‘Every day I took a seashell and recorded it as though it were the ocean with words swimming in it. At the same time I practiced ‘She sells seashells on the seashore’. Then I thought what would happen if you turn the ‘she’ into ‘he’ and remove the letter ‘h’ from all the words’.
‘I’m interested in characters that are not like real life characters, they’re sealed in these video worlds where they’re hyper-real’.
‘This work is attached to tradition but at the same time it’s very edgy and contemporary’
‘I wanted to talk about inspiration, desire, commitment, and the determination these young people have’.
‘Where is Africa on the stage of this “global” art world? What does it mean to talk about an “international art scene”?’
‘I’m wary of art that is totally certain of itself’.
Zanele Muholi and Steven Cohen negotiate the politics of visibility and invisibility, and foreground the stakes and the risks attached to everyday life, and visibility and movement as a person who identifies as queer.
‘Originally I saw myself as a painter, and started messing around with film and video as something to help move stuck paintings forward’
‘Someone keeps on coughing. After a while I feel as though I might start coughing, as if embodying this strange, toxic, disconcerting environment’.
‘Nothing can be taken for granted and we adapt, move and transform with the passing of time’.
‘In contemporary portrait painting the identity of the person being portrayed gets lost. In a way, this is through the personality of the painter. This show is about the sitter. Who is the sitter? Who is the sitter represented by?’