Unlikely 2.0

   [an error occurred while processing this directive]

Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz

Join our Facebook group!

Join our mailing list!

Print this article

An Interview with Thokozani Mthiyane
by Aryan Kaganof

"the more i dig into the well of knowledge the more difficult it is to embrace this reality with enthusiasm - the desecration of books in the form of closing them forever and opening particular pages forever, (thus turning them into art objects) is a personal ritual whereby, i'm saying: for me to know the truth and be set free by it i have to release the books from their predictable condition thus transforming them into another curiosity which still inspires thought."
—Thokozani Mthiyane

This interview was conducted over e-mail, three questions at a time.

AK: Firstly, congratulations on your show which is currently on at the Gerard Sekoto Gallery of the Alliance Francaise. Does the fact that you are exhibiting in the G Sekoto gallery mean anything to you? Has Sekoto's work in any way played a role in your artistic development?

TK: i'm convinced that there's a shadow of sekoto on most of us, the artists who've read and heard about him and the socio-political scape of this so-called sa country would make one who is intellectually curious envy or aspire to get out... i would say his influence is not visible but felt.

AK: How did the connection with the Alliance Francaise come about? What is your particular take on French culture?

TK: french as a culture is not particularly inspiring for me, the elements of it, language, the urban visual aspect, literature particularly the novel and poetry that intoxicate my pain into meaning zola, flaubert, prevert rimbaud, baudelaire, verlaine, eluard have somehow saved a certain aspect of ma sanity and to honour them i'm randomly translating their writing to zulu, those shades of the french culture are fascinating for me... politics and religion are not even worth discussing for the content of our interaction.

AK: Is your exhibition securely grounded in the context of a "fine arts" discourse? How do "literature" and "fine art" overlap, or fuse, in your work?

TK: no no i'm on the depth of the edge, ma art is a mere activity to save maself from falling into the abyss. i sigh sometimes when i realise the meaninglessness of existence, save that one can create and write to keep on the dance floor we call life - art for me has nothing to do with being fine, but a means to meaning.