yards.


Kaelik Dullaart, The Holy One, 2021. Pen Drawing on Paper. 41,5 x 41,5cm


Kaelik Dullaart, The Holy Two, 2021. Pen Drawing on Paper. 41,5 x 41,5cm


ZWELETHU MACHEPHA B. 1990, Johannesburg, lives and works in Johannesburg, South Africa. Post high school, Zwelethu joined an art classes at the Johannesburg Central Library and the Education Centre at Joburg Art Gallery. In 2010, he joined a specialized printmaking institution and completed a four year printmaking course where he was a Screen Print Technician and a Facilitator, printing works of artists such as Nelson Makamo, William Kentridge, Bevan de Wet, Stephan Erasmus, Bambo Sibiya, Faith 47 and Anti Est. Zwelethu has participated and featured in various exhibitions and projects such as the Ndo-Ima-Dzi Independence Group Exhibition at Botho Project Space, the 2020 Ake Arts and Book Festival, the 2020 Blessing Ngobeni Art Prize fundraising exhibition, and the 2019 Prizm Art Fair. Zwelethu has also been invited to exhibit at Sibisi Gallery in Melrose Arch and the Sharon Simpson annual printmaking show. Zwelethu’s work is in various private and corporate collections including the Arts and Culture Trust Fund and the African Arts Fund. Machepha currently works as a full-time artist in Johannesburg, South Africa.


Zwelethu Machepha, Okuhle Dyosopu, 2021. Etching Print on 300 grams of Hahnemuhle Paper. 70 x 50 cm | Ed. 1/1


Zwelethu Machepha, Ukukhanyiselwa, 2021. Etching Print on 300 grams of Hahnemuhle Paper. 70 x 50 cm | Ed. 1/1 Sold


TURIYA MAGADLELA B. 1978, Johannesburg, South Africa Born in Johannesburg in 1978, Turiya Magadlela’s work balances politically charged nar- ratives with exquisite aesthetic. Through the stitching, layering and collaging of com- monly found objects, such as correctional uniforms and pantyhose, Magadlela creates powerful, original art pieces. Magadlela herself has been quoted as saying, ‘I make my work from my personal life experiences. I don’t make social or political commentary. Should my work seem or look political, that makes me happy. I always want to leave it open to the viewer’s personal interpretation, and I find that talking about a work you made or writing about it narrows down the meaning that it is supposed to have.’ Magadlela studied at the Funda Community College (1998), the University of Johan- nesburg (1999 – 2001), and the Rijksakademie in Amsterdam (2003-2004). She 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 international- ly, including Blue Black, curated by Glenn Ligon (Pulitzer Arts Foundation, 2017), Sim- ple Passion, Complex Vision: The Darryl Atwell Collection (Gantt Centre, 2017), The Past is Present (Jack Shainman Gallery, 2017), Les jour qui vient, curated by Marie-Ann Yemsi (Galerie des Galeries, 2017), Blackness in Abstraction (Pace Gallery, 2016) and The Quiet Violence of Dreams (Stevenson, 2016). In 2015, she was awarded the prestigious FNB Art Prize.

Turiya Magadlela, Mulberries are sweeter when ripe for Mzwesh I, 2019 - 2020. Nylon and cotton pantyhose, thread and sealant on canvas. 120 x 120cm


MJ Turpin, All Empires Fall I, 2020. 3 Colour Serigraph and 2 Tone Aluminium framing. 70 x 50cm | Ed. 3 / 5


MJ TURPIN B. 1982, Johannesburg, South Africa MJ Turpin was born in 1982 in Johannesburg, South Africa where he currently works. Turpin obtained his BA (Hons) in Fine Arts at the University of the Witwatersrand. He works as an independent contemporary artist and co-director of the Kalashnikovv gallery in Braamfontein, Johannesburg. Turpin’s work is a combination of mixed media as well as installations that convey his exploration of contemporary forms of escapism such as the internet, drug addiction and religion. Turpin’s most recent solo exhibition “take me apart” at No End Contemporary was an attempt to interrogate old narratives and replace them with new ones. Through these works, Turpin deconstructs history, self and ideas of privilege and western cultural hegemony. Turpin’s work has been exhibited in a number of group shows at spaces such as The Goodman Gallery, Everard Read and Circa to name a few. He has also participated in various shows internationally in Belgium, Holland, Germany, Morocco and Taiwan. His latest international exhibition participation was La Gaite Lyrique French/ South Africa season in Paris.

MJ Turpin, All Empires Fall II, 2020. 3 Colour Serigraph and 2 Tone Aluminium frame. 70 x 50cm | Ed. 3 / 5


ASANDA KUPA B. 1981, Molteno, Eastern Cape, South Africa. Asanda Kupa’s (b.1981) work is grounded by the experiences of those forced to the periphery of ‘The New South Africa’; despite its great re-birth. Born in Molteno – a semi-rural village in South Africa’s poorest province, the Eastern Cape – Kupa’s scenes depict the chaos and energy of life for many of South Africa’s subjugated black population, a life that is defined by struggle and by lack of access to basic resources. Kupa is concerned with how the new political regime has failed its people – the very people who brought it to power through their own sacrifice – whilst also celebrating the self-determining spirit that marks a long history of civic action. Protest, spurred by grass-roots community frustration, is a central theme of his work. His series of striking crowd scenes, inspired by the Marikana mine-worker massacre of 2012, shows militant action not only as an expression of fury, but also a place of refuge and hope in post-apartheid South Africa.

Asanda Kupa, Igqwetha Lomnt’ omnyama, 2020. Acrylic on Canvas. 84 x 71cm Sold


Asanda Kupa, Social and Distancing in one sentence May Not Make Sense, 2021. Acrylic on Canvas. 105,5 x 112cm


Asanda Kupa, Amasi Abekw’ elangeni, 2021. Acrylic on Canvas. 98 x 107 cm


MALEBONA MAPHUTSE B. 1994, Johannesburg, South Africa. Malebona Maphutse is a Johannesburg based artist who has completed her BA (Fine Art) Degree at the University of Witwatersrand in 2017. Throughout her body of work and using various media such as painting, sculptural installation, linocut printing, digital prints and video, Maphutse narrates history and seeks to investigate how bodies transcend mere existence and encounter space and to understand the politics of space. Maphutse’s work has been exhibited at the Bergen Triennial 2019 (The Dead Are Not Dead), Stellenbosch Triennial 2020 (Tomorrow There Will Be More Of Us) and as of late she showed a digital interactive work as part of the Institute for Creative Arts Fellowship. She has participated in numerous artist residencies both locally and internationally, including at Bag Factor Artist Studios, Johannesburg (2018), Wiels Contemporary Art Centre, Belgium (2019) and Cité Internationale des Arts, Paris (2020). P72 Project Space and TMRW gallery.


Malebona Maphutse, Siyagoduka: Buiscuit Ball - Off With His Head, 2021. Acrylic and Mixed Media on Canvas. 75,5 x 84,5cm


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Profile for Gallery 2

A CLOUD - Studio Nxumalo in association with Gallery 2  

A CLOUD - Studio Nxumalo in association with Gallery 2 31.07.2021 - 28.08.2021 A group exhibition featuring: Mfundo Mthiyane, Teresa Firmino...

A CLOUD - Studio Nxumalo in association with Gallery 2  

A CLOUD - Studio Nxumalo in association with Gallery 2 31.07.2021 - 28.08.2021 A group exhibition featuring: Mfundo Mthiyane, Teresa Firmino...

Profile for gallery2
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