PXSSY ON A PLINTH
Pussy on a Plinth is a collective of 11 femmes, founded during their studies at the Wits School of Arts in Johannesburg, South Africa. The collective produces work at Danger Gevaar Ingozi’s space, whilst collaborating with other artists of the collective too.
[Author’s note: the “x” in womxnhood refers to the inclusion of non-binary genders in the concept of feminity and gender politics.]
TITLE IN TRANSGRESSION
Title in Transgression is a group of four artists working collectively, as well as collaboratively, consisting of Simnikiwe Buhlungu (b. 1995), Dineo Diphofa (b. 1995), Malebona Maphutse (b.1994) and Boitumelo Motau (b.1995). Formed in a time of frustration with disillusionment of social and cultural instabilities both in the art world[s] as well as how each artist navigates and locates their narrative within a larger societal framework, Title in Transgression seeks to creatively address these slippages and frustrations through numerous artistic platforms and engagements. Conversations concerning narratives, historical points of reference, cultural production and their respective lived experience inform both their collective as well as their individual practices. Although only established in 2016, the members of Title in Transgression have already begun engaging in numerous projects including: ‘ 76 Non-Monument’ in 2016 , a T-shirt printing initiative (with titles: Aluta Continua; Teacher Don’t Teach Me Nonsense; Who Polices The Police?) in 2016, In Loving Memory of Title In Transgression at NGO (Nothing gets Organised) in 2016, a sound-based installation at NIROX in 2017 and a window residency at Room Gallery titled #BhekaInTransgression in 2017, a creative research-based podcast residency with Johannesburg-based collective Rera Letsema titled Proclamation in 2017 and as part of the show WE WON’T MOVE by Sikhumbuzo Makandula at the 2017 Joburg Fringe VideoArt! presentation . Letter Project (working Title) is to be the next installment in the collective’s artistic practice.
“From the on-set, the whole idea of Keleketla as a space is just that of experiencing art and exploring what art does in life, how does it end and how does it become relevant. We used it to address issues of heritage and the danger of one story and allow that space be a place where multiple stories and multiple narratives can exist parallel each other in order to challenge dominant narratives, for example”