athi patra ruga: June 2012

Thursday, June 28, 2012

Irma Stern Interventions

Zulu Woman ( as Liquidasha ) after Irma Stern 1935
2012
Wool and tapestry thread on tapestry canvas
90cm x 120 cm

Zulu Woman 2012 (After Irma Stern 1935)

2012

Wool and tapestry thread on tapestry canvas

97cm x 137cm

Tuesday, June 26, 2012

Official Selection - MOSCOW BIENNALE FOR YOUNG ART.

Moscow International Biennale for Young Art is a large-scale project realized on the Moscow art scene in the field of contemporary art. The Biennale brings together artistic initiatives from all over Russia and the world. Leading art centers of Moscow in collaboration with regional and international partners take part in the Biennale’s preparation and realization. The Biennale focuses on a young generation of artists aged up to 35 years.The aims of the Biennale are to support and encourage the creative development of a new generation of authors and to demonstrate the work of modern art to interested audiences. The Biennial program is addressed to people of all ages, to the large number Russian and foreign art-lovers who are interested in processes happening in contemporary art today. It aims to attract an interest of professional art community: art historians, critics, curators and gallery owners, who are searching for new talents for a long-term perspective.

The founders of the Biennale are the Ministry of Culture of the Russian Federation, the Department of Culture of the City of Moscow, the National Centre for Contemporary Art (NCCA), and the Moscow Museum of Modern Art (MMoMA).

Tuesday, June 12, 2012

Ilulwane - Performa

WHATIFTHEWORLD / GALLERY, in association with PERFORMA 11 and the Museum of African Art New York, is pleased to announce Ilulwane, Athi-Patra Ruga’s first performance in New York. Ilulwane is a synchronized-swimming performance inspired by Alvin Baltrop’s 1970s and 80s photographs. It reflects on the passage of time in both New York and in the artist’s own Xhosa culture, drawing on themes of Xhosa initiation ceremonies,and the AIDS crisis and challenging definitions of masculinity. Ilulwane is co-presented with the Museum for African Art, in Long Island City, New York. The musical score of Ilulwane is a collaborative composition between Athi-Patra Ruga and acclaimed musician Spoek Mathambo, recent winner of the Young Directors Award (in conjunction with Pieter Hugo, and Michael Cleary), at the Cannes Lions International Festival of Creativity.

... tapestries

Chaos Eater
2011
Thread on tapestry canvas
100cm x 120cm

Voodoo Face

2011

Thread on tapestry canvas

100cm x 120cm

TEETH ARE THE ONLY BONES THAT SHOW...

Mr. Brink
2010
Wool and tapestry thread on tapestry canvas
86cm x 123cm

The Naif...

2010

Wool and tapestry thread on Tapestry Canvas

90 x 128 cm

The Harlequin

2010

Wool and tapestry thread on Tapestry Canvas

90 x 123 cm

The Brute
2010
Wool and tapestry thread on Tapestry Canvas
90 x 127 cm

'...the coronation of uNongoloza'

2010
Wool and tapestry thread on tapestry canvas
88cm x 146cm

Ilulwane ... he's not the one for youz
2010
Wool and tapestry thread on tapestry canvas
89cm x 136cm

... Castrato as [the] Revolution

2010

Wool and tapestry thread on tapestry canvas

86cm x 125cm

First Blood

2010

Thread on Tapestry Canvas

88.5cm x 125 cm

konflikt - free blk diamond
2010
Wool and tapestry thread on Tapestry Canvas
54cm x 150 cm

First Moment of Rejection IV
2010
Wool and tapestry thread on tapestry canvas
114cm x 163cm

The Ubiquitous Miss Robben Island 1984
2010
Wool and tapestry thread on tapestry canvas
74cm x 92cm

Willkommen auf den Kampf

2010

Wool and tapestry thread on tapestry canvas

93cm x 62cm

'Ka Marman , Ka Khanyi Ikhetshi***'
2010
wool and tapestry thread on tapestry canvas
91cm x 63cm

The Nylon Lion of Judah
2010
Wool and tapestry thread on tapestry canvas
89cm x 85cm

... mr floating signifier and the deadboyz.

The Death of Beiruth #1

2009

Matt light-jet print

74cm x 107cm

Photography: Oliver Kruger

The Death of Beiruth #2

2009

Matt light-jet print

74cm x 107cm

Photography: Oliver Kruger

Deadboyz Auto Exotica #1
2009
Lightjet print
74cm x 107cm
Photographer: Oliver Kruger

Deadboyz Auto Exotica #2

2009

Lightjet print

74cm x 107cm

Photographer: Oliver Kruger

Deadboyz Auto Exotica #3

2009

Lightjet print

74cm x 107cm

Photographer: Oliver Kruger

Deadboyz Auto Exotica #4

2009

Lightjet print
74cm x 107cm
Photographer: Oliver Kruger

Deadboyz Auto Exotica #5

2009

Lightjet print
74cm x 107cm
Photographer: Oliver Kruger

Idol Death Masks Series

... Votive Portrait [umthondo wesizwe]

2009

Thread on tapestry canvas

75cm x 94cm

... Megiddo Marrow

2009

Thread on tapestry canvas

51cm x 59cm

... Jacob wrestling the Angel

2009

Thread on tapestry canvas

51cm x 59cm

Melitta Sphinx

2009

Thread on tapestry canvas, gunshot residue

51cm x 59cm

... Gold Face Sphinx

2009

Thread on tapestry canvas, gunshot residue

62cm x 91cm

... Oh Pale Galliliean! You Have Conquered

2009

Thread on tapestry canvas

109.5cm x 60cm

POST AIDS

2009

Thread on tapestry canvas

50cm x 39cm

05 - 29 AUGUST 2009

EXHIBITION WALK ABOUT SATURDAY 22 AUG 11H00 FOR 11H30

As a follow up to the critically acclaimed solo exhibition “…of bugchasers and watussi faghags,” Athi-Patra Ruga’s upcoming exhibition at Whatiftheworld, titled “…mr floating signifier and the deadboyz,” continues to expand on the themes introduced by the Artist’s chief protagonist Beiruith. Beiruth’s name is derived from a pun around the middle-eastern city of Beirut – a play on the theme of ‘Orientalism;’ but more importantly he is the illusive figure that qualifies the autonomous body against that of the sovereign state. Through the use of craft, performance, video, sculpture and photography, this body of work investigates ideas of displacement and dislocation in relation to constructs of gender, race, identity, intimacy and sexuality. Combining images and popular iconography, Athi-Patra Ruga interrogates the problematic concept of the Utopian ideal within a Western art historical context. The exhibition will be accompanied by a limited edition Artist monograph published by Whatiftheworld.

“The politics of context are at the heart of Athi-Patra Ruga’s artistic practice. Mainstream art production and criticism in South Africa is simultaneously almost obsessed with the semantic inverse of this, the context of politics. Artists and their works are often ruthlessly yet thoughtlessly checked and balanced against a schema of political concerns important (and rightfully so) in other realms of South African society, but suffocating in art. This literal conception of politics may be at the root of our veneration of the notion of context, a fixation so entrenched in our critical culture that it is taken up practically with a sort of sacred awe, treating the conditions of influence and the thematic agendas of a work of art as incontrovertible truths. But what happens to this system when the integrity of context can’t withstand the grind of the alter-contextual, when improper contexts come to weigh on the work so heavily that it becomes something entirely other than itself? Athi-Patra Ruga is one of very few artists working in South Africa today who dare to entertain this question. His work glosses over politics in the quotidian sense, only in order to show that there is something more profoundly political at stake: our sense of historical, physical, sexual and psychological place. ”

Excerpt from Alleys, Ellipses and the Eve of Context

By Anthea Buys

... le tete du prophete.

Dakar, Senegal

by Koyo Kouoh

(translated from the original French text by Sandrine Micossé)

The period of the celebration of Abraham’s sacrifice, also called the holiday of the sheep, Eid el Kebir or Tabaski (in Senegal) is a time that attracts and captivates non-Muslim visitors in Dakar. The City transforms itself into a giant sheep market. The public spaces become vending areas.

Athi-Patra Ruga is the second artist with whom I am working who immediately got inspired by this ambiance and environment to create a performance piece in-situ. Here Patra Ruga’s performance revolves entirely around self affirmation – towards others as well as towards oneself. Ruga is a black man, a black South African man, a black overtly homosexual man. He draws from this state, to create the matrix of his multiform oevre.

Athi-Patra Ruga’s work includes performance, video, photography, installation and fashion. He is feeding on his personal experience and is motivated by breaking the rules and norms established in society as well as artistic practice. His work la tête du prophète presented in the streets of Dakar works within these realms and he offers himself to the Senegalese society. In this work a living human head, his own, is rising from a hole cut into the centre of a table, offering a mix of fruits and vegetables. This table is being placed along side the sheep vending spaces that have been installed for the festival in different corners of the city.

Athi-Patra Ruga is offering himself to the sheep and to the looks of baffled by passers. The audience is impressed by the serenity and natural ease with which the artist delivers himself to the appetite of the sheep who are happy to be fed such delicious food . In a discussion, Athi-Patra Ruga told me that he always inquires about the situation of homosexuality . Wherever he goes. Knowing of strong homophobic tendencies in Senegal the artist wishes to offer himself just like a sheep to remove the sins of Senegalese society. The sin in this case becomes homophobia and not homosexuality.

... the body in question series.

ATHI-PATRA RUGA / THE BODY IN QUESTION IV: LA MAMMA MORTA

THE BODY IN QUESTION IV: LA MAMMA MORTA

IN 2008, RUGA WAS COMMISSIONED BY THE HEBBEL AM UFER THEATRES TO DO A SERIES OF PERFORMANCES, WHICH GAVE BIRTH TO THE BODY IN QUESTION SERIES.

“I HAD BEEN TOYING WITH THE IDEA OF MAKING A MEMENTO MORI FOR A DEAD MOTHER WITHOUT BEING SMARMY, ‘EK SÊ’. I SUMMONED THE SKILLS OF GREEK BARITONE/FILM MAKER TELEMACHOS ALEXIOU TO COLLABORATE IN RESCORING AND PERFORMING THE ARIA LA MAMMA MORTA.

I THEN WENT AHEAD TO CREATE THE CHARACTER, MODELING IT ON A FAMOUS MARIA CALLAS PORTRAIT.

MY ORIGINAL GOAL WAS TO USE THE RECURRING THEME OF DISEMBODIMENT, TOGETHER WITH EMBODIED IMAGES OF DISLOCATION TO CREATE AN ACCESSIBLE WORK THAT INTERROGATES IDEAS OF HIV/AIDS TO EVINCE THE CONSTRUCT OF HYPER-FEMININITY.

THE WORK IS DEDICATED TO MY MOTHER AND SISTER.”

© Athi-Patra Ruga and studio [2008]

... pixelated arcadia.

Watussi Queen [after irma stern 1946]
2008
Embroidery Cloth and thread
102cm x 60cm

Watussi Rooi Kombers [after irma stern 1943]
2008
Embroidery Cloth and thread
103.5cm x 60.5cm

Even I Exist in Embo: Jaundiced tales of counterpenetration

Even I Exist In Embo: Jaundiced Tales of counter penetration #10

2007
Lambda print
40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #11

2007
Lambda print
40 x 60cm
Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #9
2007
Lambda print
40 x 60cm
Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #7

2007

Lambda print

40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #8

2007

Lambda print

40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #2

2007

Lambda print

40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #5

2007

Lambda print

40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #3

2007

Lambda print

40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #4

2007

Lambda print

40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert

Even I Exist In Embo: Jaundiced Tales of counter penetration #1

2007

Lambda print

40 x 60cm

Edition of 5 + 2AP

Photo: Oliver Neubert