BOS


No Man's Art

Various Artists
No Man's Art, Invitation ,

SEE LISTING Glenda III

Tracy Payne
Glenda III, Oil on Canvas ,

SEE LISTING Point of View: Contemporary South African Photography

Various Artists
Point of View: Contemporary South African Photography, Exhibition Invitation ,

SEE LISTING Temptation

Ryan Hewett
Temptation, Oil on Canvas ,

SEE LISTING In Living Colour

Ndikhumbule Ngqinambi and Lonwabo Kilani
In Living Colour, Exhibition Invitation ,

SEE LISTING


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Listings

Various Artists at

No Man’s Art Gallery organizes pop-up galleries all over the world, finding local young artistic talent early in their career and taking their work along to the next destination. During the Cape Town exhibition, the gallery will showcase South African artists alongside the artists that were discovered at the six previous destinations. 

 No Man’s Art Pop-up Gallery – CAPE TOWN offers a variety of media like video art, photography, painting, drawing, sculpture and corrosion drawings in creations of talented individuals. The names of the South African artists are still being confirmed. Among the 20 international artists are Merijn Kavelaars, currently residing in Shanghai after finding his market there during the previous pop-up gallery (his work sold out), Aixia Li, Mattijn Franssen, Julie Nymann, Nini Sum and Bertrand Peyrot. 

Blink and you'll miss it, the exhibition stays in town for only ten days at a secret location. Opening night will be a party until midnight, in presence of some of the international and local artists. Entrance is free but guest list only. To receive an invitation and the address, sign up on www.nomansart.com.

Alongside the artworks of professional artists, the exhibition will also showcase the best results of the Blikkiesdorp Photography Contest. Following the contest in Mumbai, India in 2011, the gallery now offers children from the township of Blikkiesdorp to experiment artistically with photography by giving them cameras, a photography workshop and feedback on their photos.

The gallery’s curator Emmelie Koster moves to each international destination for three months to set up a fully functioning network of artists, art collectors, sponsors, media and logistics. 

27 March 2014 - 05 April 2014

Tracy Payne at

The Barnard Gallery is proud to present 'Fumbling Towards Ecstasy' – an exhibition of paintings by Tracy Payne. Taken from the haunting song by Sarah McLachlan, the title provides a poignant hint of Payne’s relentless odyssey in search of self-actualisation. It is about leaving and grieving, loss and reclamation. It is a quest that is skinless, profound and in parts, viscerally painful, but articulated with grace, sensuality and beauty. In parts, Payne has literally inserted herself into the painting by lying on the bed sheets, which serve as giant canvases for some of her more provocative imagery. But describing this exhibition simply as a ”body” of works, while literally accurate, does not encapsulate the spiritual processes and self-interrogation Payne has undertaken in this ongoing journey. 

Continuing from where her previous 'New Life' series left off, 'Fumbling Towards Ecstasy' provides almost a chronological evolution of Payne’s efforts to access spirit through art and her embrace of creativity and creation.

05 September 2013 - 22 October 2013

Various Artists at

The Barnard Gallery is proud to present 'Point of View' - an exhibition of selected contemporary South African Photography. A common term in photography, point of view does not simply mean the position from which the camera sees the scene.

It is about the choice of place, object, memorable moments and those that go almost unnoticed, that catch the eye, becoming imbued with significance. And with these choices come the essential questions that every artist and every viewer must ask: what is the significance of these people, places and objects?

What conceptual and aesthetic decisions have been made to come to the point of framing and producing these images? Why the dominant or centralized focus on one image over another?

25 July 2013 - 29 August 2013

Ryan Hewett at

The Barnard Gallery presents ‘Genesis’ - an exhibition of oil paintings by Ryan Hewett launching on the 4th April 2013.

Renowned for his brooding evocative portraits, in this show the artist continues his exploration both of portraiture and his passion for oil as a painterly medium.

Contrary to the tradition of verisimilitude, for Hewett the portrait is not about capturing an external likeness of a subject; but rather as a portal to an inner journey of self-exploration. Hewett does not use sitters or models in an effort to produce a realistic depiction. Although photographs constitute his starting point , he relies principally on the free-flowing processes of memory and creative imagination.

His portraits encapsulate the truism: that the subject matter of all art is, ultimately, the self.

 "Many of the works start out as self-portraits, but I try not to paint with preconception," he explains. "The images need to evolve on the canvas."

In the twelve years that he has practiced as a full-time artist, Hewett's technique has evolved from the tightly wrought pencil drawings of his early oeuvre into the looser, layered surfaces of his more recent work. This is due to his accomplished handling of oils which he applies to the canvas with quick, almost brutal splashes of the palette knife Through blending, building, edging, detailing and scraping off painterly layers, Hewett’s imagery is textured and richly hued, conveying both complexity and raw emotion.

Morphing from realism to abstraction, his portraits evoke a tension between external representation and what lies beneath. As such, Hewett explores the polarities inherent in the internal and external components of portraiture. He embraces the binaries between self and other, revealing that always the twain shall meet.

04 April 2013 - 16 May 2013

Lonwabo Kilani and Ndikhumbule Ngqinambi at

The Barnard Gallery presents an exhibition of recent paintings by Ndikhumbule Ngqinambi and Lonwabo Kilani. Although their works differ markedly in stylistic interpretation, both artists were raised on the nutrients of resistance art - a genre of creative expression explicitly directed at the apartheid government and its increasingly oppressive exercise of power. Now artists-in-residence at Greatmore Studios in Woodstock, both were trained at the Community Arts Project, which played an important role during the anti-apartheid struggle by employing art as a vessel for social transformation. And both artists, having experimented with different media and genres, have returned to the tradition of figuration to articulate their artistic vision.

Ngqinambi's work is evolving from cultural and spiritual to political reflections, with imagery  inspired by the political posters printed by the South African Communist Party and trade union movements, whose vivid hues and strident imagery derive from both African art and Russian constructivist paintings. Monumental in scale with swathes of crimson cutting through marching crowds, they recall the colourful, dramatic agitprop posters printed to mobilise the masses. But these works do not only speak of a nostalgia for a halcyon era of revolutionary possibility; they also depict the contemporary socio-political context in which strikes, service delivery protests and other expressions of anger, frustration and disillusionment have become unfortunate features of the post-apartheid landscape.

Although proficient in animation and digital, interactive media, Kilani has returned to the raw, gritty painterly realism of his earlier work. But instead of perpetuating the prettified stereotypes of poverty found in much township art produced during the 1970s and 1980s, Kilani’s exploration of this idiom is more metaphorical. In his work a corroded zinc dish – the signature utensil of the South African township - serves as recurring, central motif, as a porthole to, and reflection of, an inner world. His figures perform syncopated dances against a flat background or manoeuvre masks of well-known politicians as one would a kite. Yet their shadows evoke a sense of marginality, suggesting that in reality they exert little control over the machinations of political power. And for them, as with Ngqinambi’s masses, the promise of the pot of gold at the end of the rainbow nation has proven, sadly, elusive.

14 March 2012 - 11 April 2012