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Archive: Issue No. 39, November 2000

Go to the current edition for SA art News, Reviews & Listings.


21.11.00 Candice Breitz in first showing at the Media Z Lounge
14.11.00 7th Havana Biennial opens this week
Middle East
14.11.00 The First Painting Biennial of the Islamic World opens
28.11.00 Brendon Bell Roberts opens gallery in London
14.11.00 'Art Region End of Africa' opens in Rejkjavik
07.11.00 Sterkwerk: A new project of the Artificial Shelter Foundation
01.11.00 ART COLOGNE 2000 - The 34th International Contemporary Art Fair
17.10.00 South African Photographers in Oslo
17.10.00 Three photographers on Paris Art Fair
17.10.00 In Basel: Total Global: Fourth Round: South Africa
05.09.00 Paris: 'Art in the World' 2000
01.11.00 Five have fun in Oz

Candice Breitz

Candice Breitz

Candice Breitz

Images from Candice Breitz's Babel Series, 1999


Candice Breitz in first showing at the Media Z Lounge

On November 15, the New Museum of Contemporary Art in New York launched its Media Lounge - the only museum space in the city dedicated to digital art, experimental video, and sound works, selecting as its inaugural presentation Candice Breitz's 1999 videa installation, 'Babel Series'.

The 'Babel Series'is initially experienced as a cacophonous enveloping environment. Loud and seemingly indecipherable noises emanate from seven monitors, placed at varying heights in the gallery, simultaneously repelling and enticing visitors into the space. A small fragment appropriated from Madonna's song 'Papa Don't Preach'� has her moaning 'Pa - Pa - Pa - Pa - Pa - Pa' etc. Another video has Freddie Mercury gabbling 'Ma - Ma - Ma - Ma - Ma - Ma'. Elsewhere, George Michael whimpers 'Me � Me � Me � Me � Me � Me' etc.� while Grace Jones insists 'No - No - No - No - No - No - No.' In each of these videos, the body is frozen in language constantly emerging and disintegrating as it articulates. Here repetition is both the vehicle through which visual and verbal meaning is created and the mechanism through which language degenerates into chaos. Caged in the pandemonium of their baby talk, these celebrity figures become visual and auditory vehicles of the primary building blocks of language, spitting out basic sounds learned in infancy, which in their rawness might be interpreted as some kind of universal language. However, Breitz's work seems to suggest that the universal languages aspired to by utopian artistic projects of the past (for example, in the poetic structures of Da-Da or in Futurist visions of a language rooted in technology) may have finally been realized not through the establishment of an international community bound by a common and easily understood language but rather through the near-global dispersal of popular media, with its own insatiable drive toward transparency. At a time when pop English is the only language which might be seen as approaching universality, as people around the world watch television, listen to popular music, and surf the Internet, the Babel Series employs stuttering syllables and mechanical repetition of the very processes through which language is acquired to reflect on the extent to which subject and language formation are increasingly fashioned according to the influences of the global media. The installation was first shown at the Istanbul Biennale in 1999. It has subsequently been shown at the Centre d'Art Contemporain in Geneva and at Galleria Francesca Kaufmann in Milan.

Also showing is Breitz's new piece, 'Soliloquy' (Sharon). This is the first chapter in what will eventually be a trilogy of short films. To make this film, the psycho-sexual thriller 'Basic Instinct' (1992) was rigorously trimmed and edited so that all footage was deleted except the moments in which Sharon Stone speaks or groans or giggles or grunts. The new film that results, a medley of all of Stone's moments of articulation isolated and strung together, is a mere 7 minutes and 11 seconds in length. The result is an alienated monologue in which questions are asked but never answered, in which comments are left hanging without response, a non-sequitur ramble in which the femme fatale character is isolated from the narrative context of the movie and from linear dialogue with other characters. As the looping soliloquy devolves into a narcissistic and desperate babble, one is reminded of the extent to which language depends on context and community for its meaning. The protagonist writhes and jerks like a deer caught in the headlights of an oncoming car. The soliloquy is in this sense reminiscent of Andy Warhol's 'Screen Tests' in which the non-presence of a script, director and narrative at times forces a direct and violent relationship between a secluded actor trapped before a camera and an audience attempting in vain to probe the interior depths of this actor. This film will be shown at the New Museum for the first time.

The exhibition will open on November 15. It will run from November 16 - December 10, 2000.

Also running from November 16, a selection of web-based artist projects will be on view online at RHIZOME@NEWMUSEUM.ORG

Please contact Anne Ellegood at the New Museum of Contemporary Art for more information.

New Museum of Contemporary Art, 583 Broadway, New York, NY 10012
Tel: (212) 219-1222

William Kentridge

William Kentridge
Procession 1998
Video still

Kevin Brand

Kevin Brand
Babble 2000

Kevin Brand

Kevin Brand
Babble detail, 2000

Lisa Brice

Lisa Brice

Jane Alexander

Jane Alexander

7th Havana Biennial opens this week

One of the most highly regarded biennials by the South African art community - the Havana - opens this week in Cuba. Originally conceived for Latin American and Caribbean artists, since its second edition in 1986, it became the space for confrontation and dissemination of wide sectors of the visual arts from Asia, Africa and the Middle East. In interesting venues all over the decaying grandeur which is Havana, the work not only of internationally known artists but also those still emerging, is exhibited. The opening ceremonies, infused with performances and the music and dance so characteristic of the city and made internationally famous in the film The Buena Vista Social Club, attracts art people from all over the world.

The 7th edition of the Biennial, scheduled for November and December of this year, "intends to reflect communication and dialogue among human beings in the midst of global and economic turmoil and the re-emergence of ethnic, religious and cultural particularisms which seem to increasingly accentuate the differences among the various communities and nations of the world."

Five South African artists will be participating - Jane Alexander, Willem Boshoff, Kevin Brand, Lisa Brice, and William Kentridge. Alexander will show a series of the photographic collages in which the artist places her sculptures in a series of landscapes. Entitled African Adventure: Cape of Good Hope, this set of fifteen images places sculptures made by Alexander over the past two years into a series of landscapes which in sequence, work as a loose narrative of a journey that starts in the Karoo and finishes in Long Street, home of the streetchildren on whom Alexander bases her sculptures. The penultimate images occur outside the Adventure Centre, ironically a travel agency for backpackers eager to embark on an "African experience". Boshoff's piece Writing in the Sand pays respect to South Africa's newly recognised official languages of Sesotho sa Leboa, Sesotho, Setswana, siSwati, Tshivenda, Xitsonga, isiNdebele, isiXhosa and isiZulu. Says Boshoff, "These indigenous tongues have been spoken for hundreds of years but were marginalised and disenfranchised under European rule. Today, in post-apartheid South Africa, we mistakenly believe that languages are no longer under siege - that their place in our new constitution is a guarantee for their survival."

In this work Boshoff stencils text onto the floor in sand. The piece will be 4 metres by 10 metres. The writing is done in the sand because it is an unstable medium and is easily disturbed. Writing in sandy places is easily damaged... disturbed by water and wind. Writing in Sand deals primarily with this loss. It points at an abject extinction of a people's collective myth when they no longer share it by word of mouth. It also hints at the figurative nature of information in cyberspace and the loss of smaller languages, such as San, Khoisan, Khoekhoen, Nama and Griqua, due to the dominance of superlanguages in their all-cut attempt to be heard clearly in a world where everyone tries to shout out their loudest.

Brand's piece, Babble, also deals with language. Known for his work in which he reconstructs well known images in pixels in white, shades of grey and black, for the Havana Biennial Brand has worked from the famous Breugel painting of the Tower of Babel. Cutting woodblocks with details of scraps of letters and communications symbols, Brand vacuumformed sheets of clear plastic on to these, then painted on the colours from the back. A final touch, once the work is in position in Havana, will be the addition of gold leaf highlights in certain areas. A second set of the sheets will be given to Dutch artist Rob Moonen who will meet Brand in Havana, and decide how to use his set according to his response to the city.

Lisa Brice has responded to the theme of communication by taking along a series of her Exit boxes. Each of these illuminated signs tells a short story in four images based on internationally recognised signage icons. As part of her installation, Brice will also work directly on to the walls, making l drawings in the historic Morro Castle, her venue, on the same theme, using paint with a special velvet finish.

Kentridge will be exhibiting Shadow Procession, a 35 mm film transferred to video and DVD. It was shot using animated paper cut-out figures, three dimensional objects, shadows, plus edited film from Ubu Tells the Truth. It is around seven minutes long, and was produced in 1999.

In his film, shadow figures made out of dark cut-out figures trail in ragged form across from the left to the right side of the screen. The melancholy sounds of an accordian, played by Johannesburg street-musician Alfred Makgalemele is heard in the background. In all, the work has three parts - the last two picking up some energy with dancing and drumming beginning with "echoes of the militant toyi-toyi chants of South Africa's insurrection, punctuated by militarised and combative slogans".

In a review of Shadow Processions, Ari Sitas has written: "The film as a total experience, feels unresolved: has Kentridge abandoned any empathy with his subject-matter? Has he flattened everything into an undifferentiated world of raw materials, there to be played with without referential consequence? The third part of the film seems to say so - the procession is incidental, the meaning of the toyi-toyi chants is decorative, objects take over and the cut-out form in movement is its intrinsic value. Crude and real images - the cat, the eye, do not disturb the proceedings, they act as a visual switch, a playful excess. Yet the first part of the film points another way: although abstracted, the cut-out figures invoke history and devastation, and a peculiar sense of hope."

The Biennial will host more than 80 artists, with the curator for Africa being Magda I. González Mora. For further information and details go to where the program, exhibitions, symposiums, workshops, Cuban art, and architecture are listed.

The Biennial runs from November 17, 2000 - January 5, 2001.

Veronika de Greef-Gabrielse

Veronika de Greef-Gabrielse
Surah Fatihah
Oil on canvas
200 x 200 cm


The First Painting Biennial of the Islamic World opens

A call for submissions in the Exchange section of ArtThrob led to the selection of South African Veronika de Greef-Gabrielse for the First Painting Biennial of the Islamic World. The event is being hosted by the Islamic Republic of Iran's Academy of Art, in collaboration with the Tehran Museum of Contemporary Art, and is intended to give "impetus to artists to reflect the spiritual values embodied in the Islamic infrastructure."

The piece for which DeGreef-Gabrielse was selected is an oil painting entitled Surah Fatihah, based on the construction of new referential frameworks within the Christian-Islamic interface, and explores the visual-verbal resonance of calligraphy. Its colour symbolism of blue/feminine/lunar and yellow/masculine/solar enhances the meaning of the text which is the first chapter of the holy Qur'an, recited at every call to prayer, five times daily. The Surah Fatihah is a prayer likened to the Hail Mary (or Our Father), with its supplication to "... guide us along the straight path, the path of those upon whom thou hast bestowed thy favours..." An exploration of the duality between spirituality and materiality emerges.

For the past few years, De Greef-Gabrielse has focussed her study and its visual manifestation on theological discourse, literary perspectives, feminism and Islamic philosophy. She has exhibited in both group and solo exhibitions, and is currently exploring the role of martyrdom, expressed in metal and printing.

Artists from 18 countries have been selected for the Biennial, which includes a conference on contemporary painting in Islamic societies in its programme.

For further information, please visit

November 4 to December 25, 2000

Brett Murray

Brett Murray
shows at the inaugural exhibition of Brendon Bell Robert's The Open Space Gallery


Brendon Bell Roberts opens gallery in London

Under the name The Open Space Gallery, Cape Town gallerist Brendon Bell Roberts is opening in London's trendy East End, just round the corner from the cool new East End home of the White Cube. Bell Roberts intends the gallery to provide a London presence and outlet for South African artists.

The inaugural exhibition will be a two-hander featuring cousins Wayne Barker and Brett Murray, with the spliced title of 'Brayne'. Two of the best known artists in the country, both are known for their witty, subversive work which engages constantly in the politics of being a South African. Their work has been described as "standing as an indictment on colonialism as well as misplaced political correctness".

Murray will be showing wall sculptures in metal and perspex seen earlier this year in Johannesburg at the Goodman and in Cape Town at the Bell-Roberts, "part of an ongoing, ironic look at guilt, memory and the crisis of identity" which underlies every aspect of life in South Africa. That show was called 'I Love Africa', and combined iconography from Tin Tin to Bart Simpson to West African fetish figures. To quote Ivor Powell, "In the almost visceral aversion that Murray's upended and discomposed narrative scraps and stereotypes provoke, we physically experience the deconstruction - the over-bright illumination - of the vanities and utilities in the ways we make up our world."

Barker will be showing a series initiated some years ago, the Zulu Lulus. Working from a trashy barroom item once widely produced and still to be found in London flea markets, Barker used hard bright colours to reproduce the Zulu Lulu swizzle stick and its backing card in an extended series. The work is a harsh "take on racial tyranny and cultural commodification".

Barker and Murray have both exhibited extensively internationally, and are well represented in the country's major art institutions.

'Brayne' opens on December 1 at 6.30 p.m.

The Open Spce Gallery, 40 Underwood Street, N1 London
Underground: Old Street
Tel: 077 65662625

Stephen Hobbs

Stephen Hobbs
Video projection

'Art Region End of Africa' opens in Rejkjavik

Curated by Gavin Younge, Professor of Fine Art at the University of Cape Town, 'A.r.e.a. - Art Region End of Africa' opens on November 17 at the Reykjavik Art Museum in Iceland - surely the most northern venue ever for an exhibition of South African art. Reykjavik is one of the nine cultural capitals of Europe for the year 2000, and in a statement on the exhibition, the director of the Museum, Eirikur Thorlaksson says, "The aim of the exhibition is to promote international cultural exchange on a North/South axis, and to advance the debate concerning globalisation and the distinction between Western and so called non-Western art expression."

The Rejkjavik Art Museum is a contemporary building at the Kjarvalsstadir in Reykjavik, and the exhibition will occupy 900 square metres of space. The artists selected for exhibition include Berni Searle, Terry Kurgan, Thembinkosi Goniwe, Stephen Hobbs, Senzeni Marasela, William Kentridge, and ArtThrob editors Kathryn Smith and Sue Williamson.

The museum's website is at

November 17 to January 5, 2001

Reykjavik Art Museum, Flokagata, 105 Reykjavik.


A new gallery with a focus on South African art opens in Holland.

Sterkwerk: A new project of the Artificial Shelter Foundation.

Dutch artist Jack Mensink, whose numerous trips to South Africa have made him well known to many artists here, has just opened a new gallery in the town of Tilburg in the south of Holland, where Mensink lives. The gallery, situated in the ground floor of a handsome house in typical Dutch architecture near the station and the town centre, will be called Sterkwerk, and will focus particularly on art and design from South Africa. The first exhibition, entitled 'Get Down White Boy!', presents the well known South African Big Boy and Boogie Lights, produced by Brett Murray and Conrad Botes, and was officially opened on November 4 by Wilbert van Herwijnen, the alderman of culture of the city of Tilburg. Tilburg is already on the agenda of cultural tourists to Holland - an old textile factory is now the space for one of the best medium-sized museums of contemporary art in the world, the De Pont, with a collection which includes work by Richard Serra, Thomas Schutte, Sigmar Polke and Marlene Dumas.

Since 1995, Mensink's organisation the Artificial Shelter Foundation has been developing projects which link artists from South Africa and the Netherlands, and also to be found in Tilburg is a textile museum where exhibition space adjoins the factory floor, where many old machines still function. This museum will host an Artificial Shelter project in which five artists from Holland have been linked with five from South Africa to design a large scale fabric piece - two metres by three - which will be produced on the old machines of the factory. The artist couples are Jack Mensink/Brett Murray, Rob Moonen/Kevin Brand, Deborah Landman/Lisa Brice, Anet van de Elzen/Andrew Putter and Liesbeth Biek & Jos van der Pol/Sue Williamson.

To get back to the new gallery : Sterkwerk will include an office and a gallery, making it highly feasible to host artists from abroad. Artists who are interested in exhibiting their works at Sterkwerk are welcome to send in their portfolio / slides / photos / concepts and / or proposals. Within a few weeks the website,, will be up with pictures of what the space looks like and information on Sterkwerk projects. 'Get Down White Boy!' closes January 6.

Sterkwerk, Noordstraat 32, NL 5038 EJ Tilburg, The Netherlands
Tel: +31 13 5430911
Fax: +31 13 5421374

Kay Hassan

Kay Hassan, one of three South African artists showing at Art Cologne 2000

ART COLOGNE 2000 - The 34th International Contemporary Art Fair

The 34th Art Cologne will take place from November 5 - 12 in the KölnMesse, Cologne. Around 270 galleries from all over the world will be taking part, offering a broad range of international contemporary art. Over the years Art Cologne has acquired a global reputation, thanks to the major galleries and artists who have participated in the fair and the number of sales generated. The volume of sales at last year's fair broke all records.

Art Cologne is one of the most successful contemporary art fairs in the world. Last year around 70,000 people attended the fair. This year it will focus on modern classics, contemporary art and contemporary sculpture. Specific sites will be reserved for young galleries and artists.

South Africans exhibiting on the stand of gallerist Ralf Seippel are artists Kay Hassan and Sam Nhlengethwa and photographer Zwelethu Mthethwa. Other artists who will be showing are Kimberly Austin (fotography, cyanotypes) of San Francisco/USA, Eckhard Etzold (painting) of Berlin/New York, who also showed in the Cape Town Castle last year, Andreas Kaiser (installation) of Köln, Werner Mally (sculpture), München Ansgar Skiba (painting) and Dü:sseldorf Clemens Weiss (installation, assemblage) of New York.

This year the members of the international Selection Committee are: André Buchmann Buchmann Galerie, Basle and Cologne), Lorenzo Fiashci (Galerie Continua, Sam Gimignano), Karsten Greve (Galerie Karsten Greve, Cologne, Paris, Milan, Saint Moritz), Michael Janssen (Michael Janssen, Cologne), David Juda (Annely Juda Fine Art, London), Michael Scultz (Galerie Michael Scultz, Berlin), Rosemarie Schwarzwäler (Galerie Nächts St. Stephan, Vienna) and Antoinette de Stigter (Art Affairs, Amsterdam).

ART COLOGNE is organised by the KölnMesse. The fair is sponsored by Bundesverband Deutscher Galerien and Cologne Federal Association of German Galleries.

November 5 - 12

More info: Dirk Mangold, Kö:lnMesse Press Office, Messplatz 1, D-50679, Koln
Tel: 00 449 221 821 29 07
Fax: 00 49 821 2181

Check out the Art Cologne website at

David Goldblatt

David Goldblatt
Woman with pierced ear, Joubert Park, Johannesburg, 1975

Santu Mofokeng

Santu Mofokeng
Easter Sunday church service, 1966
George Hallett

George Hallett
Woman of District Six, 1969, Cape Town
"I was encouraged by the writer James Mathews, the artist Peter Clarke and the tailor Sakkie Misbach to photograph the people and the sites of District Six before they disappeared."

South African Photographers in Oslo

'Rhizomes of Memory' presents the photographs of the internationally renowned South African photographers David Goldblatt, Santu Mofokeng and George Hallett in an exhibition currently running at the Henie Onstad Kunstsenter, Oslo, Norway.

David Goldblatt has lived and worked in Johannesburg. His view of this almost exclusively white city as it metamorphosed to an inclusive African metropolis gives insight into the difficulties of the cultural shift. Santu Mofokeng's newly established research concerning nations traumatised by genocide and ethnocide is shown for the first time, collapsing the parochial belief that South African photography is about local or African concerns. George Hallett's photographs celebrate the people and places he has come to know through his work as a photographer. Twenty years of nomadic exile allowed him to examine photography's claim to convey positive images of humanity. His photographs show South African photography capable and determined to speak internationally.

Hallett, Goldblatt and Mofokeng seek to investigate beneath the surface of other cultures, in the disquieting realms of memory, history and diverse identities. They make us aware that photography in contemporary South Africa is different from the photo journalistic approaches in the days of apartheid. The exhibition covers over 20 years of South African history as represented through its people, architecture and landscape. Each photographer has approximately 50 works in the exhibition.

This exhibition runs until November 11.

Henie Onstad Kunstsenter
1311 Hovikodden, Oslo
Tel: 67 80 48 80, Info. Tel: 67 80 49 00

Tracy Gander

Tracy Gander
Salt series, 1997

Vivian van Blerk

Vivian van Blerk
Self Portrait with Desert City, 2000

Three photographers on Paris Art Fair

At the Galerie Beckel Odille Boïcos in the prestigious fourth arondissement of Paris, three young South African photographers are hanging their work to coincide and be part of the Paris Art Fair, which opens on October 16. The official opening is October 26. Tracy Linder Gander, whose show 'Babes' this year at Johannesburg's Market Gallery drew favourable press reviews, and who is also the website designer for ArtThrob, will be showing her evocative colour photographs of landscape. The other two participants are Jennifer Lund and Vivian van Blerk.

Exhibit opens Sept. 22 and 23, 11 a.m. to 10 p.m.
Closing November 28.

Galerie Beckel Odille Boïcos, 1 rue Jacques Coeur, Paris, 75004

Mthethwa and Nhlengethwa

"Swiss artist Mo Diener recently completed a residence at Cape Town's Greatmore Studios in Woodstock."

In Basel: Total Global: Fourth Round: South Africa

In an extended programme of encounters with 'non-western' art - round three featured Cuban artist Kcho - the Museum für Gegenwartskunst, Basel opened the fourth round, focussing on South Africa, in September. The series is intended to present to a Swiss public a background to contemporary art in this country, and to open discussions on various aspects of this. Curator Zayd Minty and artist/curator Stephen Hobbs participated in a discussion on African Rennaissance, Art from South Africa in the West on September 25, and on October 15 there was a presentation of a video entitled Light Steps by Swiss artist Mo Diener, who recently completed a residence at Cape Town's Greatmore Studios in Woodstock. In this engaging piece, Diener, dressed in full Xhosa regalia, appears to be walking forwards through the city streets and station of Cape Town, while everyone else in view walks backwards. On October 22, Marcus Neustetter of the MTN Art Institute will make a presentation on the role of new media in art from South Africa. Also part of the museum programme is a thirty minute video discussion organised by Cape Town's Public Eye last year on video art in South Africa. The discussants are Malcolm Payne, Stephen Hobbs, Bridget Baker and Minnette Vari.

For more details, check the website at

Kathryn Smith

Kathryn Smith
Lethal Spaces #3A 2000
Digital c-print
34 x 48 cm

Paris: 'Art in the World' 2000

In 1997, Paris magazine Beaux Arts initiated 'Art in the World', an international networking event for artists and arts writers around the globe. The exhibition, featuring more than 50 international artists, was complemented by a week-long conference for critics and editors targeted by Beaux Arts for the quality of their respective publications. 'Art in the World' is coming around again, running from September 8 to November 8 this year, and this time featuring almost 85 artists. While the quality of the work on the show in 1997 was uneven, the event marks a highly publicised opportunity for artists to meet with key European gallerists, and for writers to explore critical thinking across a range of international contexts.

The original contact in 1997 for the first show was Brenda Atkinson, in her capacity as arts writer for the Mail & Guardian, identified by Beaux Arts as their preferred print media publication in South Africa. In 1998, Atkinson selected Jo Ractliffe and Tracey Rose to show new work in Paris. Second time around, Atkinson remains the contact here, and selected Johannesburg artists Stephen Hobbs and Kathryn Smith to make the trip. Watch this space for a report on the show.

     See Reviews, a participant's account

     See Reviews, a viewers account

The Art Gallery of New South Wales


Five have fun in Oz

Invited by director Anthony Bond to organise a show in the Art Gallery of New South Wales, Sydney, Cameroonian artist Pascal Marthine Tayou chose four artists and visited them with his video camera, making a film which will be his part of the gallery presentation. His selected artists are Aimee Ntaciyica, Joel Andrianomerosoa, and South Africans Moshekwa Langa and the ubiquitous Zwelethu Mthethwa. The name of the show is 'Fun Five Fun Stories', and as it is one of those shows with a zero budget for shipping artworks, the artists will spend some time in Sydney prior to the opening deciding quite what it is they will do in their spaces.

From November 16.