Art Times March 2020 by SA ART TIMES

MARCH 2020 WWW.ARTTIMES.CO.ZA

INVITING CONSIGNMENTS

Irma Stern, Portrait of the Film Critic Mrs Doris Sowden | Estimate: R3 000 000 â&#x20AC;&#x201C; 5 000 000

Modern & Contemporary Art May 2020

SALE ENQUIRIES & ART VALUATIONS JOHANNESBURG +27 11 243 5243 | +27 71 675 2991 | enquiries@aspireart.net CAPE TOWN +27 21 418 0765 | +27 83 391 7235 | ct@aspireart.net

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William Kentridge, Felix in Exhile | Estimate: R350 000 â&#x20AC;&#x201C; 450 000 (detail)

The Caversham Press Auction: 30 Years in 90 Lots Live Auction 19 March 2020

ONLINE BIDDING OPENS | 10 March from 8am LIVE AUCTION | Thursday 19 March at 7pm VENUE | Aspire Art Auctions, Illovo Edge, Building 3, Ground Floor 5 Harries Road, Illovo, Johannesburg

e-catalogue available online

Modern + Contemporary Art 193 Gallery (Paris) | 31 Project (Paris) | 313 Art Project (Paris

– Paris (Paris) | A. Galerie (Paris) | A&R Fleury (Paris) | A2Z Art Gallery (Paris/Hong Kong) | AD G

Aedaen Gallery (Strasbourg) | Galería Albarrán Bourdais (Madrid) | Alzueta Gallery (Barcelona) | Gale

(Zürich) | Ana Mas Projects (Barcelona) | Galerie Ariane C-Y (Paris) | Artco Gallery (Aachen/Cape Town

im Breisgau) | Art Sablon (Brussels) | Galerie Arts d’Australie – Stéphane Jacob (Paris) | Art to Be Galler

Royale – Galerie Valérie Bach (Brussels) | Galerie Cédric Bacqueville (Lille) | Galerie Ange Basso (Pa

Albert Benamou, Barbara Lagié, Véronique Maxé (Paris) | Galerie Renate Bender (Munich) | Galerie B

Claude Bernard (Paris) | Galerie Thomas Bernard – Cortex Athletico (Paris) | Galerie Bert (Paris) | Galeri

Galerie Binome (Paris) | Bogéna Galerie (Saint-Paul-de-Vence) | Brisa Galeria (Lisbon) | Ségolène Bros

Pierre-Yves Caër Gallery (Paris) | Galerie Capazza (Nançay) | Galerie Chauvy (Paris) | Galerie Chevalier

(Marseille) | Galerie Dutko (Paris) | Galerie Jacques Elbaz (Paris) | Galerie Eric Mouchet (Paris) | Espace

Galerie ETC (Paris) | Galerie Valérie Eymeric (Lyon) | Lukas Feichtner Galerie (Vienna) | Flatland (A

Foco (Lisbon) | Francesca Antonini Arte Contemporanea (Rome) | Freijo Gallery (Madrid) | Galerie P

Galerie Claire Gastaud (Clermont-Ferrand/Paris) | Galerie Louis Gendre (Paris/Chamalières) | Gim

Galerie Michel Giraud (Paris/Luxembourg) | Gowen Contemporary (Geneva) | Galerie Philippe Gravier

Arthies) | H Gallery (Paris) | H.A.N. Gallery (Seoul) | Galerie Ernst Hilger (Vienna) | Galerie Eva Hobe

(Zurich) | Lancz Gallery (Brussels) | Alexis Lartigue Fine Art (Paris) | Anna Laudel (Istanbul/Düsseldor

Lelouch (Paris) | Galerie Françoise Livinec (Paris/Huelgoat) | Galerie Loft (Paris) | Victor Lope A

(Barcelona) | Galerie Daniel Maghen (Paris) | Kálmán Makláry Fine Arts (Budapest) | Galerie Mark Hac

Anna Marra (Rome) | Maurice Verbaet Gallery (Knokke Heist/Berchem) | Galerie Minsky (Paris) | Galerie Mo

Metz) | Galerie Frédéric Moisan (Paris) | Mo J Gallery (Seoul/Busan) | Galerie Lélia Mordoch (Paris/

(Madrid) | Galerie Najuma Fabrice Miliani (Marseille) | Galerie Nec Nilsson et Chiglien (Paris) | Niki Cr

Galerie Nathalie Obadia (Paris/Brussels) | Galerie Oniris – Florent Paumelle (Rennes) | Opera Gallery

(Paris) | P gallery sculpture (Athens) | Galerie Paris-Beijing (Paris) | Galerie Perahia (Paris) | Pigment

Galerie Polaris (Paris) | Galerie Provost–Hacker (Lille) | Galerie Rabouan Moussion (Paris) | Raibaudi W

Rebecca Hossack Art Gallery (London) | Red Zone Arts (Francfurt am Main) | Galerie Richard (Paris

Véronique Rieffel (Paris/Abidjan) | J.-P. Ritsch-Fisch Galerie (Strasbourg) | Galeria São Mamede (Li

(Paris) | Galerie Brigitte Schenk (Cologne) | School Gallery/Olivier Castaing (Paris) | Septieme Gallery (

(Seoul) | SIRIN Copenhagen Gallery (Frederiksberg) | Galerie Slotine (Paris) | Galerie Véronique Smag

Smulders & Galerie Karsten Greve (Paris) | Michel Soskine Inc. (Madrid/New York) | Gallery SoSo

(Brooklyn) | SPARC* Spazio Arte Contemporanea (Venice) | Structura Gallery (Sofia) | Galerie Tam

Osaka) | Templon (Paris/Brussels) | Luca Tommasi Arte Contemporanea (Milan) | Galerie Traits Noirs (P

Trigano (Paris) | Galerie Univer/Colette Colla (Paris) | Un-Spaced (Paris) | Galerie Vallois (Paris) | Ga

Viltin Gallery (Budapest) | Galerie Wagner (Le Touquet-Paris-Plage/Paris) | Galerie Olivier Waltman (P

Esther Woerdehoff (Paris) | Wunderkammern (Rome/Milan) | Galerie XII (Paris/Los Angeles/Shangha (Lima/Paris) | Galerie Géraldine Zberro (Paris) | Galerie Zink Waldkirchen (Waldkirchen).

s/Seoul) | Galerie 8+4

Galerie (Montpellier) |

erie Andres Thalmann

n) | Artkelch (Freiburg

ry (Lille) | La Patinoire

aris) | Galerie Belem/

Berès (Paris) | Galerie

ie Bessières (Chatou) |

ssette Galerie (Paris) |

r (Paris) | Christopher

alerie Michel Descours s) | Double V Gallery

e Meyer Zafra (Paris) |

Amsterdam) | Galeria

Pascal Gabert (Paris) |

mpel & Müller (Paris) |

r (Paris/Saint-Cyr-en-

2th Grand Palais 5th April www.artparis.com 2020

er (Paris) | Huberty &

) | Galerie Koralewski is) | Galerie La Ligne

rf) | Galerie Jean-Marc

Arte Contemporáneo

chem (Paris) | Galleria

Modulab (Hagondange/

An Overview of the French Art Scene:

/Miami) | Galeria MPA

Common and Uncommon Stories

ryan Gallery (Lagos) |

y (Paris) | Orbis pictus

Southern Stars:

t Gallery (Barcelona) |

An Exploration of the Iberian Peninsula

Wang Gallery (Paris) |

s/New York) | Galerie

gghe (Paris) | Caroline

o (Heyri) | Space 776

ménaga (Paris/Tokyo/

Paris) | Galerie Patrice

alerie Vazieux (Paris) |

Paris/Miami) | Galerie

ai) | Galerie Younique

List of exhibitors of 7/01/2020

isbon) | Galerie Sator

(Paris) | Gallery Simon

Dealers in100 of SA FineFine Art Prints Dealers in100years years of SA Art Prints

www.printgallery.co.za Woodstock, Cape Town

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Cape CapeofofGood Good Ink Ink The SA Gallery presents: ‘Cape ofof Good froman anartist’s artist’s ThePrint SA Print Gallery presents: ‘Cape GoodInk, Ink,aaview viewof of the the Cape Cape from perspective from the last 100 years’ . Artist’s include: De Jong, Pemberton, Spilhaus, perspective from the last 100 years’. Artist’s include: De Jong, Pemberton, Spilhaus, Skotness, Soha, Goldin, Clark-Brown, manymore. more. Skotness, Soha, Goldin, Clark-Brown,Woodbourne, Woodbourne,Miles Miles and and many View thethe show online atatwww.printgallery.co.za View show online www.printgallery.co.za

ART TIMES MARCH EDITION 2020

CONTENTS Cover: Invader, PA 590, 2005 Gallery Ange Basso, Art Paris 2020

12. WERK TREK OF VREK:RICHMOND, NC Ashraf Jamal Column

18. ART PARIS 2020

French Art Scene and the Iberian Peninsula

32. MATEREALITY

A testament to the challenge of tradition

40. ART BANK OF SOUTH AFRICA Lease art from the definitive collection of contemporary South African art

48. SUE GREEFF

From Sea Point and Simons Town to The Luxembourg Gardens

54. THREADS

by Andre van Vuuren - An explosion of expressive imagery.

58. PHILISWA LILA

Skin, Bone, Fire: The First Album

60. PHOKA NYOKONG

Folklores, Treasures and Witches

66. A STORY OF KNOTS

Louis Janse van Vuuren - The destiny of coincidence

72. ENCLAVE - Nic de Jesus Cosmic Forms and Figurative Painting 76. SYNERGY by H. F. Theron

88. FYNARTS 2020

Q&A with festival director, Mary Faure

96. BUSINESS ART

Upcoming Fine Art Auction and result highlights

110. ARTGO - Art exhibition highlights nationally Justin Dingwall (SA), The Changing Winds, untitled 4, 2019, Photography, ARTCO Gallery, Art Paris 2020

From the editor

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

CONTACT ART TIMES Tel: +27 21 300 5888 109 Sir Lowry Road, Woodstock, Cape Town EDITOR Gabriel Clark-Brown editor@arttimes.co.za

John playing the flute, Ondangwa airbase, 1975

Now that the Art year has finally started with the incredible ICTAF 2020, and the Stellenbosch Triennal, it’s a given that one quickly rolls into the 2020 arts calendar. Just round the corner there is Fynarts, KKNK, Solo Studios, Turbine, Art Franschhoek, Art Joburg, Lattitudes and then it all dies down again in November and December. In between there seem to be quieter events such as the National Arts festivals, Ardklop, and many Art Foundations doing their thing like the Norval, Zeits, and Javett. Having said that, many surprises pop up like the revamped Rupert Museum and an extraordinary show entitled ‘Matereality’ at The SA National Gallery. To add to this there are the Auction houses where SA art records are continually broken and prices of artwork are publicly approved, set and reset. You might think that this is overwhelming, which is why we started ArtGo, where the incredible and colourful art chaos and noise is pleasantly ordered and presented on a daily basis. On a quieter note I would like to express my condolences to the families of Andrew Verster 1937 -2020 and John Liebenberg 1958 – 2020 at the loss of these incredible artists and kind souls that touched our lives so deeply. I have included a photo (above) sent by Emile (one of John’s sons) of his father playing a flute during the hight of the bloody Bush war. To view Johns work see “Bush of Ghosts: Life and War in Namibia 1986-90” by John Liebenberg with introduction by Patricia Hayes. Similarly I have included Carol Brown’s short obituary of the beautiful and kind Andrew Verster.

ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ART DIRECTION & DESIGN 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.

Gabriel Clark-Brown @ARTTIMES.CO.ZA

IRMA STERN Grape Packers, 1959

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M.O.L.6

WERK TREK OF VREK: RICHMOND, NC Story & Photos Ashraf Jamal

am on a Greyhound bus headed for MAPSA – Modern Art Projects South Africa – in Richmond in the Northern Cape. A full moon accompanies me. Lightning breaks in the distance, a crackling specialeffect in a fist of cloud. There are ‘sprites’, I’m told, gaseous discharges that lightning hurls into the cosmos. My android keeps missing the money shot. I’m shooting and deleting blanks when the bus pulls into Richmond at 4 30 am. Goerge – o before e – is there to greet me. It’s a short drive to the artist’s residency, but Goerge in his 70s hotfoots it, the bakkie’s screeching engine a jackal-howl in the dead of a Karoo night.

Morning. The start of a week-long writing project. Strolling through a semi-deserted street, a young woman in a pink dressing gown and pink slippers capering past me, I notice words everywhere. A wall adjacent to an attorney’s office reads: n goeie boek is een wat met groot werwagting oopgemaak en met groot wins toegemaak word. The pleasures of reading are cherished in Richmond, otherwise known as ‘booktown’, the home of an annual Afrikaans literary festival. But it is not words arranged in a novelistic sequence that interests me but the eculiar uses to which they are put by visual artists. Started in 2007, MAPSA is the brainchild of Harrie Siertsema, the ‘Pancake King’. Raised in the Karoo, Siertsema, now based in Pretoria, never lost his love for the Karoo. It is his bloodwork, his DNA. And a fitting place in who to set up a creative hub and museum that houses one of the greatest collections of South African art. What distinguishes and sets it apart is its immersion in the land as its key source – drought-stricken, austere, harsh, yet irresistible. Artists the world over gather in Richmond to make works defined

by the Karoo. Created in situ, wholly focused on the distinctiveness of place, the works produced have a rough and stark simplicity – they are all about the rudimentary makeshift condition which an outpost that clings to the N1 like a burr affords. The permanent collection, open to the public, and a Mecca for students and teachers from the University of the Free State in Bloemfontein, is housed in what was once a supermarket, a hangar-like white vault. At the floor by the entrance I see a single red brick with words in white paint that reads: HOUVEEL WOORDE OM ‘N HUIS TE BOU? Once again it is words that count – as things, meanings, matter. They are architecture, building blocks, a way of seeing-feelingnavigating. Another work, made of blankets, echoes a lined notepad, the top right corners of the blanket folded back, dog-eared. Another series, placed on plinths, comprise squared bundles of dry brush and books – organic mirrors. Earth and words are inseparable. A monumental wall, conceived by Willem Boshoff and built by his son Martin, contains random words which can be read in both English and Afrikaans. The letters are the same, the meaning differs. Raising the question: where does meaning lie? Another work, a compacted mound of red earth, is flanked by a sign that reads: AS FAR AS THE EYE CAN TOUCH. It is the palpability of sight – our ability to feel through our eyes – that reminds us that ‘visual art’ is never about the eye alone. All our senses converge in a moment of apprehension. This has always been Boshoff’s view, and the reasoning behind his masterwork Blind Alphabet, an installation of hundreds of meshed black boxes containing wooden sculptures whose meaning is translated on the top of the boxes in braille.

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For Siertsema, it is what one makes with words that matter. How one lives through art. His great inspiration is Arte Povera – poor art – a movement started in Italy in 1967, baptised by Germano Celant, which remains an inspiration to artists everywhere in the world today. Its focus is waste, the things we throw away, disregard, which can be repurposed and reimagined. A massive installation comprising flanking walls of barbed and razor wire become the supports for wind-blown garments made of flattened rusted cans. Steel sheets, shaped like paper aeroplanes, nose-dive into a wall. A photographic series of shattered white plastic chairs in the veld. Smoothed stumps of pine, driven through with rusted nails, bear the monogram – EVERREADY. A bank of colourful potato sacks contain rusted cans. Everything, deemed waste, is resurrected, changed. Nothing, truly, is lost. Three days into my stay Harrie Siertsema arrives, en route to Cape Town, then a tenday visit to New York to enjoy opera. Burly, warm, he drives me into the veld to see a work by the German artist, Ella Ziegler. It is a

work made of squared red brick, fired locally, and custom-made for Siertsema. Goerge had already shown me the storage place filled with a mountain of brick scored with letters and numbers – a raw material for artists. Now, kindly, it is Siertsema who drives me into the veld to see Ziegler’s interpretation of this raw material. Her intervention is simple yet staggering. She has dug the ground to fit the bricks so they are flush, no more. The words read: ANXIETY … FEAR … LINES … INVISIBLE. There, in these words, one encounters a gnawing dread, a sense of one’s mortality and insignificance. But it is also humility that strikes one, a sense of our minor place and role in the greater unnameable sphere of life. That Ziegler also carefully dug up a bush, to ensure she did not damage the roots, and then shifted its axis, before repotting the hole, says much about the staggering significance of a gesture that may seem minor. That she has photographed a rock, flipped it, then re-photographed it, echoes this seismic alteration. The impact occurs in one’s consciousness, Siertsema remarks, as a pony gallops by.

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It is this shift in consciousness that sums up MAPSA. It is a place where Being is inescapably confronted, where one’s sense of one’s self, one’s body or embodiedness is challenged and questioned. Where mind and heart and spirit, all of our senses, are reconfigured, adjusted just so, to allow for a different insight. It is this seismic psychological alteration that MAPSA enshrines and fosters that makes it unique. It is the intercession of earth, place, words, things, that generates an Ur condition, a primal awakening. As the originator of Arte Povera, Celant, notes, the movement is all about ‘taking away, eliminating, downgrading things to a minimum, impoverishing signs to reduce them to their archetypes.’ Or, better, to reduce life to something that even precedes an archetype. It is this raw intelligence that MAPSA conspires to promote.

of existence also mattered – Johannes Cupido. Long dead, it was he who summed up the austerity of the Karoo through the now legendary moniker: WERK TREK OF VREK. He fired these words in brick, asking himself and others what it took to survive, endure, or quit. If Siertsema continues this tradition – this philosophical, psychic, and creative inquiry into Being – with the help of Cupido’s grandson, Trevor Snyder, it is because his Karoo, the Karoo of his childhood, the Karoo he returns to again and again, is inspirational. It is a place that wounds, but it is also a place that transforms and transfigures. I have Cupido’s brick in my study. I received them as a gift eleven years ago, not knowing from whence they came, who made them, or what the might have meant – until now.

But there is someone, long before Siertsema started the artist’s residency in 2007, for whom words as a raw expression of the fundament

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Jacob Hendrik Pierneef | OKAHANDJA | Estimate R 600 000 - R 900 000

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ART PARIS 2020

A 22nd edition dedicated to the new French Art Scene and the Iberian Peninsula 02 â&#x20AC;&#x201C; 05 April 2020, Grand Palais www.artparis.com

rt Paris is pleased to announce its 22nd edition as it returns to the Grand Palais from April 2—5, 2020. In the 20 years since its founding, Art Paris has established itself as Paris’s major spring fair for modern and contemporary art. Bringing together more than 150 galleries from over 20 countries – from the post-war to the contemporary period, Art Paris is a place for discovery, placing special emphasis on the European scene, whilst exploring the new horizons of international creative hubs, whether in Asia, Africa, the Middle East or Latin America. This year, the fair will showcase a two-fold “Focus” – turning to both the French contemporary art scene and the emerging Iberian art hubs, specifically Barcelona, Lisbon, Madrid and Porto. In parallel, the “Solo Show” sector will be dedicated to monographic exhibitions, while “Promises” pursues its support to young and emerging galleries. New participants make up 31% of the 2020 selection, which is marked by the arrival of Parisian galleries including Jeanne Bucher Jaeger, Galerie Sator and Caroline Smulders in association with Karsten Greve. From an international standpoint, five countries will be represented for the first time: Bulgaria, Denmark, Greece, the Ivory Coast and Turkey. Contributing to the Iberian Peninsula contingent are 12 galleries from Barcelona, Madrid, Lisbon and Porto. The Asian scene will affirm its presence, with 5 galleries from South Korea including 313 Art Project, Gallery Simon, Gallery H.A.N., Mo J Gallery and Gallery SoSo. Works by African artists will be on show in the Main Sector, at ARTCO Gallery (Aachen/Le Cap) and Niki Cryan (Lagos), as well as in the “Promises” sector with 31 Project (Paris), Galerie Véronique Rieffel (Paris/Abidjan) and Septieme Gallery (Paris), all of which are participating for the first time.

“Bringing together more than 150 galleries from over 20 countries – from the post-war to the contemporary period” 20

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Joan Miró, hommage à gaudi, Gallery Traits Noirs

The Middle Eastern scene will also be present with a special focus at Galerie Brigitte Schenk (Cologne), presenting works by Halim al Karim (Iraq), Tarek Al Ghoussein (Kuweit) and Abdulnasser Gharem (Saudi Arabia), whose installation The Safe was one of the highlights of Art Basel 2019’s Unlimited sector. An Overview of the French Art Scene: Common and Uncommon Stories Each year, in support of the French scene, Art Paris invites a curator to engage critically and historically with a selection of projects by French artists presented by participating galleries. In Common and Uncommon Stories, director of the Bourse Révélations Emerige and guest curator Gaël Charbau brings together the work of 22 artists, most of which were born in the 1980s, responding to the notion of the narrative and the ambiguous interplay between singularity and universality in storytelling. He has also been invited to write a text presenting each artist and their work. Selected French artists: Henni Alftan (Galerie Claire Gastaud), Léa Belooussovitch (Galerie Paris-Beijing), Abdelkader Benchamma (Galerie Templon), Jérôme Borel (Galerie Olivier Waltman), Damien Cabanes (Galerie Eric Dupont), Claire Chesnier (Galerie ETC), Shepard Fairey, Dove Geometric (Cream), Version 2, Golden Futur, 2018, Mixed media, 48 x 48 cm, Gallery Ernst Liger 22

Rémi Dal Negro (Galerie Eric Mouchet), Elsa & Johanna (Galerie La Forest Divonne), Roland Flexner (Galerie Nathalie Obadia), Laurent Gapaillard (Galerie Daniel Maghen), Jennyfer Grassi (Galerie Eva Hober), Kubra Kadhemi (Galerie Eric Mouchet), Gabriel Leger (Galerie Sator), Caroline Le Méhauté (H Gallery), Anita Molinero (Galerie Thomas Bernard), Anne et Patrick Poirier (Dilecta), Baptiste Rabichon (Galerie Paris-Beijing), Louis-Cyprien Rials (Galerie Eric Mouchet), Kevin Rouillard (Galerie Thomas Bernard), Edgar Sarin (Dilecta), Hervé Télémaque (Galerie Rabouan Moussion), Paul Vergier (H Gallery).

Anton Kannemeyer, Fair Maidens 01, 2011

Southern Stars: An Exploration of the Iberian Peninsula Following its extensive survey of the Latin American scene in 2019, Art Paris turns to the Iberian Peninsula, bringing light to Spanish and Portuguese art from the 1950s to the present day. 25 galleries will be presenting works by a selection of 77 artists – from modern masters to contemporary artists. In parallel, projects including a video programme, site-specific installations, and conferences at the Instituto Cervantes and the Calouste Gulbenkian Foundation in Paris will highlight the creative effervescence flourishing in this part of Southern Europe. A Historical and Contemporary Exploration of the Spanish and Portuguese art scenes Spread across the various sectors of the fair, the participating galleries will constitute a historical and contemporary journey delving into the various Spanish and Portuguese art scenes. Representing the Spanish scene, Galeria Marc Domènech (Barcelona) will be paying tribute to historical figures connected with the Surrealist movement, such as Julio González, Óscar Domínguez and Joan Miró, while Galerie Andres Thalmann (Zurich) will be showcasing Joan Hernández Pijuan, one of the major Spanish artists of the last thirty years,

ABOVE: Vivian van Blerk, La Clairière, 2020, Sculpture, 70 x 110 x 100 cm. Opposite Page: Jean Clerté , Sans titre, 2017, Painting, Gallery Pascal Gabert

known for his uniform colour compositions. Freijo Gallery (Madrid) will be looking back at the generation of artists who lived and worked in Madrid in the 1970s, with conceptual artist Mateo Maté, Ramón Mateos, one of the founders of the El Perro collective, and Darío Villalba, whose hybrid works address questions of identity and marginality. Michel Soskine Inc. (Madrid) will be dedicating a solo show to Antonio Crespo Foix, featuring the

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Katharine Cooper, Boy with Donkey, Aleppo,2017

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artist’s sculptures made of bamboo, horsehair, wool and wire – recreating a surreal natural world tinged with poetry. The analysis of the relationship between history and politics, between art and power and between public space and collective memory acts as a common thread between the works of Cristina Lucas and Fernando Sánchez Castillo, who will be presented side by side at Albarrán Bourdais (Madrid). As part of the Portuguese showcase, São Mamede (Lisbon) will be celebrating two modern masters: the architect and painter Nadir Afonso (1920—2013), a pioneer of Kinetic Art known for his geometric cityscapes and who worked closely with Le Corbusier and Oscar Niemeyer; and Manuel Cargaleiro (born 1927), a painter and ceramicist close to the École de Paris. Jeanne Bucher Jaeger (Paris/Lisbon) will be dedicating its stand to three major figures of the contemporary Lisbon scene: Michael Biberstein (1948—1978), Rui Moreira (born 1971) and Miguel Branco (born 1963), who borrows from art history to create paintings, drawings and sculptures that explore the animal kingdom and notions of scale. Galerie Nathalie Obadia (Paris/Brussels) will be presenting works on paper by Jorge Queiroz, whose unique and teeming personal universe lies midway between figuration and abstraction, while Galería MPA (Madrid) will be presenting the hybrid works of Rui Toscano, whose use of the evocative power of images and sounds examines cultural representations and collective memory.

Magnelli, 7 Variation n°1, 1959

Best known for her numerous exuberant sculptures and installations created by accumulating everyday objects, Joana Vasconcelos will be the focus of La Patinoire Royale–Galerie Valérie Bach (Brussels)’s display. A Monumental Installation at the Front to the Grand Palais A site-specific installation presented by Portuguese artist Marisa Ferreira, Lost Future (2020) takes its inspiration from Le Corbusier’s Plan Voisin (1925) – an urban development project for Paris comprised of 18 cruciform glass skyscrapers placed on an orthogonal grid of streets interspersed with green spaces. The plan, which was never implemented, envisioned demolishing the Marais neighbourhood as a way of solving issues of dilapidated and unhealthy housing, illness and overpopulation – thereby giving place to what Le Corbusier called the “city of tomorrow”, a symbol of European modernity and of the industrial era. Directly referencing this emblematic project, the cross-shaped column imagined by Marisa Ferreira evokes the gap between the utopian ambitions of the 1970s and the current property boom that pays no heed to the history and identity of cities such as Porto and Lisbon. Marisa Ferreira, Lost Future, 2020. Approx. 200 x 200 x 500 cm. Resin, blue pigment and industrial waste. In collaboration with Galeria Presença and the Porto City Council. “Solo Show”: A Showcase of 20 Monographic Exhibitions Since 2015, Art Paris has encouraged the presentation of monographic exhibitions – a key moment in artists’ careers – by inciting galleries to present specific single artistfocused projects. The 2020 edition will feature around 20 solo shows distributed throughout the fair. Highlights will include a site-specific project by South African artist Roger Ballen (Caroline Smulders in association with Karsten Greve, Paris); a mini-retrospective of British artist – best known for his colourful “puddle” paintings – Ian Davenport (Luca Tommasi – Arte Contemporanea, Milan); and a rare ensemble of works by major Cuban artist Jesse A. Fernández at Galerie Orbis Pictus (Paris).

Roger Ballin, Beheaded, 2019, Gallery Caroline Smulders, & Gallery Karsten

“Promises”: A Sector for Young Galleries and Emerging Talents Purposefully placed at the very heart of the Grand Palais, “Promises” will host 14 young galleries from Abidjan, Brussels, Lima, Lisbon, Rome, Sofia, Marseille and Paris, many of which will be exhibiting at Art Paris for the first time this year. The galleries will explore rarely represented art scenes, from Europe – in particular Bulgaria at Structura Gallery (Sofia); Africa, with 31 Project, Galerie Véronique Rieffel (Paris/Abidjan) and Septieme Gallery (Paris); and Latin America, represented by Galerie Younique (Lima/Paris) and 193 Gallery (Paris). The galleries will each be presenting between one and three emerging artists – and benefit from financial sponsorship from the fair. 2020 Selection: 193 Gallery (Paris), 31 Project (Paris), Galerie Ariane C-Y (Paris), Art Sablon (Brussels), Galerie Bessières (Chatou), Double V Gallery (Marseille), Galeria Foco (Lisbon), H Gallery (Paris), Galleria Anna Marra (Rome), Galerie Véronique Rieffel (Abidjan), Ségolène Brossette Galerie (Paris), Septieme Gallery (Paris), Structura Gallery (Sofia), Galerie Younique (Paris/Lima).

Paris in the Spring Over the past few years, Paris has been reasserting its place as a capital of the arts. The 2020 VIP programme will invite guest collectors and art professionals to discover the city’s very best spring art events. Highlights will include: Christo et Jeanne-Claude – Paris ! at the Centre Pompidou; Erwin Wurm at the Maison Européenne de la Photographie; Cindy Sherman – A Retrospective (1975-2020) at the Fondation Louis Vuitton; Giorgio de Chirico. La peinture métaphysique at the Musée de l’Orangerie; Ulla von Brandenburg at the Palais de Tokyo; James Tissot (1836-1902), l’ambigu moderne at the Musée d’Orsay; Picasso poète at the Musée national Picasso-Paris; and the much-anticipated opening of La Fab. d’agnès b pour l’art contemporain. About Art Paris 2020 Grand Palais, Avenue Winston Churchill, 75008 Paris. www.artparis.com

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Neonism. Aldo Balding Opens Friday 27 March www.christophermollerart.co.za; @christophermoller_gallery

MATEREALITY

A testament to the challenge of tradition Iziko South African National Gallery Until 02 August 2020

Curated by Andrea Lewis Photographs Nigel Pamplin Â© Iziko Museums of South Africa.

Serge Attukwei Clottey, Too far from home (2017),Plastics, wires, and oil paint, 147 x 198 cm 34

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atereality highlights how contemporary artists from the African continent are challenging traditional notions around what materials are suited to art-making. The group exhibition explores different issues and ideas such as climate and environmental issues; pollution; waste; xenophobia; poverty; beauty; gender; and politics – using certain materials to provide insight into their reality. Open at the Iziko South African National Gallery from Friday, 14 February 2020, the exhibition unpacks how artists have used the materials, whether directly or indirectly, to raise questions about larger societal concerns. The selection of artists may explore a wide range of issues; however, the thread that connects them all is that of using materiality to guide the aesthetic experience. Artists featured in the exhibition include Athi Patra-Ruga, Patrick Bongoy, Jodi Paulsen, Billie Zangewa, Bert Pauw, Bronwyn Katz, Cyrus Kabiru and Gabrielle Kruger – to name just a few. These artists explore what is important to them with autonomy and authority, but without losing the material traditions that have been such an important part of their nation’s artistic or historical legacy. The materials being used often have an inherent history, which can offer a powerful starting point and make for a more meaningful process.

Cyrus Kabiru, Blue Nile (2017), Steel and Found Objects, 150 x 30 x 140 cm, Private Collection, ©Image courtesy of the artist and SMAC Gallery

Amy Rusch, Arctica islandica and remembering a sail across the sea (2019), Plastic bags and thread, 107 x 71 cm, ÂŠImage courtesy of the artist and SMITH Gallery

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Mounir Fatmi, Maximum Sensation (20) (2012), Skateboard and prayer rug, 12.5 x 21 x 80 cm, ©Image courtesy of the artist and Goodman Gallery

Nobukho Nqaba, Umaskhenkethe Likhaya Lam 2012, ©Image courtesy of the artist and SMAC Gallery

Patrick Bongoy, Killing Time (Conversation in Limbo) (2017), Mixed Media, recycled rubber on fibreglass cast and found wooden log, 133 X 220 X 80 cm, Private Collection, © Image courtesy of EBONY CURATED

A visitor engages with artwork up on exhibition as part of Matereality at the Iziko South African National Gallery. Photograph: Nigel Pamplin © Iziko Museums of South Africa.

These mostly upcoming or established artists provide a glimpse into the vibrant South African art scene as well as the visual production from the rest of the African continent. This swathe of contemporary artists from across the continent are exploring ‘the material’ in new and exciting ways. The works encapsulate a very wide scope of materials, showing that ‘materiality’ is a rich subject; materials range from cow-hides to plastic bags, from bra-straps to pantyhose, from fake nails to computer parts. Matereality, curated by Andrea Lewis, Iziko Curator of Prints and Drawings, is on show at the Iziko South African National Gallery from 14 February 2020. Featured artists Aaron Samuel Mulenga, Akudwe Elsie Chiwa, Alexandra Karakashian, Amy Rusch, Athi, Patra Ruga, Bert Pauw, Billie Zangewa, Patrick Bongoy, Bronwyn Katz, Buhlebezwe

Siwani, Bulumko Mbete, Carolyn Parton, Chris Soal, Cyrus Kabiru, Daniel Halter, David Brits, Dominique Edwards, Elias Sime, Turiya Magadlela, Frances Goodman, Francois Knoetze. Featured artists cont. Gabrielle Kruger, Gerald Machona, Igshaan Adams, Inga Somdyala, Jill Joubert, Jody Paulsen, Jake Singer, Kresiah Mukwazhi, Laurence Lemoana, Liza Grobler, Lyndi Sales, Mabunda Gonḉalo, Ibrahim Mahama, Michael MacGarry, Masimba Hwati, Maurice Mbikayi, Mawande Ka Zenzile, Mia Chaplin, Moffat Takadiwa, Mounir Fatmi, Nandipha Mntambo, Nicholas Hlobo, Nobuka Nqaba, Pascale Tayou, Pierrѐ Fouche, Pierre Vermeulen, Sandile Zulu, Serge Attukwei Clottey, Siwa Mgoboza, Stephanѐ Conradie, Usha Seejarim, Wallen Mapondera, Willie Bester.

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Now Showing;

Democrazy:

a demonstration of craziness

Ofentse Seshabela

+ 2 7 2 1 4 2 2 4 1 4 5 | 6 9 B u r g S t r e e t , C a p e To w n i n f o @ e c l e c t i c a c o n t e m p o r a r y. c o . z a | w w w. e c l e c t i c a c o n t e m p o r a r y. c o . z a

ART BANK OF SOUTH AFRICA Lease art from the definitive collection of contemporary South African art www.artbanksa.org

Emerging Visions - Telling the South African Story Launch Exhibition at Oliewenhuis Art Museum

he Art Bank of South Africa (ArtbankSA) enters the market as the national rental agency for contemporary South African visual art and its intention to be a stimulus for the local economy is already being felt. Established in 2016 by the Department of Sports, Arts and Culture (under the Mzansi Golden Economy Strategy) and is hosted by the National Museum Bloemfontein, which is an agency of the Department the vision of the artbankSA is to promote, foster and stimulate a vibrant market for the collection of South African contemporary visual art. Building a national collection that reflects the history of South African art with the focus on contemporary visual art in order to lease, exhibit and sell, it is poised to stimulating market access for artists, increase market demand and supply capacity and influence the cultural agenda continentally and internationally. The journey to establish the ArtbankSA started as far back as 1996 when the Art Bank model was suggested in the white paper published by the Department of Arts and Culture. Interest in the Art Bank was reignited when then Minister of Arts and Culture, Science and Technology, Mr. Ben Ngubane was introduced to the concept on a visit to Canada in 2000. In 2002 project planning began and 15 years later it was launched on 12 December 2017 at the Oliewenhuis Art Museum in Bloemfontein as the National Art Bank by Minister of Sports, Arts and Culture, Mr. Nathi Mthethwa. With its primary focus being on emerging artists, the programme has purchased artworks from 96 artists representing the nine provinces, in two years. The ArtbankSA has been structured to be a selffunding agency which provides opportunities for the development and marketing of the cultural industries. As the programme grows and adapts over the next 10 years, it will develop a definitive representative collection of contemporary South African visual art through the acquisitions of artwork by emerging artists and research. The ArtbankSA looks to transform the visual arts sector by promoting financial sustainability, enabling artists through development initiatives and Tswela Pele â&#x20AC;&#x201C; New Acquisitions of the Art Bank of South Africa Exhibition at Oliewenhuis Art Museum Photo: GrandEpic Photo

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Opening of Homing in on Freedom â&#x20AC;&#x201C; Youth Exhibition at Constitution Hill. Photo: Phumelelo Investments

Tswela Pele â&#x20AC;&#x201C; New Acquisitions of the Art Bank of South Africa Exhibition at Oliewenhuis Art Museum. Photo: GrandEpic Photo

by fostering an accessible and democratized South African contemporary art market by making art accessible to the broader public in their workplaces, shared spaces and home. Different mediums and a variety of themes are represented in the collection. The ArtbankSA is designed to stimulate demand, build audiences and develop a new platform for artist growth by identifying and purchasing contemporary visual art works from South-African emerging contemporary artists to lease to government departments for display in public spaces (corporate / administration offices, reception areas, hotels, certain retail outlets, hospitals, clinics, call centres and the such) and offices. Artwork are purchased through a jury process. The nine member acquisitions committee assess and recommends or decline works offered for purchased through the public call or donated to the ArtbankSA. In making their assessments they are guided by the collections policy of the ArtbankSA and their own judgement for excellence, a difficult concept as various cultural contexts have different measures of significance.

All submissions being reviewed are treated equally. Submission and application guidelines are available on the ArtbankSA website. The next submission window will close Friday, 1 May 2020. The ArtbankSA currently has a programme of provincial launch exhibitions to promote the program in the provinces. It has already hosted the KZN launch and will be hosting the Vangatava: The Limpopo Launch of the Art Bank of South Africa on Thursday, 27 February 2020 at the Polokwane Art Museum. All are welcome and attendance is free of charge. It has also conducted provincial roadshows in Northern Cape, North West, Limpopo, Mpumalanga and KZN. To lease or buy artwork or for more information about the ArtbankSA, visit the official website www.artbanksa.org or email info@artbanksa.org. Facebook Page: Art Bank of South Africa Instagram Profile: @artbankSA Twitter Profile: @artbankSA

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Occupying a unique niche within the contemporary South African Art Sector

TRADING HOURS Mon - Fri: 9am - 6pm - Sat - Sun: 8am -2 pm Public Holidays by appointment only. 074 647 0409 / Landline: 087 001 0302 / info@thomartsgallery.com Thomarts Gallery, The Marc, Unit 13 LR, Maude Street and Rivonia Road. Sandton

Thomasâ&#x20AC;&#x2122; Gallery

ThomartsGaller1

@ThomartsG

SUE GREEFF Eclectica Contemporary www.eclecticacontemporary.co.za

rom Sea Point and Simons Town to The Luxembourg Gardens and Le Marais and back again.

Sue Greeff is a well-loved Cape Town based artist, whose collectors and friends are well acquainted with her layered and lyrical practice, but how did she fare in a different continent, a different city, and a different art context, and in French to top it off? She flourished. The results of her two-month residency with the esteemed CitĂŠ des Arts Paris could be seen across the walls of the Eclectica Contemporary booth at this yearâ&#x20AC;&#x2122;s Investec Cape Town Art Fair 2020, with motifs of historical painting and renaissance masterpieces imbued in her new works. From the titles of her works, to the suggestions of figures in her inky mixed media works, the impressions of Paris are traced through her works.

Above: Sue in her Studio Right: Eve I, 2019, Ink and Pigment on foamcore, 22 x 30 cm

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The Cite des Arts is a residency hosted in the heart of Le Marais district of Paris, next to the banks of the Seine. Through an ongoing partnership, South African artists may be selected to attend the residency and are given the opportunity to live and work within the Cité building, alongside artists from other countries. During her time in Paris, Greeff was given access to the museums and art galleries in Paris, which naturally made an impact on her thinking and approach to working while she was there. Having trained and worked as a midwife in her twenties, Greeff’s practice continues to draw on her experience and understanding of the birthing process, the body and the mythology of human existence in its various forms and across different traditions. Having access to the Louvre Museum meant that Greeff could make return trips and engage in focused observation and create studies of the works before returning to her studio to respond to the experience and thought that arose through this process. These invaluable experiences can be observed in her piece The Three Graces and the recurring motif of the figure of Eve within her pieces. Her work demonstrates her interest in the narratives surrounding creation, sexuality and fertility, where she is drawn to pieces that attempt to illustrate these concepts across the history of the western art cannon. In andromeda under pink sea, Greeff has picked up on form, rearticulating a Kiki Smith sculptural work as a small painting of ink and pigment on board. Through this piece and other pieces, she highlights critical female characters across mythology and situates them within her fluid-y, liquid-like worlds. Greeff described her time in Paris as “a fertile hotbed that is just non-stop, it has excited me to get into my practice and keep making work. I think that traveling is a wonderful opportunity for any artist. I feel that it keeps my heart open, it keeps me sensitised to the world, and especially as a woman, and what relates universally, that I can bring into my work”. She explains further that from her different experiences in different careers, it can often feel like the world is wanting to decide for and dictate the behaviours of women, so in her work she is conscious of not being didactic.

Inner bloom, 2019, Ink, Pigment & charcoal on Paper 50 x 64.5 cm

Andromeda under a pink sea, 2019 Ink and Pigment on Board 18 x 18 cm

She says, “it’s an opportunity for the viewer to engage with the work and to come to their own conclusions”, through the cues and suggestions presented in forms, colours and titles. During her time in Paris, Greeff began working on different surfaces and experimenting with different sizes. Thinking about transportation, movement and travel she began repurposing the pages of books, pieces of foamcore and board and integrated stitching and layering of different materials. Her piece mamman II and pink sea explore dimension and surface through the introduction of a grid of stitched together book pages layered with smaller paintings in mamman II and colour washes that hint at swabs or flesh in pink sea. In eve I and the three graces she integrates iconic large paintings onto foamcore as small details within her work, bringing art history and her impressions of Paris into the textures of her aesthetic.

The experience of Paris and accessing the rich history and traditions of artists in the city has joined the river of Greeff’s practice as she flows onto what comes next. When asked what she has planned she invoked her midwifery practice through metaphors explaining that, “it feels like there needs to be a bit of an incubation period for things to percolate. And then there’ll be a birthing!” As a South African artist, based in Cape Town, Sue Greeff is represented by Eclectica Contemporary and her work is featured in collections around the world. Her recent body of work was featured at the Investec Cape Town Art Fair and her work can be found at Eclectica Contemporary in Cape Town.

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Herman van Nazareth ( 1936 - ), Blue Route, n.d., oil on board, Sanlam Art Collection.

Landscapes made Modern Transforming visions of the landscapes from the Sanlam Art Collection

Sanlam Art Lounge Sanlam, 11 Alice Lane, Sandton

Until June 2020 Mon – Friday 12:00 – 16:00

Tafelberg Photography Club An exhibition showcasing the skills of the members of one of the most award winning photographic clubs in the Western Cape

Sanlam Art Gallery Sanlam Head Office, 2 Strand Road, Bellville

11 March – 3 April 2020 Mon – Friday 09:00 – 16:30

Contact Tel: 021 947 3359 / 083 457 2699 Email: sanlamart@sanlam.co.za Web: https://blog.sanlam.co.za/artcollection/

Juan Venter, Pedestrian Bridge, digital print.

‘THREADS’

Exhibition by Andre van Vuuren RK Contemporary, Riebeek Kasteel 8 – 29 March 2020 www.rkcontemporary.com

Andre van Vuuren in his studio.

avelling the threads: From early works dashed onto paper, to impressive canvases layered in vibrant colour, each brush or blade stroke strikes fire from the surface in an explosion of expressive imagery. Follow on through decades of visual experimentation and witness the arrival, development and discard of subconscious characters and reflections captured in impulsive, energetic line and colour. Find and trace the recurrent shapes and scenes that echo across the collection, the heartbeats that vitalise this body of work. Our turbulent global history since World War ll has had its effect on the outpourings of art from this one individual’s innermost feelings. Experience the emotional turmoil that finds its escape into a lasting record of tempestuous painting.

(Detail) Three accusers, oil on linen 130x180cms

“Trace the evolution of dynamic figures and abstract images over fifty years of creative expression.”

(Detail) Witnesses, oil on linen 130x180cms

This is a unique autobiography of the artist as a young and as a mature man, seen through all the stages of his life and artistic growth. Each work captures a moment in time and displays the feelings and emotions churning in his soul for all to see. It is very rare that the entire history of a significant artist has been assembled in one place to present a complete life’s visual replay of half a century of painting. More than an exhibition, this is a time capsule that contains the essence of André van Vuuren’s growth and flourishing as an internationally recognised and respected expressionist. All enquiries: Astrid McLeod Tel +27 (0)83 653 3697 art@rkcontemporary.com www.rkcontemporary.com

(Detail) The Dancer, oil on linen 130 x 180

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PHILISWA LILA Skin, Bone, Fire: The First Album NWU Main Gallery

Entsizwa I, Oil on canvas, 46cm x 61cm, 2019, 2020

Entsizwa II, Oil on canvas, 46cm x 61cm, 2019, 2020

“Philiswa’s work is multi-disciplinary, which include painting, installation, performance and writing.” “Skin, Bone, Fire: The First Album” a Solo exhibition by Philiswa Lila, 2018 Absa L’Atelier Gerard Sekoto winner. Through this exhibition, Philiswa explores the physical, mental and spiritual spaces held close by her personal experiences. She focuses on the link methods or story methods of remembering. Philiswa is particularly interested in memory histories and personal identities. She is influenced by the nuances of language, meaning and experiences of individualism, especially concerning the physical and emotional senses that are related to humans and animals.

Philiswa’s work is multi-disciplinary, which include painting, installation, performance and writing. Many of the techniques used in her installations are linked to forms that will fit bodies. Her choice of materials is important to the recording of stories using bodies as archives and traces of personal experiences that connect the past with the present. Exhibition runs 2 April – 5 March Opposite Page: Portraits III, oil on canvas, 69cm x 92cm, 2019

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PHOKA NYOKONG

“Dinoolwane, Matlotlo le Baloi” (Folklores, Treasures and Witches) NWU Botanical Garden Gallery

Shrine, Photographic digital print on aluminium.

his exhibition brings together recently exhibited work for the Absa L’artelier Gerard Sekoto Award, including photographic works and a newly made sitespecific installation. The title of the exhibition is an allusion to the artist’s fascination and deep-rooted enchantment with indigenous Tswana culture and rich folklore traditions. He appropriates his already existing imagery and juxtaposes it with an investigation into the potential of oral literary traditions such as folklores and fairytales, particularly as pertaining to the secretive tradition of witchcraft and traditional ritual. But in this exhibition witchcraft is taken as a metaphoric, even playful realm.

Collector-Gatherer, Photographic digital print on aluminium.

The installation further sets the thematic root of the exhibition in the world of sleep by erecting a safe space for sleep as exploration, of one’s dreams, thoughts and myths. It encourages visitors to explore the space by physically subjecting their bodies to an unknown intimate construction. It is a way of collective archiving, where the artist’s enquiry into the phenomena of sleep meets the viewer’s expectation of the properties of the same. Exhibition runs from 2 April – 5 May. Opposite Page: Subjugation, 2018, Photographic digital print on aluminium.

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THOMARTS GALLERY Empowering Local Artists thomartsgallery.com

Nathi Ngulube, Relational, Mixed media on paper, 162cm x 87cm

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homarts Gallery is a black-owned contemporary, neo-expressionist art gallery, run by Nkgadi Sheena-Leigh Ngulube and her husband, the world-renowned sculptor and painter, Nkosinathi Thomas Ngulube. Thomarts Gallery, based at The Marc shopping mall in Sandton, Johannesburg, occupies a unique niche within the contemporary South African art sector. The Gallery provides a range of activities within the industry, from strategy development, to exhibition, to art curating and providing superior forms of art to its patrons. The Galleryâ&#x20AC;&#x2122;s mandate in business is to bring a fresh, artistic and innovative approach to its services. They run art workshops for artists to enhance their techniques and improve their business skills which empowers local artists to manage their own careers as businesses. Thomarts Gallery showcases a wide range of artists in both local and international art fairs. They showcase South African artists to the likes of Mandisi Mncela, Marcelino Manhula, Daniela Lourenco, Lerato Motau, Max Gordon, Marieke Henning and many others. Thomarts Gallery is located at The Marc Unit 13 LR Maude street and Rivonia Road Sandton. Tel 083 897 7802 Emial: nathi@thomartsgallery.com

Mandisi Mncela, Intlambuluko.â&#x20AC;&#x2122;(Cleansing, Mixed media on paper. 90cm x 180 cm

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Nkosinathi Thomas Ngulube , Early Morning Run, Mixed media on canvas, 136cm x290cm

Nathi Ngulube, Sundowner Moment Ekasi, Mixed media on fabriano. 162cm x 80cm

â&#x20AC;&#x2DC;No Manâ&#x20AC;&#x2122;s Land, Nkosinathi Thomas Ngulube, Mixed Media on Fabriano, 222cm x 102cm.2020

Nathi Ngulube, Ballet Rehearsal. Mixed media hessian. 90cm x 200cm

A STORY OF KNOTS

Louis Jansen van Vuuren

ore fifty years ago, I was in the newly renovated Lutheran church, now known as GUS, on the corner of Dorp and Bird Street, for the opening of a spectacular exhibition put together by Prof. Otto Schrรถder and Dr. Anton Rupert. The show comprised a vibrant collection of Jean Lurรงat tapestries that Dr. Rupert bought in Aubusson, France. It was the first time an exhibition of this magnitude was curated for the new University Galery in Stellenbosch, and most certainly, my first encounter with a beguiling series of contemporary French tapestries.

Call it the destiny of coincidence, call it what you may. Sometimes things are just plain and simply written in the stars. As I grow older, aspects other than academic erudition takes preference in describing certain phenomena in the creative world around me. I seem to fall squarely into the romantic and symbolist trap. A tendency sometimes tolerated by the French, but only for brief periods. It is a delightful divergence forms the metered measures of academia. Indulge me the ramblings of the storyteller.

Above: Gone Right: The Crystaline Grid 66

Delft On My Mind 68

A few months before the Lurçat exhibition opened in Stellenbosch, a group of four art students, then in our post-grad study year, had the opportunity to go on an art adventure in Europe. We were given the grace of an extra few weeks by our equally enthusiastic Prof. For this particular musing, I take you to the moment when I stood in front of the Lady and the Unicorn Tapestry Teinture for the first time. It is a series of six tapestries housed in the Museé National du Moyen Âge in Paris. The sixth tapestry displays the words: À mon seul désir. The meaning of the phrase remains obscure, but it has something to with a sense of longing, desire, and love. I was transported and filled with as sense of longing, desire, and whatever I then as a young man, understood as love. The light and climate control in the rooms where the tapestries are on show created an atmosphere of twilight. It was alive with the diminishing energy of the breaking of day. What the French call, ever so romantically, crepuscule. The tapestries were radiant. A series of visual poems that touches on those elusive emotions mortals seem to tussle with as time goes by. I was spellbound. Bedazzled. The conception of this exhibition called KNOT/KNOOP is a eulogium to that inspiring day in Paris some fifty years ago.

Gordian Knot

Unravel

Another random occurrence, was that the Lady and the Unicorn series was originally housed in the Boussac castle, the village that we moved to in rural France twenty years ago. It was the writer, Georges Sand that was instrumental in having them restored and moved to the Paris Museum. Subsequently, we started collecting tapestries and cartons (preparatory gauche paintings), which are the preliminary designs for tapestries. Interpretations of The Lady and the Unicorn series are still woven in Aubusson to this day, done from the ancient cartons that survived the passing of time. We are fortunate to have a series of tapestries and cartons from various periods in the history of this art form, In this unique collection of art on display, a late 19the century tapestry of the sixth work in the Lady and the Unicorn series is on show and it served as the inspiration of a series of my works. Another large late 17th century Aubusson tapestry fragment depicting Alexander the Great is also included in the KNOOP exhibition. KNOOP represents works from more that sixty artists. We did not expect our invited artists to weave, knot or stitch together an artwork.

Of course, they were most welcome to do that, but at the very least, they had to create a work that visually refers to this textile form of art. It could be as simple as a painting, drawing, lithograph, photograph, or needlepoint that visually refers to a woven image. The exhibition also includes ceramics and other three-dimensional knots. Artists were asked to be creative with the interpretation of the theme, rather than being restricted by the imposing power of a knot. A further source of inspiration was to look to the vibrant and diverse history of fiber art on our continent. Textiles have been a fundamental part of human life since the beginning ofÂ civilization. The methods and materials used to make them, have expanded enormously and we enjoy a multifariousness of innovation that subsumates historical and contemporary methods. It is with this inovative vibration in mind that we expore disparate points of visual confluence and personal creative interpetations of the simple knot.

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‘ENCLAVE’

Nic de Jesus Solo Exhibition 21 March – 18 April 2020 Art In The Yard Franschhoek

Nic De Jesus at work on his exhibition ‘Enclave’ 72

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andscape and Seascape Painting and Drawing have been the primary subject matter for South African Artist, Nic De Jesus, however, his latest works speak to ‘Cosmic Forms’ and ‘Figurative Painting’ which is something new for the artist, or is it? While at work in 2019 on his first South African solo exhibition which was planned to take place in 2020, Nic was challenged with Encephalitis a life threatening condition or an ‘Awakening’ as he calls it. This illness would halt the artists preparation and production for the proposed show, ultimately forcing Nic to abandon the potential of a complete Solo Show. Induced comas, seizures, brain swelling and the support of loved ones, these experiences left the artist with unfathomable questions of what it means to be part of the fabric of life. After much deliberation and a long period of recovery, Nic decided to proceed with a small collection of works titled ‘Enclave ’ which is the artists entry point to contemplating the experiences endured.

Nic preparing Red Ochre. He uses a combination of tubed store-purchased pigments and his own ground pigments.

Nic working on ‘Prelude’

The works limited colour palette - pigment which are often gound by the artist himself, is a nod to a time of great craftsmanship and is a reminder to Nic of all the masters that came before him and the lessons one may learn through history. The works continue to draw inspiration from the great Sculptures and Painters of the past and as a result Nics technique of layering translucent coloured oil paint, whereby each dried layer supports the next layer is again a ‘tip of the hat’ to those great masters. This technique of painting is slow but the end result is rich with depth and atmosphere - A common thread that Nic weaves through all of his work. In an exhibition format, ‘ Enclave’ is a nod to the artists’ love of film editing - a profession he once occupied. Nic uses ‘Parallel editing’ - A technique of alternating two or more scenes

that often happen simultaneously but in different locations. For example, the Painting, ‘Beyond the Pale’ - a woman walking over a summit holding a vessel will join the paintings Pneuma I & II , and ‘Prelude which at first sight resemble abstract forms. While the work may have apocalyptic and post apocalyptic undertones they are grouped to remind us of how connected we are. ‘And I ask...what will it be like... to live in union with our planet. Are we so different, you and I, that we require a crisis to see each other.’ Nic continues in his prefered ‘Series Format’ and ‘Enclave’ will sit amongst Nic’s opus of Drawings and Paintings - ‘ The Fire Next Time’ & ‘Mare Incognitum.’

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Hero

Kevin Mackintosh 2 2 Fe b – 1 0 A p r 2 0 2 0

DEEP

EST DARK EST

20 Dixon St De Waterkant

Tues – Fri: 12pm – 6pm Sat: 12pm – 4pm deepestdarkestart.com @deepestdarkest_art

SYNERGY AT IS ART FRANSCHHOEK Words by H. F. Theron is-art-gallery.com

Arno Morland, The New Way Of Thinking

t is IS Art’s distinct privilege to present a duality of exhibitions at its Franschhoek location, featuring the works of Arno Morland and Malose Pete. It is often a pursuit of artists to force emotion and aesthetic together in an attempt to forge a single likeness, destined for greatness. In truth, it is not hard to understand why – these two aspects arguably being the foundational pillars supporting truly great, iconic and timeless artistic expression. It is, however, the unfortunate reality that this fusion seldom transpires. What manifests in its stead, is that one pillar might crumble, losing out to the other; resulting in a work that either sways itself towards the realm of the aesthetic – that which is considered beautiful, pure, visually stimulating and appeals to the onlooker instantaneously. Or alternatively, the work is flung towards the sphere of outright emotion – that which speaks to the onlooker on a primal level and evokes within him an inexplicable resonance. Often the latter being to the complete disregard of any specific or ascertainable aesthetic que. It is in light of this alchemy, and with both pillars of the shrine stood upright, that the two artists forming part of this dual exhibition each find their solace, ever so slightly adjourned to their respective sides of the courtyard.

Malose Pete, Eminence from little instruments

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Malose Pete, Seeking Belonging

Arno Morland, Man Analysing

With his body of work titled ‘In thought’, Arno Morland creates theatre in plain sight, evoking an open dialogue with the onlooker and casting upon him an environment to exploit. Being thrust into playful and somewhat familiar scenery, one’s own narrative is able to dance and dwell among the four corners of Morland’s expression. His work weaves suspended fragments of storyline and glimpses of unfinished dialogue for the onlooker to pick up, connect and interact with. The underlying familiarity in the scenery portrayed, however, is key – it creates the resonance whereby one’s thoughts can harmonise. Throughout his work Morland composes ethereal dreamscapes in muted yet vibrant, calming pastels. This it seems is Morland’s recipe for true expression, being a captivatingly shrouded mirror for the onlooker’s own thoughts – a dream cast to light, and sketched upon a canvass.

Pete contorts imagery from his own life with that of his forefathers, merging fragments of rural life with urban milieu and cityscapes, culminating in a truly intimate self-expression. In this, the truth beneath Pete’s work is uncovered; his work being an allegory of the familial silhouettes, weary and watching, behind the eyes of every son – the long shadow of the Baobab tree, the sediment at the bottom of the bowl that we just can’t shake loose. The work is lathered in a revelry of lived experiences, both new and old, and seeks to play commentary to the concept of what we paint with worth, which in itself has been contorted with time. Pete’s work is a reminder that the ancestral weight upon our shoulders will never desist.

In turn, Malose Pete’s work radiates pure emotion, yet is complex in its presentation. At first glance, it is difficult to dissect, emerging as hazy and transient spiritual dreams and character sketches – each portrayed in their most raw and chaotic form. Titled “In the language of my forefathers”,

11 Huguenot Road, Franschhoek, Western Cape | 29b Church Street, Stellenbosch, Western Cape | Tokara Wine Estate, Helshoogte Road, Stellenbosch, Western Cape

For more information contact: gallery@isart.co.za / Tel: (021) 876 2071

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MASTERS IN VISUAL ARTS 2020 EXHIBITION 07 – 27 March 2020 UNISA Art Gallery

Ané Jooste, Flashbacks, Pigment ink on cotton fibre paper, 100 x 148cm

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he Unisa Masters in Visual Arts (MVA) students John Anthony Boerma and Ane Jooste are having their MVA exhibitions on 7 until 27 March at the Unisa Art Gallery. John Anthony’s Love is a Dangerous Drug is a potent exhibition consisting of 200 hand painted plates as a sound installation, addressing his autobiographical memory. It includes text which is written in childlike handwriting and the lines of songs are transcribed onto hand-painted red and blue lines. These lines recall the typical blue, red and white striped folio paper that was used in school notebooks. Suspended from the gallery ceiling and spaced in clusters of different heights, the plates mimic patterns and snippets of autobiographical memory and it’s remembering process through the plates’ reflection of Boerma’s personal identity. The body of work is reliant on his identity and presents an incoherent and fragmented structure. An important objective is to articulate that aspects of his autobiographical memory deals with continuity and discontinuity of the self. Event-specific information is presented through written songs and a sound installation of Boerma’s favourite songs associated to certain periods in his life. Through his installation he visually investigates aspects of a remembered event and how he recalls the latter through lyrics of songs. The way the events are remembered at a certain time, effects his perspective from which he remembers such events. The use of music employed in the artworks plays the key role in deciphering his autobiographical memory. Music and memories are deeply interlinked since the experience of a song has the ability to transport an individual to past events. It can activate sights, noises and emotions of an explicit event. Consequently Boerma’s artworks introduce the relation between music and intense autobiographical memory which is visualised through child-like drawings and writings that add a melancholic aspect to the exhibition.

Ané Jooste, Repressed Traumatic memory, Pigment ink on cotton fibre paper, 100 x 130,5cm

Ané Jooste, Anxiety, Pigment ink on cotton fibre paper, 100 x 148cm

Ané Jooste, Amnesia, Pigment ink on cotton fibre paper, 100 x 148cm

“It delves into traumatic memories rooted in the unconscious and the modalities of traumatic memory of childhood” Ane Jooste’s exhibition title is The Silent Wound, which is the autobiographic portrayal of the abused child, or rather, myself. It delves into traumatic memories rooted in the unconscious and the modalities of traumatic memory of childhood, with specific reference to the trauma studies of Bessel Van der Kolk. The research is conducted in the form of practice-led and focuses on interpretations of selected artworks as well as a theoretical component. My body of large-scale digital artworks plays a significant role in the research process, which implies that theory leads practice and vice versa. The work is the visual exploration of child sexual abuse (CSA), and in particular, analysed according to my interpretation of symbols. The artworks are primarily considered according to notions of trauma. Contemporary trauma theories are threaded into Sigmund Freud and Jacques Lacan’s views of trauma. The reflections of childhood trauma in the selected artworks are based on contemporary trauma theory by theorists such as Cathy Caruth.

The creative work consists of eleven digital artworks titled The Silent Wound. The artworks in The Silent Wound portray CSA, childhood trauma, and traumatic memories in the unconscious. Dealing with the understanding and representation of childhood trauma such as CSA, these themes are embodied continuously in my artworks.s The portrayal of the fragile girl’s body (my own) as a signifier in the artworks is related to my situation, and therefore I choose an empathic view of childhood trauma within the study, portraying personal traumatic events and the memories thereof in the unconscious. The main objective of this study is to investigate CSA, digital art, trauma and traumatic memories. The principal aim is to recognise how digital art enables the representation and understanding of CSA and traumatic memories and how the silenced and abused child’s voice can be expressed through the affective and transactive quality of art.

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2020 Exhibition

Kgorong Building, Ground Floor, 311 Preller Street Pretoria This exhibition will run until Friday 27 March 2020

Dance for All 88

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HERMANUS FYNARTS 2020 Q&A with festival director, Mary Faure

hermanusfynarts.co.za

AT: Now in it’s 8th year – what contributes to the sustainability of Hermanus FynArts ? MF: Apart from prayers - and lots of them - we are blessed with a very supportive community in the Overberg which has embraced the festival from year one – as supporters, volunteers, participants and sponsors, also in-kind. Another contributing factor is the quality of artists, performers and speakers we manage to attract every year and then, I believe, we have struck the right cord with the fusion of arts festival and winter school in our programme mix over the years. AT: In the latter regard, what are some highlights in the program mix for FynArts 2020? MF: High on the visual arts list this year will undoubtedly be the work of Beezy Bailey, the Festival Artist for 2020, with his exhibition titled Falling Stars. Then there is the ever popular Sculptures on the Cliff exhibition, the unique finalists’ exhibtion on the heads of wine barrels in the Tollman Bouchard Finlayson Art Award as well as the very popular ceramic and art of thread group exhibitions. For the first time this year, we will feature a design exhibition in an industrial space - the parking garage above Woolworths. And, then there are also the eighteen galleries in the centre of town and additional exhibitions on wine farms. The entire programme, from the opening concert, Basically Beethoven until the close with the Cape Philharmonic Youth Orchestra, and soloists Lauren Dasappa and Jarred Ricketts, under the baton of Brandon Phillips, including a great deal for everyone. The eleven-day programme of concerts range from Emo Adams and his band, a jazz supper with the Cape Dutch Connection, two theatre productions, opera, dance, music and much more. Fifty Shades of Gold promises to be another highlight. Angelo Gobbato, the recipient of this year’s Fyn Arts Legacy Award, and Aviva Pelham, the well-known soprano, join forces to the many shades that have marked their 50-year artistic collaboration. Bongani Khubeka (baritone), Elizabeth Catharina (soprano) and students from the University of Cape Town Opera School will also take part in this production. Jake Singer

Opposite Page: Festival Artist Beezy Bailey

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The Cape Philharmonic Youth Orchestra

Apart from a captivating number of sessions on Talking Books, The Strauss & Co series of Talks and Presentations forms the heart of the Winter School programme which this year includes more than 30 prominent speakers and interviewees on diverse topics. They include Judge Edwin Cameron on Prisons – Promise or Peril in his new responsibility as inspecting judge of the Judicial Inspectorate for Correctional Services (he is also being interviewed on his life in another session), Michael Godby and Haydon Proud on Irma Steyn , Barbara Lindop on Gerald Sekoto , Marguerite Poland on her new novel, A sin of Omission and Gregory Mthembu-Salter on his intriguing book Wanted Dead & Alive – A Case for South African’s Cattle. Together with a wide variety of arts-related workshops, chef’s demonstration, films and children’s programme, the FynArts festival continues to provide a successful and comprehensive mix of art appreciation, learning and entertainment for the discerning festival goer.

AT: Your wish for FynArts 2021? MF: That we will continue to grow as an arts festival cum winter school, that our FynArts Development Fund, established to stimulate the development of art in our region, will reach new milestones and that we will manage to find more sponsors who are indispensable for our growth. We have just secured a most valuable sponsorship from Pioneer Freight for this year’s Sculptures on the Cliff exhibition. We are deeply grateful – also to our other loyal event and inkind sponsors, advertisers and benefactors. There remains, however, a burning need for more sponsors to enable us to continue presenting a top-quality festival. We will be exploring such possibilities and opportunities further in the year ahead. Meanwhile – we are looking forward to welcoming festival goers to a bumper, uplifting and challenging FynArts 2020.

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H E R M A N U S

A Celebration of South African Arts

5 - 16 June 2020

Exhibitions performances talks, presentations demonstrations, workshops food and wine, films and childrenâ&#x20AC;&#x2122;s events

A Fusion of Arts Festival and Winter School More information at hermanusfynarts.co.za or admin@hermanusfynarts.co.za

Sign up for our newsletter and social media platforms to keep updated on who, what and where in the run up to the FynArts Festival

Business Art

STRAUSS & CO

Stellar debuts for young artists at contemporary art sale www.straussart.co.za

Talented multi-media artist Athi-Patra Ruga once again topped Strauss & Co’s annual contemporary art sale in Cape Town when his wool and thread tapestry measuring three-metres high sold for R796 600. Held in a portside warehouse in the V&A Waterfront, the 102-lot sale grossed R12.3 million with a lot sell-through rate of 71%. The well-attended sale established new category world records for large-scale photographs by Mary Sibande and Berni Searle. Encouragingly, the sale also registered collector interest in auction newcomers Nicholas Hlobo, Musa N. Nxumalo, Cinga Samson and Ruby Swinney. Intense bidding for paintings by Swinney and Samson, that included the participation of online bidders, saw their lots double pre-sale estimates and sell for R136 560 and R238 980 respectively. Established collector interest for works by Jake Aikman, Lisa Brice, Georgina Gratrix, Mohau Modisakeng, Zanele Muholi and Simphiwe Ndzube remained, with prices established at previous Strauss & Co sales either matched or surpassed. Gratrix’s satirical portrait of a happy couple earned the highest price for a painting when it sold for R318 640. “Our mission with this specialist sale was always to introduce new artists to the market and broaden our base of collectors,” says Strauss & Co chairperson Frank Kilbourn. “This is absolutely happening. Over and above our loyal and committed South African collectors, the third instalment of our contemporary art sale attracted buyers from France, Italy, Germany and the United States. As Cape Town’s profile continues to grow among international collectors, this is having a positive impact on the profile and value of artists from the African continent.” The top ten lots sold at Strauss & Co’s second live auction of 2020 point to a growing diversity in

Georgina Gratrix, Happy Couple, oil on board, 123 by 88,5cm, SOLD R 318 640

the South African auction market. Alongside auction stalwarts like Norman Catherine and Robert Hodgins, the list included Nicholas Hlobo, Mary Sibande and Berni Searle. Hlobo’s auction debut was christened with a solid result when his embroidered ribbon assemblage piece Umphokoqo sold for R455 200. Confirming momentum started in 2017, an early portrait depicting Sibande’s avatar Sophie, an elaborately costumed domestic worker, sold for R261 740 – bettering her previous high result of R 193 256. Searle’s photo installation Still, previously owned by collectors Graham and Rhona Beck, sold for R318 640. Scarcity is a hallmark of value in the secondary market. Rarely offered at auction in South Africa, a 2007 bronze by figure sculptor Claudette Schreuders attracted intense bidding before selling for R318 640 – doubling the previous high established in 2014. The most valuable sculpture lot to find a buyer was Beezy Bailey’s celebratory blue powder-coated bronze, 1000 Year Dance Cure II, which fetched R398 300.

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Cinga Samson, Untitled, oil on canvas, 80 by 60cm, SOLD R 238 980

Better known as a painter, Bailey’s 2003 canvas depicting two marching figures also ranked among the top-selling paintings when it sold for R216 220. Other painters who commanded solid results included: Jake Aikman (R250 360 for a 2019 seascape), Meriem Bouderbala (R204 840 for an enigmatic 2015 reverse glass painting), Lisa Brice (R250 360 for a 2005 nocturnal tropical scene), Robert Hodgins (R284 500 for an abstracted head from 2004), Owusu-Ankomah (R193 460 for a 2011 acrylic featuring adinkra symbols), Mustafa Maluka (R250 360 for a vivid 2005 portrait) and current Standard Bank Young Artist laureate Blessing Ngobeni (R250 360 for a 2015 social allegory). Strauss & Co’s contemporary art sale bookended a busy two weeks of exhibition openings and related programmes timed to coincide with the Investec Cape town Art Fair. Notwithstanding Cape Town’s emergence as a global art capital, Strauss & Co joint managing director Bina Genovese is candid about the difficult business circumstances facing South Africa.

Top: Nicholas Hlobo, Umphokoqo, 71 by 99cm, SOLD R 455 200. Bottom: Berni Searle, Still, 120 by 120cm, SOLD R 318 640

“It is no secret that we are trading in a constrained economic environment and conditions in the secondary market have tipped in the favour of buyers,” says Genovese. “This was reflected in the sub-optimal performance of some of the high-value lots in our contemporary art catalogue. I am nonetheless encouraged by the depth and resilience of the market for art priced under R500 000. Although only three years old, Strauss & Co’s contemporary art sale continues to play an important role in establishing credible benchmarks in this exciting, future-orientated sector of our business.” Strauss & Co’s next live sale will be held in Cape Town on 30 March. The sale includes two important works by Irma Stern, a still life and Zanzibar portrait, as well as two notable landscapes by JH Pierneef. The sale will also feature sessions devoted to decorative arts and jewellery, as well as integrate a new session devoted to fine wines. www.straussart.co.za | +27 (0)21 683 6560

Business Art

STRAUSS & CO

19th Century, Modern, Contemporary and Post-War Art, Decorative Arts, Jewellery and Wine - 30 March 2020 The Vineyard Hotel, Cape Town www.straussart.co.za

Stanley Pinker, His and Hers or Decline and Fall, diptych, oil on canvas 94 by 147cm, R 2 000 000 - 3 000 000

Jacob Hendrik Pierneef, Bushveld Game Reserve, oil on canvas 40 by 55cm, R 2 000 000 - 3 000 000 98

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Peter Clarke, The Fruit Vendor, oil on card 47,5 by 39cm, R 600 000 - 800 000

Vladimir Tretchikoff, Portrait of Ellen Peters, oil on canvas 75,5 by 65cm, R 900 000 - 1 200 000

Alexis Preller, Space Angel, oil and gesso on canvas 111 by 121cm, R 5 000 000 - 7 000 000

Business Art News

ASPIRE ART AUCTIONS

Top results achieved for Modern and Contemporary African Art.

he landmark Aspire X Piasa Auction: Modern & Contemporary African Art, took place on Friday, 14 February at OroAfrica House in Cape Town. With a curated collection of 198 artworks, the large-scale Africa-focused auction offered collectors a diversity of works by artists working on the continent and from the diaspora.

This pioneering collaboration between Aspire Art Auctions and Piasa was unprecedented and is the first time an African and European auction house have partnered to present a sale of African art, in Africa, for a global audience. The sale attracted a large number of bidders from 16 different countries across 6 continents. This auction not only introduced new artists to auction, but reinforced some of the most indemand African artists on the market, locally and abroad. Proving the strength of the global African art market, Aspire X Piasa achieved many outstanding results, setting numerous new records for modern and contemporary art from Africa. TOP PERFORMERS The cover lot of the sale, internationally renowned Marlene Dumas’ sensational Oktober 1973 excited competitive bidding before being selling to a new buyer in the room for R7,055,600, well above the pre-sale high estimate of R5 million. This was only the third unique Marlene Dumas work ever to be sold at auction in South Africa, achieving the second highest price for the artist’s work locally. Aspire currently holds the South African auction record for Dumas. William Kentridge’s multi-media work Whilst reaching Down (Slowly) sold for R2,503,600, followed by John Meyer’s impressive Cape landscape, Edge of the Hexrivierberge which achieved R1,138,000. Gareth Nyandoro, Tauya Nadzo Tsoka Dzenyu (Brand New Second Hand Nikes), 2016

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Andy Warhol’s Grevy’s Zebra (from the Endangered Species series) was a delightful thematic inclusion and sold for an impressive R1,024,200. AFRICAN ARTISTS DEBUT Featuring 139 artists and representing 27 countries from Africa and the diaspora, the auction presented the broadest pan-African offering to date in Africa, with many of these artists being introduced to auction in South Africa.

Abdoulaye Diarrassouba (Aboudia), Untitled

This segment performed remarkably well, showing progressive market interest and price growth. A highlight was Chéri Samba’s Retour au Bercail selling for R432,440, well above its high estimate. Salah Elmur’s enchanting work The Green Forest, sold for R318,640 and Michael Musyoka’s Time 5 achieved a momentous R250,360 Christophe Person, Head of African Contemporary Art at Piasa states: “This first Aspire X Piasa partnership provided the opportunity for works by many artists to appear at auction for the first time. The selection generated strong interest from collectors and reached a wider audience from across the globe. For Piasa’s collectors, this auction provided access to works by internationally established artists such as Marlene Dumas and William Kentridge as well as established South African artists like David Goldblatt, Mary Sibande, David Koloane, Athi-Patra Ruga and Mohau Modisakeng, amongst many others. At Piasa, we strongly believe that the way forward to develop the contemporary African art market is to operate globally across borders.

David Goldblatt, A railway shunter who dreamed of a garden without concrete or bricks, watered by this dam, Koksoord, Randfontein. 1962, 1962, printed later.

We see this as our role to assist clients in building pan-African collections.” CONTEMPORARY ART The sale once again demonstrated Aspire’s strength and established market leadership in the contemporary art and photography sectors. This segment delivered astonishing results with many new records set and auction debuts.

Opposite Page: Marlene Dumas, Oktober 1973 SOLD FOR: R7 055 600

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William Kentridge, Whilst Reaching Down (Slowly), 2013

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A beautiful study by Maggie Laubser, Violet sails and birds, from 1964 sold for R682,800, followed by a remarkable drawing by the renowned Dumile Feni, Mother and child, which, after competitive bidding achieved a remarkable R625,900. This is currently the second highest price for a work on paper by Feni while Aspire still holds the record for the artist’s work.

Chéri Samba, Retour au Bercail, 1995

The collection included two sculptures by William Kentridge, Untitled IV (Horse with Raised Leg) and Man with Globe which sold for R853,500 and R455,200 respectively. Wim Botha’s sculpture Portrait VI sold for an admirable R398,300 while Kudzanai Chiurai’s White Wall achieved R227,600. Making his auction debut was Gareth Nyandoro with Tauya Nadzo Tsoka Dzenyu (Brand New Second Hand Nikes), selling at a record R284,500. Another newcomer to auction is bright young star Pierre Vermeulen, whose large-scale gold-leaf diptych sold for R113,800. Works by women artists took the lead with Lisa Brice’s Adult Show (sold for R364,160), Mary Sibande’s A Terrible Beauty is Born (sold for R342,400), Satiated (sold for R250,360) by Frances Goodman and Portrait of Guy (sold for R182,080) by Deborah Poynton all setting impressive new world auction records. Legendary photographer David Goldblatt’s highly sought-after work A railway shunter who dreamed of a garden without concrete or bricks, watered by this dam, Koksoord, Randfontein 1962 achieved R341,400 and Athi-Patra Ruga’s photograph The Future White Women of Azania II sold for R227,600. 20TH CENTURY MODERN ART As one of Aspire’s key strategic focus areas, the selection of rare and increasingly sought-after 20th century modernist works by artists from the continent drew considerable attention.

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Cecil Skotnes’ delicately carved Totem fetched an impressive R318,640 alongside Alexis Preller’s golden relief Abstract selling at R273,120. Cecily Sash’s Birds (from the Migration series) fetched a remarkable R204,840. Ghanaian Ablade Glover’s bird’s-eye view of an African Market in Blues achieved R182,080, well above its high estimate. Other significant sales include John Koenakeefe Mohl’s Daybreak After Snow Falling selling for R182,080. A significant and historical result was achieved by Gerard Sekoto’s 1959 lithographic poster for The Second Conference of Negro Writers and Artists by the Society of African Culture achieving a record-breaking R204,840. Ruarc Peffers, Managing Director and Senior Art Specialist concludes: “I am proud that we have pioneered the presentation of a truly pan-African offering of modern and contemporary art on our home continent to a global collector audience. While we have already seen huge growth in the art markets of Europe and the US, the African art market remains largely underdeveloped with enormous potential for growth. Astute collectors are increasingly aware of this reality and are consequently diversifying their collections, making them more Afro-centric. It is an exciting time for African art! Although the global economic environment is still under significant pressure, the strong results from this sale show the robustness of the art market and collector’s abiding perception of art as a resilient store of wealth”.

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

Alexis Preller, oil and gold leaf on canvas laid down on panel SOLD R210, 000 View previous auction results at www.rkauctioneers.co.za

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

5th Avenue Fine Art Auctioneers

Gerard Sekoto Oil 33 x 27cm Sold For R 300 000 Next Auction, 5th April at 10am ~ Now accepting entries for this auction. Full catalogue available on our website www.5thAveAuctions.co.za

Enquiries: stuart@5aa.co.za ~ 011 781 2040

Business Art News

STEPHAN WELZ & C0.

First Auctions of 2020 Tuesday 31 March & Wednesday 1 April www.swelco.co.za

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tephan Welz & Co. has opened a new office and showroom in Johannesburg, situated at 205a Jan Smuts Avenue in Rosebank on the Art Mile, at the intersection of Jan Smuts and Jellicoe Avenues. The first auction of 2020 will be held at these new offices and showroom on Tuesday 31 March and Wednesday 1 April, and will be preceded by a collectable car and automobilia auction on the morning of Saturday 28 March. The viewing for this auction will run from Monday 23 March. Featuring a strong showing from the books, furniture, silver, decorative arts and jewellery departments, there will be a range of local and international artworks that will be auctioned.

(Detail) George Pemba, Portrait Of Sol Plaatje, Study Ii, signed and dated 85, watercolour and ink over pencil on paper, 23 by 17,5cm, R 20Â 000 to R 30 000

Some highlights include evocative landscapes by Jacob Hendrik Pierneef; a vibrant carved, incised and painted wooden panel by Cecil Skotnes; terracotta heads by Sydney Kumalo; an early work by Penny Siopis of Grahamstown; a series of ink and watercolour studies by Geroge Pemba; amongst works by other artists such as Gregoire Boonzaier, Damien Hirst, John Koenakeefe Mohl, Cyprian Shilakoe, Nat Mokgosi, Moses Kottler, Pranas Domsaitis and Nelson Makamo. Of particular interest to collectors is a special focus on the life and works of John Muafangejo, sculptures by Michael Zondi and ceramics and tapestries from Rorkeâ&#x20AC;&#x2122;s Drift.

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Jacob Hendrik Pierneef, Landscape With Rain Clouds, signed and dated 23, oil on card, 30 by 46,5cm, R 700 000 - R 1 000 000

ONGOING SHOWS OPENING EXHIBITIONS MARCH 2020 Andre van Vuuren, Variation on a landscape theme, oil on paper, 70x100cm

ONGOING SHOWS: MARCH 2020

EVERARD READ JHB PHILIPPE UZAC LIBERTY BATTSON BRONWEN FINDLAY UNTIL 14/03/2020 WWW.EVERARD-READ.CO.ZA

WWW.GOODMAN-GALLERY.COM

UNTIL 14/03/2020

UNTIL 18/03/2020

STEVENSON JHB DADA KHANYISA GOOD FEELINGS UNTIL 19/03/2020

BERMAN CONTEMPORARY GOLD, GUNS & PARADISE JUAN STOCKENSTROOM UNTIL 21/03/2020

WWW.STEVENSON.INFO

GALLERY 2 STAND A LITTLE LESS BETWEEN ME AND THE SUN - A SOLO EXHIBITION BY AUDREY ANDERSON UNTIL 20/03//2020 WWW.GALLERY2.CO.ZA

WWW.BERMANCONTEMPORARY.COM

UNTIL 19/03/2020

UNTIL 20/03//2020

UNTIL 21/03/2020

NORVAL FOUNDATION WHY SHOULD I HESITATE: SCULPTURE WILLIAM KENTRIDGE UNTIL 23/03/2020 WWW.NORVALFOUNDATION.ORG

ZEITZ MOCAA WHY SHOULD I HESITATE: DRAWINGS WILLIAM KENTRIDGE UNTIL 23/03/2020 WWW.ZEITZMOCAA.MUSEUM

EVERARD READ CPT BLESSING NGOBENI ANDRZEJ URBANSKI UNTIL 25/03/2020

UNTIL 23/03/2020

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GOODMAN GALLERY JHB BÃ&#x201D;NA THABISO SEKGALA UNTIL 14/03/2020

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WWW.EVERARD-READ-CAPETOWN.CO.ZA

UNTIL 25/03/2020

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

A SOLO EXHIBITION BY AMBER MOIR 26 FEBRUARY - 28 MARCH 2020 WWW.SALON91.CO.ZA

ONGOING SHOWS: MARCH 2020

ECLECTICA CONTEMPORARY DEMOCRAZY: OFENTSE SESHABELA UNTIL 26/03/2020

ECLECTICA CONTEMPORARY BEFORE TOMORROW COMES ONYIS MARTIN UNTIL 26/03/2020

DAOR CONTEMPORARY DEBRIS OF A NARRATIVE MARLISE KEITH UNTIL 27/03/2020

WWW.ECLECTICACONTEMPORARY.CO.ZA

WWW.DAOR.CO.ZA

UNTIL 26/03/2020

UNTIL 27/03/2020

GALLERYONE11 RITES OF PASSAGE UNTIL 28/03/2020

THK GALLERY DIFFERENT ANGLES UNTIL 28/03/2020

WWW.GALLERYONE11.COM

WWW.THKGALLERY.COM

UNTIL 28/03/2020

OLIEWENHUIS ART MUSEUM

ZEITZ MOCAA MICHAELIS SCHOOL OF FINEART AND SO THE STORIES RAN AWAY UNTIL 30/03/2020

WWW.NASMUS.CO.ZA

WWW.ZEITZMOCAA.MUSEUM

UNTIL 29/03/2020

UNTIL 30/03/2020

GENDER-POLITICS-IDENTITY COLLECTION TO CONTEMPLATE AND CONVERSE ON THEMES ASSOCIATED WITH GENDER, IDENTITY, MYSTICISM AND LAND DISCOURSES / UNTIL 29/03/2020

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UNTIL 28/03/2020

UNTIL 30/03/2020

ONGOING SHOWS: MARCH 2020

STELLENBOSCH ART TRIENNALE TOMORROW THERE WILL BE MORE OF US UNTIL 30/04/2020

SANLAM ART LOUNGE LANDSCAPES MADE MODERN UNTIL 30/06/2020

DYLAN LEWIS SCULPTURE GARDEN ALL VISITS BY APPOINTMENT UNTIL 31/03/2020

WWW.STELLENBOSCHTRIENNALE.COM

WWW.BLOG.SANLAM.CO.ZA/ARTCOLLECTION

INFO@DYLANART.CO.ZA

UNTIL 30/04/2020

UNTIL 30/06/2020

UNTIL 31/03/2020

ECLECTICA ART & ANTIQUES FRANK SPEARS BLUE EYED CLOWN 0217627983 WWW.ECLECTICAARTANDANTIQUES.CO.ZA

UNTIL 31/03/2020

THE MELROSE GALLERY CT

(ONE&ONLY) DR ESTHER MAHLANGU DISRUPTING PATTERNS UNTIL 31/03/2020 WWW.THEMELROSEGALLERY.COM

UNTIL 31/03/2020

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UNTIL 31/03/2020

ONGOING SHOWS: MARCH - JANUARY 2020

THOMARTS GALLERY THE MARC UNIT 13 LR MAUDE STREET AND RIVONIA ROAD SANDTON UNTIL 31/03/2020 WWW.THOMARTS.COM

CAPE IN INK

THE CAPE SEEN IN THE EYES OF ARTISTS, SKOTNESS, DEJONG PEMBERTON, SPILHAUS, MILES, SOHA, WOODBOURNE AND MORE UNTIL 30/03/2020

WWW.PRINTGALLERY.CO.ZA UNTIL 30/03/2020

Ulrich de Balbian Fine Art Foundation. Home.Studio.Gallery. ulrichdebalbian.org Painting/video library. Torch night tours. Several galleries. Garden installations & exhibitions. 17 Vierde Laan MoorreesburgW. Cape. 0844604541 ravenyoung1806 @gmail.com

UNTIL 31/03/2020

DEEPEST DARKEST KEVIN MACKINTOSH HERO UNTIL 10/04/2020

UNTIL 23/03/2020

RUPERT MUSEUM THEN & NOW GROUP EXHIBITION UNTIL 10/05/2020

WWW.DEEPESTDARKESTART.COM

UNTIL 31/03/2020

UNTIL 10/04/2020

UNTIL 10/05/2020

BECOMING: WHAT IS & WHAT IS NOT NEW ACQUISITIONS OF THE ART BANK OF SOUTH AFRICA UNTIL 03/05/2020 WWW.NASMUS.CO.ZA

ART@AFRICA WATER WARS UNTIL 05/09/2020

ART@AFRICA SO MUCH TALENT IN OUR COUNTRY UNTIL 13/04/2020

WWW.ARTATAFRICA.ART

UNTIL 03/05/2020

UNTIL 05/09/2020

UNTIL 13/04/2020

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OPENING EXHIBITIONS

MARCH 2020 WEEKS 1-4 Arno Morland, In Thought Solo Exhibition, IS ART 08/03/2020

OPENING EXHIBTIONS: MARCH 2020 WEEK 1-4

CAPE GALLERY THE INFLUENCE OF THE EARTH A NATURAL CONNECTION GROUP EXHIBITION 01/03/2020 UNTIL 18/04/2020 WWW.CAPEGALLERY.CO.ZA

GROUND ART CAFFE MICHAELA RINALDI 01/03/2020 UNTIL 31/03/2020

SALON NINETY ONE FIELD NOTES. A SOLO EXHIBITION BY ANDREW SUTHERLAND 01/04/2020 UNTIL 02/05/2020

WWW.GROUNDARTCAFFE.CO.ZA

WWW.SALON91.CO.ZA

01/03/2020 UNTIL 18/04/2020 WEEK 1 MARCH

01/03/2020 UNTIL 31/03/2020 WEEK 1 MARCH

NWU BOTANICAL GARDEN GALLERY PHOKA NYOKONG “DINOOLWANE, MATLOTLO LE BALOI” (FOLKLORES, TREASURES AND WITCHES) 02/04/2020 UNTIL 05/05/2020

UNISA ART GALLERY MASTERS IN VISUAL ART 2020 EXHIBITION 07/03/2020 UNTIL 27/03/2020 TEL: 021 444 8644

01/04/2020 UNTIL 02/05/2020 WEEK 1 MARCH

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

02/04/2020 UNTIL 05/05/2020 WEEK 1 MARCH

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07/03/2020 UNTIL 27/03/2020 WEEK 1 MARCH

04/03/2020 UNTIL 02/05/2020 WEEK 1 MARCH

UNISA ART GALLERY MASTERS IN VISUAL ART 2020 EXHIBITION 07/03/2020 UNTIL 27/03/2020 TEL: 021 444 8644

IS ART IN THOUGHT ARNO MORLAND SOLO EXHIBITION 08/03/2020 UNTIL 31/03/2020 083 626 9058

07/03/2020 UNTIL 27/03/2020 WEEK 1 MARCH

08/03/2020 UNTIL 31/03/2020 WEEK 2 MARCH

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40th Annivesary Print Portfolio available online www.artistproofstudio.co.za/shop IS Art Art Time Half page ad - Feb 2020.pdf

2020/02/21

10:11

FRANSCHHOEK 8 â&#x20AC;&#x201C; 30 March 2020 021 876 2071 is@isart.co.za

Arno Morland IN THOUGHT

Malose Pete IN THE WORDS OF MY FOREFATHERS

OPENING EXHIBTIONS: MARCH 2020 WEEK 1-4

RK CONTEMPORARY

SANLAM ART GALLERY TAFELBERG PHOTOGRAPHY CLUB EXHIBITION 11/03/2020 UNTIL 03/04/2020

WWW.RKCONTEMPORARY.COM

WWW.BLOG.SANLAM.CO.ZA/ARTCOLLECTION

08/03/2020 UNTIL 29/03/2020 WEEK 2 MARCH

11/03/2020 UNTIL 03/04/2020 WEEK 2 MARCH

14/03/2020 UNTIL 02/05/2020 WEEK 2 MARCH

SMITH BROKEN FACE SOLILOQUIES STEPHEN ALLWRIGHD UNTIL 20/04/2020

SMITH SUNSHINE ON MY SKIN IS MY FAVOURITE COLOUR. NABEEHA MOHAMED 20/03/2020 UNTIL 20/04/2020 WWW.SMITHSTUDIO.CO.ZA

ART@AFRICA AFFILIATED WITH JULIE MILLER AFRICAN CONTEMPORARY ARBOR ONEIRICA 21/03/2020 UNTIL 25/04/2020 WWWJULIEMILLER.GALLERY

20/03/2020 UNTIL 20/04/2020 WEEK 3 MARCH

21/03/2020 UNTIL 25/04/2020 WEEK 3 MARCH

THREADS ANDRE VAN VUUREN. A RARE HISTORY OF A SIGNIFICANT ARTIST ASSEMBLED IN ONE EXHIBITION. ASSEMBLED / 08/03/2020 UNTIL 29/03/2020

WWW.SMITHSTUDIO.CO.ZA 12/02/2020 UNTIL 07/03/2020 WEEK 2 MARCH

ART@AFRICA IN AFFILIATION WITH RUST EN VREDE POST CARDS THROUGH DUSKLAND 21/03/2020 UNTIL 25/03/2020

ART IN THE YARD ENCLAVE BY NIC DE JESUS 21/03/2020 UNTIL 18/04/2020

WWW.RUST-EN-VREDE.COM

WWW.ARTINTHEYARD.CO.ZA

21/03/2020 UNTIL 25/03/2020 WEEK 3 MARCH

21/03/2020 UNTIL 18/04/2020 WEEK 3 MARCH

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27/03/2020 UNTIL 08/05/2020 WEEK 4 MARCH

WWW.RUST-EN-VREDE.COM

RUST-EN-VREDE GALLERY SUSAN GRUNDLINGH COVERING TRACKS SOLO EXHIBITION 31/03/2020 UNTIL 29/04/2020 WWW.RUST-EN-VREDE.COM

31/03/2020 UNTIL 29/04/2020 WEEK 4 MARCH

RUST-EN-VREDE GALLERY JANNA PRINSLOO SOLO EXHIBITION 31/03/2020 UNTIL 29/04/2020

28/03/2020 UNTIL 22/05/2020 WEEK 4 MARCH

RUST-EN-VREDE GALLERY NICOLE PLETTS SOLO EXHIBITION 31/03/2020 UNTIL 29/04/2020 WWW.RUST-EN-VREDE.COM 31/03/2020 UNTIL 29/04/2020 WEEK 4 MARCH

FEBRUARY 2020 WWW.ARTTIMES.CO.ZA

LIST YOUR EXHIBITION ARTTIMES.CO.ZA

IN MEMORY OF ANDREW VERSTER 1937-2020 By Carol Brown

e have lost a national treasure with the recent death of Andrew Verster whose impact on the arts has been enormous. We all loved and respected him. Andrew Verster died peacefully in his bed on Sunday 16th February. It was the kind if death he would have wished for. No fuss, no drama – an end to a life well lived. Since his life partner, Aidan Walsh, died in July 2009 it seemed that life was never quite the same for him. However notwithstanding his personal loss Andrew never lost his love of creating. Creating was, after all, his life. At his Retrospective Exhibition in 2008 he said “If I had to choose one label for myself and only one it would be Painter. He continued – Working as a full time artist for twenty five years has meant that I have to be versatile and develop a lot of skills so that I could take on a variety of commissions. This does not mean I am skilled in the media

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I work in – such as tapestry, or carpet making or wood carving as I have done for the new Constitutional Court – rather that I collaborate with people who DO have the skills. But I have to know enough of the possibilities of each of the processes in order to be able to design in them.” The skills he mentioned were just a small part of the other things he did – he designed Opera and Theatre costumes. He worked with architects designing etched glass, stainless steel panels and many other public art commissions. He was a poet, a writer of short stories, an art critic and served on many boards such as the Film and Publication Review Board, the Durban Art Works Trust, Very Special Arts, Artists for Human Rights Trust, African Art Centre and the Grahamstown Festival Visual Arts Board.

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He has had over fifty solo exhibitions and was honoured with an Honorary Doctorate by the Durban University of Technology in 2009. Not that you would ever know it – he was a remarkably modest man who accepted his accolades graciously and then almost forgot about them – he was never too busy to give advice to anyone who sought it. He was always nurturing, encouraging and supportive. As a teacher he was vastly influential – he nurtured generations of young artists who have gone on to greater things and who always lovingly speak of him as a mentor. Andrew lived through tumultuous times in South Africa and in the 40-odd years that I have known him I never heard him despair or complain or decry the changes – if he didn’t

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like what was happening he addressed the issues in an outright manner and embraced the future with an unfettered optimism. He always saw the positive side of things and looked forward to new ideas and challenges. And yet, he was private person who loved being at home with Aidan where they both led a life of creativity surrounded by the beauty of their tropical Durban Berea home environment which attracted creatives from around the country and the world. Andrew led a good life and one which influenced many others and has left an enormous legacy. He had high standards in everything he did and his influence will live on. We cannot ask for more from the lifespan we are given.

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19th Century, Modern, Post-War and Contemporary Art, Decorative Arts, Jewellery and Wine Cape Town, 30 March 2020 +27 (0) 21 683 6560 | ct@straussart.co.za www.straussart.co.za Irma Stern, Zanzibar Arab (detail) R10 000 000 â&#x20AC;&#x201C; 12 000 000