Out of The Cube



Group Show
Hinterland, Exhibition Invitation ,

SEE LISTING Destination lies ahead

Themba Khumalo
Destination lies ahead, Drypoint and Monoprin ,

SEE LISTING Nize Nisikhonzele Phela Banodla Bo II

Bambo Sibiya
Nize Nisikhonzele Phela Banodla Bo II, Linocut ,


Karin Daymond
Karoo Alone III , Charcoal on paper , 90 x 150 cm

SEE LISTING Gallery2, formerly Gallery on the Square

Gallery2, formerly Gallery on the Square, ,


140 Jan Smuts Ave Parkwood 2193


Hours: Mon - Sat 9am - 6pm Sunday by appointment


Jaco Van Schalkwyk, Lauren Palte and Stephan Erasmus at Gallery2

The idea of the hinterland directly revolves around what could be described as a geographical area which has been forgotten or left alone for whatever reason the people of a country might have. The focus of this exhibition will take  a more symbolic/metaphoric approach to the understanding of Hinterland as a premise for this exhibition. 

The idea that the ‘Hinterland’ can lie ‘beyond what is visible’ opens up the possibilities for the exploration of this word. This idea and understanding of Hinterland carries the same usage of the word in late colonial Britain where hinterland was used to express the breadth and depth of ‘other matters’. But with regards to the practice of the artists participating in this exhibition the focus for the exploration can be narrowed down to memory. The metaphorical usage of Hinterland in relation to memory, indicates an exploration of the hinterland of memory, whether personal memory or the collective memory of a people. There is a strong possibility that the artists participating will undertake their own exploration from the personal point of view, where the almost forgotten and less vested memories will become the landscape being traversed and exposed.

15 March 2014 - 05 April 2014

Various Artists at Gallery2

Gallery 2 is proud to host “My Jo’burg”, an exhibition of work by David Koloane, Abe Mathabe, Themba Khumalo and Ross Passmoor.


09 November 2013 - 21 December 2013

Bambo Sibiya at Gallery2

As a student, Bambo’s work mainly dealt with issues regarding households with single parent mothers.
It is common practise for men to leave their homes in the rural areas, to seek employment on the mines.This left many households with an absent father, leaving the mothers and other women of the family to raise the children.

In his current work, Bambo’s focus has shifted to the culture and lifestyle that developed around the mining communities, encompassing dance, music, fashion and language.

Pubs and bars were reserved for whites during the Rhodesian and apartheid era and consequently gave rise to the advent of the home-shebeen. Mostly located in the black townships, the shebeens were originally operated illegally. Selling homebrewed and home-distilled alcohol, they provided patrons with a place to meet and discuss political and social issues.

Music and dance played very important roles in the early days of the miners. 'Isicathamiya' embodies the Rhythm of Resistance against apartheid, although not all black South African performance portrays resistance against white domination.

Gumboot dancing emerged in the 1880s among the Bhaca migrant workers, travelling between KwaZulu Natal and the gold mines in Johannesburg. The dancing commonly took place in the compounds where miners lived. Dance served as both relief from stressful, dangerous work, but also as a satirical commentary on the relationship with their overseers. Mining teams typically had a ‘boss-boy’, who served as the leader and functioned as an intermediary between the black workers and the white bosses. The leader of a Gumboot dance team mimics the boss-boy and satirizes the symbols of his control, e.g. the police whistle and the shouted commands. Many of the commands used in the mines are in a pidgin language called Fanakalo, which mining companies encouraged and standardized as a lingua franca. Black South Africans typically regard it as a defilement of Xhosa and Zulu and a language of subservience. The tensions of mine labor and racist social relations embodied in the commands, inform the performance and reception of Gumboot dancing.

The miners were often conflicted by the sense of pride in the courage necessary to work in the mines on the one hand, but by the constant fear for their lives on the other. They resented the mines that separated them from their families, but simultaneously depended on them to provide for their families. This also found expression in their dances.

The exhibition is titled ‘Khumbula Ekhaya’, which can be interpreted as ‘I’m homesick, I’m longing to go back home and I’m missing home’.

02 March 2013 - 28 March 2013

Karin Daymond at Gallery2

'These are landscapes in which my sense of aloneness prevails. I constantly puzzle over the idea of landscape art, painfully aware of its loaded history. Those burdens of acquisition and dominance are always with me and so for a moment I sought a state free of these ideals and agendas. These drawings are an escape, a simple search for a state intrinsic to everyone.'

Karin Draymond's series of intensely observed Karoo landscape drawings are a homage to South Africa's 'vast and cautious' interior, a terrain both arid and vulnerable, and at the same time a meditation on a particular state of mind. In combination they suggest an awareness of the subtle yet crucial continuity between human beings and their environment.

01 September 2012 - 22 September 2012

Unknown at Gallery2

Gallery2, formerly Gallery on the Square, has moved to the art strip along Jan Smuts in Parkwood. The gallery's opening exhibition is titled 'Transition', and features work by Wilma Cruise, Bronwen Findlay, Phillemon Hlungwani, Grace Kotze, Colbert Mashile and Hermann Niebuhr, amongst others.

08 May 2010 - 08 June 2010