JUNCTURE n. joining; place where things join; concurrence of events, state of affairs. JUNCTURE brings together the work of nine dynamic, contemporary international artists from a diversity of practice, positioning, and politics. The central commonality within this variation, is the investigation into notions of identity made by each artist within their own specific context. Particular emphasis is given to the gendered body, racial myths, personal phobias and urban youth culture.
JUNCTURE highlights the exhibition as a meeting place/crossroads of cultural expression at a particular point in time. In keeping with this theme the exhibition will span two continents, showing in both Cape Town (The Granary) and London (Studio Voltaire) and will seek to instigate a debate on the repositioning of South African artists within an international context and to facilitate a creative dialogue between Cape Town and London. The work on show comprises a selection of contemporary visual art including video projections, sound works, digital prints, performance and installation.
The exhibition is accompanied by a full colour catalogue, which includes a critical essay by Jacqui Nolte, as well as a statement, by each artist.
Don Bury (Canada) will present a video installation which re-frames segments of films from cherished popular culture such as ŒTop Gun‚ and ŒThe Sound of Music‚ and re-edits them through a homoeroticised lens.
Robyn Denny (South Africa) will show a four-screen video installation, which encloses the viewer in an exploration of the female body consumed by the elements of earth, air, fire and water.
Frances Goodman (South Africa) has created a disturbing sound installation, which explores the terrain of phobia and discomfort at the traces left by bodily contact.
Moshekwa Langa (South Africa) has been commissioned to make an installation, which will map and trace a terrain in a ceaseless desire to explore the anonymity of urban sprawl.
Harold Offeh (Ghana, Britain) will show a video that exposes physiological distortions, which recall historical and current racialised myths. The camera becomes a tool to manipulate the spectators‚ perceptions.
Ben Pruskin (Britain) deals with the glamorisation of sex and violence in popular fiction. His multi-monitored video installation takes a semiotic form to work subliminally on the viewer.
Robin Rhode (South Africa) explores urdan youth culture and its Nike/Television generation through performance. His performance will take place at the opening in Cape Town and London, documentation of which will be projected for the duration of the exhibition.
Berni Searle (South Africa) has been commissioned to make a photographic work dealing with her preoccupation with using her body performatively as a ground for processes of transformation. She will participate in the 2001 Venice Biennale.
Erika Tan (Singapore, Britain) will construct a sculptural/sound installation, which works on the viewer in a visceral manner. Her work explores the cross-cultural phenomena of exportation/exploitation.
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