South African artist Frances Goodman doesn’t apologize about much when it comes to art.
Claire Breukel
Claire Breukel is a South Africa-born contemporary art curator and writer. Her interest is in contemporary art that falls outside of conventional modes of exhibition, and often affiliated with “developing” regions. She lives and works in New York and Miami.
All articles by Claire Breukel
Claire Breukel
MEXICO CITY —Despite its relaxed façade, Mexico City is encircled with a buzz of dynamic activity added to by the bustle of its formidable traffic jams.
MIAMI — As with any developing city the arts community is in continual search for large and affordable work and exhibition space. Miami’s Wynwood Art District and later Design District have been for over a decade hubs for artists and galleries moving into large warehouse and empty storefront spaces. Wynwood is less of a gun-wielding neighborhood and now full of restaurants, bars and coffee shops inviting collectors to hang around the area.
“Wow your accent sounds so amazing,” is a phrase I often hear when people detect my South African accent. Whereas this is usually a compliment — and I accept it graciously — it can also have the effect of creating a distance between me and the other person if they aren’t South African. In short, it can often clarify that they belong to this place and I am an alien in their territory. But as pop star Sting’s pithy “legal alien” phrase comes to mind I quickly snap out of my self-imposed victimization. Of late, however, it has been quite obvious that the art world still propagates a fascination with the “other.”
“I fink u freeky and I like you a lot” is the chorus line of Die Antwoord’s new rap/rave hit. It also sums up the way many people feel about Roger Ballen’s graphic photographs. These images have provided inspiration for many of Die Antwoord’s outlandish costumes and video backdrops, featuring prominently in the first hit single “Enter the Ninja.” Now they make up the set for the duo’s new “I Fink U Freeky” single video.
I spoke with Typoe, an artist who has a studio in his home and has lived and worked in Miami all his life, about his work and practice.
MIAMI — Historically, the relationship of the black identity to sex is loaded and remains a deeply complex conversation. Africa’s black identity history is marred by images of the “African Hottentot Venus” Saartjie Baartman who was put on display and sent across the world like a circus animal before being dismembered for study purposes following her death. This sexualized commodification of the human body underpinned the slave trade, which greatly impacted the entire Caribbean region.
W.A.G.E. seems to be very clear about positioning themselves in a sphere that is realistic for the creative field and with viable and attainable goals. The question now it seems is how to make a payment system sustainable. An experiment at Artists Space is the first attempt at making that happen.
