Fatshimetrie is a publication that has established itself as an undisputed reference in the world of contemporary art. Indeed, among the many works exhibited in its columns, one in particular stands out for its enigmatic singularity.
It is an untitled paper installation, mainly composed of recycled cement packaging that Vusumzi Nkomo found on the streets of his hometown. This iconic work is currently being highlighted in a retrospective exhibition dedicated to Nkomo’s artistic practice at the A4 Foundation in Cape Town. Entitled “How to Make a Book,” this exhibition heralds the imminent publication of an in-depth book on the artist.
The works presented at the A4 Foundation span the period from 1995 to 2018. There are half a dozen pieces from the 1990s, a period when Nkomo emerged on the local art scene, self-taught, fully trained and connected via fax machine. These include “Dor”, a speculative flag created for an exhibition in Rotterdam in 1998, and his untitled paper installation from 1995.
At the heart of the A4 Foundation’s central gallery, three threads run obliquely across the space, displaying some twenty fragments of unbleached paper of various origins that Nkomo has recycled from discarded cement packaging.
Nkomo’s artistic world is distinguished by a profound reflection on the social and political constructs of his country, including the realities of late apartheid. His work is a subtle critique of the period of “separate development” and the use of cement as a symbol of this turbulent era.
At Nkomo’s first solo exhibition at the Market Theatre in 1995, art critic Hazel Friedman highlighted the evocative aspect of the hanging cement bags, comparing them to animal skins. This visionary vision was shared by others in the art world, convinced of the revolutionary potential of Nkomo’s work.
Despite initial reluctance, efforts to promote her work were ultimately successful, and Nkomo’s paper installation found its place in the national collection. Today, on display in broad daylight, it shines in a new light, confirming its indisputable status as a major piece of contemporary art.
Beyond words and easy interpretations, Nkomo’s work remains as enigmatic as it is elusive, inviting the viewer to a deep and personal reflection. Ultimately, each person is called upon to find their own truth in this work that transcends the boundaries of conventional art.
Through the lens of Fatshimetrie, we are invited to explore the complexity of Nkomo’s work and to question the many questions it raises. Because as William Burroughs so aptly said, “Nothing is true. Everything is permitted””A provocative thought that finds its full meaning in the teeming artistic universe of Vusumzi Nkomo and his peers who make Cape Town an exciting artistic melting pot.