Don't Make Me Over. 2021. Single-channel video.
POSTERITY #1: PAWNography
24 November 2020
Castle of Good Hope, Cape Town
In PAWNography, I delve into how drug-related violence and societal destabilizers have entrenched themselves in our communities, echoing the oppressive legacy of apartheid. The historical manipulation of 'coloured' identities has created a false hierarchy, leaving many marginalized communities at the mercy of crime syndicates and systemic neglect. Drugs, as tools of harm akin to biological warfare, have inflicted deep psychological and physiological scars on people, exacerbating social injustices that continue to linger today. Through this installation, I challenge the narratives surrounding power and control, urging a critical examination of our past and the structures that perpetuate inequality. Ultimately, "PAWNography" aims to foster dialogue and reflection on our collective responsibility to confront and dismantle these enduring systems of oppression.
Photos and videos by Sarah van Borek and Andi Mkosi.
POSTERITY #2: Don’t Make me Over…
9 April 2021
Castle of Good Hope, Cape Town and The Forge, Johannesburg
In my video-installation titled Don’t Make Me Over, I confront the enduring impact of colonial exploitation and its evolution into contemporary neo-liberalism. Situated at key heritage sites like The Forge in Braamfontein and the Castle of Good Hope in Cape Town, this work acts as a public provocation and disruption. I pay homage to the ancestral spectres of our past while exploring how quotidian patriarchy is embedded in our homes and workplaces, particularly affecting womxn of color. The expectation to labor relentlessly—often masked as cultural or religious duty—further perpetuates intersectional violence linked to race and class. Ultimately, this installation highlights the toll of imposed roles on our health and well-being while calling attention to the complexities of power dynamics in our lives.
Bokkie Bent Double. 2022. Wood, Persian carpet, plastic piggy banks, readymades.
POSTERITY #3: Bokkie Bent Double
Castle of Good Hope, Cape Town
In my work, Bokkie Bent Double, I explore the often-overlooked reality of oppression that has persisted for over 500 years, highlighting how the oppressed have been objectified and marginalized in the pursuit of wealth and power. The Lady Anne Barnard Banquet Hall, a symbol of colonial opulence, reflects a history of displacement and violence that continues to echo in our present. Bokkie represents the invisible labor and sacrifice of countless individuals who have endured subjugation, raising the question of whether their suffering will ultimately benefit future generations. It is crucial to recognize and disrupt the structural injustices that maintain this cycle of oppression, for there can be no reconciliation without acknowledgment and reparations. As we navigate the legacies of our past, we, the descendants of Bokkie, are still striving for liberation in 2021.