Vincent Bezuidenhout
SOUTH AFRICA
Vincent is a multi-disciplinary artist specializing in lens-based media. Growing up during the death throes of apartheid in South Africa, his research-intensive practice is informed by his past, focused on concerns regarding identity in relation to the psychology of power, and the validity of memory relative to history. He holds a Master’s in Fine Art from the Michaelis School of Fine Art, University of Cape Town, is a published writer, and has lectured widely. He has been awarded grants and fellowships from The National Arts Council of South Africa, The Tierney Fellowship, Oppenheimer Memorial Trust, School of Visual Arts – NYC & the National Research Foundation of South Africa. Residencies include the Cité Internationale des Arts, Paris and Photoglobal at the School of Visual Arts in New York City. Solo exhibitions include Separate Amenities at Whatiftheworld, Cape Town (2012) and Fail Deadly at Goethe On Main, Johannesburg (2016). Group exhibitions include Morse Code: Distress Call, Returning to Sender, (2014), SITE: Photography and National Trauma in South Africa, (2014), Biennale Boda Boda Lounge Intercontinental Video Project (2014/16) and Another Antipodes – Emerging Contemporary Art from Southern Africa, (2017). Permanent collections include Stellenbosch University Museum, Southern African Foundation for Contemporary Art & the South African National Association for the Visual Arts.
Separate Amenities
Separate Amenities examine the way in which the landscape was constructed to enforce separation during the time of apartheid in South Africa. Recreational spaces previously functioned as separate facilities for different racial groups on every level of society, including separate beaches, parks, walkways and swimming pools. By exploring this recreational landscape, constructed through political, social and psychological factors, a view can be obtained of how the physical structuring of the landscape has been altered to implement control and separation. It shows a level of social engineering, through a flawed political system of racial segregation, which has led to spaces of ambiguity, incongruity and ultimate failure. The philosophy of segregation inherent in apartheid spatial structuring reflects elements of control, fear and power: elements which today acts as evidence of a time and modus operandi of the creators of that system. This reveals the many ways in which ideology has shaped our landscape and comments on the fact that despite the failure of apartheid, the structuring of the landscape in South Africa has had a lasting effect, which as Okwui Enwezor said is ‘an entirely unique specimen of the historical failure of moral imagination’ in South Africa. By using my country of birth as the nexus for speaking to concerns of the psychology of power and the validity of memory relative to history, I hope to contribute to a post-colonial critique which also allows me to reflect on my own identity within South African historicism.

The Addis Foto Fest (AFF) was established in 2010 by award-winning photographer and cultural entrepreneur, Aida Muluneh. The festival is organized by Desta for Africa Creative Consulting PLC. AFF is a biennial international photography festival held in Addis Ababa, Ethiopia. It has previously featured exhibitions, portfolio reviews, conferences, projections and film screenings in many different renowned venues. It is also the first and only international photography festival in East Africa.