MATTERS OF THE ART: Songezo Zantsie: IINKUMBULO – an artist’s personal reckoning with South Africa’s peripheralised histories

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Songezo Zantsi’s first solo exhibition, Iinkumbulo, derives from archival shots of the Bisho Massacre and complicates the South Africa's history by underlining stories not to be forgotten.

presented by Vela Projects in the makeshift space on Shortmarket Street in the heart of Cape Town, was a body of 13 oil paintings and one mixed-media work on paper. Most of the paintings are derived from archival shots by seasoned South African photographers like Greg Marinovich and João Silva, who documented the Bisho Massacre in the Eastern Cape, which took place two years before the birth of the multicultural democracy that is South Africa today.

‘Abafazi 1’ , oil on canvas, 79 x 69 cm from ‘Iinkumbulo’ by Songezo Zantsi. Image: courtesy of Vela Projects Zantsi’s debut show was not just about violence. In the exhibition a series o positive life memories were placed side by side with portrayals of sad episodes in what the artist remembers of his childhood. In, a young Songezo, cake in hand and ready to blow the birthday candle, is flanked by his parents. In their modest home, the three are ready to celebrate. The scene is possibly happening in the presence of family, as indicated by parts of an uncle’s legs to the right.

Completing Zantsi’s impressive body of work are two colourful compositions that engage the economy through two interesting narratives. In, the artist presents two white men draped with the British and the apartheid flags pulling the cow in the middle in one direction, while a Black man masked with the ANC flag pulls in the other direction. The latter’s posture suggests he is losing the tug-of-war.

 

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