The doors of Bag Factory Artists’ Studios open enthusiastically to welcome “iVum Vum”, a solo exhibition by the eminent Lebogang Mogul Mabusela. Until June 14, this South African artist, also known by the pseudonym Monotypebabe, unveils a captivating artistic presentation, weaving narratives of South African automotive history and culture. Through her etchings and monotype drawings, Lebogang Mogul Mabusela reveals the dominations and dogmas rooted in black male culture, exploring their impact on contemporary South African society.
Originally from Mabopane and now living in Pretoria, South African artist Lebogang Mogul Mabusela, nicknamed Zinequeen and Monotypebabe, is dedicated to the artistic expression of the everyday reality of her native land. A 2019 fine arts graduate of the prestigious Wits School of Arts, where she was awarded the Standard Bank Fine Arts Prize, the “iVum Vum” exhibition highlights creations from her ongoing series, entitled “Johannesburg Words”, in homage to a Robert Hodgins etching of the same name. Through this collection, the artist brilliantly captures the vibrant effervescence of the metropolis, while subtly criticizing the latent elitism of its inhabitants. A perceptive approach that denounces the injustice of misogyny within the black male community.
Capturing the country’s ordinary scenes with singular delicacy, Lebogang Mogul Mabusela’s work highlights the daily interactions of black women with urban men, illustrating the frequent linguistic exchanges that punctuate these encounters. She underlines with subtle irony the nature of her creations: “contradicts the reality of navigating misogyny; a dangerous space filled with obstacles, sexist roadblocks and patriarchal potholes”. Lebogang Mogul Mabusela redirects the male gaze towards himself, exposing his persistence and insidiously modest nature.
In her artistic approach, this contemporary creator highlights this macho perspective, placing men at the center through portraits associated with text. Lebogang Mogul Mabusela’s works fully embody the arduous challenges black women constantly face, revealing the mechanisms and singularly local language used by men to disarm women.
To accentuate the textuality of the portraits and Lebogang Mogul Mabusela’s role as speaker, the works are carefully displayed on shelves. These scenes, painstakingly painted by the artist, capture moments so banal and recurrent that they allow the viewer to immerse themselves in the narrative, while the portraits, like mirrors, invite introspection and deep reflection.
The South African artist continues her exploration of masculinity with new works exhibited in the “iVum Vum” exhibition. This new series highlights the relationship between men and their cars in the context of monotonous seduction. The title of the exhibition, inspired by a song by Kwaito artist Brown Dash, evokes the story of seduction in which a woman is invited to the cinema in Brown Dash’s car.
In “iVum Vum”, the artist uses affectionate terms found in his works to personalize cars loved by men, transforming them into seductive female figures. This exhibition explores how this personification of cars reinforces a culture where women are often reduced to objects. Featuring the peacock-green 1992 BMW E30 325is, also known as the “Gusheshe” and emblematic of South African car culture and racing, the artist invites viewers to reflect on the boundary between popular culture and individual responsibility.
The “iVum Vum” exhibition offers a profound critique of gender roles within contemporary South Africa and beyond, and the ways in which its actors conform to dominant expressions of masculinity. By questioning who is allowed to occupy pole position and who is relegated to last place in car culture and culture in general, the artist raises important questions about society and its norms.
Through this artistic exploration, “iVum Vum” invites us to reflect on the social construction of gender, on power dynamics and how they manifest themselves in our daily lives. By questioning these pre-established norms and highlighting the implications of these social constructions, the exhibition raises awareness of the issues surrounding masculinity and contemporary culture.
