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RUI TENREIRO /  MOZAMBIQUE: MOSHANYANA, 2013 Moshanyana is one of the short films belonging to the project Viagem ao Centro de Capricórnio (Journey to the Centre of Capricorn), a small collection of texts and short films set in a dystopian country called Capricorn, in Southern Africa.  Nicknamed as Anthill, the capital city of Capricorn is a conglomerate of unplanned cement fragments and structures topped by a conical presidential office — The People’s Lighthouse. Capricorn’s socialist legacy is the material for the construction of a country where identity is at the centre of national planification. Moshanyana is an ode to the hometown of the artist, Maputo, based on a series of memories and associations, and an appreciation of the sudden growth of Mozambique’s capital city. Courtesy of the artist ANTON KANNEMEYER / SOUTH AFRICA: BLACK SCREAM, 2015 As South Africa moves into its 21st year of democracy, Kannemeyer continues to explode the idea of the ‘rainbow nation’ through the incisive satire with which he first eviscerated apartheid’s officials and bureaucrats. Kannemeyer observes that “...the criticisms are increasingly directed towards an inept government which is fixated on the past because it is ‘the only noble aspect of its existence left’” (The New Yorker, 16 December 2013). The debates around the trauma and legacies of colonialism in Africa are another thread in Kannemeyer’s imagery. His works are often in a genre of extreme satire which can simplistically be described as ‘politically incorrect’, a term Kannemeyer regards as reductive. Transgression of our strong beliefs and the sacred stereotypes of race, sex and politics are unavoidable in order for satire to be both critical and playful about themes that often abound in contradictions that we choose not to see. Courtesy of the artist 124  BELONGING


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