Thembelani AK Kendy Dyantyi (°1988, Adelaide, South Africa) makes films, photos, performances and media art. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Dyantyi finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
His films are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By applying a poetic and often metaphorical language, he tries to focus on the activity of presenting. The character, shape or content of the presented artwork is secondary. The essential things are the momentary and the intention of presenting.
His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By demonstrating the omnipresent lingering of a ‘corporate world’, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By investigating language on a meta-level, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By replaying the work for each exhibition and pushing the evocative power of the work a little further, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works are presented with the aim not to provide an idealistic view but to identify where light and the environment are important. The energy of a place and its emotional and spiritual vibrations are always important. By questioning the concept of movement, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By choosing mainly formal solutions, he tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves.
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González Rojas Adriana Marcela
Hernández Hernández Alejandro José
Himmelsbach De Vries Domenique
International Resource Center For Art Cairo
Junior Dope Lord Illuminati Lives
Madam Cosmic Entrepreneur Mastermind
Oliveira De Figueiredo Prashina
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Patil (inspirational Speaker) Rakxit
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Pedraza Eodriguez Emma Angelica
Plasencia Magdaleno Juan Moisés
Rodríguez Briseño Gustavo Daniel
Salas Dominguez Mayra Alejandra
Sigurdardottir Johanna Kristbjorg
Vanto Dumisani Vanto Dumfiasco
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