The work of SAMGI promotes positive representation of gender. Gender, however, is a very tricky term. It is often used to designate the traditional binaries of male and female; yet at the same time gender means sexless-ness. The textual cannon of gender studies in the United States relies heavily on the writings of Michael Foucault and Judith Butler who emphasize a postmodernist fluidity to defining gender; that is, finding the spaces where gender transcends or trespasses cognition in order to create an understanding of the individual beyond biological or sexual definitions that are directly reflective of culture, tradition, religion, politics, etc. The National Museum’s exhibition “Patriarch: Changing Representations of Male Identity in South African Visual Arts” is an outstanding example of this postmodernist “troubling,” concentrating on dissecting the gendered connotations associated with patriarchy.
The exhibit defines patriarchy as referring to a leader, or one who has authority over a territory or grouping, deriving connotations of one who is stern, sober of attitude, controlled and dignified. These are expectations placed upon the South African male, not necessarily expectations that the individual male chooses or with which he feels comfortable. Each work is meant to question and deconstruct the stereotypes formed of the expectations. Inside the door of the exhibit and to the left there are four busts in bronze, a medium normally utilized to portray authority and magnanimity of its illustrious male subject. These busts, however, undermine such precepts. One bust is of a male who is quite miserable, perhaps even tragically pathetic in stature. Another is comedic in characterization; almost cartoon-ish. The busts give the viewer a contrasting perspective of male-ness that is more unique, more individualized, and more animated than is typically expected or deemed admirable.
Patriarch is a mixed array of sculpture, photography and paint. Wendy Schwegmann’s silverprint, Bodybuilder, which also graces the front of the exhibition leaflet, contrasts ideals of maleness with the concentrated pursuit of idyllic appearance. Strength is typically associated with manliness; yet, there is something very feminine in such dogged pursuit of the perfect body. Meanwhile the photograph by Muholi that shows explicit lesbian activity subverts and undermines the primary association of masculinity with virility since it proves women can openly and adequately take possession of their own intimate pleasure. The traditional expectations of the male and female body are usurped by these two displays.

"Butcher Boys" by Jane Alexander
Three full-life figures can be seen immediately upon approaching the exhibit door and are often the reason people are drawn into the room. These are the works of Jane Alexander which my Iziko guide, Mxolisi, advised are very popular among visitors. The Butcher Boys on first approach is menacing. The creatures are monstrous in form and frightening. Their bodies are human-esque and athletic; their heads are adorned with twisting horns. A closer approach begins to reveal their vulnerability. The figures have neither mouths nor genitals. At the back of the piece the creatures’ spines are fully exposed indicating that the forms have been hurt. Walking again to the front there is the realization that these creatures are not mature; their bodies are still in the process of transformation from youth to adulthood. Their eyes are of a young gazelle – big and glassy – taking in everything around them. The audience is warned that appearances are deceptive because being alive incorporates many hurts and many feelings that are often disguised during the enactment of gendered expectations.
The work by twin brothers, Husain and Hasan Essop is a superimposed photograph entitled Passing By showing the artists tumbling, climbing and jumping. In some poses a twin is wearing a traditional Muslim robe while in others a twin is wearing the typical jeans and shirt. These are young traditional men who know that there is joy and freedom in their faith that others do not often see. Set with an urban backdrop, it portrays the reality encompassed in negotiating tradition with modernity. It is a scene of boys traversing the influences that pull at their lives.
Opposite and to the left of Husain’s and Hasan’s piece is an oil on canvas which is a cacophony of red and black images. The artist believes there is positive male energy, such as that by the Essop twins, but there is also negative male energy. The work is snippets of hurt and destructive choices. Men need to understand the differences in energies in order to make decisions that are good rather than simply masculine.
Many of these pieces intimate the presence of possible controversy. This is the point of just such an exhibit. It is meant to challenge our notions and to disquiet our expectations. Greater tolerance for any society must celebrate the individuality of its members. Only in individuality will a community find creative energy, positive well-being and personal achievement. The exhibit runs through the end of March in Room 9 of the National Gallery.



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