Sethembile Msezane: Living sculptures that stand for history's truths
Sethembile Msezane: Sculture viventi che svelano le verità della storia
Sethembile Msezane deconstructs the act of public commemoration -- how it creates myths, constructs histories, includes some and excludes others. Full bio
Double-click the English transcript below to play the video.
to imagine this with me.
e provaste a immaginare.
very little context,
il contesto è limitato,
a figment of your own imagination.
il frutto della vostra immaginazione.
non potete fare a meno di chiedervi:
le persone mi parlano?"
per una bambina, vero?
that reflect upon our society,
che riflettono sulla nostra società
how a young black girl can grow up
ragazza di colore può crescere
and perhaps she doesn't exist.
e forse come se non esistesse.
positive images of themselves
un'idea positiva di loro stessi
are negative stereotypes,
stereotipi negativi,
that the rest of society treats them.
sono trattati dal resto della società.
for about five years at the time.
per quasi cinque anni all'epoca.
of dislocation and invisibility.
di distacco emotivo e invisibilità.
che mi hanno cresciuta,
South Africa what it is today.
ciò che è oggi.
quando vedete questa immagine?
ever as neutral as they may seem.
neutrali come potrebbero sembrare.
this performance in 2013 on Heritage Day.
questa performance durante l'Heritage Day.
with masculine architecture,
di architettura maschile,
and Afrikaner nationalist men
coloniali e nazionalisti Afrikaner
gender and racial divide,
sociale, di genere e razziale,
the way that women --
il modo in cui le donne --
to dominant male figures
alle figure maschili dominanti
and the act of remembering
e l'atto del ricordare
and effective ways.
in modi più memorabili e efficaci.
public holiday series,
di festività pubbliche annuali,
as a form of social commentary
come forme di testimonianza sociale
to certain issues,
verso determinate questioni,
of the black female body
di corpi femminili di colore
di quella festività,
to the union buildings in 1956,
del sindacato, nel 1956,
of how women are treated,
con cui le donne sono trattate
aggredite alla stazione dei taxi]
a visioni talmente opposte?
Freedom Square,
against apartheid laws.
contro le leggi sull'apartheid.
being seen as only victims in society.
viste solo come vittime nella società.
how people reacted to this.
che reazione abbia avuto la gente.
my performances,
le mie performance,
reflect upon their society,
le persone normali sulla loro società,
as well as the current democracy.
così come alla democrazia attuale.
She's been there since three o'clock.
È lì dalle tre.
About an hour still?
Già quasi un'ora?
are quick to join a group
si uniscono a un gruppo velocemente,
to do something as an individual.
a fare qualcosa a livello individuale.
versus the collective.
contro il collettivo.
individual message in performance ...
esplicitato da una performance...
that she's doing it on her own.
il fatto che lo stia facendo da sola.
she's using hair extensions as wings,
sta usando extension come ali,
lì in questo momento,
there right now,
ma è solo la mia interpretazione,
African pride, I think.
l'orgoglio africano, credo.
represents the African culture.
rappresenta la cultura africana.
leggi colonialiste,
all these colonial statues.
tutte queste statue coloniali.
Bhambatha, Moshoeshoe, Kwame Nkrumah --
Bhambatha, Moshoeshoe, Kwame Nkrumah,
for our liberation.
per liberarci.
nel ventunesimo secolo
Forse un museo; ma non qui.
Maybe in a museum; not here.
places where young people,
i luoghi dove i giovani
Rhodes, all these people,
Louis Botha, Rhodes, queste persone,
the colonialism.
was scheduled to be removed
doveva essere rimossa,
for and against its removal
a favore e contro la rimozione
in statues in South Africa.
nei confronti delle statue in Sudafrica.
focused on problematizing
si sono concentrati sul problema
I had just begun my master's
avevo appena cominciato il mio master
of the debate of the statue,
del dibattito sulla statua,
e l'abbigliamento.
a meeting with my supervisors,
was going to fall on that day.
sarebbe caduta in quella data.
as the statue came down.
alla caduta della statua.
that was looted from Great Zimbabwe
saccheggiato dal Grande Zimbabwe
in Cecil John Rhodes's estate
nella tenuta Cecil John Rhodes
usando il mio corpo,
for nearly four hours.
per quasi quattro ore.
on their phones and cameras.
con i cellulari e le fotocamere.
of Cecil John Rhodes.
la caduta di Cecil John Rhodes.
as he became absent from his base,
quando si è staccato dalla base,
has arisen in South Africa.
di radicali in Sudafrica.
in the same space and time
nello stesso spazio e tempo
beliefs and dreams
e i miei sogni
felt incomplete.
era ancora incompleta.
of God and the ancestors,
di Dio e degli avi,
per continuare la sua storia.
a little bit more,
un po' di più nello spazio onirico,
share a common story
hanno una storia in comune
that were looted from Great Zimbabwe.
saccheggiato dal Grande Zimbabwe.
ottenne la propria indipendenza
were returned to the monument.
al monumento, tutti tranne uno.
that there will be unrest
che non ci sarà pace
non sarà restituito.
about the world around me:
del mondo che mi circonda:
and not only see an image of myself,
e non vedo solo un'immagine di me stessa,
who have made me who I am today.
che io sia ciò che sono oggi.
debba sentirsi
ABOUT THE SPEAKER
Sethembile Msezane - ArtistSethembile Msezane deconstructs the act of public commemoration -- how it creates myths, constructs histories, includes some and excludes others.
Why you should listen
With masked face and powerful gestures, Sethembile Msezane disrupts and deconstructs the process of commemorative practice in South Africa, demanding space next to colonial-era statues for her country's, and her gender's, erased histories. In one iconic work, she performed at the removal of the John Cecil Rhodes statue at the University of Cape Town ("Chapungu: The Day Rhodes Fell," 2015), and starting in 2013 she performed a series of pieces called "Public Holiday" that place her body in contrast to colonial-era monuments in Cape Town's CBD.
Msezane is a ANTI Festival International Prize for Live Art nominee (2017). She is the TAF & Sylt Emerging Artist Residency Award winner (2016), and she is the first recipient of the Rising Light award at the Mbokodo Awards. She is also a a Barclays L’Atelier Top 10 Finalist (2016). Her 2017 solo show at Gallery MOMO is titled "Kwasuka Sukel: Re-imagined Bodies of a (South African) '90s Born Woman", and features sculptural work that places colonial images in the context of Victorian-style furniture and dress, reframing and reclaiming a part of colonial history. She was one of the selected artists for gallery solo projects at the FNB Joburg Art Fair (2017), and her work is currently housed in the Zeitz MOCAA collection as well as Iziko South African National Gallery's collection.
Selected group shows include "Women's Work and The Art of Disruptions" at the Iziko South African National Gallery (2016), "Dis(colour)ed Margins" at the National Gallery of Zimbabwe (2017), "Re[as]sisting Narratives" at Framer Framed, Amsterdam (2016), "Dance, if you want to enter my country!/ Global Citizen" at GoetheOnMain, Johannesburg (2016), "Nothing Personal" at SMAC Gallery, Cape Town, #theopening at Greatmore Studios, Cape Town (2016) and "Translations" at Emergent Art Space and Reed College, Portland, Oregon (2015).
Sethembile Msezane | Speaker | TED.com