pumflet 'gladiolus' - 30 November 2017

To whom it may concern

Pumflet ‘gladiolus’ will be on sale at the Adderley Street flower market on 30 November throughout the day. It documents the conversation between ourselves about Luyolo, the black neighbourhood in Simonstown that was completely demolished in 1964 and from where most of the residents were moved to Gugulethu; and about Redhill, a black neighbourhood where people were moved to Ocean View and of which ruins still remain today. During our research about Luyolo and Redhill we looked at the paintings of Gladys Mgudlandlu, an artist from Gugulethu and the writings of Gladys Thomas, a poet living in Ocean View, in an attempt to find visual and literary links to these historic and contemporary sites of forced removal.

‘gladiolus’ documents our speculations on Mgudlandlu’s depictions of Cape Town’s built environment of the 1960s and also our discussions with the poet Thomas from her Ocean View home. Through the documentation we meditate on the way these sites were linked through landscapes, creativity and the social imagination.

From 6pm-7pm we will be at A4 Arts Foundation, 23 Buitenkant Street, where Gladys Thomas’ creative writing archive will be on view, where the video piece ‘Homeless song 5’ will be screening and where we will be available for discussion about all this material.

So, buy your copy from Sisters on Adderley (R50 for ‘pumflet’ gladiolus or R100 for pumflet + a bunch of glads) and join us in discussion thereafter.

Thank you for your kind attention

Kemang Wa Lehulere and Ilze Wolff


30 November 2017


Pumflet available all day at the Adderley Street Flower market

Discussion on the archive and process by Ilze Wolff & Kemang Wa Lehulere 6pm - 7pm at the A4 Arts Foundation


A4 Arts Foundation

23‭ ‬Buitenkant Street‭,

District Six


The event carries 0.2 Category one CPD points

Please ensure you sign the register to be issued a CPD certificate.


Pumflet: art, Architecture, and stuff

'Pumflet' was co-founded by architect Ilze Wolff and artist Kemang Wa Lehulere in 2016. It exists to publish interventions into the social imaginary.

It is a publication series exploring the social imagination, stories of neighbourhoods and reflecting on histories of the present. It is a site-specific, project based correspondence based, creative writing based, graphic based, periodical. It seeks to invite the public into

conversation and reflection about architecture, art and other creative disciplines with the purpose of finding wisdom on how to intervene or relate to contested land.

Pumflet is supported by oharchitecture for media and distribution; and Wolff Architects  for production and project implementation. Since its inception in 2016 pumflet projects have been hosted by the University of Johannesburg, Stellenbosch Outdoor Sculpture Trust, Gallery University Stellenbosch and A4 Foundation. pumflet ‘gladiolus’ was inserted as a supplement into the catalogue ‘Bird Song’ by Deutsche Bank Artist of the Year 2017, and pumflet co-founder, Kemang Wa Lehulere, and distributed at the accompanying solo show in Berlin. Each publication is conceived as an original art book designed by architect and pumflet co-founder, Ilze Wolff, using recycled paper, gaffer tape, archival images and typed - and handwritten text.

Image of Luyolo, circa 1960s, Simonstown Museum

A wedding in Luyolo, circa 1960s, Simonstown Museum

Pumflet 'Gaiety': 30 March 2017 event pictures and video

On 30 March 2017 pumflet: art, architecture and stuff distributed its second edition called pumflet  'gaiety'.  'Gaiety' published the recollections of Wilfred Damon, ex-resident of Die Vlakte a site of apartheid forced removals in Stellenbosch. Wilfred's memories focused on the Gaiety Cinema, the bioscope designated for racialised persons of colour. He writes how he learnt that his favourite opera would not be screened there despite it showing at the Plaza, the cinema for white patrons. He snuck into the white cinema and watched the opera 'illegally'. The intervention included a public tour of the demolished neighbourhood and a screening of La Boheme at the site where the Gaiety once stood, today a commercial complex and a pizza eatery.

A big thank you to all who contributed to make this event and intervention possible and to everyone who attended. Another tour is organised on 18 November 2017 from 10am -1pm and organised by Gallery University Stellenbosch. Please see details of that event here.

Here is a video clip captured and edited by astroclutterfilms led by Malik Ntone Edjabe, produced by 

Below are pictures of the event taken by Visual Poet, Cultural Worker and  MPhil African Studies candidate.

Die Vlakte Tour + Pumflet 'gaiety' (second edition)

This project evokes the lived experiences of Die Vlakte. Die Vlakte was demolished between 1969 and 1972 as part of apartheid’s project of separate development and forced removals of racialised people of colour from the centre of Stellenbosch. 

Residents of Die Vlakte, led by Wilfred Damon, will take the audience on a tour of their memories behind contemporary Stellenbosch. "Wherever you see a parking lot - that's were we lived". The tour will be given in Afrikaans, translated into English.

The tour will end at GUS with a music performance of live guitar by Wilfred, discussion, refreshments and distribution of the second edition of pumflet ‘gaiety’ - a publication of Wilfred’s recollections of Die Vlakte based events: the earthquake interrupted screening at Gaiety Bioscope and the non-screening of La Bohème. pumflet: 'gaiety’ compiled by Ilze Wolff, Wilfred's daughter, architect and artist, is part of a serial publication co-founded with artist Kemang Wa Lehulere in 2016.

Part I  -  Walking Tour of Die Vlakte
10:00 from Lückhoff Building cnr Ryneveldt & Banghoek streets

Part II -  Discussion and Music
12:00 - 13h00 at GUS Gallery, cnr Bird & Dorp streets

All welcome, FREE.

The project is made possible by the generous support of students from Stellenbosch Gradex 2017, coordinated by Nicolene Burger

Curatorial team: Nericke Labuschagne, Charles Palm, Steph Fichardt, Valeria Geselev, Kamiela Crombie

Poster design: Steph Fichardt 

The tour and the publication were initially conceived for the Hiervandaan public art festival hosted and organised by the Stellenbosch Outdoor Sculpture Trust (SOST) in March 2017

For more info: gus@sun.ac.za 071-5501427

OH_Thursdays: A conversation with António Tomás

Join us in conversation with António Tomás as he presents his upcoming book 'In the skin of the city: Luanda or the dialectics of spatial transformation'.



limited numbers apply


18H00 - 19h00


Wolff Architects 

136 Buitengracht Street

Bo Kaap

Cape Town

ABOUT António Tomás

António Tomás received his doctoral degree in Anthropology from Columbia University, in New York. He is the author of a study on the African nationalist Amílcar Cabral titled O Fazedor de Utopias: Uma Biografia de Amílcar (The Maker of Utopias: A Biography of Amilcar Cabral (Lisbon [Portugal]; Praia [Cape Verde], Tinta da China; Spleen, 2007; 2008). He was the Ray Pahl Fellow at the African Centre for Cities, in 2014, at University of Cape Town, working on a book called In the skin of the city: Luanda, or the dialectics of spatial transformation.

He has taught as a permanent staff member and visiting scholar in a number of academic institutions such as Makerere Institute of Social Research, at Makerere University, in Kampala (Uganda), MISR, École des Hautes Études en Sciences Sociales, and Science Po, in Paris (France), and at Stellenbosch University, in Western Cape (South Africa). He is currently a Senior Lecturer at the University of Cape Town (South Africa), with the African Centre for Cities.

ABOUT 'in the skin of the city: luanda or the dialectics of spatial transformation

In the skin of the city: Luanda or the dialectics of spatial transformation is a book that describes the process of transformation that the city of Luanda, the capital city of Angola, has been through in the past decades, having the architectural modernist intervention – which started in the 1950s – as the starting point. Additionally, the book engages with the question of Postcolonial urbanism and the ways in which the postcolonial state has dealt with the urbanistic colonial inscription and the imperative for its unraveling.

Pumflet 'Gaiety' - a public tour, an intervention and a pumflet: 30 March 2017

Extract from 'In Ons Bloed' compiled by Hilton Biscombe.


My father, Wilfred Damon, has written down his memories of going to the Gaiety Bioscope, the cinema that once stood in Andringa Street in an area that was known as Die Vlakte in Stellenbosch. Die Vlakte was demolished between 1960 ad 1970 as part of apartheid’s project of separate development and forced removals of racialised people of colour from the centre of Stellenbosch. Wilfred recalls particularly two stories. The one occurred during the earthquake of 1969, where the film, a typical Hollywood action flick of the late 1960s, was interrupted because of the effect of the tremor. At that moment, he writes, fantasy and reality was confused. Patrons ran out of the cinema feeling as if stepping out of the cinema meant stepping inside a real life extraordinary drama of the earthquake and its after effects.

The second story that Wilfred writes about concerns the Plaza Bioscope, the cinema that was designated for white patrons during apartheid. Back then, films would first be screened at the Plaza, then a week or two later, the same films would be screened at the Gaiety, a cinema for non-white people. He was thrilled to see that the opera, La Bohème was advertised and therefor due to be screened at the Gaiety too. However, he soon realised that those who were in control of choosing the film screenings had no intention of showing La Bohème at Gaiety. My law-abiding father, insulted and dissapointed, decided to break the law and planned, together with his good friend, Leonard Biscombe, the projectionist at the Plaza, to pretend to be his assistant and in that way watch Puccini's famous opera.

The legacy and brutality of forced removals have left deep scars in the fabric of the city. Narratives of trauma have dealt with the issues around dislocation, belonging and return. Ideas about home is a key theme in many of the narratives. But how is imagery of the social imagination remembered and dwelled upon?

Pumflet ‘Gaiety’ is a publication of Wilfred’s recollections of both events: the earthquake interrupted screening at Gaiety Bioscope and the non-screening of La Bohème.


Wilfred will give a tour of Die Vlakte and Pumflet ‘Gaiety’ will be distributed at the event: a screening of La Bohème on the site where the Gaiety once stood, nearly 50 years ago. The sound of the screening will come from car audio systems loud enough to set the mood of an earthquake. Through the visual screening we recall the memory of the Gaiety, and dwell on the emotions linked to the non-screening of La Bohème at Gaiety and my fathers’ act of watching it at the white’s-only Plaza cinema. Disappointment, anxiety, resistance, rapture, nostalgia, loss, and trauma are the emotions that direct the mood of the intervention and Pumflet ‘Gaiety’.

DATE       Thursday 30 March 2017

TIME        Walking tour of 'Die Vlakte' led by Wilfred Damon                               
                18h30 - 19h00

                 Screening of an extract of 'La Bohème' 
                19h30 - 20h00 

MEET      Romans' Pizza
                Cnr Banhoek and Andringa Streets,


'Pumflet' was co-founded by architect Ilze Wolff and artist Kemang Wa Lehulere in 2016. It exists to publish interventions into the social imaginary.
Limited edition Pumflet 'Gaiety' will be available for sale at the event.


Pumflet 'Gaiety' is an intervention specially conceived for the Hiervandaan public art festival hosted and organised by the Stellenbosch Outdoor Sculpture Trust (SOST). Thank you to the following people:

Vulindlela Nyoni - Hiervandaan curator and US visual art professor
Andi Norton - SOST trustee and logistics co-ordinator.
Wilfred Damon - author of 'In the shadow of the Gaiety' 
Hilton Biscombe - author and compiler of 'In Ons Bloed'
Colleen Biscombe - teacher and interviewee
Members of the CL Rides, car audio club
Cobus Snyman - translations, Manager US language services
Evan Damon - sound intervention co-ordinator
Brenda Damon - screening intervention assistance
Pumflet co-founder: Kemang Wa Lehulere
Wolff Architects: Lauren Oliver, Heinrich Wolff, Mokoena Kobeli, Takalani Mbadi, Ant Vervoort.
Stellenbosch Music Library, Eoan Group Archives

Real City Photographic Exhibition

We hosted, conceptualised and published the catalogue to a group photographic exhibition called Real City. We collaborated with photographer Barry Christianson who founded therealcityofcapetown instagram feed. 
The #therealcityofcapetown group consists of a growing group of embedded and engaged photographers and for the exhibition we displayed the work of Lidudumalingani Mqombothi, Iqraa Daniel, Barry Christianson, Lindsey Appolis, Leanne Brady, Ashraf Hendricks, Musaed Abrahams and Zayaan Jappie.  An image of Ocean View taken by the late Peter Clarke formed part of the exhibition as a starting point for the conversation around the plurality of imaginaries, public practices and lived experience in and of Cape Town. 

Photo by Masixole Feni

Photo by Masixole Feni

Photo by Masixole Feni

Photo by Masixole Feni

Light Studies

Open Studios is an annual event organised by the Cape Town Design Network. The event is an opportunity for the general public to enter into architectural studios and in this way initiate discussion and discourse around the profession of architecture.

For Open Studios 2016 we organised an exhibition of models of the Chere Botha School for learners with special educational needs. The Chere Botha School is a current project in our studio and located in the northern suburbs of Cape Town. For the Open Studios event we focused on the way light is explored as a key architectural element in the organising and articulation of space and volume.

The exhibition consisted of a series of models, a film and a catalogue of drawings for viewers to take home.  

Photo by Masixole Feni

Photo by Masixole Feni

Photo by Lindsey Appolis

Photo by Lindsey Appolis

Photo by Lindsey Appolis