Listening to Athi-Patra Ruga is a lot like looking at his work: it’s dazzling, and it goes in a thousand different directions. You think about it for a long time afterwards, making the connections that were there from the beginning. Then you catch up. He says interesting, amazing things – observations that seem self-evident only after he has made them. Again, it’s a lot like being in a room with his work.
“It’s usually a part of me that needs a character to articulate; a scream that I can’t articulate in civvies,” he says in response to the question “what drives you to create a new character?” Very briefly, you’re able to understand how it all works, and then you go back to being dazzled.
There aren’t too many artists like this floating around these days, especially not now, especially not here, in South Africa. Not to draw unfair comparisons, but there are a lot of artists who struggle with the burden of history in a way that makes them exceptionally earnest. You look at their work and you feel them gritting their teeth and getting a headache. You see how hard it is to be serious and beautiful at the same time, to say something significant without making people feel like they are being taught a lesson.
Ruga makes this very difficult thing look easy. He is comfortable with contradiction and with stories that are difficult to use or which have been deemed extraneous to the project known as “the Rainbow Nation Exercise.”
This is a tortured subject, and for a variety of reasons that are maybe not worth getting into right now, examination of it can lead to work that has a somewhat tortured aspect. The creation of a post-1994 visual language seems often to involve a lot of guts, a lot of taking pleasure in tearing things open and throwing the viscera around. This is done with the aim of making people feel better about the past, or at least to confront it immersion-therapy style. This is work to be studied, to be approached rather than enjoyed.
Ruga’s work, which feels like a revelation, reminds you that there is more than one way to expose, and more than one way to console, and to take responsibility as an artist. He shows that beauty isn’t a distraction or an adornment, but a different way into the past and a way of understanding the present.
He takes these stories and he builds these worlds, and the past seems different. Not better, necessarily, but different. More interesting. Going off in a thousand directions at once. He defines mythology as the stories we tell ourselves to make sense of the world and how we found ourselves in it. There’s not just one story, and none of them are delivered to us neatly, as much as we might wish that to be the case.
Some people are scared of mess and contradiction because admitting to it feels like a concession or an acknowledgement that South Africa’s narrative arc is not as sweetly rainbow shaped as we were told. Taking apart that neat story is its own kind of nation-building, in his work, Ruga builds a place that works to make sense of the one we live in.
He has been doing this for 13 years, mapping out the contours of the vast, beautiful, impossible story he is both creating and learning from, and peopling it with characters that feel both mythical and more real than anything else. In his first major solo exhibition in the UK, at Somerset House, three parts of this story are on display together.
Fresh off a landmark year that’s seen them sell out tours across the UK and Europe and a debut appearance at Glastonbury, Belfast post-punk/electronic innovators Chalk step into their next chapter. The duo — Ross Cullen and Benedict Goddard — just wrapped their first headline tour across North America, hitting cities like Vancouver, Los Angeles, and New York. It’s a far cry from rural Ireland and industrial East Belfast, where they recorded Chalk’s recent work. They’ve quickly become known for vivid, atmospheric soundscapes — a style that’s earned them nods from Fontaines D.C., IDLES, and Sprints, who invited the band to share stages across the past year.
The pair pause to look inward for Schön!’s curated series, mapping out the tracks that have shaped their creative instincts, emotional world, and sonic identity.
Hey, what are you up to right now?
We’re currently touring America for the first time and have a few days off in LA.
If someone asked you what your origin story was, how would you describe it?
Went to film school, didn’t work out, started playing music.
Describe your style in 3 words.
Always wear black.
What is the most precious thing in your wardrobe?
New Balance.
Which living person do you most admire?
Ethan Hawke.
What was the last book you read?
The Wager by David Grann.
If you could play any venue, which one would it be?
Whisky A Go Go.
Where are you happiest?
On the couch with my fiancé watching an old movie.
Ideal 3-course meal?
Caesar salad, pizza, cheesecake.
Who would play you in the story of your life?
We haven’t found him yet.
What’s one song that you’d like to listen to for the first time again?
“Heroin” – Velvet Underground.
An underrated song/artist you love?
“Under the Concrete” – Joshua Burnside.
The track that describes your coming-of-age story?
“Shaking Hand” – Women.
An album that you’d put in a time capsule?
“Holding Hands with Jamie” – Gilla Band.
A lyric that you love and the song it’s from?
“Don’t confront me with my failures, I have not forgotten them” – from “These Days” – Nico.
dress + gloves. Nana Jacqueline
scarf. Tia Adeola
earrings. Nickho Rey
One day, you’re a student in a prestigious acting studio. The other, you’re scolding Billy Bob Thornton on the set of a popular-to-be TV show. Paulina Chávez has been a part of this industry for years, but getting a role in ‘Landman’ was a milestone for her. As she admits, without any hesitation, she was “absolutely ready” for such a turn of events.
“My character, Ariana, is so different from me, yet there are many similarities. To be so young and be able to play someone as Ariana is a dream for an actress.” Even during her early days, while Chávez was just learning how to act, one of the characters she played was a woman interrogating a man. “She ends up castrating him, so when I read the script for ‘Landman’ for the first time, I immediately knew this was something for me!” the show’s star laughs.
In the modern film industry, there are two types of actors: those who are late and those who are not. Born in El Paso, Texas, the 23-year-old actress falls into the second category, as she joins our Zoom meeting right on time, despite a packed schedule. The second season of Taylor Sheridan’s ‘Landman’ has just premiered, and Chávez is right in the middle of her press tour. Everyone keeps talking about the show. And, it’s barely a surprise – it got bolder, funnier and more intense, even if it remains one huge chaotic ride, full of its ironic humour, old-fashioned jokes and a lot of grotesque elements that carry through the episodes.
In ‘Landman’, Ariana’s husband dies when an oil pump blows up during one of his gigs. Suddenly, her life undergoes drastic changes within a span of a second. I tell Chávez that the same can be said about her, even if we are speaking of two different circumstances. Yet, the show still gave her traction, and it is one of the reasons we meet today. The actress admits that she thought about such parallels while filming the show, especially during the second season. “We’re going to see even more changes affecting Ariana’s life.”
fur jacket. Meruert Tolegen
skirt. Contessa Mills
earrings. 8 Other Reasons
opposite
top + skirt. Tia Adeola
heels. Roger Vivier
earrings. Retro Chic
necklace + belt. Streets Ahead
bracelet. Tarina Tarantino
Grieving leads us to strange places – after losing her husband in season one, Ariana regains her strength by finding some emotional support in Cooper (Jacob Lofland). I’m curious if Chávez remembers where grieving has led her in her life – after our interview, I’ll realise it was a question asked rather too soon. But, it gives us a new sort of dynamic as she opens up about the death of an important relative.
“I remember when I booked my first show for Netflix, and I was so excited about this opportunity. However, a week before I started working on this show, I had learned that my grandma had passed away.” She admits it was a huge blow for her. “The happiness and joy are mixed with the feeling of being depressed – I realised that my grandma would never be able to watch the final product. Life is so unpredictable and nobody knows how to navigate grief.”
Inevitably, by waking up every day, Chávez had to learn how to do it. “I’m a person who feels everything,” she confesses. “I can’t watch devastating movies, as I always put myself in all those situations.” While playing Ariana, she was terrified that someone close to her might suddenly die. “All of it was really draining, especially when you filter your characters’ experiences through your own story. So, I often relied on my breathing exercises, which allowed me to leave Ariana behind.”
She emphasises how vital it is for actors to practice self-care after intense scenes. “Whenever I finish a demanding shooting day, I go back home, take a bath and listen to a good album.” For Ariana, Chávez had a dedicated playlist. While working on the first season, she listened to Raye’s ‘My 21st Century Blues’ (“I still come back to it quite religiously!”). Meanwhile, the second season guided her into different musical territories. As Ariana, she put Bad Bunny’s latest album, ‘Debí Tirar Más Fotos’, on her headphones.
dress shirt. Contessa Mills
boots. Dolce & Gabbana
belt (used as necklace). B-low
socks. Dolce & Gabbana
Grieving has enabled Chávez to form a personal connection with her character. “I’m not a widow,” she says, “but I could understand her more. I also remember when I was five, and my aunt lost her husband. Even as a child, I witnessed the entire process and could see her own process for grieving. It’s difficult to recover from this.” I notice how the actress is – quite evidently – clasping her hands. She’s generally relaxed, but also slightly hesitant, as the old wounds are being opened. But, maybe this is what you need from a stranger interviewing you on Zoom – a brief moment to be able to tell the truth and only the truth.
Oscar Isaac once said that “being a thespian requires you to be fully confident about what you’re doing.” But – as he argued – actors are “full of uncertainties.” Seemingly, after hearing this quote, Chávez agrees with the ‘Frankenstein’ actor. So, how does she work on her own self-assurance both as an actress and a woman in the film industry? The actress once again clasps her hands, as she needs a moment to think about it. “I’m often scared of forgetting lines on set,” she admits. “I always try to be as open as possible, to know everything about my character. And, I try to have a good relationship with the creatives, so we’re on the same page.”
One of the scenes she mentions is a dinner sequence from the first season, when things get intense between Ariana and Tommy, Billy Bob Thornton’s character. “You always need to trust other people on set. Obviously, they want the project to succeed and will do everything to make it work. They will try to guide you, so it’s all about trust,” she explains. Chávez reveals that Sheridan wanted to be delicate in telling Ariana’s storyline because it’s “so easy to judge her.” “She falls in love while grieving! Yet, it’s life – you never know when a certain tenderness is going to hit you.”
dress + gloves. Nana Jacqueline
heels. Rene Caovilla
scarf. Tia Adeola
earrings. Nickho Rey
opposite
jacket. Baum und Pfergarten
dress. Contessa Mills
heels. Roger Vivier
earrings. Miansai
necklace. Brosway
gloves. Branden Ruiz
belt. Streets Ahead
When it comes to navigating her personal life in modern Hollywood, it’s more about “trusting yourself” and always being ready for the most unexpected. Chávez calls herself a person who “overthinks everything” and “overprepares.” But, as she states, it gives her a dose of confidence to go on a set and be ready for every kind of scenario. This way, as she assures me, she’s got “Plan A, Plan B, and Plan C.” Chávez probably has even more plans for every role – she stops counting for the sake of brevity, but I’m certain she could just go on.
Ariana is also a powerful Latina force of nature, and her roots play a part in the way she handles her grief. “But, it’s not only that,” the actress says. “It’s a portrayal of people I know. Whenever I had scenes where I needed Ariana to express herself, even through shouting, I still reflected on all those experiences from my past.” Chávez also believes that Mexicans grieve differently from Americans. “It’s all about community and it gets Ariana through everything. Their love language is food. Feeding someone means actually loving someone.”
Season two depicts another stage of Ariana’s internal suffering. “She will have to accept her new reality and learn how to live in it again. She’s acknowledging the fact that her first love is gone, and now it’s time to move on, while treasuring all the memories.” Chávez feels that everyone has their own way of coping with the loss, and it’s rarely discussed in public. “I’m not viewed as fully American or Mexican, so I guess there’s some mixture of those two worlds in both me and my acting. I think we are all expected to get over our inner sadness. I suppose I was expected to let my grief go away after the death of my grandma. Though it always stays with us. I also remember my parents crying for the first time. If they find it difficult, then how am I supposed to go through all of it?”
When Ariana’s grief passes, at least for a while, there is still motherhood that needs to be handled. During our conversation, I mention Uta Hagen, a highly influential acting teacher, who once wrote that one needs to create their character by drawing on some personal experiences. Hagen’s approach is being echoed, as Chávez remembers how “crazy” it was for her to become an on-screen mother at the age of 22. Five months before she auditioned, her sister gave birth to her first child. The actress went to Colorado with her mother to help the family with a newborn. “It’s so much work! I have no idea how two people do it, let alone a single parent like Ariana.”
top + skirt. Tia Adeola
heels. Roger Vivier
earrings. Retro Chic
necklace + belt. Streets Ahead
bracelet. Tarina Tarantino
In Colorado, she was on nightshifts with her nephew, which enabled her to understand every little challenge related to motherhood. “It was everything, from changing the diapers to helping with feeding the baby,” Chávez recalls. In a way, becoming Ariana allowed her to reflect on her sister’s recent experience, although she still wasn’t prepared for every little obstacle. “I also learned that depicting breastfeeding on screen isn’t a piece of cake. I worked with a pillow, and even if I was holding it correctly, it all comes down to a camera angle. My intimacy coordinator gave a lot of cues on how to imitate breastfeeding as Ariana properly.”
There’s some hidden beauty in this on-screen process despite the entire tragedy her character is going through. At some point, Ariana says to Cooper, “I feel happy and I shouldn’t,” and it’s a moment to reflect on – for both characters and the spectator. I ask Chávez if she also remembers the last time she felt happy when she shouldn’t have – and it all goes back to her late grandma, who, at this point, feels like someone more than just an important family figure. “When I was doing the press tour in the US, I wanted to share it all with her or the person I just broke up with,” ‘Landman’’s star admits.
Chávez doesn’t have to be on a film set to think about Ariana. “I see her as a family member. I’ve lived with her character for so many months, so she’s always there, right beside me.” ‘Landman’ has just been renewed for its third season, but will it be difficult to let Ariana go once it eventually ends its run? “I remember when Friends finished. I already know it’s gonna be heartbreaking. But, Ariana’s living within me.” She smiles. “And I think she is never gonna go anywhere.”
Sonja Weißer is captivating audiences with her charisma, both on screen and on stage. With the upcoming release of two series, a film festival screening and more, the odds for 2025 are decidedly in this rising star’s favour. “In drama, you can play pure love in one scene and the most broken version of a person in the next,” Weißer explains, wearing Miu Miu for her Schön! 49 digital cover story. “This intensity is what interests me most about people – their emotions and their extremes. I love extremes. I’m a little bit of an adrenaline junkie.”
