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ART TIMES
December 08 - January 09 • Full version also available at www.arttimes.co.za
ART TIMES
December 08 - January 09 • Issue 12 Vol 3 • Subscription RSA 180 p.a • Dec / Jan Print & Distrib. 7 000 copies • Full online version available at www.arttimes.co.za
Stefano Unterthiner Troublemaker Animal Portraits - Winner 2008 Wildlife Photographer of the Year, Natural History Museum , London, UK.
To be seen, with other amazing images at The SA National Gallery. see www.iziko.org.za for details
Non Toxic
LI T
UA Y PRELUDE
LEN Q
PRODU
C T ZEL
JOHANS BORMAN
claim against photographer FINE ART GALLERY
Staff writer is merely a restatement of the law translation. ways acted in good faith to protect
itself, something which Kirby said its good name and reputation and
In another David and Goliath
court case, Media24 appear to
is “disingenuous”.
“In fact it’s actually an attempt at
Media24 responded by saying he
would suffer a default judgement
in the Geof Kirby matter Media24
acted within its rights. Media24
CAPE TOWN
have bitten off more than they’d deceit, especially in light of Me- if he didn’t deal with it in seven confirms that for operational
like to chew when they attempted dia24’s past behaviour in trying to working days. reasons and for good relations
to sue Cape Town photographer enforce rights they didn’t have.” with photographers generally, the
and copyright fundi Geof Kirby for In section six of their agreement Kirby then found a lawyer and matter was withdrawn.”
defamation after he questioned the they state the freelancer has to started preparing his defence. He In response to questions posed
legality of their freelance contracts. hand over all intellectual property said he has found three legal opin- over the validity of their con-
But in a turnaround, rather than rights and their moral rights (i.e. ions which argue that Media24’s tracts in relation to South African
breathing a sigh of relief at the the right to be identified as the foreign syndication violated South copyright law and the Berne
withdrawal, Kirby would like to haul author and not to have their work African copyright and the Berne Convention, Vayej said copyright
them back to court to face up to mutilated in any way) to Media24. Convention. was a “complex area of law” that
their syndication activities, which Furthermore, the section indemni- was subject to “a very high level of
Kirby believes have been illegally fies Media24 from “any claim And, he said, whether or not cor- specialization”.
carried out with no recompense made against it that the use of the porations can sue for defamation “We therefore do not wish to
to freelancers, for at least two work infringes any copyright or is an unanswered legal question express a legal opinion without
decades. other Intellectual Property rights in this country. (The well-known taking specialized advice.”
held by a third party and against SAB vs. Laugh it Off case involved The final settlement date of the
It seems Media24 unwittingly any loss incurred by Media24 infringement of trademark) case is at this stage unknown.
sprung their own trap when, pursuant to such a claim”. After two “false starts” in court,
following an email to colleagues Media24 withdrew the case
within a closed e-group expressing This effectively makes the subject to both sides bearing their Maggie Laubser ‘Boy playing guitar’ 1956
this opinion, they served him with freelancer assume the responsi- own costs. Subscribe to the
a letter demanding a retraction bilities of a publisher, said Kirby, He said he does not know why
within 24 hours or face a R100 as should the publisher be sued they withdrew, but suspects that A showcase for the best of
000 defamation suite. for publishing an image, the his requests for contracts pertain- South African
But Kirby, incensed at the freelancer would have to pay the ing to photographers whose work South African Masters,
contracts Media24 expected costs. he knew had been syndicated Art Times
freelancers to sign, as well as by abroad indicated the background
as well as some leading
their “bullying tactics”, refused to The main reason Media24 want knowledge he had, and put them R 180 pa contemporary artists.
back down. to grab all these rights, he said, on the run.
is so that they can syndicate the
Telephone: 021 423 6075
He said Media24 were using their work on their business-to-busi- However, Kirby has refused to to your door
contracts to legitimise their foreign ness syndication arm, Images24, bear his own costs as he says
syndication practices, which he without having to pay the author doing so would effectively penalize www.johansborman.co.za
said he “believed” were illegal in of the work a cent. Their foreign him for a case which never went www.arttimes.co.za
terms of existing legislation, which syndication, he says, goes back to through court, and has filed affida- Mon-Fri: 10h00 - 18h00
includes the South African Copy- the ‘80s. vits compelling Media24 to meet Sat: 09h00 - 14h00
subs@arttimes.co.za or by appointment
right law (1978) with amendments, After refusing to retract, a sum- his costs on a taxed basis.
and the Berne Convention, to mons for defamation of character
which South Africa is a signatory. - in Afrikaans, was delivered to Responding to emailed questions, Tel 021 424 7733 In Fin Art Building
On the cover of their contracts his door. He said he sent it back Media24 communications head Upper Buitengracht Street, Cape Town 8001
Media24 state that their agreement politely asking for an English Lutfia Vayej said: “Media24 has al- Cell: 082 566 4631
E-mail: art@johansborman.co.za
Page 4 South African Art Times. December 08 - January 09
Commissioning Editor Jean Campbell’s book it seems is actually an excuse to publicly lash out at individuals and art
Institutions in general, which she misguidedly felt, had wronged her.
South African Art Times In view of what she has written, I’m sorry that i bought the book, a complete waist of my money.
Tel: 021 448 2799 Fax: 021 448 2797 ArtStuff now available on the Garden Route
Free delivery within Cape area artstuff@webmail.co.za www.artstuff.co.za Call Paul Tunmer 083 2610084
ART GUIDE
Conrad Botes, Crime and punishment., Image courtesy of The Michael Stevenson Gallery.
SOUTH AFRICAN ART GALLERY SHOW LISTINGS FOR DECEMBER
www.gordartgallery.com www.artsassociationpta.co.za Until 24 Jan,Benefit of Vusi Khumalo, John Meyer and Road, Bantry Bay,Tel: (021) 434
Eastern Cape Doubt,Sculpture by Adrian Köhler. Velaphi Mzimba, amongst others 3026.
Johannesburg Art Gallery UNISA Art Gallery Until 24 Jan, Four, A group exhibition Portswood Rd, V&A Waterfront
Until 01 Mar 09 Disturbance - An 29 Nov – 16 Jan (closed 24 Dec – 04 34 Long Street, Cape Town Rose Korber
East London exhibition featuring Scandinavian Jan 09), UNISA final Year Visual Arts T. 021 426 4594, www.34long.com Goodman Gallery, Cape 15 Dec – 11 Jan, 17th Art Salon at
and South African Contemporary Art. and Multimedia Students Exhibition Until 17 Jan, (REPEAT)from the Rose Korber Art
Gerard Sekoto Youth Festival, One- Art B Gallery beginning by William Kentridge. 24 48 Sedgemoor Road, Camps Bay,
Ann Bryant Art Gallery day-event, 16/12/08, 03 Dec – 21 Jan, Self of Nowhere, Jan – 21 Feb, Flux by Deborah Bell. Tel: (021) 438 9152, www.rosekor-
04 Nov – 02 Feb 09, Artist at the Susan Kruger-Grundlingh and 3rd Floor, Fairweather House berart.com
04 - 21 Dec
Ceramic Secrets of the Eastern Nando’s Project Room # 3, Themba KwaZulu-Natal ‘Stripped’ ceramics by Hennie 176 Sir Lowry Road Woodstock,
Shibase. R30 Until30 Mar Retro- Meyer, Photographic exhibiton by Cape Town T. 021 462 7573/4, Franschhoek
Cape, Eastern Cape Ceramics
Association Exhibition spective Exhibition -Thami Mnyele Stanford artists Annalize Mouton and www.goodmangallerycape.com
and Medu lampshades by woodturner Attie van Gallery Grande Provence
9 St Marks Road, Southernwood,
King George Street, Joubert Park,
Durban der Colff,28 Jan – 25 Feb Irma Stern Museum Until 09 Jan, Angels, Group Exhibi-
East London T. 043 722 4044
Johannesburg T. 011 725 3180 Library Centre, Carel van Aswegen 10 Dec – 17 Jan Ceramics tion, Main Road Franschoek. 01
Art Space - DBN
Port Elizabeth Street, Bellville T. 021 918 2301, by Clementina van der Walt. Joe - 28 Feb, Feast, Louis Jansen van
Until 17 Jan, 6th Annual Affordable
Standard Bank Gallery www.artb.co.za Faragher, 11- 19 Dec. Vuuren, 60th birthday celebration.
Art Show
Nelson Mandela Metropolitan Art Closed until February Cecil Road, Rosebank, Cape Town T. 021 876 8600
3 Millar Road, Durban T. 031 312
Museum Until Dec 06, Judith Mason Association for Visual Arts (AVA) T. 021 685 5686, www.irmastern. www.grandeprovence.co.za
0793, www.artspacedurban.co.za
04 Dec – 25 Jan, Retrospective Exhibition Wrapped, Ready and Counting down co.za
Who’s Who and What’s New 2008, Cnr. Simmonds & Frederick Streets, - Artreach fundraiser, 15 & 17 Dec. George
Bank Art Gallery
A celebration of local talent, Johannesburg, 2001 19 Jan – 06 Feb,Exhibition of works South African National Gallery
06 Nov – 06 Dec, Memento Mori,
1 Park Drive, Port Elizabeth, Tel: 011 631-1889 by Lindile Magunya, Mwande Zenzile Until Jul 09, Scratches on the Face. Strydom Gallery
Bronwen Vaughan-Evans, 217
Tel. (041) 586 1030, www.standardbankgallery.co.za and Kilmany-Jo Liversage Until 15 Mar 09, Voices of the Until Nov 09, 40th Annual Summer
Florida Road, Morningside, Durban
www.artmuseum.co.za 35 Church Street, Cape Town,Tel. Ancestors Exhibition, Selected artwork from
T. 031 312 6911
University of Johannesburg Arts (021) 424 7436, www.ava.co.za Until 08 Mar, I am not me, the horse established SA Artists
www.bankgallery.co.za
Centre Gallery is not mine, an installation of 8 film Tel. (044) 874 4027,www.artaffair.
Until 10 Dec, Modular Repetition, Bell-Roberts Contemporary Art fragments by William Kentridge. 12 co.za, Marklaan Centre, 79 Market
Free State Gordon Froud
Durban Art Gallery
Gallery Dec – 15 Mar, Wildlife photographer Street, George
Until 31 Jan 09, Construct: Beyond
University of Johannesburg,
Auckland Park Kingsway campus
the documentary Photograph, Cu-
Until 17 Jan, Prospects of Babel,
Photographs by Greg Marinovich
of the Year Exhibition, Until 22 Mar,
Past/Present, Andrew Verster
Bloemfontein rated by Heidi Erdmann and Jacob Stellenbosch
cor Kingsway en Universiteits Rd, & Leonie Marinovich. Pieces Government Avenue, Company’s
Lebeko. Featuring Roger Ballen,
Auckland Park of 8,Sculpture by Kevin Brand. Garden T. 021 467 4660, Dorp Straat Gallery
Oliewenhuis Art Museum Zander Blom, Lien Botha, Jacques
Tel. (011) 559 2099/2556 Until 17 Jan,Wood and Clay, Noria www.iziko.org.za Until 16 Jan, Christmas Group Exhi-
Until 04 Jan, Coetzer, Abrie Fourie, Nomusa
Mabasa,22Jan – 21 Feb. bition, Curated by Mike Donkin
Anthology – a mid-career retrospec- Makhubu, Zwelethu Mthethwa,
Warren Siebrits Modern & 176 Sir Lowry Road, Woodstock, João Ferreira Gallery 144 Dorp Street, Stellenbosch
tive, Lien Botha, Barbra Wildenboer, Dale Yudelman,
Contemporary Art www.bell-roberts.com Asleep Inside You, Kate Gottgens, T. 021 887 2256
16 Harry Smith Street, Bloemfontein Bernie Searle. Until 15 Feb 09,
27 Jan – 06, Mar, Prints, Multiples Until 27 Dec, 26 Nov – 20 Dec, www.dorpstraatgalerie.co.za
T. 051 447 9609 Indian Ink, Indian South Africans in
and Photography VI Blank Projects Naked, In Association with Mica Cu-
the media: A photographic history of
Until 10 Dec, Stefanus Rademeyer Until 19 Dec, Point Blank, Pippa ritz (at 80 Hout Street Cape Town): Sasol Art Museum
propaganda and resistance. Until 18
- Crystalline Variations. Stalker.[c.t.] drawings sounds video. Cathy Abraham & Jenny Schneider. 14 Jan – 28 Mar,Retrospective
Jan 09 Standard Bank Young Artist
Gauteng 140 Jan Smuts Avenue, Parkwood,
Johannesburg, Tel. (011) 327 0000
2008: Lolo Veleko.
Esther Ernst & Jörg Laue.
198 Buitengracht Street, Bo-Kaap,
05 – 29 Nov, Exhibition of Paintings
and Drawings including
Exhibition, Judith Mason
Second Floor, City Hall, Smith 52 Ryneveld Street, Stellenbosch.
www.warrensiebrits.co.za Cape Town, Leon Vermeulen, Lauryn Arnott, 7600
Street, Durban, 031 3006238
www.blankprojects.blogspot.com Douglas Portway, Michael Taylor.
Johannesburg Pretoria Loop Street, Cape Town University of Stellenbosch
Art Gallery
Apartheid Museum Lindy van Niekerk Art Gallery
Alette Wessels Kunskamer Until 08 Jan, 30 x 30 sale/verkoping
Until 31 Dec, Transitions, From 02 Nov, Carla Bosch solo
Exhibition of Old Masters and - 5th year students. 12 Jan - 07 Feb,
Paul Emmanuel 33 Chantecler Avenue,
selected leading contemporary Masters Degree students (exams),
Northern Parkway & Gold Reef Road Eversdal,Durbanville,
artists. Visual Arts Dept. Stellenbosch
Ormonde Ext. Tel. (021) 913 7204/5,
Maroelana Centre, Maroelana. University
GPS : S25º 46.748 EO28º 15.615 www.artpro.co.za cnr of Bird and Dorp Streets,
Brodie/Stevenson
Tel: +27 (0)12 346 0728 Stellenbosch
15 Jan – 14 Feb Michael Stevenson Contemporary
Cell: 084 589 0711
Paintings by Robyn Penn Until 10 Jan 09, 13th Annual Sum-
www.artwessels.co.za SMAC Art Gallery
373 Jan Smuts Avenue, mer Exhibition - 10 projects including 27 Nov – 15 Jan 09, Retrospective
Johannesburg T. 011 326 0034 Nicholas Hlobo, Deborah Poynton,
Centurion Art Gallery Exhibition, Fred Schimmel at 80
www.artextra.co.za Zanele Muholi & David Goldblatt,
15-31 Jan, Exhibition of Mixed Media De Wet Centre, Church Street,
and Paintings, by the Centurion Art plus Andrew Putter, Paul Edmunds Stellenbosch T. 021 887 3607
Art on Paper and Daniel Naudé. Ceramics by
Centre www.smacgallery.com
Until 18 Dec Hylton Nel also on show. Cain and
Tel: +27 (0)12 358 3477, Plett Observations (Bruce Backhouse) at the Upperdeck Gallery forms
San Art: etchings, lithographs and Abel,Solo exhbition of new works
www.pretoriaartmuseum.co.za part of its Summer exhibition. See more at: www.upperdeckgallery.co.za Stellenbosch Art Gallery
linocut prints by Conrad Botes. 15 Jan – 21 Feb, Permanent exhibition of Conrad
44 Stanley Ave, Braamfontein Werf Nollywood,Solo exhibition of photo-
Fried Contemporary Art Gallery Theys, John Kramer, Gregoire
(Milpark), Tel. (011) 726 2234 Cape Gallery graphs by Pieter Hugo
29 Nov – 24 Jan 09 Paper + +, Kizo Boonzaier, Adriaan Boshoff and
www.artonpaper.co.za Until 13 Dec, Recent Paintings by Ground Floor, Buchanan Building,
Pascual Tarazona, Lien Botha, Lindi 09 Dec – 10 Jan,Against the other artists.
Sales Jen Lewis. 14 Dec – 10 Jan, New 160 Sir Lowry Road, Cape Town 34 Ryneveld Street, Stellenbosch
Artspace - JHB Wind,Natasha Barnes
430 Charles Str, Brooklyn, Pretoria work by David Kuijers and glass T. 021 462 1500 T. 021-8878343
Until 24 Jan, Shop G350 Palm Boulevard Gate-
Tel: 012 346 0158 beads by Ingrid de Haast and Diana www.michaelstevenson.com www.stellenboschartgallery.co.za
Oppitafel VIII (Group Show), way Theatre of Shopping Umhlanga
www.friedcontemporary.com Ferrera
A group exhibition featuring ceramic T. 031 566 4322 www.kizo.co.za
60 Church Street, Cape Town Sanlam Art Gallery
art and lighting design, T. 021 423 5309, Until 16 Jan 09, Decade Highlights
Magpie Gallery KZNSA Gallery Red Black and White Gallery
24 Jan – 03 Feb,Flower Couture www.capegallery.co.za from 10 years of collecting
Until 02 Jan, An evening with Until 11 Jan, SUSS’Tainable design, 07 Feb – 07 Mar,Exploring
Jhb, by Franz Grabe 2 Strand Road, Bellville
Tretchikoff, A collection of playful Industrial and product design,fashion lines,Strijdom van der Merwe
142 Jan Smuts Avenue, Parkwood, David Krut Publishing: Fine Art Tel. (021) 947 3359
works by a variety of quirky artists and jewelry,books on art,editioned 5a Distillery Road, Bosman’s Cross-
T. 011 482 1258 and Books www.sanlam.co.za
Shop 21B, Southdowns Shopping prints,drawings and sculptures ing, Stellenbosch, 021 886 6281,
www.artspace-jhb.co.za Until 15 Dec, Mirror: an exhibition
Centre, Centurion T. 012 665 1832 166 Bulwer Road, Glenwood, T. 031 www.redblackandwhite.co.za
www.magpie.co.za of watercolour monotypes, Bruce Urban Contemporary Art
David Krut Art Resources 2023686, www.kznsagallery.co.za
Backhouse 17 Dec - 24 Jan,Twenty Artists,
15 Nov – 15 Dec, Recent Editions,
Pretoria Art Museum 31 Newlands Avenue, Cape Town Twenty Portraits Hermanus / Stanford
Bruce Backhouse T. 021 685 0676, 46 Lower Main Road, Observatory,
Tel:(012) 344 1807/8,
142 Jan Smuts Avenue, Parkwood,
art.museum@tshwane.gov.za Northern Cape www.davidkrutpublishing.com Cape Town T. 021 447 4132, Stanford Galleries
Johannesburg T. 011 447 0627 www.urbancontemporaryart.co.za
PAM- South Gallery 20 Dec – 04 Jan Exhibition of
www.davidkrutpublishing.com Erdmann Contemporary /
Until Dec 08, A story of South African works by Peter Diggery, Lorna Skaife
Art. A selection of artworks from the Kimberly Photographers Gallery What if the World… and Charles Kamangwana.
Gallery MOMO William Humphreys Art Gallery Until 31 Jan, Home is my castle: Until 17 Jan, Big Wednesday, Major
permanent collection of the museum. 11-13 Queen Victoria Street Stanford
04 Dec – 05 Jan, Group Exhibition Until 31 Dec, Lino-cut artists, Alan Lien Botha, Angela Buckland, Jean Group Exhibition
Includes works of early 20th century Tel: 028 341 0591
52 7th Avenue, Parktown North, Grobler. Until 31 Dec, Photography, Brundrit, Abrie Fourie, Diek Grobler, First floor, 208 Albert Road
painters. Resistance artists of the www.stanfordgallery.co.za
Johannesburg T. 011 327 3247 Marlene Neumann Luan Nel, Collen Maswanganyi, Woodstock T. 021 448 1438
1980s and artists of the 21st century
www.gallerymomo.com Civic Centre, Cullinan Crescent, Maré van Noordwyk, Nontobeko www.whatiftheworld.com
PAM - North Gallery
Kimberley, Tel. (053) 831 1724, Ntombela, Jurgen Schadeberg,
04 Dec – 10 Jan 09,Tshwane Univer-
Goodman Gallery www.museumsnc.co.za Themba Shibase, Leonora van
sity of Technology Students: Applied
20 Nov – 12 Dec, Real Beauty, Staden, Bronwen Vaughan-Evans The Castle
photography by Jodi Bieber
Arts Exhibition
and Dale Yudelman 15-Dec, Generation Y, Artwork from
Send your show
Albert Werth Hall - 11 Dec – 25 Jan
163 Jan Smuts Avenue, Parkwood, 63 Shortmarket Street, Cape Town the Artists Internship Programme and event listings to:
Johannesburg,
09, Croation Drawings Western Cape T. 021 422 2762 Goodhope Studios, The Castle,
www.goodman-gallery.com www.erdmanncontemporary.co.za Darling Street
Pretoria Association of Arts
18 Jan – 05 Feb
GordArt Gallery
Exhibition of all SANAVA branches Cape Town
Everard Read Gallery - Cape Town show@arttimes.co.za
Until 13 Dec, Maureen de Jager, 11 Dec – 04 Feb John Klynsmith
173 Mackie Street, New Muckle-
Grace da Costa, David Ceruti and Summer Exhibition,Painting and Until 15 Jan, Exhibition of Art, Jewel-
neuk, Pretoria, Gauteng, 0181,
Ludumo ‘Toto’ Maqabuka 34 Long sculpture,including Anton Brink, lery and Sculptures
Tel. (012) 346 3100
Johannesburg T. 011 726 8519 Ricky Dyaloyi, Hanneke Benade, John Klynsmith Studio, 17 Rochester
South African Art Times. December 08 - January 09 Page 7
David Robinson, One of the works at 136 Campground Rd, Rondebosch, Cape Town
(left) Thami Mnyele with the Medu Group art ensemble retrospective work will be shown at
The Johanesburg Art Gallery from end of November. (right) Thami Mnyele, there goes a man
Alex Emsley
After a Model features a series of
not exactly black and white, but
valium grey paintings, several of
which could quite happily adorn a
That year, South Africa’s small,
contemporary edition of Vladimir
THE ARTFUL eye-catching show Affinities in the
ART PIG Nabokov’s Lolita. Sharing a highly
palazzo Giustinian Lolin, seemed
refined aesthetic with the work of
Sanell Achenbach and Doreen
VIEWER a cheerful prelude to the fact that
the country would, the following
Alex Dodd year, for the first time, get a nation-
Melvyn Minnaar al department of arts and culture.
Fat lot of good that did for a formal
Denial in Venice relationship between Venice and
SA, 14 years down the line.
Paolo Lughi is the coordinator of
the press office of la Biennale di In 1993, with DAC and the national
Venezia, and was rather surprised arts council still just a good idea
when he was told his office is in Madiba’s head, one expected
Work by Bongumusa Hlongwe at the DUT Gallery, Durban. wrong. It probably wasn’t his fault. some fumbling to hastily arrange
Work by Mark Hipper showing at the Obert Gallery, Jhb. things for such a very public inter-
This year wasn’t too bad. There His office had issued a release national show. We had been out of
The first work of art I ever bought Southwood, Hipper’s paintings are was the aforementioned map. announcing that one of ‘the that picture so long, no-one knew
was a large-scale charcoal drawing all about memory and desire, social There were arrows pointing people countries present for the first time’ what to do. But we did it.
by Mark Hipper. It was part of the discipline and awkward personal in the right direction (which really in the upcoming Venice art fest
controversial show that earned submission to controlled group helped. It’s the first year that I’ve (number 53, from June 7 to No- Those with memories of the busi-
him a banning order from the new behaviour. not walked around with a small vember 22, 2009) is South Africa. ness of art and politics will recall
regime at the National Arts Festival They are drawn from 1950s crowd of people looking for the (Together with Andorra, Gabon, how during the dawn of democ-
in Grahamstown in 1998. The Department of Education manuals art). And there was some very Montenegro, Pakistan, Monaco, racy ‘consultation’ and ‘represen-
exhibition, which touched on the for physical education instructors, promising young artists. But much and the United Arab Emirates, by tation’ were the guilty buzz-words.
awkward area of children and eroti- and anatomy books that illustrate of the work lacked curation. Which the way.) Participating in anything arty
cism, was one of the first flourishes a particular directive or lesson. sounds like a tiny thing but it’s so meant organisers had to egg walk
of South African public life that Imbued with the ominous national- important. You can’t just make Dearly-departed and very-alive every step of the process. (How
prompted the new state to reveal ism of the era, these images are a bunch of art and leave it lying South African artists surely sat this stymied some careers and
its inherent moral conservativism. also strangely, unnervingly erotic. around the room. If you do that it’s up in stunned disbelieve at such promoted others, is worthy of a
The pale white tones of the young kind of not art anymore (unless misinformation. future art history doctorate.)
My purchase was informed less
by the so-called edgy and explicit
girls’ thighs are highlighted by the
blackness of their regulation shorts
THE ART perhaps you’re making work that
is about leaving it lying around Before the cultural boycott kicked Nevertheless, the Venetians were
nature of the show than with the
context of its reception and the
and crisp white sport shirts as they
run, jump and do cartwheels, cast-
COWBOY the room). I’m not saying any of in, South Africa regularly had as excited as the rest of the world
the students took precisely that artists at the biennale. And, since of South Africa’s (artistic) libera-
complexity of moral dogmatism. ing their strange shadows across approach but a few of them came the early 1990s, quite a number tion, and their invitation was warm
The work I fell in love with was a the blank sports field… Peter Machen pretty close. have managed to get there and and wide open. The problem was
bold charcoal drawing that now There’s a degree of arrogance flaunt their skills in the Giardini di how to ‘facilitate’ it. (Another buzz-
hangs in my study opposite a My next excursion to the opening There is a gentle unspoken feud inherent in nearly all art-making. Castello or somewhere in the halls word in those heady days.)
poster from a show I saw at the of siblings Alexandra and David between myself and the Durban “Look! I made this”. This is the of the Arsenale.
Museum of Modern Art in New York Ross’s In Camera at Resolution University of Technology’s Fine arrogance of the gallery, of the The ‘old countries’ embedded in
in 1997. The Stenberg Brothers: Gallery was a continuation of the Arts Department. Every year I white wall, the cistine chapel, the Of course, one can easily dismiss the 113-year history of the Venice
Constructing a Revolution in Soviet erotically charged black and white
attend their year-end exhibitions. arrogance of not doing a real job, this bit of nonsense as a faux-pas biennale traditionally had (still
Design was a show that celebrated theme. Alexandra Ross’s series
And every year I complain publicly of not going out into the fields. The by lesser-informed, hyped-up have) ‘national pavilions’. In those
the beauty – the seductive eye of dimly lit nude self portraits are
about something. It’s become DUT is a governmental academic media personnel. (The record colonial days, such an individual
candy – of Soviet propaganda. printed onto metal plates referenc-
something of a joke in fact. This institution. It’s not allowed to be was set straight via e-mail from showcase for an anointed artist
ing Victorian daguerrotypes. You
year they made a map – some- that kind of person. But just for Cape Town.) Those who have was, of course, a bold, competitive
But back to Hipper. In the central have to get up really close to see
thing that I have been requesting one night it should try to pretend. It been tracing the history of South demonstration of the state and
strip of a large sheet of crisp white the luscious curves of the naked
in various media for years – “to should treat all it’s students’ work Africa’s relationship with the power of nations.
paper is a black-and-white image body in her strip of images, evoking
of a young girl’s face. She gazes a naughty through-the-keyhole
make Peter Machen happy”. as jewels of the night, rare and arcane establishment and system
directly at the viewer through a pair feeling. Funny thing is, though, if I hadn’t precious as some of it is. Were that makes la Biennale, however, By the late 20th century these
of spectacles and, in optometrist’s Whereas her images are small, run into one of the lecturers the I more of a lunatic I might even will suspect this ‘misspeak’ the pompous buildings cluttered up
lettering in the white strip above dark and provocative, the large- day before I wouldn’t even have suggest they produce a catalogue result of yet another bureaucratic the gardens. As a far-flung colony
her face, are the enigmatic words: scale photographs that face them known the show was happening every year... entanglement. in the early days, South Africa
‘Good vision should be maintained.’ are flooded with grainy light. David because no-one invited me. Not And so to the art. And instead wasn’t in the game, and by the
What do the words mean? That Ross shot his bedroom scenes that I need a personal invitation of saving the best for last, I’ll The first thing that sets one time we were invited as a liberated
we should have our eyes checked with a cell phone and enlarged the but as one of a very small circle of dive right in. This year was the thinking, reading between the nation, space had become an
regularly? That is it important to low-res files almost to the point people in Durban who write about first time that a single talent had lines of that press statement issue.
maintain a good outlook on life? of disintegration, giving one the art, they could have sent me an dominated my memory of the which reported that “the president
Well, of course it is. dreamy sense that the figure in email. Or even announced it in the show so exclusively. Of the thirty ... Paolo Baratta, along with the Yet new spaces have been
the image is only half there – an papers. A billboard, whatever. Or or so young artists whose work director .... Daniel Birnbaum, met opened up elsewhere in the city
But there is an unnerving fascist ideal medium for the portrayal of maybe I’m being naïve and they was on show, one talent stood today ... the representatives of the and the organisers too had be-
twinge to the phrase: an insistence that ‘morning after the night before’ simply didn’t want me to come out high above the others. If his nations participating ...”, is that come award that even art history
on good vision at any cost. And sense of absence and perhaps and start my complaining. fourth year exhibition is anything word ‘representatives’. had moved beyond the confines
what is ‘good’ vision? Who deter- even loss. But I don’t think that the Tech has to by, Bongumusa Hlongwe is of the national. So the invitation to
mines what is ‘good’ and what is ever realised the flattery inherent already poised for the international Who, from our mission in Italy South Africa has, since 1994, been
not? Having grown up in apartheid Whereas Alexandra’s images have in my continual criticism. The stage. An accomplished painter (surely a diplomat), was that repre- open and welcoming. The problem
South Africa and lived through the a Victorian studio feel, David’s department, against all odds – fac- and sculptor, his work echoes sentative - clearly clueless to the was - and clearly remains - on the
blinding idealism that fuelled the recall the sexuality of Jean Luc ing the perpetual cost-cutting and established talents such as fact that South Africa has been South African side. It’s mostly one
transition to a new nationalism Goddard movies. Both series are diminishing resources that seem Willie Bester and Andries Botha, represented at the Venice biennale of will, money and commitment.
– that although not remotely as unashamedly nostalgic in feel – to defined modern institutional life but – importantly – even as his for yonks?
dire as the previous version, is still adding to that sense of something – regularly produces promising tal- works reference these masters, Bearing in mind that the 53rd Ven-
nationalism and still flawed – these that is not quite there, bodies that ent and is a vital cog in Durban’s consciously or not, there is a Since 1993, when South Africa, ice Biennale is six months away,
are ideas that really get under my can’t quite be had or experienced creative sector. And that talent profound sense of a unique artistic on the cusp of democracy, had a South African artists shouldn’t
skin. in full – this being an essential should be made to look as good vision, Hlongwe’s various narrative hastily-arranged presence, the link hold their collective breath. At the
In my office the bespectacled girl in ingredient in the visual or literary as possible on the one night of the strands virtually bursting out of the between South African art and time of writing, Paolo Lughi had
the Hipper drawing faces a bespec- sense of the erotic. Not having, not year that the public gets to see the work. As well as being technically the world’s oldest showcase of its nothing to report to expectant
tacled man in the Stenberg Broth- fully remembering, not being able work it produces. It should shine. versatile and producing work so contemporary production has been South African art fans. As could
ers poster – two figures eternally to go back… so we’re left with the It should sparkle. It should sell. rich in content and concept, a gothic maze. Blame it on the be expected, no information was
locked into an unspeakable tension decided desire for more. And some years they get it right. CONTINUED on Page 19 bureaucracy; both sides. forthcoming from the DAC.
between different ways of seeing.
South African Art Times. December 08 - January 09 Page 9
iziko
museums of cape town
s Kids under 16 get in free
s Visit any one of our 12 museums
around the Western Cape
s Join our summer school programmes
www.iziko.org.za
Putting a spin on history General Enquiries
Email: info@iziko.org.za / Telephone: +27 (0)21 481 3800
Hours:
Mon to Fri 8am - 5pm
Sat 10am - 5pm
Sun & Public Holidays 1pm - 5pm
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Western Cape artist Dale Elliott has recently been invited to have his instruc-
tional art approaches covered in extensive articles in three consecutive issues
of the well-known British ‘The Artist’ monthly magazine.
Speaking from his Villiersdorp studio and gallery, Dale informed how the
editor of the magazine, Sally Bulgin, visited his gallery some months ago and
invited him to produce the articles, setting out his ’10-steps’ approach to oils
and acrylics, together with additional art input. Dale submitted the illustrated
multi-image material by mid-year, and the articles appeared in the October
and November issues, with the final submission due to appear in the Decem-
ber publication. Dale kept the subject-matter bright and South African. The
first demo was of an extensive Boland landscape; the second an informal
settlement, and the December issue covers the steps in painting a karoo farm
panorama
The Elliotts have for many years been at the forefront of the Painting Holiday
concept, and Dale has developed techniques and approaches which are
unique and are now available on CD Rom and DVD. In the definitive publi-
cation on the Garden Route, ‘The Paradise Coast’ by Patricia Storrar, Trent
Read in a chapter on the artists of the area writes that Dale “has probably
taught more people to paint than anyone else in the country..” Over the past
three decades the Elliott Art Studios have hosted over 3000 creative folk on
their varied Courses, and many lives have been changed by the exposure to
the right-brain world. Their courses include indoor and outdoor painting op-
tions, and they cater for all levels of expertise – from beginners to advanced
artists, in their state-of-the-art teaching studios at Villiersdorp.
There has been a big response to the Artist articles, and Dale has been
answering dozens of queries from interested folk in many distant lands. His
steps in painting are covered on his extensive website at www.daleelliott.
co.za as are full details of his courses. He can be contacted at e-mail dale@
daleelliott.co.za or phone no. 0288402927. The Artist magazine has a most
informative website at www.paintersonline.co.uk
South African Art Times. December 08 - January 09 2008 Page 11
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South African Art Times. December 08 - January 09 Page 13
Finally, Acknowledgement in
Drama Kesivan Naidoo for Jazz Younge, 1987 William Kentridge, gha, Andile Yenana, Mpumelelo
Thabo Rapoo for Dance Hans Roosenschoon, 1988 Mar- Grootboom,
garet Vorster, Mbongeni Ngema, 2006 Concord Nkabinde, Churchill
As part of their prize, each of the 1989 Johnny Clegg, Marthinus Madikida, Hlengiwe Lushaba,
2008/9
Durban University of
people moving very quickly (in a that unpacks the discomfort of
gym or at an airport) speak of the enforced domesticity and the
endless motion of the rat race and expectations placed on a young
the futility of this movement. These
works are aptly titled ‘going no-
where-slowly’. This psychologist-
white afrikaaner woman. Racine
also explores her identity but in
a very different way. Not nearly
Technology (DUT)
turned-artist has many interesting as uncomfortable but certainly as Peter Machin (continued from page 10)
comments to make and promises powerful as Coetzee, she traces
to be a light to watch in future. her feminine roots through four
I was once again privileged to see with newspaper intervention. This The University of Johannesburg generations of female family Hlongwe is also that rare young white room or slapped onto the
three exhibitions by tertiary institu- student has used Paris Hilton as has two exit points, a three year- members. She obfuscates images artist capable of channeling the concrete of a freeway intersection
tions as end of year shows. These her subject and skilfully inserted diploma and a four-year degree. of these women by overlaying zeitgeist through his own deeply or an urban wall.
exhibitions are the showcase of the socialite’s image into pho- In this year’s offerings, the work of pattern forcing the viewer to squint resonant language. The vision of these three artists
the student works from various tographs from the press media, the diploma students was more im- in order to get a semblance of the Along the way to Hlongwe’s exhi- and of several others that I
art schools at the exit points for particularly the disturbing images pressive than the degree students. image. 4 Large black patterned ink bition, which I actually saw last, I saw, crystalised and matured to
degree’s and diplomas. I was of the xenophobic attacks. This The clarity of ideas and portrait drawings stare out was literally stopped in my tracks various degrees, reflects my only
fortunate to be in Grahamstown almost seamless juxtapositioning, real reservation about much of
while their show was on and to enlarged and printed on newsprint the other work on display. It too
see the difference between work is visually effective and quite often felt that the students were
produced at Rhodes as apposed disturbing. The sculptural works of working too slavishly within the
to the institutions upcountry. The Lucas Grant employ resin casts of confines of contemporary South
major difference, I think has to do life-sized pigs in seemingly playful African art production, and also
with degrees of subtlety. positions interacting with farming – on occasion – too much within
While UJ and UNISA are often implements. On closer inspection, the particular confines of the Tech
bold and perhaps even brash in the playfulness becomes sinister and the influence of lecturers and
their exploration of issues of and perhaps even torturous. The other students. Across media and
disciplines much of it felt samey. In
fact, some of the technically best
work lost its shine because its
discourse was too familiar. If you
can’t do new, you’ve got to be
Now in its 6th edition The SAAID 09 provides the user with a wealth of art information
both in terms of size and access into the South African arts community- and is
South Africa’s white and yellow pages of the South African art world.
By Michael Coulson Welz offered him a job after the He remembers buying the likes of With time, his exhibitions have Siebrits does not buy much art for and books, especially on SA art.
I first ran across Warren Siebrits ultimately unavoidable military Jane Alexander, William Kentridge, taken on an individual identity, with himself, saying it would be wrong But his life is so bound up with his
at Trent Read’s contemporary art service. But though the experience Robert Hodgins and Joachim a strong social conscience. His to compete with his clients. He business, one can’t imagine he
gallery in Parkwood in the early was invaluable, he didn’t feel the Schonfeldt for the legislature latest show, for instance, includes does collect vinyl records, of which has much time to listen to, or read
1990s, and that relationship was a auction business was for him. “An collection at what would now be a large collection of “struggle” he now has over 10 000, them.
crucial stage in his development. auctioneer is purely an agent, he bargain-basement prices. posters, marking protest meetings
Like many of us, he regrets the can’t choose what to deal in. And and the deaths of activists like Neil
failure of that venture. there’s some horrible stuff out Gencor was a different challenge. Aggett. His social awareness is
“It was a well-conceived busi- there!” Then CEO Brian Gilbertson said also reflected in his commitment
ness, but launched when the art the collection must reflect the to wear a hat daily for a year, in
business was at rock bottom. You So he was thrilled when Trent changing nature of society, to commemoration of the senseless
could pick up Pierneefs for R160 asked him to join him, and stayed try and help the staff adapt. “But death of his friend Sheldon Cohen.
000-R180 000, and nobody was virtually until the gallery closed in initially this had the opposite effect.
interested in modern art.” Only 1995. Many of the older, more conserva- Other shows encourage younger,
Ricky Burnett, with his Tributaries tive staff found the work offensive, lesser known artists, which he
show, had previously explored this Between then and opening his and complained that ‘Satanists sees as an important function of
field, Siebrits feels. own gallery in 2002, Siebrits was were at work’ “. But Gilbertson commercial galleries.
Unlike many gallerists, Siebrits at various times arts adviser to stuck to his guns.
says he fell into the art world bodies like the Gauteng Legisla- Another feature is the excel-
largely by accident. To defer ture, Gencor (now BHP Billiton, in Siebrits kept driving through Park- lent, well-written catalogues he
national service, after matric he association with his great friend wood, past the site of Clive Kel- produces, which set a high point
enrolled for a BCom at the then Kendell Geers) and the Sandton lner’s defunct Camouflage gallery recently with Jo Ractliffe. Helped
RAU (now University of Johannes- Convention Centre. He briefly ran with a “To Let” sign in the window, by sponsorship, this cost upwards
burg). There he met Stefan Welz’s Metroplex, a gallery operating from and was increasingly intrigued by of R300 000 – more than 10 times
son Conrad. They became friends, two shop windows in Rosebank, the availability of a ready-made what he normally spends. He sees
and Siebrits says that visiting a and with Johans Borman curated space. He also needed a big catalogues as both important his-
house like a lived-in museum is and published Aspects of SA Art, space for Kentridge’s Casspirs Full torical documents and evidence of
what first led him to appreciate a big show at the Convention of Love project, and eventually provenance, beliefs he also drew
beautiful objects. Centre. couldn’t resist the challenge. from Stefan Welz. Interior of Gallery
Photo: Ryszard Kasiewicz
Artistic Director of
Documenta 13
Announced
The curator Carolyn Christov-
Bakargiev, and author of the
Rip, Stitch, Mix and Burn: Zavick Zaroff Botha and Ulric Roldanus set fire to a washing line piece, very first monograph on William
entitled “Fresh Laundry”, Llandudno Beach, 21 November 2008 Kentridge, has been selected as
the artistic director of Documenta
Catalogues
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Permanent Exhibition
Works by Midgely, Kramer, Jones, Catlin, Slingsby, Vermeiren,
Theys, Badenhorst, Bester, Hardy Botha, Andre Naude, Goldblatt,
Beezey Bailey, De Clercq, Nowers, Budaza, Grogan, Roux, Schady,
Scholnick, Von Durckheim, Andre Brink, Goldblatt and Coetzee.
and many more
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Clement Seneque (1896-1930) The Pool. Oil on Board. 270 x 200