Archive: Issue No. 122, October 2007

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

CAPE TOWN

07.10.07 Lisa Brice at Goodman Gallery Cape
07.10.07 Kevin Brand, Sanell Aggenbach and Julius Mfethe at AVA
07.10.07 Willem Boshoff at Michael Stevenson Gallery
07.10.07 Abrie Fourie at blank projects
07.10.07 Peter Eastman at whatiftheworld / Gallery
07.10.07 Nadja Daehnke at João Ferreira
07.10.07 Johan Louw at Erdmann Contemporary
07.10.07 Natasha Norman and Clare Sarembock at Bell-Roberts
07.10.07 Frauke Stegmann at CUBE
07.10.07 'The idiotic and inchoate descent into nihilism' at Michaelis Gallery
07.10.07 'Rising' at 34Long
07.10.07 Philip Glazer at Irma Stern Gallery

20.09.07 Penny Siopis at Michael Stevenson
22.09.07 Jeremy Wafer at Goodman Gallery Cape
03.10.07 Bridget Baker at João Ferreira
19.09.07 Johann Louw at Sanlam Art Gallery
04.09.07 Ernest Cole at Iziko SANG
06.09.07 'Making waves' at Iziko Good Hope Gallery
25.09.07 Ilené Jacobs at Rust en Vrede
19.09.07 Cara van der Westhuizen at Bell-Roberts
08.09.07 Strijdom van der Merwe at Focus Contemporary
26.09.07 'Contusion' at Irma Stern
01.10.07 Jennifer Lovemore-Reed, Karen Cronje and Rudolph Tshie at AVA
04.09.07 Paul du Toit at 34Long
19.09.07 'Finding UCT' at Centre for African Studies Gallery

02.07.07 'The Sneeze 80 x 80' at Iziko SANG

06.05.07 'Art from Rorke's Drift' at Iziko SANG

04.03.07 'Fabrications' at Iziko SANG

SOMERSET WEST

07.10.07 'Greenhouse - From Painting To Plastic' at Bell-Roberts Lourensford

STELLENBOSCH & PAARL

07.10.07 Leora Farber at US Art Gallery

05.09.07 Jürgen Schadeberg at Sasol Art Musuem
15.09.07 Trasi Henen at SMAC

RIEBEEK KASTEEL

01.09.07 Leon Vermeulen at Cape Francolin Art Hotel

CAPE TOWN

Lisa Brice

Lisa Brice
Chasing that High
gesso and emulsion on canvas
122 x 152cm


Lisa Brice at Goodman Gallery Cape

Known for the fearlessness of her wide-ranging subject matter that has included violence, crime and sexuality, as much as for the extraordinary diversity of materials and media she employs, Lisa Brice has recently returned to painting. In her first solo exhibition in Cape Town since 1999, Brice focuses on the first flush of love by drawing on photographic and film images that conjure memories of adolescent desire, love and teenage kicks. By formally including the universal teenage 'language' of bleached denim she adds a caustic lo-fi edge to these works that explore oppositional tensions and drives. The ambiguities of intense emotion, introspection and uncertainty are suggested through the urgent handling of gesso, emulsion, wash, ink and bleach.

Brice graduated from the Michaelis School of Fine Art at the UCT in 1990 and quickly established a stellar career with numerous local and international exhibitions before relocating to London in 1999.

On Thursday November 1 at 11am Brice will conduct a walkabout for the Friends of the South African National Gallery. Contact Lizzie O'Hanlon on (021) 467 4662.

Opens: October 20
Closes: November 10


 

Sanell Aggenbach

Sanell Aggenbach
Crossfire (Two Wrongs don't make a Right)

Julius Mfethe

Julius Mfethe
Young man on Horseback


Kevin Brand, Sanell Aggenbach and Julius Mfethe at AVA

In 'Arcadia' Kevin Brand and Sanell Aggenbach explore the implied pursuit of perfect happiness on two very different yet complementary levels. While Brand blurs the boundaries of the banal and the majestic through monumental suburban delights, Aggenbach addresses the friction between two opposing ideals, referencing Coleridge's mesmerising 'Kubla Khan'.

Brand locates his Arcadian vision within the confines of a suburban framework. His new works, in some instances, revisit ideas and extend concepts central to his lexicon of beauty within the banal. 'The pursuit of a perceived ideal has always intrigued me, be it a concept, place or object. The reduction of the imagery to a linear representation could be an indication that this quest for an Arcadian ideal is one that will sadly always be yearned for.'

In contrast to this vision, Aggenbach presents Crossfire (Two Wrongs don't make a Right) as an elegy addressing the cycle of violence and the perception that retribution deters wrongful actions. The focus of her installation falls on two opposing ideologies caught in an aftermath of hostility, which reduces two fantastical Utopian landscapes to a scene of havoc. Says Aggenbach: 'I use the parable of conflict in paradise to present a state of turmoil which comments on conflict, consequence and irrationality.'

In contrast to this vision of Arcadia, Julius Mfethe concentrates on an idealised vision of rural life, depicting the interactions between animals and people. Mfethe is a self-taught sculptor who began working as a full time artist in 1976. His wooden sculptures are characterised by an astute observation and meticulous attention to detail. The scenes and subjects, observed often with humour or reverence, translate the artist's sense of rural tradition life into wood. He is a master of his materials - indigenous woods Mbaba, Msimbiti and Mhlakothi are finely carved, capturing movement and muscle tone in his subjects in works that don't usually exceed 25cm in height.

In 1977 and 1997 Mfethe won first prize on the FNB Vita Crafts award and has had solo exhibitions at the Tatham Art Gallery, Pietermaritzburg, and at the African Art Centre in Durban.

Opens: October 22
Closes: November 9


 

Willem Boshoff

Willem Boshoff
Walking Stick Jig (detail) 2007
zebrawood, sapele mahogany
223 x 138cm


Willem Boshoff at Michael Stevenson Gallery

A conceptual artist of great stature, Willem Boshoff's work since the late 1970s has explored the interplay of art and language in the forms of concrete poetry, dictionaries, sculptures and installations. His previous show at the Michael Stevenson Gallery, 'Licked', took place in 2003. This exhibition, entitled 'Épat', sees Boshoff extending two seminal bodies of work, Blind Alphabet and KykAfrikaans, reflecting on the vital role that trees and wood play in his oeuvre, and commenting on world politics in characteristically playful yet pointed manner.

The artist writes: 'I am awestruck by trees and, to a large extent, dependent on them, not only for their great wooden material, but also for ideas.' Boshoff has spent the last few months working from the Nirox Art Residency, part of the Cradle of Humankind world heritage site near Krugersdorp. Here he found himself surrounded by spectacular trees in an area rich with myth.

Boshoff has exhibited extensively locally and internationally, and has represented South Africa at biennales in Johannesburg (1995), São Paulo (1996), Havana (2000) and Venice (2001). A retrospective exhibition of his work will be held at the Standard Bank Gallery in Johannesburg from September 25 to December 1, 2007.

Opens: October 25
Closes: November 24


 

Abrie Fourie

Abrie Fourie


Abrie Fourie at blank projects

Abrie Fourie is a Pretoria-born and based artist. His work is a lucid collection of photographic images of urban South Africa and is characterised by capturing moments that shift the status of ordinary objects or occurrences and moves them into the realm of the extraordinary or even spiritual.

In 2003, his work was featured on exhibitions in Cape Town, Johannesburg, Belgium, Colombia and Berlin. He was nominated for the prestigious FNB Vita Art Award in 2002 and teaches Printed Image, Photography and Curatorial Studies at Technikon Pretoria.

Opens: October 10
Closes: November 2


 

Peter Eastman

Peter Eastman


Peter Eastman at Whatiftheworld / Gallery

Peter Eastman is best known for his emphasis on surface textures using high-gloss, reflective enamel paint. His range of cityscapes and figures formed the basis for his successful solo exhibition entitled 'Reflective' at Michael Stevenson Contemporary in 2004.

Eastman came to South Africa soon after he was born in 1976 in Newcastle-upon-Tyne, United Kingdom. After a year at Michaelis School of Fine Art, he decided to make art on his own. He subsequently worked restoring antiquities in London before returning to Cape Town in 1998. He has had two small solo exhibitions and his work has also been included in numerous group shows. Eastman's work is included in numerous collections including the Hollard Collection, and he was selected as a finalist for both the Sasol New Signatures (2005) as well as the ABSA L'Atelier Award (2003).

Opens: November 2
Closes: December 1


 

Nadja Daehnke

Nadja Daehnke
Pest 2006
enamel paint, canvas on metal with graphite on wood framing
163 x 135cm


Nadja Daehnke at João Ferreira

Nadja Daehnke's latest solo exhibition considers the anguish, awe and desire of the human body. In a series of mixed-media paintings Daehnke reflects on the liminal state between the desirable and abject in relation to the interdependent strands of sexuality, illness and mortality. Her works reflect on the indigestible and incomprehensible inconvenience of the body failing - whether due to disease, ageing or the curtailment of desire.

This is Daehnke's fifth solo exhibition. A notable artist as well as a curator and critic, Daehnke has exhibited in the Netherlands, Germany, London and USA.

Opens: October 31
Closes: November 30


 

Johann Louw

Johann Louw
Nude(s) teen muur 2007
oil on canvas
102 x 80 cm


Johann Louw at Erdmann Contemporary

Whilst the Sanlam retrospective of Johann Louw's work continues this month, this exhibition at Erdmann Contemporary gives people a chance to view an installation of new paintings. New portraits and depictions of the female body are shown together as a series of anonymous figures, ubiquitously represented frontally to emphasize their corporeality.

Johann Louw lives and works in Piketberg, Western Cape.

Opens: October 3
Closes: October 19


 

Natasha Norman

Natasha Norman

Clare Sarembock

Clare Sarembock


Natasha Norman and Clare Sarembock at Bell-Roberts

Natasha Norman's practise is concerned with symbolism: how society creates symols, how symbols communicate ideas to us and why some symbols have become heirlooms that are passed down through generations. Having previously worked exclusively with found photographs, Norman decided to engage with the medium of fashion photography for these two bodies of work entitled 'The Allure Series'. Comparing contemporary societal behaviour with its Renaissance predecessor, Norman has staged re-enactments of Renaissance paintings, shifting the medium and their content. Natasha Norman graduated from Michaelis School of Art, UCT with a BAFA in 2005. This is Norman's first exhibition with Bell-Roberts.

Claire Sarembock's work is photography-based, but she does not refer to herself as a photographer. Taking old found photographs of her family; the artist rephotographs and appropriates these. By doing so Sarembock recontextualizes the memories of childhood and portrays them as current fact. The images are printed on canvas and then sentences are embossed in white areas on the canvas in braille. The braille becomes a metaphor for fading memories - blind people don't see imagery - they hold imagery in their mind. Just as a memory becomes translucent, Sarembock has deliberately rephotographed these images so that they are not quite in focus (imperfect, as it were), as a reference to that faded memory which is her childhood.

Opens: October 17
Closes: November 10


 

Frauke Stegmann

Frauke Stegmann


Frauke Stegmann at CUBE

Graphic designer Frauke Stegmann's 'Domestic Desire' project is about making an inventory of everything she has acquired and kept as she moved around the world and after putting down roots in Cape Town a few years ago. The project focuses on her collection of domestic/homemaking objects sourced from various markets abroad and more from the Milnerton Market in Cape Town.

These objects, sourced initially as a way to try and recapture\re-live old memories have been adopted and have become the basis of a new collection of work, with the objects in the collection recreated to make 'new' things. The shape of each re-creation is predetermined by the autobiographical nature of the way the original pieces were acquired, but their origin is one of chance. Through the casting process required to make each object, the history of each is erased while the inherent memories each object carries are retained through the shape.

Peter Saville says of her work: 'She appreciates how the values and codes inherent in materials can be used to communicate effectively and with great economy. Her choice of "found" resources - transposed from original context and creatively repositioned - displays innovation with a remarkable and contemporary lightness of touch.' Stegmann will be included in 100@360 published by Laurence King/London as one of the world's top 100 up-and-coming graphic designers. The book is coming out at the end of 2007.

Opens: October 17
Closes: November 10


 

Carrie Timlin and Lily Luz


'The idiotic and inchoate descent into nihilism' at Michaelis Gallery

Carrie Timlin and Lily Luz present the final show in this series of one-nighters. This will however take a new form in order to run for a week and be shown at the Michaelis Gallery. The show will bring together new work by all the artists who have participated thus far with work by artists exhibiting for the first time.

The emerging criterion in this art scene is that art is fun and without the unnecessary deeper insights. However contrary to the artist's best intentions, meaning is often imputed to the most superficial expressions, as it is human nature to search for this supposed meaning. The show will therefore attempt to deal with the concept of art detached from meaning and reason.

Opens: 8 October
Closes: 15 October


 


'Rising' at 34Long

34 Long is showing an exhibition of Chinese art, featuring prominent contemporary Chinese artists. Many of these, although not well known in South Africa, command international respect and healthy prices at auctions. At a recent Sotheby's New York auction, five of Zhang Xiaogang's works were among the top ten sales; one fetched in excess of $2 million.

Xiaogang, widely described as 'the Van Gogh of contemporary Chinese art', uses the visual language of official photography to create haunting, subtly disturbing images in his bloodline works. A 2006 limited edition print, Family portrait from this series, will be the highlight of the exhibition. Wang Guangyi works in a style known as 'political pop'. In his Great criticism series, Cultural Revolution propaganda poster images in flat, colourful American pop style are combined with Western brand logos like Chanel, Coca-Cola, HP, Swatch and Canon.

The Luo brothers (Luo Wei Guo, Luo Wei Dong and Luo Wei Bing), all trained in fine art, come from the south of China and have been producing mixed media artworks in Beijing for many years. They lived through the Cultural Revolution, and their work speaks of the disorientation of rapid modernisation. Yue Minjun, also a hot favourite in London and New York, uses self-portait and self-parody to make apparently hilarious works with deep, dark undertones. On show will be Revolutionary Romanticism from a serigraph edition of only 60, which displays his many-toothed grin of self-mockery. Sheng Qi has gained wide recognition for his paintings of stamp-sized images of people and places lost after the Tianamen Square uprising, held in his mutilated left hand.

Opens: October 9
Closes: November 3


 


Philip Glazer at Irma Stern Museum

Photographer Philip Glazer shows at the Irma Stern Museum. Reflecting on his work, Glazer says: 'My introduction to photography began in 1958 when I was given a 5" x 4" Ricoh reflex camera. My passion for photography began with an in-depth look into the lives and characters of interesting people. In this diverse society, places and faces change with time and it is these images which I try to capture before it all disappears. Being there to capture a moment in time that can never be repeated can be exhilarating.'

Opens: October 31
Closes: November 17


 

Penny Siopis

Penny Siopis
Feral Fables: In the Deep 2007
ink and glue on paper


Penny Siopis at Michael Stevenson

Penny Siopis, one of South Africa's most highly regarded and influential artists, will hold only her second solo exhibition in Cape Town. 'Lasso' will continue exploring some of the concerns developed in her 'Feral Fables' series, giving even more powerful expression to the world of the emotions and the realm of the imagination.

Using painting, drawing and film, Siopis articulates this world through a strongly associative combination of imagery, sound and narrative. As in the 'Feral Fables' paintings, which combined liquid ink washes with viscous glue, Siopis also stresses the associative qualities of her chosen medium, which is as important for conveying feeling as imagery or narrative. In this new body of work, what the artist calls 'the poetics of vulnerability' - a feature characterising her oeuvre to date - is particularly strongly manifested.

Siopis was born in Vryburg in 1953 and is based in Johannesburg, where she is Associate Professor in Fine Arts at the University of the Witwatersrand. She has exhibited widely both in South Africa and internationally, but has not held a solo exhibition in Cape Town since 1984 when she showed alongside Peter Schütz at Gallery International.

Siopis' work has been selected for 'Bound', an exhibition exploring slavery at Tate Liverpool, UK, and for 'Local Racism, Global Apartheid. South Africa as a Paradigm', curated by Pep Suboris.

Opens: September 20
Closes: October 20


 

Jeremy Wafer

Jeremy Wafer
Crossing (detail from composite), 2007
digital print on archival paper
13 x 18cm


Jeremy Wafer at Goodman Gallery Cape

In Jeremy Wafer's first solo exhibition in Cape Town, he works with the performative aspects of minimalism, and the extent to which non-representational art is produced or experienced as a close relationship between viewer and object, with all the formal elements of size and scale, orientation, shape, colour and surface related to the artist's or viewers' own physical and psychological presence.

The exhibition includes a 6 metre floor sculpture, matt and polished discs, a photographic installation of paths crossing a burnt veld, a video projection and various sets of drawings, some exploring architectural themes, while others utilise bitumen and glass respectively. Wafer explores some of the ways in which he has worked in the past. The large curved floor sculpture echoes steel and wax works made in the 1980s in a similar reference to walls and barriers, alluding to internal and external space and to notions of inclusion and exclusion that were both literal and metaphorical representations of personal states of mind which at the same time could be read in more public or political ways.

Formerly from Durban where he was a leading figure in the visual arts community, Wafer is currently head of the Wits School of the Arts, Department of Fine Arts. In 2006 he won the inaugural Sasol Wax Art Award for his mixed media installation entitled Geography. Over the years, he has been awarded numerous residencies and is represented in many public collections.

Opens: September 22
Closes: October 13


 

Bridget Baker

Bridget Baker
La fille transparenté Kippel/ Das transparente Mädchen in Kippel 2006
lambda print and diasec
180 x 226.5cm


Bridget Baker at João Ferreira

The ever-whimsical Bridget Baker comes back from an expedition to Switzerland where she has discovered the progenitor of the Blue Collar Girl in the Swiss Alps: The Transparent Girl. The Blue Collar Girl has featured as the protagonist in a series of works Baker has been producing for several years now.

This will be her second solo exhibition with João Ferreira Gallery. Her works are part of many public collections including South African National Gallery, Billiton Board, Old Mutual, Johannesburg Art Gallery, UNISA (University of South Africa) and the Standard Bank of South Africa.

Opens: October 3
Closes: October 27


 


Johann Louw at Sanlam Art Gallery

As an artist and painter Johann Louw stands out, comments Stefan Hundt, curator of the Sanlam Art Collection and gallery. 'His ability to manipulate and model paint and engage the inner psyche of the viewer through this medium place Louw as one of the few painters that have transcended the parochial self-indulgence that has characterised contemporary art in South Africa. Although his imagery remains enigmatic and may not be clearly explicable, it has become part of the iconography reflecting South Africa's evolving society.'

Over the past 20 years Louw has stood out as one of the foremost painters in South Africa. Although he has exhibited regularly in Cape Town and Johannesburg it has been hard to form a broad overview of his oeuvre. The exhibition in the Sanlam Art Gallery will show works from when Louw completed his studies at the University of Stellenbosch in the 1980s to the present. It is supplemented by an extensively illustrated catalogue of 60 pages with contributions by Professor David Bunn (head of the department History of Art at the Wits School of the Arts) and Andries Gouws, philosopher and acclaimed painter in his own right.

Opens: September 19
Closes: November 2


 

Ernest Cole

Ernest Cole
At assignment desk, clerk's rubber stamp dictates mine where man will work, 1960-66

Ernest Cole

Ernest Cole
At the end of train ride comes a big squeeze as passengers must show their tickets before passing through narrow exit gates, 1960 - 66


Ernest Cole at Iziko SANG

Ernest Cole was a courageous young photographer who spent five years documenting everyday experiences of black South Africans under apartheid in the 1960s. Simply titled 'Ernest Cole', the exhibition is a commentary on many manifestations of apartheid, as seen through Cole's lens: the lives of migrant labourers recruited to the mines and the indignities that they were forced to endure, pass raids and arrests, the plight of domestic workers, 'Bantu' education, inadequate health care and poverty. The project culminated in the publication of House of Bondage in New York in 1967, negotiated by Magnum Photos, after Cole fled South Africa with a suitcase of his photographic prints.

The immediate banning of the book in South Africa imposed permanent exile on the photographer, who was then only 27. In the United States he undertook a project funded by the Ford Foundation, but this never reached completion and Cole finally gave up taking photographs. He died in New York in 1990, shortly before his 50th birthday and a few days after the release of Nelson Mandela.

Although the negatives for his South African images were smuggled out by fellow photographer Struan Robertson, with whom Ernest Cole had shared a darkroom in Johannesburg, their current whereabouts is unknown. In 2005, the Iziko South African National Gallery was granted funding by the National Lotteries Board to acquire a small collection of his photographic prints, possibly made in preparation for the re-publication of House of Bondage.

Opens: September 4
Closes: December 31


 

Santu Mofokeng

Santu Mofokeng
Ishmael: 'Eyes wide shut', Motouleng Caves, Clarens, 2004
black and white photograph on baryta paper
120 x 180cm

Kendell Geers

Kendell Geers
Positive black Buddha, 2003
indian ink on fabriano
200 x 140cm


'Making waves' at Iziko Good Hope Gallery

A version of this exhibition, previously shown at the Johannesburg Art Gallery in 2004 - 5 and at the National Arts Festival in Grahamstown comes to Cape Town's Good Hope Gallery. The exhibition, which will feature approximately 100 works, attempts to provide both an interpretation of the development of South African art through the 20th century and a selection of the best contemporary work.

The historical coverage traces the emergence of a local tradition distinguishable from the earlier indigenous and Europe-derived traditions. The latter is illustrated in the work of Kay, Maggie Laubser, Alexis Preller and Irma Stern among others. The local tradition is seen as originating in the township painters from Gerard Sekoto among others in the 30s to Motjuoadi, Ngatane and Durant Sihlali in the 60s and 70s and also in the very different hybrid products of the Rorke's Drift and Polly Street art schools in the third quarter of the century.

Of pivotal importance in this process is the unique work produced in the context of political struggle after Sharpeville 1960 and Soweto 1976, seminally in the drawings of Dumile Feni and Motau in the 60s, followed in the 70s and the 80s by the work of Kumalo, Legae, Alexander, Ractliffe and others in a range of media.

In addition, distributed throughout the exhibition are examples of contemporary South African work in a range of media, including the sculptures of Jackson Hlungwane, Noria Mabasa and Peter Schütz, drawings by William Kentridge and Diane Victor, photographs by Santu Mofokeng and Guy Tillim, prints by Dan Rakgoethe and Cyprian Shilakoe, mixed media works by Sam Nhlengethwa and Tracey Rose as well as paintings by Robert Hodgins and Penny Siopis. The work of several younger artists including Gush, Nicholas Hlobo, Pieter Hugo and Churchill Madikida is also featured.

The exhibition has been curated by Koulla Xinisteris, Collection curator, and Graham Neame, Collection art advisor.

Opens: September 6
Closes: October 28


 


Ilené Jacobs and Susan Grundlingh at Rust en Vrede

An exhibition of mixed media images by Stellenbosch graduate Ilené Jacobs, evocatively entitled 'Kaartehuis Kroniek', is on show alongside Susan Grundlingh's work. Jacobs obsessively investigates the mutable nature of identity through images that revolve around the simultaneous construction and deconstruction of self-representation, whilst Grundlingh's drawings and oil paintings concern themselves with 'Loss and Longing'. Grundlingh has previously shown at the AVA and artb.

Opens: September 25
Closes: October 18


 

Cara van der Westhuizen

Cara van der Westhuizen
Duality
190 x 43 x 40cm


Cara van der Westhuizen at Bell-Roberts Contemporary

Titled 'Venus Revisited', this show explores facets of feminine beauty while addressing issues of vanity and narcissism. Lithographic prints on multiple layers of glass rework and reconsider traditional representations of idealised women drawn from the Middle Ages and the Renaissance. Mounted on handmade cabinets referencing the furniture of the boudoir, these subtle and enigmatic images of women as objects of desire are broken apart to show their biological interior, echoing the transparent surface upon which they are printed. This strategy of layering as a form of visual dissection draws on historically conflicting associations between external appearance and internal value associated with womanly beauty.

In these representations of the body's interior, fauna and flora merge with anatomical details. Thus, reference is made to the ambiguous historical relationship between women and nature. 'Woman' is presented as both nurturing mother and dangerously sexual other.

Having completed a diploma in graphic design (cum laude) at the Ruth Prowse School of Art in 1999, van der Westhuizen received a scholarship to study at UCT's Michaelis School of Fine Art where she completed her degree with double distinction. This is van der Westhuizen's first solo exhibition and is based in part on her Master's research at UCT.

Opens: September 19
Closes: October 10


 

Strijdom van der Merwe

Strijdom van der Merwe
Drawing with red cotton in the wind


Strijdom van der Merwe at Focus Contemporary

Local land artist Strijdom van der Merwe makes his work in response to his chosen site, either by inserting elements into the natural environment or excavating them in geometrical forms and patterns. 'Land art encompasses everything - wind, birds, smell, touch. And my work doesn't exist until I find it. In nature, the options are endless, and it's exciting working with materials never thought possible', says Van der Merwe. In this exhibition he will combine photographic prints with an installation in the gallery.

Van der Merwe studied at the University of Stellenbosch and has been a full-time artist since 1996. His work is in numerous public and private collections.

Opens: September 8
Closes: October 17


 

Natasha Norman

Natasha Norman
Gun tack gun with fish (detail), 2007
resin gun with plastic toys

Dale Washkansky

Dale Washkansky
Self-portrait with protea, 2007
light-jet print
80 x 100 cm


'Contusion' at Irma Stern Museum

This exhibition by three recent Michaelis graduates navigates violence in our society, reflecting on the many ways that social disturbances in our environment are experienced as dark shadows of a deeper unrest. The works try to expose the coping mechanisms that hide the collective distress or unease. A common theme in the work of all three young artists is the recognition of this shadow on the social consciousness of our society.

Suzanne Duncan uses objects usually intended to protect the body in the anticipation of injury. The absent body is projected onto these objects. These objects' inability to defend the body reveals an underlying vulnerability.

Natasha Norman explores paradoxes of violence and its representation. Her work investigates how the ever-diminishing emotional impact of viewing violent acts distorts judgement and perception. Norman was a finalist for this years' Sasol New Signatures Competition.

Dale Washkansky uses his own body as a means to access historic trauma, specifically located in a South African context. Juxtaposing quasi-naïve imagery with state iconography, Washkansky attempts to peel away the façades disguising societal violence. The resultant imagery is meant to be frustrating and confusing, acting as a symbol for the implosion of language when it faces pain. Washkansky is currently facilitating a workshop and exhibition with Siona O' Connell at !Khwa ttu.

Opens: September 26
Closes: October 16


 

Jennifer Lovemore-Reed

Jennifer Lovemore-Reed
image from performance, 2006


Jennifer Lovemore-Reed, Karen Cronje and Rudolph Tshie at AVA

In a follow-up to her February 2006 performance piece at Erdmann Contemporary, 'Bag-lady, clown, sycophant', Jennifer Lovemore-Reed will show 'Remnants, Relics and Reasons' at the AVA Gallery. The process of the previous performance piece will be laid open, like a collection of multi-dimensional puzzle pieces, for the public to reassemble and form a personal picture of the experience. The initial performance was done in complete silence. Unknown to the viewers, the official performance started before the artist left home for the gallery and only ended after she returned. Lovemore-Reed had set up a video camera in her work space, to tape herself talking to the camera just before departing for the performance and to tape herself upon her return. The result is two very telling pieces of footage which contain an immediate and accurate depiction of the experience of the artist before and after the performance. These pieces of footage will be central to the exhibition at the AVA. Other physical 'remnants' of the performance will also be included.

Karen Cronje will show 'Just a Little more' which aims to create elusive and intimate moments, reflecting her art-making process. The oil on canvas paintings and large drawings are not about finite definitions of closed statement but personal interrogations of process. Cronje studied at the University of Stellenbosch where she completed a Master's Degree in 2001.

Rudolph Tshie is renowned for his skill with oils, pastels and watercolour. His work aims to capture the spirit of a place and more specifically his experience of African life. He obtained a certificate in Fine Arts from the federated Union of Black Arts in JHB where he studied from 1991 - 93 and has gone on to exhibit extensively nationally in many group exhibitions and has just returned from a residence in Mauritius.

Opens: October 1
Closes: October 19


 

Paul du Toit

Paul du Toit
Thrill, 2007
oil, oil paint sticks and acrylic on canvas
104 x 132cm


Paul du Toit at 34Long

Paul du Toit exploits the expressive power of line and colour to create quasi-simplistic paintings of humanoid forms. Asked about the show's title, 'Highly charged', du Toit says it describes the energy that goes into his production. His drawings are worked and reworked, and only after much consideration does he transfer ideas to the tactile surfaces of his canvases. Du Toit draws on the calligraphic quality of rock engravings, strange alphanumeric systems and Chinese pictographs as sources of inspiration.

Featuring both sculptures and paintings, the show is sure to delight his fans. Over the last ten years, du Toit's work has gained wide recognition, and has become sought-after by international collectors of contemporary art both corporate and individual. Whilst du Toit hasn't made it into the annals of the 'art-eratti', his work continues to be popular and accessible, joyously celebrating line and colour. 'Highly charged' marks the resumption of du Toit's collaboration with 34Long.

Opens: September 4
Closes: October 6

34Long
34 Long Street, Cape Town
Tel: (021) 426 4594
Email: fineart@34long.com


Mark Hipper

Mark Hipper
Good Girl (detail), 1999
acrylic on canvas
152 x 152cm


'Finding UCT' at Centre for African Studies Gallery

'Finding UCT' takes a new look at aspects of the University of Cape Town's permanent collection. The premise of the exhibition is largely to provide a space for students and the public to view both contemporary and more traditional works collected by the University that they might not otherwise get a chance to see.

The exhibition traverses notions of domesticity, space, place, gender and personal and historical narratives. In essence, the show presents a series of unexpected, sometimes even whimsical moments from the UCT collection. The exhibition is curated by Linda Stupart and Clare Butcher.

Opens: September 19
Closes: October 10


 

David Burrows

David Burrows
King becomes cook 2004
film detail


'The Sneeze 80 x 80' at Iziko SANG

'The Sneeze 80 x 80' was conceived and produced by the artists Peter Lloyd Lewis (UK) and Natasha Makowski (USA). The film pays homage to Thomas Edison's kinograph film of a sneeze, a random and connective act. It includes footage by 80 video artists from 29 countries and 5 continents and is presented as a single work, in which new narratives are constructed through the introduction of a continually changing sequence structure. The artists were invited to submit 80 seconds of footage for the film, meaning that accumulatively the pieces acquire the length of a feature film.

South Africa is represented by the artists Sue Williamson and Thando Mama.

Opens: June 26
Closes: October 28


 

John Muafangejo

John Muafangejo
The Pregnant Maria
linocut


Art from Rorke's Drift at Iziko SANG

Curator Joe Dolby presents an important collection of art from Rorke's Drift. A seminal fine arts training centre for black artists during the apartheid era, Rorke's Drift in KwaZulu Natal afforded oppportunities for those denied art training in South Africa. Established in 1968, the school was initially managed by two Swedish art teachers, Peder and Ulla Gowenius.

The show also demonstrates the collecting policy of the National Gallery. The first prints and tapestries from Rorke's Drift in the collection of the Iziko South African National Gallery were acquired in the mid-1960s. Most of the artists represented were confined to well-known names such as Azaria Mbatha and John Muafangejo. In 2006, funding provided by the National Lottery Board enabled the gallery to significantly augment their holdings and to assemble a more representative selection detailing the diverse range of artistic production of the school.

Opens: May 16
Closes: June 24


 

Ulrich Apt the Elder

Ulrich Apt the Elder
The Crucifixion 16th century


'Fabrications' at Iziko SANG

'Fabrications', an ongoing exhibition drawing on the gallery's permanent collection, examines the ways in which artists have creatively used, painted or sculpted approximations of fabric and costume in their work, revealing surprising insights into social history as well as the artistic process.


 
 
SOMERSET WEST


'Greenhouse - From Painting To Plastic' at Bell-Roberts Lourensford

'Greenhouse - from Painting to Plastic' will coincide with the annual Cape Town Garden and Flower show to be held at the Estate between October 24 and 28. The exhibition is intended to explore the relationship between nature and art. This relationship dates back to the late 16th century when the cultivation of plants as items of beauty began. Botanical painting as an art-form soon followed.

The exhibition will feature work by 20 of South Africa's leading contemporary artists who are engaged in a wide range of practises from sculpture, painting, works on paper and ceramics to glass art. Participating artists include: Strydom van der Merwe, Lyndi Sales, Nick Bladen, Barbara Wildenboer; Leigh Voight, Jane Eppel, Pierre Fouché, Frederick Eksteen, Cara van der Westhuisen, Karen Strydom, Natalie Payne, Athol Moult, Anthony Strack, Diane Victor, Elmarie Constandius, Retief van Wyk, Lisa Firer, Christina Bryer, Katherine Glenday, Norman O'Flynn, Humzah Goolam and Clinton Friedman.

Opens: October 20
Closes: December 1


 
 
STELLENBOSCH & PAARL

Leora Farber

Leora Farber
Aloerosa Induction (detail)


Leora Farber at the US Art Gallery

'Belonging' and 'displacement' are often contested terms in the language of post-colonial South Africa, where the severance of European ties is still being negotiated. In 'Dis-Location/Re-Location' Leora Farber explores these ambivalences through a dialogical relationship between South African colonial histories and lived present experience. Farber uses her image as metonym for herself and Bertha Guttmann - a Jewess brought to South Africa from Sheffield in 1885, in order to enter into an arranged marriage with the Lithuanian immigrant to South Africa, entrepreneur Sammy Marks. Residues of British and Jewish ancestry are visually and audibly grafted together with current influences from the Pan-African, post-colonial environment of Johannesburg. Ambivalences around belonging and displacement within this post-colonial environment are negotiated in relation to the artist's second-generation immigrant status.

In the work on exhibition, the amalgam of Bertha Marks and Farber is represented as engaged in needlework activities, considered as 'women's work' in the Victorian era and as a signifier of 'femininity' through docility and labour. The craft of needlework is used as a metaphor for the protagonist's attempts to negotiate a sense of being 'African' within a post-colonial environment by attempting to 'graft' a new identity physically and psychologically into herself.

This exhibition is travelling to seven art museums around the country and has been produced in collaboration with the South African design team Strangelove (Carlo Gibson and Ziemek Pater).

Opens: October 16
Closes: November 17


 

Jurgen Schadeberg

Jürgen Schadeberg
Mr Twala Springs, 2004


Jürgen Schadeberg at Sasol Art Musuem

The book Voices from the Land and the photographic exhibition, which is about the lives of farmworkers, their plight, their problems, their hopes and fears, has been on Jurgen Schadeberg's mind for many years. He travelled through South Africa for two years documenting farm life and farm labour conditions, where he found some promising and positive situations where farmers are providing for their workers by giving them dignified and comfortable lives. However, many farmworkers are still living in unacceptable conditions and many are being evicted from their birth places.

'We allowed these men and women to talk about their lives and their problems, their grief and their anger. Many of the evictees we met were elderly and in bad health, a vulnerable and powerless group for which a farmer has little use, even though they might have sacrificed most of their lives in service', he notes in his introduction to the book which accompanies the exhibition.

'It is not an investigative report where judgements are made, but rather an attempt to open the eyes of society, particularly of those people in the urban areas who never come into contact with rural life and people. City dwellers buy their food in supermarkets and are presented with a tourist version of rural life while our politicians often visit the country on pre-arranged garden routes and are welcomed by cheering crowds, but they rarely stop to make surprise visits to hear the real stories of people's lives, the harrowing tales of destitution, poverty and despair', says Schadeberg.

Opens: September 5
Closes: October 13


 

Trasi Henen

Trasi Henen


Trasi Henen at SMAC

SMAC hosts a solo exhibition by Trasi Henen entitled 'Delicate Life Pursuer'. Henen works in painting and mixed media. She graduated with a Fine Arts degree from Wits University in 2003, and has participated in several group exhibitions. She made her curatorial debut with the 2004 Women's Day Celebrations at Constitution Hill and organised 'Art in the Dark', a video art festival, in late 2004.

At the same time there will be a group show, showcasing a variety of painters, including Jake Aikman, Johann Louw, Andrzej Nowicki and Sanell Aggenbach.

Opens: September 15
Closes: October 15


 
 
RIEBEEK KASTEEL


Leon Vermeulen at Cape Francolin Art Hotel

Just in time for Spring, the Cape Francolin Art Hotel puts up Leon Vermeulen's eight fleshy, voluptuous and seductive new oil paintings on cloth. Vermeulen is known for his frank male nudes, which demonstrate why the bees, and often birds, are so fond of flowers.

Opens: September 1
Closes: October 14


 
ARTTHROB EDITIONS FOR ARTTHROB