“If this city was good enough for Battiss, it’s good enough for me.” ‘Ora Joubert
PRINT ISBN 9780620635608 E-BOOK ISBN 9780620635615
First Edition First Impression 2015 VISUAL BOOKS: PO BOX 2676 Brooklyn Square 0075, Republic of South Africa E-MAIL: visualbooks@maaa.co.za
© Copyright on text & photographs: as indicated © Copyright on design & published form: Visual Books ALL RIGHTS RESERVED. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright holders and the publisher. MAIN SPONSOR: Atterbury Trust EDITORS: Pieter J. Mathews & Carla Taljaard LOGO DESIGN: Karen Meyer & Bronwen Rautenbach, Sunshinegun GRAPHIC DESIGN: Dipna Bhana, Pieter J. Mathews,
Carla Taljaard, & katty vandenberghe GRAPHIC PREPARATION ASSISTANCE: Yolandi Viljoen & Lourina Grobler COVER DESIGN: Chenette Swanepoel LAYOUT, TYPOGRAPHY, TYPESETTING & IMAGE EDITING:
katty vandenberghe & Tanya Pretorius INSIDE COVER ILLUSTRATIONS: ‘Pretoria Map’ (front) by Philip du Toit (MAAA),
‘Cool Capital’ photocollage (back) by Carla Crafford ILLUSTRATIONS & DRAWINGS: as indicated PUBLISHING MANAGER: Pieter J Mathews COPY EDITORS & PROOFREADERS: Graham Wood (English), Rudolf Stehle (Afrikaans) PROOFREADING ASSISTANTS: Liam Purnell & Jan Hugo PRINTED & BOUND: Tien Wah Press Global DISTRIBUTION: On The Dot +27 (0) 86 166 8368 PRINTED ON 115 gsm Nymolla Multifine Woodfree Paper
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VISUAL BOOKS PRETORIA, SOUTH AFRICA
Edited by Pieter J. Mathews & Carla Taljaard
L L O O C PITA LE A A N C N E I B
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HELLO FROM US : 1 A Biennale for the People by the People Notes by the Convenor, Pieter J. Mathews 2 How to Organize a Guerrilla Biennale Notes by the Biennale Organizer, Carla Taljaard 4 Art’s Role in the Capital City Elfriede Dreyer 6 Ikonografie is Terug Pieter J. Mathews 8 ’n Brief van die Hoofborg Zahn Hulme, Uitvoerende Trustee, Atterbury 10 BRANDING THE BIENNALE : 13 ESSAY: The Cool Capital Brand Bronwen Rautenbach 16 Launching the Biennale with a Bang Open Window Institute 18 ART INSTALLATIONS : 21 ESSAY: Where is Art? Johan Thom 24 The Silver Lining r1 26 Pink Voortrekker Monument Open Window Institute & Pretoria Institute for Architecture 28 The Magnolia Dell Love Bridge Intiem Magazine & W Design Architecture Studio 30 Ek ❤ mos Pretoria Bianca Potgieter 31 Eetstad WitOpWit 32 Kapital Open Window Film Arts & Pluto Panoussis 34 Abbey Road St. John Fuller 36 With New Eyes St. John Fuller 37 City Murals Open Window Institute & Mia de Kock 38 We Are One Imile Wepener 39 {In}Gewortel Danélle Janse van Rensburg 40 Water for Trees & People on their Knees Nico Prinsloo 41 Container Paint Joachim Lübbe, Mia de Kock & Open Window students 42 Kindloos – ’n Gill Marcus Portret Hannelie Coetzee 43 Intersections Nicola Grobler & UP Department of Visual Arts students 44 Victor Meets Preller – Let Sleeping Ghosts Lie Diane Victor 48 DESIGN ACTIVISM : 53 ESSAY: Urban Activism in Pursuit of Social Transformation Fatima Cassim & Chenette Swanepoel 56 The @Hatfield Urban Design Initiative Renée Barnard 58 Artvertising Anna-Mart van Vreden 60 Knitting the Nation Together Amanda Schreyer 61 Car Guardians Cait Biller 62 Benchervention Jessica Davies 63 Eyewareness Reynette Robberts 64 Snow Globes UNISA Visual Art students 64 Hidden Hatfield Hanro Spangenberg 65 Fabric Bomb at Fountains Circle motherlode 66 Pink Trees for Pauline Debbie Cloete & Pretoria Boys’ High School 68 Shweshwe for a Sjoe Sjoe City Department of Construction Economics, University of Pretoria 69
Small Steps: Greening Hatfield Little by Little Jeanne-Louise Lamont Stop in the Name of Love George Asamoah Awuah The Hatfeel Good Show Shayne Capazorio Up Your Alley Tjaart Pretorius Lynnwood Gardening Initiative Urban Ambush We Want a Bike Lane Cayley Baker Jacaranda Tree Removal Protest Purple Consciousness AT SCHOOL : 79 ESSAY: School Art Debbie Cloete Die Kappie in Heroorweging Rina Stutzer & Afrikaanse Hoër Meisieskool Pretoria (AHMP) Constructing a Line Strijdom van der Merwe & Afrikaanse Hoër Seunskool (AHS) The Bugle Francois Visser & Cornwall Hill College Student Portraits Karin Miller & Crawford College, Pretoria The Gabion Spiral Kay Potts & Eduplex High School Teater Vol Stoele Jan van der Merwe & Hoërskool Garsfontein Vlag van Vriendskap Hoërskool Hendrik Verwoerd inspired by the Mapula Embroidery Project Waar’s Willem Gisela van Garderen & Hoërskool Menlopark The Wishing Tree Lynette ten Krooden & Hoërskool Oos-Moot Footprints Angus Taylor & Hoërskool Waterkloof Pappastad se Coolste Skool Chrisna van Vuuren & Laerskool Hennopspark Animation Workshop Gwen Miller, Unisa Visual Arts students & New Hope School T’is Here Guy du Toit, Yannis Generalis & Pretoria Boys High School (PBHS) The Glass Arch Gordon Froud & Pretoria High School for Girls (PHSG) Past/Future Selwyn Steyn, Mark Verryn, Henk Vryenhoek & St. Albans College Cool People of the City Mosaic Arts, Norman Catherine & Waterkloof House Preparatory School (WHPS) Bird of Peace St. Mary’s Diocesan School for Girls (DSG) SCULPTURES & FOUNDRIES : 113 ESSAY: Our City Sculpture Daniel Mosako Boxing Bunnies Guy du Toit Snorre & Ladders Guy du Toit Three Walking Silhouettes Ike Nkoana Houses of Success Strijdom van der Merwe Mme Wa Phukubje Johann Nortjé Lady on Donkey Angus Taylor Vasgepende Vlietendheid II Rina Stutzer Spirit of Tshwane Anton Smit Street Names Guy du Toit
70 71 72 73 74 76 77 82 84 86 88 90 92 94 96 98 99 100 101 102 104 106 108 109 110 116 118 119 120 121 122 124 125 126 127
Taxi Man Loeritha Saayman The Virus Gordon Froud Two F*cking Typewriters Johan Thom The Untitled One Frik van Vuuren ESSAY: Pretoria’s Rich Foundry History Elani Willemse Du Toit Foundry Guy du Toit André Otto Sculpture André Otto Daniel Nell Sculpture Daniel Nell Dionysus Sculpture Works Angus Taylor Renzo Vignali Foundry Carlo Gamberini TUT Sculpture Foundry Renier le Roux & sculpture students LET’S SIT : 141 ESSAY: Let’s Sit for Conversation Daniel van der Merwe City Hall Gardens Tsebe (George) Magampa Café Riche Sybrand Wiechers Ditsong National Museum Tabi Takang Tabe Pretoria Gautrain Station Mathews and Associates Architects & Sunshinegun Jan F. Cilliers Park (Protea Park) Izanne Wiid Viva Foundation Robert Ramavhale A Re Yeng Central Station Reply Mahlangu Pretoria Art Museum Francois Visser Pretoria Arts Association Alexander von Klitzling Voortrekker Monument Pieter J. Mathews ENVIRONMENTAL ART : 161 ESSAY: Environmental Art Project katty vandenberghe Tina Skukan Gallery Grounds Nature Art Workshop Anni Snyman Faerie Glen Nature Reserve Sunrise Performance Selogadi Mampane & Dewald Vorster with Anderson Barroso Soutpansberg Road Experimental Farm Land Art Installation Izanne Wiid & Sybrand Wiechers Groenkloof Nature Reserve Elemental Traces Meander Diana Miller Faerie Glen Nature Reserve LEAF | LEAVE Grietjie Lee Die Wilgers Wetlands Public Park Homage to Nature Meditation AJ Chappy Holtzhausen & friends Schanskop Nature Reserve Cleansing Mandala Erynne Ewart-Phipps Mamelodi East Magaliesberg Ridge Stone Spiral Mandala Ke Neil We & Banele Khoza Manie van der Schijff Botanical Gardens Environmental Art Workshop katty vandenberghe Tina Skukan Gallery Grounds Geese Enclosure Project Leon Nigrini GALLERY CRAWLING : 177 ESSAY: Gallery Culture is Essential to a Healthy Art Community Gordon Froud 25° 46’ 5” S, 28° 13’ 26” E Pretoria Arts Association
128 129 130 131 132 134 135 136 137 138 139 144 146 147 148 149 150 152 153 154 156 157 164 166 167 168 169 170 171 172 173 174 175 180 182
On the Table Tshwane University of Technology 184 Capital Transitions Fried Contemporary 185 Capital: Past Fried Contemporary 186 Blow Your Sculpture Harrie’s Pancakes in collaboration with Lothar Böttcher 187 CuSi 2014 Long Street Art Lovers 1932 188 The City, A Form of Life Open Window Institute 189 Contemporary Totem Poles St. Lorient Fashion & Art Gallery 190 The Sky’s the Limit Tina Skukan Gallery 191 Drive-Thru Street Gallery Trent Gallery & Long Street Art Lovers 1932 192 Liminal Capital Tina Skukan Gallery 193 FILM & MUSIC : 195 ESSAY: Buildings as Agents for Positive Change Pieter Greyvensteyn 198 In Search of Our Own – The Forgotten Legacy of Norman Eaton Adriaan de La Rey, PJ Kotze & Open Window Film Arts 200 Bank Towers Rooftop Concerts Keith Moss, Zane Luther & Molo Mollo Cinema Club 202 Capital Classic Music Series Keith Moss 204 Pop-Up Cinema Molo Mollo Cinema Club & iMPAC 205 Open Screen Film Sessions Pluto Panoussis 206 New Music for New Films Keith Moss & Pluto Panoussis 207 Atterbury Cultural Film Festival Pluto Panoussis 208 Blikskottel REDUX: 10 jaar later Molo Mollo Cinema Club 210 Korean Film & Food Festival Korean Embassy & Open Window Institute 211 CITY-INSPIRED EVENTS : 213 ESSAY: Pretoria as Inspiration Adriaan Louw 216 Pink Pancakes for the Capital City Harrie Siertsema 218 Plaasfees WitOpWit & Sonja’s Foods 219 Papierete Janien Kluge, Rachel Botes & Nataniël 220 Digtersmarathons Capital Letters, Guillotine Tydskrif & Graffiti Boekwinkel 222 Gedigplekmatjies Zahn Hulme 223 Bal-loon Liberty Battson 224 Market@theSheds Mareli Wassenaar & The Capital Collective 224 Old & New Bus Tours The Pretoria Institute for Architecture 226 One-Shot Film Workshops Johann Botha & One-Shot Films 227 Pin-hole Photography Workshop Ilze Wessels 228 Beyond Fabric-ation Lucy Anastiasides with St. Lorient Fashion & Art Gallery 229 Archi-fashion Show Tshwane University of Technology Department of Architecture 230 Open City Walking Tours Adriaan Louw 231 LOOKING BACK : 233 ESSAY: The Kind of City We Are Diane de Beer 234 A Biennale of Firsts for our Cool Capital City Val Boje (Pretoria News) 236 A Visual Manifesto 238 THANK YOU : 241 List of sponsors and supporters 240 TRANSLATIONS : 243 English translations of Afrikaans text 244
HELLO FROM US
CHAPTER 00
A Biennale for the People by the People
NOTES BY THE CONVENOR Every two years, people from all around the world visit biennales. A biennale is a festival of visual art and design, usually revolving around a specific theme or question. These festivals elevate cities, express community values, transform the landscape, heighten our awareness and question our assumptions. They also forge new relationships between the creative industries, the private sector and city councils, which is vital for any thriving city. By launching the Cool Capital Biennale, South Africa’s capital city, Pretoria, will become a showcase of ideas, displays and exhibitions every two years. What is an uncurated DIY guerilla biennale? Pretoria has an abundance of renowned artists, many brilliant graphic designers and no shortage of celebrated architects, but the Cool Capital Biennale made a point of inviting all the citizens of the capital city to collectively rethink its urban environment. What do we like about our city? How can we as citizens make it better? Cool Capital would not be the judge of any of the participants’ responses to these questions, but would rather act as a platform on which they could be realized and celebrated. Unlike a typical biennale’s process of submission and approval, where many potential participants are turned away by a panel of judges, this biennale was uncurated. Any group, individual or institution could express its creativity. South Africa’s constitution states that the country belongs to all who live in it. In this spirit, Cool Capital’s intention was to truly democratize creativity.
LOTHAR BÖTTCHER
Pieter Mathews at The Pretoria High School for Girls with Gordon Froud’s ‘Glass Arch’ recycled bottle installation.
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pieter j. mathews
Mxolisi Vusimuzi Beauchamp’s interpretation of Pieter Mathews in the colour palette of the biennale.
ABOUT THE AUTHOR
The impact of the biennale lay in its collective leverage. With no funding, people were expected to find innovative solutions. As the Afrikaans saying goes, ’n boer maak ’n plan’, which means something similar to the sentiment that necessity is the mother of invention. Limited budgets brought about novel creative outcomes. Bureaucracy is a massive hurdle for any creative initiative, so Cool Capital urged citizens to concentrate on pop-up, temporary guerilla installations that required no formal permission and would make an impression on passersby and make them smile. It empowered citizens to take responsibility for the city that they wanted to live in. Cool Capital became an opportunity and an excuse to show the world what the capital city’s creative community could do: Go out. Surprise. Ambush. Pop up. In a city like Pretoria, bringing about a biennale was hard work. We had to take into account the special DNA of our city in order or keep it authentic and make it possible for people to relate to the idea. Pretoria does not have a mountain or the sea, but what it does have is amazing people. Their creativity is the city’s currency and capital: any city’s most valuable asset. It is the people of Pretoria who will lead our urban regeneration and social cohesion, creating places that we want to live in. When we started this project, we had something small in mind. We could never have imagined the massive buy-in that we would get from the citizens of Pretoria. Assiduous people who like to get things done and see results, frustrated by the inefficiencies and hurdles present in most South African cities, they decided to stop talking and start doing something. Cool Capital would not have been what it was without the efforts and support of so many people who helped to make our dream of launching the world’s first uncurated biennale a reality. All of these efforts are credited in this handsome volume. I would like to thank all the sponsors, institutions, creatives and members of the press who participated and made it all possible. Above all, I would like to thank Yolandi Viljoen, Carla Taljaard and the staff of Mathews and Associates Architects for their hard work and support. Most international biennales start small and develop into events attracting people from all over the world. My dream is simple and achievable: let us inspire our own citizens, let us re-imagine our city and make it even more memorable to live in. I want to live in a creative city, and I am not going anywhere. Pieter Mathews is the principal of Mathews and Associates Architects, a multiaward
winning firm in Pretoria. He served as the president of the Pretoria Institute for Architecture from 2013 to 2014, and is also a member of the Afrikaanse Akademie vir Wetenskap en Kuns. He regularly acts as an external examiner at various architecture schools including the University of Pretoria, the Tshwane University of Technology and the University of the Free State. Hello from Us
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How to Organize a Guerrilla Biennale
PIETER MATHEWS
NOTES BY THE BIENNALE ORGANIZER
Carla Taljaard holding a selection of moustaches made from wax at the Guy du Toit foundry.
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Contrary to biennales and city festivals around the world with committees, curators, established programmes and contributors, we at the organizing end of the Cool Capital Biennale were faced with the task of putting together a designer city festival that was entirely unprecedented. Firstly, the biennale was unofficial. We were not tasked with it, and nobody had any expectations of it. We were just a bunch of renegades who had taken it upon ourselves to organize it. Secondly, we were going to have to organize a biennale for a city that is not really seen as creative (although Cool Capital took care of that misconception). And thirdly, organizing a guerilla biennale proved to be so chaotic that we had to find alternative models of organization and collaboration. We ended up organizing the biennale in much the same way that Wikipedia organizes its collaborators and contributors – by not really organizing anything at all. This was not as easy as it sounds, and much time was spent managing the expectations of private companies, individuals and contributors. We had to make everyone understand that nobody was going to grant permission, provide funds or allocate help to realize any single project. The responsibility lay solely with the person who had the idea. If someone were to ask, ‘Who is doing this?’, our simple answer would be: anyone who volunteers. All we could do was to encourage and connect people who wanted to take the initiative. That was our job. Funding was also tricky, as many potential sponsors did not grasp the value of such a city festival or the speed at which we operated. We had little time and made quick decisions. This was perhaps our greatest attribute. If something had to be done, it had to be done that very day. That was the rule and it ended up working perfectly. During the months leading up to the biennale, our only fear was that our efforts would be met with apathy: that we were fooling ourselves into believing that this was what our city needed and what its people wanted. This could not have been further from the truth. The citizens of Pretoria surprised and delighted us time after time. Events were well attended, designers and artists felt appreciated and people were inspired. By good intuition or sheer luck (I am still unsure which), we managed to avoid most landmines and strike a good many gold mines, as you will see in the following pages. We allocated the support of projects to a wonderful team of programme directors, who in turn risked their careers, relationships and sometimes even their lives to see each project through. I will never be able to thank them enough. In the end, it was the strength of our core values – being citizen-driven, DIY, and keeping it guerilla – that ensured the biennale’s success. Our belief that the people of Pretoria are the city’s biggest asset paid off. We started this biennale as
ENABA PRODUCTIONS, CARLA CRAFFORD
carla taljaard
Above & bottom right: Fabric bombing of Fountains Circle with motherlode. Top right: Carla Taljaard at Bank Towers Rooftop looking for Cool Capital event venues.
colleagues, and finished it as friends. Authenticity made it original and unique. I am proud of what the creative community of Pretoria achieved through its collective efforts, and I am sure that this biennale and those still to come will put Pretoria on the map as a creative and inspiring city.
ABOUT THE AUTHOR
Carla Taljaard holds a master’s degree in architecture from the University of Pretoria.
She has a special interest in the architectural heritage and history of Pretoria. She is a co-Âfounder of the Molo Mollo outdoor cinema club and convener of the Architecture Theory Summer School series featuring Dr. Jean-Pierre de la Porte. Carla was part of an NRF research team on resilient cities in collaboration with the University of Melbourne in 2013.
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Art’s Role in the Capital City
ENABA PRODUCTIONS
elfriede dreyer
Elfriede Dreyer speaking at the launch of the Cool Capital Biennale hosted by the Open Window Institute.
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As it often happens in the field of the arts, the most progressive challenges to the status quo just appear, seemingly without history or upheaval. Yet, when it happens, real and conceptual alignments with history can be drawn. Before 1994, there is comparatively little evidence of resistance art of serious mention produced in the greater Pretoria area, which is perhaps telling in terms of the enormous repressive impact of apartheid. But nowadays Pretoria has become a retro place where the creative and cultural wealth of the capital city is flourishing in new and alternative ways, often in conversation with an ‘inherited’, stigmatized and traumatized identity. The decision to hold an uncurated biennale is part of this conversation, which could be read as a stand against marginalization and railroading. As a series of pop-up events – belonging to no one and everyone – the Cool Capital Biennale presents a picture of Pretoria now, but could also be viewed as the continuation of artists’ long history of anti-establishment actions, driven by various groups and individuals in vanguard modernity. Global societies today show patterns of high levels of migration with people physically shuffling and shoving about on the road, in the air, on the land, on the water, and of course, virtually travelling the world on the media highways. Their very lives often become pop-up events where neighbours live next to each other anonymously. In and after postmodernism and its associated strategies of inclusivity, unbounding, unpacking of buried truths and demarginalization, the social media have exploded, making every facet of personal and public life visible and available to scrutiny. Such radical changes in the structures and patterns of social and cultural behaviour have brought about new awareness of the self – the selfie, the individual – within the midst of the chaos of change, transitivity, commonality and shared space. Questions about the self and its position in society and history, also in conjunction with multicultural alliances, are being configured and refigured. The likes, dislikes and the happiness of the self have become important values in the new cultural systems that show high levels of employment change and entrepreneurial activities. In addition, since the onset of modernism during the middle of the 19th century, authorial structures and voices have increasingly become the foci of much contention, debate and deconstruction. The French Salon artists, the Dadaists, the progressive YBAs (Young British Artists) and several resistance art initiatives in the world, such as our own resistance artists of the 1980s, including Diane Victor, Bongi Bengu, Malcolm Payne, Willie Bester and others, have challenged the status quo and developed resistance strategies and actions to this end. Taking a look at art production from the peri-urban and rural areas around Pretoria, a refreshing element of ‘non-contamination’ can be seen, where artists have mostly been engaged with the rendering of their own indigenous cultures and histories, and the impact of
CHARLES GIJZELAAR
Sybrand Wiechers, Predestination, 2014. Metal, dimensions variable.
CHARLES GIJZELAAR
Collen Maswanganyi, Cool/not-so-cool, 2014. Ironwood, 20 x 100 cm.
ABOUT THE AUTHOR
political decisions and actions on the self. As a result of Pretoria’s position as the administrative and political capital of South Africa, it is fair to maintain that this city took the heaviest blow in terms of stigmatization, regardless of the fact that freedom of expression has been maintained. Art production and expression in Pretoria and surrounding areas today shows a marked cosmopolitan character, with people from the northern neighbouring countries especially – as another kind of ‘popup’ culture – infiltrating the city in search of work and a perceived better life. The Apies River and its banks, for instance, show evidence of informal settlement and homelessness, and many of the cultural initiatives from this historical centre of the city reveal such themes in preoccupation. In Pretoria, a silence seems to have been broken exactly two decades after being the city served as a capital of the apartheid regime, and cathartic streams of comment are running through the arts from this region. In an attempt to rediscover and revalue the capital city, its treasures and diverse histories, therefore, artists, designers, filmmakers and other creatives were invited on all levels to participate in the Cool Capital Biennale. Through a series of performances, objects in space, interactions, films, artworks and installations, the Biennale showcases how individuals experience and take possession of a space, how they depict notions of home and belonging, and how they express their identity. Yet, true to the nature of the guerilla event, it was up to each individual to participate, create, produce and deliver. There were no rights and wrongs, no guilt trips, no offence intended and none taken. Elfriede Dreyer has been central to the Pretoria art fraternity for many years. She is
the co-founder of the Fried Contemporary Art Gallery and Studio in Pretoria and was its curator from 2005 until April 2014. She has held academic positions including executive dean of The Open Window School Institute, full professor and head of the fine arts division at the University of Pretoria and head of visual arts at the University of South Africa. Her research, NRF rating and industry-related experience mostly reside in the fields of South African contemporary art, African modernism and curatorial practice. She is currently an Extraordinary Professor at the University of Stellenbosch and has been appointed as the new curator of the Klein Karoo Nasionale Kunstefees from 2015 onwards. Hello from Us
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Ikonografie is Terug
Die Cool Capital openingsplakaat ontwerp deur Louis Minnaar vir die Open Window Instituut.
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’n Paar jaar gelede sou niemand kon voorspel dat die inwoners van Pretoria weer so trots op plaaslike simbole sou wees nie. Soveel so, dat die stad bemark word deur sy eie ikone! Die stryd wereldwyd tussen die globale en lokale,begin terplaatse oorleun in die guns van die plaaslike. Dit is duidelik sigbaar in die nuutgevonde soeke na ’n eie identiteit. Die oue word vernuwe deur herinterpretasie binne’ n konteporere ontwerps tydsgees. Vernuwing manifisteer in ’n identiteit waarby vele inwonergroepe aanklank vind. Inklusief eerder as eksklusief. In plaas van om internasionale tendense na te maak word die eie eerder gevier, nie net in kos nie maar ook in ander ontwerp dissiplines. Die Voortrekker Monument pryk op die openingsplakkaat van die Cool Capital Biënnale, getooi in ’n splinternuwe baadjie. Uitgedos in pienk en pers, amper Bollywoodagtig soos ’n nuwe ster in ’n plaaslike Ndebele patroon. Die ontwerper Louis Minnaar, ook lid van die groep Bittereinder, was die skepper van hierdie treffende kunswerk. Die plakate het intussen versamelaars items geword. So word die Voortrekker Monument die plek om deesdae te wees. Jongmense (en minder jonges) stroom daarheen met Park Accoustics byeenkomste! Ou persepsies word inderdaad besweer. Die Monument veskyn op verskeie kunswerke deur kunstenaars uit eie bodem o.a Liekie Fouche en Lynette Ten Kroden. Die Monument het natuurlik saamgespeel en toegelaat om in pienk belig te word! In heraansluiting by die Ndebele interpretasie van die Monument: In een van die Cool capital installasies is van Shweshwe lap gebruik gemaak. Min is bewus daarvan dat hierdie patroon en lap, wat nog steeds deur die Sepedi vroue as tradisionele drag gebruik word, oorspronklik vervaardig is in Europa en deur Franse sendelinge as geskenk gegee is aan die Lesotho Koning Moshoshoe in 1840. Tydens sy bewind het die lap baie gewild geraak en die Shweshwe lap is vernoem na Moshweshwe – ’n spelfout van sy naam. Hierdie selfde lappe is later deur die Voortrekker vroue gebruik en het in die volksmond as “Sis” lap bekend gestaan. Hierdie lap ontwerpe was en is steeds in gebruik regoor die wereld en was gewild onder mense van alle klasse. So is hierdie ikoniese lap werklik verteenwoordigend van Pretoria en al sy mense – Afrikaners, Engelse, Sepedi en Indiers. Van Sis lap na Voortrekkerkappies. Die Voortrekkerkappie het in ’n heel nuwe gedaante haar verskyning gemaak gedurende die Biënnale se skole-projek. Die Afrikaanse Hoër Meisieskool het onder leiding van befaamde kunstenares Rina Stutzer hulle skoolwapen – die boere nooientjie van Anton Van Wouw- se kappie herverbeel en herinterpreteer. Temas van beskerming en geweeftheid is ondersoek en in ’n kontemporere idioom weergegee. Twee voorbeelde hiervan is te sien op die skool se nuwe saalgebou. Die koeksister is uitgebeeld in ’n bankie as deel van die baie suksesvolle stedelike PPC bankie projek. Die koeksister se vormgewing is ook vernuwe met bykomende ENGLISH 243
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ENABA PRODUCTIONS
PHILIP DU TOIT, WERNER SPIES
Die Voortrekkermonument belig in pienk om die biënnale te vier.
Sis lap is rondom bome in Hazelwood gedraai as deel van die Shwe-Shwe aktivis-projek. ’n Staalweergawe van die boerenooientjie op die E.C Steijnsaal van die Afrikaanse Hoër Meisieskool. Besoekers aan Guy du Toit se gietery het almal ’n wassnor gemaak wat later in ’n beeld gebruik is.
OUTEURSBIOGRAFIE
ontwerperslae, geinspireer deur die wereldberoemde argitek Zaha Hadid. Hadid is bekend vir haar ikoniese geboue, vry vloeiende vorms met fasette en vlakke om vormgewing te belig. In hierdie werk word die globale invloed weer gebruik om n tradisionele vorm nuwe lewe te gee. Jare lank is met Pretoria se staatsdiens mentaliteit die spot gedryf en die ikoon of simbool hiervan was die snor. Die snor is weer uitgehaal en afgestof. Sybrand Wiechers het ’n snorbankie gemaak wat staan op bal en klou pote. Nog n simbool waaraan aspirasie in die ou dae gekoppel is. As jy genoeg geld gespaar het kon jy ’n bal en klou stel koop. Guy du Toit het met Open Foundry Day al die besoekers snorre in was laat maak, en daarna gegiet in brons. Hiedie minatuur kunswerke het hy saamgewat in ’n kolaboratiewe kunswerk getiteld “snorre and ladders” wat natuurlik sinspeel op die slangetjies en leertjies bordspel. Die kunswerk gaan nou voortaan ’n wisseltrofee word vir die grootste Cool Capital korporatiewe borg. Pieter Mathews is prinsipaal van Mathews & Associates Architects CC, ’n bekroonde
argitekspraktyk in Pretoria. Hy was tot 2014 president van die Pretoria Instituut vir Argitektuur, is lid van die Afrikaanse Akademie vir Wetenskap en Kuns en tree op as eksterne eksaminator by verskeie argitektuurskole insluitend die Universiteit van Pretoria, die Tshwane Universiteit van Tegnologie en die Universiteit van die Vrystaat. Hello from Us
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’n Brief van die Hoofborg / A Letter from the Main Sponsor
RUHAN JANSE VAN VUUREN
zahn hulme
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UITVOERENDE TRUSTEE, ATTERBURY TRUST
EXECUTIVE TRUSTEE, ATTERBURY TRUST
Kuns maak almal se koppe oop. Dit dwing ons om nuut en anders oor die lewe, ons verhoudings, ons verlede, toekoms en ons omgewing te dink. Dit is ook ’n voorreg om in ’n land te bly waar ons vrylik kan uitdrukking gee aan hierdie gedagtes in die vorm van kuns. Ons land is bekend vir innoverende en kreatiewe mense wat baie regkry met min tot hul beskikking. Die Cool Capital-biënnale het al hierdie ideale saamgebind in een groot inisiatief, en daarom wou ons van die begin af daarby betrokke wees. Die Atterbury Groep het in 1994 in Pretoria ontstaan en daarom lê die stad ons baie na aan die hart. Dit is vir ons belangrik om terug te ploeg in die gemeenskap waarin ons gewortel is. Daarom het ons die Atterbury Trust gestig met twee belangrike doelstellings: die bevordering van opvoedkunde en van kultuur. Ons kon aan albei doelstellings reg laat geskied deur ons betrokkenheid by Cool Capital, spesifiek deur die hoërskole-kunsprojek te borg en deur die Atterbury Teater aan die biënnale beskikbaar te stel. Soos wat Cool Capital mense anders na hul omgewing wou laat kyk, is dit vir Atterbury belangrik om landmerkgeboue in Pretoria te bou wat die stad ’n beter plek vir al sy inwoners maak. Inwoners kan eweneens deur die beoefening van kreatiwiteit op ’n klein skaal iets van langdurige waarde tot hul omgewing bydra. Ons kan nie terugstaan en wag totdat iemand anders dit wat vir ons belangrik is, koester nie; ons moet dit self doen. Pretoria is vir ons belangrik, en daarom ondersteun ons graag die Cool Capital-biënnale.
Art liberates our minds. It forces us to think about our lives, relationships, environment, past and future in a different way. It is a privilege to live in a country where we can freely give expression to these thoughts through art. In addition, South Africans are well-known for our ability to achieve innovative results with limited resources. The Cool Capital Biennale encompassed all of these ideals, and that is why we wanted to be a part of the movement from the start. The Atterbury Group started out in Pretoria in 1994, and the city remains very dear to us. We feel it is important to give back to the community that shaped us, so we established the Atterbury Trust with two important goals: to support and enable the promotion of both education and culture. We achieved both these goals through our involvement with the Cool Capital Biennale, specifically through our sponsorship of the Schools Project and making the Atterbury Theatre available to the biennale. In the same way that Cool Capital encouraged people to see their surroundings with new perspective, Atterbury endeavours to create landmark buildings in Pretoria that improve the city for all its residents. Likewise, residents can make an enduring difference on a smaller scale by simply practicing their creativity. We cannot resign ourselves and wait until someone else starts to nurture that which is important to us, we have to take the initiative. Pretoria is important to us, and that is why we proudly support the Cool Capital Biennale.
RUHAN JANSE VAN VUUREN
Ruan Janse van Vuuren’s sculpture at the Club, a recent development by Atterbury Property.
Hello from Us
11
BRANDING THE BIENNALE CHAPTER 01
ENABA PRODUCTIONS
Cool Capital launches at the Open Window Institute in Southdowns, Irene, Pretoria. Right: Texture and 3D exploration of the Cool Capital logo by TUT Student Mila Bolt. ‘Cool Capital’ in lights by Yolandi Viljoen, used at many Cool Capital events. ‘Cool Capital at School’ poster to invite teachers and pupils to the project launch.
With a background in fine arts and education, Elsabe Donovan founded The Open Window Art Academy in 1989. The school has since grown from strength to strength and celebrated its 21st year in 2014. Elsabe is still its executive director and ensures that the Open Window Institute always remains at the forefront of creative education. Janette Engelbrecht has been a force behind the Open Window brand since the
company’s inception 21 years ago. She holds a degree in fine arts and education, and launched her career as the curator of the Open Window Contemporary Art Gallery. Janette of is still involved in the arts as a guest curator and speaker. As a member of the management committee of the Open Window School of Visual Communication, she is a key player in its product development, strategic planning and business development.
THIS CHAPTER IS SPONSORED BY
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branding the biennale
At Plascon, we’re passionate about making great paint. Our products are produced
using the best pigments and mixed to the highest standards for consistency, quality and a long-lasting finish. We’ve also kept the environment in mind, reducing the levels of VOCs (Volatile Organic Compounds) in certain brands. With a lower solvent content, these paints are a great choice for your home and the planet. Nothing demonstrates proof of quality and confidence in one’s product more than the formal assurance of a guarantee. When you decorate with Plascon’s Premium Flagship Paint Range, you can be assured it’s the company you can trust to deliver the highly innovative and premium quality products-all backed by leading technical experts and excellent service.
branding the biennale
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The Cool Capital Brand bronwen rautenbach
SUNSHINEGUN
A Google Image search for Pretoria provided clues for the Cool Capital colour palette.
At the heart of the Cool Capital brand was its logo: a multifaceted graphic that depicted the outline of Pretoria as seen from above. The logo’s contemporary graphic language was not what you would normally associate with our administrative capital. It was essentially a reminder that when a challenge is seen from above, a solution often emerges. At a glance, the icon conveyed the biennale’s central idea: the ready possibility of creative expression that Pretoria offers. Upon further inspection, it contained multiple images: a man doing a handstand, a person’s profile or one of the city’s famous jacaranda trees. The logo was intended to be a living logo with many versions of itself, which spoke to the creative process and served as a reminder that there are always multiple solutions to any problem. It also represented the biennale’s multitude of installations and the rich diversity of the city itself. The lines across the logo represented connectivity and the role the biennale played as a catalyst for social coherence and collaboration. The city’s purple jacaranda trees inspired the colour palette. Purple was apt because it did not represent any political or religious affiliations, reinforcing the principle that creativity could be a positive, unifying force that celebrated diversity and cultural richness. Lastly, and most importantly, the logo created a sense of renewed appreciation for the city. When you change the way you look at things, the things you look at change.
Project Team: Bronwen Rautenbach & Karen Meyer.
ABOUT THE AUTHOR
The Cool Capital logo is a multifaceted graphic that depicts the outline of Pretoria as seen from above. It lent itself to multiple interpretation and suggested diverse forms, which made it easily adaptable for projects like the Environmental Art Project which focused on the natural spaces in and around the city (bottom centre).
Bronwen Rautenbach is a creative partner at Sunshinegun, one of South Africa’s
leading design agencies. Pretoria is very close to her heart. She grew up and studied in the city and finds it an ongoing source of inspiration. 16
branding the biennale
MAAAMEDIA COOL CAPITAL ANIMATION INTRODUCTION 0:20
SUNSHINEGUN
branding the biennale
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Launching the Biennale with a Bang open window institute
LEANDRI KERS
NADINE UYS, COURTESY OF I LOVE PRETORIA
Jacob Zoyisile Wulana, lead singer of the famous South African reggae band The Tidal Waves, entertains guests on the evening.
Liberty Battson’s Bal-loon project released 1000 balloons on the eve of the launch.
SPONSORS
OPEN WINDOW INSTITUTE MERCEDES BENZ CITY OF TSHWANE MENLYN MALL REDLIFE YOUTH AGENCY 18
branding the biennale
The inaugural Cool Capital Biennale kicked off at the Open Window Institute on Friday 29 August 2014. The party celebrated Pretoria’s diverse cultural talent, featuring performances by hip-hop DJ Elque, radio presenter, producer and praise poet MoAfrika ’a Mokgathi, local reggae band Tidal Waves and the South African Music Award-winning band Bittereinder. The city’s municipality also launched the Tshwane Spring Campaign at the event. Speakers included Councillor Subesh Pillay, Cool Capital convenor Pieter Mathews and programme director Elfriede Dreyer. The launch also featured the exhibition City: A Form of Life curated by Elfriede Dreyer and Adel Adendorff. The exhibition explored the ways in which individuals experience and take possession of space, how they depict notions of home and belonging, and how they express their identity. One of the works was Bal-loon, an installation of 1 000 balloons that were unleashed by artist Liberty Battson in celebration of the arts and the launch of the Cool Capital Biennale.
branding the biennale 19
HEIN PERRY, DIPNA BHANA, LIEZEL VAN NIEKERK, ENABA PRODUCTIONS, LEANDRI KERS
Cooltrain Gautrain supports Pretoria’s Cool Capital Biennale.
ART INSTALLATIONS
CHAPTER 02
r1. is an artist and activist who considers the street an open canvas. He collects
everyday found materials, transforms them and places them back where they came from to become a part of the city’s journey. The resulting artwork is tactile, moving within the motion of the cityscape. Like the street, the work finds its meaning once an interaction with the passerby takes place. r1 was responsible for ‘The Silver Lining’, an intervention that involved covering Anton van Wouw’s statue of the late President Paul Kruger with silver foil. Nicola Grobler is a lecturer in fine art at the Department of Visual Arts at the
University of Pretoria. She teaches modules in fine art studio practice and contemporary art discourse, and is the course facilitator for the third year level. She led the Intersections project with a group of third year students from the University of Pretoria Department of Visual Art.
Joachim Lubbe holds a bachelor’s degree in accounting and an honours degree in
financial management from the University of Pretoria. He has always had an interest in real estate and packaged his first project at the age of 19. He is the founder of Black Swan Investments, the Business Club at Pretoria Boys’ High School and is a business mentor at the Innovation Hub where he shares his lessons from the business world with young entrepreneurs. Joachim organized and coordinated the container-project initiative in collaboration with the Open Window School of Visual Communication and Absolute Containers. Pluto Pannoussis has worked as a designer, an illustrator, a writer, an architect,
and is the director of a number of award-winning productions. Currently he is head of the Film Arts Department at the Open Window School of Visual Communication. iMPAC (the Initiative for Motion Pictures within the African Continent), founded by him in 2009, is the latest initiative in his ongoing commitment to fostering a culture of exploration in the visual arts. He conceptualized and curated the multidisciplinary exhibition Kapital. Opposite: The Silver Lining by r1, covering Church Square’s Paul Kruger statue in foil.
THIS CHAPTER IS SPONSORED BY
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Art Installations
Gautrain is more than just a train. It is one of several strategically integrated Gauteng
Provincial Government projects to meet future transport demands anticipated as a result of economic and population growth. For most of us, Gautrain has become synonymous with pride and awe. It is aweinspiring to know that South Africa has the expertise necessary to build a project of this magnitude and complexity. We are also proud of the fact that Gautrain uses best global practices and technology to build a much-needed public transport system in a province frustrated by traffic gridlocks.
LIAM PURNELL
Art Installations
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Where is Art? johan thom
Johan Thom speaking at his sculpture ‘Two F*cking Typewriters’ in the foyer of the Pretoria News headquarters.
In Art and Its Objects (1968), the British philosopher Richard Wolheim asked, ‘Where is the artwork?’ He found that this rather straightforward question had no simple answer. Wolheim used the example of an original musical composition to illustrate the conundrum. Is the artwork to be found on the sheet of music, in the mind of the listener, in the hands of the musician, in a recording or ultimately even in the mind of the composer? My feeling is that the artwork exists as an experience – one located neither wholly in the mind of the viewer nor squarely in the object. Rather it exists is a grey, experiential inbetween. Bearing this in mind, I want to make some brief points about the importance of experience and context-specificity as I briefly discuss the role of the art installations and interventions at the Cool Capital Biennale. The installation artist seeks to create an aesthetic environment consisting of discrete parts within which the viewer’s experience constitutes the artwork itself. Mostly, though not always, art installations are ethereal, made as they are for specific spaces, places and moments in time. Granted, one may have to contend with a permanent installation such as the Love Bridge in Magnolia Dell. But, even then, I would submit that the experience of the work remains central: here the bridge functions as a space where lovers may declare their commitment to one another and commemorate that particular moment. This particular space and the memory are now virtually indistinguishable. That said, lovers might fall out of love, thus irrevocably transforming the very nature of their association with the space. In contemporary art, interventions are understood as being deliberate aesthetic interventions in existing spaces, places or cultural contexts to critique, question
ENABA PRODUCTIONS
Couples hang locks to the Magnolia Dell Love Bridge on its launch day.
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Art Installations
The Silver Lining by r1., before & after.
ABOUT THE AUTHOR
or simply highlight specific, though mostly undervalued, aspects of those spaces, places and contexts. Again, I wish briefly to consider the role of experience here. I would argue that interventions seek to change the audience’s lived experience of a specific object or place by challenging the cultural register of accepted meanings attached to it. Therefore artistic interventions have at their core a radical acceptance of the context-specificity within which they are created. After all, how can one meaningfully intervene in a space without having an in-depth understanding of the meanings, functions and aesthetic forms already at work in the space? Artistically speaking, as recently as 20 years ago, doing anything apart from staring with admiration at the statue of the old president of the Transvaal Republic, Paul Kruger, on Church Square may have been considered semi-treasonous. Today, 20 years after the end of apartheid, young South Africans look at this massive bronze and stone monument largely as a remnant of a bygone era replete with bygone cultural and political values. So, in looking at the installations and interventions created as part of Cool Capital, I would say that we not only considered the importance of our experience of the artworks, but, also how these artworks bespeak, embody and generally give form to a changed understanding of a particular cultural context: Pretoria, 2014. In contemporary democratic South Africa, we understand all too well that paradigms shift, dramatically altering our sense of self and indeed of the world. Not long ago, the inhabitants of Pretoria were living in a different sort of city altogether. Johan Thom is an artist and senior lecturer at the Department of Visual Arts, University of Pretoria.
Art Installations
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The Silver Lining
LIAM PURNELL, WERNER SPIES
r1.
17 OCTOBER 2014 r1. Church Square, Pretoria Paul Kruger statue remake, ‘The Silver Lining’ In the heart of Pretoria’s city centre, in Church Square, stands a bronze statue of one of South Africa’s most famous former presidents, Paul Kruger. The statue is by Anton van Wouw, possibly the country’s best known and most influential early 20th century sculptor. The president stands proudly on a plinth, walking stick in hand. Below him sit five men with rifles, called the burghers or citizen-soldiers. Recently, the statue has been the topic of much discussion and debate. Is it still appropriate and relevant? Should it be removed or replaced? How do locals and tourists perceive it? How should a city reconcile its historical past with its future aspirations? How should Pretoria become a modern African city that includes and represents a diversity of communities? 26
Art Installations
For the intervention entitled The Silver Lining, the statue of Paul Kruger was lined with aluminium foil so it looked as if it had been recast in silver metal. The dark complexity of the statue was altered in order to look bright and intriguing. Before wrapping the statue in foil a layer of wax was applied to protect it and assist with the removal of the foil layer afterwards. The Silver Lining interrogated Pretoria’s changing relationship with its monuments, an appropriate line of inquiry on the 20th anniversary of the birth of democracy in South Africa. The intervention treated the statue of Paul Kruger as a symbol of the city’s identity, altering it so that it could be perceived with fresh eyes, and promoting a common dialogue with public space in subtle and provocative ways. It aimed to interrogate the old in a way that would inform a better future. SPONSORS
STRAUSS & CO. SANDSTONE CONTRACTS r1r1r1 r1. SILVER LINING 3:05
LIAM PURNELL
Art Installations
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Pink Voortrekker Monument
LOUIS MINNAAR, DEWALD VAN HELSDINGEN
open window institute & pretoria institute for architecture
29 AUGUST – 15 NOVEMBER 2014 Schanskop Nature Reserve Voortrekker Monument illuminated in pink
SPONSORS/BORGE
LUMINANCE LIGHTING
28
Art Installations
The Open Window Institute, the Pretoria Institute for Architecture & Voortrekker Monument management
Die Open Window Instituut, die Pretoria Instituut vir Argitektuur & die Voortrekker Monument bestuur
The Voortrekker Monument is one of Pretoria’s most recognizable buildings and the most popular tourist destination in the city. It is visible from most routes into the city and looks out over many residential and commercial areas. For the duration of the festival, the monument was lit up in pink with 22 metal halide lamps to communicate the biennale’s festive atmosphere and to make passersby smile.
Die Voortrekkermonument is een van Pretoria se mees herkenbare geboue en gewilde toeristebestemminge in die stad. Dit is sigbaar vanaf die meeste roetes wat na die stad lei en hou wag oor etlike residensiële en kommersiële gebiede. As deel van die vieringe rondom Cool Capital is die monument vir die duur van die biënnale deur 22 metaalhaliedlampe met pienk lig verlig. Die beligting van die monument het die feestelike atmosfeer van die biënnale by die publiek tuisgebring en verbygangers laat glimlag. ENABA PRODUCTION COOL CAPITAL 2014 0:43
Art Installations 29
DEWALD VAN HELSDINGEN
The Magnolia Dell Love Bridge
ENABA PRODUCTIONS
intiem magazine & w design architecture studio
9 OCTOBER 2014 Magnolia Dell, Pretoria SA Marriage Week, INTIEM Magazine SPONSORS
WALLS & ROOFS IN AFRICA FLOORS IN AFRICA INTIEM MAGAZINE W DESIGN STUDIO ML HUGO CONSULTING ENGINEERS GERT VISSER STAALWERKE ECOWOOD BALDWINS METAL LAND BELGOTEX FLOORCOVERINGS ARCELOR MITTAL 1LIFE HUCKLEBERRYS RESTAURANT SA MARRIAGE WEEK
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Art Installations
The Love Bridge was an addition to an existing bridge in Magnolia Dell making it possible for visitors to attach a lock to the bridge as a symbol of love and commitment. It is a permanent structure of nine metres by three metres supported by a reinforced concrete footing. It included a walkway covered with composite decking, a pergola roof on one side and a bench on the other. The addition was constructed so that it would not damage the integrity of the existing bridge, and special consideration was given to the weight of the locks. The structure can support an imposed load of 500 kilograms per square metre – roughly 1 000 locks per square metre. The bridge was opened during a breakfast event at which over 100 couples attached locks to the bridge. Since its unveiling, many additional locks have been added, and it has been used as a stage for small musical performances. The project received ample support from various companies who donated time, money, materials and expertise.
SABC DIGITAL NEWS BRIDGE OF LOVE LOCKS IN PRETORIA 8:45
Ek mos Pretoria
BIANCA POTGIETER
bianca potgieter
AUGUST – NOVEMBER 2014 Kerkplein, Pretoria Mos grafitti
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Graffiti is ’n eeue oue manier om verwaarloosde gebiede in stede te verfraai, maar verf is nie ’n omgewingsvriendelike medium vir artistieke uitdrukking nie. Daar bestaan egter ’n vorm van graffiti wat omgewingsvriendelik, duursaam, koste-effektief en heeljaar mooi is. Vir Ek ß mos Pretoria is gebruik gemaak van mosgraffiti, ook eko- of groen graffiti genoem, in plaas van spuitverf, verfmerkers en soortgelyke toksiese chemikalië. Benewens mos-“verf” is gewone verf gebruik wat met ’n verfkwas aangewend is. Die hoofdoel van die intervensie was om ’n groener stad daar te stel en om ’n omgewingsvriendelike leefstyl te bevorder. Etlike kunswerke is regoor die stad met mosgraffiti geskep. Onder die werke was tipografiese werke wat die woorde “Ek is mos van Pretoria” (“I am from Pretoria”) en “Ek mos Pretoria” ten toon gestel het. Die gedagte ager die ontwerpintervensies was om ’n liefde vir Pretoria onder dié stad se inwoners te kweek en om ’n positiewe houding jeens die stad te bevorder. Deur gebruik te maak van ’n pasgemaakte infografika , het die intervensies ook mense geleer hoe om self die mosmengsel te maak sodat hulle enigiets denkbaar regoor die stad kan verf. ’n Klein idee kan uitgroei tot ’n enorme tendens, wat uiteindelik ’n leefstyl kan word en ten einde laaste tot ’n groen hoofstad aanleiding kan gee.
Art Installations
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Eetstad
32
Art Installations
JEAN DE VILLIERS
witopwit
12 NOVEMBER 2014 Pretoria Country Club Eetbare installasie van Pretoria WitOpWit is ’n konsepfabriek wat byeenkomste en gebruikersvriendelike kuns reël en van ’n groot verskeidenheid bronne en materiale gebruik maak. WOW het ’n tydelike eetbare installasie van Pretoria geskep. Die installasie is benader as ’n gebeurtenis waartydens ’n eetbare skaalgrootte model van die middestad gebou KARLIEN THOMASHOFF EETSTAD 1:51
is. Nougat, klapperys en verskeie lae beskuitjies is as boumateriaal gebruik en agterna verorber. Die stad se infrastrukturele onderbou is eers met ’n groot stensil en versiersuiker op ’n donker oppervlak nageteken, waarna die middestad blok vir blok met lae koekies en ’n verskeidenheid lekkers opgerig is. Die bedoeling met die installasie was om die aandag te vestig op die agteruitgang van Pretoria se middestad en sy inherente potensiaal. Teen die einde van die gebeurtenis is die gehoor genooi om die stad in ’n simboliese gebaar te eet. Art Installations
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Kapital
2 OCTOBER 2014 The Open Window Institute Student exhibition curated by Pluto Panoussis The one-night exhibition, Kapital, was presented by the final year film arts students of the Open Window School of Visual Communication and drew a crowd of over 800 people. Thirty multi-media installations presented viewers with different takes on aspects of life in the capital city from freedom of artistic expression, marginalization and incarceration to income difference and memory.
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PIETER MATHEWS, ENABA PRODUCTIONS
open window film arts
Art Installations 35
PIETER MATHEWS, PLTUO PANOUSSIS
Abbey Road
This spur-of-the-moment intervention took place during the drive-thru event at the Trent Gallery in the first week of the biennale. Visitors to the the drive-thru were asked to lie on the ground so that they could have their outlines traced. The idea was to create an artwork that was a semi-permanent record of those who had visited the drive-thru.
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Art Installations
ST. JOHN FULLER, LISA HNATOWICZ (MEDIA24)
31 AUGUST 2014 Trent Gallery Guerilla Street Painting
With New Eyes
ST. JOHN FULLER, ALET PRETORIUS
st. john fuller
29 AUGUST – 15 NOVEMBER 2014 National Zoological Gardens Township shack as camera obscura What you see sometimes depends on where you stand. When he converted a shack into a camera obscura, this idea was poignantly demonstrated by the artist, St.John Fuller. It was hoped that through this conversion people’s perceptions of shacks would change. The intent was to highlight the potential, as well as the creative ingenuity of those living inside. The shack toured Gauteng. A week outside the Trent Gallery, followed by two month at the Pretoria Zoo, a quick visit to Jan Smuts Ave Joburg, before returning to the Trent Gallery. LISA HNATOWICZ ART LOVERS 1932 - WITH NEW EYES 2:22
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City Murals
MAAIKE BAKKER
open window institute & mia de kock
8 AUGUST 2014 Irene Bridge mural Visual Communications students & lecturers
5 SEPTEMBER 2014 Mamelodi East mural Visual Communications students & lecturers
The Open Window School of Visual Communication was contacted by the Irene Landowners’ Association (ILA) to create an artwork at the Irene Bridge. Lecturers Nina Torr and Maaike Bakker designed an artwork, and with the assistance of their honours students, they created a bright and bold space for commuters. The purpose of this project was not only to share the students’ creativity with the public, but also to change the way in which people interact with their surroundings.
A second mural project, in Mamelodi East at the Viva Foundation, was carried out by the Open Window marketing team and two volunteers. The Viva Foundation has an ongoing initiative that encourages artists to paint houses in the area to transform the streets of Mamelodi into beautiful, dignified spaces one house at a time.
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SPONSORS
PLASCON
We Are One imile wepener
JANA-MINETTE VAN DE VYVER
NOVEMBER 2014 Open Window Institute Campus Mural We Are One is a mural in which Pretoria was visually portrayed as a single being/ entity/creature. The final mural was installed at the Open Window School of Visual Communication campus.
Art Installations
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{In}Gewortel
DANÉLLE JANSE VAN RENSBURG
danélle janse van rensburg
SEPTEMBER 2014 Pretoria Kuns Museum Park Arcadia, Pretoria {In}Gewortel was ’n beeldhouwerk bestaande uit houtswaaie wat buite die Pretoria-kunsmuseum en die Pretoriase Kunsvereniging opgerig is. Die werk is gekonseptualiseer om deel van die kunstenaar se onmiddellike omgewing te wees en om ’n impak daarop uit te oefen. Die swaaie handel oor kinders en daarom is hulle spesifiek vir kinders gemaak. 40
Art Installations
Die kunswerk lewer kommentaar op die veiligheid van die openbare ruimtes in die stad en bevraagteken of daar genoeg sulke ruimtes vir kinders in die stad bestaan. Op elkeen van die houtswaaie is ’n ander woord gegraveer wat betrekking het op diep ingebedde gedagtes en/of kultuur, soos: {deep}-rooted, {in}-grained, {in}-geburgerd en {in}gewortel. ’n Swaai is ook ’n objek wat die vryheid van kindwees simboliseer en in dié geval simboliseer die swaaie hoe kinders in sommige opsigte van vryheid beroof word.
ENGLISH 243
Water for Trees & People on their Knees nico prinsloo
SEPTEMBER 2014 Pretoria Art Museum Park Arcadia, Pretoria
NICO PRINSLOO
Water for the Trees and People on their Knees was an installation created to raise awareness of the homeless people who live in the parks of Pretoria. The city’s parks have become a home for many people whose individual stories and memories are forgotten. Water is a symbol of life, but becomes an everyday struggle for them. The showerheads in the work emphasize the idea of cleansing, healing and readjusting to our environment, just as homeless people do.
Art Installations
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Container Paint
STUART TRENT, JOACHIM LUBBE
joachim lübbe, mia de kock & open window students
24 & 31 OCTOBER 2014 Trent Gallery & +27 Design Café Long Street, Waterkloof & Jan Shoba Street, Hatfield
SPONSORS
PLASCON ABSOLUTE CONTAINERS
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Art Installations
The container paint project was the brainchild of Joachim Lubbe of Black Swan Investments, who believes that large developments often wrongly disregard the voice of the community. The aim of the project was to bring temporary artworks to passersby and to beautify pockets of the city in a relatively inexpensive way, demonstrating that public spaces can be fun, attractive and humane – all that is required is a little creativity and innovation. Two containers were placed on Jan Shoba Street at the +27 Design Café and on Long Street in front of the Trent Gallery. With the help of enthusiastic students and staff of the Open Window School of Visual Communication, these containers were painted with colourful patterns and shapes.
Kindloos – ’n Gill Marcus Portret
HANNELIE COETZEE
hannelie coetzee
Die kunstenaar, fotograaf en sosiale entrepreneur Hannelie Coetzee het ’n mosaïek-portret (150mm x 180mm) gemaak van Gill Marcus, die voormalige goewerneur van die Suid-Afrikaanse Reserwebank. Sy het die werk teen ’n muur direk oorkant die bank se ingang aangebring. Dit is sowel ’n gebaar van waardering vir Marcus se bydrae tot die samelewing as vir oujongnooiens in die algemeen. Coetzee se werk behels dat sy interaksie het met die mense in die gebiede waarin sy werk, ten einde ’n breër gehoor te lok. Sodoende beweeg sy verby die grense van die werk self, terwyl sy die oppervlak van die stedelike weefsel krap, die stad verken en ’n gevoel van verbintenis bevorder.
ENGLISH 243
12 NOVEMBER Helen Joseph Street Pretoria CBD
Art Installations
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NINA KRUGER
CARLA TALJAARD
Intersections
FEBRUARY 2014 Cool Capital Workshop with Prof. Kris Van’t Hof Danger tape installation on UP campus Intersections was launched with Professor Kris van’t Hof of the Royal Academy of Fine Arts, Artesis University College Antwerp (Belgium), who visited the University of Pretoria on a staff and student exchange. The project was framed as a community engagement initiative and formed part of the Professional Practice 300 subject for the BA (Fine Arts) course at the University of Pretoria. Intersections proposes a critical engagement with the specifics of place, namely Pretoria, and the articulation of students’ research findings in a series of artistic experiments within the city. These experiential operational modes were characterised by public participation and an exploration of community in a diverse and emerging urban landscape. Initially, students traversed the city on foot or via public transport to gain a better understanding of the communities 44
Art Installations
FEBRUARY – OCTOBER 2014 Poetry, music, art with Nina Kruger Magnolia Dell events and spatial practices within the city. Thereafter, over the course of the year, they developed particular focus areas and collaborated with each other and members of the community. These inquiries became art events that were located at Magnolia Dell, along the Apies River, at Church Square, the Pretoria Art Museum, Bronberg, Fort Klapperkop, in primary schools and other ad hoc locations. During the biennale, Magnolia Dell became a meeting place for young poets, budding musicians and artists in a series of inclusive open mic events curated by Nina Kruger. Celeste Theron’s on-going project SHE created water awareness by mining the symbolic capital of the Apies River. Pretoria boasts a number of underground fountains, which historically provided the city with quality water. Yet waterways such as the Apies River are polluted and neglected, and may
nicola grobler & students department of visual arts, university of pretoria
ILZE WESSELS
18 OCTOBER 2014 SHE performance by Celeste Theron Following the Apies River
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CARINA DU RANDT, IAN JACOBS, IZAK BUYS
Intersections
FEBRUARY – OCTOBER 2014 Carina du Randt Playground structure designs
FEBRUARY – OCTOBER 2014 Ian Jacobs City Without Borders app
harbour criminals. By building a raft-like garment made from plastic water bottles, Theron’s journey aimed to unlock ideas about nurture, nature and civic responsibility. Carina du Randt involved young learners in a community initiative that involved creating functional playground structures for primary schools in the city. She conducted workshops at a number of primary schools, where learners designed their own playground structures. Their elaborate and detailed designs showcased the unfettered imaginative faculties of young minds. 46
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FEBRUARY – OCTOBER 2014 Izak Buys Table of Commons
Du Randt’s project underlines the importance of cultivating creativity in learners to promote innovation and problemsolving skills. Other highlights include Kim Morrow’s Out of the Box project, which reflects her concerns with cultural identity and social divides. Izak Buys’ Table of Commons is a non-hierarchical monument designed to historicize personal narratives of particular sites in the capital city. Ian Jacobs designed an Android app that presents a ‘city without borders’, where users can redefine the city limits.
nicola grobler & students from the department of visual arts, university of pretoria
IZAK BUYS, KIM MORROW
FEBRUARY – OCTOBER 2014 Out of the Box, Kim Morrow Cultural identity and social divides
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Victor Meets Preller – Let Sleeping Ghosts Lie
CARLA CRAFFORD
diane victor
SPONSORS
MATHEWS & ASSOCIATES ARCHITECTS 48
Art Installations
‘Let Sleeping Ghosts Lie’ was a drawing depicting the ghost of Paul Kruger sleeping in the neglected rooms of the old Transvaal Provincial Administration Building off Church Square in Pretoria. Drawn by artist Diane Victor in the dust on the floor in front of Discovery, the iconic painting by Alexis Preller, the work makes commentary on the space and its historical and cultural heritage in dialogue with Discovery. The venue is in proximity to Church Square, where Anton van Wouw’s large bronze sculpture of Kruger is located. The buildings around Church Square testify to Kruger’s influence on the city. The title ‘Let Sleeping Ghosts Lie’ refers to the fact that the building and its artwork are excellent examples of their time, and that it was perhaps the time to appreciate the building and artwork from a different perspective. It refers to the ghosts and shades of histories past that are best not to be woken from their slumber – for the world has changed and lives and times have moved on. The dust drawing would disappear within a few months of its being drawn as it is covered in new layers of dust, referring to our own transience. The ghost of Kruger is naked, stripped of everything material, it is ethereal, impermanent and bound to disappear. Let Sleeping Ghosts Lie was almost 13 meters in length. Discovery took Preller four years to complete; Victor made the dust drawing in just one day. MAAAMEDIA VICTOR MEETS PRELLER 3:00
CARLA CRAFFORD
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CARLA CRAFFORD
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UP Capital Cities Project
Reinventing and reimagining the city in the 21st Century
Joernaal vir ‘n Blinde Reisiger (Journal for a Blind Traveller), Berco Wilsenach, Metro Musings Exhibition, Capital Cities Project, 2013, Sponsored by the Andrew W. Mellon Foundation, photographer: Carla Crafford
DESIGN ACTIVISM CHAPTER 03
Fatima Cassim holds a master’s degree in information design and has worked at
the Department of Visual Arts at the University of Pretoria in different capacities since 2006. Cassim’s research focuses on the culture of design. In particular, she is interested in design activism and the possible impact it may have on design citizenship. In her spare time, she tries to exercise creative muscle by running around the globe. Chenette Swanepoel is an interdisciplinary designer and artist with a special
interest in design activities in the public and social sphere. As a lecturer at the University of Pretoria, she has specialized in developing design-thinking skills and has facilitated numerous public intervention projects with students. She also consults to corporates on design matters and is a curator of art collections.
THIS CHAPTER IS SPONSORED BY
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The Capital Cities Project is a university-wide research programme initiated by the
Faculty of Humanities, and involving several other faculties within the University of Pretoria community. Researchers and postgraduate students from the Faculties of Humanities; Law; Natural and Agricultural Sciences; Engineering, Built Environment and Information Technology; Theology; and Economic and Management Sciences will collaborate by asking new questions about the City of Tshwane and representations of Pretoria as national capital city. Globally the positioning of capital cities in general, will be investigated from the viewpoint of a variety of disciplines including arts and language, architecture and urban planning, social theory, human rights law, history, drama, psychology, anthropology, political science and economics. The overall aims of the programme are to create a platform for coherent research on and intervention in the city, and to broaden and deepen opportunities for academic colleagues and research. A key path to accomplishing these aims is through building collaboration with universities in other capital cities around the world: to date live exchange has commenced with universities in BrasĂlia, Paris, Amsterdam and Atlanta with more to follow. A rich meeting ground informed by international experience will continue to facilitate interaction among role-players that engage the City of Tshwane. The programme forms a node around which postgraduate training and postdoctoral support can be organised, and from which the leveraging of funding will be facilitated.
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Urban Activism in Pursuit of Social Transformation
RENÈE BARNARD
fatima cassim & chenette swanepoel The idea of a creative city has become a global phenomenon promoted by numerous creative city designations and events. Although creativity has always been available to people, it has more recently seen a conscious democratization of its use through its adoption as both a strategic tool as well as a mind-set for engaging in and with the city. Designated opportunities, such as Pretoria’s Cool Capital Biennale, encourage the mobilization of people to initiate change and become active citizens or urban activists. Within an urban context, the word activist does not suggest resistance; it has positive connotations in that it relates to action, engagement and also innovation. The key characteristic of a hands-on, collaborative activity and approach is evident in synonyms for urban activism, namely urban hacking, guerrilla urbanism, pop-up urbanism and even tactical urbanism. An underpinning do-it-yourself (DIY) philosophy in response to mass production and consumption is often evident in urban activism projects. Such projects are commonly referred to as urban interventions. One example of an urban intervention is Parking Day, an annual worldwide event that sees parking spots turned into free, public spaces. Yarn bombing is another example that goes a long way to celebrate local craft and promote the local creative industry. More significantly, yarn bombing introduces a more human touch to the otherwise concrete and hard nature of cities through the use of materials and techniques traditionally associated with intimate, domestic spaces. Although the underpinning ethos is the same in the urban interventions in different cities around the world, they are highly contextual and contingent on local resources. The examples of urban interventions featured in this catalogue were specific to Pretoria and were all initiated by local inhabitants as part of the Cool Capital Biennale. In essence, the interventions took the form of a response to a need or experience in South Africa’s administrative capital and ranged from tangible to intangible solutions. For instance, the need for better road safety infrastructure could be seen in two examples. The first was a temporary, roll-out zebra crossing for pedestrians in a busy street in Hatfield and the second was a call for a bicycle lane for university students cycling to and from hostels and other residences. The use of natural resources in the built environment, such as flowers and furniture to lend colour and comfort to pedestrians, also made an appearance in the interventions. ABOUT THE AUTHOR While some interventions were physical additions to the built environment, others simply encouraged dialogue or prompted a simple greeting. Even though the interventions took on different forms, they all questioned the status quo via an aesthetic experience. The featured interventions also helped to clarify that activism Bollards at the Hatfield Gautrain Station is the opposite of gentrification, which serves to ‘clean up’ areas in order to get wrapped in coloured fabric as part of the more investment from big business. Urban interventions interrogated new models @Hatfield Design Initiative. for living where crude commercialism was questioned through interventions that 56
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ADRIAAN LOUW
Members of urban activist group motherlode and other volunteers jump from a stone gabion wall at Fountains Circle after their design intervention “You’re Welcome”.
ABOUT THE AUTHORS
valued craftsmanship and creative participation as opposed to mass production. As such, the intention of the urban interventions was not to reform the face of the city but instead to revolutionize the way we think and interact with the city with a view towards social change. As Motherlode, the guerrilla artist group whose work is also featured in this catalogue, noted, ‘Urban interventions aim to foster positive transformation and a culture of active citizenry.’ Although it may be argued that many of these urban interventions were ephemeral in nature and may not have affected change, they certainly had the potential to disrupt the urban environment and in so doing encourage more critical thinking about the city and self. On a personal level, these urban interventions provided aesthetic experiences that may in turn have encouraged inhabitants to imagine and initiate alternative visions of the city. To this end, the examples in this catalogue are not merely a showcase of urban experimentation and explorations of creativity but a reference for future urban interventions. On a policy level, it is hoped that the interventions encourage local authorities to see the value of including professional creative agents such as designers, street artists, urban planners, public art practitioners and architects in planning and development projects in Pretoria not only for their skills to lend a creative hand but, more importantly, to lend an ear to the real needs of the community. Fatima Cassim holds a master’s degree in information design and works at the
Department of Visual Arts at the University of Pretoria. Chenette Swanepoel is an interdisciplinary designer and artist with a special interest
in design activities in the public and social sphere. Design Activism
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RENĂˆE BARNARD
The @Hatfield Urban Design Initiative
29 AUGUST 2014 Pretoria Gautrain Station UP Information Design Programme (final year) The first component of this intervention involved designing and creating a brand for the @Hatfield Urban Design Initiative, which included 19 public interventions that took place around Hatfield. The branding included the design of A3 signs for each intervention as well as a 2m x 1.5m map. The second part of the intervention was carried out at the Hatfield Gautrain station. Twenty concrete pillars were draped with colourful material. The signs were put up against the concrete pillars
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and the map was placed outside the station. This public intervention created awareness of the event and enabled active engagement between Hatfield’s citizens, visitors and the environment. By identifying a shared characteristic that connects citizens, and capitalizing on that characteristic, common ground is created. The shared experience of disorientation created opportunity for people to share directions, expertise and conversation.
RENÈE BARNARD
renée barnard
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Artvertising
ANNA-MART VAN VREDEN
anna-mart van vreden
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Knitting the Nation Together
KARABO APANE
amanda schreyer
AUGUST 2014 Mural in Burnett Street, Hatfield UP Information Design Programme (final year)
NOVEMBER 2014 (ONGOING) Public arm-knitting project Union Buildings, Pretoria
Artvertising was rooted in the idea that people in the suburb of Hatfield have a certain fear of other people caused partly by their worries about safety. Research by the artist revealed that this fear was accompanied by a loss of faith in humanity and hope for a better future. The mural aimed not only to create something aesthetically pleasing, but also to serve as a distraction from the mundane activities of daily life and to carry across a message of hope and community. The mural’s main illustration served as a distraction and its accompanying text read: ‘Hope is one thing stronger than fear’ and ‘Love knows no bounds’. In a second drawing, the word ‘hope’ was drawn on the wall with thick outlines. People were encouraged to fill the letters with words. In the first two letters, people wrote their fears or things that caused them unhappiness. In the second two, they wrote down things that helped them overcome those fears. When the letters were filled, the outlines were wiped off so that the word ‘hope’ would be visible from a distance and the messages of hope would become apparent as viewers came closer to it.
Amanda Schreyer invited the public to use arm-knitting as a metaphor for knitting the nation together. Arm-knitting involves knitting strips of waste material into useful scarves using one’s arms instead of tools. The first of a series of interactive performances took place at the Union Buildings. Others continued in various public and private places. Schreyer aimed to challenge the perception of waste – to see it as a resource and to reduce what goes into landfills while at the same time creating economic benefit.
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Car Guardians
CAIT BILLER
cait biller
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Benchervention
JESSICA DAVIES
jessica davies
AUGUST 2014 Car guards of Burnett Street UP Information Design Programme (final year) Car Guardians involved the production of name badges for the car guards of Burnett Street to facilitate daily positive communication between motorists and car guards. A map design profiled each car guard and identified their allocated parking bays. In this way, the intervention facilitated the car guards’ dignity by encouraging small gestures of respect, such as making it possible for motorists to greet them by name.
AUGUST 2014 Pretoria Gautrain Station pop-up bench UP Information Design Programme (final year) ‘Benchervention’ involved transforming a bench at Hatfield’s Gautrain station. The artist found these benches uncomfortable and uninviting. A soft cushioned seat that provided shade acted as a disruptive counternarrative to the perception and experience of the station as arushed, transitory space. The convention of seeing street infrastructure as merely utilitarian was thereby challenged. The intervention intended to provide a designerly disruption to daily life, affecting people’s perceptions and experiences, and encouraging citizen involvement and empathy. Design Activism
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Eyewareness
unisa visual art students
ZELDA CLOETE
REYNETTE ROBBERTS
reynette robberts
Snow Globes
AUGUST 2014 Safety awareness campaign on Burnett Street, Hatfield UP Information Design Programme (final year)
26 SEPTEMBER 2014 Union Buildings, Pretoria Unisa Visual Arts department
The suburb of Hatfield’s large population of university students believes that crime in the area is a serious problem. This intervention began with the idea that any depiction of an eye, even a cartoonish or non-human one, motivates people to behave better. Stickers were an easy way to empower students, giving them a tool to ensure their own safety and that of others. When students moved through the Hatfield area, they could use the stickers to mark crime hot spots and as a reminder to be ‘eyeware’. They could also upload the information onto a Facebook page, helping them reclaim their space. The slogan of the campaign was: Beware I care/Beware (eye) care.
For this intervention, visual arts students from the University of South Africa handed out snow globes at the Union Buildings that they designed with input from lecturer Gwenneth Miller. The snow globes included drawings and collaged images related to the city of Pretoria.
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Hidden Hatfield hanro spangenberg
HANRO SPANGENBERG
AUGUST 2014 Messages in Hatfield, Pretoria UP Information Design Programme (final year) Hidden Hatfield used foam/wooden/plastic boards to create shadow messages projected onto walls and floors in Hatfield during the day. A second aspect of the project involved creating a typeface that could be used to create stickers, stencils or any other form with which people could write their own messages. Finding these messages became, in a sense, a treasure hunt where hunters could create their own ‘treasure’ for others to find. The messages had to be uplifting, making someone else’s day a little better. Design Activism
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Fabric Bomb at Fountains Circle
ENABA PRODUCTIONS
motherlode
10 NOVEMBER 2014 Design challenge at Fountains Circle Groenkloof, Pretoria The Cool Capital Biennale’s concluding art installation involved a guerilla artist group called motherlode wrapping all the stone gabions at the Pretoria Fountains Circle in bright purple fabric early one morning. The installation was conceived as a reaction to the 2010 redesign of the Fountains Circle which motherlode felt has been an insensitive and inappropriate addition to the original restrained and serene design. By countering the brutalism of stone walls and iron bars with the use of fabric and paper flowers, motherlode aimed to draw attention to the inappropriateness of the existing design. 66
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SPONSORS
MATHEWS & ASSOCIATES ARCHITECTS
ADRIAAN LOUW
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Pink Trees for Pauline
DEBBIE CLOETE
debbie cloete & pretoria boys high school
OCTOBER 2014 Cancer awareness campaign Pretoria Boys High School Grounds Pink Trees for Pauline is a non-profit organisation founded by Carol-Ann van Jaarsveldt, who lost her mother and grandmother, both named Pauline, to cancer. The organization creates awareness of cancer, raises funds, and aims to improve the lives of people living with cancer and the lives of their families. This intervention involved wrapping trees in 68
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pink to symbolise the fight against cancer. As many trees as possible in and around Pretoria Boys High School’s grounds were wrapped in pink for the month of October, culminating in National Cancer Awareness Day on the 17th of October. Parents and the extended school community sponsored the material that was used to wrap the trees.
Shweshwe for a Sjoe Sjoe City
PIETER MATHEWS, WERNER SPIES, EDNA PERES
department of construction economics, university of pretoria
7 SEPTEMBER 2014 Tactical urbanism and yarn bombing in Menlopark Chrisna du Plessis & Edna Peres The Shweshwe for a Sjoe Sjoe City project took its inspiration from tactical urbanism and yarn bombing (activities aimed at reclaiming and personalizing sterile public places) while adding to it a unique South African twist: shweshwe fabric. At the corner of Thomas Edison and Justice Mohammed Streets in Menlo Park the trunks of jacaranda trees on the sterile
road reserve were wrapped in strips of shweshwe fabric. The intervention aimed to create awareness of climate change using shweshwe fabric to prompt passersby to think about the legacy their actions are leaving for future generations. The project was realized with the help of students from the Built Environment Society and third year students from the Department of Construction Economics’ Sustainable Construction course at the University of Pretoria.
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Small Steps: Greening Hatfield Little by Little
JEANNE-LOUISE LAMONT
jeanne-louise lamont
AUGUST 2014 Guerilla gardening in Hatfield UP Information Design Programme (final year) Greening Hatfield Little by Little used guerilla gardening to comment on the way Hatfield has been covered with cement, pushing out greenery. If one looks closely, however, every few steps in Hatfield there is a missing brick, or a crack in the floor where the soil peeps through. Small Steps involved planting little gardens in those cracks to celebrate the imperfection of the cement floors. A total of 12 gardens were planted and documented. 70
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MAAAMEDIA SMALL STEPS 3:00
Stop in the Name of Love
GEORGE ASAMOAH AWUAH
george asamoah awuah
29 AUGUST 2014 Zebra crossing activation in Hilda Street, Hatfield UP Information Design Programme (final year) Stop in the Name of Love engaged with the issue of pedestrian safety and driver awareness on the roads of Hatfield. The activation involved the use of a roll-out zebra crossing. Whenever a pedestrian indicated his or her intention to cross the road, the zebra crossing was rolled out. Two traffic assistants wearing reflective jackets and bearing signs that read: ‘Stop In The Name Of Love’ and ‘Before You Break Our MAAAMEDIA STOP IN THE NAME OF LOVE 2:59
Bones’ ensured that vehicles slowed down and stopped for the pedestrians. (The signs refer to the memorable song title and lyrics by The Supremes.) Once the pedestrians were safely across the road, the assistants would lift the signs to allow vehicles to proceed. The activation left pedestrians with a sense of acknowledgment, security, privilege and self-worth. The tongue-in-cheek signs also provided a message for drivers to keep in mind, encouraging them to stop and be courteous to those waiting to cross the road.
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The Hatfeel Good Show
SHAYNE CAPAZORIO
shayne capazorio
29 AUGUST 2014 Street game show in Burnett Street, Hatfield UP Information Design Programme (final year)
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The Hatfeel Good Show aimed to give people something unexpected, to forge connections between complete strangers and to make their day a little brighter. Participants staged a street game show, complete with film equipment, called The Hatfeel Good Show. They bought prizes and props to give away and took to the streets to reward people just for being themselves. The intervention created unexpected moments shared between strangers, and those involved could in turn share their experiences with others. MAAAMEDIA THE HATFEEL GOOD SHOW 6:22
Up Your Alley
TJAART PRETORIUS
tjaart pretorius
AUGUST 2014 Alleyway installation in Burnett Street, Hatfield UP Information Design Programme (final year) Up Your Alley was a public intervention in Hatfield designed to oppose the conventional perception of alleyways and the behaviour they engender. Alleyways in Hatfield often go unnoticed or are associated with danger. This intervention aimed to encourage civic engagement with alleyways by
attracting more people to them. Citizens were invited into ‘lighter’ alleyways with luminous pink patterns and other objects, leading them towards a ‘light ball’, which represented the movement of citizens into the alleyway and their positive engagement with it. The intervention aimed to enable social and environmental agency, creating a renegotiation of the previously negative narrative of the alleyway.
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ENABA PRODUCTIONS, CARLA TALJAARD, JONATHAN PURCHASE
Lynnwood Gardening Initiative
4 OCTOBER 2014 Remodelling a vacant road reserve Rodericks Street, Lynnwood Over a 24-hour period the Lynnwood Gardening Initiative remodelled a vacant road reserve in Lynnwood. The aim was to transform a section of derelict property into a small, low-maintenance park with a landscaped design incorporating vegetation, street art and furniture. The overarching ethos of the project was to illustrate how the creative use of mostly salvaged materials could be used to transform areas should people take ownership of their spaces. 74
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JONATHAN PURCHASE, PHILIP DE WET
urban ambush
SPONSORS
GARDEN MAGIC BIG TREES MANIE VAN DER SCHIJFF BOTANICAL GARDENS, UNIVERSITY OF PRETORIA SWEETOOTH PRODUCTIONS LOURENS BOTHA
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We Want a Bike Lane
CAYLEY BAKER
cayley baker
29 AUGUST 2014 Bike lane intervention in Lunnon Road, Hatfield UP Information Design Programme (final year) We Want a Bike Lane addressed the lack of cycle lanes around UP campus and the city in general. It involved painting the road pink to create a bike lane in protest of bike safety. The site of the intervention was Lunnon Road because it links the university residences to the university, and hundreds of students cycle along it every day. The intervention began with 76
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the artist inviting student cyclists to ride along the lane in protest. The campaign started on a Monday, when flyers were distributed announcing the protest, which was to take place on the Friday. On the Wednesday, the artist painted a teaser that said ‘We want a bike lane’ on the road leading up to where the lane would be. On the Thursday, a 20-metre lane was painted. Many cyclists took part and the artist hoped this intervention would result in the implementation of real bicycle lanes on the main roads around the university, which would allow students to ride safely to campus. MAAAMEDIA WE WANT A BIKE LANE 03:00
Jacaranda Tree Removal Protest
PIETER MATHEWS
purple consciousness
OCTOBER 2014 Protest initiative Lynnwood Road, Pretoria
The Jacaranda Tree Removal Protest challenged the rapid removal of Jacaranda trees in Arcadia. Each October and November, Pretoria is transformed into a purple haze by an abundance of jacaranda flowers, leading to the city being nicknamed the Jacaranda City. In 2014 trees in Pretoria were removed and relocated to make way for the new Tshwane Metro Bus Rapid Transit route many being more than 100 years old. Through eco-art, Purple Consciousness drew attention to Pretoria’s heritage, protesting the rapid removal of Jacaranda trees. Many of these trees were later relocated to George Storrar Drive and the law has since changed to allow the planting of new Jacaranda trees in the city. Design Activism
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AT SCHOOL CHAPTER 04
PIETER MATHEWS
Debbie Cloete holds a bachelors degree in fine art from the University of Pretoria.
She is a practicing artist and designer and has participated in numerous group and solo exhibitions since 2006. Currently she is head of the Visual Art Department at Pretoria Boys High School and is passionate about infusing creativity into the hearts and minds of her students. She believes that teachers play a fundamental role in fostering an educated public of art makers, art supporters and art buyers.
Above: Hoërskool Garsfontein & Jan van der Merwe, ‘Teater vol Stoele’. Opposite: St, Albans College, ‘Past/Future’.
THIS CHAPTER IS SPONSORED BY
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Die Atterbury Trust is reeds met die stigting van Atterbury Property in 1994 in die lewe geroep met die hoofdoel om die opleiding van Afrikaanssprekende behoeftiges te ondersteun. Die trust ondersteun verder ook ’n aantal Afrikaanse skole in die weste van Pretoria. Atterbury se harte klop trots Suid-Afrikaans en meer nog, trots Afrikaans en daarom is ’n tweede doelstelling van die Atterbury Trust die bevordering van kuns en kultuur. Die Atterbury teater by Lynnwood Bridge in Pretoria, is in Mei 2011 voltooi en het vanuit die staanspoor by die ontwikkeling van talent betrokke geraak deur middel van kwaliteit Afrikaanse produksies asook die borgskap van die Atterbury Nasionale klavierkompetisie.
PAM GHEBARD
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School Art / Skolekuns debbie cloete For the 2014 Cool Capital Biennale, 19 schools in and around Pretoria initiated art interventions at their schools with financial sponsorship from the Atterbury Trust. The brief was for each school to conceptualise and execute its own art intervention using the collective skills of teachers, students and professional artists. Each school was paired with an artist with the aim of introducing the students to professionals working in the art industry and providing them with the opportunity to engage with experienced creatives. Collaboration was encouraged and workshops and lectures were held. Each school had the freedom to write its own brief for its intervention so that each project would suit the needs of the school and its students. Some chose to work on collaborative projects, others on individual artworks. Some schools created permanent artworks and others chose temporary installations. Each school’s assigned artist served as mentor, teacher and assistant to each group, providing solutions and inspiration, and often engaging in hands-on work. Teachers were encouraged to include their Cool Capital projects in their art syllabuses, which gave students the time to develop their concepts and plan the execution of their ideas. This approach provided them with a structured environment in which to create their artworks, thus exposing them to the process of commissioning work within the school environment. The concept of the Cool Capital Biennale was also explored theoretically, providing the students with a broader understanding of various contemporary art mediums including graffiti, digital art, installation art, land art and happenings. It also alerted them to the possibilities and excitement surrounding the idea of a citizen-led guerilla biennale. The schools’ enthusiasm was overwhelming. The projects themselves were beautiful and unique, holding within them the identity of each of the individuals involved and displaying the trademarks of the art department of every school.
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As deel van die 2014 Cool Capital-biënnale het 19 skole in Pretoria en omgewing met die hulp van die Atterbury Trust kunsprojekte geloods. Die opdrag was dat elke skool sy eie kunsintervensie moet konseptualiseer en uitvoer deur van die vaardighede van die kunsonderwyser, leerlinge en ’n professionele kunstenaar gebruik te maak. ’n Kunstenaar is aan elke skool toegedeel met die doel om die leerlinge bekend te stel aan beroepskunstenaars, asook om hulle die geleentheid te gun om interaksie met ervare kunstenaars te hê. Samewerking is aangemoedig en werksessies en lesings is aangebied. Leerlinge is in dié werksessies blootgestel aan die kreatiewe proses, aangemoedig om vrae te vra en toegelig oor die kunsberoep. Elke skool het die vryheid gehad om sy eie opdrag vir die intervensies te skryf sodat die projek by die behoeftes van die skool en die leerlinge aansluit. Skole kon kies om ’n projek gesamentlik of as individue aan te pak; so ook kon hulle permanente or tydlike kunswerke skep. Die aangewese kunstenaar het as ’n mentor, onderwyser en assistent vir elke groep opgetree, hulle met oplossings en inspirasie bygestaan, en dikwels self ingespring en hand bygesit met die werk. Die onderwysers is aangemoedig om die Cool Capital-projek by die sillabus in te sluit. Sodoende is die studente van die nodige tyd en ’n gestruktureerde omgewing voorsien waarin hulle hul konsepte kon ontwikkel en die uitvoering daarvan kon beplan. Hulle is terselfdertyd blootgestel aan die praktyk van opdragwerk binne die skoolomgewing. Die Cool Capital-konsep is ook op ’n teoretiese grondslag verken en in die proses is studente toegerus met agtergrondkennis oor verskeie kontemporêre kunsmediums, insluitend graffiti, digitale kuns, installasiekuns, landkuns en byeenkomste. Hulle is verder blootgestel aan die moontlikhede en opwinding rondom die idee van ’n inwonergedrewe guerilla-biënnale. Die entoesiasme vir die projek was deurgaans oorweldigend en elkeen van die projekte is uniek, weerspieël die identiteit van elkeen van die betrokke individue en toon terselfdertyd kenmerke wat eie is aan elke skool se kunsdepartement.
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Die Kappie in Heroorweging rina stutzer & afrikaanse hoër meisieskool pretoria (ahmp) SEPTEMBER – NOVEMBER 2014 Teacher: Lizanne van Zyl
SEPTEMBER – NOVEMBER 2014 Onderwyseres: Lizanne van Zyl
Learners were asked to critically and creatively investigate the modern identity of ‘nooientjie’ with reference to prominent early 20th century sculptor Anton van Wouw’s bronze sculpture Nooientjie van die Onderveld, which is displayed prominently at the school. In doing so, they were encouraged to consider the ‘nooientjie’ figure as a portrayal of young women and to create their own contemporary version of her using her thoughtful, attentive, introspective gaze as inspiration. Each learner had the opportunity to consider the identity of ‘noointjie’ in relation to their own identity and choose an aspect of themselves that they considered valuable and felt should be protected. This characteristic was integrated into a reformation of a new ‘kappie’. Three concepts were selected and two represented on large banners, which were installed on the side of the school hall and later in the school building. The first concept, by Simoné Ahrens, entitled Saambestaan, was a visual representation of the value of community and support in each learner’s life. The hands in her design represent those of her family and friends. Celia van Vuuren explored friendship and the way in which the lives of our friends are intertwined with our own. The title Vervlegtheid refers to the girls’ break-time tradition of braiding each other’s hair, a ritual that cements close friendship bonds. The third chosen project, titled Selfkonstruksie, explores identity as a construct of many recordings or building blocks of knowledge. This idea was realised through a rhythmic pattern of paper cubes and drawings across the portrait. The artworks represented a meaningful dialogue between the students and the figure of the ‘nooientjie’. The installation complements the diverse character and identity of this symbol of the school identity, creating continuity between past and present, and providing a contemporary engagement with the school’s traditions and identity.
Leerlinge is aangemoedig om Anton van Wouw se bronsbeeld Nooientjie van die onderveld, wat prominent in die skoolwapen figureer, in ’n hedendaagse konteks en op ’n persoonlike wyse te herinterpreteer. Daar is van die leerlinge verwag om hul eie kontemporêre selwe as ‘nooientjie’ te versinnebeeld, terwyl hulle, soos sy, aandagtig, introspektief en ondersoekend verkeer. Die leerlinge het die gedagte van die jong vrou krities en sensitief oorweeg en met dié uitgangspunt in ’n visuele gesprek getree met die historiese self, die huidige self en ’n toekomstige self. Met verwysing na die nooientjie se kappie het elke leerling ’n aspek gekies wat hulle as kosbaar ag, wat hulle wil beskerm. Dié is dan as idee of metafoor in ’n nuwe kappie geïntegreer. Drie finale konsepte is gekies, waarvan twee op groot baniere buite teen die skoolsaal (en later in die skoolgebou) gemonteer is. In die eerste konsep, Saambestaan, verwys Simoné Ahrens na die ondersteunende en beskermende struktuur wat haar familie en persoonlike gemeenskap vorm. Die hande wat hierdie kappie vorm, behoort aan haar familie en vriende. Die tweede banier se konsep, Vervlegtheid, is ontwikkel deur Celia van Vuuren en beeld die viering van ware vriendskap uit. By die skool vleg die dogters tydens pouses mekaar se hare, byna as ’n ritueel wat hulle nader aan mekaar bring. In die derde gekose projek bestudeer Izana Zaaiman die gedagte dat identiteit ’n saamgestelde konstruk van opnames en ‘building blocks’ van kennis vorm. Die gedagte word uitgebeeld deur ’n sameflansing van papier kubisse en word getiteld Selfkonstruksie. Die uitkomstes het tot ’n betekenisvolle dialoog tussen die jong leerlinge en die Van Wouw beeld aanleiding gegee. Die visuele kommentaar in die kunswerke dien as ’n konstruktiewe aanvulling van die diverse karakter en identiteit van die ‘nooientjie’, asook van die skool. Die dialoog bind ‘toe’ en ‘nou’ met mekaar en bied ’n relevante blik op ’n simbool wat sterk in die skool se tradisie figureer.
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AFRIKAANSE HOËR MEISIESKOOL PRETORIA (AHMP)
Constructing a Line
SEPTEMBER 2014 Teacher: Philip Emmenis
SEPTEMBER 2014 Onderwyser: Philip Emmenis
The boys of the Afrikaans Hoër Seunskool created two artworks. Constructing a Line was a temporary artwork made from clear plastic clingwrap and fabric in collaboration with land artist Strijdom van der Merwe. The site-specific work was created in a grassy area of the school grounds where three trees grow. The trees were individually wrapped with the three colours of the school: red, yellow and green. A length of clingwrap was then stretched between two trees. A second was attached to the first, and the process was repeated until a network of lines was created. The random process of constructing lines illustrated that some lines would lose their strength when attached to others, which would necessitate the construction of yet another line until a strong network of lines had been created. The lines were created firstly to connect the trees to one another and secondly to the ground, making the project integral to the landscape and the site. The second project involved the students painting part of a bridge over a busy road close to the school. The painting resembled pixels, in the centre of which a towering purple robot represented the capital city as a Transformer, a powerful shape-shifting mechanical figure. This artwork was created on their own initiative.
Die seuns van die Afrikaanse Hoër Seunskool het twee kunswerke geskep: Die eerste, Constructing a Line, was ’n tydelike kunswerk van kleefplastiek en lap onder leiding van Strijdom van der Merwe. ’n Grasperk met drie bome is as ligging vir die werk gekies. Die bome is elkeen in die drie kleure van die skool – rooi, geel en groen – toegedraai. ’n “Lyn” van kleefplastiek is toe tussen twee bome gespan. ’n Tweede lyn is aan die eerste geheg en die proses is herhaal om ’n netwerk van lyne tot stand te bring. Die lukrake proses van lyne span het getoon dat sommige lyne sterkte sal inboet wanneer hulle aan mekaar verbind word en dit sal die span van nog lyne noodsaak totdat ’n sterk netwerk van lyne daargestel is. Die lyne is eerstens ingespan om die bome aan mekaar te verbind en tweedens om die bome met die grond te verbind en daardeur die projek met die landskap en ligging te integreer. Die ander werk het die verf van ’n brug behels wat naby die skool geleë is en oor ’n besige pad loop. Die grootste gedeelte van die gekose “doek” is beskilder met iets wat lyk soos pieksels met ’n lenige pers robot in die middel wat die pers hoofstad simboliseer as ’n sgn. “Transformer” – ’n kragtige skepsel wat van gedaante verwissel. Die leerlinge het hierdie kunswerk op eie inisiatief geskep.
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MAAAMEDIA CONSTRUCTING A LINE 2:06
PIETER MATHEWS, ALETTE PRETORIUS (BEELD), RUPERT DE BEER
strijdom van der merwe & afrikaanse hoër seunskool (ahs)
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The Bugle
SEPTEMBER – NOVEMBER 2014 Teacher: Lizanne Visser
SEPTEMBER – NOVEMBER 2014 Onderwyseres: Lizanne Visser
The Bugle installation focused on the concept ‘looking forward, looking back’ and comprised three sections. A bugle represented part of the college’s crest and was placed in front of a stepping stone. A bugle is used to call the ‘troops’ or indicate the start of an event. This was a metaphor not only for the start of the Cool Capital Biennale, but also to symbolise what the school ‘sounds out’ into the world. The Bugle was part of an outreach project that employed local woodworkers, symbolising the college’s social responsibility. The pupils created a stepping stone in the shape of a harvested tree. It was cast in cement and had rusted metal welded around it to represent the junkyard that formerly occupied that site of the college. After 16 years of existence, the school can ‘cut’ that history and show a product (a child) that has come through the system. The stepping stone has life lines pressed into the cement, symbolising the years of the college’s existence. At the mouth of the bugle, mobiles were hung from a tree. These were laser cut in stainless steel and represent the college’s values – respect, responsibility, honesty, perseverance, self-control, compassion, forgiveness, grace and acceptance.
Die Beuel installasiewerk is gegrond op die tema “om vorentoe te kyk, om terug te kyk” en is saamgestel uit drie dele: ’n Houtbeuel wat ’n deel van die skool se wapen verteenwoordig. Tradisioneel is ’n beuel gebruik om troepe byeen te roep of die begin van ’n groot byeenkoms aan te kondig. Die beuel is nie net die mees geskikte metafoor om die begin van dié wonderlike inisiatief – Cool Capital – te simboliseer nie, maar ook simbolies van dit wat ’n mens in die wêreld laat weerklink. Plaaslike houtwerkers is as deel is van ’n uitreikprojek by die konstruksie van die houtbeuel betrek. Vlak voor die houtbeuel het die leerlinge ’n voetstuk geskep in die vorm van ’n afgekapte boom. Dit is in sement gegiet en geroeste metaal is al om die rand vasgesweis om die oorspronklike rommelhoop waarop die skool 16 jaar tevore gebou is, te simboliseer. Die afgekapte boom simboliseer ’n breek met dié verlede terwyl die jaarringe wat in die sement afgedruk is, heenwys na ’n produk (’n kind) wat deur die stelsel gevorder het. Voor die bek van die beuel is ’n boom waaraan mobiele van vlekvrye staal hang. Op elke mobiel is ’n woord met laser gegrafeer. Elke woord verwys na een van die waardes wat die skool nastreef. Dit verteenwoordig dan ook die “produk” wat die skool die wêreld instuur – naamlik respek vir ander, verantwoordelikheid, eerlikheid, deursettingsvermoë, selfbeheersing, deernis, vergifnis, genade en aanvaarding.
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LIZANNE VISSER
francois visser & cornwall hill college
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Student Portraits karin miller & crawford college, pretoria SEPTEMBER – OCTOBER 2014 Teacher: Suzette de Serra The Student Self-portraits project afforded the school the opportunity to showcase the talent and aptitude of the Grade 11 art and design pupils and to develop their digital photo-editing skills under the guidance of artist Karin Miller. Rynali Design & Photography took original photos of each student on campus to use as a self-portraits in their final digital artworks. Each self-portrait embodied the pupil’s heritage and also looked at future prospects. The portraits were unique, personal and communicated a sense of past and present in a graphic way. The collection of self-portraits was collated, printed and mounted on a large empty wall on the school grounds. This emphasized the unity of the pupils of the school through the expression of their identity and creativity.
Die “Student Portraits”-projek het die skool die geleentheid gebied om die talent en vaardighede van die gr. 11-kunsen ontwerpleerlinge ten toon te stel en om hul digitale fotoredigeringsvaardighede onder die wakende oog van die kunstenaar Karin Miller te ontwikkel. Rynali Design & Photography het die oorspronklike fotos van elke leerling op die kampus geneem wat as self portrette in hul finale digitale kunswerke gedien het. Elke leerling het ’n selfportret geskep wat sy /haar erfenis vier, maar wat ook vooruitsigte vir die toekoms verken. Elke selfportret was uniek en persoonlik en het ’n begrip van die verlede en hede op ’n grafiese wyse oorgedra. Die versameling selfportrette is byeengebring, gedruk en teen ’n reusagtige leë muur op die skoolterrein gemonteer. Deur die uitdrukking van hul identiteit en kreatiwiteit is die eenheid onder die skool se leerlinge beklemtoon.
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PIETER MATHEWS
SEPTEMBER – OKTOBER 2014 Onderwyseres: Suzette de Serra
At School 91 KARIN MILLER, ‘SUZETTE’
CRAWFORD COLLEGE STUDENTS
The Gabion Spiral kay potts & eduplex high school
SEPTEMBER – OCTOBER 2014 Teacher: Christine Webb
SEPTEMBER – OKTOBER 2014 Onderwyseres: Christine Webb
The Gabion Spiral was built from gabions and packed with different types of stone. Each Grade 10 and 11 visual art learner was involved in creating a carved concrete stepping stone for the spiral and packing stones neatly into the gabions. The spiral has different levels and several gaps between the gabions that symbolize times of uncertainty or insecurity, when one is forced to bridge a gap and take a leap of faith by trusting in God.
The Gabion Spiral bestaan uit verskillende vlakke met verskeie openinge tussen die klipmandjies. Elke graad 10- en graad 11-leerling in die visuele kunste was betrokke by die skep van betonplaveistene vir die spiraal en het ook gehelp om die klippe netjies in die mandjies te pak. Die kunswerk simboliseer die tye wanneer ’n mens bang en onseker voel en gedwing word om ’n moeilike situasie te oorbrug. Die beeld weerspieël hoe ’n mens se geloof in God hom kan lei en die toekoms in dra.
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CHRISTINE WEBB
Teater Vol Stoele jan van der merwe & hoërskool garsfontein
SEPTEMBER – NOVEMBER 2014 Teachers: Olga van der Merwe & Annie van Tonder
SEPTEMBER – NOVEMBER 2014 Onderwyseresse: Olga van der Merwe & Annie van Tonder
The Teater Vol Stoele project was conceptualized to link with artist Jan van der Merwe’s installation entitled The End, which consists of a theatre in which each chair is individualized. The project was introduced to the learners by Jan van der Merwe who gave a presentation on his work and set out its aims. Each of the Grade 11 visual art and design learners was given a pine chair to illustrate with a topic pertaining to the city of Pretoria. The topics included icons of Pretoria, poets, writers, musicians, architects and artists, as well as the history and historic sites of the city’s key features, fauna and flora, its suburbs, townships and industries. Learners had to research their topics and present essays and visual material on them, after which drawings and preparatory designs were made. They were encouraged to personalize their chairs by painting an object on the chair seat, on top of their illustrations, in a trompe l’oeil manner. The project ran over eight weeks, four of which were used for research and preparation and four for work on the final product.
Die Teater Vol Stoele projek is gekonseptualiseer om aan te sluit by Jan van der Merwe se installasie Die Einde. Dié installasie bestaan uit ’n teater vol stoele wat elkeen oor individuele eienskappe beskik, maar saam ’n geheel vorm. Die projek is ingelui deur Jan Van der Merwe wat ’n lesing oor sy werk gelewer het en ook die doelwitte uiteengesit het. Elkeen van die Graad 11 Visuele kuns en ontwerp leerlinge het ’n dennehoutstoel ontvang met die opdrag om ’n onderwerp wat betrekking het op Pretoria, daarop te illustreer. Die onderwerpe het gewissel van die ikone van Pretoria, insluitend digters, skrywers, musikante, argitekte en kunstenaars, tot die geskiedenis en historiese plekke, belangrike terreine, fauna en flora, die woongebiede en industrieë. Leerders moes navorsing doen oor hul onderwerpe en opstelle en visuele materiaal daaroor aanbied, waarna tekeninge en voorbereidende ontwerpe aangepak is. Hulle is aangemoedig om hul stoele te verpersoonlik deur die verf van ’n voorwerp, bo-op die illustrasie op die sitplek, in ’n trompe l’oeil-styl. Die projek het oor agt weke gestrek; vier daarvan is gebruik vir voorbereiding en die werk aan die eindproduk het vier weke geduur. Al die leerders het entoesiasties saamgewerk en het trots toegekyk toe die kollektiewe kunswerk aangebied is tydens die skool se jaarlikse kunsuitstalling. Die leerlinge het ’n nuwe bewussyn van hul stad, sy geskiedenis en eiesoortige identiteit ontwikkel.
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JAN VAN DER MERWE
Vlag van Vriendskap
ONGOING PROJECT Teachers: Marcus Coetzer & Braam Botha
DEURLOPENDE PROJEK Onderwysers: Marcus Coetzer & Braam Botha
The “Vlag van Vriendskap” (Flag of Friendship) was inspired by the Mapula Embroidery Project, a community based textile project where artists use their daily lives as a point of departure for their artworks. Similarly learners, staff and members of the broader community of Hoërskool Hendrik Verwoerd used their own lives as inspiration to make embroided cloths. Once all the cloths are finished they will be sewn together to form a backdrop for the stage in the school hall. The final products show the diverse and multicultural makeup of the school and society – a true rainbow nation of all colours, creeds and social levels, all in one school, striving towards the same goal.
Die Vlag van Vriendskap is geïnspireer deur die Mapula Embroidery Projek, ’n gemeenskapsgebaseerde tekstielprojek waar die kunstenaars hul daaglikse lewens gebruik as vertrekpunte vir hul kunswerke. So ook is die leerders, personeel en lede van die breër gemeenskap van die Hoërskool Hendrik Verwoerd aangemoedig om hul eie lewens as inspirasie vir die maak van geborduurde lappe te gebruik. Die finale produkte sal uiteindelik aanmekaargestik word om ’n agterdoek vir die skoolsaal se verhoog te vorm. Die eindproduk weerspieël die diverse en multikulturele samestelling van die skool en trouens van die samelewing – ’n ware reënboog van kleure, gelowe en sosiale vlakke, van baie ryk tot brandarm, hoogs bevoorreg tot minderbevoorreg; almal in een skool wat strewe na dieselfde doel.
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MARCUS COETSER, MONIQUE OLIVIER
hoĂŤrskool hendrik verwoerd inspired by the mapula embroidery project
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Waar’s Willem?
MARIANA DE KLERK
gisela van garderen & hoërskool menlopark
SEPTEMBER – NOVEMBER 2014 Teacher: Mariana de Klerk
SEPTEMBER – NOVEMBER 2014 Onderwyseres: Mariana de Klerk
Where’s Wally, a series of illustrated children’s books by Martin Handford depicting diverse scenes, each hiding the central character Wally, inspired the project by Menlopark High School. Each student was expected to depict an element of school life in a drawing. The 40 art pupils’ drawings were assembled to create a giant poster that showed the school in all its different aspects and activities. As in the Where’s Wally series the head boy of the school, Willem, and the head girl, Alicia, are hidden among these scenes which the viewer has to find.
Where’s Wally, die reeks geïllustreerde kinderboeke deur Martin Handford wat ’n verskeidenheid tonele uitbeeld waarin die karakter Wally wegkruip, het as inspirasie vir die projek van die Hoërskool Menlopark gedien. Daar is van elke leerling verwag om ’n aspek van die skoollewe in ’n tekening uit te beeld. Die 40 kunsleerlinge se sketse is saamgevoeg in ’n reuse-plakaat wat die skool in al sy verskeidenheid uitbeeld. Nes in die Where’s Wally-reeks is uitbeeldings van die hoofseun, Willem, en die hoofmeisie, Alicia, versteek tussen die sketse wat die kyker moet vind.
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The Wishing Tree
CHRISTINE WATTERS
lynette ten krooden & hoërskool oos-moot
NOVEMBER 2014 Teacher: Christine Watters
NOVEMBER 2014 Onderwyseres: Christine Watters
The Wishing Tree project was based on the idea of the Japanese spiritual wishing tree, which involves each member of a community having the chance to express a wish, write it down and hang it on a tree. The tree can be visited over time and good wishes can be exchanged. All 1400 students of the school were involved in cutting out the shapes of the leaves of indigenous trees from aluminum tins from the recycling plant that the school started a few years ago. On one side they wrote their wishes in permanent ink and decorated the other in the colours of the school.
Dié projek is met groot entoesiasme by die Hoërskool OosMoot geloods. Die konsep is gebaseer op die Japanse spirituele beginsel van die wensboom, waar die hele gemeenskap die kans kry om ’n wens uit te spreek, dit neer te skryf en aan ’n spesifieke boom te hang. Ná ’n tydperk kan die boom weer besoek word en wense kan uitgeruil word. Al 1400 van die skool se leerlinge is by die projek betrek. Die leerlinge het aluminiumblikkies van die herwinningsterrein wat deur die skool begin is, gebruik om blaarvorms van inheemse bome van die omgewing uit te sny en hul wense in permanente ink op die een kant van die blare te skryf. Die ander kant is met die skool se kleure versier. At School
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Footprints
ELANI WILLEMSE, BONNIE RAS
angus taylor & hoërskool waterkloof
SEPTEMBER 2014 – MARCH 2015 Teacher: Bonnie Ras
SEPTEMBER 2014 – MARCH 2015 Onderwyseres: Bonnie Ras
Footprints aimed to make students aware of the footprints they leave at the school and the footprints the school leaves on them. The students created polystyrene models of two giant feet. With the help of the artist, Angus Taylor, benches were made from rammed earth and placed at the school’s entrance. This project made the students more aware of public art and the purpose it serves.
Die Footprints projek se hoofdoel was om leerlinge bewus te maak van die voetspore wat hulle by die skool agterlaat en die voetspore wat ’n skool op ’n mens agterlaat. Die leerlinge het polistireen-modelle van twee reuse-voete gemaak waarvan veselglasvorms gegiet is. Met die hulp van die kunstenaar Angus Taylor is die twee reuse-voete ook uit saamgepersde grond geskep en by die ingang na die skool geplaas. Die projek het die leerlinge meer bewus gemaak van openbare kuns en die doel wat dit dien.
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Pappastad se Coolste Skool
HANRI HUMAN
chrisna van vuuren & laerskool hennopspark
1 – 12 SEPTEMBER 2014 Teachers: Susan Strydom & Hanri Human
1 – 12 SEPTEMBER 2014 Onderweyseresse: Susan Strydom & Hanri Human
The pupils of the Hennopspark Primary school decorated their perimeter fence in the “Pappastad” theme of Cool Capital as part of their Spring Day celebrations in September. They used more than 300 crocheted flowers made from a variety of materials including wool, cloth and paper. These flowers were made by the Centurion Council of the Elderly with wool donated by Wool Addict in Eldoraigne, Centurion.
Die leerlinge van die Laerskool Hennopspark het as deel van die lentedagvieringe die heining om die skoolterrein versier in aansluiting by die “Pappastad”-tema van Cool Capital. Die skool het die heining met meer as 300 blomme versier wat gemaak is uit ’n verskeidenheid materiale, insluitend wol, lap en papier. Die blomme is deur die Centurion Raad vir Bejaardes gemaak met wol wat deur Wool Addict in Eldoraigne, Centurion, geskenk is.
THANK YOU WOOL ADDICT, ELDORAIGNE
CENTURION RAAD VIR BEJAARDES DESIGN TEAM, HENNOPSPARK At School
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Animation Workshop
OCTOBER 2014 Teacher: Hilde Klein
OKTOBER 2014 Onderwyseres: Hilde Klein
Animation workshops were held as part of a collaborative project with the Grade 9 learners at New Hope School and the Unisa Art Gallery, led by Gwen Miller and Unisa Visual Arts students Fiwa Maphutha, Karabo Aphane, Antoinette Odendaal, Trudy-Rae Wilson, Siphesihle Mtungwa and Sane Mahlangu. Learners were introduced to various stop-frame animation techniques and were encouraged to make their own short motion clips. The pupils chose their own props, characters and storylines. The aims of the project included solving problems while having fun and embracing learning and self-expression. The workshops emphasized the importance of both the process and the end product. The project provided a platform for public participation at an exhibition at the Unisa Art Gallery where all participants had the opportunity to share their understanding and interpretation of the artworks and to demonstrate their knowledge of animation. An interactive CD was produced and disseminated.
Animasie-werksessies is by die Nuwe Hoop Skool en die Unisa-kunsgalery vir die gr. 9-leerlinge aangebied as deel van ’n samewerkingsprojek begelei deur Gwen Miller en Unisa Visuele Kunste studente . Hulle is aan verskeie vriesraamanimasietegnieke bekend gestel en aangemoedig om hul eie kort animasievideo’s te maak. Die leerlinge kon hul eie rekwisiete, karakters en storielyne kies. Een van die doelwitte van die projek was dat die leerlinge probleme op ’n prettige wyse oplos en die leerervaring en individuele uitdrukking te omarm. Die uitgangspunt was dat die proses in kuns net so belangrik is as die eindproduk. Die projek het ’n platform daargestel vir openbare deelname aan ’n uitstalling by die Unisa-kunsgalery waar alle deelnemers die geleentheid gehad het om hul interpretasies van die kunswerke met mekaar te deel. Die projek het die leerlinge geleenthede gebied vir interaksie met die gemeenskap om met moontlike kreatiewe oplossings vir behoeftes vorendag te kom. Vir die leerlinge van die Nuwe Hoop Skool was dit ’n trotse oomblik waartydens hulle hul kennis van animasie in die openbaar kon demonsteer. ’n Interaktiewe CD is vervaardig en versprei.
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NUWE HOOP SKOOL ‘STUDENT ANIMATIONS’
gwen miller, unisa visual arts students & new hope school
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T’is Here
SEPTEMBER – NOVEMBER 2014 Teacher: Debbie Cloete
SEPTEMBER – OKTOBER 2014 Onderwyseres: Debbie Cloete
Pretoria Boys High School planned and executed two Cool Capital art projects. The Grade 10 pupils created a land art project with the help of artist Guy Du Toit, and the Grade 11 pupils completed an outdoor mural with the help of artist Yannis Generalis. The mural included drawings from 21 boys based on the theme ‘deep roots and high hopes’. The artworks were reworked by John Generalis to create an inspiring and playful collage that now occupies a 7x5 metre wall on the school’s Pollock Campus. The land art projects were executed on the school grounds and afforded the boys the space to escape the familiar classroom environment and engage with their surroundings. Both projects renewed the students’ appreciation of their environment and gave them an opportunity to work on an artwork as a team with no other reason than to beautify their environment.
Pretoria Boys High School het groot pret gehad met die beplanning en uitvoering van sy twee Cool Capitalkunsprojekte. Met die hulp van Guy du Toit het die graad 10 leerlinge ’n landkunsprojek aangedurf en met die eindelose entoesiasme en kreatiwiteit van Yannis Generalis het die graad 11 leerlinge ’n buitemuurskildery voltooi. Die muurskilder is saamgestel uit tekeninge van al 21 seuns wat hul konsepte gegrond het op die tema “Deep roots and high hopes”. Die kunswerke is deur John Generalis verwerk tot ’n inspirerende en speelse collage wat nou teen ’n 7m x 5m-muur op die skool se Pollock-kampus pryk. Die landkunsprojekte is op die Boys High-terrein onderneem en het die seuns die ruimte gegun om met hul omgewing om te gaan, terwyl hulle van die ál te bekende omgewing van die klaskamer ontsnap het. Albei projekte was baie suksesvol en het tot dusver ’n positiewe impak op die skool in sy geheel gehad, met studente en leerlinge wat opnuut hul omgewing waardeer.
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PIETER MATHEWS, DEBBIE CLOETE, DIAN VENTER, DITIRO SEPEREPERE
guy du toit, yannis generalis & pretoria boys high school (pbhs)
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The Glass Arch gordon froud & pretoria high school for girls (phsg)
SEPTEMBER – NOVEMBER 2014 Teacher: Donné Finch
SEPTEMBER – NOVEMBER 2014 Onderwyseres: Donné Finch
Sixteen students from the PHSG art department created a site-specific land artwork in collaboration with sculptor Gordon Froud. The aim of the artwork, situated within PHSG grounds along the historically significant Pine Drive, was to invite the public to reflect on women who have played a significant role in shaping their lives. The first noticable feature of the work was a shimmering glass arch created from recycled glass bottles. This glass portal formed the entrance of the artwork, from which the extent of it became visible. At the entrance, viewers were invited to write a message to or about the woman to whom they would dedicate their journey. This message could be be placed in any of the glass bottles. The artwork encouraged viewers to take time to experience the environment as a series of delicate suspended rose arches guided them along the path between the tall pine tress. The journey culminated in a slowly spinning reflective cube suspended between the trees and a vortex of recycled chairs created by Froud.
Sestien leerlinge van Pretoria High School for Girls (PHSG) se kunsdepartement het die voorreg gehad om ’n landkunswerk in samewerking met die internasionaal bekende kunstenaar Gordon Froud te skep. Die doel van die kunswerk, geleë op die PHSG se terrein langs die histories belangrike “Pine Drive”, is om die publiek te nooi om te besin oor die vroue wat ’n belangrike rol in die vorming van hul lewens gespeel het. ’n Glinsterende glasboog wat van herwonne glasbottels gemaak is, is van ’n afstand sigbaar. Wanneer ’n mens by die ingang, die glasportaal, staan, word die omvang van die kunswerk duidelik. Die werk wat die volle lengte van Pine Drive sigbaar is, lok die kyker na die ingang waar ’n mens genooi word om ’n boodskap te skryf aan of oor die vrou aan wie jy jou reis sal opdra. Die boodskap kan in enige van die glasbottels in die ingangsportaal geplaas word. Die besoeker is aangemoedig om tyd te neem om die omgewing te ervaar aangesien ’n reeks delikate, hangende roosboë die besoeker met die pad tussen die hoë dennebome begelei. Die reis eindig by ’n stadig draaiende, weerkaatsende kubus wat tussen die bome hang, asook ’n draaikolk van herwonne stoele wat deur Froud gemaak is.
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PIETER MATHEWS, RUPERT DE BEER
Past/Future
PAM GHEBARD
selwyn steyn, mark verryn, henk vryenhoek & st. alban’s college
OCTOBER – NOVEMBER 2014 Teacher: Danel Gravett
OKTOBER – NOVEMBER 2014 Onderwyseres: Danel Gravett
The artwork titled Past/Future can be found close to the St Alban’s College chapel on the school campus. The work depicts the face of former bishop Timothy Bavin, a founding member of the school and significant figure in Pretoria’s Anglican history, chiseled into the plaster of an original cow shed on the school property. To the portrait’s right, the words ‘Past’ and ‘Future’ appear. A blue line in the middle represents the present. This artwork was inspired by an interview with former Naspers CEO Koos Bekker, in which he spoke about how one cannot attempt to predict the future based on the past, but can only wait for the future to happen and adapt accordingly.
Die kunswerk getiteld Past/Future is op die St. Alban’s Collegeskoolterrein geleë. Vir dié werk is die gesig van Timothy Bavin, ’n Anglikaanse biskop en die eerste kapellaan van die skool, uit die pleister op die muur van die oorspronklike koeistalle gekerf. Die woorde “Past” en “Future” is aangebring aan die regter kant van die portret met ’n blou lyn in die middel wat die hede voorstel. ’n Onderhoud met Koos Bekker, voormalige uitvoerende hoof van Naspers, is die inspirasie vir die kunswerk. In die onderhoud het Bekker gesê dat ’n mens nie die toekoms kan voorspel op grond van wat in die verlede gebeur het nie, maar dat ’n mens slegs kan wag vir die toekoms om te gebeur en dan daarby moet aanpas.
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Cool People of the City
MOSIAC ARTS
mosaic arts, norman catherine & waterkloof house preparatory school (whps)
NOVEMBER 2014 With: Marina Giovitto Ehlers (Mosaic Arts)
NOVEMBER 2014 Met: Marina Giovitto Ehlers (Mosaic Arts)
The WHPS Grade Seven boys created ‘cool people’ mosaics based on Norman Catherine’s drawings, guided by Marina Giovitto Ehlers and her mosaic arts team, who prepared and orchestrated the mosaic-making process. Each portrait was converted into a simple line drawing, which was traced onto fibre cement and divided into sections. Vitreous glass mosaic tiles were used for their many colours. The boys were divided into pairs and given a section with a pre-selected pack of tiles. The puzzle pieces were joined together by gluing them onto fibre cement boards with steel frames. The finished mosaics make lasting outdoor artwork of Norman Catherine’s signature designs.
Waterkloof House Preparatory School se gr. 7-seuns het die taak met entoesiasme aangepak om ’n aantal van Catherine se portrette in mosaïek te omskep. Dit het gebeur onder die wakende oog van Marina Ehlers en haar Mosaic Arts-span wat verantwoordelik was vir die voorbereiding en orkestrasie van die mosaïekmaakproses. Elke portret is omskep in ’n eenvoudige lyntekening. Die lyntekeninge is afgetrek op veselsementborde en elke gesig is in verskeie dele verdeel. ’n Groot verskeidenheid gekleurde Glasmosaïekteëls is gebruik vir die mosaik. Die seuns is in pare verdeel en elkeen het ’n afdeling ontvang saam met ’n vooraf geselekteerde pak teëls. Die legkaartstukke is dan weer saamgevoeg deur dit vas te plak op veselsementborde met staalrame. Met die voltooiing van die mosaïeke is Norman Catherine se bekende ontwerpe in blywende buitelugkunswerke omskep. At School
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Bird of Peace
SEPTEMBER – OCTOBER 2014 Teacher: Jane Knight
SEPTEMBER – OKTOBER 2014 Onderwyseres: Jane Knight
The Bird of Peace land art intervention was held at night and students, staff, friends of the school, old girls and invited guests attended. Everyone laid down a glass jar with a burning candle in it to form the silhouette of a flying dove, a symbol of peace and love. The light from the candles not only created the outline of the bird but also symbolized the school’s Christian faith and belief in the conquest of darkness through faith and trust in God. The school chapel choir sang and poems, psalms and biblical readings were heard. For the Flash Photography exhibition the Grade 11 art students interrogated the theme: ‘My school then. My school now. My school in the future.’ Using the medium of photograms, each student produced a finished artwork that was displayed for everyone to see. The medium was a response to the free association and haptic nature of its process, which lent itself to the expression of change, spontaneity and improvisation. Lasting only three hours, the exhibition highlighted the state of flux and dynamic nature of the school environment. The Bunting Installation encouraged all members of the senior school to make a small flag with a message of love to the school embellished on it. The fabric for the flags was initially ‘rust-dye’ in keeping with the concept of the age of the school. The intention was to involve as many people in the school as possible to give thanks and appreciation for all that they have and all that they hope to become. A collaborative project of this nature pulled together diverse talents and skills and united the school community in a way that was lasting and memorable in a private and social way. The effect of the bunting was visually beautiful and drew attention to the spatial trajectory of the passage towards the school chapel.
Die Bird of Peace-landkuns intervensie is in die aand gehou met die doel dat almal wat opdaag ’n glasfles met ’n brandende kers binne-in op die grond neersit om die silhoeët van ’n vlieënde duif, die simbool van vrede en liefde, te vorm. Die lig van die kerse het nie net die buitelyn van die voël gevorm nie, maar was ook simbolies van die skool se Christelike geloof en ’n mens se oorwinning oor die duisternis deur geloof in God. Die skoolkapelkoor het gesing en gedigte, psalms en skriflesing is gehoor. Leerlinge, personeel, vriende van die skool, alumni en genooide gaste het die geleentheid bygewoon. Tydens die Flitsfotografie-uitstalling het die graad 11-kunsleerlinge die tema “ My school then. My school now. My school in the future.” verken. Deur die gebruik van fotogramme het elke leerling ’n afgeronde kunswerk geskep wat ten toon gestel is. Die keuse van dié medium is toe te skryf aan die feit dat die proses van fotogrammetrie by uitstek geskik is om verandering, spontaniteit en improvisering – sleutelbestanddele van die kreatiewe leerproses – op ’n vry asossiatiewe en spontane wyse uit te druk. Die uitstalling het drie uur geduur; die tydelike aard daarvan het die staat van verandering wat ons almal in ’n dinamiese en voortdurend veranderende skoolomgewing ervaar, benadruk. Die vlaginstallasie projek het die hele skool aangemoedig om klein “vlae” te skep wat versier is met ’n boodskap van liefde aan die skool. Die lap vir die vlae is eers met roeskleurstof gekleur, in aansluiting by die konsep van die skool se ouderdom. Die bedoeling was om soveel mense as moontlik te betrek om hul dank en waardering te betuig vir alles wat hulle het en alles wat hulle hoop om te word. Die projek het ’n verskeidenheid talente en vaardighede byeengebring en die skoolgemeenskap verenig.
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JANE KNIGHT, MICHELLE SCHOEMAN
st. mary’s diocesan school for girls
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SCULPTURES & FOUNDRIES CHAPTER 05
Angus Taylor is one of South Africa’s best-known sculptors. Since graduating from
the University of Pretoria, Taylor has plotted a trajectory that has seen him rise to the top of his game on the local and international art scene. As a student, Taylor took the reins of a bronze-casting foundry in Pretoria. This brought him into contact with established artists, furthered his knowledge of bronze and other metal casting processes and taught him about the rigours of running a growing business. In a short space of time he was able, with the help of the previous owners, to establish his own foundry, Dionysus Sculpture Works (DSW). Daniel Mosako is a renowned artist. He studied fine art and received two honours
degrees, one in the history of art and another in information science. He also has a postgraduate diploma in museum and heritage studies and a masters degree in fine arts. He is currently registered for a DLitt et Phil in art history. Daniel has participated in national and international art workshops and residencies and delivered public speeches at several exhibition openings and national conferences. He is currently curator for the University of Pretoria Museum.
Elani Willemse is an arts administrator currently employed as company liaison
officer at Dionysus Sculpture Works, where she is also the personal assistant to sculptor Angus Taylor. She completed her Master’s degree in Art History at the North-West University in Potchefstroom, where she was the assistant curator at the NWU Gallery. She was actively involved in the art scene, working as logistics manager for the Clover Aardklop Visual Arts Programme, coordinating a youth art competition sponsored by the ATKV and also coordinating the NWU Art Collection Publication titled Looking Back While Moving Forward. Opposite: ‘Lady on a Donkey’ by Angus Taylor at Hoërskool Waterkloof.
THIS CHAPTER IS SPONSORED BY
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Attacq is a leading South African capital growth fund in the real estate sector. It has
consistently delivered growth in capital to its investors through its strategic property holdings and developments. Attacq is driven by a passionate entrepreneurial spirit, brought to life by a committed and enthusiastic team. A proactive and hands-on management approach, coupled with a positive outlook and belief in the future of South Africa, has built the company to the highly regarded industry force it is today. The multidisciplinary team boasts a wide range of professionals including engineers, chartered accountants, lawyers, bankers and investment managers.
LIAM PURNELL
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Our City Sculpture
LAIM PURNELL
daniel mosako
Angus Taylor, ‘Lady on a Donkey’, Hoërskool Waterkloof.
ABOUT THE AUTHOR
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I had the privilege of living in the Anton van Wouw house while working as curator for the University of Pretoria. This house specifically, and the broader city of Pretoria more generally, has great significance in the history of sculpture of South Africa. Van Wouw was not only the sculptor of Paul Kruger’s statue on Church Square, but also of a number of smaller works that established his reputation as a sculptor of meticulous workmanship. It was thus only appropriate that the establishment of Pretoria as the sculpture capital of South Africa should be held in this house, and by the very many sculptors that reside in Pretoria (more than in any other city). Saying that Pretoria is the sculpture capital of the country is not merely a declaration, it’s a commitment from sculptors and the public to actively endorse and take hands in the promotion of this form of art. The Sculpture Capital component of the biennale included a vast range of temporary sculpture exhibitions throughout the city at various exhibition venues. Many of the sculptures erected for the biennale engaged with the history of the city and its monumental historical sculptures, artistically negotiating a new living history. The primary intention of this initiative was to inculcate a culture of landmark art appreciation. This was particularly apt given the general celebration of 20 years of democracy in South Africa. One particular example that comes to mind is Angus Taylor’s Lady on a Donkey at Hoërskool Waterkloof, which enters into dialogue with the equestrian statues such as those of Louis Botha (Union Buildings) and Andries Wilhelmus Jacobus Pretorius (City Hall), pointing in the direction the city is heading to in a democratic world, while understanding where it is emerging from. Daniel Mosako studied fine art and received one honours degree in history of art;
another in information science; a postgraduate diploma in Museum and Heritage Studies and a master’s degree in fine art. He is currently registered for a DLitt et Phil in Art History.
CARLA CRAFFORD
Sculptors of Pretoria gather at the Anton van Wouw Museum to launch the “Our Sculpture Capital” movement.
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ABRÉ CRAFFORD, SIMON O CALLAGHAN (TANKWA)
Boxing Bunnies
29 AUGUST 2014 Temporary burning sculpture The Open Window Institute Boxing Bunnies by Guy du Toit was displayed at the biennale’s opening function at The Open Window School of Visual Communications. The bunnies are human powered and when activated they spin while burning and box at each other, fighting for survival. The work was inspired by the plight of the 118
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Riverine rabbit, an endangered species endemic to the Tankwa Karoo, and was first performed at the Afrikaburn festival, which is held each year in the Tankwa Karoo. The installation was selected for a performance at the Burning Man festival in the Nevada Desert in the US. Top left: burning bunnies at the Tankwa AfrikaBurn festival (2014) in the Karoo. Top right: heavy winds prevented the burning of this sculpture during the Cool Capital launch event at the Open Window Institute.
Snorre & Ladders
ENABA PRODUCTIONS
guy du toit
NOVEMBER 2014 Window exhibition Pretoria News Headquarters, Pretoria CBD Snorre and Ladders is the result of the Open Foundry Day that was held at artist Guy du Toit’s studio and foundry. Participants were given wax and asked to model a moustache with it. Moustaches are symbols of the Pretoria of old, but like tattoos, they have come back into fashion. More than 60 moustaches
representing all of the six classical moustache categories were cast in bronze. Participants agreed that they should be welded together to make a playful game of “Snorre and Ladders” – representing the ups and downs of city life. The work belongs to the Cool Capital Biennale and will be publicly displayed, functioning as a floating trophy awarded to the institution that makes the most meaningful contribution to the biennale, serving as a reminder of what the first Cool Capital Biennale was all about. sculptures & foundries
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Three Walking Silhouettes ike nkoana
These three figures depict women carrying their belongings home. Their graceful and slender nature celebrates the existence of their living counterparts who reside in the Pretoria CBD. These three figures have mythological and philosophical connotations, referring not only to the concept of ubuntu, an idea that affirms individuals through a shared place in society, but also to the figures’ displacement.
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PIETER MATHEWS
OCTOBER 2014 Maquette of public sculpture Commissioned by City Property for the Pretoria CBD
Houses of Success strijdom van der merwe
OCTOBER 2014 Maquette of public sculpture Commissioned by City Property for the Pretoria CBD
PIETER MATHEWS
The inspiration for this sculpture was drawn from the board game Monopoly, in which the ultimate goal is to place a house or hotel on a property that you have purchased. These sculptural houses refer to Monopoly houses, multiplied three times as a sign of success. Their colours refer to the different markets in which property development company City Property is involved. The sculpture is made out of mild steel and treated to prevent rust. sculptures & foundries
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Mme Wa Phukubje
JOHANN NORTJÉ, PIETER MATHEWS
johann nortjé
OCTOBER 2014 Maquette of public sculpture Commissioned by City Property for the Pretoria CBD The sculpture entitled Mme Wa Phukubje (the mother of jackals in seSotho) deals with the death of the old and the evolution of the new in an opportunistic and affectionate way. Human anatomy is blended with that of a fox to form a hybrid that represents the merging of opportunity and nourishment. Mme Wa Phukubje is a new mammal that uses all available resources to secure growth from new and expired concepts. 122
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Jackals represent a lucky token of cunning and chance. When it rains in Pretoria while the sun still shines people say: ‘Jakkals trou met wolf se vrou’ (the jackal is marrying the wolf’s wife) referring to the best of both worlds: rain and sunshine. The sculpture incorporates bones as a reference to death and rebirth. The breast shape, the leafy textile element and the way the bones become wings are all symbols of new growth.
JOHANN NORTJÉ
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Lady on a Donkey
LIAM PURNELL
angus taylor
APRIL 2014 Permanent installation (Saligna wood) Hoërskool Waterkloof Residences Constantly exploring ways to create humble and accessible public sculpture, Angus Taylor presents a ‘Lady on a Donkey’ at 4,8 x 3,8 x 2 metres. This unconventional equestrian rider on donkey-back is a tongue-in-cheek anti-elitist statement and the embodiment of an anti-monument. It moves away from propagandistic, patriarchal heraldry illustrated by statuesque bronze depictions of rulers and soldiers on horseback, as often 124
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seen in public spaces. Taylor’s choice of natural degradable material, instead of bronze, maintains the playful subversion. Raw sculptural media such as earth, stones, mud, dust and plant matter suggest realities and associations which align with an innate awareness and a sense of belonging to Africa. He explains the personal, psychological and physical interaction with these particular materials as an intuitive, sensuous yet also intellectual process during which a collaborative relationship of expression is entered into between himself and the medium.
Vasgepende Vlietendheid II
RINA STUTZER
rina stutzer
SEPTEMBER – NOVEMBER 2014 Tydelike installasie Afrikaanse Hoër Meisieskool Pretoria Die installasie wat in 2014 ontwikkel is, bestaan uit staal, rekbare tentmateriaal, sisaltou, koord en tentpenne en beslaan ongeveer 5,1 x 2,25 x 4,5 meter. Die installasie wat in 2014 ontwikkel is, bestaan uit staal, rekbare tentmateriaal, sisal tou, koord en tentpenne en beslaan ongeveer 5,1 x 2,25 x 4,5 meter. Die kunswerk bevraagteken en ondersoek die gedagte van “permanensie” deur te verwys na die vlietende en die momentele. Die ENGLISH 243
voëlmotief word ’n metafoor van ’n Afrika- identiteit en verwys na die “aanpasser”, die reisiger en/of die nomade. Dit kan ’n letterlike interpretasie van ’n nomadiese beweging weg van ’n tuiste, ’n dorp of ’n kontinent voorstel. Anders geïnterpreteer vind die nomadiesereis eerder in die kop of die denke van die nomade plaas, en word dit ’n voorstelling van ’n reisiger van idees. Ons is almal voortdurend op reis, aan die verken en aan die oorleef in ’n alewig veranderende wêreld. Tentmateriaal is spesifiek aangewend om die konnotasie van ’n “tydelike verblyf” of ’n “besoeker” te aktiveer. Uiteindelik besoek die kunstenaar die gedagte: ’n vlietende oomblik as liminale skoonheid. sculptures & foundries
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Spirit of Tshwane anton smit
SEPTEMBER 2014 Aramist Avenue, Menlyn Maine Commissioned by Menlyn Maine
LISA HNATOWICZ (MEDIA24)
Spirit of Tshwane was conceptualized and cast at the Anton Smit Studios and Sculpture Park near the Bronkhorstspruit Dam and was commissioned by Menlyn Maine, a mixed use green precinct being developed in Pretoria. The 11 metre, 3 500 kilogram sculpture shows the aristocratic profile of a beautiful African woman in traditional dress, with the features of her race, but also not unlike European and Asian women. The sculpture united these contrasting worlds and identities artistically in a symbiotic and symbolic relationship. South Africa is a new nation made up of mainly of African, Asian and European identities. Spirit of Tshwane celebrated the forging of a new diverse national and cultural identity. Tshwane is the African name for the Apies River, which runs through the city and is also another name for the Pretoria area. The river was represented in the sculpture with flowing lines emanating from the head. Tshwane also means: ‘We are the same or we are one because we live together.’ Living together was represented in the sculpture by two heads growing out of each other. The lines radiating out from the figure’s head represent hope. In a city and a country with an abundance of statues representing the past, focussing on the prominent political leaders, The Spirit of Tshwane aimed to provide a striking symbol of the new South Africa and a common future. 126
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Street Names
CARLA CRAFFORD
guy du toit
AUGUST 2014 Bronze Street texture installation Street name change sites around Pretoria These six bronze plaques were impressions taken from the artist’s studio floor and from five intersections on the route he commutes daily to and from his place of work. All five intersections had recently undergone name changes and the peri-urban municipal area the studio fell under has been absorbed into the newly named Tshwane metropolis. These plaques became markers that recorded a moment of flux in the city.
The use of bronze in this context historically loaded these signs with notions of permanence, authenticity and value. After being exhibited, each plaque was installed at or near the site it was drawn from. Name changes
Kungwini Street to Tshwane Street Unnamed Street to Saint Street (artist’s studio & foundry) Hans Strydom Drive to Solomon Mahlangu Drive General Louis Botha Drive to January Masilela Drive Walker/Charles Street to Justice Mahomed Street Duncan Street to Jan Shoba Street sculptures & foundries
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Taxi Man
LOERITHA SAAYMAN
loeritha saayman
21 AUGUST 2014 Brooklyn Fine Arts Studio & Karel Rood Justice Mahommed Street, Brooklyn Justice Mahomed Street is one of Pretoria’s main taxi routes. The four-metre-high steel cutout portrays a commuter waving down a taxi. The red outline of the figure encircles a street map of the area around this popular taxi route. Various taxi hand signs, drawings and graffiti were used on the boundary walls of 1004 Justice Mahomed Street to make this sculptural figure feel at home along the busy route. 128
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The Virus
PIETER MATHEWS
gordon froud
AUGUST – NOVEMBER 2014 Art Lovers 1932 rooftop installation Long Street, Waterkloof For many years Gordon Froud has worked with found objects, using them as modules for construction in his sculptural practice. For The Virus he had large blue road cones (1.8 metre high and usually used only by mines) manufactured by Sinvac in Pretoria, and used six of them to construct a giant virus. Froud has explored the virus as a modular form in his work on a show that travelled South Africa for two years recently.
He wanted to create a large visible piece that contrasted with the urban setting and thus highlighted the difference between the natural, the urban and the man made. He saw this as a comment on industrialization and intervention or deviation from nature. Froud selected blue plastic so that the sculpture would be visible in the suburbs of the city. The Virus cradles itself above Art Lovers 1932 in the suburb of Waterkloof and draws attention to the creative space that is this gallery, serving as a cultural marker.
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Two F*cking Typewriters
ENABA PRODUCTIONS
johan thom
OCTOBER 2014 Window installation Pretoria News Headquarters, Pretoria CBD Johan Thom’s sculpture, Two F*cking Typewriters, was installed in the foyer at the offices of the Pretoria News on Madiba Street in the Pretoria CBD. It comprised two old typewriters, 130
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each placed on a wooden table, with building foam growing out of them until the shapes met. The artwork explored the way in which language has changed and evolved. The typewriters represented the tactile element of writing while the foam cloud represented the idea of digital storage. The work explored the ways in which art can help negotiate the relationship between the past and the present, building an inclusive future.
The Untitled One
FRIK VAN VUUREN
frik van vuuren
AUGUST – SEPTEMBER 2014 Temporary installation Pretoria Art Museum stairs, Arcadia The sculpture “The Untitled One” was a humanoid form created with discarded manufactured products found dumped in a field the artist played in as a child in the 1990s. The
chosen site represented the cycle of consumerism: as we consume, we discard our waste, thus consuming the natural environment as well. The sculpture includes a motorcycle tyre, a toilet cistern, a computer monitor, a car front bumper and a tent. Its human form might reflect how we are made out of consumer products. The sculpture was displayed at the Pretoria Art Museum. sculptures & foundries
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Pretoria’s Rich Foundry History
ELANI WILLEMSE
elani willemse
Participants of the first foundry day listen to Carlo Gamberini, a third generation Italian foundry master who runs the oldest foundry in the country.
ABOUT THE AUTHOR
With a sculptural heritage spanning more than a century, Pretoria is home to a wide range of South Africa’s foremost sculptors, museums, art galleries and collections. The Capital’s public sculptures include work made by some of South Africa’s most esteemed sculptors, such as Van Wouw’s “Oom Paul” and Chief Tshwane at the City Hall. Pretoria also recently became home to the tallest Madiba-sculpture in the country, Nelson Mandela welcoming visitors to the Union Buildings. Sculpture can activate a space and make it more accessible to the public, which is why the city’s foremost development companies are now incorporating public sculpture into the initial design of new buildings. When considering the facts, tendencies and trends developing in the Capital, it is no wonder why we consider ourselves to be the Sculpture Capital of South Africa. Few people are aware that Pretoria houses the oldest bronze foundry in the country. Renzo Vignali opened its doors in 1931 when Vignali cast the first bronze sculptures on South African soil. Before Vignali’s arrival, artists sent their moulds to European countries such as Italy and the Netherlands and shipped the cast bronzes back to South Africa. Not only did this have serious cost implications, but it also meant that manufacturing a bronze sculpture took a very long time. Eighty three years later, this foundry is still running, operated by the third generation of Vignalis, Renzo’s grandsons Lorenzo and Carlo Gamberini. The opening of South Africa’s first foundry had a revolutionary effect on the sculpture industry. Through Vignali’s teachings and influence, various smaller independent foundries opened in the city. Today Pretoria hosts to a technologically advanced foundry in the country (Dionysus Sculpture Works) as well as the first foundry established and managed exclusively by women (Boudiccea Castings). Furthermore various academic institutions in Pretoria present sculpture on a tertiary level, with many esteemed South African sculptors obtaining their tertiary qualifications at these institutions. One such example is the TUT Sculpture Foundry which trains students in the craft of casting. It has been operating since 1968 and exposes students to the various different bronze casting methods and techniques. In celebration of Pretoria’s sculptural heritage, Cool Capital hosted Foundry Day, allowing the public to experience bronze casting first-hand. On 13 and 20 September, six foundries around the city opened their doors to the public, allowing visitors the chance to see how they operate. Participating foundries included Vignali, Dionysus Sculpture Works, TUT Sculpture Foundry, Daniel Nell Atelier, Du Toit Sculpture and André Otto’s independent foundry. Elani Willemse is an arts administrator currently employed as company liaison officer
at Dionysus Sculpture Works, where she also acts as personal assistant to sculptor Angus Taylor. 132
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ELANI WILLEMSE, ENABA PRODUCTIONS, PIETER MATHEWS
Du Toit Foundry
ENABA PRODUCTIONS, PIETER MATHEWS, ELANI WILLEMSE
guy du toit
20 OCTOBER 2014 Du Toit Foundry Lynnwood, Pretoria Sculptor Guy du Toit’s private foundry is situated on the outskirts of Pretoria, using it to cast his own work. The foundry is also made available to selected artists to cast their own 134
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work. Du Toit and his team demonstrated a spectacular outside casting. While waiting for the crucible to reach the right temperature and for the bronze to melt, visitors were given modelling wax so they could each make a snor (moustache) in celebration of Snor City. They were later cast in bronze as part of a public art installation by Du Toit called Snorre and Ladders displayed earlier in this chapter.
André Otto Sculpture
PHOTOGRAPH SUPPLIED BY ANDRÈ OTTO SCULPTURE
andré otto
13 OCTOBER 2014 André Otto Sculpture Studio Lynnwood, Pretoria
André Otto is a sculptor who owns a small foundry in Pretoria East. He uses it to cast his own work as well as work for other artists on request. Otto took visitors on a tour of his facilities and answered questions on the various processes at his foundry and the lost wax method. He showed visitors the mould and master of a life-size bronze elephant that he was commissioned to sculpt and cast. sculptures & foundries
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Daniel Nell Sculpture
ELANI WILLEMSE
daniel nell
13 OCTOBER 2014 Daniel Nell Atelier Bronkhorstspruit
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Daniel Nell Atelier is a small bronze sculpture foundry on the outskirts of Pretoria East. The foundry has expertise in rubber mould making, sand casting, investment vacuum casting, architectural rendering, renovation, prototyping and pantographing. Daniel Nell Atelier demonstrated a cast-iron casting using the age-old method involving a cupola furnace. Nell and his team entertained visitors for hours, stoking the fire to get the temperature just right to melt iron, which melts at a much higher temperature than bronze.
Dionysus Sculpture Works
ENABA PRODUCTIONS
angus taylor
20 OCTOBER 2014 Dionysus Sculpture Works (DSW) Silverton, Pretoria Established in 1996, Dionysus Sculpture Works is the most technologically advanced sculpture studio and foundry in South Africa. In collaboration with contemporary artists it does large scale upscaling, 3-D scanning, 3-D printing, bronze and stainless steel casting, finishing and installation. DSW
works with high profile South African artists such as Norman Catherine, Deborah Bell, Wayne Barker, Rina Stutzer, and Angus Taylor. Dionysus also restores and casts historic works by legendary sculptors such as Anton van Wouw for local universities and museums. During Open Foundry Day, Angus and his team demonstrated two full castings whilst illustrating the specialised workings of their induction oven. Preparation processes such as clay modelling, wax finishing and ceramicdipping were shown, as well as after casting bronze chasing. sculptures & foundries
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Renzo Vignali Foundry
ELANI WILLEMSE
carlo gamberini
13 OCTOBER 2014 Renzo Vignali Foundry Pretoria-North
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Renzo Vignali is renowned for being the oldest bronze foundry in South Africa. It opened in 1931 when Vignali came to South Africa from Italy to assist Anton van Wouw and other artists in casting on South African soil. Foundry master Carlo Gamberini gave visitors a tour of the foundry, explaining the lost wax method and presenting examples of sculptures currently being cast at the foundry, including new work by Deborah Bell and sculptures by Van Wouw that have not been cast before.
TUT Sculpture Foundry
PIETER MATHEWS
renier le roux & sculpture students
13 OCTOBER 2014 Tshwane University of Technology, Faculty of Fine Arts Arts campus, Pretoria CBD The Tshwane University of Technology Sculpture Foundry is an academic foundry. Its main objectives are to train students in sculpture and to develop the craft of casting. It has been
operating since 1968 with many artist-staff, including Koos den Houten, Neels Coetzee, Basie Yssel, Ian Redelinghuys, Egon Tania, Guy du Toit and Renier le Roux. At this facility students are exposed to many different bronze casting methods and techniques. TUT students under the mentorship of Renier le Roux assisted visitors in making their very own moulds by carving a design into cuttlefish bone, and then having their miniatures cast in bronze. sculptures & foundries
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LET’S SIT
CHAPTER 06
Daniel van der Merwe is a Wits graduate and Architect. He was a senior lecturer
at UJ, thereafter heading the C&CI architectural focus area. He is part of PPC Ltd ’s technical marketing team. Daniel was Convener for the architectureZA.2010, AZA2012 and AZA2013 Festivals . He is the current serving President of GIfA, and representative on the SAIA Board. Francois Visser grew up in Swaziland and matriculated in 1997 from Ermelo
Hoërskool. During his four years at the University of Pretoria, he took part in numerous group exhibitions. In 2002 he was awarded the Eduardo Villa Sculpture Bursary for the best sculpture student. He was also awarded second prize for technical excellence at the annual PPC Cement Young Concrete Sculptor Awards in 2003. Visser joined Dionysus Sculpture Works under the artist Angus Taylor in 2003. Opposite: the ‘Let’s Sit’ bench – an extrusion of the Cool Capital logo – at the Gautrain Pretoria station by Mathews & Associates and Sunshinegun.
THIS CHAPTER IS SPONSORED BY
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In 2012, PPC celebrated 120 years of innovation as a pioneer in the Southern African cement and infrastructure building industry. This milestone came two years after PPC celebrated its centenary as a JSE-listed company, joining an extremely small and elite group of listed centenarians, not only in South Africa but worldwide. Established in 1892 in South Africa, with a factory in Pretoria, PPC has grown to include nine cement manufacturing facilities and three milling plants in South Africa, Botswana, Zimbabwe and Rwanda that can produce around eight million tonnes of cement products each year. PPC also produces aggregates, metallurgical-grade lime, burnt dolomite and limestone The market leader in South Africa, PPC has tracked the growth and development of South Africa. The history of this iconic brand is closely linked to the growth and development of South Africa itself. PPC has produced cement for many of the country’s most famous landmarks and construction projects. It could be said that PPC supplied the cement and assisted with technical expertise towards the construction of many of the great historical buildings featured in this publication. PPC is proud to be associated with this Cool Capital legacy project.
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PIETER MATHEWS
Let’s Sit for Conversation daniel van der merwe Benches in public spaces allow people to sit, eat, speak, listen, watch, read, love, think or just daydream. This project was motivated by the belief that public spaces should be places for free and creative expression. For Cool Capital’s urban furniture project, 10 public benches were commissioned and designed by artists from around Pretoria and placed in public spaces where a need for seating had been identified. The project aimed to activate public spaces, giving citizens the opportunity to engage with each other and to reflect on their environment. The project created spaces where people from different cultures and backgrounds can enter into conversation with each other, transforming the public space around the benches into spaces of cultural exchange and integration. I agree with Elani Willemse from Dionysus Sculpture works in saying that these benches ultimately serve as a reflection of Pretoria’s diverse creative heritage, while at the same time creating a sense of community and belonging to all who make use of them.
IZANNE WIID 01 25°46’41.7”S 28°13’28.7”E
REPLY MAGHLANGU 02 25°45’02.3”S 28°11’24.4”E
TABI TAKANG TABE 03 25°45’12.6”S 28°11’19.8”E
TSEBE (GEORGE) MAGAMPA 04 25°45’10.7”S 28°11’14.8”E
ROBERT RAMAVHALE 05 25°43’55.1”S 28°26’40.8”E
ALEX VON KLITZING 06 25°46’03.9”S 28°13’26.9”E
FRANCOIS VISSER 07 25°44’55.1”S 28°12’49.2”E
DIONYSUS SCULPTURE WORKS
BENCH GPS COORDINATES
SYBRAND WIECHERS 08 25°44’48.1”S 28°11’14.1”E PIETER MATHEWS 09 25°77’58.5”S 28°17’58.2”E
MAAA* & SUNSHINEGUN 10 25°46’41.7”S 28°13’28.7”E * MATHEWS & ASSOCIATES ARCHITECTS
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Sculptor and Programme Director Francois Visser discusses bench designs with Tabi Takang Tabe and Reply Mahlangu.
JACQUES P NIEMANDT, ALBACOXE PHOTOGRAPHY
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City Hall Gardens
FRANCOIS VISSER
tsebe (george) magampa
INSTALLED 23 OCTOBER 2014 25°45’10.7”S 28°11’14.8”E Visagie Street, Pretoria CBD
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This design was inspired by the seating Magampa remembers as a child. The men in his community made them from trees, and this bench was designed so the seated individual can reminisce about these times and ponder on how things have changed since their childhood times. The stainless steel on top reminds him of the woven strings of cattle skin that he used to make belts and blankets.
Café Riche
IZANNE WIID, ENABA PRODUCTIONS, PIETER MATHEWS
sybrand wiechers
INSTALLED 23 OCTOBER 2014 25°44’48.1”S 28°11’14.1”E Church Square Sybrand Wiechers’ bench design was a tongue-in-cheek reference to Pretoria’s nickname, Pappastad (Dad City), which poked fun at Cape Town for being known as the Mother City. The two main components of the design were the moustache
– referring to another of Pretoria’s nicknames, Snor City (Moustache City) in reference to the traditional moustaches worn by civil servants and military men of the administrative capital – and dark wood ball-and-claw furniture, which was popular in the city two generations ago. He brought these elements up to date by using modern manufacturing processes. The components are CAD designed and cut out of high strength 38mm concrete slabs. Let’s Sit
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Ditsong National Museum
FRANCOIS VISSER, PIETER MATHEWS
tabi takang tabe
INSTALLED 23 OCTOBER 2014 25°45’12.6”S 28°11’19.8”E Museum of Natural History Paul Kruger Street, Pretoria CBD
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This bench was designed to celebrate the cultural diversity and flexibility of the people of the capital city. It is made up of a series of concrete forms that can be placed together in various configurations. Each form has different levels for sitting, leaning or lounging. The flexibility of the design also makes it possible for the bench to function regardless of where it is placed.
Pretoria Gautrain Station
FRANCOIS VISSER, PIETER MATHEWS
mathews and associates architects & sunshinegun
INSTALLED 23 OCTOBER 2014 25°46’41.7”S 28°13’28.7”E Pretoria Station The Cool Capital logo bench is the biennale’s official logo extruded in three dimensions and cast in concrete to become a sculptural seat at the Pretoria Gautrain station. The logo depicts the map and shape of Pretoria with
various connecting lines representing the connections between diverse people, neighbourhoods and ideas. The bench was placed at the Pretoria Gautrain station insuring that it would be one of the first objects visitors to the city encounter after using the Gautrain. The intention of this design was to welcome visitors with a symbolic map or orientation device as well as to serve as a welcoming gesture by offering a place to rest. Let’s Sit
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PIETER MATHEWS, IZANNE WIID
Jan F. Cilliers Park (Protea Park)
INSTALLED 23 OCTOBER 2014 25°46’41.7”S 28°13’28.7”E Wenning Street, Groenkloof, Pretoria The protea is South Africa’s national flower and the protea bench was designed and manufactured with the intention of fusing the beauty of the protea with the strength of concrete. The proteas were laboriously made from steel, which formed the inner supporting framework of the bench. Concrete was 150
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cast over the steel proteas, and later delicately removed to reveal the beauty of the proteas hidden in the concrete. The proteas seem to grow out of the bench, some areas still partly covered, others exposed. The bench, although artificial, became like another protea bush blending into its natural surroundings. It was specifically designed for the park it was destined for, which is also known as Protea Park after the more than 15 species of protea that can be found there.
IZANNE WIID
izanne wiid
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Viva Foundation
FRANCOIS VISSER
robert ramavhale
INSTALLED 24 OCTOBER 2014 25°43’55.1”S 28°26’40.8”E Viva Village, Moshumi Street, Alaska, Mamelodi East
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This design makes reference to the importance of recycling. Buckets can be used as containers, while corrugated iron can be used to build a shelter. This design ‘recycled’ this idea, using two tins to make the foot of the bench and corrugated iron as a place to sit.
A Re Yeng Central Station
PHOTOGRAPH COURTESY OF A RE YENG
reply mahlangu
INSTALLED 23 OCTOBER 2014 25°45’02.3”S 28°11’24.4”E Central A RE YENG station, Nana Sita Street
The design of this bench was originally intended to mimic the forces of persistent strain on a cantilevered item. The idea began with an ordinary 1.5 metre square concrete tube adjusted to create a more comfortable hexagonal profile. Instead of a flat bottom, contact with the ground was limited to prevent damp seeping up into the bench. A support was introduced and the sides of the bench were opened up. The ribs were formed to prevent damp developing on the seating area. Let’s Sit
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FRANCOIS VISSER, ENABA PRODUCTIONS, PIETER MATHEWS
Pretoria Art Museum
INSTALLED 23 OCTOBER 2014 25°44’55.1”S 28°12’49.2”E Park Street, Arcadia ADDITIVES FOR THIS BENCH WAS GENEROUSLY PROVIDED BY CHRYSO SA
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The soft, shallow curves of this bench suggest comfort, safety, familiarity and relaxation, recalling the curves of the human body. Its shape also evokes the three phases of of waking up, progressing from sleeping, to sitting and then standing. The maquette was created by twisting a flat piece of wax until the shape evoked these stages. The maquette was also reminiscent of the traditional concrete dolos, which has three planes for stability. Just as more than one dolos can be connected, it is also possible to link more than one of these benches together.
FRANCOIS VISSER, DIONYSUS SCULPTURE WORKS
francois visser
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Pretoria Arts Association
PIETER MATHEWS
alexander von klitzing
INSTALLED 23 OCTOBER 2014 25°46’03.9”S 28°13’26.9”E Mackie Street, Brooklyn
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This bench design combined a structural element with nature – a bench that is at one with a tree. Neither the tree nor the bench could be moved without one destroying the other, demonstrating how nature and construction could live in harmony and be incorporated into the same environment. The tree helps reduce the CO2 emissions produced in the manufacturing process of the cement used to cast the concrete bench, creating a kind of symbiotic relationship.
Voortrekker Monument
CARLA TALJAARD
pieter j. mathews
INSTALLED 29 APRIL 2015 25°77’58.5”S 28°17’58.2”E Voortrekkermonument steps Despite its apparent simplicity, it takes great skill and traditional knowledge to create the perfect koeksister. Similarly, in this design, the apparently simple form of the koeksister as a symbol of Pappastad was deconstructed, faceted and investigated so that it could be reinterpreted and reimagined. Inspired by the world’s most prominent female architect, Zaha Hadid, the master of the faceted and sculptural
architectural form, this bench transcends function to become an object casting deep and definite shadows to reveal the three-dimensional architectural quality of the object itself. The multivalent intention of the designer can then be layered with the memories, connotations and meanings of the observer. A model was hand carved from an oasis foam block and then translated using modern technology (3D scanners and polystyrene cutters). Through this fusion of local historical iconography with the global influences of our time, the designer reinvented a traditional symbol and gave it a new twist anchored in modernity. Let’s Sit
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158 Let’s Sit PIETER MATHEWS, IZANNE WIID, CARLA TALJAARD
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DEAAN VIVIER (TSHWANE BEELD)
ENVIRONMENTAL ART
CHAPTER 07
Site_Specific organises South Africa’s only international land art biennale, and
integrating culture & nature
has successfully staged events in Plettenberg Bay in 2011 and 2013 under the curatorship of Strijdom van der Merwe, gaining local and international attention. The 2011 event won the BASA (Business & Arts South Africa) Art and Environment award for a sponsor, The Beacon Island Resort. In 2014 Site_Specific initiated the seasonal JOZI Land Art event, and joined the Cool Capital venture based on that experience. Monthly Western Cape Land Art events follow a similar approach, activating nature sites across the region. Site_Specific Land Art projects aim to encourage the practice of land art and its related genres, linking local artists to an international network. Other projects include the Eden to Addo land art route, the Plett Birding Route eco-sculpture bird hides, the Karoo geoglyph project, and a land art residency in Plettenberg Bay. Central to the Site_Specific projects are community-oriented workshops and art projects that focus on facilitating relevant dialogues and skills exchange. In 2016 Site_Specific will host the South African leg of the Global Nomadic Art Project (GNAP) – a worldwide nature art tour over 5 years – initiated by Yatoo, the Nature Art Association of South Korea. Schanskop cleansing mandala by Erynne Ewart-Phipps with kosher salt and the ash of blue gum and black wattle.
THIS CHAPTER IS SPONSORED BY
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A world leader in building materials, Lafarge employs 64,000 people in 62 countries, and posted sales of €15.2 billion in 2013. As a top-ranking player in its Cement, Aggregates and Concrete businesses, it contributes to the construction of cities around the world, through its innovative solutions providing them with more housing and making them more compact, more durable, more beautiful, and better connected. With the world’s leading building materials research facility, Lafarge places innovation at the heart of its priorities in order to contribute to more sustainable construction and to better serve architectural creativity. In South Africa, the company manufactures and supplies cement, aggregates, readymixed concrete, gypsum plasterboard and interior building fittings. It focuses on providing solutions to help the sustainable development of better cities that benefit the country’s people. Through having a strong presence in all of its business lines, it is in a unique position to contribute to urban construction, while also helping to build better cities, rural towns and villages.
ERYNNE EWART-PHIPPS
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Environmental Art Project
ENABA PRODUCTIONS
katty vandenberghe
Selogadi Mampane during a sunrise performance at the highest point in Pretoria in the Faerie Glen Nature Reserve.
Opposite: Wilgers wetlands meditation, nature art workshops at Tina Skukan gallery and Manie van der Schijff botanical gardens (UP). From top left: AJ Chappy Holtzhausen, Izanne Wiid & Sybrand Wiechers, Jessie Doucha, Leon Nigrini, Grietjie Lee, Ke Neil We, Anni Snyman.
ABOUT THE AUTHOR
The Cool Capital Environmental Art Project was facilitated by Site_Specific’s web and media director katty vandenberghe, assisted by Anni Snyman. Artists and nature lovers were invited to activate environmental art projects around the city and its metropolitan areas as individuals or in collaboration with other artists, nature lovers or interested parties. Environmental art is an umbrella term that encompasses land art, eco art, nature art, earth art and related genres. Artists were encouraged to connect with individuals who were involved in maintaining, protecting or researching a chosen site in Pretoria. It was recommended that they contact nature conservationists and researchers to engage with the sites’ natural and anthropological history. Each project had to abide by basic environmental guidelines, and could be expressed through performance, ritual, temporary structures, drawings, or installation. In order to maintain perspective on all our projects and guide artistic intentions, the Site_Specific team compiled the following key values: 1. Space-time specific: Each event should be an immediate context-specific response to the environment in which it takes place. 2. High standard of artistic practice: At the core of each Site_Specific activity is conscientious artistic practice within land art and related genres, inviting artists who are dedicated, respected and renowned for their work. 3. Ecology first: The focus of Site_Specific’s motivation is ‘ecology first’ – interfacing art, culture and nature with the overall aim of working in balance with the environments we engage. 4. Accessible: Public accessibility is of prime importance, using media, advertising and events organization-based industries to facilitate knowledge and understanding of the projects and issues undertaken by Site_Specific. 5. Inclusive: The foundation on which Site_Specific operates is inclusivity – ploughing the majority of its effort and resources into community development programs that hinge on, interface with and feed out of our core activity of conscientious artistic practice. In the word ‘community’ we include all forms and variations of its meaning. All of Site_Specific’s workshops and events are free and open to the public. 6. Educational: Embedded within all its activities, Site_Specific holds education as its key role, aiming to influence minds and paradigms around issues of environment, community, culture, and artistic practice. katty vandenberghe is a digital media artist and designer, bringing her creative
energy to group projects through writing, photography, videography and design. Her interest is in challenging existing narratives, those stories we tell ourselves that are harmful to others, animals and our environment. 164
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Tina Skukan Gallery Grounds
CATHY BATCHELIER, ERYNNE EWART-PHIPPS
IZANNE WIID, ERIC DUPLAN, KATTY VANDENBERGHE, JOHAN NORTJÉ, ANNI SNYMAN
anni snyman
SATURDAY 28 JUNE 2014, 13H00 – 17H00 Nature Art Workshop Hosted by Thea Nigrini Introducing nature art as a genre to Pretoria’s art community, Anni Snyman lead a perception and consciousness exercise based on the methodology of YATOO – a Korean nature art organisation. The precept is that one enters a space with no preplanned concepts or aims, apart from the technique of opening oneself to the experience of a particular space and its 166
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complex web of beings, creating art on site in direct response to the stimuli provided, with whatever material is available in that moment. The end result was a wonderful range of expressions influenced by each artist’s preferred medium and technique, inspiring a series of nature space interventions throughout Pretoria during the Site_Specific/Cool Capital Environmental Art Project. From top left: Anni Snyman & friends, Eric Duplan, Erynne Ewart-Phipps, Cathy Batchelier & friends, Izanne Wiid & Sybrand Wiechers, Johan Nortjé, Anni Snyman, Erynne & Pig.
Faerie Glen Nature Reserve selogadi mampane & dewald vorster with anderson barroso SUNDAY 20 JULY 2014 At dawn on the highest hill in Pretoria Sunrise Performance Hosted by Carla Crafford Digging for the Spirits by Selogadi Mampane
KATTY VANDENBEGHE [VIDEO FRAMES], CHRISTO J. NIEMANDT OF ENABA PRODUCTIONS
The sunrise performance exemplified our inherent connection, dependent relationship, and symbiotic unity with planet earth. If the earth should perish, so would we. One version of the creation story as told in the Egyptian Book of the Dead speaks of the mother goddess Nut. The sun god Ra traverses along Nut’s back on his boat (sun disc), and is consumed by the goddess every evening. Each morning she gives birth to him again as the morning sun, thereby symbolising the cycle of life and the earth as mother planet. Turning Point by Dewald Vorster
Dewald’s engagement was deliberately masculine. By violently twisting white cloth he produced gnarly, granular surfaces, entangling grass and twigs along the way. Serial form production and commercial technique relies on the ability to reproduce and mass-produce items with little or no variation, resulting in the profusion of forms that arise from a simple body-repeat. Dewald’s actions became a symbolic re-enactment of a mass-produced consumeroriented society with little or no regard for its impact. Suit’s Collapse by Anderson Barroso
Anderson rolled down the bushveld hill dressed in a business suit amid stones, twigs, thorns, tree trunks, and other sharp obstacles that punish the body of the ‘Business Man’. It was an act of ‘purification’ and a gesture of pity for those who behave inconsiderately towards the environment: the irrational man of business disrespecting the nurturing aspect of nature.
ENABA PRODUCTIONS SUNRISE PERFORMANCE 2:54
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Soutpansberg Road Experimental Farm
KATTY VANDENBERGHE
izanne wiid & sybrand wiechers
SUNDAY 27 JULY 2014, 12H00 – 14H00 Land art installation Clean up by Riana Willemse & Rietondale community The Soutpansberg Road Experimental Farm intervention drew attention to a piece of veld in danger of being turned into an urban development project, and highlighted the fact that it was already being used as a general dumping ground. Sculptors Izanne Wiid and Sybrand Wiechers erected a three meter steel waste basket, inviting the Rietondale community and Pretoria residents to clean up the site and fill their basket installation with what they found. 168
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The experimental farm is part of a precious green belt zone that runs through the city, providing safe passage and habitat to smaller wildlife species. The waste basket stood elevated off the ground to attract the attention of passersby and remained on site for the duration of the biennale. Friends of Rietondale have submitted a proposal to Tshwane authorities recommending that the farm be re-fenced, guarded, and allowed to return to its original state as natural veld. They hoped to encourage local authorities to establish a nature space for inner-city kids to experience bushveld and learn about nature conservation. ENABA PRODUCTIONS LAND ART INSTALLATION & CLEAN UP PROJECT 2:02
Groenkloof Nature Reserve
KATTY VANDENBERGHE, ENABA PRODUCTIONS
diana miller
WEEKEND 2 & 3 AUGUST 2014 Elemental Traces Meander Temporary installation Timothy Luke says, “The concept of ‘ecology’ should imply concern for the total pattern of all relations between natural organisms and their environment.” The chosen materials were central to this intervention – jacaranda is synonymous with Pretoria although it is not native to South Africa. Wood was salvaged from a jacaranda tree which had been cut down and left on the pavement. The seed balls were from the indigenous Dichrostachys Cinerea ENABA PRODUCTIONS ELEMENTAL TRACES 1:51
(sickle bush) on which various animals browse. They serve as metaphors for that which may come –potential, birth, and growth. The red soil comes from KwaZulu-Natal, and the Chondropetalum Techtorum (Cape thatching reed) is used for binding. The displacement and relocation of natural materials were metaphors for displaced people, flora, fauna, and insects – all under pressure thanks to urban sprawl, pollution, and economic and societal pressures. environmental art
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Faerie Glen Nature Reserve
GRIETJIE LEE
grietjie lee
SATURDAY 9 AUGUST 2014 Due to a recent loss and life-changing LEAF | LEAVE experiences, Grietjie Lee chose Temporary installation to honour a nature space shared with a loved one, paying tribute to human-animal bonds documented throughout history and across cultures. This land art shrine is dedicated to companion animals who contribute towards our well-being, connectedness and resilience.
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SITE_SPECIFIC LEAF | LEAVE BY GRIETJIE LEE 2:44
Die Wilgers Wetlands Public Park
NEIL HUMAN OF ENABA PRODUCTIONS, KATTY VANDENBERGHE
aj chappy holtzhausen & friends
SUNDAY 17 AUGUST 2014, 12H00 – 14H00 Homage to Nature Meditation with Cobi Bezuidenhout, Letitia Da Silva, Siya Tembe, Tebane Pitsohane, Janine Ehmke Swart, Paul Oppel, Sunel Oppel, Grietjie Lee & katty vandenberghe Parks, bird sanctuaries and suburban wetlands are the last remnants of natural vegetation in the cityscape. Their role in storm water retention and water storage, as a wildlife habitat, as a sanctuary for birds and a recreational space for humans, needs to be respected and nurtured. ENABA PRODUCTIONS WILGERS HOMAGE TO NATURE MEDITATION 2:22
Carl Jung tells us that the creation of mandalas helps restore a previously existing order, giving form to something that does not yet exist. Chappy chose to create a mandala in front of a large tree overlooking the wetlands site. Participants created symbols in and around the mandala to honour and pay homage to nature. Many symbols were inspired by Credo Mutwa’s Indaba, My Children on African history, legends, customs and beliefs. Anni Snyman’s Earth Siren was redrawn, calling the alarm on the ongoing destruction of earth’s biomes, and Grietjie Lee created 12 energy symbols with natural materials along a walkway leading up to the site. environmental art
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Schanskop Nature Reserve
ERYNNE EWART-PHIPPS, KATTY VANDENBERGHE [DEPICTED: CHRIS REINDERS OF SITE_SPECIFIC]
erynne ewart-phipps
SATURDAY 23 AUGUST 2014, 11H00 – 13H00 Cleansing Mandala Temporary installation Erynne’s cleansing mandala was inspired by aboriginal Warlpiri ‘ground paintings’ in Australia. Created during ceremonial cleansing rituals, the markings used here represented dreaming ceremonies performed to connect the past with the present in ancestral worship. Blue gum and black wattle ash formed the outer ring and acted as a natural insect 172
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repellent for ticks and mites living on zebra and antelopes in the reserve. Non-iodised salt served as a lick and dissipated into the soil with the season’s first rains, adding nutritional value to the site. A perfect union of ritual and material and environmental enrichment, this intervention combined art, science and anthropology. ENABA PRODUCTIONS CLEANSING RITUAL 2:44
Mamelodi East Magaliesberg Ridge
KE NEIL WE, KATTY VANDENBERGHE [DEPICTED: MAMELODI EAST CHILDREN WITH KE NEIL WE]
ke neil we & banele khoza
SUNDAY 24 AUGUST 2014, 12H00 – 14H00 Stone Spiral Mandala Supported by the Mamelodi community Ke Neil We and Banele Khoza (Tshwane University of Technology students) chose to activate a nature art intervention in Mamelodi East along the Magaliesberg ridge. This ridge is part of a nature protection area that runs all the way through the Tshwane metropolitan area to the Hartebeespoort dam.
The chosen site was a burnt patch of grass that had been turned into a dumping ground. Confronted by the paradox of broken down garbage trucks undergoing repair alongside the site, the artists engaged local children to help gather rocks, inviting them into discussions about the environment and nature conservation. On the chosen day community members came along to help clean up the site, and performance artist Selogadi Mampane ended the intervention by enacting a cleansing ritual with everyone present.
ENABA PRODUCTIONS MAMELODI STONE CIRCLE CLEAN UP PROJECT AND CLEANSING RITUAL 3:39
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Manie van der Schijff Botanical Gardens
ANNI SNYMAN, KATTY VANDENBERGHE, MEGAN JELLY
katty vandenberghe
SATURDAY 20 SEPTEMBER 2014, 13H00 – 16H00 Environmental Art Workshop Hosted by Jason Sampson at the University of Pretoria Site_Specific presented a wrap-up nature art workshop at the University of Pretoria botanical garden. Jason Sampson, curator of the botanical garden, took participants on a tour of the garden, revealing many botanical marvels such as the prayer tree and the ingenious rain water harvesting wetland project. Anni Snyman of Site_Specific presented a 174
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second nature art workshop, and participating artists gave insights and feedback on their respective interventions and experiences of the past several weeks. ENABA Productions ended the workshop with a short art film on the Environmental Art Project. katty vandenberghe facilitated the project as part of the 2014 Cool Capital Guerilla Biennale. Above: Nature art interventions by Anni Snyman, Anderson Barroso, Jason Sampson, Selogadi Mampane, Banele Khoza, and katty vandenberghe.
Tina Skukan Gallery Grounds
LEON NIGRINI
leon nigrini
ONGOING Geese Enclosure Land art project The presence of geese has in the course of more than 50 years become indispensable to the character of the landscape at Plot 6, Faerie Glen, where the Tina Skukan Gallery is situated. With their ever-present nature and security advantage, their place on the smallholding has been promoted to the central position where a new enclosure is being created from organic waste. Dead trees, such as 70-year-old palm trees alongside the approaching avenue as well as fallen trees and intruder wattles were sawn up and the debris chopped up to build a
solidly packed enclosing wall. The layout and construction of the enclosure was not predetermined, but was an ad hoc experiment where the process developed organically with new occurrences, insight, knowledge and ideas. Gradually, the enclosing wall will decompose and be supplemented with new organic waste material from the smallholding. New trees and plants should also in the course of time germinate and grow from and around the enclosing wall.The vision is an ongoing experiment that could in time develop an ecological life of its own to create an ever-changing and unique aesthetic. When the geese enclosure ceases to exist and the organic walls eventually perish, the residues could transform to a nutrient-rich space surrounded by trees. environmental art
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Artist: Diane Victor
We believe in public art
As the conveners of the Cool Capital Biennale and curators of public artworks at the A Re Yeng TRT stations Mathews and Associates Architects are invested in our Capital City and committed to our belief that vibrant, high quality public art should always be in dialogue with great architecture to ensure world class urban spaces with soul. www.maaa.co.za 086 111 6222
GALLERY CRAWLING CHAPTER 08
LIEKIE FOUCHÉ
Liekie Fouché’s painting ‘Cool Capital’ as part of the Sky is the limit exhibition at the Tina Skukan Gallery. Opposite: Anton Smit (Mould of Man), Guy du Toit (Contemplating Bunny), and Loeritha Saayman (Papertrail) at the Open Window Institute’s 2014 The City: A Form of Life exhibition.
Gordon Froud has been actively involved in the South African and international
art world as artist, educator, curator and gallerist for 30 years. In 2012, Froud participated in 30 shows locally and internationally in Holland, the US and France. He was represented in The Rainbow Nation sculpture exhibition in The Hague, Holland, and was the first recipient of the Site_Specific land art residency in Plettenberg Bay.
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Mathews and Associates Architects is a dynamic company driven on promoting
Pretoria as a vibrant and bustling capital city. Founded in 2000, this multi award winning company has established itself as an inter-disciplinary firm driven to furthering local architecture and art. Headed by Pieter Mathews and associates Liam Purnell and Anton Smit with the assistance of highly talented staff, MAAA provides high quality innovative solutions suited for a growing city. Inspired by bold, graphic lines, textures and forms, MAAA have completed a variety of landmark and iconic buildings, demonstrating an uncompromising attention to detail, documentation and professionalism. Using the latest technology and visionary ideas, MAAA is committed to creating high-quality, sustainable buildings that contribute to our capital city.
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HEIN PERRY, CHARLES GIJZELAAR
Gallery Culture is Essential to a Healthy Art Community gordon froud
ALETTE PRETORIUS (BEELD)
Pretoria is home to a diverse and dynamic group of galleries, some academic in nature, others focussed on specific themes and collections. Together they provide the city’s art lovers with vibrant artistic stimulation all year round. The Cool Capital Biennale reached out to galleries in the capital city to curate exhibitions from the starting point of their own contexts. This call was embraced by gallery owners and artists alike. The reciprocal relationship between artists and gallery owners made it possible for artists to approach galleries with ideas, as well as for galleries to extend open invitations to artists in line with Cool Capital’s uncurated approach. The biennale acted as a catalyst, promoting and assisting with exhibitions, and the galleries benefitted from the shared exposure, advertising and good public support that Cool Capital brought. Because this was the inaugural biennale, themes revolved around the context of Pretoria, its old masters, young students and established artists living in the city. Unique characteristics of the city, its skyscape, landscape, people, threatened ecology and political history were all explored from different angles and by different galleries and artists. This made for refreshing exhibitions with many new faces and interesting artworks. In turn, the exhibitions gave the public a chance to artistically engage with the city in a way that has been previously reserved for Pretoria’s bigger, busier or richer neighbours. The Fried Contemporary Gallery in Brooklyn hosted a series of exhibitions on the capital city, showcasing old masters in Capital: Past, the way we interact with the city in Capital: Transitions and ending with a great exhibition of current artists in Capital: Present. The Open Window Institute openly called for art pieces in The City: A Form of Life. The Tina Skukan gallery hosted the exhibition Liminal Capital, as well as The Sky’s the Limit where artist Liekie Fouché expressed the cloud- and skyscape of the city. Boundaries were pushed by St. Lorient Gallery, who had a curated exhibition of contemporary totems on their rooftop and a collaboration between artists and textile/fashion designers creating haute couture garments that took its inspiration from contemporary art, and Trent Gallery together with Long Street Art Lovers hosted the first drive-thru gallery, taking art pieces to the street in true guerilla fashion. Good seeds grow, and Pretoria is now fortunate to have its own gallery meander on the first Sunday of every month. An initiative of the Pretoria Arts Association conceptualized for the biennale, this monthly activity continued after the ending of the biennale, inviting Pretoria to enjoy a wonderful Sunday morning visiting and supporting its diverse galleries.
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25° 46’ 5” S, 28° 13’ 26” E
LISA HNATOWICZ (NEWS24)
pretoria arts association
22 AUGUST – 10 SEPTEMBER 2014 Carla Crafford & Guy du Toit Nieuw Muckleneuk, Pretoria This exhibition explored myths, histories and horror stories associated with Pretoria – one of the youngest capital cities in the world – with sculptures by Guy du Toit, and photographs and installation work by Carla Crafford.
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Despite the city’s relatively short life, Crafford and Du Toit’s installation of sculptures, objects and images is drawn from the immensely rich history and constantly evolving culture of Pretoria. Whereas Crafford’s photographs often ‘comment’ on Du Toit’s sculpture, the latter took the initial photographs and the artists collaborated on the installation as a whole. The first limited edition of Crafford’s book, Encounters: TTL, was launched at the opening of the exhibition.
LISA HNATOWICZ INSTALLATION BY GUY DU TOIT & CARLA CRAFFORD 3:36
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LISA HNATOWICZ (NEWS24), WERNER SPIES
On the Table
RENIER LE ROUX, SANDRA VILJOEN
tshwane university of technology
21 – 31 OCTOBER 2014 Curated by Renier le Roux TUT Gallery, Du Toit Street, Pretoria The department of Fine and Applied Arts at TUT (Tshwane University of Technology) hosted a sculpture exhibition entitled “On the Table”. Staff and students specializing in sculpture were selected for a group exhibition at the arts campus in the TUT Gallery. An opening address was delivered by sculptor Jan van der Merwe. 184
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All tiers of sculpture were represented, from the paper makarapa, a first-year project, to lost wax bronze casting by students at third year level. Indeed the exhibition included artists ranging from novice to master, with lecturing sculptors Ian Redelinghuÿs, Guy du Toit, Renier le Roux, Delene Human and Johann Nortje also represented.
Capital Transitions
SUPPLIED BY FRIED CONTEMPORARY, LISA HNATOWICZ (NEWS24)
fried contemporary
6 SEPTEMBER – 4 OCTOBER 2014 Elsa van der Klashorst Brooklyn, Pretoria Capital Transitions is a mixed media exhibition of installations, paintings and photographic collages by Elsa van der Klashorst. The transitory nature of public space forms an integral part of the artist’s conceptual framework. Van der Klashorst believes there is a dissolution of the significance of architecture through the performances of people, often as migrants who have no relation to the history of a space. Here she explores city life in Pretoria, the capital city of South Africa. The city is
in a constant state of flux, with new buildings rising and old ones vacated, the ongoing name changes of city streets and government buildings. Van der Klashorst attempts to capture a moment of this constant change. A mixed media installation has hundreds of differently coloured wires, bricks, and plastic tubes protruding from the ceiling in the back room of the gallery space. It looks like the ceiling is falling apart and the insides of the building are pouring out. Her paintings mirror the colours and wires from the installation: thin colourful streaks cover the surface of the canvas in a grid format. Abstract paintings and photographic collages repeat the idea of city maps and streets. GALLERY CRAWLING
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Capital: Past
FRIED CONTEMPORARY, PIETER MATHEWS
fried contemporary
11 OCTOBER – 22 NOVEMBER 2014 Diane Victor Brooklyn, Pretoria Capital: Past was the first in a series of three exhibitions celebrating notable artists from Pretoria. This exhibition showcased a selection of artworks by some of Pretoria’s greatest artists of the past including Gerard Sekoto, Jacobus Hendrik Pierneef, Robert Hodgins, Walter
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Battiss, Lucky Sibiya, Sydney Khumalo, Edoardo Villa, Anton van Wouw, Alexis Preller and more. The exhibition coincided with the opening of Diane Victor’s show of smoke portraits in the Collector’s Room of the gallery. She spent the day in situ producing new works using her famous smoke drawing technique. A limited edition of 20 catalogues was made available, featuring images of the works created on the day, as well as an exclusive interview with the artist.
Blow Your Sculpture
LOTHAR BÖTTCHER, CARLA CRAFFORD
harrie’s pancakes in collaboration with lothar böttcher
JULY – NOVEMBER 2014 Modern Art Project (MAP) Eastwood, Arcadia
Initiated by Lothar Böttcher, Blow Your Sculpture was set up as a way to introduce and encourage artists to experiment with the medium of glass. Participating artists were asked to create molds for glass sculptures. After several weeks of preparation, these works were blown. Each artist was present during the process. Artists who participated in this project were Lothar Böttcher, Guy du Toit, Isa Steynberg, Sybrand Wiechers, Izanne Wiid, Retief van Wyk, Ninke Vermaak, Marina Louw, and Marilyn Sugiyama.
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CuSi 2014
LISA HNATOWICZ (NEWS24), DELÉNE HUMAN
long street art lovers 1932
4 – 17 SEPTEMBER 2014 Curated by Deléne Human Waterkloof, Pretoria Academic institutions from around the capital collaborated in presenting CuSi 2014, an inter-university bronze exhibition showcasing bronze sculptures by student 188
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artists. Participating universities included the Tshwane University of Technology (TUT), the University of Pretoria (UP) and the University of Johannesburg (UJ). The aim of the exhibition was to provide a platform for students to develop the craft of casting and to showcase their artworks while also providing an opportunity for them to network with their peers from other university art departments.
The City, A Form of Life
HEIN PERRY, ENABA PRODUCTIONS, CHARLES GIJZELAAR
open window institute
29 AUGUST – 16 NOVEMBER 2014 Curated by Elfriede Dreyer and Adèle Adendorff Southdowns, Irene Like other cities worldwide, Pretoria has been (and is perpetually being) shaped by the ideologies and beliefs of its inhabitants. In much the same way as exhibitions are designed, people curate the city and in turn the city curates the lives of human beings. This incessant process of the evolution, reinvention and recreation of the metropolis was explored by the artists represented in The City, A Form of Life. The role of the curators was to display, mediate and contextualize a collection of sculptural works to generate comment on the human experience of living in Pretoria. This HERMAN VENTER THE CITY, A FORM OF LIFE 8:27
kind of guerilla approach to curatorship encouraged and promoted positive engagement between the city and its citizens, and legitimized self-allotted platforms on which artists were able to realise interventions, artworks and projects. Works by Isabel Mertz, Andre Otto, Ian Redelinghuys, Jan Van Der Merwe, Anton Smit, Johan Thom, Guy Du Toit, Collen Maswanganyi, Lothar Böttcher, Liberty Battson, Izanne Wiid, Sybrand Wiechers, Susanna Swart, Loeritha Saayman, Celia De Villiers and Elfriede Dreyer, Allen Laing, Danelle Janse van Rensburg and Titus Matiyane were included. The exhibition showcased the many creative ways in which individuals experience and take possession of a space, how they depict notions of home and belonging, and how they express their identity. GALLERY CRAWLING
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Contemporary Totem Poles
ISABEL NEL, LISA HNATOWICZ (NEWS24)
st. lorient fashion & art gallery
31 AUGUST – 30 NOVEMBER 2014 Curated by Gordon Froud Brooklyn, Pretoria Contemporary Totem Poles was a group exhibition in which various artists interpreted or reinterpreted totem poles and what they represent. Totem poles were originally created as emblems for families or clans and served as reminders of their ancestors. The works in this exhibition varied from those that adhered to this more traditional meaning to others that questioned the relevance of totems in the South African 190
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context and yet others that took a humorous stance. Artists included Gordon Froud who used found objects, mostly toys, to explore how youth is commercialized, Isa Steynberg, whose work protested the belittlement and abuse of the female body in a patriarchal society, and Sybrand Wiechers who questioned the meaning of totems, phallic symbols of fertility, in an overpopulated world. Other participating artists were Celia de Villiers and Kris van’t Hof, Lothar Böttcher, Andre Naude, Renier le Roux, Izanne Wiid, Yannis Generalis, Setlamorago Mashilo, Elsa Ingerl, and Guy du Toit.
The Sky’s the Limit
LIEKIE FOUCHÈ
tina skukan gallery
16 NOVEMBER – 15 DECEMBER 2014 Liekie Fouchè Faerie Glen, Pretoria
The Sky’s the Limit, an exhibition of recent works by Liekie Fouché, ran in the last month of the biennale. In this body of more than 60 paintings and sculptures, the artist concentrated mainly on the breathtakingly beautiful skies and cloudscapes found in Pretoria and its surrounding areas.
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Drive-Thru Street Gallery
ALETTE PRETORIUS (BEELD), LISA HNATOWICZ (NEWS24), PIETER MATHEWS
trent gallery & long street art lovers 1932
1 AUGUST 2014 Stuart Trent and Sammy Muller Waterkloof, Pretoria
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This exhibition extended the idea of the drive-thru restaurant or shop was extended to include the first drive-thru gallery. Hosted by the Trent Gallery and Long Street Art Lovers 1932, the evening saw sculptures, film and installations displayed by artists in the street. The exhibition continued late into the night, and many of the sculptures remained in the street for the duration of the biennale. Works included Virus by Gordon Froud, Treehugger by Guy du Toit, The Camera Obscura by St. John Fuller as well as numerous other art installations. Participating artists: Banele Khoza, Retha Buitendach, Erica Fraser, Guy du Toit, Dylan Graham, Ryan Loubser, Jodie Loubser, St. John Fuller, Craig Muller, Moira MacMurray, Felix Mlungisi, Gordon Froud, Loeritha Saayman, Mark Swart, Diek Grobler, Sybrand Wiechers.
Liminal Capital
MAGDEL VAN ROOYEN, LISA HNATOWICZ (NEWS24)
tina skukan gallery
28 SEPTEMBER – 16 OCTOBER 2014 Curated by Maricke du Plessis & Magdel van Rooyen Faerie Glen, Pretoria Yellow beacons block the way where roadworks and renovations take place, marking off liminal spaces transforming the city. Roadworks on Church Square, traffic jams on Pretorius Street, and the demolition of a plinth on Lilian Ngoyi Square (previously Strijdom Plain) were underway. A monument celebrating the 1956 women’s anti-pass laws protest march to the Union Buildings would replace the Danie de Jager sculpture of running horses. As concrete as concrete is, it keeps moving and changing in an effort to integrate the
layered history and diverse culture of the inner city, disrupting people’s lives and forcing them into alternative routes. But the building sites and their markers are also beacons of hope, symbols of reparation and progress. This exhibition was a call to celebrate Pretoria. Participating artists: Retha Buitendach, Cecile Burger, Marita Delport, Maricke du Plessis, Linda Fourie, AnnaCarien Goosen, Mariki van Graan, Danél Gravett, Marit Greenwood, Karin Human, Theresa Jo Wessels, Nina Kruger, Anna Liebenberg, Danielle Malherbe, Tineke Meijer, Corlie Schoeman, Pieter Swanepoel, Maritha van Amerom, Mimi van der Merwe, Laurette van der Vyver, Anika van der Westhuijzen, Hendrina van Rooy, Magdel van Rooyen, Minette van RooyenZaaiman, Lorine van Schalkwyk, Josly van Wyk, Jo Roos. GALLERY CRAWLING
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We are part of cool. City Property in association with the 2014 COOL CAPITAL BIENNALE brings style to life, passionately improving Tshwane through colourful and vibrant ideas expressed through small design interventions across the city from all possible creative disciplines such as architecture, art, sculpture, urban design, interior design and product design. By transforming buildings, we inject fresh vitality into our cities, creating sophisticated inner modern and cosmopolitan offices, apartments, retail spaces and warehouses. We are creating quality urban environments for people to work, live, shop and play.
Tel: 012 319 8811 www.cityproperty.co.za
FILM & MUSIC CHAPTER 09
ENABA PRODUCTIONS
Above: Cool Capital lights traveling to projects around the city. Opposite: Live performances of new music written for short films during New Music for New Films.
Pluto Panoussis has worked as a designer, an illustrator, a writer, an architect, and
is the director of a number of award-winning productions. Currently he is head of the Film Arts Department at the Open Window School of Visual Communication. iMPAC (the Initiative for Motion Pictures within the African Continent), founded by him in 2009, is the latest initiative in his ongoing commitment to fostering a culture of exploration in the visual arts. Keith Moss is a full-time composer living in Pretoria. As a musician, his time is
divided between composing, performing as a cellist with various orchestras and ensembles, and directing the Paz Consort. In 2010 he won the SAMRO Overseas Scholarship and toured the UK participating in master classes in composition. He is also the first winner of the Stefans Grové National Composition Competition and his work has entered the exam repertoire both at Unisa and at the Padua Conservatory of Music in Italy.
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City Property follows an urban renewal programme that speaks to the City of
Tshwane’s futuristic 2055 vision, turning many of the run-down and tired buildings in and around the CBD into modern, safe, clean and quality accommodation, thereby creating life and breathing vitality into the inner city. Tshwane is a thriving hub of enthusiasm, but it needs something more. This is why we identified with the Biennale, which brings arts and culture to city residents right where they work, stay and play. City Property made a number of venues available during the biennale for film festivals, music concerts, public art installations and hosted these at a number of the buildings under its management, including Bank Towers, 012 Central and Jardown. All of these venues are also available to the public as venues for functions and parties in the CBD under the banner of the “city party district” where the public can experience Pretoria’s hidden and sassy side.
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SUPPLIED BY THE OPEN WINDOW INSTITUTE
Buildings as Agents for Positive Change
CARLA CRAFFORD
pieter greyvensteyn
Biennale convenor Pieter Mathews with Diane Victor at her dust drawing of Paul Kruger in the TPA building close to church square.
One of the aims of the Cool Capital Biennale was to create awareness of Pretoria’s architectural heritage – to discover some jewels, to focus attention on their current state and to give new life to grand and deserving buildings. This was done in a variety of ways through film, fashion shows and walking tours. According to the acclaimed British publication The Architectural Review, the greenest building is the one already built. Any tourist will tell you that a rich historic architectural fabric is central to what makes any city memorable. Local and national government should take note of this fact. By preserving the heritage of the built environment, government and the private sector would be contributing to a worldclass capital city. The film component of the biennale began with the premiere of a new documentary about Pretoria architect Norman Eaton aptly called In Search of Our Own at Eaton’s Little Theatre, now owned by Unisa. Eaton was the first modernist architect to look for inspiration on the Highveld and celebrate Africanness in his design. Another Eaton building that hosted Cool Capital events was the Nedbank building near Church Square. Bands played on its rooftop and the space was transformed into a pop-up open air movie theatre. Eaton’s house for renowned sculptor Anton van Wouw provided the perfect backdrop for a think tank and gathering of Pretoria’s sculptors. The grandeur of the ZAR Museum (Staatsmuseum) at the National Zoological Gardens was highlighted with a camera pinhole workshop and the screening of Vampyr, an early 20th century silent movie, with a fresh music score. Visitors had to sign indemnity forms because the building was last used more 30 years ago. Its
DEWALD VAN HELSDINGEN
Below: detail of Polley’s Arcade floor with slate tile pattern designed by Norman Eaton.
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ENABA PRODUCTIONS, MARIKE LAMPRECHT
Top: Pop-up screening of silent film Vampyr with live performance of new music composed for it. Right: Blikskottel: REDUX screening underneath Jardown’s parabolic roof.
ABOUT THE AUTHOR
uncertain structural integrity and lack of electricity gave visitors a new appreciation of the frailty of this historic building. Pretoria has a very prominent shared Dutch heritage in its architecture. To highlight this, the Embassy of the Netherlands commissioned the Dutch Footsteps project, a website (www.dutchfootsteps.co.za) documenting the history and stories of the buildings around Church Square and other parts of Pretoria. Hidden gems and unknown spaces belonging to residential management company City Property were given a new lease on life. The Jardown building, with its iconic parabolic roof, hosted a fashion show, Archi-fashion, and acted as a pop-up cinema. The Sheds, an old warehouse near the State Theatre, became a market destination. Various walking tours made the public aware of architectural jewels such as the Capitol Theatre and the Old Synagogue where Nelson Mandela was tried for treason in 1962. With her dust drawing, Let Sleeping Ghosts Lie, artist Diane Victor drew attention to the beautifully built and executed TPA Building, one of the finest examples of Pretoria Modernist architecture, designed by Meiring Naude. Together these events created public awareness of Pretoria’s architectural heritage, and made it clear why maintaining and preserving the city’s historical buildings is so important. Pieter Greyvensteyn is a senior lecturer in architecture at the Tshwane University of
Technology. He received his BArch from the University of Cape Town in 1991 and his masters in architecture from the University of Witwatersrand in 2003. FILM & MUSIC
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PLUTO PANOUSSIS
In Search of Our Own – the Forgotten Legacy of Norman Eaton
FEBRUARY – NOVEMBER 2014 Documentary Film Assisted by Open Window Film Arts Norman Eaton had a profound influence on the architecture of Pretoria. Cool Capital hosted the premier of In Search of Our Own, a new documentary about his work. The film explored Eaton’s forgotten legacy and the influences underpinning his work through a series of interviews and poetic excursions into the buildings he designed, including Polly’s Arcade and the Netherlands Bank (Nedbank) building on Church Square, as 200
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well as an exploration of his intricate notes. Through interviews with Eaton’s former students, leading architects, artists and academics, a portrait is drawn of the man, demonstrating the effect an individual can have on the way in which people think about the spaces they inhabit, and also how people think about themselves and their city. The film celebrated the rich tapestry of South African culture reflected in Eaton’s architecture. Film poster by Pluto Panoussis, Polly’s Arcade filmshoot, Pieter Mathews interviews Stephan Welz & Clinton Harrop-Allin, Atterbury Threatre premiere & directors Adriaan & PJ.
KYKNETTV DAGBREEK: ONDERHOUD - COOL CAPITAL, THE FORGOTTEN LEGACY OF NORMAN EATON 10:24
ENABA PRODUCTIONS, DEWALD VAN HELSDINGEN, CARLA TALJAARD
adriaan de la rey, pj kotze & open window film arts
BONANZA FILMS IN SEARCH OF OUR OWN 1:16:10
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ENABA PRODUCTIONS, DAMARIS HELWIG
Bank Towers Rooftop Concerts
6 & 17 SEPTEMBER, 11 OCTOBER Bank Towers Rooftop 190 Thabo Sehume Street, Pretoria CBD VENUE SPONSOR CITY PROPERTY
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Acoustic Evening We Are Songwriters Collective This Pretoria-based concert series was started by singersongwriter Marcia Moon. It strips songwriters down to their raw talent, voices, instruments and songs by allowing only one artist and his or her instrument to perform at a time. The We series has been running for two years in various venues in Pretoria, most recently at the Asbos Theatre on the first Friday of each month. It was moved to the Bank Towers Rooftop in the city for one night during the biennale.
RUPERT DE BEER, ENABA PRODUCTIONS
keith moss, zane luther & molo mollo cinema club
Songs for Sunrise Molo Mollo Cinema Club
City Concert Coordinated by Zane Luther
The Molo Mollo cinema club in collaboration with iMPAC held the second multidisciplinary film feature on the roof of the Bank Towers building. The silent film Sunrise was screened with a contemporary soundtrack, composed especially for the screening, by local musicians Jacob Israel and A Skyline on Fire. Viewers brought their own chairs and refreshments and enjoyed the film under the stars with fellow cinema enthusiasts.
Nine local bands and solo artists performed in an intimate rooftop concert in the Pretoria CBD. Bands included Carri Wolfe, Marcia Moon, Azurdee and The Blue River Band, Scarlotte Will, Blazin Gooch, The Oh So Serious, Late Night Fox, Le Voyage and Feed the Wolf.
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Capital Classic Music Series
ENABA PRODUCTIONS
keith moss
4 – 6 OCTOBER 2014 Wits Trio, Vivace Guitar Trio, Capital Chamber Orchestra Musaion, University of Pretoria Over the course of four evenings the Capital Classic Series celebrated a diversity of classical musicians and composers. The Wits Trio comprising violinist Zanta Hofmeyr, cellist Maciej Lacny and pianist Malcolm Nay delighted their audience with selected works by Schubert, Dvorak and Shostakovich. The Vivace Guitar Duo (Gerrit Roos and Jonathan Moolman) shared a performance of their latest repertoire. The programme included works by Bach, Boccherini, Queen, Howard Shore and original pieces by Jonathan Moolman. Hemispheres was the title of the concert performed by the Capital Chamber Orchestra, especially formed as part of the 204
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biennale. The concert premiered new works by both Polish and South African composers and featured Polish cellist Maciej Lacny playing the Haydn Cello Concerto in D. Polish composer Marcel Chyrzynski travelled all the way to the biennale to hear the premiere of his work. The orchestra was conducted by Keith Moss and led by Denise Sutton. Finally the 24 Singers of the Paz Consort performed new choral works by young South African composers. The concert was entitled Horizons, after a work of the same title by the esteemed composer Peter Louis van Dijk. Pieter Bezuidenhout conducted the chamber choir performing beautiful new pieces by Franco Prinsloo, Keith Moss and Antoni Schonken and also a work by Bezuidenhout. VENUE SPONSOR UP CAPITAL CITIES PROGRAMME
Pop-Up Cinema
ALEXANDER MELCK
molo mollo cinema club & impac
10 SEPTEMBER 2014 Screening of silent film Vampyr with contemporary soundtrack performed live by A Hollow in the Land & Givan Lötz Old Government Museum, Boom Street, Pretoria CBD
With its rolling fogs, ominous scythes, and foreboding visual echoes, Vampyr is one of cinema’s great nightmares. In it, director Carl Dreyer and cinematographer Rudolph Maté created trick shots that have been imitated many times since, and some atmospheric shots that have yet to be duplicated. There was no better venue to screen this movie than the abandoned ZAR Museum in Boom Street. The museum was donated to the National Zoological Gardens more than 30 years ago and has stood empty ever since. Some old museum exhibitions were still on display, which added to the enticement of the building as a venue for a horror film. The film was accompanied by a new and original music composition that was performed live by South African artists A Hollow in the Land and Givan Lötz. Access to the Government Building was generously facilitated by the National Zoological Gardens of Pretoria. FILM & MUSIC
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Open Screen Film Sessions
PLUTO PANOUSSIS, SCREENSHOTS OF WINNING FILMS
pluto panoussis
7 SEPTEMBER, 5 OCTOBER, 2 NOVEMBER 2014 Aspiring filmmakers Hazelwood, Church Square, Irene
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The open screen is to aspirant filmmakers what the open mic is to comedy and music. The open-screen sessions gave filmmakers the chance to show and discuss their short films to an interested audience and ran monthly for the duration of the biennale. The screen and the sound was provided, and the filmmakers provided the entertainment. Winning films were decided by the audience.
New Music for New Films
PLUTO PANOUSSIS
keith moss & pluto panoussis
21 – 23 OCTOBER 2014 Screening of new short films with their sound tracks performed live SAX Arena, Open Window Campus, Southdowns
New Music for New Films brought together seven local filmmakers and composers in a fusion of classical music and film. The composers created musical works designed specifically around the visual experience of the films. The screenings were accompanied by live performances by the Paz Consort. Use of the SAX Arena was generously facilitated by the Open Window Institute FILM & MUSIC
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Atterbury Cultural Film Festival
22 – 24 SEPTEMBER 2014 Atterbury Theatre, Brooklyn Bridge Brooklyn, Pretoria The Atterbury Cultural Film Festival was held over three days in the Atterbury Theatre. The films screened included short films, documentaries and multi-disciplinary performances that incorporated film.
1. Portraits of Pretoria Portraits of Pretoria celebrated the capital city, featuring selected short films by students, young filmmakers and professionals that offered portraits of people who live in Pretoria, the buildings they occupy and the lives they lead. The programme featured work by Sovereign Films, work by students of the TUT Film Programme and the Open Window School of Film Arts, as well as an AV installation in the foyer by UP architecture students. 2. Metropolar
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Pretoria-based audio-visual artist Jotam Schoeman joined forces with Johannesburg spoken word artist Modise Sekgothe to explore the dynamics and tensions of living and creating within a contemporary South African metropolitan area.
ADRIAAN DE LA REY, PJ KOTZE, JOTAM SCHOEMAN, PLUTO PANNOUSIS
pluto panoussis
3. P remiere: In Search of Our Own – The Forgotten Legacy of Norman Eaton Norman Eaton was an idiosyncratic Pretoria architect who has had a deep-rooted influence on the architecture of the city. This documentary explored his forgotten legacy, the influences underpinning his work, and questioned the way forward for the capital city through a series of candid interviews and cinematic excursions into the poetics of his architecture. The film was an Open Window Film Arts production directed by Adriaan de la Rey and P.J. Kotze. It featured original musical compositions and performances by Keith Moss, Pieter Bezuidenhout, the Horizons project choir and Jaco Van der Merwe. BONANAZA FILMS IN SEARCH OF OUR OWN 1:16:10
4. The French Garden This concert featured unusual French musical works for piano, flute and film with music by Debussy, FaurĂŠ, Messiaen, Massenet and Satie, among others. These haunting pieces were played by Anneke Lamont on the piano and by Merryl Monard on the flute. The show was presented with equally haunting visuals created by the Open Window School of Film Arts, featuring films by Kelly Daniels, Travis Cleevely, Luke Menzel, Karien Mulder, Adriaan de la Rey, Gerhard Roeloffze, and Ivan Janse van Rensburg.
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Blikskottel REDUX: 10 jaar later
PLUTO PANOUSSIS, MARIKE LAMPRECHT
molo mollo cinema club
VENUE SPONSOR CITY PROPERTY
8 – 11 OCTOBER 2014 Jardowns Madiba Street, Pretoria CBD Liegstories, sopstories, fopstories, mites, legendes, bespiegelings en skinnergoete. Blikskottel (2004), wat die “Monty Python van Pretoria” gedoop is, was die eerste TVreeks wat in sy geheel in die hoofstad vervaardig en verfilm is. Dit was ’n omstrede garage-punkproduksie wat sigself tot in die in die harte van kykers geskop, gekruip en gespoeg het. Blikskottel het ’n kultus-aanhang ontwikkel toe dit 10 jaar 210
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gelede uitgesaai is. Met Hannes Brummer, Jan Wolmarans, Mareli Minnaar, Neels Claasen, Tiaan Rautenbach. Regie deur Pluto Panoussis en animasie deur Diek Grobelaar. Molo Mollo het met trots die regisseursnit van die volle reeks in die loop van vier dae aangebied. Lede van die oorspronklike rolverdeling het die openings- en slotvertonings bygewoon.
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MAAAMEDIA BLIKSKOTTEL TEASER 1 1:34
Korean Film & Food Festival
PLUTO PANOUSSIS
korean embassy & open window institute
This cinematic and culinary experience of contemporary Korean culture was hosted by the Korean embassy. Film screenings were free to the public, and included The Host, TAE GUK GI and Punch.
17 & 18 OCTOBER 2014 SAX Arena Open Window Campus, Southdowns, Irene
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012 346 1050 www.pia.org.za
CITY-INSPIRED EVENTS
CHAPTER 10
Mauneen van Wyk is passionate about good buildings, beautiful art, music and
photography. She is the executive officer of the Pretoria Institute for Architecture, studied business through Unisa, events management through UCT and has a background in nursing.
Adriaan Louw obtained his master’s degree in architecture cum laude from the
Tshwane University of Technology (TUT). After graduation, he was employed by the government as a young professional architect. Adriaan believes in multi-disciplinary design studios and involves himself in all aspects of design ranging from architecture and furniture to gourmet food. He is a keen photographer and avid traveller.
Mareli Wassenaar is the organizer of the Capital Collective, an initiative that aims
to enhance collaboration between the public and private sectors as partners in the rejuvenation of Pretoria’s inner city. She is also a communications and marketing consultant and events manager, passionate about the inner city and its potential. Opposite: Digter Adriaan Coetzee dra ’n gedig uit sy bundel Gordel voor tydens die tweede digtersmarathon by Graffiti-boekwinkel.
Zahn Hulme is a qualified chartered accountant, completing her articles at Deloitte
in Pretoria in 1990, followed by a MCompt dissertation on identifying potential in chartered accountants during recruitment. Zahn was involved in the establishment of the Atterbury Trust in 1998 and joined on a full-time basis in 2007. She is responsible for the administration of the Trust and marketing for the Atterbury Group. Zahn organized the Capital Poetry Marathons and facilitated the printing of poetry on placemats distributed to restaurants in Lynnwood Bridge and The Club development. Johann Botha is a social entrepreneur and part-time film lecturer. His passion for
teaching and social change led to One Shot Films, a community-based film initiative that aims to gather South African stories and to inspire citizens to actively participate in the content creation and positive identity formation of our diverse South African communities. These films are all created via mobile phones, making the medium accessible and leveling the playing field to create a spirit of equality and authenticity.
THIS CHAPTER IS SPONSORED BY
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Established in 1945, the Pretoria Institute of Architects is a voluntary institution with a long history of being actively involved in promoting the Architectural industry through their direct involvement in architectural congresses, professional training, bi-annual events, information distribution, liaising with local authorities and providing expert advice on furthering good architectural practices and protecting the architectural heritage of Pretoria.
PIETER MATHEWS
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Pretoria as Inspiration adriaan louw Cities historically formed as meeting places, common ground and trading hubs for produce, crafts, knowledge and, of course, entertainment. The city was not only the setting for these interactions, it was an event in itself. Capital cities emerged as administrative centres for countries or larger areas. This formal administrative function or series of events predetermined what is now expected of capital cities such as Pretoria. But Pretoria, Snor City, Jakarandastad or P-town, as some call it, is far from stereotypical. This capital has been dubbed cool not only because of the biennale with its artistic and architectural interventions, or because of the new market at the Sheds with its great food and craft beer. Pretoria is cool despite the inspiring poetry marathons, the intriguing one-shot films and the pinhole camera workshops. It was cool before the informative PIA bus tours, the winding walking tours, the glamorous TUT Archifashion show or the St. Lorient rooftop exhibitions. Cool Capital’s exciting and diverse range of events enticed curious Pretorians to discover areas out of their ordinary routine. This exploration led the assessment of the value of public art and architectural interventions as part of the city’s fabric, while realizing the great opportunity that a market offering local food and crafts had as a meeting place and for cultural exchange. The ground-level experience of a walking tour confirmed the potential of the city as well as serving as a reminder of the treasures it holds, while the bus tours offered a mesmerizing perspective on Pretoria from all angles. The cross pollination of inspiration from architecture to fashion to art was clearly visible on various occasions, reasserting the possibilities of creative collaboration. The capital’s secret to being cool lies in its rich culture, heritage, potential and diversity. The great diversity of the city could be celebrated because there is a common thread among all its inhabitants: a passion for Pretoria. Young and old of assorted backgrounds shared views, experiences, food and ideas, some of them nostalgic, most of them optimistic. This all took place with Pretoria as the common ground, the meeting place. Public spaces, according to Oriol Bohigas, a Spanish architect and urban planner, are what define a city’s character. Ultimately social interaction and events can only exist when people participate. As Shakespeare said, ‘What is the city but the people?’ And what are people without an event? ABOUT THE AUTHOR
Adriaan Louw is an architect who believes in multi-disciplinary design studios,
involving himself in all aspects of design ranging from architecture and furniture to gourmet food. He is a keen photographer and avid traveller.
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Pink Pancakes for the Capital City
CARLA CRAFFORD
harrie siertsema
5 NOVEMBER 2014 Part of the Blow Your Sculpture exhibition Harrie’s Pancakes in Arcadia, Pretoria
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During the exhibition Blow Your Sculpture, Harrie’s Pancakes delighted guests with a collection of flavoured pancakes inspired by Pretoria’s famous jacaranda trees. The jacarandas blossom in October, and were in full bloom during the biennale. Students in the city see it as a sign of good luck for their final exams if a blossom falls on their head and small children pop the blossoms in order to make a wish.
Plaasfees
INGMAR BÜCHNER
witopwit & sonja’s foods
18 NOVEMBER 2014 Pappastad Verjaar Plaasfees Universiteit van Pretoria proefplaas Pretoria het op 16 November 1855 tot stand gekom toe die plase Elandspoort en Daspoort tot ’n dorp verklaar is. Met sy stigting was Pretoria ’n plaaskerk in ’n onbewoonde gebied met geen bestaande streekspolitieke mag nie. Die nuwe hoofstad is uitgelê in die vorm van ’n reghoekige rooster met Kerkplein as die middelpunt. Met die verloop van tyd is sy monumente al langs die kenmerkende rante wat die stad van oos na wes deurkruis, opgerig. Hieronder tel die Uniegebou (1910) wat vandag een van die stad se voorste argitektoniese ikone en ’n simbool van kulturele diversiteit is. Ander simbole wat verskeie ENGLISH 243
tydvakke in die Suid-Afrikaanse geskiedenis verteenwoordig, sluit in die Voortrekkermonument en Vryheidspark. Dié grepe uit die stad se geskiedenis het as inspirasie gedien vir die konseptuele diagramme vir die Pappastad Verjaar Plaasfees. Ter viering van Pretoria se 159ste verjaardag het Sonja Foods, Cederberg Privaatkelders en die konsepmaatskappy WitOpWit kragte saamgesnoer om ’n tapas-en-wynproeaand aan te bied. Die geleentheid het op die Universiteit van Pretoria se proefplaas plaasgevind. Dié versteekte, oop stuk plaasgrond is geleë naby die digbeboude stadskern en dien as ’n herinnering dat selfs Kerkplein eens ’n ruim, ongelyke stuk grasveld was. Ontwerpers: Karlien Thomashoff, Inge Wilkinson, en Marguerite Pienaar. Wyn vir hierdie geleentheid is verskaf deur Cederberg Privaatkelders. CITY-INSPIRED EVENTS
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JURGENS BURGER
Papierete
10 OKTOBER 2014 Wonen+, Carlton Cafe Delicious, & Kaalkop Studio met The Gallery on 13th, Bits & Pieces Antiques, en FOM (Freedom of Movement) Winkelstoep van 13de straat, Menloparksentrum Drie kreatiewe siele wat ondernemings in die Menloparksentrum in 13de Straat besit – Janien Kluge van Wonen+, die koskenner Rachel Botes van Carlton Cafe Delicious en die kunstenaar Nataniël van Kaalkop – het saamgewerk om gaste op ’n asemrowende papierpartytjie te trakteer. Die drie het besluit om ’n spesiale aandete vir ’n vasgestelde aantal gaste te bedien aan ’n lang tafel wat op die sypaadjie voor die drie aangrensende winkels staangemaak is. Hul oogmerk was om teen die einde van die aand, nadat almal heerlik aan die kos weggelê het, ’n tipe lewende installasie te skep wat gefotografeer en verfilm sou word. Die ete moes eenvoudig, maar terselfdertyd skouspelagtig, wees. Daarom 220
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is besluit om papier en Pretoria die temas vir die aand te maak. Alles was van papier gemaak, van die messegoed tot die tafeldoeke waarop die gaste kunswerke geteken het, sodat dit na die tyd in enigiets van poskaarte tot teelappe omskep kon word. Plat papierklokke op die tafels is oopgemaak en het deel geword van die versierings toe die gaste opgedaag het. Al die gaste het krone en halsversierings van papier gedra. Die plekmatjies het bestaan uit geverfde eierhouers waarop die spyskaart in die middel gelamineer is. Die servette is gemaak van vier dun papierdoeke wat aanmekaargenaai is. Vyf studentekunstenaars het die aand se gebeure in hul sketsboeke verewig. Die sewe gange wat bedien is het by verskillende fasette van Pretoria se ryke kulturele verskeidenheid aangesluit. Gaste is behoorlik onthaal met van lemmetjie-gegeurde eend tot ’n eetbare roosterkoekplaat met verskeie vleise, melktert-roomys en sjokoladepeperment-gegeurde nougat. Al sewe gange is met wyne van Saronsberg bedien. ENGLISH 243
JURGENS BURGER
janien kluge, rachel botes & nataniël
MEERFOUT 13TH STREET STOEP DINNER 5:54
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Digtersmarathons
PIETER MATHEWS. IZANNE WIID
capital letters, guillotine tydskrif & graffiti boekwinkel
30 AUGUST, 12 SEPTEMBER 2014 Protea Boekhuis, Graffiti-Boekwinkel Hatfield & Lynnwood Bridge Daar is heelwat digtersinisiatiewe in die metropool, maar weens ’n gebrek aan blootstelling gaan die meeste daarvan ongesiens verby. Die oogmerk met die twee Digtersmarathonne was om die verskillende poësiegroepe wat reeds in die stad werksaam is, aan ’n groter gehoor bekend te stel en om poësie as’t ware na Jan Alleman te neem. Die eerste geleentheid is op 30 Augustus in Protea Boekhuis in 222
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Hatfield aangebied en die tweede op 12 September in die Graffiti-boekwinkel in Lynnwood Bridge. Dié geleenthede, wat deur die groep Capital Letters in samewerking met die tydskrif Guillotine en Unisa Poetry Society gereël is, het digters van alle uithoeke van Pretoria byeengebring en aan mekaar voorgestel. Die eerste Capital Poetry-marathon het in ’n informele trant verloop met ’n ieder en elk wat toegelaat is om aan die oopmikrofoonsessie deel te neem. Vir die tweede geleentheid is 16 bekende digters genooi om elkeen twee van hul eie verse voor te lees, asook ’n gedig deur ’n digter van hul keuse. ENGLISH 243
Gedigplekmatjies
CARLA TALJAARD, PIETER MATHEWS, DIPNA BAHNA
zahn hulme
DATE: 29 AUGUSTUS – 16 NOVEMBER 2014 Verskeie restaurante Lynnwood Bridge & The Club, Menlopark Verskeie gedigte wat oor die hoofstad handel is spesifiek vir die biënnale op plekmatjies gedruk en by alle restaurante in die Lynnwoodbridge en The Club-ontwikkelinge uitgedeel om vir hulle klante te gee. Die doel van die plekmatjies was om waarlik poësie na Jan Alleman te neem, en om mense die geleentheid te bied om ook ’n stukkie digkuns huis toe te neem. ENGLISH 243
Atterbury Trust het die druk- en onwerp van hierdie plekmatjies behartig, en gedigte van Louis Esterhuizen, Raphael d’Abdon, Christa F. de Vries, Gisela Ullyatt, Leon Naude, George Seferis, Jan A.F. du Plessis, Marius Crous, Fred Boshoff, Adri Breed en Natalia Molebatsi is gebruik. Met dank aan Johan Myburgh vir die idee.
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Bal-loon
LEANDRI KERS
liberty battson
29 AUGUST 2014 Open Window Institute Southdowns, Irene
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Bal-loon was an art installation of 1 000 balloons at the Cool Capital Biennale’s official launch party. It began as an attempt to bridge the gap between public and contemporary art. The installation was a representation of a celebration – of the arts, of joy and of the launch of Cool Capital. The balloons represented the sense of joy that is found in the idea of a balloon as an artwork. Ninety percent of the balloons were blue and 10 percent of them were red, visually demonstrating the notion that 90 percent of what we fear will never happen.
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Market@theSheds
MARIKE LAMPRECHT
mareli wassenaar & the capital collective
18 OCTOBER 2014 Helen Joseph Street Pretoria CBD
On 18 October 2014 more than 1 500 people converged in Pretoria’s inner city in pursuit of a unique African urban experience, great food, music, design and art, at the first Market@theSheds. The market was an initiative of the Capital Collective, a united force of people and organisations who aimed to accelerate the rejuvenation of Pretoria’s inner-city by leveraging the influence, knowledge, skills, resources and passion of the city’s people. CITY-INSPIRED EVENTS
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Old & New Bus Tours
ENABA PRODUCTIONS, CARIN LESLEY CROSS
the pretoria institute for architecture
18 & 19 OCTOBER 2014 Greater Pretoria area With Mauneen van Wyk & Lynn Fordred SPONSOR FLOORWORX
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The aim of these tours was to encourage people to see Pretoria as a tourist destination. With the jacarandas in bloom, bus tours offered a great way for people to see and experience the city, to hear its untold stories and to enjoy the sights of the CBD without worrying about parking and traffic.
One-Shot Film Workshops
JOHANN BOTHA, PLUTO PANOUSSIS
johann botha & one-shot films
30 AUGUST, 11 SEPTEMBER, 1 NOVEMBER 2014 Community filmmaking initiative Open Window Film Arts, Inscape Education Group, & Pretoria Zoological Gardens One Shot Films is a community filmmaking initiative that engages with amateur and up-and-coming filmmakers/ actors who share a passion for filmmaking. During a half-day workshop participants learnt to script, shoot and screen films.
They also had an opportunity to network with like-minded creatives and learn the fundamentals of filmmaking in a safe, inspiring environment that encouraged experimentation. Films were shot on cellphones, which made the workshops accessible to anyone who wanted to try their hand at making a film. One Shot Films was generously hosted by the Open Window Film Department, Inscape Education Group and the Pretoria Zoological Gardens. CITY-INSPIRED EVENTS
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Pin-hole Photography Workshop
ILZE WESSELS, PINHOLE PHOTOGRAPHS
ilze wessels
6 SEPTEMBER 2014 Pinhole camera workshop Old Government Museum, Boom Street, Pretoria CBD
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Participants were presented with the tools and information to make their own pinhole cameras. The results saw the development of different visions of a place stored on a roll of film sealed tightly in a little box with a hand-made lens. Each image was a small miracle of light, insulation tape and timing. The photographs that participants created embodied an array of narratives about the city, and represented their engagement with the city and its stories via a simple but fascinating medium.
Beyond Fabric-ation
ISABEL NELL
lucy anastasiadis with st. lorient fashion & art gallery
1 NOVEMBER 2014 Art, fabric, & fashion exhibition With professional artists & textile designers, & TUT Department of Fashion Design & Technology There is a perception that art appreciation is erudite, timeless and important whereas interest in fashion is frivolous, ephemeral and consumer-driven. This was proven wrong at the opening of Beyond Fabrication, a collaborative effort by artists, textile designers and fashion designers at the St. Lorient Fashion and Art Gallery. Artworks were used as inspiration for the design of fabrics, which were then made into couture
garments. The artists were Andre Naude, Gordon Froud, Celia de Villiers, Anton Smit, Tommy Motswai, Gwen Miller, Petro Neal, Michaella Janse van Vuuren, Thelma van Rensburg and Tanisha Bhana. The artworks were translated and turned into fabric by textile designers Clara Jansen, Celeste van der Merwe, Christa Badenhorst and Mayuri from Mesaw Studios. The fabrics were turned into garments by second-year fashion design students from the Tshwane University of Technology with the assistance and expertise of the staff at St. Lorient Fashion and Art Gallery. Models walked among the guests at the exhibition to showcase the pieces alongside the artworks that inspired them. CITY-INSPIRED EVENTS
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Archi-fashion Show
MARIKE LAMPRECHT
tshwane university of technology department of architecture
22 OCTOBER 2014 Jardown 384 Madiba Street, Pretoria CBD 2014’s Archi-fashion show was hosted in collaboration with Prism Architects. The aim of the show was to creatively explore the capital’s unique architectural language in the form of a garment, thus creating awareness of Pretoria’s built environment and architectural styles. Archi-fashion has been an integral part of the first-year architecture programme at the Tshwane University of Technology (TUT) for a number of years. It explores the 230
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common visual and intellectual principles that underlie both fashion and architecture. Both disciplines start with the human body and expand on ideas of space and movement, serving as outward expressions of personal, political and cultural identity. Architecture and fashion both produce environments defined through spatial awareness. The structures they create are based on volume, function, proportion and material, which examines themes such as shelter, identity, tectonic strategies, creative process and parallel stylistic tendencies including deconstruction and minimalism. VENUE SPONSOR CITY PROPERTY
Open City Walking Tours
ADRIAAN & NADJA LOUW
adriaan louw
25 & 26 OCTOBER 2014 Open City Initiative Pretoria CBD The Open City initiative derived its concept from a historic war principle of declaring a city open and conflict-free in order to protect its significant landmarks. In a similar way, the walks encouraged people to explore the city with a tourist’s perspective to rediscover its treasures. The tours aimed to promote the city and its historical features to a diverse range of attendees. The walks were free of cost and provided access to buildings and areas not
commonly visited, which sparked some excitement about the inner city’s diversity and culture. Walks included prominent historical sites such as Church Square, the Union Building, the Old Synagogue and the City Hall precinct. It also captivated participants with new developments such as the TRT stations, the Pretoria Sheds and the new Lilian Ngoyi Square, still under construction. The walks illustrated the benefits of density, the walkability of the city and the economic potential it holds. The walks continued after the biennale, and are held once a month.
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LOOKING BACK CHAPTER 11
EMANUEL MUNANO (PRETORIA STREET PHOTOGRAPHY)
The Kind of City We Are
Nightlife on Church Square after a rainstorm, Image captured on 11 October 2013 by Pretoria Street Photography founder Emanuel Munano.
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A food specialist and editor of the 2014 Rossouw’s Restaurant Guide recently remarked that the fact that Pretoria’s restaurateurs and chefs are essentially dismissed throughout the rest of the country allows the city’s young chefs to develop and grow away from the spotlight, without risk of their disasters being publicized. In this instance, she was referring specifically to young women chefs who might not have the same opportunities in Pretoria to shine as they would elsewhere. That seems to me the gift of obscurity that many of the arts in Pretoria are given. What might seem like a snub is actually a result of the laziness of commentators who don’t properly investigate the creativity of the city. There has always been a sense, especially in magazine coverage, that there are only two cities in South Africa worth considering: Johannesburg and Cape Town. This is largely because most publications and those working for them live and work in those two cities. They cannot totally ignore the rest of the country, so the spotlight does occasionally
HANNELIE COETZEE
diane de beer
Tant Koek (2015) on Helen Joseph Street, corner of Sisulu in the Pretoria CBD, an urban artwork by Hannelie Coetzee. Porcelain and glass tile mosaic, 2m x 3m. Commissioned by City Property.
ABOUT THE AUTHOR
MAAAMEDIA COOL CAPITAL LOERIES 2015 2:28
turn Durban’s way, although with less focus. But Pretoria is seen as the unwelcome cousin. Fortunately, the creatives and artists in the city have never paid heed. In fact, Pretoria is the Cool Capital for a reason. Its creative citizens don’t need others to tell them they’re cool; they know it. When artists from Pretoria make it on the national and international scene, Pretoria’s citizens are not surprised. It’s not only chef Chantel Dartnall (recently named Eat Out Chef of the Year), pianist Petronel Malan, singer/songwriter Vusi Mahlasela, sculptor Angus Taylor, showman Nataniël, playwright/director Paul Grootboom or rap group Bittereinder who can compete with the best anywhere in the world, there’s a strong cadre of cool kids who are ready to burst through. Sometimes they’re not even properly recognized at home before they find themselves in the public eye nationwide. That’s what makes this quietly vibrant city such an exciting place. Pretoria is a serious player when it comes to the arts. The city has some of the best institutions from which the finest art graduates emerge (TUT musical theatre graduates like Earl Gregory and Lebo Toko as well as University of Pretoria choreographer Nicola Haskins of the Matchbox Theatre Collective, to name just a few). Perhaps now, with the advent of Cool Capital, Pretoria’s real artistic and creative capacity will be embraced by the city and all its people. This biennial will help to forge alliances and safety nets for those out there still playing alone. Who would have known that Karabo Poppy Moletsane is a Pretoria-based illustrator and designer who has a national influence on a African-based design, or that the bright young spark who has joined Bertus Basson as a judge on Justin Bonello’s excellent national braai competition, Chef Petrus Madutlela, is a Pretoria boytjie now working with London’s food elite? That’s the kind of city Pretoria is. I’ve been told of a group of city photographers who got together because one of them, Emmanuel Munano, was mugged while taking pictures in what is seen as a nasty side of the city. Instead of turning on his heels and running away, he decided to get together a band of brothers and now they move in a pack as they document their dreams and desires as the Pretoria Street Photography collective. Instead of crying, this cool city is a creative hub where people let their actions do the talking and Cool Capital has created a platform for Pretoria’s extraordinary creative resources for the whole world to see. Diane de Beer is a senior arts journalist at the Pretoria News writing for the
Independent News national arts section, Tonight. A theatre and film critic, she also writes about fine art, music and the general Gauteng art scene. She edits the books pages for the Pretoria News and writes a weekly food column in which she encourages those who love food to have fun when they go feasting. LOOKING BACK
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A Biennale of Firsts for our Cool Capital City val boje
ABOUT THE AUTHOR Valerie Boje is the editor of the Pretoria
News. She spent her working career at the publication, first as a student, then a reporter, sub-editor and later executive editor. She sees it as a privilege to have witnessed political upheaval and change in South Africa, and an added privilege to be able to edit the paper she cares so much for. She is proud to be a citizen of the capital city.
As the first Cool Capital Biennale drew to an end, it was time for the organizers to reflect on its success. The Biennale proved to be a good start, offering residents the chance to look at their urban environment with fresh eyes and having fun with more than 90 installations and special events over a ten-week period. Cool Capital also got residents out exploring on a number of tour days. There were new markets and opportunities to showcase local art and musical talent. The “guerrilla biennale” was the brainchild of Pretoria architect Pieter Mathews, who has been honoured with a Pretoria Institute of Architects President’s Award for Innovation for Cool Capital. “In pushing boundaries, bridges were built, platforms given, new opportunities raised, potential shown and networks built,” said Mathews. Co-ordinator Carla Taljaard said there were many highlights. Bus tours through the city were popular, taking in prominent historic buildings in the city as well as important new developments in the CBD, including the recently completed A Re Yeng bus stations. Other highlights were: • A full orchestra premiered classical works by young classical composers based in Pretoria. • Film screenings on city rooftops. • Lighting up the Voortrekker Monument in bright pink. • Guerrilla art installations such as wrapping Paul Kruger’s statue in tin foil and the gabion walls at Fountains Circle in purple. • Introducing sculpture to the city, including the controversial Two F... Typewriters by Johan Thom which was displayed in the foyer of the Pretoria News until it was replaced with the Movember-themed Snorre & Ladders by Guy du Toit. The commissioning of some permanent public art, by City Property (three pieces to go outside their buildings), and Menlyn Maine’s Spirit of Tshwane by Anton Smit. • Ten cement benches were designed by students and artists for the city. They have been placed at Pretoria Station, Church Square and the Ditsong Museum of Natural History, among other spots all over the city. • Involvement of Grade 11 art students from a number of schools in doing their own art projects with acclaimed local artists. • Renowned artist Diane Victor’s dust drawing of ZAR President Paul Kruger lying in state. • City markets that offered new and local treats. All of these activities contributed to a very successful inaugural biennale. With the help of the generous people of this city, we hope to have many more. This article first appeared in the Pretoria News on Sat 22 November 2014.
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150+
UNCURATED GUERRILLA DIY INTERVENTIONS
build bridges
connect people
make a difference embrace diversity
acknowledge community
high impact, low cost
value nature
treasure cherish art sculpture
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COOL CAPITAL BIENNALE A VISUAL MANIFESTO have fun
be authentic be creative
put a smile on the mind
empower
do it yourself
inspire
reimagine explore
promote teamwork
support encourage excellence initiative LOOKING BACK
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Attacq Atterbury Atterbury Trust BASA: Business and Arts South Africa Beeld Bombela Chryso Southern Africa City of Tshwane City Property De Design ENABA Productions Gautrain iMPAC: Initiative for Motion Pictures within the African Continent Inscape Design College Institute for Landscape Architecture South Africa Kingdom of Netherlands Lafarge Luminence Lighting MAP: Modern Art Project Mathews And Associates Architects Menlyn Maine Molo Mollo Cinema Club NRF National Zoological Gardens of Pretoria One Shot Films Open Window Institute Panda Broadcasting PIA: Pretoria Institute for Architecture Plascon PPC Cement Pretoria Arts Association Pretoria News Site_Specific Land Art [•]squareDot Media Strauss & Co Sunshinegun Thursdays Cat Media Tshwane University of Technology UNISA: University of South Africa University of Pretoria University of Pretoria Community Based Project Vega School of Brand Leadership Voortrekkermonument Walls & Roofs in Africa Magazine
THANK YOU THANK YOU 01
TRANSLATIONS
CHAPTER 12
HELLO FROM US PAGE 8 : THE RETURN OF ICONOGRAPHY Pieter J. Mathews A few years ago, no one would have foreseen that the citizens of Pretoria would be so proud of their local symbols – to the point where the city is being promoted with its very own icons! The race between global and local is finally tipping in favour of the homemade. This is visible in a newfound pursuit of an identity through the reinterpretation of the old in contemporary design. Being inclusive rather than exclusive, these new manifestations of identity appeal to a variety of citizens and culture groups, becoming a celebration of their own local symbols rather than an imitation of international trends. On the Cool Capital Biennale’s first poster, the Voortrekker Monument proudly displays a brand new jacket, just like a Bollywood Star, decked out in pink and purple Ndebeleinspired patterns. The local designer Louis Minnaar – also lead singer of the rap group Bittereinder – created this striking artwork, which has since become a collector’s item. In a similar way, the Voortrekker Monument is becoming increasingly trendy as numerous youngsters (and some notso-youngsters) flock to the monument for the Park Acoustics events. Several artists such as Liekie Fouche and Lynette Ten Krooden also display the monument in their work. The monument itself even joined in the fun and allowed itself to be illuminated (quite surprisingly) in pink to celebrate the creative months of the Cool Capital. Returning to the Ndebele interpretation of the monument, one of the Cool Capital interventions made use of shweshwe cloth. Few are aware that the cloth and pattern – which is still used by Bapedi women for traditional outfits – was originally manufactured in Europe and presented as a gift in 1840 to King Moshoeshoe of Lesotho by French missionaries. He popularized it and the name shweshwe comes from Moshweshwe, a misspelling of his name. This cloth was also adopted by Voortrekker women and was known as “sis lap” in the local idiom. These cloth designs are and still are being made all over the world and have historically proved to be popular with people from all walks of life, illustrating how it represents Pretoria and its people, whether English, Bapedi, Afrikaans or Indian. From interpreting “sis lap” to “voortrekkerkappies”. The voortrekkerkappie underwent a whole new formal change in
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the biennale’s schools projects. The students at Afrikaanse Hoër Meisieskool, under the leadership of artist Rina Stutzer, reinterpreted their school crest, Anton Van Wouw’s “boere nooientjie”. Themes such as shelter and weaving re-imagined the voortrekkerkappie in a modern, contemporary form. Two of the works are displayed on the facade of the new school hall. As part of a highly successful PPC urban public bench project, the “koeksister”, a traditional sweet snack, was depicted and presented as a public bench. Inspired by the free flowing, multiple facetted forms created by the world-famous architect Zaha Hadid, the koeksister’s shape was renewed and reinterpreted. This is just one of many instances where global influences have given rise to the reinterpretation a traditional form – giving it new meaning and purpose. The civil-service mentality of Pretoria has for years been ridiculed with the “snor” (moustache). The snor was yet again retrieved from history with a snor bench, designed by Sybrand Wiechers, complete with ball-and-claw feet as symbol of the everyday man’s aspiration. (The acquisition of a ball-and-claw furniture set was the epitome of aspiration, demonstrating financial success.) On the Open Foundry Day, Guy du Toit helped all the visitors to make wax snorre, which were subsequently cast in bronze. He then joined all these miniature artworks into a single collaborative piece entitled Snorre and Ladders, alluding to the board game snakes and ladders. This artwork will be used as a rotating trophy awarded to the most generous Cool Capital corporate sponsor. Why try and emulate other cities? Long gone is the shy city. Pretoria is becoming more comfortable in its own skin. By uncovering and reinterpreting our traditional symbols in the form of enterprising and daring contemporary designs, we have renewed our capital’s identity with a smile.
ART INSTALLATIONS PAGE 31 : I PRETORIA Bianca Potgieter AUGUST – NOVEMBER 2014 Church Square Mos grafitti Graffiti is an age old way to brighten up run down areas in cities, but paint is an environmentally unfriendly medium for artistic expression. It is, however, possible to present a form of
graffiti that is environmentally friendly, resilient, cost-effective and beautiful all-year round. “Ek Mos Pretoria” was a unique initiative that introduced moss graffiti, also called ecograffiti or green graffiti, to the capital city. Artworks over the city were created with moss-graffiti, among others, the typographical work with words “Ek is mos van Pretoria” (I am from Pretoria, of course) and “Ek mos Pretoria” (I Pretoria, of course). The main idea behind the intervention was to nurture thoughts of affection for the city among its citizens and to cultivate a positive attitude towards Pretoria. The intervention also taught people to make the moss-mixture in order to paint anything they wished all over the city. A small idea can grow to become a big movement, and this can eventually change the lifestyles of people and make the capital city a greener place.
ART INSTALLATIONS PAGE 32 : EDIBLE CITY WitOpWit (WhiteOnWhite) 12 NOVEMBER 2014 Pretoria Country Club Edible scale model of Pretoria WitOpWit (WoW) is a concept factory that devises events and utilitarian art using a wide range of resources and materials. WoW built a temporary, edible installation of Pretoria – the legislative capital city of South Africa. The installation was seen as an event, where an abstraction of the inner city was assembled using nougat, coconut ice, and layers of biscuits and eaten afterwards. An edible scale model of the city was created, using the city’s infrastructural grid as underlay – constructed with a large stencil and icing sugar on a dark surface. The inner city was assembled block by block, with layer biscuits and various other sweets. The idea was to raise awareness of the decaying inner city of Pretoria and its inherent potential. At the end of the event installation, the audience was invited to “eat the city” as a metaphorical gesture.
ART INSTALLATIONS PAGE 40 : {IN}-GEWORTEL (ROOTED{IN}) Danélle Janse van Rensburg SEPTEMBER 2014 Pretoria Art Museum Park, Arcadia {In} – gewortel was a sculpture installation piece consisting of wooden swings that were installed outside the Pretoria Art Museum and the Pretoria Arts Association. The piece was conceptualized to not only form part of the artist’s direct environment, but to also have an immediate impact on it. The installation was about children and was therefore made specifically for children. The artwork comments on the safety of our public spaces and questions whether or not there are enough such spaces for the children living in the city. A different word is engraved on each of the wooden swings, all relating to embedded thoughts about culture. Words include: {deep} – rooted, {in} – grained, {in} – geburgerd and {in} – gewortel. A swing is also an object that symbolizes that absolute freedom of being a child – freedom that is sometimes stolen.
ART INSTALLATIONS PAGE 43 : KINDLOOS (WITHOUT CHILD) – A GILL MARCUS PORTRAIT Hannelie Coetzee 12 NOVEMBER 2014 Helen Joseph Street, Pretoria CBD Artist, photographer and social entrepreneur Hannelie Coetzee created a mosaic portrait (150mm x 180mm) of Gill Marcus, former governor of the South African Reserve Bank. The work was fixed to a wall across the bank’s entrance. The work not only honours the work that Marcus did for the Reserve Bank, but also for her contribution to society as a spinster. Coetzee’s work relies on interaction with people who interact with the work in order to reach a broader audience. In this way, Coetzee moves deeper into the boundaries of the work itself, all while scratching at the surface of the city’s skin, getting to know the city and creating a sense of connection.
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SCULPTURES & FOUNDRIES PAGE 125 : PINNED TRANSITORY II Rina Stutzer
bathtubs, jilted brides and overall anarchy in the Capital. It featured the talents of Hannes Brummer, Jan Wolmarans, Mareli Minnaar, Neels Claasen, Tiaan Rautenbach. Directed by Pluto Panoussis.
SEPTEMBER – NOVEMBER 2014 Temporary Installation Afrikaanse Hoër Meisieskool, Pretoria
CITY-INSPIRED EVENTS
The installation was developed in 2014 and is made of steel, tensile material, rope, cord and tent-pegs. The artwork occupies a space of about 5,1m x 2.25m x 4.5m. The artwork investigates and questions ideas of permanence by referring to the fleeting and momentary. The bird motif becomes a metaphor of an African identity and refers to the adapter, traveller or nomad. The interpretation of the work can either be perceived literally as movement away from a home, town or continent or metaphorically as the nomad as a traveller of mind or ideas. We are all constantly on a journey in our minds, exploring new frontiers in an ever-changing world. The tensile material was specifically used to activate the notion of “temporary accommodation” or that of a nomad. As result, the artist reaches a conclusion: “a fleeting moment of liminal beauty”.
FILM & MUSIC PAGE 210 : RASCAL REDUX: 10 YEARS LATER Molo Mollo Cinema Club 8 – 11 OCTOBER 2014 Jardowns 384 Madiba Street, Pretoria CBD VENUE SPONSOR : CITY PROPERTY Dubbed the Monty Python of Pretoria, Blikskottel was the first full TV series produced and shot exclusively in the capital city. A controversial, grunge-punk production that kicked, clawed and spat itself into the hearts of those who experienced it. Blikskottel developed a cult following when it was first broadcast. Molo Mollo proudly presented the director’s cut of the entire series to be screened over four consecutive evenings. Expect rooibos-smoking tannies, mermaids in
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PAGE 219 : FARM FEAST WitOpWit & Sonja’s Foods 18 NOVEMBER 2014 Pappastad Verjaar Plaasfees University of Pretoria Experimental Farm On 16 November 1855, the farms Elandspoort and Daspoort were declared a town with the name Pretoria. The city was founded as a church farm in a then uninhabited area with no existing territorially linked political power. The new capital was set out as an orthogonal grid with Church Square located at the crossing of the main axes. Over time, its monuments were built along the east-west running ridges that define the city, such as the Union Buildings (1910) – today one of the main architectural icons of the city and symbol of cultural diversity and reconciliation. Other symbols representing various epochs in South African history include the Voortrekker Monument and Freedom Park. These snapshots of the city inspired the underlying conceptual parti-diagrams for the event Pappastad Verjaar Plaasfees. In celebration of the 159th birthday of Pretoria, Sonja’s Foods, Cederberg Wines and the concept company WitOpWit, joined forces to host a tapas and wine tasting evening. The event was hosted at the so-called proefplaas [experimental farm] of the University of Pretoria. This almost hidden-away open farmland is located in close proximity to the dense central city and is perhaps a reminder that even Church Square was once a spacious, uneven field of grass. Wine for the evening was supplied by Cederberg Private Cellars.
CITY-INSPIRED EVENTS PAGE 220 : PAPER DINNER Janien Kluge, Rachel Botes & Nataniël 10 OCTOBER 2014 Wonen+, Carlton Café Delicious, & Kaalkop Studio with The Gallery on 13th, Bits & Pieces Antiques, and FOM (Freedom of Movement) Shopfront veranda on 13th Street, Menlopark Three creative individuals owning companies in 13th Street, Menlopark – Janien Kluge owner of Wonen+, food connoisseur Rachel Botes of Carlton Cafe Delicious and artist Nataniël of Kaalkop Studio – decided to host an exquisite paper party. Selected guests were invited to join them for dinner at a long table right on the sidewalk in front of their respective businesses. The intention was to document the aftermath of a lovely dinner as a type of live art installation. The meal was prepared to be both simple and spectacular – therefore it was decided to use paper and Pretoria as themes for the evening. Everything, from the cutlery to table cloths, was made from paper or paper-based products. In keeping with the theme the guests were also welcomed and adorned with paper necklaces and paper crowns. The guests were treated to a seven course meal – all inspired by Pretoria’s rich cultural heritage. The dishes included limeinfused duck, “roosterkoek” with thinly sliced lamb, “melktert”- flavoured ice cream and mint chocolateflavoured nougat, all paired with Saronsberg wine. The whole evening was documented by five art students with pencil and paper.
were held by different poetry groups to improve their public exposure and literally take the artform to the everyday man. The first event was held on 30 August at the Protea Boekhuis in Hatfield and the second on 12 September at the Graffitibookstore in Lynnwood Bridge. All these events, organized by the poetry group Capital Letters and the magazines Guillotines and Unisa Poetry Society, brought together poets from all corners of Pretoria. The first poetry marathon was an informal affair. It was organized as an open mic session allowing all to take part in it. At the second marathon, 16 poets were invited to read some of their own work and recite poetry by a poet of their choice.
CITY-INSPIRED EVENTS PAGE 223 : POETRY PLACEMATS DATE: 29 AUGUST – 16 NOVEMBER 2014 Capital City Placemats Lynnwood Bridge & The Club, Menlopark As a biennale initiative, a selection of poems related to the capital city was printed on placemats and given to clients at all the restaurants in the Lynnwood Bridge and The Club developments. The aim of the project was to bring poetry to everyday people and to give them the opportunity to take some poetry home. The Atterbury Trust supervised the design and printing of the placemats. Works of the poets Louis Esterhuizen, Raphael d’Abdon, Christa F. de Vries, Gisela Ullyatt, Leon Naude, George Seferis, Jan A.F. du Plessis, Marius Crous, Fred Boshoff, Adri Breed and Natalia Molebatsi were used. Cool Capital would like to thank Johan Myburgh for the idea.
CITY-INSPIRED EVENTS PAGE 222 : POETRY MARATHONS Protea Bookshop, Graffiti Bookshop 30 AUGUST & 12 SEPTEMBER 2014 Hatfield & Lynnwood Bridge There are numerous poetry groups active in Pretoria, but unfortunately these groups are relatively unknown due to a lack of exposure. Therefore two Capital Poetry marathons
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Inside cover: ‘Cool Capital’ photocollage by Carla Crafford.
POSTERS COURTESY OF DESIGN INDABA