kagablog

July 20, 2016

STATE OF THE NATION

Filed under: kagavox — ABRAXAS @ 10:51 pm

July 19, 2016

La séquence des barres parallèles (1992, dir. Aryan Kaganof)

Filed under: kerkhof short films — ABRAXAS @ 8:16 am

July 18, 2016

ERIC MIYENI in Nice To Meet You, Please Don’t Rape Me!

Filed under: 1995 - nice to meet you, please don't rape me! — ABRAXAS @ 7:11 pm

0

ARYAN KAGANOF CURRICULUM VITAE

Filed under: kaganof — ABRAXAS @ 2:49 pm

PERSONAL PARTICULARS

First name – Aryan
Surname – Kaganof
Date of birth – 9 March 2014
Place of birth – Johannesburg
Marital status – Married
Nationality – South African
Driver’s Licence – none

EDUCATION

1990-1994 Netherlands Film & Television Academy (NFTVA), Amsterdam – graduated in feature film direction and screenwriting
1982 University of Natal, Durban – dropped out after 6 months of studying drama and political science
1977-1981 Durban High School – matriculated with distinction and won the English Prize and the Essay Prize

WORK EXPERIENCE

1994-2015 I have been a professional film maker since graduating from the NFTVA
1987-1990 delivery boy at Kwekkeboom Bakery, Amsterdam
1988 – 1989 counter boy at Kentucky Fried Chicken, Damstraat, Amsterdam
1986-1989 dj and programme maker at Radio 100, pirate radio station, Amsterdam
1983-1986 researcher and activist, Dutch Anti-Apartheid Movement (AABN) Amsterdam
1983-1990 freelance journalist, Vula, Rixaka, Zuidelijk Afrika Nieuws
1979-1984 music reviewer, Scope Magazine, South Africa

AWARDS

April 2014 Special Mention of the International Jury, 60th Oberhausen International Short Film Festival (Germany) for Threnody for the Victims of Marikana
2013 Africa Magic Viewer’s Choice Award for Best Achievement in Editing for MAN ON GROUND (directed by Akin Omotoso)
August 2012 Best Achievement in Editing for Man on Ground, TAVA Awards (Nigeria)
2009 Movie of the Year Award, Underground Film Journal for CIVILIZATION AND OTHER CHIMERAS OBSERVED DURING THE FILMING OF AN EXCEPTIONALLY ARTISTIC FEATURE FILM
2002 Best Documentary at 1st African and Islands Festival of Reunion
WESTERN 4.33
March 2002 Best Video Made in Africa at 12th African Film Festival of Milan (Italy) for WESTERN 4.33
1999 Jury Prize, Golden Calf, Netherlands Film Festival for SHABONDAMA ELEGY
April 1995 Best Film, Madrid International Experimental Film Festival for TEN MONOLOGUES FROM THE LIVES OF THE SERIAL KILLERS
September 1994 Special Mention Jury Award, Rimini International Film Festival for TEN MONOLOGUES FROM THE LIVES OF THE SERIAL KILLERS
November 1993 Special Mention of the Catholic Jury at Mannheim International Film Festival for THE MOZART BIRD
November 1992 Joseph von Sternberg Prize for Innovative Narrative Structure at Mannheim International Film Festival for KYODAI MAKES THE BIG TIME
October 1992 Golden Calf Award for Best Film (KYODAI MAKES THE BIG TIME) at Netherlands Film Festival

MASTERCLASSES GIVEN

August 2014 Wits University, Johannesburg
Music & Film Masterclass
September 2014 African Arts Institute
Business of Arts Master Class (Film)
June 2011 Unit for Creative Writing at the University of Pretoria
Master Class for screen and short story writing
Nov 2009 Badilisha Poetry Workshop, Cape Town
2003 Jeonju International Film Festival Documentary Forum
“Beyond Documentary” with Jean-Claude Rousseau andNam In-Young

AS CURATOR

May 2013 The Bioscope, Johannesburg. PROJECT: TELL THEM WE ARE FROM HERE – featuring video and photography by Akin Omotoso
2012 Joburg Fringe, Johannesburg
VIDEO SCREENS featuring Cecilia Fereira, Robyn Nesbitt, Catherine Henegan, Nicola Deane
May 2011 Netfilmmakers, Copenhagen, Denmark
“Noisewomb” – group show of video art featuring Catherine Henegan, Kerstin Ergenzinger and Isabelle Schiltz

interview: aryan kaganof

GROUP EXHIBITIONS

July 2014 ICA Artists’ Film Biennial, London: Avant-Noir curated by Greg de Cuir. Song For Hector (5min)
June 2014 Joburg Fringe, Johannesburg Art Fair, curated by Niklas Zimmer
In The End (8min33sec)
June 2014 Photonic Moments Month of Photography, Ljubljana, Slovenia
The African Time Machine, curated by Silke Schmikl
Society of the Spectacle (3min36sec)
September 2013 Joburg Fringe, Johannesburg Art Fair, curated by Almut Determeyer
Society of the Spectacle (3min36sec)
September 2013 Incubate Festival, Tilburg, Netherlands
Society of the Spectacle (3min36sec)
May 2011 Agter die Berge, Berlin. The Joburg Video Fringe in Berlin
Casbah and Back (8min)
March 2011 Impressions Gallery, Bradford, UK
Film As A Subversive Art, curated by Mark Goodall
Il strategio del ragno (6min)
March 2011 Gallery D21, Leipzig, Germany
Private Viewing: South African Video Art
Casbah and Back (7min33sec)
February 2011 The Amin Gulgee Gallery, Karachi, Pakistan
Imagining Cities, curated by SPARCK
Western 4.33 (33min)
January 2011 Galerie Rupert Walser, Munich, Germany. Joburg Fringe Video Art, curated by Claudia Schneider and Felix Walser.
Casbah and Back (7min33sec)
May 2010 W.E.B. Du Bois Institute for African and African American Reserach, Harvard University. IN/FLUX curated by SPARCK and LOWAVE
Western 4.33 (33min)
June 2009 Central Library, Cape Town. Chimurenga Project curated by Stacy Hardy and Ntone Edjabe
ON WHY MAN RAPES
August 2008 NSA Gallery, Durban, curated by Brenton Maart
Three Highlights From The National Arts Festival
Taylor Rain is Dirty Girl in Velvet (11min)
March 2008 Galerie West, The Hague, Netherlands. Are You Close Enough?
The Dead Man 2: Return of the Dead Man (21min)
September 2007 Sexpo Art Gallery, Gallagher Estate, Johannesburg
Venus In Furs (7min)
September 2007 Black Soil INternational Hiphop Film festival, The Hague
“Aryan Kaganof Retrospective”
September 2007 New Music Indaba, UNISA, Pretoria
Reverie (11min)
February 2006 Bak, Utrecht. Concerning War, curated by Danila Cahen
Western 4.33 (33min)
March 2005 Artspace, Durban. RECENT WORKS, with Nicola Deane and Pete Engblom
April 2004 Illuseum, Amsterdam. SANCTUARY MENTAL SPACE, with Milijana Babic, Nicola Deane, Dick Tuinder, Philipp Virus
2003 NSA Gallery, Durban
VIRGINS: The Staging of the Artist as the Work Itself
with Helge Janssen, Catherine Henegan, Nicola Deane
November 2003 Centraal Museum, Urecht, Netherlands
SANCTUARY MENTAL SPACE with Dick Tuinder, Milijana Babic, Alexandra Zwaal, Catherine Henegan
2002 The Manuscript Exhibition, Johannesburg
2000 Global Ghetto, Berlin, curated by Philipp Virus
“A Journal of the Plague Year”
1997 De Balie, Amsterdam. Het Heilige Hart, curated by Anna Tilroe
Sylvia Kristel Jaren Later (22min)
September 1992 The Torture Garden, London

SOLO EXHIBITIONS

August 2008 Steenwijk, Netherlands, curated by Dick Tuinder
SUPREMATIST COMPOSITION #33: ON THE PRIMACY OF MOVEMENT AND UNDIVIDED WHOLENESS, AS IMPLIED BY POSTMODERN PHYSICS (AFTER JEAN BAUDRILLARD)
November 2004 The Muti Gallery, Johannesburg, curated by Guto Bussab
SANCTUARY
July 2001 The AVA Gallery, Association For Visual Arts, Cape Town
LOGOFF LOGON LOGOS

THEATRE (AS DIRECTOR)

May 2014 AFRIKAAPS at Artscape, Cape Town
March 1995 RITUAL FOR A POET IN B NATURAL,Theater Cosmic, Amsterdam

THEATRE (AS ACTOR)

June 2006 The Shooting Gallery, Nationa, Arts Festival, Grahamstown
directed by Catherine Henegan
July 2006 The Shooting Gallery, Market Theatre, Johannesburg
directed by Catherine Henegan

FILMS AS ACTOR

2010 The Barley Malt Bums (10min) – written and directed by Anders Ingvaldsen. In the role of Charles Bukowski
1999 Unter Den Palmen (80min) – written and directed by Miriam Kruishoop (Netherlands)

FILMS ABOUT KAGANOF

May 2011 What’s Your Story? – directed by Sarah Claire Picton
One Small Seed, Cape Town
Nov 2010 Aryan Kaganof – le Very bad boy, directed by Aldo Lee
ARTE France and Germany
May 2008 By Any Old Light – directed by Dionysos Andronis

FILMS AS EDITOR

2014 Elelwani was chosen to trepresent South Africa at the Oscars
for Best Foreign Film Category
June 2014 Tell Them We Are From Here (24min) – directed by Akin Omotoso, presented at National Arts Festival, Grahmstown
2014 Cold Harbour (74min) – directed by Carey McKenzie, starring Tony Kgoroge (BEST ACTOR AWARD Durban Int Film Fest 2014)
August 2013 My Mandela – Khalo’s Tribute to Madiba (26min) – directed by Shameela Seedat, produced by Francois Verster, produced for CCTV.
April 2013 Elelwani wins 2 Africa Movie Academy Awards: Best Actress and Best Production Design
March 2013 Aryan Kaganof nominated for Best Achievement in Editing for Elelwani at the African Movie Academy Awards
March 2013 Man On Ground wins 4 AMVCA awards including Best Editor
February 2013 Aryan Kaganof nominated for Best Editor at the SAFTA awards for Man On Ground
February 2013 Elelwani selected for the Berlinale Forum as well as the prestigious Heinrich Boll Foundation screening
August 2012 Man on Ground wins Best Producer, Best Director, Best DOP and Best Editor Awards at the TAVA Awards (Nigeria)
April 2012 Nomination for Best Achievement in Editing for Man on Ground at African Movie Awards
2012 Elelwani (90min)– (directed by Ntshaveni wa Luruli)
2011 Man On Ground (84min) – directed by Akin Omotoso awarded Best Feature Film Prize at Jozi Film Festival
May 2011 Ashraf Cassiem – I’m Resisting (10min) – directed by Dylan Valley
2011 Katjira’s Two Funerals (90min) – directed by Craig Matthew
2010 Welcome Nelson (23min) – directed by Craig Matthew, produced for ETV
2010 Jesus and the Giant (12min) – directed by Akin Omotoso
2007 Aboleleng (5min) – directed by Lerato Shadi

FILMS AS SCRIPT WRITER

2010 Jesus and the Giant (12min) – directed by Akin Omotoso
1995 Venus In Furs (80min) – directed by Victor Nieuwenhuijs and Maartje Seyferth, Netherlands

RESIDENCIES
July-August 2015 Stellenbosch Institute for Advanced Study (STIAS), Artist in Residence
January 2014 Mudra Institute of Communications, (MICA), Ahmedabad, India, Artist in Residence
Nov 2011-May 2012 Stellenbosch Institute for Advanced Study (STIAS), Stellenbosch, Fellow and Artist in Residence
Jan-Jun 2008 Visiting Professor, Malmo University K3, Sweden
March 2000 Yerba Buena Center For The Arts, San Francisco, USA. Artist in Residence

PUBLIC LECTURES

September 2014 Wits University, Johannesburg
“Joburg The Palimpsestic City”
July 2014 Think!Fest, National Arts Festival, Grahamstown
“Talking Out Loud” with Andile Mngxitama and Eusebius McKaiser
May 2014 Oberhausen Film Festival, Germany
“The Interesting Thing About Vested Interests” with Franz Wanner and Stefan Romer
Nov 2013 Netherlands Film Academy, Master of Film Lecture Series
“An Endlessly Moving Landscape”
June 2012 Greatmore Studios, Cape Town
“OnlineOnlive” with Stacy Hardy
March 2012 STIAS, Stellenbosch
“Threnody for the Victims of Democracy: Utilising mobile media to protect citizens from the police”
February 2012 Gugu sThebe Arts & Culture Centre, Langa, Cape Town
“Chimurenga Presents Man on Ground with Akin Omotoso and Aryan Kaganof”
July 2011 Mobile Entertainment Africa Conference, Cape Town
Keynote speech about SMS Sugar Man
June 2011 IDASA, Cape Town democracy centre
“Findings of the Truth AGAINST Reconciliation Commission”
March 2011 Woordfees, Stellenbosch
“Medium Specificity” with Professor Cristo Doherty
October 2009 The Sandberg Lecture, Sandberg Institute, Amsterdam
“Autonomy and Bankruptcy” curated by Rob Schroder
21 Sep 2009 Janasch Lecture Hall, Stellenbosch University
“Intuitive Strategies Against Architecture” with Michael Blake
13 May 2008 K3, Malmo University, Sweden
“Memory, Fiction and Public Space: The Presence of the Past” with Oscar Hemer
9 June 2007 Goethe Institute, Johannesburg
“Dissidence Considered as One of the Fine Arts: Documentary Freedom and the Dangers of State Intervention in the Arts”
May 2007 Asco 7, Cape Town
“L’Annee dernier a Marienbad for Architexts”
17 October 1993 NBF Forum, Nederlands Filmmuseum, Amsterdam
“Het Lichaam In Alle Staten” with Pieter Verhoeff

PERFORMANCES

10 May 2012 Fragments in the Form of a Serial (for piano and film) – performed live by Mareli Stolp (piano) and Aryan Kaganof (film). University of Stellenbosch Conservatorium
9 December 2007 Pop Shield with Righard Kapp, Felix Laband and Warrick Sony
21 April 2007 African Noise Foundation, The Second Aktion
Premises Gallery, Civic Theatre, Johannesburg
Jul 2006 New Music Indaba, National Arts Festival, Grahamstown
Re-Imagining Mozart – K475 for piano and cell phone (ruthlessly) with Michael Blake (piano)
9 December 2004 The Muti Gallery, Johannesburg
MURDERRIDA for video, voice and idiot
11 November 1999 Tokyo Wasted, with Otomo Yoshihide – Club 11/11, Tokyo
1998 Arti et Amicitae, Amsterdam, curated by Nelly Voorhuis
Femme de siecle, with Jeffrey Babcock
August 1997 Sonic Acts, Paradiso, Amsterdam
Kollaboration Beyond Axis, with Merzbow
February 1992 Sister Chance, with Ysabelle Evers
Fijnhouttheater, Amsterdam
November 1991 Underneath A Carpet Part Two with Isabelle Evers and Michael Vatcher, School Voor Nieuwe Dans Ontwikkeling, Amsterdam
February 1991 Rendezvous 3×3, School Voor Moderne Dans Ontwikkeling, Amsterdam. with Isabelle Evers

RETROSPECTIVE FILM SCREENINGS

November 2014 Athens Avant Garde Film Festival, Greece
curated by Vassily Bourikas
May 2014 60th Oberhausen International Short Film Festival, Germany
“Breathless With Anticipation : The Films of Aryan Kaganof”
curated by Stacy Hardy
March 2014 Italian Academy, Columbia University, New York, USA
“An Inconsolable Memory: Films of Aryan Kaganof”
curated by Professor David Freedberg and Professor Hlonipha Mokoena
October 2011 Music Department, University of York, UK
“Radical Documentaries” curated by Jonathan Eato
March 2011 University of Stellenbosch, Music Department and DOMUS
“AK47 FILM FEST” curated by Lizabe Lambrechts
15 September 2007 Department of Video Technology, Durban
Four Techno Films, curated by Rick Andrew
May 2006 5th Annual Festival of Noise, Canada
“Short Films of Aryan Kaganof”
October 2005 Playtimes Festival, Johannesburg
“Personal Selection” curated by Trevor Steele-Taylor
September 2005 Unyazi Festival of Electronic Music, Wits University
“Aryan Kaganof’s Electronic Cinema”
10 Feb 2005 Armchair Theatre, Cape Town
“The Volk Screenings”
Jan 2005 PARK4DTV, Amsterdam, Netherlands
“TRANSFORMATIONS” – a 7 hour broadcast of 24 films by Aryan Kaganof
22 October 2004 Wits School of the Arts, Digital Arts
“The Digital Avant-Garde: Collaborations”
March 2004 Wits School of the Art, Digital Arts
“Key Works From The Digital Film Underground” curated by Professor Christo Doherty
November 2003 Centre Jeune Cinema, Paris, France
“SPECIAL ARYAN KAGANOF” curated by Dionysos Andronis
July 2001 National Arts Festival, Grahamstown
“TAKING CINEMA FORWARD”, curated by Trevor-Steele Taylor
December 2000 Lausanne Underground Film & Music Festival
“Regards Sur Ian Kerkhof”
June 2000 Holland Festival, Kunstkanaal, Amsterdam
“Overzicht Ian Kerkhof”
March 2000 Yerba Buena Center For The Arts, San Francisco, USA
“WASTED: An Aryan Kaganof Retrospective”
1998 Molodist Film Festival, Kiev, Ukraine
Complete Retrospective
1998 De Balie Amsterdam, curated by Peter
“VIDEOWORKS I, II”
February 1994 STUC, Leuven, Belgium
Complete retrospective
July 1993 Limits of Liberty, The Weekly Mail and Guardian Film Festival, Johannesburg, “THE IAN KERKHOF COLLECTION”

POETRY

2007 The Freedom Fighter (Illuseum Press)
2007 The Ballad of Sugar Moon and Coffin Deadly (Pine Slopes)
2005 Jou Ma Se Poems (Pine Slopes)
2003 Drive-Thru Funeral (Pine Slopes)

NOVELS

2002 Hectic! (Pine Slopes)
2002 Hectisch (Podium), Netherlands, Dutch translation by Dick Tuinder
2003 Stones Again (Pine Slopes)
2006 Uselessly (Jacana)
2007 12 Shooters (Pine Slopes)
2013 The Vuvuzela Murders (Mbali Press)

SHORT STORY COLLECTIONS

2014 TIME OUT WITH MY DESTINY in ADULTS ONLY (Two Dogs/Mercury) edited by Joanne Hichens
2003 Sugar Man and Other Bitter Stories (Pine Slopes)
2000 SOMETIMES IT AIN’T EASY BEING A GAL in CHICK FOR A DAY (Simon and Schuster) edited by Fiona Giles

NON-FICTION

2013 FROM A PLACE OF BLACKNESS (Sankara Press)
with Andile Mngxitama
2012 THE FOREST AND THE ZOO (Chimurenga)
with Johnny Dyani
2012 HYPER-LITERARY FICTION: THE (META)POETICS OF DIGITAL FRAGMENTATION in DONGA (Dye Hard Press) edited by Paul Wessels and Alan Finlay
2003 SMS SANCTUARY (Pine Sloopes)
2000 FAREWELL in TOWARDS TOTALSCAPE

REVIEWS

September 2013 THREE FOOLS OF MELVILLE in Chimurenga Chronic
September 2013 IN LOVE WITH THE OPPRESSOR in City Press

FILM THEORY

November 2012 NOSTALGIA FOR THE FUTURE – A RE-MIX MANIFESTO
published in ITCH, a journal of Wits University http://www.itch.co.za/non-fiction/nostalgia-for-the- future-a-remix-manifesto

COMPLETE FILMOGRAPHY AS DIRECTOR, PRODUCER, EDITOR, CINEMATOGRAPHER

2015
Seven Aleatory Approaches To Arnold Van Wyk’s Night Music For Solo Piano, Found Footage And Voice – 89min – HDV Scham ist das Schlimmste, Toten ist einfacher – 35min35sec – HDV

2014
Amen – 5min – HDV Black Skins Wits Masks – 84min – HDV Amsterdam Avenue Black Cadillac Blues – 2min32sec – HDV
Ahmedabad Twelve Years Later – 29min – mv4
Mother’s Day – 20min – HDV (produced by Frank Scheffer) Night Is Coming – 73min – HDV Threnody For The Victims of Marikana – 27min – HDV
Directed By Korosh Mirhosseini – 11min10sec – mv4
2013
Key Man: The Lion of Judah in Greyton – 60min – HDV
Thandiswa Mazwai: My Face Goes Here – 7min34sec – mv4
In Conversation with Robert Glasper – 7min – mv4
Ben Sharpa – 5min – mv4
Unknown Couple – 5min – HDV The Afro Galactic Dream Factory – 1min45sec – HDV
An Inconsolable Memory – 102min – DCP
Society Of The Spectacle – 3min – HDV
2012
Interactions: A Strategy of Difference and Repetition – 33min – HDV
Stellenbosched – 9min30sec – HDV
Venom And Eternity For Dummies – 20min – HDV
Sweetness – 20min – HDV
Guerilla Blues And Holy Ghosts – 60min – HDV
Kom Khoisan Kry Terug Jou Land! – 5min37sec – HDV
Die Ander Rebellie – 50min – HDV
Amen – 7min – HDV
Brett Bailey – White And Middle Class – 57sec – HDV
Flames Of Passion – 30min – HDV

2011
The Legendary Syd Kitchen in G-String Blues – 25min – HDV
A Leisure Society of Severe Preponderence – 33min – 16mm/DV
Esperanza Spaulding: Something to Sing About – 13min – HDV
Cindy Blackman: Another Lifetime – 8min – HDV
Wayne Shorter: Disconnection is the Connection – 8min – HDV
The Legacy – 48min – HDV
Carpet Of Memory – 7min51sec – HDV
Caduceus – 8min – HDV
Jethro Louw: 21st Century Khoisan Man – 3min04sec – HDV
Welcome To Hell: Andile Mngxitama on the Meaning of Andries Tatane – 9min – HDV
Lunch At Iona – 5min42sec – HDV

2010
The Exhibition of Vandalizim – 48min – HDV
A minute well spent – 24 min – mv4
The Uprising of Hangberg – 93 min – HDV )co-directed with Dylan Valley)
Zola: Life Is A Testimony – 11min44sec – DV

2009
Jeanette Ginslov : this is a performance guys! – 16 min – DV
Blue Notes For Bra’ Geoff – 58min – DV
The dancer and his double arrive at the gates of heaven – 10 min – DV
Seven days at the Silbersteins and What is Opera? –12 min – DV
Sally in Winterland – 52 min – mv4
Civilization and other chimeras observed during the making of an exceptionally artistic feature film – 60min – HDV
Il strategno del ragno – 7 min – HDV
Prologomena of a history of time – 10 min – HDV
Great american suicides from Rothko to Cho – 6 min – HDV

2008
SMS Sugar Man – 84min – 3GP
Taylor Rain is Dirty Girl in Velvet – 12 min – DV
Click here to unsubscribe – 30min – DV
The promise of water – 6 min – HDV
Peter Whitehead : Murdered – 9 min – HDV
Camille Baker : Completely Arbitrary – 3 min – HDV
Qualis Artifex Pereo – 40 min – HDV
Behrang Miri : Realitet – 5 min – HDV
Kerstin Ergenzinger : Die sehnsuchtsmachine – 20 min – HDV
Drom film repetition – 53 min – HDV
In Conversation: the General and the Civilian – 12 min – HDV

2007
Unyazi of the Bushveld – 45 min – Digital Betacam
Song For Hector – 5min – DV
Reverie – 11 min – DV
Suprematist Composition #9 – 4min – DV
Welcome to the slaughterhouse – 41 min – DV
The Portrait of a Lady – 5 min – DV
Mechanicus – 5min – DV
Trio Mental – 12min – DV
Marienbad Revisited – 10min – DV
How We Learned To Stop Worrying And Love Mandela – 12 min – DV
Why do you want to believe ? –7 min – DV
The Eyedentiucal Twins – 2min38sec – DV

2006
Too drunk to fuck – 4 min – super8mm
Helge Janssen: Undead – 7 min – DV
Fade to glass – 5 min – DV

2005
Prodigal sons – 5 min – DV (with Kendell Geers)
Oedipus and punishment – 5 min – 35mm
To the Devil a bride – 6 min – DV
Giant steps – 52 min – DV (co-directed with Geoff Mphakati)
Totem – 11 min – DV
Two heads are better than one – 2005 – DV
Jaap Hoogstra: Geboorte Werd Hem Zijn Dood – 24 min – DV
Hermann Hesse Flying – 5 min – DV
Michael Blake Untitled – 12 min – DV
Anastasya, Leaving – 6 min – DV
Venus Emerging – 5min – DVCAM

2004
At last I am free – 2004 – 16mm – 5 min.
Bantu Continua Uhuru Nihilismus – 25 min – DV
Suprematist Composition no.8, The Corridor – 4 min – DV
A Sacrifice – 14min – DV
A Symbolic Exchange – 6 min – DV
A Funeral – 37 min – DV
A Perfect Day – 5min – super8mm
“Nique ta mère” – 10min – DV
A Willing Suspension of Disbelief – 3,5 min – DV
Nigga – 4 min – DV (co-directed with Philipp Virus)
Isolation – 5 min – DV
Seascape – 8 min – DV
Reich dance redemption – 8 min – DV
Kristallnacht – 8 min – DV
Oasis – 6 min – DV
The Muses – 4 min – DV
Self-Portrait With Nanny – 4min – DV

2003
Gare Itshebeng – super8mm – 6 min.
Suprematist Composition no 7 – 8 min – DV
Sharp, sharp! – 25min – DV
Arrested development – 5 min – DV
Portraits of a young eastern european jewish orphan girl – 4min – DV
I am an African – 4 min – DV
A sun dance ecstasy – 5 min – DV
The Reserection – 11 min – DV
Diabelli Variation #33 – 5 min – DV
Abraxas Opus 1 – 5 min – DV

2002
Western 4.33 – 32min – 35mm
Western 4.33 – 50min -(version for galleries) – Digital Betacam
Primal Scene – 5 min – DV
Alles Goed? – 20 min – DV
In Brooklyn -15 min – DV
Casbah and back – 7 min – DV
Nicola’s first orgasm – 6 min – DV
Pale blue eyes – 7 min – DV
Suprematist Composition nos 1-6 – DV

2001
The seven last words of Jesus Christ – 7 min – DV
Meditation on violence – 4min – DV
What is metaphysics ? – 3 min – DV
Hotel Ava – 4min – DV
Venus in furs – 6min – 16mm
It’s the children – 5 min – DV
Incest – 3 min – DV
Snuff – 3 min – DV
Merzbow beyond snuff – 25 min – DV

2000
Goya’s Grandad Dead (not) – 3min – DV
Nostalgia for the future – 24 min – DV

1999
Shabondama Elegy –90min –35mm

1998
Beyond ultra violence, uneasy listening by Merzbow – 68min, DV
Ron Athey is the Trojan Whore – 14 min – DV
Digital Popcorn – 8min – BetaSP
Ghost sonata – 52min – Digital Betacam
Sylvia Kristel, jaren later – 24 min – DV
Bonnie et Clyde – 6 min – DV
Femme de siècle – 7 min – 35mm
Nietzsche Inna Babylon – 180min – DV
Mondo Roxy: No Other Drugs Required – 25min – DV

1997
Signal To Noise – 9min – super8mm
Lift Your Hands Up – 4min – DV
Ron Athey: It’s Scripted – 25min – DV

1996
Techno : Space and flow in the radical frame – 16mm –50min
The Crossing Border Tapes – 45min – 16mm
Naar de klote (Wasted) – 100min –35mm

1995
Nice To Meet You, Please Don’t Rape Me! – 71min 16mm
The Turner revelation –85min –16mm
Book of Kain – 75min. – 16mm
Minnamanna –7min – 35mm
Matthew Barney: Creating Stories – 23min – 16mm
Blixa Bargeld: Come To The Point – 5min – 16mm

1994
Ten Monologues from the lives of the serial killers –55min-16mm
The Dead man 2, Return of the dead man –25min –16mm
Baby Kain – 16mm – 25 min.
Confessions of a Yeoville rapist – 68 min – Digital Betacam
Reflections on dead weight – 11min – 16mm

1993
The Mozart Bird – 75min –35mm
De enge Knijperman en de onderstebovenvrouw (The creepy peg man and the upside down woman) –14min – 16mm

1992
Kyodai makes the big time – 85min – 16mm
La séquence des barres parallèles – 7min –16mm

1991
The solipsist – 7 min – BetaSP
Egmont Ghost Poem – 3 min – BetaSP
Bloodbath – 2 min, BetaSP
Carnage in the charnel house – 4 min – BetaSP
The boy who masturbated himself to a climax – 1991 – VHS
Requiem – 7 min – BetaSP
Men are pigs – 2 min – BetaSP
Ein zwei drei – 7 min – BetaSP

1990
Stations of the cross – 11min- BetaSP
Crash – 8 min – VHS

LIMITED EDITION DVDS

in/flux July 2013 Qualis Artifex Pereo with Martin Bladh and Bo Cavefors ISBN978-91-85747-36-7 (Sweden) May 2006 Eenoog Koning includes “Nique ta mere!” (Netherlands) 2005 Tempsion – “Rectifier” includes “Nique ta mere!” (France)

ARTICLES AND SCHOLARLY RESEARCH ABOUT KAGANOF’S FILMS

July 2014 SALLY IN WINTERLAND: OVER INSPIRATIE, REALITEIT, IDENTITEIT EN SUSHI by Theodoor Steen http://www.salonindien.nl/2014/winterland-2009sally-in-winterland-2009/
August 2013 SPECTRES OF EXCESS by Professor Stephanus Muller. Paper presented at the Hearing Landscape Critically Conference held at Stellenbosch University
April 2012 WRITINGS ON THE WALL by Professor Henk Oosterling http://kaganof.com/kagablog/2012/04/24/writings-on-the-wall-a-necrology-by-henk-oosterling/
April 2012 KAGANOF’S POETIC FRENZY by Immanuel Stammelman http://kaganof.com/kagablog/2012/04/23/kaganof%E2%80%99s-poetic-frenzy/
April 2012 THE SUBSTITUTE by Anna Tilroe http://kaganof.com/kagablog/2012/04/19/the-substitute-by-anna-tilroe/
APRIL 2012 WHY CLONING IS UNNECESSARY: The Miraculous Fable of Aryan Kaganof’s selves by Mick Raubenheimer in CONTEMPO http://kaganof.com/kagablog/2012/04/18/mick-raubenheimer-obn-aryan-kaganof/
March 2012 ARYAN KAGANOF AND FORMALISM AFTER PRESENCE by Professor Eugenie Brinkema (Massachusetts Institute of Technology)
December 2011 ON KAGANOF’S DIRTY PHASE by Jean Pierre de la Porte http://kaganof.com/kagablog/2011/12/22/jean-pierre-de-la-porte-on-kaganofs-dirty-phase/
October 2011 THE DIRT IS REAL – THE REST IS SYNTHETIC: THE ROUGH WORKS OF ARYAN KAGANOF by Anton Krueger http://kaganof.com/kagablog/2011/10/05/the-dirt-is-real-%E2%80%93-the-rest-is-synthetic-the-rough-works-of-aryan-kaganof/
March 2011 THE ARYAN KAGANOF ALPHABET by Professor Stephanus Muller, Stellenbosch University http://kaganof.com/kagablog/2011/03/11/stephanus-muller-the-aryan-kaganof-alphabet/
September 2010 POLITICALLY MOLTO “INK-ORRECT”. GENIO E SREGOLATEZZA NELL’OPERA DI ARYAN KAGANOF by Raphael d’Abdon http://www.absolutepoetry.org/Politically-molto-ink-orrect-Genio
September 2008 TAYLOR RAIN IS DIRTY GIRL IN VELVET: ARYAN KAGANOF AT THE KZNSA by Peter Machen http://www.artthrob.co.za/08sept/reviews/kznsa.html
April 2006 IL “SENSO” DELLA MEMORIA by Giuseppe Gariazzo http://www.sentieriselvaggi.it/articolo.asp?idarticolo=14510&idsezione=17

INTERVIEWS WITH KAGANOF

31 July 2012 in INTERVIEWS WITH EFFERVESCENT WRITERS edited by Christine Mautiana http://kaganof.com/kagablog/2012/07/31/interviews-with-effervescent-writers-aryan-kaganof/
16 May 2012 “THE POLITRICKS OF FICTION FOR LIFE” in DONGA (Dye Hard Press) edited by Paul Wessels and Alan Finlay Interview is by Paul Wessels. http://kaganof.com/kagablog/2012/05/16/aryan-kaganof-iunterviewed-by-paul-wessels/
20 Nov 2011 interview by Liepollo Rantekoa http://kaganof.com/kagablog/2011/11/26/liepollo-rantekoa-interviews-aryan-kaganof-20-november-2011/
29 May 2011 Jean-Pierre de la Porte interviews Aryan Kaganof about “African Film” http://kaganof.com/kagablog/2011/05/29/jean-pierre-de-la-porte-interviews-aryan-kaganof-about-african-film/
2 April 2011 “Ek is my alter ego” – interview with Henry Cloete in Die Burger http://kaganof.com/kagablog/2011/04/03/henry-cloete-interviews-aryan-kaganof/
October 2010 “SA MOVIE MAKER GOES DIGITAL” – interview with Alistair Cotton in SA Photo http://kaganof.com/kagablog/2010/10/24/sharp-sharp-3/
September 2010 ‘VISION OF THE ARTIST – ARYAN KAGANOF AND THE HIDDEN REVELATIONS” – by Mick Raubenheimer in ROOTZ http://kaganof.com/kagablog/2010/09/26/mick-raubenheimer-on-aryan-kaganof-and-the-hidden-revelations/
September 2010 “NEW POINT OF VIEW” – interview with Mary Corrigall in Sunday Independent http://kaganof.com/kagablog/2010/09/07/mary-corrigall-interviews-aryan-kaganof-about-sms-sugar-man/
July 2006 “THE TRUTH IS NOT GRUESOME” – interview with Anna Abrahams in mm2, Experimental Film Book http://kaganof.com/kagablog/2007/03/31/4730/
July 2006 “REBORN IN RANDBURG” – interview with Tymon Smith in Sunday Times Lifestyle http://kaganof.com/kagablog/2010/08/28/tymonsmith-interviews-aryan-kaganof/
2006 “ARTISTS AS THE WORK” – interview with Shaun De Waal in Mail & Guardian http://kaganof.com/kagablog/2011/02/07/shaun-de-waal-interviews-aryan-kaganof-about-uselessly/
13 August 2004 “THE AFRICAN WESTERN” – interview by Nadine Botha in Mail and Guardian http://kaganof.com/kagablog/2010/08/20/nadine-botha-interviews-aryan-kaganof-about-western4-33-mail-guardian/
August 2002 “CAPTAIN KAGANOF I PRESUME” – interview with Peter Machen in The Independent on Saturday http://kaganof.com/kagablog/2010/08/31/peter-machen-interviews-aryan-kaganof/

67 poems for freedom

Filed under: kagapoems,poetry — ABRAXAS @ 10:53 am

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July 15, 2016

SHINGIRAI MUTONHO reviews FROM A PLACE OF BLACKNESS

Filed under: 2013 - From A Place of Blackness — ABRAXAS @ 11:04 pm

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first published here: http://www.thepatriot.co.zw/analysis/soul-searching-challenge-for-blacks/

westdene, johannesburg, saturday 11 august 2007

Filed under: kagaportraits — ABRAXAS @ 9:30 am

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July 14, 2016

Filed under: politics,race — ABRAXAS @ 10:28 pm

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SONG FOR HECTOR

Filed under: kaganof short films — ABRAXAS @ 10:26 pm

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a let down

Filed under: kagapoems — ABRAXAS @ 10:23 pm

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July 12, 2016

RAS NAPHTALI (i nafi), Voorstekraal, saturday 2 july 2016

Filed under: Country Conquerors,kagaportraits — ABRAXAS @ 11:02 pm

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LAMENTATION/KLAAGLIED – “black is beautiful”

Filed under: 2015- Lamentation/Klaaglied — ABRAXAS @ 10:41 pm

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Filed under: art — ABRAXAS @ 10:38 pm

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next level

Filed under: kagapoems — ABRAXAS @ 10:36 pm

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WESTERN 4.33 Namibian premiere on 22 July

Filed under: 2002 - western4.33 — ABRAXAS @ 10:34 pm

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first published here: http://www.namibian.com.na/Celebrate-African-Perspectives-birthday-with-Namibian-Short-Outdoors/42870/read

Filed under: kagapoems — ABRAXAS @ 8:08 pm

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MOHAMMAD SHABANGU on Language and Exclusion at Stellenbosch University

Filed under: 2016 - Opening Stellenbosch,politics,race — ABRAXAS @ 12:44 pm

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I should begin with a few opening remarks which will, I hope, anchor my overall argument as it relates to Language and Transformation at Stellenbosch University. Firstly, in response to the emerging critique following the memorandum of grievances and demands which was handed to the vice chancellor, it will be difficult to address some apparently ‘significant’ concerns since they are informed, however unconsciously, by apartheid era epistemic procedures which have always served to construct taxonomic racial and cultural diagrams. One such concern, often highlighted by those eager to jettison the ethico-politcal dimension of our argument, has to do with what is seen as ostensibly a paradox: ‘there is an amorphous number of black people who are also Afrikaans speakers’, therefore your demands are inattentive to the needs of many black students at Stellenbosch. Far from being a neutral objection to our demand for language reform, this argument, if that is what it is, reflects a profound and hurtful blindness to white supremacy. That is to say, such a contention simply gestures towards an inability to develop a critical vocabulary that can capture the mutating forms of racism in our post-apartheid context. A contrastive analogy, fanciful as it might seem, would be the post-Marikana debates which took place in many middle class circles shortly after the 34 striking miners were massacred in 2012. The assertion in these circles (black and white alike) was that, because the miners died under the watch of a black government, at the instruction of black police commissioners, at the hands of mostly black police men and women, the massacre cannot possibly be a racial issue, and we should therefore not conceive of it as such (it was seldom framed in racial terms). The simplistic reason: because there were black people involved in the incident, the racial and racist dimension of the episode can be set aside. This logic is clearly flawed and conveniently disavows the social determinations of human life together with the specificities of our racial past. On a far less visceral level, the objection to our demand for language reform takes on the same illogical thought pattern: because an amorphous number of black people are involved in instrumentalising Afrikaans, the charge of racism against the university and its language policy can be set aside, and the debate conceived of in neutral linguistic terms. As if to suggest that if x amount of blacks participate in a system, their mere participation indicates an ‘open’ ‘non-racist’ space. Time limitations preclude my going into detail about this logical fallacy, suffice to say that just because there are black people who speak Afrikaans, an obvious fact not even worth noting, it does not mean that Language (Afrikaans language in particular) does not function as an exclusionary tool at Stellenbosch University.

Now, no right thinking person can deny that Stellenbosch is a space of deeply entrenched structural and institutional racism and patriarchy. So, the language question cannot be separated from the question of ethis, and ethics in turn cannot be conceived of outside of the process of developing democratic intuitions. When talking about the language issue, we – members of Open Stellenbosch – are driven by a will to social justice. To attend to this, we are working together to bring about critical change at Stellenbosch University, a change that can only be realised by addressing the language question. OS is an anti-racist, anti-sexist, non-partisan movement that recognises our location in the belly of the beast of Neo-apartheid infrastructure.

I should begin by highlighting an obvious fact, that is, the idea that the post-apartheid present is mediated by historical discourse. If Language is itself the bearer of discourse, then it is also central to ideology. Language, both as a means of communication as well as a process of meaning making, can be and has been manipulated to subjugate black people in general. The typical conception of collective and individual power dynamics, a way of understanding ones existence as arising ex nihilo, creates a false history which further implies that ‘cultures’ and peoples are at different places on the timeline when, in truth, they are merely different. And one way the university has successfully managed to minoritise blacks is by presenting Afrikaans as ‘a developed academic language’, in contradistinction to Xhosa, for instance, an indigenous language still needing to be systematised, or invested with scientific and academic value. Apart from the absurd notion that systematising indigenous languages is an unquestioned good, this discursive strategy nevertheless works well for Afrikaner nationalists. Hence, I want to suggest that we commit ourselves to unlearning the naturalised and commonsensical ways of accounting for disenfranchised groups. To this extent, we must refute the notions of ‘diversity’ or ‘inclusivity’, in favour of comprehensive Transformation of the space sine the concept of ‘inclusivity’ relegates black people to mere appendages of a white, specifically Afrikaner dominant culture and mode of being. I’ll explain this further as it relates to language: The idea of diversity, of languges, of people, and of class and various other subject formations, belongs to the terrain of cultural studies within which the discourse of ‘minorities’ is located. The language policy, the discourse about diversity to which it gestures, may in fact be complicit with the minoritisation of cultures in, and people at, SU. By rethinking some of Homi Bhabha’s early formulations in postcolonial subject formation, I want to relocate culture within the diversifying processes and therefore highlight the benefit of historicising the discursive construction of social reality which is in turn reified in the form of the policy. I want, thus, to advance and develop the late twentieth century proposition that such historicism is only possible if one “relocate[s] the referential and institutional demands of such theoretical work in the field of cultural difference – not cultural diversity” (Bhabha’s italics, 32). If Transformation is a true objective of the institution, then this distinction between difference and diversity must be accentuated and accounted for in the language policy. It is important for my undertaking since ‘cultural diversity’ is concerned with epistemological objects and is therefore constituted by treating culture as “an object of imperial knowledge” (34). Hence, the usefulness of cultural difference within cultural studies (in contrast to cultural diversity) is that difference, in fact, lies in the very idea that the enunciation of cultural difference “problematizes the binary division of past and present, tradition and modernity” (35) and so forth, and therefore disrupts the very homogenising symbols that one will find in ‘cultural diversity’: the idea of a fixed and single ‘community’ or a stable system of reference. . I am suggesting here that we move our attention elsewhere in search for an opportunity to rethink our understanding of Transformation more generally, so that we think of it as has having to do less with notions of inclusivity or any comparable compensatory gesture, but Transformation as beginning with the work un learning our epistemological procedures, and doing the ethical act of giving up our privilege (white, male, heterosexual and any other positions of domination) in order to create the enabling conditions for a spontaneous abrupt kind of newness in the space. Such a newness is characterised by co-ownership of the space.

As far as language, then, black people do not want to be taken in by the narrative of inclusivity, because such a narrative, by the very definition of the term ‘inclusive’ reaffirms the position of white power by establishing a minority/ majority dichotomy which itself is a distortion of reality in South Africa. Once we see Transformation functioning to as undo this insidious myth, ‘inclusivity’ (as well as the resultant fallacies of it; multilingualism etc.) falls away and the space is cleared for the emergence of true reconciliatory work. I mention this, however inchoate, because it seems to me that the university has consistently talked about transformation in quantitative terms that have been negligent of the material realities and lived experiences of black people at Stellenbosch

Now, taking the language policy as a point of departure, we are fighting for substantive and comprehensive Transformation which is attuned to the lived experiences of black people, a political category which for us is not only a matter of pigmentation, but also includes those people who have a shared experience of discrimination and dehumanisation in this space. We challenge the privileging of Afrikaans as a medium of instruction, not simply on the grounds that it is necessary if we are to bear the full fruit of ‘inclusivity’, but on the grounds that it belies the university’s own vision statement. In addition, the university is largely funded by a post-apartheid and democratic South African state which means that it is thus intended – inherently – to be a public space. It follows that such a space should be one to which all students should feel able to lay equal claim. We have noted how the privileging of Afrikaans as a medium of instruction translates itself to a privileging beyond the classroom. It extends into the social fabric of our residences and other shared spaces, wherein black people are consequently marginalised and maligned

It is interesting too that management’s response to our movement has thus far been predictable: defend Afrikaans as the language of instruction by insisting on ‘multilingualism’ and repeating that the use of Afrikaans as a primary medium of instruction is constitutionally valid. Ironically, the University Council, the Vice Chancellor and Vice Rector, who are supposedly key overseers of transformation, have failed to recognise that the achievement of equality is one of the founding values of the Constitution. The right to equality is entrenched in section 9 of the Constitution. This right is elaborated on in the Promotion of Equality and Prevention of Unfair Discrimination Act (PEPUDA).

We have noted that the problem with the University’s current approach to Transformation has to do with a deliberate equivocation of key terminology, a convenient mistake on the part of management. For instance, their uncritical understanding of ‘racism’ is taken to mean different things at different times. This equivocation works well for those who do not recognise the need to account for the injustices of the past. Such people will often claim that any differentiation on the basis of race should be deemed ‘racist’. Related to that, what is also often conflated is the distinction between direct and indirect discrimination. Indirect discrimination can, and often does, amount to unfair discrimination. Indirect discrimination as exemplified by the language policy, includes any discrimination which is framed in terms of ostensibly neutral criteria, but that none the less has the effect of marginalising a particular group. In a landmark case on indirect discrimination is the Constitutional Court, the decision in City Council of Pretoria v Walker, was properly summed up Langa DP in noting that he problem with cases of indirect discrimination is that “there is almost always some purpose other than a discriminatory purpose involved in the conduct or action to which objection is taken”. As far as Stellenbosch University is concerned, that purpose is said to be the ‘protection’ of the language rights of the Afrikaans minority. The calculated actions of the university amount to the protection, not of Afrikaans culture, but of the white Afrikaans culture. Staff demographics are the most striking and measurable indication of this, but they are by no accounts the only indication.

From its inception, Open Stellenbosch has impressed on the student body the simple message that we wish to hear their stories. “I remember sitting in a lecture once, when a student raised her hand to clarify something with the lecturer in English.” So begins one of the hundreds of stories that have been sent to Open Stellenbosch. What the student describes next is a several minute long monologue in which the girl was personally attacked for having even dared to ask the question: “You people come to our university, and then expect us to change!?”

The stories that are the most revealing are often more subtle. One student recalls that way his lecturer, while following the language policy, would none the less make all of his jokes in Afrikaans. Jokes told in this way are not funny – they are a sign of the systematic exclusion of black students and, through that exclusion, a way of securing white Afrikaner culture which was founded and since kept in place through symbolic, systemic and physical violence in the present.

Filed under: 2016 - Opening Stellenbosch,politics,race — ABRAXAS @ 12:36 pm

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July 9, 2016

The Flood

Filed under: kagapoems — ABRAXAS @ 9:52 am

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Lamentation/Klaaglied

Filed under: 2015- Lamentation/Klaaglied — ABRAXAS @ 9:50 am

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Mustapha

Filed under: kagapoems — ABRAXAS @ 9:48 am

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rape culture for dummies

Filed under: kagapoems — ABRAXAS @ 9:46 am

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a messiah

Filed under: kagapoems — ABRAXAS @ 9:44 am

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a sermon

Filed under: kagapoems — ABRAXAS @ 9:41 am

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Thato Phatlane and Sikhulekile Duma, Stellenbosch University, 2015

Filed under: 2016 - Opening Stellenbosch,kagaportraits — ABRAXAS @ 9:38 am

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