Abstract
The most interesting intellectual tradition of cultural studies invites us to observe the interconexion among life experiences, culture and power. In this paper we aim to analyze racism and colonialism continuities in contemporary South Africa from a feminist point of view, where official narratives about South African recent past are contested. Our starting point is the video-instalation The Black Painting: Dead White Man de Tracey Rose, presented at Goodman Gallery, Cape Town in 2015, in order to analyze the binarism as an epistemological discourse producing history and framing art as one of the possible historical narratives; simultaneously, we aim to underline the young Black artist contribution to a radical critic of South African History and its present resonances.
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