Sepuya’s portrait photography, described by the artist as ‘queer modernism’, disrupts the conventions of traditional studio portraiture, to become a site of homoerotic social relations: a space where the roles of artist and subject are constructed and contested. The book exposes Sepuya’s play with artifice and performance as it outlines the development of his visual practice, cataloguing how he uses his own body, and those of his intimate circle of friends and lovers, in ways which challenge notions of power and authorship. Deeply connected with the written word, he found in texts and literature a way to make sense of this ‘gap of language between desired object and desiring subject’ (p.14), the very gap in which his practice is located.
AiW Guest: Tikondwe Kaphagawani Chimkowola. Romeo Oriogun’s Sacrament of Bodies (2020) opens with a quote from Kazim Ali that mourns, “in one place everyone looks like me – has my name – I am the most foreign”. This longing for… Read More ›
In Search of our Shrines: Feminist Healing and the Politics of Love African Feminisms (Afems) 27-29 August 2020 University of Cape Town The fourth edition of the African Feminisms (Afems) conference will be hosted from 27th – 29th August 2020… Read More ›
AiW Guest: Oyedepo Olukotun It is interesting to observe that a number of the 2017 summer exhibitions in London, UK, have coalesced around the storyline of Blackness. On the forefront with this storyline is Tate Modern’s Soul of a Nation:… Read More ›