[7.10.08] Charles Maggs at the AVA
'Trading in the currency of the other has become a common motif in much of contemporary South African art, bordering on rapacious' writes Matthew Partridge in his review of Charles Maggs' 'Zombie'. 'Occasionally,' he goes on in reference to ths exhibition, '... something arises that transcends the hegemonic status of the self and other, moving beyond the trite pluralism of contemporary production'.
[7.10.08] Georgina Gratrix at Whatiftheworld / Gallery
Katharine Jacobs describes Georgina Gratrix's 'Master Copy' finally as refreshing and entertaining, but not before detailing how, in this vigorous body of work, laughter and criticism coexist. It is she says, ' part party, part art satire'.
[7.10.08] 'Monomania' at Goodman Gallery Cape
Student Natasha Brain argues that the Goodman Gallery Cape's 'Monomania' stood apart from the glut of group shows in August. Curator Storm Janse van Rensburg chose his artists carefully.
[7.10.08] 'Faces 08' at 34 Long
Nadja Daehnke reviews 'Faces 08' at 34 Long. Of it she says, regardless of the quality of individual contributions, '... the agendas and artistic approaches represented in this exhibition are so widely divergent that one senses that the central themes occurred in spite of, rather than because of, curatorial choices.'
[7.10.08] Sharlene Khan at Gallery Momo
In Sharlene Khan's 'What I look like, what I feel like', the artist challenges all those 'who are stuck stereotyping women artists to roles formulated by patriarchal societies and religious misunderstanding'. Sipho Mdanda reviews.
[7.10.08] Joachim Schönfeldt at Gallery AOP
Cara Snyman reviews Joachim Schönfeldt's 'A show for Sheldon Cohen' at Gallery AOP. Consisting of one finished work, several maquettes and drawings and a video piece, the show, she argues, works best if one considers it a work-in-progress production and the gallery a project space.
[7.10.08] Themba Shibase at the KZNSA Gallery
In Themba Shibase's 'The Skeptic', his portraits and representative paintings are neither generic nor specific argues Peter Machen. He sketches the spaces between 'the fathers of Afrikaners nationalism and other African nationalisms, between politics and economics, between truth and representation', preparing the ground for our own skepticism to grow.
[13.09.08] Taylor Rain is Dirty Girl in Velvet Aryan Kaganof at the KZNSA
Peter Machen reviews Aryan Kaganof's exhibition at KZNSA. He suggests that the 'output is conceptually lightweight, dressed up in edge and accessorised with a specific brand of gothic that came only from 1980s South Africa'.
[7.10.08] Fragile Democracy at The Northern Gallery for Contemporary Art, Sunderland, UK
Claire Rousell reviews 'Fragile Democracy' at The Northern Gallery for Contemporary Art in Sunderland. This exhibition of international photographers, which includes Nontsikelelo Veleko, demonstrates through widely divergent means the agency of the personal in affecting change and stability.