MAGOLIDE is a duo collective formed between Mzoxolo Mayongo & Adilson De Oliveira. The duo views themselves as alchemists, who in turn are concerned with the transmutation of matter into visual knowledge, in particular with their attempts to convert academic writings (history of art) as much as broader global histories; rewriting the narrative of the African body (continent) and other marginalised bodies whilst tending to contemporary issues of identity, race and sexuality into a consolidated body of art. The duo is influenced by the writings of Griselda Pollock and her theory of the avant-garde as a determination of reference, deference and difference. The duo began looking at their position and work in relation to master narratives which came before them, and in turn, they saw an array of historical bias in the manner in which the book of ‘the’ history [of art] was written. White heteronormative males were pushed to the foreground of these philosophical and conceptual movements, while people of colour and those who embraced queer sexualities were disregarded, pushed to the background and written out of the history books. Fundamentally, the duo works to question the place of the scholastic institution in art, and whether these institutions define an artist’s success in the art world. So too they use anthropological research and artistic nature and ethos of performance art mediated through the ‘body’ as an instrument of communication. [Herein they explore the dynamic conceptual ideas of the human condition and experiences, its histories and environment- interrogating nuanced complexities and dispositions] … through the body and by the body. Performative acts are embraced throughout their work, as they convey the artistic expression needed to be shown; often in the political space of the oppressed, marginalized and silenced. The body becomes the vehicle of channelling collective histories and shared experiences which they tell our forgotten stories and unwritten histories. The collaborative nature of the artistic duo is based on radical acts of decolonial theory, thinking through their practice in both academic framing and cultural working in the production of knowledge as much as the creation of artistic expression. The duo draws influence from Afro-centric critical thinkers and philosophers such as: CLR James, Frantz Fanon, W.E.D Du Bois and Steve Biko to name a few. These notions are creatively practiced through dismantling western frameworks inherent in both global history (and art history) and offers institutional critique therein- presenting investigations that critique the erasure and counterfactual depictions of a true African body and history. Challenging monolithic history-telling which intends to produce new modes of knowledge promulgation. Essentially, it is a re-imagining of Africa’s omitted histories and representations. Looking through the lens of Afro-centric, Pan-Africanism and ‘post- coloniality’. Politics of the ‘self’ is evident in their work, as they aim to ask the question of their own positionality in an ever shifting contemporary art world. The work is located in the utilization of performance as the body is their primary tool to invocate conversation around different concepts of human identity. Performance is the primary mode through which residue is generated. This residue is then mediated through their use of different mediums, which allows for the performed to be translated through still images.