I use Art as a tool for social change

Wezile Harmans
(b. 1990, Port Elizabeth. Based in Cape Town, South Africa)

A visual art practitioner whose interdisciplinary practice encompasses performance, video, installation, and mixed-media works as a tool for social change. His work confronts prejudices and advocates against social inequality, creating a platform for critical self- reflexivity within unwelcoming spaces. Wezile’s work is influenced by how things have come to existence, as well as motivations behind certain movements, reactions, human behaviours and mostly how these become symbols. In his practice, he uses the theory of defamiliarization as an alternative way to create further conversations.
Wezile’s noted international projects include a video performance with LEAD Project and LSE Firoz Lalji Centre for Africa (London); M1/M2 highway billboard feature by The Centre for the Less Good Idea (Johannesburg), a film by human rights defender Hub Artivism, Video project commissioned by the University of York (CAHR) (UK) and Art Rights Truth. His work has been acquired by Nelson Mandela Metropolitan Art Museum, ArtbankSA National Museum of South Africa in Bloemfontein and Brainlab Culture Program Munich. Wezile’s accolades include the 2022 Best Visual Art Award in Creative Collection by the National Institute for Humanities and Social Sciences, Prince Claus Fund Building Beyond 2022 Award recipient, 2019 David Koloane Award and finalist in the 2020 Arts & Culture Trust Awards.His performance work has been witnessed at Iziko South African National Gallery, Norval Foundation, Uppsala Art Museum, National Arts Festival, FNB Art Joburg, Investec Cape Town Art Fair, Latitudes Art Fair, AVA Gallery, UJ Art Gallery, Museum of African Design, South African State Theatre, Bag Factory Artist Studios, PIAD ( Programme for Innovation in Art form Development) developed by the Vrystaat Arts Festival and the University of the Free State in partnership with Public Art Project, funded by the Andrew Mellon Foundation, Hangar (Portugal), and he has participated in several residencies including SIRA residency (Madagascar), OpenLab residency (Karoo/Bloemfontein), Griffin Art Projects 'Virtual Worldings' Residency Exchange (Canada/RSA), BODYLAND residency (Hogsback), PACT Zollverein (Germany), Krone x WHATIFTHEWORLD residency at Twee Jonge Gezellen in Tulbagh, Frankfurt Lab in Germany and AISPIS residency in Stockholm, Sweden.
LOCATING SPACES OF URGENCY

LOCATING SPACES OF URGENCY

This is an ongoing project which encompasses series of spaces that hold victims to gather, remember, heal and predict. These spaces are physical, mobile, temporary and futuristic. I am also looking at the idea of mapping conversations as coordinates that direct individuals to collectively remember familiar and unfamiliar events. I am looking at these spaces as forms of archives.

Umdiyadiya

Umdiyadiya

Inspired by collective memories and seeks to track historical events in a black household during turbulent past.

When we travel

When we travel

Highlighting the quotidian movement and narratives of subaltern individuals.

Do not trust the borders

Do not trust the borders

Focusing on the challenges of migration and its dehumanising impact on migrants.

We regret to inform you

We regret to inform you

Against the backdrop of South Africa's increasing unemployment rate, which according to different sources reaches between 40 and 60% of the population.

MY NAME IS

MY NAME IS

The tension between who gets to speak and who listens remains perpetually unresolved.

Umdiyadiya is inspired by collective memories and seeks to track historical events in black households during South Africa’s turbulent recent past. As a live performance work which includes an installation of 10 square meter hand sewed mutton cloth material and bandages, the artist Wezile Harmans remembers time spent in both welcoming and unwelcoming spaces, reflecting on experiences with family and friends. Encountering kindness and softness within rough and uncomfortable spaces and situations, the work suggests that there can be love in spaces you might consider “broken” and that, in some instances, beautiful memories were made there which deserve to be remembered. Umdiyadiya is a Xhosa word to describe the cloth installed inside the house to create rooms, it is used as a space demarcation. This kind of demarcation cloth is not only used in the Xhosa tribe but has iterations in other parts of the world.