Art Times May 2022 by SA ART TIMES

MAY 2022 ARTTIMES.CO.ZA

A LADY'S 18CT GOLD AND DIAMOND-SET WRISTWATCH, CARTIER PANTHÉRE VENDOME Estimate R40 000 - 50 000 Sold R71 730

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Consign to our upcoming Cape Town and Johannesburg Auctions. Contact us for an obligation free valuation Johannesburg 011 880 3125 or email info@swelco.co.za Cape Town 021 794 6461 or email ct@swelco.co.za

A CASED GOLD, DIAMOND AND ENAMEL VINAIGRETTE, SWITZERLAND, 19TH CENTURY Estimate R18 000 - 20 000 Sold R197 370

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A DIAMOND CLIP/BROOCH, VAN CLEEF AND ARPELS Estimate R135 000 - 195 000 Sold R208 980

Adrian Hendrik Boshoff | BATHERS IN THE HARBOUR Estimate R250 000 - 300 000 Sold R307 500

A LATE VICTORIAN MAHOGANY MILITARY CHEST, CIRCA 188 Estimate R22 000 - 26 000 Sold R34 830

A PAVÉ DIAMOND HEART Estimate R8 000 - 12 000 Sold R46 440

Malcolm de Chazal | RAINBOW FISH Estimate R7 000 - 10 000 Sold R77 708

CANTEEN OF SILVER FLATWARE FOR TWELVE Estimate R60 000 - 70 000 Sold R81 270

AN ISFAHAN RUG, IRAN, 1940 Estimate R5 000 - 7 000 Sold R17 415

A CHINESE IVORY BIXI, QING DYNASTY, 19TH CENTURY Estimate R6 000 - 8 000 Sold R14 246

A BIBENDUM CHAIR, DESIGNED IN 1926 BY EILEEN GRAY Estimate R25 000 - 30 000 Sold R28 822

PABLO PICASSO, TAUREAU, MARLI AUX FEUILLES’ MADOURA PLATE, A.R 394 Estimate R50 000 - 60 000 Sold R83 685

Art Times May 2022 Edition

CONTENTS Cover: Jo O’ Connor, Slow Motion, 2022, oil on canvas, 41cm x 31cm, 131 A Gallery

10. IRMA STERN “NUDES 1916 – 1965 A Visual Feast 16. ART BEYOND IMAGINATION Sasol New Signatures 2022 18. HUSSEIN SALIM Garden of Carnal Delights ABSA L’ATELIER 2022 36th Edition of Absa L’Atelier Open For Entries 26. CASTED A Celebration of Sculpture 32. QUALITY/INEQUALITY Counter Singular Utopic Colonial Visions 34. UNSETTLING THE SINGLE SOCIETY Inspired by the 2022 African Critical Inquiry Workshop 38. FynArts 10 For the Love of the Arts 44. ART IN THE HEART OF THE KAROO Prince Albert Open Studios: Winter Edition 48. BUSINESS ART Fine Art Auction Highlights 66.ARTGO Exhibition Highlights

Gabrielle Raaff, Gathering 1200x1750mm. Water-based oil and ink on Calico Cotton 2022

Editors Note

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

t feels that the last two to three years of anxiety and chaos brought on by a recession, then Covid 19, has suddenly left the room and gone walkabout to the insane Russian-Ukraine war. Now although very slowly, the masses of tourists are steadily coming and easing financial woes - at least a bit. In addition to this, local art towns like Hermanus (FynArts), Prince Albert (Open Studios), and Riebeek Valley (Solo Studios) are set to thrive for local art lovers and foodies who are financially recovering, and enjoying local art and not jet setting off just yet to the big blue yonder, including the spectacular Venice Biennial. Many art community pillars that promote young artists into the mainstream like the Absa l’Atelier and Sasol New Signature Competition are back in full force. A personal treat is to view a well-curated show by Michael Godby’s Irma Stern Nudes 1916-1965 at The Sanlam Gallery, Cape Town, and Judy Woodborne and Michelle de Argent at Rust en Vrede Gallery. Another hottie is the dynamic Rupert Museum show entitled ‘Casted’ that is well worth the time to be overwhelmed by South African Sculptors. On a newsy note, be sure to now log into our daily updated Art Times news www.arttimes.co.za to pick up on the current stories in the media, such news includes the moving of art from the Johannesburg Art Gallery to Anglo American building, news on the upcoming and current auction sales that South African collectors have developed a huge appetite for. Also, see our ArtGo platform - SA’s most comprehensive listings of fine art events at www.artgo.co.za. Lastly, in closing it would be wrong for me to say about the SA Art world - that ‘what doesn’t kill you will make you stronger’ as many fine jobs and galleries have suffered or closed with Covid 19, that is a really awful and a huge loss. As the art world slowly gears back via a winter season, new shows and art fairs around the world are blossoming again, and The Venice Biennial - the Grande Dame or Olympics of world art is showering its limelight in the media, is going to be again art on steroids - art collectors are out and about and folk are boozing and partying, stick around, I believe if you haven’t felt it yet, but we are going to party like its 2022, and make up this last period of madness and isolation, to live, celebrate and... make incredible art

Gabriel Clark-Brown

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

@ARTTIMES.CO.ZA

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William Kentridge, The Highveld Style Masked Ball (detail), R 2 800 000 - 3 400 000

Modern, Post-War and Contemporary Art LIVE VIRTUAL AUCTION Johannesburg | 16 & 17 May 2022 +27 11 728 8246 | jhb@straussart.co.za www.straussart.co.za

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IRMA STERN NUDES 1916-1965

Sanlam Art Gallery 26 April - 15 July 2022 Curated by Emeritus Prof. Michael Godby in collaboration with the Irma Stern Museum, the Irma Stern Trust and loans from private institutions. sanlamart@sanlam.co.za

rma Stern “Nudes 1916 – 1965” An exhibition of painting, drawing and prints tracing Irma Stern’s treatment of nude over her long working life. Curator: Emeritus Professor Michael Godby Venue: Sanlam Art Gallery, Sanlam HO, 2 Strand Road, Bellville. Dates: 26 April – 15 July 2022 – Monday – Friday 09:00 – 16:30 Ubiquitous in every art school until the end of the previous millennium the Nude was a key subject in the curriculum. Combined with a 1000-year blast of art history from 4th century BC Greece to 1950’s Pop Art, a fine arts student would have been confronted with the subject repeatedly. For Irma Stern this would have been so too. As Emeritus Professor Michael Godby writes: “Tracing the evolution of the Irma Stern’s treatment of the nude over her long career is also a journey into the artist’s imagination”. The current exhibition at the Sanlam Art Gallery curated by Godby present an opportunity to do just that. Showcasing a selection of paintings, drawing and prints from the archives of the Irma Stern Museum and some stellar pieces from private collections, this is a must-see exhibition.

Top: Crouching Nude, 1947, oil on canvas Left: Reclining Nude with Open Jacket, 1948, oil.

Nude Bather, Riviera, 1965

Two Back-turned Figures, 1927.

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Bathers, Riviera

Beginning with Stern’s academic drawings, following her encounter with German Expressionism, explorations in Africa and her late life immersion in the freedom of the beaches of French Riviera, Godby compiles a visual feast that reveal much about Stern’s art and personality. “Over her long life, Irma Stern viewed the naked female body through many lenses, all inherited from the various traditions of European art. By engaging with each lens at different times, Stern not only extended the tradition, and affirmed her place within it, but also found a means to express her own vivid interior life. For Stern, the nude was not simply a celebration of the naked human body. It was certainly that. But it was also the quintessence of art, the ultimate vehicle of visual poetry and the highest form of the expression, of sensual fulfilment, of freedom and of life.”

A book accompanying the exhibition by Prof Godby, Irma Stern Nudes, 1916 – 1965, is for sale at the gallery. The exhibition is on show at the Sanlam Art Gallery from 26 April to 15 July 2022. Viewing hours are weekdays 09:00 to 16:30. Guided tours of the exhibition will be presented by Professor Godby on the following days: 5 May @ 13:00 18 May @ 11:00 1 June @ 15:00 Participation in the guided tours is by appointment only. To reserve your place and for more information e-mail sanlamart@sanlam.co.za or call 021 947 3359.

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Irma Stern, Crouching Nude, 1947, oil on canvas, Sanlam Art Collection.

Curated by Emeritus Prof. Michael Godby in collaboration with the Irma Stern Museum, the Irma Stern Trust and loans from private institutions.

Sanlam Art Gallery 2 Strand Road, Bellville

26 April – 15 July 2022 Viewing times: Weekdays 09:00 – 16:30 Tel: 021 947 3359 / 083 457 2699 Email: sanlamart@sanlam.co.za

ART BEYOND IMAGINATION Entries now open for Sasol New Signatures 2022 www.sasolsignatures.co.za

ntries are now officially open for the annual Sasol New Signatures Art Competition 2022. Being the longest-running competition of its kind in South Africa, Sasol New Signatures plays a pivotal role in unearthing new South African talent and providing a platform from which emerging artists can launch their artistic careers. Chairperson, Sasol New Signatures, Pfunzo Sidogi said: “As the leading art competition for emerging artists in South Africa, Sasol New Signatures has embraced the challenge of being more than another art event. In the same way that truly great art transcends creativity and imagination, the Sasol New Signatures Art Competition is an opportunity for artists, audiences, and society at large to rethink and reimagine their world. But it all begins with an artwork. We therefore invite all eligible artists to submit entries for the 2022 edition of the competition. We invite you to showcase your boundless creativity.”

Pfunzo Sidogi -Chairperson Sasol New Signatures

This annual competition is open to all South African artists over 18 years who have not yet held a solo exhibition. Artists who have held a solo exhibition for academic purposes (e.g a Master’s degree exhibition) are allowed to enter. Artists can submit up to 2 artworks in all artistic mediums, including photography, performance art, video and installations.

“Sasol is proud to be a key sponsor, together with Association of Arts Pretoria, of this important competition that seeks to encourage South Africa’s creativity and contribute to our national heritage. ‘Art Beyond Imagination’ stimulates creative thinking and innovation, but also challenges both the artist and the audience to think beyond boundaries into a new and limitless world,” said Nozipho Mbatha, Senior Manager: Group Brand and Sponsorships at Sasol.

“’Art Beyond Imagination’ is a celebration of the borderless human consciousness, the boundless skill and infinite vision of the artist, and the limitless inspirational power of art. This moniker embodies the values and essence of both Sasol and the 2022 Sasol New Signatures Art Competition. Sasol is more than a business and the Sasol New Signatures is more than a competition,” added Sidogi.

Sasol New Signatures is not only about art but also education. Entrants are encouraged to view the detailed information video hosted by Chairperson Sidogi. “We have created the video to give entrants much needed technical information regarding format, size, media and layout of entered works as well as valuable advice regarding the presentation of competition standard work,” he said.

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2021 Sasol New Signatures Winner, Andrea du Plessis with her winning entry, Paloceae Lupantozoa

Go beyond your imagination by entering the 2022 Sasol New Signatures Art Competition at one of several collection points across the country on Tuesday, 7 June and Wednesday, 8 June from 10:00 and 16:00. The winner of the Sasol New Signatures Art Competition will be announced on Wednesday, 24 August 2022. The winner will receive R100 000 and a solo exhibition at next year’s exhibition. The winning works will also be displayed at the Pretoria Art Museum from Thursday, 25 August to 2 October 2022. The runner up will receive R25 000 and the five merit award winners will each walk away with R10 000. The 2021 Sasol New Signatures winner and multidisciplinary artist, Andrea du Plessis will hold her first solo exhibition within the official Sasol New Signatures 2022 exhibition.

The exhibition is titled Supernature: Simulacra. “This exhibition is a deepening of my research into the sublime experience, and our complex relationship with nature in an age marked by technological augmentation and simulation,” said Du Plessis. As an extension of the Supernature series Du Plessis began in 2020, her work will feature an exploration of emerging technologies in combination with traditional oil painting to create interactive, immersive realms as well as an encyclopaedia of hybrid lifeforms. Supernature: Simulacra aims to offer the viewer an opportunity to consider our interconnectivity with the natural world, and examines the possibility of reconnecting to nature via technology. For more information on the competition, information session and drop off points visit www.sasolsignatures.co.za

HUSSEIN SALIM’S Garden of Carnal Delights Tours to Cape Town www.themelrosegallery.com

he Melrose Gallery is pleased to present ‘Garden of Carnal Delight’ in Cape Town following on from a well-received run in Johannesburg. The exhibition will feature several of Hussein Salim’s artworks that were originally presented together with new works created in 2022. The exhibition opens to the public on 5 May and runs until 3 July 2022 at our space in the One & Only in the V & A Waterfront. Hussein Salim’s paintings are a dialogue between different cultures that represent his spirit articulated through art as a tool that both affects and initiates the conversation. Salim left his home country of Sudan as a refugee, and his works awaken in us an appreciation of our differences and diverse reactions, but bring us back to the shared foundation of mankind. A sense of displacement and a longing to return to his country has imbued his artworks with a sense of nostalgia. His richly textured canvases employ an extravagant layering technique to create a dense impasto feel, using personal symbolism that is both ancient and contemporary. Painting is an act of life not separated in its association with my self-reflection, which takes its own momentum and material. This way I create my identity as I work technically while trying to draw. I want my inner impressionist to constantly create a painting with me, depending on the cognitive and aesthetic space. – Hussein Salim Adam & Eve, 2021 Acrylic on canvas 150 x 150 cm

Rumination I, 2021 Mixed media and acrylic on canvas 240 x 240 cm

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Garden of Carnal Delights, 2020 Acrylic on canvas 136 x 106 cm

“Painting is an act of life not separated in its association with my self-reflection, which takes its own momentum and material.”

In Peace, 2021 Acrylic on canvas 300 x 200 cm

Foggy Cities III, 2021 Acrylic on canvas 110 x 75 cm

‘Garden of Carnal Delights’, represents the marriage of the world, and the manifestation of thought all bound to the circle of life. Salim’s painting by the same name depicts the love child of the world and thought. The twins named consciousness and existence represent the void which is the absence of idea, its birth, and its death. The ideas of my drawings today need to be moved to a place where they can reverberate. I believe that it is not important for the artist to see their work receiving attention and curiosity, but rather to see it fertilizing some ideas and growing them. Therefore, I seek the logic of the quest to create common foundations for culture as an independent universe. – Hussein Salim For Salim, it is always a process to fully create the replicas of his view of space, atmosphere and the “ins-and-outs” of these microcosms. Most people today are living for the next moment thereby devaluing the present moment and the sacred essence of who we are as people. We can enjoy this world of form but true satisfaction does not come from there. The world cannot make you happy. Things cannot give you happiness. Because happiness comes from a deeper place within you. Therefore, this exhibition is a call for a

coming into or stepping into the acceptance of a present moment. As Salim says there must be a full mindset movement from the paradigm to carry out this task to another level of inner spirituality. The desire to source and reveal intimate personal emotions and stories is not to replicate more of life, but more from life. If one can put their eyes and their minds on the wounds and secrets of their intimate personal stories that they try to conceal through Salim’s works of art, their desires to search for their own character grows, because painting is always a process of creating a place depicting the inside and the outside of an artist’s mind and their audience. It is an extreme effort that tries to respond to the simple and beautiful little things that are absent from us but simultaneously can heal us. It is the silent conversation, which is the teaching of the careful listening of things and their observance The journey that I took (and I still am on) has shown me what I truly want. Not more of life, but more from life. – Hussein Salim For more information contact: craig@themelrosegallery.com or visit www.themelrosegallery.com

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ABSA L’ATELIER 2022 Applications for the 36th Edition of Absa L’Atelier are now open! www.latelier.absa.africa

Ayobola Kekere-Ekun, 2021 Absa L’Atelier Ambassador

roudly African bank Absa, in partnership with the South African National Association for the Visual Arts (SANAVA), officially opened applications for the 2022 Absa L’Atelier, inviting artists from across the African continent to enter.

Since its inception 36 years ago, the Absa L’Atelier has showcased and continues to invest in some of the finest young artists from the 12 African countries where Absa has a presence. “With this year’s theme ‘From start to L’Atelier’, we are calling on our continent’s fearless creators to take a step towards taking their finished artworks to the world by entering the Absa L’Atelier. This competition will once again provide an opportunity for visual artists to respond and make their voices heard. We are committed to putting the basic building blocks in place to ensure that young artists from across the African continent can reimagine their futures and bring their possibilities to life,” says Dr Paul Bayliss, Senior Specialist Art Curator at Absa Group.

Adelheid von Maltitz, 2021 Absa L’Atelier Ambassador

The Absa L’Atelier has built a legacy, providing the next generation of young African artists with the support, recognition, and exposure they need to cement their burgeoning careers. Due to the ongoing COVID-19 pandemic, the Absa L’Atelier was re-envisioned in 2021. “The pandemic forced and challenged us to do things differently. In our efforts to lead the charge in being digitally progressive and making sure that artists still get the opportunity to showcase their work, we went entirely digital. For 2022, we have continued to work on improving our digital system and user-experience” says Dr Bayliss. The adjudicators of the competition select 3 artists as ambassadors of the competition who will each receive a laptop, data and exposure to intensive virtually hosted mentorship and masterclasses geared towards upskilling and enabling them to take their careers to the next level. “In addition to the masterclasses and mentoring, the artists will have a collaborative exhibition in the Absa Gallery which will open

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Dr Paul Bayliss - Senior Specialist Art Curator at Absa

Michael Blebo, 2021 Absa L’Atelier Ambassador

in November 2023. This will then travel to their respective countries in 2024. They will also have an option to take up a solo exhibition within a five-year period within the Absa Gallery. To us and our partners, the Absa L’Atelier is no longer just about giving artists an amount of money but affording them with the skillset to develop and thrive as artists in a forever changing world,” explains Dr Bayliss.

inspired and inspire. They learn, and they teach. They explore, and exhibit, allowing people in France and elsewhere in Europe to learn more about their individual style and vision. In doing so, we hope to create a true dialogue between our two countries,” says Aurélien Lechevallier, Ambassador of France to South Africa.

The most deserving South African artist aged 25 to 35 will be eligible for the Absa L’Atelier Gerard Sekoto Award, made possible through the Absa and SANAVA’s partnership, with the Embassy of France in South Africa, the French Institute of South Africa (IFAS), and the Alliance Françoise network in South Africa. “These artists are the future of African contemporary art, and we are very proud to be part of this project. For over a decade, we have been supporting this award which grants a talented young South African artist an amazing opportunity; to expand their horizons with a 3-month artistic residency at the Cité Internationale des Arts in Paris and gain greater international exposure as a result. The artists are

SANAVA President, Dr Avitha Sooful, commends the enduring partnership between Absa and SANAVA, aimed at creating a positive impact in the African visual arts scene for years to come. “Our partnership with Absa has grown from strength to strength and it bodes well for the development of African artists whose work will influence the continent’s creative economy, now and in the future. With this year being our 36th year of existence, we hope to double the number of entries from our continent’s young and fearless creators, and we call on all artists to act on their art and become part of the Absa L’Atelier legacy,” concludes Sooful. For further information about the Absa L’Atelier, please visit https://latelier.absa.africa

Exhibition view. Front: MNTAMBO, Nandipha (b1982), Agoodjie I & II, 2021. Bronze, 1/5, Courtesy of Everard Read Gallery.

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CASTED

Antoine Bourdelle, Dylan Lewis, Nandipha Mntambo and Anton van Wouw Rupert Museum, Stellentia Road, Stellenbosch On show till 11 September 2022

n a celebration of sculpture, the Rupert Museum’s latest exhibition brings together a selection of figurative works in mostly bronze created by sculptors continents and more than a century apart. The selection features a European Master, Old South African Master as well as two contemporary South African Greats and casts a view on shared influences, style, execution and approach to their practice. With the inclusion of maquettes, the exhibition provides insight into technique and process in the production of bronze works. At first glance the contrasting characteristics of the selection dominates, in both scale and style. Yet on closer inspection the subject matter and parallel narratives become abundantly apparent in its explorations of the human condition from the everyday, the mythical and monumental. The Masters Antoine Bourdelle (French, 1861– 1929) and Anton van Wouw (Dutch-South African, 1862–1945), producing at the zenith of the monument era, are both known for their commemorative and historical pieces for monuments and memorial sites in the countries they lived. Bourdelle’s study of the greats, for example, led him to his lifelong concern for the public function of sculpture and its relationship to outdoor settings. When creating sculptures, he always had the potential of its monumentality in mind, evidently inspired and directed by Romanesque art. However, the focus in this exhibition is on the work they produced beyond these parameters. Van Wouw’s sculptures, for example, show an array of different moods and situations the sitters are placed in, giving the viewer a sense and feeling towards the moment and individual portrayed. During his lifetime Van Wouw completed many smaller sculptures in the form of portraits of men, women and children, Boer generals and political leaders. Bourdelle drew inspiration from nature with its unrelenting seasonality and classical GrecoRoman mythology, which aligns the very same with the divine. The thread of this tradition is evident in both the work of Nandipha Mntambo (South African, b1982) and Dylan Lewis (South Africa, b1964) despite their careers having diverging origins and running trajectories.

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LEWIS, Dylan (b1964), Beast with Two Backs, Monumental. 2020. Fibre reinforced acrylic plaster, Courtesy of Dylan Lewis Studio

Exhibition view Front: MNTAMBO, Nandipha (b1982). Zeus, 2009. Bronze. Courtesy of Brian Bentel Collection Back right: LEWIS, Dylan (b1964). Interrelation XIII, Life Size I, 2020. Bronze. Courtesy of Dylan Lewis Studio

Lewis found his current subject matter between the powerful animality of African big cats and the complexity in physicality and psyche of human interrelationships. With these figurative sculptures a sense of longing, striving for connection are felt while representing a release of libidinal energies. Mntambo embodies the animal, exploring the sub-context of bovine as property, currency, sacred or divine. The embodiment and reference to the animal, mostly cows and bulls, as well as life and death is further explored by the artist through her interest in the Greek myths of Europa, Zeus, the Minotaur and Ophelia as well as the Hindu legend of Nandi the bull. She further subverts perceptions of gender and tradition by highlighting marginalized histories through her physical form. Van Wouw and Mntambo’s academic and observational approach links stylistically and echoes traditions of Renaissance sensibilities. Yet Van Wouw’s work is set apart from the others by his engagement and treatment of the sitter, to reflect their finer characteristics and detail.

In contrast the work of both Bourdelle and Lewis converge through incorporating postimpressionist distortion and appreciation for the textured surface, elevating the drama in their figures. Their smaller scale works are more closely associated with sketches developing in detail, texture and presence as it scales up, unlike Van Wouw’s medium scale studies, with the most tender and delicate finishes. From miniature to monumental, scale is employed in this exhibition to play on the idea of humanity as everything from majestic and powerful to fallible, delicate, humble and sincere. Visitors are invited to explore the exhibition, devoid of two-dimensional framed work and relish in the sculptural application inspired by the body and psyche, that is our common experience.

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1 & 2: BOURDELLE, Antoine (1861-1929). Bacchante aux jambes croisées /Bacchante with crossed legs, 1911. Bronze, 5/10. La force: petite figure / Force: small figure, 1915. Bronze, 7/10. 3 & 4: VAN WOUW, Anton (1862-1945). Bushman Hunter, 1902. Bronze. Bad news, 1907. Bronze, 2/2. Rupert Art Foundation and Huberte Goote Collections

North West University

QUALITY/INEQUALITY 6 th April – 31 st May 2022 NWU Botanical Garden Gallery Text by Karabo Manaleng

Above: Inequailty Nagmerrie / Quality Droom, Variable, Paper & Colour. Opposite Page: Oupa Sibeko

Broken Quality, Variable , Paper & Colour

he NWU Gallery is thrilled to present an exhibition curated by Oupa Sibeko. QUALITY/INEQUALITY, invites celebratory imaginations which seeks an artistic expression and response to counter singular utopic colonial visions, and socio-cultural sameness. How might artistic imaginaries stage the potential of multiple futures, thus rendering uncertain the confidence of the colonial past and the multinational present? The exhibition ponders future blends of human, nature, and material just as they might reflect on fluid temporal movements between past, present, and future. “Basically, to create from within, to honour ourselves and the ones who have allowed our path towards equality and quality to manifest.” – Oupa Sibeko. “The inspiration behind the project is to teach adults how to play&quot; Sibeko states, he uses his art to convey the value of just existing or as he simply put it “just being&quot;. He encourages adults to explore their playful nature a bit more and get more comfortable with expressing themselves outside the limitations of perfection. Most of the body of works was produced during National Lockdown which Sibeko used to create and reminisce on the past. He explains that sewing was an important part of creating the works as it reminded him of his grandmother. “We are scared of pausing”, Sibeko emphasizes the

importance of being more accepting of reality, whatever comes our way we need to accept it as it is and this is the essence of this project. This exhibition is in conjunction with NWU Facing Race Week 2022 that takes place across all three NWU campuses with exhibition installation and performance by Oupa Sibeko. NWU Face Race Week is focused on overcoming the legacies of racism and white supremacy globally, and in South Africa in particular, remains crucial as an intellectual and social engagement at the NWU in its pursuit of being a leading university known for an ethic of care. Artist Bio Oupa Sibeko is an interdisciplinary artist whose work moves between theatrical, gallery, scholarly and other public contexts, overtly dealing with matter and politics of the body as a site of contested works. Enabling opportunities for affective and relational encounters using ritualistic performance and play, he seeks to critically engage approaches to the body, particularly the black male body, the history of representation and the ways in which certain subjectivities have been (and are) figured, (black) pain, (black) spectacle, (black) negation, and the ethical implications of reimaging and re-enacting pain.

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North West University

UNSETTLING THE SINGLE SOCIETY 6 April - 31 May 2022

he NWU Gallery is thrilled to present an exhibition co-curated by Amohelang Mohajane, Boitumelo Makousu. Nokukhanya Khumalo and Tsepang Bereng using the NWU Collection. The exhibition is inspired by the 2022 African Critical Inquiry Workshop (ACIP) titled Unsettling the Single Society. The workshop Unsettling the Single Society will challenge the myth that settler colonialism and the attendant idea of separate societies ended in 1994. By returning to Gluckman, it will encourage questions around how settler colonialism was and still is a structure of domination that continues into the present. The exhibition explores the themes of belonging and unbelonging; symbolic and material labour; land and landscape; structural and direct violence; and contested knowledge, themes that structure the historical and ongoing composition of our settler colonial world. Ballot, Elizabeth Laetitia, Nieu Bethesda (1988), 159,5cm x 122,5cm, Mixed Media

Dold, Mary Rose, Farm scene (1970), 45cm x 69 cm, Lithography i/vii

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Unknown, Untitled, 63.8 cm x 48.7cm, Oil on board

Enslin Vorster, Mount Horeb, 54.7 cm x 42 cm 9, Watercolour

UNSETTLING THE SINGLE SOCIETY Poem by Ruben Jooste Centuries back, those whose bloodline led to me, came to this land. They settled and called this beautiful land home. I do concede that their initial intent, was driven by greed and the ways they proceeded; I will never condone. But please do understand, my heritage is unique when compared to the other white men from across the sea. You see, my mother sang lullabies in a tongue that found its meaning in and through the South African landscape. Oh how I wish, those who came before me did not fear the ‘other’. Oh, how I wish there were no reason to fear Tehobye, Thebang, Stick Collector (2002), 58.6 cm x 68.5 cm, Etching

those who came before me. Oh, how I wish they did not drape the backdrop for division, from which we still struggle to escape. There’s a vision for our future that belongs to us all. For some time now, I thought that it would never truly come to be. It felt like a lie, to declare that we’ve been born free. But you see, we’ve been one all along. Those who came before us tried to do it for, and on their own. A society divided, forced to segregate. Let us come together, think together and build together. The time has come to integrate in a way never seen before. A separate society, no more

Laurence Moarcraft, Rich In Culture (2018), 80cm x 58cm, Photograph

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Enter now. We’re searching for South Africa’s new artistic talent

ART BEYOND IMAGINATION #SasolNewSignatures Submission Dates 07-08 June 2022

www.sasolsignatures.co.za

FYNARTS HERMANUS For the love of the arts www.hermanusfynarts.co.za

Darren English

Above: David Kramer. Opposite page top: Richard Cock conducting. Opposite page below: Dance for All

elebrate winter and the 10th Hermanus FynArts Festival from 10 – 19 June with family, friends and like-minded festival goers. Share ten days of looking, learning, listening and actively engaging against the backdrop of Walker Bay . The festival opens once again under the baton of Richard Cock at the Dutch Reformed Church in Hermanus, and closes on Sunday 19 June at the Dutch Reformed Church in Onrus with a performance presented by the Cape Town Youth Wind Ensemble. This concert will be conducted by Faan Malan. Between these two concerts Hermanus will be alive with jazz, ensembles, recitals, the Enlighten Marimba Concert as well as the first-ever Choir Celebration with seven primary schools in Greater Hermanus taking part. Two theatre productions to look forward to are Gertrude Stein and a Companion, a theatre production about the American novelist, poet, playwrite and art collector who, with

Alice Toklas, found refuge in the bohemian decadence of Paris where they entertained avant-garde writers and painters such as Ernest Hemigway and Picasso, and SMILE, a new one-man musical show that celebrates the genius of Charlie Chaplin in a multi-media experience. And lastly, Music al la Carte, is a journey of dance of some of the most popular magical moments from well-known musicals by the dancers of Dance for All (SA). The Strauss & Co Series of Interviews and Presentations opens on Saturday 11 June with the presentation of the FynArts Legacy Award to David Kramer. This award is presented each year at the discretion of the FynArts Advisory Board for longstanding and distinctive contribution to the arts in South Africa and beyond. David will be interviewed by journalist and poet, Danie Marais. The line-up in the Strauss & Co Series includes a wide range of topics, from an exploration into the visual languages of Pierneef by Ian

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Food Photos, Christine Capendale

Hunter, an art specialist at Strauss & Co and a presentation entitled Art of the Ocean by Kate Jonker, an award-winning photographer of quirky and vibrant marine life, to two richly illustrated and historical presentations about the lives and careers of Chanel and Dior, by Felicity Jervis. Also on the programme is the deeply personal memoir, Every day is an opening night, a talk by Des Lindberg about his 55-year career together with Dawn, and a conversation between Barbara Masekela and Christopher Hope about her memoir, Poli Poli. A number of discussions such as Prisons: Promise or Peril, by Edwin Cameron and Why a Kaaps Dictionary? a question answered by Adam Haupt are also included. Saturday the 11th has become the traditional day for the opening of all the FynArts group exhibitions and many exhibitions in private galleries. In celebration of FynArts 10, an exhibition of work by all seven previous Festival Artists will be found at the FynArts Gallery and a bumper Sculpture on the Cliffs exhibition of work by fifteen sculptors who have previously taken part in this exhibition will be installed at Gearing’s Point. Art in the Auditorium is an exhibition of small

sculptures by a range of current and past artists who have previously also installed works on the cliffs. The first exhibition to open will be the popular ceramic exhibition held at the Windsor Hotel. There is no ordinary, comprises thirty-eight ceramicists and is curated by Liz Coates. This opening will be followed by the openings of Sculpture on the Cliffs and the exhibition of the Festival Artists curated by Marilyn Martin. Later in the afternoon Ebb and Flow, the art of thread exhibition, curated by Dal Botha, will be opened at the Marine Hotel. Workshops for all levels of proficiency will be offered for those interested in enhancing a skill or leaning a new one. Topics include a variety of painting techniques, ceramics, photography, musical performance, the art of re-using fabric to make string and string products and sculpting wild-life in clay. Two 2-day workshops are offered, these are Mindfulness for Beginners with Merle Levin, an international facilitator with many of experience in meditation and mindfulness, and Creative Breaththroughs by Don Shay, based on the Artist’s Way programmes.

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Here be Dragons

Phenomenal Woman Trio.

Kate Gottgens, Sqaure

As always, each day is spiced up with food, wine, and other tastings. From Monday 13 – Friday 17, five chefs will each present a morning and an afternoon preparing and presenting dishes on a theme of their choice. These vary from Always Fresh, Fusion, Foraging, Overberg Mediterranean and Say it with Cheese. On each Saturday festivalgoers take a tasting journey through the Hemel-en-Aarde wines at the Marine Hotel. A mini-series of wine tastings will take place at the Wine Glass. Curated by Melvyn Minnaar, this includes Three Personalities, Eighteen Vital Wines as well as a blind tasting – What do you Taste? Well-known local, Paul du Toit will be back once again, also at the Marine Hotel, with a gin and brandy tasting. Overberg Honey Company and Klein River Cheese will join forces to stimulate the palate in less common pairing.

The full programme and e-booklet are available at www.hermanusfynarts.co.za as well as the link to sign up for the FynArts newsletter. Bookings can be made on webtickets.co.za, also via hermanusfynarts. co.za and telephonic with Chantel Louskitt, FynArts administrative coordinator on 060 957 5371. Further information contact Mary Faure, FynArts Festival Director on 084 600 7058. All Covid regulations, applicable at the time, will be strictly adhered to for the safety and comfort of all FynArts supporters. At this stage tickets are limited as only 50% occupancy of all venues is currently permitted.

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ART IN THE HEART OF THE KAROO Prince Albert Open Studios: Winter Edition Thursday June 16th to Sunday June 19th, 10am to 5 pm daily. www.princealbertopenstudios.co.za

Blue Board welcomes visitors to Sue Hoppes Studio. Opposite page top: Kevin de Klerk working on the new dustbins around town. Opposite page bottom: Detail from jewellery designer, Di van der Riet Steyn’s studio

ince its inception 5 years ago, Prince Albert Open Studios has gained much traction with art lovers and afficionados, both local residents and visitors from afar. This could have something to do with the town itself, which encapsulates all the charm and warmth of this gem in the Karoo and a cando approach to life, making it something of a creative hub that has attracted a surprisingly high number of respected artists. The relaxed, laid-back atmosphere is enlivened by the contrasts and extremes that typify the Karoo. The resident artists are, likewise, a diverse bunch and there is always a sort of ebb and flow as some leave town and others move in, so there is always something fresh going on. While some open studios are characterised by strict organisation and structure, we relish

the individuality (dare I say ‘eccentricity’?) and independent spirit of our members. As Barbara Castle, editor of the Prince Albert Friend, wrote after the first event 6 years ago, “The Prince Albert Open Studios is driven by the enthusiasm and talent of local artists… There isn’t a committee. There isn’t a board. “We don’t ‘do’ meetings. We just ‘do’ art”... The joy is that each artist has the freedom to offer visitors a private look at their particular creative process. Some do it with music, some with wine, some with soft silence.” Since then, we’ve grown a lot, and some degree of organisation has evolved, but even this is a flexible process and members are currently gravitating towards “going back to our roots,” keeping it a distinctly laid-back but high-quality Prince Albert experience, pretty much like everything else about this special place!

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Erika van Zyls Gallery-Studio

Deidre Maree art on the run

Brent Phillips-White, Prince Albert Gallery

If visitors don’t have the time or stamina to visit over 20 studios, they could start with a visit to the Group Show, hosted by the Prince Albert Gallery, which features one work from each participating artist. This enables them to see at a glance which art resonates with them, so that they can prioritise visits to those particular studios.

Gallery – Guest artist Anna Marie Stone. Also showing there: Deidre Maree – Turid Bergstedt – Doos Gallery (Jannie uitlander Koast to Caroo Exhibition)

The winter edition of open Studios is particularly lively, and a popular feature is the Winter Workshops, offered by some participating artists in the two days leading up to opening. In June, one can do some handson lino cutting with Di Johnson-Ackerman, pinch pots with Sue Savage, encaustic wax and mixed media painting with Sue Hoppe, and mindful drawing with Rebecca Haysom. June Prince Albert Open Studios participants are: Di Smith, with guest artist Leli Hoch – Di van der Riet Steyn – Diane Johnson-Ackerman – Erika van Zyl – Heleen de Haas – John O’Sullivan – Kevin de Klerk – Maruanda Wynne – Pat Hyland – Renée Calitz – Sally Arnold – Sonja Fourie – Sue Hoppe – Sue Savage – Samantha Reinders (to be confirmed) – Prince Albert Community Trust: Elcado Blom, Knipoog Media Team of PACT – Prince Albert

The creativity doesn’t end with art though, as the town is also known for excellent eateries and food products and a huge variety of character-filled accommodation options too. This makes a visit during Prince Albert Open Studios a must-do experience! Be sure to secure your accommodation in good time. Opening of Group Exhibition at Prince Albert Gallery: Wednesday 15th June - 6 pm. Winter Workshops: Tuesday 14th and Wednesday15th June. The workshops are extremily popular so book ASAP. www.princealbertaccomm.co.za/ princealbert.org.za/accommodation/ You’ll find all the info you need about the latest Open Studios on the website: www.princealbertopenstudios.co.za

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Business Art

STEPHAN WELZ & CO. www.swelco.co.za

tephan Welz & Co. have had the privilege of being part of the “artists journey” for many years. The last two years have been slightly different though - most assuredly due to the changing nature of the world as we once knew it. A different, much needed, energized artist offering has imbued Stephan Welz and Co’s latest auction collections. The works of Bambo Sibiya, Blessing Ngobeni, and Nelson Makamo have acted as a reprieve from the dismay that has infiltrated every aspect of our lives. As South Africans, we are particularly fortunate to have these artists and their works to act as our anchors – speaking directly to our moment, they act as both snapshot and promise. A snapshot of the epoch, and a promise that we might just make it through the unsettling times. Blessing Ngobeni’s oeuvre functions as snapshot. Ngobeni’s works are situated between the political and the personal and avidly express the many intersections between systems of power and lived experience. “The anger, the happiness, the love, the struggle of the political landscape in Africa… are fused in one thing” (Blessing Ngobeni in Wood 2020: [sp]). These sentiments are crucial to the understanding of our current socio-cultural cipher, they provide a visual clarification of what we can no longer make sense of, or of what we are no longer able to express. Material Enslavement speaks to the unaltered oppressive systems characterized by the late Capitalist period, while also addressing the stagnant ‘change’ promised by the post-Apartheid era. These systemic issues, now even more glaringly evident in our current moment, posits Material Enslavement as essential ‘visual reading’ for our country and our time.

Bambo Sibiya’s works are permeated with the idea of ‘Ubuntu Ngabantu’, a Zulu term translating roughly to ‘I am what I am because of who we all are’ – and functions as promise. Much of his work considers the mining industry in Johannesburg during the Apartheid era, and the men and women that populated these spaces of hardship. Memories of a Swenka, examines

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Bambo Sibiya (South African 1986 - ): Together We Can, 2020, mixed media on canvas, 82 by 114 cm excluding frame; 103 by 134 by 5cm

the cultural phenomenon of the ‘Swenka’ that arose amidst the toil of the every day. “[T]he Swenkas are South African workers who have found a unique way to channel their self-respect, their creativity, and their hope in the future” (Bonhams Bond Street [sa]:[sp]) through the use of clothing and styling which were expressions of much needed dignity.

Sibya’s Together we Can is a poignant reflection of promise. The work requires us to pause and reflect, to realise that we still continue as one. The work draws on a distinct South African visual trope, as if speaking directly to those that already innately recognise it. In this way, the work offers itself up to that populous as a silent promise that we will continue.

Above: Bambo Sibiya (South African 1986 - ) Memories Of A Swenka, 2014, lithograph and screenprint, sheet size: 63 by 84 cm excluding frame; 14,5 by 71,5 by 3,5 cm. Opposite Page: Blessing Ngobeni (South African 1985 - ) Material Enslavement 2014, the mixed media on canvas, 139,5 by 100 cm

Nelson Makamo (South African 1982 - ): Portrait With Glasses 2020, mixed media on paper, 99 by 71 cm excluding frame; 114,5 by 86,5 by 3,5 cm

“A different, much needed, energized artist offering has imbued Stephan Welz and Co’s latest auction collections.” Nelson Makamo’s work functions as both snapshot and promise. His immediately recognisable figures, be-speckled and joyfull, gently entice the viewer to feel. To emote the ordinary, the mundane, the small delights, the moments that make up a human life. Brilliantly summed up by Ashraf Jamal (Art Times 2021:15), “…if the works possess a deep structure of feeling, it is because they are life-affirming…”, however Jamal continues by adding that “…this affective joy…can be mistaken for a placebo, as real yet not – largely because of the way in which Makamo has been constructed as a sentimental artist”. Keeping these differing ideas in mind, Makamo still consistently establishes a joyful romance in his work, while not denying the inhumanity of a post-Apartheid South Africa. In this sense, his works are thus able to function as both

snapshot and promise. Not denying the trauma experienced by the black body, the grinding nature of day-to-day survival (specifically in our current time), and not disabusing us of our lived experience. He presents this truth through his subject matter, and (re)- presents it through his delivery. Makamo’s ability to find compassion and dignity in his subjects offers us a sense of courage. A snapshot of reality and the promise of a route back to our humanity. Stephan Welz and Co. is looking forward to the ongoing journey with these artists, discovering and developing with them. We are excited to continue showcasing their works and expanding our auction offerings.

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A Good Read

RUSSIA INCREASES ARTS FUNDING AS SANCTIONS TAKE HOLD Published On Artforum April 21, 2022

The Russian government will pour one billion rubles ($12.1 million) into cultural projects affected by sanctions related to Russia’s attack on Ukraine, The Art Newspaperreports. The news was originally revealed to Russia’s Tass news agency by Sergei Kirienko, who serves as chief of staff to Russian president Vladimir Putin and who plays a significant role in shaping the nation’s cultural policy. “These are funds that can and should go toward supporting cultural projects connected with Russian cultural identity, traditional spiritual and moral values, and the support of collectives and cultural figures who have become targets of sanction pressure,” said Kirienko. Since the February 24 invasion of Ukraine, the Kremlin has sought to squelch dissent through the promise of a fifteen-year prison sentence for those describing the Ukraine action—which the government has cast as a “special military operation”—as a “war” or “invasion.” Since launching the attack, Russia has been subject to a tremendous talent drain, with a number of artists and cultural workers leaving their posts in protest, some of these departing for neighboring countries. Among those who have demonstrated their dissatisfaction by resigning or leaving are Vladimir Opredelenov, the veteran deputy director of Moscow’s Pushkin State Museum of Fine Arts; Francesco Manacorda, director of Moscow’s V-A-C Foundation; Simon Rees, artistic director at Cosmoscow; film critic Anton Dolin and theater critic Marina Davydova, both of whom saw their homes vandalized with the Russian pro-war “Z” symbol; and Bolshoi Ballet star Olga Smirnova, who is now performing with the Dutch National Ballet.

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The war has also affected the artistic careers of Russians living outside the country, particularly those who refuse to denounce the invasion. Recent weeks have seen the departure of Russian billionaire banker Petr Aven, a close Putin ally, from the board of London’s Royal Academy; the shunning of soprano Anna Netrebko, who

was dropped by New York’s Metropolitan Opera after failing to vocally condemn Putin and then found herself reviled in her home country after attempting to distance himself from him; and Russian conductor Valery Gergiev, who was fired from the Munich Philharmonic Orchestra over his ties to the despot.

A Good Read

WONDERING WHAT TO PACK FOR THE VENICE BIENNALE? HERE’S A LIST, CROWDSOURCED FROM ART-WORLD INSIDERS First Published On Artnet News, April 18, 2022

“Velvet, flat Friulane (or furlane) shoes. Everyone wears them, all over Italy. For all the miles to be walked in Venice, they are perfect—light and comfortable and chic; they could even pass for elegant in a pinch. “It is said that people from Friuli have worn them since the 1800s. The Venetian gondoliers adopted them because of their grip and comfort, and because they didn’t ruin the wood of the boats. It is also said that Venetian nobility used them when they wanted to sneak around to find their amanti [lovers] in secret. They are truly silent little slippers.

Italian actress and princess Ira von Fuerstenberg packing her things in Venice circa 1955. Photo: Carlo Bavagnoli/Mondadori via Getty Images.

“If you don’t have them, buy them when in Venice. The most popular store is ViBi Venezia.” Maria Brito, Art Advisor

With the Venice Biennale opening this week, we asked people in the art world a few questions to help us prepare. First: What is the most essential thing on your Venice packing list? Here’s what they said. Paulina Bebecka, Gallerist

“The weather in Venice changes dramatically, from warm to rain to cold—on the same day— so definitely layers and outfits that work for these very different temperatures.”

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Geoff Dyer, Author “Simple: a notebook and pen to write down vaporetto times so you can arrive at the relevant stop with minutes to spare after dinners or parties—the service is extremely punctual, but somewhat sparse late in the evenings.”

Heather Flow, Art Advisor

Pari Ehsan (aka Pari Dust), Influencer

“My Issey Miyake kimono raincoat is critical! The rain in Venice can be cataclysmic.” Aparajita Jain, Art Dealer

A look from Bevza’s spring-summer 2022 collection.

“In the spirit of dressing to heighten the discourse, most essential to me is to create an art and fashion pairing, an image to document our times. I will wear a look by Ukranian designer Bevza, whose current collection is characterized by water and nautical themes, to dialogue with Fountain of Exhaustion, artist Pavlo Makov’s kinetic sculpture, set to be exhibited in Ukraine’s pavilion—a message for hope.”

Great shoes! Sometimes it’s hard to get boats, which means walking distances between shows. I like Loro Piana—Summer Walk.”

Melissa McGill, Artist “An extra bag to bring home colorful pairs of my favorite Friulane slippers [by Piedàterre Venezia], with soles made of recycled bicycle tires.” Nazy Nazhand, Art Advisor

Wearing her Nike Air Max sneakers in Venice

“My collection of Nike Air Max sneakers and my Max Mara trench coat. The Biennale requires hours of walking and getting in and out of water taxis and vaporettos. Opening week is an endurance sport with unpredictable weather, and I’m ready for it.”

Ellen Swieskowski, Entrepreneur “I always pack a travel backgammon set. Smythson and Sabah both make nice roll-up versions that you can throw in a tote. Playing backgammon is a great way spend downtime between art viewings, and you just may make some new friends.”

Eugenio Re Rebaudengo, Collector “The most critical thing is to have planned a very precise itinerary of shows and events. So nothing is more important than your smartphone, with a well-organized Google calendar.” Ermanno Rivetti, Gallerist “I always like to bring something Venicerelated to read—I call it full immersion. This time it’s Joseph Brodsky’s Watermark.” Bosco Sodi, Artist “The most essential thing on my packing list is good tennis shoes: the beauty of the city is to walk and walk and walk. And I always have my sketch book.”

Sabah’s handmade leather backgammon travel set.

Simmy Swinder Voellmy, Gallerist “A portable phone charger! Who knows when you’ll have access to an outlet, and who wants to be far apart from their phone when coordinating an evening’s full schedule? A bonus is having one with multiple ports—you’ll be the most popular person at dinner.”

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Hannah Traore, Gallerist “At least a few pairs of glasses. I need to be able to see all the incredible art and landscapes; in a place like Italy, they also need to match my outfit.”

A Good Read

BLACK WOMEN REIGN VICTORIOUS AT VENICE BIENNALE AS SIMONE LEIGH, SONIA BOYCE WIN TOP AWARDS First Published On artnews.com

For the first time, both of the Venice Biennale’s top honors went to Black women.

researched, virtuosically realized, and powerfully persuasive monumental sculptural.”

Those awards, known as the Golden Lions, went this year to Simone Leigh and Sonia Boyce, who won for participation in Cecilia Alemani’s main show and for a national pavilion, respectively.

Leigh used her speech to pay homage to people whom she called her “interlocutors,” among them Rashida Bumbray, who will lead an event as part of Leigh’s Biennale pavilion later this year, and artist Lorraine O’Grady.

The Silver Lion, for a “promising young artist” in the main show, went to Ali Cherri. Special mentions for Alemani’s exhibition were also awarded to Shuvinai Ashoona and Lynn Hershman Leeson. Boyce won for her British Pavilion, which was curated by Emma Ridgway. Zineb Sedira’s French Pavilion and the Uganda Pavilion, which featured work by Acaye Kerunen and Collin Sekajugo, received special mentions. Leigh, who also represented the United States this year at the Venice Biennale, was recognized for Brick House (2019), a 16-foot-tall sculpture that had formerly appeared on New York’s High Line park, where Alemani serves as chief curator. The work depicts an eyeless Black female figure whose form appears to combine with an architectural structure. Drawing on the styles of Batammaliba architecture and Mousgoum dwellings, the work also alludes to Mammy’s Cupboard, an eatery in Natchez, Mississippi, whose building resembles a mammy figure. Brick House received prominent placement at the Biennale, where it was surrounded by works by Belkis Ayón. It was the first piece viewers saw once they entered the Arsenale section of the main show, titled “The Milk of Dreams,” which was focused loosely on a reemergence of Surrealist tendencies. In a statement read by Adrienne Edwards, a Whitney Museum curator who led the group that selected the winners, the jury said it had given Leigh the Golden Lion for her “rigorously

Boyce’s British Pavilion similarly centered Black women, focusing specifically on ones in Britain whose vast contributions to the country’s musical history have gone under-recognized by the mainstream. Through videos, sculptures, and displays of archival material, Boyce, who first emerged during the Black British Arts movement of the 1980s, surveyed the work of five Black female singers spanning multiple generations and musical styles. “Sonia Boyce proposes, consequently, another reading of histories through the sonic,” the jury said in its statement. Through tears, Boyce thanked a number of figures, including the late curator Okwui Enwezor, who brought her work to the main show of the 2015 Venice Biennale. She used her speech to suggest that there are many more figures within her lineage who have yet to emerge. “We mustn’t forget that there’s an even longer arc, which we see in Zineb,” she said. “We mustn’t forget that there’s a longer arc that’s more than the people than we see here.” Cherri won for Of Men and Gods and Mud (2022), a video installation that draws a line between the past and the present by way of the Merowe Dam in Sudan. The work envisions the dam as something akin to a creature itself, one that has similarities to beasts seen in art of centuries past. The jury praised the work for “opening up from other narratives that depart from the logic of progress and reason.”

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Ahead of the opening of the biennale, the prestigious Golden Lions for Lifetime Achievement Awards were given to Cecilia Vicuña and Katharina Fritsch, both of whom are featured in the main show. The German-born Fritsch was lauded for her uncanny, often over-sized reproductions of objects, animals, and people. Vicuña, a Chilean visual artist and a poet, was honored for her wide-ranging practice “built around a deep fascination with Indigenous traditions and nonWestern epistemologies,” according to Alemani in a statement. The Golden Lion for Lifetime Achievement is typically given to one mid or

late-career artist; this year marked the first time since 2013 that two artists shared the prize. In addition to Edwards, this year’s jury also consists of Lorenzo Giusti, the director of GAMeC Bergamo in Italy; Julieta González, artistic director of Instituto Inhotim in Brazil; Bonaventure Soh Bejeng Ndikung, the founder of Savvy Contemporary in Berlin, artistic director of Sonsbeek 20–24 in the Netherlands, and the incoming director of Haus der Kulturen der Welt (HKW) in Berlin; and Susanne Pfeffer, director of Museum MMK für Moderne Kunst in Frankfurt.

A Good Read

CHRISTIE’S IS SENDING A HOLOGRAM OF A $20 MILLION EDGAR DEGAS BALLERINA ON A WORLD TOUR TO AVOID THE COST AND COMPLEXITY OF SHIPPING First Published in The ArtNewspaper, 21 April 2022, Daniel Cassady

The same type of technology that brought Tupac to Coachella is now being used to take an Edgar Degas ballerina on tour. Last week, a hologram of the French artist’s sculpture Petite danseuse de quatorze ans toured Christie’s outposts in San Francisco and Hong Kong as part of the auction house’s preview of works in its upcoming sale of the late Anne Bass’s collection. The likeness of the 40-inch-tall bronze ballerina was displayed inside an illuminated, refrigerator-sized box.

at Christie’s. “The hologram provides a lifelike digital replica displayed in three dimensions rather than flat digital screens like TVs or our computer monitors,” Thakkar told Artnet News, “allowing for an immersive and interactive experience.” The actual sculpture, a bronze cast created in 1927 based on a wax model that dates to 1879– 81, is estimated to fetch between $20 million and $30 million on May 12 in New York. It’s one of three works by the artist on offer.

It’s the first time Christie’s has deployed the technology, which it sees as a viable alternative to increasingly risky, environmentally damaging, and exorbitantly expensive international shipping. (The company already had the viewing boxes on hand in both San Francisco and Hong Kong, so there was no physical shipping required.)

A Christie’s spokesperson said there are no plans for future hologram viewings at this time.

This particular Degas bronze is particularly sensitive given its age, according to Devang Thakkar, senior advisor for digital and technology

“Beaming people places also saves an enormous amount of time, money, and carbon damage too,” said Proto CEO David Nussbaum.

The devices used to show off the Degas belong to Proto, a Los Angeles-based startup behind products that allow users to transmit live, threedimensional representations of themselves to, say, faraway meetings or lectures.

The collaboration with Christie’s isn’t Proto’s first dalliance with the art world. Nussbaum’s company has been involved with the display of numerous NFT projects—a “dozen” of which occurred around last year’s Art Basel Miami Beach—and has an app that “turns your Proto into a full-service touch-screen art gallery.” He’s open to other artistic uses, too. “It would be amazing for a museum to commission a performance art piece—maybe beaming live to cities all over the world,” Nussbaum went on. “How great would it be to see Marina Abramovic do something with Proto? Would The Artist is Present work via holoportation? Instead of beaming people, what if Cai Guo-Quiang created one of his gunpowder events live via Proto? What amazing polka-dot and mirrors ideas would Yayoi Kasuma have?”

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A Good Read

IN A GUARANTEED MARKET, BUYERS AND SELLERS CRAVE THE UNPREDICTABLE The recent London auctions suggested a market of extremes, with some seeking the safety of guarantees and others speculating on works by young stars on the rise First Published On theartnewspaper Melanie Gerlis, 15 April 2022

The stark dynamics of the current art market played out during London’s week of auctions last month, with contrasts likely to polarise further should Russia’s merciless invasion of Ukraine persist. The invasion itself was front and centre as the sales began—“Missiles rain on Ukrainian cities” flashed on my phone just as René Magritte’s L’empire des lumières (1961) hammered for £51.5m at Sotheby’s. The perfunctory saleroom applause and celebratory tweets felt uncomfortable—surreal even—given the horror of what was going on outside. Flight to safety The auctions themselves painted a picture of a clientele of extremes. At one end, the evening sales fielded the highest proportion of guaranteed works ever—accounting for 64% of the total hammer price according to the analysts ArtTactic, and including the Magritte. This suggests a flight to safety on the part of both sellers and buyers, reducing their risks at the highest levels. The other, more recent, extreme of today’s art market is the intense speculation on young art and artists. Lauren Quin and Rachel Jones were among the 20- and 30-something auction debutantes to hit the six-figure jackpot this season. It’s easy to assume that there are two different types of players at auction—the older guard collectors who stick to the traditional fare and the fashion-conscious, newer buyers who are trying their luck.

But the reality is not so clear cut. The more predictable auctions become, through guarantees and their staged set-ups, the more buyers and sellers crave the fun of the unpredictable. The art adviser Sibylle Rochat says: “Now that serious blue-chip works are in the tens of millions, even classic collectors want to play a bit more.” Plus, she notes: “The shift to digital during the pandemic has fuelled speculation. Buyers have adjusted to being one step removed from a work, so feel less attached.” Wobbly works But not everything was a hit. Classic Impressionist works, favoured by Russian buyers in and out of

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Photo: Haydon Perrior. Courtesy of Sotheby’s.

the country, were wobbly, while nervous sellers withdrew works even during the auctions. One painting from Sotheby’s sale—Monet’s Les Demoiselles de Giverny (1894)—was withdrawn mid-session and is due to reappear at the auction house’s next major season in New York in May. The question is, will things be any better by then? While the US was initially less impacted than Europe, which has a war on its doorstep, the longer the conflict continues, the more the eyes of the world are on Russia. Sanctions and other economic controls had yet to bite during the London sales and are growing in force every day.

In a world that still needs to recover from the costs of Covid alongside a prolonged hike in energy prices, the chances of a wider financial recession seem more likely. Meanwhile, the spectre of a wider war has not gone away. For the auction houses, getting in consignments must be even trickier than at the beginning of this year. I would expect even more guarantees—and experiments with untested youngsters—in the next round of sales.

A Good Read

SHIPPING COSTS ARE SKYROCKETING—AND GALLERIES ARE EXPECTED TO BE HIT HARD Oil price increases and the inability to fly over Russian airspace has made sending art abroad, especially between East Asia and Europe, much more expensive First Published On theartnewspaper Kabir Jhala, 5 April 2022

Russia’s invasion of Ukraine has caused the cost of international shipping to skyrocket. Oil prices last month reached their highest in 14 years as Nato countries vowed to wean themselves off Russian energy by the end of the year, causing extreme market volatility. This, combined with the inability to fly over Russia and Ukraine’s vast combined airspace, has made shipping art overseas, in particular between Europe and Asia, much more expensive—and major fairs in Asia are expected to be hit hard. “I’ve not seen anything like this since the 2008 recession,” says Victor Khureya, the operations director of the shipping firm Gander & White. “I’m getting estimates of air freight from Europe to China, Malaysia and Japan between eight to 12 times the usual cost.” The situation appears even more dramatic elsewhere. Edouard Gouin, the co-founder of Convelio, a fine art shipping logistics company, says that a Chinese client was recently quoted $58,000 to send a container to northern Europe by a competitor. This journey, he says, would have cost around $3,000 before the pandemic—a markup of around 20 times. Gouin adds that while no one can predict such a rapidly evolving situation, he does not expect things to ease “for at least the next three months.” Both shippers say that commercial gallery clients have cancelled orders due to surging costs. Fairs watch closely What this means for forthcoming fairs remains to be seen. An Art Basel spokesperson says: “This is a situation evolving rapidly and we will stay in close contact with our galleries to best support their participation in the weeks and months to come.” While its Hong Kong fair (25-29 May) is the first to be affected, the fair’s spokesperson

says that many exhibitors have already shipped their art and that Art Basel has negotiated free storage in the city with its shipping partners. They add that galleries withdrawing from Hong Kong now are subject to the usual cancellation fees, while withdrawing from the Basel fair at this stage would leave exhibitors liable to pay 50% of the booth fee. Frieze, which launches its inaugural Seoul fair in September, declined to comment, but it is understood that it is monitoring the situation and that galleries have until June to pull out and still receive a full refund. Angus Montgomery Arts, the largest organiser of Asian fairs, has yet to announce contingency plans for a fair cancellation but a company spokesperson says they are “keeping an eye”

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on the situation as it unfolds. Meanwhile a spokesperson for the Korean Pavilion at this month’s Venice Biennale says that air shipping costs have “taken up a lot” of their budget. Some knock-on effects predicted by shippers include smaller and less bulky works being sent across the Asia-Europe route. Moreover, a huge increase in sea freight is expected, as flying around Russia can add up to five hours to a journey. “Sea freight was already something that a lot of our clients have considered for environmental reasons as it uses 10 times less fuel than flying by air,” Gouin says. Other less obvious causes behind surging prices are spiking insurance rates and a severe shortage of cargo vehicles and containers. Russia owns a large proportion of ships, containers and other

machinery, none of which can now be used. Prices of the remaining vehicles have therefore risen due to massively increased demand. “This situation has been at a tipping point since the pandemic’s onset, which grounded flights and has caused labour and materials shortages and supply chain disruptions that continue to be felt today,” Khureya says. “This war has only made a difficult situation worse.” Nevertheless, it is undoubtedly a lucrative time to work in shipping too. The French container transportation and shipping company CMACGM, the third largest in the world, reported a profit of €23.1bn in 2021, more than France’s largest two banks, BNP Paribas and Société Générale, combined.

ARTGO MAY 2022

NEW GALLERIES, ONGOING SHOWS AND OPENING EXHIBITIONS Petra Schutte, Estuary down below, 2021. Pigment ink, ink, pencil, china marker on Fabriano. 100 x 70cm at Gallery2

ARTGO: MAY 2022

OPENING EXHIBITIONS

ART UNLOCKED 20+ ARTISTS | 2 STUDIOS 6 GROUP EXHIBITIONS RIEBEEK VALLEY / MAY 2022 FACEBOOK/INSTAGRAM ARTUNLOCKEDRIEBEEKVALLEY

THE MELROSE GALLERY

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

SCULPTX 2022 CALLOUT INVITATION TO ESTABLISHED, MID-CAREER AND EMERGING SCULPTORS TO PARTICIPATE IN SCULPTX 2022 01/09/2022 UNTIL 02/10/2022 WWW.THEMELROSEGALLERY.COM

THE CAPE GALLERY

LET’S MAKE IT REAL - GROUP EXHIBITION MANY OF THE ARTISTS ON THIS EXHIBITION WERE TRAINED AT CAP, THE FOUNDATION SCHOOL OF ARTS OR THE NYANGA ART CENTRE. 05/05/2022 UNTIL 11/06/2022 WWW.CAPEGALLERY.CO.ZA

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ARTGO: MAY 2022

OPENING EXHIBITIONS

EVERARD READ GALLERY JHB THE TENDERNESS OF GHOSTS NICOLA BAILEY 05/05/2022 UNTIL 28/05/2022 WWW.EVERARD-READ.CO.ZA

NEL

THE MELROSE GALLERY CAPE TOWN

ONE & ONLY CAPE TOWN, DOCK ROAD, VICTORIA & ALFRED WATERFRONT HUSSEIN SALIM GARDEN OF CARNAL DELIGHTS 05/05/2022 UNTIL 03/07/2022 WWW.THEMELROSEGALLERY.COM

OKAY | OBEY: MASTERS OF CONFUSION SOLO EXHIBITION BY THABO PITSO THE ARTIST TAKES EVERYDAY CONSUMER INFORMATION MEDIA, LIKE SALE PAMPHLETS AND GROCERY SPECIALS AS ITS MEDIUM AND ITS SOURCE MATERIAL. / 05/05/2022 UNTIL 27/05/2022 WWW.NELART.CO.ZA

GALLERY 2 SOJOURN (NOUN) SOLO EXHIBITION BY PETRA SCHUTTE 07/05/2022 UNTIL 04/06/2022 WWW.GALLERY2.CO.ZA

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Year 10

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

Solomon Siko, Shibeen Scene, 73 x 98 cm, Oil, The Cape Gallery

ARTGO: MAY 2022

OPENING EXHIBITIONS

GALLERY @ GLEN CARLOU PRIMORDIAL / A SOLO EXHIBITION BY PAULINE GUTTER 07/05/2022 UNTIL 19/06/2022 WWW.GLENCARLOU.COM

GALLERY @ GLEN CARLOU THE ROAD WAS FULL OF BRANCHES A SOLO EXHIBITION BY YDI COETSEE CARSTENS 07/05/2022 UNTIL 19/06/2022 WWW.GLENCARLOU.COM

RK CONTEMPORARY

EVERARD READ CAPE TOWN THE RAZOR-SHARP REASONING OF TINTED SKIES LIZA GROBLER - SOLO EXHIBITION 11/05/2022 UNTIL 01/06/2022 WWW.EVERARD-READ.CO.ZA

ACHROMATICA GROUP EXHIBITION EXPLORING A PALETTE OF BLACK AND WHITE AND ALL THESHADES OF GREY IN BETWEEN 08/05/2022 UNTIL 29/05/2022 WWW.RKCONTEMPORARY.COM

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ARTGO: MAY 2022

OPENING EXHIBITIONS

EVERARD READ CAPE TOWN PENELOPE STUTTERHEIME SOLO EXHIBITION 11/05/2022 UNTIL 01/06/2022 WWW.EVERARD-READ.CO.ZA

EVERARD READ CAPE TOWN FUTURE MYTHOLOGIES SOLO EXHIBITION OF NEW WORKS BY SOPHIA VAN WYK. 11/05/2022 UNTIL 01/06/2022 WWW.EVERARD-READ.CO.ZA

PRINCE ALBERT GALLERY CELEBRATES IT’S 20TH ANNIVERSARY BY HONOURING THE LATE HEKKIE MOOS RETROSPECTIVE EXHIBITION 11/05/2022 UNTIL 18/07/2022 WWW.PRINCEALBERTGALLERY.CO.ZA

131 A GALLERY CAPE TOWN DISRUPTION - GABRIELLE RAAFF & AN URBAN CHRONICLE - JO O’ CONNOR 131 A GALLERY CAPE TOWN WWW.131AGALLERY.COM OPENING 7TH OF MAY 11AM - 1PM

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

Walter Whall Battiss, Matala, Crete, watercolour on paper SOLD R48 000 View previous auction results at www.rkauctioneers.co.za

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

Nicole Pletts, Florescent Roses, Oil on Canvas, 90 x 120 cm The Viewing Room Art Gallery and St. Lorient

ARTGO: MAY - AUG 2022

OPENING EXHIBITIONS

SAADA CAPE AUTUMN FAIR 2022 @ BLAAUWKLIPPEN

BLAAUWKLIPPEN WINE ESTATE, R44 STRAND ROAD STELLENBOSCH SOUTH AFRICA’S TOP ANTIQUE DEALERS WITH A CURATED SELECTION OF FINE ART, 20TH CENTURY DESIGN, ANTIQUES, CERAMICS, SILVER, JEWELLERY, VINTAGE DESIGNER CLOTHING AND MORE. 14/05/2022 & 15/05/2022 OPENING HOURS: 10:00 – 17:00 DAILY FREE ENTRY

RUST-EN-VREDE GALLERY

SMALLPRINT... AN EXHIBITION OF TINY PRINTS INCLUDING ETCHINGS, LINOCUT PRINTS, LITHOGRAPHY, SERIGRAPHY, MONOTYPES AND WOODBLOCK PRINTS. / 21/05/2022 UNTIL 18/06/2022 WWW.RUST-EN-VREDE.COM

RUST-EN-VREDE GALLERY

WHEN WILD WOODS WHISPER THIS EXHIBITION ATTEMPTS TO RE-ROOT OUR VENERATION OF THE PRIMORDIAL FOREST; NUDGING US GENTLY ON TO TAKE HEED AND LISTEN WHEN THE WILD WOODS WHISPER. / 21/05/2022 UNTIL 18/06/2022 WWW.RUST-EN-VREDE.COM

HERMANUS FYNARTS FESTIVAL 2022 CELEBRATES ITS TENTH ANNIVERSARY 10/06/2022 UNTIL 19/06/2022 WWW.HERMANUSFYNARTS.CO.ZA

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Gabrielle Raaff, Resting, 280x390mm Water-based oil on Calico Cotton 2022, 131 A Gallery

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ARTGO: MAY - AUG 2022

OPENING EXHIBITIONS

SASOL NEW SIGNATURES ART COMPETITION WINNING WORKS WILL BE DISPLAYED AT THE PRETORIA ART MUSEUM 25/08/2022 UNTIL 02/10/2022 ENTER THE 2022 SASOL NEW SIGNATURES ART COMPETITION AT ONE OF SEVERAL GALLERY 2 COLLECTION POINTS ACROSS THE A BOOK… COUNTRY ON 07/06/2022 A SOLO EXHIBITION Gallery 2 in MTHIYANE. association with Studio Nxumalo are proud present ANDto 08/06/2022 BY MFUNDO 11/06/2022 AT AOPENING Book…,SATURDAY, a solo exhibition by11H30. Johannesburg based WWW.SASOLSIGNATURES.CO.ZA artist Mfundo

arkwood,

11.06.2022 UNTIL 09.07.2022 Mthiyane. WWW.GALLERY2.CO.ZA

For his inaugural exhibition, Mthiyane draws inspiration from the surrealist movement, employing the style as a means of expressing the intricacies of a journey into self-awareness and discovery. While Mthiyane’s work explores perceptions of reality; books, metaphors, allegories, mythology, philosophy, and dialogues remain a primary source of inspiration and reference points for his artistic practise.

Artist Biography Mfundo Mthiyane (b. 1992) currently lives and works in Johannesburg, South Africa. After graduating with a Diploma in Multimedia Studies at the Centre for Fine Art, Animation and Design College, Mthiyane ART IN THE HEART OF THE earned KAROO his stripes in design at several PRINCEand ALBERT OPEN STUDIOS: studios advertising agencies in Johannesburg. Mthiyane has WINTER EDITION participated in numerous group exhibitions including “Emerge” at THURSDAY TO 19/06/2022 The Station16/06/2022 House DSTP in Florida, USA, “The Portrait Show” at SOLO STUDIOS 10AM TO 5 PMinDAILY. Everard Read Johannesburg. “In Search” alongside Lindo Zwane INTIMATE ART ENCOUNTERS IS AN ART OPENING OF GROUP EXHIBITION AT as a part of SAFFCA artist award, and mostly recently, “The Oasis” INVESTMENT EMPORIUM, AN ANNUAL EVENT PRINCE ALBERT GALLERY: THAT TAKES PLACE OVER A WEEKEND IN group exhibition at the Hallmark WEDNESDAY 15/06/2022 - 6 PM. Hotel, Johannesburg. WINTER WORKSHOPS: TUESDAY 14/06/2022 & 15/06/2022

WWW.PRINCEALBERTOPENSTUDIOS.CO.ZA

“ARTS TOWN RIEBEEK VALLEY” (WITHRIEBEEK KASTEEL AS THE HUB), LESS THAN 1 HOUR’S DRIVE FROM CAPE TOWN. 26/08/2022 UNTIL 28/08/2022 WWW.SOLOSTUDIOS.CO.ZA

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LET’S MAKE IT REAL GROUP EXHIBITION

on show from May 5th to 11 June

Artwork : Taxi Rank by Gerald Tabata

60 Church Street, Cape Town 0214235309 web@capegallery.co.za Saturday 10am - 2pm weekdays 9.30am - 4pm

100 95 75

25 5 0

2022 Quilts_Art Times_April issue_set up for print 16 March 2022 12:18:42 PM

ARTGO: MAY 2022

ONGOING SHOWS

ART IN THE YARD THE MAGIC & THE MYSTERY A SOLO EXHIBITION BY HELEN VAN STOLK 09/04/2022 UNTIL 09/05/2022 WWW.ARTINTHEYARD.CO.ZA

GOODMAN GALLERY CAPE TOWN FREEDOM SOLO EXHIBITION 24/03/2022 UNTIL 14/05/2022 EL ANATSUI

RUST-EN-VREDE GALLERY

DANCE OF ORDER AND CHAOS A COLLABORATIVE EXHIBITION BETWEEN PRINTMAKERS JUDY WOODBORNE AND MICHELE D’ARGENT, INSPIRED BY THE GAME SNAKES AND LADDERS (MOKSHA PATAM) WHICH ORIGINATED IN INDIA. / 09/04/2022 UNTIL 14/05/2022 WWW.RUSTENVREDE.COM

RUST-EN-VREDE GALLERY JULIA VAN SCHALKWYK SOLO EXHIBITION COLD WAX AND ENCAUSTIC PAINTINGS 09/04/2022 UNTIL 14/05/2022 WWW.RUSTENVREDE.COM

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RUST-EN-VREDE GALLERY MATERIAL DIVINE CURATED BY VUSI BEAUCHAMP AND DONAVAN MYNHARDT. 09/04/2022 UNTIL 14/05/2022 WWW.RUSTENVREDE.COM

PRINCE ALBERT GALLERY BIG SKY SOLO EXHIBITION BY JANET DIRKSEN 15/04/2022 UNTIL 15/05/2022 WWW.PRINCEALBERTGALLERY.CO.ZA

OLIEWENHUIS ART MUSEUM HANDS UP COLLECTION, AN EXHIBITION BY THE SOUTH AFRICAN QUILTERS’ GUILD (SAQG) TEACHERS’ FORUM 07/04/2022 UNTIL 22/05/2022 WWW.NASMUS.CO.ZA

Dance for All, Fynarts 2022

ARTGO: APRIL 2022

ONGOING SHOWS

ST. LORIENT AND THE VIEWING ROOM ART GALLERY GROUP EXHIBITION - SPIDERMAN 60TH 26/03/2022 UNTIL 30/05/2022 WWW.STLORIENT.CO.ZA/THE-VIEWING-ROOM.CO.ZA

GROUND ART CAFFE VUJÀ DÉ: THE STORIES WE TELL OURSELVES - BY SIMON DE HAAST 07/04/2022 UNTIL 31/05/2022 WWW.GROUNDARTCAFFE.CO.ZA

DAOR CONTEMPORARY ANTON SMIT SCULPTURE PARK, GALLERY & ART CAFE

SELECTION OF 600 SCULPTURES IS ON DISPLAY TO MAXIMUM EFFECT IN A SERENE GARDEN AND TWO ART GALLERIES. WWW.ANTONSMIT.CO.ZA

AUTUMN ’22 GROUP EXHIBITION GROUP EXHIBITION FEATURING FOURTEEN EXCITING LOCAL CONTEMPORARY TALENTS WORKING IN A VARIETY OF MEDIUMS. THE ARTWORK ON EXHIBITION INCLUDES PHOTOGRAPHY, PAINTINGS, DRAWINGS, PRINTS, MIXED MEDIA WORKS, AND SCULPTURES MADE FROM FOUND OBJECTS. THE EXHIBITION WILL RUN INTO JUNE. WWW.DAOR.CO.ZA

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IS ART GALLERY RECON(FIGURE) SOLO EXHIBITION WILMA CRUISE UNTIL END OF MAY 2022 WWW.IS-ART-GALLERY.COM

NWU GALLERY

ST. LORIENT AND THE VIEWING ROOM ART GALLERY GROUP EXHIBITION MAY 2022

THE PERCH - MICHELE MATHISON WORKS WITH A MULTITUDE OF MATERIALS AS WELL AS VARIOUS FOUND OBJECTS, WHICH HE RECONSTRUCTS TO HIGHLIGHT THEIR MULTIFACETED SYMBOLIC VALUES. FRANS DU TOIT BUILDING AT NWU WWW.SERVICES.NWU.AC.ZA/NWU-GALLERY

UNSETTLING THE SINGLE SOCIETY EXHIBITION CO-CURATED BY AMOHELANG MOHAJANE, BOITUMELO MAKOUSU. NOKUKHANYA KHUMALO AND TSEPANG BERENG USING THE NWU COLLECTION 06/04/2022 UNTIL 31/05/2022 WWW.SERVICES.NWU.AC.ZA/NWU-GALLERY

WWW.STLORIENT.CO.ZA/THE-VIEWING-ROOM.CO.ZA

Ydi Coetsee Carstens – Waiting for Repairs, oil on board, 80 x 80cm Top: Ydi Coetsee Carstens – Day 31, Gouache on 300gsm paper, sheet size: 29,7 x 21cm, circle: 12cm diameter Center: Ydi Coetsee Carstens – Day 50, Gouache on 300gsm paper, sheet size: 29,7 x 21cm, circle: 12cm diameter Below: Ydi Coetsee Carstens – Day 92, Gouache on 300gsm paper, sheet size: 29,7 x 21cm, circle: 12cm diameter

ARTGO: MAY 2022

ONGOING SHOWS

IRMA STERN MUSEUM DYLAN LEWIS SCULPTURE GARDEN PARADYSKLOOF RD, PARADYSKLOOF, STELLENBOSCH WWW.DYLANLEWIS.COM

IRMA & ATHI …AN INTERVENTION: EXHIBITION OF ATHI-PATRA RUGA ART IN CONVERSATION WITH IRMA STERN ARTWORKS.WALKABOUTS: ATHI PATRA RUGA: 9 APRILDISCUSSION WITH ATHI PATRA RUGA AND GUESTS: 14 MAY WALKABOUTS WITH ISM DIRECTOR: 3 MAY OLD MEETS NEW PRACTICAL ART-MAKING WORKSHOP: 24 MAY WWW.IRMASTERNMUSEUM.CO.ZA

LA MOTTE MUSEUM

RUST-EN-VREDE CLAY MUSEUM

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

THE CUBE: NAKED FEATURING UNGLAZED CERAMICS SUCH AS NAKED RAKU, OBVARA, SAGGAR FIRING, PIT FIRING, AGATEWARE, BURNISHED CLAY AND RAW CLAY. 09/04/2022 UNTIL 18/06/2022 WWW.RUSTENVREDE.COM

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ART@AFRICA POP UP EXHIBITION AT ABLAND 35 LOWER LONG – CAPE TOWN FOOLS GOLD BY PAUL KNEEN UNTIL 20/06/2022 WWW.ARTATAFRICA.ART

SANLAM ART GALLERY

IRMA STERN NUDES THIS EXHIBITION TRACES IRMA STERN’S TREATMENT OF NUDES IN DIFFERENT MEDIA OVER HER LONG WORKING LIFE. 26/04/2022 UNTIL 15/07/2022 2 STRAND ROAD, BELLVILLE, CAPE TOWN

NATURE MORTE The Still from Life

Jean Welz (1900 – 1975). Still life - earthenware with chalkboard, 1945. Oil on carton. Rupert Art Foundation Collection.

until end August 2022

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

ART@AFRICA MAIN ROAD FRANSCHHOEK IT’S ALWAYS SUMMERTIME SCULPTURE GARDEN SERIES UNTIL 02/01/2023 WWW.ARTATAFRICA.ART

Joshua Miles, Loch Awe sunset, (reduction linocut)

Joshua Miles, Window with flower, (reduction linocut)

Woodstock arts hub at 109 Sir Lowry Road, Woodstock, Cape Town, South Africa. SA/ PRINT GALLERY Tel: 021 THE 300 0461 Email: info@printgallery.co.za

PRESENTS SUMMER SALON

A CURATED EXHIBITION OF SOUTH AFRICAN FINE ART PRINTS

Thinking of selling? Contact us for an obligation free valuation Johannesburg Cape Town 011 880 3125 021 794 6461 info@swelco.co.za ct@swelco.co.za Upcoming Auction: Cape Town | 27, 28 & 29 June 2022 Johannesburg | 26, 27 & 28 July 2022

Diane Victor TROJAN III Estimate R7 000 - 10 000 Hammer R23 910

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Art Times May 2022

Articles inside

BUSINESS ART

UNSETTLING THE SINGLE SOCIETY

IRMA STERN “NUDES 1916 – 1965

QUALITY/INEQUALITY

HUSSEIN SALIM

CASTED

FynArts 10

ART IN THE HEART OF THE KAROO

ART BEYOND IMAGINATION