Dive deep into the Casspir Project with Ralph Ziman and Floyd Hall as they discuss Ziman's creative journey, insights, and inspirations. Don’t miss this exclusive opportunity to hear directly from the artist.

About The Casspir Project

The Casspir Project charts the locus of the South African military vehicle’s legacy of institutional oppression — a legacy with which we are still reckoning. The central element of the project is one of reclamation.

The central element of the project is one of reclamation. The restored and refitted Casspir vehicle, its surfaces fully covered in elaborate, brightly-colored panels of glass beadwork, arrayed in traditional patterns was completed by artisans from Zimbabwe and the Mpumalanga province of South Africa, including women of the Ndebele tribe, known for their craftsmanship.

Since it’s debut SPOEK 1 has travelled throughout South Africa, stopping at The Turbine Art Fair, Johannesburg (July 2017); Everard Read Gallery — Keys Art Mile, Johannesburg (July 2017); and The Melrose Gallery, Johannesburg (September 2017). The vehicle arrived in the United States in May this year and was part of Special Projects at the fourth edition of 1-54 New York and, most recently, was on view at Pioneer Works, New York through the summer.

I remember columns of Casspirs, ten or fifteen, heading for the East Rand Townships of Daveyton and Katlehong,” Ziman says. “Heavily armed paramilitary police sitting casually on the roofs brandishing automatic weapons. I remember Casspirs flying at high speeds down the narrow, potholed streets of Soweto. I remember how the South African police would park two Casspirs in the road to form a blockade, forcing drivers to slow into an S-shaped route for tense inspection.