A rather controversial painting recently went on display at the Goodman Gallery in Johannesburg, South Africa. The painting “The Spear” features the current president of South Africa, Jacob Zuma, with his genitals exposed. Considering South Africa’s history with apartheid and racism, this painting stirred emotions of fear and anger within the entire country at the apparent racism and disrespect behind it.

The artist of this painting, Brett Murray, is a prominent figure in the South African artistic world. Based in Cape Town, he established the sculpture department at the University of Stellenbosch, and he co-founded the Section 27 company known as ‘Public Eye’ which helps to increase the profile for public art in Cape Town.

He often curates shows and has his own solo shows. His works are also housed in a number of prestigious public collections in South Africa and abroad. What, then, could the motive be behind this prominent artist’s ‘inappropriate’ portrayal of the South African president?

Historical intersections of art and politics can testify to the role of some artists as powerful political commentators. The question is to what extent art is and should be free to express itself fully and in any way that it wishes? To what extent can it be accepted as ‘art for art’s sake’?

In the time of Stalin’s rule as Premier of the Soviet Union, there were various restrictions and rules on the nature of art and music created – music that did not follow these ‘rules’ were subsequently banned and/or their authors suffered major professional and personal consequences. It was only after Stalin’s death in 1953 that some Russian composers aired their feelings and opinions of this ruler.

For example, the brutal and savage second movement of Dmitri Shostakovich’s Tenth Symphony has been described as a ‘musical portrait of Stalin himself’. Although such anti-Stalin expressions were banned during Stalin’s rule, they could never be permanently excluded from the Russian arts.

An American equivalent of this controversial painting is the anti-Obama poster used by critics of the Obama administration, a poster also known as the Barack Obama ‘joker’ poster. This poster, which features Obama as ‘The Joker’ from the film ‘The Dark Knight’, has been described as racist, poisonous and mocking – but it has also been described as brilliant and artistic.

A challenge has been issued for the creator(s) of this image to come forward and explain themselves. The image seems to be infamous and to have created a stir, and yet is accepted as a mere form of protest against the current American government.

Could Murray’s supposedly ‘anti-Zuma’ painting then be considered a mere form of political protest against the current political party. Surely one cannot prevent art from being an expression of a culture, a nation and its thoughts: the problems of different eras.

Yes, ‘The Spear’ could be meant as political protest, but South Africa’s historical and current problems with racism makes this particular ‘political protest’ verge on the unacceptable. The president of the National Union of Mineworkers, Senzeni Zokwana, expressed the criticism that this painting is how white people ultimately regard and see black people in South Africa.

The painting might be infamous for its inappropriate depiciton of a prominent figure in South Africa, yet most criticism against ‘The Spear’ is not aimed at its deformation of the president’s character. In fact, most criticism seems to be aimed at the apparent racism implied through the painting.

The issue at stake, then, is not Murray’s motives behind creating this painting, nor is it whether such a depicition of the president should be accepted or even allowed. The issue is that this painting has highlighted the fear and possible remaining presence of racism in South Africa. As long as the issue of racism remains prominent in the country, any form of anti-stance to a political party or prominent figure could be ascribed to racism.

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It may be recognised as another term for swearing, but the word CUSS is now the name of an exciting new online magazine. CUSS, based in South Africa, features everything from webisodes and zines to photography and art, music to installation and art galleries.

CUSS looks to uplift the world of South African arts and culture through its message of creativity, hope and progress. CUSS creative director Ravi Govender agreed to meet up for an interview and expose a bit of the mystery of CUSS.

Late morning in a bustly coffee shop, Ravi walked in, bought a coffee and sat down with his backpack. He stood out without trying to, wearing a beanie (in summer), a black shirt covered with (intentional) holes and a dreamy look on his face.

He answered the interview questions unphased, like a dreamer. A bachelor in the wild city of Johannesburg, this 26-year old lives in Braamfontein, Johannesburg. He loves the African continent and would love to stay on the continent for a long time. A Durbanite for the first twenty-four years of his life, he graduated from that city with a degree in fashion.

After this he went to stay in London for two years. He became addicted to life in the big city and, upon moving back to South Africa, felt a sudden affiliation with its biggest city, Johannesburg.

CUSS was started in January 2011. “It didn’t start as an artist group. It was more like a vehicle to sell vintage clothing,” explains Ravi. Because of the market in South Africa and the goals and drives of the artists, CUSS was never seen as something which would exist only as a “lookbook.”

In fact, Ravi believes that CUSS is by definition a temporary project, changing from one form to the next. He also explains the project as very multi-disciplinary. The term CUSS was chosen for the way it would stand out, especially amongst youth culture. This word also ties in with the mass aesthetic and pop culture which the project embodies.

The question as to how such an interesting group started was raised. Ravi explained that it was started by three friends: Jamal Nxedlana, Zamani Xolo and Ravi himself.

They decided to support each other and work together. Jamal and Ravi were friends in high school, after which they followed the same journey: from Durban to London and finally to Johannesburg. Zamani was described as a “friend of a friend.” However, it was Zamani and Jamal who first started this group, after which Ravi joined the conversation.

Being a successful art group in South Africa is not an easy task, although Ravi believes that being in South Africa holds certain advantages. “Being a local is an advantage anywhere you are in the world,” he says, following his experience of being a foreigner in London. “At the same time its really easy to make it here … Jo’burg is such a young city, its like an open market.”

CUSS seems to have South Africa at its feet. CUSS’s principal aim, however, is not their own success, but the contribution they can make to restructuring South Africa and Johannesburg. It wants to do this by influencing South Africa with its ideas, art and culture. CUSS is passionate about mass aesthetics and pop art, and hopes to popularize these trends in the conservative South African artistic scene.

They do this by following the artists they admire overseas and applying their ideas to the South African scene. Ultimately, CUSS wants to broadcast the continent to the outside while simultaneously reaching within.

Ravi provided some of his and CUSS’s hard-earned advice for young aspiring artists and designers out there. “CUSS is a group of friends with similar tastes and senses of non-judgmentalism,” he says. “We look out for each other, and learn from each other.” This, he believes, is important for anyone’s personal growth.

He is of the opinion that not many institutions provide this. Ravi believes that it is vital for an upcoming artist or designer to establish a strong network of support. If the saying of birds of a feather runs true then, be sure that as an aspiring designer or artist you find the feathers you want to display.

Image Courtesy of    http://www.cuss.co.za

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