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Hayden Proud,
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JULY 2009 | Supplement to The South African Art Times | E-mail: | Member of the Global Art Information Group

The Venice experience was unforgettable How are

galleries coping?
SMAC Gallery reports back the message that many different
cultures as represented primarily by
A well known Italian curator, Dott their languages can co-exist in har- How are Jo’burg galleries coping don’t accommodate him, he may
Vincenzo Sanfo visited Cape Town mony. The exhibition installation with the economic downturn and decide to go elsewhere.”
in March this year in order to do commences with “South Africa is a accompanying recession in the art
preparatory work for an exhibition country with 11 official languages market? The ultimate response is To some, the scaling down of the
involving South African and Italian …”. Besides the obvious fact that to close down, and either operate market has not been entirely nega-
artists for the 2010 World Cup. the three artists; Wayne Barker, from home or go into some other tive. Gordon Froud, of gordart,
During his visit, he was so im- Kay Hassan and Johann Louw each business. But none of the galleries says he’s been hit hard but is
pressed with what he saw, that he descend from one of the official I spoke to would admit to be con- relieved that most of his gallery’s
invited certain artists to participate languages (English, Zulu and sidering following Warren Siebrits shows this year have at least
in an exhibition which he was pre- Afrikaans), the work on show in taking that course, and most ex- broken even, though he hastens to
paring for a new exhibition venue adopts distinct visual languages; pressed amazement bordering on add that he mainly deals in the
in Venice as a collateral event to Wayne Barker’s large “bead- incredulity that it could ever have R3 000-R10 000 range. He points
coincide with the 53rd Biennale di works”, Kay Hassan’s “paper been economic to carry the level out, too, that while his recent
Venezia. He was initially going to constructions” and “photographic of overheads Siebrits says forced move to Parkwood was triggered
exhibit only Chinese and Italian collages” and Johann Louw’s dark him to give up his premises. in part by problems over renewing
artists, but after viewing the works and powerful oils. The success of the lease on his former premises in
of Kay Hassan, Johann Louw this exhibition lies in the fact that Still, with one notable exception, Melville, he took the opportunity
and Wayne Barker, he invited despite the differences in back- there’s agreement that times are to trim his sails.
the gallery (SMAC) to include ground and approach to art making, hard and that one must cut one’s
important works by these artists in the works complement each other coat in accordance with one’s Turning away artists he’d
this exhibition, eventually entitled I perfectly and form a harmonious cloth. Goodman Gallery curator scheduled for shows and laying
Linguaggi del Mondo / Languages entity which is simultaneously Neil Dundas, for one, puts it as off staff was painful, but turned
of the World. beautiful, challenging and unde- strongly as “adapt or die”, and out to be vital.
niably South African. It is a perfect argues that artists as well as gal-
The choice of the three artists springboard for us to expand on leries must realise this. Goodman More imaginative and flexible
was by no means arbitrary. The in 2011. will be offering more smaller and use of space is another response.
proposal was that due to South Af- editioned works on its upcoming When Teresa Lizamore launched
rica’s long absence and the need to The gallery had to make a sig- shows, which by definition will be her Artspace Warehouse venture
“create history” at Venice, it would nificant financial contribution to lower-priced. at her old gallery site in Fairland,
be appropriate to show mid-career facilitate the exhibition and despite letting it out for functions and
artists who historically would attempting to get sponsorship or While artists must still feel they events was an integral part of her
certainly have been exhibited, if support for the initiative, we had can make bold statements and strategy, and she won’t preclude
there had been an official presence. to pay our own way. The govern- produce magna opera, they must such usage at her new Parkwood
Furthermore, these artists rose to ment approach is discussed below, accept that these may not be as gallery either.
prominence during the so-called but it is necessary to mention that salable as they were a couple of
resistance period (the late eighties), the South African exhibition could years ago. The size of the market Froud’s variation on this is to
but have managed to forge success- have been much larger if any of the has shrunk, and buyers’ pock- stage mini-shows at his tiny up-
ful careers and remain relevant in numerous potential corporate spon- ets have got shallower. He cites stairs balcony-gallery, which are
the new South Africa. The decade sors had backed the project. There Deborah Bell’s offerings through in effect teasers offering just
before democracy was undoubt- was almost no interest and with the the gallery at the recent Jo-burg a small sample of an artist’s
edly the most important period in exception of one company, none Art Fair as examples of this more available work.
South Africa’s history, politically of the companies had ever heard modest approach.
and culturally. However, many of the Venice Biennale. The most And there are specific cost areas
so-called “protest” artists lost their common response was; “We have He’s confident that the super-rich that can be cut back without
way after 1994 and others used the no clients in Venice”. The banks will still have money to spend, but damaging the basic service to
opportunity and platform which the and multinationals appear ignorant will be even more conscious of artists and clients. Like catering at
country provided to pursue careers to the fact that Venice, during quality than ever, and the “obses- openings: Siebrits went this route
abroad. We wanted to promote vernissage week, may be the larg- sive collector” won’t go away, but months before his closure, and
artists who live, work and find est assembly of the world’s richest the broad middle market is under despite (or, perhaps, because of)
their inspiration in South Africa. individuals at any one time, from pressure. its institutional backing, so has the
Most of the famous South African Paul Allen to Roman Abramovic Absa gallery. Then, invitations:
artists such as Marlene Dumas, and Francois Pinault, to mention Like Dundas, MOMO’s Monna MOMO has scrapped printed
Kendall Geers, Lisa Brice and even a few. Couple this to the fact that Mokoena stresses the need to invitations altogether, in favour of
Moshekwa Langa have moved on well over a million visitors (not keep more closely in touch with e-mail, and gordart offers artists
to become international artists. We your average tourist) visit the the market. As Mokoena says, gal- the same option, though Froud
felt that it was essential to present Biennale during the five months leries must also be more flexible. says few have taken it up.
powerful art of the highest quality of its duration and it is clear that Pointing to three gaps on the wall
which originates and speaks about a major marketing opportunity, when I visited his current show, How long will it last? Froud be-
life in the country. The theme of far exceeding most major sports he said: “If a buyer wants to take lieves that at his end of the market,
“Languages of the World” was events, has been missed. his purchases home straight away, the worst is over, and hopes for a
chosen after the consideration of Wayne’s Prada Courage: I decided to buy a Prada suit and go to the show again and place my work in the main exhibit. I was a little nervous, but needed to you can no longer tell him he must
the South African experience and continued on page 2 make this statement. The work is still up, so I am starting to feel a bit like a selected artist. Photo: Bianca Baldi wait until the show’s over. If you continued on page 2

Did Kebble smuggle art treasures

Wayne Barker Venice Times out of the JCI corporate collection?
Wayne Barker reports of the importance of Arts and traveled half way across the globe artist in SA. I left the little bar and
from Venice Culture in South Africa and the we might as well make the best of consoled myself with my cognac
strength thereof, let alone the the moment. It was now time to from my faithful hip-flask, looking Slain mining magnate, Brett their ranks in 1997, having invest- confidential, and that the invoices
Arriving again in Venice unoffi- financial spin-offs and oblivious clandestinely give the biggest art at the grand canal glowing in the Kebble, may have siphoned off the ed in works by Walter Battiss and would be destroyed.
cially, officially invited, I realised to the cultural importance to collectors our invites and press Venetian light, I was so embar- best works from the JCI corporate George Pemba in the 80s, Grey
that living in Africa has a certain represent the diverse visual art release. The sky was full of jets rassed that I felt like jumping in collection for his own personal art reports. When evaluator Anthony Noseweek identifies three of
charm and a sense of necessity. works that are being produced and planes, landing to bring and swimming home and only collection, Noseweek reports. Wiley was brought in to price the the works recently auctioned by
The night before I left I watched here in SA today. people to this art extravaganza. make wooden sculptures from collection in 2006 however, there gallerist and auctioneer Graham
the history of the Congo which The whose who in the interna- now on! Our 2nd target was the Slain mining magnate, Brett was very little of value left. Wiley Britz, as having once hung in
was an insightful piece of info to The stereotypical views about tional art fraternity were descend- notorious BAUER HOTEL where Kebble, may have siphoned off reported that in several cases, the the JCI’s corporate collection.
arrive in Europe with, at an art Africa are rife and many artist in ing in private planes and boats like the artists and patrons hang out the best works from the JCI frames were more valuable than The paintings, including a Walter
show of international acclaim. SA are dealing with this “poor the sardine run in Kwazulu Natal. and drink champagne flaunting corporate collection. the paintings. Battiss, and two works by George
cousin concept”, that we are naive their egos and arrogance; I sup- Pemba, fetched R 1 150 000 on
I realized how tired most of the and the art produced here is less Our first target was a little pose that came with the territory? This after senior executives who Gallerist Mark Read of the the May auction, a sum which JCI
international art can be and how important on a global level, this hidden bar called Harry’s Bar So we started meeting people and attended the May auction of Everard Read Gallery, who sold will no doubt seek to extract from
up its own revisionist arsehole it by the way is bollocks, as through where the famous Bellini drink inviting them to our exhibition Kebble’s art collection recognised Kebble many paintings over the the insolvent Kebble estate.
can be. the challenging past two decades, was invented. Walking in sober 2 out of 10 people would give it several of the works on sale as years, also reported a somewhat
the work produced here, is chal- was maybe a little ambitious, as more than 5 seconds attention and having once appeared on the walls murky situation around the deal- It is also rumoured that several
We started by looking for the lenging for sure and often deals sitting with his entourages was the others would throw it back in of the JCI. The company’s current ings of Kebble and the JCI. “We high-profile works from both
space where our exhibition was the so-called bottom of the world with relevant issues globally and the Biggest art collecter, Henri our faces. This made me consult Chief Executive, Peter Gray, is to had so much trouble, about nine Kebble’s and JCI’s collections
housed .This took an entire day started feeling more and more locally with a degree of freshness Pinault. After downing 2 Bellinis, my hip flask with vengeance and order a forensic investigation into different invoices per picture. were auctioned in London in
but during the day we saw all the frustrated, as usual we were doing and brutal honesty. I muscled my way to his table and I thought to myself; who are these the provenance of certain works, They had to be invoiced to a 2006, under the radar of the
exhibitions being installed and all it for ourselves – carrying boxes of introduced myself and invited the people anyway ??? We all on this which are suspected to have been company, then he’d say no, do estate trustees.
the artists could be spotted a mile invites and paintings to our venue, While dealing with my frustra- table to our exhibition called “lan- sinking island together exhibiting purchased by JCI, not Kebble. it to another.” When pressed to
away, they had been invited by while our ministers were probably tions and the unbelievable charm guages of the world”, he almost our work, with this new-found reveal the contents of the invoices, To get the full story, subscribe
their country and were feeling on sipping champagne in faulty of Venice in usual African style, didn’t know where SA is, again freedom and realization I was able JCI already had an established art however, Read declined, saying to Noseweek at
top of the world. I, coming from palaces around the world unaware we realised that since we had I felt the frustration of being an continued on page 2 collection when Kebble joined that his business with clients was

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Letters to the Editor

RE: Love of Art in the Time of Recession Request for Art
In Pretoria the economic recession well, although a little down with sales, since this comprises the very Patronage
is certainly taking its toll at present recession flu. We are finding that raison d’être of both artist and
and especially the contemporary several non-Pretoria based buyers gallery and lowers the esteem for I have had the privilege to be
art market is going through tough are approaching the gallery in the professional art practice and exhibi- invited to represent South Africa
times. It would seem that it is really search for good buys and prices. tion as enterprise and vocation. at the Florence Biennale in
the young budding artist who is Yet it is the higher priced works December 2009. I applied for
suffering most - being disillusioned of established artists that are Galleries could also consider funding at the NAC, National Arts
and disheartened when you’ve pro- attracting more attention; non- amending their income with short Council, in January.
duced a good body of work, yet not editioned works such as sculpture courses in art practice or theory,
selling. To the gallery it is heart- and painting seem to be firm since the informal training sector is The deadline for the outcome of
breaking to see a strong exhibition favourites whilst photography is very active still. The short courses the application was the end of
go home to the artist with only one less in demand. A recent afford- offered at Fried are as in demand as May and the NAC did not grant
or two works sold. able art fair at the gallery produced before, maybe due to people desir- me any funding because they
only nine sales, whereas demand ing an after-hours occupation or an don’t fund the Florence Biennale.
The upside of the recession is that from collectors for investment alternative retirement activity, or I have already paid R15 000.00 as
people who weren’t collectors pieces was abundant. This seems simply to understand art better. part of the deposit in November
before have woken up to art as a to challenge the idea that only the 2008 and the rest of the deposit
commodity investment, maybe due cheaper works are currently selling. The dire situation of the art market was due at the end of May. I asked
to other kinds of investments not Although art sales are certainly could have been alleviated had for a second extension and have Photo credits: Bianca Baldi
delivering on envisaged returns. carrying on, we are working much government been more supportive to pay R20 000.00 by September. Wayne Barker in the process of inserting Erratum (whose worlds?) 2003 (Insertion 2009) Exhibiting unofficially on the Making Worlds exhibition is
Investors are shopping around, harder in order to develop new and empathetic towards the arts The Arts and Culture Trust, BASA Barker’s attempt to break the pervading silence that surrounds local art expressions within the international domain and to draw attention to South
checking and comparing prices strategies to survive. and provided an infrastructure Business Art South Africa and The African contemporary art and the representivity thereof.
and indeed looking for the work that compared with first-world National Lottery Board cannot
of big-name artists and potential Galleries could find alternative countries. In order to survive and assist me in the matter. I not only
investments. Yet the typical profile ways of funding and cutting costs, overcome the current stale-mate need funding for the deposit but continued from page 1
of a modern art investor versus a for instance, by closing the gal- situation, artists and galleries might also for art materials, crating, Wayne Barker Venice Times
contemporary art investor is really leries for certain days of the week consider engaging in activities with shipping, insurance, accommo-
a matter of money – the former and employing fewer staff. This is a dedicated social upliftment objec- dation etc. I would really appre- to meet some fun people in the hanging in Venice ... with this what in the world was the curator artists like Barker living on the
allows relatively quick returns not exceptional – many European tive, since these are well sponsored ciate ideas and help to enable me greater Art world. behind us we could continue our on about and why did he not take so-called periphery can ask the
whereas the latter often is a matter contemporary galleries are anyway by government and business alike. to participate in this wonderful work to pull guests to our show, of a trip to sunny S.A. and do some question; Whose Worlds?
of buying solely for the love of art open only for a few days a week event. What a pretentious lot, the next course Harry’s Bar and the Bauer research. This gave me the idea to
and hoping that returns will even- and for short hours. Artworks morning I woke up in the Bauer Hotel became our frequent haunts. exhibit on his show in the room I decided to buy a Prada suit
tually realise. should also not be priced too Prof Elfriede Dreyer My work can be viewed on the hotel next to a tall blonde stranger, a Also we were invited to differ- dealing with the fluxus movement. and go to the show again and
highly, though artists and galleries Curator-owner of Fried website curator and a buyer of contemporary ent country’s parties, which were I photographed the labels of the place my work in the main exhibit.
should be careful not to underprice Contemporary Art Gallery & Studio art, on the floor were dresses that a representation of their food and official artists and replicated the I was a little nervous, but needed
Art exhibition and sales at Fried
work just for the sake of having Brooklyn, Pretoria looked like they had been flown in drink and wine, fun was had by all. label with my text; to make this statement. The work
Contemporary are alive and Natasja de Wet
from Pep stores in Africa. But again sunny South Africa was is still up, so I am starting to feel
not present. a bit like a selected artist.
I sheepishly left and looking into
continued from page 1 the shop windows I spotted my As we settled into the rhythm of the Erratum (whose worlds?) 2003 Eventually I had to leave and
How are galleries coping? friend’s frocks – just one of them situation we realised our exhibit was on my way out of town I noticed
would have paid for the entire a minute away from Yoko Ono’s (Insertion 2009) people reading small leaflets,
pick-up by September-October. “Like most businesses, we’re sell readily, and we’re expe- arrived a week before the opening, SA exhibition (not quite) to be in exhibit, this was unexpected and we Exhibiting unofficially on the handed out as they bought their
Dundas, though, fears that in the Venice. F*ck, the Ministry of Arts realised that we were in a good spot, Making Worlds exhibition is Vaporetto tickets. I saw them
having to hold on to our hats riencing increasing interest and we weren’t responsible for the
and Culture should up their game, of course we met her and gave her Barker’s attempt to break the looking at the illustrations of
Goodman’s market even 2010 and work very hard. But most from our clients for such work.” pricing, which is in line with what
I thought and sat on a bridge with a the press release. Now that we had pervading silence that sur- our work and later discovered
will be a tough year. business failures are own goals. he charges in Europe.”
post-coital cigarette and laughed and worked on the publicity I was ready rounds local art expressions that our curator had managed
We haven’t really changed our When I suggest that his current cried, until the realisation kicked in, to view the artworks from the dif- within the international domain to distribute 500 000 of these
I said at the outset that there was ways much. We’re probably show by French artist Guy Ferrer, Well, it’s divergent views that to go to the exhibition space and see ferent countries and the main show and to draw attention to South brochures via the public
one exception to the general advertising even more, and being where despite the few six-figure make markets. But whether the if the work was up and lighting had called; “Making Worlds”. African contemporary art and transport network. Mission
pessimism. Even if it’s a con- even more aggressive in trying to pieces, most works are priced at optimists or pessimists are proved been sorted out. At our exhibition I the representivity thereof. accomplished.
trarian minority of one, it can’t find better things. only R3 800, hardly bears this out, right is no mere academic debate: found a grumpy Baylon putting up There was some powerful work
be dismissed, as it’s the view of Read becomes even more adamant. it could determine the survival the works of Kay Hassan. from the different Pavilions and I was itching to get back and start
Mark Read, director of one of “There’s still strength in the top of some galleries not just on the some very disappointing. On the producing – whilst listening to
Joburg’s most respected top-end end of the market here, just as “We were asked to stage this show Parkwood artstrip, but throughout We worked for 2 days and were other hand, the main show, “Making In response to Daniel Birnbaum’s Charles Aznavour crooning about
galleries, and certainly its oldest: there is in Paris and London. by the French Institute. I’d never SA and, for that matter, inter- happy with the way our work was Worlds”, got me thinking about exhibition title, Making Worlds, how sad Venice can be.
Everard Read. Fabulous, weighty things still seen the artist’s work until it nationally.

continued from page 1

The Venice experience was …
changes in the local art industry; generation; from Henry Moore to Tuesday the 2nd of June. This dance, then this may be the largest company. He explained the signifi- No one escaped without being
South Africa has been absent from the proliferation of contemporary Jeff Koons, the influence and meant that we all worked frene- presence ever. cance of this exhibition (entitled fully briefed on the South African
the Venice Biennale for decades galleries, publication of catalogues stature of the greatest artists can tically to ensure that the space “The Soul of Water”) to me over dilemma and being invited to the
since its official participation and art books, the establishment be traced to Venice. If countries was ready for the opening of Another South African artist, Jake a coffee prior to my departure. He show; Daniel Birnbaum, Okwui
ended in the seventies due to the of an independent art magazine, such as Palestine and Azerbaijan the Biennale on Wednesday the Aikman, was selected to parti- started with the significance of Enwesor (who gave us great sup-
cultural boycott and subsequent an art newspaper, record prices deem it important enough to 3rd and our official opening on cipate in a highly prestigious Venice and the unique characteris- port and encouragement), Simon
sale of the South African Pavilion at local auctions, the emergence participate, it defies logic that Thursday. exhibition entitled L’Anima tics of the city. He then proceeded Njami, Maurizio Cattelan and
to Israel. The 1993 return in a of international auction market South Africa is absent. More dell’Acqua. to explain how man is made 90% even Keith Richards. One would
collateral event was premature for South African art and a large importantly, in the year before the Due to late acceptance of the of water and how we are affected expect most of these people to be
and unsuccessful. South Africa annual contemporary art fair. The 2010 World Cup, where all eyes invitation to participate, South This exhibtion is being held in a by the tides and how at high tide tired of being approached by such
was still involved in a period of South African contemporary art are on South Africa and a South Africa is not listed specifically landmark Venezian Gothic Palace or Acqua Alta (when everything types in Venice, but the response
radical change and transition. industry is now ready for Venice. African Pavilion would have at- amongst the collateral events, but and Museum, the Ca’ d’ Oro. The floods in Venice - ironically we was overwhelmingly positive and
Simultaneous with the political The limited participation in the tracted huge attention, this must be the exhibition in which we parti- exhibition received huge publicity were all wading around without receptive. We sensed a genuine
and social changes which were 2007 “African Pavilion” was seen as an opportunity lost for the cipate is listed and well advertised. during press week and was with- shoes on the final evening with an interest in South Africa and
taking place, the South African Art and will not be sufficient for a country as a whole. The artists and A major draw card is the close out doubt one of the main exhibi- overhanging full moon) pushes general disbelief at its non-
industry was yet to be established, country like South Africa, even if the art comm unity are the ones proximity of the South African tions in the city. The press opening up the tears. Plessi is keen to participation. We certainly made
as we emerged from decades a permanent African Pavilion is who suffer the most as a result of exhibition to the Yoko Ono show, was unlike anything I have seen visit South Africa and Cape Town our presence felt.
of international isolation. It is established, as is being discussed. this apathy. both just off Campo San Barnaba before, with at least five television in particular and to do a major
now clear that a certain distance The unfortunate reality is that the (which is just a few minutes from crews and 100 press officials artwork here. Aikman has been To cap everything Wayne Barker
from those tumultuous times was South African Department of Arts We arrived in Venice with a bit of the Accademia Museum and the attending a press conference with offered an exhibition with a well- took the argument a step further
needed to provide perspective. and Culture does not appreciate confusion surrounding the exhibi- Guggenheim). a five member curatorial panel known Venetian gallery. or rather to its extreme: with the
It took ten more years for South the significance and importance tion, as last minute certificates and answering questions behind glass assistance of Bianca Baldi (a
Africa to start catching up with of participation in the Venice approvals still had to be obtained This exhibition received huge walls. The exhibition was then The South African entourage, Michaelis graduate spending three
the international contemporary Biennale. Since World War II, the from the Commune di Venezia, to attention due to the fact that Yoko officially opened by the Italian which included a number of inter- months in Venice and part of the
art world. The seeds were sown Biennale reinvented and set the ensure that the exhibition opened Ono received a Golden Lion award Minister of Culture, Sandro Bondi esting characters; gallerist, artist, South African entourage), Wayne
by the now acclaimed Johannes- course for contemporary art every as planned. To make matters at this year’s Biennale for lifetime at a gala dinner in the Palazzo, collectors, journalists, students managed to get himself official
burg Biennales of 1995 and 1997 two years. worse, most Italians had taken a achievement. A further advantage attended by numerous dignitaries and friends, went about marketing representation by inserting an
(again premature from a South so-called “ponte” or long weekend for us was the distribution of 500 and celebrities. After the dinner, the South African exhibition as artwork into the main Birnbaum,
African context). Since the mil- It creates and in many cases recre- to link the weekend to the Italian 000 pamphlets by the Commune di the guests were given a tour and aggressively as possible. This curated exhibition; Making Worlds
lennium we have seen significant ates the most important artists of a republic day celebrations on Venezia, advertising the exhibi- specific attention was drawn to the involved a daily routine of hand- and carefully documenting the en-
tion to everybody purchasing a South African painting. Aikman’s ing out leaflets and invitations tire event. The best part is that as
Vaporetto ticket (Vaporettos are painting, Echo II, holds pride of all over Venice but in particular of 17/06/09 the work remains on
the only means of public transport place in this brilliantly curated and Harry’s bar and later at the the wall unnoticed by any officials
in Venice). This brochure was meticulously installed exhibition infamous Bauer Hotel. It also or organizers and comfortably
prepared by the Centro Italiano per (hazelnut walls and embossed involved the strategic target- forming part of the exhibition. The
le Arti e la Cultura and contains poetry surround the art). He also ing of the power players who small text printed on card reads as
images of the works by all three finds himself in some serious had descended on Venice for the follows:
artists. Slightly belatedly, more company; the exhibition celebrates “settimana di stampa”. This led
prominent public signage and two artists in particular; Fabrizio to many close encounters of the Wayne Barker
banners advertising the exhibition Plessi and Bill Viola. third kind – on Wednesday, we Erratum (whose worlds?) 2003
has been placed all over the city, managed to catch Larry Gargosian
including the main bridges travers- Plessi is currently enjoying a as he was being ushered off a (Insertion 2009)
ing the Grand Canal. revival in Italy and renewed speedboat into the Cipriani Hotel Exhibiting unofficially on the Mak-
recognition. He is a Venetian and the next morning as he was ing Worlds exhibition is Barker’s
If one takes all of this into account artist and his works can be seen brunching at the pool. On the attempt to break the pervading
and the actual space made avail- in many of the public spaces Wednesday evening Wayne Barker silence that surrounds local art ex-
able to the South African artists across the city. He is known managed to escape the guarding pressions within the international
(± 230m2), with a dedicated room primarily for large installations eyes of the Maitre’d at Harry’s domain and to draw attention to
for each artist, then this must be and sculptures incorporating Bar to get in a five minute speech South African contemporary art
considered the biggest and most digital media and he repeat- to Francois Pinault and his twelve and the representivity thereof.
prominent presence by South edly explores the themes of fire guests, together with pamphlets
Africa at the Biennale, at least in and water. His artworks also and a manifesto lamenting the In response to Daniel Birnbaum’s
the last 40 years and if you con- adorn many of the Louis Vuit- lack of official representation for exhibition title, Making Worlds,
sider how small the old pavilion ton windows in Europe and he is South Africa. A similar encounter artists like Barker living on the
is and the how the Biennale has responsible for the first “digital occurred the following day with so-called periphery can ask the
grown in stature, size and atten- handbag” designed for the same Roman Abramovic and Yoko Ono. question; Whose Worlds?

Hayden Proud, Michaelis Collection, Cape Town, South Africa John Meyer receives Gottorff
Hayden Proud on the ing portrait” Secretly I will love you graphy” that is embodied in the best Museum Award 2009
Michaelis Collection more, exhibited in 2007-08, explored of his works in this genre.
The collection was assembled by Sir similar issues. Based on a portrait
Hugh Lane and was presented by by the artist’s namesake Pieter de Selected recent publications
Sir Max Michaelis to the people of Putter (1600-1659) in the collection, by Hayden Proud
South Africa in 1914. It is one of the it consisted of a video-audio back- Scratches on the face: antiquity and
most significant collections of Dutch projection inside an identical Old contemporaneity in South African
and Flemish paintings outside of Master frame. The original portrait works of art from the collections
Europe, the USA and Russia. It was was recreated conceptually with a of Iziko Museums of Cape Town.
installed in Cape Town’s Old Town “live” sitter-singer. Re-imagined as Exhibition catalogue published for a
House, formerly the city’s seat of Maria de Quellerie, the wife of Jan touring exhibition to the Republic of
civic government, in 1914. The build- van Riebeeck, the first Dutch Gover- India in 2007. 64 pp. Pretoria (UNISA
ing dates from 1755, and its interior nor of the Cape, she sang a lullaby in Press) 2007 (2nd ed. 2009) ISBN
was refurbished to accommodate the indigenous Nama language to her 13-978-1-874-81739-0 (paperbound)
the collection. Works by Frans Hals, adopted black daughter Krotoa. The
ReVisions plus: expanding the
Melchior de Hondecoeter, Jan Steen, work proposed a topical “what if”
narrative of South African art. The
Jacob van Ruisdael, Paulus Moreelse, scenario on 17th-century inter-racial
Campbell Smith Collection. Book.
Hayden Proud was born in Zimbabwe Ludolf Backhuysen, Frans Snijders, relationships for a post-apartheid
104 pp. Pretoria (UNISA Press/
and studied Fine Arts at the University Emmanuel de Witte and others are South Africa now engaged in a con- Dr Thomas Gaedeke, Herr Frank Zarp, Director Herwig Guratzsch of the
SMAC) 2008 ISBN 13-9781874-817-
of Cape Town (UCT), later teach- supplemented with holdings of Old tinuous quest for reconciliation. Gottorf, John Meyer and Minister of agriculture and environment Herr
369 (paperbound)
ing art history there. He undertook Master prints and drawings. With the Christian von Boetticher at the unveiling ceremony.
Contributing author & editor.
postgraduate studies at the University creation of Iziko Museums in 2001, Hayden Proud on a selected work
ReVisions: expanding the narrative
of South Africa (UNISA) and at the the 17th- and 19th-century Dutch from the collection South African artist John Meyer regarded one of the most important
of South African art. Book. 360 pp.
Courtauld Institute of Art in London. collections at the SA National Gallery One of Proud’s favorite works, and received the 2009 contemporary international art awards in Germany
Pretoria (UNISA Press) 2006 ISBN
Hayden was first appointed curator now usefully augment many new indeed one of the most useful from a artist award from the Museum (earlier recipients include Bernhard
1-874817-33-2 (hardbound)
of historical collections at the South displays. A comprehensive catalogue didactic point of view with visitors, Schloss Gottorf in Germany on the Heisig, Johannes Grützke and
African National Gallery (SANG). by Dr. Hans Fransen was published by is Emanuel de Witte’s Interior of the “The advancement of art”: the South 17th May at a special unveiling Magdalena Abakanowicz),
With the latter’s amalgamation into Waanders Uitgevers, Zwolle, in 1997. Oude Kerk, Amsterdam of circa 1653 African Society of Artists and its ceremony. A capacity crowd filled
Iziko Museums in 2001, his brief was (inv. no. 14/66). It is a good example of exhibitors (1902-1950). Exhibi-
the museum’s inner courtyard, Currently the museum’s contem-
extended to include the curatorship of The Michaelis Collection is unique in the artist’s concerns with representing tion catalogue. 64 pp. Cape Town
where a choir sang in English in porary rooms are hosting two solo
the Michaelis Collection of Dutch and Africa and constitutes a nodal point space, spatial ambiguities and illusion, (SA National Gallery) 2002 ISBN
honour of Meyer’s visit. exhibitions, one by Anselm Kiefer
Flemish paintings at Cape Town’s Old of contact between the diverse South all of which ultimately comment on 1874817316
and the other by John Meyer.
Town House. His curatorial expertise African cultures and the heritage of the mimetic effect of the art of painting
The Sir Edmund and Lady Davis An estimated crowd of 15,000
covers wide areas of the Iziko Art European art. While other art museums itself. The green drapery with its golden
presentation: a gift of British art to visited the complex on the day. Gottorf Palace is the largest museum
Collections Department, which also in South Africa also count Dutch and fringe is a painted imitation of the kind
South Africa. Exhibition catalogue. Meyer was chosen after his enthu- complex in northern Germany and
features British art and major hold- Flemish paintings, Iziko Museums is of protective curtain hanging from a
SA National Gallery 1999 ISBN siastically received one-man exhibi- is the headquarters of Schlegwig
ings of 19th- and 20th-century South the only one with such a collection as rod often attached to such paintings in
1874817235 tion in Berlin in 2008, which was a Holstein’s state museums. The
African art. He has been supervising its principal focus. It is supported by a domestic settings. An ambiguous fea-
improvements to the Old Town House 400-member strong Friends’ organiza- ture in true baroque trompe-l’oeil style Hayden’s research interests are diverse. collaboration between Everard Read museum, visited by up to 600,000
building and its facilities, as well as tion. A vital educational emphasis un- is the painted shadow that the drapery He has published several significant Cape Town and Brusberg Berlin. visitors a year, is situated in the
several conservation projects on the derpins an active program of temporary casts to the right onto the “surface” of books on the work of black South northern German city of Schleswig.
collection. Promoting the Old Master exhibitions that prioritize the use of the the painting. African artists. He recently contributed Two works by Meyer were commis- Schloss Gottorf comprises a vast
tradition in a time of demands for collection, inviting the involvement of two chapters to The visual century, sioned by the director of the Gottorf, complex of museums and exhibition
transformation in post-apartheid South local schools and art centres. De Witte’s Interior of the Nieuwe a new publication on South African Professor Guratzsch, a narrative halls, ranging from the state col-
Africa is not without its challenges. Kerk in Delft with the tomb of art between 1907 and 2007, due painting and a silkscreen edition, lections of renaissance and period
He works strategically with the Past exhibitions include “The muse William the Silent (1653) (LACMA) for publication by the University of produced with David Krut Projects art, modern collections and contem
Michaelis Collection to make it of history” (2005), which united the uses a similar curtain. As a painter, Witwatersrand Press in late 2009. He is in South Africa. porary collections, as well as invited
relevant to a new generation of South collection with large contemporary Proud is fascinated by the way in presently engaged in research for a new solo exhibitions.
Africans. His strategies involve paintings based on the Dutch masters which De Witte creatively engages publication on the South African land- The award was established by
integrating the Michaelis Collec- by local artist Helmut Starcke. Its with layered spatial and formal scape painter J. H. Pierneef (1886- the German entrepreneur Gunter Known for his sequential narrative
tion within thematic exhibitions and theme was a speculation on the concerns that seem to be strikingly 1957), whose complex relationship Fielmann in 2000, after his donation works, which are influenced by film
promoting it as a site for debate on the interface between the Dutch settlers modern. His strategic inclusion drap- with Dutch modernism in the 1920s of 200 lime trees for an avenue in noir and the cinematic and motion
colonial past and the transformational and the indigenous inhabitants of the eries amidst the generally somber garb became central to his aesthetic. the Gottorf Baroque Gardens at the picture tradition, John Meyer’s art
present, as well as a dialogue between Cape when it was colonized in 1652. of the figures in this painting is but a For further information see: museum. The prize is regarded in explores complex human emotions
historical and contemporary art. Andrew Putter’s video-based “sing- part of the complex optical “choreo- Germany as a prize of honour. It is and interactions.

Helmut Starcke (b. 1935) Pieter de Putter (1606-1659), Andrew Putter (b. 1966), Secretly Emanuel de Witte (1617-1692), Interior of the Oude Kerk in Old Town House, Cape Town (built 1755)
The muse of history, 2001 Portrait of a woman (oil on canvas) I will love you more, 2007 (video Amsterdam. ca. 1653 Cape Town, Michaelis Collection
(acrylic on canvas) Cape Town, Michaelis Collection projection)

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1 Park Drive, Port Elizabeth Pic(k) Of The DAG, South African 15 Jun-3 Jul, Saturnine, a solo entitled: Inrespectof, at the Exposure
9 Jul- 1 Aug, Lisa Brice. The Art Place, Gallery & Art T. 021 462 1500 African artists, Including Alfred
T. 041 506 2000 works from the gallery’s Permanent exhibition of acrylic painting and Gallery, The Old Biscuit Mill, Cape Town.
163 Jan Smuts Avenue, Parkwood, Centre Krenz, Amos Langdown, Dumisani Collection screenprints by Connor Cullinan. The exhibition is a selection of images
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T. 011 788 1113 media exhibition. 11 Jul-8 Aug, All Raw Vision Gallery Nhlengethwa, Helen Sebidi and
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Bloemfontein sculpture and paintings by French collaborative work by Christian Focus Contemporary, Fine
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University of Johannesburg Arts
Oliewenhuis Art Museum 6 Jellicoe Avenue, Rosebank, (DUT) Gallery show: Other Works Other, a colla- 27 Jun-15 Aug, All Together Now, Muti Gallery
Centre Gallery George
2 Jun-15 Jul, Past/Present, a multi- Johannesburg 4 Jun-10 Jul, Industry Sets Criteria: borative project between Barend de work by Ian Cattanach, Mark 11 Jun-31 Jul, Tee Hee, kinetic
1 Jun-8 Jul, Alter, a solo exhibition
media retrospective of Andrew T. 011 788 4805 interior design student exhibition Wet and Christian Nerf, with a little Stanes, Glen Green, Chris sculptures by Francois van Reenen;
by Majak Bredell. 29 Jul-22 Aug, Strydom Gallery
Verster’s work. Steve Biko Campus, Cecil Renaud something by Francis Burger Diedericks, Philip Marinig, Karin Until 4 Jun, Solo exhibition by
Boarding House, photographs by 9 Jun-11 Jul, Southern Cape Art,
16 Harry Smith Street, Bloemfontein Theatre 2nd floor, Durban 35 Church Street, Cape Town Miller Gabrielle Raaff.
Roger Ballen. selected artwork from artists of the
T. 051 447 9609 Grahams Fine Art Gallery or T. 021 424 7436 2 Long Street Cape Town 3 Vredehoek Avenue, Oranjezicht
University of Johannesburg, Southern Cape
11-18 Jul, 2010 FIFA licensed works 031 373 2207 T. 021 419 8888 T. 021 465 3551
Auckland Park Kingsway campus Marklaan Centre, 79 Market Street,
Johan Smith Art Gallery by Clint Strydom and Keith Calder cnr. Kingsway and Universiteits Rd, George
Glass, Bronze, Ceramics, Old in conjunction with 2010 Fine Art. Auckland Park T. 044 874 4027.
Masters, Contemporary works. 16 Jul-16 Sep, Imaging and T. 011 559 2099/2556 Gallery F Orange Cactus
Windmill Centre Main Str, Clarens Imagining: South African Art circa Contemporary and archival South From 28 May, Caleidoscope, paint-
T. 058 256 1620 1896-2008; South African Invest- African Art ings by Leonie E. Brown, Hannes Paarl ment Art, from the permanent 221 Long Street, Cape Town van der Walt, Frieda van Zyl and
collection. T. 021 422 5246 Salome Briers. The Hout Street Gallery
Blou Donki Art Gallery Shop 31, Broadacres Lifestyle Pretoria Shop 28 & 29 Seaside Village, cnr 30 Jul-20 Sep, the 34th annual
Contemporary Art, Steel Sculp- Centre, Cnr. Valley & Cedar Roads Otto du Plessis Drive & Cormorant Winter Gala, including paintings by
tures, Functional Art, Photography, Fourways, Johannesburg Alette Wessels Kunskamer Gill Allderman Gallery Rd, Big Bay, Bloubergstrand 25 South African artists, as well as
Ceramics. T. 011 465 9192 Exhibition of Old Masters and 5 Jun-25 Jul, Featuring a collec- T. 021 554 4797 or 082 3777 474 sculptures, glass work and ceramics
Windmill Centre, Main Street, selected leading contemporary tion of sculptures, paintings and 270 Main Street Paarl
Clarens artists works on paper by various artists; T. 021 872 5030
T. 058 256 1757 Maroelana Centre, Maroelana. including Claire Christie, Donovan GPS : S25º 46.748 EO28º 15.615 Ward, Kemang Lehulere, Liz Linder, Rose Korber Stellenbosch
T. 012 346 0728 Gill Cowen, Judy Conway, Velile 1-31 Jul, Jurgen Schadeberg
C. 084 589 0711 Soha, Jeanne Wassenaar, Anne Gas, 48 Sedgemoor Road, Camps Bay, Dorp Straat Gallery Sophie Peterson, Selvin November, Cape Town T. 021 438 9152 1 Jun-1 Jul, group show of sculp-
Gauteng Lionel Davis, Baba Jakela, e-mail: tures and paintings by Kobus
Cameo Framers and Gallery Dathini Mzayiya, Ena Carstens, Lagrange, Louis Nell, Henk
Art on Paper 1-15 Jul, Pretoria 8: 50 year Butho Phakathi Serfontein, Anthony Sherratt. 1-31
20 Jun-11 Jul, Silent Nouns and reunion. Works by Walter Battis, 278 Main Road, Kenilworth, Rust-en-Vrede Jul, Winter Warmers Exhibition,
Breathing Verbs, drawings by Bettie Cilliers-Barnar, Ernst de Cape Town 1-22 Jul, Sandveld Diary, oils by featuring work by Henk Serfontein,
Walter Battiss Jongh, Robert Hodgins, Otto Klar, T. 083 556 2540 Annelie Venter; Brokkies Nostalgie, Anthony Sherratt, Anya Adendorff,
44 Stanley Ave, Braamfontein Werf Laurence Scully, Gunther van der oils by Madelein Marincowitz and Maraleen Jonker-Arangies, Kelly
(Milpark) Reis and Johan van Heerden Cube in the Clay Musuem, ceramics John Gough, Louis Nel, Cornelia
T. 011 726 2234 198 Long Street, Waterkloof, Goodman Gallery, Cape by Martin Swart and Noeleen Read Stoop, Jenny Parsons, Anthony Pretoria 2-19 Jul, Artslot, a compilation of 10 Wellington Road, Durbanville Johnson Anton Momberg and
T. 082 923 2551 artist’s films at the Encounters T. 021 976 4691 ceramics by light from Africa, Laura
Artspace - JHB Documentary Film Festival 2009. du Toit and John Newdigate
22 Jun-11 Jul, Collected, oil paint- Includes work by Moshekwa Langa, 144 Dorp Street, Stellenbosch
ings by Jeannie Kinsler; Wish List, One of Keith Calder’s bronzes Fried Contemporary Art Gallery William Kentridge, Minnette Vári, Salon91 Contemporary T. 021 887 2256
paintings by Faye Spencer. 4-25 Jul, celebrating the 2010 Soccer World Cup. 27 Jun-25 Jul, Just Visiting, an Kathryn Smith, Clive van den Berg, 30 Jun-15 Jul, Originale, drawings,
No(n) Place Like Home, laser cut To be seen at Graham’s Fine Art Gallery. exhibition of works by Nathani Dan Halter, Sue Williamson and printed media, sculptures, videos
sculptures by Jaco Sieberhagen To see more see: L_neburg, Adèle Oldfield and Charles Maggs. 16 Jul-15 Aug, and sound installation by Louis Red Black and White
Chester Court, 142 Jan Smuts Maria van Rooyen. Kudzanai Chiurai Minnaar. 2-25 Jul, Beyond Buildings: the soul
Avenue, Parkwood, Johannesburg 430 Charles Str, Brooklyn, Pretoria 3rd Floor, Fairweather House, 91 Kloof Street, Gardens, Cape of an architect, paintings by Hannes
T. 011 880 8802 T. 012 346 0158 176 Sir Lowry Road Woodstock, Town T. 021 424 6930 Meiring GordArt Gallery Cape Town 5a Distillery Road, Bosman’s
11 Jul-1 Aug, Family by Lettie T. 021 462 7573/4, Crossing, Stellenbosch
Gardiner and Sticks and Stones Magpie Gallery South African Museum T. 021 886 6281
(Dodge Burn) by Carla Crafford. 20 Jun-2 Jul, Mama Dada, an 25 Jul-Mar 2010, Subtle Thresholds,
Shop 1 Parkwood Mansions, exhibition by Kelly Daniels, Wihann Hout Bay Gallery the representational taxonomies
144 Jan Smuts Ave, Parkwood Strauss, Braam Pretorious and 17-26 Jul, The First People, quilts of disease, a mixed media show SMAC Art Gallery
t/f 011 880 5928 Eckaardt Kasselmann. Avant Car Guard: The Centre vs. Periphery Ultimate Cage Fight. See more work at and linoprints by twenty-four artists curated by Fritha Langerman. 25 Jun-1 Sep, On Skin, works by Shop 21B, Southdowns Shopping of the Pomegranate group, a collec- 25 Queen Victoria Street, Cape Ricky Benett; Abstract South African
Centre, Centurion tive of artists of Bushman descent Town T. 021 481 3800 Art from the Isolation Years, part
Johannesburg Art Gallery T. 012 665 1832 71 Victoria Avenue, Hout Bay 7806 III; Collection 11 in the library
Entitled No(n) place like home, the show 10 May-3 Jul, Journey on a Tight- T. 021 790 3618/ 021 790 0137 html De Wet Centre, Church Street,
Elizabeth Gordon Gallery Atlantic Art Gallery
comprises a series of laser cut metal and rope an Albert Adams Retrospective. www. Stellenbosch
A variety of new South African A permanent display showcasing
perspex scultptures. Visually appealing, Until 3 Jul, Portraiture through Naude Modern South Gallery T. 021 887 3607
artworks leading contemporary South African
these works are however loaded with Photography, curated by Khwezi 27-29 Jul, Surprise! An early Showcasing creativity from
120 Florida Road, Durban artists
intricate detail and potent commentary on Gule, in the Basement Gallery. Christmas car boot sale site specific Infin Art Gallery Kwazulu-Natal; For Jul, Ardmore
T. 031 303 8133 25 Wale Street Cape Town
societal issues. 30 Jun-27 Sep, Musha Neluheni: installation. Wolfe Street Chelsea Wynberg Ceramic Art Stellenbosch Art Gallery T. 021 423 5775
See more at Vantage, in the artist’s project 254a St Patrick’s Road, Muckleneuk T. 021 761 2816 and Buitengracht St Fairweather House, 176 Sir Lowry Permanent exhibition of Conrad
room #5. Ridge, Pretoria Cape Town Road Woodstock, Ground Floor. Theys, John Kramer, Gregoire
Imbizo Bell-Roberts Contemporary Art
King George Street, Joubert Park, T. 012 440 2201 T. 021 423 2090 T. 021 465 4672 Boonzaier, Adriaan Boshoff and
From 11 Jun, Once upon a Thyme, Gallery
Alliance Francaise, Johannesburg Johannesburg other artists
an exhibition of paintings by Frans 4-25 Jul, No More Me, new
From 1 Jul, Lomographic Itinera- T. 011 725 3180 34 Ryneveld Street, Stellenbosch
Groenwald paintings by Andrea Mariconti
ries, an exhibition of photography Platform on 18th Irma Stern Museum Tagores T. 021-8878343
Shop 7A, Ballito Lifestyle Centre, 176 Sir Lowry Road, Woodstock
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Road, Parkview, Johannesburg Market Photo Workshop Lionel Smit, Vasti Wilkinson and of the beholder, does it matter if the People, paintings and drawings
T. 032 946 1937
T. 011 646 1169 From 8 Jul, Alternative Kidz, an Andre Stead lens is made in China? Recent by Lee-Ann January and Ronald Elgin
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Nxumalo. T. 084 764 4258 Cecil Road, Rosebank, Cape Town 42 Trill Road (off Lower Main Oudebrug Gallery
KZNSA Gallery 17 Jun-24 Jul, Man Eating, two
Brodie/Stevenson 2 President Street, Newtown, T. 021 685 5686 Road, Observatory, Cape Town Showcasing oil paintings, pastels
23 Jun-19 Jul, Red: the iconography videos by David Greg Harth
4 Jun-4 Jul, ‘Scuse us while we kiss Johannesburg, 2000 Pretoria Art Museum and sculptures in the sculpture
of colour in the work of Penny 198 Buitengracht Street, Bo-Kaap,
da sky, editioned prints, painting, T. 011 834 1444 Until 1 Dec, A selection of artworks These Four Walls Fine Art Galley garden
Siopis, an exhibition of paintings by Cape Town
sculpture and installation by Avant tells a brief story of South African 19 Jun-4 Jul, Equal in Silver, paint- Grabouw, Elgin T. 021 859 2595
Penny Siopis, curated by Brenton T.072 1989 221 Iziko South African National
Car Guard. 9 Jul-4 Aug, photo- art from the time of the first San ings by Conor Ralphs
Maart Gallery
graphy by Zanele Muholi. Museum Africa artists, includes early 20th century 169 Lower Main Road, Observatory,
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373 Jan Smuts Ave, Johannesburg 25 May-24 Dec 2010, l’Afrique: painters, Resistance artists and T. 021 447 7393 Hermanus
T. 031 2023686 Cape Gallery 2 Jun-16 Aug, Jol, paintings and
T. 011 326 0034 A Tribute to Maria Stein-Lessing artists of the 21st century. 14 May- 21 Jun-26 Jul, Winter Solstice, a prints on the subject of jolling. and Leopold Spiegel; Co-curated 16 Aug, Mbongeni Buthelezi’s first Abalone Gallery
group exhibition, including paint- Includes work by William Kentridge,
by Nessa Leibhammer and Natalie touring national exhibition of The South African Print Gallery 15 Jun-28 Jul, Printed III, graphic
Tatham Art Gallery ings by Margot Hattingh, Derek Bob Gosani, Michael Wyeth and
The Constitutional Court Knight. “plastic painting”. Until 20 Jul, For Jul, a mid-career retrospective works by Nils Burwitz, Hannes
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2-31 Jul, Mandela @ 90, a tribute to 121 Bree Street, Newtown, Polly Street and Rorke’s Drift of etchings by Gabriel Clarke- Harrs, Dirk Meerkotter, Pippa
by KZN women artists of the early 60 Church Street, Cape Town 17 Jun-25 Jul, The Edunsemble Art
Madiba in his 90th year, including Johannesburg Artworks. Glass Gallery, Corobirk Brown. For August, etchings by Skotnes
part of the 20th Century. 9 Jul- T. 021 423 5309 Project, artworks by 30 learners,
works by Billy and Jane Makhubele, T. 011 833 5624 Collection, ceramics selection Ben Coutouvidis 2 Harbour Rd, The Courtyard,
13 Sep, Heath Family Retrospective, aged 10 to 17, from various Cape
Johannes Maswanganyi, Roy representing studio ceramics and 107 Sir Lowry Road, Woodstock, Hermanus. T. 028 313 2935
paintings by Jack, Jane and Jinny Town schools. Visions & Voices,
Ndinisa, Beverly Price and Susan rural traditional potters of SA Cape Town
Heath. Cape Town School of Photography Rights & Realities – Children in
Woolf. T.012 344 1807/8 T. 021 462 6851
Cnr. Of Chief Albert Luthuli From 18 Jun, Stems, photographs South Africa, photographs by school
Constitution Hill, Cnr Queens and
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Sam Hancock, Hospital Streets, Street, (Opposite City Hall) Andrew Putter and Emmett Walsh. highlighting the abuse of children’s For Jul, a selection of contemporary
Braamfontein Pretoria Association of Arts UCA Gallery
Pietermaritzburg 4th Floor, 62 Roeland Street, rights in South Africa and early 20th Century paintings
T. 011 359 7400 10-29 Jul, Debbie Cloete, 12-30 Jul, 1 Jul-24 Jul, Dark Side of the Moon,
T. 033 342 1804 Cape Town Government Avenue, The and sculptures
landscapes and clay pots by Corne a group show of works, by Mary T. 021 465 2152 Company’s Garden No. 4 Warrington Place, Harbour
David Brown Fine Art van Eck and Nic Sithole Grey, Wonder, Albert Coertse, Shani T. 021 467 4660 Road, Hermanus
From 9 Jul, Pandora’s Box, 173 Mackie Street, New Nel, Colijn Strydom, Vusi T. 028 313 2751 / 0822595515
works by Peter Engblom, Muckleneuk, Pretoria, Gauteng, Beauchamp, Zach Taljaard and
Carmel Art Conor Ralphs. 29 Jul-21 Aug,
39 Keyes Ave, off Jellicoe, 0181
Rosebank, Johannesburg T. 012 346 3100
Northern Cape Dealers in Fine art Johans Borman Fine Art Gallery Voight-Kampff
66 Vineyard Road, corner Cavendish SA Master Paintings; By Irma Stern, 46 Lower Main Road, Observatory, Philip Harper Galleries
T. 011 788 4435 Specialising in South African old Kimberley St, Claremont Maggie Laubser, JH Pierneef, Hugo Cape Town
T. 021 671 6601 Naudé, Ruth Prowse, Gerard Sekoto, T. 021 447 4132 masters and select contemporary
St Lorient Fashion and Art Gallery artists
David Krut Projects 7 Jun-12 Jul, Is it an ism or is it me? William Humphreys Art Gallery Constantia Village Shopping Centre, George Pemba and Gregoire
Permanent Collection Exhibition Main Road, Constantia Boonzaier, as well as contemporary Oudehof Mall, 167 Main Road,
18 Jun-25 Jul, In Search of Lost A group exhibition of portraiture Hermanus
Time, paintings and works on paper 492 Fehrsen St, Brooklyn Circle, – Includes works of a variety of T. 021 794 6262 works by Walter Meyer, Jacobus VEO Gallery
contemporary SA artists Kloppers, Hussein Salim, Ben From 2 Jun, Ani-mal, a group T. 028 312 4836
by Alexandra Ross. Steven Cohen_Golgotha_Wall Street Pretoria
142 Jan Smuts Avenue, Parkwood, #1_N.Y. 2007_©Marianne Greber-VBK T. 021 460 0284 Civic Centre, Cullinan Crescent, Christopher Møller Art Coutouvidis, Hennie Niemann Jnr, exhibition and charity auction in aid
Johannesburg October 8 – November 15, 2009: Email: Kimberley New arrivals including JH Pierneef, Philip Barlow, Marlene von of P.E.T.S. Including work by Ian
T. 011 447 0627 Museum Africa, Johannesburg T. 053 831 1724 Otto Klar, Charl Theodore and Dürckheim and others. Marley, Solly Smook, Candice Dawn Broadly speaking, Dystopia deals with Sally Thompson Gallery Hugh Mbayiwa In-Fin-Art Building, Upper B, Willie le Roux, Kevin de Klerk,
the following themes: political utopia 14 Jun – 11 Jul, A Child’s Gaze, 82 Church Street, Cape Town Buitengracht Street, Cape Town Thalea Lombard, Riaan van Zyl,
Gallery MOMO gone wrong; teleology and apocalypse; photography by Martin Osner T. 021 439 3517 T. 021 423 6075/082 5664631 Téreza Harling, Lana Faasen, Thea
11 Jun-6 Jul, exhibition of Designer dystopian contestations of gender, race 78 Third Avenue, Melville van Staden, Anastasya Eliseeva, Ilze
Rugs and Littoral, a solo exhibition and culture; spatiality and boundaries T. 011 482 9719 Coetzee, Richard Mudariki, Wallen
of photographs by Patricia Driscoll. as postideological zones; and the post- Mapondera, René Schoonraad,
9 Jul-3 Aug, Long Live the Dead industrial city; and technodystopia. Leonie van der Westhuizen, Chantel

Alex Dodd Not Another Art Market

It’s entirely a coincidence that the
regaining “lost” time – a journey
book and exhibition of Working
through photography back to
in Warwick are being launched at
Alex Dodd painting and drawing,’ says Ross, Peter Machen
the Durban Art Gallery at the same
Art Pig, Johannesburg who hadn’t put pencil to paper Art Cowboy, Durban time as the eThekwini Municipa-
for 15 years before embarking on
lity is attempting to pull out this
this tinglingly ephemeral series of
beating heart of the west-end of
editioned prints.
the city and replace it with a mall.
I’m sure Durban’s not the only lives that they already lived better The coincidence is a happy one
In retreat from the bright red to contemplate, to think differently In Search of Lost Time features a
place where it never rains but it and more functional. in that Working in Warwick will
injunction to ‘Kill and Go’ that is about things and, in so doing, ex- long line of immaculately and iden-
pours. But it’s certainly the case help the Morning Market to garner
currently hanging in the window of pand and multiply the possibilities tically framed drawings, paintings,
in this not so sleepy, not so little I remember being highly suspi- even more support than it already
the Goodman Gallery on Jan Smuts of perception and experience avail- mezzotints and monotypes that run,
town next to a seaside that hardly cious when the traditional herbalist has (I haven’t come across a single
Avenue and freaking the bejesus able to us as conscious, sensate like a train track, along one wall of
anyone visits except on New Year’s traders were removed from the person who isn’t in support of
out of me every time I drive past it, beings. the gallery, each image precisely
Day, that things will seem slightly edge of the city’s freeways – and retaining the market). But it is also
I decided to follow a gentler, more contained within a format that
depressed for a period and then replaced with aloes – but being an unhappy coincidence for the
generative impulse, and headed to So this winter, I was about to hijack recalls the memento-like quality
suddenly there’s cultural fire- relieved and gratified when the project’s progenitors in some ways,
David Krut Projects for a solo by my own frazzled consciousness of a Polaroid photograph. Walking
works. This month there’s much herbalists reappeared on the disused since the full richness of the work
Alexandra Ross. The series of nude and depart for the hills of Ixopo along this ‘track’ from image to
to light up the sky. Roger Ballen’s freeway, which was now connected and of the place that the work docu-
photographs printed on aluminium image echoes the experience of
‘Boarding House’ is on show at to the morning market below it by ments might get subsumed by the
that Ross produced for In Camera gazing out of a train window at the
the DAG. Ledelle Moe’s haunting a simple metal bridge with shade controversy.
– last year’s two-hander with her changing view. The finely rendered
‘Erosion’ is currently occupying from a roof of wattle branches. It
brother, David Ross, at Resolution prints track the artist’s recollection
the Bank Gallery. There’s a Heath was a perfect example of positive But probably not. What is more
Gallery – were darkly erotic and of a recent train journey from Cape
family retrospective at the Tatham intervention that acknowledged the likely is that those who see
conceptually concise all at once. Town to Johannesburg, but just as
in Pietermaritzburg and Penny reality of people’s lives and the fact Gilbert’s pictures will be convinced
the journey becomes more meta-
Siopis’ survey show ‘Red’ opens that poverty was not about to van- by all that richness and texture and
Shortly after completing a four- physical, the images start to rise up
at the KZNSA before it moves to ish, and did so within an aesthetic humanity. And it’s important to
month residency at the Nirox from the dark bed of memory as
the Goodman in Johannesburg. But framework that resonated with its point out that this love for Warwick
Foundation in 2008 and receiving much as from the landscape itself.
the most significant exhibition – in surroundings. is not about the romanticisation of
her Masters in Fine Arts from Wits
a month of significant exhibitions the poor or of marginal street life.
University, Ross was invited to The frames hold mental snapshots
– comes from a photographer who But those changes – fundamental It might however be about a love
collaborate with the printmakers of characters walking along station
isn’t well known as an art photog- both in attitude and in the way in for the real and the organic and
at David Krut Print Workshop and platforms, an abandoned swing in
rapher in South Africa, but whose which they restitched a physically the sense of freedom that you get
this current solo is the result of that a park, a reservoir, a man pushing a
subject matter has become one of fragmented city together – needed on most streets, whether it’s Bond
studio experience. trolley, etiolated winter trees, fleet-
the most controversial issues to to go further. Warwick might be Street in London, or Bond Street
to spend some time thinking and ing aspects of small town and rural
flood the city’s cultural conversa- thriving, but it’s also under-supplied in the Indian Quarter, just a few
Not only was I drawn to the title of walking amidst the greenness and life along the trans-Karoo train
tion in recent years. in terms of municipal resources such minutes walk from the Morning
the show, In Search of Lost Time, clearness that has been cultivated at route, but there is also an image of
as toilets and waste removal. And Market. A freedom that is entirely
but also to the attendant quote by the Buddhist Retreat Centre there. birds taking flight that stems from a
Two years ago, Dennis Gilbert, the conflicts between vehicles and missing from malls.
contemporary philosopher, Alain But before I left town, I managed memory of Ross’s time in London
a Durban-born London-based pedestrians has never been properly Warwick, on the other hand, is one traders and its commuters who are
de Botton: ‘Journeys are the mid- to slip into gallery for a sneak and another of figures in a park that
architectural photographer, returned resolved. But the British-style train- Which is probably why very few of the city’s most photographed able to buy fresh produce at less
wives of thought.’ preview of Ross’s work. turns out to be Emmarentia.
to his home town to document the station-attached-to-a-mini-mall contemporary artists hang out at areas and is a frequent site for than half the price of any mall or
wonders of the Warwick Avenue which is proposed and which will shopping centres in Durban – in artistic interventions. Those tourists supermarket in the city. Not the
Last year at this time I was about to Having packed my own suitcase, I find myself particularly drawn to
area for a book called Working in involve the demolition of the Morn- Jo’burg, it’s different and the malls who manage to move outside the least of these events will be the
embark on a journey to Paris to at- I was delighted to discover that the the subtle tonalities and immacu-
Warwick by Richard Dobson and ing Market – and has city manager are also often different, since they commercial corridors of uShaka, launch of Dobson and Skinner’s
tend a literary conference at which show was all about journeys and late twiggy lines of a image of a
Caroline Skinner. As a former city Michael Sutcliffe as pretty much are an extension of the culture rather Suncoast and Umhlanga love it, and book and Gilbert’s accompanying
De Botton was one of the speakers. the mysterious way in which train naked leafless tree, and warm to
planner, Dobson was instrumental its only defender – doesn’t seem than an escape from it. And it’s it is often the place that makes them exhibition. And I can’t help but
The author of thoughtful treatises journeys, in particular, start out in the discovery that the image is
in helping to create the current real- to be anything close to an elegant probably also why you seldom see love Durban. once more praise the Durban Art
like How Proust Can Change Your the physical realm, but as we sur- from the memory of a tree at the
ity of Warwick in which existing solution. But then neither does art interventions in malls - except Gallery for continuing to allow
Life and Essays in Love, De render to the reality of movement, Buddhist Retreat in Ixopo, where,
urban structures – including one bringing in the rubber-bullet armed it’s not why. The real reason is that Although the city has insisted that space for a conversation that isn’t
Botton’s wit and erudition is like soon become metaphysical. in 24 hours, I will be. Loops within
of apartheid’s many freeways to forces to quell protests or attempting you’re not allowed to do anything the demolition of the Morning necessarily in keeping with official
saffron in a world of Wimpy. Far loops of mysterious sense – these
nowhere – were used in innovative, to send in a demolition team when other than shop and eat in a mall Market is going to take place, the policies. Such space for dissonance
from the dark currency of the ‘While the journey as metaphor strange circuits of commonality
organic and often distinctly African the heritage body Amafa has denied without permission. Try taking battle is far from over. Every day – even if it is unplanned – in our
smash-and-grab, kill-and-go men- evokes collective, generic memory, seem to offer up an alternative
ways to accommodate the 400 000 a permit for the demolition of the pictures with an SLR camera in a this week, as I write this, there is an national cultural institutions con-
tality, his writing is an injunction it is also my personal journey, logic of their own. And this journey
or so commuters that pass through Morning Market. (The traders – not shopping centre and see how long it event somewhere in Durban, taking tinues to remain a vital element of
hasn’t even begun yet.
the area each day, and make the Amafa – stopped that one). is before the security guard arrives. up the plight of the market, its our freedom.

Nationalism seen through new eyes Review Editor’s Choice

Take in a group exhibition lates the persuasive tactics that Siener van Rensburg’s shinning jewel: Pandora Barend de Wet and Christian Nerf
nation building is reliant upon.
that approaches the Kadia Attia’s Oil and Sugar #2 after this Burlesque show. Many
AVA Gallery | Cape Town | 6 – 24 July 2009
concept of nationalism in (2007), a video work, reaches to- people think that “burlesque” means
wards an abstract representation of Abrie Fourie’s Outlet gallery, has
a variety of interesting ways, female strippers walking a runway
the (forced) unification of two dis- been crammed full of stuff by
to a bump and grind beat. But that
writes Mary Corrigall parate and conflicting substances. only fits this form in its later years. artists de Wet and Nerf. This
At its best, burlesque was a rich month they present sculptures
As one watches the sugar cubes source of music and comedy that with prints, film and text done
and oil separate from each other the kept audiences laughing. by one another as well as a little
futility of establishing and something something by guest artist
trying to maintain a national Underdressed women performed as Francis Burger in the AVA’s New
identity comes sharply into focus. A lot of people know a little about Rensburg, was the first Burlesque sexual aggressors, combining good Media room.
Siener van Rensburg and his visions, performer in Africa. The Boer com- looks with impertinent comedy, and deleted scene from But Not
The Austrian artist, Pieter Friedl, many take them with a large pinch mandos had a hard time fighting the all this was in a production written produced by Ronan X “While filming the closeness
highlights the dangers of unques- of salt & others add a little Tequila. British forces and there was little or and managed by a woman. Unthink- surpassed anything I could have
tioning collective thinking with Kill no entertainment for them. Pandora able in those times. No wonder the imagined and we couldn’t help
and Go. Friedl’s sign also draws There may be a coherent story hid- set up a little dance troupe and trav- commandos turned out in droves, Thieves, poets and others adopted laughing like nervous virgins. And
from the advertising idiom but den in these visions as some facts eled the various frontlines with her making Pandora and her “Boer working under pseudonyms since wearing Barend’s spectacles made
here the message references more balance perfectly mod ern occur- ostrich feathers. Weather this was Burlesque” the hottest thing from time immemorial. Now it’s com- it all the scarier, like an out of focus
devastating actions spurred by rences. His stories consist of four motivated by patriotism or greed we Pretoria to Potchefstroom. Demand monly used online; one simply B-Grade skin flick” Nerf.
nationalistic pride: war. main parts. One of them contains will never know. What we do know for tickets was such that she held a adopts an AKA and voilà one has
extensive reference to the “fall of is that she was so successful that special command performance for a clean slate. Now everyone can Displayed alongside one of the
A collection of collages by Sam the European Government”, while she eventually toured the country in President Kruger and his generals live a secret life. In this case the original contracts, witnessed in
Nhlengethwa document life under another one deals entirely with the a pink sedan, and there are rumors in his stables behind his house in artists have voluntarily given up 2003 by Ronan X at the Johan-
apartheid. Ranging from landmark modern day struggle between the that she may have performed in St Pretoria.
their names to one another, both nesburg Art Gallery, will be a
events such as the Sharpeville mas- USA and the extremist revolutionar- Helena, Bermuda and Ceylon for
sacre to more quiet moments Barend de Wet and Christian Nerf replacement version for the other,
ies that follow Islam. He noted that the imprisoned Boer troupes at no Pandora’s principal legacy was
This exhibition could have so eas- objective to unite diverse groups of suffering such as Candlelit have been experimenting with each witnessed in 2009 by Burger at the
the vierkleur would be flying above cost to these bitter patriots. Pandora her shifting of patterns of gender
ily been trite. We could have been of people in order to achieve a Studying (2003), Nhlengethwa the Union Buildings when the ice carried her ostrich feathers in an representation that forever changed other’s signatures since 2003, to National Gallery.
treated to yet another politically- common end. Easily recognised literally pieces together the past began to melt, that around this time old guitar case and this eventually the role of the woman on the South what extent may never be known.
correct investigation into the con- symbols are, therefore, readily, with torn images retrieved from a Koeberg power station would blow became known as “Pandora’s Box” African stage. The sight of a female “Christian does whatever the fuck
structions of Afrikaner nationalism drawn upon to forge a sense of multitude of sources. The result is up, that the world economy would in Afrikaans known as “Pandora body, not covered by the accepted “… in the autographed picture he wants with my name*” de Wet.
and its long-standing repercussions interconnectedness. an artificial form of documentation collapse, the Kruger millions would se doos”. norms of respectability, forcefully cards you take each other’s place.
or have been served up a litany of that while referencing a reality is be found, etc. These visions were all if playfully, called attention to the But this is not the first time either of * I, Barend de Wet, agree to
literal depictions of nation-building Doing it for Daddy (a Cape Town- fabricated by the artist. In so doing recorded by his daughter some time Pandora’s live shows for “Spring- entire question of the “place” of you has acted” (laughter) Sebastian allow the artist currently known
tactics in the New South Africa. based collective, which counts he is able to articulate the suffering before his death in 1926. bok Cigarettes” predated most live woman in society. Charilaou. as Christian Nerf to use my
Bettina Malcomness, Renée of the individual without locating advertising in the country and many name … 33 times within the
It is refreshing to view national- Holleman and Linda Stupart as it within the realm of an actual What many people do not know is of her pioneering ideas were later See more at The smallest exhibition space in next 10 years.
ism within a wider context, which members) summon the rhetoric individual. It is this communal that his granddaughter, Pandora van used on the radio station named South Africa, even smaller than 28 July 2003
artworks hailing from other parts of nationalism in their work, experience of suffering that acts as
of the world establish. Perhaps our Nation State (2009), an installa- a binding agent for a new nation.
navel-gazing period is drawing to tion piece that sees rows of chairs
a close? situated in front of a screen on
which the 2009 election slogans
Taysir Batniji’s Mirador (2006),
a triptych of grainy photographs Around South Africa in July
Certainly viewing nationalism from political parties’ campaigns of a guard’s tower from multiple
from a multitude of perspectives are displayed. viewpoints, conjures the artificial
enhances our understanding of the physical boundaries that divide On Show in Durban in July
ideologies that have shaped our
national identity or desire to settle
Elections are thought to be
empowering for citizens, as it is
states from each other. A role
reversal is afoot here: the guards Cape Winter Views – To venture out for.. Heath Family Retrospective at the subtitled ‘the Iconography of Colour
on an identity that encompasses our during these occasions that they are are being watched and studied. Tatham Art Gallery: Although their in the Work of Penny Siopis’ is
diverse society. permitted to actively engage in the Such a close investigation infers work has not been fully acknow- curated by KZNSA director Brenton
political process but this artwork a planned insurgency that will a good painting or video or two slap-you-in-the-face paintings ledged, The Heaths are one of Maart. The exhibiton includes many
Unpacking the mechanics of na- implies that the public are passive threaten the borders and the ideolo- from time to time. will hold forth until Wim Botha KwaZulu-Natal’s most influential of Siopis’ most seminal works from
tionalism was a popular theme on receivers. The installation conjures gies that keep them intact. Melvyn and Simon Gush arrived early artistic families. Between them, her Cake painting to ‘Melancholia’
the art circuit in the late 1980s and an educational setting in which
Minnaar Baylon Sandri’s SMAC in August. The Goodman Cape has they taught in the Fine Art Depart- to the Pinky Pinky and Shame series,
early 1990s in places like Britain, ideas and opinions are instilled It is a collection of photographs by Stellenbosch, well placed for a Kudzanai Chiurai lined-up. This ment at the University of Natal (now and even includes a reconstruction
where marginalised communities in vacant minds. In this context Mikhael Subotsky that deliver the hearty lunch as well, is one of the young Zimbabwean-born is University of KZN) for more than of her 1997 video installation, My
fought their way into galleries and the people appear to have no most incisive view into the varied winter’s better art hotspots with making waves with a powerful 70 years. Jack Heath was the head Lovely Day, complete with the
destabilised notions of Britishness. power, they are receivers of empty states of our nation. Mid-year’s deep winter along the third show in what they some- visual punch. It could be a star of department for many years, while original mini-cinema and plush red
In this context all it took were pho- rhetorical phrases such as “ready these shores and surroundings what oddly call Abstract South gallery event. his wife Jane, taught there until her seats. Closes 19 July.
tographs of black or Asian British to deliver” and “together we can Photographs of luggage outside a has a curious effect on the local African Art from the Isolation retirement, as did their daughter
citizens in traditional English set- make a difference.” refugee camp and a street party in cultural industry. Capetonians Years. Equally interesting there Joao Ferreira is hosting another Bronwen, who has restored much Roger Ballen at the Durban Art
tings or English garb to undermine an affluent Johannesburg suburb, like to stay home when it is cold will be Ricky Burnett’s second top African artist’s work in of her late parent’s work for this Gallery: In ‘Boarding House’, Ballen
the status quo. The latter statement has particular which shows a group of whites and dark, so visits to galleries solo exhibition since returning August. Joël Mpah Dooh comes exhibition. Regarded as artists’ continues to zoom in on the physical
relevance to nationalism where caught up in the frivolity while a artists, the Heaths’ talents have and psychological details of his
and theatres drop. Of course, last year, called On Skin. from Douala in the Cameroon and
Curators Liza Essers and Storm it is commonly implied that black security guard sits alone in thus far been recognized only by artistic landscape. Although it is clear
those with more Spartan proclivi- has an international reputation.
Janse van Rensburg have succeeded transformation can only be enacted a chair slightly removed from the colleagues, their students, the South to anyone who has been following
ties take the high road to places The more adventurous will flock
in creating a group show that does when one acquiesces to the party, speaks of the kinds of inclu- African art museums and a handful the arc of Ballen’s career that
not challenge notions of nationalism collective will. like the Grahamstown art festival to Whatiftheworld to see what More local is the very shiny
sions and exclusions that are made of private art collectors. This Family ‘Boarding House’ evolves directly
in such obvious ways. Nevertheless based on ethnic and economic for their cultural fix. Artists, the talented Charles Maggs and talent of Michael Taylor, recently Retrospective is an excellent place to from his earlier work, at the same
it should be acknowledged that this Slick phrases are the powerful criteria. The photo highlights the cocooned, usually produce good clever-shady Robert Sloon had named Art SA’s ‘sixth Bright start for everyone else. time the work recalls the dadaism,
theme does lend itself to an obtuse triggers that activate such forms of deep divides that continue to keep stuff for public showing when the invented in that friendly space. Young Thing for 2009’. His Closes 13 September. primitivism and surrealism that
form of expression. acquiescence. South Africans divided and yet sun brightens up life and move- In August the camp adventures funky paintings go on show at fueled the western art world in the
despite this lack of homogeneity ment in the public art institutions. of Athi-Patra Ruga should be Charl Bezuidenhout’s WorldArt Penny Siopis at the KZNSA: late 20s and early 30s. When looking
Because nationalism is built on Drawing on a vocabulary particular among South Africans outsiders – equally attractive. late July. Opposite, at the AVA Siopis, who taught at DUT (then the at Ballen’s images it easy to forget
shared experiences or world- to advertising Stuart Bird’s RSA refugees – are rejected – published The city’s galleries, thankfully, gallery, stalwart Lionel Davies is Natal Technikon) for several years that photography is considered by
views, it draws upon overstated or (2009) work, a tube lighting sign in The Sunday Independent, persevere to offer sustenance Meanwhile at Michael Stevenson, promising some real surprises. in the 80s, returns to Durban for her many to be a figurative art form.
generalised commonalities in its that reads “For Sale” best articu- June 14, 2009 for those of us who need to see Deborah Poyton’s mammoth, first show here in many years. ‘Red’, Closes 19 July.

‘Sky’s the Limit’ by Di Erasmus

at the Crouse Art Gallery
Pictured here are author of SPUD, John Van Der Ruit with Julia
and Sue Clarence

“Artist’s Choice” Exhibition in Bay Gallery, Marra

Square, Bree St, Langebaan, Western Cape The opening of the exhibition ‘Industry Sets Criteria: Interior Design Students’ of the Durban University of Technology
Amy Maxwell at the Crouse Art Gallery.
Artist Jannie Jordaan with his wife, in front of his painting Opening address Prof Andrew, DVC academic DUT, Prof G Stewarts, FAD Deputy Dean, Professor Donal Fitzpatrick (Curtin, Australia) Lecturers of
“Mood Swing” the Interior Design Departments

Exhibition of Jane Digby and Hermine Spies

Coleman Lindsay Gallery in Durban North
As seen at the opening of l’Afrique: A Tribute to Maria Stein Lessing and
Leopold Spiegel Museum Africa, Newtown
The Second shows Twiz Tweedie, Sue Boulle and
Steven Sack congratulates Natalie Knight and Nessa Leibhammer, the curators of the l’Afrique exhbition
Denise Arro
at Museum Africa

Herbert Prins, Dr. Paula Girshick and Prof Andrew


Top left: Zamie LIKNAITZKY, Ali Hlongwane and

Carolina Geldenhys at the opening of l’Afrique
at Museum Africa

Left: Karel Nel and Esme Berman Focus Gallery, Cape Town winter show entitled: all together now
Photo credits: Debbie Yazbek The World Of Pamela Prendini – The Art
– until 15 August 2009
Space Gallery, Johannesburg

Andre Stead launched his female figurative sculpture series

at the 2009 Winter Good Food & Wine Show
Maureen Quin, well-known bronze sculptor, opening the exhibition

Opening of Obie Oberholzer’s show entitled: “Diesel and Dust”

The Photographers Gallery za & ERDMANN Contemporary
Obie and David Kramer Photo: Odendaal Esterhuizen
Opening of at the Gordart Gallery, Johannesburg
Andre and well-known painter friend, Lionel Smith

Strauss & Co Obituary South African
South Africa’s new dynamic Art Auction House opens its doors art auctions
at the prestigious The Oval, in Newlands, Cape Town Fred Schimmel

On SWELCO Auction:
Cecil Edwin Frans Skotnes,
(South African 1926-2009)
a carved, incised and painted wood
panel of 122 by 120 cm
(estimate R300 000 - 500 000)

16 July 2009 – Cape Town, 10 am

Ashbey’s Galleries cc
Decorative & Fine Art Auction
43 Church Street Cape Town
Cape Town office Johannesburg office
4 & 5 August 2009 – Johannesburg
Strauss & Co’s Cape Town opera- malism that places the artwork Furniture, Silver and Ceramics Stephan Welz & Co.
In Association with Sotheby’s
tions were launched in February of centre stage with optimal hanging which takes place on October 8th Fine & Decorative Arts, Furniture,
this year in the Dolphin Room of and lighting consideration. this year at the Vineyard Hotel. Silver, Ceramics & Jewellery
the Cape Castle, attended by the Venue: 13 Biermann Avenue, Rosebank
By Annemi Conradie relationship and engagement with
crème of the social scene who pre- Prime locations and a sophisti- The sale features highlights by (art historian & writer) and the landscape of his country of 7 September 2009 – Johannesburg
viewed works from the inaugural cated contemporary ambience leading South African artists SMAC Art Gallery residence manifests itself. “I’m a Strauss & Co
Johannesburg auction before spill- are one expression of Strauss & including Irma Stern, Jean Welz, Dutchman”, he said, “but I’m a Important South African Paintings,
ing over into the courtyard around Co’s dedication to state-of-the- Maud Sumner, Gregoire Boonzaier, South African artist.” Watercolours and Sculpture
the fountain for summer evening art presentation, yet beyond the Frans Oerder and Maggie Laubser, Gay Youngleson and Giulio Bertran Angela Zehnder, Joseph Wolpe, Veteran printmaker and painter, (Entries open till 3 July 2009)
cocktails. Strauss are now pleased double-glazed doors celebrating Important Cape Furniture Silver Bernard Milner, Dorothy Milner Venue: Country Club, Johannesburg,
Fred Schimmel died on the 23rd of Schimmel will be remembered Woodmead at 8 pm
to introduce their elegant new South Africa’s greatest artists, and Ceramics and The Collection June in Melville, Johannesburg at by many artists for the generous
premises at the Oval in Newlands, design becomes secondary to the of the Late Leslie Milner. the age of eighty. Born in Holland sharing of his knowledge, time 8 October 2009 – Cape Town, 8pm
the counterpart to their Houghton company’s guiding principles of in 1928, Fred Schimmel arrived and artistic expertise. From 1949 Strauss & Co
office in Johannesburg. world class expertise, efficiency Johannesburg in South Africa with his parents he worked as voluntary instructor (Entries open till 15 July 2009)
in 1948, who had come to look and assistant at the Polly Street Venue: The Vineyard Hotel, Newlands
and professionalism. 89 Central Street, Houghton
Inspired by the marked move of Tel: 011 728 8246 for a better life with their children Art Centre, where for nine years 13 & 14 October 2009 – London
International auction houses away Following the success of the Cape Town after witnessing the destruction of he worked with young artists such Bonhams
from panelled and plush Victorian inaugural Johannesburg auction Colinton House, First Floor, the Second World War. Over the as Sidney Khumalo, Louis The South African Sale
design as a synonym for luxury, in March, Strauss are currently The Oval, 1 Oakdale Road, next six decades, this modest and Maqhubela, Ben Arnold and others.
Baylon Sandri, Cristo Wiese, Caro Caro Wiese, Mariane Louw, prolific artist would make rich In 1970 he founded the Graphics 20 & 21 October 2009 – Cape Town
Strauss’ Mary Jane Darroll has preparing their first Cape Town Newlands Stephan Welz & Co.
auction of Important Paintings, Tel: 087 806 8780 Wiese, Stephan Welz, Ivan Fallon Liz Fallon and lasting contributions to South Club of South Africa, which served
achieved a gallery-style mini- In Association with Sotheby’s
African abstract art and print- to make high-quality art available Fine & Decorative Arts, Furniture,
making. It is however not only to buyers who could not afford Silver, Ceramics & Jewellery
the innovative and powerful the original works of well-known Venue: Kirstenbosch
Important Cape Art Collection to be auctioned work of Schimmel that will be
remembered by those who knew
South African artists. In order to
produce an annual catalogue, he 1 February 2010 – Cape Town, 8pm
him, but perhaps more so his asked artists such as Walter Strauss & Co

Strauss & Co Inaugural Auction in Cape Town

Important Paintings, Furniture, Silver
wholehearted embrace of play, Battiss, Bettie Cilliers-Barnard, and Ceramics
life and liberty, as well as his Cecil Skotness, Winston Saoli and (Entries open till 10 December 2009)
generosity of spirit. Dirk Meerkotter to each contribute Venue: The Vineyard Hotel, Newlands
an edition of signed serigraphs, all

Thursday 8 October 2009 Schimmel’s art consists of wide

and varied bodies of work, which
printed in Schimmel’s home studio.
This period is described with Auction Houses Contact details
have rather organically branched fondness by Judith Mason in the Ashbey’s Galleries cc
Auction of the late Leslie Milner Art Collection over categories of medium and
style over the decades. Like the
catalogue to Schimmel’s eightieth
retrospective at SMAC gallery in
Antique & Fine Art Auctioneers-
Valuers & Appraisers
jazz music, beat poetry and 2008: For an appointment please contact:
science fiction he so enjoyed, his Inge Beck
Strauss & Co is proud to announce began a career defined by industry sometimes accept art in lieu of 43 Church Street Cape Town
creative output has shunned “The jam-session in the garage,
the sale of Fine South African and innovation. Over the course rent and purchased some of his Tel: 021 423-8060
conventions and boundaries. the silkscreen on the kitchen table, Fax: 021 423-3047
Paintings and Watercolours from of the next decades, he travelled finest paintings from Solly,
Loathe to repetition and adamant individuals wrestling with their email:
the Collection of the Late Leslie extensively, pioneering many including important works by
about the importance of continuous dreams and then finding an avenue
Milner to be sold in Cape Town areas of South African foods, Maggie Laubser, Paul du Toit experimentation, he has refused to where they can show what they
on 8 October 2009 as part o f their including frozen pastries, a frozen and Maurice van Essche, but his be bound by the limits and pres- have created. The ‘fun’ of making, Bonhams
inaugural auction. Fresh to market, food plant, a pickled cucumber first acquisition was notably Irma sures of individual or ‘signature’ the fun of finding an artwork for Contact for SA Artwork:
the forty-two works assembled factory, as well as South Africa’s Stern’s Still life with Tiger Lilies Hannah O’ Leary
style, freely jumping between purchase, the fun of vicariously
predominantly in the 50s and 60s first smoked salmon factory and Melon, 1944. His wife Dot different media and ‘styles’. He sharing the creative life. Fred has
are emblematic of the Cape Art which, in addition to supplying recalls that she was furious when had no formal art training, and given us all this for many years...” +44 (0) 20 7468 8213
scene of the time. Described by the local market, exported to he brought the painting home, perhaps this has facilitated his
Managing Director Stephan Welz Germany, Australia and Canada because they still had no curtains liberal and playful creative inves- Fred Schimmel was an artist Stephan Welz & Co.
as a “collection formed with great under the name of “King or chairs. He formed enduring ties tigations. His output thus includes with an unusually prolific career, In Association with Sotheby’s
passion”, the array of exceptional Solomon”. Following the sale of in the art world, including with seemingly disparate motifs and exhibiting locally and inter- Johannesburg
works features such gems as Irma the ‘Milly’s’ chain in 1984, he Gerard Sekoto whom he often media: playful and satirical nationally, one with a world of 13 Biermann Avenue, Rosebank,
Stern’s Still life with Tiger relocated to Johannesburg. Five visited with Dot even after he ‘cartoons’; large canvasses soaked experience and an intimate know- Johannesburg
Lilies and Melon, 1944 (estimate years later, Leslie and his wife moved to Paris. and stained with monochromatic ledge of his craft. He was an artist Telephone: +27 (11) 880-3125
pigments; tightly controlled hard- who refused to be quoted, as he Fax: +27 (11) 880-2656
R1 200 000 - 1 600 000), Maggie Dorothy purchased a small fac- Email:
Laubser’s Seascape with boats, tory called New York Bagels in Les never speculated in art. edge works with carefully polished firmly believed that “nothing
house, and seated woman hold- London’s Kentish Town and grew He had good instincts and made surfaces; poignant figurative I have to say is important enough Cape Town
ing a baby, dated 1926 (estimate it into a leading producer of fresh choices motivated not by invest- studies that have been scratched to be recorded for posterity.” An The Great Cellar, The Alphen Hotel,
and hacked into board; energetic artist who lived according to the Alphen Farm Estate, Alphen Drive,
R400 000-600 000), Maud and frozen bagels. This became ment, but the pure enjoyment his Constantia 7808
collection brought him and his arabesques in ink and paint; experi- gospel of his friend Walter Battiss:
Sumner’s Still life with Flowers the namesake for the landmark Tel: +27 (21) 794-6461
mental prints on homemade paper. “Have fun! Have fun! The whole
and Candle, (R180 000 -200 000) deli and bakery in Sea Point, once family over the years. Conse- Fax: +27 (21) 794-6621
thing with art is... do whatever you Email:
and May Hillhouse’s Still Life the location of an old Milly’s quently many of these paintings
Yet the impression that the South want to do, but don’t take yourself
with Teapot and Flowers 1954 store, which they opened upon have never been seen outside of
African landscape made on the too seriously!” This artist will be
(R60 000 - 90 000). Other artists their return to South Africa. the circle of Milner’s family and artist is one theme that does run sorely missed, but his work and Strauss & Co
include among others Maurice van friends. Les was well-known for through most of the work he life will be celebrated and remem-
Essche, Gerard Sekoto and Paul Leslie Milner’s interest in art was his pioneering work in the food Johannesburg
created over the decades. Though bered by friends, family, artists 89 Central Street, Houghton, Gauteng,
du Toit. awakened back in the 1950s, when industry, but many people have seldom featuring literally, the land- and art lovers. He is survived 2198
he met Solly Disner, a sculptor yet to discover his passion for scape is suggested in most works by his daughter, author Gail Tel: +27 11 728 8246
Leslie Milner, known as ‘Les’, and poet of Polish origin who art. Les passed away in March by a single horizon line dividing Schimmel, and his son-in-law Fax: +27 11 728 8247
was born in Lithuania in 1927 lived above his small factory in 2009 after a short illness at the the canvas or board, separating and grandson, Paul and Thomas General Information
Irma Stern, South African 1894-1966, Still life with Tiger Lilies and Melon Cape Town
and moved to South Africa with Hatfield Street. Disner was also an age of 81. earth and sky, warm and cold or van Onselen.
Signed and dated 1944, Oil on canvas, R1 200 000 -1 600 000 The Oval, 1st Floor Colinton House,
his family at the age of six. After art dealer, and through him, Leslie dark and light. In many of his 1 Oakdale Road, Newlands, 7700
matriculating in 1948, he joined was introduced to the leading Enquiries Cape Town Office: hard-edge paintings, serigraphs and To see more work go to General Information
‘Milly’s, the family business and Cape artists of the time. He would Telephone: 087 806 8780 calligraphic works, his immigrant’s Tel: +27 87 806 8780
Fax: +27 86 654 6100

Ashbey’s Galleries cc Decorative & Fine Art Auction

Antique & Fine Art Auctioneers
16 July 2009 at 10:00 Ashbey’s Galleries
Established 1891
Valuers & Appraisers The name Ashbey’s Galleries have become a household name in Cape Town’s Art and Antiques
Ashbey’s Galleries has been involved in the World of Art and circles since its establishment in 1891. Operating from their offices and auction rooms at 43-51
Church Street, a Georgian Double Storey Building dating from the mid 1700’s.
Antiques for over 100 years. The company’s expertise and experience
Ashbey’s Galleries conduct weekly General Auctions as well as Antiques and works of Art
in the fields of South African art, as well as the general auctions every 7 to 8 weeks. Having been involved in the World of Art and Antiques for over
antique market is part of our proud history. 100 years, Ashbey’s continues to offer specialised knowledge, friendly and prompt service, a
reputation for fair dealing and authorative catalogues.
Ashbey’s Galleries has had many highlights over the years, having held the first exhibitions of
All opinions and valuations are confidential some of South Africa’s most respected artists such as Irma Stern (Feb 1922, Feb 1925 & Nov
1932), J.H. Pierneef (Oct 1921), Hugo Naude (Nov 1921), H.W. Trollip and Douglas Tennant
For an appointment please contact: (Dec 1921), J.H. Amschewitz ( Jan 1922), Ruth Prowse, Nita Spilhaus & Florence Zerffi (Feb
Inge Beck 1923), Gregoire Boonzaier (Aug 1925 & June 1934). The visitors’ books proudly display the
exhibitions of many other well known South African Artists, Royalty, Members of Parliament
as well as many prominent South Africans.
The next Fine Art and Antiques Auction will be conducted on the 16th July 2009 at 10:00;
one of the highlights of the sale is a Bronze by Anton van Wouw (1862-1945), “The Dagga
Tel: 021 423-8060 email: Smoker”, 1907, estimate R250 000-350 000.
Fax: 021 423-3047
43 Church Street For an appointment please contact:
Anton van Wouw (1862-1945), “The Dagga Smoker” 1907, 17.5cm Paul Myson or Inge Beck on 021 4238060 or email
(on auction 16 July 2009) All opinions and valuations are confidential.