MOMENTS AND MEMORIES: THE MAGIC OF ART

Owethunamandla Madhlala

@mandla_082 

 

Amidst the hustle and bustle the middle of the week brings upon campus, one place stood still. In this place, students, staff and artists alike forgot the worries of the now and pondered on the past memories that the exhibition of art around them evoked. The North West University’s (NWU) gallery exhibition was more than just an event; it was an experience that healed the soul. 

 

On the evening of 20 May, the NWU Gallery hosted two exhibitions, namely Repair of the Present and Ga ke se bope, Ga se ipope: Fragments of what we carry, curated by Khumo Sebambo and Sheryl Msomi, respectively. 

 

The former exhibition was a group exhibition featuring 11 South African artists. During a brief presentation to the audience, Sheryl Msomi, curator of Repair of the Present, mentioned how the exhibition aimed to answer the question of what it means to live as a sovereign being in a very interconnected world. Through different mediums, including welding, photography and drawing, the artists showcased the tension of being an individual person whilst still celebrating one’s culture and background, especially in the South African context. 

 

Following Msomi’s presentation, the artists came forward to speak on their works. Thalente Khomo, a photographer from Port Shepstone, KwaZulu-Natal, shared how she attempted to showcase the duality of being a progressive woman and still being connected to her rural roots or, in her words, “umfazi wes’manje manje”, which is a Zulu term that loosely translates to “a modern woman”.

 

Cassian Robbertze, a figurative bronze sculptor, also shared more on his piece. Robbertze expressed how his artwork, titled Waiting, commented on the idea of presumptions. The artwork included a hooded figure with no face and was meant to highlight how people tend to assume things about others that may not be there. The message behind the artwork fit in well with the idea of sovereignty, as being an individual can often bring about comments from one’s community.

 

Ga ke se bope, Ga se ipope: Fragments of what we carry expressed a message that complemented that of Repairs of the Past whilst still being unique. The exhibition, as per its title, was an installation of old palettes and used luggage that reflected the reality of movement, memory and loss. 

 

In an interview with Wapad, Lerato Motaung, a visual artist from Katlehong, Johannesburg, explained how the installation represented his fascination with the concept of memory. “Memory is very flexible, memory is loose; it’s not something that is solid and it’s always changing,” commented Motaung. 

 

The repetition of the artwork in the gallery represented the fragmentation of memory. Every frayed suitcase was meant to tell a different story. According to Motaung, there was no right or wrong answer to what story his installation told, as it was meant to be interpreted subjectively and showcase how the same memory can be different for different people.

 

The name of the artwork not only expressed the message of his exhibition but also Motaung’s personal determination as an artist. “Ga ke se bope, Ga se ipope” is a Setswana proverb that communicates the need for one to create, and in Motaung’s case, if he “does not create it, no one will create it, or it won’t create itself.”

 

All the artists shared a common appreciation for all the spectators who were in attendance. The spectators enjoyed not only the exhibitions but also the wide range of refreshments that were served throughout the event. The exhibitions were truly spectacular. The hearts and minds of people from all over the university were brought together by the wonderful magic of art. 

 

NWU Gallery exhibition (Source: Karabo Seseng @k_seseng). 

Waiting by Cassian Robbertze (Source: Karabo Seseng).

 

                                          Mthunzi wesithunzi Isithunzi samazi, artworks by Thalente Msomi (Source: Karabo Seseng).

 

 Ga ke se bope, Ga se ipope: Fragments of what we carry by Lerato Motaung (Source: Karabo Seseng).

 

Edited by Isabel Burgers