![]() ![]() I position myself here as an additional – late, or future – entity in the dialogue. Through the interaction, we are lead to consider how our ‘art world’ – its collections, its biased valuations of historical discourse, and its various arts institutions – contributes to protecting this frozenness of time. We begin to understand Garth’s practice as an emboldened guide, taking an approach that leads relentlessly, if gently, into encounter with the ensuing problem of South African ‘democracy’: A political time of reproducing motionlessness, caught in the increasingly strong grip of neoliberal hold. ![]() It begins with a 2006 interview between Mario Pissarra and Garth Erasmus, named Demystifying Art. In it, Mario’s initial enquiries on Garth’s use of materials and working processes, gradually open the dialogue to exploration of bumpier terrain. This Biko belongs to a different order of time, heterogeneous and dense, where the dead still live with us, and past and present are reconfigured in the instantaneous time of the here and now.” “Although much still remains to be discovered, and still more to be developed, this Biko-who knew that we inhabit a ‘larger world than the sophisticated westerner’-still has a lot to say. “Ordinary People, Ordinary Issues, Ordinary Emotions”: Practising with Garth Erasmus and black consciousness POSTED ON: FebruIN On Artists, Thulile Gamedze, Word View ![]()
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