Art Times October 2022 Edition

Gerard Sekoto AFRICAN FIGURES gouache on paper

by

investeccapetownartfair.co.za

CONTENTS

Cover: Angus Taylor, Te midde, Association of Arts Pretoria

12. M.O.L 32 - DIVINATION Ashraf Jamal Column

20. PITIKA NTULI’S EXHIBITION TO TOUR SA MUSEUMS Appreciate extraordinary works up close

26. FROM NOW TO NOW Language of vertical and horizontal lines

28. IN UTERO An ode to home

34. ETHNIC ASSEMBLAGE Thembaletu Manqunyana Solo Exhibition

38. PRINCE ALBERT OPEN STUDIOS Art in the Heart of the Karoo

44. JOHAN STEYN MINKI AND THE SUNBIRD Written by Briony Haynes

50. LOOKING INTO… AND SEEING BEYOND Meaning-Searching and Meaning-Making

54. THE ASSOCIATION OF ARTS PRETORIA TURNS 75

60. INSERTED BODIES Living and Inherited history of Johannesburg

66. BUSINESS ART Fine Art Auction highlights

76. ARTGO Exhibition Highlights

JP Meyer, Leto and the Wolf, Daor Contemporary

Art History is made while you having fun

One thrilling gift that age brings to one is context. Having been in the art world for a number of years brings with it a sense of insight and understanding of how the world works, but having said this, it’s always the surprises, not the obvious that bring in the most exciting changes.

Being a young upcoming artist definitely has its perks of breaking through and getting your genius and unique identity to shine through the seemingly previous generations of old and boring people.

In the rush of art fairs, events, and auctions the art world - whose reach has increased substantially given its online and social media reach seems to be on steroids like never before. If one pauses for a moment and asks where this art world and means of selling came from, the root of SA Art and Art Market is a fascinating one that has its origins before the act of Cape Colony parliament that were the beginnings of the Association of Arts in Cape Town (1871) that led onto the start of the National Gallery in 1924. In this edition, we profile Pretoria Association of Arts celebrating its 75 Birthday.

In terms of longevity, private galleries have a tendency of coming and going, but there are many examples that have endured time such as the Everade Read Gallery established in 1913, Goodman Gallery started by the incredible Linda Givon in 1966, in 1971 Louis and Charlotte Schachat opened the incredible Die Kunskamer, while Joe Wolpe in the ‘60s dealt with Irma Stern and is known as ‘the man who brought modern art to Cape Town’ for over 60 years. Talking of Irma Stern, the Irma Stern Museum celebrates its 50th year this year with some exciting and alternative exhibitions.

Of Auction Houses Ashby’s Galleries and Auction room have been around since the 1890s, While that giant, Stephan Welz started Welz & Co in the ‘60s, Strauss arrived in 2008, and Aspire Auctions are relatively young in 2016.

In terms of Art material suppliers, E Schweickerdt in Pretoria was probably the longest-running and most successful art material supplier - even assisting Pierneef in his early days. In terms of Art Fairs, South Africa was quite late in the context of international art fairs with the Joburg Art Fair started by Ross Douglas in 2008, then Cape Town Art Fair then Turbine. First Thursday celebrates its 10th year. In writing this brief sketch of SA Art history, I have not touched upon the important publishers and dealers that have come before. Lastly, Art Magazines and News Portals would includerecent history ArtThrob started by Sue Williamson, Art South Africa (Now Art Africa) started by the dynamic art duo Brendon and Suzette Bell-Roberts in 2002, and The SA Art Times in 2006 started by Gabriel Clark-Brown.

In looking back into history, Winston Churchill exclaimed - the further forward you can see.

Crises come and go, new artists emerge, while old ones fade away, and certain business models work better for now, but then things that people couldn’t see such as the internet and art fairs spring out of the blue. One thing that always remains is the human interest in our lives and times and the endless and magic search for who we are and what we could be.

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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.

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Gabriel Clark-Brown

Robert Hodgins Nudes in a Green Field

DIVINATION

Ashraf Jamal

Following Jackson Hlungwani’s monumental retrospective at the Norval Foundation in Cape Town in 2019 – Alt and Omega – we now rediscover the artist’s work, in an elegantly economical scale, at Outskirts, an outlier exhibition and performance space north of Johannesburg, run by curator Nisha Merit and director of Gallery MOMO, Monna Mokoena. A low, thick-set, stone building, designed to withstand brutal cold and arid heat, Outskirts signals the relentless advance of South Africa’s art world. In this regard, it is not alone. A five-minute drive away, the Claire and Edoardo Villa Will Trust and NIROX have partnered to open the Villa-Legodi Centre for Sculpture, under the curatorial direction of Sven Christian.

Is it a fortuitous concurrence that two new art centres should open in such close rural proximity? I think not. NIROX is an established focal point on the South African art map, with global traction, while Outskirts, Gallery MOMO’s newest speculative creative venture, signals the tentacular reach of a leading South African dealership that best straddles both the Modern and Contemporary. If auction houses capitalise on South Africa’s great Modern artists, Mokoena, more consistently than any other dealer, exhibits and narrates their life and work – most recently, at the Johannesburg Art Fair, that of Durant Sihlali. Black African Modernity substantially defines MOMO’s remit and support, along with the likes of Vivien Kohler, a young contemporary South African artist who now walks in the footsteps of the great Black African Modernists – a fact also celebrated by the Johannesburg Art Fair, which placed a monumental work by Kohler at its entry point.

Made with bonded corrugated cardboard, Kohler’s major relief work matters here because, like the works of Jackson Hlungwani, it is concerned with faith, with spirituality, always integral to Black Modernity. Doubtless, it is Hlungwani who towers above all others

in his grasp of an African spirituality that intersects with Christianity. But lest we forget, the interconnection is complex; it is never orthodox but always profoundly personal, because, for Hlungwani, faith is a life-condition that overrides all systemic belief systems.

If Hlungwani matters profoundly today, and if Kohler can be seen to follow in his wake, it is because art is no longer a religion for atheists, no longer a palliative or antidote for the faithless. Rather, art stands at the forefront of an epistemic global shift away from cynicism, irony, parody, pop. More and more, the values and tastes which inform the art world are being shaped by yearnings for the unknowable and inexplicable, a desire to override rationalism, which misguidedly placed the Self at the epicenter of human value, and embrace a greater collective and subterranean consciousness. The return to spirituality is a striking indicator in this regard.

Speaking alongside Johan Thom and Carolyn Jean Martin, as part of a webinar “The Question of ‘Africanness’ and the Expanded Field of Sculpture” — the first to be hosted at the Villa-Legodi Centre for Sculpture — Olu Oguibe makes the striking claim that ‘The encounter between African and European art, especially at the end of the nineteenth and the turn of the twentieth centuries, stripped European art of its pretensions and often misinformed allusions to classical Greek and Roman art, especially in sculpture,’ adding that ‘while leading European artists directly modelled their new forms after objects and traditions from Africa, the most significant change was that those objects and traditions from Africa liberated European, and eventually all modern and contemporary artists globally.’ How so? By giving ‘them licence, as it were, to think of art, and form, and colour, and concept in entirely new ways, without inhibition or limitations on the imagination.’ Observing the liberator role of Africa’s varied art forms on the global stage, Oguibe notes:

Vivien Kohler,Tabernacle of Me, 2022

Vivien Kohler, Of reason and requiem, 2022

Looking at objects and art traditions from Africa, and realising that a sculptor did not have to use stone like Michelangelo did… or create formulaic bronze figures, groups narrating or approximating romanticist neo-classical allegories along stiflingly narrow and often repetitive parameters, but instead, could break out and reimagine form, and discard singular perspective, and use or incorporate hitherto decidedly nonsculptural materials, going by European academic standards, and create assemblage or collage or animated situations once consigned to puppetry or the circus, and recombine these with dance, with theatre, [… bringing] it all under the rubric of art, with or without delineations. This realisation also encouraged artists to then go back to other traditions within their own cultures that they were otherwise want to ignore in favour of the Western academic tradition and rediscover and study and try to reclaim those other traditions and reinsert them, to an extent, in modern and contemporary practices. That I think is the ultimate element of “Africanness” in the expanded field of sculpture. And that freedom, that liberty, to stretch the definitions of sculpture and sculptural

traditions beyond ideas of making or imaging that had existed for centuries in Europe and to create integrated, multivalent mediations that draw not just on form and space but multiple realms of existence and experience and impact on all the senses, and that element of limitless possibility… and the jest and subterfuge and implausible inventiveness, that is what most contemporary art still rides on.

In the case of Hlungwani, whose works are beautifully enshrined at Outskirts, it is the tethering of earth to sky, body to the soul, that is immediately sensed. Through a gaping portal on a sun-struck noon day, I find myself precisely placed between shadow and light, rolling pale yellow hills and an inner-sanctum in which wooden sculptures, defined by nature’s urgencies (and not the will of the artist) produce a choreography in which grace, much sought after today, proves the elan and spirit of the work. Standing at the portal between worlds, I am once again reminded of the words of Saint Anselm of Canterbury – Credo ut Intellegam (‘I believe so that I can understand’), because now, as we desperately search for atonement, we also realise that this is only possible when faith and understanding conjoin.

This, I believe, is why we find ourselves introduced to a vanguard in the art world that devotes itself to human transubstantiation – Outskirts and the Villa-Legodi Centre for Sculpture are cases in point. As for Edoardo Villa and Lucas Legodi? Their collaboration spanned over forty years; beginning with a serendipitous encounter between two people that occurred at just the moment in the 70s when Villa had begun making larger, heavier works. If Legodi is the lesser known, that error has now been corrected. As for the medium? In this case it is primarily steel. This is crucial, because sculpture straddles many different materials. It is as organic as it is inorganic, as pure as it is syncretic, as singular as it is mixed. This is unsurprising, given this eclectic mixed bag of a time in which we live. Nevertheless, even within this seemingly mismatch of materials, an alchemy must exist – a story that best tells us of this Anthropocene moment, in which the earth is mistakenly and vainly made in “Man’s” image. It is this hubris which has resulted in our nihilistic drive to destroy the earth, this hubris that artists – most exemplarily Hlungwani – have striven to steer us away from. Its stark and mortifying inverse is the ‘Plastiglomerate’ – works in which the organic and inorganic are fused for all time, in the case of plastics fused with rock.

Thus, when we look at art now, when we sense its radioactive toxicity or its grace, we do so to know our end or our beginning, our fall or rise, nadir or rapture. Our art is the measure of our demise or salvation. The signs are everywhere. Despite its nihilistic eradication by cynical systems, choice remains ours. It is up to us whether we choose to play Russian Roulette. Better options, better decisions lie in wait.

A collaborative sculptural work, produced as part of Carving X — a four-week workshop with artists Collen Maswanganyi, Amorous Maswanganyi, Richard Chauke, and Ben Tuge at NIROX — is a case in point and manifests this rise; this emergent drive to hold fast to grace in the midst of despair. On a vast tree trunk, struck down by lightning — and previously used by Noria Mabasa, while in residency in May — the carvers chose to narrate the story of Jonah and the Whale. As the story goes, Jonah is assigned by God to prophecy the destruction of Nineveh, one of the great, now lost and destroyed, cities. On a ship he is blamed for a storm and tossed overboard, after which God saves him by housing him in the belly of a whale. No matter what one may think of parables or riddles, of God’s agency, or the capacity for redemption in the midst of destruction, that the story has

A collaborative sculptural work, produced as part of Carving X

survived, that the four carvers at NIROX should choose to retell it through wood, once again sounds my primary point – that resurrection, irrespective of the method and means, is integral to our endurance. And if wood carving is all the more vital as a means to do so, it is because it is a material that is organically inductive – it releases the world, unveils its grace. Like Hlungwani’s, the works of both Maswanganyi’s, Chauke, and Tuge possess a haptic intelligence – tactile, intuitive, expressive – that coaxes truth and feeling through touch. It is the wood that speaks or tongues. The artists are its ventriloquists, its conjurers – mediums for divination, or some inscrutable vibration.

All the artists I’ve briefly reflected on – Hlungwani, Kohler, Villa, Legodi, the Mawanganyis, Chauke, and Tuge – have in differing ways drawn our attention to the power of truth in and through art. Whether through wood or steel, the organic or inorganic, the artists reflect upon life’s elemental dance. The expression in the case of Villa may be abstract and obtuse, but in the case of the Maswanganyis, Tuge, and Chauke, parabolic and illustrative, or, after Kohler, elegiac, or, then again, in the case of Hlungwani, more gnomic in its structures of feeling, what cannot be doubted is the urgency of their respective drives.

My point? That an undivided divinity traverses all things, and all riven, confused, and fearful mortals. These artists remind us of what we have squandered and laid waste, and to what we must now return. That we must make our pilgrimage to new meccas for sculpture such as Momo’s Outskirts and the Villa-Legodi Centre at NIROX is to be expected. We are all on a novel journey, and it is reassuring to know that all of us, the art lovers, patrons, dealers, architects, builders, and makers of art, must come together. We cannot survive if we do not. This is, after all, the point of Carving X, to explore ‘the role of collaboration,’ and to grapple ‘with questions of authorship, individual and collective identity, and the role of community in the making process.’ Indeed. And for me, at least, there is something especially galvanising about sculpture in this quest on behalf of a lost and betrayed state of grace.

(Detail) Trajectory of Po-To-Lo (Sirius B) on a Dragon Night

PITIKA NTULI’S ACCLAIMED

EXHIBITION TO TOUR SA MUSEUMS

themelrosegallery.com

Few online exhibitions grabbed attention during the height of Covid. Pitika Ntuli’s Azibuyele Emasisweni, (Return to the Source) stood out for not only had the eighty-year-old artist produced 45 new sculptures from bones and other materials but in relaying their full significance some of the country’s most esteemed poets and musicians responded to the body of work with songs and poems. This made for an incredible online programme that won the Global Fine Art Awards (GFAA) - “You-2 Award”, however, as with all art, the works are best enjoyed in person. A national tour of Ntuli’s Azibuyele Emasisweni, which will show at the Oliewenhuis Art Museum in October and then the Durban Art Gallery in March 2023 curated by Ruzy Rusike, will give the public a chance to appreciate these extraordinary works up close.

Azibuyele Emasisweni, (Return to the Source) first opened at the National Arts Festival in June 2020 in an online format by Naledi Pandor, Minister of International Relations. It was part of the main programme of this arts festival and challenged fixed definitions of ‘contemporary’ and ‘traditional art’.

As a Sangoma it is no surprise Ntuli turned to animal bones as the medium, for this body of work - 37 bone sculptures all paired with praise songs. This makes for an unexpected contemporary art exhibition; African spiritualism and contemporary art are rarely bedfellows and his use of animal bones (elephant, rhino, giraffe and horses) which are gently coaxed into anthropomorphic shapes sculptures make for striking works.

Using the approach of a Sangoma, by allowing the material to guide him, Ntuli invokes ancient African indigenous and spiritual knowledge systems, which he believes can ‘treat’ contemporary problems.

Ntuli has been circling pertinent sociopolitical issues as an academic, writer, activist and teacher but as the title of the exhibition suggests, he is returning to ‘the source’ of expression. In turn, he is encouraging society to return to the ‘source’ of African spiritualism and knowledge as the means of resolving corruption, greed and poverty. Above all, the bone sculptures –a result of Ntuli teasing out human features from the animal skeletons – articulate his desire for humankind to reconnect with nature.

“I do not copy nor work like nature. I work with nature! Bones are vital, as in imbued with life, and it this life that they possess that possesses me when I work. We are partners. Bones, like wood, have definite forms to work with. I do not oppose their internal and external directions, I externalise their inherent shapes to capture the beauty and the truth embedded in them, in other words I empower the bones to attain their own ideal,” observes Ntuli.

Trajectory of Po-To-Lo (Sirius B) on a Dragon Night Opposite Page: (Detail) Rainbow Drops at Dawn

Horny, I Rise to Kiss the Stars of Love

Inside the Elephantine Womb of Memory

I carry my War Feather

The works were so inspiring that musicians, poets, writers and thought leaders from Sibongile Khumalo, Zolani Mahola, Simphiwe Dana, Yvonne Chaka Chaka, Gcina Mhlope to Ngugi wa Thiongo, Homi Bhabha, Albie Sachs, Shado Twala and Ari Sitas among many others contributed songs, words and discussions for the exhibition’s online debut.

This flurry of ‘artistic replies’ substantiated the impact of Ntuli’s sculptures and their poetic qualities. Ntuli attributes this to his main medium – bones, which are highly evocative. “Bones have a special potency and subtle spiritual energies; their endurance is legendary. We know who we are, and where we come from as a result of studying bone fossils. Bones are the evidence that we were alive 3.5 million years ago, and they are carriers of our memories,” says Ntuli.

Azibuyele Emasisweni doesn’t only lead the viewer back in time but through a unique and original use of material, form and symbolism reflects on the spiritual wasteland that might define this era, thereby collapsing those hard lines that were thought to divide ancient and contemporary concerns and art.

Azibuyele Emasisweni will open at the Oliewenhuis Art Museum, Bloemfontein on October 4 until 5 December 2022. It can be viewed on www.themelrosegallery.com

Collaborators: Naledi Pandor, Ngũgĩ wa Thiong’o, Ahmed Rajab, Phillippa Yaa de Villiers, Shaheen Merali, Ari Sitas, Zolani Mahola, Eugene Skeef, Kwesi Owusu, Simphiwe Dana, Napo Masheane, Yvonne Chaka Chaka, Ela Gandhi, Albie Sachs, Nalini Moodley-Diar, Sibongile Khumalo, Florence Masebe, Gcina Mhlophe, Shado Twala, Homi Bhabha, Juwon Ogungbe, Felix Konina Venter, Bheki Gumede, Antoinette Ntuli, Don Mattera, Lalitha Jawahirilal, Zee Ntuli Sophe Maithufi, Nduduzo Makhathini, Shaheen Merali, Buti Manamela supported by Monthati Masebe, Basetsana, Bontle ba Morena Kumalo, Lerato Zah Moloi, Sthandiwe, Zanda Kgoroge,Rami Chuene with daughters Botshelo and Nthateng

Sao Jose Papquette Africa

FROM NOW TO NOW: JEAN DREYER

If contemporary art renders the boundaries between art forms more porous, then Jean Dreyer’s upcoming solo exhibition is a conceptual poem through which visual images structure I am. The title of the exhibition is the poem itself:

I am that I ( )

The poem refers to the well-known I am that I am, but offers broken brackets that open onto an empty line, only to un-open again. There is a migration of perceptions: from I, into I am, into I am that - into I. It is a cycle from I into I.

The paintings, sketches and collages are spaces in which some figures are standing up and others are lying afloat – they reference the classic icon renditions of the dormition of Mary lying on a bier.

In the painting figuration II (opposite page, top), vertical figures interact with a horizontal figure. There is a motion through the poem which infuses them with meaning.

In poet (opposite page, bottom), the hand of a poet is creating text. The writing is on the untreated wood and there is a floating figure co-incident with the head. Maybe it is a meditation on the I of the poem.

In migrating beyond, into belonging theretwo (above), figures are set against an infinite landscape where a multiplicity of feet suggests migration.

The I tries to reach itself, a realization that is voiced by an emergent language of vertical and horizontal lines.

View the exhibition at GalleryOne11, Cape Town, 10 October until 19 November. Opening event 13 October at 18h00. www.galleryone11.com

migrating beyond, into belonging there – two, 2022 – oil on wood panel, 1220mm x 750mm

poet, 2022 – oil on wood panel, 750mm x 750mm

figuration II, 2022 – oil on wood panel, 750mm x 750mm

IN UTERO

An ode to home

08 - 30 October / RK Contemporary, Riebeek Kasteel

Written by Emma Aspeling www.rkcontemporary.com

May the darkness of the night Be a womb

For remembering And letting go

As you feel your way to The chord Beckoning you to Come closer and listen

In Utero, curated by artist Emma Aspeling, includes the works by eight South African female artists: Sonya Rademeyer, Mia Thom, Grace Cross, Leigh Tuckniss, Simone Marinus, Emma Aspeling, Amy Ayanda, and Laurinda Belcher.

The exhibition navigates abstraction, or the distortion of representation, through the collapse of space, time, and matter to a place of remembrance. Remembering who we are, offers a non-linear process towards reconciliation, a journey towards homecoming to discover community within the collective. The exhibition reflects how art practice can facilitate, engage, and assist with this transformation and considers how a curator’s intentional exchange with artists can unlock interconnectivity and deepen an awareness of vulnerability and empathy - as we are all just walking each other home (Ram Dass).

Artists were asked to contemplate the initial place of inseparability and connectedness to source, to life forces, to safety and belonging. Or perhaps to the lack thereof. A place of becoming and doing in a visceralfeeling-sensory way, acquiring knowledge pre-cognition. A reminder of creative energy that allows artists to tap into the entangled web of past-present-future remembrances. Therein, the creative process may unfold as an unravelling, walking forwards and backwards at the same time, as lines from past, present, future thread and bleed into each other (Karen Barad).

Above: Grace Cross, Mother is a drum, Oil on Canvas, 67 x 85 cm, 2019. Right: Simone Marinus, Safe Space, nr 4, Mixed media on canvas, 28 x 35 cm, 2022

Laurinda Belcher, Familiar, 42 x 60 cm, Water soluable oil on canvas, 2022

Mia Thom, String meditation III, Photographic print on archival paper, 60 x 80cm, 2022

We are going back to a core. We all enter this life through our mothers’ womb. Personal, universal, perhaps burdened, and distant for many. For some, it is their own experiences of childbearing and rearing; for some it is a season of cocooning or withdrawal because of pain and grief; and for others, the haven of their studios. All of which offers spaces and places for processing and reflection from which an enaction results. The exhibition intended to lure the artists into their internal worlds and workings, whilst pulling them all into a web of interconnectedness as a filter and perspective from which to create and engage.

In Utero weaves together a rich sense of the insurgency of the invisible. It shifts the narrative from home as a place, to a state of intimate becoming and belonging, within - remembering what it is to be me, that is always the point (Joan Didion).

It is a great privilege to include in this exhibition a series of five drawings by artist Sonya Rademeyer, tracing her father’s breath at the onset of his death, just over a year ago. Rademeyer notes that capturing his breath was to honour his presence, but also an attempt at holding him. He was both a mathematician and poet. I think his breath was like poetry to me. Capturing the beauty of life in another, inner medium. Exhibiting my father’s breath was never planned, but somehow through the invitation to participate in this exhibition, I was able to let go of the idea that I lose him if I exhibit the works. Thank you for this incredibly healing space.

www.rkcontemporary.com art@rkcontemporary.com

Leigh Tuckniss, Budding, Mixed media on paper, 16 x 19cm, 2022

ETHNIC ASSEMBLAGE

Thembalethu Manqunyana has exhibited across three continents and has achieved an over whelming response both locally and internationally. His charm not only stems from his tangible playful depiction of personas, a trend seen in contemporary art, but by his superb translation of previous masters. This achievement is always completed with the lightness of suggestion and always within his own artistic parameters, never touching on previously passed footprints. Thembalethu’s fascination and in turn what is so intriguing to his audiences, is the delicate balance of his own narrative and that of others universally and the balance between European art theory and African art depictions. There is a parallel strand of thought, which at times is so strong, it banishes the singularity to created unity.

Ethnic Assemblage is Thembalethu Manqunyana first exhibition with AITY Gallery. With this showing, he seeks to explore and acknowledge an artistic and a personal growth in public platforms infiltrated by unacknowledged audiences; voyeurs outside of ethnic idioms.

The personal part of this exhibit is marked by a distinct background of IsiXhosa culture on the apparent patriarchal doppelgänger; between identities that purport to signify margins of being a boy and man. Or being an art student in Gqeberha who continues to develop an expression in Cape Town without a fixed voice from a particular mentor, this being saved for the streets, observations, and random dialogues.

The artist work is consistent in an inconsistent documentation of the individual and the plural gradually creating a subject-matter that consist of groupings rather that fixed traditional understanding of portrait images. The technique of layering shapes and colours allows for the portraits themselves to suggest groupings. The creation of one by many and again many to create one.

This visual dialogue is carried out by means of fragmented and assembled images to mark the growth where before he had defined his work as free form, dominated by continuous lines. Here the aesthetic is dominated by a two-

A

Exhibition by Thembaletu Manqunyana

Gallery Franschhoek

African Voice’s, acrylic, charcoal, gold leaf and pastel, 130cm 100cm, 2022

(Detail diptich) Conversation with the Queen II, acrylic, charcoal, gold leaf and pastel, 102 x 88cm

The

dimensional buildup of shape and colours and the depiction of the essence of characters are predominate. The artist proposes a departure from established identities, the relationship between the historical and present made possible by his submersion in modern culture whilst still representing a healthy respect for tradition.

Thembalethu states; “although I am still influenced by what other artists do, I am quite aware of my contributions to all that. Hoping to be observed, listed to and influence growth toward a particular way of art making.

The stimulation of my creative development and core interpretation of the work lies with the observer.”

AITY Gallery greets this collaboration enthusiastically as the artist is a pioneer and is truly altruistic. We hope to create a unique and quintessential contemporary experience. The deliberate and constituent positioning and study of opposites in theory and aesthetic, Thembalethu boldly aims to seek the essence of unity and the irradiation of plurality.

(Detail diptich) Conversation with the Queen II, acrylic, charcoal, gold leaf and pastel, 102 x 88cm

PRINCE ALBERT OPEN STUDIOS

ART IN THE HEART OF THE KAROO

Creating an immersive CX

by Sue Savage and Collette Hurt princealbertopenstudios.co.za

No, I had no idea either. I was thinking about what ‘Open Studios’ really is. What do we want to offer our visitors? How do we want them to feel? What we want is for them to be completely blown away, to take a step out of their everyday lives, often busy and frenetic, into another reality. Our reality. The term “immersive experience” came to mind.

And so, I did some research on immersive experience, and came to realise that an immersive CX – meaning Customer Experience – is a whole new(ish) world. It is multisensory, encompasses virtual reality technology, headsets, etc. It was a way in the circumscribed Covid world to escape the lockdown, and it is changing everything – especially retail. It speaks of the customer journey, of interface, of different realities creating customer satisfaction. Emotional connection is key (I even read an article about “the sandpit of the mind” – yes really!).

Well, let’s dial it back a little. Let’s get real in a Karoo way. Let’s talk about journey. Yes, to get to Prince Albert you must make a journey, you must traverse seemingly endless, seemingly empty veld; you must pack your warmest woollies or biggest hat (depending on the season) and your walking shoes, bikes, binoculars, books, best wines and braai tjops. (On second thoughts, you can get the wine and tjops here). Get here and take a deep breath.

Let’s talk about interface. Open Studios offers connection with the artists in their own workspace. For most artists the place they think, work, and create is sacrosanct, very personal and often private. Here you have a chance to dip into that space, connect with them face to face, understand processes and thoughts, ask questions. Any purchase is layered with meaning, more nuanced. There’s that emotional connection.

Above: Heleen de Haas. Opposite Page: Joshua Miles, Karoo Aloes

Above: Di Smith, The Migrants. Opposite Page: Maruanda Wynne

Sally Arnold, Erythrina seedpod

What about different realities? What Prince Albert offers is a real reality, as opposed to a virtual reality. Here there are kilometers of open space, endless vistas of ridge after ridge of mountains, soaring cathedrals of rock, extraordinary plants and places to explore. Immerse yourself. Sit with your feet in the running waters of the Leiwater channels or dabble in the pools at Eerste Water in the Swartberg Pass, a marvel of 19th century engineering and a World Heritage site. Delve into history. Go walking on the koppie. Take a bottle of wine and a fold up chair and park off at that special spot to watch the moon rise (the locals will tell you where). Look close up at plants, study a tortoise. Examine your own life. Lose yourself for a while in the silence, the purity of the air, the simplicity. Walk the quiet streets.

Who knows, you might never leave. (If so, you wouldn’t be the first, and probably not the last). After all, Socrates supposedly said - An unexamined life isn’t worth living. And an Immersive CX? - actually it’s got nothing to do with Prince Albert Open Studios.

Disciplines include painting, print-making, photography, jewellery design, botanical art, ceramics, sculpture, embroidery, thread art, weaving, metal art, calligraphy, land art, steampunk, found objects, assemblage.

Participating Artists: Annamarie Stone; Collette Hurt; Di Smith; Di van der Riet Steyn; Erika van Zyl; Heleen de Haas; Joshua Miles; Kevin de Klerk; Maruanda Wynne; Mary Anne Botha; PACT with Louise Schoeman, Elcado Blom, Knipoog Media, Jeffery Armoed, Lapland Ladies; Pat Hyland; Prince Albert Gallery with Di Johnson Ackerman and guest Zak Conradie; Renee Calitz; Sally Arnold with guest Phillip Willem Badenhorst; Sonja Fourie; Sue Hoppe with guest Wehrner Lemmer; Sue Savage with Deidre Maree.

For more info visit: www.princealbertopenstudios.co.za info@princealbertopenstudios.co.za

Prince Albert Open Studios runs from Thursday 24th to Sunday 27th November.

Group Exhibition Opening at Prince Albert Gallery - Wednesday 23rd November, 6pm.

Textile, Renee Calitz

Annamarie Stone, Outa Lappies (Mr Jan Schoeman)

JOHAN STEYN - MINKI AND THE SUNBIRD

Written by Briony Haynes

Art@Africa’s owner – Impresario Dirk Durnez and sculptor, painter Johan Steyn have utilised their talents and worked together to produce the beautiful tale of Minki and the Sunbird. Having seen a quote many years ago from Baba Dioum in New York, Durnez has always strived to incorporate a particular principle to the edutainment projects that he designs. The quote read “In the end, we will conserve only what we love; we will love only what we understand and we will understand only what we are taught”. The story of Minki came about due to Durnez’ deep connection to Dioum’s quote, alongside Steyn’s talent, inspiration and belief that art is a worldwide, universal language allowing the ultimate freedom of speech

Having grown up in Pretoria to well-known Batik artist Louis Steyn, art has intrinsically been a part of Johan Steyn’s being for as long as he can remember. Although Batik was instinctively Steyn’s first artistic endeavour, as he grew and learnt about the world, he desired to ‘say’ more in his pieces. He began

a career in engraving, finding particular interest in manipulating light and shadow to communicate form. A talent which prepared him for three-dimensional sculpting. After gaining numerous awards for design, coin development and becoming the chief engraver of South Africa, Steyn directed his attention and fulltime dedication to painting and sculpting in 2016.

The concept for Minki and the Sunbird developed and grew from Steyn’s greatest inspiration, nature and his home, South Africa. He finds stimuli in the diversity which nature offers and the abundance of fauna and flora in this country. From the draw of the veld, the ocean and sand, there is an endless supply of beauty in which to immerse. In this case stories told by game ranger and grandfather Louis Botha Steyn had a great influence on the work. Steyn sometimes spends months on end with his subjects to understand and capture their soul. This is something that worked so cohesively with Durnez’ design concepts, a love for what we understand and a desire to conserve what we love.

Above: Johan Steyn, Minki and the Sunbird, Minki in progress. Opposite Page: Look what I found !, 2022, H 56cm x W 20cm x L 20cm, Bronze

Above: Orphans 1/10, 2022, H36 cm x W 25cm x L 45cm, Bronze Opposite Page: In the Balance, 1/10, 2022, H 37.5cm x W 20cm x L 20cm, Bronze

Waiting for Xi, 1/10, 2022, H 46cm x W 30cm x L 45cm, Bronze

Safe Passage, 2022, H 53cm x W 16cm x L 45cm, Bronze

Minki and the Sunbird is a tale about a love for South Africa and its natural splendour. The work not only represents Durnez’ vision of conservation, Steyn’s talent and appreciation of the natural world but also reminds us that there is a bit of Minki in all of us. An innocent child who doesn’t understand conservation is integral to her environment but a trait that comes naturally to her regardless. This innocence is lost as adults. Unlike children, we often believe humans dominate the world and forget that we are simply just a part of nature. Much like natural disasters or global pandemics, Minki reminds us how we, as humans, are not superior and need to coexist in harmony with nature. She is a reminder that we must preserve our childhood innocence, take conservation seriously and motivate people to think and act to conserve this splendour and light before it is gone.

The pieces not only encourages us to see and appreciate the light but simultaneously means ‘daylight’. Light has played a cardinal role in the creation of Minki and directly

refers to the way in which light guides Steyn in his sculpting process. As his pieces gain momentum he uses light and not merely just clay as a medium to work with. A skill taken and perfected from his engraving days. The symbolism of light is carried further in these pieces through the Sunbird. The Sunbird is often used to express an optimistic personality. Sunbird people focus on the positive, bright side of life. We have one freedom inside us that nobody can take away, the freedom of attitude in any given circumstance. The freedom to make a change.

Alongside Steyn’s sculptures of Minki and the Sunbird, Durnez will be presenting a small poetry anthology with illustrations by Steyn to communicate the story. This book will be presented alongside the sculptures on Thursday 20th October, 6pm at Art@ Africa located in the Clocktower Centre V&A Waterfront.

Minki and the Sunbird, Impressario Dirk Durnez and sculptor Johan Steyn.

LOOKING INTO… AND SEEING BEYOND

Art Gallery

This group exhibition, curated by Dr Ania Krajewska, aims at showcasing the current visual art research activities by artists affiliated with the department of Art and Music at the University of South Africa.

The intense meaning-searching and meaningmaking present in the exhibited works are driven by two significant phases, intricately intertwined in any substantial art-based practice: research and exploration. The title of the exhibition, Looking into… and Seeing beyond, signals the entanglement of these complex processes and shows how they bring about new and alternative ways of looking at and seeing the world. Thus, out of these intense and passionate involvements with the world some alternative and individual comprehensions emerge. Looking into indicates the commitment to the visual and theoretical research conducted to create the exhibited artworks, while Seeing beyond speaks to the generating and bringing forth new knowledge, enriched by personal discoveries, and fresh new ways of seeing beyond the obvious.

The works on the exhibition explore a variety of mixed media such as 3D and digital prints, tapestries, traditional and alternative painting and drawing, sculpture, installation, and video. By weaving intricate narratives of societal and environmental values, the artists enrich the world of visual storytelling and bend perceptions.

List of Artists participating:

Daniel Mosako

Nombe Mpako

Gwen Miller

Odun Orimolade

Sango Filita

Paul Cooper

Ania Krajewska

Lawrence Lemaoana

Gweneth Miller, Learning to Live with our shadows, Encaustic, Oil paint and Ink on Vilene. 36.5 x 51 cm

Lawrence Lemaoana, Drapetomania, 100 x 70 cm

Odun Orimolade, Knowing, 2021

Ania Krajewska, Plants have poems inside them, Mixed media, fragments, 2022

THE ASSOCIATION OF ARTS PRETORIA TURNS 75

www.artspta.co.za

As far back as 1871 the South African Fine Arts Association was founded in Cape Town. In July 1947 the Southern Transvaal branch was started in Johannesburg and later that year, on the 27th of September, the Northern Transvaal branch was formed in Pretoria. In 1997 the latter was renamed as the Association of Arts Pretoria.

In its earliest years it was well supported and assisted by the Pretoria Technical College. Before it had its final home in the current gallery in Mackie Street, it moved between a few venues - the D.S. Vorster gallery (1957), Polley’s Arcade (1961), the Old Netherlands Building (1963) and 36th floor of the Volkskas Building (1978).

The list of the Association’s exhibitors covers all the country’s foremost as well as lesserknown painters and sculptors. Literally too many to name. Of interest is the fact that artist Walter Battiss was the Association’s very first chairman and that the cornerstone of the current Mackie Street gallery was designed by renowned potter Esias Bosch and revealed on the 30th of November 1990. The Association moved into the gallery in 1991 and its inauguration was on the 3rd of May 1991.

It stands to reason that the three quarter of a century will be gloriously celebrated. Exhibitions already seen in veneration are works of Gunther van Reis and Mike Edwards in April this year and Isa Steynberg – daughter of the late Coert Steynberg - as well as Kieries/ Walking Sticks curated by Collen Maswanganyi in May 2022.

Other exhibitions in celebration of the seventyfive years are:

• Artists between the ages of 20 and 40 years (29 July to 20 August 2022)

• Artists between the ages of 40 and 60 years (2 September to 23 September 2022)

• Artists of 60 years and older (30 September to 22 October 2022)

All these artists’ works have been exhibited here at some or other stage - either as part of a group or as a solo exhibitor.

In honour of the 50th anniversary of Ceramics Southern Africa there will be an exhibition titled “Fifty Pots for Fifty Years”. On display will be fifty selected ceramic works by members of

Opposite page: Rina Stutzer, Stealing the hole in the sky

AD Reflex, Bulleproof.. I wish I was

Jaco Benade, The lookout post III

Frederik Eksteen, Lithophyte 2, 2022

Ceramics Southern Africa, Gauteng region, along with pieces from two guest Western Cape artists, Ralph Johnson and Hennie Meyer (28 October to 19 November 2022).

One of the most exciting projects driven by the Pretoria Arts Association is the Sasol New Signatures Art Competition (sponsored by SASOL since 1990). This competition, which was established by the Association of Arts Pretoria in the 1960’s, creates a platform for new and undiscovered artists to kickstart their careers. Many a young talent has benefitted greatly from this.

Equally exciting is the Sunday morning music recitals in the gallery. Attendees can listen to aural or musical art whilst being surrounded by the visual arts. Again, the list of performers is too extensive to name here.

The Pretoria Arts Association’s aim is to house at least thirty exhibitions per year, whether pottery, sculpture, painting or experimental. The quality and variety of the Association’s exhibitions and events enrich our cultural

life and Pretoria is blessed to have such an accessible and beautiful venue for art exhibitions.

Moreover, the venue is used for the launch of books and the staff can be of assistance in the evaluation of art works as well as the restoration of damaged works.

This jewel who was 75 years old on the 27th of September should be cherished and safeguarded. Anyone who has a passion for the visual arts can and should become a member of the Association of Arts Pretoria.

Replenish your soul at this oasis of arts and culture - long live the Association of Arts Pretoria.

Visit the website https://www.artspta. co.za or follow the Association on their Facebook page (https://www.facebook.com/ pretoriaartsassociation)

Peter Mammes, Coming forth by day

Craig Muller, Art installation

Angus Taylor, Te midde

INSERTED BODIES

– 28 October

Solo exhibition by Boitumelo Motau

Botanical Gardens Gallery

The NWU Gallery in collaboration with The Blessing Ngobeni Art Prize presents the exhibition “Inserted Bodies” The exhibition will be available for viewing from the 6th to 28th of October 2022 at the NWU Botanical Gardens Gallery.

Inserted bodies is a debut solo exhibition by Boitumelo Motau. Motau is the recipient award winner for The Blessing Ngobeni Art Prize which is aimed at assisting young and emerging visual artists to launch their careers. The Award provided Motau with a twelveweek studio residency at Ellis House in Johannesburg.

Inserted bodies is looking and working closely with the living and inherited history of Johannesburg. “When I speak about history I am specifically speaking about the stories of the people that migrated to Johannesburg, looking all the way back to the gold rush to black men and women forced to leave their families to work in Johannesburg as miners and domestic workers and in recent years where a diverse group and Africans have migrated to Johannesburg seeking better opportunities” states Motau.

Top: Movement, 2022, mixed media on canvas, 109 x 127cm

Left: Under Joubert’s left cheeks is a scar (they left), 2022, mixed media on canvas

Beneath Bree’s belly, 2022, mixed media on canvas, 109 x 165cm

Further Journeys, 2022, mixed media on canvas, 75 x 78cm

Workers Repatriation day, 2022, mixed media on canvas, 79x 126cm,

Khomba Local, 2022, mixed media on brown paper, 50 x 68cm,

The body of work traces and draws from the city’s migrant workers history and the ways and forms that this history is carried and continued by the current bodies that live and work in the city. Motau’s interest in looking at migration as an ever-continual process that occurs across generations and time periods. Motau has found further interests in the persistent return of things and events of the past and the various forms in which they occupy the present. The City metaphorically becomes this body that inhales, exhales, engulfs, embodies regurgitates multiple histories and thus becoming a ever expanding archive.

Motau has been working with ideas of insertion and collage as a way to engage and respond to dominant and collectively held historical narratives, particularly with images

of early migrant work found in the Museum Africa archive and the workers museum. He attempts to insert himself within the archive and in the process personalize a shared and inherited collective history.

The exhibition opens at the NWU Gallery on 6 October 2022 and we will have the artist walkabout on the same day of the opening.

For more information, please contact NWU Art Gallery Curator, Ms Amohelang Mohajane on the following contact details.

Tel: (018) 299 4341 email: amohelang.mohajane@nwu.ac.za

“The body of work traces and draws from the city’s migrant workers history and the ways and forms that this history is carried and continued by the current bodies that live and work in the city”

Untitled, 2022, mixed media on canvas, 68 x 84cm

Pitika Ntuli’s

Business Art STRAUSS & CO.

Strauss & Co is pleased to announce details for Three Robs: Artist, Collaborator, Friend, the first-ever sale exclusively devoted the much-loved artist, teacher and critic Robert Hodgins. Hailed as a national treasure when he passed in 2010, Robert Hodgins continues to loom large in the imagination of many who knew him, including his many collaborators, collectors, students and readers of his penetrating art criticism. This premier evening sale will be held on Wednesday, 9 November 2022, and will conclude Strauss & Co’s multi-day programme for Johannesburg Auction Week.

Comprised of some 40 lots, many from the Estate of the Late Robert Hodgins and fresh to market, the sale’s title, Three Robs: Artist, Collaborator, Friend, gestures to the multifaceted character of this influential artist. In addition to a number of oils executed in Hodgins’ characteristically vivid colour palette, the sale will include rare watercolours, monotypes, pastels and drawings. These works affirm his bold expressionist style and colourist manners, as well as reveal his experimental technique and habit of collaboration.

Organised by Wilhelm van Rensburg, Senior Art Specialist & Head Curator, Strauss & Co, Three Robs: Artist, Collaborator, Friend also includes works made in collaboration with Sarah Ballam, Deborah Bell, Kendell Geers, William Kentridge, Jan Neethling and Sam Nhlengethwa. In 2014, William Kentridge, a frequent collaborator with Hodgins in the 1980s and 90s, admiringly described Hodgins as “someone who made the meaning from the work outwards” and “took enormous pleasure and comfort from the daily activity of making”.

Strauss & Co to present the first-ever sale exclusively devoted to Robert Hodgins www.straussart.co.za

Sam Nhlengethwa and Robert Hodgins, South African Couple, Oil And Collage On Canvas, 90 x 120Cm

Robert Hodgins and Deborah Bell, Paris in a Brothel, oil on canvas, 90 x 90cm

Robert Hodgins and Jan Neethling, Untitled (Still Life and Figures), ink on sketchbook page, 27 x 37cm

William Kentridge and Deborah Bell and Robert Hodgins, Little Morals, etching, aquatint and watercolour plate, 25 x 29,5cm

Robert Hodgins and Jan Neethling, Just Us Two, oil on canvas, 90 x 120cm

“Robert embraced uncertainty, risk and experimentation,” says Wilhelm van Rensburg, who knew Hodgins personally and in 2019 curated a large survey of the artist’s drawings. “If Hodgins was uncertain about a figure in a painting, he simply resorted to pencil and paper and generated a variety of human shapes, one of which would suggest the manner in which a shape evolves into a human form, perfect for his painterly purposes on canvas. Three Robs will provide collectors with a unique insight into the processes as an artist who was perpetually in conversation with art history.”

Born in London in 1920, drawing played a formative role in Hodgins’ artistic development, both at school and at Goldsmiths’ College, where he studied painting in the early 1950s. His art school contemporaries included abstract painter Bridget Riley and fashion designer Mary Quant. Hodgins permanently settled in South Africa in 1953. An admired teacher, he held influential posts at the Pretoria College of Art (1954-61) and University of the

Witwatersrand (1966-83). Notably, he also worked as a journalist and cultural critic at Otto Krause’s News/Check magazine (196268), penning appreciative reviews of Wolf Kibel, Alexis Preller and Edoardo Villa.

Hodgins held his first solo exhibition in 1956. Strongly influenced by the figuration of Georges Rouault and Pablo Picasso, he briefly pursued an exhibition career before forsaking art in favour of teaching and writing. He returned to painting in the 1980s, achieving renown in his so-called retirement. The works in Three Robs: Artist, Collaborator, Friend are drawn from this renaissance period, a bold run of form that extended from the mid-1980s until his death in 2010. Synthesising diverse influences, including Frances Bacon, David Hockney and Philip Guston, it was during this period that Hodgins emerged as a decisive and transformative figure in the story of contemporary South African painting. www.straussart.co.za

Robert Hodgins and Deborah Bell, Dance Hall Blues, oil on canvas, 90 x 119,5cm

Business Art

STEPHAN WELZ & CO.

Since 1968 our team at Stephan Welz & Co has dedicated themselves to representing and auctioning some of the most influential artists South Africa has to offer. In our upcoming October auction, we hope to not only preserve, but exceed this reputation.

We have curated a sale which is an amalgamation of blue-chip South African masters and contemporary artists who are canonical to the South African art world. This range is ideal for collectors and art investors as it epitomizes the current and ever evolving South African art market. We believe the variety and overall experience of this upcoming auction encapsulates the contemporary zeitgeist of South African art.

Stephan Welz & Co are pleased to announce the details of our Cape Town Premium Auction which will be taking place from the 11th to the 13th of October 2022. We would also like extend an invitation to join our specialists for a viewing of our beautifully curated showroom between the 7th and 9th of October 2022.

If you would like to request a condition report or have any further queries, please feel free to email us at ct@swelco.co.za or call us on 021 794 6461.

Pranas Domšaitis (South African 1880 - 1965) Four Figures, signed, oil on cardboard, 56 by 59,5cm; 86 by 90 by 5cm includ ing framing, Estimate: R40 000 – 60 000

John Neil Rodger

Above: Vladimir Grigoryevich Tretchikoff (South African 1913 - 2006) Lady Of Sumatra, signed and inscribed ‘java’, oil on canvas, 112 by 87cm; 136 by 109,5 by 4cm including framing, Estimate: R600 000 – 900 000.

Opposite Page: Fred Page (South African 1908 - 1984) Whimsical Town Scene, signed and dated ‘08, oil on board, 80 by 54cm; 97,5 by 73 by 3,5cm including framing, Estimate: R100 000 – 150 000

ARTGO: OCTOBER 2022

OPENING EXHIBITIONS

Everard Read Franschhoek

Baskloof

Solo exhibition by Nic Bladen 01/10/2022 until 06/11/2022

www.everard-read-franschhoek.co.za

Oliewenhuis Museum

Azibuyele Emasisweni

By Pitika Ntuli

04/10/2022 until 05/12/2022

www.themelrosegallery.com

The Viewing Room Art Gallery Spectrums of light Celebrating Southern African Glass Art 01/10/2022 until 12/11/2022 www.stlorient.co.za

The Cape Gallery People, Stories, Places

An exhibition of Cape Town: the people, stories and places

06/10/2022 until 30/11/2022

www.capegallery.co.za

Assemblage

By Thembaletu Manqunyana

ARTGO: OCTOBER 2022

OPENING EXHIBITIONS

Nel

The artist needs a hat - A solo exhibition by Steven Sack who has created a time machine that not only measures time it also researches time escaping, like breath. This is framed within our decolonial contemporary and touches on both the future and the past. 06/10/2022 until 30/10/2022

www.nelart.co.za

RK Contemporary

In Utero - Group exhibition: Weaving together a rich sense of the insurgency of the invisible. Shifting the narrative from home as a place, to a state of intimate becoming and belonging, within. 08/10/2022 Until 30/10/2022

www.rkcontemporary.com

Gallery 2

Landscapes of Humanity

Group exhibition in collaboration with the Sylt Foundation Nhlanhla Nhlapo, Tuomo Manninen and Jaco van Schalkwyk 22/10/2022 until 19/11/2022

www.gallery2.co.za

Rust-en-Vrede Gallery Under the Tree of Procrastination & Other Places to Sleep

A Solo Exhibition by Karen Elkington 08/10/2022 until 05/11/2022

www.rust-en-vrede.com

EBONY/CURATED, Feni Chulumanco, Morning Conversation, Acrylic on Canvas, 150 x 120 cm

Rust en Vrede, Marike Kleynscheldt, Staring Death in the Face , 29.5 x 21 cm, Acrylic on Canvas, 2022

ARTGO: OCTOBER 2022

OPENING EXHIBITIONS

Rust-en-Vrede Gallery

Inktober

A Group Exhibition celebrating ink as medium, featuring work by a selection of artists and students from Reddam House.

08/10/2022 until 05/11/2022

www.rust-en-vrede.com

UNISA Art Gallery

Looking into… and Seeing beyond Group exhibition, curated by Ania Krajewska

08/10/2022 until 31/10/2022

www.unisa.ac.za

Rust-en-Vrede Gallery Pinch

A three person show featuring artworks by Marike Kleynscheldt, Lizl Bode and Cherie Prins. 08/10/2022 until 05/11/2022

www.rust-en-vrede.com

GalleryOne11 Cape Town

A Solo exhibition by Jean Dreyer 10/10/2022 until 19/11/2022

www.galleryone11.com

The Viewing Room Art Gallery, (Detail) Infrared Radiation, “Spectrums of light” celebrating Southern African glass art

ARTGO: OCTOBER 2022 OPENING EXHIBITIONS

131 A Gallery, Cape Town Beside The Water Michael Amery

15/10/2022 until 01/11/2022

Opening Saturday 15/10/2022 11am to 1pm

www.131agallery.com

Prince Albert Gallery

Fragile Beings: Menagerie a solo exhibition by Niël Jonker solo show of terracotta sculpture, as well as charcoal drawings on paper, forms part of the artist’s ongoing series of works titled Fragile Beings. 21/10/2022 until 05/12/2022

www.princealbertgallery.co.za

Art@Africa Gallery – Cape Town Minki and the Sunbird

Art@Africa’s owner , impresario Dirk Durnez and sculptor, painter Johan Steyn worked together to produce a series of bronze sculptures based on the beautiful tale of Minki and the Sunbird. 20/10/2022 until 17/12/2022

www.artatafrica.art

Zeitz MOCAA

Only Sun in The Sky Knows How I Feel (A Lucid Dream)

Solo exhibiition by Johannes Phokela 28/10/2022 until 08/01/2023

www.zeitzmocaa.museum

Prince Albert Open Studios

Painting, print-making, photography, jewellery design, botanical art, ceramics, sculpture, embroidery, thread art, weaving, metal art, calligraphy, land art, steampunk, found objects, assemblage. From Thursday 24/11/2022 to Sunday 27/11/2022. Prince Albert Gallery: Group Exhibition opening Wednesday 23/11/2022, 6pm www.princealbertopenstudios.co.za

Rupert Museum Gallery 4 In-Motion Art of the Space Age Until 27/11/2022 www.rupertmuseum.org

Gallery 2, Karin Daymond, Meiringspoort, Pastel on paper, 40.5 x 55cm, 2022

ONGOING SHOWS

FynArts Gallery

Niki Daly - Solo exhibition of sketches, water colours and in-preparation published and unpublished work. Until 15/10/2022. Meet Niki Saturday 08/10/2022 in the gallery as he works, plays and talks about his work. www.fynartshermanus.co.za

Melrose Gallery Sculptx 2022 at Melrose Arch

This Annual Sculpture Fair, the Largest of Its Kind in South Africa, Will, This Year, Present Over 200 Works. Until 16/10/2022 www.themelrosegallery.com

White River Gallery Under the Surface Philip Badenhorst, Gwenneth Miller and Adelle Van Zyl

www.whiterivergallery.co.za

Aity Michèle Nigrini Organic Matters | Marks That Matter 24/09/2022 until 17/10/2022

www.artintheyard.co.za

The Pretoria Arts Association

Celebrating 75 years

Artists of 60 years and older 30/09/2022 until 22/10/2022

www.artspta.co.za

The Viewing Room Art Gallery

Next Generation

Celebrating Southern African Glass Art Until 22/10/2022

www.stlorient.co.za

Sanlam Art Gallery, Bellville HER...

An exhibition celebrating the artistic talents of South African women artists from early twentieth century to the present.

Weekdays 09:00 – 16:30 Until 22/10/2022 www.blog.sanlam.co.za/about

What If The World Adamah solo exhibition by Inga Domyala. 17/09/2022 until 22/10/2022 www.whatiftheworld.com

ARTGO: OCTOBER 2022

ONGOING SHOWS

NWU Art Gallery

Decolonising the Book

In Collaboration With Visual Narratives and Creative Outputs (Vinco) and the Artists’ Book Club. A series of associated public events: Online discussions and artist walkabouts to bookmaking workshops that will be hosted during October.

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

ABSA Art Hot Spot

Online exhibition of the L’Atelier 2022 Winners

www.arthotspot.absa.africa/absa-l-atelier-2022winners

EBONY/Curated Imiyalelo

A Solo Exhibition by Feni Chulumanco 28/09/2022 until 29/10/2022 www.ebonycurated.com

Oliewenhuis Art Museum

The Power of Representation

This exhibition explores the power of art, how it communicates and the power of representation through (among other ways) juxtaposing older artworks in the collection with newer contemporary artworks. Until 30/10/2022

www.nasmus.co.za

Daor Contemporary Play Play

Katja Abbot, Carin Dorrington and Jp Meyer

Until 31/10/2022

www.daor.co.za

Goodman Gallery Cape Town Restitution of the Mind and Soul by Yinka Shonibare CBE RA

An exhibition of new quilts, masks and sculptures

Until 17/11/2022

www.goodman-gallery.com

Gallery @ Glen Carlou Spring Group Exhibition 25/09/2022 until 06/11/2022

www.glencarlou.co.za

Art@Africa Sculpture Garden – Franschhoek

A Symphony of Spheres

A timeless, visual vibration of Beethoven’s 5th transformed into an immersive three-dimensional experience. A masterpiece of monumental scale that encapsulates triumph over adversity, considered by many critics and composers to be the greatest musical composition of all time. 24/09/2022 until 02/12/2022

www.artatafrica.art

Art Association Pretoria, Heidi Fourie, Cold Stones

ONGOING SHOWS

Norval Art Foundation

A World of Illusions - Grada Kilomba

Gallery 1 - Using performance, music and dynamic scenography, Kilomba creates extraordinary poetic images to explore questions of race, gender and identity. 08/09/2022 until 09/01/2023

www.norvalfoundation.org

Aity Gallery Ethnic Assemblage

By Thembaletu Manqunyana 23/10/2022 until 19/11/2022

Opens Sunday 23/10/2022 at 11am

www.artintheyard.co.za

LIST

GALLERY

EXHIBITION

Daor Contemporary, (Detail) JP Meyer, St Sebastian in Africa

Esther