Dear Fusia by Ruth Rosengarten

Exhibition opens on Monday, 10 October 2016 at 17h30 for 18h00

Opening address by Terry Kurgan

The exhibition is hosted by the South African Research Chair in South African Art and Visual Culture, University of Johannesburg

Dear Fusia is an ongoing body of work using photographs that Rosengarten kept from her deceased mother’s belongings. The artist reflects on her fascination with the findings, considering them “as time capsules … holding long-vanished moments in my own pre-history”. READ MORE//


Installation View, The Front Room Inna Joburg by Michael McMillan. Photo: Thys Dullaart

The Front Room Inna Joburg by Michael McMillan

 30 July  – 26 August 2016, FADA Gallery

In THE FRONT ROOM ‘INNA JOBURG’ installation, UK based writer-artist-curator Michael McMillan recreates a traditional African-Caribbean family front room, where creolised material culture meets memory with bittersweet pride. In his recreated domestic interior, McMillan, who is British born of Caribbean migrant heritage, invokes his childhood experiences, as well as those of his family and their generation as they attempted to create a West Indian identity as immigrants in England during the 1960s. READ MORE//

Installation View, The Arrivants by Christine Checinska. Photo: Thys Dullaart

THE ARRIVANTS by Christine Checinska

 30 July  – 26 August 2016, FADA Gallery

In THE ARRIVANTS exhibition, UK-based artist-designer-academic Christine Checinska investigates the relationship between culture, race and dress. The conceptual departure point for the work is the 1948 arrival of the Empire Windrush at London’s Tilbury Docks carrying some 500 Jamaican migrants – colonial subjects invited by the government to assist in rebuilding post-war Britain – hoping to make a better life in the ‘Mother Country’. READ MORE//


Hypersampling Identities, Jozi Style

Image of Poster

FADA Gallery, Bunting Road Campus, Auckland Park, University of Johannesburg,

October 2015

The exhibition features work by contemporary sartorial groups such as the Sbhujwas and Izikothane; young, street-savvy design collectives including the Sartists, the Smarteez, Dear Ribane II3 and Khumbula; and individuals such as Dr Pachanga and Jamal Nxedlana, working in the urban Afropolitan environs of Jozi. Many of these cultural practitioners draw on or reference fashion styles of more established South African subcultural groups, specifically the Pantsulas and Swenkas. As sub-cultures originating in the 1970s, Pantsula and Swenking have contemporary relevance, not only as they are currently active, but also because both have created particular images of male black identities in apartheid and post-apartheid South Africa, two prominent ones being the ‘streetwise gangster-with-a-heart’ (the Pantsulas) and the ‘perfect gentleman’ (the Swenkas). READ MORE//


Prof Rovine Public Lecture
Cover play by MFR - L_R

Book Launch of Power Politics and the Emotions: Impossible Governance? By Prof. Shona Hunter

APK Library Auditorium (6th Floor), University of Johannesburg, Kingsway Campus, Auckland Park, Johannesburg

 6th April 2016

Offering a provocative and innovative theorisation of governance as relational politics, the central argument of Power, Politics and the Emotions is that there are sets of affective dynamics which complicate the already materially and symbolically contested terrain of policy-making. READ MORE//


CFP Image for websiteIn essays for this special edition of Critical Arts, writers are invited to consider ways in which the sartorial (hereafter referred to using Carol Tulloch’s (2010:274) tripartite structure of “style-fashion-dress”)[1] can be used as a means by which identities and subjectivities – specifically those of African and African Diasporic masculine subjects (hereafter also referred to as ‘black[2] masculinities’[3]) – are imagined, constructed, produced, marketed, disseminated, received, and consumed. READ MORE//


Image Caption: Brixton Boyz, photographer Jennie Baptiste, 2001, V&A Museum no. E.971-2010

Sagging, String Vets and the Doo-Rag: Black men’s tales from their undergarments
Friday 18 November 2016, 18.30 – 21.30, Victoria & Albert Museum, London

In celebration of the exhibition Undressed: A Brief History of Underwear, writer and curator Dr Christine Checinska, playwright, artist and curator Dr Michael McMillan, and photographer Jennie Baptiste will discuss the cultural politics and the numerous statements behind ‘Saggers’ and ‘Sagging’ as a symbol of freedom, defiance, and activism, that run counter to society’s conventional norms, through talks, costume and cloth, workshops, footage and music. READ MORE//

We welcome Natasha Himmelman as VIAD’s latest Research Associate
AK_photo Black & White
Book Launch of
The Feminist Uncanny in Theory and Art Practice by Alexandra Kokoli (Bloomsbury Academic, 2016)

Institute of Contemporary Arts (ICA)
12 Carlton House Terrace, London, UK

16 September 2016

The Feminist Uncanny in Theory and Art Practice investigates the widely debated, deeply flawed yet influential concept of the uncanny through the lens of feminist theory and contemporary art practice. Not merely a subversive strategy but a cipher of the fraught but fertile dialogue between feminism and psychoanalysis, the uncanny makes an ideal vehicle for an arrangement marked by ambivalence and acts as a constant reminder that feminism and psychoanalysis are never quite at home with one another. READ MORE//


Special Edition Critical Arts Journal

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Special Edition Critical Arts Journal: South-North Media Studies: ‘Archival Address: Photographies, practices and positionalities’

This special edition of the Critical Arts Journal (published 30th October 2015) edited by Dr Leora Farber, Director VIAD, comes out of the work relating to the Past Imperfect//Future Present conference, hosted by VIAD in March 2015, University of Johannesburg, and includes articles by some of the invitees to this event.