Art Insure

UJ ARTS CENTRE


PPC Imaginarium Award

Various Artists
PPC Imaginarium Award, Banner ,

SEE LISTING 'Performing Wo/Man'

Group Show
'Performing Wo/Man', Invitation image ,

SEE LISTING Leaping Fish

Jackson Hlungwane
Leaping Fish, Wood , 58 x 108 cm

SEE LISTING SERENGETI CROSSROADS (The Shepherd Principle Project 2011-2014)

Georgia Papageorge
SERENGETI CROSSROADS (The Shepherd Principle Project 2011-2014), Invitation ,

SEE LISTING Untitled (detail)

Sandile Zulu
Untitled (detail), Fire, Water, Earth, Air and Plastic on Canvas. ,

SEE LISTING

University of Johannesburg (UJ) Kingsway Campus Corner of Kingsway Avenue and University Road Auckland Park

gallery@uj.ac.za
http://www.uj.ac.za/EN/ArtsandCulture/Pages/home.aspx

Hours: Mon – Fri: 09 00 – 18 00, Sat: 09 00 – 13 00 Closed on public holidays


Listings

Various Artists at UJ ARTS CENTRE

The first PPC Imaginarium Awards exhibition will be hosted by UJ Arts & Culture during January 2015.  The official opening and announcement of the winners in each category will take place on Thursday 22 September 2015 at the UJ Art Gallery.

This prestigious annual Awards programme focuses on six art and design categories namely fine art sculpture, jewellery, industrial design, film, architecture and fashion, with the first exhibition including works of 96 finalists selected nationally from 477 shortlisted submissions. Winners in each category will receive a cash prize of R50 000 and the overall winner R100 000.

The Award is unique in its combination of offering financial benefits, mentoring, workshops, exhibition opportunities and promotion in the media as well as allowing for online exposure and sales.  PPC Ltd is known as one of the foremost supporters of emerging creative talent in South Africa.    It is another demonstration of PPC’s recognition that art and design are major contributors to innovation.

Public educational talks on Innovation and Creativity will be presented by thought leaders in the world of art and design.

The exhibition will be on public display at the Design Indaba, ICCCT, and Cape Town for the duration of the Design Indaba Expo from 27 February until 1 March 2015. During this event the overall PPC Imaginarium winner will be announced and a cash prize of R100 000 awarded.

22 January 2015 - 13 February 2015

Group Show at UJ ARTS CENTRE

An exhibition focusing on gender identity in post-apartheid South African art, entitled ‘Performing Wo/Man’ is curated by Derek Zietsman, Master’s graduate from the Faculty of Fine Arts, Design and Architecture at UJ and Chancellor’s medal recipient for 2013.

The primary aim of the show is to explore how a changing post-apartheid socio-political environment is causing South African men and women to create new conceptions of identity, and to comment on how South Africans are breaking down previously imposed and preconceived identities. 
‘Identity theorists, such as Stuart Hall and Butler, contend that identities are not something which already exists, but a construct that undergoes constant transformation, a fluid variable which shifts and changes in different contexts and at different times’, says Zietsman.

The exhibition therefore visually investigates, explores and comments on issues such as, inter alia, the historic and contemporary construction of South African identities; masculinity; femininity; patriarchal hegemony; sexual identity; social identity; racial identity; social expectations for post-apartheid gender performativity; political and social change and its effects on gender performativity; rape and violence in South Africa; abuses of power by role models and politicians. 

It further references a parodic/ironic reworking of historic and contemporary gender performative imagery, it reflects on the various artists’ approaches to representing emerging cultural models of masculinity and femininity in post-apartheid South Africa, and perhaps exposes a fragility in post-apartheid gender performativity.

The artists participating in Performing Wo/Man are Bambo Sibiya, Bevan de Wet, Christiaan Diedericks, Collin Cole, Daandrey Steyn, Derek Zietsman, Diane Victor, Gordon Froud, Karin Preller, Grace da Costa, Jaco van Schalkwyk, Lehohonolo Mashaba, Paul Molete, Richardt Strydom.

06 August 2014 - 10 September 2014

Jackson Hlungwane at UJ ARTS CENTRE

The acclaimed Jackson Hlungwani exhibition, ‘Jackson Hlungwani – A New Jerusalem’, is moving to the University of Johannesburg, Auckland Park-Kingsway Campus,  which opens on 18 June 2014.Until recently the exhibition was on show at the Polokwane Municipal Art Museum in Limpopo, following  its  successful launch in November 2013 and an extension of the exhibition run   to  March this year. 

Funded by the MTN SA Foundation, this seminal exhibition provides a retrospective overview of the legendary artist's sculptures, prints, tools, sacred New Jerusalem site and philosophy.
 
By showcasing pivotal artists such as Hlungwani, UJ Arts & Culture continues to share South African artistic legacy, not only with its students but also with the South African public. Such programmes promote the development of the South African arts industry, especially when supported by two partnering organisations of calibre.

“As the current hosts, we have been granted a rare opportunity to exhibit such a large body of work by the late Jackson Hlungwani. All of the work on show was borrowed from public collections and individual collectors who kindly contributed some of the most important pieces created during the artist's life time.  It is a privilege to be associated with partners such as MTN SA Foundation, our main sponsor for this project and working closely with Nessa Leibhammer, the guest curator, whose knowledge on this subject is unsurpassed.” says Annali Cabano-Dempsey, UJ Art Gallery Curator.   
 
Jackson Xidonkani Hlungwani is one of South Africa’s most celebrated sculptors. During his life, and since his passing in 2010, this Limpopo artist has grown as a legend – not only because of his unique and powerful sculptures, but also because of his renown as preacher and visionary. Since the 1980s, Hlungwani’s work has been shown in Europe and America and his work is represented in major public and private art collections, nationally and internationally.

"As the sole funders of this project, MTN SA Foundation’s two-year support includes sharing the exhibition with as many South Africans as possible; hence the re-opening of the exhibition at the University of Johannesburg Art Gallery." says Kusile Mtunzi-Hairwadzi, General Manager of MTN SA Foundation.

Originally conceptualized by Amos Letsoalo at the Polokwane Municipal Art Museum, this exhibition was developed by renowned curator, Nessa Leibhammer. It consists of some 40 artworks, artifacts and biographical photographs loaned from public and private collections,  providing a comprehensive overview of Hlungwani’s contribution to South African art.

Visitors will be able to see many of Hlungwani’s now-famous fish sculptures, including ‘Leaping Fish’, ‘Double Fish’ and ‘Emperor Fish’ as well as ‘God’s Leg with Eggs’, the ‘Hand of God’ and ‘Christ Playing Football’, amongst many others. The works on the exhibition will be complemented by large photographic images that show the world of Hlungwani as he carved, taught and inspired. Also on exhibition is a visual pilgrimage through Hlungwani’s ‘New Jerusalem’ site, comprising 40 never-before seen photographs, taken by architect Peter Rich in the early 1980s, as well as an annotated map of the site drawn by Rich.

The exhibition will be complemented by an education programme targeting students, schools and communities. A dedicated edition of ‘ArtTalk’ published by the MTN SA Foundation will be available at the gallery.

18 June 2014 - 16 July 2014

Georgia Papageorge at UJ ARTS CENTRE

The explorations of inner rifts within ourselves and the environments we inhabit have been the central defining factor in Georgia Papageorge’s work for the past 20 years.  Her new body of work, entitled 'SERENGETI CROSSROADS (The Shepherd Principle Project 2011-2014)' deals with nurturing concepts with regard to threatened wildlife throughout Africa and in particular the Serengeti , where one of the greatest migrations on Earth is exposed to a commercial road that will cut directly across the migratory path.  She considers such changes in a concentrated single region as symptomatic of environmental loss throughout the world today.

The symbolic vehicle Papageorge has chosen to transform into a ‘protective/healing’ ritual is the Southern Cross Constellation.  Known as the Crux, the Southern Cross migrates across Southern Hemisphere skies and has been the traditional ‘shepherd’ to travellers over the millennia. The Southern Cross constellation is one of the most significant star systems in this whole arena and its protective efficacy stretches, East and West, South and North, can be seen from Australia to South America and beyond, is reflected on the national flags of Australia, New Zealand and Brazil, and casts its protective aura and light upon all of these regions. 

Papageorge’s decision to create an image of the Southern Cross Constellation on the vast flat surfaces of the Makgadikgadi Salt Pans in Botswana was informed by the migration of zebra and wildebeest on their annual movement from the Boteti River in the West to the vast pans in the Eastern section of Botswana during the rainy season.  

Using a fallen veterinary fence to create the long arm of the cross together with blood red cloth markers, GPS readings, Google and mathematics, Papageorge and a team of collaborators created a scientifically accurate reflection of the Southern Cross upon the surface of the pans in May 2012.   Filmed and photographed from a helicopter, the cross is graphically incorporated to stand against corruption in every work made, whether it has its origins in Tanzania as with the ‘Serengeti Crossroads’ politicised mixed media works, or the more transfigured pieces done that reflect the vast light filled space of the Makgadikgadi.  

05 March 2014 - 09 April 2014

Sandile Zulu at UJ ARTS CENTRE

UJ Arts and Culture presents an exhibition entitled 'ARTOMS: Histopathology, Regeneration and Other Cases – Continued' with works by celebrated artist, Sandile Zulu. This show hosted in collaboration with SMAC Art Gallery and curated by Baylon Sandri, follows-on from the initial exhibition first shown in Stellenbosch in 2012.

The exhibition includes older works from the first show and newly produced works, showing Zulu’s ongoing interest and investigations into the visual and metaphysical interconnectedness of all things physical.

A 'visual explorer' and 'pyromancer', Zulu translates his investigations onto canvas in the archetypal mediums of fire, water, air and earth. His use of fire in particular, as both “image and process”, encourages the viewer to think about the nature of this volatile element. The paradox of fire as a creative and destructive force, as well as Africa’s history with fire, underpins this exhibition. It is the same intriguing element of risk involved in the controlled burning of veld fires that is at play in his compelling works on canvas. 

Zulu has a deep interest in biology, sociology, astronomy, philosophy, history and psychology. The word ‘histopathology’ from the exhibition title, refers to the microscopic examination of tissue undertaken to study the manifestations of disease. Here, Zulu acts as a pathologist, so to speak, looking at the universality of our human biology as a metaphor for exploring what he understands to be a 'diseased society', where our lived human experience is far from the one of the universality which our cells, tissues and muscles would suggest it to be. 

Having been brought up in rural Ixopo, KwaZulu Natal, and having experienced forced fencing and continual encroachment on his own family farm, issues surrounding inequality have always been central to his work. It is not only the ignorant who Zulu sees as responsible for our common disease, but also those who are aware of the inflictions in society and turn a blind eye. Zulu says that it is the social issues that negate us from one another: 'It is not about pointing fingers, it’s about how I raise my perceptions as far as society is concerned from a creative or visual point of view'.

Zulu’s large-scale fire scalded canvases look like biological specimens or blood samples compressed between contact plates and put under microscopic view. His flat fire forms are strangely fluid. The DNA spiral structure seen on canvas and sculptural form, Rorschach-like burns, and scorched colon-like spinal columns form unusually beautiful images. The recurrent burnt patterns in this body of work point at our human biology as equal. Zulu remarks: 'We come from one source, one genome, we are not different'.

29 January 2014 - 19 February 2014