Chad Cordeiro is an artist who works predominantly in linocut and collage. Cordeiro’s interests lie in print culture and practices in South Africa, and the ways in which they filter into other mediums and methods of producing, publishing and dissemination. Based in Johannesburg, he earned his Bachelor of the Arts in Fine Art at the University of the Witwatersrand in 2015. He currently works as a collaborative and editioning printer at David Krut Projects. Together with Nathaniel Sheppard, he is the co-founder the printmaking collective Danger Gevaar Ingozi Studio (DGI). DGI Studio explores structures of power embedded within the contemporary art world, specifically relationships between the spectator, artist, technician and historian. An important part of their collaborative practice is leveled at the historical and cultural conditioning of Africa, the critique of institutional power structures, including class dynamics in relation to access to content and unwritten histories.
Nathaniel Sheppard III was born in Washington D.C. to a U.S. American father and South African mother. It was at the Southern California Institute of Architecture where he began to engage in conversations and ideologies surrounding the architect and artist in relation to space and the people within those spaces. Sheppard lived and studied in the United States until 2010, after which moved to Johannesburg, South Africa. Pivoting away from architecture, he studied Fine Arts at the University of the Witwatersrand. Through his studies he became aware of the significant position the practice of art has, particularly within socio-political discourses relating to South Africa's access to spaces and opportunities within a post-apartheid society. Along with a growing group of printmakers and artists, Sheppard works to challenge exclusionary traditions that are deeply rooted within the South African apartheid regime.
The story of Danger Gevaar Ingozi Studio began long before any of its members were born. It began fragmented across the globe through a series of imperceptibly connected narratives. Its genesis lies not only in an accumulative global history of print as a craft, means of knowledge production and dissemination, but also an accumulative global history of colonization, migration, forced removal, relocation and slavery. These combined histories of practical and theoretical knowledge form the basis of a collaborative practice at Danger Gevaar Ingozi Studio, one that attempts to dismantle and disrupt historically oppressive spaces and systems within a traditionally western art world.
With a current focus on printmaking - linocuts and relief printing in particular - DGI Studio represents a preservation of a medium deeply rooted in the cultural, political and social histories of South Africa (and other countries) as a means of widely disseminating information where freedom of speech was not equally distributed. Based in downtown Johannesburg, Nathaniel Sheppard III, Chad Cordeiro and Sbongiseni Khulu can typically be found carving, inking or editioning prints whilst in conversation and collaboration with other artists, writers and collectives.
Simnikiwe Buhlungu is a Johannesburg-based artist, having recently obtained her BA (Fine Art) degree from the University of the Witwatersrand, Johannesburg. Her work has also existed in a variety of forms though a number of exhibitions and spaces. She is immersed in sonic engagements: from listening Afrobeat, electronic, soul amongst many others; and reading/watching interviews with artistic practitioners. he ls akes ine an ublications xtensio e practice. She is one of the members of the Johannesburg based collective, Title in Transgression.
Through print and text based mediums and often taking form of sensory, video and installation based forms, her interest in navigating through the personal, experience, transgenerational and socio-historical narratives presents itself as a complex web of [re]imagined engagements surrounding, but not exclusive to, issues surrounding the positionality of the aforementioned lived experiences in relation to language and knowledge production(s) - which are [un]written, [un]spoken, [un]performed, made [in]visible. Her practice begins to develop into conversation between posing questions and attempting to provide answers to the ideas with which she is wrestling.
Malose Kadromatt Malahlela is an artist, organiser, cultural producer, events manager, shebeenist and co-founder of Keleketla! Library – a platform for collaborative and experimental projects. Keleketla! was nominated for the Vera List Prize in Art & Politics (2014) and the Visible Awards (2017). Malose was invited as a guest author with Rangoato Mma Tseleng Hlasane for the book Creating Spaces: Non-formal Art/s Education and Vocational Training for Artists in Africa Between Cultural Policies and Cultural Funding (2014) by Nicola Laure Al-Samarai. He was invited by the British Council to attend the Arts and International Development Conference at Cumberland Lodge in London (2015). He participated in the Global Cultural Leadership Programme in Athens hosted by Cultural Diplomacy Platform (2017). Malose collaborated with UK based In Place of War to rollout a two-part project on creative entrepreneurship and music exchange workshop with Coldcut/Ninja Tune (2017). He was one of the five selected creators to be a fellow at the ArtCenter/ South Florida, Miami as part of the Recalibrated Institution fellowship programme (2017).
As an artist under the alias Kadromatt he took part in a sound expedition exploring two cities Lisbon and Marseille organised by Sound Development City (2013) and in the same year he installed work at KHOJ Studios, New Delhi. In 2014 he staged three installations at different venues supported by Samsung Electronic South Africa. Kadromatt oversees the Thath’i Cover Okestra, an evolving okestra that makes what we termed new super nostalgic African futuristic spiritual chant non-genre, co-curated with Rangoato Hlasane. His next move is a 2nd phase research process in Berlin, March 2018. As a liquor licence owner at KingKong building Malose curates and manages rooftop events drawing from the role shebeens played as a meeting place for cultural discourse and political dissidents.
CINEMATOGRAPHERS | Kutlwano Makgalemele & Chris Soal
PHOTOGRAPHER | Zivanai Matangi
SOUND | Soul Fire Studio
MUSIC | Jeff Wayne's Musical Version of The War of the Worlds
(1978) Columbia/CBS Records, Horace Andy - Skylarking Dub [or A Better Version]
EDITOR | Noah Cohen