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abrideswardt abrideswardt

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Abri de Swardt 


I’m showing ‘I’ll never wear sunglasses again’ (2014) in South Africa for the first time tonight at @gallerymomo ‘s Video Room till 13 January 2018, last seen @newcontemps @icalondon in 2015-16. The work asks what art history does to the body of the artist, through ellipses, inferences and choreographed signs. It is shown alongside ‘B OT TOM OF T HE W ORL D’ made in conversation with @e_l_e_n_e_a_b_a_s_h_i_d_z_e and first publised in Arcadia Missa’s ‘How to Sleep Faster 5’ #abrideswardt

First post since late July, after which point I have been story-ing, as the temporal, disappearing stream seemed like a less mannered visibility to be implicated in.
From mid September until yesterday I was teaching a course I devised alongside Nomvuyo Horwitz called ‘Strategies for Survival’ at the Wits School of the Arts, University of the Witwatersrand, Johannesburg, which drew on queer theory, radical black writing, trans- and disabilities- activism, eco-feminism and indigenous survivance in order to look at technologies of opacity, visibility and affect deployed by precarious bodies in order to persist, and in moments to flourish. Throughout the course there were (sometimes productive, often triggering) instances of contestation that demonstrated how ingrained homo-, trans-, hoe-, and black-phobia runs, and that even within discourses of decolonisation in the process of Fallism occurring at South African universities, questions of gender and sexualities are under erasure, or seen as irrelevant, as a limit within affinity, more so when the confluences of markers of precarity are so urgent. In this regard the writings of Zethu Matebeni, Nkunzi Nkabinde, Julius Kaggwa, Ernst van der Wal, and Stella Nyazi, alongside organisations such as GALA and Iranti, have been pivotal in localising the ongoing procedure of what Nyazi calls “queering African Studies and Africanising Queer Studies.” When I shared some of the misgivings regarding the course content with Zanele Muholi at their ‘Faces & Phases 11’ opening at Market Photo Workshop Gallery, their response was “They must realise they live in South Africa. They are grown up. Who do they make love to?” I write this not to upend the clear resonances of what has been called “sensitive material” with most of the students, which has contributed to new approaches to collectivity, and political galvanisation in de-sexualised and sanitised hallways and lecture theatres, but to assert that difference is difficult, confluences are complicated and compulsory, ever more the future lurks, and that silence still equals death.

29 & 2 days - old flowers from graves, municipal dumpsters

João Maria Gusmão + Pedro Paiva, 'Glossolalia ("Good Morning")' (2014), 16mm film, 7'10", no sound. In LUA CÃO, an exhibition by Alexandre Estrela and João Maria Gusmão + Pedro Paiva, curated by Natxo Checa

Piekniek by Mpande (née Dingaan)

Artscape, Cape Town
27 April 16:30 & 29 April 20:30

With: Nicole Holm, Thami Baba, Ilana Cilliers, Karli Heine, Marlo Minnaar, and Ludwig Binge
Guitar & Sound: Pierre-Arnold Theron
Musical Director: Jose Dias
Projection Scenography: Abri de Swardt
Direction & Scenography: Wolf Britz
Text & adaptation: Louis Roux and the cast
Costumes: Izel van der Merwe
Stage manager: Danielle Louw
Made possible by NATI
A production of the US Woordfees

Hmu for comps if in CT!

@karlikroek @josedias351 @ilana_cilliers @ludwig.binge @wolfbritz @marlomin

Made actual theatre!
Today until 15 April ‘Piekniek by Mpande (neé Dingaan)’, directed by Wolf Britz, runs at the Klein Karoo National Arts Festival. I have made, as projection scenographer, moving image that appears throughout most of the play on a 3,8 x 12m vertical blind. The piece is based on a seminal Afrikaans protest cabaret from 1988, 'Piekniek by Dingaan’, written by Koos Kombuis, and directed by Gerrit Schoonhoven, which was an antecedent to the Voëlvry Movement. Nicole Holm, Karli Heine, Nomathamsanqa Baba, Ilana Cilliers, Ludwig Binge and Marlo Minnaar perform alongside music director Jose Dias and Pierre-Arnold Theron. Louis Roux has updated the text (which includes several Brecht translations) along with the cast in Afrikaans, English and isiXhosa. After the current run it travels to the Artscape, Cape Town. Amongst other things the work addresses gravity, water scarcity, Spur aesthetics, bunker mentality, exile, land reparation, complicity and the violence of language. #abrideswardt

Showing 'Ridder Thirst' (2015-17) today alongside works by Cara Tolmie, @annabuntingbranch, Rob Crosse and @steveroggenbuck as part of 'These Rotten Words' curated by @georgevasey at @chaptergallery, Cardiff, and the Experimentica programme.

The work imagines the "desiccation" of the First River at the hands of "The Shadow Prince and his Battalion of Shades", and is narrated by Wessel Pretorius - the extract features @pierrecarlvermeulen, @gigicaresaboutyou, Rian Blignaut and @strausslouw as students. #abrideswardt

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