Julie Weber – Jespionne https://jespionne.moda Sun, 12 Oct 2025 03:16:15 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.26 Oliver Hermanus’ Movie, ‘Moffie’, Is Changing The South African Film Industry https://jespionne.moda/agency/oliver-hermanus-movie-moffie-is-changing-the-south-african-film-industry/ https://jespionne.moda/agency/oliver-hermanus-movie-moffie-is-changing-the-south-african-film-industry/#respond Tue, 30 Mar 2021 00:52:33 +0000 https://jespionne.moda/?p=13035

Oliver Hermanus' Movie, 'Moffie', Is Changing The South African Film Industry

Written for JESPIONNE

Topaz Jonez Goodall

The South African film industry has not had many moments in the 21st century to have a breakout hit other than Tsotsi in 2005 and District 9 in 2009--until now, with the film Moffie. South African native Oliver Hermanus uses Moffie to explore the topic of homophobia in South Africa by telling the story of a gay teenager who is drafted in the army set in the 1980s. The title of the film itself explores some of the controversy tied to homosexuality in South Africa since it is a derogatory term used against gay men in that region. Some of the themes that Moffie touches on are toxic masculinity, violence,

racism, and homophobia. These topics are not usually focal points of South African films, making its release such a fascinating talking point in the current state of South Africa. During the first release of the film, there were protests in South Africa against the abuse and murders of women, called “femicide.” Moffie would become a part of a bigger conversation due to its raw depiction of some of the issues that were plaguing the women of South Africa as well. The undeniable numbers that show that what is happening in South Africa against women is an epidemic of toxic masculinity and violence. 

"T he challenge in South African film landscape right now is that it still seems to exist very much within racial boundaries."

- Oliver Hermanus

March 2021

The film Moffie has started a campaign to bring awareness to homophobia in South Africa. They have a series on YouTube that has various videos of South African gay men recounting their experience with the word, moffie. The men are using this chance to reclaim the word but also acknowledge the pain they received from it. 

The film industry in South Africa is not as extensive as American cinema, but the stories they tell bring attention to the past and present of the country. The appeal of film is not high to South Africans, but the international appeal has made it apparent there is an audience for South Africa’s film industry. Some major films have been filmed in South Africa but were meant for the American audience. If the resources that came to South Africa were used improve the infrastructure of the film industry there, then the audience there would feel more inclined to support. 

Moffie is sparking needed attention to South Africa for the film industry to be taken seriously there. The primary problem that affects the industry is the fact the audience doesn’t feel the need to go to the theaters and watch. If more money in distribution and marketing were put towards the films created in South Africa, then it would have a better chance of reaching the people. Films like Moffie show that South Africa produces undeniable talent. If the proper actions aren’t taken to broaden the exposure of films that are made there, then the film industry will never reach its maximum potential.

Reference Article

By GUY LODGE for THE GUARDIAN

“The subject matter did bother me at first,” he says from his home outside Cape Town, where he’s self-isolating under coronavirus lockdown. “It was my mum who actually said to me, ‘Why make another film about white men in apartheid South Africa?’ “

“But the challenge is to find the centre of it that resonates with you completely. And for me, that became not just about the character’s sexuality, but about the shame factor: the fact that under this regime, boys were sort of shamed into becoming a certain kind of man. Because we keep asking the question, especially in South Africa: where does our toxic masculinity come from? When I looked at it that way, when I sort of saw this as an exploration of our past that informs our present, I was more comfortable with it.”

“I know it’s a very triggering film – it had to be,” he admits. “We’ve had an overwhelming range of reactions to the film in South Africa: some from gay men who had been to the army and felt identified and recognised, some from men who don’t necessarily acknowledge the fact that they are still traumatized. One member of the press had a panic attack at a screening. These are common experiences, but they haven’t been widely addressed in South African culture.”

Though the film is set in the whites-only domain of the army, Hermanus doesn’t skimp on depicting anti-black violence: “It was a dangerous choice, I know, to have all of the black characters be physical objects, victimised on the sidelines. But that’s how it was: there’s a white gaze there, and we needed to see that.” He cites inspiration from the 2010 Abdellatif Kechiche historical drama Black Venus – which depicted the white objectification and abuse of black South African performer Saartjie Baartman, to divisive effect.

Hermanus is prepared for pushback on the point of view he’s taken, but doesn’t see South African cinema evolving via kid-glove treatment of its own ugly history. “The challenge in the South African film landscape right now is that it still seems to exist very much within racial boundaries: white money making nostalgia pieces for white people that are devoid of black people, and then you’ve got black filmmakers making romantic comedies and genre films about black lives,” 

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SOUTH AFRICA / GHANA / CAPE TOWN / LAGOS / FILM / MOVIE / STREAMING / PROTESTS /  / MASCULINITY /  FEMICIDE

March 2021

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Nuclear Iran: A Delay of the Inevitable https://jespionne.moda/agency/nuclear-iran-a-delay-of-the-inevitable/ https://jespionne.moda/agency/nuclear-iran-a-delay-of-the-inevitable/#respond Sat, 27 Mar 2021 18:02:28 +0000 https://jespionne.moda/?p=13005

Nuclear Iran:
A Delay of the Inevitable

Written for JESPIONNE

Meena Jehan

In and out of the news since 2015, the Joint Comprehensive Plan of Action (JCPOA), signed between the Permanent 5 (P5) members of the United Nations Security Council – China, France, Russia, United Kingdom, and United States, in addition to Germany, and Iran, represented a new era of nuclear politics.

Holding the hopes of developing Iran on its shoulders, the JCPOA agreement is Iran’s chance to develop clean nuclear energy and spring forward into the future. Hotly contested in the US, the agreement had only partisan support when it was ratified and maintains only partisan support today.

"T HE CHALLENGE OF AFRICA IS COMPLETELY DIFFERENT; IT IS MUCH DEEPER. IT IS CIVILIZATIONAL TODAY. FAILING STATES, COMPLEX DEMOCRATIC TRANSITIONS, THE DEMOGRAPHIC TRANSITION."

- French President Emmanuel Macron.

March 2021

The Controversy of the Iran Nuclear Deal
Under the Iran Nuclear deal, Iran is limited to 5,000 IR-1 enrichment machines, down from their original 20,000; the excess machines were to be dismantled and placed under the International Atomic Energy Agency’s (IAEA) observance. For 15 years, the only enrichment facility allowed is at Natanz. Iran is only allowed to keep 300 kilograms of 3.67% enriched Uranium total in all forms.
All excess enriched Uranium was required to be sold, shipped abroad, or diluted to natural uranium levels. A whole host of other regulatory changes, restrictions, and plans for developing Iran’s nuclear capabilities are also included and can be seen in the table below.

The importance of the Iran nuclear deal is not left out of contemporary US politics; remaining outside of the JCPOA is an important platform in former President Donald Trump’s 2020 campaign, whereas his opponent President Joe Biden has affirmed the US’ reentry into the treaty upon his election.
The US’ reentry into the JCPOA means one thing: Iranian nuclear material refinement will continue. While Remaining outside of the JCPOA the United States can apply sanctions against Iran’s oil and banking sectors to hopefully reduce cashflow available for Iran’s infrastructure development. In Iran, President Hassan Rouhani stated in 2019 that Iran would resume high level enrichment of uranium if the rest of the P5 plus Germany could not protect them from US sanctions.

Russian and Chinese Support
Russian and Chinese influence over the JCPOA deal has allowed Iran to continue their nuclear program. A nuclear deal with Iran without Russia and China would not have been possible, as the two countries have supported Iran for years. China has invested heavily in the country as a part of the Belt and Road Initiative, and Russian arm sales and petroleum/natural gas buyouts have secured a stable income for Iranian energy. Supporting the Iranian economy allows continued enrichment and nuclear study.
Back in the news cycle once again, Iran was rocked by explosion after explosion in the month of July, one of these targeting the famous Natanz nuclear facility. Other explosions occurred at an ammunition dump, a power station in Isfahan, Tondgooyan petrochemical plant, and a gas storage tank complex near Mashad. Of uncertain origin, reports regarding the Natanz explosion from the Iranian government indicate sabotage.
Iran has blamed both Israel and the US, while an independent and unverifiable hacking group calling itself the Homeland Cheetahs has claimed responsibility for the attack.

Is There Historical Precedent?
The Homeland Cheetahs claim to be an Iranian dissident group, and their name is similar to groups linked with the Iranian Revolutionary Guard’s cyber force – Persian Cat and Charming Kitten.
It seems highly unrealistic the Natanz explosion was caused by such a hacking group, as it is unlikely physical damage could be caused through cyber means. In 2010, more than 15 nuclear facilities in Iran were targeted by a virus known as Stuxnet, a continuous replicating virus that targeted the Windows-based Siemens Step7 software utilized by the facilities. In total, more than 984 total uranium enriching centrifuges were destroyed, resulting in the loss of millions of dollars. The virus allowed the hackers to control what ever piece of machinery or system it had infected, and the centrifuges targeted were shaken apart.
Overall, the attack is estimated to have reduced efficiency by 30%. This is a direct example of physical damage resulting from a virus, but the damage was machine related. It is reported the Natanz attack was not machine related, and therefore is likely not the result of a virus or cyber-attack.

More likely, and reported by the Iranian government, is physical sabotage. The Hamshahri newspaper of Tehran wrote on 7 July “"the site is being constantly protected by machine guns and more powerful air defense systems such as the S-300 are stationed at sensitive places and near the borders, so an air strike on the site in Natanz is almost impossible." The Iranian government has so far corroborated the Hamshahri assessment, stating the attack occurred from within, as no exterior shrapnel from any rocket or bomb was recovered at the scene. Iran has so far refused to offer any more comment, preferring to wait for the investigation to be completed.
The New York Times reported the blast to have delayed Iran’s nuclear program for up to another two years, a considerable setback for the nation. The JCPOA comes to term fully in 2030, but several restrictions are reduced in 2025 to the point where Iran can easily recover from this incident. Iran could possibly develop a nuclear weapon within months of the JCPOA ending, and continued support from Russia and China can only work to further Iran improvements.

Is There Historical Precedent?
The Homeland Cheetahs claim to be an Iranian dissident group, and their name is similar to groups linked with the Iranian Revolutionary Guard’s cyber force – Persian Cat and Charming Kitten.
It seems highly unrealistic the Natanz explosion was caused by such a hacking group, as it is unlikely physical damage could be caused through cyber means. In 2010, more than 15 nuclear facilities in Iran were targeted by a virus known as Stuxnet, a continuous replicating virus that targeted the Windows-based Siemens Step7 software utilized by the facilities. In total, more than 984 total uranium enriching centrifuges were destroyed, resulting in the loss of millions of dollars. The virus allowed the hackers to control what ever piece of machinery or system it had infected, and the centrifuges targeted were shaken apart.
Overall, the attack is estimated to have reduced efficiency by 30%. This is a direct example of physical damage resulting from a virus, but the damage was machine related. It is reported the Natanz attack was not machine related, and therefore is likely not the result of a virus or cyber-attack.

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Iran/ Iran Nuclear Deal/ JCPOA/ United States/ United Kingdom/ Russia/ China/ France/ Germany/ European Union/ Nuclear Weapons/ Nonproliferation/ Rouhani/ Khamenei/ Natanz/ IAEA/ Grossi/ Uranium/ Isfahan/ Homeland Cheetahs

March 2021

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Wangechi Mutu – Womangrove https://jespionne.moda/topaz-art/wangechi-mutu-womangrove/ https://jespionne.moda/topaz-art/wangechi-mutu-womangrove/#respond Mon, 22 Mar 2021 19:21:51 +0000 https://jespionne.moda/?p=12994

TOPAZ'S

ABOUT ARTIST

Wangechi Mutu explores the violence and misrepresentation that women, particularly black women, experience in the contemporary world. She has spoken of her art—which includes sculpture and installations with similar coiled, hybrid imagery—as using the aesthetic of rejection and wretchedness to explore the hopeful or sublime.


ABOUT GALLERY

Victoria Miro is well known for their work from established artists around the world and upcoming artists in the UK. Their goal is to nurture the best talent from new generations of artists and promote great pieces from those already established.

WANGECHI MUTU

Womangrove, 2018
Red soil, pigment, paper pulp, adhesive, wood, cow horn, feathers, wood, glass, and acrylic beads
40.2 × 28 × 22.8 in
102 × 71 × 58 cm

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Nnenna Okore – Body Language https://jespionne.moda/topaz-art/nnenna-okore-body-language/ https://jespionne.moda/topaz-art/nnenna-okore-body-language/#respond Mon, 22 Mar 2021 19:16:02 +0000 https://jespionne.moda/?p=12991

TOPAZ'S

ABOUT ARTIST

Nnenna Okore is an artist who works both in Nigeria and the United States. Her largely abstract sculptures are inspired by textures, colors and forms within her immediate milieu.


ABOUT GALLERY

Jenkins Johnson Gallery was founded in 1996 by Karen Jenkins-Johnson, who is a part of the small but influential group of black gallerists. This gallery specializes in contemporary art pieces and they strive to create space for underrepresented artists, curators and thinkers.

NNENNA OKORE

Body Language, 2015
Burlap, cheese cloth, dye and wire
72 × 96 × 25 in
182.9 × 243.8 × 63.5 cm

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Péju Alatise – Lost https://jespionne.moda/topaz-art/peju-alatise-lost/ https://jespionne.moda/topaz-art/peju-alatise-lost/#respond Mon, 22 Mar 2021 19:08:08 +0000 https://jespionne.moda/?p=12989

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ABOUT ARTIST

Born in 1975 in Nigeria, Péju Alatise is a artist, poet, and a writer. She experiments with various materials and techniques as a medium to analyze various socio-political issues.


ABOUT GALLERY

Since it was founded, the Aicon Gallery focuses on non-Western modern and contemporary artwork, especially those created in South Asia. They hope to help artists understand their vision and ambition in this ever-changing world.

PÉJU ALATISE

Lost, 2015
18 mixed media panels
60 x 8 in. each
152.4 × 20.3 cm each

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Sokari Douglas Camp – Prick Gun https://jespionne.moda/topaz-art/sokari-douglas-camp-prick-gun/ https://jespionne.moda/topaz-art/sokari-douglas-camp-prick-gun/#respond Mon, 22 Mar 2021 18:29:40 +0000 https://jespionne.moda/?p=12987

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ABOUT ARTIST

Sokari Douglas Camp was born in Buguma, Rivers State, Nigeria.  Sokari works intuitively and on her own, she draws ideas and works on the scale suggested by her drawings. She works with sheet steel and has recently started working with recycled  oil barrels. These barrels are all over the world and familiar . Oil is a big feature in Sokari’s work because she comes from the Niger Delta where oil is the main produce. Her place of birth is unsafe to return to because of bad governance and pollution.


ABOUT GALLERY

The October Gallery presents a rich diversity of art from both local London artists, poets, and writers as well as artists from around the world. Over the last forty years, they have presented cutting-edge contemporary artwork since its founding and collaborate with their partners to create unique programs.

SOKARI DOUGLAS CAMP

Prick Gun, 2016
Nickel plaited steel
52.4 × 16.1 × 12.2 in
133 × 41 × 31 cm

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EL ANATSUI – Change in Fortune https://jespionne.moda/topaz-art/el-anatsui-change-in-fortune/ https://jespionne.moda/topaz-art/el-anatsui-change-in-fortune/#respond Mon, 22 Mar 2021 18:20:17 +0000 https://jespionne.moda/?p=12985

TOPAZ'S

ABOUT ARTIST

A critically acclaimed mixed-media artist, El Anatsui gained worldwide recognition in the early 2000s for his shimmering, monumental wall hangings, visual feasts rich with associations to Africa, Europe, and America. These expansive sheets, hung in undulating swags and blocky folds, are composed of countless bits of brightly colored metal, the salvaged caps of liquor bottles, which Anatsui and his team form into shapes, then link together with copper wire. A cross between painting, tapestry, and sculpture, the hangings grew out of his earlier investigations into re-purposing scrap materials, with their attendant cultural associations.


ABOUT GALLERY

The October Gallery presents a rich diversity of art from both local London artists, poets, and writers as well as artists from around the world. Over the last forty years, they have presented cutting-edge contemporary artwork since its founding and collaborate with their partners to create unique programs.

EL ANATSUI

Change in Fortune, 2018
Aluminum and copper
115.7 × 114.2 in
294 × 290 cm

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Liliana Porter – Red Sand https://jespionne.moda/alessandra-art/liliana-porter-red-sand/ https://jespionne.moda/alessandra-art/liliana-porter-red-sand/#respond Sat, 20 Mar 2021 22:32:42 +0000 https://jespionne.moda/?p=12967

ALESSANDRA'S

ABOUT ARTIST

Liliana Porter produces prints, drawings, paintings, photography, video works, and installations that dabble in the absurd. Porter juxtaposes figurines of popular cultural icons, children’s toys, and other kitsch objects in surreal compositions, so that unlikely relationships emerge—to unsettling or fantastical effect.


ABOUT GALLERY

Carrie Secrist Gallery was established 1992 as Gallery A, then later renamed and relocated in 2003. At first, they only showcased local artists, but after renovations they were equipped to deal with larger scale artworks and expand their artists connections. Their goal is to reinvent visual literacy through the incorporation of conceptual and academic ideas.

LILIANA PORTER

Red Sand, 2018
Colored sand and figurine on white wooden base
36 × 40 × 40 in
91.4 × 101.6 × 101.6 cm

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Pedro Pablo Oliva – El Gran Abuelo https://jespionne.moda/alessandra-art/pedro-pablo-oliva-el-gran-abuelo/ https://jespionne.moda/alessandra-art/pedro-pablo-oliva-el-gran-abuelo/#respond Sat, 20 Mar 2021 22:18:45 +0000 https://jespionne.moda/?p=12963

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ABOUT ARTIST

Pedro Pablo Oliva (born 1949) is one of Cuba's most famous and influential living artists. Known as a chronicler of his time, Oliva's fantastical and provocative paintings, drawings and sculptures reflect Cuba's social, cultural and political life during the last half-century.


ABOUT GALLERY

When established in 2001, Pan American Art Projects’ mission is to showcase artwork from The Central, North, and South Americas to create connections between artists. By providing historical context along with their pieces, they are able to create programming that allows for comprehension and reflection on their collection.

PEDRO PABLO OLIVA

El Gran Abuelo, 2006
Mixed media on heavy paper
47 1/4 × 31 1/2 in
120 × 80 cm

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Claudio Bravo – Two Heads and Hands (Study for Luzbel and Lucifer) https://jespionne.moda/alessandra-art/claudio-bravo-two-heads-and-hands-study-for-luzbel-and-lucifer/ https://jespionne.moda/alessandra-art/claudio-bravo-two-heads-and-hands-study-for-luzbel-and-lucifer/#respond Sat, 20 Mar 2021 22:10:58 +0000 https://jespionne.moda/?p=12960

ALESSANDRA'S

ABOUT ARTIST

Claudio Bravo was eulogized by the New York Times as a painter whose adeptness with realism made his paintings verge on trompe l’oeil. Though Bravo originally won acclaim as a portrait painter, he became particularly known for his still lifes featuring crumpled paper, animal skulls, and exotically dressed figures. These, Bravo said, were heavily influenced by Spanish old masters like Francisco de Zurbarán, Juan Sanchez Cotán, and Diego Velázquez.


ABOUT GALLERY

The Forum Gallery has been located in New York city since 1961 and is a founding member of the Art Dealers Association of America. The gallery focuses on humanism by maintaining exhibits and art fairs that showcase contemporary pieces for viewers and critics to experience.

CLAUDIO BRAVO

Dos cabezas y manos (estudio para Luzbel y Lucifer) / Two Heads and Hands (Study for Luzbel and Lucifer), 1983
Pencil on paper
15 3/4 × 19 1/2 in
40 × 49.5 cm

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