“This is New Brighton” transnational exhibition is a photographic and visual art series that examines the development of New Brighton a suburb of Gqeberha, South Africa, established in 1902 as the first recognised black township during the apartheid era. The township and many of its street names were intentionally selected to evoke the popular seaside resort town of Brighton, UK.
By examining New Brighton’s establishment, growth, resistance against racial oppression, and presentday developments, the series seeks to highlight the township’s cultural significance and it’s residents’ aspirations. Part Two of this series was exhibited in Bloemfontein at the Vrystaat Art Festival in South Africa. Part Three entitled “This is New B(oe)righton” was a series exploring the existence and impact of colonial references ‘hidden in plain sight’ in the built environment across Brighton, UK.
This current Part Four edition is a creative response to the first three exhibitions and features new work produced by artists based in South Africa; Vian Roos, Andrea Boshoff, Kele Malete, Leandré Le Roux, and Mareli Luus.
NEW THE CORNFIELD
– Andrea Boshoff
In “New The Cornfield”, a response artwork inspired by Vian Roos’ piece, I comment on the inherent challenge of relying on an established name or association to garner recognition or understanding. The artwork uses an existing title, that of John Constable’s The Cornfield of 1826, while my painting diverges from the original work’s concept and aesthetics. The addition of “New” in the title of my artwork, “New The Cornfield” signifies a deliberate connection to the existing piece while highlighting the divergence in content and interpretation. Just as “New Brighton” suggests a fresh iteration or development, my artwork challenges viewers to consider how such associations can be misleading or disconnected from reality. The juxtaposition of the familiar name with an unrelated visual narrative prompts viewers to question the nature of recognition and perception in art. Much like the evolution of Brighton and New Brighton, which may share a name but have divergent developmental paths, my artwork explores the nuanced complexities of interconnected yet disparate entities urging a deeper exploration of the layers of meaning embedded within artistic expressions and the world around us.
THERE IS NO BRIGHTON
– Karen Pretoruis
In response to “This is New Brighton,” my work titled “There is no Brighton” delves into the theme of displacement. It serves as a commentary on the profound effects of forced relocation and the resultant isolation experienced by families torn from their homes and communities. It further comments on the irrelevance of the name, given to the new township and its streets, to the people who were relocated to this area. By systematically, yet indifferently erasing the letters comprising the name “Brighton” from the original content of This is New Brighton, my work presents a jumble of unintelligible characters, deliberately rendering the text incomprehensible. This deliberate obfuscation aims to elicit a visceral response of frustration and disbelief, mirroring the emotional turmoil experienced by those subjected to racial discrimination. Through this intervention, I seek to prompt viewers to confront the unsettling realities of displacement and societal marginalisation.
UMQOMBOTHI
– Kele Malete
In commenting on “This is New Brighton” I bring together two cultural items. The British teacup which “houses” Umqombothi the “heart and soul” of a specific African culture. Umqombothi is a traditional African beer served at ceremonies that links the user to a sacred past. More than a beverage it also serve to express community and connection in the way that it is served in a shared vessel. Here Umqombothi is served in an item referencing the British People. The teacup was originally used as a fancy highly decorative vessel to serve tea to the English upper class. The original ceramic tea cup however was created in China. Serving Umqombothi in a teacup brings together the two cultures in question.
GOSSAMER CONNECTIONS
– Leandré le Roux
Scan and view with Artivive app
After viewing This is New Brighton, a sense of interconnectedness between Brighton and New Brighton was impressed on me. My own video work focuses on this connection in the form of a haunting, mirage-like ghosting between the two places, created through stenciling, spray-paint and digital video. The video shows one scene or place, in traditional landscape format, but it shifts between the homes and architecture of both Brighton and New Brighton, being at once neither and both at the same time. Hauntings are often expressions of things that create tension unseen, manifestations of repressed, hidden or forgotten events. In this sense Brighton and New Brighton are haunted, each by the other, their faded histories and links finding here a flux filled ghosting echo of the intrusions upon each other.
ECHOES OF RESILIENCE
– Mareli Luus
This piece invites viewers to explore the shared threads of history, culture that bind these two Brightons. Through collaged visuals and purposeful typography, I celebrate resilience and reimagine narratives.
Poster 1 | Echoes of Eras: Brighton is a Quirky Bohemian Town with Victorian splendour. The poster symbolizes the city’s rich history and independent spirit. The narrative intertwines Brighton’s historic elegance with its dynamic present, offering a tribute to the city’s ability to embrace change while honouring its roots. A strong emphasis is laid upon the vibrant culture present in Brighton, where art, literature, music, and dreams are never far beyond your reach. [nostalgia, beauty, boldness]
Poster 2 | Resilience Redefined: In the heart of Port Elizabeth lies New Brighton, a township of resilience and a turbulent past. The poster symbolizes resistance and the town as well as it’s community as a beacon of strength and endurance. isiXhosa phrases whispers of the town’s heritage.