Africa|Nosy Art Echange and The Center For The Less Good Idea collaborate to bring out two Malagasy artists Temandrota and Naty Kaly to partake in Season three for the Center for the Less Good Idea to work with curators Lindiwe Matshikiza (Desert), Bettina Malcomess and Bhavisha Panchia (Writing for the Eye, Writing for the Ear). This season takes the shape of residency-style workshops that culminate in public showings between April 11-14, 2018 at The Center for the Less Good Idea at Arts on Main in Johannesburg. During this time, the artists are encouraged to collaborate and explore experimental, collaborative and cross-disciplinary ideas that don’t often make the ‘final cut’ for larger productions. This transnational collaboration will thus strengthen networks between Madagascar and South Africa that have been developed over the last six years by ANAE via Is’Art Galerie, the only contemporary art gallery in Antananarivo, Madagascar. In this regard, ANAE facilitates the cultural exchange between artists from mainland Africa and those of its surrounding islands, looking toward strengthening artist-lead networks. ANAE partners with Is’Art Galerie in the creation of Festival d’Art Urbain, an annual arts festival that takes place in Madagascar. This collaboration with The Center for the Less Good Idea is particularly interesting in that curator and multidisciplinary artist Lindiwe Matshikiza is a previous participant of the Festival d’Art Urabain, and she has a keen interest in keeping this network alive. 

Artists bio’s:


Born in 1978, the self-taught Temandrota takes his name from the Temandrota tribe of the Antandroy ethnic group to which his family belongs. On using the tribe’s name as his artistic identity, he explains:

“I am fond of being acquainted with the signs and symbols specific to our village’s ancestors [which are still relevant to me now]. Traditions such as oral practices, chanting, ancient myths and stories, added to the collective life at the village constitute the centre of my craft. They represent the fueling elements of my creativity. They are permanently channeling some energy to me along the creative processes.”

Temandrota’s wood sculptures are informed by the ancient myths and folktales from his childhood, as well as the rites of passage that punctuated rural life. Circumcision rituals, turning the dead celebrations and wedding ceremonies are customs represented by intricate pattern making and geometric forms by the artist. His use of plant barks and wood fibres, along with other natural materials (even the dung of zebu, an indigenous cattle) reflect the strength of nomadic traditions in his practice.

More recently, Temandrota has begun to explore the mediums of performance, installation and video. His work also incorporates the noises and sounds often heard in the tropical forests of Madagascar. Acknowledged as one of Madagascar’s most successful contemporary artists, Temandrota has exhibited in numerous countries including Haiti, Germany, Belgium, Canada, La Réunion and South Africa.


Naty Kaly:

Naty Kaly, a self-taught multi-disciplinary artist, is continuously embracing artistic and music-making challenges so as to bring positive impact into the lives of people within his society today and for the future generations to come.

His music, mostly explored as vocalist for Olo Blacky, fuses traditional Malagasy beats and rhythm blended with contemporary hip hop, and contains messages of an inspiring and encouraging nature (for example a grandmother who chooses to keep her ancestral land instead of sell if off to make quick money, as is the current trend in Madagascar).

Since 2014 Naty Kaly has been central to the emergence of an arts space called Taninjanaka, which translates to ‘Land of the Child’, a play on the everyday saying in Madagascar that the land is the land of the ancestors. Through this concept Taninjanaka operates to address a lack of education within visual culture in Antananarivo by directly speaking to the youth. Taninjanaka has resulted in the building of a vibrant artistic area that both engages educational institutions as well as takes the education to the streets via street art, music and platforms that encourage artistic expression.




This project is supported by an ANT Mobility Grant from Pro Helvetia Johannesburg financed by the Swiss Agency for Development and Cooperation (SDC). Prohelvetia ANT Mobility Funding


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