Various Participants

Current Review(s)

The Amani Arts Festival 2010

Various Participants at Lookout Hill

Community projects in South Africa are difficult, possibly more so than anywhere else. With our particular history of colonial appropriation, missionary arts education and continuing problematic labeling, as well as the marketing and exhibition of ‘township art’ for a mawkish tourist market, many in the arts-educated community are just too scared to get involved, paralyzed by the (not entirely unfounded) fear of being just another outsider telling a community what they need and how they should make art.  

Art activist and performance poet Suzy Bell, however, has never been one of those people, and when group of Somalian men were kidnapped in Khayelitsha earlier this year, suggesting that the nation is once again facing an uprising of xenophobic sentiment, she made the decision to do something. She initiated a process of discussion, discovery and collaboration, which led to the Amani Arts Festival, a multidisciplinary arts and performance event which took place on October 30th at Lookout Hil Centre, Khayelitsha.

30 October 2010 - 30 October 2010

Alias - Photomonth Krakow 2011

Various Participants at Various venues around Krakow

You know how the art world works. You walk into a show and unless the artist concerned is exhibiting for the first time ever, you are already familiar with the name, the reputation, and something of the artist’s previous work, and you bring all this knowledge to bear when looking at this new display. You may even be aware of the artist’s precise position in the precarious hierarchy of critical acclaim, and also in which important collections the artist’s work is held.

All of this carefully acquired information is very helpful when forming an opinion of the new exhibition. It also acts as a comforting buffer against looking foolish when another viewer asks you if you think the work is good, or, perhaps… So how does one react when one enters an exhibition space and hears one of the curators declaim ‘None of the artists in this exhibition exist. All of the works are copies’ ?

South African born, London based photographers Adam Broomberg and Oliver Chanarin came up with the theme of ‘Alias’ when invited to curate Krakow Photomonth 2011, and in so doing made a radical departure from previous editions of the event which divided the main programme into blocks by topic and nationality.

For the central exhibition of ‘Alias’, held in the Bunker Sztuki gallery, the curators hunted down work already made under pseudonyms by artists, including Marcel Duchamp as Rrose Sélavy, Andrew Moletse (readers might remember work by this fictional character being included in the Standard Bank Drawing Competition of 1991) and William Kentridge, who appears in a short film in which three irritable versions of himself pick up horns and blow a cacophonous chorus.

13 May 2011 - 12 June 2011

Alias - Photomonth Krakow 2011

Various Participants at Various venues around Krakow

You know how the art world works. You walk into a show and unless the artist concerned is exhibiting for the first time ever, you are already familiar with the name, the reputation, and something of the artist’s previous work, and you bring all this knowledge to bear when looking at this new display. You may even be aware of the artist’s precise position in the precarious hierarchy of critical acclaim, and also in which important collections the artist’s work is held.

All of this carefully acquired information is very helpful when forming an opinion of the new exhibition. It also acts as a comforting buffer against looking foolish when another viewer asks you if you think the work is good, or, perhaps… So how does one react when one enters an exhibition space and hears one of the curators declaim ‘None of the artists in this exhibition exist. All of the works are copies’ ?

South African born, London based photographers Adam Broomberg and Oliver Chanarin came up with the theme of ‘Alias’ when invited to curate Krakow Photomonth 2011, and in so doing made a radical departure from previous editions of the event which divided the main programme into blocks by topic and nationality.

For the central exhibition of ‘Alias’, held in the Bunker Sztuki gallery, the curators hunted down work already made under pseudonyms by artists, including Marcel Duchamp as Rrose Sélavy, Andrew Moletse (readers might remember work by this fictional character being included in the Standard Bank Drawing Competition of 1991) and William Kentridge, who appears in a short film in which three irritable versions of himself pick up horns and blow a cacophonous chorus.

13 May 2011 - 12 June 2011

Alias - Photomonth Krakow 2011

Various Participants at Various venues around Krakow

You know how the art world works. You walk into a show and unless the artist concerned is exhibiting for the first time ever, you are already familiar with the name, the reputation, and something of the artist’s previous work, and you bring all this knowledge to bear when looking at this new display. You may even be aware of the artist’s precise position in the precarious hierarchy of critical acclaim, and also in which important collections the artist’s work is held.

All of this carefully acquired information is very helpful when forming an opinion of the new exhibition. It also acts as a comforting buffer against looking foolish when another viewer asks you if you think the work is good, or, perhaps… So how does one react when one enters an exhibition space and hears one of the curators declaim ‘None of the artists in this exhibition exist. All of the works are copies’ ?

South African born, London based photographers Adam Broomberg and Oliver Chanarin came up with the theme of ‘Alias’ when invited to curate Krakow Photomonth 2011, and in so doing made a radical departure from previous editions of the event which divided the main programme into blocks by topic and nationality.

For the central exhibition of ‘Alias’, held in the Bunker Sztuki gallery, the curators hunted down work already made under pseudonyms by artists, including Marcel Duchamp as Rrose Sélavy, Andrew Moletse (readers might remember work by this fictional character being included in the Standard Bank Drawing Competition of 1991) and William Kentridge, who appears in a short film in which three irritable versions of himself pick up horns and blow a cacophonous chorus.

13 May 2011 - 12 June 2011

Alias - Photomonth Krakow 2011

Various Participants at Various venues around Krakow

You know how the art world works. You walk into a show and unless the artist concerned is exhibiting for the first time ever, you are already familiar with the name, the reputation, and something of the artist’s previous work, and you bring all this knowledge to bear when looking at this new display. You may even be aware of the artist’s precise position in the precarious hierarchy of critical acclaim, and also in which important collections the artist’s work is held.

All of this carefully acquired information is very helpful when forming an opinion of the new exhibition. It also acts as a comforting buffer against looking foolish when another viewer asks you if you think the work is good, or, perhaps… So how does one react when one enters an exhibition space and hears one of the curators declaim ‘None of the artists in this exhibition exist. All of the works are copies’ ?

South African born, London based photographers Adam Broomberg and Oliver Chanarin came up with the theme of ‘Alias’ when invited to curate Krakow Photomonth 2011, and in so doing made a radical departure from previous editions of the event which divided the main programme into blocks by topic and nationality.

For the central exhibition of ‘Alias’, held in the Bunker Sztuki gallery, the curators hunted down work already made under pseudonyms by artists, including Marcel Duchamp as Rrose Sélavy, Andrew Moletse (readers might remember work by this fictional character being included in the Standard Bank Drawing Competition of 1991) and William Kentridge, who appears in a short film in which three irritable versions of himself pick up horns and blow a cacophonous chorus.

13 May 2011 - 12 June 2011

Alias - Photomonth Krakow 2011

Various Participants at Various venues around Krakow

You know how the art world works. You walk into a show and unless the artist concerned is exhibiting for the first time ever, you are already familiar with the name, the reputation, and something of the artist’s previous work, and you bring all this knowledge to bear when looking at this new display. You may even be aware of the artist’s precise position in the precarious hierarchy of critical acclaim, and also in which important collections the artist’s work is held.

All of this carefully acquired information is very helpful when forming an opinion of the new exhibition. It also acts as a comforting buffer against looking foolish when another viewer asks you if you think the work is good, or, perhaps… So how does one react when one enters an exhibition space and hears one of the curators declaim ‘None of the artists in this exhibition exist. All of the works are copies’ ?

South African born, London based photographers Adam Broomberg and Oliver Chanarin came up with the theme of ‘Alias’ when invited to curate Krakow Photomonth 2011, and in so doing made a radical departure from previous editions of the event which divided the main programme into blocks by topic and nationality.

For the central exhibition of ‘Alias’, held in the Bunker Sztuki gallery, the curators hunted down work already made under pseudonyms by artists, including Marcel Duchamp as Rrose Sélavy, Andrew Moletse (readers might remember work by this fictional character being included in the Standard Bank Drawing Competition of 1991) and William Kentridge, who appears in a short film in which three irritable versions of himself pick up horns and blow a cacophonous chorus.

13 May 2011 - 12 June 2011

Filled with Absence

Various Participants at The Collective

'Sometimes I need what only you can provide - your absence.' – Ashleigh Brilliant

Riaan van Jaarsveldt is a South African born artist who has spent the last 6 years living and working in Belgium. He made his way back to South Africa via an eight-month-long meandering through the African continent, a voyage back home as it were, which has seen him settle, for now, in Durban. 

The exhibition, 'In the Artists’ Absence', currently on at The Collective in Durban (13 Feb – 03 March), sees Van Jaarsveldt play a series of roles, and as such, he is very much present. The seed for what the exhibition has become germinated through a series of discussions with artist friends/colleagues in Belgium. Perhaps in their physical absence and through a potential yearning for their presence in some form, Van Jaarsveldt has orchestrated a conceptual possibility for this to happen.

In brief, the exhibition has been put together from a series of instructions given to Van Jaarsveldt by the participating artists who are not, and will never be, actually present. Based on these instructions he has made, has commissioned and has installed the various works according to what he was instructed to do. Snippets of information and images of the space were all the artists had with which to conceptualize the works.

In some cases, the instructions were very direct and simple, and relied on execution through a series of step-by-step commands. In other instances the process required interpretation; basic, drawn elements that would then have to be interpreted into physical objects.

In one specific instance, a particular work is literally conspicuous in its absence. The mailed instruction of the work is yet to arrive – perhaps is slowed up in the mail and will still do so, or may in fact be lost forever. Nonetheless, this work sits in limbo; waiting in suspended absence.

13 February 2012 - 03 March 2012

Grand Opening

Various Participants at The Collective

This last week Durban saw the launch of a new gallery space, The Collective. An offshoot from the Durban staple artSPACE, The Collective has a batch of freshly-baked (and much-needed) ideas with which to broaden Durban’s generally insular art scene. Chatting to the three young women behind the new space, my first thought was: 'Thank goodness there is something new happening in Durban!'

The Durban gallery culture is an odd one. It seems to (deliberately?) remove itself from any contact with Johannesburg- or Cape Town-based galleries and artists. Occasionally something exciting pops up – like the recent MTN New Contemporaries at the KZNSA, but largely, it’s the same stable of painters, painting the same portraits (with the occasional landscape thrown into the mix). With the closure of Bank gallery, the Durban Art Gallery focusing largely on ‘Durban’ art (I refer to my interview with new curator Mdu Xakaza published on ArtThrob recently), the KZNSA apparently giving space to whoever can afford to exhibit, and artSPACE seemingly rehashing the same art under a different title monthly, a breath of fresh air into the Durban art scene is much needed. Despite producing incredible young talents such as Michael McGarry, Vaughn Sadie and Dineo Seshee Bopape, artists seem to  run screaming for the highveld at the first opportunity, in search of a more appreciative, and possibly less conservative, art market.

The curatorial and gallery focus in Durban is based very much on saleable and decorative art – where guest speakers at openings generally encourage the audience to 'get those wallets out and buy!' Whether Durbanites just have less money to spend on art than their Jo’burg peers, or whether it’s the gallery system perpetuating such a ‘painting on the lake’ atmosphere, the Durban art scene is very much the literal and metaphorical ‘poor cousin’ of its larger relatives.

Now before I have a slew of hate mail, let me remind you of my initial point: thank goodness something new is happening in Durban. It is well overdue, and the public responded. The opening was packed, and there was a genuine buzz of excitement at the possibilities of the new space.

16 May 2011 - 16 June 2011

A Change of Heart

Various Participants at Victoria and Albert Museum (V&A)

'Artist-slash-photographer' was a contentious double act which slid in and out of focus at the highly-charged ‘Ethics and Poetics of Photographic Depictions of People’ conference at the Victoria and Albert Museum in June. A discursive ancillary to Tamar Garb’s ‘Figures and Fictions: Contemporary South African Photography’ exhibition housed down the vaulted passageway, the conference aimed to dispense with default positions in ways of framing South African photography: getting it, in a sense, to sit still long enough for us to observe its contemporary manifestations in sharper detail. One of the exhibition’s main trajectories was to trace the simultaneity of South Africa’s re-emergence into international cultural economies and photography’s entry into the global circuits of contemporary art as a recognised, and indeed valorised medium which was doing something more than ‘just document’. It seems, however, that the shutter speed has been somewhat slow on a localised level, resulting in a blurry conception of how to approach a context-heavy historical archive of documented social realities and the affective, highly-saturated sophistication of itinerant contemporary art-photography.

24 June 2011 - 25 June 2011

Listings(s)

Pre-Post-Per-Form - Colloquium on Interdisciplinary and Performance Art

Various Participants at GIPCA UCT Hiddingh Campus

Pre-Post-Per-Form, hosted by UCT’s Gordon Institute for Performing and Creative Arts (GIPCA), is a colloquium convened by GIPCA’s Creative Arts Awardee Jay Pather to explore interdisciplinary and performance art and will bring together leading artists, academics, festival directors and curators, journalists and writers. Panels, lectures, discussions, viewings, exhibition walkabouts and performances are scheduled throughout the three days.

Participants include iconic Mexican-American performance artist Guillermo Gómez-Peña; Trevor Davies, director of the Metropolis Biennale; writer and artist Sue Williamson; curator Melissa Mboweni; award-winning architect/visual artist Doung-Anwar Jahangeer; renowned scholar and writer Sarah Nuttal; veteran journalist Adrienne Sichel and performer Mwenya Kabwe.

Performances include GIPCA Fellow Robert Jeffery’s Songs in Dead Languages, Athi-Patra Ruga’s work and 'Ingcwaba lendoda lise cankwe ndlela', a physical theatre piece directed by GIPCA awardee Mandla Mbothwe, as well as exhibitions by Svea Josephy (Third Worlds: Model Cities); Fritha Langerman (Subtle Thresholds); Jonah Sack (A proposal for a new city, the same as the old) and Roger van Wyk (Dada South).

The registration is R500 for the three day colloquium (including tickets for all performances), or R200 for students. Bookings through Computicket www.computicket.co.za.

For more information contact Niek de Greef at GIPCA on (021) 480 7156 or email niek.degreef@uct.ac.za.

20 February 2010 - 22 February 2010

Dada South? Exploring Dada legacies in South African art 1960 to the present: Closing Event

Various Participants at Iziko South African National Gallery

Dada South closes on Sunday with a series of talks and performances featuring John Nankin (artist, set designer and central figure in Cape Town’s history of experimental and avant-garde theatre), Adrian Notz (co-director of Cabaret Voltaire in Zurich), Lia Perjovschi (who has been co-ordinating a complex personal archive for over twenty years in Romania) and Shelley Sacks (who trained and under Joseph Beuys, and based in the UK since 1990 has developed various art projects with a focus on social sculpture).

Sunday February 28, 2010

11h00 – 16h00

28 February 2010 - 28 February 2010

Beyond The Racial Lens - Bonani Africa 2010

Various Participants at Assorted venues in and around Cape Town

'Beyond the Racial Lens - The Politics of South African Documentary Photography, Past and Present': The Bonani Africa 2010 Festival of Photography exhibition and conference.

If South Africa’s tradition of social documentary photography remains among its best known and most celebrated cultural achievements, it has also been at the centre of the often tumultuous debates regarding art, historical memory, and political engagement post democracy. During apartheid photographers sought to challenge the prevailing visual regime at a number of different levels: recording and exposing the system’s brutalities, celebrating myriad forms of survival and resistance and producing alternative narratives.

A younger generation of photographers has increasingly turned toward experimentation with both aesthetics and the medium itself to forefront questions of identity, sexuality, subjectivity, and persona. Yet the afterlife of apartheid’s social divisions and the persistence of a highly divided society continue to pose the question of photographic representation with intensified force. Who controls the creation and distribution of images, who represents whom and for what audiences, and how can people come to see differently?

Featuring the work of 56 photographers and more than 60 photographic essays, the exhibition covers an array of subjects, from the effects of breast cancer to the display of opulence that is a hallmark of success amongst the country's new elite.

The conference programme runs from 19-21 August 2010 and brings together 'a diverse group of photographers, curators, art critics, and historians to discuss and debate this multi-faceted theme over a four day period,' says Omar Badsha, CEO of South African History Online.

It includes a series of discussions, lectures and seminars held at the TH Barry Lecture Theatre of the South African Museum in Cape Town. A highlight of the conference is a conversation between Omar Badsha and David Goldblatt in 'Photography beyond the Racial Lens,' on Thursday 19 August.

Exhibition opens: Wednesday 18 August, 18h00 for 18h30, Castle of Good Hope.

For a detailed programme, please visit the SA History Online website at http://www.sahistory.org.za/pages/saho%20stuff/saho-exhibitions/bonani/program.htm

18 August 2010 - 18 September 2010

'Infecting the City'

Various Participants at Various venues around Cape Town

The Africa Centre presents 'Infecting The City' for the fourth year in a row, a public performance festival in which Cape Town’s plazas and squares become theatres, the pavements turn into art galleries, and, this time, even a rubbish truck will be used as a stage.

This year’s 'Infecting The City' theme, ‘Treasure’, is about making art something to which everyone can relate. You’ll find sufi rituals, b-boy duels, sari wrapping, stick fighting, and even drummies in the mix with opera, sculpture and other performance art.  he big new square in front of the Cape Town Station – the ‘Station Forecourt’ – will serve as the Festival Hub, where much of the action is taking place. If you catch a train into the City you’ll find various bands playing there first thing in the morning, again at lunch and in the late afternoon. There are also visual and performance artists working there throughout the day. Although the Station is the Festival Hub, the entire Central Business District will be full of 'Infecting The City' events throughout the Festival week.

Visit www.infectingthecity.com to get more detail on the programme and the map, which locates all the Festival’s activities.

21 February 2011 - 26 February 2011

'Geography of Somewhere'

Various Participants at Stevenson in Johannesburg

Brodie/Stevenson presents a curated group show under the title 'Geography of Somewhere' during April and May.

As the gallery states, 'At the heart of this exhibition is a paradox: the work it brings together may be understood as coming from the city, but it is not of the city. The artists' practices draw aspects of their vocabularies from conditions of the urban, yet their works are not simply descriptive of the "city".' Work by artists such as Odili Donald Odita, Zander Blom and Dineo Seshee Bopape is included.

14 April 2011 - 13 May 2011

Public Discussion on 'reGeneration2 – Tomorrow’s Photographers Today'

Various Participants at Michaelis Gallery

UCT’s Gordon Institute for Performing and Creative Arts (GIPCA) will host a panel discussion entitled 'Present and Future Photography – Capturing the Present, Curating the Future', looking at the 'reGeneration2 – Tomorrow’s Photographers Today' exhibition. The discussion is an opportunity to learn more about the exhibition from co-curator William Ewing who will explore how it illuminates current and future trends in photography. Ewing is a globally-respected curator, author and editor whose exhibitions have been shown at the Museum of Modern Art, New York and the Centre Pompidou, Paris, amongst others.

The panel will include critic, writer and editor Alexandra Dodd and Dr Litheko Modisane, Postdoctoral Research Fellow at UCT’s Social Anthropology Department, and will be chaired by Professor Pippa Skotnes, Director of UCT’s Centre for Curating the Archive.

The discussion takes place on Thursday 29 July, 17h30 for 18h00
Commerce Lecture Theatre,  Commerce Building,
UCT Hiddingh Campus, Orange Street, Cape Town.

All are welcome to attend and entrance is free.

29 July 2010 - 29 July 2010

Figures & Fictions Conference: 'The Ethics and Poetics of Photographic Depictions of People;

Various Participants at Victoria and Albert Museum (V&A)

The exhibition 'Figures & Fictions' focuses on the representation of people. This conference - 'The Ethics and Poetics of Photographic Depictions of People' - will address the way contemporary and recent South African photography stages, complicates and contests identity in a huge variety of practices. Papers will examine the ethnographic past as well as historic documentary practices and portraiture, to explore the various ways in which humans have been depicted in this region. Contemporary photographers will discuss their work in relation to this photographic past. Critics, artists and historians will engage in debate about the politics, ethics and artistic strategies of picturing people in South Africa.

24 June 2011 - 25 June 2011

Dinosaurs or Dynamos: Is There a Future for Museums in South Africa?

Various Participants at Iziko South African National Gallery

Join Pippa Skotness in conversation with Dr. Steven Dubin, Sue Williamson, Riason Naidoo (Director of ISANG) and Andrew Lamprecht as they discuss South African Museums: Challenges and Opportunities.

The discussion is a Jacana Media, Book Lounge, Cape Times and Equal Education initiative. Members of public are asked to please bring high quality children's and young adults' books in good condition, to donate to Equal Educations book drive for school libraries.

Starts at 14hoo for 14h30

RSVP: strictlytickets.com

01 August 2010 - 01 August 2010

'Sketch Assembly'

Andrew Putter and Various Participants at GIPCA UCT Hiddingh Campus

'Sketch Assembly' is a new educational project designed by Andrew Putter which focuses on what artists rarely exhibit: the tests, versions and sketches made on the way towards producing finished products.  In this new project in the 'Hottentots Holland' cycle, Putter and a group of 30 young artists and designers – called the 'Sketch Assembly' - spent four months playfully re-imagining early contacts between ‘Hottentot’ and Dutch youth at the Cape in the 1600s.  No final products were made: only increasingly ambitious sketches, often in the form of elaborately staged photographs.  The 'Sketch Assembly’s' work is carefully based on Dutch merry company prints and paintings from the 1600s, and on the few, rare drawings of the Cape Khoikhoin (‘Hottentots’) that still exist today.  The exhibition shows the many sketches and exploratory processes made by the group, including photographs, drawings, diagrams, costumes, and props.

Artists and designers included: Paul Ward, Swain Hoogervorst, Penny Youngleson, Angela Nemov, Katryn Beaurain, Jen Bam, Leigh Bishop, Anine Kirsten, Jeanne Fourie, Claudio Massenz, Christiaan Conradie, Warren Papier, Karin Williams, Noël Platts, Claire Watling, Pieter Janse van Rensburg, Alessandro Betti, Morne Visagie, Mbongeni Dlamini, Andrew McNally, Leah Hawker, Inge Jansen, Jody Paulsen, Mikkie-dene Le Roux, Melissa Haiden, Joshua McLean,  Dylanne Powell, Chad Petersen, and Seemaa Allie.

Open only Wednesday 20 and Thursday 21 October at the Michaelis Gallery

20 October 2010 - 21 October 2010

Toffie Pop Culture Festival

Various Participants at Cape Town City Hall

Toffie Pop Culture Festival is three day event that includes exhibitions, workshops, presentations and partying. Curated by Peet Pienaar’s design agency The President and hosted in both Cape Town and Buenos Aires, this annual event returns with talks and presentations by twenty four talented South African creatives including Andrew Putter, Brandt Botes, Frauke Stegmann, Francois Burger, Tumi Molekane and more, as well as a selection of international guests such as Argentinean filmmaker Javier Lourenco and designer Michael Spahr, an artist, filmmaker and storyteller from Switzerland.

The festival will also include daily boxing matches and “inspiration tables” by Kobus van der Merwe, Dokter & Misses, David West, Barend de Wet, Sangoma & Photon Foundation, Iziko Museums and more. A Word Of Art features “Adidas Originals Exhibition” with live painting by Boamistura. Food, beer and music also feature in a comprehensive line up. Programme available at:

http://toffiepop.blogspot.com/

24 March 2011 - 26 March 2011

Emerging Modernities: colloquium / exhibitions / panels / performances / installations

Various Participants at GIPCA UCT Hiddingh Campus

The Gordon Institute for Performing and Creative Arts (GIPCA) at UCT is hosting the ground-breaking Emerging Modernities event from 18 - 20 February.

"Emerging Modernities is a creative platform where academia and the arts meet in an interactive way to explore current conceptual issues surrounding the notions of redefining contemporary identities and art," says GIPCA Director Jay Pather.

"The event is structured in a unique way, in that it combines performances, installations and exhibitions with panel discussions. We want to give attendees an opportunity to observe some of South Africa's cutting edge artists in action, and then also reflect critically on the experience, with its conceptual implications, with a panel of experts," said Pather.

The weekend long Emerging Modernities opens with an address by the highly respected Simon Njami, art critic, novelist, essayist and curator, of Cameroonian decent and currently residing in France. Mwenya Kabwe, Peter van Heerden, Andrew Putter, Nandipha Mntambo, Magnet Theatre and Sello Pesa are some of the contributors who will be showcasing their work, combined with panel discussions facilitated around issues relating to performing and creative arts disciplines, as well panels that deal with language, the city, and notions of tradition and curriculum design.

Panelists include academics and cultural theorists Crain Soudien (Deputy Vice Chancellor, UCT), Neo Lekgotla laga Ramoupi (Africa Institute of South Africa, Pretoria, Deborah Posel (Director: Institute for Humanities in Africa), Neo Muyanga and Ntone Edjabe (Pan African Space Station), Bettina Malcomess, Rael Salley, Gabi Ngcobo, Gavin Younge, Mark Fleishman and composer Bongani Ndodana-Breen.

The topics addressed during the panel sessions will include "Emerging modernities and the contested curriculum in the post colony", "Re-presenting the other, artistic collaboration and identity construction as process in the visual arts", "Intercultural composition and Pan African re-emerging and merging in music", and "Performance and the African city: multiple tongues; hybrid formations and translocations".

In addition to the sessions that critically reflect on existing bodies of work, the event will also host the première of a work composed by Wits University's Jeanne Zaidel-Rudolph and UCT's Anri Herbst as part of a research project on indigenous knowledge systems, focussing on the preservation of Xhosa overtone singing. A concert will be held on Saturday evening featuring the Ngqoko Women's Ensemble, showcasing their unique music style.

The second half will comprise the Women's ensemble with 13 instrumentalists, conducted by Alexander Fokkens, performing originally composed music by Zaidel-Rudolph, Christo Jankowitz and Kerryn Tracey. ??The conference also hosts the première of Peter van Heerden and Anne Historical's installation work Monument, which will take place at the Castle of Good Hope. Another site specific performance will be In House by Ntsoana Contemporary Dance, featuring Sello Pesa and other performers.

Die Vreemdeling by Magnet Theatre, directed by Mark Fleishman, is also on the programme. The event includes an exhibition walkabout of In Context at the South African National Gallery, led by curator Liza Essers, director of the Goodman Gallery.

Registration for Emerging Modernities is open to members of the public, and the fee for attending all the sessions and performances, is R350. This includes all lunches and teas, the opening cocktail function and transport to the various installation performances throughout the city. A subsidised student registration is available at R70.

The event opens on Friday evening 18 February, and ends on Sunday 20 February. ??The full Emerging Modernities conference programme will be available online (www.gipca.uct.ac.za) by the end of January.

Early registration for the conference is now open, and can be done by contacting Adrienne van Eeden-Wharton on 021 480 7156, or by e-mailing fin-gipca@uct.ac.za.

18 February 2011 - 20 February 2011