Art Review: 'working title' by Fouad Asfour at Wits Art Museum

Fouad Asfour’s working title at the Wits Art Museum is a profound exploration of identity, displacement, and cultural hybridity through a multidisciplinary approach. Known for his deep engagement with both material and conceptual concerns, Asfour’s latest exhibition presents a compelling narrative that invites viewers to reconsider conventional boundaries and explore new dimensions of artistic expression.

Installation View. Photo Courtesy of Khehla Chepape Makgato 

As visitors descend the staircase into the exhibition space, the lowercase title working title on the wall is strikingly juxtaposed with the vibrant splashes of paint on the newsprint. This visual contrast is further emphasized by three laboratory glasses, containing ink and feathers, that evoke the symbolism of a Trinity.

The title of the exhibition itself challenges conventional curatorial norms by being presented in lowercase. This choice echoes the stylistic approach of African American scholar bell hooks, who used lowercase letters to shift the focus from her identity to her ideas. Hooks’ decision to style her name in lowercase was a deliberate effort to de-emphasize the individual behind the work and instead highlight the substance of her writings and theories. This gesture reflects her feminist perspective, prioritizing collective struggle over personal recognition and critiquing systems of oppression while advocating for more equitable and communal forms of engagement. By adopting a similar approach, Asfour invites viewers to engage with the exhibition’s content and ideas rather than focusing on the artist’s persona.

 

Jar Of Marbles Installation View

A standout feature of working title is the installation piece that invites visitors to explore writing processes from unconventional perspectives. This installation serves as the culmination of Asfour’s practice-based PhD research project in ‘creative arts’, titled Un-drawing the Line through Spectrography: Exploring Trans-lingual Aspects through Visual Writing. The dissertation investigates the intersection of language and visual art, focusing on how visual writing—through techniques such as spectrography (the visual representation of sound waves)—can reveal and explore trans-lingual aspects of communication. By blending visual and textual elements, the research seeks to uncover how different languages and forms of expression intersect, interact, and redefine traditional boundaries of written and visual communication.

Among the notable works is a piece titled in lowercase absolutely fictitious things, which depicts the silhouettes of two women, one on the right holding a trigger on a gun. The piece is adorned with text in the background, some sentences strikedthrough, with emphasis on the title “absolutely fictitious things.” This work intriguingly combines visual imagery with textual elements, challenging viewers to consider how meaning is constructed through both language and representation. 

The body of works in working title spans a variety of media, including audio-visual installations, printmaking with visible embossing of linocut on paper, and an interactive spreadsheet of newsprint paper where audience members are encouraged to draw or write using provided tools. One of the most resonant elements for me was the jar of marbles placed at the entrance. This nostalgic portrayal evokes memories of my childhood in the village of Makotopong, where playing marbles and aiming to score between tiny spaces of two bricks was a cherished pastime. This simple yet evocative element connects personal history with the broader themes of the exhibition.

The exhibition is a testament to Asfour's innovative use of media and form. It features a diverse range of works that converge to create a compelling narrative about the complexities of modern existence. At the heart of the exhibition is Asfour's exploration of the notion of 'home' and belonging, examined through the lens of migration and displacement.

Upon entering the gallery, visitors are immediately struck by the immersive installation that sets the tone for the exhibition. This piece, which employs a combination of audio, visual, and sculptural elements, creates a sensory environment that challenges the viewer’s perception of space and memory. The use of fragmented imagery and disjointed soundscapes reflects the fractured experiences of individuals navigating new cultural landscapes. Asfour’s skillful integration of these elements invites viewers to confront their own experiences of dislocation and displacement.

Another highlight of the exhibition is Asfour’s series of mixed media works, which combine traditional techniques with contemporary materials. These pieces are characterized by their rich textures and layered compositions, offering a tactile and visual experience that speaks to the artist’s interest in the materiality of memory and identity. The use of unconventional materials—such as found objects and repurposed textiles—further emphasizes the theme of transformation and the fluidity of cultural boundaries.

Asfour’s digital art pieces provide a stark contrast to the tactile nature of his other works. These pieces, often displayed on large screens or projections, explore the impact of technology on personal and collective identities. Through dynamic visuals and interactive elements, Asfour delves into the ways in which digital platforms both shape and reflect our understanding of self and community. The juxtaposition of digital and physical elements within the exhibition underscores the artist's exploration of the intersections between the virtual and the tangible.

One of the most poignant aspects of working title is its engagement with social and political themes. Asfour's work often reflects on contemporary issues such as migration, identity politics, and the global refugee crisis. By incorporating these themes into his art, Asfour not only addresses pressing global concerns but also prompts viewers to reflect on their own positions within these narratives. The exhibition thus becomes a space for dialogue and introspection, encouraging a deeper understanding of the complexities of contemporary life.

The curatorial approach of working title also merits praise. The exhibition is thoughtfully arranged to guide visitors through a coherent yet multifaceted exploration of Asfour’s thematic interests. The layout of the gallery allows for fluid navigation between different media and concepts, creating a cohesive experience that underscores the interconnectedness of the various works.

working title by Fouad Asfour is a powerful and thought-provoking exhibition that challenges and engages its audience. Through his innovative use of media and his exploration of complex themes, Asfour offers a profound commentary on contemporary issues while inviting viewers to reflect on their own experiences and identities. The exhibition at Wits Art Museum stands as a testament to Asfour’s artistic vision and his ability to address significant cultural and social questions through his art.

Chepape Makgato is an independent visual artist, theatre producer, arts writer, educator, curator, and researcher. He is the founder and creative director of Samanthole Institute of Creative Arts which leads tge Art Focus of Univeristy of Limpopo's FNB Incubation Program. Chepape is a Chief  Curator of William Humphreys Art Gallery, in Kimberley, Northern Cape. He holds a Master's Degree in Fine Art from the University of the Witwatersrand and has exhibited his work locally and internationally. He is currently completing a PhD in the Art and Music Department at the University of South Africa. He is a deputy chairperson of South African Museums Association Central (Free State and Northern Cape provinces). He serves on the panel of Acquisition Committee of ArtBank South Africa. He is the the chief patron of Khehla Chepape Makgato Youth Libraries.