Sethembile Msezane: Living sculptures that stand for history's truths
Sethembile Msezane: Des sculptures vivantes qui se battent pour les vérités de l'histoire
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.
pour imaginer cette situation.
very little context,
il y a très peu de contexte,
a figment of your own imagination.
le fruit de votre imagination.
de vous demander :
quand on me parle ? »
that reflect upon our society,
questionnant notre société,
how a young black girl can grow up
une jeune fille noire peut grandir
and perhaps she doesn't exist.
ou même qu'elle n'existe pas.
positive images of themselves
d'images positives d'eux-mêmes
are negative stereotypes,
les stéréotypes négatifs,
that the rest of society treats them.
dont le reste de la société les traite.
for about five years at the time.
pendant environ cinq ans.
of dislocation and invisibility.
de mise à l'écart et d'invisibilité.
qui m'avaient élevée,
South Africa what it is today.
l'Afrique du Sud d'aujourd'hui.
ever as neutral as they may seem.
aussi neutres qu'on le pense.
this performance in 2013 on Heritage Day.
pendant le Heritage Day en 2013.
with masculine architecture,
est largement d'influence masculine,
Louis Botha sur cette photo.
and Afrikaner nationalist men
et nationalistes Afrikaner blancs
gender and racial divide,
entre les sexes et un fossé racial,
the way that women --
la façon dont les femmes --
to dominant male figures
aux figures masculines dominantes
sont inutiles.
and the act of remembering
et l'acte de mémoire
and effective ways.
plus mémorables et efficaces.
public holiday series,
de jours fériés sur toute une année,
as a form of social commentary
comme commentaire social
to certain issues,
sur certains problèmes,
of the black female body
du corps de la femme noire
to the union buildings in 1956,
sur les bâtiments syndicaux en 1956,
sur les passeports intérieurs.
of how women are treated,
du traitement des femmes,
dans les lieux publics,
à une station de taxi]
diamétralement opposées ?
de mon arrière-grand-mère,
« Freedom Square »,
against apartheid laws.
contre les lois de l'apartheid.
being seen as only victims in society.
dans la société me gênait.
how people reacted to this.
comment les gens ont réagi.
my performances,
qu'à travers mes performances,
reflect upon their society,
à réfléchir sur leur société,
as well as the current democracy.
aussi bien que la démocratie actuelle.
She's been there since three o'clock.
Elle est là depuis trois heures.
About an hour still?
Une heure sans bouger ?
are quick to join a group
sont près à rejoindre un groupe
to do something as an individual.
à agir seul.
versus the collective.
le collectif.
individual message in performance ...
message dans une performance...
that she's doing it on her own.
qu'elle fasse ça seule.
she's using hair extensions as wings,
des extensions comme ailes,
there right now,
maintenant,
African pride, I think.
quand Rhodes tombe,
represents the African culture.
est représentée derrière moi.
all these colonial statues.
ces statues coloniales.
Bhambatha, Moshoeshoe, Kwame Nkrumah --
Bhambatha, Moshoeshoe, Kwame Nkrumah --
for our liberation.
Maybe in a museum; not here.
pas ici.
places where young people,
Rhodes, all these people,
Rhodes, et les autres
the colonialism.
was scheduled to be removed
devait être retirée
for and against its removal
pour et contre son retrait
in statues in South Africa.
pour les statues en Afrique du Sud.
focused on problematizing
mais les médias problématisaient
I had just begun my master's
j'avais débuté mon master
of the debate of the statue,
et à travers mes tenues.
a meeting with my supervisors,
was going to fall on that day.
serait retirée le jour-même.
plus tard,
as the statue came down.
lors du retrait de la statue.
that was looted from Great Zimbabwe
volé au Grand Zimbabwe
in Cecil John Rhodes's estate
dans le domaine de Cecil John Rhodes
à travers mon corps,
for nearly four hours.
pendant presque quatre heures.
on their phones and cameras.
sur leurs téléphones et leurs caméras.
of Cecil John Rhodes.
de Cecil John Rhodes.
as he became absent from his base,
lorsqu'il a quitté son support,
has arisen in South Africa.
a émergé en Afrique du Sud.
in the same space and time
dans le même espace et le même temps
beliefs and dreams
et les rêves spirituels
felt incomplete.
semblait incomplète.
of God and the ancestors,
de Dieu et des ancêtres,
son histoire.
a little bit more,
share a common story
et l'Allemagne partagent la même histoire,
that were looted from Great Zimbabwe.
volés au Grand Zimbabwe.
were returned to the monument.
ont été retournés au monument.
that there will be unrest
selon laquelle il n'y aura pas de repos
about the world around me:
sur le monde qui m'entoure :
and not only see an image of myself,
et je vois une image de moi-même,
who have made me who I am today.
qui ont fait de moi ce que je suis.
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