Art Times August 2021 Edition by SA ART TIMES

AUGUST 2021 ARTTIMES.CO.ZA

PORTRAIT AWARD 2021 FINALIST EXHIBITION

04.09.2021 - 03.11.2021 RUST-EN-VREDE GALLERY

2019 PORTRAIT AWARD TOP 5 FINALIST - RUAN HUISAMEN

193 Gallery (Paris) • 313 Art Project (Paris, Seoul) • Galería 451 (Oviedo)* • Galerie 8+4 – Paris (Paris) • A&R Fleury (Paris)* • A2Z Art Gallery (Paris, Hong Kong) • Galerie AB (Paris)* • Martine Aboucaya (Paris)* • AD Galerie (Montpellier) • Afikaris (Paris) • Galería Albarrán Bourdais (Madrid) • Galerie Almine Rech (Paris, Brussels, London, New York, Shanghai)* • Alzueta Gallery (Barcelona) • Galerie Andres Thalmann (Zurich)* • Galerie Art : Concept (Paris)* • Art to Be Gallery (Lille) • Galerie Ariane C-Y (Paris) • Galerie Arts d’Australie – Stéphane Jacob (Paris) • Galerie Bacqueville (Lille, Oost-Souburg) • Helene Bailly Gallery (Paris)* • Galerie Ange Basso (Paris) • La Balsa Arte (Bogota, Medellin)* • Galerie Laurence Bernard (Geneva)* • Galerie Anne-Sarah Bénichou (Paris)* • Galerie Berès (Paris)* • Galerie Claude Bernard (Paris) • Galerie Bert (Paris) • Galerie Berthéas (Saint-Étienne, Vichy, Paris)* • Galerie Bessières Art Contemporain (Chatou) • Galerie Françoise Besson (Lyon)* • Galerie Binome (Paris) • Bogéna Galerie (Saint-Paul-deVence) • Galerie Bernard Bouche (Paris)* • Galerie Boulakia (London)* • Galerie Capazza (Nançay) • Galerie Jean-François Cazeau (Paris) • Galerie Chauvy (Paris) • Galerie Chevalier (Paris)* • Galleria Continua (San Gimignano, Beijing, Boissy les Chatel, La Havane, Rome, São Paulo, Paris)* • Galeria Cortina (Barcelona)* • Christopher Cutts Gallery (Toronto) • Danysz (Paris, Shanghai, London)* • Galerie Derouillon (Paris)* • Dilecta (Paris) • Ditesheim & Maffei Fine Art (Neuchâtel)* • Galería Marc Domènech (Barcelona) • Galerie Eric Dupont (Paris) • Galerie Dutko (Paris) • galerie frank elbaz (Paris)* • Espace Meyer Zafra (Paris)* • Galerie Valérie Eymeric (Lyon) • Galerie Les Filles du Calvaire (Paris)* • Galerie Claire Gastaud (Clermont-Ferrand, Paris) • Galerie Louis Gendre (Chamalières) • Galerie Alain Gutharc (Paris) • H Gallery (Paris) • Galerie Ernst Hilger (Vienna) • Huberty & Breyne Gallery (Brussels, Paris) • Galerie Intervalle (Paris) • Galerie Italienne (Paris) • Galerie Jean Fournier (Paris)* • Galerie Jeanne Bucher Jaeger (Paris/ kreo (Paris)* • Galerie La Forest Divonne (Paris, Brussels) • Galerie Lahumière (Paris) • Galerie La Ligne (Zurich)* • Galeria de las Misiones (Montevideo)* • Galerie Le Feuvre & Roze (Paris)* • Galeria Le Guern (Warsaw)* • Galerie Lara Vincy (Paris) • Alexis Lartigue Fine Art (Paris) • Galerie Jean-Marc Lelouch (Paris) • Galerie Lelong & Co. (Paris)* • Galerie Françoise Livinec (Paris, Huelgoat)* • Galerie Loft (Paris) • Loevenbruck (Paris)* • Magnin-A (Paris)* • Maruani Mercier Gallery (Brussels, Knokke, Zaventem)* • Galerie Martel (Paris)* • massimodecarlo (Paris, Milano, London, Hong Kong)* • Mayoral (Barcelona, Paris)* • Galerie Marguerite Millin (Paris) • Galerie Minsky (Paris)* • Galerie Mitterrand (Paris)* • Galerie Modulab (Metz) • Galerie Frédéric Moisan (Paris) • Galerie Lélia Mordoch (Paris, Miami) • Galerie Najuma – Fabrice Miliani (Marseille) • Galerie Nathalie Obadia (Paris, Brussels) • Opera Gallery (Paris) • Galerie Pact (Paris)* • Galerie Paris-Beijing (Paris) • Perrotin (Hong Kong, New York, Paris, Seoul, Tokyo, Shanghai) • Pigment Gallery (Barcelona) • Galerie Provost-Hacker (Lille) • Galerie Rabouan Moussion (Paris) • Raibaudi Wang Gallery (Paris) • Rebecca Hossack Art Gallery (London/Miami)* • Red Zone Arts (Frankfurt am Main) • Galerie Richard (Paris, New York) • Galerie Thaddaeus Ropac (London, Paris, Salzbourg, Pantin, Seoul)* • J.-P. Ritsch-Fisch Galerie (Strasbourg) • Galerie Sator (Paris, Romainville)* • Galerie Scene Ouverte (Paris) • Galerie Alex Schlesinger (Zurich)* • School Gallery/Olivier Castaing (Paris) • Galerie Lara Sebdon (Paris) • Galerie Sit Down (Paris)* • Galerie Slotine (Paris) • Galerie Véronique Smagghe (Paris) • Michel Soskine Inc. (Madrid, New York)* • Stems Gallery (Brussels)* • Galerie Taménaga (Paris, Tokyo, Osaka, Kyoto) • Galerie Tanit (Munich, Beirut)* • Galerie Suzanne Tarasiève (Paris)* • Templon (Paris, Brussels) • Galerie Traits Noirs (Paris) • Galerie Patrice Trigano (Paris) • Un-Spaced (Paris) • Galerie Univer/Colette Colla (Paris) • Galerie Vazieux (Paris) • Galerie Anne de Villepoix (Paris)* • Galerie Wagner (Le Touquet Paris-Plage, Paris) • Galerie Olivier Waltman (Paris, Miami) • Galerie Esther Woerdehoff (Paris)* • Galerie XII (Paris, Santa Monica, Shanghai) • Galerie Younique (Lima, Paris) • Yvon Lambert (Paris) • Galerie Géraldine Zberro (Paris). Promises: 31 Project (Paris) • Double V Gallery (Marseille, Paris) • Hors-Cadre (Paris)* • La Galería Rebelde (Guatemala, Los Angeles)* • Le Cabinet d’Ulysse (Marseille)* • Galerie Marguo (Paris)* • Galerie Pauline Pavec (Paris) • Galerie Véronique Rieffel (Abidjan) • Septieme Gallery (Paris)

List of the 2021 exhibitors / *first time participants or returning galleries at Art Paris 2021

Lisbon) • Gallery Joeun (Seoul)* • Kamel Mennour (Paris, London)* • Ketabi Projects (Paris)* • Galerie

09—12 Sept. 2021 Grand Palais Éphémère

Champ-de-Mars

artparis.com Portraiture and Figuration. A focus on the French Art Scene

Keith Alexander THE SANCTUARY Sold for R 493 425

Considering Selling? Consign to our upcoming Cape Town and Johannesburg auctions. Contact us for an obligation free valuation. Cape Town 021 794 6461 ct@swelco.co.za Johannesburg 011 880 3125 jhb@swelco.co.za Forthcoming Auction Cape Town 5 & 6 October 2021 www.swelco.co.za

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Art Times August 2021 Edition

CONTENTS Cover: Brahm van Zyl, Watervaldrif - uitkyk oor die Poort, watercolour, size 550 x 395mm,

12. M.O.L. 21 PRIMORDIAL - BEASTLY Ashraf Jamal Column 20. ART PARIS 2021 Grand Palais Éphémère on the Champ-de-Mars 34. STORIES OF OUR SOIL An Amalgamation of Womxnhood 38. MEIRINGSPOORT/DRIFT A contemplation on the recent work of Brahm van Zyl 42. FREEDOM = NO FEAR Story Sahar Behairy 50. MANTARAINA MBOKODO MUSING’S EXHIBITION NWU Gallery in collaboration with Smile Artists Africa 56. TRONKVOËL Brunn Kramer Solo Exhibition 74. BUSINESS ART Fine Art Auction highlights 84. ARTGO Exhibition Highlights

Ana Karkar, Holographic Lover, 2020, Galerie Hors-Cdare

Editors Note

s we Warp speed towards the end of the year I believe that exciting things - as always are already underway. Be you for or against the vax and vax passports it seems that this is a departure point where Government policies want to relax things, and people’s moods are more restless for change. In a poll done in the US over 65% of galleries questioned showed that they were very positive about the near future, some say we are even set for an upcoming boom.

As for getting back to normal, the main art fairs are reporting a rush of galleries wanting to sign on. It seems by the time this ink dries this old cliché kicks in - of when- in good times one forgets the bad times, and in bad times one forgets the good. Put in terms that the arts industry has taken a Huge knock with many incredible artists and art professionals and art lovers having died tragically due to Covid - which is something that we will still need to account for in years to come. On the shiny side of the coin, we have raised a new younger and dynamic (and dare I say older) generation and arts community that is fully competent online and reaching deep into the global art markets like never before. Artwork that has been produced lately seems to be better executed and finished than perhaps churned out as in the good times. Either way, progress has come at a huge cost to mental health, isolation and for most a battle to keep food on the table and paying Eskoms merciless rates to keep the lights on, let alone the heaters. In forging ahead I would like to give a Very special thanks to all our advertisers for their support of our publication. In my mind, the worst is over and the best is yet to come, don’t break out the Champagne just yet but let’s all be positive and welcome a rekindling of art, expression, and communication both locally and abroad. As I page through this magazine, I am extremely proud and inspired at the level of art and art venues we have in this incredible country of ours. I wish the politicians and mainstream media knew this - to change their cheap negative headliners - to embrace the 99.9% Great, and work together. These are Our Days, this art that we make is Ours, let’s show the future how we stood together as a community to thrive against adversary and not just won - but Lived a Full Life! Gabriel Clark-Brown

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

CONTACT ART TIMES Tel: +27 21 300 5888 109 Sir Lowry Road, Woodstock, Cape Town PUBLISHER Gabriel Clark-Brown editor@arttimes.co.za ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ART DIRECTION Brendan Body ARTGO CONTENT info@artgo.co.za Rights: the Art Times magazine reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the sa art times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved. Errata: Hermanus FynArts - would like to apologise for omitting the name of Karin Lijnes from the list of artists who are exhibiting at Sculpture on the Cliffs - 2020. Her work, Freedom Tree comprises of a large steel mobile of five ceramic bird forms.

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Cecil Skotnes, African Still Life, Kilbourn Collection

WELGEMEEND ART MONTH 2021 The 60/360 Exhibition A selection of works from the Kilbourn Collection

15 August - 17 September Art Exhibition | Walkabout | Fundraising Event | Art Lectures Strauss & Co Art Valuations | Classical Music Concert Welgemeend, 2 Welgemeend Street, Cape Town For more information: info@welgemeend.co.za | +27 71 323 5574 | www.welgemeendart.co.za Final programme subject to prevailing Covid-19 regulations

WELGEMEEND

M.O.L 21

PRIMORDIAL BEASTLY Ashraf Jamal Photos Dirk Mostert

n Pauline Gutter’s world there is no reason why one should separate Man from Beast, other than narcissism, or vainglory. It is Reason, misguidedly deployed, which codes blood, and makes monsters of men. It was G.W.F. Hegel who notoriously declared Africa, after the pyramids, the barbaric domain of madness and unreason, unfit for civilized men – a cynical pretext, no doubt, to legitimate white rule on a putatively ‘dark continent’. It took another German, with infinitely greater feeling, to remind us that such overweening hubris is bullshit. In his final hate mail, Contra Wagner, Nietzsche championed Bizet as the greater ‘African’ artist. What this great misunderstood philosopher enshrined was the vitality of the human, and its inextricable connection to the greater chain of being. In his astonishing monograph on the German philosopher, more psychodrama than critical commentary, Stefan Zweig explains Nietzsche’s deep distrust of ‘malodorous Judaism’, and Christianity, which ‘crushed and stifled sensuality … causing moral paralysis in what was once a genuine life force’. For Nietzsche, the problem is deeper still, it is Socratic, it is Greek. His loathing of Greek sculpture stems from its absence of vitality, its narcissistic looping back to the idealised body and face, and the supposedly perfected Reason which informed it.

For the South African sculptor, Bruce Arnott, the preferential treatment given to an entitled Western art history stems from ‘the dead hand of Classical formalism’ which failed to grasp a deeper primordial vitality. There is a reason for this failure – Western art, with its obsession with representation, chose to transform the world into a picture, the better, after James Hall, to ensure ‘control’ and observe events ‘from a fixed and privileged vantage point’. For the South African painter, Pauline Gutter, a similar revulsion kicks into gear. She does not

Pauline Gutter.

paint static projections or contained dynamics. Her paintings veer away from the controlling hand that is its executor. Looking at her paintings I find no controlling fulcrum, no balancing act, but a charged and highly volatile energy field. The techniques applied may be classical – painting is a Western art form – but its execution, in the loosest Nietzschean sense, is ‘African’. For Nietzsche, who never travelled to Africa, but who was acutely aware of the starkly different realms of Northern and Southern Europe – the former suffocating, the latter liberating – ‘Africa’ was a metaphor for a Dionysian force, ‘free … vinous … light of foot … pagan’. As Zweig resumes, Nietzsche

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craved ‘sunburn rather than sunlight, a clarity that cuts cruelly into him, instead of just closing things with explicitness’. This is my gut instinct when I look at Gutter’s paintings. They roil and froth and churn and glower. They do not illumine, they burn. They are beastly. SUBLIME Though Gutter’s paintings come in varying sizes, one thing is inescapable – her paintings of mammoths are mammoth. In one painting she reveals little other than the heaving beating flank of an earthbound animal. She ungrounds the grounded surface of a canvas, foreshortens, expands, distorts, and, so doing, gropes deep

within the innards of animality – the hidden and suppressed forces which are the greater and more fundamental ingredients of the Human. In her case, the desire for a metastasized exploded scale is not a sign of vanity but its contrary – the need, in the midst of feverish control, to lose control. This of course is the great choreography of all great painting – it lashes and releases. In Gutter’s case, however, the release is the greater force and desire. If she is unmoved by Beauty – a pathological Western fetish – it is because, like Edmund Burke, Friedrich von Schiller, and Nietzsche before her, she is more greatly inspired by the sublime – a force that irresistibly rends one asunder.

Above: Powerplay (2018-2020), Oil on Jute, 180 x 271 cm Opposite Page, Aftermath [2019], Oil on Flax Linen, 182 x 130 cm

Scale is an integral dimension of sublimity. An uncontrollable force requires an immeasurable scale. How else is one to embrace awe, how else will one shatter a measured and measuring mind? As Burke reflects, ‘Astonishment … is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence, and respect’ – the very craven effects for which Nietzsche indicted Christianity. Sublimity, in other words, is pagan. ‘Astonishment is that state of the soul’, Burke notes, ‘in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it’. If scale matters, it is because it serves as a trigger for boundlessness. For Gutter, however, infinity also lies in the detail – scale, in and of itself, is insufficient. What is more avidly sought is an abyssal immersion, a drive to conquer the infinite in a moment of expression, which, perforce, is unconquerable. And yet, this is where she goes, hocked, fearful yet fearless, uncaring of loss, wholly committed to mastering the impossible. If Burke warns us against ‘admiration, reverence, respect’, it is because in his world, as it is in Gutter’s, these emotions have no

place. It is irrelevant whether or not one admires a painting by Gutter. Astonishment is a greater promise and solvent, because therein we, the viewers who experience her world, begin to sense an instinctual thrust. Anish Kapoor, a sculptor intrigued by vast scale, echoes Burke when he declares that what matters most is ‘the sense of darkness that we carry within us, the darkness that’s akin to one of the principal subjects of the sublime – terror’. In a world increasingly infantilized, simplified, regressive in its craven need for packaged absolutes, the vision which Gutter holds fast is easy to dismiss. She will not explain herself, or explain herself away. Instead, what she yearns for most is everything that defies her capacity, everything that limits or comforts her. If her vision is beastly, it is because it is sublime. PSYCHIC In what for me is his most significant and durable essay, ‘The Jerusalem Prize Acceptance Speech’, J.M. Coetzee tracks the stuntedness and deformity of the South African imagination – its literalism, its divisiveness, its criminal parsing of the world according to race, when, in truth, there is only one human race. It is culture that is criminal, culture that separates Man from Man, Man from Beast. In Gutter’s

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Above: Family Portrait (2015), Oil on Flax Linen, 148 x 178 cm Opposite Page, Fallen Peace Dove / half eaten race pigeon [2020], Oil on Flax Linen, 200 x 108 cm

paintings, lithographs and charcoal drawings, it is the drive to overcome cultural division and connect us to a deeper source that matters most. A metaphysician, and existentialist, a lover of the inconsolable wonder that is life, Gutter triggers what we repress, and asks us to live more fully inside the great perplexity of life. It is feeling rather than mind that is her expressive compass, though, after Nietzsche, it is perhaps better to regard her paintings as a fusion of mind and body – as a physiological thought. Gutter is not a politician, psychiatrist, or psychologist, she is a psychic. She pulls to the surface what lies in hidden depths. Her primary medium is paint – she is a painter – but it is what she does with paint, how she shifts it, that is her tell. No two painters, no matter how similarly schooled, ever paint in the same way. One constructs genres of painting at one’s own peril. One could, for instance, find similarities between Gutter’s work and, say, Judith Mason,

but no comparison, in the final analysis, suffices. Why? Because what matters above all else is the singularity of expression. In Gutter’s case, there is the matter of unbreachable scale, her animality, the wild dervish-like movement of brush and hand, the obsessive-compulsive mark-making. But, over and above technique, there is the human being, the beast who paints. That she credits years of training as a ballet dancer as the root of her skill and approach, is revealing. Movement is vital because it is gestural. It requires intensive focus and great expansion. Listening to Gutter speak of the critical importance of dance, I’m reminded of the playwright Federico Garcia Lorca’s understanding of duende as ‘a power, not a work … a struggle, not a thought’. ‘I have heard an old maestro of the guitar say, “The duende is not in the throat; the duende climbs up inside you, from the soles of the feet”. Meaning, it’s not a question of skill, but of a style that’s truly

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alive: meaning, it’s in the veins: meaning, it’s of the most ancient culture of immediate creation’ – primordial. I experience something uncannily similar when looking at a painting by Gutter. The ‘work’, the ‘thought’, stems from a snarled and powerful ‘struggle’. One senses the artist at war with her weaker instincts, her drive to overcome something inscrutably compelling in the moment of making. An urgency drives her, a sense that moments, no matter how impossible to tether, can be drawn, painted – expressed. She creates not only with hands and eyes, but with the life force of a dancer who understands the whirring, churning, gyre-like energy that courses ‘from the soles of the feet’, through the ‘veins’, shot through with an electrical charge that connects her to the ground beneath her, the sky above. Hands, birds, monkeys, bulls, beetles, maggots, hyenas, vultures – bodies. In Gutter’s ecosystem parasitism is inescapable – life begets death begets life in an eternal, monstrous, and sublime return. No hierarchies prevail, even those with the greatest strength are fragile. Hers is a leavening and levelling force that damns pride and enshrines a mortal coil. Animistic and animalistic, what fascinates her is how everything spoils, ruins, dismembers, atomises. This explains her energy field. But, far more significantly, it defines her psyche. She speaks of ‘endlessness’ – the infinity of the land into which she was born. She explores the fallout of a fire, the ‘strange holes’ burnt into the ground, ‘empty tunnels’ where trees once stood, an earth gutted by flame, scorched by heat, austere – after Zweig and Nietzsche, ‘sunburnt’. Her grasp of a sense of place and being is profoundly informed by the natural world, its wonder, its perversity, its unflinching cruelty. But if horror, or terror, moves her, so does the grace that inhabits all ruined or destroyed things, people, animals. Her paintings, after J.M. Coetzee, are ‘psychic representations’, images not of what something, some being, looks like, but what it generates in the instant of its degeneration. This turn, this painterly take, is not nihilistic, though darkness courses through it all, rather, it is life-giving, it is about the living, the dying, the living – again. In this key regard, Gutter’s paintings exemplify Nietzsche’s eternal return. For her life is no stuck record. Her paintings are never fixed by any static formulation. Instead, they ooze, leak, quaver, rumble, churn, howl, in the nano-second that is their expression – and expiration. Fundamentally, for Gutter, her spoiled and darkling vision is regenerative.

DRAWING AND PAINTINGS I see a ‘Family Portrait’ of four flayed animal heads, another of an upturned bull’s head on a curved boiling hot platter, portraits in profile ‘in which the features of the subjects seem to be melting away rapidly’ as though ‘attacked by acid’. ‘While the faces portrayed are patently not forming something recognisable there is potential that in their reformation that they might be made whole in another form’. What is Gutter telling us? That we are ‘witnesses’, true, ‘frightening as our witnessing is – of a state of transmutation’. That, in the midst of degeneration and decay, there is always growth. One cannot discount the artist’s lifeaffirming vision. Her ‘Fallen peace dove/half eaten race pigeon’ reveals the paradox at the core of her vision. For Gutter, transfiguration is a matter of biology and grace. If her world is transmutative, it is because Gutter has always understood the inextricability if death and life. They are One, continuous, bound up in a single inscrutable complex. Here, she reminds me of the devotional, specifically Christian nature of her upbringing, the immense influence of her parents who understood the Grace of God. I too know this influence well, through the quiet force of my grandmother, a devotee of Christ. And yet, in Gutter’s vision, the Church is one of many other sacraments. And here, Edmund Burke returns. Here, the sublime trumps beauty. For what drives Gutter is the realisation and wonder that change is inevitable, that nothing is ever wholly absolute. For her, ‘potential’ lies in ‘reformation’. Nothing, with any finality, ever truly dies. This surely suggests a spiritual bent, but, in my view, that spirituality is not easily decipherable. True, grace lies within decay. True, forms are ever-changing. Against selfaggrandisement, against vanity and power, Gutter reminds us that nothing seen is ever seen whole, that life is a glimmering field of portents. It is we who ‘decide on the final form that will emerge’. This is because everything, at every given point, is emergent. Nothing is ever still, ever wholly sovereign – neither God, nor Man, nor Beast. The primordial is primeval, it speaks of a primal existence, at the uncharted beginning of time, which predates all illusion and belief. It is an origin, never finite, that is fundamentally mysterious – more metaphor than fact. How we choose to frame this great mysterious moment, how it enters our daily lives, is subject to the choices me make, how we choose to see the world. In Gutter’s case, that world is as violent as it is wondrous. For her, in my view, there is no

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Pauline Gutter Charcoals

finite origin for life, no mainstay which we might call Faith or Reason, there is only the ineluctable and unquantifiable and boundless infinite that traps us in its web. One must beware of looking too deeply into the abyss for fear it will look back at you, Nietzsche wryly remarked. Most shirk the abyss and choose to cower in Faith or Reason, but not Gutter. Like Nietzsche, she chooses to look and look, allow acid to strip a veil, and build, through the density of her hand and brush, a final inscrutable emptiness. This paradox is achingly present in her paintings and drawings. We see it in the negative spaces that make up a face, in the warp and weft of line and nothingness, the figure and its inexistence. And yet – against nothingness – Gutter hold’s fast to the choreography of spirit and flesh, gut and bone – matter. Gutter’s charcoal drawings are as uncanny as her oil paintings. It is her drawings and paintings that will endure. Why? Because they are about duration, time, and its fallibility. One senses the howl and quiver in the movement. One knows that for the artist all form must devolve, become formless, that for her a painting, a drawing, is fundamentally gestural, and, as such, all the more exquisite because of the ineffability of the undertaking. That the tonal register of her

paintings is at once sunstruck and autumnal says it all. They are caught in some high noon, some shadowless heat, yet there is darkness all around. J.M. Coetzee was mistaken when, in Age of Iron, he bemoaned the absence of an ‘air of looming mystery’ in South African art. ‘No one has done that for South Africa: made it into a land of mystery. Too late now. Fixed in the mind as a place of flat, hard light, without shadows, without depth’. On the contrary. Looking at Pauline Gutter’s paintings, it is the excoriating flaying heat we feel, but it is also the aching and depthless shadow world that enfolds it. She is Beast, she is Man, she is Heat and Shadow, and, nowhere in her astonishing choreography is any dimension ever, finally, explicable. Chiaroscuro is a Western fantasy devoted to clarity and explication. Duende is something else, less easily framed and explained. It courses through the feet, races through the veins, hurtles from one exquisite misstep to the next, and, in the jarring churning dance, binds us. Gutter’s plays of heat and shadow, hardness and softness, twists and bends, always, to what we cannot – quite – know. So be it….

ART PARIS 2021 Grand Palais Éphémère on the Champ-de-Mars 09 – 12 September 2021 artparis.com

fter being the first art fair in the world to open its doors in September 2020 after lockdown restrictions ended, Art Paris will also be the first art fair to take up residence in the Grand Palais Éphémère on the Champ-de-Mars from 9 to 12 September. Designed by renowned architect Jean-Michel Wilmotte, this spectacular temporary structure which is situated in front of the École Militaire and close to the Eiffel Tower, will host events scheduled at the Grand Palais until the building reopens for the Olympic Games in 2024. Art Paris has established itself as a major Art fair for Modern and Contemporary art. This forthcoming edition will bring together 140 galleries from over twenty countries, displaying art spanning post-war to the contemporary period. Whilst Art Paris is a place for discovery, its distinctive feature is a special emphasis on the European scene combined with the exploration of new horizons of international creative hubs in Asia, Africa, the Middle East and Latin America. Regional and cosmopolitan, the 2021 edition counts 40% of new participants and is marked by the arrival of leading international galleries including Almine Rech, Continua, MASSIMODECARLO, Lelong & co, Kamel Mennour, Perrotin and Thaddaeus Ropac. Since 2018, Art Paris has consistently supported the French contemporary art scene by inviting curators to lend a subjective, historical, and critical eye and to design a special project highlighting French artists featured at the fair. For 2021, guest curator Hervé Mikaeloff will share his perspective on contemporary French artist with Portraiture and Figuration. A Focus on the French Art Scene, bringing together some twenty artists around the theme of the portrait and the renewal of figurative painting in France. According to Hervé Mikaeloff: “In a “postmedium” era, art is more than ever questioning its relationship to the image. In my focus on the French Art Scene, by choosing the theme of portraiture I am aiming to show the renewal of figurative art. Above and beyond a simple stylistic effect, portraits are a means by which artists can develop a new relationship with the world. They act both as a standard bearer for each person’s differences and an instrument of integration.”

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Ana Karkar, Jump into my mouth and breathe the stardust, 2020, Galerie Hors-Cadre

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Above: L’incrédulité de St Thomas-(Détail), 2021 Painting, Galerie Provost-Hacker Opposite Page: Anton Kannemeyer, Compelling Backstory, 2020 drawing, 75 x 55cm, Galerie Ernst Hilger

Moje Assefjah, Silverlight, 2021, Eitempera auf Nessel, 160 x 200 cm, Galerie Tanit

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Above: MonaKuhn, ©Captured Evidence, 2007 Photography 76 x 76 x 5cm, Galerie XII Opposite Page: Marcella Barceló, Loose Ends, 2019 Painting, Galerie Anne de Villepoix

Georgina Maxim, Ma mere II - (Detail), 2020, Mixed media, textile 125 x 160cm, 31 Project

Cameron Platter, Please Help, 2020 Drawing, 180 x 130cm, Galerie Ernst Hilger

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Pablo Picasso, Portrait of Dora Maar n°5, cropped, 1939, Galerie Jean-Francois Cazeau

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Le restaurant de sushis, 2020, huile sur toile, 130 x 162 cm, Crédit photo Suzan Brun, courtesy of Gallery Paris-Beijing

Scott Anderson, Moldy Lemon, 2017 Painting, Galerie Richard

“The 2021 edition goes hand in hand with an exceptional period of cultural and artistic renaissance in the City of Light”

Senzeni Marasela, Waiting for Gebane, 2015 Aquarelle sur papier, 60 x 42cm, Galerie Eric Dupont

Rebecca Brodskis, Nikita, 100x80cm, oil on linen, 2019, Septieme Gallery

This 2021 edition will feature 27 solo shows. These monographic exhibitions spread throughout the fair allow visitors to discover or rediscover the work of modern and contemporary artists in depth. Amongst the highlights, Helene Bailly Gallery (Paris) is presenting a Pablo Picasso solo show with an ensemble of works - paintings, drawings, sculptures, and ceramics - from between 1919 and 1969. The Galerie Italienne is showing a rare selection of Polaroids and black and white photos by Andy Warhol. Amongst the solo shows by foreign artists, visitors could discover the textile installations by Zimbabwean artist Georgina Maxim, the naïve and narrative landscapes of American artist Jessie Homer French are on view at MASSIMODICARLO, the post-minimalist objects of German artist Gerold Miller are revisiting the heritage of geometric abstraction at Un-Spaced Gallery and the colourful and gestural abstract paintings of Iranian-born artist Mojé Assefjah at Galerie Tanit. “Promises”, the sector that focuses on young galleries created less than six years ago, provides a forward-looking analysis of cuttingedge contemporary art, whether it hails from Guatemala with La Galería Rebelde, Africa on the stands of 31 Project and Véronique Rieffel, China with Galerie Marguo, or Europe with two galleries from Marseille (France), Double V Gallery and Le Cabinet d’Ulysse, and Parisian exhibitors Hors-Cadre, Pauline Pavec and Septieme Gallery. Participating galleries can present up to three artists and Art Paris finances 45% of the exhibitor costs. The 2021 edition goes hand in hand with an exceptional period of cultural and artistic renaissance in the City of Light, as illustrated by the opening of foreign galleries and new venues, the renovation of existing cultural institutions and the inauguration of new ones. Paris is asserting its role as a major hub for contemporary art in Europe and this ongoing transformation of the Parisian art scene is reflected in the many activities on offer as part of the VIP programme, which is reserved for collectors and art professionals.

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STORIES OF OUR SOIL The Melrose Gallery Curated Ruzy Rusike themelrosegallery.com

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Nature is the manifestation of the aura and intelligence of a living universe. To be human is to be connected to each other and nature. Everything in nature is energy – a force of constant flux and change. Stories of Our Soil is a collection of creations that will be featured at The Melrose Gallery, Johannesburg during Womxn’s Month, August 2021. This collection is an amalgamation of womxnhood, nature, our place within it, and how these have been exploited by our society. From an inner space, each of these artists have created raw portrayals of the problems that a colonial capitalist structured society have placed on our shoulders, but, importantly, each also conveys a message of hope on how to overcome these societal ills. Both womxn and nature have been seen as tools and objects to be used in the pursuit of fame, fortune, money, and power. Our consent is discarded; our intimacy violated. Our rights are held for debate in public forums. We are told to stay in our lanes, to accept the role that society has bestowed upon us, to not rock the boat, not to question the authority, to buy the newest thing, and to accept with meek passivity the colonial echoes that continue to affect us down the ages. We hear this incessant chatter, born from a history of colonial capitalism that has percolated through time, but we have missed out on listening to our human spirit in favour of the clamouring tintinnabulation of capitalist greed, racial disparity, and individualistic fame and glory. Our role as womxn has been dictated. Our planet has been poisoned. And our bodies have been used. We must confront the subjugated role that we have been placed in by society. We want to take this Womxn’s Month, August, to explore our shared humanity – that which connects each of us through both time and space – and examine how we can rectify how it has gone wrong. My Vagina Was Not Buried With Him, by Napo Masheane

World apart Fordsburg, 2015 by Tshepiso Mazibuko

Awake, I’m awake! (Image detail), 2020. Earthenware, Charcoal Clay by Rirhandzu Makhubele

Thokoza II (Diptych), Pastel, Charcoal, copper, staples and blowtorch on board by Olwethu de Vos.

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… these wreathes are laid in honour of her memories, 2020, wooden swings and paper flowers by Gladys Kalichin. Photo Arthur Debert

“This collection is an amalgamation of womxnhood, nature, our place within it, and how these have been exploited by our society” Womxn’s Month was intended as a starting point for reflection, so we must take this opportunity to reflect on the stories of our soil through texts, images, and history. We must be the harbingers of change in our world, but none of us can do it alone. Nature is in constant flux – it is ever changing, growing, mutating, decaying, and regrowing. We must do the same. Once we have borne the brunt of what has happened to us, we must decide to begin again and change ourselves. This show is itself a portrayal of how to overcome. It is a coming together of artists who want to reject the paths that society has put them on, it is an inwardly-focused exploration of the deepest parts of our souls, and it is an acknowledgement of the things that tie us together as a collective rather than separate us as individuals.

The month long program will include an exhibition of artworks across various genres including painting, sculpture, photography, performing arts amongst others and will also be presented online. List of participating artists: Philiswa Lila, Aza Mansongi, Napo Masheane, Gladys Kalichini, Rirhandzu Makhubele, Alka Dass, Yonela Makoba, Tracy Payne, Dumama, Tshepiso Mazibuko, Ann Mary Gollifer, UbumbanoUnity Collab together with Artcollab studio and Keiskamma artists amongst others. For more information: www.themelrosegallery.com

MEIRINGSPOORT/DRIFT

Lien Botha: The eye of the knife - A contemplation on the recent work of Brahm van Zyl princealbertgallery.co.za

Above: Witperdedrif, Watercolour, 29 x 47cm Opposite: Watervaldrif - Uitkyk oor die Poort, Watercolour, 55 x 39.5cm

rahm van Zyl knows how to sharpen a knife. He loves cooking, and when he starts to chop, the Jean Dubost blade must sever with precision. It is with similar rigour that he approaches one of his artistic mediums – painting. Respected for his dexterity as set builder in the film industry, he transfers his skills as a sculptor to realise the impossible dreams of many directors. Yet, painting lines his heart and he is seasoned in the medium of oil, having mastered the technique over three decades. Then, along came lockdown and somewhere in its tumult he discovered the liberation of watercolour; a medium he briefly explored in his student days. Initially he was inspired by the style of Adolph Jentsch and thought he would work in a similar manner, but he soon realised that he would make his own way through its pointillism and blooming.

Moving from oil to water sparked a whole new exploration as he looked at the work of artists such as Kazuo Kasai, Amit Kapoor and Joe Dowden; sharing in its delight, scale and possibilities. “The way I approach the medium is not the typical way in which artists use it, for instance I use little blooming and my method is more controlled and focused.” At the end of 2020 he and Juria le Roux, his wife and fellow artist, visited Joshua and Angela Miles in Prince Albert for a printmaking workshop. Driving through Meiringspoort on the homeward journey, he remembered how this dramatic landscape fascinated him as a child. “Meiringspoort has always intrigued me; we often drove through it during school holidays on our way to the coast. I would get very excited when we entered the pass, it felt as if we were driving into this tunnel. . . and it was majestic and even made me experience a sense of imminent danger. Through the imagination of a child, the rock formations conjured up the kind of pictures you sometimes see in the

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Above: Herriedrif, Watercolour, 41.3 x 28cm Opposite Page: Wadrif, Watercolour, 41.3 x 28cm

Rooiuitspanningsdrif, Watercolour, 28,5 x 47cm

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Peerboomdrif, Watercolour, 43 x 22cm

Watervaldrif die Valle, Watercolour, 49 x 30cm

clouds. I found the aloes particularly beguiling and told my mom if war had to break out, I would come and hide there because if I stood still I would look like an aloe and no one would see me.”

On the easel in his studio is Peach Tree Drift; a palette of rock strata and echoing crags ̶ riggered in raw sienna and Vandyke brown. A lone lorry halts the journey. Subtle greens evoke the shades of sagewood. “The colour of plants need to be desaturated, I temper it significantly with a touch of ivory black applied very discreetly.”

Taking a cue from masters such as J. H. Pierneef and Thinus de Jongh, he enthuses that an artist could spend a lifetime painting scenes along the extraordinary road ‘that crosses the same ravine in twenty five places.’ And so, these drifts became the focus of his latest body of work and forthcoming exhibition. In February 2021 he re-visited Meiringspoort; walking and recording the sixteen kilometres of its folklore and awe ̶ surrendering his craft to nature’s theatre at Dyke Drift, Bushmans Drift and Hiddenravine Drift. This is the stuff of Langenhoven’s imaginative elephant Herrie; a place where the fine sable of brushes dare dream under the gaze of the artist’s salty skies; executed by the quills of his treasured Casaneo brushes.

He gently taps the surface of the stretched Canson Montval, eliciting the sound of a soft drum. “The midtones are vital; for this I apply greys and dioxidene purple and violet which I sometimes mix into the sky to give it a tinge of depth and realism.” Traversing the artist’s translucent pools, you cross Ghost Drift ̶ ever aware of the cadence of old time folding back and forth through his meticulous tincture. When you reach Waterfall Drift, observe the aloe of Brahm van Zyl’s youth ̶ still as a man carved in stone.

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Womens month exhibition

August 2021

56 Church Street, Cape Town

FREEDOM = NO FEAR Eclectica Contemporary Story Sahar Behairy eclecticacontemporary.co.za

uring the unforgettable interview with legendary singer Nina Simone in 1970, following her signature song, ‘I Wish I Knew How It Would Feel to Be Free’ , she was asked: ‘What is freedom for you?’, her unequivocally response was : ‘No fear! To be free means to have no fear!’ The song that became known as the “Freedom Song”, was a turning point that awakened a whole nation to the plight of black Americans, in fact; to all human of any race, gender, or colour. Such a strong inimitable performance from a woman who long suffered from domestic violence, an activist, who liberated herself from all socio-political restrictions at the time, proves that an artist or creator must have a high degree of intrepidity and courage to transcend social and political taboos. In this sense; one can never separate art from freedom since creativity necessitates free imagination that transcends endless spaces of intellectual and creative perception. Freedom is what Egyptian artist Soad Abdelrasoul always sought; to break free from all traditional constraints that often limit women’s freedom, and from the fear that often confines their ability to express or disclose themselves freely. Women stand out in Abdelrasoul’s work, as one of the main sources of her creations. She delves into an exploration of the relationship between women, culture and society’s system of values, in her use of women’s image; she deliberately chooses not to focus on the female esthetical beauty, but rather, the issues this gender faces. Souad delivers her message through constant merging between two themes, which she believes are closely related: the concept of space and the concept of women’s place in it. Woman are often forced to evolve and grow in an oppressive environment which restricts their living space and their life choices. Her approach reconceptualizes the way we perceive space and repurposes our very notions of the female body, of nature, and the concept of liberty itself. Souad Mardam Bey

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Above: Souad Abd El Rasoul, 2021, The hidden man, 40 x 40cm. Opposite Page: Souad Abd El Rasoul, 2021, Woman here to stay, 190 x 145cm

Abdelrasoul was not the first female artist that aimed for freedom in her country. Since the early 20th century, Egypt has had a high number of female presence in art, even before the construction of the fine art schools in 1908. When the revolution of 1919 increased Egypt’s nationalist and feminist movements and liberty initiatives too, more women started to have more opportunities in fields predominantly male dominated such as economics, politics and the arts. By the mid-1930s, women in Egypt were active members of the countries’ modern art movements, which influenced modern Middle Eastern and North African art. One of the first of such groups was the“Art et Liberté” movement, created by Georges Henein in 1938, and joined by Surrealist female artist Amy Nimr, and pioneer female artists Zeinab Abdel Hamid, Gazbia Sirry, Marguerite Nakhla and Inji Eflatoun, (who was only eighteen years old when she led the revolutionary part of the group). In 1942, Eflatoun, had a busy career as an activist for women’s rights, spending a few years in prison herself.

This golden area for female artists and activists lasted until the 1970s and mid-1980s, when radical Islamic groups started spreading extremist ideologies and beliefs within the depth of Egypt’s society, and other North African states such as Algeria and Tunisia. These extreme nonauthentic ideologies could explain the rise and fall of women’s role in society and the arts in the region, also the Arabic Peninsula and Syria, where Souad Mardam Bey - a female contemporary artist was born in 1960s. Her work was inspired by the cultural heritage of her historical repertoire, mixed with her imaginative depiction of contemporary observations of daily life in the Middle East, all with the complexity that come with it. Mardam Bey’s practice transcends notions of time, place, and gender, and her paintings do not appear to be from a certain time. A real sense of ethereal is imbued in her paintings, where one cannot infer whether the figure is male or female, and this brings a mysterious beauty to her characters, and emphasizes Mardam Bey’s expansive creative

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Artist: Souad Mardam Bey

imagination. Her and Abdelrasoul’s art draws our attention to their deep understanding of how society unconsciously mobilizes our thought processes and leads us to dissect our perceptions of freedom.

Contributing to these controversial perspectives, we have ten female artists from South Africa who share the need to highlight what it means to be a woman, and what it means to be free. These two topics are of utmost importance to the gallery since many women in South Africa can relate to feeling unsafe and restricted. Our quest is to use art as an exploration, to make these concerns and feelings known and heard. We are dedicated to creating a safe space to do so.

These two female artists, each on her own path to freedom, present contradictory dialogue of multiple artistic formulations on different complex issues in our societies, embodying the core of liberty through their prominent artworks. This curatorial project presents unique and often controversial perspectives with regards to consolidated visions of the world we live in and their rewriting in light of cultural, historical, and social developments. The need for this kind of revision has never felt so impelling and necessary as today, in the post-Covid-19 reality, for it is in times of crises that we must look at art as a way to inspire and reshape our ways of thinking about the world.

Exhibiting artists include Souad Mardam Bey, Souad Abdelrasoul, Grace Mokalada, Fatima Tayob, Nina Holmes, Sue Greeff, Alet Swarts, Helena Hugo, Yasmine Yacoubi, Raja Oshi, Melissa Barker and Alexia Vogel.

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SA L O N N I NETY O NE P R E S E NT S

SITAARA STODEL. WINDOW TO MY GARDEN, 2021. FOUND PHOTOGRAPHS AND GOLD THREAD ON LINEN.

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MANTARAINA MBOKODO MUSING’S EXHIBITION

NWU Gallery in collaboration with Smile Artists Africa 09 August – 17 September 2021 nwu.ac.za

has historically shown her strength of character as well as creativity in finding solutions to the challenges of modern living. Women can fashion something beautiful out of any situation and this show pays homage to that, with the exhibition featuring five female artists who use non-traditional media to engage us in conversation. The artists featured in the show are: Lerato Motau (Textile fiber), Phumzile Buthelezi (collage and found objects), Mel Madiba (pyrography), Lebohang Motaung (hair) and Nompumelelo Ngoma (drawing and painting).

Phumzile Buthelezi

Smile Artists Africa, in collaboration with the North-West University (NWU) Gallery celebrates women’s Month with a showcase of the “Mantariana Mbokodo Musings” Art Exhibition. “Mantariana” celebrates originality, unique creativity, and individual expression. “Mbokodo” on the other hand lays acclaim to the collective power and strength of women. The exhibition is therefore the perfect marriage of “Mantariana Mbokodo” as a collection and celebration of artistic work from five South African female artists, highlighting their unique craft, and the evolution of art and women in South Africa. For Women’s Month, we examine the meaning of femininity in the modern South African context. The South African woman

In the visual arts spaces, South African women are world leading, and some of these female voices have stood on the world’s largest stages. A common thread for this achievement is their confidence and their exceptional ability to fuse traditional AND non-traditional media forms of expression in their work. The Mantaraina Mbokodo Musing’s exhibition takes this conversation to a new level, combining the story and the setting. The MMM exhibition will feature both an indoor exhibition and an outdoor sculpture theme and take the visitor on a journey through the expressions of femininity, from creation with fire, to found object sculpture, and grand installation. The NWU Botanical gardens are the perfect setting for this dialogue. A beautiful and functional garden featuring medicinal plants, noteworthy rock structures, and natural fauna, with a beautiful exhibition hall in the middle, is the perfect backdrop for an exhibition that seeks to embrace the expression of femininity.

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Mel Madiba

Lerato Motau

Nompumelelo Ngoma

Lebohang Motaung

NOT ANOTHER HAIR SHOW Curated by Tshegofatso Seoka NWU Gallery in partnership with Ms Simone 09 August - 17 September 2021 nwu.ac.za

Not Another Hair Show emerges as an exhibition derived from the dissertation titled: Hair Politics: An Examination Of The Aesthetics Of Black Female Hair In The Work Of Select African Artists. Written by Tshegofatso Seoka, the dissertation highlights the politics of black hair and hairstyling practices and choices, interrogating the dynamics of beauty within various socio -specific communities in Africa and the diaspora. The dissertation further discusses aspects of the black African emancipatory discourse, which develops as grand representations of blackness and black aesthetics, aggressively promoting a reductive narrative of mimicry where the specific hairstyles of black women are actively critiqued. The dissertation further questions hegemony in the representation of blackness where singular modes of representing blackness are adopted as model. The model hegemonic representation in this case is governed by the dichotomy of the natural vs processed and artificial hair that reveals itself within a competition of the preferred model image identity and the rejected alternative.

Above: Nonkululeko Sibande, 2018, Woza Sisi. Opposite Page: Olwethu De Vos, 2021, Her Self - worth is a hundred percent.

Attempting to illuminate black women’s hairstyles as manifest of real time expressions of theorist Homi Bhabha’s notion of third space where capitalism and globalisation aid in the proliferation of new hybrid identities performed through the preferred hairstyle. The exhibition features an array of artworks stemming from multiple disciplines, inclusive of sculpture, drawings, paintings, pyrography, photography, and digital illustrations. The exhibited works are by South Africa’s accomplished and most promising contemporary artists including Nkhensani Rihlampfu, Ronald Gunst/ John K Cobra, Olwethu De Vos, Thabiso Dakamela, Stephen Langa, Mel Madiba, Keneilwe Mokoena, Phulusho Ngomane, Nonkululeko, Sibande, Samantha Maseko and Kaya Gwebu. The exhibition aims to reflect the role of black women’s hair as a medium for creativity, a representation of social, economic, and political affiliations, source of pride and an expression of freedom of choice. The exhibition further acclaims the ingenuity of black hairstyling manifested through the creation and the continual development of new, fascinating, dynamic techniques, choices, and practices of black hairstyling.

Nkhensani Rihlampfu, 2021, Sunshine

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Above: Thuthukani Myeza, 2020, Konke Esinsko. Opposite Page: Phulusho Ngomane, 2021, We forge the chains we wear.

Thabiso Dakamela, 2021, In My Feels Ii

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TRONKVOËL Brunn Kramer Solo Exhibition

RK Contemporary Riebeek Kasteel 08 - 29 August 2021 Story Catherine Pate

Above: Die afwassing van sondes, 2021, candele soot (mixed media) on Fabriano, 104x150cm Opposite page: Die uitstorting vd heilge gees, 2021, candle soot (mixed media) on Fabriano 150x104cm

“Tronkvoel: Visual reflections on the use of prison as a metaphor for depression” Depression is as old as the human race, and rare is the person who has not felt its touch. Sometimes, suddenly, without apparent reason we feel unbearably sad. The world turns grey, and we taste a bitterness in our mouth. We hear an echo of the bell that tolls our passing, and we reach out for a comforting hand, but find ourselves alone. For some of us this experience is no more than a fleeting moment, or something we can dispel with common sense, thoughts and practical actions. But for some of us this experience becomes a ghost whose unbidden presence mars every feast, or worse, a prison whose walls, though invisible, are quite impenetrable… (Dorothy Rowe, 2013).

My diagnosis of Major Depressive Disorder in 2018 led to my experience of a terrible loneliness and a peculiar isolation that triggered a feeling of imprisonment. The work thus engages with the idea of prison as a metaphor for depression and developed out of earlier work that centred around prisons and ex-prisoners. I explore the intersection of gender-based issues, homophobia, racism, and religious prejudice that is based on my experiences and identities, in an attempt to understand the depression and communicate the complex prejudices I face in my daily life. The work is based on my lived experience, through which depression can feel like a self-constructed prison. Thus, by visually communicating my lived experiences with depression as a coloured, queer body, I also aim to shed new light on society’s perspectives on mental health-related illnesses, as this too is often seen as taboo particularly in communities of colour.

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This Page: Bloed in Bloed uit (7 portraits) (2020) Soot, document transfers on Fabriano attached to superwood (84 × 60 cm).

Opposite Page: (Detail) Kaskar met n bietjie luck (2021), Installation: burned superwood, glass marbles and prison shivs and shanks.

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2020 Diploma Plegtigheid, Soot & Charcoal on Fabriano, 150 x 210cm

I harness old family photographs as a departure point to investigate personal memory and more current selfies to explore my narrative of self-imprisonment. My invisible prison is visually communicated further through incorporating visual language of the prison - including tattoos, prison slang, and ‘shifts and shanks’ weapons. I use a variety of mediums including, charcoal, photographic transfers, paint, linocuts with a combination of burning and smoking techniques by using candle soot as a primary feature throughout my work. Prison shivs, shanks, hand-made dice from paper-mache and glass marbles, strings and tolls combined, forms provocative conversation pieces as they reflect fragments of my childhood in relation to depression feeling like a self-constructed prison. “

programme in Geopolitics and the Arts of Africa, and the Andrew W. Mellon and the Global Souths programme. He was born in 1994 and was raised in the karoo in a small town called Steytlerville. Kramer is an emerging artist who has participated in numerous group exhibitions all over South Africa, including the prestigious Turbine art fair. Brunn received a Bachelor of Fine Arts degree (cum laude) from Nelson Mandela University in 2017. He majored in painting and his watercolour portraits which explore the humanness of ex-prisoners were selected for Sasol New Signatures top 100 art competition in 2016 and 2017. His current research explores the intersection of personal experiences and identities, concerning depression.

Brunn Kramer completed his Masters in Fine arts at Rhodes University in 2021 with the financial support of the National Research Foundation (NRF), SARChl research

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A DAY IN PARADYS A good day out at the Dylan Lewis Sculpture Garden Gabriel Clark-Brown

Last month I finally went to Dylan Lewis’s Sculpture Garden in Paradyskloof just outside Stellenbosch, it was a treat I had long promised myself and well, what an incredible time we had! As an Editor of a leading arts magazine I get invited to many colourful events and functions, but nothing prepared me for a visit to Dylan’s studio and Gardens that over years of shaping nurturing and loving in the making- was simply breath taking! I was overwhelmed in driving home afterwards to feel that there truly are pieces of paradises that artists can make in the world. To book a visit is easy, one goes online to dylanlewis.com - pop in your details and click “enter”. After this Gabby and her team from Dylan’s studio simply take over - they are easy to work and chat with. What made the trip incredible was to meet Dylan, a soft spoken, deep and entertaining artist who really lives his dream in a caring, modest and approachable way. In addition to this the gardens were impeccably looked after, almost spotless-

nature at its most well behaved and beautiful, and the views and moods changed at each turn and step. I think the best time to go is in the early morning, but having said this, the garden, like nature gives its best at all hours of the day. In between the gardens there are Dylan’s sculptures, some you may miss inside the bushes, or bump into, there is always a surprise waiting around the corner. Don’t take my word for it, rather find out yourself, it’s an easy half hour drive out of Cape Town, and it’ll be one of the best times you’ll have. There are refreshments available to accompany the view and fresh air. A word of advice, make sure you have some kind of modelling clay or Plasticine ready when you get back home, chances are that you’ll want to get your hands and finger nails into creating something meaningful and spectacular- for your own garden or piece of paradise. To get to Dylan Lewis Sculpture Garden go to www.dylanlewis.com don’t procrastinate, spoil yourself and make a booking today.

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Editors Bookmark

THE CHEEK OF IT Artists Celebrate The Bottom – In Pictures

First Published in theGuardian.com

After they both fell in love with a painting of a man’s bum by Celia Hempton, the British artist-curators Lee Baker and Catherine Borowski realised that the gluteus maximus doesn’t receive enough respect in cultural circles. As founders of Skip Gallery, an installation concept bringing art to unusual places, they decided to right this wrong. The resultant group show, Bums , featuring David Shrigley and Xu Yang among others, is now at Dio Horia gallery, Mykonos, Greece, and in London later this year. “These are the largest muscles in the body, responsible for posture and weight-bearing,” says Borowski. ‘This is often overlooked because of our obsession with the sexual and silly side of the bottom. Our exhibition is a celebration of the many facets of bums.’ Alice Fisher

ART BANK OF SOUTH AFRICA INVITES ARTISTS TO SUBMIT ART FOR ACQUISTION Art Bank of South Africa South African artists are invited to submit their contemporary artwork to be considered for acquisition by the Art Bank of South Africa (ArtbankSA). The ArtbankSA is tasked with purchasing artworks from South African artists, particularly that of emerging artists in order to lease the artworks to South African government departments, private companies and private individuals. It is a national programme of the Department of Arts and Culture as part of the Mzansi Golden Economy (MGE) strategy implementation and is hosted by the National Museum Bloemfontein, an agency of the Department of Arts and Culture. The vision of the ArtbankSA is to promote, foster and stimulate a vibrant market for the collection of South African contemporary visual art. The Art Bank will achieve this vision by: • Curating a definitive collection of contemporary South African visual art • Promoting financial sustainability for the artists and Art Bank of South Africa through the leasing of art • Nurturing emerging South African artists by expanding the market for their work and providing skills development opportunities • Fostering an appreciation for contemporary art by making art accessible to the broader public in their workplaces and shared spaces. Criteria for submissions: Submissions can be sent via email or post. Artists are required to meet the following criteria: • A detailed submission form is required with each submission. Download submission forms from the Art Bank of South Africa website www.artbanksa.org and the National Museum Bloemfontein website www.nasmus.co.za • Artists may submit a maximum of five original artworks for consideration • Artwork can be submitted in any medium • Artwork must have been created in the 2020/2021 year • Artwork must be of a superior quality and representative of South African contemporary art • The artist/artist representative will be required to register on the Central Database System (CSD) and be SARS tax compliant. The decision of the Acquisition Committee will be final and ONLY successful applicants will be contacted about collection and couriering of artwork to the exhibition venue in due course. Non adherence to the above criteria will result in the application becoming disqualified. The ArtbankSA Acquisition Committee: The nine member acquisitions committee will oversee the selection process; approve and make recommendations of artworks for purchase. Closing Date: The deadline for submissions is 12pm on Friday, 3 September 2021. All completed submissions must be emailed to info@artbanksa.org NO PHYSICAL ARTWORKS ARE TO BE SENT. Queries must be submitted in writing to artbank2@nasmus.co.za 142889

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Editors Bookmark

VACCINATION PROOF REQUIRED Italy Becomes the Latest European Country to Require Proof of Vaccination or a Negative Test to Visit Museums First Published by Artnet, July 23, 2021

“The Green Pass is essential if we want to keep businesses open,” Prime Minister Mario Draghi said at a press conference. “The virus’s Delta variant is menacing.” “An invitation not to get vaccinated is an invitation to die, or to let others die,” he added. “No vaccines mean a new lockdown.” Earlier this week, France began requiring visitors to show a health pass to enter venues with more than 50 people. The Italian government hopes that its pass will lead to more vaccinations in the nation. Currently, just 46 percent of the eligible population is fully vaccinated, and 61 percent have had at least one dose. The nation was the first country in Europe to mandate vaccinations for health care workers.

ollowing in the footsteps of France, Italy will now require proof of at least one dose of vaccination or a negative COVID-19 test from the past 48 hours to enter museums, restaurants, theaters, stadiums, cinemas, gyms, and venues for other leisure activities.

Without this so-called “green certification,” Italy would likely have to reintroduce lockdown restrictions to combat the spread of disease. The number of new COVID cases in Italy rose to 5,057 on Thursday, more than double the previous week, according to the New York Times. The virus’s new, more contagious Delta variant is leading to an increased number of infections, especially among the unvaccinated.

In a concession to the far right party the League, which feared a negative effect on tourism, the green pass is not required on trains, public transport, and domestic flights, according to Reuters. Nightclubs and discos will continue to remain closed. Matteo Salvini, head of League, which is part of the nation’s coalition government, voiced his opposition to the green pass for “excluding 30 million Italians from social life” at a rally protesting the restrictions over the weekend. An estimated 40 million Italians have already downloaded the green pass, which was previously required for attending weddings and visiting nursing homes. The new regulations for the pass, which is an extension of the E.U.’s digital COVID certificate, go into effect August 6.

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Editors Bookmark

THE DIANA STATUE An awkward, lifeless shrine – the Diana statue is a spiritless hunk of nonsense First publshed on The Guardian by Jonathan Jones 1 Jul 2021

The Italian government hopes that its pass will lead to more vaccinations in the nation. Currently, just 46 percent of the eligible population is fully vaccinated, and 61 percent have had at least one dose. The nation was the first country in Europe to mandate vaccinations for health care workers.

Without this so-called “green certification,” Italy would likely have to reintroduce lockdown restrictions to combat the spread of disease.

The number of new COVID cases in Italy rose to 5,057 on Thursday, more than double the previous week, according to the New York Times. The virus’s new, more contagious Delta variant is leading to an increased number of infections, especially among the unvaccinated. “The Green Pass is essential if we want to keep businesses open,” Prime Minister Mario Draghi said at a press conference. “The virus’s Delta variant is menacing.” “An invitation not to get vaccinated is an invitation to die, or to let others die,” he added. “No vaccines mean a new lockdown.” Earlier this week, France began requiring visitors to show a health pass to enter venues with more than 50 people.

Matteo Salvini, head of League, which is part of the nation’s coalition government, voiced his opposition to the green pass for “excluding 30 million Italians from social life” at a rally protesting the restrictions over the weekend. An estimated 40 million Italians have already downloaded the green pass, which was previously required for attending weddings and visiting nursing homes. The new regulations for the pass, which is an extension of the E.U.’s digital COVID certificate, go into effect August 6.

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New Exclusive Online Print Auctions Site Launched printauctions.co.za

CALL FOR CONSIGNMENTS

We are both excited and confident to evolve from Fine Art Print Specialists to Monthly Fine Art Print Auction Sales. The new PRINT AUCTIONS .co.za Auction house is exclusively for SA Prints Interest and investment in SA fine art printmaking has grown strongly over the past few years. In 2021 a sale of prints by John Maufangejo that would have been priced in the region of R 300 in the 80’s now reached prices between 20- 170k. Similarly prints by artists such as William Kentridge, John Muafangejo, Pierneef, Peter Clarke, Robert Hodgins, Bambo Sibiya and Diane Victors prints are rising in value. The evolution makes perfect sense with the incredible growth of confidence and ease of buying art online from buyers from around the world. Prints also translate well to being represented on a flat screen as many print, like painting don’t have texture and one can get a good idea of the print. Where the Print Auction.Co.ZA site difference from other auction house is that we open up the framed work to examine the work, whereas most auction houses don’t. This non examining the print may bring bad news as many prints have been stuck down with glue to cardboard, this comes at a shock where the purchaser needs to pay additional amount of money for restoration. We hope to also incorporate art books and posters. Our core passion still remains in dealing not just with famous SA artists, but also great prints that have contributed to SA Print language and history. For more information go to: Or email: info@printauctions.co.za

Auction News

STEPHAN WELZ & CO.

Beyond Paintings: Exploring mediums at Stephan Welz & Co. www.swelco.co.za

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he art department at Stephan Welz & Co. has seen a diversification of mediums featured on auction in recent months. With more contemporary artists adopting new and exciting approaches, artworks are transcending traditional techniques, exposing collectors to an array of exciting mediums. While printmaking dates back roughly six centuries, we have seen a recent resurgence in prints produced by important local and international artists. Our sales have boasted technically accomplished works, such as Scavenger (offered March 2021), by Diane Victor, as well as impressive bursts of colour by artists such as Norman Catherine. Victor, master printmaker, combines classical printmaking techniques with digital printing to create works that are varied in mark-making, with each line containing its own emotional charge. In contrast, Catherine portrays anthropomorphic creatures in exuberant, boastful colour. Works by Catherine have seen particularly pleasing results on our recent sales, with prices for the artist’s works continuing to rise. We have been extremely pleased to offer works by both artists, among many other notable printmakers, encompassing some of the most iconic aspects of the artists’ oeuvres. Photographic prints are another important medium that has shown to be gaining more traction on the auction market. Works by George Hallett, legendary South African photographer, have been particularly exciting for our specialists to handle. After the artist’s passing, the role he played in capturing some of South Africa’s most pivotal moments in history has become even more apparent. Hallett, along with artists such as David Goldblatt influenced the works of photographers to follow, with contemporary artists such as Mikhael Subotzky documenting daily life and occurrences with the same sensitivity and observation that form the core of South African humanist photography. Lot 427 (Johannesburg, July 2021) Willem Boshoff, Fat Chance, R150 000 — R200 000

Lot 421 (Cape Town, June 2021) Anton Smit, Koki, Sold: R21 000

Beyond works on paper, the art offered on Stephan Welz & Co. auctions has also taken a more three-dimensional turn, with some great results achieved for sculptural works. We have handled pieces by some of South Africa’s most prolific sculptors, namely Willem Boshoff, Anton Smit and Guy du Toit. These sculptors have varying approaches and work in an array of mediums, allowing collectors the opportunity to invest in the artists’ concepts and theories in a tangible form. Works by international artists like A.R. Penck have also performed extremely well, with Standart achieving R95 000 on our February auction, paving the way for more consignments of Modern sculptures going forward.

While there is much to love about paintings: the dynamism of an enthusiastic brushstroke or the atmosphere created by certain colour and application techniques, we look forward to seeing other mediums gain more recognition for their artistry and unique qualities. Both our Johannesburg and Cape Town branches are actively consigning for our upcoming auctions. Contact our specialists at info@swelco.co.za or 021 794 6461 for an obligation-free valuation.

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Lot 368 (Cape Town, February 2021) George Hallett, Bo. Kaap Welcome, Sold: R15 000

Lot 415 (Cape Town, June 2021) Norman Clive Catherine, Serenade, Sold: R10 000

Auction News

STRAUSS & CO

The Professor Leon Strydom Collection and Sixty Years of Collecting Linn Ware, The David Hall Collection Virtual Live Auction - Cape Town: 10 August 2021 www.straussart.co.za

The team at Strauss & Co is delighted to present two unique single owner collections for sale. Both speak about a deep love and passion for and insight in the subject matters that Leon Strydom and David Hall collected, respectively. They present a unique opportunity for art lovers, collectors and the broader public to gain an insight into the world of knowledgeable and patient collectors who crafted collections with integrity and insight over a long period of time. In my mind, as much as an artwork speaks about the artist, a collection speaks about and becomes a self portrait of the collector. Like many of my colleagues and fellow directors at Strauss & Co, I had the privilege of having known Leon Strydom for a long period of time. Lizelle and I started our collecting journey at the Strydom Gallery, firstly under the guidance of Matthys Strydom and then Leon. We spent many a happy hour in that gallery, learning not only about art, but also about ourselves and the privilege and excitement of living with art. The Strydom Gallery was serious about making art accessible to a greater audience, financially as well as intellectually. The Gallery played a major role in promoting artists living in the southern Cape but also presented residents and visitors with the best and most intriguing artworks created across the country. The exhibition presents a glimpse of the life of Leon as an academic and scholar with a love of books, music, fine furniture and carpets. It is dominated by his eclectic and carefully chosen collection of paintings, sculptures and ceramics. Every work deserves a second, deeper look, Leon did not collect the obvious. In presenting this collection for in person viewing at Welgemeend, we pay homage to his passionate and meaningful contribution to the arts and to our lives. – Frank Kilbourn, Executive Chairperson

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Maggie Laubser, Lake Garda, oil on card, 31,5 by 41cm, R 300 000 - R 500 000

Above: Jean Wel, Bathers and the Bridge, oil on canvas 66 by 91cm, R 300 000 - R 500 000 Opposite Page: Irma Stern, Madeira Portrait, gouache on paper 48 by 38cm, R 300 000 - R 500 000

Professor Leon Strydom was born in George where he graduated from Outeniqua High School. After a stint of military service he joined the University of Stellenbosch in 1963 where he participated in D.J. Opperman’s literary laboratory. He completed his masters in 1969 with his final dissertation on the Slampamperliedjies van C.L. Leipoldt. After two years lecturing in Afrikaans and Dutch, he departed for The Netherlands at the end of 1970 to begin his doctorate at the Institute of General Linguistics of the Rijksuniversiteit van Utrecht. He successfully sat for his doctoral examination in General Literary studies in 1973, before finally being awarded his PhD under the supervision of A.P. Grove at the University of Pretoria in 1975. His final submission was a study on the “unity of the poetry collection” which he would later publish in 1976 under the title “Oor Die Eenheid Van Die Digbundel: ‘n Tipologie Van Gedigtegroepe”. In the same year he would move to Bloemfontein, to the University of the Orange Free State where he was the youngest lecturer to be awarded a professorship at the institution when he was promoted in 1978. Strydom would release only four literary publications in his life. The first in 1973 was a collection of poetry titled Geleentheidsverse (Occasional Verses), would result in him being awarded

the Eugene Marais Prize for Poetry in 1974 and the Ingrid Jonker Prize in 1975. After his PhD publication, Strydom’s third publication, Die Sonnevanger (The Catcher of the Sun) was released in 1983, and came in the form of a collaboration with Frans Claerhout as a study of a series of 29 paintings of the same title. His final work in 1988 would be only the second volume of his published poetry, simply titled L.S. Whilst also his initials, the title contains another hidden mean in Latin; “lectori salutem” which translates as ‘salute the reader’. Suggesting a mode of address where the personal becomes political, Strydom turns autobiographical insight to face the public as the poems wrestle with Afrikaans idiom and in so doing, reveal the contradictions inherent in South African political situation of the time. In retirement Strydom would apply the analytical methods he had cultivated as a literary scientist in the direction of another lifelong pursuit: collecting art. In fact, he would go beyond simply collecting art by becoming a central figure in both the lives of many celebrated South African artists and distinguished collectors alike. Returning to his hometown of George, he succeeded his brother Matthys at the Strydom Gallery, maintaining its status as an important cultural centre on the Garden Route.

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Lucas Sithole, Standing Figure, Rhodesian teak on liquid steel base height: 78,5cm; width: 18cm; depth: 17cm, R 100 000 - R 150 000

Edoardo Villa, Blue and Green Figural Forms, welded and painted steel 214 by 131 by 70cm, R 200 000 - R 300 000

Throughout his life as an academic, Strydom had consistently surrounded himself by art and artists and the gallery allowed a way for him to formalise this passion. He would famously drive from province to province in his bussie (mini van), visiting artists and sourcing work for the gallery. In the course of cementing these relationships so Strydom would gain a unique insight that he would later share with blossoming collectors, many of whom had bought their first work from the Strydom gallery under his guidance. Presenting art that was of high quality but still affordable and accessible to new audiences was as important to him and the gallery as handling top works by major artists.

visiting the gallery, to the merits and meaning of artworks, to being an artist and to collecting and living with art.

His philosophy of collecting was based upon “the art of knowing yourself” and centred around the moment of tension embedded in an artwork that challenges the viewer. Strydom would insist that a work of art must confront the viewer in order to disrupt our accepted ways of seeing, thereby forcing you to scratch beneath the surface and keep you coming back to look. Past and current chairpersons of Strauss & Co, Elisabeth Bradley and Frank Kilbourn, were regular visitors to the Strydom Gallery. They can testify to many long conversations with Strydom, to artists

Strydom’s personal collection is a result of this analytical search for new ways of seeing and understanding the artwork, as well as a consequence of his many friendships with the artists of whose work he collected, bought and sold during his years at the Strydom Gallery. In this way it is unique; a collector’s collection, designed to simultaneously challenge and absorb the viewer, and to ultimately allow us to see and think differently. However, most importantly, it should be understood as the history of Strydom’s own interrogation into the inner life of an artwork and the tension of that relationship to the external world. The Professor Leon Strydom Collection and Sixty Years of Collecting Linn Ware - The David Hall Collection will be presented as a live-streamed auction through Strauss & Co’s website on Tuesday 10 August 2021. The preview will be open to the public (by appointment only) from 2-8 August 2021 at Welgemeend in Gardens, Cape Town. Register, browse, bid and follow the auction in real time: www.straussart.co.za

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@NWU Gallery @NWU Gallery NWU Gallery

NWU GALLERY AND MS SIMONE PRESENT

NOT ANOTHER HAIR SHOW CURATED BY TSHEGOFATSO SEOKA

NWU Art Gallery, Building E7

9 AUGUST - 17 SEPTEMBER 2021

ARTGO

AUGUST 2021 NEW GALLERIES, ONGOING SHOWS AND OPENING EXHIBITIONS Brahm van Zyl, Uitspandrif, Watercolour, 300 x 478mm, Prince Albert Gallery

ARTGO: AUGUST 2021

OPENING EXHIBITIONS

CAPE PALETTE ART GALLERY SALIENCE 02/08/2021 UNTIL 31/08/2021 CAPEPALETTE.CO.ZA

EVERARD READ CPT ELIZE VOSSGÄTTER ARTIFICIAL SELECTION 04/08/2021 UNTIL 25/08/2021 EVERARD-READ-CAPETOWN.CO.ZA

PRINCE ALBERT GALLERY BRAAM VAN ZYL MEIRINGSPOORT/DRIFT 06/08/2021 UNTIL 12/09/2021 PRINCEALBERTGALLERY.CO.ZA

RK CONTEMPORARY TRONKVOEL BY BRUNN KRAMER 08/08/2021 UNTIL 29/08/2021 RKCONTEMPORARY.COM

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THE VIEWING ROOM GALLERY THE MODERN TABERNACLE JOLIE GRACA SOLO EXHIBITION 14/08/2021 UNTIL 09/10/2021 ONLINE EXHIBITION ART.CO.ZA

THE CAPE GALLERY WILDLIFE 23/08/2021 UNTIL 30/09/2021 CAPEGALLERY.CO.ZA

ARTGO: AUGUST 2021

ONGOING SHOWS

BREYTENBACH GALLERY WOORDMAKERSVALLEI - ART EXHIBITION AND BOOK LAUNCH SKEURSELS - BREYTEN BREYTENBACH & KOBUS COETZEE / UNTIL 07/08/2021 BREYTENBACHSENTRUM.CO.ZA

ASSOCIATION OF ARTS PRETORIA STEPHI JOUBERT BIOMES OF THE DEEP 22/07/2021 UNTIL 14/08/2021 ARTSPTA.CO.ZA

SALON NINETY ONE TO WHOM IT MAY CONCERN A GROUP EXHIBITION UNTIL 14/08/2021 SALON91.CO.ZA

SMAC CPT IN YOUR SHADOW MASKING REALITIES GROUP EXHIBITION 15/07/2021 UNTIL 21/08/2021 SMACGALLERY.COM

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ARTGO: AUGUST 2021

ONGOING SHOWS

OLIEWENHUIS ART MUSEUM LIFE LINE: ART IN THE TIME OF COVID PESP PROJECTS 26/07/2021 UNTIL 22/08/2021 NASMUS.CO.ZA/VISITOR-INFORMATION/

131 A GALLERY WINTER GROUP EXHIBITION 28/07/2021 UNTIL 26/08/2021 131AGALLERY.COM

ECLECTICA CONTEMPORARY FREEDOM = NO FEAR WOMXN’S MONTH, AUGUST 2021 ECLECTICACONTEMPORARY.CO.ZA

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Art, antiques, objets d’art, furniture, and jewellery wanted for forthcoming auctions

Speelman Mahlangu, Pre-History Theory SOLD R 32,000 View previous auction results at www.rkauctioneers.co.za

011 789 7422 • 011 326 3515 • Bram Fischer Centre, Lower Ground, 95 Bram Fischer Driver Cnr George Street, Ferndale, 2194

Nina Holmes, 2021, Self Portrait & Flamingos, Eclectica Contemporary

ARTGO: AUGUST 2021

ONGOING SHOWS

GALLERY 2 A CLOUD | GROUP SHOW STUDIO NXUMALO IN ASSOCIATION WITH GALLERY 2 31/07/2021 UNTIL 28/08/2021 WWW.GALLERY2.CO.ZA

MELROSE GALLERY STORIES OF OUR SOIL GROUP EXHIBITION WOMXN’S MONTH, AUGUST 2021 THEMELROSEGALLERY.COM

NEL AUGUST HOUSE IN AUGUST 24/07/2021 UNTIL 28/08/2021 NAVEL SEAKAMELA NNER SPACE SOLO EXHIBITION WWW.NELART.CO.ZA

NEL AUGUST HOUSE IN AUGUST 24/07/2021 UNTIL 28/08/2021 ROLAND GUNST NKISI N’KONDI SOLO EXHIBITION WWW.NELART.CO.ZA

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ARTGO: AUGUST - SEPTEMBER 2021

ONGOING SHOWS

RUST-EN-VREDE CLAY MUSEUM THE CUBE PRESENTS: ANGELA GILBERT 25/05/2021 UNTIL 28/08/2021 WWW.RUST-EN-VREDE.COM

IS ART FLEETING MOMENTS BY JACO BENADE UNTIL 31/08/2021 WWW.IS-ART-GALLERY.COM

STEVENSON MY WHOLE BODY CHANGED INTO SOMETHING ELSE GROUP EXHIBITION UNTIL 03/09/2021 WWW.STEVENSON.INFO

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OLIEWENHUIS ART MUSEUM THE LANGUAGE OF VISUAL ART: A CURRICULUM BASED EXHIBITION CURATED FROM THE PERMANENT COLLECTION OF OLIEWENHUIS ART MUSEUM 26/07/2021 UNTIL 05/09/2021 NASMUS.CO.ZA/VISITOR-INFORMATION/

EDG2020 NEW MODERNISM 31/08/2021 UNTIL 28/09/2021 WWW.EDG2020.COM

ARTGO: SEPTEMBER - OCTOBER 2021

ONGOING SHOWS

EDG2020 AFFORDABLE ART FAIR 31/08/2021 UNTIL 28/09/2021 WWW.EDG2020.COM

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ART HOME

SAME DAY (FREE DELIVERY) A4 QUALITY FRAMED PRINTS R99 AVAILABLE IN ALL MAIN CENTRES PLACE YOUR ORDER TODAY WWW.ARTHOME.CO.ZA

The Professor Leon Strydom Collection and Sixty Years of Collecting Linn Ware, The David Hall Collection VIRTUAL LIVE AUCTION

Cape Town | 10 August 2021 +27 21 683 6560 | ct@straussart.co.za | www.straussart.co.za

Alexis Preller, Herdboy, R 1 500 000 - 2 000 000 The Professor Leon Strydom Collection

Art Times August 2021 Edition

Articles inside

TRONKVOËL

BUSINESS ART

FREEDOM = NO FEAR

MANTARAINA MBOKODO

ART PARIS 2021

STORIES OF OUR SOIL

M.O.L. 21