'Through the Looking Glass' curated by Brenda Schmahmann
by Michelle Harris
'Through the Looking Glass' is an exciting exhibition, as it focuses specifically on the work of South African women artists from various backgrounds who challenge the tradition of self-portraiture historically practised by male artists.
The exhibition venue, in the domed upper level of the Standard Bank Gallery, is successful in providing a sense of coherence amongst the works shown, with the circularity of the space strengthening the idea of 'looking glass'. The idea of the portrait as a mirror image is explored in this diverse body of works which demonstrates how South African women artists work not only by looking at the mirror, but by looking through it. The result of this is complex, critical and conceptually rich, engaging with issues such as identity, gender and society.
The show comprises prints, photographs, paintings and a few sculptures. Featured are some of South Africa's most well known artists, including Marion Arnold, Kathryn Smith and Berni Searle. Entering the exhibition, one is greeted by Penny Siopis' An incident at the opera (1986-7), a large scale pastel drawing. Made in the mid-1980s, the work provides an historical reference point for the postmodern and feminist frameworks of the South African woman artist. Other works shown include Siopis' video My lovely day (1997) and Family affairs (1999) by Terry Kurgan. Both artists examine the influences of family and memory.
Particularly intriguing was the work of Candice Breitz, entitled Becoming Julia (2003) which challenges stereotypes of womanhood. This video installation piece consists of two television monitors positioned back to back. One screen shows edited video footage of American actress Julia Roberts, the other shows Breitz closely mimicking Roberts's movements and expressions.
I found this work thoroughly enjoyable because of my own desire to see the video monitors alongside one another, rather than back-to-back�specifically to judge how well Breitz's impression measured up to Roberts's performance. The necessarily comparative to-and-fro gestures in looking at the work manifest precisely what Breitz intended in a deconstruction of the movie star. 'As you watch me painfully repeating every small facial tic of Julia Roberts,' she says, in Schmahmann's book accompanying the exhibition, 'raising my eyebrows in sync with Julia, or running my hand through my hair at the exact same moment she does this, the slick construction of the movie star gets dismantled'.
Eksie Perfeksie (Just Perfect) Self Portrait (2002) by Antoinette Murdoch is another work which relates to the theme of stereotypes. This work plays into the traditions of children's paper dolls. It comprises a paper doll-like image of the artist, accompanied with stereotypically designed paper doll clothing, with which the viewer can supposedly dress her. Both Breitz and Murdoch's works connote ideal femininity as masquerade, but Murdoch's also confronts the issue of weight-gain or -loss.
The issue of place and how it may inform one's self-identity, is also alluded to in this exhibition. Lallitha Jawaharilal's text- and symbol-based screenprints, Oh South Africa, a Silver and Gold Light Floods the Beloved Country (2002) and The Exile Returns (2002), are reminiscent of the working methodologies of Mexican surrealist Frida Kahlo, but remain deeply rooted in local history, place and personal narrative.
'Through the Looking Glass' is successful in its unpacking of the multi-layered identity of the South African female artist, and acknowledges and celebrates South African women artists who have found ways of challenging traditional roles of women, and claiming their subjectivity. An intriguing and well-curated exhibition.
April 19 - May 28
Standard Bank Gallery
Corner Simmonds and Frederick Streets, Johannesburg
Tel: (011) 636 4231
Email: Sue.Isaac@standardbank.co.za or Barbara.Freemantle@standardbank.co.za
Web: www.sbgallery.co.za
Hours: Mon - Fri 8am - 4.30pm; Sat 9am - 1pm
