TEDGlobal 2017
Sethembile Msezane: Living sculptures that stand for history's truths
Setembel Misezan (Sethembile Msezane): Žive skulpture koje predstavljaju istorijske istine
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Readability: 4.3
1,173,604 views
U statuama starim jedan vek koje zaposedaju Kejptaun, Setembel Misezan nije videla ništa što je ličilo na njemu sopstvenu stvarnost. Stoga je ona sama postala živa skulptura i satima neprekidno stoji na javnim mestima obučena u simbolične kostime da bi povratila grad i javne prostore za svoju zajednicu. U ovom moćnom majstorskom govoru, ona deli priče i motivaciju koje stoje iza njenih opčinjavajućih umetničkih izvedbi.
Sethembile Msezane - Artist
Sethembile Msezane deconstructs the act of public commemoration -- how it creates myths, constructs histories, includes some and excludes others. Full bio
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.
Želela bih da na trenutak
zamislite ovo sa mnom.
zamislite ovo sa mnom.
00:12
I'd like for you to take a moment
to imagine this with me.
to imagine this with me.
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00:18
You're a little girl of five years old.
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Mala ste petogodišnja devojčica.
Dok sedite ispred ogledala,
00:22
Sitting in front of a mirror,
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pitate se:
00:23
you ask yourself,
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„Da li postojim?“
00:26
"Do I exist?"
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U ovom prostoru ima veoma malo konteksta,
00:29
In this space, there is
very little context,
very little context,
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00:31
and so you move into a different one,
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tako da se pomerate u drugačiji -
kontekst ispunjen ljudima.
00:34
one filled with people.
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Zasigurno, sada znate da niste
izmišljotina sopstvene mašte.
izmišljotina sopstvene mašte.
00:37
Surely, now you know you're not
a figment of your own imagination.
a figment of your own imagination.
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00:41
You breathe their air.
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Udišete njihov vazduh.
Vidite ih,
00:43
You see them,
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pa mora biti da i oni vide vas.
00:44
so they must see you.
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00:47
And yet, you still can't help but wonder:
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Ipak, ne možete a da se ne zapitate:
„Da li postojim samo
kada mi se ljudi obraćaju?“
kada mi se ljudi obraćaju?“
00:52
Do I only exist when people speak to me?
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Prilično teške misli
za jedno dete, zar ne?
za jedno dete, zar ne?
00:57
Pretty heavy thoughts for a child, right?
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Međutim, kroz raznovrsna umetnička dela
koja odražavaju naše društvo,
koja odražavaju naše društvo,
01:01
But through various artworks
that reflect upon our society,
that reflect upon our society,
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shvatila sam kako mala
crna devojčica može odrasti
crna devojčica može odrasti
01:05
I came to understand
how a young black girl can grow up
how a young black girl can grow up
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osećajući kao da je neprimećena
ili da možda ne postoji.
ili da možda ne postoji.
01:09
feeling as if she's not seen,
and perhaps she doesn't exist.
and perhaps she doesn't exist.
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Vidite, ako mladi ljudi nemaju
pozitivnu sliku o sebi
pozitivnu sliku o sebi
01:16
You see, if young people don't have
positive images of themselves
positive images of themselves
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i ako su negativni stereotipi
sve što preostaje,
sve što preostaje,
01:20
and all that remains
are negative stereotypes,
are negative stereotypes,
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to utiče na sliku o njima samima.
01:23
this affects their self-image.
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01:26
But it also affects the way
that the rest of society treats them.
that the rest of society treats them.
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Ali, to takođe utiče na način na koji se
ostatak društva ponaša prema njima.
ostatak društva ponaša prema njima.
Ovo sam otkrila dok sam živela
u Kejptaunu oko pet godina u to vreme.
u Kejptaunu oko pet godina u to vreme.
01:31
I discovered this
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01:32
having lived in Cape Town
for about five years at the time.
for about five years at the time.
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Imala sam dubok osećaj
nepripadanja i nevidljivosti.
nepripadanja i nevidljivosti.
01:37
I felt a deep sense
of dislocation and invisibility.
of dislocation and invisibility.
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Nisam mogla da vidim
da sam bila predstavljena.
da sam bila predstavljena.
01:43
I couldn't see myself represented.
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01:46
I couldn't see the women who've raised me,
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Nisam mogla da vidim žene
koje su me odgojile,
koje su me odgojile,
one koje su uticale na mene
01:49
the ones who've influenced me,
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i one koje su učinile Južnu Afriku
onim što je danas.
onim što je danas.
01:51
and the ones that have made
South Africa what it is today.
South Africa what it is today.
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01:54
I decided to do something about it.
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Odlučila sam da uradim
nešto po tom pitanju.
nešto po tom pitanju.
Šta mislite kada vidite ovo?
01:59
What do you think when you see this?
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Da ste crna devojčica,
02:03
If you were a black girl,
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kako biste se osećali?
02:05
how would it make you feel?
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02:09
Walking down the street,
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Šetajući ulicom,
šta vam grad u kojem živite govori?
02:11
what does the city you live in say to you?
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02:15
What symbols are present?
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Koji simboli su prisutni?
02:17
Which histories are celebrated?
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Koje istorije se proslavljaju?
02:20
And on the other hand,
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A, sa druge strane,
02:21
which ones are omitted?
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koje su izostavljene?
02:23
You see, public spaces are hardly
ever as neutral as they may seem.
ever as neutral as they may seem.
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Vidite, javna mesta su jedva ikada
neutralna kao što možda izgledaju.
neutralna kao što možda izgledaju.
02:28
I discovered this when I made
this performance in 2013 on Heritage Day.
this performance in 2013 on Heritage Day.
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Otkrila sam ovo kada sam imala izvedbu
2013. godine na Dan nasleđa.
2013. godine na Dan nasleđa.
Kejptaun je prepun arhitekture, spomenika
i statua posvećenih muškarcima,
i statua posvećenih muškarcima,
02:36
Cape Town is teeming
with masculine architecture,
with masculine architecture,
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02:41
monuments and statues,
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kao što je Luis Bota na ovoj fotografiji.
02:43
such as Louis Botha in that photograph.
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Ovo očito prisustvo muških belih
kolonizatora i afrikanerskih nacionalista
kolonizatora i afrikanerskih nacionalista
02:46
This overt presence of white colonial
and Afrikaner nationalist men
and Afrikaner nationalist men
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02:52
not only echoes a social,
gender and racial divide,
gender and racial divide,
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ne samo da potvrđuje društvenu,
polnu i rasnu podeljenost,
polnu i rasnu podeljenost,
02:58
but it also continues to affect
the way that women --
the way that women --
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već takođe i nastavlja
da utiče na način na koji žene -
da utiče na način na koji žene -
03:03
and the way, particularly, black women --
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naročito crne žene -
03:06
see themselves in relation
to dominant male figures
to dominant male figures
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vide sebe u odnosu
na dominantne muške figure
na javnim mestima.
na javnim mestima.
03:12
in public spaces.
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Zbog ovog razloga, između ostalih,
03:17
For this reason, among others,
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ne mislim da su nam statue potrebne.
03:19
I don't believe that we need statues.
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03:22
The preservation of history
and the act of remembering
and the act of remembering
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Očuvanje istorije i čin sećanja
se može postići na znamenitije
i efektivnije načine.
i efektivnije načine.
03:26
can be achieved in more memorable
and effective ways.
and effective ways.
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03:32
As part of a year-long
public holiday series,
public holiday series,
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Kao deo jednogodišnje serije
tokom državnih praznika
tokom državnih praznika
koristim umetnost performansa
kao oblik društvenog komentara
kao oblik društvenog komentara
03:36
I use performance art
as a form of social commentary
as a form of social commentary
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03:40
to draw people's attention
to certain issues,
to certain issues,
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da skrenem pažnju ljudi
na određene probleme,
na određene probleme,
kao i da se pozabavim
nedostatkom crnog ženskog tela
nedostatkom crnog ženskog tela
03:43
as well as addressing the absence
of the black female body
of the black female body
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03:49
in memorialized public spaces,
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na ovekovečenim javnim mestima,
03:51
especially on public holidays.
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naročito u vreme državnih praznika.
03:55
Women's Day was coming up.
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Dan žena se približavao.
03:57
I looked at what the day means --
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Istražila sam šta taj dan znači -
03:59
the Women's March
to the union buildings in 1956,
to the union buildings in 1956,
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marš žena na zgrade vlade 1956. godine
04:04
petitioning against the pass laws.
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koje podnose peticiju
protiv zakona o segregaciji.
protiv zakona o segregaciji.
04:08
Juxtaposed with the hypocrisy
of how women are treated,
of how women are treated,
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Zajedno sa licemerjem
u ophođenju prema ženama,
u ophođenju prema ženama,
04:12
especially in public spaces today,
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naročito na javnim mestima
u sadašnje vreme,
u sadašnje vreme,
04:15
I decided to do something about it.
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odlučila sam da učinim
nešto po tom pitanju.
nešto po tom pitanju.
04:19
Headline:
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Naslov:
[Žena u mini suknji napadnuta
na taksi stajalištu.]
na taksi stajalištu.]
04:21
[Women in miniskirt attacked at taxi rank]
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Kako da reagujem
na takve potpune suprotnosti?
na takve potpune suprotnosti?
04:29
How do I comment on such polar opposites?
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04:33
In the guise of my great-grandmother,
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Prerušena u svoju prabaku,
04:35
I performed bare-breasted,
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nastupila sam golih grudi
u blizini taksi stajališta u Kvalangi.
04:37
close to the taxi rank in KwaLanga.
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04:41
This space is also called Freedom Square,
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Ovaj prostor se takođe zove Trg slobode,
gde su žene bile deo demonstracija
protiv aparthejda.
protiv aparthejda.
04:43
where women were a part of demonstrations
against apartheid laws.
against apartheid laws.
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04:49
I was not comfortable with women
being seen as only victims in society.
being seen as only victims in society.
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Nije mi prijalo da se žene doživljavaju
jedino kao žrtve u društvu.
jedino kao žrtve u društvu.
04:56
You might wonder
how people reacted to this.
how people reacted to this.
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Možda se pitate
kako su ljudi reagovali na ovo.
kako su ljudi reagovali na ovo.
04:59
(Video) Woman: (Cheering)
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(Video) Žena: (Kliče)
05:03
Woman 2 (offscreen): Yes!
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Žena 2 (van ekrana): Da!
05:13
Sethembile Msezane: Pretty cool, huh?
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Setembel Misezan: Prilično kul, zar ne?
05:16
(Applause)
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(Aplauz)
Shvatila sam da svojim nastupima
05:19
So I realized that through
my performances,
my performances,
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mogu da nateram obične ljude
da kritički razmisle o svom društvu,
da kritički razmisle o svom društvu,
05:22
I've been able to make regular people
reflect upon their society,
reflect upon their society,
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05:27
looking at the past
as well as the current democracy.
as well as the current democracy.
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sagledavajući kako prošlu
tako i sadašnju demokratiju.
tako i sadašnju demokratiju.
(Video) Čovek (van ekrana):
Ovde je od tri sata.
Ovde je od tri sata.
05:31
(Video) Man (offscreen):
She's been there since three o'clock.
She's been there since three o'clock.
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Čovek 2 (van ekrana): Od nešto pre tri.
Oko sat vremena nepomična?
Oko sat vremena nepomična?
05:34
Man 2 (offscreen): Just before three.
About an hour still?
About an hour still?
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Čovek 1: Da. Zaista je topao dan.
05:37
Man 1: Yeah. It's just a really hot day.
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05:45
Man 1: It's very interesting.
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Čovek 1: Veoma je zanimljivo.
05:47
It's very powerful.
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Veoma je moćno.
Mislim da je odlično.
05:50
I think it's cool.
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05:54
I think a lot of people
are quick to join a group
are quick to join a group
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Mislim da je mnogo ljudi spremno
da se brzo pridruži grupi
da se brzo pridruži grupi
05:59
that's a movement towards something,
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koja je pokret ka nečemu,
ali nisu mnogi spremni
da urade nešto kao pojedinci.
da urade nešto kao pojedinci.
06:01
but not many people are ready
to do something as an individual.
to do something as an individual.
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Čovek 1: Dakle, u pitanju je
pojedinac protiv grupe.
pojedinac protiv grupe.
06:07
Man 2: So it's the individual
versus the collective.
versus the collective.
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Čovek 2: Da.
06:09
Man 1: Yeah.
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Mislim da njeno forsiranje
lične poruke u nastupu...
lične poruke u nastupu...
06:10
So I think her pushing her own
individual message in performance ...
individual message in performance ...
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06:17
it's powerful.
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moćno je.
06:20
Yeah, I think it's quite powerful
that she's doing it on her own.
that she's doing it on her own.
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Da, mislim da je prilično moćno
da to radi sama.
da to radi sama.
Zanimalo bi me da znam
zašto koristi umetke kose kao krila
zašto koristi umetke kose kao krila
06:25
I'd be interested to know why
she's using hair extensions as wings,
she's using hair extensions as wings,
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ili šta god te stvari treba da budu.
06:29
or whatever those things are meant to be.
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To su krila, zar ne?
06:34
They are wings, yes?
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Žena 3: Time što ona
upravo sada stoji tamo,
upravo sada stoji tamo,
06:38
Woman 3: With her standing
there right now,
there right now,
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06:41
I think it's just my interpretation
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mislim, a to je samo moja interpretacija,
06:45
that we are bringing the statue down
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da uklanjamo tu statuu
06:48
and bringing up something
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i uzdižemo nešto
što treba da predstavlja
ponos Afrike, mislim.
ponos Afrike, mislim.
06:50
that's supposed to represent
African pride, I think.
African pride, I think.
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Ili nešto tako.
06:55
Or something like that.
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Nešto treba da stoji dok Rouds pada.
06:57
Something should stand while Rhodes falls,
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Mislim da ona to poručuje. Da.
07:01
I think that's what it's saying. Yeah.
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07:04
Yes. Thank you.
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Da. Hvala.
Čovek 3: Ono što je iza mene
predstavlja afričku kulturu.
predstavlja afričku kulturu.
07:05
Man 3: What is behind me
represents the African culture.
represents the African culture.
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07:09
We can't have the colonialist law,
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Ne možemo imati kolonijalni zakon,
07:11
so we need to remove
all these colonial statues.
all these colonial statues.
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tako da moramo ukloniti
sve ove kolonijalne statue.
sve ove kolonijalne statue.
07:14
We have have our own statues now,
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Mi sada imamo svoje sopstvene statue,
07:17
our African leaders --
Bhambatha, Moshoeshoe, Kwame Nkrumah --
Bhambatha, Moshoeshoe, Kwame Nkrumah --
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naše afričke vođe: Bambatu,
Mušešea, Kvam Kruma -
Mušešea, Kvam Kruma -
sve one koji su platili svojim životima
za naše oslobođenje.
za naše oslobođenje.
07:22
all those who paid their lives
for our liberation.
for our liberation.
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07:26
We can't continue in the 21st century,
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Ne možemo nastaviti u 21. veku
i posle 21 godine demokratije
07:28
and after 21 years of democracy,
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da imamo kolonizatore u našoj državi.
07:30
have the colonizers in our own country.
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Oni pripadaju negde.
Možda u muzeju; ne ovde.
Možda u muzeju; ne ovde.
07:33
They belong somewhere.
Maybe in a museum; not here.
Maybe in a museum; not here.
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Mislim na ustanove učenja,
mesta gde se mladi ljudi,
mesta gde se mladi ljudi,
07:36
I mean learning institutions,
places where young people,
places where young people,
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07:39
young minds are being shaped.
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mladi umovi oblikuju.
07:40
So we cannot continue to have Louis Botha,
Rhodes, all these people,
Rhodes, all these people,
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Stoga ne možemo nastaviti
da imamo Luisa Botu, Roudsa, sve ove ljude
da imamo Luisa Botu, Roudsa, sve ove ljude
jer oni predstavljaju kolonijalizam.
07:45
because they're representing
the colonialism.
the colonialism.
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07:50
(Applause)
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(Aplauz)
07:56
Sethembile Msezane: On April 9, 2015,
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SM: Dana 9. aprila 2015. godine
07:59
the Cecil John Rhodes statue
was scheduled to be removed
was scheduled to be removed
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planirano je uklanjanje
statue Džona Sesila Roudsa
statue Džona Sesila Roudsa
nakon jednomesečne debate
za i protiv uklanjanja
za i protiv uklanjanja
08:03
after a month of debates
for and against its removal
for and against its removal
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od strane raznih zainteresovanih strana.
08:07
by various stakeholders.
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Ovo je prouzrokovalo rasprostranjeno
interesovanje za statue u Južnoj Africi.
interesovanje za statue u Južnoj Africi.
08:10
This caused a widespread interest
in statues in South Africa.
in statues in South Africa.
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08:15
Opinions varied, but the media
focused on problematizing
focused on problematizing
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Mišljenja su bila različita,
ali su se mediji usredsredili
ali su se mediji usredsredili
na problematizovanje ukljanjanja statua.
08:20
the removal of statues.
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08:25
On that -- well, that year,
I had just begun my master's
I had just begun my master's
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Te godine sam počela magistarske studije
na univerzitetu u Kejptaunu.
08:28
at the University of Cape Town.
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08:32
During the time
of the debate of the statue,
of the debate of the statue,
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U vreme debate oko statua
ponavljali su mi se snovi
08:35
I had been having reoccurring dreams
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o ptici,
08:39
about a bird.
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te sam počela da je prizivam
08:41
And so I started conjuring her
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08:44
mentally, spiritually and through dress.
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mentalno, duhovno i načinom oblačenja.
Tog dana,
08:50
On that day,
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desilo se da sam imala sastanak
sa svojim mentorima
sa svojim mentorima
08:51
I happened to be having
a meeting with my supervisors,
a meeting with my supervisors,
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08:55
and they told me that the statue
was going to fall on that day.
was going to fall on that day.
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i oni su mi rekli
da će statua pasti tog dana.
da će statua pasti tog dana.
Rekla sam im da ću objasniti kasnije,
09:00
I told them that I'd explain later,
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09:02
but we had to postpone the meeting
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ali da smo morali da odložimo sastanak
jer sam planirala izvedbu ptice
za vreme uklanjanja statue.
za vreme uklanjanja statue.
09:04
because I was going to perform her
as the statue came down.
as the statue came down.
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09:09
Her name was Chapungu.
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Njeno ime je bilo Čepungu.
Bila je ptica od krečnjaka ukradena
kao ratni plen iz grada Velikog Zimbabvea
kao ratni plen iz grada Velikog Zimbabvea
09:11
She was a soapstone bird
that was looted from Great Zimbabwe
that was looted from Great Zimbabwe
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09:15
in the late 1800s,
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krajem 19. veka,
09:17
and is still currently housed
in Cecil John Rhodes's estate
in Cecil John Rhodes's estate
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a i dalje se nalazi na imanju
Džona Sesila Roudsa u Kejptaunu.
Džona Sesila Roudsa u Kejptaunu.
09:21
in Cape Town.
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Toga dana sam otelovila njeno postojanje
koristeći svoje telo
koristeći svoje telo
09:24
On that day,
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09:25
I embodied her existence using my body,
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dok sam stajala na gorućem suncu
skoro četiri sata.
skoro četiri sata.
09:29
while standing in the blazing sun
for nearly four hours.
for nearly four hours.
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Kada je došlo vreme,
09:35
As the time came,
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kran je oživeo.
09:37
the crane came alive.
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09:39
The people did, too --
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Takođe su i ljudi -
09:41
shouting,
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vikali su,
vrištali su,
09:42
screaming,
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09:43
clenching their fists
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stiskali su pesnice
09:45
and taking pictures of the moment
on their phones and cameras.
on their phones and cameras.
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i fotografisali su taj momenat
telefonima i foto-aparatima.
telefonima i foto-aparatima.
09:49
Chapungu's wings,
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Čepungina krila su se,
09:51
along with the crane,
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zajedno sa kranom,
09:52
rose to declare the fall
of Cecil John Rhodes.
of Cecil John Rhodes.
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raširila da proglase
pad Džona Sesila Roudsa.
pad Džona Sesila Roudsa.
09:59
(Applause)
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(Aplauz)
10:04
Euphoria filled the air
as he became absent from his base,
as he became absent from his base,
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Euforija je ispunila vazduh
kada je on nestao za postolja
kada je on nestao za postolja
dok je ona ostala nepomična,
10:08
while she remained still,
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10:12
very present,
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veoma prisutna
pola sata nakon njegovog uklanjanja.
10:13
half an hour after his removal.
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Dvadeset tri godine nakon aparthejda,
10:18
Twenty-three years after apartheid,
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10:21
a new generation of radicals
has arisen in South Africa.
has arisen in South Africa.
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nova generacija radikala
se uzdigla u Južnoj Africi.
se uzdigla u Južnoj Africi.
10:24
The story of Chapungu and Rhodes
in the same space and time
in the same space and time
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Priča o Čepungu i Roudsu
na istom mestu u isto vreme
na istom mestu u isto vreme
10:29
asks important questions
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postavlja mnoga pitanja
10:31
related to gender,
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vezana za pol,
10:34
power,
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moć,
10:35
self-representation,
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samopredstavljanje,
10:37
history making
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pravljenje istorije
10:38
and repatriation.
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i repatrijaciju.
Nakon toga sam shvatila
10:43
From then on,
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10:44
I realized that my spiritual
beliefs and dreams
beliefs and dreams
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da moja duhovna verovanja i snovi
10:49
texture my material reality.
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oslikavaju moju materijalnu stvarnost.
Međutim, za mene, Čepungina priča
je delovala nedovršeno.
je delovala nedovršeno.
10:53
But for me, Chapungu's story
felt incomplete.
felt incomplete.
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10:56
This soapstone bird,
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Ovoj ptici od krečnjaka,
10:58
a spiritual medium and messenger
of God and the ancestors,
of God and the ancestors,
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duhovnom mediju
i glasniku bogova i predaka,
i glasniku bogova i predaka,
sam trebala da nastavim njenu priču.
11:02
needed me to continue her story.
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Stoga sam se još malo pozabavila snovima
11:05
And so I dabbled in the dream space
a little bit more,
a little bit more,
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11:10
and this is how "Falling" was born.
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i tako je rođeno „Padanje“.
11:19
[A film by Sethembile Msezane]
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[Film Setembel Misezan]
11:20
(Video) (A capella singing)
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(Video) (Pevanje bez muzike)
11:51
[FALLING]
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[Padanje]
(Aplauz)
11:58
(Applause)
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U filmu Zimbabve, Južna Afrika
i Nemačka dele zajedničku priču
i Nemačka dele zajedničku priču
12:02
In the film,
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12:03
Zimbabwe, South Africa and Germany
share a common story
share a common story
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o pticama od krečnjaka ukradenim
kao ratni plen iz grada Velikog Zimbabvea.
kao ratni plen iz grada Velikog Zimbabvea.
12:07
about the soapstone birds
that were looted from Great Zimbabwe.
that were looted from Great Zimbabwe.
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12:12
After Zimbabwe gained its independence,
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Nakon što je Zimbabve stekao nezavisnost,
12:14
all the birds except for one
were returned to the monument.
were returned to the monument.
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sve ptice osim jedne
su vraćene na spomenik.
su vraćene na spomenik.
12:19
"Falling" explores the mythological belief
that there will be unrest
that there will be unrest
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„Padanje“ ispituje mitološko verovanje
da će biti nereda
da će biti nereda
12:24
until the final bird is returned.
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dok se poslednja ptica ne vrati.
Kroz svoj rad
12:28
Through my work,
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12:30
I have realized a lot
about the world around me:
about the world around me:
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shvatila sam puno o svetu oko sebe:
12:34
how we move through spaces,
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kako se krećemo kroz prostore,
12:37
who we choose to celebrate
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koga biramo da slavimo
i koga se sećamo.
12:39
and who we remember.
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12:42
Now I look in the mirror
and not only see an image of myself,
and not only see an image of myself,
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Sada gledam u ogledalo
i ne vidim samo svoj lik
i ne vidim samo svoj lik
12:46
but of the women
who have made me who I am today.
who have made me who I am today.
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već i likove žena koje su me učinile
onakvom kakva sam danas.
onakvom kakva sam danas.
12:50
I stand tall in my work,
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Stojim uspravno u svom radu
slaveći istorije žena
12:53
celebrating women's histories,
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u nadi da možda jednoga dana
12:56
in the hope that perhaps one day,
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12:59
no little black girl has to ever feel
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nijedna mala crna devojčica neće
nikada morati da se oseća
nikada morati da se oseća
13:02
like she doesn't exist.
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kao da ne pripada.
13:04
Thank you.
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Hvala.
13:05
(Applause)
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(Aplauz)
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