WITW

David Krut Projects


Healing of Land

Lorenzo Nassimbeni
Healing of Land, Aquatint ,

SEE LISTING The Rhinocerous that looks at the sky

Diane Victor
The Rhinocerous that looks at the sky, Etching & embossing , Paper size: 131 x 93.5 cm

SEE LISTING The Standard

Stephen Hobbs
The Standard, Woodcut , 64 x 90 cm

SEE LISTING Mine

Mary Wafer
Mine, Exhibition Invitation ,

SEE LISTING Fragments of a Burnt History

Faith47
Fragments of a Burnt History, Exhibition Invitation Image ,

SEE LISTING

142 Jan Smuts Avenue, Parkwood, Johannesburg

lucy@davidkrut.com
http://www.davidkrutpublishing.com

Hours: Tuesday - Friday 09:00 - 17:00 Saturday 09:00 - 16:00


Listings

Various Artists at David Krut Projects

David Krut Projects, Parkwood, is pleased to present 'Equinox', a group exhibition of new works by artists with whom we collaborate. For those who missed the Joburg Art Fair in August, this will be your chance to view the latest prints to come out of David Krut Print Workshop (DKW) at Arts on Main, as well as a number of unique works. David Krut Projects invites you to celebrate the passing of winter. Equinoxes occur twice a year, at the time when the sun crosses the plane of the earth’s equator, making night and day approximately equal length the world over.  In the Southern Hemisphere, the Spring equinox this year falls on 23 September. Equinox showcases work by Deborah Bell, Senzo Shabangu, Diane Victor, William Kentridge, Maja Maljevic, Sam Nhlengethwa, Lorenzo Nassimbeni, Robyn Penn, Quinten Edward Williams and Stephen Hobbs.

25 September 2014 - 25 October 2014

Diane Victor at David Krut Projects

David Krut Projects is pleased to present an exhibition of prints by extraordinary printmaker, Diane Victor – the first solo show of her work in Cape Town since 2008. The exhibition comprises works created between 2008 and 2013, as well as a very early work from 1986. The keen selection brings viewers up to date with the artist’s production, as well as reiterating her mastery of the medium that has long served her unrelenting critical interrogation of everyday atrocities and the abuse of power.

For Victor, making art ‘provides a way of working through troublesome images that lodge themselves persistently in her memory.’ The process is cathartic. The visual equivalent of psychoanalytic ‘talking cure’, Victor draws her subject matter from far and wide, pulling information from the media and personal encounters, transforming them into rich and heavily populated compositions, full-blown narratives employing her grotesque and characteristic iconography. In this exhibition, one sees Victor still pre-occupied with ‘the big “catholic” sins –  greed, lust, envy and excess'( Bonwyn Law-Viljoen). Victor responds to instances of these in politics, tackling corruption, fraud and extortion on a grand scale within dominant social institutions. Simultaneously, she exposes the perpetuation of these crimes in everyday lives. As much as her technique is relevant to her subject matter, the pressure of the press and the bleeding of the ink into paper are also metaphorical of the persistence of injustice and Victor’s need to process and express her responses through visual language.

Whether her politics and platforms are public or personal, her imagery is the stuff of nightmares. However, the seriousness of her subject matter is kept in check by her sense of humour, revealed through parody, sharp satire and ironic self-effacement – a belief that ‘if you take yourself too seriously as an artist you are in very big trouble' (Luke Crossley, Juliet White & Krystina Comer).

12 April 2014 - 29 June 2014

Maja Maljevic, Mary Wafer, Diane Victor, Senzo Shabangu, Deborah Bell, Stephen Hobbs and William Kentridge at David Krut Projects

David Krut Projects Cape Town is pleased to present 'MATRIX', an exhibition of editioned works from the David Krut Print Workshop (DKW) that sheds light on the processes of printmaking. The selection of works present a range of different intaglio and relief printing techniques and are exhibited alongside the plates that were used to make them and, in some cases, the trial proofs that show the development of the work.

Prints, unlike paintings or drawings, generally exist in multiple examples.  They are created by drawing a composition not directly on paper but on another surface, called a matrix, and then, by various techniques, printing that image on paper. The matrix (from the Latin word mater, meaning mother) can be made out of a number of things – a woodblock, a metal plate, a lithographic stone or a mesh screen for example. At DKW, etching (on copper plates) and relief printing (on woodblock and linoleum plates) are used most frequently. Artists in studio have the opportunity to work with a master printer, who helps to achieve the marks the artists want by guiding the artists in the manipulation of the matrix. The job of the collaborating printer, ultimately, is to build the confidence in artists that allows the way they see the world to come through their hands, even in a medium using techniques they may be unfamiliar with and taking the transformative nature of the press into account. Printmaking is the only medium in which the process of artists’ image creation is revealed, also to themselves – when a proof is pulled off the press, the artist is also seeing the result for the first time, along with everyone else. Consequently, the print workshop is a supportive environment that embraces technical and aesthetic exploration, innovation and collaboration.

 

Included in 'MATRIX' are works by Deborah Bell, Stephen Hobbs, William Kentridge, Maja Maljevic, Senzo Shabangu, Diane Victor and Mary Wafer that offer viewers insight into techniques from linocut to aquatint. As well as plates and proofs, the installation includes explanatory text for each technique used.

25 January 2014 - 09 March 2014

Mary Wafer at David Krut Projects

The series of paintings on 'Mine' derive from a reflection on the events at Marikana of 16 August 2012. A strike at a Lonmin-owned platinum mine in the Marikana area close to Rustenburg lead to a series of violent confrontations between police, mine security officials, trade union leaders and miners in which 34 miners were killed and an unknown number injured.

The paintings are partially abstracted landscapes derived from media images and Wafer’s own visits to the site where the massacre happened. The works are an attempt, within the possibilities of painting, to find a way of responding to, and reflecting on, these events and the place in which they occurred. The event clearly has deep, indeed tragic, political, social and human consequences and significances. Wafer has attempted to find a way of inscribing and articulating something of her own response to these through paintings, drawing on the particularities of the environment: the harsh light, the broken and dislocated tracts of wasted land, the detritus or discarded remains of an extractive exploitation of both nature and humanity.

11 April 2013 - 18 May 2013

Faith47 at David Krut Projects

Faith47’s 'Fragments of a Burnt History',  is comprised of an installation of found objects and artwork created in the artist’s studio, as well as a new series of monotypes produced in collaboration with the David Krut Print Workshop. Faith47, based in Cape Town, is a recognised street artist whose work can be found in cities all over the world. She has an established international gallery career, with exhibitions in Europe, America and Australia, but 'Fragments of a Burnt History' is her first solo exhibition in South Africa, indicating a culture of cross-over from street to studio that is already well underway abroad.

The body of work presented in this exhibition is, appropriately, drawn from the artist’s experience of her own country, particularly the city of Johannesburg. Although the work is not a direct interpretation of the city, her experience is of Johannesburg as a representative African city; the streets full of the energy of transformation and endless possibility, but also the evidence of the harsh realities of day to day life. The textures of the streets are incorporated into her studio work, which becomes a combination of her signature graphic style and marks left behind by people who were in those locations before her. The installation of work communicates the emotion that Faith47 experiences on the streets, which tell her ‘a real, hard and beautifully sad story.’ The nostalgic architecture of the city is present in the work, and the sense that the ‘history of the city is etched deep into its streets’ – the works are fragments of this history, containing signs of the dynamic transition that has been, at times, reeling and painful, but has also been honest, allowing itself to be offered up for comment and consumption. The voices of the people that occupy this symbolic South African city, incorporated into Faith47’s own voice, allow her work to function as a penetrative look into the psyche of the spaces that we communally inherit.

08 November 2012 - 19 January 2013