However mundane the physiological need to pee may be (at the level of or life’ in Giorgio zoe ‘bare Agamben’s terms), it becomes a starting point for addressing larger issues of dehumanisation. Where a act’ is charged with revolutionary potential, the feminist expression personal is ‘small ‘the political’ has great significance. It succinctly captures the gist of the Gugulective’s biopolitics. In the context of capitalist marginalisation and abjection of the black body, taking a pee conjures metaphors for addressing the issues of the consumption and expulsion of the black body as abject, and the despoliation of the township as a whole. The Catalytic Aesthetics of Titled/Untitled was a one-day in 2007 that involved discussions among artists, curators and the Titled/Untitled general public on the accessibility of cultural institutions. was also curated by Gabi Titled/Untitled Ngcobo. Consisting of two parts, at kwaMlamli shebeen in Gugulethu and Blank Projects, an gallery and artist residency in the art district of Woodstock in Cape Town, the project can be seen as a diptych of sorts. The project involved dub poetry, music and performances. In the project, kwaMlamli shebeen furniture such as tables and chairs were installed at Blank Projects, where the group sold label’ and lager’ to patrons, thereby transforming the art space into a ‘Bantu ‘Baas temporary shebeen. In a silent performance, Unathi Sigenu, a member of Gugulective, sat quietly in a gallery corner sending self-incriminating cell-phone messages such as the art’ to patrons. ‘arrest As indicated above, one issue that prompted the formation of Gugulective and its establishment in the shebeen was the unavailability and inaccessibility to black artists of art institutions and resources. By presenting the same project simultaneously at the shebeen in Gugulethu and in the gallery in Woodstock the Gugulective engaged in a nomadic and interstitial aesthetic that the art theorist Gene Ray calls catalytic. or art practices fall on the threshold between ‘Nomadic’ ‘catalytic’ the alternatives of institutional integration and exile. They operate both within and outside the institution. catalytic structure’ writes Ray: ‘A
However mundane the physiological need to pee may be (at the level of zoe or ‘bare life’ in Giorgio Agamben’s terms), it becomes a starting point for addressing larger issues of dehumanisation. Where a ‘small act’ is charged with revolutionary potential, the feminist expression ‘the personal is political’ has great significance. It succinctly captures the gist of the Gugulective’s biopolitics. In the context of capitalist marginalisation and abjection of the black body, taking a pee conjures metaphors for addressing the issues of the consumption and expulsion of the black body as abject, and the despoliation of the township as a whole. The Catalytic Aesthetics of Titled/Untitled Titled/Untitled was a one-day in 2007 that involved discussions among artists, curators and the general public on the accessibility of cultural institutions. Titled/Untitled was also curated by Gabi Ngcobo. Consisting of two parts, at kwaMlamli shebeen in Gugulethu and Blank Projects, an gallery and artist residency in the art district of Woodstock in Cape Town, the project can be seen as a diptych of sorts. The project involved dub poetry, music and performances. In the project, kwaMlamli shebeen furniture such as tables and chairs were installed at Blank Projects, where the group sold ‘Bantu label’ and ‘Baas lager’ to patrons, thereby transforming the art space into a temporary shebeen. In a silent performance, Unathi Sigenu, a member of Gugulective, sat quietly in a gallery corner sending self-incriminating cell-phone messages such as ‘arrest the art’ to patrons. As indicated above, one issue that prompted the formation of Gugulective and its establishment in the shebeen was the unavailability and inaccessibility to black artists of art institutions and resources. By presenting the same project simultaneously at the shebeen in Gugulethu and in the gallery in Woodstock the Gugulective engaged in a nomadic and interstitial aesthetic that the art theorist Gene Ray calls catalytic. ‘Nomadic’ or ‘catalytic’ art practices fall on the threshold between the alternatives of institutional integration and exile. They operate both within and outside the institution. ‘A catalytic structure’ writes Ray:
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