Art Times September Edition 2021 by SA ART TIMES

SEPTEMBER 2021 ARTTIMES.CO.ZA

PORTRAIT AWARD 2021 FINALIST EXHIBITION

04.09.2021 - 03.11.2021 RUST-EN-VREDE GALLERY

2019 PORTRAIT AWARD TOP 5 FINALIST - RUAN HUISAMEN

Sydney Alex Kumalo THE PRAISE SINGER I R600 000 - R900 000

Considering Selling? Consign to our upcoming Cape Town and Johannesburg auctions. Contact us for an obligation free valuation. Cape Town 021 794 6461 ct@swelco.co.za Johannesburg 011 880 3125 jhb@swelco.co.za www.swelco.co.za

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Art Times September 2021 Edition

CONTENTS 24th Annual BASA Awards by commissioned artists Zizipho Poswa and Andile Dyalvane from Imiso Ceramics.

10. M.O.L 22 - PUBLIC SCULPTURE Ashraf Jamal Column 16. INVESTEC CAPE TOWN ART FAIR An all-digital event during Milan Art week 22. EYE OF CREATION: SHAFINA JAFFER By Ashraf Jamal 26. AND THEY CAME RUNNING Images of the Suri Tribe in Ethiopia by Samantha Reinders 32. A SPECTACULAR CELEBRATION OF SCULPTURE SculptX - The Largest Annual Sculpture Fair in South Africa 38. THE HOUSE IN MY HEAD HAS MANY STORIES The experiences of moving homes regularly 42. IN CONVERSATION WITH COLOUR SYMPHONY 48. WILDLIFE 2021 EXHIBITION Southern African Wildlife in their habitat 52. ART LANGUAGE OF MY FOREFATHERS Malose Pete Solo Exhibition 54. ART UNLOCKED The beauty of the Riebeek Valley 58. 2021 BASA AWARDS The most powerful testament to partnerships yet. 74 BUSINESS ART Fine Art Auction highlights 82. ARTGO Exhibition Highlights Georgina Gratrix, Ballyhoo Blooms oil and glitter on linen 60,5 x 70 by 4cm, Struass & Co

Editors Note

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

e are especially thrilled this pre-Spring Art Times edition to be presenting such a diverse range of art, artists, and talent. This edition includes The BASA Awards, Investec Cape Town Art Fair, Sculpture Review by Ashraf Jamal, SculptX - The Largest Annual Sculpture Fair in South Africa hosted by Melrose Gallery, Art Unlocked by Riebeek Kasteel Artists, and many Gallery reviews of new important shows. Over and above our Art Times contents you will find our Online ArtGo content of new shows across South Africa. It is inspiring that it’s the smaller towns and private incentives that include sculpture parks that are providing a real driving force for making art happen. These towns include Prince Albert, Riebeek Kasteel, Kommetjie, Greyton, Hermanus who work together to put their town and art routes on the map. Moving forward we are also grateful to Galleries such as Eclectica Contemporary and Cape Gallery for their support. Lastly, I would like to thank our real powerhouses of SA Art sales - Strauss & Co, Aspire, Welz & Co, Kaplan, 5th Ave, and Print Auctions for supporting us with their incredible Sale Profiles. On a personal note, I would like to express my deepest condolences to the families of Ryno Swart and Ivor Powell who passed this month. Despite the odds, we as South Africans have always walked with courageous giants. Ivor gave me my first break as a young artist with an article in the then Mail & Guardian, he didn’t have to but he did. It’s a debt of gratitude that I wish to repay him one day soon. Ryno and Ivor brought beauty, intelligence, and hope into this world. Lets absorb this springtime and be inspired by all great South Africans past and present to be inspired, and to move forward.

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.

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But there are no rules, 2020 Mixed media on board 80 x 80cm

IN CONVERSATION WITH COLOUR SYMPHONY ONLINE AUCTION in collaboration with Aspire Art Auctions 7 – 14 September 2021

In celebration of Spring, the Rupert Museum is excited to announce the upcoming In Conversation with Colour Symphony - Online Auction which will run from 7 – 14 September 2021. The auction is an extension of the Museum’s Open Call initiative to support local artists to reach various art markets and feature works from the group exhibition showed at the Jan Rupert Art Centre in Graaff-Reinet. The online auction can be accessed on Aspire Art Auctions’ platform. Visit www.aspireart.net. info@rupertmuseum.org | www.rupertmuseum.org @rupertmuseum

PUBLIC SCULPTURE M.O.L 22

Ashraf Jamal

ichelangelo’s memorable words, ‘I saw the angel in the marble and carved until I set him free’, are quaint yet enduring. We continue to think of sculpture as the extension of the human spirit, constructed in our own image out of marble, or cast in bronze. This view, Greek in origin, is not in fact the towering force it has been set up to be. As the sculptor Bruce Arnott pointed out, ‘If we look at the really big picture (30,000 BC to 300 AD), this episode in Western cultural history may be characterised as a brilliant but flawed deflection from a mainstream of artistic expression’. In other words, no matter how enduring, Greek sculpture is a blip which has ignored the fact that art’s roots long predate this fetish, revived in the Renaissance and persistent today. What of art’s roots ‘in the pre-historic, pre-literate, ancient, tribal and folkloristic,’ Arnott asks, ‘what of the pre-Classical and therefore pre-Christian?’ Sculpture is ancient and complex. Our recent obsession with toppling statuary, because it no longer reflects the ideals and ideas of the time, reveals the extent to which we have invested in sculpture as a mirror of ourselves, and why we’ve come to damn it when it no longer sustains that mirror. The mistake, of course, is to perceive sculpture as an ideal archetype. Life changes, and in our increasingly fluid and hybridised world it is unsurprising that the Greek ideal is falling by the wayside. As Percy Bysshe Shelley famously reflected in ‘Ozymandias’, it is hubris that is our weakness and profound error, for as the poet observes, in a desert lie ‘two vast and trunkless legs of stone … half sunk, a shatter’d visage’. It is the vanity of kings the poet challenges, the futility of a monument which now lies in decay – a ‘colossal wreck’.

But sculpture was not only the province and privilege of kings. In the nineteenth century, for the first time, sculpture became a democratised phenomenon, with sculptures of great civic leaders, scientists, artists, assuming centre stage in the public domain across Europe. In fact, this rage to commemorate and embody the best in social values resulted in what came to be known as ‘statue mania’. It is ironic, and fitting, that over a hundred years later, the very statues built to exemplify the best in society are now being challenged. Whatever one’s viewpoint on the matter – I’m not one who believes that the future is best served by erasing the past – one cannot ignore the fact that everywhere in the Western world the emblems of empire and racial supremacy are being challenged. White mythology – specifically its Greek ideal – is under attack. The question remains, what will these statues be replaced with? New bodies representing new ideals? Surely the problem lies in figurative art itself, the assumption that human beings are the measure of all things? But what of abstraction? Surely it is harder to pin down a claim when it is abstract? Isn’t this why the sculptures of Edoardo Villa are more enduring, say, than a sculpture of Cecil John Rhodes? Surely what is dated is not only imperialism but realism, an aesthetic which enshrines art as a mimetic mirror? There are other ways of seeing and experiencing life. And, in the realm of sculpture, we’ve found an immense flowering of new forms of expression. As Isamu Noguchi expressed it, ‘Everything is sculpture. Any material, any idea without hindrance borne into space, I consider a sculpture’. It is this widely embracing vision and grasp of sculpture which has proved a great antidote to what Arnott dubbed ‘a brilliant but flawed deflection’.

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Angus Taylor, Morphic Resonance

Chris Soal, Relic

This focus on sculpture is unsurprising given that I’ve spent the last six weeks at the Nirox Sculpture Park, recouping after a month in hospital where it was not sculpture that detained me but the beeping-pinging sound of the infusion pump to which I was wired. The atonality of the audio is maddening, Dr Paris informed me, suggesting a sleeping pill, but I preferred the ruthless clarity of a sound that failed to comfort, a sound which, like my sick body, had lost its tonal centre and key. Perhaps, this is why we continue to revere Greek sculpture, because it possesses a tonal centre and key? The problem, however, is that aurally, or visually, we are no longer able to sustain that ideal. Why, because we are distracted by distraction, easily seduced by ‘visual muzak’, devoid of any capacity to still ourselves, live in the moment – because we want to be entertained. This is Martin Herbert’s beef with the art world. We are seduced by ‘gaudy and cartoonish figurative painting; tastefully bulbous sculptures’, an art world and experience in which ‘everything looks like a prop and fades into the background’. This is because art, dangerously, has become an immersive cinematic experience in which we perform the starring role. Having shifted from reverence to narcissism, our perception of art has become increasingly stunted. However, it is against ‘ambient TV’ – Herbert’s scathing interpretation of the contemporary art experience – that we have Nirox, a sculpture park which strives to connect us to Noguchi’s great wonder, that sculpture is ‘anything borne into space’. The natural environment is key. We are not in an antiseptic white box, the defining condition for experiencing art in the Western world, in fact the entire world. As Elena Fillipovic notes, the white box, or cube, assumed dominance in New York at MoMA in 1929. ‘Windows were banished so that the semblance of an outside world – daily life, the passage of time, in short, context – disappeared; overhead lights were recessed and emitted a uniform, any-given-moment-in-the-middle-of-the-day glow; noise and clutter were suppressed; a general sobriety reigned’. The devastating impact of this sterile and cauterised vision remains with us. In fact, it has become normative. We’ve even chosen to introduce this sterility into our homes. However, no

matter how monitored and controlling this vision is, it cannot shut out the greater grind and mess and confusion that makes up a life. Laboratories have their purpose for science and for art, but there remains life’s cycle of growth and decay, and the role of art to tell this story. Chris Soal’s sculpture at Nirox, titled ‘Relic’, is directly inspired by Shelley’s poem ‘Ozymandias’. We see columns, upright, askew, collapsed and broken, their surface corroded, ashen. A testimony to the danger of vanity, it is also, paradoxically, elegiac in the midst of its folly. As a faux ruin, ‘Relic’ reminds us of all we have valued, why it mattered and why it matters no longer. Until very recently, Soal’s sculpture was accompanied by an astonishing work by Richard Forbes, titled ‘Dark Codex’. A blown-up replica of a wasp’s nest, Forbes’ sculpture reminded us that a far greater lesson could be learnt from nature, that biomimicry was not merely a ‘thing’, a fad, but the condition of life. A fathomless perforated black form, it posed a stark contrast to Soal’s ashen columns. Here collapsed civilisation met enduring nature. En route to Norval’s sculpture park in Cape Town, ‘Dark Codex’ will be sorely missed at Nirox where for years it remained in situ, a perfected expression of the dance of manmade form and nature. Throughout the Nirox Sculpture Park it is this dance one witnesses. Because the grounds are vast – a mix of rolling green, running stream, and a cluster of ponds – each sculpture assumes its canny place and story, each is an event. Diverse in their expression, form, and material, what each in its own way tells us is that no ideal archetype prevails. Angus Taylor’s stone man may be the most familiar – a realistic sculpture of a human being – however, it is also a giant, a Brobdingnag in a land of Lilliputians. More significantly, it is made from rubble. As such, it questions the integrity of stone, or Michelangelo’s fantasy of an angel wrought from a block of marble. Therefore, if Taylor’s seated man is one of the very few works at the park which echoes a Greek ideal, it is also a contemplative riposte. Titled ‘Morphic Resonance’, it speaks to an everchanging atomic physicality, despite its colossal presence.

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word artist. That his brilliant retrospective, ‘Word Woes’, is currently on at the newly built Javett Museum in Pretoria, a short drive away, is fitting. Boshoff, like George Orwell, has always understood the lie built into meaning, the duplicity of words. However, this conceit aside, one cannot ignore the monumentality of the work itself. Inspired by gabions, rocks packed in wire cages, used as retaining walls in civil engineering, road building, military applications, and landscaping, Boshoff’s choice reminds us that function and form are indissoluble. But it is the beauty of the structure which, finally, prevails over and about the intellectual conceit or the functionality of the building material which inspired it.

The vast range of works made on site, or trucked in, defy the centrality of ‘Man’. Wessel van Huyssteen’s sculpture ‘Loot House’, made from sticks and trunks – tree debris – may echo a human habitat – the house – but its fragility, and its intended placement above a catchment of poisoned water, speaks not to human ideals but human destruction, and the consequent precarity of our place on this earth. We have, in effect, looted the earth and despoiled it. That said, the meaning of the sculpture remains secondary. It is a precarious tumbledown stick-house we see. My daughter takes a photograph of Marco Ciafenelli’s sculpture, ‘Cerebral Aspect 110 & 141’, a circular yet geometric form, a rusted orb. Because of the way she has positioned the camera, through its centre we see the letters – USA – which occupy the centre of the word JERUSALEM emblazoned on another sculpture across the pond. If my daughter’s sighting is clever, the work, by Willem Boshoff, is ominous, for what it alludes to is an ageold geopolitical collusion between America and Israel. The statement is deftly clear, to be expected by South Africa’s greatest

What we learn, on visiting the Nirox Sculpture Park, is how benign humankind’s relationship with nature can be, why art – the very creative force of being – is best expressed in the world which created it, and not in a sterile white box. After all, art’s greatest virtue is its consoling power. It is therapeutic. And what better place to have spent six weeks, after a near death experience, than in the consoling embrace of nature and art? As I write these closing words, Daniel Chimurure, assistant to the Zimbabwean sculptor Tapfuma Gutsa, sends me a photo of a sculpture in progress which is made of steel bars and a dried fruit called ‘matamba’. A single fruit is called ‘damba’. The fruit is the size of a cricket ball, its skin a solid carapace. Fused with steel rods, the sculptures that emerge speak to a deeper fusion of the natural and industrial worlds. Barring the steel rods, all the other materials are found, says Gutsa, whose sculptures owe much to Arte Povera. Looking at the image that Chimurure has sent to me – a structure made of industrial steel and organic orbs – I realise that if the Nirox Sculpture Park tells us anything, then, surely, it is that nature is our defining and guiding force, that humility and grace are vital ingredients for survival, that ideals are fallible, ‘Man’ never the centre of all things. We live, die, regenerate. And art retains its great purpose because it never loses sight of this fact – despite the blip that is Greek sculpture.

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Tapfuma Gutsa, sculpture in Progess, steel rods and organic orbs.

INVESTEC CAPE TOWN ART FAIR DIGITAL EVENT, CROSSES TWO CONTINENTS

Investec Cape Town Art Fair announces its very first digital event in conjunction with Milan’s modern and contemporary art fair, miart. @investeccapetownartfair

Eclectica Contemporary: Ian Banja, Dreams and Nightmares, 2021, Acrylic on Canvas, 120x100cm

nvestec Cape Town Art Fair, Africa’s leading art fair, Artshell and Investec Cape Town Art Fair’s Italian owner and producer Fiera Milano is partnering with Milan based miart international modern and contemporary art fair for an all-digital event during Milan Art week taking place from 17 - 19 September 2021. The collaboration will provide a unique opportunity whereby VIPs, galleries and visitors will have access to a much broader audience across two continents -- Africa and Italy -- and two art fairs. Investec Cape Town Art Fair Digital Event will feature local and international galleries with the theme ‘Connect Through Art from Africa and the World’. Artshell, the web and App accessible platform, customized for Africa’s largest Art Fair, allows for autonomous, independent gallery / exhibitor access directly via their Artshell account with immediacy, and in sync with the Investec Cape Town Art Fair office.

EBONY CURATED: Feni Chulumanco, Imbeko (Respect), Acrylic on Canvas, 120cm x 150cm

Throughout the pandemic, art and technology have fused as channels of communication and have dramatically shifted online with Zoom or Google Chat facilitating discourse. With physical events cancelled globally, the art world accelerated their online platforms with ‘collaborative consumption’ becoming the art world’s new order as white cube galleries navigated their way off floor plans and online. While viewing rooms became the new art fairs, even with the noise of live events muted, the industry’s global acceleration online has seen a welcome shift in visibility and opportunity for galleries to control their own narrative and to access a whole new set of collectors. Investec has been the title sponsor of Cape Town Art Fair since 2018. “We believe art can break down barriers and bring people together. So, we’re delighted by the launch of Investec Cape Town Art Fair’s first digital edition, which could bring the world of art to a potentially larger, more diverse audience. It’s also important that the many talented artists represented at the fair continue to receive

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THK Gallery, Lerato Motaung, Homeland Behind the Horizon, 2021, Oil on canvas, 100x79cm

GM09, Gonçalo Mabunda, The Percieved as Body, 2020, 90cm x50cm x6cm

Afriart Gallery: Emmie Nume, Humanity, Catching Myself Doing Something series, 2021, Mixed Media on Paper, 144x99cm

99 Loop Gallery: Oda Tungodden Artwork

WORLDART: Buhle Nkalashe, Through the night, Mixed media on canvas, 84x100cm

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EBONY CURATED: Lwando Dlamini, To Late for Mama, (diptych). Oil, chevron tape, thread and oil pastel on canvas. 150x 200cm. 2021

First Floor Gallery: Wycliffe Mundopa, Sitting Pretty, 2021, oil on canvas 164.5 x 80cm

Eclectica Contemporary: Ian Banja, 2021, Hand to Mouth, Acrylic on Canvas, 100x100cm

support and potential earnings despite the in-person event being cancelled,” said Peta Dixon, Investec’s Head of Sponsorships.

digital event cannot replace the transformative nature of an in-person art experience, the digital event has accelerated our commitment to providing the best service to our galleries, artists, VIPs and visitors’.

As the largest annual fair on the African continent, Investec Cape Town Art Fair has remained dedicated to supporting the industry, and to presenting contemporary art from a diverse range of established and new artists globally. Investec Cape Town Art Fair is an annual event that presents contemporary art from a diverse range of established and upcoming artists globally, championing the belief that art not only transcends cultural boundaries, but is what defines us and makes us human. Investec Cape Town Art Fair Director Laura Vincenti elaborates: ‘There is a transformation happening in the art world. The first Investec Cape Town Art Fair Digital Event gives us an opportunity to support and showcase South African artists whilst continuing to connect with international galleries, businesses, media and creatives. While we still firmly believe that a

The Investec Cape Town Art Fair Digital Event is free of charge. To register and attend, all that is required is online sign-up with Artshell via web or App to access. A hybrid fair that will comprise of an inperson and digital event, running from 18-20 February 2022, will return to the Cape Town International Convention Centre next year for the ninth edition. For more information and updates on how to register, follow the Investec Cape Town Art Fair. Twitter @ictartfair Instagram @investeccapetownartfair Facebook @ICTArtFair. Use the hashtag #ICTAFDigitalEvent.

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THE ART OF INNOVATION #SasolNewSignatures

We’re searching for South Africa’s best artistic talent

Submission Dates 07 - 08 September 2021

Enter Now.

www.sasolsignatures.co.za

EYE OF CREATION: SHAFINA JAFFER Ashraf Jamal

f there is one lesson which our on-going pandemic has taught us it is humility. Isolation has forced us to re-evaluate the principle of being – why we live, to what end? Secularism – the basis of our modern age – has proven wanting, which is why, under lockdown, we find an accelerated interest in spirituality. The art world, too, is experiencing this shift. Indeed, I’d wager that today we cannot separate art and faith, that they are fast becoming inextricable in a changing world. If art, and the art world, over the past 121 years – comprising Modernism and our Contemporary moment – was considered a ‘religion for atheists’, it is now confronting a seismic shift in which creation and spirituality are bonded. This is strikingly the case in the work of Shafina Jaffer, raised in Tanzania, the child of an IndianAfrican diaspora, currently based in Cape Town where she has opened the Jaffer Modern Gallery. If Jaffer’s transcontinental identity is important, it is because it is a reminder that no finite origin can account for whom and what we are. In his great novel, The Bend in the River, V.S. Naipaul examines the lives of Indians in Africa, neither transient nor indigenous, whose being in the world forms a hybrid root, both here and elsewhere. Jaffer understands this peculiar sense of place, yet placelessness, which is why she also understands Naipaul’s conclusion that ‘we make ourselves according to the ideas we have of our possibilities’. In Shafina Jaffer’s case – her position as an artist, art dealer, and a diasporic woman of colour – possibilities are realised in-and through an awareness of her hybrid origins. However, the ‘ideas and possibilities’ which Jaffer has inherited are not solely the result of a socio-political displacement – an Indian raised in Tanzania, now with a satellite location in South Africa – but also from an increased awareness that being is also defined by spirituality. Jaffer’s interest in God and Science is especially significant. That the synergy

Seven Lives, Oil on canvas, 101cm x 75cm, 2021

between the two is vital in her artmaking, and her broader professional and cultural practice, indicates the important shift I’m witnessing worldwide. If secularism, to survive, requires faith, it is because humanity is not only a democratic principle but a faith. As Saint Anselm of Canterbury (1033-1109) famously concluded – ‘credo ut intellegam’ – ‘I believe so that I may understand’. It is this deep meshing of belief and understanding which distinguishes Jaffer’s approach to life and art. Her practice, she notes, is inspired by a desire to ‘transcend religious mechanisms and encourage a conversation around spiritual pluralism and cultural diversity’. While her position differs from Anselm’s – Jaffer does not believe in an absolute, exclusive and exclusionary godhead – what she crucially inherits from Anselm’s dictum is the synergetic relationship between belief and understanding, faith and reason.

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Suffocate I, Photograph, 2021

Suffocate II, Photograph, 2021

The Last Love-(He), A3, Mixed media on canvas, 2021

It was never enough, mixed media on canvas, 2021

Eye of creation, mixed media on canvas, 2021

However, Jaffer’s vision, all importantly, is based on plurality and diversity, unsurprising given her hybrid and diasporic history. Her interest in Kufic texts and Arabic calligraphy, the belief in both an origin and a void, substance and the non-substantive, infinity and Kundalini, worlds boundless yet sensuous, intimate yet strangely other, tells us of a woman and artist who conceives of life as an explorative journey. Conceived in the abstract – despite the fact that symbols play a key role in the creation of a work – Jaffer’s work is both an intimation – an evocation – and a resistance – a refusal to explain itself. Her major work, ‘Eye of Creation’ – exhibited in a group show, ‘Does This Resonate With You’, at the Jaffer Modern Gallery in June-July 2021 – is perhaps her most visceral expression of the dance of nothingness and matter, spirituality and its precarity. The ‘eye’ in the painting is both a portal and a void, all-seeing and blind, knowing yet mysterious. It is the ‘eye’ of God

– some pluralistically conceived deity – but it is also the ‘I’ that is the artist – the one who created the work. Tonally moody and dark, offset with glittering reds and copper, the painting evokes a realm at once fathomless and iridescent. It is this this quivering shifting world which Jaffer conjures which is its greatest tell. Her pursuit of spirituality stems from the fallen world from which we are emerging – the world of doubt, irony, despair, of hate and confusion and lies – a world, ours, that is profoundly in crisis. By fusing ‘spiritual pluralism and cultural diversity’, Jaffer is seeking a way out of this failing vision. Like V.S. Naipaul, she well realises that the only way to do so is to ‘make ourselves according to the ideas we have of our possibilities’.

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SAL ON N I N E T Y O NE P R E S E NT S AMBER MOIR. LOCUS I, 2021. PITCH-ROLLED WATERCOLOUR MONOTYPE AND COLOUR PENCIL ON CALICO.

Composition by Composition by ﬁeld ﬁeld solo exhibition exhibition by AA solo by Amber AmberMoir Moir 22.09 23.10.2021 22.09 - 23.10.2021

WWW.SALON91.CO.ZA

AND THEY CAME RUNNING

A Portfolio of images of the Suri Tribe in Ethiopia by Samantha Reinders Opening at the Prince Albert Gallery on 24 September 2021 princealbertgallery.co.za Words by Jennifer Cohen

Rebecca, 2018. Opposite Page: Barguyo, 2018

or her current exhibition at the Prince Albert Gallery entitled “And They Came Running”, she and hercamera found themselves in the Omo River Valley of Ethiopia, not far from the Sudanese border. Samantha Reinders likes to get lost. Perhaps because it strips out the familiar and allows her to see the ne glected value of the everyday, or because its serendipity rewards her with that precious jolt of beauty see-ing something for the first time. Sometimes she gets lost in her beloved Karoo, or the alleyways of Kathmandu, the Mongolian desert, downtown Cape Town, or the eyes of one of her subjects.

decorations are paint ground from local rocks and clay and headdresses fashioned together with found items from fields and bushes, “part Ascot fascinator, part Parisian catwalk”, she once wrote captioning one of the portraits. As an award-winning photographer/photo journalist, book editor, multimedia producer and teacher whose clients range from The New York Times to Médecins Sans Frontières, to Vogue, to National Geographic, to The Bill and Melinda Gates Foundation (to name but a few), Sam visited the Omo River Valley on several occasions between 2016 and 2020 guiding and instructing small groups of dedicated photo-tourists.

‘They’ are the children of the Suri tribe, adorned as they often are for the large and small occasions of village life – the birth of a cow (or a neighbour’s cow), a harvest, a funeral, a wedding and, as has become possible these days, a tourist camera. Their self-made

Sam would have helped them with composition, capturing the light just so, making suggestions for framing their subject matter, but photography that elicits such raw emotion from us cannot be taught. “You bring to the act of photography all the pictures you

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Barkido, 2020. Opposite Page: Nanuni, 2020

Barkido, 2020. Opposite Page: Barhozo, 2018

Naderi, 2018

Masu, 2020

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Barsiera, 2018

have seen, the books you have read, the music you have heard, the people you have loved”, Ansel Adams once wrote. Sam has the ability to connect with the people she photographs in a way that enables her to identify and capture their compassion, agency, generosity, play fulness, care for an animal, and love of colour as these do, even in times of natural disaster and in sur roundings reflecting a deep and unrelenting poverty. If pictures fill in for 1000 words, Sam’s are more of a haiku. Precise and formal, yet atmospheric and ethe real. Her approach is straightforward and genuine, making them often luminant and transfiguring. She is humbled by her encounters with the people she photographs as we are by her ability to move us. Her em pathy gives her a unique ability to transform the exotic into the recognisable, igniting our shared humanity. Because the Ethiopian government has identified modernity and urbanisation as that country’s path out of poverty, the old ways are seen as backward and undesirable and little government aid filters down to the people of the Omo Valley. Tourism in the area is a

double edged sword: desperately needed, but also the cause of much of the negative flux. “With each visit the pace of change floors me. Traditional ways of life are disappearing as big industry edges nearer, climate change wreaks havoc with food security, and modern influences (both Eastern and Western) slowly peel away at centuries-old African culture and tradition,” she says. Sam’s work has been an elegy for vanishing cultures, but is abandoning these tours which she believes could weight a precarious balance between tradition and commercialism. At the same time, a percentage of the proceeds she makes from the sale of her pictures are always earmarked for educational endeavours in the region. This body of work typifies Henri CartierBresson’s suggestion that “We photographers deal in things that are continually vanishing” and is an important portfolio in her collection. Samantha Reinders www.samreinders.com @samreinders

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This is Local. This is Fresh. THIS IS ART. 26 to 28 November 2021 The CTICC is proud to host THIS IS ART – a platform that celebrates local art. Where South African Artists can showcase their exquisite works. THIS IS ART is more than an art exhibition, it is an opportunity for artists to network and establish vital connections. Artists will be provided with the space to set up personalised exhibitions, as well as pop-up art studios and workshops. This will allow art buyers to view local designs and talent which would not have ordinarily received the exposure. EXHIBITORS PROFILE: Ceramics

Textile Art

Murals

Drawings

Crafts

Sculpture

Paintings

Photography

Printmaking

Jewellery Art

Conceptual Arts

Decorative Art

Contact Nabilah to BOOK YOUR SPACE: nabilahh@cticc.co.za | +27 (0)73 119 7633

@CTICCThisIsArt

@cticc_thisisart

THE MELROSE GALLERY PRESENTS: A SPECTACULAR CELEBRATION OF SCULPTURE The Largest Annual Sculpture Fair in South Africa themelrosegallery.com

he Melrose Gallery is proud to announce that the fourth instalment of SculptX, the largest annual sculpture fair in South Africa, will run from 2 September to 24 October 2021 at Melrose Arch

Over 200 artworks created by more than 70 established and emerging sculptors will be showcased in numerous indoor and outdoor spaces throughout the Melrose Arch Precinct and online, on a viewing room on www. themelrosegallery.com. SculptX was formed by The Melrose Gallery, in association with Melrose Arch to provide a valuable platform to promote sculpture and sculptors to those who live, work, and play in the precinct, as well as art collectors and enthusiasts in general. Sculpture has seen a strong increase in demand over the last 5 years leading to the establishment of many new foundries. But we have traditionally witnessed underrepresentation of sculpture created by female artists and those from the previously disadvantaged communities which we hope to positively impact on. SculptX provides emerging sculptors with the opportunity to exhibit alongside some of our most established artists, which is often not the case. Participating artists include such notables as Noria Mabasa, Willie Bester, Pitika Ntuli, Andries Botha, Wilma Cruise, Gordon Froud, Elizabeth Balcomb, Andre Stead and Strijdom van der Merwe amongst numerous others. The SculptX team have considered more than 350 works in order to select over 200 sculptures for showcase this year. These come from different cities throughout South Africa and include numerous mediums ranging from bronze, steel, found objects and stone to wood, crystal, glass, grass, fibre glass and carbon fibre.

“We feel that it is important to present SculptX this year considering that many of the largest art fairs and major shows have been cancelled. The line-up is very strong and we look forward to presenting and celebrating to wealth of talented sculptors that exist in South Africa once again this year”, Craig Mark – The Melrose Gallery director. The Fair is accompanied by the ‘Sculpture Dialogues’ which consist of a panel discussion involving experts who will discuss issues of pertinence to sculpture in Africa. We have put much effort into sourcing female and young artists from the previously disadvantaged communities to give them the benefit of this valuable platform as they are often over looked and under-represented in this genre. Education also plays an integral role in SculptX, both for emerging sculptors who have the opportunity to hone their practice and to learn from so many different mediums and styles, and the public by making sculpture more accessible. SculptX is a testament to the increasing number of talented sculptors who are working with a diversity of materials, new mechanisms and technologies that are testing their production and creativity, the growing demand for sculpture from local and international collectors seeking powerful Pan-African narratives and a desire to encourage the continued growth of the genre within South Africa and the African continent at large. SOME OF THE HIGHLIGHTS INCLUDE: Andries Botha: We are pleased to be presenting a large sculpture by internationally acclaimed artist Andries Botha. The work titled Amissa Anima Mea (Lost Soul) is created from hot dipped, galvanised mild steel, leadwoods and Nguni cow skin.

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Amissa Anima Mea (Lost Soul), 283x127x80cm, Hot dipped, galvanised mild steel, leadwoods and Nguni cow skin

Above: Ledelle Moe, Findings IV, Concrete and Steel, 250cm L x 140cm H x 15cm W, 2020-21 Opposite Page: Jacques Dhont, Plant - Drought Resistant

Andries is respected as an activist for wildlife, and this is one of his series of monumental elephants for which he has won global acclaim. Ledelle Moe: Ledelle will be presenting a new work recently completed titled ‘Findings IV’ which is made up of small forms that serve as studies and models for a larger work. During the process of creating each carving, she has reflected upon markers and placeholders that mark a significant site or event. These new studies are specifically informed by observations of the southern night sky and the narratives associated with astronomical mapping. Simultaneously, the work is informed by the geological formations of the Cederberg and Karoo landscape and the passages of time evident in these formations. These new studies serve as constellations of imagined narratives, markers and location points that reflect on my personal, and transient, sense of place and belonging. Jacques Dhont: Jacques Dhont will be presenting a new body of sculptural forms that have taken him 3

years to create. The body of works titled ‘Plant - Drought Resistant’ is made up of striking, large vessels with some of them almost 2m’s in height. “It is here that we may properly begin to discern the subtle and sophisticated play of the work, since in Dhont’s imagination, these marine fauna have been transformed into “drought resistant” terrestrial flora, weird plants that are imbricated in quite another pertinent contemporary thematic complex, that of water scarcity and the ecological responsibility it invokes”, Dawid de Villiers. The motivation behind these sculptures is to restore the broken bond between humans and nature. Humankind has been inspired and copied nature from the beginning. In this age of global warming, Biomimicry has surfaced as a strong movement in architecture, design, science and thought. Born in the Congo in 1959, Jacques completed a BA in Fine Art at Stellenbosch University and A Diploma in Fine Art from Michaelis UCT.

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Louis Chanu, Stargazer, Plant carbon resin, 1650 H x 720 x 500, 2021

Francois Visse, Soliloquy (Detail)

Louis Chanu: Louis Chanu has been working for 2 years to create this exceptional body of work that explores a variety of interesting mediums including plant carbon resin, steel, and bronzes. The sculptures portray and capture the beauty of the human form across various poses and many most are suitable for indoor and outdoor use.

SCULPTX 2021 PARTICIPATING ARTISTS

Mandy Johnston: Mandy Johnston is a multi award winning multidisciplinary artist who works mainly with alternative materials, sculptural installation, and alternative photographic and printmaking techniques. She holds a master’s degree in fine arts from the University of the Witwatersrand. The thread linking all my work is about what’s past. And when something or someone is passed, the space they once consumed becomes very apparent. And we consider what we take with us and what we leave behind. The soap box is being scrutinised by the absent figure who is shrouded and hiding, and would rather hide behind new media and fashion than say anything risky.

Ade Kipades, Alexander von Klitzing, Allen Laing, Amorous Maswanganyi, Andre Prinsloo, Andre Stead, Anita Finken, Andries Visser, Andries Botha, Arno Morland, Anton Smit, Ben Tuge, Bridget Modema, Carl Roberts, Cecilia Wilmot Ballam, Chuma Maweni, Claudia Raff, Collen Maswanganyi, Cornelia Stoop, Cobus Haupt, Christiaan Diedericks, Di Miller, Dora Prevost, Ela Cronje, Elizabeth Balcomb, Esther Mahlangu, Francois Coertze, Francois Visser, Gordon Froud, Izanne Wiid, Jacques Dhont, James Cook, Jessica Bothma, Johannes Maswanganyi, Jonathan van der Walt, Joseph Nabste, Keith Calder, Kenneth Shandu, Kgotso Pati, Karin Lijnes, Kobus Le Grange, Kunye Collab, Larissa Matthews, Ledelle Moe, Leon Witthuhn, Lothar Bottcher, Louis Chanu, Malose Pete, Mandy Johnston, Mark Chapman, Mark Swart, Marieke Prinsloo, Marius Jansen Van Vuuren, Mine Kleynhans, Monica van den Berg, Nanette Ranger, Nicola Roos, Nindya Bucktowar, Ndabuko Ntuli, Noria Mabasa, Otto du Plessis, Oupavusi Mokwena, Paul du Toit, Phahlo Mtangai, Pitika Ntuli, Rirhandzu Makhubele, Ronald Muchatuta, Ruhan Janse van Vuuren, Sandile Radebe, Sarah Richards, Sarel Petrus, Sifiso Shange, Simon Zitha, Siyabulele Ndodana, Sophia van Wyk, Stian Deetlefs, Strijdom van der Merwe, Talita Steyn, Theophelus Rikhatso, Tumelo Mphela, Tzung-Hui Lauren Lee, Wessel van Huyssteen, William Sweetlove, Willie Bester, Wilma Cruise, Xanthe Jackson and Zanoxolo Sylvester Mqeku.

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THE HOUSE IN MY HEAD HAS MANY STORIES A solo exhibition by Sitaara Stodel 18.08 - 18.09.2021 Words by Jessica Bosworth Smith

itaara Stodel is an artist who uses her creative practice to explore and unpack the experiences of moving homes regularly during her formative years. Throughout her many moves, from childhood to adult life, her idea around “home” has shifted and evolved many times. Her experience of the home as a transitory space has called into question the very nature of this concept. The artist, having experienced over and over the event of being removed, or removing herself, from spaces which are usually demarcated as a home, Stodel has had to grapple with the abstract concept of a homespace and the lived reality of one. Growing up, the artist was heavily influenced by representations of homes and ideals of family perpetuated by the media. Indeed, Stodel often has dreams where the space of home and family feature prominently. In her adult life, the artist has had to dismantle her complex emotions towards these two fundamental, and often idealised, social constructs. The realization that there is no

Any Cat that Crosses Your Path is Good Luck, 2021. Found photographs and gold and neon vinyl on screen printed archival mounting board, 31,5 x 26,5cm

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Family Reunion, 2021, found photographs, gold thread, and gold vinyl on linen, 915 x 1215mm

(Detail) Flashy, 2021, found photographs and gold vinyl on screen printed archival mounting board, 31,5 x 31,5cm

perfect home, or perfect family to inhabit it, inspires Stodel to use the pictorial plane to deconstruct the representation of family and home, as well as her own memories, through the use of discarded family photographs. Using anonymous images created by people she has never met, the artist oscillates between abandoning and hoarding tableaus of conventional family life; floral arrangements, wedding guests lined up on the steps of an unknown church, beloved pets, birthdays, first cars, day trips and family holidays, manicured gardens with pristine blue swimming pools, empty bottles and glasses next to half-eaten plates of food from a festive family gathering, empty deck chairs on a patio, and moments whose significance is now lost. These precious forgotten memories captured by other families are imbued with new life and meaning through the medium of collage. The very playful and interchangeable nature of this creative process provides Stodel

with a way to endlessly imagine and depict homes and families, functioning as vehicles through which she explores her ambivalent feelings towards these personal constructs and experiences. There are doors that go nowhere, windows which look out onto disjointed vistas, tables laid out with food that will never get eaten, faces of people who can never be identified, and negative spaces once inhabited; these disembodied signifiers are set against flat planes of soft, gentle colour rendered in paper or linen and accentuated, in parts, with metallic threads which connect and erase. For the artist, the process of cutting away the unwanted parts is a cathartic act which allows her to stitch and stick together new realities which float dreamily within the frame. Stodel’s work evokes powerful ghosts of the past and surreal dreams of the future.

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Samantha Reinders and they came running

Opening Friday 24 September at 18.00 closes 24 October 2021

Prince Albert Gallery http://www.princealbertgallery.co.za princealbertgallery@gmail.com

ONLINE AUCTION

IN CONVERSATION WITH COLOUR SYMPHONY 7 – 14 September 2021

n celebration of Spring, the Rupert Museum is excited to announce the upcoming In Conversation with Colour Symphony - Online Auction which will run from 7 – 14 September 2021.

The auction is an extension of the Museum’s Open Call initiative to support local artists to reach various art markets and feature works from the group exhibition showed at the Jan Rupert Art Centre in Graaff-Reinet. September 2020 marked the launch of the first Open Call by the Rupert Museum. The initiative presented a monumental and iconic artwork Colour Symphony / Kleursimfonie by South African artist Michèle Nigrini from the Rupert Art Foundation Collection for artists to creatively respond to. Created in 1993, this immersive work consists of 395 individual, painted A4 sized panels that collectively present an in-depth study of colour theory. Presented as a 16 meter stretch of colour, starting out cool with cold hues and exploding into the warmth of vibrant hues. The Open Call received over 135 entries by January 2021 and 37 artists were chosen by the judging panel as the most successful responses to Colour Symphony / Kleursimfonie. The selected artists’ works formed the group exhibition In Conversation with Colour Symphony which opened at the Jan Rupert Art Centre on the 5th of March and is on show until 5 September 2021. The aim of the Rupert Museum’s Open Call exhibition and the upcoming Online Auction is to introduce and present a platform to a mix of established, upcoming and young South African artists to exhibit and sell their work during the difficult social and economic times, and to optimise their exposure and reach to potential markets. Fawa Conradie, I only have one match no.4, Watercolour on vintage Saunders paper, 60 x 75 cm

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Above: Michèle Nigrini, Beyond The Pail, Mixed media on wooden canvas, 100cm x 100cm Opposite Page: Nontokozo Dladla, Stained II, Acrylic on paper, 42 x 29.7 cm

Adela Friedmann, Dream in Colour, Mixed media 66 x 105 cm

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Guy Thesen, Trinities, Carved supawood and oil paint, 120 x 80 cm

Guy Thesen, Light body, Carved supawood and oil paint 120 x 80 cm

In collaboration with Imibala Gallery the group exhibition In Conversation with Colour Symphony, the Online Auction and Michèle Nigrini’s solo exhibition Outside In, contribute to making a local impact as profits generated from all sales of artworks will go directly into the Imibala Educational Fund.

The online auction can be accessed on Aspire Art Auctions’ platform. Visit www.aspireart.net.

The online auction will be hosted by Aspire Art Auctions and spotlights a curated selection of works by various South African artists including a selection of Michèle Nigrini’s most recent work. The artworks in the auction vary in subject, style and mediums.

All auction administration and sales will be managed by Aspire Art Auctions. For registration and bidding enquiries contact Marelize van Zyl. Tel: +27 (0)21 418 0765 Email: ct@aspireart.net www.aspireart.net

Highlights include expressive and meditative drawings by Katherine Bull and Sonya Rademeyer. Stitch, natural dye and woven creations by Mark Rautenbach, Elizabeth Vels and Caroline Wheeler. The finest and most technical line work in ink and watercolour by Fawa Conradie, Evert Esterhuizen, and Marelise van Wyk. Foregrounding environmental concerns with sculptural works by Sassa van Zyl, Eve de Jong and coloured patinas and paints by Rix Wellmann, Arabella Caccia and Guy Thesen. Classic and abstract cosmos of colours by painters Odette Marais, Kathy Botha, Johannes du Plessis, Theodor van der Merwe, Nontokozo Dladla and Adela Friedman to mention a few.

Online bidding opens on Tuesday, 7 September at 8am and closes on Tuesday, 14 September at 7pm.

For enquiries on the artists, artwork sizes, aesthetics and condition, please be in direct contact with the Rupert Museum. Tel: +27 (0)21 888 3344| Email: info@rupertmuseum.org

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WILDLIFE 2021 EXHIBITION The Cape Gallery - 23rd August until 23rd October capegallery.co.za

eenly anticipated, the Wildlife 2021 exhibition at The Cape Gallery will be open online, and to view in the gallery on 23rd August 2021 and will be on show until 23rd October. We value the advocacy of wildlife artists, they enable a deeper understanding of, and affinity for, Southern African Wildlife in their habitat. No artist can paint what they do not know. Through their paintings, sculptures and graphic works we can vicariously experience a closeness to the animals which would not be possible in the wild and gain a deeper understanding of amazing diversity of the creatures we share our environment with. This year, one theme has been unavoidable; the urgency to address, and work towards halting, the ravages of climate change. The United Nations Intergovernmental Panel on Climate Change have released sobering statistics assessing the damages caused by global warming, which is causing catastrophic fires and floods and severely impacting human and animal populations. Cobus van der Walt’s painting ‘Road to Damascus’ signifies that the time has come for humanity to have their road to Damascus moment. What is a road to Damascus moment? It is a moment in a person’s life in which they experience sudden clarity and experience a great change in their ideas and beliefs. The United Nations report states; “It is unequivocal that human influence has warmed the atmosphere, ocean and land.” Such a strong statement coming from the most extensive climate change investigation in history cannot be ignored. Peter Gray, a renowned International Wildlife artist makes the point that “The selfish pursuit of wealth or position has had and continues to have negative impact on our natural environment. However, at the same time, many work tirelessly and unselfishly to preserve it. Like it or not, we are all in the game – playing it out to a lesser or greater degree – sometimes

David Thorpe, Owl with Goldfinches, Oil on canvas

as analysts or conservationists, at other times as spectators, but we all participate. All of us have a responsibility and are accountable.” Robert Koch is the son of the renowned wildlife artist, Martin Koch, nephew of Francois and Johan Koch. All the brothers are highly exhibited international artists, with Robert following rapidly in their footsteps with his magnificent portrayal of a cheetah family. Barry Jackson’s and Bridget Randalls limited edition depictions of wildlife in bronze are sought after by collectors who identify with conservation. Barry is well known too for his paintings in oil and acrylic. David Thorpe’s mastery of his subject and medium, oil on canvas is evident in his ‘Two owls, a wren and a sparrow’. He has engaged so intimately with his subjects he has brought them to rest in his studio, perched beside his brush and pencil.

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Peter Gray, Windstorm

Robert Koch, Cheetah Family

Cobus van der Walt, Road to Damascus, Oil on Canvas

Lin Barrie, Russet Dog Resting, Acrylic

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Makiwa Mutomba, Lioness II, Mixed media

Noel Ashton has spent over 25 years studying whales and dolphins, specialising as a cetacean scientific illustrator and sculptor. Through his programme Oceans of Africa, which he runs with his wife Belinda, he combines his science, paintings, sculpture, and environmental philosophy within inspirational conservation initiatives. These have included the well-known IFAW Whale Walk in Hermanus; the Benguela Dolphin Project on the west coast, and the Sacred Ocean initiative which is an anti-whaling campaign based around his iconic 3,5m sculpture which is permanently positioned in the foyer of the Two Oceans Aquarium. Lin Barrie lends her voice, and her palate knife to conveying her direct observations of the endangered Wild Dogs in the Save River Conservancy. The Save River runs through Chilo Gorge in the southeast of Zimbabwe.

Another artist who wields a palate knife loaded with paint as if it is the essence of life itself is Makiwa Mutomba. His work is instantly recognisable by their array of bright colours that come together to create iridescent animals that look like they are ready to walk right off the canvas to brighten our world with their presence. In a time in which our worlds have become very small we need to remember that there is a vast and vibrant environment all around us, it is the only one we have, and we have to be the ones to work towards saving it. We hope that in bringing that world to our audience this exhibition might inspire someone to have their own road to Damascus moment.

ART LANGUAGE OF MY FOREFATHERS MALOSE PETE SOLO EXHIBITION NWU Gallery 29 September – 29 October 2021 nwu.ac.za/nwu-gallery

alose Pete is an artist who uses painting and sculpture to bring across different societal perspectives with the hope of encouraging people to dig deeper than what can be considered normal. He has been creating since he was a young man in the village of Ga-Mahoai in Polokwane. He draws his inspiration from moments of solitude that allow him to observe the world in a way that offers a different outlook. Malose believes that finding your authentic self is key to creating art that truly represents something that people never knew they needed. In a statement regarding the upcoming Art Language of My Forefathers solo exhibition he says, “The artworks are made from the soil that my grandmother used to create wall decorations and mix with cow dung to polish floors with when I was way younger. I took some of the techniques they used back then and fused them with the techniques I learned in my 10 year art career to create new and exciting presentations.

Blue Man Self Observation, earth and oil on canvas, 90 x 60cm

Their art was mainly used to preserve the look and feel of homes while my art has been to date about interrogating identity issues and belonging. I believe the two themes come together very well especially in the current society where new blended communities emerge in urban spaces and identities are challenged; where belonging is also a broader term since connectivity has made community a broader space. The artworks seek to evoke thoughts of family preservation in ways where the old and modern blend together to create new ways of making sense of the world.” Art Language of My Forefathers exhibition opens at the North-West University Gallery on 29 September 2021 and will be available to view until 29 October 2021. Mokete wa Lenyalo, earth, acrylic, charcoal and chalk on canvas 85 x 43cm

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Intergenerational Dialog, earth, acrylic, charcoal, and oil on canvas, 80 x 100cm

Kgarebe, earth, acrylic and oil on canvas, 90 x 60cm

Lapeng la lerato, earth and acrylic on canvas,100x75cm

ART UNLOCKED

30+ ARTISTS | 5 STUDIOS | 8 GROUP EXHIBITIONS @ArtUnlockedRiebeekValley

South Africa, Riebeek Valley, 19 August 2021; During Heritage Day weekend of 24, 25 & 26 September, a group of thirty plus full time and part time artists will be opening their studios, homes and shared spaces in the Riebeek Valley to showcase their work to art lovers and general public. In light of the current worldwide situation, art events hosted in the valley have not been possible and therefore this group of artists organized this event independently and named it Art UNLOCKED. Their aim is to keep the Arts Town Riebeek Valley top of mind, as the annual ‘Solo Studios’ art event will not be taking place in 2021, and bring in revenue for the artists and local businesses. The beauty of the Riebeek Valley throughout the years has attracted a number of people expressing themselves on mediums such as paintings, photography, ceramics, music, etc. making the Riebeek Valley an “arts town”. Not only the artists appreciate the Riebeek Valley, not more than an hour’s drive from Cape Town. This time of year the green wheat fields contrast against the vineyards giving the valley a lush green glow. There are plenty of eateries and restaurants with outdoor seating for people to enjoy their visit while they feast their eyes on the available art. Artists participating in the event are (in alphabetical order): Ade Kipades, Alexandra Christokat, Amy Moses, Andries Dirk, Garth Meyer, Gordon Williams, Greta McMahon, Helen Weber, Ianthe Arthur, Ivan Kirstein by Maria, Jill GordonTurner, Kevan Moses, Li Nepgen, Lizette Visser, Mary Walker, Matthew Satchwell, Robin Mann, Rudolph Willemse, Sander Mahieu, Sharon Bischoff, Shui-Lyn White, Solly Smook, Suzanne Melling, Tanya Majo, The Arteri Collective, Verné Jordaan, Wiehan De Jager, William Walker, Gallery 7 on Plein.

An added plus will be that there will be a map app. Visitors can just zap the QR code, go to the Art UNLOCKED map and pick the next artist or group exhibition, information on their choice will appear and the map will show them the way. In addition to the art exhibitions, the valley’s own musicians will be holding a benefit concert for Paddavlei on Saturday 25th at RATA, The Royal Hotel, Riebeek Kasteel. Many new houses were damaged after a big storm this year and proceeds of the concert will go towards building materials for housing in Paddavlei, Riebeek Kasteel. Tickets are available for R200. For bookings call 082 851 1262 or send an email to royalartstownamphitheater@gmail.com The shared venues are kindly sponsored by The Royal Hotel, Aardvark Eats and Kasteel Motors in collaboration with Arts Town Riebeek Valley. For accommodation packages contact Riebeek Valley Tours and Transfers on www.riebeekvalleytours.co.za. Riebeek Valley Tourism and Rooms in Riebeek also offer accommodation on www.riebeekvalley. info and www.roomsinriebeek.co.za There is no entry fee for the exhibitions but COVID protocols will be in place. For more information regarding this event please contact Helen Weber on h.m.weber@ gmail.com or 072 0733 972 alternatively visit our Facebook page for updates and details @ArtUnlockedRiebeekValley Artworks Top Left: Gordon Williams, Riebeeksrivier Pad, 2021, oil on Belgian linen, 23x31cm. Top Right: Kevan Moses, Everything but the kitchen sink, 75cmx10cm, oil on canvas, 2021. Centre Left: Tanya Majo, Incubation, 28x21cm, 2021, anologue collage, magazine paper. Centre Right: Sharon Bischoff, Simeon, 2020, Acrylic and Mixed Media on Fabriano Board, 46x61cm. Bottom Left: (Detail) Tanya Majo, Karoo, 2021, 40x183cm, analogue collage, magazine paper. Bottom Right: Ivan Kirstein, Iqhayiya, 1m x 1m, pastel.

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PFUNZO SIDOGI

The importance of art competitions such as Sasol New Signatures, building the careers of young artists and his expectations for 2021… sasolsignatures.co.za

ack in 2019, Pfunzo Sidogi was appointed the new National Chairperson for Sasol New Signatures at the Winners’ Announcement event hosted at the Pretoria Art Museum. With the competition having been cancelled in 2020, he was unable to take over the reins until now. We are delighted to officially welcome him on board. In an interview with Sidogi, we asked him about the importance of art competitions such as Sasol New Signatures, building the careers of young artists and his expectations for 2021… Why do you think that competitions like Sasol New Signatures are important in building the creative economy/ developing and identifying local talent? Art competitions like the Sasol New Signatures are critical enablers for not only incentivising emerging artists, but also for giving these artists access to the mainstream art market. Based on past experiences, we have seen how artists who participate in this competition go on to exhibit and promote their artworks at other prominent industry showcases like local, and at times international, art fairs and mega-exhibitions/biennales. How important is sponsorship of the visual arts? Sponsorship of the visual arts is sadly rare, and more worrisome, on the decline. I am therefore extremely excited about the resumption of the Sasol New Signatures in 2021. The commitment shown by Sasol in continuing to sponsor this important art competition is praiseworthy. Sasol, like many individuals and businesses in South Africa, went through challenging storms due to Covid-19. It is therefore a testament to the company’s own resilience and ability to innovate that the competition is going ahead in 2021. We adopted the notion of innovation

for this year’s competition to show how even under the most difficult situations, people continue to create and innovate for a better world, which is a core value for Sasol. Having had a break for a year – what impact do you think this will have on the competition – more entries/ less awareness/ diversity of ages/ participants? The one year hiatus of the competition was unfortunate but sadly unavoidable. Its absence underscored the value of the competition as a platform and space for emerging artists to advance their creativity. So, I expect that there will be a positive turnout in terms of entries. I also expect that the quality of work submitted will be of an extremely high standard. The art of innovation is the theme for 2021 – what does innovation mean to you and how important is this to the visual arts? Innovation is at the heart of what artists do. Through their art, artists create new possibilities and reshape the world as we know it. The Covid-19 outbreak has highlighted the significance of innovation, not just in the medical and scientific domain, but in all spheres of life, including the arts. What are you hoping this theme is going to evoke in the entrants/artists submitting work? Firstly, I must stress that the use of the word ‘innovation’ within the communication and marketing campaign of the competition is NOT a call for artists to make artworks about or related to innovation. The Sasol New Signatures has embraced the notion of innovation as a celebration of the amazing creative feats artists achieve, especially under moments of great duress, such as we have experienced recently. Therefore, we are hoping to see artworks that will continue to inspire, heal, and transform our society.

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What role do you think the pandemic is going to play in the themes portrayed this year and what type of work/creativity are you hoping to see in 2021? Obviously, we expect that artists will produce artworks that respond to the unprecedented times we are living through. However, one can never predict what kind of self-expression and creativity will emerge from the artists. I expect to be amazed and challenged by the diverse artistic harvest that will emerge from around the country.

Any words of encouragement to everyone involved? Thank you to Sasol for the generous sponsorship and logistical support from Stuttaford Van Lines as well as the Association of Arts Pretoria responsible for organising the competition and the Pretoria Art Museum for hosting the exhibition in November.

Business Art

CERAMICS TROPHIES FOR 2021 BASA AWARDS 24th BASA Awards Celebrate Partnerships that RISE

24th Annual BASA Awards Commissioned artists Left Zizipho Poswa and Andile Dyalvane from Imiso Ceramics

ach year the BASA Awards, in partnership with Hollard, commissions an artist, collective or studio to create distinctive and original works as trophies which are given to the winners. In 2021, internationally acclaimed clay storytellers, Zizipho Poswa and Andile Dyalvane of Imiso Ceramics have crafted the trophies that will be awarded to the winners of the 24th BASA Awards.

The BASA Awards colour palette of vibrant purple and pink was infused with earthy and elemental tones of magenta, lilac, gold, yellow and red and the pieces suggest an upward trajectory or ascendency, in keeping with the spirit of the 2020 winners whose partnerships catalysed them into adapting and stretching their skills to create mid-pandemic projects with impact.

The Eastern Cape-born duo’s work is rooted firmly in the landscapes, spiritual and cultural essence of South Africa and they are cofounders and co-owners of Cape Town studio Imiso Ceramics. They were commissioned to reflect on this year’s Awards theme RISE in the creation of the unique pieces. Together the trophies form a theme that reflects on creative adaptation. Using the base elements of earth or soil, and introducing facets such as spikes and curves, the pieces tell a tale of resilience in a time of challenge, deflecting the negative and leading through creativity.

“Difficult times are not meant to destroy us but to strengthen us. We all have unsuspected reserves of strength inside that emerges during tough times and with that we shall rise and heal and overcome”. –Zizipho Phoswa, Imiso Ceramics.

Watch the BASA Awards online at: https://awards24.basa.co.za/

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Business Art

24 QUESTIONS WITH BASA ADJUDICATION PANEL CHAIRPERSON, KHANYI MAMBA

ow in its 24th year, Khanyi spoke to us about why the BASA Awards matter now more than ever. Tell us more – who is Khanyi? I’m not great at talking about myself, so here are three statements that best describe me: I’m a mother, a coffeeholic and a lover of life. What drew you to become involved with the BASA Awards? All things creative and art in its different forms have always piqued my interest. When I was nominated to join the BASA Board of Directors in 2015, I was ecstatic to do more to promote and expand the creative sector. In 2018, I was asked to join the BASA Awards team as a judge, and I continue to love being a part of the team, and watching how artists and arts organisations collaborate. This is the 24th edition of the BASA Awards; why were the Awards created all those years ago? The BASA Awards have always been about recognising the role of partnerships in facilitating new creative work. It shines the spotlight on how business and the arts can work together to create more collaborative, creative projects. Has the thinking behind the Awards and what it stands for since changed? Not too much; the entries are changing of course, and we have added new categories, like the SMME, First-Time Sponsorship and In-Kind categories, because it is important that really successful collaboration is recognised on any scale. The 2021 BASA Awards recognise projects executed in 2020 – that was a year turned upside down – I’m surprised there were enough entries? It was a big surprise! We were equally worried that the creative sector may have shrunk, but despite all the challenges there were more entries than there were for work made in 2019.

So the entries really reflected on a moment in flux and were maybe limited in some instances, while others were extremely creative and resilient? Yes, despite there being really difficult circumstances and very challenging new territories and timelines to navigate, there have been some outstanding entries. I think it’s been really hard to make our decisions this year. How many entries were there in total? We had a total of 96 entries and 39 were complete and eligible for judging. Compared to previous years, have you seen a shift in the kinds of entries you are seeing? Yes, we did see that there were smaller projects, and many contained an educational or social message. Digital was a big factor and it’s been fascinating to see how the digital medium has been used to create work. How did you deliberate as a group? We reviewed the entries independently, had some discussions offline, and then gathered again to discuss and debate. The final voting was done via a Zoom call, and a polling system with an auditor present. Do you see some themes or threads in the finalists’ projects? Nothing in particular, in terms of the nature of the projects. That’s what makes being a judge so exciting – it’s the diversity. If there was a common thread running across all of the categories, it would be digital innovation. You mentioned that digital was a big platform this year, as a delivery vehicle, do you think it’s here to stay? Definitely. I don’t think we can ever go back to not thinking about incorporating digital in anything we do. Things will return to some kind of normalcy and we will have live events, shows, exhibitions, etc., but now we will always have to keep in the back of our minds that we must be able to deliver digitally as well.

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“Artists must be willing to try new things and think about their work in fresh ways.” Every year, the BASA Awards have a theme; what is this year’s? Our theme this year is RISE. It refers to this moment we are in, where so much has been broken down and deconstructed. We are left with two choices – stop, pack up and go home, or rise and return. Reflecting on the extraordinary resilience of the arts and creativity sector, what we are seeing is that people will RISE again. Where will artists find the strength to RISE? They should find strength in the fact that all is not lost. Everything they need to RISE is within them. That is the most wonderful thing about being an artist. As long as they still have the talent and creativity, they will RISE again. How have you personally found that strength to RISE? I find comfort in knowing that no circumstance remains the same forever. The unanticipated obstacles of the last year or so have taught us all something. If you have not heeded the lesson then you have missed an opportunity to reflect, transform and evolve.

a finance for non-financial managers course. Something that will give you knowledge to help sustain you as an artist for years to come. When is BASA announcing the 24th BASA Awards winners? There is an awards ceremony that will take place online on 30 August, when all the winners will be announced. Where can our readers go to find out who the winners are? After we launch the online ceremony, the public will be able to visit basa.co.za to watch it unfold. What inspires you about South Africans? Resilience. We keep going against all odds and don’t give up easily. Who is on your radar right now? I love a beautiful voice and I have my eye on a singer/songwriter called Lloyiso. I discovered him on TikTok. In my opinion he has huge potential to become a globally successful singer.

Do you think that partnerships will help us RISE? Indeed – each one, helps one. Solid partnerships will play a considerable role in the recovery journey. Artists shouldn’t fear reaching out with a proposal to companies or individuals who might be in a position to help.

Do you have a favourite poet? I don’t really have a favourite poet. I do, however, enjoy reading or listening to poetry depending on the message. If it’s relevant to what I am feeling or what’s happening in my life, the country or in the world at the time, that touches me.

What is critical for this to happen? Artists must be willing to try new things and think about their work in fresh ways. They must seek out opportunities in as many settings as possible. This is the perfect moment to try something new.

Can you leave us with some inspiration? It’s never over, until it’s over. As long as you are still alive, every day that you wake up is another chance to work towards achieving your goals. Keep going!

What are the key things that artists can do to stay on track? They must have a plan, execute it as best they can, and stay focused. What should artists invest in now? For me, education will always be the number one investment. That could mean investing in a business course, digital marketing course, or

Khanyi Mamba is the Marketing Communications Manager for Sub-Saharan Africa at Cambridge International andi has more than 15 years’ experience in marketing and public relations having previously held marketing and communication roles at DHL Express, Pirelli Tyre and Sun International. She currently serves as a BASA Board member.

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Business Art

SWIFT DIGITAL TRANSFORMATIONS LIGHT UP THE 2021 BASA AWARDS.

he 2021 BASA Awards reflect on work created through partnership in 2020. Forever pinned as the year the world turned upside down, 2020 literally took the ground from beneath the feet of many projects, plans and agreements. The 24th BASA Awards is the most powerful testament to partnerships yet. The businesses who stood by their creative partners in this time of uncertainty embody true allegiance. The creatives who resisted the urge to bake banana bread until the storm rolled over, are the innovators and shape-shifters that define our resilience and innovation. Seizing the opportunity to reinvent and re-create, these pioneers are the creative innovators of tomorrow. At first, COVID-19 appeared to be a ‘black swan’ event, a bolt out of nowhere. When the outbreak emerged in Wuhan, many of us thought it would never reach far away South Africa. When it hit our shores, the initial 21 day lockdown lured us into thinking it would be over quickly, yet eighteen months later it is evident that the pandemic is likely to redefine our lives for some time yet. In hindsight, those who were agile and jumped straight into the flux got a significant head-start and a sharpened toolkit. Many of the digital projects recognized at the 24th BASA Awards were reverse engineered versions of original ideas or ongoing projects. The National Arts Festival had produced 45 live Festivals before having to move everything online in just 100 days in 2020 with the full support of their long-time partner Standard Bank. Others had equally steep learning curves. Partnered by Rand Merchant Bank, the Outreach Foundation’s Letters to You and Me - an intergenerational project took a high-contact experience into the digital realm with added benefits for staff and users who quickly adapted to digital, honing new skills as they went.

The Lockdown Collection by partners MRS WOOLF, Sirdar and Artist Proof Studio reacted with extraordinary speed in the very first moments of lockdown - bringing instant relief to artists in crisis through online auctions that captured the full attention of bewildered arts lovers. This simple call to rally for the arts, delivered through a specific moment in time, led to further collections presented in this thematically driven digital space. Similarly, Marimba Jam was able to pivot their in-person marimba school online with the assistance of Investec StartUp School, buoying the mental health of everyone who participated in the rapid move to online musical learning through #LockdownJam. Online agility was also used to successfully raise funds to develop digital learning streams for students of The Rainbow Academy, School of Performing Arts and Business (NPO). With the In-Kind Sponsorship of The Bantry Bay Suite Hotel, an online benefit concert Making Rainbows In the Time of COVID-19-South Africa ensured disadvantaged students were not left on the wrong side of the digital divide. UJ Arts & Culture & UJ Art Gallery in association with MTN SA Foundation developed The Moving Cube, an online platform which was launched with a documentary series on Willem Boshoff’s work with a specific focus on the Blind Alphabet (1993/4) featuring the forty wooden forms representing the letter B in The Blind Alphabet. The new digital platform offered layers of content and supporting materials to enrich the experience. The Moving Cube has had over 26 000 unique visitors from all over the world. Although in person dance gatherings ceased, Chairman’s Advocacy Award winner JOMBA! presented a digital JOMBA! Contemporary Dance Experience in 2020 which also prompted a three-country collaboration for the JOMBA! Khuluma platforms; a meeting

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between South Africa, the United Kingdom and the United State of America. In 2021, the JOMBA! MASIHAMBISANE series of dialogues and critical engagements was supported by key partners in India, Europe and the Americas in a free digital event from 2-4 June 2021. South Africa’s particularly strict lockdown created a dual need for income and protection from the virus itself. Museum Store Africa and social enterprise partner Impact Space immediately recognized the need for their supply line of 48 small creative industries to sustain their income and demonstrated the immediacy and agility of online by pivoting these organisations into mask-making enterprises. Masks4Good found customers for the masks through an online store but also paid forward donations of masks to match those bought online.

Behind all of these projects were people who needed income, outlet and voice. The gravity of the suspension of live activity on the creative sector continues to be devastating. These partnership projects are the wayfarers, the lights that shone out in a sea of depressing news. The longing for a return to carefree community, touch and expression is still felt but the digital dimension creates bridges to see us over to the other side. In time, the exponential development of tech will see us integrate the in-person and digital into an altogether different experience. The foundations have been laid and there is no doubt that digital will continue to be a current through the BASA Awards of tomorrow.

Business Art

PARTNERSHIPS THAT RISE: THE FINALISTS AND CATEGORY WINNERS OF THE 2021 BASA AWARDS Lumières d’Afriques is a touring group exhibition, comprising 54 artists from each country making up the African continent. It presents work inspired by a single theme ‘The Illuminated Africa’. It is premised on the idea that the 21st Century belongs to Africa, while reflecting on the challenges facing the development of the continent. For the first time in Contemporary African History, 54 artists committed to creating a single original work of art to highlight the challenge that energy access represents for the continent’s sustainable future. The installation includes artists filming their creative process for each varying piece from their environment.

he BASA Awards, in partnership with Hollard, has long been a marker of the powerful capacity that is harnessed through collaboration. Businesses that choose to work with creatives in a mutually beneficial way have been in the vanguard of the arts for decades in South Africa, nourishing new ideas and talent and sustaining the cultural heart of our nation. The 24th BASA Awards reflected on the theme RISE: celebrating the extraordinary resilience of those who created purposeful work in tumultuous times. In each category, finalists were selected, and on 30 August 2021, the winners were announced. Experience the Awards event online at https://basa.co.za/awards/ The Beyond Borders Partnership Award recognises a partnership that builds brand reputation and audience for both partners across borders, through a project showcasing South Africa to the rest of the continent and/ or overseas, or bringing international or intercontinental arts projects to South Africa. The finalists are: The Standard Bank of South Africa Limited and African Artists for Development (AAD), for Lumieres d’Afriques (CATEGORY WINNER)

The Standard Bank of South Africa Limited and the National Arts Festival, for the Virtual National Arts Festival The National Arts Festival is South Africa’s oldest and premiere arts festival. It is the largest multi-arts festival in Africa and one of the largest in the world. The Festival presents a strong programme of theatre, dance, music, visual art, digital arts, film, comedy, street theatre, crafts, exhibitions and newly emerging hybrid art forms. 2020 saw the 47th edition of the Festival, presented virtually in light of the COVID-19 pandemic. Artists wove their stories into pixels, bringing a new digital heartbeat to life and opening up the South African arts sector to extraordinary possibilities as over 80 000 global visitors clicked onto the #VNAF platform. The Community Development Award recognises support for arts and culture projects enhancing their communities, whether through education, skills development, contributing to livelihoods or employment, tourism, or other growth opportunities in the community. The finalists are: Rand Merchant Bank, a division of FirstRand Ltd, and Outreach Foundation, for Letters to You and Me - an intergenerational project (CATEGORY WINNER)

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For the past five years, the Outreach Foundation has offered an after-school drama programme for young learners and the youth in Hillbrow, in partnership with Tswelopele Frail Care Centre and Johannesburg Society for the blind. It has run as an intergenerational programme on themes like identity, belonging, cultural beliefs and generational curses that has inspired intergenerational knowledge sharing. After suspending the programme, Letters to You and Me – 5th Anniversary of our intergenerational programme was developed as a digital storytelling training programme and a training manual, based on Gcebile Dlamini’s 5 years of engaging intergenerational theatre making practice. Letters To You and Me, the 2020 iteration of the intergenerational project, was also co-funded by the International Relief Fund of the German Federal Foreign Office, the Goethe-Institut, and other partners: www. goethe.de/relieffund

Investec StartUp School and Marimba Jam (Pty) Ltd, for Marimba Jam Originally a physically interactive music project before the pandemic, the Marimba Jam project made the transition to becoming an 8-week online programme, offering an alternative to the usual Marimba band classes. Aware of the challenge of access to a Marimba instrument by students, the programme (titled #LockdownJam) offered innovative ways to learn music and how to DIY instruments with material available in their homes. The programme culminated in a ‘mass item’ which involved every student recording their individual part to a song and putting it all together in a music video, which positively affected the mental health of students. Mindspace Consulting CC (t/a Museum Store Africa) and Impact Space, for Masks4Good - a community collective

Masks4Good was formed by the Museum Store Africa founder and communities to produce and distribute hand-made masks before it was made mandatory. Built on a payit-forward principle, for each mask purchased, one was distributed to communities in need for free. It was an urgent response to the hard lockdown’s impact on 48 small creative and design enterprises that lost income as a result of the Javett Art Centre (where art, design and craft are sold) being forced to close. The First-Time Sponsor Award is for a sponsor supporting the arts for the first time, regardless of size, budget, whether it is through CSI, marketing, HR, B-BBEE or other. The finalists are: Sirdar and Artist Proof Studio, for The Lockdown Collection (CATEGORY WINNER)

violence at homes. In partnership with GBV dedicated NPOs to raise awareness and funding for GBV and Child Abuse representative organisations, Womandlachallenge was launched on South Africa’s National Women’s Day - 9 August. The project included a run, a performance and the launch of a street mural. The mural was designed and created by a group of social creatives mentored by Kathy Berman, the founder of the Museum Store Africa, during a one-year accelerator on a street in Maboneng. Inspired by the BLACK LIVES MATTER street painting, the mural spelt out a colourful WOMANDLA. The Lockdown Collection was developed to run during the initial 21 days of the lockdown, to capture the unprecedented times through the eyes of prominent South African artists as a live-online auction. These 21 art pieces by renowned South African Artists were sold to raise money to support South African artists. Each piece was revealed daily and reflected the thoughts, feelings and vision of artists’ COVID-19 experience. The overwhelming support and demand has led to more collections such as the Student Collection, a Canadian Green Recovery Collection and also an Open Call Collection launched in 2021.

The Innovation Award celebrates the most innovative, cutting edge and progressive partnership that served all partners’ purposes effectively. These breakthrough projects and partnerships should demonstrate great creativity, originality, reinvention, new methodologies, or technological/digital innovation. The finalists are: MTN SA Foundation and UJ Art Gallery, for UJ’s Moving Cube breaks ground with MTN’s Blind Alphabet (CATEGORY WINNER)

Adcock Ingram Critical Care and The National School of the Arts, for LIFELINES Chandelier Installation The LIFELINES Chandelier project is an artistic homage to the lifelines and the medical scientists who have ensured the delivery of unfailing excellence since the unprecedented pandemic. Making an emotional statement on how we are all connected, even with enforced distancing and COVID isolation, the installation highlights the significance of science behind Adcock Ingram’s Critical Care during a time when mortality is ever-present, and the idea of LIFELINES as critical to our survival medically, emotionally, and financially. The project aligns the ‘A’ of art into STEM education. Mindspace Consulting CC (t/a Impact Space) and Womandlachallenge, for the Womandlachallenge Womandlachallenge was born from challenges that were exacerbated by lockdown, like food security, health matters and gender based

The Blind Alphabet Project: Letter B – Babery to Bigeminate (1993) from the MTN Art Collection was produced in line with a digital experience promoted as part of MTN and UJ’s venture into the 4IR age. The project was inspired by insight from visually impaired individuals on the outdated nature of the Braille type format. The 40 works of the Letter B within the Blind Alphabet were augmented by music written by contemporary composer, Jaco Meyer, as well as voice-overs and QR codes. This enabled the visually impaired to access the works through cellular technology – listening to the music and rationale behind

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each artwork through earphones. The visually abled also got to appreciate this body of work in a unique way. The Standard Bank of South Africa Limited and the National Arts Festival, for the Virtual National Arts Festival The National Arts Festival is South Africa’s oldest and premiere arts festival. It is the largest multi-arts festival in Africa and one of the largest in the world. The Festival presents a strong programme of theatre, dance, music, visual art, digital arts, film, comedy, street theatre, crafts, exhibitions and newly emerging hybrid art forms. 2020 saw the 47th edition of the Festival, presented virtually in light of the COVID-19 pandemic. Artists wove their stories into pixels, bringing a new digital heartbeat to life and opening up the South African arts sector to extraordinary possibilities as over 80 000 global visitors clicked onto the #VNAF platform. MRS WOOLF, Sirdar and Artist Proof Studio, for The Lockdown Collection The Lockdown Collection was developed to run during the initial 21 days of the lockdown,

to capture the unprecedented times through the eyes of prominent South African artists as a live-online auction. These 21 art pieces by renowned South African Artists were sold to raise money to support South African artists. Each piece was revealed daily and reflected the thoughts, feelings and vision of artists’ COVID-19 experience. The overwhelming support and demand has led to more collections such as the Student Collection, a Canadian Green Recovery Collection and also an Open Call Collection launched in 2021.

and UJ Art Collections. These projects are accompanied by educational and mentorship programmes, while an emerging Artist Development Programme was added in 2018. Exhibitions include Shifting Conversations in 2017, which engaged on colonial and postcolonial narratives; Continuing Conversations in 2018, addressing various forms of identity through portraiture; and Conversing the Land in 2019/2020, focused on depictions of landscape in all its conflicting manifestations. In light of the pandemic, a full digital experience was introduced in line with the 4IR venture.

The Long-Term Partnership Award recognises outstanding initiative and commitment to the arts over a longer term period (at least three years) as an integral part of the sponsor’s strategy. The value to the arts project, the broader community and the sponsor, must be apparent. The finalists are: Nando’s and Spier Arts Trust, for the Nando’s Creative Exchange (CATEGORY WINNER) Established in 2011 to recognise emerging Southern African fine artists who demonstrate exceptional ability, the programme offers selected visual artists exhibition and mentorship opportunities, with art material sponsorship and a platform to have work translated in a different medium, in collaboration with the Spier Artisan Studios. All of this is aimed at developing artists’ professional practice. In the face of the pandemic, Nando’s arranged the Nando’s Creative Showcase event at Constitution Hill in November 2020, where a small COVID-compliant group of media and VIPs were invited to experience the various Nando’s Creativity programmes, including the Nando’s Creative Exchange exhibition. MTN SA Foundation and UJ Art Gallery, for the UJ Art Gallery and MTN SA Foundation Partnership The MTN SA Foundation and the UJ Art Gallery have collaborated successfully over the past four years by deliberating significant themes derived from the present social construct as reflected in artworks in both the MTN

Rand Merchant Bank, a division of FirstRand Ltd, and Outreach Foundation, for Letters to You and Me - an intergenerational project For the past five years, the Outreach Foundation has offered an after-school drama programme for young learners and the youth in Hillbrow, in partnership with Tswelopele Frail Care Centre and Johannesburg Society for the blind. It has run as an intergenerational programme on themes like identity, belonging, cultural beliefs and generational curses that has inspired intergenerational knowledge sharing. After suspending the programme, Letters to You and Me – 5th Anniversary of our intergenerational programme was developed as a digital storytelling training programme and a training manual, based on Gcebile Dlamini’s 5 years of engaging intergenerational theatre making practice. Letters To You and Me, the 2020 iteration of the intergenerational project, was also co-funded by the International Relief Fund of the German Federal Foreign Office, the Goethe-Institut, and other partners: www. goethe.de/relieffund The SMME Award is for vital support given to the arts by a micro, small or medium enterprise with up to 200 hundred full-time employees and an annual turnover of no more than R10 million. The finalists are: MRS WOOLF and Artist Proof Studio, for The Lockdown Collection (CATEGORY WINNER) The Lockdown Collection was developed to run during the initial 21 days of the lockdown, to capture the unprecedented times through the eyes of prominent South African artists as a live-online auction. These 21 art pieces by renowned South African Artists were sold to

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raise money to support South African artists. Each piece was revealed daily and reflected the thoughts, feelings and vision of artists’ COVID-19 experience. The overwhelming support and demand has led to more collections such as the Student Collection, a Canadian Green Recovery Collection and also an Open Call Collection launched in 2021. Mindspace Consulting CC (t/a Impact Space) and Womandlachallenge, for the Womandlachallenge Womandlachallenge was born from challenges that were exacerbated by lockdown, like food security, health matters and gender based violence at homes. In partnership with GBV dedicated NPOs to raise awareness and funding for GBV and Child Abuse representative organisations, Womandlachallenge was launched on South Africa’s National Women’s Day - 9 August. The project included a run, a performance and the launch of a street mural. The mural was designed and created by a group of social creatives mentored by Kathy Berman, the founder of the Museum Store Africa, during a one-year accelerator on a street in Maboneng. Inspired by the BLACK LIVES MATTER street painting, the mural spelt out a colourful WOMANDLA. The Bantry Bay Suite Hotel and The Rainbow Academy, School of Performing Arts and Business, for The Rainbow Academy: Making Rainbows in the Time of Covid-19-South Africa As the wave of business closures fell during the hard lockdown and funding uncertainty grew, the Rainbow Academy embarked on a fundraising campaign from March-November 2020 to sustain their organisation by building an easily accessible online teaching and learning platform. Learners in the academy come from disadvantaged backgrounds in the Western Cape, with no access to the internet or data services, smartphones or tablet devices, hence this campaign to raise funds for these essential resources to ensure continued learning amidst the constraints and challenges of the COVID-19 pandemic. The fundraising campaign included a successful online Christmas and New Year’s show written and performed by the learners from the academy.

The Sponsorship In-Kind Award acknowledges a sponsor giving quantifiable and impactful non-monetary support to the arts. This may be through in-kind provision of equipment, materials, media or PR support, space, transportation or travel, or any other products or services, as opposed to monetary sponsorship. The finalists are: Royal Hotel Riebeek Kasteel and Arts Town Riebeek Valley, for the Royal Arts Town Amphitheatre Summer Theatre Season (CATEGORY WINNER) The project was formed to address the crisis in the performing arts and to contribute to the survival of both the arts and tourism industries that are amongst the most fragile in the local economy. It also provided live theatre events for audiences starved of artistic and cultural events because of the COVID-19 pandemic – the Summer Theatre Season comprised ten new and existing professional productions, curated and presented under safe, socially distanced open air circumstances.

SPECIAL AWARD CATEGORY BASA CHAIRPERSON’S ADVOCACY AWARD 2021

AkzoNobel South Africa / Dulux South Africa and Baz-Art, for the International Public Art Festival The International Public Art Festival is a mural art project that gathered 24 local and international volunteering artists to create public murals in the community of Salt River from 7-16 February 2020. The festival showcases exceptional street art talent while also adding an economic injection and presenting a strong social focus on the local communities. The participating artists are strategically selected to form a diverse group of local and international artists from varied levels of experience and diverse backgrounds. The artists are encouraged to learn from each other, exchanging skills, experiences and networks whilst volunteering their time creating a walking art gallery. The Bantry Bay Suite Hotel and The Rainbow Academy, School of Performing Arts and Business, for The Rainbow Academy: Making Rainbows in the Time of Covid-19-South Africa As the wave of business closures fell during the hard lockdown and funding uncertainty grew, the Rainbow Academy embarked on a fundraising campaign from March-November 2020 to sustain their organisation by building an easily accessible online teaching and learning platform. Learners in the academy come from disadvantaged backgrounds in the Western Cape, with no access to the internet or data services, smartphones or tablet devices, hence this campaign to raise funds for these essential resources to ensure continued learning amidst the constraints and challenges of the COVID-19 pandemic. The fundraising campaign included a successful online Christmas and New Year’s show written and performed by the learners from the academy.

Each year, the BASA Chairman recognises, at their own discretion, a sustained and extraordinary commitment to the arts in South Africa. This may be in the form of advocacy and awareness initiatives and/ or direct support for the arts, whether in a personal or professional capacity at a local, national or international level. In 2021, the Award goes to JOMBA! Contemporary Dance Experience. JOMBA!, presented by the Centre for Creative Arts, University of Kwazulu-Natal, is Durban’s (and South Africa’s) benchmark dance festival, centred around connecting contemporary dance practitioners from across the globe. Aside from the landmark two-week dance festival, JOMBA!’s Khuluma Writing Residency (launched in 2010), mentors graduate students’ skills as dance writers. Through a series of seminars and critical discussions, the young writers work throughout the festival, offering their thoughts and responses (both personal and analytical) to the work on show. 2020’s digital JOMBA! Contemporary Dance Experience was a three-country collaboration for the JOMBA! Khuluma platforms; a meeting between South Africa, the United Kingdom and the United State of America. For the first time the platform also offered an isiZulu language editor and translator on the platform. In 2021, the JOMBA! MASIHAMBISANE series of dialogues and critical engagements, launched its first three-day dance colloquium/dialogues, aiming to support focused South African and African (and Diaspora) dance scholarships in an accessible and community-driven manner, and with attention to new ways of engaging dance/performance scholarship, practice, and practice-led research. Watch the 24th BASA Awards, partnered by Hollard on https://basa.co.za/awards/

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WHY HOLLARD BELIEVES IN THE POWER OF PARTNERSHIPS ? At Hollard, partnerships are part of our DNA. Our sponsorship of the 2021 BASA Awards, is one of those special partnerships. The 2021 theme for the BASA Awards is RISE, inspired by the endless resilience of the human spirit. Never have we been challenged as much to rise as we have in recent months. On the 30th August, we will celebrate the resilient artists who inspire us to continue rising and the special South African businesses who have partnered with the art community in these tough times. We believe that these partnerships help us to ensure better futures for all.

Chief Marketing Officer Heidi Brauer -Hollard Insurance

Auction News

ART FOR THE ARCH CHARITY AUCTION A host of art and experiences on auction to raise money for the Desmond & Leah Tutu Legacy Foundation www.straussart.co.za

Esther Mahlangu, Ndebele Abstract, acrylic on canvas, 100 x 150 x 5cm

new, limited-edition print by renowned artist William Kentridge and a fully sponsored stay at a fivestar private villa near Hermanus in the Western Cape are among the variety of works of art and experiences that will go under the hammer on 22 September 2021 to raise funds for the Tutu Legacy Fund, the Desmond & Leah Tutu Legacy Foundation has announced.

The hybrid (in-person and online) event will comprise two sessions, the first at 3pm, with the main event taking place at 6pm. “We’re thrilled to be hosting this premier event with our partners Strauss & Co and the French Embassy in South Africa. Their generosity is greatly appreciated,” says the Foundation’s CEO, Piyushi Kotecha.

The Tutu Legacy Fund was established to ensure that Archbishop Emeritus Desmond Tutu’s legacy is perpetuated and that the Foundation is able to foster a new, youth-led drive for positive change in Africa and the rest of the world. The auction is part of the Foundation’s 90@90 campaign, which aims to raise R90-million for the Tutu Legacy Fund – from 7 October 2020 to 7 October 2022. Funds raised from the Art for the Arch auction will go towards an exciting new long-term exhibition celebrating the work of Archbishop Tutu, titled Truth to Power, which will open in October 2021. “Archbishop Tutu’s legacy has not yet been fully told, yet his courageous leadership helped guide our country through and beyond apartheid, and set an example to the world,” says Kotecha.

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Barry Jackson, Dancing Tutu, bronze, 42 x 24 x 21cm

Lutanda Zemba Luzamba, Munkoyo, oil on canvas, 120 by 80 by 4cm

Turiya Magadlela, Ubuhle bakho bufana neLanga (Your beauty is like a rising Sun), pantyhose on canvas with acrylic gel sealer, 150 x 150cm

“It still does, but it is the Foundation and, most importantly, our young leaders who must carry on his legacy of constructive dialogue, consolation and the healing of divisions, all of which remain critically important to increase equitable prosperity and socio-economic development throughout our modern world.”

“We’re extremely proud and honoured to be a part of the celebrations for the 90th birthday of Archbishop Desmond Tutu and hope that this milestone will help to raise awareness of the Desmond & Leah Tutu Legacy Foundation’s important activities.

“We’re excited to be involved in the important quest to secure Archbishop Tutu’s legacy,” says Frank Kilbourn, executive chairperson of Strauss & Co. “We deal with important legacy pieces on a daily basis, but these tangible assets only have their true value because of the intangible. Archbishop Tutu is one of the greatest assets to humanity. His life story shows how we can be when we are at our best. We’re looking forward to hosting the auction.” Ioo Artinsure are very kindly sponsoring the insurance for the works that have been donated to the Art for the Arch auction, and have documented and photographed all the works for the glossy catalogue that will accompany the sale. A Strauss & Co auctioneer will conduct the hybrid auction live at the Old Granary, Cape Town, which will also be streamed in real time online. Bidders can register on the Strauss & Co website from 15 September 2021 at www.straussart.co.za. The Embassy of France in South Africa will be marketing the auction to its stakeholders.

“The French Embassy will assist the Foundation in this auction on various aspects, including sourcing some of the items presented during the auction, and communicating widely around it on our networks,” says Aurélien Lechevallier, France’s ambassador to South Africa. About the Desmond & Leah Tutu Legacy Foundation Founded in 2013, the Desmond & Leah Tutu Legacy Foundation represents one of the world’s most iconic leaders, and his life-long partner. The Foundation strives to ensure their uncompromised bravery is celebrated, communicated and curated for posterity. Guided by the values of its founders, the Foundation uses the Tutus’ rich archival heritage to promote learning, leadership and dialogue. This takes place through research and development, archival digitisation, museum design and curation, and programmes and events to promote these values. Opposite Page: William Kentridge, Roses in the Big Glass, coffeelift aquatint with drypoint, image size: 100,5 by 79cm; sheet size: 119 by 95,5cm

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Auction News

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

Anton van Wouw, The Thinker

he specialists at Stephan Welz & Co. have been fortunate to handle works by some of South Africa’s most prominent and prolific artists. It is always exciting to examine and appreciate the artistry behind unique pieces, and when it comes to South Africa’s rich history in the art of bronze sculpture, the Renzo Vignali Artistic foundry features again and again. The Renzo Vignali Artistic Foundry has played a significant role in the works of many of South Africa’s premier sculptors. The foundry is the oldest bronze foundry in the country, and the establishment of the foundry in 1931 had a revolutionary effect on the art industry at the time, and broadened the possibilities for South African sculptors.

Anton van Wouw played a large role in the establishment of the Renzo Vignali Artistic Foundry, after insisting Italian Vignali move from Florence to South Africa to work with him. We are very proud to be presenting Van Wouw’s rarely-seen work The Thinker, cast at the Renzo Vignali Artistic Foundry in Pretoria in 1967, on the request of the family agent Shepard and Barker, under the guidance of the foundry owner at the time, Luigi Gamberini. This piece showcases van Wouw’s exceptional abilities to sensitively capture form and emotion in his portrayal of a man with his head slightly bowed, and his chin resting on his hand. This work offers a wonderful example of the masterful use of the

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Sydney Kumalo, The Praise Singer I

bronze medium, where two artistic entities, skilled in their own practice, have merged. The work was first seen publicly in Die Brandwag of 13 March 1937, and an image of the artist working on the plaster can be seen on page 111 of Duffy’s publication Anton van Wouw: The Smaller Works. This will be only the third example of this work to appear on auction in over 40 years, making this a special inclusion on our upcoming Premium Live October Auction.

Africa’s sculptural history. Kumalo’s earlier work displayed a Western influence, which was perhaps attributed to his early training and experience at the Polly Street Art Centre, and later in the studio of Edoardo Villa. Over time, this mode increasingly made way for figures of African influence. These robust and spirited figures showcase an artistic strength and vitality and draw deeply on traditions and history, such as can be seen in the figure of the Praise Singer “Imbongi”.

The Renzo Vignali Artistic Foundry’s use of the traditional lost-wax casting system has been honoured and maintained over the years, the technique spanning multiple generations of Vignali Foundry craftsmen, as well as South African artists. Sydney Kumalo’s The Praise Singer I, is a work by yet another prolific South African artist, cast at the Renzo Vignali Artistic Foundry. This work offers a very different final product to that of van Wouw’s pieces, showcasing the foundry’s versatility and confirms its significance throughout South

The Stephan Welz & Co. Premium Live October Auction promises works by some of South Africa’s most recognised artists, in a celebration of South Africa’s diverse and rich art history. Keep an eye on our digital platforms for the launch of the sale in September, and join us to view these works in the first week of October. For details, join our mailing list or follow us on social media.

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ARTGO

SEPT 2021 NEW GALLERIES, ONGOING SHOWS AND OPENING EXHIBITIONS Samantha Reiders, Nagi, 2016, Prince Albert Gallery

ARTGO: SEPTEMBER 2021

OPENING EXHIBITIONS

CAPE PALETTE ART GALLERY CLICK 02/09/2021 UNTIL 02/10/2021 WWW.CAPEPALETTE.CO.ZA

MELROSE GALLERY SCULPTX SCULPTURE FAIR AT MELROSE ARCH 02/09/2021 UNTIL 24/10/2021 WWW.MELROSEGALLERY.COM

NEL ENVY NEL FOCUSES LIGHT ON ENVY. 02/09/2021 UNTIL 14/10/2021 WWW.NELART.CO.ZA

GALLERY 2 PHOENIX RISING BY TONI-ANN BALLENDEN 04/09/2021 – 02/10/2021 WWW.GALLERY2.CO.ZA

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RUST-EN-VREDE CLAY MUSEUM THE CUBE: CHRISTO GILES SOLO EXHIBITION BY MASTER CERAMICIST CHRISTO GILES. 04/09/2021 UNTIL 03/11/2021 WWW.RUST-EN-VREDE.COM

RUST-EN-VREDE GALLERY PORTRAIT AWARD 2021 TOP 40 FINALIST EXHIBITION 04/09/2021 UNTIL 03/11/2021 WWW.RUST-EN-VREDE.COM

But there are no rules, 2020 Mixed media on board 80 x 80cm

RK CONTEMPORARY

BUD A GROUP EXHIBITION: WITHIN THESE UNPRECEDENTED TIMES, HUMANITY & NATURE HAVE REVEALED RESILIENCE, RENEWAL, REWARD & A RARE RADIANCE. 05/09/2021 UNTIL 26/09/2021 WWW.RKCONTEMPORARY.COM

IN CONVERSATION WITH COLOUR SYMPHONY ONLINE AUCTION in collaboration with Aspire Art Auctions 7 – 14 September 2021

ARTGO: SEPTEMBER 2021

OPENING EXHIBITIONS

131 A GALLERY ANTON KARSTEL SOLO EXHIBITION 02/09/2021 UNTIL 30/10/2021 WWW.131AGALLERY.COM

EDG2020 GOTHIC ROMANTIC 14/09/2021 UNTIL 02/10/2021 WWW.EDG2020.COM

INVESTEC CAPE TOWN ART FAIR

AITY- ART IN THE YARD BLOOM A SOLO EXHIBITION BY VANESSA BERLEIN 22/10/2021 UNTIL 14/11/2021 WWW.ARTINTHEYARD.CO.ZA

DIGITAL EVENT IN CONJUNCTION WITH MILAN’S MODERN AND CONTEMPORARY ART FAIR, MIART. 17/09/2021 UNTIL 19/09/2021 WWWINVESTECCAPETOWNARTFAIR

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

Dylan Lewis, Curled Nude Male Figure, bronze cast SOLD R 200,000 View previous auction results at www.rkauctioneers.co.za

011 789 7422 • 011 326 3515 • Bram Fischer Centre, Lower Ground, 95 Bram Fischer Driver Cnr George Street, Ferndale, 2194

MELROSE ARCH, JOHANNESBURG

3 September to 24 October The largest annual sculpture fair in SA

themelrosegallery.com

TheMelroseGallery

themelrose_gallerysa

* Sculpture by Izanne Wiid

ARTGO: SEPTEMBER 2021

OPENING EXHIBITIONS

ART UNLOCKED RIEBEEK KASTEEL 30+ ARTISTS | 5 STUDIOS | 8 GROUP EXHIBITIONS 24, 25 & 26 SEPTEMBER 2021

@ARTUNLOCKEDRIEBEEKVALLEY ON FACEBOOK

NWU GALLERY ART LANGUAGE OF MY FOREFATHERS MALOSE PETE SOLO EXHIBITION 29/09/2021 UNTIL 29/10/2021 WWW.NWU.AC.ZA/NWU-GALLERY

PRINCE ALBERT GALLERY

AND THEY CAME RUNNING A PORTFOLIO OF IMAGES OF THE SURI TRIBE IN ETHIOPIA BY SAMANTHA REINDERS OPENS 24/09/2021 WWW.PRINCEALBERTGALLERY.CO.ZA

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ARTGO: SEPTEMBER 2021

ONGOING SHOWS

ASSOCIATION OF ARTS PRETORIA ARTIST PROOF STUDIO REBIRTH – 30 YEARS OF PRINTMAKING 19/08/2021 UNTIL 11/09/2021 WWW.ARTSPTA.CO.ZA

ARTIST PROOF STUDIO ANALOGOUS/RED IN-BETWEEN THE LINES GROUP EXHIBITION UNTIL 13/09/2021 WWW.ARTISTPROOFSTUDIO.CO.ZA

EBONY CURATED CAPE TOWN POLYRHYTHMIC CLAY IAN GARRETT 19/08/2021 UNTIL 18/09/2021 WWW.EBONYCURATED.COM

GOODMAN GALLERY CAPE TOWN SHIRIN NESHAT 12/08/2021 UNTIL 18/09/2021 WWW.GOODMAN-VIEWINGROOM. EXHIBIT-E.ART/

SALON 91 THE HOUSE IN MY HEAD HAS MANY STORIES SITAARA STODEL 18/08/2021 UNTIL 18/09/2021 WWW.SALON91.CO.ZA

THE VIEWING ROOM ART GALLERY THE INBETWEEN: BATHO LE NAGA (PEOPLE AND LAND) 03/07/2021 UNTIL 18/09/2021 WWW.STLORIENT.CO.ZA/THE-VIEWINGROOM/CURRENT-EXHIBITIONS

JAFFER MODERN GALLERY DIPAKA (SEASONS) GROUP SHOW 05/08/2021 UNTIL 23/09/2021 WWW.JAFFERMODERN.COM

OLIEWENHUIS ART MUSEUM 32ND ANNUAL SOPHIA GRAY MEMORIAL EXHIBITION: PRESENTED BY LUCIEN LE GRANGE 26/08/2021 UNTIL 26/09/2021 WWW.NASMUS.CO.ZA/OLIEWENHUISTEMPORARY-EXHIBITIONS/

SPIER ARTS TRUST EMMA WILLEMSE DISRUPT UNION HOUSE, 25 COMMERCIAL STREET, CAPE TOWN, 8001 27/08/2021 UNTIL 29/09/2021 WWW.SPIERARTSTRUST.CO.ZA

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Sitaara Stodel, Duty, 2021, Found Photographs, Gold Thread, And Gold Vinyl On Screen Printed Archival Mounting Board. 495 X 420Mm, Salon 91

ARTGO: SEPTEMBER 2021

ONGOING SHOWS

ARTIST PROOF STUDIO RED DOT SALE SEPTEMBER WWW.ARTISTPROOFSTUDIO.CO.ZA

BASA AWARD SHOWCASE 24TH ANNUAL BASA AWARDS, PARTNERED BY HOLLARD THE THEME FOR THIS YEAR, ‘RISE,’ IS BOTH A CELEBRATION AND A CALL TO ACTION - SEPTEMBER WWW.AWARDS24.BASA.CO.ZA

ECLECTICA CONTEMPORARY FREEDOM = NO FEAR SEPTEMBER 2021 WWW.ECLECTICACONTEMPORARY.CO.ZA

THE CAPE GALLERY WILDLIFE GROUP SHOW UNTIL 23/10/2021 WWW.CAPEGALLERY.CO.ZA

OLIEWENHUIS ART MUSEUM YOUTH MONTH EXHIBITION: LANDSCAPE. NATURE. ELEMENTS 01/06/2021 UNTIL 24/10/2021 WWW.NASMUS.CO.ZA/OLIEWENHUISTEMPORARY-EXHIBITIONS/

OLIEWENHUIS ART MUSEUM CONTAINMENT: STITCHED AESTHETICS TO CULTURAL CONSTRAINT 06/08/2021 UNTIL 28/11/2021 WWW.NASMUS.CO.ZA/OLIEWENHUISTEMPORARY-EXHIBITIONS/

ART@AFRICA FRANSCHHOEK OFFICIAL OPENING SCULPTURE GARDEN 12 /06/2021 UNTIL 12/12/2024 WWW.ARTATAFRICA.ART

ART@AFRICA CAPE TOWN WATERWARS UNTIL 31/12/2021 WWW.ARTATAFRICA.ART

PALETTE GALLERY FRANSCHHOEK 40 HUGUENOT RD ART REFLECTS BOTH THE ROOTS OF THE FRENCH FARMING AREA AND THE MODERN CULTURAL TOWN OF FRANSCHHOEK - ONGOING WWW.PALETTESCULPTUREGALLERY.CO.ZA

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New Exclusive Online Print Auctions Site Launched printauctions.co.za

CALL FOR CONSIGNMENTS

We are both excited and confident to evolve from Fine Art Print Specialists to Monthly Fine Art Print Auction Sales. The new PRINT AUCTIONS .co.za Auction house is exclusively for SA Prints Interest and investment in SA fine art printmaking has grown strongly over the past few years. In 2021 a sale of prints by John Maufangejo that would have been priced in the region of R 300 in the 80’s now reached prices between 20- 170k. Similarly prints by artists such as William Kentridge, John Muafangejo, Pierneef, Peter Clarke, Robert Hodgins, Bambo Sibiya and Diane Victors prints are rising in value. The evolution makes perfect sense with the incredible growth of confidence and ease of buying art online from buyers from around the world. Prints also translate well to being represented on a flat screen as many print, like painting don’t have texture and one can get a good idea of the print. Where the Print Auction.Co.ZA site difference from other auction house is that we open up the framed work to examine the work, whereas most auction houses don’t. This non examining the print may bring bad news as many prints have been stuck down with glue to cardboard, this comes at a shock where the purchaser needs to pay additional amount of money for restoration. We hope to also incorporate art books and posters. Our core passion still remains in dealing not just with famous SA artists, but also great prints that have contributed to SA Print language and history. For more information go to: Or email: info@printauctions.co.za

In Remembrance

RYNO SWART (b. Springbok 1945, died CT 2021)

yno Swart was an artist, living and working in Simon’s Town, South Africa. He spent a lot of time in Europe, mostly France, Venice and Greece, painting and often took groups of artists on workshops. His subject matter was mostly figurative, with a love for atmosphere and chiaroscuro. Much of his work has and erotic, mysterious quality, exploring a personal mythology which is still revealing itself. Ryno’s website is at http://artistvision.org

Torn petticoat

Venice in C major

Florals

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Art Times September Edition 2021

Articles inside

2021 BASA AWARDS

ARTGO

BUSINESS ART

ART UNLOCKED

THE HOUSE IN MY HEAD HAS MANY STORIES

EYE OF CREATION: SHAFINA JAFFER

INVESTEC CAPE TOWN ART FAIR

A SPECTACULAR CELEBRATION OF SCULPTURE

IN CONVERSATION WITH COLOUR SYMPHONY

WILDLIFE 2021 EXHIBITION

ART LANGUAGE OF MY FOREFATHERS

M.O.L 22 - PUBLIC SCULPTURE