Athi-Patra Ruga's ongoing performance series The Future White Women of Azania (2010‒present) features fantastical characters — usually played by the artist — whose upper bodies sprout colorful, liquid-filled balloons, while their lower bodies pose or move in stockings and heels. Drawn from both classical Greek and Roman accounts of southern Africa and activists' dreams of a pre- and post-apartheid black African utopia, Ruga's Azania occurs as a state in flux: the Future White Women's liquid-filled balloons droop and pop, and the character dissolves to reveal a performer. Ruga's new work, The Elder of Azania, introduces another shape-shifter: a spiritual figure, both king and trickster, both Xhosa's goat spirit and Vaslav Nijinsky's famous faun.
Part of Live Projects 4
Athi-Patra Ruga's ongoing performance series The Future White Women of Azania (2010‒present) features fantastical characters — usually played by the artist — whose upper bodies sprout colorful, liquid-filled balloons, while their lower bodies pose or move in stockings and heels. Drawn from both classical Greek and Roman accounts of southern Africa and activists' dreams of a pre- and post-apartheid black African utopia, Ruga's Azania occurs as a state in flux: the Future White Women's liquid-filled balloons droop and pop, and the character dissolves to reveal a performer. Ruga's new work, The Elder of Azania, introduces another shape-shifter: a spiritual figure, both king and trickster, both Xhosa's goat spirit and Vaslav Nijinsky's famous faun.
Part of Live Projects 4
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