THE ART TIMES FEBRUARY EDITION 2021 by SA ART TIMES

FEBRUARY 2021 ARTTIMES.CO.ZA

Cape Town Auction 23 & 24 February 2021 Fine, Decorative & African Art, Books & Maps, Furniture, Silverware, Fine Jewellery, Watches & Collectables

Preview, register and bid on www.swelco.co.za Contact us for viewing appointments or condition reports on 021 794 6461 or email info@swelco.co.za

Consign for our forthcoming auctions. Contact us for an obligation-free valuation on 011 880 3125 or email info@swelco.co.za

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An Egg Chair, Designed in 1959 by Arne Jacobsen for Fritz Hansen | Estimate R 70 000 - R 90 000

Art Times February 2021 Edition

CONTENTS Cover: Aza Mansongi, Retroviseur, 2019, Acrylic on cotton canvas, 160 x 160 cm, The Melrose Gallery

10 HOW THE PANDEMIC IS ACCELERATING THE ONLINE ART MARKET Consuming art is a visual activity

16. NOT JUST A PRETTY FACE Portrait Awrad 2021

22 11:11

Collaborative design group exhibition

28 ON GOLDEN SOIL Mandlenkosi Mavengere

34 TAKE FIVE

Embrace the renewal of the self

40 ANTHROPOMORPHIC

A daring vision of momentary illusion

46 IKHAYA LIKA MOYA - SETHEMBISO ZULU By Senzeni Marasela

50 BUSINESS ART 62 NEW CEO FOR JAVETT ART CENTRE University Of Pretoria

64 A TRIBUTE TO JOHN CLARKE By Frederick Clarke

66 A TRIBUTE TO WIM BLOM 80 ARTGO

February Exhibition Highlights

Ibrahim Khatab, Untitled (6), 2020, mixed media on board, 101.5 x 101.5 cm, Eclectica Contemporary

Editors Note

ith the ongoing pandemic, we see many shifts in the art market that will demand more creative ways of online marketing, of gaining new markets, and keeping existing clients wanting more. A remarkable study by Artsy who surveyed 1,753 gallery professions, unsurprisingly showed a significant move towards the digital- As quoted from the report - “The shift of Social Media selling work has replaced fairs, becoming galleries’ third-best sales channel, moving up from sixth place in 2019. The ranking of top sales channels shuffled considerably this year, with online sales, social media, and gallery websites taking the place of art fairs and walk-ins”. However, the best way to sell art remains outreach to existing clients, accounting for 28% of total annual gallery sales in 2020. The report goes on to say that 35% of galleries have migrated from bricks and mortar to going online.

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

Back home, local art has been online for over 20 years, and despite some amazing websites that have come and gone, there seems, in my opinion, the need to overhaul local art sales sites to compete with international sites like Artsy and Artnet- (this being the case if one sees art as a regional factor). We see this in the FNB Art Joburg and Latitudes Art Fairs that have become online art fair booths - exclusively pushing its exhibitors via their respective reach. An alternative is to subscribe to international sales platforms (despite the killer dollar exchange rate) and play the international field. My opinion is that those optimistic galleries who are pushing digital are selling more art than ever beforeas they are reaching a new international audience and the logistics of sending work globally and communication have become easier. The creative part comes into play of how galleries and auction houses will create a sense of value and exclusivity via their various media departments and specialists. Perhaps this year’s biggest booming growth business is of art sales entertainment- the art of turning online visits into sales clicks.

ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za

The last question arrives at if art loses its geographical or academic endorsement, who and what endorses art object importance, is it the number of clicks?, or media hype including destroying art and corrupting narrative, what makes Woollies shirts more expensive than Peps if they are made by the same factory. Has contemporary art sold via the art of the spin? I hope I am wrong that media may bamboozle the day - but the truth in the human appeal of the piece will endure for years later,regardless of war, famine, and plague.

ARTGO CONTENT info@artgo.co.za

On a closing note, The Art Times began as the SA Art Information Directory in 1999, its mandate then was to provide information and access to the broad SA art community and to crush the then art opportunities gatekeepers for whatever reason they desired to restrict access to and from the SA art market. To date, nothing has changed and our mandate is to grow and to provide a broad platform for SA art to reach local and international art lovers and buyers. By advertising in the Art Times, we make sure that you access a growing art market that has grown internationally over 20 years. Bring on 2021, let us grow together as South Africans and be the best we can be.

DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ON THE KEYS Brendan Body

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.

Gabriel Clark-Brown @ARTTIMES.CO.ZA

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My Grundig Lounge by Sam Nhlengethwa until 15 March 2021

HOW THE PANDEMIC IS ACCELERATING THE ONLINE ART MARKET: Consumers are increasingly happy to view and buy art digitally, from home Stefan Hundt First published in the Mail and Guardian 22 Jan 2021

he fine-arts industry, with its mixed bag of posterity and austerity, has not been immune to the spread of Covid-19. Artists, art collecting, auctions, galleries, and museums have been so severely affected that things might never go back to how they once were.

Interestingly, the art that has not sold well online is by old, pale male artists from over 60 years ago, or those who have died. There are exceptions, such as Alexis Preller, Erik Laubscher and Cecil Skotnes. The works of renowned artist William Kentridge remain topical and successful.

Consuming art is a visual activity that uses sight and sometimes touch at galleries, museums, or even private showings. But almost a year since the outbreak, the persistent Covid-19 has been making purveyors of art realise that many people are happy to appreciate or buy art online.

Auctions On the auction front, Covid-19 has forced this platform to go digital too. While this translates into some cost savings on gallery space for live auctions, the savings are spent elsewhere, mostly on technology.

Increasingly, people are enjoying the comfort and safety of their homes and using their computers to browse and bid on artworks valued at a few thousand to a few million rands. There are disadvantages to such online commerce. For one, many artworks fail to sell successfully online. It is mostly artworks at the top end of the market, representing well-established artists, with perceived unique value, that sell consistently and even achieve record prices. For example, works by Irma Stern, a South African artist who achieved national and international recognition in her lifetime, have a following and admirers with a good idea of their aesthetic quality and value. The same goes for Gerard Sekoto, Maggie Laubser and Sydney Kumalo. But if, for example, the art is a debut piece by Joe Soap from Cape Town, it is unlikely to sell.

It is not yet clear whether online art auctions are a success or not. What is certain is that the galleries have experienced losses in revenue and foot traffic. Those that have gone online have survived but the smaller galleries have had to close. An obvious impact of the pandemic on museums worldwide, especially in the United States and Britain, is that people have stopped visiting them. As a result, several museums in the US have decided to sell some of their valuable pieces on auction. Previously this was deemed unethical and unacceptable. The caveat is that the funds go toward keeping the museums operational. As the pandemic persists, what we may see over the next few months is lots of museumclass art from the US and Europe entering the global art market. Whether this would be good for the market depends on the quality and desirability of the artwork on offer. Just because it comes from a museum doesn’t necessarily mean it’s good. Whether it’s desirable is entirely a different story.

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Sydney Kumalo, Horse and Rider, c. 1964, bronze. (Sanlam Art Collection)

Maggie Laubser, Poplars

The Black Lives Matter (BLM) movement has created an additional shift in dynamics. In the visual arts environment, there have been heated debates about the historical role of black artists in the US, Europe and here, too. So what is to happen to the art of all those dead and buried pale males whose art still commands the spotlight? Will their art be allowed to remain in the public eye, or should it be snubbed? This is part of the ongoing debate raging in the arts world. BLM has shifted the focus of the art media, critics and collectors to the neglect by artcollecting institutions of the art produced by people of colour and in historically and intellectually marginalised communities. This shift has provided opportunities for nimble agents to cash in quickly by resurrecting and foregrounding previously ignored artists of colour. Galleries showing at major art fairs, live or virtual, over the last year have quickly augmented their offerings or even compiled

exhibitions exclusively devoted to such artists. To what extent artists of colour will benefit in the long term is not certain, but where institutions have shifted focus, such changes usually persist. Commercially, it means a greater diversity of options for collectors, which will develop a greater diversity of works on display in museums and collections in time to come. Does this mean that the white celebrity artists of the past are going to recede? To some degree, that has been happening for years already. However, it is clear that quality work, irrespective of the ethnicity of the producer, seems to survive even the most turbulent of changes. Even the major international art fairs such as Art Basel have exited the physical space and gone digital. They have done well with online sales. Art Basel is a for-profit, privately owned and managed international art fair staged annually in Basel, Switzerland; Miami Beach, Florida; and Hong Kong.

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Alexis Preller, Prima Vera, 1956, oil on canvas on board. (Sanlam Art Collection)

Gerard Sekoto, Indaba, c. 1942, oil on canvas. (Sanlam Art Collection)

Losses The economically beneficial knock-on effects of physical events, however, have been lost. Considering Art Basel usually runs for 10 days, the first five days attract the richest 2 500 to 3 000 people in the world interested in buying art. They also stay in luxury accommodation and spend on other luxuries during their stay. This has a substantial positive effect on the economy. With exhibitions going digital, that economic benefit is just gone. The same applies to the Cape Town Art Fair, which has become a well-established institution in Africa. While we now know that we might be having the Cape Town Art Fair from 21 to 23 May 2021, and the Joburg Art Fair is no longer a physical event. Therefore, the economic spend from many visitors no longer benefits the local economy. The net effect of such developments is that there will be an overall decline in terms of the arts contribution to the global economy. If you look at the auctions in South Africa that publish their sales, they handle a reported R300-million plus in annual turnover of fine art. Including galleries, the art circulating in these spaces is worth approximately R1-billion to R2-billion annually.

The art market is adapting quickly and successfully to the digitally driven economy. Although the total value of sales over the past 10 to 12 months may be down, there has been exceptional growth in new participants — buyers, sellers and marketwatchers. All the signs are there that the art market will recover and grow with the help of digital technology as it makes the transaction process more comfortable. Where previously the live auction was a stage for the super-rich, now you have anonymous participants from all over the world, participants who may not want to be seen. The auction room has just grown to global dimensions. This doesn’t mean that the spectacle of gavel, paddle and Gucci-apparelled crowds applauding record prices has gone away. It’s been around for centuries and, given human nature, will be around in some form for quite some time to come. Stefan Hundt is the curator of the Sanlam Art Collection. For more on the collection, visit blog.sanlam.co.za/artcollection/about/

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â&#x20AC;&#x2DC;On Golden Soilâ&#x20AC;&#x2122; by Mandlenkosi Mavengere. A virtual exhibition hosted by the Christopher Moller Gallery. 28 January - 19 February 2021. Available to view on the Christopher Moller Gallery website, Artsy and by appointment.

Christopher Moller Gallery www.christophermollerart.co.za I +27 21 422 1599

NOT JUST A PRETTY FACE: PORTRAIT AWARD 2021 Rust-En-Vrede Gallery www.rust-en-vrede.com

ortraiture is one of the oldest genres in art history. Although we are now living in a world where selfies are a part of everyday life, portraits have survived through the ages and have never been more relevant than they are today. New artists creating striking portraits are emerging each day, ensuring the strong status and relevance of the genre in contemporary art. According to art critic Lorenzo Pereira, what makes portraits so magical, is the ability to depict not only the physical, but also the psychological characteristics of a figure. Portraits have the capability to portray more than just the likeness of a person, giving us insight into the wider cultural context and background of the sitter, as well as their psychological makeup. Besides the information that a portrait communicates to its viewers regarding the appearance of the subject, it is also important in contemporary art that a portrait contains a context, identity questions and socio-political issues. Not even symbolism can respond to these demands.

Above: 2015 Portrait Award- Sue Pace pointing out details of Annette Pretoriusâ&#x20AC;&#x2122;s work to her family. Right: 2019 Top 40 Finalist Richard Mudariki, Baba (Father), Oil on Canvas

Above: Daniel Lotz with the 2019 Top 40 portrait of him by Kathryn Harmer Fox. Opposite Page: 2017 Top 40 Finalist Themba Mkhangeli, Serenity, Ballpoint Pen on Paper.

2019 Finalists Ruan Huisamen and Marie Stander with Marieâ&#x20AC;&#x2122;s Top 40 entry.

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2015 Top 5 Finalist Sakhile Mhlongo, Homie II, Enamel on Fabric

2013 Top 40 Finalist Sanell Aggenbach, The Secret Life of a Mathematician, Monotype

Portraiture can help us empathize with an individual or group of people, it creates awareness and aids in the representation of overlooked individuals. This genre is so much more than painting pretty faces…

The overall winner, as selected by the adjudicators will receive an elevated prize of R 150 000 and a slot to present a solo exhibition at Rust-en-Vrede Gallery in the following competition year.

2020 has heightened the global awareness of our human identity and interaction, and the upcoming 2021 iteration of the biennial National Portrait Award Competition serves as the perfect platform to explore and communicate these humanitarian narratives and ideas.

A special award will also be given to a young artist between the ages of 18 and 25, which will entitle him/her to six Zoom sessions with Andrew James, Master Portrait Artist, member and former Vice-President of the Royal Portrait Society in Britain.

The Rust-en-Vrede Gallery cemented the Portrait Award as a prestigious event on the SA Visual Arts Calendar, with previous generous sponsorship by Sanlam Private Wealth. Since its inauguration in 2013, the competition (whose rules are based on the long-standing BP Portrait Award in the UK) has evolved and transformed considerably, attracting entries of an increasingly higher standard. Taking this into consideration, a second prize of R 30 000 and a third prize of R 20 000 will be introduced this year.

Artists from all walks of life and from all over South Africa have been participating each year. The competition is eagerly anticipated and “followed” by thousands of art lovers locally and even abroad. Digital entries are open from 1 June until 12 June 2021 and artworks may be submitted during this time via the gallery website (www.rust-en-vrede.com-portrait-award).

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04.02.21

29.04.21

11:11 group show

Achuli Design Aimee Lindeque Ben Coutouvidis Douglas Condzo Georgia Lane Haldane Martin Imiso Ceramics Ibrahim Khatab Justin Dingwall Kyu Sang Lee Madoda Fani Melissa Barker Mlondolozi Hempe Mohamed Rabie Natasha Barnes Samson Mnisi Serge Diakota Mabilama Tshepiso Seleke Wiid

eleven

11:11

Eclectica Contemporary - Feb 2021 Collaborative design group exhibition www.eclecticacontemporary.co.za

s a new beginning is offered with the start of a new year, we remain impacted and influenced by the challenges and triumphs of the year just past. At Eclectica Contemporary, we are proud to present a new exhibition format that marries contemporary art alongside notable contemporary African designers, ceramicists and creatives in conversation with the galleryâ&#x20AC;&#x2122;s collection of iconic mid-century modern and vintage furniture pieces. Titled 11:11, we present a group exhibition that is an open ended experimentation with design aesthetics, local creators and collaborators, the exhibition will continue for an extended period, with new pieces being included and rotated in the space continuously. The artworks shown alongside iconic furniture pieces and contemporary local design artefacts all draw inspiration from nature with an emphasis on sustainability. The artists exhibiting in 11:11 offer insight into expression through organic shapes, investigated through colour palettes and offers new avenues of exploration along the surfaces and textures of their canvases. The work of Natasha Barnes compliments design pieces through its gentle abstraction of form and dynamic use of colour, while Ben Coutouvidisâ&#x20AC;&#x2122;s paintings remind us to think carefully around histories and nostalgia through their hazy depictions of familiar sights. Similarly, Georgia Laneâ&#x20AC;&#x2122;s pieces hint at vistas and environments that seem recognisable but are constructed through automative strokes and imagined sites. Ibrahim Khatab, Untitled (3), 2020, mixed media on board, 101.5 x 101.5 cm

Above: Georgia Lane, Letters to my mother, 2020, Acrylic on Canvas, 127 x 101,5 x 4 cm . Opposite Page: Serge Diakota Mabilama, Unusual Realities 5, 2020, Mixed media drawing, 30 x 40cm

Aimee Lindeque’s circular illustrations map out how inextricably intwined our realities are, where individual actions impact our habitats and one little nudge could shift things out of balance. In creating these works, the artists investigate ideas in new ways and through their curation across the gallery spaces, the artworks are given new contexts and interpretations alongside select design pieces. Key contemporary African designers have been selected to exhibit in the gallery space alongside the artworks demonstrating the curatorial stance of art and design seen on the same platform.

11:11 signals a return to the gallery’s roots - embedded in a passion for design and art understood as intwined and intermixed. Bofred’s design origins of refurbishing iconic design pieces and then moving onto sustainably sourced and produced new objects aligns with the exhibitions intentions of acknowledging synchronicity and celebrating considered and beautiful stories alongside the designs. Haldane Martin’s pieces accentuate playfulness and nostalgia in design through sleek and intricate pieces that pair colour and texture, while WIID Designs offers an elevated approach to upcycled and reintegrated materials.

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Ibrahim Khatab, Untitled (4), 2020, mixed media on board, 101.5 x 101.5 cm

â&#x20AC;&#x153;An open ended experimentation with design aesthetics, local creators and collaboratorsâ&#x20AC;? In collaboration with Imiso Ceramics, Eclectica Contemporary presents a selection of up and coming ceramic designers who are pioneering new approaches to ceramics and sculpture. Showcasing ceramic pieces alongside paintings, furniture and design objects, the exhibition highlights the blurring of creative engagement across mediums and approaches. The exhibition theme explores synchronicity as a way to make sense and let go of expectations and coincidence. Embracing the twists and turns of tumultuous years, uncertainties and innovative new ideas. It is an investigation into the spaces we curate, make precious, and also query the needs of functionality and beauty as we seek pleasure in our environments. The exhibition forefronts finding inspiration in beauty, being challenged by design and allows for viewers to be fed by aesthetic explosions of creativity. Ibrahim Khatab, Untitled (III), 2020, mixed media on board, 120 x 120 cm

ON GOLDEN SOIL Mandlenkosi Mavengere

By Andrea Kemsley and Elsje Oosthuizen. www.christophermollerart.co.za

andlenkosi Mavengere has the ability to capture the essence of hope and endurance in his family and the community of Africa, through his beautifully detailed artworks. They reflect on socioeconomic migration and the shift of personal identity, whilst exploring the journey of wealth- seeking from within. His upcoming exhibition ‘On Golden Soil’ is a study of the people that choose to migrate and the ambitions that drive them to do it. Individuals leave their familiar homes and territories, searching for better fortunes in larger cities and foreign countries. Often, many of them temporarily place their dreams on hold to support themselves in the immediate future and adopt any role that meets this need. Through these artworks, Mavengere narrates tales of his muchbeloved ‘anchor’ – his grandfather, himself and his fellow migrants. He utilises the ‘Gondruala’ – a fictitious currency used as a backdrop in his artworks; this constantly reminds the viewer of the driving force of wealth and what it represents to Mavengere and his fellow fortune seekers.

The Long Wait, acrylic on canvas, 116 x 129 cm

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Home at Last, acrylic on canvas, 128 x 148 cm

Dreams Never Grow Old, acrylic on canvas - 57 x 68 cm

Mavengere’s family originates from Matabele Land, Zimbabwe. Like his grandfather, he travelled across the border to Johannesburg, an African city that represents rich opportunities. He began at the Artist Proof Studio, learning and nurturing his passionate precision for transforming concepts into highly descriptive imagery. After curating an exclusive exhibition for Strauss and Co., Mavengere joined the mentorship programme under the William Kentridge Studio, where he further developed his unique techniques with etchings and prominent linocut banknotes, exploring themes true to his Migration Concept. Including other fairs and collections, Mavengere’s artworks have been featured at the 2019 Belgium and Paris Art Fairs and at the Johannesburg Stock Exchange and Minerals Council South Africa. He currently creates artworks at his studio at Constitution Hill in Johannesburg.

“My banknote artworks are a framework within which one can observe the issues of migration with relevance to the socioeconomic divergence of one identity and the convergence of another”, says Mavengere. The permeating contours on the banknotes act as maps in which lines delineate the migration routes from other African countries. The currency of the ‘Gondruala’, represents the hope and potential for the resource-rich continent of Africa, whilst the banknotes divulge stories of both success and great loss. Mavengere’s pieces overflow with rich imagery, alluding to key concepts and themes through the migration journey. The classic Singer sewing machine embodies the rediscovered passion for tailoring that Mavengere’s grandfather felt upon his return to Zimbabwe. His grandfather was a formidable tailor and left Bulawayo in search of a grander future. On his journey into a

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Thorns for Greater Benefit, acrylic on canvas, 57 x 68 cm

neighbouring country, he found himself tending to gardening and construction jobs in Johannesburg. Today he is reunited with his country and with his real passions of creating garments and farming. Whilst you move through this collection, you will discover elegant Zimbabwean women with magnificent headscarves, which paint stories of the identities that the migrants leave behind when they cross over the national border. These headwear pieces crown the individual with the stereotypes placed on them in a foreign land. A loss of identity which has a great effect on many migrants, most significantly, a disconnection to their roots. Lloyd Pollack, esteemed South African art writer, took a personal journey through Mavengere’s concepts that highlight the greater discussion around the migration concept between nations – “The phrase ‘the

African United States’ has a hollow ring, as the continent’s different nations have never formed a harmonious collective. Nor do the words ‘promise to pay the bearer’ ring true, particularly in Zimbabwe and South Africa where the currency is notoriously volatile, and the promise of fixed value is constantly broken”. Pollack closes with, “Mavengere’s corpus possesses an undeniable universal relevance.” Christopher Moller, director of the Christopher Moller Gallery, leaves us with his thoughts on the exhibition, “Mandlenkosi Mavengere’s exhibition; ‘On Golden Soil’, explores his cultural routes in Matabele Land, Zimbabwe. Mavengere and his family were forced to move to South Africa because of the economic hardship brought on by the Zimbabwean government’s socialist/populist principles and action against the masses, combined with rampant corruption and greed.

Umthala, acrylic on canvas, 120 x 125 cm

Immigration is a global phenomenon that countries and entire continents can relate to. Throughout history, great civilisations have been built on stringent economic practices. The artist’s fictitious currency the ‘Gondruala’, shows mankind’s pursuit of money for survival and symbolises that ‘currency is king’. Sadly, as we become one homogenous society worldwide, we risk losing our sense of heritage, our ‘value systems’, that have been handed down from generation to generation. ‘On Golden Soil’ is a celebration of our culture; self-discipline, forgiveness,

humility, compassion and universal attributes that seem to have been lost on the modern world, and it is eating away at our livelihood”. ‘On Golden Soil’ will be hosted virtually and launched on Thursday the 28th of January at 10h00 SAST. Please visit the Christopher Moller Gallery website for more information, viewings will be available by appointment. On display until Friday the 19th of February 2021.

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S AL O N N I N E TY O N E P RES ENTS SAR AH PR AT T . CAM OF LAG E , 2 0 2 1 . G O UA C H E O N P A P E R .

Only If You Look Closely Sarah Pratt

17 . 02 - 2 0 . 03. 2 02 1

WWW.SALON91.CO.ZA

TAKE FIVE The Melrose Gallery

www.themelrosegallery.com

ake five is an online exhibition by Aza Mansongi that engages with the position of the self in the broader context of what we have come to term as ‘the new normal.’ Mansongi uses self-reflection as a point of departure and meditates on the tension between our changing social relations and consciousness. Through the visual dynamism of her works, we reconsider interpersonal connections and shared moments of humanity. She demonstrates an innate understanding that art is not an unconscious behaviour but rather a conscious feeling. Take five embraces its platform as an online exhibition and calls on the viewer to embrace the exhibition’s title – to take five in this new moment, in this new era and embrace the renewal of the self that this age has insisted upon. Only then – after a moment of intentional rest – can we begin to rebuild. Mansongi’s colourful abstracts radiate energy, humour and humanity. They vibrate with the hope of happiness with and for one another, despite – or, perhaps, because of the frenetic unpredictability of modern life. Each day faces the standard challenges we have come to expect but it is compounded by the challenge of facing everyday life with a pandemic. As a result, we have been forced to pause in order to allow for processing and, in time, for healing to come to all of us. Take five looks at works that vibrate with vigour and wit. They are the embodiment of celebrating life and all that it offers, with an overlay of optimism – depicted by vignettes of evil that are overwhelmed by expanses of festivity and love. The exhibition calls for us to make room for the unwanted ‘other’ that is COVID-19. By inviting in this undesirable guest, we take five for ourselves by using the moment for self-evaluation. Archive, 2019, Acrylic on cotton canvas, 160 x 160 cm

As we appreciate her works, we reflect inwardly, finding a moment of happiness within ourselves and within our connection to others, no matter how brief it is nor how socially distanced this connection may have to be. The result is a cheerful tangle of indistinct bodies that mix and mingle, illustrating the magic of uniting and exchanging with others. Aza Mansongi’s art doesn’t speak – it sings. And as we listen to its visual song, we see a harmony rather than a melody. We invite you to join us as we enjoy, consider and reflect on life’s moments. While hardship, strife and trauma have become mainstays of day-to-day life, these difficulties are not all-encompassing. Despite lockdown and the isolation necessitated by the pandemic, humanity prevails and through this, we will rebuild a new, shared consciousness. About Aza Mansongi Aza Mansongi’s Congolese background schooled her in classical, figurative realism. Growing up in the Democratic Republic of Congo, an area massively impacted by war and conflict, greatly impacted her studies and indeed, her current life in Douala, Cameroon. Despite a childhood fraught with uncertainty, her innate positivity has given her artworks a unique ‘Aza’ style. Whilst Aza could easily have been forgiven for creating artworks filled with angst and negativity, this would have conflicted with the positive way in which she approaches life and everything in it. Her work pulses with the hope for and enjoyment of social cohesion, no matter what cards have been dealt. For Aza, there is art in finding joy and wit in the midst of frenzied unpredictability. For her, life is a ‘celebration [in which] hope is all that matters’. This ethos goes beyond the realm of ideology and becomes almost palpable in her bright, happy, and somewhat chaotically busy paintings.

Sans Issue, 2019, Acrylic on cotton canvas, 160 x 160 cm

Balance, 2019, Acrylic on cotton canvas, 140 x 200 cm

Aza’s art sings the story of everyday life in Africa: the meeting of modern and traditional worlds and the excitement and energy off which we thrive, despite the multitude of daily challenges we face. Aza’s art speaks of our persevering – even thriving – humanity that tenaciously pushes aside suffering and conflict. Perhaps the tool that makes this boundless positivity possible is the ecstatic sense of humour that permeates her artworks and attracts like-minded collectors to her exhibitions. Her infinite joy and infectious lust for life defeats the vignettes of evil and depictions of struggle in her work. This optimistic revelry inspires collectors to bring this same energy into their personal spaces. Aza works across different mediums including painting, sculpture, installation and video. She has exhibited extensively both in Africa and abroad. In 2008, she produced a monumental fresco (80 x 3 metres) with the 3 Kokoricos Collective and Belgian artist Arnaid Debal at the French Lycée in Kinshasha and, in 2017, she appointed The Melrose Gallery to represent her in South Africa. Archive, 2019, Acrylic on cotton canvas, 160 x 160 cm

ANTHROPOMORPHIC 7 February – 28 February 2021 by Susan Bloemhof www.rkcontemporary.com

easonable possibilities and answers are explored by a group of Artists to produce a daring vision of momentary illusion. There is a significant correlation between Art and Psychology. Both disciplines aim to challenge the boundaries of human perception, or to be more precise, free it from its shackles. If our aim is to broaden our cognitive horizons, we perhaps need to reconsider what it means to be human . . . and to fully embrace the unknown, opening up a world of possibilities where we are free to dream and to explore, to bring our inner, secret worlds to the surface: a momentary “pseudo-identity”, if you like. Anthropomorphism is defined as attributing human emotions or thoughts to nonhuman entities – objects, gods or animals. First attributed to people’s physical and mental features, by the mid-19th century it had acquired a broader meaning of a phenomenon occurring not only in religion but in all areas of human thought and action, including daily life and the arts. It is a deep-rooted part of most mythologies and religions, the divine often being depicted as deities with human forms and qualities. As another example, at one point or another in their lifetime everyone has talked to their pet as if it were a person; this is a quite natural phenomenon which usually manifests itself from a very early age. It is therefore no coincidence that children’s literature is fertile soil for anthropomorphism – just think of Winnie the Pooh, the Little Engine that Could or The Lion King character Simba, or almost any fairy tale that springs to mind. Perhaps the best-known modern example of satirical anthropomorphism is George Orwell’s 1945 book Animal Farm. In Yann Martel’s Life of Pi, Pi is stranded on a life boat with animals that are occasionally anthropomorphized. Animals are described as ‘friendly’, ‘loving or even ‘depraved’. Christiaan Diedericks,  Nut, 74 X 72 cm , Monotype on 300Gsm Hahnemühle Etching Paper

“My monotype ‘Nut’ puts a critical spotlight on the ongoing plight of women, not only in my country, South Africa, but also globally.” - Christiaan Diedericks, 16 January 2021

Sebastiaan Theart, Annihilation, 41 x 51 cm, Oil on canvasboard â&#x20AC;&#x153;My inspiration derives from the classical periods to the golden age of illustrationâ&#x20AC;?. - Sebastiaan Theart, 16 January 2021

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Ella Cronje, All the King’s Horses, Bronze sculpture, 16 x 22 x 42 cm high, Edition size: 13 “My inspiration is an ever-expanding plethora of ideas connected to mythology, fables, psychology essays (Freud, Skinner, C.G. Jung et al) and philosophical writings”. - Ella Cronje, 16 January 2021

Jo Roets , Anabantoidei, 53 cm (H) x 42 cm (W) x 3.5 cm (D) Air-Dried Clay

Corlie De Kock, The wake of imagination, 30 x 25 cm , Charcoal on paper

“Embodying the warrior qualities within the female spirit and the unique characteristics of ‘Betta splendens’ aka Siamese fighting fish. Derived from ‘ikan betta’ or ‘fish warrior tribe’, they possess a special labyrinth organ that gives them the ability to breathe outside of water, ensuring survival in harsh conditions”. - Jo Roets, 16 January 2021

“I’m currently interested in visual images as narratives as well as the impact of the psychological state of the viewer in the interpretation of art works’.’ - Corlie de Kock, 16 January 2021

And throughout history onlookers have reported seeing human features in landforms, clouds and trees. Artists everywhere have depicted natural phenomena such as the Sun and Moon as having faces and gender. It is therefore clear that it is a far more pervasive aspect of “everyday life” than is commonly assumed.

part of the creative process, a way of trying to make sense of an increasingly confusing world, where ambiguity is the only certainty.

But why do we experience this irrepressible urge to anthropomorphize? Sigmund Freud offers the view that it may be to make a hostile or indifferent world seem more familiar and therefore less threatening. This has merit, of course, but fails to explain why people often anthropomorphize in ways that frighten them, for instance when they hear a door slammed shut by the wind and assume it to be an intruder. Perhaps an anthropomorphic perspective is an integral

This ‘menagerie’ of Artists, if you’ll excuse the expression, will be showcasing their unique talents and perspectives, taking a bold leap into a world of endless possibilities relating to shapes, sounds, things or events manifesting as human forms or showcasing human attributes. Reasonable answers, but can this exhibition tell us anything about ourselves? RK Contemporary, 32 Main Street, Riebeek Kasteel. For enquiries contact Astrid McLeod at 083 6533 697.

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NWU GALLERY 14 February â&#x20AC;&#x201C; 21 March Ikhaya Lika Moya Sethembiso Zulu

By Senzeni Marasela, curator of Ikhaya Lika Moya.

Hlomani Izikhali

khaya Lika Moya is Sethembiso Zulu début solo show, what we are showing on the 14 February 2021 is a selection of his body of work. Zulu’s work is intriguing, especially with this work which is part of a trilogy. It forms part of a new body of work that he’s developing in that response to his journey as an artist and photographer and a healer and trying to negotiate the modern world. Zulu has an extensive body of work developed over a period of ten years. His subject matter ranges for portraits of widows, jazz, township life and largely work with religious themes. Ikhaya Lika Moya is an exploration into the Zionist Christian congregations. His church membership allows the work the intimacy it enjoys and the people are familiar to him. This body of work also extends into objects of worships like the “izikhali” (softwood maces) which Zulu presents as an installation. His foray into autobiographical film work will be presented in the show. This is essentially Zulus journeys as an Artist, Healer and photographer which intersects at point of searching for spiritual contentment. Zulu presents his first institutional solo show and a debut curatorial undertaking by the Artist and Curator, Senzeni Marasela. The exhibition opens on 14 February 2021 at North-West University Gallery in Potchefstroom. Above: Yehla Moya Oyingcwele Right: Ikhaya Likamoya (Detail)

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Business Art News

STRAUSS & CO Chairman’s Report Frank Kilbourn www.straussart.co.za

2020 was a year for the ages and presented challenges at every level of our operations. Despite the ravages of a global pandemic, Strauss & Co remained committed to its vision of being an innovator and leader in the sale of modern, post-war and contemporary art, decorative arts, jewellery and fine wine. A brisk schedule of auctions, including three hybrid sales held after the introduction of Covid-19 health regulations, saw the company successfully defend its turnover, grow the number of lots handled and vastly improve its geographical reach and new-client list. In a year marked by widespread social and economic turmoil, Strauss & Co achieved a combined turnover of R316.6 million. This sum is not far off the 2019 total of R319.4 million and represents a very credible result in the circumstances. The company grew its lot sell-through rate to 76% from 65% in the preceding year, and, very encouragingly, new buyers accounted for almost a third of all completed sales. I ascribe our successes to the amazing commitment of our staff, integrity and scalability of our digital infrastructure and – most importantly – the incredible support of our clients. When the reality of Covid-19 dawned on us in March 2020, Strauss & Co’s management team redirected its energies to developing new business protocols. Health and safety was paramount, but so too was ensuring the economic wellbeing of everyone involved in the auction trade. We operate in a very public sphere and Strauss & Co functions almost like a bourse. To cease trading for a prolonged period would have significant negative effects on South Africa’s art economy, as collectors require the assurance of a transactional platform that offers liquidity.

Jacob Hendrik Pierneef, Baobabs, R 2 500 000 - 3 000 000

In May 2020 we hosted South Africa’s first-ever virtual sale, with our auctioneers leading the live-streamed sale from studios set up in Cape Town and Johannesburg. Our immediate response to the pandemic was to accelerate our online growth strategy. In May 2020 we hosted South Africa’s first-ever virtual sale, with our auctioneers leading the live-streamed sale from studios set up in Cape Town and Johannesburg. Held in partnership with Invaluable.com, the world’s leading international platform for buying art, antiques and collectibles online, the twoday sale was a huge success. The sale earned R84 million with a lot sell-through rate of 81% and value sell-through rate of 84%. All the lots in the Bordeauxthemed wine session found buyers. The fine wine division of Strauss & Co came of age in 2020 with an incredible lot sellthrough rate of 90% and value sell-through rate of 97.4%, in the process re-defining the market’s perception of the value and collectability of our top wines and vintages.

Hearteningly, we managed to sustain this early momentum throughout the second half of the year – while still innovating with sales formats and media. One of the big lessons of 2020 for us was that the geographical location of an auction is no longer relevant, and is indeed quite limiting. To this end we developed NORTH/SOUTH, an ambitious multi-day, multi-location sale. Held in November 2020, the sale included a wellreceived session devoted to contemporary South African ceramics, a new category for us, as well as a focus on post-war and contemporary sculpture. Our contemporary art sale, launched in 2018, is another example of Strauss & Co focussing collectors on new and/or overlooked categories of collectables. These initiatives play an important role in developing our client base. A quarter of our lots in NORTH/SOUTH went to new buyers, which is very impressive and meaningful.

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Single-owner collections remained an important aspect of our business, even in 2020. Our May sale included a fine selection of Dutch East India Company collectables consigned by a private collector. In July we sold works by JH Pierneef and Irma Stern from an important survey collection of South African art assembled by a Johannesburg collector. The sale also featured an important bronze by Anton van Wouw consigned as part of a small collection by a Pretoria collector. Our NORTH/SOUTH catalogue included a strong allocation of single-owner collections, notably a diverse consignment of decorative arts from the estate of a European collector, rare Burgundy and Rhône wines from the private cellar of a single collector and a significant bronze by Sydney Kumalo consigned by the Late Desmond Fisher Collection. We were proud to handle the large Tasso Foundation Collection of important South African art assembled by the late businessman and collector Giulio Bertrand of Morgenster. Strauss & Co’s week-long online-only sales have been a fixture of our sales programme since 2013, and continue to show remarkable scope for growth. We sold 3130 lots through our seven online-only sales in 2020, earning a combined turnover of R45.7 million – more than doubling our yield through this sales channel over the previous year. (In 2019 we earned R20.3 million from six online sales.) It was especially uplifting to see the ceiling for higher-value works sold online surge in 2020. It points to growing maturity and trust in exclusively transacting online. It goes without saying that doing business digitally requires stable and secure infrastructure. I am proud to state that Strauss & Co offers both. Our existing digital strategy enabled us to quickly retool our activities, without significant business interruption, to offer a seamless online transaction. We are able to offer bidders from all over the world a safe and secure environment to participate in realtime bidding.

Maggie Laubser, Still Life with Dahlias and Grapes, R 250 000 - 350 000

Strauss & Co has always stressed the importance of good corporate citizenship. In 2020 we donated R761 820 to 17 organisations. Recipients included the Solidarity Fund and the Vulnerable Artist Fund. We also hosted six charity auctions in support of artists, distressed communities and animal welfare. It would be remiss of me not to remember the lives lost during this difficult year. The pandemic was not an abstraction: people died and industries dear to us at Strauss & Co, in particular the arts and wine trade, suffered. We look forward to better 2021. Exiting 2020, Strauss & Co found itself in a positive place. We retained all personnel and staff morale remains high. We grew our client base and extended our footprint internationally. We remained a market leader and innovator. The rolling impacts of the Covid-19 pandemic, which endures, remind us not to be complacent. We nonetheless offer thanks and gratitude to everyone who contributed to our business in a year like no other.

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STRAUSS & CO

UPCOMING AUCTION HIGHLIGHTS Online-Only Auction: 15-22 February 2021 www.straussart.co.za

Mia Chaplin, Studio Interior, oil on canvas laid down on board 38 by 30cm, R 15 000 - 20 000 54

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Georgina Gratrix, Two Men, gouache on paper 50,5 by 66cm, R 20 000 - 30 000

Sam Nhlengethwa, Tribute to Henri Matisse, nine colour lithograph 57 by 76,5cm, R 18 000 - 24 000

Ian Grose, Mavu and Kyle on Studio Couch, oil on canvas laid down on board 73 by 84,5cm , R 40 000 - 60 000

Walter Battiss, recto: Abstract Composition, verso: Abstract Figure, oil on canvas 61 by 76,5cm, R 50 000 - 70 000

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William Kentridge, Heating and Ventilation, chine colle and lithograph sheet size: 26 by 19cm, R 25 000 - 35 000

Business Art News

STEPHAN WELZ & CO. Premier Auction 2021 www.swelco.co.za

ur first premier auction for 2021 will take place on the 23rd and 24th of February, with viewing by appointment from the 18th – 21st of February at our salesroom at 14 Dreyer Street, Claremont, in Cape Town. Included in our offering is a lovely landscape by J.H. Pierneef, painted in the early 1930s when the artist spent much time in SouthWest Africa. This particular work is titled Naboomspruit, which is located just outside Polokwane. The painting depicts a low mountain range lit bright pink by either the late afternoon, or the early morning sun. Hints of pink are echoed in the sky behind it, the paint applied in an impressionistic fashion. Another noteworthy landscape included in our offering for our February Auction is the Erik Laubscher painting Naby Caledon. The work features large planes of colour marking the various fields and the mountains that one would encounter in Riviersonderend on the way from Stanford towards Caledon. The artist’s great understanding and sense of play with colour is evidenced in the large band of red that takes up most of the lower half of the canvas and would dominate it if it weren’t for the rich blue sky that competes for attention. Lastly we have a sculptural piece by Esther Mahlangu from her 2012 solo show OVERLAY. The artist has painted her signature Ndebele patterns onto a found plastic skull and glasses. It is a memento mori in that it reminds the viewer of death which is always imminent, yet presented by the artist in a playful manner with her inclusion of sunglasses. Esther Mahlangu, Untitled Installation, 2012, signed with artist’s initials on the frame of the glasses and the back of the skull, acrylic paint on model skull with sunglasses height: 16cm, R 15 000 – R 20 000

Jacob Hendrik Pierneef, By Naboomspruit, signed; inscribed with the title on the board and inscribed with ‘Aandstemming Potgietersrust, Tvl’ on the frame of the reverse, oil on board, by descent, 22,5 by 30cm - R 200 000 – R 300 000

Erik Laubscher, Naby Caledon, signed and dated 78, oil on canvas, 72,5 by 91,5cm- R 300 000 – R 500 000

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Business Art News

LEKGETHO MAKOLA APPOINTED AS NEW CEO OF THE JAVETT ART CENTRE University of Pretoria (Javett-UP)

retoria, South Africa – 25 January 2021. The Javett Art Centre at the University of Pretoria (Javett-UP) is pleased to announce the appointment of Lekgetho Makola as the new Chief Executive Officer. He assumes the role as of 1 February 2021 and is currently the head of the Market Photo Workshop in Johannesburg.

in 2012 and Brand New Africa Foundation in 2016. In 2014 he founded a South African independent production company KGETHI IMAGES, which focuses on film, photography and art productions. Makola is a founding and active member of the virtual Continental network Centres for Learning for Photography in Africa.

Makola joins Javett-UP with many years’ experience. He has contributed significantly to the art community, especially with regards to local and international visual story telling platforms and curatorial committees, including the New York Times portfolio reviews. He was the first African in over 60 years to chair the World Press Photo Awards General Jury in 2020 and served on the Art Bank of South Africa Acquisition Committee in 2018 and 2019. His artistic philosophy is embedded in social justice and advocacy as an International Ford Foundation Fellow – Social Justice. He has gained extensive strategic experience in arts administration and artistic programming from an array of local and international institutions he worked for throughout his career, including Durban Art Museum, Robben Island Museum, and Museum Boijmans Van Beuningen in Rotterdam. Under his leadership, the Market Photo Workshop won the Principal Prince Claus Award in 2018. He was also appointed Interim CEO of the Market Theatre Foundation in August 2020.

Makola was born in GaSekhukhune, Limpopo in 1974. He studied fine arts at the Durban Institute of Technology and completed an MFA degree at Howard University in Washington, D.C.

In 2012 Makola co-founded Kali TV in Washington DC, an online media platform reporting news on diaspora communities in the USA. He was a founding member of Parallel Film Collective Washington DC

“We are pleased and proud to welcome Lekgetho to the Javett-UP Art Centre. He is a visionary leader who has done much to advance the arts community and to train and mentor young artists,” said Ed Southey, Chairperson of the Board of Trustees of the Arts Centre Foundation. “The Javett-UP Art Centre plays an important role in celebrating the art of Africa while also offering training in art and heritage skills. I am looking forward to guiding one of South Africa’s newest museums to a truly distinctive place in our heritage sector,” said Makola. Makola will take over from interim CEO Dr Samuel Isaacs. Southey thanked Isaacs for steering the institution through the hard lockdown necessitated by Covid-19 and the institution’s successful re-opening on Heritage Day, 24 September 2020.

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Business Art News

#NATHIMUSTGO:

Artists demand removal of the Minister of Congratulations and Condolences Lindokuhle Nkosi / First Published in News24/ Arts24

group of South African artists- including the likes of internationally acclaimed dancer/choreographer Gregory Maqoma, theater doyenne Faniswa Yisa, award -winning playwright Mike van Graan and dancer/ choreographer Liam Anthony- have sponsored a petition calling for the removal or resignation of Nathi Mthethwa as the minister of the oddly clustered Department of Sports, Arts and Culture.

Dear Minister Nutty, I hope this letter finds you in good spirits The matter of spirits is an important one, as I intend to address what may turn out to be a thorny matter that requires a certain degree of coolness on your part. You must be aware that since you took to Twitter a few years ago, they called you Minister of Condolences, Congratulations & Other Witchcrafts. In this letter, I will limit myself to the craft of congratulations, specifically on Twitter, relying on observations made every time you have with much excitement congratulated an artist in that platform. I think you will agree, Minister, that your congratulations have not been met with the celebratory fervor you wish to inspire. In fact, the general responses has-with reason- tended to elicit much contempt. You’re irritating us, Minister, and you don’t listen. I’ve seen you catch a few sub, the most recent being from Your Girl, B.

In the meantime, on Twitter, follow the artists. Not just the famous ones, but especially those who are still ma king a name for themselves. If, lets say, Trevor Noah bags The Daily Show gig, and you find that you cannot congratulate him since you did not contribute to his development, then find out who the emerging Trevor’s are. Follow them. Immerse yourself in their work. Retweet them. DM them, Have meetings with them. Talk to your team about policy and implementation that enables these Trevor’s. So that in three year’s time when another Trevor shoots up, they will have the department to thank and you will be well within your rights to take some credit for their success. Otherwise, Minister, don’t congratulate artists you have not supported. I suppose this approach will help you even with help you even with the condolences. If you take care of the artists, you can condole with the loved ones upon ones upon their passing. But it is insulting to the memory of the artist and wounding the family, friends and followers when a government that could have made the artist’s life more bearable, even flourishing but failed to do so, now wants to break the sad news of a death. It is unethical and will probably have you haunted by the unsisters. You should have a database of artists in different artistic mediums, different phases of their careers, and be on the ball concerning support. This, ONLY THIS, grants you the right to share in their success or to condole with.

It is not that you cannot congratulate artists on their achievements- indeed, this is a kind gesture- but the question, a valid one, arises: did you enable said artists to achieve the success being congratulated? In most instances, Minister, it turns out you and your department have not. Therefore, being the first to congratulate the artist is more bitter than it is sweet.

I could go on, Minister, and I probably should, but I am choosing to make it short and sweet. Next time, perhaps, we might have a moment to chat about your conscience as a humanities minister who oversaw the Marikana Massacre.

So, I have the following advice for you, Minister:

Artists have been voicing their frustrations using the hashtag #NathiMustGo as they accuse the minister of failing to deal with the pandemic.

Before you congratulate an artist, ask yourself: in what way have I created an environment that enables this artist this sector, to succeed. When you get to this point, resist the temptation to lie- to yourself and especially to us. If you find that this is one of the under supported sectors, as most art mediums are, then make a note to cause correct.

Yours Firmly in the arts.

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MINISTER OF SPORT, ARTS AND CULTURE NATHI MTHETHWA HAS APOLOGISED FOR HIS “OFFENSIVE” TWEET REGARDING THEATRE IN SOUTH AFRICA. First Published in THE Citizen Newspaper 2021

Mthethwa angered artists last week after he tweeted: “South African theatre is alive and well with performing arts institutions of the Department of Sport, Arts and Culture such as @ArtscapeTheatre, @MarketTheatre, @ PACOFS3, @DurbanPlayhouse, @statetheatre and @WindybrowTheatr (sic) offering an array of indigenous drama and dance etc.” They have since started an online petition calling for his resignation by 31 January. If he doesn’t resign, President Cyril Ramaphosa must replace him in February 2021, they demand. The petition – sponsored by Gregory Maqoma, Sylvaine Strike and Alex Sutherland, to name a few – is not calling for Mthethwa’s resignation only because of the offensive tweet, but “because the tweet reflects our long experience of the minister as incompetent, aloof and out of touch”. “Not only is this tweet patently untrue – these theatres have generally had dark stages for months due to lockdown regulations, with some offering filmed recordings of productions – the tweet [now removed] reflects how ignorant the minister is of the theatre landscape in the country and underscores his lack of understanding of, and empathy with the enormous losses within the arts sector over the last 10 months. “The loss of income for many theatre-makers has had, and is having, a devastating impact on their mental, emotional and physical health. “The relief funding made available by the Department of Sport, Arts and Culture – while welcomed – came with bureaucratic hoops that excluded many and was simply a drop in the ocean in terms of the needs within the sector. “To say that ‘theatre is alive and well’ is to reflect an ivory tower position of privilege that is completely out of touch with reality,” said the artists.

In response, Mthethwa apologised for the tweet “more so, in light of the fact that the creative sector has been the hardest hit by the pandemic”. In March, Mthethwa announced a R150 million relief fund to assist athletes, artists and technical personnel in both sectors. In addition, R50 million had been added to the national relief fund by provincial departments. The department was fast-tracking a third phase of relief funding for the industry, with the first two phases having helped 5000 people and over R80 million paid out. “In spite of our best efforts, the department is fully cognisant of the fact that there are many others who did not benefit from these programmes, given the department’s finite budget. With that said, we have and will continue to engage national organisations in line with out open door policy.” Information on the third phase of the relief fund will be issued in due course.

Business Art News

ARE ART FAIRS WORTH THE RISK BEFORE VACCINATION? We have already figured out how to survive without fairs for nearly a year. Why squander our health now? Jonathan Schwartz CEO of Atelier 4. January 25, 2021

t has been almost a full year of radically changed collective behavior.

I walked through the aisles of the Armory Show in New York last March, mindful of my extremities, stopping at every restroom I passed to vigorously wash my hands for 20 seconds. I don’t remember seeing any masks at that point. Even in February, I took the subway, my wife glancing around nervously, then at me. Anyone could be infected. The idea of viral bombardment (I keep thinking: cooties!) was still so abstract then. But two weeks after spending most of the day with a client, I received two calls: one from him, and another from the contract tracers at the clinic where he tested positive for coronavirus.

And as of year end, it looked like we could manage this disaster without a single art fair—and we did. I don’t fault the fair owners’ wishful thinking. This is their business, and online viewing rooms cannot be enough to make up for the economic loss. But an art fair in May is a very big ask. The costs of ramping up to participate in one of these events is considerable for everyone involved. Flights, hotels, per diems, the costs of moving property and materials, renting cars—it all adds up fast. Why do all that just to have an event canceled weeks before the opening? It’s far too easy to lose non-refundable deposits, and there is no recovering time already spent.

Now, 10 months after the initial New York shutdown, I’m hearing that some fairs are already planned for 2021, including Frieze New York at the Shed in Hudson Yards in May; ARCO Madrid in June; and Art Basel in September—all of which seem too soon. We know that mass gatherings are primary infection hot spots. Art fairs—aren’t they mass gatherings?

The resources necessary to plan a fair, especially in a time of such uncertainty, are massive and inefficient. If we were to commit to Art Basel in September, we would need to ship artworks for possibly six galleries with medium-sized booths, send a contingent of art handlers and a project manager, and easily have been out of pocket over six figures with nothing to show for it. What’s more, freelancer art handlers would not get paid.

I run Atelier 4, a complex fine-art logistics business that suddenly last March became primarily a storage company. Then, slowly, we revived our packing and crating departments, began to complete projects paused by the pandemic, found work with galleries and auction houses that had moved to online platforms, and began working closely with clients of ours who were looking at the walls of their homes and wanting something new to hang. As of the end of June, we were at 80 percent pre-Covid staffing levels.

I cut my teeth on art fairs in the 1980s. For an adrenaline junkie and art handler, it was the Olympics (and also a lesson in how you’re not supposed to handle artworks—but that’s another op-ed). Many of the art-handling companies that did museum business back then avoided fairs, which created a lot of breathing room for my company. Even though we catered to institutions and other market sectors, we soon become financially reliant on fairs—especially Art Basel’s Swiss and Miami Beach editions—for

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huge bumps in revenue that could rectify a lackluster quarter. It was like nothing I had experienced until then. But about ten years ago, we began to take a sober look at how art fairs were changing, and at their long-term effects on exhibitors and the industry that supports them. The benefits of these events, it turned out, are incredibly lopsided, with a few reaping massive economic rewards, while the majority either break even or hemorrhage money. For fine-art shippers in particular, increased competition has meant shrinking profit margins. In 2007, Miami Art Week included 23 events. My company threw so much money at it, it was amazing we generated any revenue. I totally get the desire to leave your pod and interact with others. We’re social animals, and there’s nothing more social than a messy mix of dealers, collectors, curators,

artists, groupies, and tourists (and oh yeah, art handlers). And economically, our industry has become enormously dependent on art fairs. But new business models have developed in the past ten months. Fineart handlers are surviving, even the ones without storage revenue, in part because high-net-worth individuals are staying home and buying art. At Atelier 4, we’ve been able to increase our interstate trucking and art installation operations in part as a result. But all this is done with the ability to maintain reasonable health and safety protocols. With vaccine rollouts hopefully accelerating, I’m drawing a line in the sand: We’ve already come this far without fairs. Why squander our health now when there is light at the end of the tunnel? The longer we stay in our pods, the faster we will get to the finish line.

A TRIBUTE TO JOHN CLARKE - Frederick Clarke, 23/01/21

ome years ago now, in the late 80â&#x20AC;&#x2122;s, my father would take me walking along a river close to our home. I was no more than 3 years old. His feet made the gravel crunch under his weight as he led us to an emankment of clay next to a quiet brook. There we would sit quietly, pulling chunks of clay from the moist earth, forming little animals and people. I remember the excitement of this new ability he was sharing, a feeling of unlimited potential, in realizing that we could create things, shape them into being, give them names, discuss, reform and merge them back into abstract hanfuls of matter to leave by the water for the next visit to our neatherthal studio, this was the game - an early memory and lesson from dearly departed South African artist JFC Clarke, husband and father of four, who died from cancer at his home on 22 January 2021.

JFC Clarke was born in Harare, in 1946, soon thereafter relocating to Barbeton with his 3 sisters and parents, and later Pretoria which became a homebase for the remainder of his life. As many of his friends and family will know, John was a traveller both internally through his art-making, and externally throughout the expanses of Southern African bushveld. He had a particular love for Botswana, and had many adventures into remote and wild places, where he often enjoyed sleeping under the stars, beside a fire on course hessian sacks surrounded by a few camping chairs, with the morning light revealing hyena footprints circling where he slept. In many ways, the bushveld was his natural habitat. Urban life seemed to be a somewhat reluctant requirement to be maintained, if not endured, until the next opportunity to return to the thornveld with itâ&#x20AC;&#x2122;s birds, insects, animals, trees and stillness. This aspect of his life, is of particular significance when exploring the expansive body of artworks he has left behind. It is a fitting coincidence that his birthday coincides with the 1969 moonlanding, a monumental moment in time that made a notable impression on his signature pastel landcapes. They are lit by an otherworldy and omnipresent light; compositions methodically shaped in pointalist earthen colors, forming everchanging and recognizable elements of stones, poles, platforms and vessels, that evolved into his unique visual language, one that he distilled until the very end. JFC Clarkeâ&#x20AC;&#x2122;s artworks are almost completely devoid of human figures, and yet the traces of humanity, architecture, and culture are clear in the simple, yet profound kraal-like arrangements of objects and platforms empty stages that hold the echoes of past and future beings, like futuristic moon ruins.

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‘In the smoke that remains after someone dies of burning love, one can know that that’s what it was: secret inner longings that were never revealed until the very end.’” The stones and vessels shimmer like singing bowls, full of abstract allegory and meaning, open and safe for viewers to ponder and explore. Much of his work alludes to the stillness, space and time of a lightfooted and respecful human presence in a natural world. This stoic and minimal essence is something he exuded in enigmatic abundance - akin to very low and high frequencies that are easily missed by the naked ear, existing outside of a more recognizable and melodic bandwidth. And yet, those who know him, will remember a quiet, kind, and powerful presence, a man who listened, and used his words with care and genuine intent. Besides his large body of work in the mediums of pastel, pencil, digital drawing, and printmaking, he also applied his passion and time to a long and detailed study of legendary lowveld outsider artist Nukain Mabuza, who died in 1981 - a man who JFC Clarke never met, but was deeply inspired and fascinated by - honoring him and his work in a publication he released in 2013 titled The Painted Stone Garden of Nukain Mabuza. He also released a photographic book titled A Glimpse into Marabastad (2008), documenting explorations and observations of a culturally eclectic and fascinating area of Pretoria during a troubled time in South Africa history. These are to mention but a few areas of intest that John Clarke quietly and continually nurtured throughout his life. In this increasingly fast, digitized and complicated world we currently occupy, the frequency and meaning of Clarke’s work can be both instantly recognized and appreciated, as well as easily missed, often requiring a quiet and meditative recalibration of focus to merge with and appreciate the

essence of these windows into his inner world - perhaps similar to turning off the loud mechanical hum of a landrover engine in order to appreciate the micro-sonics of the bushveld, and of course, the stillness In writing this, I recalled a quote from the Japanese warrior code Hagakure (meaning ‘hidden by the leaves’), written by Yamamoto Tsunetomo. In some ways it echoes the way JFC Clarke quietly, passionately and consistently nurtured a deeply committed and often hidden love for his art-making practice, and the friends and family who he held in the highest regard, who will sorely miss his unique and wonderful presence. Taken from the short chapter “Comrades of Smoke” ...”I have determined that the highest form of love is a love that is hidden within the heart. When one has met the object of one’s love and expressed one’s love externally, the stature of the love is lowered. For a person to keep his love burning in his heart secretly until he dies of longing - that is the original meaning of love. There is a song that goes ‘In the smoke that remains after someone dies of burning love, one can know that that’s what it was: secret inner longings that were never revealed until the very end.’” In John Clarke’s death, we honour and celebrate the plume of smoke he leaves us; a lifetime of carefully drawn marks, his love and respect for nature, and heartfelt connections with family, friends and strangers, who’s lives he has enriched with his presence. - Frederick Clarke, 23/01/21

A TRIBUTE TO WIM BLOM (Willem Adriaan Blom) 1927-2021

Born: Germiston, South Africa, 22nd of February 1927 Died: Vancouver, Canada, 18th January 2021

im was born in South Africa in 1927 he received his Fine Arts MA degrees from the University of the Witwatersrand, Johannesburg, and did post-graduate work at the University of Edinburg, Scotland, and at the University of Perugia, Italy. Wim Blom taught at the University of the Witwatersrand and at the Johannesburg School of Art. Trained as an art historian he held the post of Research Curator at the National Gallery of Canada and subsequently that of Curatorial Administrator.After leaving the museum world Wim Blom dedicated himself exclusively to painting. For a number of years he lived in Italy and Spain and exhibited internationally. Wim Blom is a devoted traveller and an inveterate reader in several languages. Wim Blomâ&#x20AC;&#x2122;s work is represented in public collections,

such as the National Gallery of Canada, the South African National Gallery in numerous corporate and private collections in Canada, France, Great Britain, Germany, Israel, Italy, Japan, The Netherlands, New Zealand, Poland, South Africa, Spain, Switzerland, and the U.S.A.Wim Blom has exhibited internationally. Blomâ&#x20AC;&#x2122;s works are precise and have a timeless quality, ranging from broad painterly abstraction to an exploration of line and the intriguing qualities of space. To view more work please go to: wimblom.ca straussart.co.za facebook.com/WillemAdriaanBlom/

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A Good Read

SOCIAL MEDIA REPLACES FAIRS AS THE THIRD MOST SUCCESSFUL SALES CHANNEL FOR GALLERIES IN 2020, STUDY REVEALS

Websites have replaced walk-ins as the second best way to sell art, but staying in top position is outreach to existing clients, according to Artsy Gallery Insights 2021 Report First Published by the Art Newspaper / www.theartnewspaper.com AIMEE DAWSON, 21st January 2021 10:09 GMT

ow the art world mighty have fallen. Art fairs—ranking as the third most successful way for galleries to sell art in 2019—has slipped to sixth position in 2020 because of the coronavirus pandemic, according to the Artsy Gallery Insights 2021 Report. Social media has replaced fairs, becoming galleries’ third best sales channel, moving up from sixth place in 2019. “The ranking of top sales channels shuffled considerably this year, with online sales, social media, and gallery websites taking the place of art fairs and walk-ins,” the report says. However, the number one way to sell art remains outreach to existing clients, accounting for 28% of total annual gallery sales in 2020. The Artsy Gallery Insights 2021 Report, which was conducted in October 2020 and surveyed 1,753 gallery professions, unsurprisingly shows a significant move towards the digital. “Galleries refined their digital strategies, invested in digital marketing, and tried new tactics to maintain bonds with existing clients and forge new connections online,” says Dustyn Kim, the chief revenue officer at Artsy, an online sales platform and database for art. When looking at galleries’ use of social media in more detail, it possible to see a difference geographically. In Latin America and Africa and the Middle East social media is the second most successful platform for sales; in Europe it is the third most successful; and in North America and Asia and Oceania it doesn’t make the top three. Galleries say that they promote sales on social media using stories, direct messaging and organic posts.

The study also reveals that galleries’ marketing budgets for online endeavours shot up: spending for online art marketplaces, websites and social media increased by 49%, 32% and 92% respectively. Meanwhile, there was a 31% decrease in budgets allocated for fairs. This shift to the digital is also changing galleries’ collector base; 73% of galleries reported that at least half of the collectors they connected with online in 2020 were new to their business and the number of buyers between 18 and 35 doubled, most likely because younger buyers prefer to buy online. There was also a big jump in the number of galleries operating as an online-only business; 35% of the study’s respondents said that they had no physical gallery space, more than double the number reported in 2018 and 2019. “Financial concerns may […] provide incentive for an online-only model, as the world feels the economic strain of Covid-19,” the report says. “With an end to the pandemic in sight, 2021 will reveal whether these galleries return to brick and mortar or remain online permanently.” But overall, the Artsy Gallery Insights 2021 Report expects that galleries’ new-found focus on the digital is here to stay: “It’s clear that the online art marketplace is not only a successful strategy to boost sales and stay connected this year—it’s also a trend that will continue into the future.”

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Books

BITTERKOMIX 18 THE OUTLAWS www.soutiepress.com

was why the liberal arts world loved the duo so much. Now, in a time of extreme cancel culture and despite the duo’s stellar track record and fans around the world, many in the liberal art world want nothing to do with the freedom of their speech. They have been removed from curricula, attacked by Twitter hordes intent on taking simplistic readings of nuanced satire and making accusations of racism, and their work has been removed by galleries who never had a problem making money off them in previous years. Printers even attempted to censor The Erotic Drawings of Conrad Botes, which came out in late 2019, because certain drawings were deemed to be blasphemous. That’s printers, not publishers.

resh from Anton Kannemeyer and Conrad Botes, Bitterkomix 18 is the biggest one ever. Love them or hate them, you cannot ignore them. It’s hard to believe that Anton Kannemeyer and Conrad Botes have been publishing their satirical Bitterkomix zines for nigh on three decades now. Despite efforts to censor and deplatform them, les enfants terrible of South African art (or is that les grands-pêres?) show no signs of slowing down themselves. Perhaps the only thing that is different, is who they piss off these days. Botes and Kannemeyer have always offended. In the early ‘90s, they were the in-house cartoonists for the Afrikaans twin of Hustler magazine, Loslyf. Their sexually explicit cartoons addressing white male insecurities on anything from erectile dysfunction (they foresaw Viagra before it existed) to penis size drew the ire of ‘readers’ because while graphic they not sexy. In Bitterkomix itself it was the conservative Afrikaner and fundamentalist Christians who took the most offense, which

Fortunately, Botes and Kannemeyer have forged ahead regardless and in Bitterkomix 18, they have brought out a brilliant riposte to the would-be censors of our time. As acerbic, humourous and dark as ever, in their signature style the duo’s comic strips, essays and stories continue to take readers to uncomfortable places, probing and questioning that which is uneasy about our society. Instead of censorship and scorn, for that we owe them a debt of gratitude. As Kannemeyer says in Bitterkomix 18, “… satire is under serious threat worldwide. So if satire is not discussed in class anymore, and even art students do not understand basic visual satire, how can we expect the twitter mob out there to understand it? By cancelling provocative art today, galleries, art fairs, museums and curators are making a visually illiterate world even more visually illiterate. Historically art challenges and enrages, both in function and form1 – that is the art that millions of viewers go and watch in museums all over the world each year. Not the art that was endorsed by rigid political watchdogs, confident of their moral code.” Bitterkomix 18 is available from www.soutiepress.com

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Andries Visser, In Our Hands. 2019, Birch Wood and Indian Laurel,160X70x30 cm, Rust-En-Vrede Gallery

ARTGO FEBRUARY 2021 ONGOING SHOWS AND OPENING EXHIBITIONS

ARTGO: FEBRUARY 2021

OPENING EXHIBITIONS

THE CAPE GALLERY WOOD, STONE & CLAY GROUP EXHIBITION 01/02/2021 UNTIL 26/02/2021 WWW.CAPEGALLERY.CO.ZA

EBONY CURATED IN [THE] LOOP 04/02/2021 UNTIL 05/03/2021 WWW.EBONYCURATED.COM

ECLECTICA CONTEMPORARY 11:11 GROUP EXHIBITION 04/02/2021 UNITL 29/04/2021 WWW.ECLECTICACONTEMPORARY.CO.ZA

EDG2020 INAUGURAL LAUNCH EXHIBITION 04/02/2021 UNTIL 25/03/2021 27 BARBECUE BEND CORPORATE CAMPUS, HYPERION ROAD, MIDRAND WWW.EDG2020.COM

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5th Avenue Auctioneers

Sydney Kumalo (SA 1935 - 1988) Bronze

Sat 20th & Sun 21st February Live online only Full Catalogue available on our website prior to the auction

5thAveAuctions.co.za

011 781 2040

stuart@5aa.co.za

404 Jan Smuts Ave, Craighall Park, Sandton

ARTGO: FEBRUARY 2021

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STEVENSON JHB LOST AND FOUND SERGE ALAIN NITEGEKA 06/02/2021 UNTIL 12/03/2021 WWW.STEVENSON.INFO

GALLERY GLEN CARLOU PAPER A DIGITAL GROUP EXHIBITION 04/02/2021 UNTIL 18/03/2021 WWW.GLENCARLOU.COM/ART-GALLERY

RK CONTEMPORARY ANTHROPOMORPHIC GROUP EXHIBITION 07/02/2021 - 28/02/2021 WWW.RKCONTEMPORARY.COM

SALON NINETY ONE ONLY IF YOU LOOK CLOSELY SARAH PRATT SOLO EXHIBITION 07/02/2021 UNTIL 20/03/2021 WWW.SALON91.CO.ZA

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

Caryn Scrimgeour, oil on canvas SOLD R 38,000 View previous auction results at www.rkauctioneers.co.za

011 789 7422 • 011 326 3515 • 083 675 8468 • 12 Allan Road, Bordeaux, Johannesburg

ARTGO: FEBRUARY 2021

OPENING EXHIBITIONS

RUST-EN-VREDE-GALLERY BLINK KANT BO/ ON THE BRIGHT SIDE MARIKE KLEYNSCHELDT 09/02/2021 UNTIL 10/03/2021 WWW.RUST-EN-VREDE.COM

RUST-EN-VREDE GALLERY MICHELLE D’ARGENT SOLO EXHIBITION 09/02/2021 UNTIL 10/03/2021 WWW.RUST-EN-VREDE.COM

RUST-EN-VREDE GALLERY

BAZ-ART INTERNATIONAL PUBLIC ART FESTIVAL LOCATION: SALT RIVER, CAPE TOWN 10/02/2021 UNTIL 14/02/2021 WWW.IPAFEST.CO.ZA

NADINE HANSEN SOLO EXHIBITION, “TERRA”, CONSIST OF SELF-PORTRAITS WHERE TIME STANDSSTILL IN MOMENTS OF QUIET CONTEMPLATION. 09/02/2021 - 10/03/2021 WWW.RUST-EN-VREDE.COM

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BAZ-ART INTERNATIONAL PUBLIC ART FESTIVAL

ARTGO: FEBRUARY 2021

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GOODMAN GALLERY CPT DID YOU EVER THINK THERE WOULD COME A TIME? GROUP SHOW UNTIL 12/03/2021 WWW.GOODMAN-GALLERY.COM

NORVAL ART FOUNDATION THE REUNION GEORGINA GRATRIX 13/02/2021 UNTIL 31/05/2021 WWW.NORVALFOUNDATION.ORG

ART IN THE YARD FRANSCHHOEK ALL YOU NEED IS OPENS 14/02/2021 WWW.ARTINTHEYARD.CO.ZA

NWU GALLERY 14/02/2021 UNTIL 21/03/2021 IKHAYA LIKA MOYA SETHEMBISO ZULU

WWW.SERVICES.NWU.AC.ZA/NWU-GALLERY

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www.rkcontemporary.com

ANTHROPOMORPHIC GROUP EXHIBITION 7 February 2021 at 11:30 am – 28 February 2021

CURATED BY SUSAN BLOEMHOF

Opening speaker:

JOHAN VAN LILL

CORLIE DE KOCK VUSI BEAUCHAMP CHRISTIAAN DIEDERICKS LORI SCHAPPE-YOUENS JUDY WOODBORNE JO ROETS ELLA CRONJE COW MASH HANNALIE TAUTE JACO BENADE ANINA DEETLEFTS GRIET VAN DER MEULEN SEBASTIAAN THEART FANIE BUYS SUSAN BLOEMHOF

Artwork detail: ‘rat man 68 sending love to bird woman oE’ by Lori Schappe-Youens

32 Main Street

ADVERT RK CONTEMPORARY FEB.indd 1

Riebeek Kasteel

7307

South Africa

Tel +27 (0)83 653 3697

2021/01/19 1:58 PM

ARTGO: FEBRUARY- DECEMBER 2021

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131 // A // GALLERY ELIXIR UNTIL 12/02/2021 WWW.131AGALLERY.COM

EBONY/CURATED & OPEN24HRSART WORLD WORLDING SOLO EXHIBITION MARK RAUTENBACH UNTIL 13/02/2021 WWW.OPEN24HRS.CO.ZA

ART@AFRICA PENGUIN INVASION UNTIL 19/02/2021 WWW.ARTATAFRICA.ART

EVERARD READ SUMMER SHOW FRANSCHHOEK HUGUENOT ROAD UNTIL 20/02/2021

WWW.EVERARD-READ-FRANSCHHOEK.CO.ZA

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ARTGO: FEBRUARY- DECEMBER 2021

ONGOING SHOWS

GALLERY GLEN CARLOU

SOLO EXHIBITION - ALEX HAMILTON JOGGIE: LAST YEAR A DJ SAVED MY LIFE UNTIL 15/02/2021 WWW.GLENCARLOU.COM/ART-GALLERY

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CHRISTOPHER MOLLER GALLERY ON GOLDEN SOIL BY MANDLA MAVENGERE 28/01/2021 UNTIL 19/02/2021 WWW.CHRISTOPHERMOLLERART.CO.ZA

ARTGO: FEBRUARY- DECEMBER 2021

ONGOING SHOWS

ART@AFRICA A PARADOX OF HUE CAELYN ROBERTSON UNTIL 21/02/2021 ART@AFRICA.ART

OLIEWENHUIS ART MUSEUM DON QUIXOTE PORTFOLIO UNTIL 21/02/2021 WWW.NASMUS.CO.ZA/OLIEWENHUIS

THE RUPERT MUSEUM SCIENCE MEETS ART ART ADDRESSING STIGMA IN ILLNESS GROUP EXHIBITION UNTIL 21/02/2021 WWW.RUPERTMUSEUM.ORG

THE PRINCE ALBERT GALLERY THE KAROO JOSHUA MILES UNTIL 22/02/2021 WWW.PRINCEALBERTGALLERY.CO.ZA

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ARTIST PROOF STUDIO I/24 = (UN)MASKED AN EXHIBITION OF PRINTS BY APS 3RD YEAR STUDENTS UNTIL 28/02/2021 WWW.ARTISTPROOFSTUDIO.CO.ZA

THE MELROSE GALLERY TAKE FIVE AZA MANSONGI UNTIL 28/02/2021 WWW.THEMELROSEGALLERY.CO.ZA

RUPERT MUSEUM MY GRUNDIG LOUNGE INSTALLATION SAM NHLENGETHWA UNTIL 07/03/2021 WWW.RUPERTMUSEUM.ORG

GOODMAN GALLERY JHB SOUTH SOUTH | EVERYTHING FITS TO OUR DAILY NEEDS GROUP SHOW UNTIL 24/03/2021 WWW.GOODMAN-GALLERY.COM

ARTGO: FEBRUARY- DECEMBER 2021

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ART@AFRICA MUTE WISDOM ANDRIES VISSER UNTIL 04/04/2021 ARTATAFRICA.ART

ZEITZ MOCAA WAITING FOR GEBANE SENZENI MTHWAKAZI MARASELA UNTIL 02/05/2021 WWW.ZEITZMOCAA.MUSEUM

ARTS TOWN RIEBEEK VALLEY AMPHITHEATRE SUMMER THEATRE SEASON NOVEMBER 2020 - MAY 2021 WWW.ARTSTOWN.CO.ZA

NORVAL ART FOUNDATION IINYANGA ZONYAKA ATHI-PATRA RUGA UNTIL 26/07/2021 WWW.NORVALFOUNDATION.ORG

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The Heather Auer Art Studio Visit us at Glencairn, Simonstown (By Appointment Only) South Africa: +27 (0)82 779 2695 / Email: info@heatherauer.com www.heatherauer.com

THE RUPERT MUSEUM NATURE MORTE THE STILL FROM LIFE UNTIL 29/08/2021 WWW.RUPERTMUSEUM.ORG

LIST YOUR EXHIBITION OR GALLERY TODAY WWW.ARTTIMES.CO.ZA

ARTGO: FEBRUARY- DECEMBER 2021

ONGOING SHOWS

LA MOTTE MUSEUM CELEBRATING THE LOVE OF ART â&#x20AC;&#x201C; A PERSONAL SELECTION BY HANNELI RUPERT-KOEGELENBERG UNTIL WINTER 2021 WWW.LA-MOTTE.COM/PAGES/MUSEUM

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EVERARD READ LEEU ESTATE FRANSCHHOEK ART AND SCULPTURE GALLERY UNTIL 31/12/2021 WWW.EVERARD-READ-FRANSCHHOEK.CO.ZA

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MW Soyola, The Harpist, 1996, Lino Print and Friendship Tour, 1996, Lino Print.

SA Print Gallery We buy, take on consignment prints from classic masters including Battiss, Boonzaai, Botes, de Jong, Goldin, Kannemeyer, Kay, Pennington, Seneque, Muafangejo, Skotnes, Spilhaus and more

109 Sir Lowry Road, Woodstock, Cape Town Tel 021 300 0461 gabriel@printgallery.co.za www.printgallery.co.za

ONLINE-ONLY AUCTION 15-22 February 2021 021 683 6560 | ct@straussart.co.za | 011 728 8246 | jhb@straussart.co.za www.straussart.co.za

Andrew Verster Bodyworks 5 (detail), R 150 000 - 200 000

Modern, Post-War and Contemporary Art, Decorative Arts, Jewellery and Wine

THE ART TIMES FEBRUARY EDITION 2021

Articles inside

11:11

ANTHROPOMORPHIC

NOT JUST A PRETTY FACE