Shapes of NYC accurate to scale. PrintEmpire State Building, Statue of Liberty, Washington Sq. arch, Guggenheim Museum, Bank of America Tower, One WTC, Three WTC, Conde Nast Building, NY Life Building, Chrysler Building. 

Colourful design blog x


Yinka Shonibare, MBEHow To Blow Up Two Heads At Once (Gentlemen) – image Axel Schneider © MMK Frankfurt

"now, from this night, this coming morning, no matter how many beds i find myself in between now and my final bed, i shall never be able to have any more of those boyish, zestful affairs—which are, really, when one thinks of it, a kind of higher, or, anyway, more pretentious masturbation. people are too various to be treated so lightly. i am too various to be trusted." - james baldwin, giovanni’s room

Are you listening? Good.

Let me tell you a story. One wet winter night in Cape Town, the girl and I, soaked in whisky and love, put on Fela’s “Confusion Break Bone” on my laptop. I have these new age speakers you can connect to your phone or computer, which give your body a good beating from the beat. In a drunken haze we began to dance, first slowly and considered. Manners, I suspect, gleaned from the West. And then suddenly, somewhere in the middle of the music, something broke and we split. In intuitive steps and movements we began to gyrate more freely, more menacing, and terribly intimate. A strange silent intimacy that seemed to spring back and forth, and back and forth, and back and forth as though plucked like guitar strings as guitar riffs reverberated around the room and bounced off walls and the stench of whiskey wafted about the room and clung on to the air around us, the air above us, hovering, as it were, like a hat. The music picked our senses clean and tensions between us arose with every Tee Tee Tah! of the drums and with every melody. This was the first time I truly understood what it is like to listen. To listen with your entire body. After 29:02 minutes, which seemed, quite frankly, like 2 minutes, we put on Thandiswa Mazwai’s Thongo Lam and got whisked away into farther depths of night as the evening grew deep.

umakoti wethu at the office. newly weds. 

The dangerous sentimentality of Alice Mann’s ‘Domestic Bliss’ | Thought Leader

Alice Mann created a series of portraits, which “depict black, female domestic workers in the homes of their white employers in Cape Town’s more wealthy ‘southern suburbs’.”

And this is my review of her work.


Kind of blue

Race and racism in the Republic of Cape Town - Voices of Africa

Here’s an article I wrote about the racial situation in my city, my province, and country. This idea or race and racism is a perpetual debate among my friends and most of the time, the ‘white’ ones refuse to acknowledge it as racism but as something innate and natural, and label it conservatism. 

Read on.

"Art has to be a kind of confession. I don’t mean a true confession in the sense of that dreary magazine. The effort it seems to me, is: if you can examine and face your life, you can discover the terms with which you are connected to other lives, and they can discover them, too — the terms with which they are connected to other people. This has happened to every one of us, I’m sure. You read something which you thought only happened to you, and you discovered it happened 100 years ago to Dostoyevsky. This is a very great liberation for the suffering, struggling person, who always thinks that they are alone. This is why art is important. Art would not be important if life were not important, and life is important. Most of us, no matter what we say, are walking in the dark, whistling in the dark. Nobody knows what is going to happen to them from one moment to the next, or how one will bear it. This is irreducible. And it’s true for everybody. Now, it is true that the nature of society is to create, among its citizens, an illusion of safety; but it is also absolutely true that the safety is always necessarily an illusion. Artists are here to disturb the peace. They have to disturb the peace. Otherwise, chaos."

- James Baldwin in an interview in 1961 (via firaaq)

(via idterab)