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#16 / 150817 “Not that I condone fascism, or any -ism for that matter. -Ism’s in my opinion are not good. A person should not believe in an -ism, he should believe in himself. I quote John Lennon, “I don’t believe in Beatles, I just believe in me.” Good point there. After all, he was the walrus. I could be the walrus. I’d still have to bum rides off people.” - Ferris Bueller

CONTENTS REGULARS: News Print Run Plimsoll

06 70 71

ART: Less Good Idea Donkey Rattle Psychological Portrait

12 24 46

PHOTOGRAPHY: Stalker 16 Away Away Away 20 Fine Young Cannibal 52 Aberration 40 Yrei 32 Snap Chat 56 MUSIC: Wax Junkie


LIFESTYLE: Chain Gang Area3 CT’17


08 38


Advertising / MARKETING


Brett Bellairs

Editor / Art Direction


Stefan Naude’

Christine Stewart

Existential ADVISOR Brendan Body



Oliver Kruger Felix Laband Stefan Naude Lighting Retouching

Photography Mug shot Art Direction GLOW HIRE Naomi e’Camara



Jansen Van Staden Stella Olivier Frantz Birkholtz Clarke Nash Oliver kruger Andy Lund Thandi Gula Sila Yalazan Wynand Herholdt Rodger Bosch Callan Grecia

Brett Bellairs Tymon Smith Lani Spice Sean O’Toole Andy Lund Astrid Gebhardt Judy Brandão

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.



PRINTING Tandym print Tel: +27 21 505 4200 Email:






STRATEGY: Everything that is essential Nothing that is not Location: Detroit Artist: Danny Brown


NEWS VANS / UltraRange Marking a major milestone in Vans’ footwear design history, the UltraRange leads the path forward for innovation, emphasizing the brand’s expanded vision to create a versatile footwear model that provides advanced comfort, lightweight traction, and superior mobility combined with Vans’ timeless style. With a modern shape and new co-molded midsole, the UltraRange unveils Vans’ next generation of footwear technology, while paying homage to its rich history with the iconic Vans Sidestripe. INFO:

HAPPY SOCKS / YELLOW SUBMARINE Swedish sock and underwear brand Happy Socks has collaborated with British pop legends The Beatles on six pairs of limited edition Yellow Submarine socks. Each pair commemorates the iconic 1968 animated film that defined a generation, its powerful message of love transcending time. The six unique designs are inspired by the film’s most recognisable characters and scenes, including The Dreadful Flying Glove, Chief Blue Meanie and Jeremy, Pepperland, and the Yellow Submarine itself. INFO:

Herschel supply co Herschel Supply continues to establish itself as a global leader in lifestyle-driven products with the introduction of outerwear for Fall 2017. Thoughtfully tailored and fit for travel, this debut apparel offering features a range of wind and rainwear essentials for men and women. Voyage and Forecast are the two key categories in Herschel Supply’s Fall outerwear line. Rendered in breathable water and wind-resistant ripstop, the Voyage Collection provides lightweight and versatile layering options. INFO:

ADIDAS / EQT Everything that is essential, nothing that is not. EQT is stripped back utility, bringing integrity back to fashion for a new generation. It began in 1991 with an uncompromising promise: pure sport function over trends and form. An anti-glamour approach to footwear and apparel. This season adidas Originals pays tribute to the city of Detroit with the release of a new EQT footwear and apparel pack. Presented in black with white contrast details, this is a minimalist rendition of one of EQT’s most groundbreaking contemporary designs. INFO: 06



NEWS PEOPLE FOOTWEAR People Footwear is ultra–light, supremely comfortable and perfect for doing whatever it is you do. Headquartered in Vancouver, People Footwear™ is dedicated to producing the next generation of casual footwear through the use of innovative materials and the latest in high–tech manufacturing. We imagine a future that is lighter, brighter, and more comfortable and we make the footwear to help take you there. INFO:

FOSS ×/ ASICS Tiger GEL-LYTE III In celebration of the one-year anniversary of the FOSS Gallery at Parkview Green in Beijing, FOSS and ASICS Tiger jointly launched the FOSS × ASICS Tiger GEL-LYTE III – FOSS GALLERY. The cobranded design is the based on the ASICS Tiger GEL-LYTE III model. Launched in 1990 by ASICS Tiger, a marquee model in global sports lifestyle market, GELLYTE III has gained great popularity among sneaker aficionados with its timeless silhouette and remarkable comfort. INFO:

White Rabbit Days The shapes and sights of the inner city of Cape Town are the inspiration behind the latest collection from White Rabbit Days. The pieces are records of walks through the city, absorbing the architecture, the streets and the lives lived here. Years of ‘look-up moments’ are brought to life as jewellery in our 2017 Winter Collection. This collection combines gold and rose gold plated brass and copper with leather to turn a series of mini experiences of city life into gorgeous wearable accents. INFO:

ASICS Tiger ×/ GEL-DIABLO ASICS Tiger has taken the GEL-DIABLO running shoe of the 1990s and updated it as a lifestyle shoe. The original GEL-DIABLO was known for its lightweight and durable faked suede upper as well as excellent mesh breathability. It was a hit among serious runners from the start. While staying true to the original coloring and bulky outer sole design, the revived GEL-DIABLO has been improved with a rubber outer sole. The black midsole logo and blue accents contrast sharply against a white base that reflects the sunlight . INFO: THE LAKE





> WORDS - Brett Bellairs



The aim of Oakley’s New One Obsession campaign is to highlight, inspire and encourage professional, amateur and everyday athletes. The mission is to invite and bring together athletes and fans who share the same obsession and mindset. No matter where you are in your journey, nothing stands in between you and your goals. In this feature we look into the mind of cyclist and entrepeneur Wandile Zondo of Thesis Lifestyle in Soweto as he shares the obsession mindset of his #CantStop moments.

Where does your love for cycling stem from, would you say it’s your obsession?

Do you do any cycling races as well or are you more into commuter/ lifestyle cycling?

For me it is a way of life, it stems from riding as a kid. It’s more like tapping into my childhood memories.

Straight up commuter cyclist fixie, no brakes kind of guy. No racing unless it’s alley cat.

Have you always been into bicycles? Yes, like all guys, but I was introduced into the single speed and fixie culture four years ago.

A lot of other local brands have come and gone in that time, what’s been your secret to success?

You are into running as well, you seem to be into eating healthily and fitness in general, tell us about that and do you do these activities on your own or do you have a crew that you roll and run with?

Never quit; “winners are no quitters and quitters are no winners”. So Mama raised a winner…

I live a balanced lifestyle and that requires me to be healthy. What I like about cycling and running is that it gives me a chance to engage with other creatives who lead healthy lifestyles and I can do the sports solo, for some downtime. You don’t have to rely on a group to ride or run, but on the other hand, riding or running in groups motivates you to stretch yourself outside of your comfort zone. Hence, I run with Thesis Run Cru and ride with a group of friends on weekends to discover new places and meet different types of people that are like-minded. I heard that you did the Comrades marathon this year, how was your experience of it?

Thesis has been going strong for around 12 years now, tell us a bit about your journey so far. It has been a journey of learning and pushing boundaries within the street culture, from clothing, live music sessions, urban cycling and running. We have really played a huge role in influencing youth culture trends in SA. Making a living out of your pas-

sion is priceless. It has its up and downs because business is never stable, so you need to adjust and evolve with the times. Your custom bike looks amazing, who built that bad boy for you or did you put it together yourself? Do you have any other bikes? Emile from Whippet Cycles built it. It’s a custom built vintage Cinelli steel frame. I have two bikes - Rusty Dusty and Green Mamba. Thesis has produced some really cool cycling-inspired clothing already such as the ‘ride or die’ jackets, cycling caps etc. Do you sell bikes or plan to sell bikes too at the Thesis store or just stick to the apparel? The Ride or Die range was inspired by our cycling lifestyle and our inspiration to make a clothing range stemmed from that. The Thesis brand will always prioritize on apparel first and then get inspira


Busi Mhlongo

Butti 49

Zero 7





Simple Things







Roc Nation Records

Chissa Records

Exceptional Records

Quango Records


It was a great life changing experience that demanded a lot of focus and hard work. It also taught me the importance of planning: if you plan and stick to it, anything is possible. For a first-time runner, a lot could have gone wrong but I had a plan and stuck to it. I managed to finish in 7h 56m for the up run, which was not bad for a first-timer. Next year I’m going for my back-to-back medal and aiming for a better time. THE LAKE



tion from different urban cultures. With regards to selling bikes I can not write that off as I’m an entrepreneur and should use an opportunity as it arises. I will go for it in the future.

Thesis Run Cru is a social run crew that links up on Tuesday, Wednesday, Thursday and Saturday all in the name of running. I would like to see more people coming and joining the run crew.

Is there a big commuter/ lifestyle cycling scene in Jozi/Soweto?

What plans do you have in the pipeline for Thesis, and how does one get one’s hands on some of your gear if you don’t live in Jozi?

Yes, there is a culture of a single speed bike, where different crews meet up to ride on weekends and explore the city. The crews are spread all around from the East Rand, Soweto, West Rand and Jozi. I know a few people who commute but that is not a huge number. What community projects and events are you involved with in Soweto/Jozi? We recently hosted J!6 Family Fest which is a 16km social run and 16km social ride around Soweto. And


The plan is to grow the culture and expand our footprint into different provinces and hoods around SA. You can get hold of us through social media and our website or Thesis Lifestyle on Facebook, Twitter and Instagram. #oakley #Cantstop #oneobsession INFO:









PHOTOGRAPHY - Stella Olivier

conundrum Centre for the Less Good Idea In February this year the social media accounts of art and theatre lovers were suddenly flooded with references to something called The Centre for the Less Good Idea, a project seemingly involving something to do with William Kentridge, that was planning a series of events over five days in March in and around the Maboneng precinct in Johannesburg. Details were sketchy but with the name of the country’s most renowned artist attached, tickets to these events sold out within days. In March there were gushing Facebook and Instagram posts from those lucky enough to have secured tickets to a strange, multi-faceted series of happenings in and around Maboneng featuring theatre, music, projections and performances, that while certainly providing evidence of some sort of mini-arts festival, didn’t exactly add any clarity to what this Centre for the Less Good Idea was. Turns out that if anything the Centre is a kind of typically Kentridgesque take on the idea of what a William Kentridge Art Foundation might look like – an incubator for the arts which “aims to find the less good idea by creating and supporting experimental, collaborative and cross-disciplinary arts projects.” After the success and enthusiastic response to the first season’s programme, Kentridge, co-director or “animateur” Bronwyn Lace and a team of curators are currently well on their way to incubating a series of new projects which will be shown in October. However while audiences may be wetting their lips at the prospect of another art-celebrating-carnival on the streets of downtown Johannesburg, the real work of the Centre is focussed not on the presentation of the projects so much as it is on the process of their creation. As the about section of the website puts it, “often you start with a good idea. It might seem crystal clear at first but when you take it to the proverbial drawing board, cracks and fissures emerge on its surface and they cannot be ignored.” The Centre in effect provides artists with a space that supplies the resources and the time for them to explore the possibilities of working with those cracks and fissures rather than setting them aside. As Lace says, “The Centre is not necessarily interested in developing resolved, rounded, completed pieces – it’s very much about the focus of giving space and resources to the process and revealing it both for ourselves and for audiences; the kind of mechanisms of art making. A lot of

the pieces that were presented [in Season one] were unresolved and undercooked and for that reason they were quite interesting.”

art collective founder and Bubblegum Club creative director Jamal Nxedlana, and Lace is excited by the program’s

While some works such as Choreographer and Season one curator Gregory Maqoma’s Requiem Request, in which he worked in collaboration with an iscathamiya choir, provided seeds for further projects – in that instance Maqoma’s recently produced and highly acclaimed production of Zakes Mda’s novel Cion – others may not have progressed much beyond their Season one incarnations. That’s perfectly fine for Kentridge and Lace who are far more interested in their space as a safe one for failure rather than a production plant for polished success.

“strong digital focus and we’re working with some of the country’s most exciting programmers, mechatronic engineers – those sort of brilliant minds who embody new technology but who also and uniquely have the capacity to be artists, work with artists and understand process from an artistic perspective.”

Through collaboration and association with Kentridge, those artists who participate in the Centre’s program are obviously exposed to potentially beneficial approaches from high-powered organisations and heavy-art-muscled individuals who may choose to help catapult their careers but that is not a direct aim of the Centre itself, which holds no intellectual property rights to the work created during the incubation period and asks only, says Lace, “For artists to acknowledge each other as they go forward – even if the collaboration splits and new things are built – and that you are constantly aware of where things were birthed – that is the ethos of the space.” All of which sounds like mouth-watering stuff for Johannesburg-based artists but at the moment it’s not as if you can go to the Centre’s website, fill out an application form and then drive yourself crazy with anxiety as you wait for a rejection letter. The first season’s participants were chosen by three curators – Maqoma, theatre director Khayelihle Dominique Gumede, and poet Lebo Mashile - in collaboration with Kentridge and Lace. For the second season the curators are Wits University’s Tegan Bristow, Song and Dance Works’ Nhlanhla Mahlangu and CUSS digital THE LAKE

Funded by Kentridge to the tune of an undisclosed amount which Lace says, “he thinks is modest but is actually far more than the acquisition budgets of many galleries”, the Centre currently works and hosts performances in several small spaces purchased by Kentridge and located within the Arts on Main area of Maboneng, where he has studio space. Lace reflects that during the initial season, “We were pleasantly surprised by how the centre held the performances because it was effective and intimate and there was an energy contained in it and they’re good performance spaces but they’re ultimately just shells that house things.” The spaces have also provided the Centre with the capacity to showcase other projects beyond those produced as part of the incubations, including a new series of one-off performances titled “For Once,” a nod as Lace notes, to “that kind of South Africanism with the exasperation of for once we get to see this piece. It was just identifying that there’s so much work by some of our best practitioners and artists that gets exported or commissioned specifically for international festivals, but that we never get to see, so we’re identifying that work and saying: come you can do it here and let’s see what happens.” The For Once project saw a recent performance, on June 16, by dancer Thulani Chaukwe, who created a piece in 13


who created a piece in dialogue with Kentridge’s animation The History of the Main Complaint, to reflect on the 1976 Soweto uprising and its relevance to the issues facing the country today. Future performances include a piece by Nelisiwe Xaba and a conversation in August between Kentridge and cultural theorist Homi K Bhabha. The location of the Centre’s spaces in such close proximity to Kentridge’s studio is for Lace, “seminal in that William is able to be present,” because in spite of his travelling schedule and personal commitments, “this is core to his life and his work and I think he enjoys it thoroughly and it’s opening him up to new things and individuals who he’s never met and who are now performing in pieces that are travelling around the world. William has the most exceptional capacity to be anywhere in the world at any time but also so very present in these workshops from the first moment in the day to the last. He really gives time and thought to each person’s piece and that kind of generosity is exceptional to witness.” While one wealthy patron of the arts was so impressed by the Centre’s first season that he inquired about the cost of taking the performances to Cape Town, Lace says, “although that was an


interesting question and we looked,” one of the things “that I thought was that you could replicate this in Cape Town with Cape Town-based artists and it might be more significant for Cape Town than this.” For Lace,

“that doesn’t mean we’re not interested in going elsewhere and we’re already starting to see opportunities to branch out but we don’t want to become bigger than ourselves before we even understand what we are.” With its second season well into the production process, Lace is already in conversation with artists and potential curators for the third season in March next year. For now, in spite of the unexpectedly enthusiastic response from both artists and audiences to the Centre’s first public programme, its aim is to maintain its independence and identity as an institution, which as Lace is keen to emphasise, is “not a client commissioning things, we’re a space that gives you something truly unique, which is time.” THE LAKE








PHOTOGRAPHY - Frantz Birkholtz

STALKER Frantz Birkholtz “I initially started shooting on digital but once I picked up the film camera, the digital had to take a back seat. Film was just too much fun and it gave me what I wanted. I haven’t picked up a digital since then but I would like to explore digital again someday” Although you are currently based in Cape Town, we believe you are from a small town. Could you share with us a bit about where you are from?

wildly exciting to eventually get the film back to see what you did and if it came out how you expected. Sometimes bad, often great or even exceeding your expectations, hence “lucky packet”.

Yeah, as a kid we moved around a lot and I have lived in random small towns all my life - Kleinzee in the Namaqualand, Orapa in central Botswana and Musina in the Limpopo to name a few.

Many photographers experience some frustrations when it comes to shooting on film, do you share any yourself and if so does it affect the way you shoot?

You are known to be particularly passionate about film photography, when did this begin for you?

Yeah, I mostly use older film cameras so over the years the light meter will stop working or your film will bomb out in the camera because mechanisms aren’t working too well. Or the worst is when you’re shooting and the camera dies suddenly and you’re in the middle of nowhere and can’t buy batteries (rookie mistake).

It hasn’t been that long. It was probably about 3 years ago I was given a film camera by my aunt. I fell in love with the difference it had to offer and I’ve been playing and experimenting ever since. Your photographs seem to be mostly shot on film. What are your feelings towards digital? I initially started shooting on digital but once I picked up the film camera, the digital had to take a back seat. Film was just too much fun and it gave me what I wanted. I haven’t picked up a digital since then but I would like to explore digital again someday. You tend to shoot mostly in colour, is there a reason for this? Aside from black and white being more expensive, colour is what I was introduced to and I wanted to explore that first. I have recently started shooting in black and white, also experimenting with shooting in the dark with a flash on and I’m sure intrigued and having a damn blast.

cally and naturally. Like you said, documenting the true scenario happening at hand. You are hardly ever seen without a camera in hand. Could you tell us what film you enjoy shooting the most and what kind of camera is your favourite sidekick? This is difficult, as I am still so new to this game. I shoot on different film and Cape Film Supply usually sorts me out. They are great, and also give me lots of advice and guidance. I have quite a collection of cameras and try to play around with them all. The Olympus Superzoom 800s works well when I’m out on the town and I’m on the run and need to shoot chaos on the go. Otherwise I probably use my Pentax P30t (with 50mm lens) the most.

Your photography feels as if the viewer is getting a direct view into your world. Would you say your subject matter is rather unposed and honest, almost a form of personal documentary? Oh absolutely. I think that is kind of my style and something I enjoy the most. Because I have rather crazy friends I find myself in somewhat bizarre situations at times and it’s quite the art to sneak the camera out and snap them while things are happening organi-

Olympus Superzoom 800s

You are a man of many trades, could you tell us about your other skill sets and passions? Yeah, I’ve done some randomly interesting things in the past after obtaining my degree in Drama and


David Lynch




Crazy Clown Time

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Siamese Dream

What is it about the medium of film photography that you appreciate the most? I guess there’s a couple of answers to this, but I suppose the final product I get out of it fits my style closest. Then there is also the “lucky packet” factor. Because you can’t see the photos straight after shooting, it’s THE LAKE



Frantz Birkholtz

Theatre Arts. They range from theatre to stripping, to being a clown at kids’ parties, to name a few. Living in Cape Town for the last 6 years has given me the opportunity to land some roles for TV and film. More recently my good friend (Ruan Scott) and myself started a new venture (Local Motion) where we aim to tell stories through video. Our first video will be dropping soon - we shot with the band Black Lung. You currently have two interesting zines out – Benzine and Smack. Could you give us more insight on them and are they still available? Benzine is a photographic zine I did with Altus Brand and it was basically a collection of our own unconventional photos we gave to the world. Smack mag is an illustrated zine showing the humorous generalization of drug users. Benzine is sold out although we just might surprise you with a second edition. Smack mag is still available and you could get your copy at either Justus Kotze or myself or occasionally find it at markets etc. Are there any other exciting exhibitions or projects you’ve been a part of? There are a couple of interesting things in the happening but unfortunately, I can’t give out too much info just yet. I can say that there’s a photo exhibition, poetry zine, photo comic and another video currently in the making. Do you have any favourite photographers or artists? Do any of these favourites influence your work and in what way? This question is hard. Are you trying to nail me (ha ha)? I will probably have to give you a list of ten pages. There are ridiculously talented artists in Cape Town and I’m friends with so many superb photographers and I can honestly say I am inspired and learn from them every day. Internationally I would say David Lynch just because his weirdness resonates with me.

INFO: frantz_birkholtz INFO: Tumblr: frantzbirkholtz 18








> STYLIST - Tina Tshangela MUA - Megan Wridgway

PHOTOGRAPHY - Clarke Nash Models - Jodie and Justine Petersen

Away Away Away

TOP - Jodie: Lilac bodysuit Topshop / Justine: Beige knit H&M and briefs Woolworths LEFT - Jodie: Bodysuit Metropolis / Justine: Bodysuit Metropolis







TOP - Jodie: Orange turtleneck Vintage and the City, Pants Leon Coetzee and rings Mimco. BOTTOM - Jodie: Mustard top Metropolis and pants Leon Coetzee / Justine: Green top Metropolis and pants Mille Colline. LEFT - Jodie: Mustard top Metropolis and pants Leon Coetzee.






> WORDS - Sean O’Toole

PHOTOGRAPHY - oliver kruger


In the late 1950s, a time of hunger and hard graft for young Willie Nelson, this American troubadour wrote a heartfelt song about life after dark. It didn’t generate much notice at first, so Nelson sold his lyrics for cheap, only to have his uncomplicated elegy to the blues become a popular standard. Aretha Franklin, B.B. King, Dolly Parton and Frank Sinatra all produced covers of Night Life. Marvin Gaye’s 1966 version is well worth a listen. Slightly boozy and kind of melancholy, Gaye’s interpretation of Nelson’s lyrics – “Oh, the night life,” he croons, “ain’t no good life, but it’s myyyyy life” – hints at what it must be like to be Felix Laband at age 39, still twiddling the knobs, still bringing his eccentric brand of good vibes to the late-night jol. “I am so tired of it, you have no idea,” says Laband. It’s a Wednesday after another big weekend. He sounds more composed, more focused, more himself than when we briefly chatted on the Sunday after his gig at Manila Bar on Longmarket Street. Like Nelson in his long-ago song, when Laband chats about work – which involves inspiring the collective body, like our unloved president at an election rally – he tends to mix anguish with reconciliation, insight with surrender. The nightlife isn’t much good anymore, but it’s his life.

“It is awful sometimes,” Laband continues. “You have to try get into the vibe of the party, take a bit of this and that, otherwise it is really difficult to go into that space where everyone is fucked out their brains wanting to dance. I’m turning forty in September. I’ve been doing this since I was fifteen, playing in bands in clubs and bars. It really does get tedious.” Boring. Well yes, of course, naturally, but also educational. As a seasoned traveller of the night – both as DJ Snakehips, a selector with catholic tastes and

preference for Braamfontein’s up-for-it crowd, and as Felix Laband, an idiosyncratic live performer whose sumptuous electronic compositions stitch together lilting melodies and inviting beats, often overlaid with stolen voices – it is no exaggeration to say that this former punk from Pietermaritzburg has earned an informal degree in music sociology. So what has this real-life art school dropout, whose father, John Laband, is an eminent Zulu historian, learnt from his years doing fieldwork in front of crowded dance floors? For one thing, there is very little financial reward in being an expert knob twiddler for hire. “The only thing that has brought home the bacon is adverts. That is the kind of money that can get you out of a situation you’re always in where you haven’t paid three months of rent. Blah blah blah. I unfortunately also had an expensive lifestyle most of my life. Money goes in and out of my pockets. Advertising generally is where you can make money to get by.” Touring, he admits, has the potential to generate coin, but unlike Afrikaans musicians, who ply the platteland for profit, a Facebook invite reading “Laband Live!” pretty much only draws audiences in Jozi, Slaapstad and Thekwini. Although now based in Cape Town, Laband’s musical insights remain firmly rooted in his east coast upbringing. Laband is also most revealing, about himself and his music, when speaking about Durban. I ask him about the Gqom sound. Why does this new sound from a city drowning in sunshine possess such dark undertones? “I think the drug cultures of a town influence the music quite a lot. Durban is into ecstasy and crack, big time. From my experiences of rehabs and shit like that, most of the guys from Durban are often crack addicts.” THE LAKE

Before Laband’s life became an epic battle of fuzz versus junk, he was a teenage punk. His earliest foray into music was with the Maritzburg band, The Incurables, which later morphed into Fingerhead. Along with band mates James Beckett and Dean Henning, Laband tried to emulate the sonic attitude and visual pageantry of English bands like The Exploited, Alien Sex Fiend and Napalm Death, whose 1.3 second song You Suffer is the quintessence of gallows humour. “Unfortunately the death metal thing started coming through in our music, but that didn’t last too long,” says Laband. “It moved on in Fingerhead, which was more based on Ministry.” He still listens to the antique doom music that animated his youth, less out of duty than affection.

“Except death metal. I hate it. It is really crap music. Personally, I find it the worst of white people.” Laband’s adolescent jukebox, progressive as it might have been at the time, is in many ways unexceptional. The only thing we really learn from revisiting it is that Laband was a disaffected white suburbanite with an expansive ear. The hard work of becoming Felix Laband, the tattooed minstrel whose musical compositions reveal his heart of glass, was still to come. Two Durbanites played a key role in shaping Laband’s trajectory as a composer (as distinct from a vinyl jockey). The first is Warrick Sony. Our conversation arrives at the PE-born, Durban-raised godfather of local electronic music via an unrelated question. You are an electronic composer, I propose to Laband, yet there is a strong lyrical aspect to all your 25

Felix Laband - “Untitled”





FELIX LABAND Thin Shoes In June

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FELIX LABAND 4/4 Down The Stairs

2002 African Dope Record


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Felix Laband - “Albino hunting ”

FELIX LABAND Whistling In Tongues / 12”

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FELIX LABAND A True Friend Is Hard To Find (DIGITAL)

2016 Compost Records

Felix Laband - “Fire Boy Wolf ”




Felix Laband - TRYPTICH “Untitled” Felix Laband - TRYPTICH “Untitled” Felix Laband - TRYPTICH “Untitled”



Felix Laband - “Untitled”



Felix Laband - “Untitled”




“My first introduction to that was a Canadian band called Skinny Puppy. They got me into that kind of sampling. And also Warrick Sony, especially when he performed as Kalahari Surfers. He really exposed me to the power of sampling when you use whole speeches and talking, instead of vocals.”

music. You’ve sampled ecstatic preachers, cops speaking on walkie-talkies, even a young Afrikaans girl at prayer. Your music is lyrical even if you are not a lyricist. How would you describe your relationship to sampling the voice?

en me a lot of confidence and introduced me to contemporary artists who have really opened my eyes.” (Laband also credits his father’s return from Canada after twelve years of teaching as inspirational.)

“My first introduction to that was a Canadian band called Skinny Puppy. They got me into that kind of sampling. And also Warrick Sony, especially when he performed as Kalahari Surfers. He really exposed me to the power of sampling when you use whole speeches and talking, instead of vocals.” One particular Kalahari Surfers track gripped Laband as a schoolboy: Surfer, from the 1984 album Own Affairs, which is constructed around a white surfer’s testimony of a nice of vice. “That track changed my life. Fuck, it is so amazing. It was a real big influence.”

Laband has held two exhibitions of cut-and-paste collages with Kalashnikovv Gallery in Braamfontein. His interest in collage makes sense given the way his music borrows found elements.

Equally influential was Laband’s encounter with the ecstatic dancing – as opposed to the aggro moshing his first bands invited – at the legendary Durban nightclub 330. Helge Janssen’s Friday-night residency remains a thing of myth. Billed simply as Play, Janssen served up more experimental musical fare than Saturday night’s unrelenting doof-doof-doof. Janssen is an enigmatic figure from the unwritten history of South African nightlife. A designer, filmmaker and artist, he trained under Lindsay Kemp, an English performance artist and one-time Bowie collaborator. Back in Durban, he co-founded the performance collective, Body of Despondent Artists, and produced the ‘zine Facet, a forgotten ancestor to this publication. “Helge is great. We were quite close to him and he had an influence on our band.”

“I’ve been doing it for ages,” he says, “but just as a hobby and means to express myself in a different medium. Music has gotten to a point where I’m under a lot of pressure to do interesting and different things, whereas up until now with the art thing it has been like something to really enjoy myself with.” Laband has filled nearly a dozen notebooks with his collage doodads, which he has subsequently pilfered for exhibition material. Seeing the torn-out work on a gallery wall proved unexpectedly jarring. “It felt too personal in a way, and wasn’t really for public consumption. I realised I need to put a lot more thought into everything.”

Like Sony and Janssen before him, Laband’s left-field musical experiments have brought him into the orbit of the art world. A couple of years ago he started dating artist Kerry Chaloner.

The challenge of refining his work as an artist is an occasion for excitement for Laband. In September, he will exhibit a one-off artist’s book at the Oberg Art Fair. Its launch will coincide with his fortieth birthday. Expect noise and dancing. Although this is not why Laband is excited. “Thank god I don’t have to continue doing just music the rest of my life,” he says. “I am really looking forward to the second period of my life.”

“I stopped being interested in art quite a long time ago, even though a lot of my friends are artists. Since I met Kerry, it has got me excited again. She has giv-



Tears for Fears

Alien Sex Fiend

Selected Ambient Works

Songs from the Big Chair

Maximum Security


Bruce Springsteen

Philip Glass Solo Piano

Born in the U.S.A.










Felix Laband - “Jive Skull Boy”









Yūrei The Ghosts of Japan / ANDY LUND

Tokyo, Kyoto, Tokyo. In the pitch-black nights, I walk your streets, your alleyways, your back paths and your cross-over bridges. Your empty roads, wet from cold spring rain and breathing heavily after carrying your weight for the day. I sit on your busses, your trams, in your cabs and your bullet train. I feel the ice cold of your wind screaming through me, cutting through my Gaijin skin, my flesh, through my blood. Japan, I know you see me. I’m sure of it. The way you intentionally look away as I walk towards you, begging for a drop of your attention. Your eyes cast down, head bowed. The Sakura have fully flowered now. The blossoms are everywhere. Millions of pink-white petals filling the trees, falling through the sky, floating down the canals, covering the roofs of cars and being crushed underfoot. Perfectly impermanent. I float down the back alleyways of Shimokitazawa feeling the cherry blossoms brush my face as they fall so thick it looks like snow. Japan, I know you see me. I see you. Your ghosts, they haunt every window and doorway. Every skyrise building and every empty lot. The forests. The railway tracks. The neon lights. The empty palaces. The Samurai memorials. The coffee shops and vintage stores. The pink lounges, the temples and the deserted mountain paths. So quiet and yet so loud. Japan, you don’t see me. But maybe you see me. Every night I burn so brightly, just for you. 06/04/17 Setagaya, Tokyo Japan



















AREA3 CPT’17 Thandi Gula-Ndebele To support the launch of three key product stories adidas Originals opened the doors of AREA3 CPT ’17. Launching with Campus in June, moving into NMD from mid-July and flowing into EQT from late August, there were some iconic and rich product stories to be told.

The concept was to offer a co-creation space underpinned by design and supported by a real time publishing approach, the content produced is entirely powered by the youth of South Africa. “With this campaign, we wanted to explore new ways of opening up our product stories to creative interpretation,” explains Ashleigh Melvill, adidas Originals Brand Activation Manager. “The aim is allow young creatives the opportunity to engage with our brand and product stories on a deeper and more meaningful level than before. We want their powerful voices to be heard.“

mentorship team assisting the young creatives with the conceptualisation of their content ideas, styling and shoot production. “The response has been overwhelmingly positive,“ says Christian. “We’ve had a full house for every event so far, and even more positive, people have been engaging in the space all throughout the weekends forming a small community and sharing knowledge and skills – which is essentially what the project is about.“

AREA3 CPT ’17 opens on a Friday evening for Talks and Workshops, lead by some of the country’s most inspiring creative talents, and the shoots take place on Saturday and Sunday. After a submissions process the young creators are invited to shoot in one of two studios complete with equipment, technical support and the latest adidas Originals product. The Creative Directors, stylist Gabrielle Kannemeyer and photographer Imraan Christian, form part of the

“This series is about our immortal nature, the way we constantly change, grow and evolve by shedding skin. In becoming our most authentic selves, we let go of what no longer rings true to us and center ourselves in our deepest truths. We die many deaths and shed different skins to be reborn in the unraveling of our most authentic selves. Of the varied and ever-expanding ways I have come to learn myself as a person of color, I have found self, freedom and healing in de-conditioning myself, by unlearning imposed be-

Creative: Thandi Gula-Ndebele / Yonela Makoba

Styling: Yonela Makoba


Models: Conway October & Shaquille De Villiers”

Make Up: - Haneem Christian

Lighting: John Second

Thandi Gula


liefs and colonial ideologies that do not resonate with me, I have shed countless skins. Strength has come from rejecting the conditioning of fear and surrendering to the ebb and flow of change, “if we resist and do not shed what is no longer us, we lose access to what is eternal”. This introductory part of an ongoing project exploring the ever-evolving ways we find freedom and self-knowledge as people of color focuses on reclaiming the body as a vessel and site of love, embodying presence to decondition the instinct to live in fear for our bodily selves. The series is inspired by a conversation I had with Conway, learning from him that he can contort his body to any shape because of how his mind and body relate inspired me to imagine freedom in an embodied sense. The journey from a conversation, to reflections and finding creative inspiration from them and shooting this concept has been more than I can put in words, healing, inspiring, fulfilling and humbling. I learnt a lot from the entire experience. I’m in a new skin. INFO:



ABERRATION sila yalazan

THIS IS A SERIES OF PHOTOS I have been working on for a while from Tarlabası where my studio is. Tarlabası is a neighbourhood around the Taksim district in Istanbul. Back in the 1990s, large numbers of Kurdish immigrants from south-eastern Turkey moved here, mixing with the local Romani population. More recently, it has become home to many immigrants from neighbouring countries. It has always been a place that welcomes people who have been neglected by society. It’s a place that raises many questions about human nature, society, and life. For me, like everywhere, people get on with their lives, just in different contexts. I have been very lucky to spend the last 5 years there, on and off between travelling and engaging with this inspiring community. 40





















PHOTOGRAPHY - Callan Grecia artwork- SMAC Gallery

Psychological Portrait Chemu Ng’ok “I began to understand that the more I worked through my personal belief systems, the more I was able to create change in my surroundings in order to improve my own lived experience.”

The world of Chemu Ng’ok is a dark and wondrous place. This Kenyan painter’s practice is aesthetically brimming with reverie while simultaneously displaying a conceptual realism that is scarcely found in an artist so early in her career. She devotes her practice to the investigation of what she terms the ‘dynamic spaces between relationships’. She was born in 1989 and art has always been tied to relationships for Ng’ok - as a child in Nairobi, she insisted that guests in her family home “draw themselves, draw a house, and draw [her]” whenever they visited. Described as a ‘process painter’, Ng’ok is perhaps better understood as a ‘painter of processes’ - she uses her brush to sketch and draft her experience of wider abstract feelings while gently eroding surface understandings, to expose the hidden tensions of the societies in which she finds herself. In person, Chemu Ng’ok is cheerful, gracious and demure yet her paintings reveal the profoundly introspective, and tenacious character within. Evidencing detailed and genuine accounts of her life experience, her work is created with seeming outward ease. However there is much emotional and psychological mining that happens underneath her gentle demeanor. Much like her paintings, her practice borrows bits and pieces from numerous different artistic movements – resulting in a collage-like layering of imagery and concept. Aesthetically, there is a certain degree of surrealism; on catching sight of Ng’ok’s paintings one feels a little voyeuristic, peering at what is clearly a deeply personal, imagination-scape. Almost like a clandestine Polaroid snapshot of the private affairs of the artist’s imagination. On the personal nature of her work, Ng’ok notes a well-known phrase - first coined as the title of an essay by Carol Hanisch in 1969;

There is a widely renowned feminist phrase that ‘the personal is political’ My experience of making this work solidifies that viewpoint; integrating my personal voice into my painting has allowed me to counter systematic violence in my lived experience. While there is little that is recognisably explicit about her paintings, viewers feel the personal nature of each piece, almost by intuition. The warped and entangled figures that appear like reflections in rippling water are discernable but unidentifiable. The contorted corporal shapes are reminiscent of the dream-like characters in the work of the 19th Century Surrealists. While her thematic direction investigates expression of the unconscious, her practice however also addresses external socio-political issues. For her Master’s body of work entitled Riot, Ng’ok chose to work with a uniquely humanistic experience- the idea of internal revolution. In a remarkably discerning manner, Ng’ok is able to seamlessly knit together these two –and many more- otherwise opposing styles.

In this world, anything is possible; imagination is the premise for investigating information. The painting has become a world where I can perform; the viewer could walk up and down across the painting. It stretched over the wall. It could be imagined and reimagined in the mind. I had struggled to give the painting object a particular context of history, time and space, but I realised it did not necessarily need it. It could morph as it was a magical gateway into a psychological riot. It was a liminal space. Ng’ok’s approach to her practice is both incredibly individual as well as distinctively socially aware. Discussions on her earlier bodies of work are littered with references to current affairs of both a local and international scope. One particular such reference is the Rhodes Must Fall movement. Ng’ok was enrolled at Rhodes University during the height of protest action in both 2015 and 2016. The continuous oscillation between, and layering of, binaries is what makes this contemporary painter’s work worth noting; she paints what one thinks they have kept as safe secrets. She seeks to unearth the intangible feelings that society has taught us to

HIGH FIVES Lijadu Sisters

Papa Wemba

Fela Kuti

Daniel Caesar

Lauryn Hill

Horizon Unlimited

Les Tribulations Du Sapeur Du Kasaï

The Best Best of


The Miseducation of







Next Level


Golden Child Recordings





Chemu Ngok: “The Commander” 2016 / Oil on Canvas - 120 cm x 100 cm




Chemu Ngok: “The death of Ideals, Funeral Procession” 2016 / Oil on Canvas - 10m (Top to tottom)




Chemu Ngok: “Untitled” 2017 / Oil on Canvas - 155cm x 265cm

bury in order to lessen risk of vulnerability. For instance, Ng’ok investigates what anger would look like if it existed, as a physical object, how much it would weigh, what its texture would be and how many colours would be perceivable.

Despite having only recently completed her Masters Degree at Rhodes University, having shown with artists such as Candice Breitz, Otobong Nkanga and Ellen Gallagher, Ng’ok’s work has been in high demand since her undergraduate graduation. Chemu Ng’ok will present her first post-university project with SMAC at this year’s FNB Johannesburg Art Fair. The much-anticipated presentation is titled: Self-Esteem for Girls. In keeping with


Ng’ok’s process of internalizing and re-projecting societal friction the project has an express focus on the role of gender. Self-Esteem for Girls is a series of paintings playing with agency; bringing to the fore possibilitlies available for young women. It acknowledges, but is not held down definitively by, societal conventions imposed on ‘girls’. As with earlier work Ng’ok draws inspiration from her own experience and oscillations between the rational and irrational, the conscious and unconscious as well as the scientific and superstitious. By unfolding dialogues that combine reality and dream as well as truth and imagination, her paintings seek to open up a space of enquiry. In her ongoing exploration of the perforations between the personal, political and, therefore the psychological, Chemu Ng’ok traverses the spiritual. Making current intangible fluctuations within these discourses visible, her uncanny way of seeing is ethereal and tangible all at once. INFO:



Chemu Ngok: “In Denial” 2016 / Oil on Canvas - 100cm x 120cm






> STYLIST - JUDY Brandão

PHOTOGRAPHY - Wynand Herholdt
















SNAP CHAT Cape Film Supply / Michael Ellis & Christiaan Beyers

Would either of you mind giving us a bit of insight into your backgrounds and how you came to meet?

certainly keep you busy too, could you tell us how it came about and the effect it had on your business?

M - I’m a filmmaker and photographer. Christiaan and I met a bunch of years ago while working on a student film. We shared a mutual interest in photography and purchasing old film cameras. We would meet up and show off our finds. We didn’t do much shooting as film was horrendously expensive and you’d keep a roll in your camera for about two months.

C - After 8 months of communicating via email and not really making much progress, I decided to phone Kodak. I got through to the office and managed to get the person in charge’s mobile number. After sending him a WhatsApp message he replied saying that he was in JHB. He gave me his local number. The next morning I woke him with a phone call and had a long chat in which I convinced him to give us the distribution rights. It was the best feeling to share this news with Michael, jumping up and down like a little girl who just got a pony for her birthday.

C - I’ve been a technician on film and commercial productions ever since finishing high school. During this time I learnt my way around a digital camera and after I was introduced to film photography I gave up digital photography for good. I was helping a friend Tony, the director on the student film where Mike and I met. Come to think of it, it was shot on 35mm film. Students don’t have that privilege anymore. Tell us about how Cape Film Supply was born? M - The idea for CFS started really slowly. We used to brag to one another about the cheapest deal on film we could find. The quantities were small, like 5 to 10 rolls at a time. C - Whilst on a road trip with my partner through RSA I came across a bulk deal for film on the interwebs and forwarded it to Michael for his opinion. Countless voice notes later we decided to purchase the 100 rolls of Kodak Portra 400. I believe it was that same day that Michael sent me a voice note saying “dude! Cape Film Supply...” M - This tripped the switch that we could be onto something. The idea was to purchase the 100 rolls, keep a few and sell enough to cover our costs of shooting the film. Our film arrived, eventually, but it really struggled to sell. No one wanted to buy film from these randoms. Nevertheless, we purchased another 200 rolls, but this time of a wider variety, we made a pricelist and pretty much just spammed everyone. That was the start of it all.

M - It seems the drive of young ambitious people excites others. It has allowed us to offer film at a much lower price, almost 50% compared to what was available locally. We want people to start shooting more film rather than sit on it and just stare at it in their fridge. We don’t want it to be this expensive thing that takes you a month to shoot a roll. So far it’s working well. Where people used to buy 1 or 2 rolls at a time, those same people are now buying 10 rolls and shooting it in the same time they used to shoot 2. It’s great!

Was this always part of the vision? M - From the get-go, part of our goal was to grow the film community. Get more people loading film, expose people to what film can actually do. Very few know what a high-quality professional scanned film image looks like or what good printing is. This was all part of the plan. C - Instagram has definitely been our best platform for gaining clients. It was only natural to share our clients’ and other local and international film photographers’ work to inspire our followers. I feel Cape Film Supply definitely inspired others to create similar platforms on Instagram to share South African-related film photography.

In addition to supplying film, you’ve developed a community of photographers and provided an online platform for them to share their developed photographs.

HIGH FIVES Django Django

Gang Starr



Moment of Truth








Because Music

Noo Trybe

Ed Banger


Rise Above Records

Born Under Saturn

Uncle Acid and the Deadbeats Blood Lust

A little while back you became the official distributor for Kodak in South Africa, which must have been an exciting breakthrough. This must THE LAKE



Andile Buka




Johnathan Mellish

Kyle Weeks

Christiaan Beyer

Kent Andreasen




Dylan Davies

M - Right now the plan is to create this platform that is less online and rather a physical place where we get photographers to collaborate on zines and host laid-back exhibitions. Things like this make it all worthwhile; seeing your work printed and holding it, more photographers need to experience this. Beyond the demands of running your business, do you still find time to nurture your personal photography? M - It’s been a bit of a challenge juggling our own personal businesses and CFS, but we’re making it work. We’re learning a ton of stuff. Every day brings new lessons and makes it all worth it.


Michael Ellis

C - Mike and I often make daytrips out of town to go and expose a few rolls. Our idea of a business trip, hehe. I have the cutest 5-month-old daughter which also doesn’t make it any easier, but more challenging. The time that I do have to shoot becomes very special and helps me create the images I love. Do you each have a favourite film stock and camera that you use? M - My Pentax K1000 loaded with Agfa Vista 200. C - Pentax 6x7 with a 105mm lens and Kodak Portra 400.


Any exciting plans or upcoming projects for Cape Film Supply in the future? M - There a few big plans lined up, but we would prefer to keep them under covers until we have things finalized. C - Really looking forward to being able to lift those damn covers! Where can one follow Cape Film Supply online, as well as your personal work? INFO: CFS - @capefilmsupply Michael Ellis - @michaelmichaelellis Christiaan Beyers - @christiaanbeyers


Niel Bekker






> WORDS - Matthew D. Partridge


WAX JUNKIE Matthew D. Partridge / Adjective magazine Born in 1982, I grew up just as wax was going out of fashion and CD’s were the next best thing. I started collecting my own plates seven years ago in Johannesburg. Two good buddies feature prominently; Tymon Smith and Andrew Clements. T-boss (aka Young Smuts) was my neighbour and already had a wax problem when I got to him. Clembo (aka Andrew the DJ) had a club (Kitcheners) and an ear, and was keen as a bean. Together we spent time arguing in Record Mad in Linden, laughing about who was going to take the Beastie Boys album and regretting it when somebody else did. Felix Laband Dark Days Exit 1900 / LABEL

Prince Far I Umkhonto we Sizwe (Spear of the Nation) 1984 / Greensleeves Records

I always start this LP from the B-side. The first track, Miss Teardrop, is Felix at his most romantic. I got this album from Roastin Records in Cape Town. It sounds better on wax than anywhere else. Recorded in various locations around the country, Dark Days Exit is arguably one of the finest, most haunting pieces of electronica to come of of South Africa...ever. If people are still listening to records in a hundred years, this will be on the playlist.

I got this in the shop with Tymon. It was playing over the sound system. I hung around lurking just to hear the entire side. I bought it as soon as it had finished playing. It’s tragic-cool album engineered by Scientist. Prince Far I died before it’s release so it’s essentially unfinished. Each song has about a two-minute dub section clipped on at the end that is purely instrumental. A moving piece of reggae history.

Mainstay Power Maxi’s 1984 / Transistor Records

Rowan Smith & Ingrid Lee Come on You Fuckers / 7” 2012 / Bandcamp

This is always good for jam (does anybody speak like that anymore?) I bought this album at Record Mad for R30. Released in 1984 on the famous Transistor Music record label, this power Maxi is presented by Blue Top (aka Mainstay). You can stay as you are for the rest of your life... or you can change to Mainstay! It’s some parts weird 80’s SouthAfrican booze advertising featuring among others, Monyaka, who were a Brooklyn-based reggae band from Jamaica. Their second single, Go Deh Yaka which features here, reached #14 in the UK charts in 1982.

This was posted to me by Rowan all the way from California. It’s a little 45 with a fancy box and some essays by Jen Hutton, Michael Molitch-Hou, Linda Stupart and Tracey Jane Rosenthal. I still haven’t read all of them but trust me; it’s lank conceptual. On the first side Rowan tears an electric guitar apart whilst it’s plugged into an amp. The B-side features a somewhat calmer score for piano performed by Ingrid Lee. Not really the thing you can play at parties but, as a piece that explores the detritus left behind by performance art, this is Winner Winner, Chicken Dinner.

Lujo Phunya Selesele 1985 / The Workshop

The Electric Ladies King Kong / 7” 1974 / Mainstream Records

Recorded at The Workshop in 1985, this EP was produced by Lulu Masilela and Published by Sherwell Street Music. It was co-written by Steven Mavuso for local football club, Frasers Celtic, which is today known as Bloemfontein Celtic F.C. It’s got thumping bass and harmonious lyrics. Even though it comes from the Free State, it makes me think of Jozi. In the year that this album was released Frasers Celtic took home the Mainstay Cup. There’s that booze advertising again.

King Kong was originally written by Ted O’Neil and Tony Gregory. Foundered by Doris Jones, The Electric Ladies used to be regulars at places like The Galaxy and The Jupiter in New York as well as the Boston Globe. Released as a single, this track never took off in the States when it was released. One review from Blues and Soul published on July 30th, 1974 describes it as “Slow, plodding rhythm as the Electric Ladies wail through their piece of whatever. Very strange record but lacks the necessary punch to make it sell”. But reviewers are often wrong. Google this record and decide for yourself.






> PHOTOGRAPHY - Rodger Bosch

IN TRANSIT myciti / Sunset Beach Hannah Williams / Mark Henning Called Earthquakes 1690 – 2010, this infographic is based on historical data about earthquakes and tremors in the south-western Cape between 1690 and 2010.

Very few passengers waiting for the bus may know that this subject has particular resonance for the area as the Milnerton fault runs from about 8 km offshore near Koeberg under this area and then on to the Cape Flats and part of False Bay. In 1969, a 6.1 magnitude earthquake shook this area, with the epicentre believed to be near the present-day The Paddocks shopping centre. This artwork by Hannah Williams and Mark Henning presents very interesting and little-known information in the form of a delicately beautiful pattern.


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.




myciti / DUNOON Ofentse Letebele For the Dunoon station, artist Ofentse Letebele has created a set of seven drawings, printed large on colourful backgrounds, each a closeup portrait of a smiling face.

The artist says that he wanted to create a positive and celebratory image, particularly for the sake of the young. “I feel like the Western Cape can be a challenging society to grow up in, so it’s always nice to have works that nurture the environment in which we raise our children,” he says. Inspired by the site to work with light and colour, he considered the effect from both sides of the glass. “I was trying to create a light spectrum that would shine and create a dynamic space. When you’re inside you may experience the light spectrum part of it, and when you’re outside you may experience the narration part of it.” 66

He hopes that the row of vibrant transparent colours, combined with the smiles, will “break the immediate rush that daily commuters have. I was trying to ease that process … and to inspire someone’s day.” About the Artist Ofentse Letebele has a degree in Multimedia Design from Tshwane University of Technology. He lives in Cape Town where he works as an artist, animator, musician and award-winning product designer. He established a public art project called #AMANDLA with the aim of generating confidence among young Africans through art and design. INFO: THE LAKE




KATIE 21 Architecture Student

GITHAN 22 Assistant Curator

Casey 22 Student


Art Director




A Scene In Between The mid-to-late 1980s indie scenes in Britain from C86 to Shoegaze are a lost moment in music history. A Scene In Between (R515) by Sam Knee features Television Personalities, Spacemen 3, My Bloody Valentine, The Jesus and Mary Chain, Primal Scream, Talulah Gosh, Loop, The Pastels and Vaselines amongst others. Taking a sartorial angle, the book focuses on the anoraks, oversized jumpers, leather trousers, bowl-cut hairdos, blouse shirts, stripey tees and box jackets that were so popular at the time. The diverse influences behind the looks and the sounds of the bands – from the sharply dressed mods of the 60s to Texas psychedelia – are also covered.

Between the Devil and the Deep Blue Sea Unflinching and unforgettable, Pieter Hugo’s images strive to capture the African continent with empathy and impartiality. Confronting the aftermath of genocide in Rwanda, documenting electrical waste dumps in Ghana, or photographing in Nigeria’s dynamic film industry, Nollywood, Hugo treats his subjects with reverence and awe. Between the Devil and the Deep Blue Sea (R865) begins with “Looking Aside,” his series of portraits of marginalized people and includes examples of his most recent series taken in the US and China. This book offers stunning reproductions of Hugo’s work in color and black-and-white, accompanied by the photographer’s personal commentary.

Critique of Black Reason

A Woman’s War

In Critique of Black Reason (R350), eminent critic Achille Mbembe teases out the intellectual consequences of the reality that Europe is no longer the world’s centre of gravity while mapping the relationships among colonialism, slavery and contemporary financial and extractive capital. Tracing the conjunction of Blackness with the biological fiction of race, he theorizes Black reason as the collection of discourses and practices that equated Blackness with the non-human in order to uphold forms of oppression. Mbembe powerfully argues that this equation of Blackness with the non-human will serve as the template for all new forms of exclusion.

Lee Miller photographed innumerable women during her career, first as a fashion photographer and then as a journalist during the Second World War. Her work as a war photographer is perhaps that for which she is best remembered – in fact she was among the 20th Century’s most important photographers on the subject. Lee Miller: A Woman’s War (R995) tells the story beyond the battlefields of the Second World War. Miller’s photographs, many previously unpublished, are accompanied by extended captions that place the images within the context of women’s roles within the landscape of war.

Atlas Obscura It’s time to get off the beaten path. Inspiring equal parts wonder and wanderlust, Atlas Obscura (R195) celebrates over 700 of the strangest and most curious places in the world. Talk about a bucket list: here are natural wonders—the dazzling glowworm caves in New Zealand, or a baobab tree in South Africa that’s so large it has a pub inside where 15 people can drink comfortably. Architectural marvels, including the M.C. Escher-like stepwells in India. Mind-boggling events, like the Baby Jumping Festival in Spain, where men dressed as devils literally vault over rows of squirming infants. 72


Bird-Monk Seding Lesego Rampolokeng’s third novel Bird-Monk Seding (R160) is a stark picture of life in a rural township two decades into South Africa’s democracy. Listening and observing in the streets and taverns, narrator Bavino Sekete, often feeling desperate himself, is thrown back to his own violent childhood in Soweto. To get through, he turns to his pantheon of jazz innovators and radical writers. Here’s a sample: “Starvation abounds. Raw sewage in the water supply. Crap in the taps. Skin matters. Ancient white beards sexing black teens for tins, food exchange. The soul’s impoverishment. The starved get their humanity halved. And weekends of sex-tourism. Alcoholic stares everywhere. Deep fear too.”



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When you stay true to yourself, you raise the tribe. Kick-starting with London based creative, Daniel Pacitti, the four part “I am self. I am tribe.” series looks at 4 cultural curators around the world, investigating their style, and what their tribe means to them. Having previ-

ously launched with “Together We Rise”, ASICS Tiger Gel-Kayano Trainer Knit takes the next step in the story: looking at roles within tribes, how they help propel talent forward and how our culture curators carry their friends with them, even when they’re alone.

Shot on location in and around London, the film discovers what makes Daniel unique, and his connection and role within his group of friends. Interlaced are visual cues that have been developed from analysing and interpreting Daniel’s personal style - from cameras to bright, vivid colours.

The series will be followed by 3 additional portraits including YouTuber Katharina Damm and musician Emis Killa.

and distributes design, commercials, products, films, technology and objects for brands, communities and ourselves.

The campaign is created by The Adventures Of and directed by Stefanie Soho of Saltwater. The Adventures Of is a Berlin based independent creative agency that creates, produces



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