The memorialisation of place and representation of land and landscape is topical in many societies that are dealing with the aftermath of political trauma, such as Post-Colonial or Post-Soviet countries. In such contexts, artists engage with land and notions of place through processes of memorialisation and landscape representation, or very often, the undoing of these traditions as they were entrenched by regimes that are now redundant. In this article we investigate two different artistic agendas that engage with such sites in South Africa, in the work of Paul Emmanuel, and the collective Avant Car Guard. Though separated by a decade, the artworks discussed here share a dialogic engagement with existing memorial sites, or indeed, traditions that memorialise settler belonging, such as the landscape painting tradition or military equestrian monuments. While Emmanuel's work may be understood to employ a dialogic, anti-monumental strategy in response to the statue of Louis Botha at the Union buildings in Tshwane in South Africa, Avant Car Guard insert themselves in spaces where they engage parodically with memorial sites and the tradition of landscape representation. In both cases, white masculinity is called into question through self-representation, engaging with notions of Afrikaner hegemony and white anxiety.

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