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THE LAKE WE ARE FOOLISHLY Ambitious

#19/ 150218 “No artists are part of a movement. Unless they are followers. And then they are unnecessary and doing unnecessary art. If they are exploring in an ‘individual way’ with ‘different ideas’ the idea of another individual, they are making a worthy contribution, but as soon as they call themselves followers or accept the truths they have not explored as truths, they are defeating the purpose of art as an individual expression – Art as Art” - Keith Haring

CONTENTS REGULARS:

PUBLISHER

Advertising / MARKETING

THE LAKE MAGAZINE PTY LTD info@thelake.co

Brett Bellairs brett@thelake.co

Editor / Art Direction

COPY EDITING

Stefan Naude’ stefan@thelake.co

Christine Stewart

Submissions

ONLINE / SOCIAL

PHOTOGRAPHY:

info@thelake.co

www.thelake.co.za

Stalker 12 Aberration 36 Art of Brother 55

COVER

News Print Run Plimsoll

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ART: Lungiswa Gqunta Andrew Kayser MyCiti

18 42 72

MUSIC: Retro Dizzy Angel - Ho Wax Junkie

24 30 66

LIFESTYLE: Bangkok

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cONTENTS PHOTO Jansen Van Staden

The views and opinions expressed within the editorial and advertisements of THE LAKE do not necessarily reflect those of its staff, nor any of its associates.THE LAKE and anything contained within is copyright. No part of this publication may be reproduced in any form whatsoever, copied or stored electronically without prior permission in writing from the publisher.

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Oliver Kruger Angel-Ho Angel-Ho Stefan Naude’ Lighting Retouching

Photography Cover Styling / Creative Direction Art Direction Big Time Studios Naomi e’Camara

photography

contributors

Jansen Van Staden Frantz Birkholtz Oliver kruger Sila Yalazan Trevor Stuurman Obakeng Molepe Meghan Daniels Jaco s venter Jacqui van staden Warren van rensburg Albert Retief Pieter Retief Karabo Makenna Cobus Engelbrecht Jansen Van Staden

Tymon Smith Rick De La Ray Frantz Birkholtz Jacqueline flint Frantz Birkholtz Dan Charles Xavier Nagel Yann-xavier horowitz

PRINTING Tandym print Tel: +27 21 505 4200 Email: print@tandym.co.za

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NEWS VANS / 30 Years of Grind Vans South Africa team riders Dallas Oberholzer and Brett Shaw celebrate 30 years of skateboarding with a special collaborative video part.The two legends of South African skateboarding continue to scour the countryside for ditches, pools and bowls, just as they’ve done for the last 3 decades. Most skateboarders today are not even 30 years old, whereas these two have been pushing skateboarding in the country for that long. Today they are still regularly planning missions with the Vans South Africa skate team. INFO: www.vans.com

mami wata You’ve spent the day floating off the edge of Dakar’s N’gor Peninsula and now it’s time for something tasty to eat, a crisp Gazelle Biere to wash it down and some Afro-beat rhythms to sway, swoop and smile to. Who needs a shower, just slip into Mami Wata’s I AM THE RULER cotton shirt and you’ll be looking good enough to eat. In a shirt this fine, the rest will happen naturally. And when you wake up, get your head through Mami Wata’s TRUTH PANGAS tee. Clean as your conscience, boasting wisdom beyond your years. INFO: www.mamiwata.surf

Spiritual Vodka Spiritual Vodka celebrates the traditional vodka made with modern techniques. We’ve combined high quality grain spirit with Waiwera Artesian Water, filtered through our gravity fed activated charcoal system and added a touch of Manuka Honey to give it a New Zealand flavor and bring back the tradition of when honey was the preferred sweetener for spirits. The addition of Manuka honey gives Spiritual Vodka a light peachy hue and a fruity honeyed nose, on the palate it is dry with light floral notes and a pleasant finish. INFO: www.spiritualspirits.com

Kingdom Longboards Kingdom Longboard’s is a father and son founded business, established in 2012 which started as an inspired childhood dream and passion which slowly grew into something of reality.Each individual board is uniquely hand crafted, locally in Cape Town with top quality, sustainable planted timbers from around the globe. No deck is ever the same, each having its own fingerprint of natural wood grain. We also specialize in custom laser engraving, where you are able to get your own artwork engraved onto your board. INFO: www.kingdomlongboards.co.za 04

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NEWS CHAPEL Since 2009 Chapel has been making bags at our studio in Woodstock. They ride, explore and take journeys to stay inspired. The collections are unique, timeless and considered. Every bag is made by using genuine leather. Chapel was founded by Caleb Pedersen who continues to lead in design and the business of bags. They have four stores in Cape Town and select stockists in Europe and the US. The bags are strong and dependable. Made from the best quality genuine leather and canvas. INFO: www.chapelgoods.co.za

Dual Brief

Overnighter

Bakhoven

Bloedlemoen Gin Bloedlemoen (Blood Orange) is a handcrafted, small batch Gin from a meticulous selection of ten natural botanicals including Juniper, Blood Orange, Orange Peel, Grains of Paradise, Coriander, cassia and Nutmeg. A classic London Dry style, the nose is led by citrus notes, light Juniper, and spicy floral nuances. The Juniper is balanced by the sweet spiciness of Nutmeg and Cassia. The Grains of Paradise adds mouthfeel and ends with a lingering Blood orange after taste. INFO: www.bloedlemoengin.com

Shakalulu Inspired by the the cultural influences that have most affected her life-path and the formation of her eclectic eye, while being conscious of the problematic trends in fashion and pop-culture to irreverently appropriate and fetishize non-mainstream art forms, Shakalulu’s methodology as an anthropologist and a creative draws heavily from her own personal experiences, extensive travels and ethnographic work, leading her to focus not only on the makings of clothing, but more specifically on the meanings of the garments. INFO: www.shakalulu.com

HURLEY The essence of Hurley is based on our love of the ocean. With deep roots in beach culture we are all about inclusion and positivity. To connect, disrupt, and innovate are key pillars that build our brand DNA. We provide world-class product to world-class athletes and consumers alike. Hurley Autumn ‘18 apparel and accessories are now available at all Hurley concept stores nationwide, featuring a collection by 2x World Champion John John Florence and native Hawaiian designer, Sig Zane. INFO: www.hurley.com 06

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> ART DIRECTION - Trevor Stuurman Rich Mnisi

PHOTOGRAPHY - Trevor Stuurman Obakeng Molepe

MELTING POT adidas Originals Revives adicolor adidas Originals revives adicolor, its most iconic apparel franchise. Cultivated in the 70’s, the range is an instantly recognisable symbol of sports and street culture which returns in 2018 remastered for the present with the confidence to playfully celebrate colour for a new generation.

adicolor transcends cultures and eras to redefine itself in perpetually new contexts. Always taking colour seriously, and taking itself less seriously. To kick off the launch in South Africa, adidas Originals commissioned Trevor Stuurman, revered for his work both in front and behind the camera, to depict his celebration of colour in everyday life. Trevor drew inspiration from the energetic markets and playgrounds unique to Africa, a vivid spec-

trum of colour that lives and breathes on this continent. Visual styling incorporated backdrops and props laden with symbolism, echoing AMA KIP KIP and The Vas Kom. Through a collaborative effort with his creative family, Trevor created powerful imagery featuring both actress Amanda du-Pont and himself. The resulting content is both familiar and progressive, aligning perfectly with the playful spirit of the adicolor collection.

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When asked which of the four adidas sport hues, Bluebird, Fairway Green, Scarlett Red and Sun Yellow, most resonated with him, Trevor responded, “Green is such a promising colour. It speaks to the presence of life. It conjures up images of vibrancy, and in its full glory, green is a sign of the future”.

“I was drawn to this campaign because of the abundance of classic items in the collection. Our aim was to showcase these pieces with a fresh perspective and in doing so, deliver imagery where people could feel a piece of their history. Working closely with Trevor, we blended heritage ideals with modern day swag. We experimented with expressive braiding techniques and to complement these traditional hairstyles, we created dewy and colorful make up looks. This unique concept was fur-

ther amplified by the fact that we chose to highlight conventional pantsula poses while styled in modern sports-inspired outfits,” said Amanda du-Pont when asked about the process of working with Trevor Stuurman on this progressive adidas Originals campaign.

INFO: www.adidas.co.za

Models: Amanda du-Pont / Trevor Sturrman - Hair: Princess Ndlovu / Make up: Benazir Akbar STYLING: Amanda du-Pont styled by Lethabo Motlatle Trevor Stuurman styled by himself / Retouching: Rich Mnisi 10

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> WORDS - RICK DE LA RAY

PHOTOGRAPHY - Meghan Daniels

STALKER Meghan Daniels

“I started photographing as a sort of personal diary. I still do this today. I document those closest to me - friends, family, and myself. I guess photography acts as a mirror of myself as well as the world around me.” Where did it all start for you? What is your earliest memory of a camera? I grew up finding escapism in looking closely at the world around me – a bit of a strange kid – staring oddly, framing and trying to understand moments as they unfolded and passed. Photography has always been there but not necessarily with a camera in hand. I think photography is a hell of a lot more than just a camera. For example, I know some people with cameras who are ‘photographers’ but I don’t see them as such – they’re shitty humans who exploit or don’t put effort into trying to understand the content they work with. Photography is all encompassing – you can shoot with your cellphone, not have studied photography’s technicalities, sincerely listen and hold the contexts in, and of, which you are shooting, question yourself. I think this is more of a ‘photographer’. Sorry, I’m digressing. My earliest memory of a camera is a 35mm pink Barbie plastic thing that my mom gifted me with. I remember using it for the first time when we went to visit her [then] boyfriend in Vredenburg. Man, I loved this thing. It was magic. I could finally freeze what I was seeing around me. I forgot about this camera and found it in a garage last year! The film was still inside! My first two photographs on there sum me up pretty well – a plastic packet floating in a river and my ma. Lol. Where did you grow up and do you feel it has influenced your work in any way? I grew up in a block of flats on a military base in Wynberg, Cape Town. I was raised there by my ma, a single parent in the army. I didn’t understand it at the time, but growing up there has perhaps been my biggest influence. Inside of my room (which was on the third floor) I’d sit with my one leg straddled over my window and watch everything outside passing by. Outside my room, I was surrounded by a diversity of people who were my family– celebrating Eid and sneaking through THE LAKE

Playboy magazines with my brothers to the left, learning about fragile masculinity and domestic violence via my neighbors to the right, listening to the neighbors upstairs replace gospel with Trompies on a Sunday. I grappled with the complexities of human nature here – something that I’ll always try understanding, learning about and holding in my work. The military base was a mixture of personal traumas and childhood bliss. I’d process, as well as celebrate, a lot of this by walking around and photographing. It’s illegal to shoot on the base so I’d do it sneakily with adrenalin pumping through me. A silly sense of rebellion then, but something I still hold in my work. Some of the themes of gender and intimacy I work with today are, in part, to speak out about and prevent some of the shit I saw and experienced growing up there. When you first started taking pictures what was your original approach and are you still focusing on similar subjects? I don’t think I had an approach to start with. I’ve always felt that my camera is an extension of myself in a sense — I don’t really see what I photograph as ‘subject matter’ but rather a collection of experiences that happen to take the form of a photograph. I guess I don’t care too much for photography, but rather a sense of what I interpret to be ‘honesty’. I started photographing as a sort of personal diary. I still do this today. I document those closest to me - friends, family, and myself. I guess photography acts as a mirror of myself as well as the world around me. Your landscapes are exceptionally minimalist, what draws you to capture empty space in such an emotional way? The spaces I photograph often reflect a memory, nostalgia or what I am feeling or experiencing in my life 13


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at that time – candid yet intimate. For example, I can think of a photograph of coffee cups filled with cigarette butts, an overflowing ashtray, filters scattered on the table. It’s a time when one of my best friends and I were living together. We were both going through our own, big wars then. We’d sit around that table in support with a ciggie in one hand and each other’s hand in the other. I can also think of a photograph of a wall and my silhouette across it. This was taken on a road trip I did to De Rust – the place where I last saw my dad when I was about 12 years old. I happened to find the tennis court where he matched me back then. I was pathetic at tennis, he beat me, but I didn’t mind one bit. This is where I took this self-portrait. 14

How do you go about choosing the subject matter of your images or do you allow it to come spontaneously? My personal work is mostly spontaneous. For other bodies of work (e.g. documentaries) my approach will be primarily based on background research and participatory research methodologies with the people/person I’m working with. For these bodies of work, I see myself as somewhat of a vessel for others to tell their stories through – I shut up, they speak. As photographers (or just humans, actually) I think it’s important to remember that some stories are not ours to tell. Voyeurism can be dangerous. THE LAKE

What would you say is your preference between colour or black and white images, do you decide beforehand what format you will be shooting in? If I’m heading out with my camera in my own personal capacity, I grab whatever film is lying around my house or that I can get my hands on. Sometimes its black and white, sometimes colour, sometimes a blurry mess because the film has expired. There seems to be a lot of close-up shots relating to the human body, what is the attraction for you to these forms?


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“I’ve always felt that my camera is an extension of myself in a sense I don’t really see what I photograph as ‘subject matter’ but rather a collection of experiences that happen to take the form of a photograph.”

A few reasons. My work deals with issues surrounding gender, intimacy, sexuality and mental health. Often times, trauma, or just living as a non-cishet, non-male in this world, creates dissociation with the physical body. Photographing bodies (mostly my own) thus becomes a process of catharsis – challenging, claiming, celebrating, breaking taboos, putting something out there when it may be at its most vulnerable. Sometimes my friends and family don’t necessarily want to be seen so I’ll zoom in or crop and capture their bodies anonymously. And sometimes I’ll be with friends and our clothes happen to come off or we happen to flash, and I’ll happen to have my camera on me. Woops.

coming photographers in South Africa who I follow online and who inspire me. There are too many to mention. People are claiming a practice that has for so long being exclusive and inaccessible and now flipping its power dynamics on its head (whether it’s with a disposable camera or a cellphone).

What camera are you using at the moment and what makes it relevant to the type of photography you focus on?

Are you busy with any projects at the moment?

I mostly shoot my personal work on a Contax T2 pointand-shoot 35mm camera. It’s quick, allows for spontaneity, I don’t have to think too much when using it, it’s small and doesn’t feel like I’m entering a space with a big, obtrusive, chunky thing.

What is the most uncomfortable moment you have encountered so far while shooting? A much shorter list would be moments that have been comfortable!

Always. One includes a short, conceptual documentary with my cousin and his experience of growing up queer in our family. Another is with a close friend, looking at her experiences of sexuality, intimacy, the erotic, and how this fits into the prism of growing up as a Muslim femme in Cape Town. You are also a cinematographer, do you find that you use the same approach to moving images as you do when you shoot stills?

Which photographer(s) would you say has had the most influence on you as a person?

Yes, although depending on what I’m shooting, I’d say it isn’t as spontaneous. Oftentimes there is a lot more planning and pre-organisation that goes into my video work. I can’t fit dolley tracks and a Butterfly Frame Kit in my pocket like I can with my Contax T2 :(

Internationally, LaToya Ruby Frazier, Nan Goldin and Annie Flanagan.There are so many young, up-and-

INFO: www.meghan-daniels.com INFO: Instagram: @meghan.daniels

HIGH FIVES Barbara Mason

Smif-N-Wessun

HO99O9

Bikini Kill

Electric Wizard

Transition

Dah Shinin’

United States Of Horror

The C.D. Version Of The First Two Records

Dopethrone

1974

1995

2017

YEAR

2000

Buddah Records

Wreck Records

Toys Have Powers

label

Rise Above Records

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> WORDS - Jacqueline flint

PHOTOGRAPHY - Jaco s venter

HATA! LUNGISWA GQUNTA

“The work always has the full story. But I am not always able to articulate it. Or sometimes I don’t want to, because it’s too personal. My work is about my own experiences, but it also touches the lives of the people that I love.”

Lungiswa Gqunta’s work is great for dialogue. She taps into frequencies that are thrilling to anyone interested in post-post-colonial discourse; issues around the lived black experience; spatial division; institutional decolonization; politics of the black body, especially the black female body; systemic violence… The words ‘revolutionary’, ‘unapologetic’, ‘aggressive’ spring to mind. And they are entirely relevant. The work is all of these things. It is important work that speaks significant truths about the grand scheme of things – in South Africa and more broadly in the global South. In her solo show, Qokobe, at Whatiftheworld Gallery in Cape Town in 2016, an installation called Divider dominated. In it, a number of Black Label beer bottles – a brand which, itself, could spark whole discourses in a feminist post-colonial space – hang suspended from the ceiling via petrol-soaked, knotted fabric. The references are manifold, and the most pervasive are those that speak to revolutionary acts – the Molotov cocktail, the back-firing of the ‘dop’ system. The smell of petrol is inescapable, attacking the senses of gallery-goers, and plucking

the strings of their anxiety. Thuli Gamedze, in her text that accompanies Qokobe, writes of the petrol bomb reference as calling out ‘the urgent need for the decolonization of not only institutions, but the larger landscape… [the] absolute destruction of a white-owned status quo.’ But there is more to the work than a burning call to action. The fabric emerging from the bottles is actually made of bed sheets, many of them taken from Lungiswa’s home. They are sheets that she has slept in, that her mother has slept in. Worn out from use and other things. The twisted, tense and twining appearance of the bed sheets brings to mind an umbilical cord. The very first thing that nourishes us, which also leaves a permanent scar on our bodies in the shape of the navel, the centre of a very soft part of us, and one of the most vulnerable when left exposed. Lungiswa’s work, right from the start of her career, has touched on the idea of home, in one way or another. Home, feeling at home, the ease of being in one’s place. Moving to the city has meant

HIGH FIVES Lupe Fiasco

Herbie Tsoaeli

Common

Anderson Paak

Nina Simone

Lupe Fiasco’s Food & Liquor

African Time

Be

Malibu

The Greatest Hits

2006

2012

2005

2016

2003

Geffen Records

Steel Wool

BMG

Atlantic

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Lungiswa’s work, right from the start of her career, has touched on the idea of home, in one way or another. Home, feeling at home, the ease of being in one’s place. Moving to the city has meant for Lungiswa and many of her peers the loss of ‘at ease’ – psychologically, spatially, and physically.

HATA!, 2016 - Reclaimed wood, stones and beer crates / 85 X 73 X 35 cm

for Lungiswa and many of her peers the loss of ‘at ease’ – psychologically, spatially, and physically. They are outsiders in a world that is not set up to work out for them. And this is the crux of the revolutionary cry – the desire to make you feel as a viewer, even if just for a moment, the uncomfortable, skin-crawling dis-ease that is the lived reality of black people all over the world. But it’s the quieter stuff in the work that delivers the sucker punch, right to the gut – bringing the sense of loss home again, and giving it a personal texture. It takes systemic violence and translates it into domestic violence – like the ‘dop’ system, translated into the brutal and subtle ramifications of alcoholism in the home. Let me ease the pain uses some of the same raw materials as Divider. An old spring mattress, stripped bare, is supported by beer bottles shrouded in bed sheets. In this work, trauma is swept under the mattress. Alcohol eases the pain. Women comfort the pain, and they bear the brunt of it. The bed 20

sheets muffle sound, swaddle hurt, or both – and it is the women who will wash the blood out of the sheets in the end, or sweep up the broken glass. In Lungiswa’s home back in Port Elizabeth, the women hold it all together. Strong women who taught her the power of the feminine position, despite the violence directed at it, from within the home and from outside. Resilient, irrepressible women – this is what power looks like, and they light the spark of rebellion for Lungiswa. The home is the woman’s domain, and she is resolute in her pursuit to claim it back. As John Berger put it, ‘it is on the site of loss that hopes are born.’ Lungiswa’s home had a red stoep. The stoep was a source of pride, and keeping it beautiful was the role of women. As a female person, she says, you knew that at some point you would have to go through the grueling three-part polishing process that kept the stoep sparkling. A teenage boy will look on as an older woman bends on her hands and knees, THE LAKE

DIVIDER, 2016 - Mixed media installation (knotted fabric & beer bottles) Approx 210 x 700 x 340 cm

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UNTITLED, 2016 - Bed Frame, beer bottles, wall paper and spray adhesive / 200 x 100 cm

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In this work she is waking up the ancestors, asking them to ignite the flame of the fight that will allow her generation to re-claim their sense of home, in all spaces.

LAWN 1, 2016 - Wood, broken bottles, and petrol / 242 x 122 x 28 cm

polishing the shit out of that red stoep until it shines bright like a diamond. The stoep features in a new work that she is busy with, towards her upcoming show at Whatiftheworld in April. The stoep has two partners: a collection of scrubbing brushes, their bristles replaced with matches. And a video work that features the same scrubbing brushes worn on Lungiswa’s feet, match heads facing down, as she swings and scrapes them on rough gravel. The work is a complex topography. On the macro level, the work gets under the viewer’s skin – at what point will the matches strike? Remember that the ground under your feet could ignite at any moment. Then it reaches backwards and inwards to childhood memories, a salute of solidarity to those women that kept pride burning. And also even further back: the vigorous rocking polishing motion reminds Lungiswa of waking someone up. In this work she is waking up the ancestors, asking them to ignite the flame of the fight that will allow her generation to re-claim their sense of home, in all spaces. THE LAKE

“The destructive character knows only one watchword: make room. And only one activity: clearing away…The destructive character is young and cheerful. For destroying rejuvenates…The destructive character sees nothing permanent. For this very reason [she] sees ways everywhere. Where others encounter walls or mountains, there too [she] sees a way. But because [she] sees ways everywhere, [she] has to clear things from it everywhere. Because [she] sees ways everywhere, [she] always stands at a crossroads. No moment can know what the next will bring. What exists [she] reduces to rubble – not for the sake of rubble, but for that of the way leading through it.” • Walter Benjamin, “The Destructive Character”, 1931. Text published originally in the Frankfurter Zeitung. INFO: www.whatiftheworld.com/exhibition/qokobe 23


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> WORDS - frantz birkholtz

PHOTOGRAPHY - frantz birkholtz PHOTOGRAPHY LIVE - jacqui van staden

Machete Madness RETRO DIZZY The intensity on the stage reached an all-time high. The crowd became one with our souls and a trancelike sensation bled into the room, filling every inch of the gloomy, shadowy corners. We imagined we had reached the climax until a hyper-normal blanket draped itself over us. In an eerie manner we felt tranquil. Everything slowed down in an unearthly fashion. A heightened exhilaration took over, one we have never experienced in these puny human bodies we live in. This is when we stripped ourselves naked from our materialistic garments, completely naked, surfing other-worldly waves of wizardry.

period of time since they started out. The band consists of Nicolaas Rossouw (drums), Andre Vlok (guitar, backing vocals), Stuart Dods (guitar, backing vocals) and Richard Liefeldt (vocals, guitar). These troublesome gentlemen take much joy in spreading beautiful chaos. One never seems to expect the unique element

DISCOGRAPHY

Retro Dizzy, a concoction of sounds which involve garage, surf and psychedelic rock and roll, formed in their home town of Hermanus in 2014 and have since relocated to Cape Town. In an exceptionally short period of time these young lads have created quite a stir on the South African music scene, building themselves quite the reputation. Rude, racy and rowdy are some words certain people have used to describe them, but I’ll add sensual, sexual and serene. As it stands they have two albums out and even reached number 1 on Puk fm with “My baby got electrocuted”. They have since toured South Africa on a regular basis playing at popular venues and smaller, more unknown gems. Some festivals such as Mieliepop, Endless Daze, Lush, Malkop, Rocking the Daisies and Smoking Dragon, have had the honour of playing host to these risqué lads. Retro Dizzy have undoubtedly accomplished over and above, taking into consideration the short

Retro Dizzy Creatures of the Black Desert 2015 Retro Dizzy Retro Dizzy ALBUM 2017 Retro Dizzy

HIGH FIVES Black Sabbath Paranoid

The Black Angels

Fat White Family

DIIV

BRMC

Champagne Holocaust

Is the Is Are

Specter at the Feast

2013 Fat Possum Records

2016

2013

Captured Tracks

Abstract Dragon

Phosphene Dream

1970

2010

Vertigo

Blue Horizon

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Retro Dizzy, a concoction of sounds which involve garage, surf and psychedelic rock and roll, formed in their home town of Hermanus in 2014 and have since relocated to Cape Town. Rude, racy and rowdy are some words certain people have used to describe them, but I’ll add sensual, sexual and serene.

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of revelation they bring to each show separately. Unpredictable is undoubtedly a term which springs to mind. All of them are true artists in more then one way and this trait reveals itself within moments of being in their sinister presence. Lovely, charming young men with a sense of danger surrounding them. Their delinquent attitudes have earned them quite the reputation in South Africa, but one can’t help but love these sweet boys. Even though they are dangerously destructive, there is love and compassion within these boys. A lovely, beautiful mess. THE LAKE

Despite the fact these fearsome four live a certain rock and roll, “we don’t give a fuck” lifestyle, they continuously put in the hard work. They recently shot two new music videos which can be expected in the very near future. Sponsored by Jägermeister, they have a stupendous (and moderately drunk) future paved to rock royalty. Retro Dizzy, ladies and gentlemen. INFO: www.retrodizzy.bandcamp.com INFO: www.facebook.com/retrodizzy 29


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> WORDS - DAN CHARLES

PHOTOGRAPHY - OLIVER KRUGER

Spectacle Angel-Ho “I firmly believe that I was put on earth to do this - that I was born to do this.” Angel-Ho is an artist assured of their own destiny. Over the past four years, the sonic and stylistic savant (born Angelo Valerio) has managed to build a global following out of their explorations of concepts revolving around classism, identity and gender through an amalgamation of their unrelentingly experimental electronic music and glamorous sense of style and couture. However, with plans to release their debut album later this year, Angel-Ho is looking to enter the next phase of their career: that of becoming a pop icon. Unfortunately, Angelo is unable to discuss much about the album in great detail at this stage as it’s still in the middle of production. What they can disclose about the album is that it will be released through the esteemed London-based electronic record label Hyperdub, and that the body of work will be a celebration of pop music and will also serve as a continuation to their previous works that have explored the sense of pain and pride within queer identity. “I feel like queer voices need to be heard - we need to speak our truths while we’re here. What made me start working on this album was the idea for me to build a legacy that I want to leave behind for queer and trans youth because that’s how I got my education - through music, performance and art.” Despite having abandoned their formal studies in fine art after committing four years to a tertiary institution, Angelo still sees themself as an academic - only now, they relish being able to determine their own curriculum in pursuit of strengthening their true artistic ability.

be seen as an acknowledgement of those who have mentored them and have helped point them towards their artistic true north. The first two people that come to mind are Angelo’s mother (who raised them as a single parent and has been a constant driving force behind their work) and acclaimed performance artist Athi-Patra Ruga, who taught Angelo the discipline required to become a sustainable artist.

Angelo seeks to become something of a muse to aspiring creatives much like the artists that have inspired them to pursue their current path.

“In Cape Town and South Africa, even though the arts are not really frowned upon by a lot of people, it’s something that I feel people don’t really appreciate or consider as something that can be lucrative - especially for young kids who are trying to find their way and have an interest in art and have talent. My main motivation is to be a teacher - knowledge is supposed to be shared and should be accessible at any age.”

Angelo relishes in the extravagance of a live performance. The live shows that they are preparing in the wake of their album’s release aim to surpass the oftentimes lacklustre standard of live performances within South Africa, by meticulously showcasing Angelo’s vision through a spectacle of music, movement and fashion.

As their prominence within popular culture continues to escalate, Angelo is ready to accept the responsibility that comes with being an artist of significant influence. If the aim of art is to inspire then

“A pivotal point for me was seeing Lady Gaga perform live - seeing that standard of performance and craftsmanship. That’s the kind of attention to detail that I aim to bring with my shows and that I will bring throughout my entire career.”

“My aesthetic is rooted in performance and being on stage and giving a show. I love fashion and what it can do with music and performance. It ties everything together and it speaks to everything that I’m doing. Growing up, I was primarily interested in visual arts and fashion because of my insecurity in

HIGH FIVES Tanto Metro and Devonte

Kelela

Björk

Abra

Lady Gaga

Take Me Apart

Medúlla

Rose

The Fame

1997

2017

2004

2015

2008

Epic

Warp

One Little Indian

Awful

Interscope

Everyone Falls In Love

“I left university because it was becoming such a toxic place for me to grow and learn so instead, I chose to continue my practice in studio. My experience at university felt very contrived - I had to be with people that came from roots that I came from and that have experiences that I’ve also shared. It’s important to me to be with my community.” If the album that Angelo is working on intends to celebrate pop music - a prime source of their education and development - then it can surely also

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“The world does not tell you that you have to dress in a certain way. The world would like you to, but you don’t have to conform to anyone’s rules. You just do what you have to do - with respect to yourself and others.”

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“I left university because it was becoming such a toxic place for me to grow and learn so, instead, I chose to continue my practice in studio. My experience within there felt very contrived - I had to be with people that came from roots that I came from and that have experiences that I’ve also shared. It’s important to me to be with my community.” thinking that I couldn’t perform. And then I started performing and realized: ‘Shit, I’m made for this!’” The crux of the lesson that Angelo wishes to teach us with this new album - and has already been teaching us throughout their previous work - is that there is power in speaking your own truth. By believing in their artistry and never compromising in any facet of it, Angelo has paved their own way towards becoming arguably one of the most significant voices to come out of Cape Town. And this is done, not only to have their story heard, but also to inspire the next generation of artists to be unashamed of wanting to fulfil their own dreams in the same way. “The world does not tell you that you have to dress in a certain way. The world would like you to, but you don’t have to conform to anyone’s rules. You just do what you have to do - with respect to yourself and others.” When speaking with Angelo about their art and approach to performance, I’m reminded of a scene

in the semi-fictitious Nick Cave documentary 20,000 Days on Earth, where the British actor Ray Winstone asks the famously grim singer-songwriter whether he still enjoys performing live, to which he responds: “I live for it. It’s really, in that moment, where I can get to be that person that I’ve always wanted to be.” Arguably, Angelo has never needed to be on stage to become that person. Perhaps it’s really us that need to see Angel-Ho on stage so that we can see for ourselves how also to become the person that we really want to be.

DISCOGRAPHY Angel-Ho Red Devil 2017 NON

Angel-Ho Emancipation 2016 NON

“I want people to feel like they can let go of their insecurities and find their freedom during a forty-minute set and to know that I am there to entertain them.”

Angel-Ho Ascension

INFO: www.facebook.com/AngelHoStudio INFO: www.soundcloud.com/angel-h0 INFO: Instagram: @Angel_h0 INFO: Twitter: @AngelHo_Studio

Halcyon Veil NON

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ABERRATION SILA YALAZAN “I am how you see me“

This is a selection of portraits I’ve been working on since living in my old home city of Cape Town. Escaping from political turbulences in Turkey which led me to almost lose faith in humanity, photographing some strangers and some close friends helped me to find Zen in this familiar place. From intimate to reserved, the range of human feeling that can be communi-

cated in a single frame inspires me and keeps me eager to connect with my subjects and the larger world around us. I believe my job as a portrait photographer is to make the viewer curious, and to make emotional connections. As Ansel Adam said, “There is one thing the photograph must contain, the humanity of the moment...”

www.cargocollective.com/silayalazan

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> WORDS - Tymon Smith

PHOTOGRAPHY - Warren van rensburg

AFTER DARK Andrew Kayser

Sitting drinking tea in his August House studio, Andrew Kayser says that he finds “the idea of the rebel artist behaving badly is an out-dated myth. If artists want to make it these days their practice has to become extremely professional.”

It’s something the 42-year-old can begin to say with conviction after years of battling with addiction to drugs and alcohol, which saw his career take off a lot later than many of his peers. Born in East London, the son of a Dutch doctor, Kayser remembers that while his hometown was, “a very nice little town to grow up in,” there wasn’t much “information in the way of arts or anything like that. I was always good at drawing right from a very young age so you know, when you’re sort of 17, 18 years old and you’re deciding on a career path, it’s quite different to how you might make that kind of decision in retrospect.” Kayser first went to Grahamstown to study fine art but was kicked out of Rhodes within the first few months of his first year. He came back to East London and tried again at PE Technicon and then when he was 21, “and maybe not as stupid,” he made use of his Dutch passport to travel to Holland where he enrolled at the Royal Academy of Art in The Hague. For anyone who’s ever visited the centre of Dutch bureaucracy you’ll know it’s hardly the world’s most exciting city and while Kayser now admits that his, “feelings towards the Hague were always a little bit ambivalent,” on the bright side, “Holland’s such a small country that you just jump on the train and in fifteen minutes you’re in Utrecht; in half an hour you’re in Amsterdam so overall I thoroughly enjoyed my experience over there.” There was also the advantage of having access to the world’s art treasures, “on your doorstep, all these museums, what you’re studying, what you’re interested in, you can go and see and so that was an amazing experience.”

layered with the political undertones that we have here so that had a big influence on me and to be honest at the time it was almost a bit of a relief to be making art in a context without those considerations.” After finishing his studies, Kayser found it difficult to promote himself in the art world because he, “wasn’t a naturally confident person so I sort of drifted around and participated where I could for a couple of years and came back to South Africa more by chance than anything else.” Back home he found work as a freelance motion graphics designer but his addictions continued to plague him into his 30s when his friends and family staged an intervention, which sent him to rehab for three months, on the beginning of a long road to sobriety. Although he had drifted from any serious continuation of his art practice, Kayser says that he “always continued to draw and I would try every now and then to set up a studio but I never really managed to get anything going properly.” After a year living back with his mother in East Lon-

don, which he now sees as a particularly low point, Kayser returned to Johannesburg determined to finally make a go of it but three months later “things had gotten to that stage where you find yourself curled up on your bed, sobbing hysterically. I had another good artist friend who also didn’t drink and one morning I went to talk to him and I’m not sure how but finally after all those years of trying, something just kicked into place and I woke up the next day and made the decision to stop drinking. That was the last of it and that was just over four-and-ahalf years ago.” Kayser moved into a space at End Street Studios, sharing ideas and feeding off the experience of working with fellow artists, before his work caught the eye of Kalashnikovv Gallery, who put him in group shows, showed his work at art fairs and finally gave him a solo show last year. His work has sold well and for an artist with a long gap in his CV, Kayser was surprised but also feels that, “there’s definitely pressure when work sells and you can’t help but think to yourself, “well do I need to retain those elements if I’m hoping to sell more work?” So those

HIGH FIVES Joy Division

Depeche Mode

Massive Attack

Suuns

Unknown Pleasures

Violator

Mezzanine

Hold/Still

The Dandy Warhols

1979

1990

1998

2015

1997

Factory Records

Mute

Virgin

Secretly Canadian

Capitol

The andy Warhols Come Down

While back in South Africa artists were coming to terms with the changing political challenges of the post-apartheid era, in The Hague, Kayser was being schooled in a “more conceptual approach, not THE LAKE

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Andrew Kayser - “AT home after dark”, mixed media on canvas - 2270 x 1940cm

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Andrew Kayser - “Another Day With My Dog”, mixed media on canvas - 2310 x 1940cm

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Andrew Kayser - “Its Never Dull in Here”, mixed media on canvas - 2310 x 1940mm

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Andrew Kayser - “Death Weekend”, mixed media on canvas - 830 x 1120mm

Andrew Kayser - “Its Never Dull in Here”, mixed media on canvas - 2310 x 1940mm

pressures definitely come into play but I’ve found that as soon as I decide to produce work in that way I can feel when that sort of point has reached its cache and it starts to feel contrived and forced.” Kayser’s previous work has seen him combine painting and mixed media in dark, ambiguously layered works but today he’s surrounded by large canvases onto which are pinned figures cut out from felt and other materials, the result of a recent discovery that’s seen him putting away his acrylic and oil paints. Kayser acknowledges that while there was a consistency to his paintings, “where you could identify that these were my works,” he feels that “as a painter I never settled on a particular style and I was never all that in love with the medium of painting and I was always looking for new techniques.” With the move to working with

Andrew Kayser - “A Beautiful Resignation”, mixed media on canvas - 830 x 1120mm

material, he’s managed to overcome a particular problem in that, “what always frustrated me about painting was that when I wanted to get large, black opaque masses I’d have to work them over and over and now I could just cut them out and go boom, there we go.” With a year of new shows at Kalashnikovv and the upcoming Cape Town, Turbine and Johannesburg Art Fairs on his schedule, there’s plenty of work to be made and Kayser revels under pressure believing “it really helps because when the pressure kicks in it’s not like I can sit around and fiddle, I just have to do something and that’s often when my best work comes out.”

not entirely convinced, but looking back he admits that he was always drawing, even in his darkest periods and now sees that, “one of the hardest parts of drinking is that people say you have to have plans or dreams or whatever for the future but in the darker periods of drinking you could never make those kind of plans because you could never envision yourself five years from now. It’s like climbing up some stairs and then tumbling all the way back to the bottom again and so having this practice in my life has provided direction and some sense of purpose. I’m not saying it has to be purpose on a grander scale but it’s helped me to live my life on a daily basis and I do hope that the works provide meaning to other people too.”

As to whether or not he’d believe anything as cheesy as the idea that art saved his life, Kayser’s

INFO: www.kalashnikovv.co.za

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> WORDS - yann-xavier horowitz

PHOTOGRAPHY - ALBERT RETIEF pieter retief

HOT HOT HEAT ride the BANGKOK We are on a train ride back to Bangkok from a long, exhausting day of skateboarding. These are the few moments you get to relax and reflect on the task at hand. Nineteen days to document a skate trip through this bustling concrete sprawl of Bangkok doesn’t seem so bad. While I’m enjoying the countryside flying by my window I feel a hand slide onto my right thigh. It’s a stranger, an old man in his 80s who looks like he just walked out of a casino in Las Vegas. A proper greaser with a grin on his face. “Do you have a girlfriend?” he proceeds to ask me. I say no and his expression becomes cheekier by the second. “Boyfriend?’

I’m almost dying it’s so hard to keep the laughter in. I’m shocked, but he’s so endearing I go along with him. The carriage is quite empty and now I’m looking around to see if anyone is witnessing this sexually-charged geriatric making moves on me. Pieter Retief is sitting three rows down and taking photos of me and the greaser. He organised the entire trip through his agency Where to from here, focussing on creating content for brands working closely with Adriaan Louw. Adidas gave him the

wheel for this trip and we couldn’t have asked for a better team manager. From booking flights, to our hostel in Silom (a bustling party neighbourhood back in Bangkok) and getting us around the city in one piece, he’s the ultimate travel guide with an intense desire to keep the wheels rolling. At this point the old man’s hand is on my butt and I’ve locked eyes with Pieter’, who’s canning himself from across the carriage. I awkwardly get up and leave my seat without letting this guy get a glimpse of my crotch. I sit next to the multi-talented Adriaan Louw is filming the scenic ride, our videographer for the trip, who’s capable of keeping up with Dlamini on a skateboard. Dlamini is at the other end of the carriage probably daydreaming about all the delicious food that awaits us back in the city. Every meal becomes the best meal of your life in this town. An almost inaudible voice comes up on the loudspeaker, “Bangkok!” And just like that we’re back to the bustling streets. Underpasses, taxis, tuc-tucs and daunting skyscrapers, with an endless sea of people. It’s surprising anyone gets anything done in this heat. Sometimes

ROAD TRIP HITS Lou Reed

Frank Zappa

Death

Gary Numan

Transformer

Hot Rats

...For the Whole World to See

The Pleasure Principle

1972

1969

1975

1979

1978

RCA

Bizarre/Reprise

Drag City

Beggars Banquet

Wilfilms Records

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William Onyeabor Atomic Bomb

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“He’s hailing us a cab to get to a skate spot across town when suddenly the national anthem starts playing on some loudspeakers and the entire city comes to a standstill. Every single person on the street freezes and stays silent for that moment and it’s so surreal it feels like we’re in the Truman show.”

it feels like you’re skating through soup, the kind of soup that burns your palate and leaves you uncomfortably tonguing your mouth for a few days. We’ve sat down for a quick bite to eat - a ritual throughout the day. Josh Spice enjoys a broth, chatting to a local whilst making the most noise possible. He’s our hype man for the trip, bringing endless entertainment, and he skates like a beast. The Thai people are so welcoming and friendly they seem to be perplexed by this immense energy coming out of one man. Albert Retief, who once travelled by public transport from South Korea to Cape Town, joined us on the trip as a travel guide and a friend, the binder that helps us navigate the busy streets for the trip. He’s hailing us a cab to get to a skate spot across town when suddenly the national anthem 54

starts playing on some loudspeakers and the entire city comes to a standstill. Every single person on the street freezes and stays silent for that moment and it’s so surreal it feels like we’re in the Truman show. Sixty seconds later and everything starts moving again. The never-ending bustle on the streets inspires us to keep moving, skating until the early hours of the morning. The beers flow and the momentum follows. This city stops for nobody and our mission has just begun. With the help of Adidas and Pieter Retief we venture on along the path less travelled, the sides of the city that only skaters could engage with. These are the parts of the trips I enjoy the most, the wanderlust of it all. Raw interactions with a mysterious new place in a condensed amount of time. I love you, Bangkok. THE LAKE


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> WORDS - SUPPLIED

PHOTOGRAPHY - Karabo Makenna Cobus Engelbrecht

ART OF BROTHER Karabo Makenna / Cobus Engelbrecht

Art of brother is a collective comprising of Karabo Makenna and Cobus Engelbrecht that focuses on multi-disciplinary ways of working. AOB creates interactive design and art through the ritual of storytelling. They describe their work as “crossing paths with the past and the present, bringing light to the unnamed space in between”.

Storytelling connects them as a collective so well, as they are from such different backgrounds. After spending a lot of time together they found that what broke the existing barriers in terms of race and culture was the fact that their stories were actually quite similar. AOB played this theme out in their first exhibition entitled ‘Myths Recreated’, where they selected two African stories, one from Ghana called Kweku Ananse and another called Selekhana and the River God, which is a folk tale from Botswana. They felt it was very important to place emphasis on selecting African stories, as storytelling in African culture has always been a part of everyday life.

They consider themselves as multimedia artists, and experiment a lot, unlimited by traditional ideas of what art is or should be. A big point of execution for them has always been to try to create visuals that people have never seen before, which is a lot harder than it sounds. As they grow and learn they are finding that everything has kinda been done before; what they try and do is to add their own experiences and expressions to their subject matter. This is what makes their work so much more original. Artists that inspire them are the likes of Athi Patra Ruga, Mohau Modisakeng, Kemang Wa Lehulere, Meleko Mokgosi, Zanele Muholi, Black Koki, Porky Hefer, Jane Alexander, Atang Tsikare, Peter Clarke, Bonnie Ntshalintshali and Nolan Dennis.

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Their second exhibition “Country for Old Men” is where they explored how our forefathers represented a more ‘culturally preferred gender role’, acting out what society thought and felt a man should be. This exhibition is the act of them searching for the meeting point between the experiences of our forefathers and the present – how they live through us, and how we will live through others in the future. This exhibition saw AOB question the old “rules of masculinity” we were taught by our forefathers, at the same time as remembering them, and figuring out what it means to be a man in the present and what that means for the future. “Progress Preserved” is their latest exhibition and it’s through juxtaposing the strong cultural and socio-political significance of various found objects, and shifting between mediums and processes, that Art of Brother creates memories; a cultural heritage and lineage from a future African society. This body of work deals with loneliness and separation anxiety that technology and social media brings to our developing African society. In 2018 Art of brother aspires to create more contentious visuals under new topics and subjects, and also hopes to impact on the local creative scene. Deep down they just want to be noticed for making compelling work, and lastly, to create connections with people from all over our awesome continent. INFO: www.worldart.co.za/artists/art-of-brother 57


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Tanner Barrett Surfboard Shaper and Glasser While a lot of people discover what they want to do when they’re young, very few actually become masters of their craft by the time they’re 22 years old. At a young age, Tanner realized that if he learned to shape his own surfboards, he could save himself a lot of money—so he started experimenting and making boards for his friends. By the time he was 18, he was doing it full time. Known for his color work and interesting shapes, Tanner continues to make his dreams a reality every day. 62

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Made for the Makers Tough shoes for everyday creatives and their diverse creative pursuits

Vans, the original action sports footwear and apparel brand, announces the global release of the Made for the Makers collection, celebrating everyday creatives and their diverse creative pursuits within art, music, action sports and street culture

Vans’ Made for the Makers collection is a meticulously designed classic engineered for tough jobs, and made specifically for the creative communities that embody them. For the artist, surfboard shaper, barber, tattoo artist or chef, the Made for the Makers collection was built to maximize comfort so that makers can do what they love all day, every day without sacrificing personal style. The collection features sleek, all black versions of beloved Vans silhouettes – the Sk8-Hi Reissue UC, Old Skool UC, Authentic UC and Classic Slip-On UC. Each style features a vulcanized lugged outsole for increased traction, Vansguard canvas uppers to repel liquid and dirt, complete with a contoured, drop-in UltraCush sockliner for all-day maximum comfort.

INFO: www.vans.com/makers.

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Ashley Osborn Photographer Ashley Osborn is a Chicago native currently based in Los Angeles. She found her start in music by photographing shows and starting an online magazine, and eventually began working for bands as a tour photographer documenting life on the road. Ashley loves to find the emotion in all of her subjects, from alternative bands like Bring Me the Horizon to empowered female artists like Jessie J. 64

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Yaniv Evan Custom Motorcycles When Yaniv Evan was 16 years old, he began building custom cars because he felt an inexplicable need to modify everything around him. He parlayed his experience with cars into custom motorcycles, but did so on his own terms. Yaniv’s style is reflective of his personality, blending his love of aviation, racing, hot rods and vintage bikes with found objects to create unique, sought-after bikes. In 2002 he started Powerplant Motorcycles in Los Angeles, where he continues to stay ahead of the pack by constantly changing things up. THE LAKE

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> WORDS - atiyyah Khan

PHOTOGRAPHY - HAYDEN PHIPPS

WAX JUNKIE Atiyyah Khan / Future Nostalgia I’ve always been into records, but the digging started more seriously when Future Nostalgia started five years ago. There’s so much music out there on the planet and no way to know all of it. It’s great to be able to form such a personal and patient relationship with music, in a time when we live with such instantaneous, intangible forms of sound. From writing about music, to collecting and playing it out – it’s all part of the same feeling for me. Sathima Bea Benjamin African Songbird 1976 / The Sun

Rahsaan Roland Kirk Blacknuss 1972 / Atlantic

One of the most underrated jazz vocalists in the history of South African music. In the short documentary made about her, Sathima says “Nobody broke my heart. You know why? It’s already broken.” We were lucky enough to host the re-issue of this 1976 spiritual jazz masterpiece by UK label Matsuli Music at Future Nostalgia in July 2013. On the evening, Sathima came through and spent time talking to people in the room, devoting complete attention to anyone she spoke to – and also signed records. The timing of the re-issue was uncanny because on the track “Africa”, she sings “I’ve been gone much too long. And I’m glad to say, that I’m home. I’m home to stay.” At the time of the launch, Sathima had returned to Cape Town after living in New York for over forty years. A month after the launch, she passed away. One of my lifetime highlights, no doubt.

“Now we are gathered here on the universe at this time, this particular time, to listen to the 36 black notes of the piano. There’s 36 black notes and 52 white notes. We don’t mean to eliminate nothin’ but we gonna just hear the black notes at this time if you don’t mind. Blacknuss. ” Rahsaan Roland Kirk is the original freestylist/ rapper/ toaster. I first found out about this record and the genius of Rahsaan Roland Kirk some years ago but only last year was able to find it at Voom Voom Records in Cape Town. One of my most treasured in the collection.

Burial Untrue 2007 / Hyperdub

Lee ‘Scratch Perry Return of the Super Ape 1978 / Lion Of Judah

One of the most innovative beatmakers out there. Burial’s Untrue remains a masterpiece even a decade after its release. His unusual use of sampling and drum patterns inspired a generation of electronic producers. Deep basslines and moody ghost-like imagery permeate the entire record. I also appreciate his egoless approach to music and performance. Music to listen to after midnight.

When I saw Lee ‘Scratch’ Perry perform some years back, he entered the stage with an amazing blue afro, a super-man t-shirt, lots of gold jewellery and a bright shiny hat. Even though he was 74 at the time, he sang about ‘pum-pums’ and how the pope is the devil among other things. Perry said that the sounds of rocks clashing while working in construction inspired him to create dub. A true genius and artist, his work in dub has opened up so many other music doors for me. This album is a great example of his skilful production as well as wordplay as a lyricist. Lee ‘Scratch’ Perry is another music hero of mine. His early Black Ark recordings are most preferred. His album artworks are pretty wild too.

Don Cherry / Ed Blackwell El Corazón 1982 / ECM Records

Sun Ra The Antique Blacks 1974 / El Saturn Records

I bought this record from Record Mad in Jozi without having heard it before. Mostly because the title of the record is the name that I “DJ” under, which translates to “The Heart” in Spanish. I’ve always found the idea of creating a DJ name phony and it started off as an inside joke, inspired by my love for Mexican culture and music while staying in LA. The record turned out to be a brilliant gem released by ECM in 1982, with unusual duo arrangements of drum and trumpet. “Makondi” is a regular feature in my sets.

Sun Ra is around us all the time. With over 100 albums recorded, there is always an opportunity for new music of his to be discovered. The Antique Blacks is a live recording from 1974 and is one that features an incredible version of “Space is the Place.” Sun Ra remains a huge inspiration to me, always and in every way.

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HERITAGE ASICSTIGERTM – the GEL-LYTE® V Sanze​

To mark 100 years since the birth of ASICS founder Kihachiro Onitsuka, we’ve dropped the shoe that forges a path to the future of ASICSTIGER. The ​GEL-LYTE V Sanze​ ignores sneaker stereotypes by bringing craftsmanship and creativity together in a way never before seen on the streets. The innovative design is based on the fan-favourite ​GEL-LYTE V​, then infused with extra attitude for a shoe that belongs in the city.

A sneaker with the soul of a running shoe, the latest iteration of GEL is present in the GEL-LYTE V Sanze​. This results in superior shock absorption, giving core running performance and quality to a stylish sneaker. The power of GEL is maximised thanks to GEL sealing technology developed exclusively for this shoe. Resin-coated GEL is located directly below the heel to absorb impact and provide comfort beyond compare.

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The characteristic wave design on the heel harks back to the spirit of the original ​GEL-LYTE V, ​and coupled with the unique watermark that represents the the DNA of ASICSTIGER, this shoe is the ultimate expression of the brand. Further up, the unmistakable Mono-Sock and meticulously designed eyelets add style and attitude to the shoe’s profile, as well as making it easier to put on and take off. A simple, supple laced fit inspired by the make the ​GEL-LYTE V Sanze​’s comfort as impressive as its aesthetic. The Japanese heritage of the brand is present in the kimono-like construct of the shoe’s upper. Its profile is further enhanced colour blocks that accentuate the toe and heel of the all-mesh upper, drawing in the eye. The knitted upper is lightweight and strong, making the shoe perfect for any time of year. The ​GEL-LYTE V Sanze​is truly worthy of our legendary founder’s centenary celebration. This isn’t a re-release. It’s a reinvention. INFO: www.asicstiger.com 70

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IN TRANSIT myciti / Woodbridge Hannah Williams / Mark Henning How many locals share your birthday? That’s the theme of this playful infographic created by artists Hannah Williams and Mark Henning for the station.

The data for birthdays of the people living in the area form circles of colour. Each circle represents a day of the year, and their size reflects the number of birthdays on that day. The relative numbers are symbolised by colour as well, ranging from the warmer colours for higher numbers to cooler colours for lower numbers. People waiting in the station can seek out the circles for their own birthdays and see how many local people share that date. The artists wanted to create a bright and cheerful image with happy associations that allows viewers to feel a connection with people who live in the area. “Birthdays are 72

a fairly universal day of celebration, transcending cultural differences,” says Hannah. The bright colours and circles result in an appropriately cheerful, light-hearted and friendly visual. About the Artist Hannah Williams and Mark Henning, partners in design company Black Hat and Nimbus, completed artworks for six stations between the city centre and Table View. The designs are all infographics, with data relating to the surrounding areas. INFO: www.myciti.org.za/en/myciti-art THE LAKE


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myciti / Melkbosstrand Chris Slabber Enter the MyCiTi station in the main street of this picturesque seaside suburb and it’s like walking into an aquarium. Artist Chris Slabber was inspired by the aquatic life of Cape Town and the station’s setting in sight of the sea.

Using 200 photographs of sea life in its myriad forms – from the kelp forests to the seals and sharks – hundreds of images were “chopped up, edited, treated and stitched together” to create the final product. The result is an immersive experience for people using the bus – a massive aquarium so that passengers waiting for the bus would seem like they were sitting inside a glass-enclosed sea world instead of outside on land.

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About the Artist Chris Slabber was raised in Oudtshoorn. He studied graphic design at the Cape Peninsula University of Technology, exploring different media and combining photography, drawing and digital technology. He won an award at the 2015 A’ Design Awards in Italy.

INFO: www.myciti.org.za/en/myciti-art 75


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PRINT RUN REVIEWS - XAVIER NAGEL

SUPPLIED BY - BIBLIOPHILIA

Where the End Starts

Bohemian Residence

Forever More

Appropriating characters, images and effects from pop culture, the work of KAWS blurs the line between high and low art, and between art and fashion. Deploying film and television favorites for his toys, large-scale sculptures and bold, nearly abstract painting, KAWS recasts the familiar colors and forms of popular entertainment in cheeky and often poignantly human terms. Where the End Starts (R995) reveals critical aspects of KAWS’ formal and conceptual development over the past 20 years, as his career has shifted from graffiti to fine art and collaborations with designers and brands such as Comme des Garçons, SUPREME, Nigo (A Bathing Ape)and Nike.

Bohemian Residence’s (R1135) detailed portraits take readers on a tantalizing tour across the threshold. Be it the witty elegance of the French, the boldness of an Italian modernist apartment, or enticing domestic cabinets of curiosity, these metropolitan dwellings illustrate and inspire the lavish possibilities of contemporary city living. Urban landscapes offer a multitude of enticing options: from cozy apartments to chic duplexes to historic townhouses. Inhabitants’ imaginations and distinct personalities reflect upon the canvas of a home’s four walls. Conversations with those who outfit the spaces and with those who live within the sumptuous domiciles paint a narrative of modern materials and classic style.

Forever More (R995) covers the best of the ever-changing underground world of contemporary tattoo. Bold tribal motifs and gritty sticks and pokes bask in a resurgence alongside the fluidity of watercolors and the deviance of Art Brut. From traditional sessions in parlors to traveling artists, Forever More celebrates tattooing’s unsung heroes and contemporary celebrities. Just as the needle infuses the skin with ink, the artists profiled infuse life into current tattoo culture. In a scene where artists travel the world, often organizing appointments exclusively via social media, tattooing can be a lifestyle and a way of life.

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The Octopus Eats Its Own Leg Where other books address the commercial aspects of Takahasi Murakami’s work, The Octopus Eats Its Own Leg (R1200) is the first serious survey of his work as a painter. Through essays and illustrations many previously unpublished - it explores the artist’s relationship with the tradition of Japanese painting and his facility in straddling high and low, ancient and modern, Eastern and Western, commercial and high art. New texts address Murakami’s output in the context of postwar Japan, situating the artist in relation to folklore, traditional Japanese painting, the Tokyo art scene in the 1980s and 1990s, and the threat of nuclear annihilation.

In The World

Taty Went West

n The World - Essays on Contemporary South African Art (R950) by Ashraf Jamal is a collection of essays, focused on 24 South African artists, designed to reconfigure the national narrative within a broader African and global context. An inclusive exercise in cultural analysis, this book deals with the gravitas and folly of identity politics, the boom of so-called African art, and the fetish of and fascination with a global Esperanto. The book’s strength lies in its diversity of focus and cultural frameworks. It offers no defining system or divining rod.

In Taty Went West (R250), the new novel by previous The Lake cover star Nikhil Singh, Taty is a troubled adolescent living with her equally troubled mother in the suburbs of the Lowlands. In a moment of uncontrolled anger she finds her life changed forever and, hiding a terrible secret, she becomes a runaway, heading West into the Outzone. When she is captured by a malicious imp, befriended by an evangelising robotic nun and wooed by a transgender hoodlum, it soon becomes clear that this is no ordinary adventure story.

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