The year that was
by Sipho Mdanda
2003 has been a tragic year. Nhlanhla Xaba died in a fire at the Artists Proof Studio in Newtown, on the eve of being chosen to take part in the Rand Water commission. And then Trevor Makhoba passed away, his untimely death robbing the South African public (and the TAXI series) of an important figure. This was followed by the death of Fikile Magadlela, who died after a long battle with ill health.
2003 was however also characterized by a number of happenings in the art scene. Amongst these, a major commission by the Rand Water to celebrate their first Centenary. This was a very important gesture by a corporate company who elected to use art as its investment and engage artists from schools to professionals. The launch of the Brett Kebble Art Awards now offers the highest prize money in the land. I hope both initiatives will grow and support the art for a long time to come.
Other events worth mentioning include the Creative Inner City Initiative, which empowered artists from the inner city of Johannesburg. Over 100 craft and artists were trained in various skills, demonstrating that where there is a will there will always be a way. The Department of Arts and Culture allocated R4, 2million to begin training programmes for inner city community around art and craft skills. This initiative has grown to the point that permanent facilities exist and there is talk to replicate its successes to other provinces.
The initiatives of the Triangle Arts Trust have also been a highlight. Artists from all over the world came to the Bag Factory, in Fordsburg, for residencies. This phenomenon has played a significant role in introducing international artists to South African art, and vice versa.
Newcomers worth watching: Churchill Madikida's exhibition at the Johannesburg Art Gallery was a revelation; Keith Sondiyazi and Louis Chamane are probably the most underrated, unsung heroes in the periphery who have consistently produced excellent work, even though they have not yet caught the eyes of big curators yet. Thando Mama, Matthew Hindley and Langa Magwa are also artists to watch for in the near future.
Significant exhibitions: Many of South Africa's regional galleries have embarked on a new strategy, which includes not only exhibitions by unknown artists but also exhibitions that are accompanied by catalogues. The Durban Art Gallery spearheaded an interesting show featuring a number of Durban artists. It was a mammoth task putting up such a show that is accompanied by CD-ROM. This was also complimented by the IZIKO's print exhibition that coincided with the launch of Rourke's Drift book and print portfolio, as well as permanent collection of prints by the gallery. At the same time, across the road at Michaelis, the Impact conference on printmaking offered interesting insights.
Disappointing exhibitions: David Koloane, Bongi Bengu and Kendell Geers, all at the Goodman Gallery. Koloane's sculptures were an experiment that went completely wrong; Bengu's show lacked curatorial flair and came across as lacking in strength and purpose; Geers wasted no time in climbing on the 9/11 bandwagon. All three artists would be well advised to stick to what they know best and stop wasting time and taking valuable spaces from hard working artists.
The shake up at National Arts Council has been the cause of consternation and jubilation. It is expected that the long awaited shake up will soon produce results, although some fear that Azapo-aligned (Azanian People's Organisation) officials are taking over the arts. Is this necessarily bad? ANC-aligned officials have tended to align their pockets at the expense of the arts in general.
In conclusion, one wonders what will it take for Durant Sihlali and David Koloane to be acknowledged by institutions such Wits University. Koloane and Sihlali's contribution to knowledge is well documented and they have been consistent in their art practice over four decades; surely an honorary degree is certainly long over due for these artists.
Lastly, and no means a frivolous point, is the question of the Standard Bank Young Artist Award. The public is complaining that ONLY artists who are connected to Wits University and the Goodman Gallery get chosen. Will this perception be allayed?
Sipho Mdanda is an independent curator and art historian based in Johannesburg.
