ART TIMES FEBRUARY 2022

FEBRUARY 2022 ARTTIMES.CO.ZA

18-20 FEBRUARY 2022 @investeccapetownartfair

@ICTArtFair

@ICTAF_

investeccapetownartfair.co.za

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31 Project (Paris) • 193 Gallery (Paris) • 313 Art Project (Seoul, Paris) • Gallery 1957 (Accra, London)* • Galerie 8+4 (Paris) • A&R Fleury (Paris) • A2Z Art Gallery (Paris, Hong Kong) • AD Galerie (Montpellier) • Alzueta Gallery (Barcelona) • Galerie Andres Thalmann (Zurich) • Galerie Ariane C-Y (Paris) • Art to Be Gallery (Lille) • Galerie Arts d’Australie - Stéphane Jacob (Paris) • Backslash (Paris)* • Galerie Bacqueville (Lille, Oost-Souburg) • Helene Bailly Gallery (Paris) • Galerie Jacques Bailly (Paris)* • Galerie Berès (Paris) • Galerie Claude Bernard (Paris) • Bernier / Eliades Gallery (Athens, Brussels)* • Galerie Bessières (Chatou) • Galerie Binome (Paris) • Galerie Boulakia (London) • Galerie Brame & Lorenceau (Paris)* • By Lara Sedbon (Paris) • Galerie Chevalier (Paris) • Galleria Continua (San Gimignano, Beijing, Boissy-le-Châtel, Havana, Rome, São Paulo, Paris) • Danysz (Paris, Shanghai, London) • Dilecta (Paris) • Galeria Marc Domènech (Barcelona) • Double V Gallery (Marseille, Paris) • Gilles Drouault galerie/multiples (Paris)* • Dumonteil Contemporary (Paris, Ivry-Sur-Seine, Shanghai)* • Galerie Eric Dupont (Paris) • Galerie Dutko (Paris) • Galerie Les Filles du Calvaire (Paris) • Galerie Jean Fournier (Paris) • felix frachon gallery (Brussels)* • Freijo Gallery (Madrid)* • Galerie Christophe Gaillard (Paris)* • Galerie Claire Gastaud (Clermont-Ferrand, Paris) • gb agency (Paris)* • Galerie Louis Gendre (Chamalières) • She BAM! Galerie Laetitia Gorsy (Leipzig)* • Gowen Contemporary (Geneva)* • Galerie Alain Gutharc (Paris) • H Gallery (Paris) • H.A.N. Gallery (Seoul)* • Galerie Max Hetzler (Berlin, Paris, London)* • Galerie Ernst Hilger (Vienna) • Kristin Hjellegjerde Gallery (Berlin, London, Nevlunghavn, Schloss Goerne)* • Galerie Hors-Cadre (Paris) • Galerie Houg (Paris)* • Huberty & Breyne Gallery (Brussels, Paris) • Ibasho (Antwerp)* • Galerie Catherine Issert (Saint-Paul-de-Vence)* • Galerie Jeanne Bucher Jaeger (Paris, Lisbon) • rodolphe janssen (Brussels)* • Galerie Kaléidoscope (Paris)* • Ketabi Projects (Paris) • Galerie Carole Kvasnevski (Paris)* • Galerie La Forest Divonne (Paris, Brussels) • Galerie La Ligne (Zurich) • Galerie Lahumière (Paris) • Alexis Lartigue Fine Art (Paris) • Irène Laub Gallery (Brussels)* • Galerie Le Feuvre & Roze (Paris) • Galerie Lelong & Co. (Paris) • Fabienne Levy (Lausanne)* • Eric Linard Galerie (La Garde-Adhémar)* • Galerie Françoise Livinec (Paris, Huelgoat) • Loevenbruck (Paris) • Loft Art Gallery (Casablanca)* • Gallery M9 (Seoul)* • Magnin-A (Paris) • Galerie Marguo (Paris) • Galerie Martel (Paris) • Maruani Mercier (Brussels, Knokke, Zaventem) • massimodecarlo (Milan, London, Hong Kong, Paris) • Mayoral (Barcelona, Paris) • Galerie Kamel Mennour (Paris, London) • Galerie Marguerite Milin (Paris) • Galerie Mitterrand (Paris) • Galerie des Modernes (Paris)* • Galerie Modulab (Metz) • Galerie Lélia Mordoch (Paris, Miami) • Galerie Eric Mouchet (Paris)* • Galerie Najuma - Fabrice Miliani (Marseille) • Galerie Nathalie Obadia (Paris, Brussels) • Oniris.art (Rennes)* • Opera Gallery Hernando Gallery (Madrid)* • Perrotin (Paris, New York, Hong Kong, Seoul, Tokyo, Shanghai) • Pigment Gallery (Barcelona, Paris) • Galería Fernando Pradilla (Madrid)* • Praz-Delavallade (Paris, Los Angeles)* • Galerie Rabouan Moussion (Paris) • La Galería Rebelde (Guatemala City, Los Angeles) • Red Zone Arts (Frankfurt am Main) • Galerie denise rené (Paris)* • Galerie Véronique Rieffel (Abidjan) • J. P. Ritsch-Fisch Galerie (Strasbourg) • Galerie Guido Romero Pierini (Paris)* • School Gallery Olivier Castaing (Paris) • Eduardo Secci Contemporary (Florence, Milan)* • Septieme Gallery (Paris) • Galerie Sit Down (Paris) • Galerie Slotine (Paris) • Galerie Véronique Smagghe (Paris) • Galerie Sono (Paris)* • Michel Soskine Inc. (Madrid, New York) • Galerie Pietro Spartà (Chagny)* • Stems Gallery (Brussels) • Richard Taittinger Gallery (New York)* • Galerie Taménaga (Paris, Tokyo, Osaka, Kyoto) • Galerie Tanit (Beirut, Munich) • Galerie Suzanne Tarasiève (Paris) • Templon (Paris, Brussels) • Galerie Traits Noirs (Paris) • Galerie Patrice Trigano (Paris) • Galerie Univer / Colette Colla (Paris) • Galerie Vazieux (Paris) • Galerie Anne de Villepoix (Paris) • Galerie Wagner (Paris, Le Touquet-Paris-Plage) • Galerie Olivier Waltman (Paris, Miami) • Galerie Esther Woerdehoff (Paris, Geneva) • Xippas (Brussels, Paris, Geneva, Montevideo, Punta del Este)* 70

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List of the 2022 exhibitors / *first time participants

(Paris) • Galerie Pact (Paris) • Paris-B (Paris) • Galerie Pauline Pavec (Paris) • Rafael Pérez

Cape Town Auction 22, 23 & 24 February 2022 Fine & Decorative Art, Books & Maps, Furniture, Silverware, Jewellery, Watches, Carpets, Vintage Fashion & Collectables

Public viewing: Preview all the lots on auction the week before at our Cape Town Showroom: 14 Dreyer Street, Claremont 17 - 20 February | 10 - 5pm 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 upcoming auctions.

Contact us for an obligation-free valuation on 011 880 3125 or email info@swelco.co.za w w w. s w e l c o . c o . z a

Norman Clive Catherine | FEEDING MY MONSTER | R100 000 - 150 000

Art Times February 2022 Edition

CONTENTS Cover: 99 Loop Gallery, Paul Wallington, Blind Spot, 2021, Oil on canvas, 130 x 110 cm

14. M.O.L 26 - NFT? WTF! Ashraf Jamal Column 22.INVESTEC CAPE TOWN ART FAIR 2022 A Physical & Digital Breakthrough 36. A WALK THROUGH THE TREES A Remarkable New Etching

by William Kentridge 40. THE WHISPERINGS OF THE STARS Papytsho Mafolo Explores Traditional African Mythology and Belief 44. TRADE-OFF / BEYOND BORDERS AD-Reflex and Nyambo Masamara At Deepest Darkest 50. ART IN GRAAFF-REINET Art, Culture and Architecture 56. INGANEKWANE AND MIKE MZILENI A Photographic Archival Journey 60. HAILING THE MOTHERSHIP Being, Purpose, Origin, Identity and Causality 66. THE FRANSCHHOEK CHAMBER MUSIC FESTIVAL Music, Haute Cuisine, World-class Wines and Fine Art 74. BUSINESS ART Fine Art Auction highlights 84. ARTGO Exhibition Highlights First Floor [TT] - Mavis Tauzeni (b.1982) Kananeniwoo, 2021, Acrylic, ink, stitching, spray paint and collage on canvas, 205 x 205 cm, ICTAF 2022

Editors Note

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

It’s time to Art Party like it’s 2022

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fter 2 years of uncertainty, social isolation, and individual mental lockdown, this year seems to be set as an amazing party year much like celebrating many ends to previous historic landmarks like 1994 and 2000, and new beginnings, humanity coming together and celebrating diversity, thought and what makes us great.

CONTACT ART TIMES Tel: +27 21 300 5888 109 Sir Lowry Road, Woodstock, Cape Town

Despite Boris Johnson not opening up the tourist market in SA in time for the Summer tourist season, I am certain that by February’s Investec Cape Town Art Fair, local and international art lovers will attend in their flocks- both physically and Online. If the ICTAF website is anything to go on: investeccapetownartfair.co.za the fair will be one huge celebration of coming together and physically connecting again and doing what South Africans are good at doing: partying, talking art, eating, drinking, celebrating diversity, and enjoying new ideas.

PUBLISHER Gabriel Clark-Brown editor@arttimes.co.za

This year the ICTAF stretches well beyond the walls of the Convention Centre with outreach events with other galleries and venues. To this extent, satellite galleries seem the order of the day where a gallery’s branding can be experienced well beyond gallery walls, such as The Norval Foundation setting up a beautiful and contemplative presence at Boschendal, Franschhoek.

Extending on this note of art events, all previous art town events such as Prince Albert Open Studio’s, FynArts (Hermanus), and Art TownRiebeek Valley Festival are all happening this year and are worth the drive, to stay and experience the very best of what the town has to offer.

In terms of Art Awards and Events, it also seems that Absa L’Atelier, Sasol New Signatures, are happening as always and are much needed for young artists to use as a platform into the wider market.

In terms of trends, NFT’s are here in a big way, and like new trends, they promise much, although at first shrouded by confusion due to media overload. Ultimately, I believe they will survive and prosper, much like Facebook and Instagram which started in a similar way. In this regard, I would like you to read our Invictus ‘Out of Africa’ Article and go to their website for clarity and insight.

In compiling this month’s Art Times the focus was to celebrate the huge diversity of art that this country produces and enjoys. In my mind the more freedom, diversity, and access to the market the better.

Art is special, there are no rights and wrongs, trends come and go, and sometimes return with no reason. Even smoking seems to be on the way back, the fashion is growing amongst the young - where these past two years consumption has shot up surpassing a 20-year dip.

Enjoy our Art Times Network News Brand, check us out at arttimes.co.za with our social platforms to receive our daily news and features.

Gabriel Clark-Brown

ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ART DIRECTION Brendan Body ARTGO CONTENT info@artgo.co.za Rights: the Art Times magazine reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the sa art times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved.

Errata: Hermanus FynArts - would like to apologise for omitting the name of Karin Lijnes from the list of artists who are exhibiting at Sculpture on the Cliffs - 2020. Her work, Freedom Tree comprises of a large steel mobile of five ceramic bird forms.

@ARTTIMES.CO.ZA

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NATURE MORTE The Still from Life until end August 2022

Jan Rupert Art Centre, 41 Middelstraat, Graaff-Reinet Mon – Fri: 9h00 – 12h30 | 14h00 - 17h00 Sat – Sun & Public Holidays: 09h00 – 12h00 janrupertcentre@telkomsa.net | +27 (0)49 892 6107 Entrance complimentary

Jean Welz (1900 – 1975). Still life - earthenware with chalkboard, 1945.

Oil on carton. Rupert Art Foundation Collection.

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NFT? WTF! Ashraf Jamal

A CONCEPT-QUAKE Since March last year, the art world is abuzz with talk about NFTs. Why, we reasonably ask, are dollar millions being spent on JPEGS anyone can access with a right click? The answer is as old as the Church and its secular variant, the art world: Power. In the midst of the biggest hype in the art world – and the biggest fix to boot – very few are concerned with the very real fact that it’s an environmental horror story. Then again, when the world knows it’s running on empty, who cares?

Greta Thunberg, true, but her generation?

They’re with Kyle Jenner, vapidity, any quick fix that can satisfy delusion, and of course the added fillip of a net worth estimated at $700 million, making her one of the youngest billionaires in the world. The NFT boom is likely to change that, since it looks to be the biggest market economy.

That the boom occurred in an annus mirabilis squared – 2020 and 2021 – when the global economy froze, the world reduced to a lockdown, the consequences of which still await us, says one thing: the art world is insanely resilient. Auction houses are thriving, the yen to buy art unstoppable. Geoff Dyer expresses the paradox of devastation and excess witheringly well in his toxic take on the art world and spirituality – Jeff in Venice, Death in Varanasi. The art ‘bubble’, having burst, ‘keeps expanding anyway, even after it’s burst … like the discovery of a new law of physics’. Something equally deranging is happening in the land of NFTs. 2021, a bumper bunker year designed for nerds, also proved the year of the NFT – Nonfungible Token – which occupied the top spot in the Art Review power list – the first time a phenomenon, rather than a person, has occupied such a pride of place. Art Review is a vital barometer for tastemakers in the art

world – it tests and controls its temperature, what matters in it, and why. Notwithstanding its negative impact on the environment – NFTs consume more energy than the leading online engines combined – or the fact that ‘artists, curators, galleries and thinkers alike have been reflecting on man-made climate change, voracious capitalism and the world’s damaged ecology’, it is NFT’s – perceived as a novel, innovative, even ‘democratic’ cultural ecology – that is rapidly seducing the art world.

Why? For many, its significance lies in wresting the control and consumption of art by the super-rich, in effect, NFTs challenge elitism. Is this in fact he case? Certainly, a cursory browse through the Art Review hitlist, reveals the anomalous nature of its top spot, because what, in 2021, is most valued are art collectives, experimental art-practices, and those who think about art – like Achille Mbembe – who address the inherent politicalcultural-ethical contradictions in the art world and beyond – all importantly, the continued sovereignty of white power. In short, those who celebrate healthy groupthink, deconstruct and reconstruct racial bias, champion the rights of womxn, and other strongly ideological positions which embody this ‘woke’ era.

And yet, top of the pile, is the NFT, a contradictory phenomenon, which from my P.O.V is more inexplicable than explicable, despite claims to clarity made by numerous writers or those I’ve listened to, who dish out facts and presume its prominence a fait accompli. A phenomenon, after all, is ‘a fact or situation that is observed to exist or happen, especially one whose cause or explanation is in question’. Therefore, if as Nadia Khomami notes, NFT’s are ‘the first time a non-human entity has topped the list’, we need to take serious note.

WORLDART, Kilmany-Jo Liversage, FERVAE9210

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Reading Sue Prideaux’s biography on Nietzsche – I am Dynamite – I came across a term, Begriffsben, or ‘concept-quake’, which evoked the excitement and unease generated by NFTs. Confronted with a scientific breakthrough, ‘Life itself caves in and grows weak and fearful when the concept-quake caused by science robs man of the foundation of all his rest and security, his belief in the enduring and the eternal. Is life to dominate knowledge and science, or is knowledge to dominate life?’

Nietzsche’s question is ours. Confronted by the insatiable power of the art world – amplified under lockdown, when the whole world was shuttered, global art fairs ground to a halt – it behoves us to pay attention.

Isn’t this the basis of rarefaction? Buying, consuming and investing in an artwork that thrives in a virtual domain - a digital elsewhere? Afterall, given globalisation, and the collapse of physical mobility, it is unsurprising that a global lockdown should inspire alternative modes of connectivity, and, of course, avariciousness. After all, from the Medici’s till now, art is inseparable from patronage and money and culture – none of which is ever innocent. In South Africa, this novel platform for the digital commodification of art has fallen to Thomas van der Linde, whose company Invictus Capital is committed to the digital marketisation of Contemporary African Art.

Despite the irresistible palpability of the art experience – physically being in its midst – we’ve witnessed an increased interest in digitally rendered immersive experiences, a fascination with the equivalency of technology and emotion, and the transformation of personal experience – one’s being – into a detached or vicarious objectification and alienation of said being – rendering it a surrogate of an intimate yet removed experience. This is our dialogue with social media, our detached and virtual relationship with comfort. ‘Algorithms … adapt information to our tastes on our feeds’, notes Simon Fujiwara. They transform lives into streams of ‘self-pleasing’, engineered to sustain the illusion that we are the centres of our lives and not surrogates of punitive, corrosive, and invisible forces lodged ‘in a server somewhere’.

GLOBALISING ART IN THE RSA Conceived as ‘a new fine art paradigm’, the Invictus NFT Lab is not designed to up-end or hoick the conventional art world from its pedestal, but to find ways to live in harmony in relation to an existing empirical – physical, object-centric – paradigm. The lab’s inaugural ‘Out of Africa’ collection facilitates – via the Ethereum blockchain – a professionally curated show of works by over a hundred artists. Its market, unsurprisingly, are Millennials and Gen Z, those in their 20s and 30s who are keen to join a robust art world – one that thrives despite having burst, that operates like a new law of physics, or, after Nietzsche, as a ‘concept-quake’.

Is it any wonder that NFTs should boom?

That art, inaccessible to most, should use technology to become more accessible and more privatised? Is this boom not a boon, rather than an existential threat? Kevin Rose’s podcast – ‘Particle: Fractionalising Banksy with NFTs’ – is a positive spin on the matter.

Through ‘particularisation’ – the digital dicing of a Banksy artwork – a buyer can own a piece of the whole, the fragment of a totality. In many ways, this is in fact how we operate – partially, tangentially. The Big Picture eludes us. This is clearly the case concerning a phenomenon like NFTs – operating as non-fungible, physically inaccessible artworks, nevertheless possessing a rarefied tangibility. After Johann Christoph Friedrich von Schiller, one could consider an NFT a ‘sublime soul’, an aesthetic phenomenon that ‘tears itself from all bondage … all that limits and constrains it’.

As the Invictus Lab notes, ‘Around the world, younger generations currently control a tiny share of global wealth – with the Baby Boomer generation controlling over half of the wealth in the US. This is set to change over the coming decades. Wealth is passed on to the younger generations via inheritance’, but wealth is also being newly minted by the young. With the shift in wealth arises a shift in taste, though this is not a given. Right now, we see that the biggest success stories in the NFT world is immersive art – the work

by Mike Winkelmann, aka ‘Beeple’, is the most notable case in point. His digital work, Everydays: The First 5000 Days, was sold by Christies for a jaw-dropping gob-smacking $469, 346, 250. Someone, somewhere in Southeast Asia, wanted to make a statement.

Of course, one can never rule out the sum, but what was being bought? None other than the object-as-experience. Immersive art is a thing, its significance still incalculable.

Norman O’Flynn, Timekeeper

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In the land of NFts, typically, we find the immense popularity of pixelated Pop Art. An overnight classic is the Bored Ape Yacht Club series, which for the owner operates as a seal of power, a calling card. But tastes change, interest is increasingly volatile. It is telling that what strikes the buyers’ fancy in the digital world replicates their interest in the living world – digital reality is in fact not a separate world.

We live inside an interface; we are duplicate.

And what fascinates us most is the need to optimise our connection with others, in the very instant of our removal from this possibility. This disconnect is the sum of our pathos. It is also the 21st century eureka moment – its sublime.

What the Invictus Lab is doing, however, is largely showcasing tangible art objects, rendering things into affects, ideas into sensations, the Contemporary African Experience as a digitised portal and docking station. It is perhaps ironic in this regard that Steve Bantu Biko should declare that Africa would give the world a ‘human face’, when that face now emerges in a digitised forum. But then, my point is that humanity and technology are inseparable, and the Invictus Lab is on point in this regard.

In the 1990s Donna Haraway prophesied this moment. ‘By the late twentieth century, our time, a mythic time, we are all chimeras, theorised and fabricated hybrids of machine and organism; in short we are cyborgs’. Here, of especial significance, is the ‘chimerical’ nature of our products and our relationship with them. Ownership, while real, is not quite tangible in the realm of NFTs. Keanu Reeves might laugh and say that a digital artwork is accessible to all with a right click – this is true – but, in the realm of ‘provenance’, which defines the traditional art world, one can via blockchain attain an inviolable ownership.

For all the talk of ‘democracy’, it seems that the NFT world remains the domain and cult of the super-rich. Is this true? Need it be the case?

Isn’t the Invictus Lab telling us the contrary – that the experience of a contemporary Africanity is accessible to most who choose to venture? There is no single dimension to anything. Everything can be flipped. The success of NFTs in auction sales is a clear indicator not only that the market changes, but that the digital interface, for the foreseeable future, is here to stay. What the Invictus Lab demonstrates is ‘the compatibility of

blockchain innovations, the metaverse and the traditional fine art world’. In brief we now exist in concurrent worlds, shifting interfaces, which radically alter the playing field of Contemporary African Art. THE PLAYERS Thus far, the Invictus Lab has taken ‘possession of 113 unique Physical Artworks for distribution to the NFT community’. This digitised double comes with a tradable ‘certification of ownership’ that can be ‘redeemed to take delivery of the physical work’. Here the virtual and analogue worlds meet. Value is accorded both to a physical work and digital variant. This lo-fi approach is reassuring for digital idiots such as myself. But what it achieves more importantly is the straddling of two worlds – the metaverse and empirical realms.

The artists participating in this historic African venture include Norman O’Flynn, Kilmany Jo Liversage, and Olivia Keck – the quintessence of South African Pop Art – and, unsurprisingly, compelling attractors for Millennials and Gen Z. In Keck’s work, digitisation is a key dimension of an artwork’s performativity. In the case of O’Flynn and Liversage, it is the iconic power of a static image, branded into the cortex, which accounts for its power in the digital realm. The virtual and cybernetic is an integral dimension to the way they paint – their images are electrified forcefields, and, as such, perfect analogue correlatives for a technological realm. That they channel sci-fi and fantasy underscores the attraction. But, as I’ve earlier remarked, a predictive interest in a Pop aesthetic – epitomised by the Bored Ape Yacht Club – is but a dimension of a very complex human-design interface. If ours is the ‘Age of all Ages’, a time in which everything loops, Pop Art, while ubiquitously appealing, will, in this recursive flatline in which we now live, emerge as a dimension of a more eclectic and obtuse transactional venture.

Recalling the Art Review top 100 in 2021, namely, its emphasis on collectives, feminism, and the black consciousness movement – in other words, the seismic shift in 2020 and 2021 to revisionism in the arts – I found it especially reassuring to read of Umba Daima, an NFT initiative to uplift black artists. Because, of course, there is nothing innocent as to what is valorised or celebrated in an analogue or virtual domain. If Pop Art rules in the virtual domain, is it not because, as an aesthetic and culture,

131 A Gallery, Olivia Keck, Empire of Sand

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it is cauterized, a weird human-yet-inhuman stopgap? Isn’t it Pop Art’s chilly, ironic, and farcical obsession with simulacra – a copy of a copy – which explains its enduring appeal, from the 1950s to the present moment? And lest we forget, what of the death instinct upon which it thrives? Its mirthless apocalyptic nous, with its acidic smiley face? Moreover, isn’t it precisely Pop Art’s chimerical condition that makes it the definitive expression of art for Millennials and Gen Z? The recent $1000 000 sale of a digitised record of selfies taken in front of a computer over five years explains this thread – but, as I’ve insisted, while immersive, calculatedly banal, or selfreflective art, are the distinctive players in the NFT world, that too is likely to change, the more versed we become with the metaverse, or the more real we become regarding our complexity and our perversity.

This I think is the wager that informs the Invictus Lab’s initiative. Its primary goal, as I understand it, is to mobilise contemporary African art. The model is by no means set in stone. What can be sold will shift. Is there a market, say, for abstraction by black artists?

Or is the black artist to remain imprisoned within objectification – an object among other objects, forever denied a greater complexity? In other words, will we see a shift away from black portraiture, the predictive money-spinner in the local and western art market? No doubt, we are in a time of radical experiment. The NFT world is many things. For the nay-sayers it is a macabre and pestilential fetishization of non-presence. For luminaries, like Brian Eno, it is a scam – a way of turning artists into ‘capitalist assholes’. But, proactively, productively, as a ‘democratic’ platform in an artworld that seems incurably unequal? What is it?

Tastemakers and buyers play a pivotal role in the continued redefinition of the NFT market.

In this regard the Invictus Lab’s ‘Out of Africa’ project – despite the colonial trappings this moniker evokes – has a major role to play in stretching the bandwidth of Contemporary African Art, and, so doing, shifting its modality, the values currently attached to it, by generating a more inclusive, quirky, less pious and more irreverential platform. Issues of race and gender matter, but no artist is ever reducible to these concerns. It is a greater human-creative complexity which is the new frontier of art.

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While I am certain that we now thrive in a digital-analogue interface, I don’t agree that the former automatically parasites the latter.

Rather, it is the radical instability of this equation that determines our fate. We can, according to the Daily Devil’s Dictionary ‘agree to pretend’, by endorsing ‘a culturally-induced habit encouraged by an economic philosophy that accepts as its dual organising principles the idea that ownership is the equivalent of a productive human activity and that the value of an object is strictly equivalent to the price people pay for it’, or, like myself, one can absorb the absurdity of this equivalence, and recognise that money and taste are not, intrinsically, commensurable. The thrill, rather, lies in the realisation of an irreparable disconnect between the object desired and the experience thereof. Which is why I’ve pointed out the sublimity of the NFT world.

MOVING FORWARD? How do you move forward when trapped in a recursive flatline, an exploded bubble, or a nightmare from which it is impossible to waken?

You don’t. You can’t. But what you can do, if you are an optimist, is invigorate strangled markets.

For all the talk of this being the African moment in the contemporary art world, there remains much to do. This is Thomas van der Wilde’s core point.

True there is money to be made – a lot of it – but this cannot be achieved without a strategy, or better, the stratification of an emergent system.

Undoubtedly, the NFT world is ecologically unsound, and equally undoubtedly, its economy is perverse. Then again, in a world consumed by things, in which far more that we own is useless rather than useful, perhaps it’s best to own something on a server somewhere. We’ve run out of wall space. Most of us, especially the majority who live in cities, have less than zero wall space. Given the saturation of the real world, the battles of now and the immediate future are being fought in the imagination, the last viable colony. It is what we occupy our minds with that will prove the defining elixir.

Populating the imagination with intangible yet owned products is the new rush. A rapper buys an NFT then tattoos it on his thigh – the gesture defeats the object, it’s non-sense, if rarefaction is all that matters. Most of us, however, remain duo-lingual, caught between the empirical and imaginative planes. Where we go from here is the big question. Especially when you pose the question: Is there a here – here?

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Ashley Walters, Dinner, Lantana Road Uitsig, 2013, c-print, Sanlam Art Collection.

Interiority

Space, Invention and the Self Sanlam Art Gallery 2 Strand Road, Bellville

18 January - 11 March 2022 Viewing by appointment Monday – Friday 09:00 – 16:00 Guided tours of the Sanlam Art Collection and exhibition by appointment with the curator.

Tel 021 947 3359 Email stefan.hundt@sanlam.co.za Web https://blog.sanlam.co.za/

A MATTER OF CONTEMPORARY CONNECTIONS: Investec Cape Town Art Fair February 18 - 20, 2022 Cape Town International Convention Centre www.investeccapetownartfair.co.za

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rt has contemporaneity built into its very core; always moving forward with the present. Even the oldest of masters can cast their art practice in new art movements, opening eyes to the past in a new manner.

The most avant-garde of creations test the limits of the art-lover’s experience.

Of course, the global pandemic turned the entire art world upside down, significantly impacting museums, galleries and other places where we usually revel in the creations of the talented. The global pandemic has forced our experience of art to change and adapt the way in which we interact and trade with art has evolved.

A globally influential operation like Investec Cape Town Art Fair was not going to let this challenge of a bold, new environment go unchallenged. As a seasoned fair, with nine years of expertise, the newest iteration of the popular cultural Cape Town highlight has reinvented itself boldly and bravely. This could, in fact, be the blueprint of all future art expos, merging the digital with the physical space.

From Friday, February 18, the three fair days in the Cape Town International Convention Centre (CTICC), is geared for a new experience, combining the physical with the digital, underlining the contemporaneity of the art experience.

99 Loop Gallery, Paul Wallington, Blind Spot, 2021, Oil on canvas, 130 x 110 cm

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WORLDART (Main), Kilmany-Jo Liversage, FERVA1221, 150x150cm, 2021

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African Arty (Main), Tsoku Maela, Bardo, 2017, Fuji crysal archival, 100x100 cm

KomezART (ALT), Willy Karekezi, Mukobwajana

Above: Eclectica Contemporary [SOLO], Johannes Phokela, Candle Bathing, 1998, 102 x 121.7cm, Oil on Panel, Collection of the National Arts Council of England. Opposite Page: 50ty 50ty, [Editions], Kylie Wentzel, Leisure woman, 2020, screen print, 76x56cm

Fittingly, the theme for the 2022 fair, ‘Connect through Art from Africa and the World’, speaks to the necessity of being connected and relevant. Connecting art, art lovers and collectors, this major South African event has a well-established international reputation, showcasing the sometimes-undiscovered talent of the continent. This year more galleries from Africa have been invited than ever before and excitement is running high.

As usual, the fair extends well beyond a mere, highly prestigious exhibition of art - whether older masterpieces or vividly dynamic avantgarde work - with the presence of prominent galleries and a variety of dynamic cultural endeavours. There are also presentations and talks that enhance and encourage the interaction of art, curators, experts and, of course, the keen art-loving public.

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Visitors to the physical presentation in the CTICC, and now to the digital space as well, have become increasingly conscious of the aesthetic and entertaining cultural platform Investec Cape Town Art Fair offers. Over the years an increasing number of prestigious dealers and galleries from around the world have benefitted from the high-end collector network that Investec Cape Town Art Fair offers.

Director of Investec Cape Town Art Fair, Laura Vincenti, says the art fair keenly awaits old and new friends and partners this year, providing a platform to connect, re-connect and interact with one another.

“The return of the physical event offers some reprieve and restoration for the global art community. We believe it will be a emotionally, spiritually, and physically rewarding experience.”

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Peta Dixon, head of sponsorship at Investec, which has been the title sponsor of the fair since 2018, agrees. “We believe art can break down barriers and bring people together. So, we are delighted to welcome back a face-toface art fair combined with a digital edition that could bring the world of art to a potentially larger, more diverse audience.”

Artshell is the sophisticated digital podium that is a crucial adjunct to the CTICC. Investec Cape Town Art Fair is entering a new, buoyant era that has rendered the fair as a digital and physical event.

Well-established sections return, while some new headliners extend the viewing adventure.

A new alluring and somewhat mysterious section of note is the ALT section, showcasing alternative galleries invited to show the effect of the pandemic on how artists engage with the real and more pressingly, virtual worlds of art.

SMAC [TT], Michaela Younge, Room 024, The warmth of companionship eases life’s hardships, 2021, Merino Wool on Felt, 51.5 x 62 cm

ALT also locks in with the shift to different ways of showcasing - exploring the ‘alternative’ to the traditional, both in manner and means. The focus is cutting edge, offering artist presentations that exist outside of the conventional exhibition space and showcase work in a nonconventional way. This provokes dialogue on art representation and notions of the physical versus virtual connection.

Artists under the spotlight in ALT include the dynamic multi-media explorers Daniel Malan and Alex Coetzee of The Plot online gallery, Willy Karekesi of KomezArt and Colijn Strydom whose eclectic, ultra-contemporary vision is showcased on the Untitled website.

The curators of the popular SOLO section are director Laura Vincenti and Exhibitors & Special Projects Liaison, Mia Louw. It features selected young and exciting artists working locally and abroad with dazzling new work.

This year the focus is on exploring how artists have reacted to intimacy, isolation and introspection caused by the pandemic.

Another angle explores artistic practice as a result of exchange and collaboration.

New work by artists such as Luyanda Zindela (South Africa) of SMAC Gallery in South Africa, Thebe Phetogo (Botswana) of Guns and Rain in South Africa, Brett Seiler (Zimbabwe) of Everard Read in South Africa and Osvaldo Ferreira (Angola) of THIS IS NOT A WHITE CUBE in Angola, will be shown.

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Christopher Moller, [Main], Frans Smit, I am Bitch, 2021, oil on canvas, 77.5 x 60 cm

Above: Berman Contemporary [Main], Chrisél Attewell, The Colony is a Kind of Creature XII, 2020 Stained wood and glass, 48 x 22 x 6cm. Opposite Page: Circle Art Gallery [Main], Boniface Maina, Reclamation Project, 2021, Acrylic on canvas, 150x100cm

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Other established sections making up the total experience include Tomorrows/Today, curated

by Nkule Mabaso and Luigi Fassi, Past/Modern curated by João Farreira, and Editions, which, like the main part and the Cultural Platforms and Special Projects subsections will be curated by João Farreira.

Tomorrows/Today – the platform for future budding talent - features artists such as Aldo Salucci, Feni Chulumanco, Mavis Tauzeni, Serigne Ibrahima Dieye, Bev Butkow, Michaela Younge, Philiswa Lila and Abdus Salaam. Anart jury will award a cash prize to the artist with the most exciting presentation in Tomorrows/Today. One of the fair’s highlights, it sets the bar for artists with ambitions to be leaders of tomorrow.

The always well-noted Past Modern is guest curated by João Ferreira and lights up modern masters such as Cecil Skotnes, Christo Coetzee, Edoardo Villa, Fred Page, Hannes Harrs, Irma Stern, Judith Mason, Lucas Sithole, Marion Arnold, Robert Hodgins, Tinus de Jongh and Willem Boshoff. This section offers a relook at greats from the past. The latter brings a historical context to the whole Investec Cape Town Art Fair project through art by modern masters.

Cultural Platforms gives space to cultural institutions and non-profit organisations, and Special Projects are offerings that urge public engagement and discussion. Performance art events bring a particular colourful energy to the three-day live art fair, accentuating the inventiveness of contemporary talent.

The Editions banner covers leading print galleries and workshops that specialise in prints, multiples and editions. These offerings are often an entrance for starter art collectors.

Art appreciators will follow the presentations in the main section where some 100 galleries and dealers represent more than 300 artists from around the world, showcasing the contemporary state of international art.

Among the international galleries are representations from Rome and Milan, Italy; Paris, France; Kampala, Uganda; Casablanca, Morocco; Sidi bou Said, Tunisia; Berlin, Germany; Nairobi, Kenya; Harare, Zimbabwe; Abidjan, Côte d’Ivoire; Dakar, Senegal: Cairo, Egypt; Brussels, Belgium: Barcelona, Spain; Luanda, Angola and Lisbon, Portugal.

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Botho Project Space [Main], Cinthia Sifa Mulanga, Shades of Ambition, 2021, Mixed Media on Canvas, 80cm x 120 cm

Asele Institute [Editions], Uche Okeke, Untitled Ilford Textured Silk 270

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Ebony Curated [Past Modern], Hannes Harrs, Abstract Forms 1974, Oil on Board, 60.5 x 91.5cm

Circle Art Gallery [Main], Donald Wasswa, Serwaniko, 2019, Teak, Ebony, copper, 27 x 70 x 37cm

“This could, in fact, be the blueprint of all future art expos, merging the digital with the physical space.”

THK Gallery[Main], Andrew Kayser, Untitled, 2021, Oil on canvas, 160x180x5cm

The celebrated Talks Programme will take place in four sessions on the Friday.

A favourite ritual to the art fair’s festivities, Gallery Night, featuring Cape Town’s red buses, will kick-off the weekend merriment on the Friday evening. * Visitors to physical events must take note of the Covid-19 precautions which include that all visitors wear masks indoors and present proof of vaccination or of negative Covid-19 test results. Social distancing will be the norm and there will be sanitising stations.

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** Ninth edition of Investec Cape Town Art Fair, taking place at the Cape Town International Convention Centre will be open to visitors from 11am to 7pm. Tickets are available for online purchase on webtickets. * ** More information about Investec Cape Town Art Fair and the Covid 19 health and safety protocols, please visit: www.investeccapetownartfair.co.za

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S A L ON NINETY O NE P R E S E NTS JESSICA BOSWORTH SMITH. THE JARDIN MAJORELLE, 2021. GOUACHE ON BOARD.

16.02. - 05.03.2022

A Very Grand Tour Jessica Bosworth Smith

WWW.SALON91.CO.ZA

Social Impact Arts Prize ’22 The Rupert Museum calls artists, architects, designers and thinkers to submit their creative ideas and make a social impact on the people and the world around us through art.

R egister for the competition pack on

www.socialimpactar tsprize.org

Copyright 2022 Rupert Art Foundation. All Rights Reserved.

Barry Salzman

DEEPEST DARKEST ICTAF 2022

www.deepestdarkestart.com

Beyond the Pictoral Dimension, 2018, Rwanda, 100 x 133cm

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ape Town gallery, Deepest Darkest debut at the ICTAF features lens-based artist Barry Salzman. His work explores challenging social, political and economic issues. For almost a decade he has tackled increasing universal fatigue around genocide and society’s complicit behavior in its recurrence.

In his resolve to challenge the perception that we know “that story,” he embarked on an ongoing body of work entitled How We See The World. The project explores the recurrence of genocide and how we enable it, examining landscapes of precise sites of

20th century genocide. Abandoning traditional documentary treatment, his landscape works extend toward abstraction in an effort to transcend particularity by creating space for viewers to interpret the images as their own.

Salzman’s treatment of the landscape addresses both trauma and hope. Each is at once aesthetic and a poignant reminder of past stains on humanity, commenting on the complex layering of the landscape we see - what was, what is, and what may be.

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Kim Berman

A WALK THROUGH THE TREES www.investeccapetownartfair.co.za

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rtist Proof Studio has the privilege of launching the production of a remarkable new etching by William Kentridge, adapted from a series of immense ink wash drawings of trees, made over the past year to make a ‘forest’. It will be on exhibition at the Investec Cape Town Art Fair, February 18-20, 2022.

You Who Never Arrived is a coffee-lift etching on handmade Phumani paper mounted on raw cotton cloth in the technique and style of the monumental series of Triumphs and Laments which was published by APS between 2016 – 2022. It folds as an accordion book into a clamshell box. When opened and hung, it has clear relationship to some of the majestic ink wash tree drawings which will be exhibited together in one gallery at the London Royal Academy in 2022, to form a forest.

You Who Never Arrived is the first tree-print of its kind on this scale, comprising 12 copper plates; printed in a similar ‘tiled’ arrangements as the original drawing, and will be an edition of 20 on Phumani sisal and cotton handmade paper.

The open size is 175cm x 186 cm and the folded boxed size is 46cm x 65cm.

The technical virtuosity of this work presents as majestically as Kentridge’s remarkable ink-wash drawings, but will be available to his collectors in a limited edition. And like many of his tree drawings, You Who Never Arrived is resplendent and evocative of both our current moment in time and our history. Trees are timeless, they are witnesses to joys and atrocities. They are our legacy and our future.

William Kentridge hand-painting the joins of the printed plates on cloth to complete the final work.

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The extensive Kentridge studio website records a short statement (compiled by Robyn Penn) that provides an insight into his preoccupation and fascination with trees:

possible. Both prominent and emerging South African artists followed in creating or sharing their artwork that spoke to COVID-19 and its unfolding crises.

When I was nine years old we planted two white stinkwoods in the garden. All my childhood I waited for the trees to grow, to be strong enough to hold a hammock. They refused. Twenty years later I returned to live in the house with my family and the trees were mature. Fifteen years later, the trees were magnificent. And then one of them was struck by lightning and died. The shock, not just the hole in the shade canopy, the gap in the garden, but rather the shaking of the belief that a tree is a gift for future generations or – if not for future generations – then at least for other people… its lifespan should be so much longer.

How could the tree die before me? No. If the tree could die, how vulnerable are we or am I? https:// www.kentridge.studio/9-words-and-1-more/

Kentridge’s generous contributions of the blue rebus texts “WEIGH ALL TEARS” and “OH TO BELIEVE IN ANOTHER WORLD,” printed in editions of 60, allowed the TLC to extend its reach and messaging of support for the arts.

Over R3.5 million has been raised to date, with up to 520 grants awarded as well as 62 art student bursaries.

The production of this work has a special context as part of the printmaking collaborations with Kentridge at APS. I will take the reader on a short walk through some of the tree works that have had a profound and meaningful impact in the life of APS and its artists, and has led to what we regard as one of the highlights of our print-publications.

Where Shall We Place Our Hope is the starting point for our brief walk through the trees.

On March 26th 2020, the night of the President’s speech declaring a hard lockdown for 21 days, I drove to William Kentridge’s house and shared with him the idea for the Lockdown Collection, conceived by business entrepreneur Carl Bates, and our mutual friend, design and marketing specialist, Lauren Woolf, who invited me to join them in realising an ambitious idea to raise funds for artists during Lockdown. Kentridge immediately gave a work that had a poignancy for the moment in time and that helped to launch the campaign. Where Shall We Place Our Hope?, a drawing of a great tree in full foliage, inked across a ledger page from a late-nineteenthcentury mine on the Rand provided the anchor for the campaign.

Confined to our homes during the hard lockdown and largely separated from nature and our neighbours, the image of this grand tree in full foliage has given us a glimpse of continued life and regeneration. The work sold through the TLC and successfully raised funds for the Vulnerable Artist Fund (VAF) which supported many vulnerable individuals in the visual arts as

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Where Shall We Place Our Hope? provides a beautiful leaf-filled tree on which to place our questions and ponder how this uncertainty of covid may remix our fates. Produced by Kentridge as part for his work on the Opera Waiting for the Sibyl, the leaves and the text hold great meaning and potency. Just two years prior to this Kentridge generously presented a lecture at the University of Johannesburg with snippets of his opera inprogress. He also made two small etchings of a tree and a leaf, which were editioned and sold on the evening as a fundraiser. Each print was offered as “fates”, and opportunities, creating 30 bursaries for art students at APS (APS website).

As Kentridge writes in the programme notes to the opera: The story of the Cumaean Sibyl was that you would go and ask her a question. She would write your fate on an oak leaf and place the leaf at the mouth of her cave, accumulating a pile of oak leaves. But as you went to retrieve your particular oak leaf, a breeze would blow up and swirl the leaves about, so that you never knew if you were getting your fate or someone else’s fate. The fact that your fate would be known, but you couldn’t know it, is the deep theme of our relationship of dread, of expectation, of foreboding towards the future.’https://www.kentridge.studio/listening-tothe-trees/ The next stop on the walk is a glimpse into the mounting of over 10 tree drawings by APS. The Phumani Paper archival paper mill, that I initiated as a research project is now managed

by Nathi Ndlandla and Dumisani Dlamini. It is a small handmade papermill at the Faculty of Art Design and Architecture at the University of Johannesburg. The mill makes beautiful handmade papers which are supplied to APS for all the Kentridge print editions. A unique and special sized paper from a hemp and cotton fibre mix, has been designed specifically for William Kentridge’s drawings. The paper allows the

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absorbency and tensile strength to retain a vast range of tonalities and layers of the ink washes.

The latest tree drawings produced in ‘tiles’ on each sheet of paper, are destined for exhibitions all over the world and are then due to culminate in an epic ‘forest’ at the Royal Academy in London in 2022.They are mounted by the APS team, on raw cotton cloth, sewn into panels and folded to allow for the ease of shipping.

There is an extensive body of writing on the potential origins of the tree drawings. Joseph Leo Koerner and Margaret Koster Koerner, write about Kentridges memory from childhood in Artforum, January 2014, which explains his use of ‘tiles’ in compiling the drawings: (https://www. kentridge.studio/whichever-page-you-open/) This passage is repeated on the Kentridge studio website: Between the ages of three and six years old, his father worked as the lawyer representing 156 defendants in the Treason Trial in South Africa (1956 -1961). At the bottom of the garden of the family home there was a group of fir trees and on the veranda, a mosaic table. To his young mind, when William’s father went to work each day, it was to the ‘Trees and Tiles’. : https://www. kentridge.studio/listening-to-the-trees/ When opened and hung in the Kentridge studio, the trees dwarf the viewer, simulating the sense of awe and wonder one experiences in a majestic forest. The drawings also seem to look back at the viewer with provocations. Oliver Barstow (2021) evocatively writes about the use of texts in the trees on the Kentridge studio website: So it is with the phrases that appear in the tree drawings. They are not declarations of a supposed truth, but rather set in motion the ongoing process through which language, meaning, and ultimately truth constructs itself (https://www.kentridge. studio/listening-to-the-trees/) These trees provide a canopy for the extended art world and hundreds (if not thousands) of people who benefit from this force of nature.

William Kentridge has been described as one of the greatest minds and talents of our era. To APS and the many artists that benefit from our collaboration, he is a partner and collaborator in the fullest sense of those words.

Papytsho Mafolo

THE WHISPERINGS OF THE STARS www.themelrosegallery.com

Redefining Life, 2019, Mixed media on canvas, 186 x 166 cm (Detail)

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he Melrose Gallery is pleased to present Papytsho Mafolo’s ‘The Whispering of the Stars’ in February 2022. His first solo in South Africa will showcase a large body of works created in 2021 including several extremely large paintings.

The Whispering of the Stars explores traditional African mythology and belief, that views the sky, the moon, and the stars as part of the Earth. It was believed that celestial phenomena were natural signs united with the Earth in harmonious synchronicity.

This new body of work created for his solo exhibition continues to present the realities of an African culture fragmented by foreign hegemony via figures half human and half animal dancing across his canvases.

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The exhibition works to deconstruct through his constructions of Africa’s Europeanmade identities. The figures work to shift and mirror life in constant dialogue with the sacred, each passing moment becomes a call to listen to the whispers of the invisible lips of the spiritual world. What emerges is a view of nature as something imbued with a rich religious significance.

Born Congolese and now based in Belgium, Papytsho has spent a considerable amount of time living and working in Europe.

Seeing everything as relationally in conversation, Mafolo evokes this by collaging gold leaf, printed images, acrylic but also oil paint and unfinished lines on a canvas. These unfinished lines, according to

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The Soul of the City II, Mixed Media on Canvas, 130 x 130 cm, 2019

Mafolo, evoke an infinite world but are also a self-reminder that artistically, he has not arrived yet.

Symbolically this represents how Africa was Europeanized, made to be devoid of its African identities by an imposition of a European identity. Bantu philosophy emphasizes this as it is based upon the belief that life is a vital unity and that the human being is only a point on the cosmic circle of life. The distinguishing features of this philosophy are its welfarism, altruism, universalism, and basically its utilitarian outlook.

Central to it is the near-universal lessons that ‘to be human is to affirm one’s humanity by affirming the humanity of others. Thus, individualism is what threatens humanity

and the lines left unfinished in Mafolo’s work leave room for another, his spiritual self or you to finish. This cultural mix from which our time has inherited must be seen as an opportunity towards perfection and not as an element of destruction of our values, because in this meeting of give and take everyone makes their contribution.

The exhibition runs from 4 February to 6 March at The Melrose Gallery in Johannesburg and online on www.themelrosegallery.com

Philiswa Lila, Mhlaba Uyahlaba, 2020, Oil on canvas, 170 x 300cm

The Melrose Gallery will present a solo

by Philiswa Lila in the curated Tomorrows/ Today section at the Investec Cape Town Art Fair. This section is curated by Nkule Mabaso (Curator at Michaelis Galleries, Cape Town) and Luigi Fassi (Artistic Director of MAN Contemporary Art Museum in Nuoro, Italy).

Titled NOGOLIDE - Sentimental Value, the research based body of work is focused on navigating the role of memory within family albums and family life.

Lila states the following: I am particularly interested in memory histories and personal identities, by focusing on story telling methods associated with remembering that conveys a connection with sentiment or relational experiences. I use my family photo album as a visual material that aids the performance of past memories in the present. The artworks are my reflection on the photo album as an emotional register, occupying the spaces between people and people, people and things and people and places. Therefore, I evoke personal experiences that materialise in the sensory and the imagination of objects and narratives that generate connections with sentimental value or what is considered sentimental. Using painting and performance - live, photography and video, the techniques are used to express personal memories as involving creative reflection with regards to the display of, and values attached to narratives

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Philiswa Lila, My School Days half card, collage and oil paint on canvas, 170cm X 170cm, 2021

attending to recollection, interpreting the symbolic relational properties and narratives of remembrance and of piecing together memories.

Alongside this Lila will be presenting a performance piece titled Hambha Mfazi! First performed in 2013, the live performance focused on identifying traditional notions of an ‘ideal’ woman - a tender, graceful and domestic image.

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PAPYTSHO MAFOLO The Whisperings of the Stars We are pleased to present Papytsho Mafolo’s latest solo, ‘The Whisperings of the Stars’ as our first exhibition of 2022.

His first solo in South Africa, will present a large body of new works created during 2021 including several works in large scales.

4 February until 6 March 2022 The Melrose Gallery in Melrose Arch, Johannesburg and will also be presented online.

www.themelrosegallery.com

TRADE-OFF / BEYOND BORDERS Deepest Darkest Gallery CT Feb 12 – 22 March www.deepestdarkestart.com

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n addition to our Investec Cape Town Art Fair debut with award-winning lens artist Barry Salzman’s dual projects The Way We See the World and The Day I Became Another Genocide Victim on view at Booth A6, Deepest Darkest is proud to present the next instalment of our exciting 2022 gallery programme, Trade Off by AD-Reflex, and Beyond Borders by Nyambo Masamara on view at the gallery.

Trade-Off, AD-Reflex’s third showing at Deepest Darkest centres on Agbogbloshie, a major hub for e-waste dumping and ‘recycling’ on the outskirts of central Accra, Ghana. The primarily informal practise sees these ‘recyclers’ manually burning plastic carcases to extract profitable metals, such as copper and wires. While crucial to their livelihoods, the significant impact on both the health and environment for both the recylcers themselves and the surrounding informal settlements are a constant and real threat. Soil and water in the surrounding area indicate the presence of toxic contaminants such as arsenic, lead and mercury. With over 50 million tonnes of e-waste produced every year, its management remains an inherently global issue, inequitably addressed.

The works are a whole ‘palimpsest’ of human effort and history. In ancient Greece, a ‘palimpsest’ was a parchment written upon twice, provoking the idea of vanishing words, memories, and stories, and implying a process of layering and retrieving. ADReflex’s entire sensibility appears to be stretched between irreconcilable extremes.

In their hands, history and fact, beauty and despair, turn out to be disturbingly malleable and imprecise. They draw on diverse sources that might provide the mythical structure to underpin their imagery, from the recycling efforts in Agbogbloshie, Greek mythology, Caravaggio, Francis Bacon and Twenty First Century technologies, all co-exist freely, and are in perpetual transformation.

The ‘palimpsest’ speaks to a cohabitation of seemingly alien narratives folding and

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unfolding in dialogue, disclosing a state of duality, where we feel both aware and unaware, empowered and disempowered.

Through extensive layering, their work borders on the ‘alchemical’ where no clear distinction can be drawn between the painterly and the digital. Painting clashes with technology in the form of 3D-modelling,

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Trade-Off 2020 AD-Reflex Oil, 3D Modeling &Digital Collage on Archival Paper on Board 150 x 280 cm

digital collage, and digital photo manipulation techniques on print and DIASEC, to form a distinctly new visual language that is resolutely grounded in the ‘here’ and ‘now’.

Award-winning artist duo, AD-Reflex, was formed in 2015 and consists of contemporary South African artists Johan Conradie and Karl Gustav Sevenster. Notable awards and

recognitions include The Artbox Project Basil 1.0 (Switzerland, 2017), Alchemical Beasts – Solo Presentation at Miami Art Fair (Miami, 2018), Re:Artiste - Show Your World: Competition Winner (New York, 2018), London Contemporary Art Prize: Finalist (London, 2018), F the Art World: Fine Art / Mixed Media Competition Winner (New York, 2018).

The Traveler, 2021, Nyambo Masamara Archival Print on Satin Giclee, 59.4 x 84.1 cm

Above: The Promise, 2021, Nyambo Masamara, Archival print on Satin Giclee, 59.4 x 84.1 cm Opposite Page: Dollars & Cents, 2021, AD-Reflex Oil, 3D Modeling & Digital Collage on Archival paper on Diasec, 200 x 150 cm

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The Seer, 2021, Nyambo Masamara Archival Print on Satin Giclee 59.4 x 84.1cm

Beyond Borders, is the debut show of Nyambo Masamara at Deepest Darkest. The Rwandanborn multidisciplinary artist and designer currently lives and works in Cape Town, South Africa. He describes the series of photographs and altered found object sculptural works as “The embodiment of the Traveling Spirit”.

It is the depiction of displacement; ever unsettled, in search of a world that is ready to receive the message it carries. The message of harmony between the past and present.

It has moved beyond borders to find belonging

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and in the process is learning that it lies within. As it travels between space and time it is weighted by its calling to connect this message to a collective that will listen.

Trade-Off / Beyond Borders On View Tues – Sat, 12pm – 4pm.

Extended Hours from Thurs 17 Feb – Sun 20 Feb: 10am – 6pm info@deepestdarkestart.com

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Year 10

for the love of the arts 10 – 19 JUNE 2022 More information at hermanusfynarts.co.za

ART IN GRAAFF-REINET www.rupertmuseum.org

Jan Rupert Art Centre

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f you are planning a road trip or visiting the Karoo, the small historic town of GraaffReinet will not disappoint with its current art, culture and architectural offering. Herewith three places to put on your what to do list, when next in town.

JAN RUPERT ART CENTRE located in Middle street Inspired by the Rupert Museum’s permanent collections, this instalment of Nature Morte – A Still from Life is the second part, following the exhibition under the same title that was shown in Stellenbosch, it will be on show till end August 2022.

Still lifes and interior scenes are well-practiced genres in the visual arts. The significance of which is particularly relevant since the start of the pandemic, as we have experienced confinement to our domestic spaces the world over. Through the mediums of drawing, painting and print, the South African stylistic movements of the 20th and 21st century through the genre of stills are recognized, compared and

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celebrated. Prominent works by artists like Irma Stern, Jean Welz, Cecil Higgs, Alexis Preller, Erik Laubscher, Christo Coetzee, Penelope Siopis, Derrick Nxumalo and Marion Arnold amongst others, are included. A small but very prominent inclusion of 16th and 17th century Flemish still lifes from the Michaelis Collection of IZIKO National Gallery are incorporated with food and still photography by Cape Town based photographers Claire Gunn, Michelle Parkin and Nadine Greeff, for comparison.

Keep an eye out on upcoming events www.rupertmuseum.org More on the building: The Neo-Gothic building was erected around c1870 by the London Missionary Society as a place of worship for the so-called Mantatees, a refugee Sotho tribe, which fled across the Orange River in the 1820’s. The building was restored on the initiative of Dr Anton Rupert and named in honour of his brother, Jan. It received National Monument (Heritage Site) status in February 1987.

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Willem van Aelst (1627 - after 1683), Vase with flowers, c1660, Oil on canvas, Courtesy of Iziko SA National Gallery, Michaelis Collection

Michelle Parkin, The MacAskill, 2016. Courtesy of photographer.

Christo Coetzee (1929 – 2000) Still life with fishes, c1955, Oil on carton, Rupert Art Foundation Collection

Hester Rupert Art Museum

HESTER RUPERT ART MUSEUM located in Church street Housing a spectacular and focused permanent collection of 126 paintings and sculptures by 106 prominent Modern South African artists. The initial collection of 90 works was bought together in the 1960s by Dr Anton Rupert, who personally wrote to then high-profile artists to donate artworks, in attempt to establish an art museum in Graaff-Reinet. Since then, with various donations the collection grew to its current size. Even though this collection cannot be regarded as representative of 20th century South African art and artists it remains highly significant. To view the collection and exhibition virtually, visit www.hesterrupertartmuseum.co.za More on the building: It was built and consecrated as a Dutch Reformed Mission Church in 1821, 35 years after the founding of the village of Graaff-

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Exhibition View

Reinet in 1786. The building, being the fifth oldest church building in South Africa, was saved from demolition in 1965 when it became known that a petroleum company was negotiating for its purchase to erect a filling station of the site. The museum was named in honour of Dr Rupert’s mother Hester.

It received National Monument (Heritage Site) status on 4 October 1968.

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Exhibition View

Watercolours from the Richard Townley Johnson Archive.

THE OLD LIBRARY MUSEUM located in Church street The Rock Art Exhibition a recently reopened permanent exhibition featuring a selection of 26 watercolour tracings of San Rock Art from the Richard Townley Johnson Archive, Rembrandt van Rijn Collection. The re-opened exhibition features new interpretive text, expertly scripted by Dr Graeme Avery.

The artworks and cultural artefacts are now not just admired for their aesthetic value but imbued with a deep cultural relevance and importance.

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Visiting hours, entrance fees applicable: Jan Rupert Art Centre and Hester Rupert Art Museum Mon – Fri: 9h00 – 12h30 | 14h00 – 17h00 Sat – Sun & Public Holidays: 9h00 – 12h00 Old Library Museum Mon – Fri: 8h00 – 13h00 | 14h00 – 17h00 Sat: 9h00 – 12h00 Sun & Public Holidays: Closed

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INGANEKWANE AND MIKE MZILENI: A Photographic Archival Journey 12th February – 21st March 2022 NWU Gallery

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he University of North-West, NWU Gallery, presents Inganekwane at NWU Main Gallery and Mike Mzileni: A Photographic Archival Journey at the NWU Botanical Gardens Gallery.

Mike Mzileni: A Photographic Archival Journey: The exhibition serves as a point of reflection into the photographer and Jazz lover, Mike Mzileni, best known for his iconic portraits and landscape images from the early 1970’s2000 depicting South African history through photography.

The term “Photojournalism” was just coined at the time when he was able to redefine photography spaces and place in society as a black man, to establish his role as an important forerunner in the industry. The exhibition is a revolutionary opportunity to reconsider our understanding of South African history. The archival photographs, journalists and intellectuals reclaim their central place in our understanding of a period that laid the foundations for the global early photographs depicted by black photographers. South Africa’s story is truly told through the history of photography.

Mike Mzileni, June 16th Rally

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Above: Mike Mzileni, Pimville Opposite: Lunathi Mngxuma; Rhangula, Phola Park Thokoza, 2020

Mike Mzileni, To hell with Afrikaans

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Vuyo Mabheka; Topzinto, Phola Park,Thokoza, 2021

Inganekwane:

Showing at the NWU Main Gallery is an exhibition by Of Soul and Joy Photo Project students who grew up in a community where violence has been localised. The project aims to interrogate personal histories and continuity of the trauma as a generational experience. It’s through this social mapping that the students’ work intersects collective memory and private memory of the transitional violence that occurred in Thokoza infamous Khumalo street. By participating in the collective narrative, the students’ work provides documentary photographs that are subjectively representational and cannot be viewed as fact but merge the present with the past.

Khumalo street is an arterial street that experienced a wave of transitional violence between 1991 and 1994. The violence emerged because of the conflict of ideologies between hostel dwellers who were politically aligned to the Inkatha Freedom Party and broader township residents who were aligned to the African National Congress.

The violence persisted for three years with 3000 people being killed. It was during truth and reconciliation that the complexities of

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understanding the reason that led to the violent period emerged. The elements of comrade criminality and suspicion of statesanctioned violence have created shifting social realities on what transpired.

The exhibition title Inganekwane is a Nguni word that means storytelling, fable or creation of history through a narrative performance. The title aims to explore Khumalo Street as a site of memory where the community collective knowledge can be shared, performed, and archived. It’s through this elaborative memory disposition by which the interconnection between narrative and history can be established.

Photographers: Sibusiso Bheka, Simphiwe Fuwe Molefe, Thembikosi Hlatshwayo, Litha Kanda, Vuyo Mabheka, Sikelela Mdilikwana, Lerato Maphoto, Lunathi Mngxuma, Xolani Ngubeni, Thobeka Nzwana, Sibusiso Sithonga, Simphiwe Vilikazi Mentors: Jabulani Dhlamini, Sabelo Mlangeni, Andrew Tshabangu, Thandile Zwelibanzi.

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HAILING THE MOTHERSHIP

On the solo-exhibition, New Translations From The Mothership by sculptor Jacky Lloyd.

Story H F Theron www.is-art-gallery.com

Mothership (Detail)

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n a counterposing and intervening act toward society’s seemingly compulsive pursuit of progress, at any cost, Lloyd embarks on a delicate and resonant exploration of the human journey in her new body of work. Her title, New Translations From The Mothership is a reference to the periodic new translations historically made to replace outdated and defining narratives: the Bible, South African Constitution etcetera.

Engaging with various intricate facets that have come to represent the contemporary manifestation of human societies, she confronts the concepts that have so adversely driven our collective consciousness. The various works reference genetic intervention, environmental destruction, social and habitat disintegration resultant in the refugee crisis, and ultimately the proposed idea for colonising other ‘habitable’ planets as our own begins to crucially unravel.

The works are presented in two formats: threedimensional, ship-like structures and bas-relief portraits, each an aspect and dimension of the other. With these analogies presented as intertwined threads, the viewer is challenged to untangle and re-examine their own participation in the larger narrative.

Making wide use of metaphor, Lloyd builds conversations with the viewer that are not only present at face-value, but stimulate reasoning and cognition on a metaphysical level – urging one to consider the concepts of being, purpose, origin, identity and causality.

In highlighting this, a sobering engagement is had regarding the overt indifference that is cast upon intrinsic feminine values. These are values which if returned to a position of balance and influence, would inject an urgently needed re-vitalising, ethical and nurturing force to environmental and social engagement. From this, Lloyd elicits and demands this critical shift in ethical reasoning, moving to rectify the narratives surrounding our origin and purpose – whatever that origin and purpose may be.

Mothership

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Cannonfodder Ship

Refugee Ship

Pariah Ship

Gallerist Ilse Schermers-Griesel, Fij

“Lloyd embarks on a delicate and resonant exploration of the human journey in her new body of work” Lloyd presents the viewer with ships as analogies for body and bearer, which carry the political, personal and spiritual narratives of humanity through history. Embellished with various elements and themes, each represent a particular narrative, purpose and value. These metaphorical conversations are furthered through intimate relief-portraiture and personal accounts of various “ordinary” South African artists, writers and professionals who she admires. These individuals each representing a metaphorical vessel in their own right, being front-runners in spirit for the necessary change in the pivotal conversations and mind-shifts required to counteract the self-destructive inclinations of society.

It is undeniably pivotal to the work that Lloyd employs raw, life-like materials: the semitranslucent marble, blood red ironstone and

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idiosyncratically expressive sticks all serve to re-iterate the vulnerable nature of all living beings. They breathe new life and tangibility into the broader narratives that surround our current news feed. The marble is poised as soft, sheer and textured skin, shaped as metaphor and poised in our stead, whilst the ironstone and wood act as deeper spiritual infusions of living, breathing life. [460] This solo-exhibition by Jacky Lloyd of marble and sandstone sculptures can be seen at IS Art Stellenbosch, 138 Dorp Street, Stellenbosch during the month of February 2022. For more information, please contact the gallery at gallery@isart.co.za or 021 883 9717, alternatively visit www.is-art-gallery.com.

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THE FRANSCHHOEK CHAMBER MUSIC FESTIVAL

A Celebration of Music, Haute Cuisine, World-class Wines and Fine Art 24 - 27 February 2022 www.fcmf.co.za

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atiate your desire for culture with The Franschhoek Chamber Music Festival.

Featuring 10 concerts at various venues by the Cape Town Philharmonic Orchestra, exhibitions of various South African contemporary fine artists, grande cuisine, wine, MCC and Champagne tastings – you can get your fill before summer’s end.

The masterminds behind this inaugural event for Franschhoek are Nic and Ferda Barrow, owners of Le Lude Wine Estate in Franschhoek. Nic and Ferda are passionate about the finer things in life and put their hearts and souls into everything they do.

This is borne out by the many accolades and awards they have received over the years. Le Lude’s custom-built winery is one of the few cellars in South Africa exclusively used for making Cap Classique and has become one of the world’s most exciting new producers internationally renowned for finesse, elegance, and refinement. Take advantage of the MCC tasting during the festival and possibly add to your list of must-have bubblies.

Above: Kobus La Grange. Opposite Page: Jan Vermeiren, Harlequin

Founded in 1914, the Cape Town Philharmonic Orchestra in Cape Town is arguably the most versatile and active orchestra on the continent of Africa, contributing handsomely to Cape Town’s global status and appeal. Enjoy orchestral masterpieces in a smaller style, and chamber works with favourites like Mozart’s Eine Kleine Nachtmusik • Mendelssohn concerto for piano, violin and strings • Dvorak String Serenade and many more.

A highlight of the festival is an exhibition of renowned SA artists of various mediums curated by Ilse Schermers Griesel, owner of the illustrious IS Art Gallery and a longtime contributor to the cultural enrichment of Franschhoek. Schermers has included an exciting cross-section of artists and mediums ranging from sculpture to paint - with each artist carrying a unique backstory and a distinct portrayal.

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Sarel Petrus, Bird on a Tower

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Strijdom van der Merwe, When Autumn Comes

The exhibition includes artists such as ceramicists Anton Bosch, Ralph Johnson, and Catherine Brennon. Painters such as Jacqueline Crewe - Brown, Louis Jansen van Vuuren, an alumnus of Stellenbosch University Art department, JP Meyer, who has a background in ceramics and painting and Jan Vermeiren, a Belgiumborn artist whose work bridges the rich and vastly different European and African cultures. Sculptors include Egon Tania and Kobus La Grange, both of whom have a love for woodcarving, Wilma Cruise, who often explores the relationship between the human species and animals, and Sarel Petrus, whose work is a portrayal of human relationships with their surroundings.

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Other participating artists include Jaco Bendade, Monique Day-Wilde, Victor Harley, Elizabeth Miller-Vermeulen, Kathy Robins, Strijdom Van der Merwe, Rix Wellmann, Judy Woodbine, Ingrid Bolton, and Arno Morland.

The Franschhoek Chamber Music Festival Exhibition opens 24th February at the Church Hall in Hugenot Street, Franschhoek and will be open daily from 9am to 6pm.

For further information regarding performance schedule with venues and dates visit: www.fcmf.co.za Tickets available at www.quicket.co.za

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A solo exhibition by Diana Page 24.02 - 10.04.2022 Oliewenhuis Art Museum 16 Harry Smith Street Bloemfontein

Diana Page, Radical Innocence (detail), Oil on canvas, 130 x 150 cm, 2020

Walking on a rim of light

THE ANALOG PHOTOGRAPY FESTIVAL Barrydale WC

The Little Karoo Town shone brightly with some of the country’s top Analog Photographers from past and present. Graham Abbott, the creator of this the 2nd Annual event, pulled off another amazing 10 day festival with 4 exhibition openings and two book launches including works by well known photographers of the South African artwold form Obie Oberholzer to Frankie Burger.

What made this event such a success was the collaboration of other analog enthusiasts that came from all corners of the country to participate on the back of last year succsess.

The opening event on the 10th of December was Josie Borain’s exhibition that accompanied the book of her life as a Super Model in the 80’s, Graham created a stage to interview each of the photographers for their opening which created a very special opportunity to get to know the back story behind the artist and their work.

The following 3 days saw the openings of Pierre Croquet, Billy Monk and Ian MacNaught Davis exhibitions and promotions of their accompanying books.

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Josie Borain Interview

RA 4 SHOOT at the Art Hotel.

This festival had lots more going on, including Wetplate workshops run by Nolan Lister, Fashion and figure study workshops by Anton Robert and Cyanto type printing workshop by Anita van Zyl Reed.

The star of the show must have been David Chamberlain who brought his specially built darkroom trailer down from Pretoria to run B+W developing and printing workshops as well as doing pinhole camera workshops with the kids. The evenings were filled with talks and slide shows of photographers work with films and discussions on NFT’s and the future of Analog photography as an artform being discussed deep into the night with many young Analog hipsters that have only recently discovered the magic of analog. It all ended with a photo auction and dress up party at the Karoolkie Kelder where the exhibition took place. Graham is highlighting a part of our lives which is missing! The ability to slow down and smell the coffee! For more info and images visit @bapf21 www.bapf.co.za

RA 4 SHOOT at the Art Hotel.

Ash ,Coco and Graham with Fuji Instax camera sponsored.

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Business Art

STRAUSS & CO.

Exhibition exploring Figuration in Contemporary African Art starts the year for Strauss & Co www.straussart.co.za

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iguration is a powerful conceptual thread linking historical, traditional, modernist, and contemporary art in Africa. Strauss & Co’s first offering of the year will be a prestigious non-selling exhibition, Giving Direction: Figuration, Past and Present, curated by the auction house’s specialists Leigh Leyde and Wilhelm van Rensburg. On view at the historical homestead of Welgemeend in Cape Town, the exhibition and its accompanying schedule of events will run from Monday 14 to Sunday 20 February 2022, timed to coincide with the Investec Cape Town Art Fair.

“This exhibition is not an historical survey of figurative art from the continent,” explains Leyde. “Rather, it aims to ask questions and contribute to the dialogue around African-ness, as an essential identity marker, and to showcase a post-modern contemporary art praxis that uses figuration as a means of articulating, critiquing and transgressing personal and public representations and stereotypes.”

Museum-quality works by contemporary artists who are making their mark internationally will be on show, including Georgina Gratrix, Eddy Illunga, William Kentridge, Lutanda Zemba Luzamba, Cinga Samson, Billie Zangewa, and Portia Zvavahera.

Gerard Sekoto, Self Portrait, oil on canvas on board, 45,7 x 35,6 cm, Private Collection

Twentieth century stalwarts Sydney Kumalo, Maggie Laubser, Noria Mabasa, George Pemba, Alexis Preller and Irma Stern will also be represented, with works in a variety of media including oil on canvas and sculpture. A strong showing by artists who use photography as a means of expression will interest collectors of works on paper, with iconic images by Jabulani Dhlamini, Pieter Hugo, Nandipha Mntambo and Zanele Muholi vying for attention.

Right: Lynette Yiadom-Boakye, Wishes Above Needs, oil on canvas, 80 x 65cm, Private Collection. Opposite Page: Eddy Kamuanga Ilunga, Reconnaissance 1, oil and acrylic on canvas 170 x 150 cm, Private Collection.

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Zanele Muholi, Cebo II, Philadelphia (from the Somnyama Ngonyama series), silver gelatin print, 100 x 77,5 cm, Private Collection

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Above: Cinga Samson, iRhorho 4, oil on canvas, 84 x 64 x 6.5 cm, Private Collection.

Jürgen Schadeberg, Priscilla Mtimkulu “Brushing up” 1955, (The Schadeberg 50’s Collection), silver gelatin archival hand print, 36,5 x 36,5 cm, Private Collection

Co-curator Wilhelm van Rensburg stresses that “figuration operates on a stylistic continuum, with, at the one end, naturalistic optical representation, and at the other, purely conceptual, or abstract expression.” A special treat will be the ‘traditional’ African artworks included in the diverse selection, including a Chokwe chief’s stool from Angola, a pair of Chokwe Tuponya figures made in Zambia and a maternity figure carved by an unrecorded Makonde artist in northern Mozambique or Tanzania.

The exhibition will be accompanied by an educational webinar series, between 7 – 11 February and scheduled walkabouts with the curators, between 15 – 20 February.

Wondering how much your own art and collectables are worth? Strauss & Co’s team of art specialists will be on hand for valuations and consultations at Welgemeend on Tuesday 15 February from 9h00 to 16h00.

For more information please contact: leigh@straussart.co.za | 021 683 6560 www.straussart.co.za

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Exhibition Details: Monday 14 until Sunday 20 February 2022.

Open daily from 9h00 to 16h00, open to all, no entrance fee.

Venue: Welgemeend, 2 Welgemeend Street, Gardens, Cape Town, 8001.

Public opening event: Wednesday 16 February 2022, 18h00.

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Unearth the wilderness within.

DYLAN LEWIS SCULPTURE GARDEN

V I S I T S B Y A P P O I N T M E N T: T U E S - S AT 0 9 H 0 0 - 1 7 H 0 0 STELLENBOSCH DYLANLEWISSCULPTUREGARDEN

I N F O @ D Y L A N A R T. C O . Z A +27 (0)21 880 0054 W W W. D Y L A N L E W I S . C O M

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

Pablo Picasso, Composition from the Imaginary Portraits Series SOLD R75,000 View previous auction results at www.rkauctioneers.co.za

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

Above: Norman Clive Catherine (South African 1949 - ), Feeding My Monster, signed, oil on canvas, 50 by 60cm, R100 000 – R150 000 Opposite Page: John Meyer (South African 1942 - ), Camdeboo Storm, signed; signed and titled on the reverse, acrylic on board, 49 by 59,5cm, R100 000 – R150 000

Business Art

STEPHAN WELZ & CO. Cape Town Auction 22, 23 & 24 February 2022 www.swelco.co.za

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hile our hybrid auction model has continued to gain traction, we have seen an exciting new combination of eras, movements and mediums within our Fine Art Department, reflecting our new space within the auction world, particularly in the current global climate where traditional is meeting online. It has been particularly exciting for our art specialists to work with many more contemporary works of art, while maintaining our interest in established artists and quality items. Our sales have seen the amalgamation of artists that are represented by some of South Africa’s blue-chip galleries, with works by some of South Africa’s old and modernist masters.

Our auctions have seen the successful sale of a wide range of artists over the past few years, and our upcoming Cape Town auction sees a true blend of South African art. The Cape Town February Premium Auction takes place from the 22nd February 2022. Join our specialists to view and enjoy the artworks and collectables featured on the sale from the 18th—20th February at 14 Dreyer Street, Claremont. For condition report requests or advice from our art department, email ct@ swelco.co.za or call 0217946461. We look forward to seeing and interacting with you in the saleroom!

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Siwa Mgoboza (South African 1993 - ), les êtres d’africadia (after les demoiselle d’avignon), signed, dated 2015, titled and, numbered 4/10 in pencil in the margin, inkjet photographic print on natural paper, 149 by 140cm, R15 000 – R20 000

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Blessing Ngobeni (South African 1985 - ), Material Enslavement, signed and dated 14, mixed media on canvas, 139,5 by 100cm, R100 000 – R150 000

Paul du Toit (South African 1922 - 1986), Seascape, signed and dated 67, oil on board 84,5 by 62,5cm, R40 000 – R60 000

ARTGO

FEBRUARY 2022

NEW GALLERIES, ONGOING SHOWS AND OPENING EXHIBITIONS Asele Institute [Editions] - Uche Okeke, Ilford Textured Silk 270, Untitled, ICTAF 2022

ARTGO: FEBRUARY 2022

OPENING EXHIBITIONS

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ART@AFRICA POP UP EXHIBITION AT ABLAND 35 LOWER LONG – CAPE TOWN FOOLS GOLD BY PAUL KNEEN 01/02/2022 UNTIL 20/03/2022 WWW.ARTATAFRICA.ART

IS ART STELLENBOSCH NEW TRANSLATIONS FROM THE MOTHER SHIP SOLO EXHIBITION BY JACKY LLOYD FEBRUARY 2022 WWW.IS-ART-GALLERY.CO.ZA

RUST-EN-VREDE GALLERY FLOTSAAM, A COLLABORATIVE EXHIBITION BETWEEN MARINDA DU TOIT AND LAURA LIEBENBERG 01/02/2022 UNTIL 02/03/2022 WWW.RUST-EN-VREDE.COM/

RUST-EN-VREDE CLAY MUSEUM

THE CUBE: JUGS GALORE AN EXHIBITION OF CERAMIC JUGS BY CERAMIC MENTORS RALPH JOHNSON AND HANNES VAN ZYL, AND THEIR PAST STUDENTS ALESSANDRO PAPPADA, KATE VAN PUTTEN AND MARTIN SWART. 01/02/2022 UNTIL 06/04/2022 WWW.RUST-EN-VREDE.COM/

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RUST-EN-VREDE GALLERY

RUST-EN-VREDE CLAY MUSEUM NAVIGATING THE UNKNOWN, A SOLO EXHIBITION BY MARGOT HATTINGH 01/02/2022 UNTIL 02/03/2022 WWW.RUST-EN-VREDE.COM/

SARONSBERG CELLAR GALLERY A PERMANENT EXHIBITION OF CONTEMPORARY SOUTH AFRICAN ART WHILST ENJOYING SOME OF OUR AWARD-WINNING WINES. WWW.SARONSBERG.COM

ART@AFRICA MAIN ROAD FRANSCHHOEK SUMMERTIME SCULPTURE GARDEN SERIES 02/02/2022 UNTIL 02/05/2022 WWW.ARTATAFRICA.ART

MARIPOSA GROUP SHOW EMBRACING THE HUMBLE BUTTERFLY AS A METAPHOR OF ENDURANCE, CHANGE, SPIRITUAL REBIRTH, HOPE AND TRANSFORMATION. CURATED BY DONAVAN MYNHARDT. 01/02/2022 UNTIL 02/03/2022 WWW.RUST-EN-VREDE.COM/

ARTGO: FEBRUARY 2022

OPENING EXHIBITIONS

IS Art is celebrating 10 years at Tokara Wine Estate with an exhibition of sculptures by prominent South African artists including: Wilma Cruise, Angus Taylor, Conrad Hicks, David Brown, Egon Tania, Etienne de Kock, Guy du Toit, Ian Redelinghuys, Isabel Mertz, Kobus la Grange, Sarel Petrus, Jacques Dhont, Ruhan Jansen van Vuuren and Strijdom van der Merwe.

The exhibition runs until the end of April 2022.

A catalogue of the work is available. :

IS Art: 021 883 9717 or gallery@isart.co.za Tokara Wine Estate: Helshoogte Pass, Banhoek Tokara Deli: 021 808 5950 Tuesday – Sunday from 09h00 to 17h00

IS SCULPTURE

131 A GALLERY SUMMER TRIO EXHIBITION ADELE VAN HEERDEN, MATTHEW PRINS, RENTIA RETIEF 03/02/2022 UNTIL 01/03/2022 WWW.131AGALLERY.COM

GROUND ART CAFFE UBUNTU – I AM BECAUSE WE ARE SOLO EXHIBITION BY TONY LUZA 03/02/2022 UNTIL 04/04/2022 WWW.GROUNDARTCAFFE.CO.ZA

NEL

IS ART IS CELEBRATING 10 YEARS AT TOKARA WINE ESTATE WITH AN EXHIBITION OF SCULPTURES BY PROMINENT SOUTH AFRICAN ARTISTS. FEBRUARY UNTIL END OF APRIL 2022 WWW.IS-ART-GALLERY.CO.ZA

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MULADHARA PERFORMANCE 03/02/2022 (19:30) / 03/02/2022 (22:00) THE VIDEO, PERFORMANCE AND SOUND ARTIST DUO KRAS WILL PERFORM THEIR MULADHARA SET AT NEL MAKING USE OF THE ENTIRE BUILDING. THE SUBJECT OF THE PERFORMANCE - THE FIRST CHAKRA. WWW.NELART.CO.ZA

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THE MELROSE GALLERY THE WHISPERINGS OF THE STARS PAPYTSHO MAFOLO SOLO EXHIBITION 04/02/2022 UNTIL 06/03/2022 WWW.THEMELROSEGALLERY.COM

DAOR CONTEMPORARY GROUP SHOW OPENS 10/02/2022 CLOSES END MARCH 2022 WWW.DAOR.CO.ZA

THE VIEWING ROOM ROOF TOP X WALKABOUT WITH THE ARTISTS AND CURATOR GORDON FROUD 5 FEBRUARY 2022 FROM 11AM WWW.THEVIEWINGROOM.CO.ZA

DEEPEST DARKEST TRADE-OFF / BEYOND BORDERS DEBUT SOLO EXHIBITION BY NYAMBO MASAMARA 12/02/2022 UNTIL 22/03/2022 WWW.DEEPESTDARKESTART.COM

ARTGO: FEBRUARY 2022

OPENING EXHIBITIONS

NWU GALLERY INGANEKWANE &MIKE MZILENI A PHOTOGRAPHIC ARCHIVAL JOURNEY 12/02/2022 UNTIL 21/03/2022

STEVENSON JHB ZANDER BLOM MONOCHROME PAINTINGS 12/02/2022 UNTIL 18/03/2022 WWW.STEVENSON.INFO

SALON NINETY ONE A VERY GRAND TOUR SOLO EXHIBITION BY JESSICA BOSWORTH SMITH 16/02/2022 UNTIL 05/03/2022 WWW.SALON91.CO.ZA

ART@AFRICA DUSKLAND ODYSSEY SOLO EXHIBITION BY DAVID GRIESSEL 17/02/2022 UNTIL 20/03/2022 WWW.ARTATAFRICA.ART

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

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IS Art is celebrating 10 years at Tokara Wine Estate with an exhibition of sculptures by prominent South African artists including: Wilma Cruise, Angus Taylor, Conrad Hicks, David Brown, Egon Tania, Etienne de Kock, Guy du Toit, Ian Redelinghuys, Isabel Mertz, Kobus la Grange, Sarel Petrus, Jacques Dhont, Ruhan Jansen van Vuuren and Strijdom van der Merwe.

The exhibition runs until the end of April 2022.

A catalogue of the work is available. :

IS Art: 021 883 9717 or gallery@isart.co.za Tokara Wine Estate: Helshoogte Pass, Banhoek Tokara Deli: 021 808 5950 Tuesday – Sunday from 09h00 to 17h00

ARTGO: FEBRUARY 2022

OPENING EXHIBITIONS

ARTIST PROOF STUDIO

INVESTEC CAPE TOWN ART FAIR

THE MELROSE GALLERY

THE VIEWING ROOM ART GALLERY PRICES TO GIVE CHEER: ART TREASURE TROVE WALKABOUT WITH THE ARTISTS 19 FEBRUARY 2022 FROM 11:00 WWW.THEVIEWINGROOM.CO.ZA

AT THE CTICC AND VIA THE ONLINE PLATFORM ON ARTSHELL 18/02/2022 UNTIL 20/02/2022 WWW.INVESTECCAPETOWNARTFAIR.CO.ZA

YOU WHO NEVER ARRIVED NEW ETCHING BY WIILLIAM KENTRIDGE AT THE INVESTEC CAPE TOWN ART FAIR 18/02/2022 UNTIL 20/02/2022 WWW.ARTISTPROOFSTUDIO.CO.ZA

NOGOLIDE - SENTIMENTAL VALUE SOLO EXHIBITION BY PHILISWA LILA IN THE TOMORROWS/TODAY SECTION AT ICTAF CURATED BY NKULE MABASO AND LUIGI FASSI. 18/02/2022 UNTIL 20/02/2022 WWW.THEMELROSEGALLERY.COM

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24th -27 th February 2022 A four-day celebration of chamber music, haute cuisine, world-class MCC, and fine art.

10 CONCERTS Tickets: www.quicket.co.za www.fcmf.co.za

RETAIL, COMMERCIAL & RESIDENTIAL OFFICE 021 876 4974 MOBILE 071 858 4724 TK PROPERTY MANAGEMENT

tkretail@saol.com www.tkpropertymanagement.com

The Rupert Music Foundation

IS ART FRANSCHHOEK FRANSCHHOEK CHAMBER MUSIC FESTIVAL EXHIBITION. 24/02/2022 UNTIL 27/02/2022 WWW.IS-ART-GALLERY.CO.ZA

OLIEWENHUIS WALKING ON A RIM OF LIGHT A SOLO EXHIBITION BY DIANA PAGE 24/02/2022 UNTIL 10/04/2022 WWW.NASMUS.CO.ZA

ARTGO: FEBRUARY 2022

ONGOING SHOWS

OLIEWENHUIS ART MUSEUM

ART IN THE YARD WAVEWORKS SOLO EXHIBITION BY CORNE EKSTEEN UNTIL 21/02/2022 WWW.ARTINTHEYARD.CO.ZA

CAPE GALLERY PHENOMENAL CAPE GROUP EXHIBITION UNTIL 25/02/2022 WWW.CAPEGALLERY.CO.ZA

GALLERY 2 THROUGH THE WINDOW A COLLECTION OF VISUAL NARRATIVES 06/11/2021 UNTIL 26/02/2022 WWW.GALLERY2.CO.ZA

ARE YOU GAME? AN EXHIBITION CURATED BY THE ART MUSEUM GUIDES AT OLIEWENHUIS ART MUSEUM 02/12/2021 UNTIL 13/02/2022 WWW.NASMUS.CO.ZA

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KZNSA

OLIEWENHUIS ART MUSEUM

EBHISH - SOLO EXHIBITION BY LUVUYO EQUIANO NYAWOSE MAIN GALLERY, MEZZANINE GALLERY, PARK GALLERY 22/01/2022 UNTIL 27/02/2020 WWW.KZNSAGALLERY.CO.ZA

FROM DESOLATED RECOLLECTIONS TO ANTICIPATED CEREMONIAL FESTIVITIES, CURATED FROM THE PERMANENT COLLECTION OF OLIEWENHUIS ART MUSEUM

BY YOLANDA DE KOCK. 25/11/2021 UNTIL 20/02/2022 WWW.NASMUS.CO.ZA

RK CONTEMPORARY

ZEITZ MOCAA MUSEUM

PHANTASMAGORIA A FANTASTICAL, DREAMLIKE AND IMAGINATIVE COLLECTION FOR ARTWORKS 05/12/2021 UNTIL 27/02/2022 WWW.RKCONTEMPORARY.COM

THE RWANDA PROJECT SOLO EXHIBITION BY CHILEAN-BORN, NEW YORK-BASED ARTIST ALFREDO JAAR UNTIL 27/02/2022 WWW.ZEITZMOCAA.MUSEUM

ARTGO: FEBRUARY 2022

ONGOING SHOWS

GALLERY AT GLEN CARLOU

LISTEN TO MY WHISPER, HEAR ME BREATHE PAINTINGS BY HETSIE OTTO FEATURING SCULPTURAL WORKS BY SALOME DELPORT. WWW.GLENCARLOU.COM

GALLERY AT GLEN CARLOU

BLOCK & BRUSH IAN TAINTON AND NEESKE ALEXANDER. FEATURING A COMBINATION OF PRINTMAKING AND PAINTINGS WWW.GLENCARLOU.COM

Daor Contemporary Coode Crescent Port of Cape Town

(Enter from South Arm Road, through the security booms)

Wed-Fri 9am - 5pm Sat 10am - 2pm

www.daor.co.za info@daor.co.za

+27 71 624 7130

NORVAL ART FOUNDATION

THE ZANZIBARI YEARS SIGNIFICANT WORKS PRODUCED BY IRMA STERN DURING HER TWO STAYS INZANZIBAR AND THE PERIOD SURROUNDING 1939-1945 UNTIL 28/03/2022 WWW.NORVALFOUNDATION.ORG

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LA MOTTE MUSEUM THREADS OF SYNERGY SOUTH AFRICAN TAPESTRY ART / UNTIL WINTER 2022 TAPESTRIES BY THE STEPHENS TAPESTRY STUDIO AND ARTISTS ROBERT HODGINS, WILLIAM KENTRIDGE, SAM NHLENGETHWA, CECILY SASH AND CECIL SKOTNES. WWW.LA-MOTTE.COM/PAGES/MUSEUM

NATURE MORTE The Still from Life until end August 2022

Jan Rupert Art Centre, 41 Middelstraat, Graaff-Reinet Mon – Fri: 9h00 – 12h30 | 14h00 - 17h00 Sat – Sun & Public Holidays: 09h00 – 12h00 janrupertcentre@telkomsa.net | +27 (0)49 892 6107 Entrance complimentary

Jean Welz (1900 – 1975). Still life - earthenware with chalkboard, 1945.

Oil on carton. Rupert Art Foundation Collection.

Modern, Post-War and Contemporary Art, Silver, and Jewellery ONLINE-ONLY AUCTION 14-21 February 2022 BROWSE>BID>BUY: www.straussart.co.za

Cyrus Kabiru, Macho Nne: ‘Nzuri Fufu’