Cameron Platter

Current Review(s)

Fucking Hell

Cameron Platter at Whatiftheworld/gallery

'Fucking Hell' marks the genesis of an extravagant, if not insanely laborious visual journey. The five new large-scale drawings featured on this exhibition are the first of Cameron Platter’s ten-year Apocalypse series, which will total 100 drawings on completion. Clearly Platter does not suffer from commitment issues. The drawings are adaptations and interpretations of lo-fi advertising signs and flyers collected by the artist. Like his animated video works, which feature recurring characters and symbols in bizarre and often sordid narratives, Platter’s drawings delight in the absurdity of the real and fuse seamlessly with his fatalistic critique of a very specific time and place. Gluttonous consumerism, mass over-indulgence in sex and meat, political looting and religious spin number amongst the illustrated utterances in his dense, claustrophobic pencil drawn compositions.

01 December 2011 - 28 January 2012

Listings(s)

'I Am Lonelyness', Cameron Platter in Austria

Cameron Platter at Hilger Contemporary

Hilger Contemporary presents Cameron Platter's 'I Am Lonelyness', an exhibition of a new suite of drawings and video.

In this exhibition Platter exhibits the suite of drawings The Good Shepard Presents Dr. Bombaka, The Battle of Rorkes Drift at Club Dirty Den (About 2009), and Black Up that White Ass II, which are production stills/ working sketches/ and thought pads for his manic video titled Black Up that White Ass II.

12 January 2010 - 20 February 2010

'Coca-Colonized'

Anton Kannemeyer and Cameron Platter at Brot Kunsthalle

'Coca-Colonized' is a selection of work by South-, Central America- and Africa-based artists (both physically and conceptually). It is a response to the ideology that the influence of mass culture on another, what is termed ‘less established’ or ‘developing’ region, implies an absolute relationship between the influencer and the impressionable. 'Coca-Colonized' is an attempt to question this relationship, exploring how mass cultural influence has been absorbed, reinterpreted and at times rejuvenated, inverting this implied power relationship. What results is a new ‘third language’ that is beyond dual identity and more than a straightforward combination of mass culture and local culture—rather, one that is a powerful cultural phenomenon in its own right.

The exhibition includes Anton Kannemeyer (South Africa), Peterson Kamwathi Waweru (Kenya), Cameron Platter (South Africa), Baudouin Mouanda (Congo), Maria Jose Arjona (Colombia), Simon Vega (El Salvador), Omar Obdulio Pena Forty (Puerto Rico), Reynier Leyva-Novo (Cuba), and Emilio Chapela Perez (Mexico).

16 September 2010 - 20 November 2010

'Impressions from South Africa, 1965 to Now'

Sue Williamson, John Muafangejo, Cameron Platter, Sandile Goje, Senzeni Marasela, William Kentridge, Kudzanai Chiurai, Claudette Schreuders and Bitterkomix at MoMA

During the oppressive years of apartheid rule in South Africa, not all artists had access to the same opportunities. But far from quashing creativity and political spirit, these limited options gave rise to a host of alternatives—including studios, print workshops, art centers, schools, publications, and theaters open to all races; underground poster workshops and collectives; and commercial galleries that supported the work of black artists—that made the art world a progressive environment for social change. Printmaking, with its flexible formats, portability, relative affordability, and collaborative environment, was a catalyst in the exchange of ideas and the articulation of political resistance.

Drawn entirely from the collection of The Museum of Modern Art, 'Impressions from South Africa, 1965 to Now' features nearly 100 posters, books, and wall stencils created over the last five decades that demonstrate the exceptional reach, range, and impact of printmaking during and after a period of enormous political upheaval. From the earliest print in the exhibition, made in 1965 (the Museum’s first acquisition of work by a South African artist), to printed posters from the height of the antiapartheid movement in the 1980s, to projects by a younger generation that reflect new and evolving artistic concerns, these works are striking examples of printed art as a tool for social, political, and personal expression.

23 March 2011 - 14 August 2011

'Hard Times, Great Expectations'

Cameron Platter at Whatiftheworld/gallery

In 'Hard Times/Great Expectations', Cameron Platter presents a feast of new work, including a series of meticulously hand-worked drawings, sculptures made from wood, bronze and ceramic, and a video piece with soundtrack by Dean Henning. Platter's work typically centers around simple but absurdly humorous stories through which he darkly navigates the contemporary South African experience. Drawing on and appropriating images from the media, art history, pornography, politics, religion and music he presents a cast of dubious characters, from Transvestite Killer Zebras and lascivious lions to Shakira.

02 June 2010 - 28 June 2010