ART TIMES FEBRUARY 2023 EDITION

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PORTRAIT AWARD 2023

DIGITAL ENTRIES OPEN ON 1 JUNE 2023 AND CLOSE ON 10 JUNE 2023

1ST PRIZE: R150 000

2ND PRIZE: R 30 000

3RD PRIZE: R 20 000

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14. M.O.L 35 - WHEN WE SEE US Ashraf Jamal Column

20. INVESTEC CAPE TOWN ART FAIR 2023 10 Reasons to Celebrate 10 Years of ICTAF

32. A SPOTLIGHT ON 2023 The Melrose Gallery Shares Creative Year Ahead

36. PORTRAIT AWARD 2023 Have you started working on your Portrait Award entry yet?

40. WHAT THE CIRCUS LEFT BEHIND New Works by Vanessa Berlein

46. MAKING SPACE Nicole Clare Fraser’s Photographic Traces of Absence

50. FACES AND PHASES Solomon Omogboye: The Many Faces of Humanity

56. ECHOES OF TIME & THE DAMAGE STILL REMAINS

NWU Gallery Presents a Year of Legacy Artists

62. HERMANUS FYNARTS 2023 Stimulating and Entertaining Arts and Culture

66. BUSINESS ART Fine Art Auction highlights

82. ARTGO Exhibition Highlights

Cover: Brett Murray, Son, Bronze, Everard Read

Anico Mostert, Pineapples, 2022, Oil on Canvas, 71 x 61 x 4 cm, image courtesy of EBONY CURATED, Dillon Marsh

It gives me great pleasure to bring you this year’s 2023 Investec Cape Town Art Fair edition of the Art Times, not only because it is packed with incredible art, but because in my mind it heralds a new year and signs of new movements in contemporary art. In history, great events such as wars and disasters have been the pressure cookers of change, and I believe the last 3 years of Covid, Social Media, and isolation might have brought new ideas, thoughts, and behavior to the art communities and markets. To a large degree, life goes on as before, but I am sure that just as the young Dadaists coped with the madness of war in the early 20th Century, the youth today, I hope will bring good change and promise of a new more inclusive and hopefully diverse way of thought and life within a fast shrinking world, where art competes even more with short attention spans, and the quest for the next sensationalized type world.

Be sure to read this month’s Ashraf Jamal’s MOL (Man of Letters) as well as 10 reasons to enjoy the 10th Investec Cape Town Art Fair. Nicole Claire Frazers’ photographs shown at The Daor Gallery are haunting while the call for entries to the Rust en Vrede Portrait Award provides a buzz for all artists to enter their work for this prestigious prize. Lastly, something colourful and wild to look forward to the Cape Winter is the Hermanus Fynarts Festival 9-18 June is probably more interesting than most local art festivals given the scope, diversity, and sheer magic it brings to Hermanus from the rest of South Africa.

Please be sure to pop into our ArtGo Art events page artgo.co.za from time to time for a daily fix of what is happening in the local and international art community and markets, Enjoy!

Gabriel Clark-Brown

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WHEN WE SEE US

Ashraf Jamal

Underthe directorship of Koyo Kouoh, and her fellow visionaries, Tandazani Dhlakhama and Storm Janse van Rensburg, Zeitz MOCAA – the Museum of Contemporary African Art – has steadily and surely pronounced and performed its core vision – the creation of an accessible African and Afro-diasporic art world. This is no mean feat, at the Southern tip of Africa, in a city historically disconnected from the remainder of the African continent, intrinsically isolationist, its sensibilities peculiarly Western. This, of course, is a truth and a cliché, for no city, despite the global cult of silos, can ever wholly remove itself from the complex ground of its making. In the case of Cape Town, it is a port city, thus intrinsically hybrid, in which sovereign distinctions are a default operation. Multiculturalism, today, is a socalled bad word, given the growing fixation with essences and absolutes, but then, despite the fantasy of Pan-Africanism, the belief in a continental ‘oneness’ – which excluded the North African Arab world, and the cultures which travelled along the Indian and Atlantic oceans – Cape Town has never ceased to remind us of its anomalous state, dissociative, multiplex, creole. It is in such a city, one of the most diverse on the continent, that the story of Africa, and its global interface, has been most effectively staged. Its theatre? Zeitz MOCAA.

The major current exhibition is When We See Us: A Century of Black Figuration in Painting. As the title of the show attests, this is a monumental showing which deserves numerous visits, doable given that the show runs until September 3rd 2023. The added bonus, is that for any visitor with an African identity card, viewing is free from 10am to 1pm on Wednesdays. But why is the exhibition worth a visit? Because, after over a year of concerted effort to secure cherished works from museums and institutions worldwide, we, in Cape Town, are the recipients of a centurylong configuration and re-configuration of Black Personhood. Again, why, you might ask? Because at this historical moment,

globally – including art markets in the East –the Black African body-psyche-narrative-being has proved central to the deconstruction and revisioning of world art history, in particular the history of Western art, in which the black body – and I apply this diminishing descriptor deliberately – has, for hundreds of years, been largely objectified, denied agency, purpose, life, love, every ingredient necessary in order to embody Personhood. The cost of the punitive damage produced by the colonial divestiture of the black being’s soul, purpose, worth, agency cannot be underestimated. That enslavement continues, despite claims to the contrary, should prove a grossly indigestible tonic.

Koyo Kouoh’s prevailing anthem, from the moment she assumed the post of Director of Zeitz, has been to inculcate a counter-intuitive culture of grace and joy. A Cameroonian, educated in Switzerland, with a keen sense of a complex global cultural interface – a world between worlds – Kouoh is acutely attuned to the dangers of provincialism, and the intolerant fascism that lurks within a narrow silo-stricken mentality and culture. This is why, at the outset, her collective vision is focused on ‘Black selfrepresentation and celebrates global Black subjectivities and Black consciousness from Pan-African and pan-diasporic perspectives’. The key instrumental dialogue which the show sets up is between leading Black thinkers, writers, poets, and, primarily, artists. If dialogue is critical, it is because it is under threat. What Zeitz MOCAA advocates, both broadly and intimately, is nurturing and generative conversation. A museum, after all, is a metropolitan church, a place of sanctity, grace, wisdom, knowledge. This, I think, is Zeitz MOCAA’s great achievement. Of course, there will be nay-sayers who decry the inconsistency which a monumental collection of Black art from across the world, and across a century, might produce. This might be true. We all have our likes and dislikes. However, in the spirit of inclusivity, one cannot deny the majesty of the achievement.

Opposite page: Danielle McKinney, OCD and O’Keeffe, 2022, Acrylic on canvas, 61 x 45.7cm

‘With a focus on painting, the exhibition celebrates how artists from Africa and its diaspora have imagined, positioned, memorialised, and asserted African and African-descent experiences. It contributes to critical discourse on African and Black liberation, intellectual, and philosophical movements’. What’s not to love? Capacious, tender, spirited, The Zeitz show – When We See Us – has proven the museum’s manifest destiny. Against the historical exploitation and objectification of the Black body, what the show prefers to emphasise is the wonder within ‘The Everyday’, ‘Joy and Revelry’, ‘Repose’, ‘Sensuality’, ‘Spirituality’, ‘Triumph and Emancipation’. Each of these chapters segue into a greater – if, as yet, virtual – whole. To the curators’ great credit, however, my own circumspection is overridden by a greater optimism. One moves through a caravanserai of glittering joy, coaxed along by a warm musical accompaniment. There is nothing high-minded and stuffy about the show, and neither is it a kitsch rendition of some Black African joie de vivre. Instead, the passage from glittering room to glittering room, painted

in earthily deep ochres and greens, or offset against vast panels of plywood, is easeful. At no point did I feel oversaturated and mentally and emotionally exhausted – museum’s lest we forget, are immensely tiring experiences, given the burden of sight and apprehension, the pressure of knowledge, the secret nous which one might miss. Instead, the experience proved triumphal, spiritual, sensual, easeful, fun, joyous. To experience all these emotions in a single visit is remarkable. Rarely, if ever, in any museum anywhere in the world, have I experienced such an assortment of pleasures. Thus, whatever one might think, regarding the continued exploitation of the Black body, or the commodification of Black art, what one cannot overrule is the concurrent lift-off of Black life and art in the global imagination. In recent memory – since the dawn of the Enlightenment and birth of democracy and individualism in the 18th century – never has there ever been such a moment. Thus, to understand the enormity of Zeitz MOCAA’s achievement, we much frame it within a relatively recent radically revisionist moment, which, over and above all prior liberatory

George Pemba, The Audience, 1960, Oil on canvas board, 35.5 x 45.5cm

Sungi Mlengeya, Constant 3, 2019, Acrylic on canvas, 140 x 140cm

drives, has, in a few years produced none other than a radical infrastructural and perceptual shift. The Zeitz MOCAA exhibition is not the inheritor of this seismic shift, but its progenitor. Indeed, it ranks above many comparable offerings, precisely because of the density and range of its selection. To bemoan the absence of one other artist in the pantheon is churlish.

Dear reader, I strongly recommend that you see this great show in which Black life is not memorialised, but consecrated, in which conviviality proves the benign and graceful glue, warmth the profound register, humanity in all its rich diversity the greater goal. There is a very good reason that Steve Bantu Biko declared that Africa would give the world a ‘human face’. Precisely. This too, is Zeitz MOCAA’s point. As the world implodes, as barricades re-emerge, the entire earth balkanised, in a historical moment threatened by the spectre of hate and division – the resurgent horror of Fascism – the world, uncannily, at the very same time calls upon the Rights and Rites of Empathy, the ability to speak each to each, to imagine the wondrous goodness of others. As the transcendentalist Henry David Thoreau memorably asked, ‘Could a greater miracle take place than for us to look through each other’s eyes for an instant?’

This is the miraculous intimacy which the Zeitz MOCAA exhibition achieves. When we see us is about the mirroring reality of Black Life, its commonality and communality. As such, the exhibition is never exclusive or exclusionary. I have always enjoyed studying people when in museums – trying to sense what attracts and moves them, where and why they congregate, what is being seen – in this case, what was most striking was the international nature of the audience, the many delightedly wagging tongues, but also the richly diverse texture of local life in attendance. If I have chosen not to focus on any specific artwork, it is because of the multitudinous range of the visions represented. Each one of us, rightfully, will be drawn to one painting more than another, and, as we weave from room to room, the bouquet of tastes we carry in our hearts and souls will alter, some flowers fall by the wayside, others root themselves more deeply, until, at the end of it all – which is also a beginning – we will each reconvene in our innermost being and know, as though for the first time, the wonder of our finest encounters. After all, what better way than through a marvellous show, to learn to see ourselves?

Cheri Cherin, Revolution Obama, 2009, Acrylic and oil on canvas, 200cm x 300cm

INVESTEC CAPE TOWN ART FAIR 2023

10 Reasons to Celebrate 10 Years of Investec Cape Town Art Fair

investeccapetownartfair.co.za

Investec Cape Town Art Fair reaches a major milestone this summer, marking a decade as the city’s premier visual, contemporary art event. From its inception, the fair has connected artists with galleries and collectors, while showcasing fresh ideas and masterpieces in the making.

Produced by Fiera Milano Exhibitions Africa, a leader and one of the main integrated operators worldwide in the exhibition and congress sector, the Art Fair is returning to the Cape Town International Convention Center from 17-19 February 2023, the tenth edition of Investec Cape Town Art Fair will see 135 new artists participating, with over 23 000 visitorsas well as 6000 VIPs - expected.

It’s the world in a fair: With the participation of galleries from across Southern Africa, as well as from sub-Saharan centres, Investec Cape Town Art Fair has acquired a truly continental identity. Galleries represented have come from Angola, Tunisia and Ivory Coast, to name just a few. Over the past decade, this has piqued the interest of European and further afar galleries looking to connect with the African art market. The art fair today is a combination of local and international exhibitors, bringing home the best of both.

Time will bend: The organisers have enlisted the expertise of top curators to explore the theme for 2023: the notion of time. Investigating the passage of experience - both personal and societal - will see some of the world’s leading practitioners putting time in perspective. Among those appointed are independent curator Natasha Becker (San Francisco, USA), art adviser and Curator Dr. Mariella Franzoni (Barcelona, Spain ), local writer Sean O’Toole (Cape Town, South Africa) and art dealer and adviser João Ferreira (Lagos, Portugal).

Nedia Were, Feel langa Free (I feel free), 2023, acrylic on canvas,153 × 237 cm, Eclectica Contemporary

SOLO is flying high: SOLO, a special section of the Fair, shines a light on the artistic practices of emerging and mid-career artists working locally and abroad, through curated solo presentations. From its first iteration, when the special feature explored the effects of the digital world on lived realities and art-making, it has taken audiences through the inner workings of a generation of artists who are making waves in the world.

Get a glimpse of Tomorrows/Today and forever: Officially titled In and Out of Time, the theme of the 2023 Investec Cape Town Art Fair is woven together across the main exhibitions, where curators Natasha Becker and Dr. Mariella Franzoni explore Maya Angelou’s, a poem about everlasting love and suffering. Tomorrows/ Today & forever engages with the link between our bodies, minds, and social environment; or the affective dimension of our experiences of time, memory, history, imagination, action, and desire. Artists in this section include Joana Choumali (United States of America) of Gallery 1957, Gino Rubert (Spain) of Galeria Senda, Cassi Namoda (South Africa) of Goodman Gallery, Deborah Segun (Germany) of Bode Projects, Talia Ramkilawan (South Africa) of BKhz Gallery Githan Coopoo (South Africa) of Everard Read Gallery, Micha Serraf (Germany) of C24 Gallery, Shamilla Aasha (Zimbabwe) of First Floor Gallery Harare, Carla Hayes (Spain) of Reiners Contemporary Art.

There’s both ALT and new: The ALT section made its debut in 2022, dedicated to projects that reflect the many ways in which the art world had to adapt. For 2023 ALT is dedicated to alternative booth formats and exhibitions that reflect how technological change continuously impacts the art world. For this section, applications from nontraditional galleries including digital and technology-based projects that offer a fresh interpretation of the anti-booth is encouraged.

A happening (gathering) space: Art fairs are also excellent networking platforms and the question of how to connect collectors, galleries, art enthusiasts and institutions across the globe is both a social and cultural one answered by Investec Cape Town Art Fair. The event has, since its debut, offered all visitors, including seasoned art fair aficionados, a highly personalised experience of the Mother City’s art landscape. VIPs can look forward to an exciting programme of events both within the fair, and throughout the city.

THK Gallery, Lulama Wolf A ‘soze I, 2021, Acrylic and sand on canvas 120x150cm

Ebony/Curated, Anico Mostert, Two Years Late,2022 Oil, Acrylic and Oil Pastel on Canvas 130 x 100cm

Worldart, Tafadzwa Masudi Ngwaririai, 130x120cm, 2022

Everard Read, Lady Skollie, Snake Fossil, 2022, mixed media on paper, 100 x 70cm

Above: BKhz Gallery, Zandile Tshabalala, Lovers In A Secret Place, 2022. Opposite Page: Eclectica Contemporary, Johannes-Phokela, End of Parallax, 2022, Oil-on-canvas, 122 x 91 cm

SMAC Gallery, Rosie. Mudge, Leave (Get Out), 2022, Miracle Beans and Fishing Line, 198 x 186cm

First Floor Gallery, Harare, Shamilla Aasha, Sights of Memory

Talk of the town: Investec Cape Town Art Fair positions its Conversations series firmly in the present, tackling complex debates within the scope of its business-oriented model. Stimulating panel discussions take a look at the regional contemporary art scenes, and the impact that contemporary African art is having on the diaspora and beyond. The conversations are not limited to fine art practitioners, but also include the experiences of cultural figures, architects, critics and educators.

Cape Town will (once again) transform into a living artwork: The Mother City itself can be likened to a major artwork on display during Investec Cape Town Art Fair, with special exhibitions and projects taking place across town. The local art scene is booming, and one of the best ways to experience it is by popping into the innovative spaces as well as more traditional galleries. Wherever you go, you can expect to be immersed in diverse, cuttingedge and provocative artworks rich in culture and heritage.

Art goes walkabout and talkabout: Guided tours are open to visitors, offering a chance to see the fair through the eyes of curators, academics, artists and gallerists. The histories and anecdotes about what’s on the walls and what’s in the fair add an extra dimension to the experience. In 2023, the art walkabouts will extrapolate on the theme of time.

You can enjoy darkness and light on Gallery Night: Gallery Night takes the art fair beyond the venue, offering fairgoers a fuller view of Cape Town’s visual art scene. Jump on a City Sightseeing double decker bus from the Cape Town International Convention Centre on Friday, 17 February, and enjoy a vibrant evening of gallery hopping from the city bowl to Woodstock. Buses are available to all ticket holders of the fair.

The tenth Investec Cape Town Art Fair will run from Friday 17 to Sunday 19 February at the Cape Town International Conference Centre from 11h00 to 19h00.

Tickets can be purchased via the Webtickets link on www.investeccapetownartfair.co.za

Above: Everard Read, Brett Murray, Son, bronze Opposite page: Christopher Moller Gallery, Tony Gum, Ama Mpondomise

Blank, Jared Ginsburg, Carryon set no. 3 (Touch my hand), 2019, Suitcase, papier-mâché, mixed media, 45 x 37 x 11 cm

Everard Read, Atang Tshikare, Lora, jacaranda wood

A SPOTLIGHT ON 2023

The Melrose Gallery

Philiswa Lila and Ivukuvuku - Performance Artwork:

On the 12th of January, a large audience, joined us to experience a performance artwork titled ‘Enkundleni – Pouring Healing’. This was another in a series of performances presented by Philiswa and Ivukuvuku that deal with issues of Gender Based Violence. Enkundleni, focused on ‘healing’ whilst ‘A Bed Called Home’, which was presented in December, explored ‘pain’.

The performances draw from personal experiences in producing work that channels memories, feelings and emotions that are based on the past, but reoccurring in the present as interpretation of continuous healing.

The Melrose Gallery is passionate about performance art and has planned an exciting programme of performances throughout the year which we intend expanding on year on year.

Esther Mahlangu Retrospective Exhibition:

The Melrose Gallery has been tasked with implementing Dr Esther Mahlangu’s Retrospective Exhibition and the global museum tour thereof.

We will spend the year working with the exhibition curator Nontobeko Ntombela, researchers, educational officers, writers, publishers, film makers, museums, and others to produce the Retrospective Exhibition which is set to launch in South Africa in 2024.

The exhibition will be accompanied by old and new artworks, historic and current photographs, a documentary, a comprehensive publication, and educational programme.

Made possible with support from BMW and the National Arts Council, and other sponsors

themelrosegallery.com

Enkundleni, poring healing installation shot featuring Philiswa Lila and Ivuluvuku

yet to be announced, it is expected that the exhibition will generate more exposure than any in South Africa’s history. We invite any parties with older works, photographs, video and other content of relevance to Dr Mahlangu’s life and extraordinary career that spans 7 decades to contact us on curator@ themelrosegallery.com to discuss the possible loan thereof for the Retrospective Exhibition.

Pitika Ntuli - Return to the Source at Durban Art Gallery:

We are pleased to announce that Pitika Ntuli’s ground-breaking exhibition, Azibuyele Emasisweni, will launch at Durban Art Gallery on 30 March 2023. After a well-received run at Oliewenhuis Art Museum, Durban audiences will be treated to an extended run of 10 months.

The exhibition and associated programme, curated by Ruzy Rusike and the DAG team,

panel discussions, walkabouts, workshops, performances, poetry and storytelling celebrating African spirituality.

33 bone sculptures accompanied by praise songs performed by Pitika Ntuli will be presented together with engagements by 31 thought and creative leaders in the form of poetry, writing, film, song, music, and dialogues.

These include the likes of Homi Bhabha, Ngugi Wa Thiongo, Minister Naledi Pandor, Bra Don Mattera, Gcina Mhlope, Sibongile Khumalo, Yvonne Chaka Chaka, Ela Gandhi, Buti Manamela, Shaheen Merali and numerous others.

‘Azibuyele Emasisweni’ was nominated for a Global Fine Art Award for best digital exhibition in the world and was presented with a prestigious People’s Choice Award in Paris in 2021.

Esther Mahlangu, Photo Clint Strydom

Sustainability Exhibition:

In March and April 2023, we will be presenting an exhibition with a curatorial focus on defining or better yet identifying what sustainability means from an African ideology and questioning how that is interpreted from a Western gaze.

Blessing Ngobeni Awards Group Show: The Blessing Ngobeni Art Prize is a national art prize and non-profit organization in its seventh year running. The art prize was founded by directors Blessing Ngobeni, Teresa Kutala Firmino and Olwethu de Vos. The prize was created to offer local young and emerging artists the opportunity to exhibit their work in a professional gallery and build their careers.

In partnership with The Melrose Gallery, BNAP will be looking for the next big 3D, performance, and installation artist, to win the coveted art prize in 2023.

The Trojan Horse: Ruzy Rusike has invited 8 visual artists to engage with Dr Willie Bester and his Apocalypse Horse sculpture for an exhibition titled ‘Trojan Horse’.

Each artist will create one monumental new work for the exhibition. Willie created this series of sculptures when soldiers hid in crates on trucks in order to gain access to a township in Cape Town during protests and opened fire from the trucks and killed several members of the coloured community.

The exhibition runs for June and July 2023.

Womxn’s Month and SculptX:

In August, Ruzy Rusike, will be curating an exhibition celebrating womxn artists. These works will be predominantly 2-dimensional works presented on the walls leaving space for weekly performances in the gallery.

In September, the Womxn’s Month exhibition will remain hanging as a ‘skeleton’ that will be expanded to receive the sculptures that will be presented at the 6th instalment of SculptX 2023, the largest annual sculpture fair in South Africa.

We look forward to the powerful engagement between the 2D and 3D works across the same theme to be launched in Womxn’s Month.

Any sculptors who are keen to create new works for SculptX 2023 can email: joy@themelrosegallery.com

Pitika Ntuli, Azibuyeke Emasiswent, Installation Shot at Oliewenhuis

PORTRAIT AWARD 2023

Have you started working on your Portrait Award entry yet?

rust-en-vrede.com/portrait-award

Excitement is in the air as the digital entry dates for the 2023 Portrait Award competition inch closer. Since its inauguration in 2013 this biennial competition, hosted by Rust-en-Vrede Gallery in Durbanville, has seen five talented artists walk away with the proverbial crown: Helen GourlayConyngham (2013), John Pace (2015), Kate Arthur (2017), Craig Cameron-Mackintosh (2019) and Felicity Bell (2021). This year your name could be added to the winner’s circle…

As always, the judging process is anonymous, leveling the playing field by allowing artworks to speak for themselves throughout the adjudication process. A new set of judges take up the challenge of selecting the Top 100 portraits each year, one of whom (except for 2021 – due to traveling restrictions) is associated with the BP Portrait Award competition. This year that judge is celebrated

British artist and former Stellenbosch University lecturer Paul Emsley, who was the 2007 winner of the BP portrait Award. Paul will be joined on the adjudication panel by Prof. Elizabeth Gunter, associate professor at Stellenbosch University. As an artist, Elizabeth has had several solo exhibitions, participated in numerous group exhibitions and her work is represented in private, corporate, and public collections both in South Africa and abroad. The third judge will be announced shortly.

This year’s winning portrait will once again secure its creator R 150 000, as well as the opportunity to present a solo exhibition at Rust-en-Vrede Gallery in the following Portrait Award year in 2025. A second prize of R 30 000 and a third prize of R 20 000 are also up for grabs. This year also sees the addition of the Ryno Swart Drawing Medal which will be awarded to the best portrait done in a drawing medium as selected by the judges.

2013 Top 40 Finalist Susan Grundlingh, Myself with My Favourite Plants, Acrylic on Canvas

2017 Top 40 Finalist Themba Mkhangeli, Serenity, Ballpoint Pen on Paper

2021 Top 100 Finalist, Sebastiaan Theart, Ruzanda (Sebastiaans Mother), Oil on Canvas

Besides the monetary prizes, the gallery secured some more enticing rewards. The CO-Art and Blue Cactus Artist Residency have once again come on board to offer a residency in the beautiful Spanish countryside, whilst The Italian Art Shop and Pen Café Durbanville will be offering desirable art hampers. Andrew James, current member and previous vice chair of the UK’s Royal Society of Portrait Painters also agreed to give his time and expertise in the form of zoom tutoring sessions.

Portraiture as a genre has evolved to the point where everyone’s idea of what a portrait entails differs, creating an opportunity to explore and interpret this genre in a multitude of ways within the contemporary art narrative.

Monetary prizes and the Ryno Swart Drawing award aside, the competition offers both upand-coming and established artists a myriad of opportunities for exposure. The top 100 artworks form part of the PORTRAIT 100 and Top 40 exhibitions displayed at Rust-en-Vrede and the PORTRAIT 100 host gallery for a minimum period of a month. From the overall 100 selected, the winners of the residency, the art hampers and tutoring sessions are drawn at the opening. The Top 40 artworks

are included in a highly collectable colour catalogue which will be released at the Gala evening and available on sale at the gallery.

Countless artists from the entire entry pool have been given the opportunity to exhibit at Rust-en-Vrede over the years, which just goes to show that you do not necessarily have to win the top prize to make a meaningful impact on your art career. To quote an old cliché –“You have to be in it to win it” and with the Portrait Award, winning comes in various shapes and forms.

Enter! You never know, even if you do not win first prize, it might just change your life.

Digital entries open on 1 June 2023 and close on 10 June 2023 at midnight.

Rules and Regulations and How to Enter:

https://rust-en-vrede.com/portrait-award/

• Please note that the Rust-en-Vrede Gallery has a new telephone nr 068 457 8589 and a new e-mail address: gallery@rust-en-vrede.com

• Office Hours: Mon - Fri from 10h00 – 16h00 and Sat from 9h00 – 13h00

2017 Top 100 Finalist, Anina Deetlefs, Skin, Oil on Canvas (Detail) 2021 Top 100 Top 100 Finalist, Joubert Stander, After Work, Oil on Canvas

WHAT THE CIRCUS LEFT BEHIND

An Exhibition of New Works

by Vanessa Berlein Gallery

F, Cape Town.

By Lin Sampson / Photos Ruvan Boschoff galleryf.co.za

Asan artist, Vanessa Berlein, works predominantly in paint medium on board, paper and canvas. She walks a fire bridge when it comes to themes. Having done time in the service of paint, she can tackle almost any subject from the strict metrics of the present to the frail filigree of the past, always eliciting a textured emotional response that is most evident in her latest circus pictures.

Vanessa Berlein is as tall as a tree and a serious empath, inviting confidences, sharing stories of adventure, of love and destiny, of tragedy and longing and lost continents. She has worked as a maid in Hollywood, been involved with witchcraft, intimately explored her own country, Southern Africa, taking in the landscape with her acute eye, done paint effects to make money, been married and has a son, fallen crazily in love – and crazily out of love.

And all the time she has kept on painting, day after day, 9 to 5. “For me it is like a world I can go to, and no one can come with me, and it all just goes quiet. It is a place where everything makes sense. I used to bitch and moan about it but no, you get up every day and that is what you do. You paint. And in order to make a living you have to do grunt work.

“Painting - technically it is how mathematicians understand numbers, how they work. I don’t understand numbers but with paint, I get it, it’s like sewing. I get sewing, how clothes are put together.”

She approaches her work pragmatically. The witchery of her paintings is that they span women’s magazines while keeping a sporting foot in the trenches of real creativity. She has ignored the fact that the twentieth century has been called an ironic age, and her paintings are often unfashionably romantic, flowers, portraits, the circus.

Swansong

“Probably the most I ever learnt about paint was in the nineties when I was doing paint effects on the walls. I have had a few calls lately for paint effects so perhaps this is a trend that is returning.

“Circuses and the detritus they leave behind has fascinated me ever since I came across what I thought was an abandoned circus in a forest I was walking through. The paintwork had faded, and the chrome rusted and there were broken objects lying around and then rounding a corner I came across a film crew making a film on circuses. But I never forgot that scene of abandonment in the forest or the absurdity of the circus on the beach.”

“With my circus paintings, I have tried to recreate that lost feeling, a place devoid of humans and resting in the golden dark landscapes I know so well. It is not a feeling I can name but all true travellers will recognize it in my paintings.

“Below where I currently live in Observatory was a circus tent. It had been there longer than I had been there. It was a place offering hope and the tutoring of acrobats to over 300 children, many of them living in these streets in the shadow of Devil’s Peak. When my son was small, I used to take him to the circus school there.

“The owners struggled to keep it going. I passed by it every day. The grass had grown long around the tent pegs and the nets needed

Vanessa Berlein

repair. I thought about it often as I watched it slowly collapse until one night a Cape storm ripped it from the ground and for a while it lay dormant, candy striping the earth in a final bow.

Luckily, many of the students were absorbed by the uniquely professional and social circus, the Zip Zap that has a worldwide reputation as a socio-economic experiment that has brought brighter futures to many of the under privileged young adults of Cape Town.

Vanessa is used to mining her surroundings for information and creative clues. “It is both the magic that a circus engenders and the feeling of abandonment when it moves on, that is what I have tried to capture in my circus paintings.”

“When I was a child, my father bought an old gold mine in Pilgrim’s Rest. It had been mined during the gold rush and a settlement had grown up around it and there had once even been a hotel. You have no idea the thrill of finding forgotten objects strewn around, old glass perfume bottles, pieces of old pottery, old glass ware.

In South Africa we have been lucky, the landscape dotted with small towns fed into the circus iconography. Few children brought up in South Africa in the last twenty years would not have visited the Boswell/Wilkie Circus which was internationally acclaimed or the much newer Zip Zap circus with its spellbinding local talent.

As Vanessa says, “Because I had done so many road trips across the country from when I was very small going back and forth to boarding school, the landscape of so much of South Africa always reminded me of going home. It had this nostalgic thing for me and then I started imaging what the circus could have left behind in this deserted African landscape. The series is called What the Circus Left Behind. These desolate, recognizable landscapes that really pull you in but there is something quite melancholic about them and that is what I am working on at the moment.

“I mean just imagine if all the animals from the merry-go-round came alive.”

Merry-go-still

‘neath Devil’s Peak

For all the tea in China

NICOLE CLARE FRASER - MAKING SPACE

Photographic Traces of Absence, Stillness and the In-Between in Public Spaces

DAOR Contemporary 08 February – 11 March 2023

By Nicola Kritzinger daor.co.za

Nicole Clare Fraser’s solo exhibition entitled ‘Making Space: Photographic Traces of Absence, Stillness and the InBetween in Public Spaces’ feels like a particularly special way to start off 2023, akin to a new year’s resolution. Fraser’s photos that feel ‘empty’ upon first viewing, offer a blank slate of potential to me as a curator, critic, and viewer. It offers the opportunity to think, write, and delve into the work, excavating the meaning derived from offering it to public experience in a post-pandemic episteme.

The usual ‘white cube’ gallery might not do the photographs justice as much as an industrial feel would – which made the DAOR Contemporary space the right place to exhibit such a body of work. Artists have been more involved in the curatorial process in the past decade or so, and with this exhibition, it feels not only right but necessary to work closely with artists on every element of the curatorial process. This exhibition was part of Fraser’s Master’s degree at UCT, and the curation of it needed to honour the work as well as the production of knowledge inherent in the process.

The work was first exhibited during the height of lockdown and only a small number of visitors were allowed to view the work at its opening. This restriction of access during the first exhibition adds to the mythologies within the body of work, and in some way, the publicness of a repeated exhibition of this oeuvre is still inhibited by the restricted access to the Port of Cape Town. Accessibility is a constant theme not only in each individual work, but as a body of work, its meaning, and its display over time. There is a privateness inherent in the photographs on many levels.

Ladder, 2020, Silver Gelatin Handprint (Detail)

Pool Ladder, 2020, Silver Gelatin Handprint (Detail)

Airport Trolleys I, 2021, Silver Gelatin Handprint

The Little Theatre, 2020, Silver Gelatin Handprint

The word ‘traces’ resonates specifically because of the marks left not only of human presence/absence in the photos, but because of the traces left on our spirits. It has taken me a long time to get back into public space, or spaces that feel activated again. The nowpacked Gallows Hill Traffic department, the cinema, the opera, or hopping on a plane feel completely different. The photos, on the other hand, don’t feel triggering in the way that going out into the world again can.

Fraser has been working with elements of ‘Absence, Stillness and the In-Between in Public Spaces’ in her artistic practice for some time. This body of work did not stem from the sudden emptiness of space, but instead the abandoned places she photographed presented a unique opportunity relevant to

her artistic thesis while devoid of their usual bustle. Recording human-filled spaces without people in them is challenging during ‘usual’ moments in time but during a lockdown, access faces new hurdles. The process of seeking special-permit access hides behind the images, bringing questions around publicness, accessibility, and belongingness into new frameworks; almost like these spaces have their own private lives when we are not present to activate them.

Fraser’s work and the idea of ‘space activation’ and her ‘object portraits’ are underpinned by Object Theory, loosely based around the work economist Igor Kopytoff who delineated the value of objects and their individual histories based on a Marxist framework, from which the notion of the object biography was derived.

Gallows Hill Traffic Department I, 2021, Archival ink on innova 300gsm cotton rag paper

The object biography implies that objects have agency in the world, and hold value not only for their material use, but for the value of the private lives, encounters, and histories they embody. The meaning of objects and spaces without humans is explored keenly through Fraser’s body of work ‘Making Space’ creating biographical imaginings for the viewers to imbue related to their own experience.

Ruin Porn is something I often reference because as an area of display it holds a key to understanding our fascination with abandoned spaces and the Post-Anthropocene. Fraser avoids these tropes in her photography, circumnavigating the easy score of appealing to an audience tickled by the potential of our extinction. Rather, Fraser’s images denote a sense of waiting, of quiet silence, of spaces

and objects that are to be meaningfully engaged again – bringing an element of patience and stillness from what was recorded during a time of immense tumult and chaos.

These photographs embody not only their immediate subject matter, but a depth of meaning relating to human presence. Elevating the quotidian and the unseen; photographing the banal, and the overlooked; and engaging with spaces we take for granted as inhabited asks questions around humanness and how closely tied we are to spaces we frequent. At first glance, these hand-printed black and white images are banal, of spaces that are our normal haunts, but upon closer engagement, they reveal themselves instead as haunted, contextually fraught and embodied.

Gallows Hill Traffic Department III, 2021, Archival ink on Innova 300gsm cotton rag paper

FACES AND PHASES: SOLOMON OMOGBOYE AITY Gallery, Franschhoek

AITYGallery is proud to present Faces and Phases, an exhibition of works by Solomon Omogboye. This collection of vibrant and captivating images celebrates the many faces of humanity, exploring emotion and identity in every frame. Solomon’s unique sense of composition and eye for detail gives viewers a window into the diverse and inspiring lives of people from all walks of life. This powerful collection highlights the importance of connection, of understanding and appreciating diversity, and of recognizing the humanity in all of us.

Solomon Omogboye is a Nigerian artist whose work is inspired by his cultural heritage and the beauty he finds in everyday life. His vibrant and eclectic pieces showcase his unique artistic vision and offer viewers an insight into his homeland and the world around him. Through a series of intimate portraits, Omogboye examines the many faces of humanity, exploring what it means to be human in all its complexity. Each portrait is accompanied by a poem, allowing viewers to explore the nuances of emotion and experience.

Faces and Phases is a captivating and thoughtprovoking exhibition. It is a reminder of the importance of connection, of understanding and appreciating diversity, and of recognizing the humanity in all of us. This exhibition celebrates the many faces of humanity, exploring emotion and identity in every frame.

These portraits remind us of our own Inner child, to honour, respect, and not forget the many expressions of humanity that make us who we are. This exhibition encourages us to explore and appreciate each other’s unique perspectives, and to recognize the beauty of diversity. By showcasing this powerful collection, AITY Gallery invites viewers to come and explore the Faces and Phases exhibition.

The show opens Saturday 28th of January at 11 am, AITY Gallery Franschhoek.

Mpho, Oil on Canvas, 110 cm x 150 cm

Above: Standing Tall, Oil on Canvas, 115 cm x 160 cm Opposite Page: Kgotlelelo, Oil on Canvas, 110 cm x 160 cm

ART@AFRICA CELEBRATES THE DIVERSITY OF CONTEMPORARY SOUTH AFRICAN ART

Art@Africa creates meaningful art experiences to trigger powerful emotions. In displaying entirely South African artists, the gallery in the Silo District of the Cape’s V&A Waterfront and sculpture garden, across the road from the Huguenot Monument in picturesque Franschhoek, (in collaboration with Perfume Privé Workshop) provide a platform on which the extraordinary South African talent can be recognised on an international level. Art@Africa uses its unique settings to celebrate the diversity of Contemporary South African art.

Having worked alongside artists in large projects such as Epcot, Universal Studios, Sea World and edutainment centres, museums and aquariums around the world, Art@Africa founder and Impresario Dirk Durnez has the talent to recognise good art and the ability to find and nurture promising emerging artists. Art@Africa offers these artists a platform and works closely together with both established and new artists to create a cross-pollination of South African talent.

Art@Africa brings 38 years of international experience in edutainment, themed construction, and architectural storytelling to the table. They not only assist clients, architects, developers and interior designers to select the correct artworks but also assist with architectural and Imagineering advice. When it comes to Monumental Creations, they offer expert engineering.

Prof. Mike Bruton writes in his book Curious Notions: “Art@Africa seeks to create a significant positive experience and to address the issues that face modern African society through its art. They recognize that artists are often the first to oppose dull binary prejudices and rather see an opportunity to portray the kaleidoscopic continuum between extremes. They also believe that there is an increasingly strong interface between art and science,

especially environmental science, and that art can convey messages and articulate emotions that we are not able to express easily in words. Art therefore transcends cultures, languages and disciplines and provides a means whereby millions of people who choose not to listen to the scientific message can be informed about the environmental crisis. Art helps us to realize that we are an integral part of natural processes and that our role is to understand and work in harmony with Nature, not to conquer it. “

During the Covid pandemic, Dirk and his wife Kat transformed a section of their house into a Studio for Art Residencies, called Kunye (Together). “ Kunye gives me the opportunity to transfer my experience and know-how to young, emerging artists. “, says Dirk.

Dirk’s wife and co-founder Kat continues: “For an artist, canvas and paint are easily accessible but for sculptors the bar is much higher. Many sculptors have no access to expensive materials and equipment needed to create their art. That’s why we assist young and promising sculptors to create a career for themselves by offering them a stocked and equipped studio and of course also Dirk’s assistance, know-how and ideas. “

“We celebrate one of the most diverse countries in the world, and Kunye, our multicoloured and gender-less icon stands for how Art unites us”, says Dirk.

Art@Africa believes that talent does not lie across the ocean but right in our backyard. Tied into this we do not believe in the white cube gallery space that is only digestible for a select few but rather that art should be experienced and enjoyed by all.

Above: Crown Shakra, Kunye Colab and Vuyo / Swept UP by Valeria Talian. Opposite page top left: A Symphony of Spheres by Brendon Edwards, Franschhoek. Opposite page top right: William Sweetlove, Waterwars. Opposite page centre left: Talita Steyn, Evolve. Opposte page centre right: Kunye Colab, Adinkra. Opposite page bottom left: Caelyn Robertsson, Kobus Walker Marke Meyer. Opposite page bottom left: The Naturalist, Augmented art - Download the free app ARTIVIVE from Playstore - put the sound on maximum - hold your cell phone in front to the artwork and see what happens ( A collaboration by David Griessel, Benjamin Mitchley and Dirk Durnez)

The Heat is On, Oil on textured canvas, 80 x 100cm

ECHOES OF TIME: CORAL FOURIE

NWU Art Gallery

10 February - 17 March 2023

blog.sanlam.co.za

TheNWU Gallery presents a year of Legacy artists, starting with the exhibition “Echoes of Time” by Coral Fourie. The exhibition will be available for viewing from the 10th of February to 17th of March 2023 at the NWU Main Gallery.

“the day we die a soft breeze will wipe out our footprints in the sand when the wind dies down who will tell the timelessness that once we walked this way in the dawn of time” – San Song

Coral Fourie was born in Mahikeng in 1937. During her developmental years in the Kalahari and Botswana Coral formed unique influential friendships with the Bakwena tribe of Batswana, Bakgalagadi, G/hana, G/wii and Khua San peoples. During this time Coral met South African writers, such as P.J. Schoeman and W.A.de Klerk, who were friends of the family. Impactful impressions which can be seen echoing in her work today, however, were created by participating in traditional wall paintings with mud and cow dung with the local women and watching Bushmen doing etchings on ostrich eggshells.

Coral attended Pretoria Teachers’ Training College where Walter Battiss was one of her mentors. During Corals later years of art teaching, she was also mentored by Bill Ainslie from the Johannesburg Art Foundation.

Coral has been part of 33 exhibitions, mostly solos and throughout her adult life she has completed numerous commissions. Coral has also been included in numerous collections and has written three books. One of which was translated into German and another one published in four languages: Afrikaans, German, English and French. At retirement age, Coral started with a full-time professional career as an artist and currently resides in Polokwane, Limpopo province.

In the new year of 2023, Coral will once again be exhibiting an exciting body of work at the Potchefstroom Campus of the North-West University, as the first artist, part of the Legacy Artists year at the NWU Main Gallery.

In Echoes of Time, Coral’s body of work is echoing and intertwining through three different timelines; the present, past and future. In the present time we are standing in echoes of the past, echoing into the future. The artworks showcased in this exhibition bring to life echoes of time, time as in the form of reminiscence/ representations of our African landscapes, the bush veld, mountain ranges, sands of the Kalahari and the peoples “footprints” echoing from ancient times on African soil. This body of work is rich with symbolism, colour, texture and space, all accumulated through different timelines. It is a representation of the mystery of time and the space it is placed in.

According to the Longman’s Dictionary of Contemporary English, echo means “a sound sent back or repeated from a distant surface”. In this exhibition the noun ‘sound’ is replaced by the noun ‘ego’ and ‘surface’ is replaced with ‘time’.

Therefore, an ego sent back or repeated from distant time.

For years the people of Africa’s distant past have been wandering across the plains, mountains, streams, and deserts of this captivating continent. Africa’s people have been living from the rich land and have always been part of nature and nature part of them.

When we reflect on our presence as human beings on earth, in between nature and its wildlife, we reflect through our ego.

According to Freudian psychology; “an ego is one of the three parts of the mind that connects a person to the outside world, due to it being able to think and act consciously (in a selfless manner).

Through time our ego’s have allowed us to experience time and document it through various ways. Originating from ancient times where people living one with nature could think, talk, believe, argue and act consciously along with making art. While making art, the sound of rock pecking on rock echoed into the blue ethereal sky, filling it with echoes into the timelessness of the rocks which, today, can be seen by modern man to admire, imagine and appreciate. Wondering whose ego’s were and what they were consciously trying to tell the world. Thus, ancient rock art echoes in this body of work in varying ways, reinterpreted from a different/personal perspective. An ego sent back or repeated from a distant time.

The exhibition opens at the NWU Main Gallery on 10 February 2023 and has a series of associated public events, ranging from artist Q&A walkabout, a demo workshop, educational activities for High School learners and students along with a panel discussion that will be hosted during the first week of the exhibition.

Silence of Time, Oil on Canvas, 50 x 50cm

Silence in a Vacuum, Oil on Canvas, 50 x 50cm

THE DAMAGE STILL REMAINS

Curated by Nthabeleng Masudubele and co-curated by Nkululeko Khumalo. services.nwu.ac.za/nwu-gallery

“SA’s water crisis | Nelson Mandela Bay metro faces severe restrictions” - News24

“Zuma vs Ramaphosa | The tug of war continues” - News24

“The New Miss Universe Is An Unapologetically Natural Black Beauty” - Essence Magazine

“South Africans protest pending release of Hani’s killer” - AP News

These are but a few of the headlines we see plastered across our screens and newspapers in contemporary ‘Post-Apartheid’ South Africa. For many South Africans, particularly the black people; the end of Apartheid did not usher in rapid and radical changes within their social, political and economic lives. In fact, 29 years after the first democratic election, our country seems to be coming further apart at the seams.

TheNWU Gallery presents a year of Legacy artists, starting with the exhibition “The Damage Still Remains” by Len Khumalo.

The Damage Still Remains reflects on some of the scenes seen in the lifetime work of Len Khumalo, a photographer and photojournalist who practiced through the early 1970’s2000’s. He has provided us with a rich archive, depicting and preserving scenes from South African history.

His work brings our attention to how the past influences the present and the future. The images serve as a reminder that we are still dealing with the ripple effects of our past.

This exhibition is a revolutionary opportunity to reconsider our understanding of South African history.

It has been roughly 26 years since our constitution took effect, and yet there are still ridiculous amounts of communities who go weeks, even months without access to clean water. Other parts of the country that have been privileged enough to have easy access to water and irrigation, find themselves experiencing constant water cuts; haunted by the fear of an impending water crisis. We are riddled with scenes of protests and looting; usually fired up by demands of basic human rights and living conditions. South Africans are also still no strangers to images of poverty and lack, which is threatening to rise with the wake of COVID. We find ourselves fighting to free ourselves from a government that once again puts its own personal interests before the urgent attention that black bodies so desperately need.

Apart from being free to walk around as one pleases, it feels as though not very much has changed. A feeling which has

The first drops, archival paper, black and white print

been confirmed by the reflective archive of images by photographer and photojournalist, Len Khumalo. Through his lens, Khumalo captured much of the essence of South Africa, capturing, not only the political climate, but also personal and spiritual histories. A select few of the images housed in his archive have been collated to form an exhibition titled: THE DAMAGE STILL REMAINS.

This exhibition of images taken almost 20 years ago; echoes a large portion of the narratives we are confronted with in contemporary South Africa. One can look forward to seeing images of Golden Miles Bhudu, the president of South African Prisoners Organization for Human Rights, addressing the rights of prisoners and political prisoners. There are scenes from Chris Hani’s funeral, illustrating the support the community showed to his memory, allowing the audience to reflect on the recent news of the release of his killer. On a lighter, but equally

charged note, The audience will also witness the excitement of seeing one, Miss Evelyn Williams, who was Miss Africa South in 1974. She is seen with her Caucasian counterpart, Anneline Kriel, as black women were not permitted to own the title of Miss South Africa in their own country. An event which has also shaped the often-invalidating experiences of black women in the pageant spaces. This exhibition will give us a glimpse into the past, and how it has influenced our experiences today. It exposes the stagnant nature of our transformation. It is a revolutionary invite to reflect and reimagine the kind of future we envision for our nation.

The exhibition opens at the NWU Botanical Gardens Gallery on 10 February 2023 and has a series of associated public events, ranging from artist Q&A walkabout.

Golden Miles Bhudu with his Prison Inmates, Archival Paper, Black and White Print, 60cm x 40cm

HERMANUS FYNARTS 2023

hermanusfynarts.co.za

Hermanus will again be abuzz with visitors when the annual FynArts Festival returns from 9 – 18 June. Festivalgoers can look forward to a stimulating and entertaining arts and culture programme spanning the full ten days.

Youth Day falls on the second Friday of the festival, which coincides with the long weekend and the start of the winter school holidays. Look out for an extended programme for children this year.

The uniqueness of this festival, now in its 11th year, lies in the breadth of its offering which encompasses a range of visual arts disciplines: music performances, from soloists to ensembles and orchestras, the Strauss & Co series of Talks and Presentations, culinary arts which this year will include both demonstrations and workshops; wine tastings and special dinners; and a variety of workshops, from sculpting, painting and crafting, to writing, photography, cooking and flower arranging.

Despite many challenges the festival has continued to grow into a well-rounded arts event to delight all cultural palates.

As always, there will be a sharp focus on the visual arts, starting with the installation of the 2023 outdoor group exhibition, Sculpture on the Cliffs, sponsored by Pioneer Freight.

This year’s exhibition, curated by Melvyn Minnaar, is titled Walking back to Happiness. The exhibition will feature works by 10 artists who include a few new names and several who have participated in previous years.

Gracing the coastline around Gearing’s Point, these sculptures are an example of how public art can enhance a sense of well-being among both residents and visitors to Hermanus.

The 2023 FynArts Festival Artist is Paula Louw. Her exhibition, Shaking off the Dust will be on display at the FynArts Gallery. Additional exhibitions and walk-abouts will be hosted by the many other art galleries and open studios in Hermanus, and on wine estates in the area.

The annual ceramics group exhibition hosted at the Windsor Hotel, is again curated by Liz Coates. Thirty-nine top South African ceramicists will interpret this year’s theme, Earth, Wind and Fire. A selection of small sculptures will be displayed in the Municipal Auditorium, also the venue for many presentations and performances.

The FynArts Advisory Board annually presents a FynArts Legacy Award and this year the recipient is the iconic actor, author and playwright, Pieter-Dirk Uys, who will also be back with a new one-man show, Sell-by Date The ever-popular Strauss & Co Series of Talks will deliver a variety of fascinating

Shades of Africa: Pianist/songwriter Christof van der Berg and sopranos Hlengiwe Mkhwanazi and Zine Gwinja.

Hannelie Coetzee is one of 10 artists who will participate in the Sculpture on the Cliffs exhibition.

Leaf by Festival Artist Paula Louw who will be exhibiting at the FynArts Gallery.

presentations and talks on a wide range of topics, offering festivalgoers the opportunity to get up close and personal with authors, radio producers, actors, artists and art historians, amongst others. For those interested in learning something new or perfecting their craft there is a range of informative and fun workshops to choose from.

For wine enthusiasts there will be no less than six presentations by well-known wine personalities with topics ranging from The Art of Blending to Six Decades of South African Wine. The FynArts Culinary Series has been extended from being a series of culinary demonstrations, to include workshops and

dinners hosted at scenic venues by some of Hermanus’s top chefs and restaurateurs.

Each year the arrival of art lovers in Hermanus coincides with the return of the whales in Walker Bay. Although early in the season, visitors might well spot these gentle giants while sipping on a cocktail or enjoying a lunch break between shows.

Subscribe to the Hermanus FynArts newsletter at hermanusfynarts.co.za and stay up to date with details about this year’s festival.

Artist and gallery owner Nic van Rensburg will present a sculpting workshop during the festival.

Pieter-Dirk Uys is this year’s recipient of the FynArts Legacy Award.

Pieter Ferreira is one of the well-known wine personalities who will take part in the Wine Plus Series.

Business Art ASPIRE ART

Collector’s Focus: Prints and Editioned Works. aspireart.net

From 16 to 28 February Aspire Art presents a specially themed Timed-Online auction, EDITIONS. Highlighting only editioned works, it showcases how South African artists including Penny Siopis, Diane Victor, Peter Clarke, Sam Nhlengethwa, Robert Hodgins, Walter Battiss and William Kentridge have used printmaking as a major medium of artistic expression.

Traditionally, prints have been seen as a gateway point to the art world, a way to get a collection started. In many respects this is true. For collectors, intimidated by the often impenetrable price points of the art market, prints and editioned works remain accessible. In 2013 the popular American contemporary artist, Jeff Koons’ Balloon Dog (Orange) (1994–2000) sold for $58.4 million at auction, but smaller porcelain multiples of this iconic work published in an edition of 2,300 sell for just $10,000. Likewise, William Kentridge’s bronze sculpture Procession (1999-2000) sold on auction for a record $1.53 million in 2013, but it’s possible to find an original editioned work by the artist for under $2,000. And it’s still a Koons or a Kentridge.

However, “the idea that prints are only for new collectors is a misconception”, says Sarah Sinisi, Senior Art Specialist at Aspire Art. “A unique segment of collecting, prints are collected by people at any stage of their collecting journey”. Price points also vary. In 2011, Kentridge’s Orange Head (1993) sold for 103,250 GBP at auction. A large-scale drypoint, artist’s proof aside from an edition of 15, another of the edition illustrated the cover of Contemporary South African Art: The Gencor Collection. The reason for the higher value may be attributed to the recognised importance of the work, its rarity, size and the complexity of how it was created.

Furthermore, “prints offer a rich dimension to a collection and their role can be as diverse and multifaceted as their price points and the prints themselves. Printmaking is an entry point, but it is also an important element in building a comprehensive collection that tells a complete story of an artist’s practice” explains Sinisi.

But diving into collecting prints can be daunting. A highly intricate and technical medium, it is useful to know some of the basics.

What are the different types of prints?

There are many different types of prints but four of the best-known techniques are etching, lithography, screenprint and woodcut.

Etching: The artist scratches into a metal plate covered in wax with an etching needle. This is then submerged in acid which eats into the exposed metal. The plate is then inked, wiped clean, and pressed onto paper. Printed in reverse, etching is often used to print extremely delicate lines.

Lithography: A lithograph is a hand-made print made from an image applied to a flat surface. Printing is done from a stone or metal plate with a grained surface. An image is drawn, painted or photographically applied to the stone or plate using a greasy medium and treated with a chemical solution that ensures it attracts printing ink, while blank areas repel ink and attract water. Oil-based ink is then applied and the stone or plate is placed on a lithographic press.

Screenprint: An image is cut into a sheet of paper or plastic film, creating a stencil. Stencils are then used to print an image by pressing ink through a screen onto paper. The stencils block out areas of the screen so that ink can only pass through the open areas.

Woodcut: The oldest of these printmaking processes. An image is carved into a wooden block and then inked and printed onto paper. The technique results in a bold, graphic image with sharp edges.

But what is an edition?

An original print is generally produced as a limited number of impressions – collectively known as an edition. Each print is given an edition number, usually written as a fraction, for example, 3/15. The number to the right indicates the size of the edition and to the left the individual print’s number. A smaller edition size and a higher degree of rarity can contribute to a print’s value.

How do I look after my prints?

Works on paper are living breathing things and need to be handled with care. Don’t hang a print in direct sunlight, ensure it is kept away from moisture and always use reputable framers who will properly mount the work using the correct materials.

Start your collection today. To view and bid on the EDITIONS: Timed-Online Auction, visit www.aspireart.net. For enquiries, contact Sarah Sinisi at 021 418 0765 or email sarah@ aspireart.net

“prints offer a rich dimension to a collection and their role can be as diverse and multifaceted as their price points and the prints themselves. Printmaking is an entry point, but it is also an important element in building a comprehensive collection that tells a complete story of an artist’s practice”

Business Art STRAUSS & CO

Strauss & Co announces exciting February 2023 programme

straussart.co.za

• New Office and Exhibition Space now open in Cape Town

• New Pan-African auction showcasing art from the African Continent

• New Collaboration with Guest Curators to support Project

• Two Public Exhibitions to coincide with the Investec Cape Town Art Fair programme (17-19 February)

Strauss & Co, the leading auction house on the African continent, has opened a new artistic office space in Cape Town this year at Brickfield Canvas, the creative hub and technology campus located at 35 Brickfield Road, Woodstock, Cape Town.

“We are excited to further grow our operations in Cape Town as Strauss & Co continues to welcome clients from across Africa and the world to enjoy and celebrate art, objects, wine and jewellery across many different collecting categories,” says Frank Kilbourn, Chairperson, Strauss and Co. “It is our mission to provide a convening centre for all who enjoy living with art and this fantastic location will help us further our activities both in the community, in the city, in the country and on the continent as well as providing to our global clients.”

The inaugural exhibition programme in February will unveil two special projects: a public exhibition showcasing the works of art to be offered in a new auction format, Curatorial Voices: Modern and Contemporary Art from Africa, to take place on 28 February 2023, and a non-commercial exhibition devoted to Ezrom Legae and Sydney Kumalo, in anticipation of the first ever catalogue raisonné for these two internationally celebrated South African modernist sculptors, titled Sculptures of Sydney Kumalo & Ezrom Legae and to be launched later on in 2023.

Gresham Tapiwa Nyaude, Mazino (The Best Laid Plans of Mice and Men), oil on canvas 250 by 140cm, R 100 000 - 150 000

Wyclie Mundopa, Light of a New Day, oil, ink, collage on canvas 240 by 160cm, R 120 000 - 160 000

Cinga Samson, Before the day has a meaning, oil on canvas, 80 by 60cm, R 1 200 000 - 1 600 000

Strauss & Co’s new pan-African auction, Curatorial Voices: Modern and Contemporary Art from Africa, will feature collectable art by pioneering modernist and trailblazing contemporary artists selected by five leading curators from important art centres in the Democratic Republic of the Congo, Egypt, Kenya, Zimbabwe and South Africa. Early highlights include works by contemporary artists Pierre-Christophe Gam, Cyrus Kabiru, Zanele Muholi, Simphiwe Ndzube, Thierry Oussou, Athi-Patra Ruga, Cinga Samson and Tafadzwa Tega.

“Curatorial Voices: Curatorial Voices: Modern and Contemporary Art from Africa is a celebration of African achievement,” says Bina Genovese, Managing Executive, Strauss & Co. “The auction will present works by renowned African artists to the public at a time when Cape Town, a global art capital, is the centre of attention. With our proven competencies handling art from southern Africa, Asia, Europe and North America, I have no doubt that this new sale will broaden dialogue among artists and collectors from across the African continent and beyond, as well as provide networking opportunities for art professionals.”

ABOUT CURATORIAL VOICES: MODERN AND CONTEMPORARY ART FROM AFRICA

With the aim of promoting greater panAfrican collaboration, the sale gives a voice not only to great South African art but also to art from various other cities across the continent. This new pan-African auction by Strauss & Co will be held in Cape Town on 28 February 2023 and will feature collectable art by pioneering modernist and trailblazing contemporary artists from Africa. In addition to work sourced in South Africa, Strauss & Co has invited five curators from the Democratic Republic of the Congo (DRC), Egypt, Kenya and Zimbabwe to select work for the auction. The curators are:

• DRC: Dana Endundo Ferreira, Founder and CEO Pavilion54, a digital platform for modern and contemporary African art. ‘With Pavillon54, I want to make “African” Art a cornerstone of the global art market and contribute to the development of a strong ecosystem that can support its sustainable development globally.’ Says Endundo Ferreira

Cyrus Kabiru, Amittai, steel and found objects height: 155cm; width: 202cm; depth: 25cm, R 150 000 - 200 000

Gerard Sekoto, Prayer in Church, oil on canvasboard, 45 by 50cm, R 3 000 000 - 4 000 000

Pilipili Mulongoy, Two Black Crowned Cranes, oil on canvas, 96 by 87 by 2cm, R 70 000 - 90 000

Simphiwe Ndzube, Night Birds in Tango, acrylic and mixed media on canvas, 216 by 201 by 4,5cm, R 500 000 - 700 000

• Egypt: Heba Elkayal, Independent Curator and Art Historian, based between Cairo and London specializing in modern and contemporary Middle Eastern art. ‘Opportunities for Egyptian artists to be presented alongside other African contemporaries are few and far between, and I believe the works selected will engage in an important and timely dialogue with other artists and artworks from the rest of the Continent.’

• Kenya: Danda Jaroljmek, Director of Circle Art Agency, the first professional arts advisory service to collectors and art institutions in East Africa, and Ann Kariuki, Gallery Manager, Circle Art Gallery, a Nairobi-based gallery promoting contemporary art from east Africa.

‘Our intention is to create a strong and sustainable art market for East African artists. Through group and solo exhibitions, as well as participation in international art fairs, the gallery has increased visibility for established

and emerging artists, both internationally and at home. Working closely with regional and international collectors and curators, our online platforms to continue promoting challenging and thought-provoking contemporary art from East Africa.’

• Zimbabwe: Valerie Kabov, Director, First Floor Gallery Harare, a leading independent contemporary gallery based in Harare.

‘First Floor Gallery Harare since its founding has been committed to supporting and developing emerging contemporary art in Zimbabwe and on the continent as well as building up the ecology of our art sectors from art education to secondary markets. For us collaboration with Strauss & Co on this project is an opportunity to engage constructively and proactively with the auction sector in a way which can articulate a message of quality and merit. The proceeds from this auction will be used to support our residency and emerging artist development projects, to help introduce synergies between the market and the creators.’

• South Africa, Kimberley Cunningham, Founder Cunningham Contemporary, a global art advisory and curatorial agency based between Cape Town, London & New York.

‘Since launching Cunningham Contemporary my mission has been to support the artists and art market players by acting as a disruptor and engaging in meaningful collaboration. Collaborating with Strauss & Co on a Contemporary sale that is for the continent on the continent, opens up conscious crosscontinental dialogue as well as shifting the traditional power balances within the market. Through a pioneering curatorial vision, we hope to empower the artists and patrons through the auction platform and continue to build upon and strengthen the art ecosystem from within.

The Curatorial Voices auction preview opens to the public on Monday 13 February, with the live virtual auction taking place on Tuesday, 28 February at Strauss & Co’s new Cape Town offices.

For more information and to register and browse the auction, visit the Strauss & Co website: www.straussart.co.za

Samir Fouad, Seven-Up, oil on canvas laid on board, 80 by 60cm, R 60 000 - 80 000

An extraordinary collection of South African Contemporary art

Johan Steyn

Kobus Walker

Caelyn Robertson

Sandor - Kinetic Art

Jane Moodie

Business Art STEPHAN WELZ & CO.

swelco.co.za

Thereis no doubt that the art industry is in a state of constant flux, with specialists, auction houses and collectors witnessing various developments and changes in trends throughout the years. The emerging world of digital art has been making waves within the art market for the past few years with many artists arguing that it is the next art movement which directly challenges the need for gallery spaces and physical art forms. It is only natural that NFT’s (Non-Fungible Tokens) and Crypto Art have crept into the art world as a continuum of this movement, with it sitting on the threshold of becoming the next force in the art market. With the introduction of NFT’s and blockchain technology, this new model of ownership represents a huge opportunity for digital artists and is worthy of exploration.

Even though NFT’s have been around since 2014 we have only seen a significant presence on the art market from 2019, with the first premium NFT auction taking place at renowned auction house, Christies, in 2021. Digital artist Mark Winkelmann known as “Beeple” sold his digital collage entitled “The First 5000 Days” for a staggering $69.3 million (Forbes; 2022).

Non-Fungible tokens are essentially digital artworks with an aspect of certifiability. Fungible is a financial and economic term which means “easy to exchange or interchange for something else of the same value” (Art Basel, 2022). However, non-fungible tokens are unique, unlike cryptocurrencies such as Bitcoin, as they are not easily exchanged for something of the same value. Beforehand, a digital artwork could be replicated or copied without any trace of the original creator. However, because of the unique code connected to an NFT the artwork can now be authenticated. This resolves an ongoing issue for digital artists as it essentially creates scarcity which should increase value.

Above:Adriaan Hendrik Boshoff (South African 1935 - 2007) Street Scene, Non-fungible token (jpg) 1491x2243 pixels. Opposite Page: Adriaan Hendrik Boshoff (South African 1935 - 2007) My Happy Chickens, Non-fungible token (jpg) 1156x1545 pixels.

Adriaan Hendrik Boshoff (South African 1935 - 2007) 11 O’clock Tea, Non-fungible token (jpg) 2820x4560pixels.

Adriaan Hendrik Boshoff (South African 1935 - 2007) Meeting The Boats Non-fungible token (jpg) 4716x2676 pixels.

These digital art forms are created using a framework called blockchain. Simply put, blockchain is made up of public ledgers which record transactions and are used to create both cryptocurrencies and NFT’s. Blockchain has always been associated with cryptocurrencies, however, because of NFT’s their basic function has evolved into a system which governs information and ultimately protects untampered knowledge. Blockchain is essentially like a digital signature and encrypted within it is the transactional history of the ownership of an NFT, hence the ability to authenticate a digital artwork.

The ability to replicate or forge an artist’s work has always been an issue which has plagued the art world. However, with NFT’s the blockchain associated with a specific NFT cannot be manipulated or replicated, creating an irrefutable form of provenance which cannot be altered by any parties involved. The significance of this irrefutable provenance can only help galleries and auction houses with salability of the NFT.

The appeal of NFT’s is their ability to be traded in marketplaces such as Opensea, Rarible and Nifty Gateway to name a few. Also, there is, in most cases, the allure of royalties associated with the NFT’s. Occasionally, an artist can ensure that they still receive royalties every time the ownership of the NFT is transferred. Although digital artwork can be downloaded and shared amongst anyone - ownership is still conferred onto those who own the underlying token. To put it in layman’s terms, anyone can download an image of the Mona Lisa by Leonardo da Vinci from the internet. However, they cannot use or purpose that image for marketing resources for their own company but, if you owned the NFT of the Mona Lisa, you could purpose it for such means. The usability

of NFT’s is open ended at the moment as many people are finding various ways to profit from these tokens. The limit of these applications remains to be seen.

February is an exciting month for Stephan Welz & Co. We are proud to present the first NFT auction in the history of the company. The auction will feature a careful curation of some of the works from renowned South African artist Adriaan Boshoff. Collectors will be able to purchase an NFT version of works that are featured in prominent museums and private

Adriaan Hendrik Boshoff (South African 1935 - 2007) New Found Friends Non-fungible token (jpg), 4218x2850 pixels.

collections, along with the copyright. Whether you are new to NFT’s or already a member of the community, we invite you to discover, bid and join us on this exciting journey. For any queries on the available lots or further information on NFT’s, contact us on 011 880 3125 or info@ swelco.co.za

We also encourage clients to diarise the dates for our upcoming premium auction in Cape Town on 21-22 February. To view the available lots, visit www.swelco.co.za where one can register and also bid. For condition reports or

any queries, contact us on 021 794 6461 or at ct@swelco.co.za

Conti, R. Curry, B. & Schmidt, J. 2022.

What Is An NFT? Non-Fungible Tokens

Explained. [O]. Available: www.forbes.com/ advisor/investing/cryptocurrency/nft-nonfungible-token/ Whitaker, A. 2022. The artistic value of an NFT. [O]. Available: www.artbasel.com/stories/art-market-reportamy-whitaker?lang=en

Adriaan Hendrik Boshoff (South African 1935 - 2007) Sunday Afternoon At The Pond Non-fungible token (jpg) 3223x2183 pixels

ARTGO

FEBRUARY 2023

NEW GALLERIES, ONGOING SHOWS AND OPENING EXHIBITIONS

Adele van Heerden, Miller’s Point, Ink and Gouache on Film, 84x1189cm, 2022, 131 A Gallery

ARTGO: FEB 2023

OPENING EXHIBITIONS

Everard Read Cape Town Owners Of The Earth II: Beyond Victims, Villains & Vixens by Teresa Kutala Firmino

01/02/2023 until 23/02/2023

www.everard-read-capetown.co.za

EBONY/CURATED

Is pleased to present TOTEM

A Solo Show by Zemba Luzamba. 01/02/2023 until 11/03/2023

www.ebonycurated.com

ART.B

KLEI EN SEE

A joint exhibition by Merrill Meier and Hanli Theron 04/02/2023 until 24/02/2023

Library Centre, Carl Van Aswegen Street, Bellville

www.artb.co.za

ARTGO: FEB 2023

OPENING EXHIBITIONS

Adele Van Heerden - Oceanic Solo exhibition

04/02/2023 to 02/03/2023

Opening Saturday 4 February 11am to 1pm www.131agallery.com

Gallery 2

Lost Horizon by Bevan de Wet explores imaginary landscapes, structures and spatial planes inspired by our shifting relationship to the natural environment.

04/ 02/ 2023 until 11/03/2023

www.gallery2.co.za

DAOR Contemporary

Nicole Clare Fraser: Making Space - Photographic Traces of Absence, Stillness and the In-Between in Public Spaces. The body of work reflects the absence and stillness of lockdown Cape Town.

08/02/2023 until 11/03/2023

www.daor.co.za

Everard Read CIRCA Gallery

Norman Catherine | Head To Toe

09/02/2023

www.everard-read.co.za

131 A Gallery Cape Town

ARTGO: FEB 2023 OPENING EXHIBITIONS

Entangled Intimacies: art, more-than-human embodiment, and the climate catastrophe

The Young Curators Incubator – a programme conceived in collaboration between the GoetheInstitut Johannesburg and the Wits School of Arts History of Art department

Opens 10/02/2023 at 18:00

www.goethe.de/ins/za

The Cape Gallery

In Another Light - ‘Seen in another light’ is a reference to that discursive internal revery and seemingly inconsequential flow of images, experiences and emotions that engage the mind at leisure. 09/01/2023 until 10/02/2023

www.capegallery.co.za

Echoes of Time: Coral Fourie

A body of work is echoing and intertwining through three different timelines; the present, past and future

10/02/2023 until 17/03/2023

www.services.nwu.ac.za/nwu-gallery/about-us

The Damage Still Remains: Len Kumalo the lifetime work of Len Kumalo, a photographer and photojournalist who practiced predominantly through the early 1970’s - 2000’s.

10/02/2023 until 17/03/2023

www.services.nwu.ac.za/nwu-gallery/about-us

NWU Art Gallery

NWU Botanical Gardens Gallery

ARTGO: FEB 2023

OPENING EXHIBITIONS

Open Arms by Jody Paulsen

11/02/2023 until 01/04/2023

Saturday 11 February at 11h00

www.smacgallery.com

All Square - Solo exhibition by John Kramer

A selection of Kramer’s signature realistic paintings of shops and corner cafes, as well as some new and unexpected subjects. The paintings are united by their use of the square format.

12/02/2023 until 09/03/2023

www.capegallery.co.za

Having but little Gold by Berni Searle

Retrospective exhibition

15/02/2023 until 13/11/2023

www.norvalartfoundation.org

Art@Africa

Curious Whispers – Valeria Talian Solo

16/02/2023 until 30/03/2023

www.artatafrica.art/collections/valeria-talian

SMAC Cape Town

Norval Art Foundation

The Cape Gallery

Gallery F, Cape Town

What The Circus Left Behind

An Exhibition of New Works by Vanessa Berlein 16/02/2023 until 14/03/2023

www.galleryf.co.za

Investec Cape Town Art Fair 2023

In and Out of Time

Co-curated by Natasha Becker and Dr Mariella Franzoni, the section aims to highlight artists who will be tomorrow’s leading names. 17 to 19/02/2023

www.investeccapetownartfair.co.za

Investec Cape Town Art Fair 2023

ICTAF23 Tomorrows/Today interview series

Micha Serraf in conversation with Natasha Becker, one of the two curators for the TOMORROWS/TODAY section.

In and Out of Time

17 to 19/02/2023

www.investeccapetownartfair.co.za

The Viewing Room Art Gallery at St. Lorient

Save the Artist – An Endangered Breed 25/02/2023 until 15/04/2023

www.theviewingroom.co.za

ARTGO: FEB 2023

ONGOING SHOWS

Oliewenhuis Art Museum

Viral Images - Solo exhibition by Johandi du Plessis

An exhibition,that beckons questions about the nature and characteristics of images. Diverse artworks that range from installation to GIFs, cellphone and pinhole photography.

24/11/2022 until 12/02/2023

www.nasmus.co.za

Fynarts Gallery Hermanus

Now Dream| An exhibition by The Napier Art Collective Nastasha Minyon Sale, Jayson Wyness, Alex Hamilton 14/01/2023 until 18/02/2023

www.hermanusfynarts.co.za

The Melrose Gallery – One&Only Cape Town

The Architecture of Light

Paul Blomkamp’s 50 Paintings Of South Africa

16/12/2022 until 26/02/2023

www.themelrosegallery.com

RK Contemporary

LUSH - Summer show

We celebrate summer with the emphasis on the colour green - lime, chatreuse, emerald, mint, jade, olive, forest, malachite, sage. 04/12/2022 until 27/02/2023

www.rkcontemporary.com

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

ARTGO: FEB 2023

ONGOING SHOWS

AITY Gallery, Franschhoek

Faces and Phases: Solomon Omogboye

This collection of vibrant and captivating images celebrates the many faces of humanity www.artintheyard.co.za

IS Art Sculpture

A Cotorie Of Cats

An exhibition of sculpture by Wilma Cruise Tokara, Helshoogte Road, Banhoek, Stellenbosch www.is-art-gallery.com

Goodman Gallery Cape Town

Hayumarca Ojos |a selection of artworks by Donna Huanca

28/01/2023 until 04/03/2023

www.goodman-gallery.com

www.goodman-gallery.com

ARTGO: FEB-MARCH 2023

ONGOING SHOWS

Glen Carlou Gallery

Cyanima | An Exhibition of Photographic work by Ian McNaught Davis 29/01/2023 until 19/03/2023

www.glencarlou.com/art-gallery

You are Here | Porterville Curated. A Group exhibition

29/01/2023 until 19/03/2023

www.glencarlou.com/art-gallery

Glen Carlou Gallery

I’ve got the Darkness Baby| by Ingrid Winterbach. A playful exploration of dark themes. A delight in the endless possibilities of oil paint as a medium. 29/01/2023 until 19/03/2023

www.glencarlou.com/art-gallery/

Norval Art Foundation

Bonolo Kavula: Lewatle

Kavula’s art has existed between the intersections of painting, printmaking, drawing and sculpture, pushing the limitations of each.

Until 20/03/2023

www.norvalartfoundation.org

Glen Carlou Gallery

Curated by Babette Ludick

Curated by Nthabeleng Masulubele and Nkululeko Khumalo

ARTGO: FEB-MARCH 2023

ONGOING SHOWS

UJ Art Gallery

Nimrod Ndebele - Gerard Sekoto Collection

Exhibition. For at least 70 years these artworks have been on private, home display, and they available for the public to see in the UJ Art Gallery. 12/10/2022 until 31/03/2023

www.movingcube.uj.ac.za

IN-RESPONSE: Art of the Space Age Group exhibition

Until 21/05/2023

www.rupertmuseum.org

Zeitz MOCAA

When We See Us: A Century of Black Figuration in Painting

Until 03/09/2023

www.zeitzmocaa.museum

LIST YOUR GALLERY OR NEXT EXHIBITION ARTIMES.CO.ZA

Jan Rupert Art Centre

Exhibitions performances talks, presentations demonstrations, workshops food and wine, films and children’s events

A Fusion of Arts Festival and Winter School

More information at hermanusfynarts.co.za or admin@hermanusfynarts.co.za Sign

Ceramics Exhibition: Sonja Kastner

Presentation: Into Plato’s Cave, Kevin Atkinson’s Remarkable Art & Life

Cape Town Premium Auction 21 & 22 February 2023

Viewing: 17 – 19 February 2023

www.swelco.co.za

STILL LIFE WITH ANTHURIUMS AND FRUIT

Estimate: R1 300 000 - 1 500 000

Irma Stern