Archive: Issue No. 74, October 2003

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15.10.03 Otto Dix at the SANG
15.10.03 Vuleka at Art. b
15.10.03 Emma Bedford talk at SANG
15.10.03 Francine Scialom Greenblatt at the AVA
01.10.03 Kevin Brand, Mgcineni Pro Sobopha and Alma Vorster at the AVA
01.10.03 Brett Kebble Art Awards Finalists' Exhibition
01.10.03 Up Front and Personal: Three Decades of UK Political Graphics at SANG
01.10.03 David Goldblatt at Michael Stevenson Contemporary
01.10.03 Liza Grobler at Joáo Ferreira
01.10.03 Nikki Rixon at the Push Gallery
01.10.03 Stan Engelbrecht and Aryan Kaganof at Bell-Roberts
01.10.03 Julia Teale at UCT Irma Stern Museum
01.10.03 Library of Congress, aka The Reading Room at the SANG extended
01.10.03 Sophie Perryer at Michaelis Lunchtime Lecture
01.10.03 Top computer games on exhibition at L/B's
15.09.03 Co-existence: contemporary cultural production in SA at the SANG


15.10.03 Weird about Wire at the US Gallery
16.08.03 Alan Alborough at the Sasol Art Museum extended


Otto Dix

Otto Dix
Transport of the wounded

Otto Dix at the SANG

'Otto Dix: Prints 1920-24' presents works by 20th century German expressionist, Otto Dix, in an exhibition which portrays all the horror and carnage of war and the devastation of its aftermath. The core of the exhibition is the great series of works entitled 'The War', whose harrowing portrayals earned Dix the comparison with Goya, whose own work reflected a similar abhorrence of war.

Dix was born, educated and taught in Germany, and served as a machine-gunner on the frontline of the European battlefields in World War 1. Here in the trenches, his 'inspiration' emerged. Hapless casualties, mutilated soldiers, amputees and prostitutes were all part of his repertoire. Later elected to the Prussian Academy, Dix's brutally vivid works so enraged the Nazi Regime that they vilified him, dismissing him from all his positions and labelling his work as 'degenerate'.

The exhibition is presented in association with the Goethe Institute and the Institut fur Auslandsbeziehungen and forms part of the German Cultural Weeks in October.

Opens: October 8
Closes: November 23

Vuleka at Art. b

'Vuleka' is the name given to the Sanlam-sponsored competition previously called 'New Signatures'. The exhibition features selected entries and works by prizewinners in the fields of sculpture, photography, ceramics, painting, graphics and other media, as well as an overall winner who takes home R 1000 and a return air ticket to Paris.

Entry is open to anyone who has not yet held a one-person exhibition. This year's winner, for a photographic work, Jennifer Lovemore Reed also won a number of the other categories. Her winning piece, a photographic composite, lies on the floor and comprises a collection of clear plastic jewel cases each containing a photograph. Together all the photographs describe a near life-size full-length portrait of the artist, entitled 'All of me'.

Opens: October 8
Closes: October 30


Emma Bedford talk at SANG

Friends of South African National Gallery are hosting a talk by SANG's head curator Emma Bedford. Bedford will present excerpts from her paper delivered at the international seminar on art criticism in Dakar. The symposium focused on 'Art, Majorities and Minorities' and Bedford's paper was entitled, 'Fresh from South Africa: Supporting Young Artists'. Her talk will include a discussion of her visit to Dakar, especially the 'slave' island of Goree.

Entrance is R10 for Friends and R15 for guests

1pm, Thursday October 30

Room 7, South African National Gallery

For inquiries call Lizzie (021) 467-4662/ 0 (Tue-Thu 10am - 2pm)

Francine Scialom Greenblatt

Francine Scialom Greenblatt

Francine Scialom Greenblatt at the AVA

Francine Scialom Greenblatt's first one-person exhibition in South Africa in more than three years is entitled 'To My Beloved'. Taking place in all three of the AVA's exhibition spaces, Scialom Greenblatt's exhibition comprises large paintings on canvas, portraits and small works on paper.

Consistent with her approach, she continues to explore the effect of stylistic shifts in mediating meaning in painting. She asks, 'How can familiar iconographic clich�s, such as the female figure or a rose, be reinvested with sufficient meaning to hold our over-saturated, mediatised (sic) attention?'. A viewer is reminded that by entering the artist's private universe, one becomes a voyeur into another's reality or imagination.

Scialom Greenblatt as born in Cairo in 1951 and now lives and works in Cape Town. She graduated with a BA(FA) and later an MA(FA) from Michaelis. She taught and practiced as an artist and also played an active role in the now defunct SAAA in the 1980s and into the 1990s. She has taken part in numerous group shows, notably at the Basel Art Fair several times. She has held one-person exhibitions all over the country and her work is included in many public and corporate collections in South Africa. She was the first artist-in-residence at the SANG in the early 1990s, and is well known for several commissions she has executed in a variety of public spaces, particularly the foyer of Greenpoint's Victoria Junction Hotel.

Opens: October 13
Closes: November 1


Mgcineni Pro Sobopha

Mgcineni Pro Sobopha
Mama 2003
Earth, textile

Kevin Brand, Mgcineni Pro Sobopha and Alma Vorster at the AVA

Mgcineni Pro Sobopha's second one-person exhibition at the AVA is entitled 'Authentic'. Of this show of new mixed media works, he says "I know not of authentic Western art, nor do I have an idea of what constitutes authentic African art. But I do know that different people from different parts of the world do produce works of art for differing purposes.

"I know that art making is a creative and imaginative process. It is an exploration, an experimenting and playing around with different concepts, ideas and materials. It is through this experimentation and exploration that new discoveries are made. It is this desire to discover new things that propels human beings to conquer new territories of understanding and results in new readings of our world".

Sobopha holds a BAFA and MFA from Michaelis and has worked there as a part-time lecturer. He has taken part in several Thupelo workshops and his work toured the UK and the Western Cape with the 'Spirit of the Place' group show last year. He has shown at the Axis Gallery in New York and has presented papers and written art criticism for a number of publications.

Alma Vorster's fifth one-person exhibition at the AVA is entitled 'Homeland'. The work comprises a series of small embroideries and several larger collages, which incorporate various printmaking techniques, as well as pastel, coloured pencil, ballpoint pen and embossing.

She says that, "these works seek to pursue marvel and delight in the commonplace. Aspects and objects in my day-to-day experience have been juxtaposed with references to fossils, artefacts, mythologies and symbols so as to blur the boundaries between the manifestations of the everyday and forms commonly held as sacred because of their antiquity or spiritual significance".

Vorster studied at Michaelis, receiving her MFA in 1988. She has taken part in many group shows all over the world, and has lectured and taught at a number of institutions. Her work is included in a number of public and corporate collections.

Kevin Brand's new show 'Territory' comprises an installation of chrome-plated bronze forms. He has "chosen to use images of my own work as inscriptions on stone to lay claim to issues of memory and belonging".

Brand has exhibited widely, both nationally and internationally, and was last year the featured artist of the Aardklop arts festival in Potchefstroom. He was the joint winner of the 1996 Vita Art Now Award and his work is to be found in most of South Africa's public collections. He last held a one-person exhibition at the AVA in 2001. Brand currently works in the Department of Industrial Design at the Cape Technikon.

Opens: Monday September 22
Closes: Saturday October 11


Brett Kebble Art Awards Finalists' Exhibition

Having thinned out the field from the overwhelming response to their call for entries, judges of the inaugural Brett Kebble Art Awards will now allow Capetonians a peek at the 100 or so finalists' work. The R 250 000 purse will be shared amongst winners in six categories - crafts, new media, painting and mixed media, sculpture, photography and printmaking.

The overall winner takes home R100 000 and others in the remaining five categories take R30 000 apiece. This award is now the richest in South Africa, but it remains to be seen whether it will attain the same prestige and foster similar controversy to the defunct FNB Vita Awards. The exhibition takes place in the swish halls of Cape Town's new International Convention Centre.

Opens: Tuesday September 30
Closes: October 10


Up Front and Personal

Invitation image

Up Front and Personal: Three Decades of UK Political Graphics at SANG

"The right to have a voice, the right to protest, the right to have a choice... all are aspects of freedom of expression, an inherent part of British culture and politics". This exhibition celebrates the many ways in which this freedom is exercised both creatively and graphically. It also explores how that freedom is constantly probed and pushed to the limit by artists, designers and activists alike.

Divided into six sections, the exhibition features mainly work culled from the past two decades, but also includes a small number of classic pieces from the 1970s. Posters are hung alongside badges, postcards, stickers, T-shirts and other artefacts from political or social campaigns and movements.

Closes: October 30

David Goldblatt

David Goldblatt
Man sleeping, Joubert Park, Johannesburg, 1975

David Goldblatt

David Goldblatt
Sprouting mielies, Grootpan, between Delareyville and Sannieshof, North-West Province, 21 December 2002

David Goldblatt

David Goldblatt
The mill, Pomfret Asbestos Mine, Pomfret, North-West Province, 20 December 2002

David Goldblatt at Michael Stevenson Contemporary

David Goldblatt presents a series of new colour works that explore the forgotten hinterland of rural South Africa. The exhibition consists of three series of works: Particulars, South African Intersections and Asbestos.

The exhibition will comprise the 27 black-and-white 16 x 20" images from his new book Particulars as well as a selection of recent colour photographs. Goldblatt has been working on the Particular series for many years, and in his new publication he brings together photographs of South Africa people illustrating how a small detail of a body, clothing, hair or skin can lead a viewer to make judgments about class and colour, and time and place.

The book will be published in five colours on 250-gsm acid free, dioxin free Job Parilux paper manufactured from chlorine free pulp in an edition of 100 collectors' copies and 500 standard copies. Of these, 100 copies and 20 author's proofs were supplied in hand-made slipcases, each with a 203 x 254 mm silver print, processed to archival standards, of one of four of the photographs in the book. Dennis da Silva of Silvertone International, Johannesburg, made the prints. The author has signed the prints, and the slip-cased books signed and numbered opposite the title page.

Publishing details are as follows:
Publisher: Goodman Gallery Editions, Johannesburg
Design: Francois Smit and David Goldblatt
Editor: Mary Reynolds
Price: R1600 + VAT for the edition of 500, R12000 + VAT for the edition of 100, which includes a handprint

The colour photographs in the South African Intersections and Asbestos series are images Goldblatt recently took in the Northern Cape and Northern Province. They are digitally printed in a format (approximately 1.2 x 1.6m) larger than any previous work. A theme running through the images is the damage wrought to the land and people by asbestos mining in these regions. The mining concerns have departed, but the scars of the decades of mining this lethal material remain, and are profound and widespread.

David Goldblatt will be conducting walkabouts of the exhibition on Thursday, October 2 at 1pm and 5pm. Please call Donne at (021) 421 2575 to reserve a place at a walkabout. The cost is R30 per person, with proceeds going to the Friends of SANG.

Opens: October 1, at 6pm
Closes: October 30


Liza Grobler

Liza Grobler
Stones wrapped in thread

Photo: Geeta Chagan

Liza Grobler at João Ferreira

Lengthily entitled 'I can't see the wood for the trees, so I'm taking a line for a very long walk', Liza Grobler's first exhibition at João Ferreira and takes the form of an installation.

The title is loosely based on a Surrealist photograph and Paul Klee's definition of drawing. Yet, it could also refer to a stroll through a forest. Grobler takes things that are already there and shifts them. The installation evokes a forest, although organic or natural elements are mostly absent or concealed under layers of mass-produced low-cost materials.

Grobler engages typical craft-techniques such as crocheting and sewing with discarded materials in an attempt to reconstruct reality, albeit a rather tongue-in-the-cheek rearrangement of everyday things. Thus, off-cuts from textbook plastic are crocheted into tree-like shapes and pebbles have delicately crocheted jerseys. Such elements accumulate in a fair-sized monument.

Grobler's work poses a series of questions. "What do we define as nature/ natural? Is it concrete objects, familiar things or things that we perceive to be real?". The show is an attempt to create an atmosphere around the cultural context of everyday life. It strives for a second chance at imagining reality.

Opens: October 8
Closes: November 1


Nikki Rixon at the Push Gallery

Nikki Rixon's collection of 12 black-and-white photographs was produced over the course of last year and is entitled 'Innersense'. She has chosen the show's title to evoke an idea of beauty lying within the outward medium of visual sense, alluding at the same time to the conventional "innocence" of her subjects.

The pictures were taken in diverse locations, contrasting townships and childrens' homes with more privileged areas, uncovering the commonalities that lie between the subjects regardless of situation, illustrating our interdependence. Of the work Rixon says, "the message I wish to convey is a wholly positive one - that we share many of the same hopes and aspirations, the same joys".

From children playing with glittering sunlight in what some would define as squalor, to roaming the colourful streets of the Bo-Kaap, Rixon suggests, we can all appreciate the smile of a child, irrespective of social standing.

Rixon concludes: "Participating in these peoples' lives has endowed me with a great sense of warmth and compassion. Spending time playing, laughing and photographing the children, and becoming part of the daily routine of watching soap operas with the moms, has allowed my preconceptions to fall away. It is my intention to express and share the 'innersense' of joy that I experienced whilst visiting these families. If an awareness and feeling of affinity for each other also ensues, then all the better."

All the photographs are for sale with proceeds going to Sara Fox Children's Convalescent Hospital.

Opens: September 25
Closes: October 25

Stan Engelbrecht

Stan Engelbrecht
Silver gelatin black & white hand printed photograph

Aryan Kaganof

Aryan Kaganof
Digitally captured film still from Western 4.33

Stan Engelbrecht and Aryan Kaganof at Bell-Roberts

This collaborative effort by Stan Engelbrecht and Aryan Kaganof entitled '87978.25' comprises a film by Kaganof and large photographic prints by Engelbrecht. The title refers to the area, in square kilometres, of the southern-most region of the Namib Desert, on which both artists focus their respective working tools. This area, from the border town of Noordoewer, to the coastal desert town of Lüderitz to the town of Aus on the edge of the desert, is explored geographically and politically.

Kaganof's film centres on the German concentration camp on shark island, just off the coast at L�deritz. His black and white footage is juxtaposed with a story of a lost love between two indigenous Herero people, filmed in full colour. Entitled Western 4.33, it is abstract and engaging, uncomfortable and disturbingly beautiful. It was awarded the prize for Best Video made in Africa at the 12th African Film Festival in Milan last year.

Engelbrecht takes up the project he began with the 'Caution Horses' three years ago. A series of large photographic close-ups are interspersed with aerial views of the Namib. Engelbrecht has once again trained his lens on the wild horses that populate this part of Namibia. The original herd of horses turned wild after being left in the desert at the turn of last century by German colonisers. Against all odds these horses managed to establish themselves in this incredibly inhospitable environment where they still live today. Though wild and free, they will never flourish in this harsh desert. In this body of work, Engelbrecht juxtaposes the totally abstract with the hyper-realistic in a series of images that weave together richly with Kaganof's moving images.

Opens: October 8 Closes: October 25

Julia Teale

Julia Teale
Journey to the place of grinding teeth
Oil on canvas
180 X 75cm

Julia Teale at UCT's Irma Stern Museum

'Moneo', the name given to Julia Teale's first one-person exhibition in 15 years, is a series of paintings loosely described as landscapes. The title is a Latin word meaning primarily, "to bring to the notice of, to remind, or to tell of". Teale investigates those ostensibly less seductive aspects of Southern African terrain, where extreme heat and dryness result in a lack of the picturesque, the pretty and the pleasing.

The paintings explore the mute intensity of rock and sand, and in some of the works, human bones excavated during archaeological digs are introduced, playing the fragility of human existence off against the apparent timelessness of stone. Teale holds a Masters in painting from Michaelis School of Fine Art. She lives and works in Cape Town and currently teaches drawing and painting at Michaelis.

Opens: 6pm, Tuesday October 14
Closes: November 1


'Library of Congress, aka The Reading Room' extended at the SANG

'Library of Congress, aka The Reading Room', is an installation that focuses on literature and texts and provides a "continuously expanding archive of literature on Africa by Africans", which ultimately aims to "wrest control of Africa's imaging from the West'.

The work is a collaborative endeavour between Benin artist and set-designer, Joseph Kpobly, and South African artist Thomas Mulcaire. It was first presented at the S�o Paulo Biennale in 1998, and following that in Paris. Kpobly and Mulcaire have chosen to examine texts reflecting the contemporary relationship between France and its former colonies.

The installation evokes the term 'anthropofagia' which was central to the S�o Paulo Biennale. The word describes a popular notion among Brazilians that the formation of Brazilian identity resulted from the constant interaction between diverse cultures, each of which consumed the other until a single, all-encompassing culture was created.

Commenting on the installation, curator Emma Bedford says that its purpose is to explore "the role of indigenous oral literary forms in the development of a national SA culture, specifically the way in which oral traditions influenced the liberation struggle and the Black Consciousness movement".

Visit from September 6

Opens: September 7
Closes: October 19


Sophie Perryer at Michaelis Lunchtime Lecture

Art South Africa, the quarterly magazine on contemporary art, recently celebrated a year in print with the launch of its fifth issue. The editor, Sophie Perryer, will talk about the challenges of publishing a magazine on contemporary art in South Africa, and the vital role critical discourse has to play in the visual arts.

Sophie Perryer has an Honours degree in Art History from the University of Cape Town. She trained as an arts journalist on the Weekly Mail/Mail & Guardian, and worked for the newspaper in various capacities including arts editor. She formerly edited ArtThrob before teaming up with Bell-Roberts Publishing to launch Art South Africa, in September 2002.

Wednesday October 1, at 1.15pm

Josh On

Josh On
Anti-War Game
Digital still

Top computer games on exhibition at L/B's

The advent of digital technology is arguably the most important recent development in contemporary art. Computers, the internet, digital video and audio, as well as other technological tools, have become as integral to artistic expression as they have to other fields of human activity. As a result new forms of artistic practice are emerging. is an exhibition of artists' games which have a strong political dimension, and which explore how play, interaction and competition can be utilised in an artistic context. While some of the games presented are entirely new creations, others are ironic, often slightly humorous recreations of existing lo-fi arcade games

Graham Harwood of Mongrel, as well as the curators of , Honor Harger and Adam Hyde, will be in Cape Town for the exhibition and will be available for interviews from 7 October. To arrange an interview or for further information please contact Thomas Mulcaire on 083 367 7168 or

Projects which will be presented in the exhibition are: Mongrel - Blacklash; Andy Deck - Space Invaders Act 1732 Josh On - AntiWar Game Natalie Bookchin - The Intruder selectparks - Escape from Woomera Max Barry - Nation States

The project is a collaboration between the Institute for Contemporary Art, Cape Town and r a d i o q u a l i a, with the support of the British Council; the Swiss Agency for Development and Cooperation; Pro-Helvetia, Arts Council of Switzerland; L/B's Lounge at Jo'Burg Bar and Digicape.

Opening: October 8 at 7pm
Closing: October 31

Given Makhubele

Given Makhubele
The Road to democracy, 1995
glass beads, cloth, thread

Sandile Zulu

Sandile Zulu
Frontline Three with Centurion Model, 1997

Co-existence: contemporary cultural production in SA at the SANG

Set to open on Heritage Day, 'Co-existence: contemporary cultural production in SA' honours not only our internationally-acclaimed artists such as William Kentridge, but also those whose remarkable talents have come to light through needlework collectives and other self-help initiatives. As such, each artwork is a unique response to the country's complex environment, be it an eloquent statement by a celebrated artist or an item of skilled handicraft by anonymous rural craftsmen.

The exhibition is a result of a collaborative curatorial effort by Marilyn Martin, Director of Iziko Art Collections with Zola Mtshiza and Pamela Allara, Associate Professor of Art History at Brandeis University in Boston, USA. The show opened at The Rose Museum at the University earlier this year. In the catalogue accompanying the show, Martin states, "the contemporary world is not limited to makers trained at universities and versed in international concerns. It includes those with little or no formal education whose involvement in the realm of art is through projects initiated as a vehicle for providing an income".

Originally listed as opening on Wednesday September 24, the show's works have been delayed in transit. The show will open on October 5, or as soon as possible after this date.

Closes: February 16


Karin Kortenhorst

Karin Kortenhorst

'Weird about Wire' at the US Art Gallery

Dutch artist Karin Kortenhorst's exhibition of head garments and jewellery work is entitled 'Weird about Wire'. The Netherlands has long had a reputation for innovative and artistic jewellery, surprising in both form and use of materials. Kortenhorst uses simple, cheap materials like wire to make innovative and theatrical pieces. Following a craft-oriented education in jewellery, Kortenhorst developed her work at Utrecht School of the Arts. Her work has been shown all over Netherlands and in Germany, the USA and Canada. In her exhibition here, she will introduce her own innovative work to a place also known for its creative use of similar media.

During the exhibition's first week, Kortenhorst will conduct workshops with students of the Stellenbosch University Jewellery Department and local craftspeople, a number of whom work with Streetwires in Cape Town and for Beaded Hands in Somerset West. Objects resulting from the workshops will also be exhibited.

The exhibition moves from here to Guga S'thebe Arts, Culture and Heritage Centre in Langa, on November 15.

For more information contact project Co-ordinator Dorian Maarse:
Tel: (021) 975-5872 or 072 348-4272

Opens: October 17
Closes: November 6

Alan Alborough

Alan Alborough
from 'work[ing/ in] pro[cess/gress]', 2003
Invite Image

Alan Alborough at the Sasol Art Museum

Alan Alborough's cryptically entitled show 'work[ing/ in] pro[cess/gress]', at the Sasol Art Museum, has been extended to October 31.

Alborough has been in residence at the gallery on Wednesday evenings and Sunday afternoons as the work has evolved. This has happened very slowly, mostly because the size of the task he has set himself. Alborough is creating an enormous piece of French knitting from the gallery's circular balustrade, which encircles the opening in the first floor of the building. Running concurrently has been a series of workshops for school children aimed at, amongst other things, populating and demystifying the museum's large, often ignored spaces.

Alborough has been remarkably prolific in the last few years, having produced his major Standard Bank Young Artist Award exhibition, a solo show at the US Gallery and having won the last FNB Vita Award with another major work last year.

Opens: May 7
Closes: October 31