Influential shape-shifter and twofold artist-photographer, Soweto-born Fhatuwani Mukheli debuts first solo show in Cape Town

Jul 25, 2022 | Art

This July, Kindred Gallery brings to life an inceptive edition to their Winter exhibition programming, following the success of their first Summer exhibition, (Hopeless) Traumantic by Koooooos which unfolded earlier this year. Shaking up Cape-Town’s local art scene – in the very best way possible – is all part of the indispensable mix for Double Exxposure, a not-to-miss solo show curated by Samantha Whittaker, and creative duo Jana Hamman and Koos Groenewald (Jana and Koos).

On the evening of 30 July 2022, Cape Town will play host to a gripping solo exhibition by well-respected multimedia artist Fhatuwani Mukheli that both embraces and champions the mysteries of double meanings. As artists, there is always an ardent and intrinsic need to create. This dedication flows through the mind and spirit of any artist. Mukheli etches this philosophy of art into his work and has established himself as the reigning prince of story-telling within Johannesburg’s local art scene. Double Exxposure takes on inspiration from the various aspects of the artist’s personal life which involve duality and juxtaposition: his photography background, being a twin, being a “character” in the influencer world whilst being someone else in real life. Here, Fhatuwani moves away from the palpable narratives that characterised his previous bodies of work. Instead, the artist’s new body of mixed media objects are what usher into a new chapter of introspective experimentation.

Double Exxposure is the very first product of an artist residency experiment, a collaboration between Kindred Gallery and the Gorgeous George Hotel. For Kindred, the future beholds collaborations of the same calibre.

Located at St George’s Mall in Cape Town’s CBD, Gorgeous George has offered its space for the duration of the residency, where for the month of July, Mukheli will work towards his final exhibition. An artist on the cusp of his creative inter-exploration phase, he will experiment with completely new mediums, the outcome of which we can expect to see at the exhibition opening event. Running alongside the sociability of music, DJs and drinks that comprise the launch to this freshly conceived Double Exxposure exhibition, a single RSVP unlocks entry to the exhibition opening event. The event is not just for art enthusiasts – the culturally curious from all walks of life are invited to benefit from what’s on offer. Founder of Kindred, Ryan Brüssow says, “Art is a playground for the mind. Kindred wants to create better playgrounds for everyone that loves art. Fhatuwani gave us that instant chemistry with his work, ethos and outlook on life.” The exhibition opening event takes place on 30 July 2022, from 15:00  at Gorgeous George in their new venue, the Pink Room. The exhibition will remain up at Gorgeous George until the end of August 2022, with more details to follow subsequent to a public programming schedule announcement that will be released in the coming weeks for those who missed the opening weekend. With limited space – registration is essential to avoid disappointment. Please RSVP to [email protected] at your earliest convenience.

For more information about Kindred Gallery:

Please visit https://kindredprints.com, contact +27 (0)11 549 8300 or email [email protected].
Follow Kindred Gallery on social media:
Facebook: https://www.facebook.com/shopkindredprints/ – @shopkindredprints
Instagram: https://www.instagram.com/kindred.prints/?hl=en – @kindred.prints

 

About Kindred Gallery:

Kindred Prints was born to democratise art, and Kindred Gallery is a byproduct of this freedom to produce and share art. It’s an anything-goes kind of space, that is home to alternative artists who produce work bigger, weirder and more complex than just print. Our seasonal exhibitions will blur the boundaries of art~culture, and connect creators to a new kind of artlover and buyer. The Double Exxposure exhibition and exhibition opening event are proudly brought to you by Kindred Gallery in partnership with Gorgeous George Hotel.

 

About Gorgeous George Hotel:

Local design and boundary-pushing innovation meet at Gorgeous George, the new hotel in the heart of downtown Cape Town. Whether you stay for one night or two weeks, it is the ultimate destination to truly experience the Mother City like a local. Created out of two beautifully restored heritage buildings, Gorgeous George is the first in Cape Town to join the Design Hotels™ stable, a hand-selected worldwide collection of privately owned and operated design forward and culturally rooted hotels. The city is on our doorstep, but you may find it hard to leave. Ascend the marble staircase to the 6th floor and blow off some steam at the rooftop pool and Gigi restaurant & bar. This is the 021, where friends come to stay and play. This is Gorgeous George.
MEDIA RELEASE ISSUED BY: Lianca Heemro – [email protected]

Fhatuwani Mukheli begins his Reign as an Artist

Jul 21, 2022 | Interviews, Art

Fhatuwani Mukheli has an air of unbridled joy about him – infectiously positive and determined, as a national treasure and indelible influencer who continues to drive the possibilities of his life beyond further and further. His life’s work has been channeled through varying roles as a photographer, creative director, film-maker and co-founder of varying spaces; and still, he has added another layer of transformation to his creative arsenal; Fhatuwani as an artist – the culmination of all these roles before him. This term, descript in its essence of conveying creativity, is traditional in this context for Fhatuwani’s growth; this new frontier is as a fine-artist: the summit of all Fhatuwani has learned and achieved thus far in his career, While this may appear “new” to his followers and community, in fact, Fhatuwani’s entry into art is a return to his inner-child; in which drawing and painting formed an intrinsic part of his childhood from 7 years old. Encouraged by his twin brother, Justice Mukheli, and his closest friends, to seize this metamorphosis fully – Fhatuwani’s entry into being an artist is his entry into a space of vulnerability, a space that has been carefully nurtured since lockdown 2020 – and now, Fhatuwani is ready to share it with the world at large. In collaboration with Kindred Gallery and Gorgeous George Hotel, Fhatuwani’s first residency will culminate in his first solo show – Double Exxposure. 

Samantha Whittaker, Jana Hamman and Koos Groenewald joined Kindred Gallery and its owner Ryan Brüssow to co-curate and bring this show to its fruition; a project that has come to be a successful study in intentional collaboration and synergy of their shared vision. In conversation with Fhatuwani at the iconic Gigi’s rooftop, we discuss this precious moment for Fhatuwani – delving into the heart of the theme of Double Exxposure, artistic expression as the center from which Fhatuwani has always expressed himself – and that all before this has been preparation for Fhatuwani’s emergence as a critically important South African fine artist.

“I had moved into my new apartment and then the lockdown hit, and I couldn’t leave – like all of us. I was bored, but with that came this time of introspection; I found myself asking, who am I? What do I really enjoy? When there’s no one around me, what is it that I feel? Art and drawing is my first love. Justice and I started doing art when we were 7 years old; we saw our dad draw a portrait of us on cassette tape paper, and he was playing jazz and smoking cigarettes. That portrait that he drew, of the three of us, was our first experience of ourselves as artistic or creative; it opened up a curiosity that continues to this day, and that has guided both Justice and I through everything. I was feeling a  bit anxious or low during lockdown – and between my two loves of art and gymnastics – art seemed to be the most accessible at that moment. I couldn’t do a backflip in my apartment at that time, so art was what I knew could bring a sense of healing and therapy.” Fhatuwani’s admission of this contrast between gymnastics and art as his central passion are concise and sincere in describing his yearning for balance in both body and mind. Fhatuwani is focused on movement – whether it’s in his unfolding career, or challenging his physical body – or guiding his hands to spill forth his inner world. “I started drawing on paper, and it was so therapeutic. It got me back in touch with my inner child – and I felt like that kid who was drawing and getting better at it. It’s the pure excitement of drawing a face a bit better each time. I shared what I was doing with Justice, and invited him to paint and draw, and just chill, like we used to. I think that’s why this experience has evolved into something so special; because it has come from the innocence of my inner-child and curiosity about people and the world.” Fhatuwani shares openly with his community of 77k followers – conveying the aspirational aspects of his life like traveling around the world, brand partnerships – but also of himself, too. Fhatuwani is as delighting offline as he is online – so when he shared his drawings on Instagram during lockdown, it piqued the interest of a woman in the US. The first drawing he sold was to her – and this set his artistic expression in full motion, beyond the privacy of his own therapeutic healing. Although this led money to be quite motivating – particularly during the onset of the pandemic, in which everyone was hit financially – Fhatuwani had to re-establish his intentions for sharing his art, on this he says “I started making more, and after selling some and then hitting a quiet spot where no one was interested – I started feeling weird again, or self-conscious. You need to just do it for you – I had to remind myself – money will come, and it does add value, but I have to remember that this is for my therapy and health. It’s for centering myself, everything else is such a bonus and blessing.”

Fhatuwani has since moved his practice to a studio at 44 Stanley in Johannesburg – a growing hub that supports the creative and entrepreneurial spirit that is brimming in the city. He shares the space with Justice, and has never looked back; “I am living my dream, now. I have for a long time, but being able to feel and be a professional artist is a full circle moment for me. It’s a letter to my younger self. The universe is showing me that I can do it. My work is healing me, too. What more could I ever want? I am having that conversation with my younger self, and I’m having my second childhood. I also think this time is about sharing the complexities of who I am – you know, I am about positivity, and Justice and I focus on sharing that spirit with everyone – but we have had hardships and trauma, and there are times when I feel low or am dealing with things that are complicated. Having a broken family when our dad left us, sparked a problem-solving way of life for Justice and I – but that doesn’t mean it hasn’t hurt. My art is a way of showing that side of myself, too; the whole of Fhatuwani. In doing that, I hope we can create space for the full truth of who people are and what we all have to experience in this life.” 

Fhatuwani’s upcoming showcase at the new Pink Room at Gorgeous George Hotel delves into the duality and double meanings in life; the contrast and similarities, the clarity and mystery, of being a twin – an influencer – and of being a photographer and now an artist – and it deals with Fhatuwani’s innate viewpoint of people and memories; translating his exceptional grasp of form behind the lens, to mixed medium depictions of his inner-world. Co-curator Koos Groenewald comments on the richness of this subject, “Double Exxposure is a photographic term, but it’s quite nice to claim it as an artistic term in this context. The great thing about a strong concept is that it reveals itself to you as the process unfolds; funnily, when we first started talking, someone mentioned that “oh, yes because they’re twins!” and we were blown away – we hadn’t even thought of it. I think it speaks to Fhatuwani’s individuation from being a twin, or a co-founder – and into a space that is his own, but inevitably brings all of that with him as the foundation for what he creates.” Samantha Whittaker, who along with Ryan Brüssow, Jana and Koos – all found themselves effortlessly diving into this process with Fhatuwani; in which, their intentionality is so aligned, that the process has been a breeze; a collaboration between friends bring visions into being. On this Samantha says, “One of the most interesting things has been the warmth of the Gorgeous George team. All of our motivations are so pure, so there has been this incredible energy of support and generosity. It’s been a beautiful practice in letting art just happen; we can facilitate it, but together and with the alignment we all have; it’s turning into something very special.”

Regarding Fhatuwani’s medium and stylistic development, what began as a journey with charcoal – has now seen him venture into acrylics and varying mediums- weaving in his own references of graffiti, and the graphic design he learned in advertising. Fhatuwani is driven by what he wants to see in the world; not what the world expects of him; and in so doing, the story of his life has opened up another chapter. This testimony to us all that anything is possible, and Fhatuwani Mukheli has always been an artist; in some way, this is just our invitation to join him as he goes further and further into living beyond his wildest dreams. 

Double Exxposure will be taking place at Gorgeous George’s Pink Room on Saturday 30 July from 15h00

RSVP to [email protected] to attend

At The Altar of Growth with Thalia Strates

Jul 19, 2022 | Interviews, Fashion

Every now and again, Thalia Strates’ IG becomes a portal into which we are invited behind the front-facing veneer of a brand – and beneath, we glimpse into the tender, yet fervent, heart that emanates outwardly one of the most sincere and meaningful offerings in South African design. That heart, is the brand’s namesake and founder, Thalia herself; and the portal I refer to, are the fleeting and unfiltered thoughts written via ‘stories’, against stellar backdrops of nature, places or moments from Thalia’s living experience. I wondered, when writing this piece and leading up to our conversation, why this act of Thalia’s kept coming up as so present in my mind. I think, perhaps, it is because it is always evident that creatives’ work are a labour of their love – this tends to go without saying – but for some reason, this shining vulnerability and rawness of Thalia’s expression, even in its subtlety and interdispersment, showcases to me a kind of ideal that  I envision one’s life work should be; that Thalia’s brand is an extension of her love, her curiosity, her commitment – and her life. It is entirely co-occurring with Thalia’s growth as a student fresh out of fashion school, to now as she embarks on her beautiful, demanding and destined experience of motherhood.

The principles remain for Thalia – her authenticity is her guiding compass, from gathering off-cuts and stitching purses at the very beginning (as she tells me, not being able to find a specific piece she yearned for) to nurturing a business that supports women, and embodies slow-design from living wages to textile sourcing; all the while tempered by timeless design, soft campaigns and reliable collections that are only ever updated by inspiration, not by consumptive crazes or demands. This is why, after nearly 9 years, Thalia Strates (as a brand) remains a cohesive and invaluable jewel in the growing crown of South African contemporary fashion. TS is your favourite’s favourite handbag brand, and Thalia herself a gem and protectress of craft – community – and consideration. 

“I studied at FEDISA straight after matric, knowing I wanted to be in fashion – but not really sure how. The brand was born from wanting things that nobody else had; so if there were trends, I would go in the opposite direction and with bags – I wanted something simple, and understated, but still very beautiful and thoughtful. I went to Woodheads and got a whole bunch of leather off-cuts, and sewed them all up on my domestic machine into little clutch bags. I’d wear them out, and I got a great response from people – and then I started to get a few queries, people wanting to buy one. I thought, okay, I can make one or two extra here and there…and it was actually my dad who pointed out at the time that he thought it was a good business model – I could make a sample, and then everything after that would be made-to-order. I think this has become synonymous with luxury or sustainability now, but then it just really seemed to work because I couldn’t afford to over-capitalise or sit on stock, nor had I even really envisioned a fully-fledged business.” Thalia, tells me that she is not very patient – rather, her strength is in seeing a visually compelling outcome, and then seeking out the most efficient roadmap to get there. This effectiveness has been Thalia’s boon in building TS as a space reflective of her personal integrity as a designer and entrepreneur. Once Thalia found a woman to work with her on production, TS began to take flight – on this, Thalia reflects, “My leather experience at that point was all self-taught, as we didn’t get any leather exposure at FEDISA. This was interesting, because I approached leather from the perspective of my seamstress training – so really winging it – but I knew the type of quality and finish that I wanted, and kept pushing up until that point. The customers I acquired in the very beginning are still customers today, and I think that’s one of the big reasons the business has lasted through all the ups and downs – all the return customers form the backbone of our continued health as a brand. That’s quite remarkable in a world where there is so much, of so much, to covet or to choose from.”

Thalia’s reflection on the beginning of the brand is telling of perseverance – it wasn’t a major acceleration, she recounts, nor an overnight success – in fact, there were many days of doubt – alongside trial and error. Though, amongst this, Thalia was growing her roots, and establishing the foundation and grounding that she required to bring forth TS as an expression of her creative anima – and having it function in a way that would Thalia to realise perhaps her greatest purpose; motherhood. On this, she says “The most important thing for me was to become a mom one day. I wanted to be able to have a business that I could run from home – dip in and when I need to – but prioritise my family. I fell pregnant right at the beginning of lockdown, and now I’ve been able to be a mom, to embody that experience that I’ve longed for, for so long. It’s everything and more – to have created and now nurture my daughter – but it has been overwhelming, too. My mental capacity took a dip, where even an email could create a sense of anxiety and debilitation. Motherhood is caring for oneself, and another – and I take care of a business too – so I felt very stretched thin at first, and it’s taken some time to feel creative and inspired and not just keep the business moving forward.” This is perhaps one of the most telling aspects of being a woman who wants to have children in the 21st century; the demands are deliriously challenging, with the age-old trope of women “having to do it all” – this earnestness from Thalia speaks again to her indelible authenticity; and a reminder that bringing life into the world is no small feat, nor something that should be treated as inconsequential to one’s own experience as a human being.

The brand itself has contributed to defining contemporary South African luxury is; especially in the realm of materiality.“Trying to source materials at the beginning was really hard. I think I came in at the end of an era, in a way where a lot of factories and suppliers were closing down and the variety was very limited. Most of what I could access was upholstery leather. The leather I chose was for the interior and shell of the bag; I wanted leather to be the central material, because it is so incredibly durable and beautiful. I wanted structure – and for the bag to gradually soften with time. I started using shoe leather, which took a very fine dance to source from places that had their last roll left. I still work with the same suppliers today – and in the beginning I was 23, 24 and perhaps it seemed like a side-project or hobby, but they saw the business grow and how serious I was. I looked at importing, but it went against the whole idea of sourcing locally; of celebrating our materials here in South Africa.” Leather exists as an industry, and while there are fabric innovations occurring – like cacti and pineapples – for Thalia, leather is intrinsic to South Africa across many cultures. It is a way to honour the whole animal; to bring about a talisman or heirloom for its life. Thalia’s wisdom and frankness on this; “I really had to use unorthodox leathers. I would bring my team this very thick leather, and we had to learn to stitch and manipulate it – and it got me to experiment with what has become signatures for the label, like springbok and shearling. It’s as relevant as ever. It’s totally raw and rough, which is my best. It’s sincere – and sustainable, too. Springbok particularly; it is being used for its horns, skin and meat. Natural culling, done humanely, is a part of the process. Our commercial farming industries, globally, are very inhumane – it is revolting – however I am a meat eater, it’s in my heritage and my body thrives on it. We make such a small amount of bags, it’s a drop in the ocean – but it’s a respectfully done collaboration with local game farmers with their own connection to the earth. I’m also not too convinced by vegan leathers that are so synthetic.”

For Thalia, the label is about connection. It’s a way to connect with likeminded people – with notable collaborations being Rich Mnisi, Pichulik and Matter of Fakt – but also to connect with her customers, many of whom are loyal supporters that have become friends. Thalia still makes many of the deliveries in Cape Town herself. “I find it interesting that with time, I’ve realised how important the brand has been in creating a space for me to show up to relationships and creative people with a bit of myself already to convey. You know what I’m about from what we do, so I can feel safe in learning and creating through relationships. Those stories I post – sort of, deep downloads – are able to go onto the brand’s social media because the brand is not separate from who I am in any way. I get responses that trigger conversations – and I know there are others that think like me – or there are responses that teach me, or challenge me to redirect my attention. Approachability is something I treasure in my own life, so I hope the brand relays that sense too. I have questions, and I want to learn from other people.” I could spend ages to talking to Thalia, and I found myself telling her my own sense that sometimes, I wonder if my experience as a writer and interviewer is precisely that; a yearning to get to the heart of the matter with the creatively brilliant that people I admire in South Africa – and beyond.. Refreshing and re-invigorating; Thalia Strates has much to say through her mindful practice of design and living on this earth, and I’m here to hear it.

Written by: Holly Bell Beaton

The dissolving boundary between streetwear publications and fashion brands, as lensed through Highsnobiety’s GateZero

Jul 18, 2022 | Fashion

So, the question is simple yet somewhat complex. Can streetwear publications really become fashion brands? 

A lot of change has taken place within the area of fashion retail over the last few years, especially since the implementation of forced global lockdowns due to the coronavirus pandemic. And this degree of metamorphosis hasn’t become an option, but yet a necessity, for business survival within a struggling field. This necessity for reinvention within an industry yearning for change has birthed a super interesting concept ‘called experiential retail’. This retail concept places more emphasis on the overall customer in-store experience, rather than just the product being sold. An interesting example of the phenomenon of experiential retail is streetwear fashion publications, such as Highsnobiety and Hypebeast, reforming themselves into brick and mortar fashion brands.

So to analyse the full scale impact of such unique experiential retail strategies, we can look at ‘Gate Zero’, the first string of merchandise offerings from German streetwear media publication, Highsnobiety, in collaboration with various airports around the world. The second, and most recent, instalment of Gate Zero resulted in a permanent retail space, located inside the Kastrup International Airport in Copenhagen, Denmark.

Let’s take a look at where it all began; last year with the first Gate Zero capsule collection in collaboration with the biggest airport in Switzerland, Zurich Airport. 

Towards the end of last year, Highsnobiety took to their platforms to announce a unique first-of-its-kind collaboration, between a streetwear publication and an airport. Lia McGarrigle of Highsnobiety writes: “For six months, Highsnobiety has had a brick and mortar location at Zurich Airport complete with a curated selection of products and exclusive releases from over 20 brands.”

Highsnobiety items included wear-anywhere tees, hoodies, long-sleeves & tote bags, and any comfortable and usable product to enhance your airport experience. Curated brands also included Jill Sander, Salomon and more globally reputable brands. Why airports? Well, airport shopping is an area which Highsnobiety seems to have found great potential in. David Fischer of Highsnobiety explained to Vogue: “Airport shopping is lacking in a lot of areas. You could be at one of the best airports in the world and not be able to find a single brand that you normally shop at in the city you live in.”

And six months later, in May this year, Gate Zero returned with their second brick and mortar instalment, a permanent retail store situated inside the Kastrup International Airport, in Copenhagen. Brands stocked are trendy and coveted luxury brands with a multitude of apparel and lifestyle products available. These include Acne Studios, Comme des Garçons, 1017 ALYX 9SM, AMBUSH and more.

The implementation of this unique retail strategy comes on the back of Highsnobiety’s purchase by Zalando, as the German fashion e-tailer recently purchased the majority stake in the high-end streetwear platform. Once you consider Zalando’s impressive history of expertise within this area of fashion, you begin to understand this newfound dash for retail, as a bet to try and combine the power of content and commerce. Berlin based publication-turned-brand ‘032c’ are a classic example of a hybrid publication which manages to achieve this.

So about a couple of weeks ago, when fellow streetwear publication competitors, Hypebeast, took to their platforms to announce plans of opening their first retail U.S brick and mortar flagship store in downtown New York, it became abundantly clear that more and more media publications feel confident enough in their blueprints to start off fashion brands. Felson Sajonas of Hypebeast wrote the following about the news:

“HBX, Hypebeast’s ecommerce and retail platform, is opening its first U.S. brick and mortar flagship store. Located in the heart of New York City’s Chinatown, the 25,000 square-foot space will offer a carefully curated selection of products from a variety of brands. Shoppers will find sneakers, apparel and accessories from top HBX labels such as Nike, Adidas, Moncler, Stussy and more. Special in-store only items as well as HBX exclusives will also be available for patrons to purchase in the near future.”

I think this is a strategic move from Hypebeast, as much as it was from Highsnobiety. I fully agree with the notion that independent fashion publications can become brands – just as long as they have a strong community centred around their publication. Because there is quite a difference between the brand loyalty of supporting a free online publication which provides you with content, compared to using your hard-earned cash to purchase merchandise made by a brand.

It’s subjective and up to the individual which one weighs more, but my point is that they aren’t equal.

With whatever type of business you are running, one should never underestimate the power of community. The global pandemic has reminded us that entrepreneurs need to remain agile, in whatever industry they’re in. Ecologies can shift pretty quickly so if you aren’t always prepared, at any point in time the rug can be pulled from right under you. This is what makes these movements so interesting – the sense that the retail rulebook is up for grabs, and that no one is beyond having to adapt or reinvent their vision.

Written by: Odwa Zamane

/// images all sourced via Highsnobiety

 

Night Embassy’s Groove Biennale – Nights Well Spent

Jul 15, 2022 | Community

Night Embassy hosted its three-day event, Groove Biennale, in Megalo, Alexandra. Lights flashed as the music thumped into the venue. Amapiano and Gqom sounds travelled throughout the space as people found their way around the spacious landscape. Every kind of person was there, chatting or dancing, creating a diverse scene not only limited to physical identity but also in regards to fashion and spirit. For the nights of the 8th, 9th, and 10th of July, in Johannesburg, attendees arrived in the spirit of “groove”: socially expressing themselves.

To prepare for Saturday night, on the 9th, I pulled up my phone and ordered some tickets for myself and a friend, surprised to find that it was free. This deeply interested me as these kinds of events usually require some form of payment. We arrived at night and were relieved to see that the event had secured off-site parking with very helpful car guards. Night Embassy signs were lit up on the building as attendees excitedly entered the space. Night Embassy also had a very efficient team for scanning tickets and securing wristbands. Inside, Amapiano played as I walked down the entrance hallway. Jagermeister‘s bar was set up on two sides of this large space, where attendees were easily able to get a drink and head to the dance floor. The DJ booth was one of my favourite parts, as the stage is elevated in a way that everyone gets to see who’s playing. This night was titled: Ballroom Kiki—a sure reference to the historically popular queer ballroom culture in which people who were part of the LGBTQ culture would come together in underground club scenes where they would walk or dance for prizes.

Then Lelowhatsgood launched into punchy Gqom songs, bringing up the energy, and I moved my head to the beat, enjoying the raw fashion looks that some people were completely dressed in. As the Kiki started, the host, Original Hunty, launched into a fun and respectful beat and tempo matching mini-speech about the importance of consent and safety in the space-and as a young woman in the middle of Johannesburg at 9 pm, this has always been a concern of mine but just hearing that eased most tensions as it spoke to the fact that many people in the space did care about that. The night continued off without much of a hitch as participants of the Kiki showed us their clothing, strutting and vogueing in order to gain favour with the judges. This is part of what “groove” is about; removing limitations on yourself not only in dancing and socialising but also in dress and theme. Thus, it became an experience.

With DJs and performers like Pona, who is also a model and content creator, DJ HOT ATHENA, or Phatstoki, Pabi Cooper, who is a well-known singer and dancer in South Africa, Skits, and even Fly Machine Sessions, Hlengi, and LIKKY LIKS, who is fast becoming popular in party spaces—it is no surprise that the Groove Biennale was so much fun. The set lists were always interesting as the lineups varied.

With DJs and performers like Pona, who is also a model and content creator, DJ HOT ATHENA, or Phatstoki, Pabi Cooper, who is a well-known singer and dancer in South Africa, Skits, and even Fly Machine Sessions, Hlengi, and LIKKY LIKS, who is fast becoming popular in party spaces—it is no surprise that the Groove Biennale was so much fun. The set lists were always interesting as the lineups varied.

A few of the DJs talked to me about what made them feel connected to Groove Biennale and what ultimately made them agree to perform: 

Hlengi: It was a really special event for me because it was the 5th time I had played live for an audience, it was the biggest gig of my career thus far and also it happened a few hours after my family and I held an event to commemorate the 1 year anniversary of my fathers passing and to also signify “the end of our mourning period”, so it felt very destined and important that this was the “first step” into my new chapter and beginning of my life and even more so because I resorted to DJing during that difficult period and found strength and joy in it so yeah, djing carried me in a lot of ways and it was only fitting that Thelma—you saw me play at Bad Girls Club and acknowledged my passion and gave me a platform-especially because I play techno mainly so it was well received and I needed that boost of confidence.

LIKKY LIKS: Night Embassy events are more than just partying or groove, although they wouldn’t be as successful as they are if it wasn’t for the party culture in our country. The events are more of a movement – paying homage to the subcultures occurring in our country such as ballroom, skate culture, etc and bringing these cultures together with what we call “groove”. it’s about coming as you are and being safe at the same time. They shape the phenomenon that is groove because it’s about us and for us.

The set-up was also admirable. Neon lights are structured into the lines of Megalo. The strobe lights transport the audience into a completely new portal filled with electrifying moments between emerging creatives. Night Embassy is focused on curating and generating lineups and experiences that speak to the merging of the creative scene with the nightlife underground scene. 

I spoke to one of the creative board members of Night Embassy, Jana Hamman and the curator of Night Embassy, Thelma Ndebele also known as DORMANT YOUTH: 

Clubbing and party culture are a big part of South Africa’s youth culture. How does Night Embassy contribute to and shape the phenomenon that is “groove”?

Jana Hamman: Night Embassy champions ‘Freireum’ – freedom of expression, freedom to be yourself and as such supported talented spearheaders of nightlife culture like DORMANT YOUTH (Thelma Nndebele) to bring their nightlife residency’s to life with no holds barred, which at such a crucial time after covid restrictions and lockdowns, really cemented their dedication to nightlife, and to freedom of expression, experimentation and play without restriction.

Thelma Ndebele: Night Embassy’s contribution was one of showcasing the most exciting parties happening in Johannesburg over the last 5 years.

Groove Biennale is a specifically curated three-day event. What are some of the key decisions that drove it to be organised in the way it was?

Jana Hamman: ‘Groove Biennale’ was the residency dreamt up by Dormant Youth, part architect and academic, part DJ and champion of the groove. They have a keen interest in architectural structure within nightlife spaces, and how these affect and promote the way people interact. The Night Embassy team worked with all the ambassadors as production, experience and marketing support (as well as the mentorship from the established board members like myself) to help bring the exploration of their themes to the public, and their respective communities. They needed to span over more than one day, the way residency’s do – as programs that investigate different angles and aspects of their broader ideas.

It was important to expose people to unconventional venues, to really live up to the promise of freedom of expression, and to do this safely and with support. It’s easy doing things in conventional ways, in conventional spaces, but this project has pushed everyone involved beyond their comfort zones, in the name of the night. And in order to really inspire pushing nightlife culture forward, the way Johannesburg has always done.

Thelma Ndebele: The original plan for Groove Biennale was to bring an architecturally designed experience to an unexpected venue in Johannesburg, then soundtrack that experience with the most obscure & innovative sounds & performances that the city has to offer.

What is the one thing you’d want participants to take away from attending the Groove Biennale?

Jana Hamman: Most of these ambassadors and board members are just people who saw an opportunity based on a need or gap in their respective communities – felt things could be better, different or that there is a space for change and took it upon themselves to do something about it. You don’t NEED a Night Embassy to come along and give that gear, it’s anyone’s opportunity for the taking, but when a Night Embassy comes along (and they will), there is a continental shift that happens. Everyone who was a part of it, and everyone who was lucky enough to experience these residencies will agree wholeheartedly. It’s an exciting time for nightlife, and I’m saying that for the first time in at least 5 years.

Thelma Ndebele:  Alex is an exciting place to party.

There is an interaction between space and nightlife that occurs due to the intent behind Night Embassy and its events. As Hlengi had mentioned, there is also a connection that the really powerful team behind Night Embassy has with not only the audience but the creators, performers and DJs. If you’re looking to immerse yourself in nightlife experiences around Johannesburg, Night Embassy is the way to go. Not only are you going to enjoy a night full of dance, but you will most likely experience an atmospheric encounter with a diverse, interesting and talented community that makes the South African specifically Johannesburg underground party scene so famous.

/// Photograph credits:
@downtownthabz : Thabo Mthombeni 
@darealclickclak : Lee-Roy L Jason 

Written by: Nkamoheleng Moshoeshoe

Hyper-Nostalgic Expression with Franadilla

Jul 14, 2022 | Interviews, Art, Community

Attempting to encapsulate any creative is difficult – the very nature of expressive artistry is best left undefined, particularly when someone dedicates their entire life to its unfolding. Francesco Mbele is one such creative that continuously defies any description as an artist, creative director, DJ, designer – model, photographer, culture archivist and so on – and in all these varying roles, Franadilla (a perfect nickname) has created a visual world that evolves in colour, texture and expression; while this aesthetic is abundant and rich, it also is very difficult to pin down – herein lies, then, its brilliance; Frandilla’s world is digital yet organic, vivid yet simplistic – hyper-realistic, hyper-nostalgic and able to be dismantled at any moment Francesco decides. In a few short years, Francesco has become one of the leading cultural and creative instigators in South Africa, from his contribution to StiffPap’s Jakinda and AyemaProblem’s iconic event space, Ebumnandini, to his work with Rich Mnisi, Thebe Magugu, or features for Bombay Sapphire and Stimorol – to installations like that one he did for Shelflife Joburg earlier this year (and so much more) and then – Franasonic, the home that probably comes closest to a framework for Francesco to weave all these threads together. Franasconic’s digital portal is an ode to Windows ‘95; well, a version of this, distilled through Francesco’s intimiable lens, one that captures Y2K nostalgia perfectly – that sense that was felt as the onset of the millennium brought humanity towards a totally new frontier of global, cultural and aesthetic exchange with the rise of the internet. The design aspect of Franasonic, as a co-occurring brand and multi-media project, brought netted trucker caps back, alongside graphic tees incisively relaying truth to its audience – “Black Women Fighting Apartheid Were The First Punks”.
“My mother used to work for United Colours of Benetton in the 90s and 80s in Johannesburg, and that’s where my parents actually met. I’ve had this obsession with United Colours from a young age – a lot of the earliest clothes I wore had the green tag. It’s probably my number one inspiration for Franasonic; their marketing was doing representation before that whole idea took hold culturally. Their campaigns were really against the grain and putting out messages that were controversial, in the weirdest ways, and yet their offering was colour-blocking and essentials; that contrast between a seemingly “normal” brand, yet with this deep ability to subvert their actual intention in the mainstream, was and is so authentic. With Franasonic, I try to relay that same kind of energy.” Francesco says in our conversation – and it’s a wildly direct anchor for the entire Franasonic landscape; United Colours of Benetton were taking names in a way that we don’t really even see anymore, read here for some of their most iconic ones. Regarding his origin as an artist, which began with photography, Francesco says, “My parents have always been my biggest supporters, even when they didn’t really understand. They always just allowed me to be. My sister is a big influence for me – she was a photographer during Fees Must Fall, and I was just getting into highschool. I was seeing this cultural resistance and social revolution, and that influenced me to document what I saw; the importance of capturing this energy that bubbles under the surface of our lives, and emerges and explodes to re-shape the world as we know it. I think documenting has become a very integral part of everyone’s lives, and I love that. We are able to share our viewpoints with each other in a way that we never have before.”
In the digitisation and hybridisation of artistic expression – Franasonic has found its unique position as a crowning jewel linking temporal references from the 80s, 90s through to Y2K, right up until this moment in the second decade of the century. Speaking to the intentionality of this, Francesco says, “I find the cycles of ‘cool’ and ‘uncool’ that seem to interchange is so interesting. My generation were too young to experience the true low-rise jeans, Britney thing – so now we are reinterpreting in this very extreme manner. I think the mediums and subject matter were changing so fast, that in a lot of ways they weren’t really fleshed out or taken to their limits. So being able to use those forms of expressions from different eras, and make them both new and nostalgic, is really fun to do. It’s a major force in my work, and with the way things change so fast – I aim for Franasonic to be able to draw on intersections of cyber-culture, or punk, or the depth that African-centric aestheticism has across the continent. With the last drop, the Evil-Eye, I didn’t want it to just be a momentary release – so I’ve let it sit and allow the collection to remain relevant, because I think for any artist or designer it’s important not to feel rushed by the endless cycles of creating and abandoning.” 

Historically, entire decades were defined and tempered by subcultures – today, we see an incredible wellspring of subcultures available to be chosen, played with and then moved on from – from the “cores” like gorpcore, cottagecore – one doesn’t really have to commit anymore, with the same kind of dedication, than before. Commenting on this, Francesco says, “I read somewhere that subcultures are dead. I think that’s true, in a way – because it’s so easy for someone to hop in and hop out. But I don’t think that necessarily dilutes it, because it’s more valuable for people to experiment with what they like, or don’t like – what feels true for them. I don’t think subcultures should be demanding of people, it’s contrary to their function – they should be a refuge from the demands and confines of society.” In a subtle way, some of Francesco’s expression is reminiscent of FRUiTS Magazine, the iconic publication by Japanese photographer Shoichi Aoiki – street style from Tokyo that showed young people in their liberated form of sartorial freedom, to this Franseco says, ‘’FRUiTS was a direct reference I used when I shot for Sonic Magazine. It was a different wavelength. Japanese culture, especially in fashion, is expansive in a way that western culture isn’t. In that respect, Japanese fashion is much faster and more daring – intermixed with cultural rules and norms. We wanted to get that essence for Sonic, and we went to the middle of the CBD in Joburg. The one shot, on Small St, there were a few seconds I could take an image in a matter of seconds before cars and people descended again – my dad was my bodyguard, and the process had to happen quickly. An empty road in the CBD is a wild notion on its own. It’s one of my favourite images I’ve ever made.”

Francesco’s ability to reference with originality is a gift – in a time where the dialogue is so centred on regurgitating ideas, his work reminds one that our collective consciousness is a sacred place, and all ideas can be reshaped and reworked, totally anew. We can’t wait to see more – and apparently, there’s a new Franasonic coming soon. To more, always, from Franadilla.
Written by: Holly Bell Beaton

DJ DREAS releases ‘UNONA WA’ with Paradise Sound System

Jul 14, 2022 | New Release, Music

Namibian-born artist DJ DREAS follows the momentum generated by his last release with ‘UNONA WA,’ meaning ‘children of’ in his native language of Oshiwambo. DREAS creates a masterful blend between afro house and a progressive electronic touch in a single about his beginnings.

Working once more with Berlin-based Independent Label, Paradise Sound System, they are excited to be providing support and again collaborating with DREAS and the authentic sound he is known for. DREAS has received recognition from international commercial music platforms such as Bush Radio and 5fm in South Africa, Red Bull’s official website in Austria, Thrift Social Summer Fiesta in Kenya, and ThereNoSignal in the United Kingdom in addition to The Namibian, and YFM.

‘UNONA WA‘ has already received early support from household names in the electronic and house sphere such as Hyenah, Just Her and BOg in the UK and Hector Romero in the US. The track aims to be an exploration of one’s journey, telling its listeners that ‘everyone is a child of something.’ From DREAS’ humble beginnings to his international recognition, he wants the listeners to understand that behind every individual, there is a story. The track is subtle, yet strong and includes just the right amount of percussion, and a good deal of sounds, all the while maintaining the electro feel of the song.

“Each person is the product of their environment, their experiences, and the lessons that they have learned, and through this track, the listener will be able to rectify what they’ve gone through in life.”

/// Stream and download ‘UNONA WA’:
Spotify
Apple Music
Deezer
TraxSource

VANCO Makes His Debut on KUNYE with EP ‘Breathe’, Featuring Jamila

Jul 13, 2022 | New Release, Music

Off the back of his recent European tour in Europe, the ever-rising DJ/Producer VANCO, makes his debut on KUNYE with EP  ‘Breathe’ featuring Jamila.

Starting the EP off, ‘Breathe’, has an infectious groove that is driven by a gritty bassline throughout. Jamila’s beautiful vocals are accompanied by the uplifting synth that takes you on a sonic journey along with afro-infused elements. Vanco continues to build his brand, touring Europe, Asia, the Middle East, and Africa. Perfecting his craft, his work with thumping percussions, heavy baselines, and sweet vocals, intertwining rhythmically, igniting audiences everywhere. With a long line of cutting-edge releases, Nandu takes on the remix duties for ‘Breathe’. By adding his rough sonic patterns that he has become known for over the years, Nandu pushes the track into a more melodic direction. ‘Pumua’ closes off the EP with a pulsating baseline throughout. The hypnotic percussive elements and mesmerizing synth stabs close off this high-energy track.

Vanco has previously released on Sondela and Connected. ‘Breathe’ has already been played out by Kunye label head Shimza for the past few months, and has received further support from the likes of Black Coffee, Sasha, Themba, and many more.
 

Track Listing:

1. Vanco – Breathe feat. Jamila

2. Vanco – Breathe feat. Jamila ( Nandu Remix )

3. Vanco – Pumua

 
/// To listen to the full release head to KUNYE or stream and download on:

An Unbreakable Bond Through Fashion, Art and Family with Fuata Moyo’s Enigmatic Mbiola Siblings

Jul 13, 2022 | Interviews, Art, Fashion

It’s one thing to build a brand or company – to be a founder, and hold responsibility for the fruition of one’s dreams – that act, in and of itself, is trying and testing. What happens though, when you go all in with not just one – but all of your siblings, and decide to build a company from the ground up? What if you do so in 2020 – spurred on by the pandemic and the seismic shifts imposed by this shared, global experience? Fuata Moyo is a Swahili phrase meaning, “following your heart” – and it is with this inextricable foundation that the five Mbiola siblings sought to build when everything else seemed to be pausing, or breaking. Love has always been their remedy, even as young kids when their father passed away – himself, an immensely talented artist, who imbued each of them with their own sense of expression. Weaving together their varying backgrounds and skill sets, Kabambi, Martine, Lucien, Kashika and Tshimaro all found themselves with a moment to reflect in 2020 during lockdowns – and understanding how unique such a moment was in a world demanding of our relentless attention – they decided it was now, or never. At first glance, Fuata Moyo seems to be a fashion brand; but looking closer, one is greeted with the brilliant customisation of each piece, and the boundary between fashion and art that the siblings aim to dissolve. This is a legacy in the making; bonded through family, love, and remembrance of their father, all through the commitment to art as an essential for human beings.

“We grew up in one of those families where team-work was non-negotiable. We grew up with a single mom, so day to day meant we had to have a plan, and put our quarrels aside to function and move forward as a family. Problem-solving came first. I think we were creating Fuata Moyo already then, without realising it, because we had to step into roles early on as a team.” Tshimaro explains, and Kabambi follows – saying, “Our very first collaboration occurred watching our parents work together with their business – our dad as the artist, and our mom managing the other aspects. When he passed away, us children had to step up and take on what he was doing. Those foundations were instilled in us already then; that working with family to create a vision and legacy is made possible through all of us getting involved.” Growing up, the Mbiola siblings found themselves working in similar or adjacent industries – which further signalled to them that their paths were always crossing, even when they each went out into the world independently. It was destined to happen for all five siblings to come back together; this time, under the banner of a shared dream. While the world stopped in 2020, the Mbiola siblings were brought to the forefront of making this dream happen – reflecting on this, Kabambi explains, ‘’I call it in the defining year. Humanity was given a chance to reflect and restart. It was wild to go to my siblings and say, let’s do this – but I couldn’t see us all having time and space, altogether, again in order to truly conceptualise the entire plan. The name itself, Fuata Moyo, is the best way we could describe our choice at that time; we had to follow our hearts, and be led with love in a time when the odds seemed against us.”

With the Mbiola siblings being an array of artists and designers; Fuata Moyo itself had to be an authentic reflection of this truth. Bringing together these aspects, alongside a clear entrepreneurial spirit, the brand began to embody a canvas upon which each of the siblings could paint their viewpoint. Lucien explains, “We are curating clothing for everyday people. What do artists wear? Where do they go out, what do they do? Fuata Moyo is a person before anything else; our design process is very personal in this way. Then, we extend the construction and design process into art and customisation; the idea that no single painting can be the same, we see clothing in the same way. We love the idea of art and fashion colliding – and everything is hand-rendered with our prints, and craftsmanship is the cornerstone of this. While paint customisation is a signature for us, we also hand-embroider and draw on other mediums.” 

One of the toughest hurdles when starting Fuata Moyo was the task of manufacturing – with Cape Town’s garment industry on the decline for many years, most factories won’t take on clients below 50 to 100 units per garment. For many small-scale designers, or bespoke designers such as the Mbiola’s, this proves to be a dilemma. Once they had managed to overcome this gap, Tshimaro explained what came next, “We looked back and saw this gap in the market. We thought about how many designers are not able to get from point A to B in their dream because of this challenge. So we started House of Moyo, our production house where we manufacture our brand, and for the next wave of creatives. This development has been the most encouraging thing to happen – because it widens our community, and we are able to offer young designers what we didn’t have when starting. They can come into the space, receive guidance, production and nurturing from us and our expert CMT’s – and know that this is an ethical vision for fashion design and production.” In two years, to not only bring forward their clothing brand, but pivot to produce everything in house; and extend that outwards? This is the kind of love and depth that our creative spaces in South Africa so need; the reminder that when we do what we want to with love, and with sharing; miracles happen. Kabambi reflects, “We are very proud of House of Moyo, and not a lot of people know about it yet – but we invite anyone with a design dream to connect with us. The next stop is to be able to have a showroom and concept store housing our work, and the designer’s who are produced by House of Moyo, alongside events, art-jamming; all the things that we love to do, we want to share with everyone.”

Ending of our conversation, encouraged by the bond and energy of the Mbiola siblings, I ask each of them to leave words of wisdom for our CEC community, who might be reading this and considering following their own hearts:

Kabambi: Don’t follow fame, don’t follow money – follow your heart and the rest will come. That’s how you stay true to yourself. 

Martine: There’s power in unity. Be willing to work with others. That’s the best way to learn, grow and succeed. 

Lucien: Do what you love! Believe in your dreams. We are living testament that its not a cliche; it really happens when you believe and act on those dreams. 

Tshimaro: I want to say to the young people in Cape Town; we are always going to want more, and I think deciding today and moving today is a really big step. There’s so many brilliant people on these streets afraid to try or start, but today is building for tomorrow. 

Kashika: Obstacles are not there to break you, they are there to make you. Crisis is when you rise up; we learned that starting in the pandemic. Be brave.

Written by: Holly Bell Beaton

Alternative Pathways to Artistic Expression with Lebo Kekana’s “FEDE Arthouse”

Jul 12, 2022 | Interviews, Art

The traditional gallery model is a necessary function and incubator of artists and exhibitions – yet a gallery is fixed to the space in which it exists, and although a space can always be transformed to suit the thematic needs for a particular exhibition – what if there was no confinement to one single venue? This is precisely the task of FEDE Arthouse – as a nomadic gallery launched by founder and artist Lebo Kekana, FEDE acts as conduit, curator and community-centric initiator of exhibitions that play with varying notions around the inextricable link between art – in multiple mediums – and its surrounding environment. Without the pressure of a venue – whether rented or owned – Lebo has tapped into the wellspring of vision and adaptability in himself, and his peers across art, fashion, music and design. Interestingly, FEDE Arthouse is not a counter-reaction to the traditional gallery model – in fact, Lebo feels it is intrinsic to our growing artistic landscape – but rather that there should always be alternative ways in which any artist can seek expression of their work out into the world. FEDE Arthouse is rooted in a very grassroots idea; that art arises from the ground upwards, among friends, family and communities – and that somewhere deep inside us all, our greatest longing is to create and share such creations with each other and have a great time doing it.

“I’m an artist and predominantly a painter. I really wanted to get into the art scene in Cape Town, but  I wasn’t very familiar with the channels or which doors to knock on. I have always had ideas around curation and how I would, in my own practice, like to see art being shared or experienced – so it made sense to start my own gallery. At first, not having a physical space was challenging – one has to really envision what a gallery is, as independent of a physical space. It became an opportunity to create exhibitions that feel dynamic – so far we have just done group shows, and each one is entirely different from the other. Currently FEDE is Cape Town based, but I’d love to see it spread across the country.” Lebo says, speaking to the tenacity of the artist to create what they require for their own development; this is a powerful sentiment, and one that is deeply encouraging for anyone who has an idea to bring a space or experience into being.

Although FEDE is a relatively young initiative, having been founded in 2020 with all the pandemic constraints many of us experienced, its foundations allows Lebo to meet his collaborators in a liminal space quite different to a physical gallery setting particularly this year in 2022, “I’m big on creating really immersive experiences. Being nomadic means that every show or experience is totally new, and comes with its own set of considerations that are unique – honestly, this keeps projects and exhibitions fresh; and it becomes an even bigger collaborative journey between myself and the respective artists; it shifts the dynamic in which I’m not inviting them into “my” space as a venue owner, rather we are entering and creating a new space together each time. I’ve seen how this evokes an entirely different energy around exhibitions.”

Engaging in art through various mediums is a central tenet to FEDE Arthouse – in turn, opening up the exhibition format to a wider spectrum of creators. Dissolving the boundary between what constitutes art as physical or material exhibition within a set of mediums is something we continue to witness in the world; in which “art” as in the industry, becomes more and more a function of exclusivity, while realms like fashion, music and digital lenses such as 3D illustration and graphic design constitute art, with the creators of multiple mediums identifying themselves as artists. Being an artist himself, Lebo is the figure behind FEDE – yet each new show brings with it a collective-style effort of collaboration. On this, Lebo says, “FEDE is just me, but depending on each project I have a variety of makers who come on board. It’s a temporary, project-based dynamic. I think there’s an impression that FEDE is a collective – which is great, because it is in a way – it’s a collective that is always changing and adapting to what is required, with the direction of it and myself being the only the constants. I love that this is the nature of the space – because with just one individual, none of this would be possible. I can begin and implement, but FEDE comes together and comes alive once more creators are involved and in space. I like the impermanence of it right now, but I hope in the future there will be a cohesive unit both with projects and outside of them too.”

The first exhibition put on by FEDE was at a house in Woodstock, with the spatial considerations emphasizing elements such as furniture and seating. Within this domestic space, a stripping away of the seriousness and rigidity of traditional gallery spaces and rooms, allowed the attendees to feel into the space, and connect with each with comfort and ease. Most recently, FEDE showed at Ghost – with the element of music being central to the experience alongside The Other Radio, on this Lebo says, “That was a great experience – but challenging too. With the feeling of an event, art is not the central focus or purpose at any given moment, but I really relied on the idea of someone suddenly finding themselves, mid-conversation at a party, surrounded by art.” This show featured a panelist of speakers; “With the panel for our last show, I really wanted to bring in an intellectual element, in which there was direct contextualisation for the experience coming from a select group of artists. I think galleries can be intimidating, so to have a more relaxed environment of conversation and interaction allows the show to be more accessible – and introduces people to a variety of artists and mediums in a single space, from writers to musicians and so on.”

Recently, Lebo spoke to Bathandwa Ngwendu at Maak ‘n Plan HQ at the Exchange Building (Lemkus’ home for all themselves and all their collaborators) – a podcast I encourage you to listen to. Powerful conversations and actions are happening, and FEDE Arthouse is a central space for the evolving landscape for art in South Africa. We are excited for the upcoming showcases and releases from FEDE – info dropped at @fede_arthouse as when it happens, it happens.

Written by: Holly Bell Beaton