Archive: Issue No. 115, March 2007

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Mustafa Maluka

Mustafa Maluka
You'll see that I will give my all 2007
oil and acrylic on canvas
183 x 133cm

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Nathaniel Stern

Nathaniel Stern
Joburg Boogie Woogie 2006
archival lambda print
55x85cm

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Dale Yudelman

Dale Yudelman Series: Reality Bytes photograph

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CAPE REVIEWS

   [04.03.07] Mustafa Maluka at Michael Stevenson
In 'The Interview (A Transcript)' Mustafa Maluka processes images spawned by the mass culture industry, and with calculated precision, infuses his personal iconography with the vocabulary of the popular. In these portraits, Maluka identifies with the object of the gaze, seeing in them a common response to the persistent visual examination conducted on a black man in Cape Town. Tavish McIntosh reviews.

   [04.03.07] Brian Eno at the Michaelis Gallery
Daunted by the prospect of reviewing work by someone as famous as Brian Eno, Linda Stupart takes Eno's own advice and thinks both 'inside the work' and 'outside the work'. 'Outside', she finds, is a more complex fascinating place, but 'inside' is by no means unpleasant.

GAUTENG REVIEWS

   [04.03.07] Nathaniel Stern at Art on Paper Gallery
Nathaniel Stern's 'Call and Response' reveals that his 'is a position of productive paradox, of signalling his debt to the historical archive of creativity yet resisting the impulse to politely replicate its terms'. Michael Smith comes to terms with the digital prints and etchings produced using the artist's favoured technique he labels 'Compressionism'.

   [04.03.07] Minnette Vári at the Goodman Gallery
In her new show at the Goodman Gallery, Minnette Vári articulates links between colonised sites such as the Southern African landscape, the female body and an urbanised future, resulting in work which is 'eerie, ominous and strange'. Landi Raubenheimer reviews.

KZN REVIEWS

   [04.03.07] Dale Yudelman at the KZNSA
Dale Yudelman's 'Reality Bytes' shown alongside Postmortem 2010', find the photo-journalist turned artist poised on the cusp between artistic expression and photographic excellence. Carol Brown has mixed feelings about these two bodies of work.


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