Archive: Issue No. 119, July 2007

Go to the current edition for SA art News, Reviews & Listings.
EDITIONS FOR ARTTHROB EDITIONS FOR ARTTHROB    |    5 Years of Artthrob    |    About    |    Contact    |    Archive    |    Subscribe    |    SEARCH   

Monique Pelser

Monique Pelser
Butcher 2006
hand colour print on Fujicrystal archive paper
500 x 600 mm


Churchill Madikida

Churchill Madikida
Like Father like Son? 2006
video still


Bronwyn Lace

Bronwyn Lace
installation photograph


El Anatsui

El Anatsui
installation view



   [01.07.07] Identity Parade: Monique Pelser at Bell-Roberts
In Monique Pelser's 'Identity Parade' the artist is photographed by her subjects in whose working clothes and environment she situates herself. Tavish McIntosh argues that 'where initially the "types" represented operate as a point of entry into the work, it is only through considering the artist as surrogate for the gaze that we come to the crux of the exhibition... Documentary photography's implicit ability to index reality is actually fragile and Pelser revels in divulging its illusory nature'.


   [01.07.07] Interview with Alexandra Ross, recipient of the 2007 Brait - Everard Read Art Award
Michael Smith interviews Alexandra Ross, recipient of the 2007 Brait - Everard Read Art Award, about her show which is to run at the gallery during July.

   [01.07.07] Churchill Madikida at the Standard Bank Gallery
Michael Smith visits 'Family Ties', Churchill Madikida's Standard Bank Young Artist exhibition. He leaves a little unconvinced, feeling that either the artist, or the curators, fail to capitalise on the intersections between the separate bodies of work which make up the show. In spite of this, the installation type work that comprises 'Like Father like Son?', Smith feels, is very successful.

   [01.07.07] Andrew Tshabangu at Gallery Momo
Michael Smith reviews Andrew Tshabangu's 'City in Transition', a body of photographic work from the last three years. Tshabangu's street level observation which reveals 'how the economic reality of Johannesburg subverts old orders and systems of value, not heroically but in an organic manner', earns him his place among the most important artists currently imaging the inner city.


   [01.07.07] Bronwyn Lace at DUT Gallery
Carol Brown visits Bronwn Lace's show which she has produced during the DUT (Durban University of Technology) Artist-in-Residence programme in which she has been taking part. In a complex, apparently fragile installation, Lace combines an examination of beauty with observations on the human mind.


   [01.07.07] Interview with Fernando Alvim and others involved in the African Pavilion at the Venice Biennale

   [01.07.07] The 52nd Venice Biennale
Although Bettina Malcomess was slightly hampered by a sprained ankle, she still got around the Venice Biennale, at which she was repeatedly drawn to the 'African Pavilion', 'caught up in the flow of its artists, curators and the other South Africans attending'. With the establshment of this as a permanent part of the Biennale, the award of the Golden Lion to Malick Sidibe and the inclusion on main shows of many African artists, we are, she declares, 'no longer on the outside looking in.'