Page 42 - CATALOGUE FLIPBOOK - Interventions in practice

CHAPTER PREFACE the Taxi art book 004. The photographic series attempts to reimagine the contents of Mo-

Khoza engages, records, captures, constructs, intervenes, and diffuses narratives
CONTENTS both independently and together, reflecting on the ordinary everyday spaces as fokeng’s own personal autobiography and events about his life presented in the lamppost
warehouses of personal and collective memories. He remains curious around the
essay. Secondly, the exhibition is an attempt to investigate the supplementary nature of
photographic images to text, of concern is the complex supplementary relation of pho-
photographic moment, particularly in what comes before and after. Khoza’s sites
tographic images and written text based on the meanings and associations they awaken
have been built for public use and are privately owned. The sites have varying usage
41 42 48 ly any location within the boundaries of Gauteng is potentially privately owned and associations emerge from the experience of the creator(s) of both the photographic im-
in us, when presented. I attempt to highlight the moments at which the meanings and
and access requirements for the public whilst also acknowledging that practical-
inaccessible to the public. The photographic images presented in Lamppost are an
ages and written text (MacDougall 2006: 1).
investigation of Khoza’s explorations of space, place, stasis, and movement. Firstly,
According to Michel de Certeau, (1984) ‘space is a practiced place’. Geometrically de-
fined by urban planning, the street is transformed into space by walkers. In the same way,
the photographic images have been informed by Santu Mofokeng’s lamppost text in
an act of reading the space using the medium of photography produces the practice of a
posts. In addition, lampposts share the same characteristics as space and place which
CHAPTER LAMPPOST: STASIS & CURRICULUM THE LAMPPOST IS USED AS particular place: a written text, i.e. a place constituted by a system of signs such as lamp-
PREFACE MOVEMENT VITAE “ A VEHICLE TO EXPLORE THE resonates with particularity and qualitative density” (Mitchell 2002: ix).
according to Mitchel, “Space has connotations of abstraction and geometry, while place
Thus, the Lamppost is used as a vehicle to explore “the expression of power in the
IN THE LANDSCAPE AS A
Lamppost/Space and Place includes works from the following locations: Runway
INTRODUCTION IMAGES OF WORK ARTIST’S PROFILE EXPRESSION OF POWER landscape as a manifestation of law, prohibition, regulation, and control” (Mitchell 2002: x).
One, I, Rand Airport, Germiston, / Runway One, II, Rand Airport, Germiston, / Vodacom
Artist’s insights Exhibition and awards MANIFESTATION OF LAW, Golf Village, Bedfordview, / Thari Enthso Park, Tembisa, / Gautrain Station, Rhodesfield,
PROHIBITION, REGULATION, Tembisa. / Oakmoor Train Station, Tembisa, I, / Oakmoor Train Station, Tembisa, II.
Acknowledgements Eastgate Parking lot, / Bruma, Makhulong Stadium, Tembisa, St Gemma's Primary School,
” Vodacom Golf Village, Bedfordview. 2011.
AND CONTROL.

— Mitchell 776 mm x 580 mm. Edition of 5 + 2 AP. Pigment ink on cotton paper.

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