Interview: Carin Bester talks about Live Art Weekend UNinhabitable SPACES

Working Title is wrapping up its invigoratingly immersive Live Art Weekend series for 2024 in the Baxter Masambe and its precinct from December 5- 7 with UNinhabitable SPACES. Note: There has been change since the programme was announced. Mthuthuzeli ‘Blaze’ Zimba is not in the lineup and will be replaced by Oupa Sibeko who will present a live performance. At Live Art, Art as Resilience (August 2024), Sibeko presented a performance on screen and it will be great to see him in action, live. At UNinhabitable SPACES, Lungile Lallie & Liyema Speelman are presenting I’m Trying to Not Kill Myself, an art film (screen) . Live Art Weekend curatorial guide, Carin Bester gives insights and pointers on how UNinhabitable SPACES will unfurl:

TCR: The theme is UNinhabitable SPACES: The creative prompt is to invite artists and audiences “to reflect on environments that imperil the survival of fauna, flora and humans. Through performances the artists will examine both physical and psychological limits of all living things”. Can you give us insights into some of the work which will be presented?

Carin Bester: For me the themes of the Live Art Weekends are fascinating because they act as a unifying thread, yet they invite an incredible diversity of interpretations from individual artists. Each artist brings their unique perspective, background, and creativity to a shared theme, resulting in work that often defies initial expectations. While I may begin with a specific idea of how the work might develop. I’m continually surprised and inspired by the unexpected approaches and narratives artists present. This unpredictability is part of the magic of thematic exploration—it showcases the boundless variety of human imagination.

Under this particular theme, the works delve deeply into both external and internal landscapes. Beyond the exploration of physical spaces, they also invite us to reflect on our mental, emotional, and societal environments.

We delve into the severity of plastic pollution and the havoc it creates for all creates on this earth. Two works specifically examine how human actions directly influence the existence and adaptation of fauna, emphasizing the fragile interplay between human intervention and natural ecosystems.

On another level, some works tackle profound human experiences, such as the weight of stereotypes, the dynamics of power, and the quest for identity. These pieces invite viewers to confront the emotional scars left by societal pressures and to question established norms. Additionally, the universal struggle for inner peace amidst the chaos of modern life becomes a central narrative, offering a window into shared human vulnerabilities. The resulting collection is both thought-provoking and emotionally resonant, weaving together environmental, psychological, and social themes into a rich tapestry of creative expression.

TCR: Which work is presented inside the Masambe and which is presented inside?

CB:

Mmatumisang Motsisi & Tiffani Kayler Dlamini – Above:Below  – INSIDE

Joy Oosthuizen & Lynette du Plessis – Plastic Not So Fantastic   – OUTSIDE     

Lungile Lallie & Liyema Speelman – I’m Trying to Not Kill Myself (Art Film)  – INSIDE   

Oupa Sibeko – You can take the monkey out of the ghetto but you can’t take the ghetto out of the monkey –You can take a horse to the river but you can’t force the horse to drink water –  OUTSIDE 

Karli Heine – Die Potplant –   INSIDE                                                                                              

TCR: This is the 4^th iteration of Live Art Weekend at the Masambe for 2024. Can you reflect on the response from audiences to the platform which is multi-disciplinary and a mash up of genres and approaches?

CB: I can hardly believe that we’re already at the 4th Live Art Weekend. When I started with the first one, I had very little time to prepare, and as it was my first curatorial project, I truly didn’t know what to expect. Now, just nine months later, I feel incredibly grateful—for the artists who participated in the Live Art Weekends, those who have shown interest and continue to do so, and the audience, whose enthusiasm keeps this event alive. It’s heart-warming to know that we already have a core group of people who have attended every Live Art Weekend, while each event also welcomes new faces.

One of the most appreciated aspects has been the movement between pieces. While it’s not to everyone’s taste, the overall feedback on how the weekends are presented has been overwhelmingly positive. People enjoy the diversity of the work and the different interpretations of the themes, which spark conversations and connections. I particularly love hearing attendees discuss their favourite pieces and share their personal perspectives—it’s a testament to the depth and impact of the artwork.

Equally important to me has been the feedback from the artists, whether they’ve participated or attended as part of the audience. Their support and appreciation for this platform have been truly rewarding. It’s exciting to see a strong interest in continuing Live Art Weekends into 2025, and I’m eager to see how this community continues to grow and evolve.

TCR: Will there be Live Art Weekend in 2025?

CB: At this stage there is one more live Art Weekend under the funding from NAC, which has already been filled after the initial open call.  I am currently working hard at finding ways to obtain funding to continue with two more Live Art Weekends for next year, as well as looking at other opportunities where Live Art can be presented under my curatorial guidance. 

TCR: Anything else to add?

CB: I just want to encourage everyone to please support the last Live Art Weekend for 2024. The support means so much to myself and all the artist and it is also a way in which I can show potential funders that Live Art Weekends work and is worth the opportunity to continue.

Help us keep the Arts Alive.

✳ Featured image: Eddie Newman in Blinkers at Live Art ART AS RESILIENCE . Photo: Stephanie Gericke. Supplied.