FUTURE INVESTMENT SA R36,90 (incl. VAT) - July 2018
Creative Feel / July 2018 / 1
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Daniel Stompie Selibe: Fly with me | 100cm diameter | Mixed media on canvas | 2018
EXPONENTS OF CONTEMPORARY ART 11 ALICE LANE | SANDTON | SOUTH AFRICA gallery@bermancontemporary.co.za | 010 880 2580
CONTENTS
COVER IMAGE Benny and Betty Evolves, Lebohang Motaung, 2018. Linocut
cover story
32 WHEN DUST SETTLES While you’re downtown in Newtown and looking at investing in young artists, do yourself a favour and go across to the Standard Bank Gallery, which will be
18 WHAT TO EXPECT AT RMB TURBINE ART FAIR 2018
showing When Dust Settles, the much-anticipated solo exhibition by Standard Bank Young Artist Igshaan
Since its inception in 2013, the RMB Turbine
Adams, from 16 July to 15 September.
Art Fair has unfailingly offered visitors an opportunity to view and buy quality artwork from emerging and established talent in a fun and un-daunting way with great live music,
36 COLLECTABLE METAL ART The South African Mint commemorates Nelson Mandela’s centenary.
artisan food, all curated within the heritage building that is Turbine Hall in the heart of Newtown. Because of this, the Fair has earned itself a top spot on the annual calendar of South
38 ASPIRE ART AUCTIONS ACHIEVES SPARKLING RESULTS IN LATEST SALE Aspire Art Auctions’ latest Johannesburg sale was
Africa’s very rich art scene.
held on 17 June 2018. The dynamic and innovative auction house made impressive statements, and set several world records.
arts and culture 24 LIFE FORCE: THE STILL LIFES OF IRMA STERN As the annual RMB Turbine Art Fair approaches,
40 NEW DISPENSATION: A SOLO EXHIBITION BY PAT SITHOLE Pat Sithole’s latest solo exhibition, New
there’s much to be excited about. An exhibition of
Dispensation will be shown at the Absa Gallery
still lifes by Irma Stern, however, is already getting
from 8 July to 3 August 2018.
people talking. Dave Mann spoke to Strauss & Co’s Dr Alastair Meredith, Susie Goodman, and Wilhelm
42 THE GREAT ALL An essay on Elsa Duault by Ashraf Jamal.
van Rensburg to find out a bit more.
26 CREATING POSSIBILITIES THROUGH EXCELLENCE
44 ART@FIRST: THE AFTERMATH From 22 August until 22 September 2018, FirstRand’s Art@First Gallery will show the works
Artist Proof Studio is one of the most successful visual arts education facilities in South Africa,
of established and emerging artists from August
producing top-quality artists and printmakers who
House in an exciting new group exhibition titled
are respected worldwide. They are leaders in fine
The Aftermath.
art printmaking excellence, specialising in arts training, print collaborations, partnerships, sales and
48 THE WONDERS OF ROCK ART
distribution of prints.
Lascaux and Africa at Sci-Bono Discovery Centre.
54 THE 2018 WOMEN’S HUMANITY ARTS FESTIVAL
66 THUSO MBEDU: A STAR THAT CONTINUES TO SHINE
The Artscape Women’s Humanity Arts Festival,
Thuso Mbedu’s expeditious acting career has seen
which is celebrating its twelfth year, will run from
her become one of South Africa’s top actresses.
27 July to 18 August.
56 NEW CAST MEMBERS FOR THE COLOR PURPLE
68 SHEER GRIT, PASSION AND FOCUS Mexican director Alfonso Cuarón’s latest film is shrouded in mystery, yet he is happy to share its
On 31 January this year, the musical The Color Purple premiered in South Africa on The Nelson Mandela stage at Joburg Theatre, with an all South African cast.
58 SAMRO BURSARIES HELP ALMOST 100 STUDENTS TO ‘COMPOSE THEIR FUTURE’
60
DURBAN MUSIC SCHOOL Providing first-class music education.
62
EVELOPING A NEW GENERATION D OF DANCERS
secrets with protégé Chaitanya Tamhane.
lifestyle and entertainment 72 78
contributors 50
BUSINESS & ARTS
Michelle Constant looks at public-private partnerships and the conversation about
In a continuous effort to develop a new generation
social cohesion.
of dancers, dance teachers and choreographers as part of Vuyani Dance Theatre’s (VDT) founding
CINEMA NOUVEAU BOOK REVIEWS
objectives, nine young people have begun their year
52
ARTLOOKS & ARTLINES
as trainees at VDT.
Ismail Mahomed explores Nelson Mandela’s legacy and how we celebrate it through the arts.
64 FIRE AND ICE FOR JOBURG BALLET THIS WINTER
74
Indra Wussow explores outsider art in
Fire and Ice, a glittering double bill from Joburg
Heidelberg, Germany.
Ballet, takes place from 29 June at Joburg Theatre for eight performances only. Accessible ticket
LITERARY LANDSCAPES
options include opening night at 50% off and free
76
THE ART OF PERFORMANCE
student seats.
Dave Mann questions the role of the arts writer.
EDITOR’S NOTE
INSIDE CREATIVE FEEL
R
ecently I was accused by
Creative Feel is not funded in any way and is entirely
some arts practitioners,
dependent on advertising revenue, subscriptions and retail
who had had their
sales. We would not have the financial resources for this
funding applications
research – even if we wanted to go that route.
turned down, of not using Creative
Creative Feel is a platform where we show the very
Feel for some serious research into
active, vibrant creative arts environment in South Africa;
how arts funding infrastructures
the excellence and the talent in all art forms. Corporates
are currently operating – or as
who believe in our country’s talent support us by placing
they feel, not operating. ‘As a
advertisements. In turn, these adverts allow us to meet
magazine that writes about the
with artists (identified independently by us or those that
arts in South Africa, we believe
are supported by these corporates through their CSI or
it would be the right thing to do:
marketing departments). Any publicity only helps artists,
research, interview, investigate
and if we could generate more money, Creative Feel could fill
and let’s get this out there… the
at least twice as many pages with amazing talent.
artists are the ones suffering and
Just as we were debating all of this and feeling rather
it’s just not fair that people turn a
attacked for not doing a ‘proper job’, we received the
blind eye to the situation.’ In their
following message on our website contact page:
opinion, most arts and culture
‘My name is Elena du Pisanie and I am a South African
organisations are non-profit and
actress currently based in New York City and I recently
it is absurd to expect projects/
discovered Creative Feel online! I absolutely loved reading about
companies to survive given the
all the amazing productions and talent emerging from South
‘current circumstances’ in the
Africa. It made me hopeful about returning to a fresh and diverse
funding sector.
industry when my journey here in NYC comes to an end!
One of our team members put it quite eloquently:
‘I am currently part of an international cast of women
‘In as much as theatres have an artistic vision and that
who are putting on a production of The Vagina Monologues
they programme according to that vision, arts magazines
by Eve Ensler in New York City with the goal to empower
also have a specific editorial vision and commission their
women – all of our ticket proceeds will go to charity
articles to complement that particular vision. Creative Feel is
organisations that support underprivileged women. We
characterised by the way in which it celebrates the arts. Its
have a diverse cast with women from countries in Asia,
loyal readership has been built over many years; and they
Europe, South America, Africa and North America. I am so
subscribe to the magazine particularly because of its very
excited to be representing South Africa alongside another
focused editorial content and specific style of writing.’
South African actress… Our vision is to use theatre to come
We feel that there are definitely other platforms that can do the kind of research suggested. The South African Cultural Observatory (SACO), for example, is a research agency funded by the Department of Arts and Culture (DAC) whose specific
together despite the borders, racial, religious, cultural and social differences that often separate people.’ I feel that Elena du Pisanie has said it all. This is what Creative Feel is all about!
mandate is to research the state of the arts in South Africa and to offer recommendations to the DAC and its stakeholders.
Lore
2018 SAMRO Overseas Scholarships Competition for Composers At the Linder Auditorium, Johannesburg 18 August 2018 @SAMROFoundation www.samrofoundation.org.za
RR_CLASSICFEEL_SCHOLS_240x320.indd 1
#Schols
2018/06/13 7:38 AM
TEAM PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za DIGITAL CONTENT CURATOR Angelia Muller; angelia@desklink.co.za ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Indra Wussow Michelle Constant Dave Mann SALES & MARKETING sales@desklink.co.za, sales@creativefeel.co.za SALES & MARKETING COORDINATOR Zama-Africa Mkhize; zama@desklink.co.za INTERN Tshepang Ralekgari; tshepang@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za
We love this! Renowned South African artist Porky Hefer recently exhibited his Endangered series of pods at Design Miami/Basel to benefit the Leonardo DiCaprio Foundation (LDF). The series of seating pods depicts endangered species, and features an orangutan,
DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION subs@creativefeel.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204
a polar bear, a sloth, a blue whale, and a great white shark. The pods were produced
www.creativefeel.co.za
using environmentally sustainable materials that have been extensively hand-worked by
www.desklink.co.za
artisans in Cape Town. Hefer worked closely with textile artist Ronel Jordaan and craft collectives Heartworks and Mielie to translate his creatures into giant, tactile sculptures whose surfaces have been crocheted, felted, stitched and embroidered with unique embellishments. Twenty-five per cent of the sales proceeds go to supporting LDF’s wildlife conservation programmes. ‘It’s the future of the next generation that I am concerned about and the state of the world they inherit. Looking after our animals and Earth is one thing but also the preservation of human skills, crafts and traditions,’ says Hefer. ‘I think it’s important to show what beauty humans are capable of with their hands rather than the destructive mass production that technology is driving the modern consumerist society towards.’
Printed and bound by
, a Novus Holdings
Company © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher. While every last effort has been made to check that the information in this magazine is correct at the time of going to press, the publisher and their agents will not be held liable for any damages incurred through any inaccuracies.
THE KZNSA GALLERY:
T
A hub of creative activity
he KwaZulu-Natal Society of Arts (KZNSA), founded
The KZNSA Gallery is also one of three of the city’s
in 1902 and located in Glenwood, Durban was
creative spaces to take part in Go Durban, eThekwini
initially established as an informal opportunity
Municipality and Innovate Durban’s Connect031, a First
for artists to discuss, exhibit and market their
Thursday event. These epic evenings of music, art, food and
work. Over the next century, the organisation experienced
more are powered by the Go Durban buses, making it easy to
tremendous growth and underwent a number of radical
access all of the best creative spaces Durban has to offer.
transformations, and today it is KZN’s premier contemporary
From 31 July to 19 August 2018, Markus Wörsdörfer’s
art gallery, hosting exhibitions of local, national and
exhibition DriftArt: Washed Ashore and Shaped by Nature will
international importance.
take place at the KZNSA Gallery. CF
There are a number of components to the organisation, including the gallery, shop and Arts Café. The shop develops
The KZNSA Gallery is based at 166 Bulwer Road, Glenwood,
and markets one hundred per cent local only craft and
Durban. For more information, visit www.kznsagallery.co.za or
design and is also an important outlet in the province
call 031 277 1705.
for design from the rest of the country. However, the key component of the organisation is its gallery exhibitions and public education programmes. The Main, Mezzanine, and Park Galleries offer exhibition spaces ranging from the epic to the intimate, including a range of digital projection facilities. Accompanying these exhibitions is a diverse public education programme including artist and curator walkabouts, catalogues and other publications, seminars and specialist conferences. The Main Gallery is a double-volume space, half of which is covered by the Mezzanine. Clerestory windows, a full height doorway and another opening provide ample natural light. The Mezzanine Gallery overlooks the Main Gallery and is ideal for small shows, or to show additional works on a large exhibition. The Mezzanine is carpeted, and has access through to the Park Gallery. Situated on the upper level of the complex, the Park Gallery leads on to the Mezzanine Gallery. It is an enclosed exhibition space, ideal for smaller exhibitions. The KZNSA Gallery regularly hosts events and exhibitions, including film screenings, intimate live music performances, public talks, and workshops. Every Saturday, the KZNSA Lab hosts sessions for the public to learn new art skills from some of Durban’s best teachers; past sessions have included portrait drawing, life drawing and oil pastel drawing. Tickets for these three-hour sessions are R200 and need to be booked in advance by calling 031 277 1705 or emailing gallery@kznsagallery.co.za.
12 / Creative Feel / July 2018
Jake Aikman, Beneath
Sold R 341 400 WORLD RECORD FOR THE ARTIST
Inviting consignments of Contemporary Art for February 2019 Following the success of South Africa’s first-ever stand-alone contemporary art auction held by Strauss & Co in February, we are now accepting consignments for February 2019. enquiries 021 683 6560 | ct@straussart.co.za 011 728 8246 | jhb@straussart.co.za
www.straussart.co.za
South African actresses join international cast of women in a production of
The Vagina Monologues in New York
sense of sisterhood as well as a sense of respect not only for each other but our bodies and our power as women. In this particular political climate, as a woman, it is easy to feel passed over or small. But in The Vagina Monologues, we dive into every aspect of being a woman that makes us feel powerful, even when our power has been taken from us. With the help of this incredible group of women from all over the world, we are challenging the patriarchal ways of Gaby Georgeson
Elena du Pisanie
T
this world in a positive way.’ These women from around the world united with a vision to empower women from different ethnicities, religions, races,
o raise funds for women in need, a production of
sexual orientations and cultural backgrounds. The cast included
Eve Ensler’s The Vagina Monologues featuring a
British/Norwegian actress and producer, Elizabeth Pickering
cast of women from all over the world, including
Hopland; New Jersey-based actress, Love Vonjay; American
two actresses from South Africa, was performed at
actress, Tina WongLu; Indian actress, Saakshee Sharma; British
The Producer’s Club on 22 June in Hell’s Kitchen. Tickets for
actress, writer, producer and activist, Joanna Pickering; Turkish
the show were donation based and all proceeds went towards
writer and actress, Ceren Ergenekon; Argentinian actress and
charities and organisations that support women’s rights or
singer, Marcia Bercher; American actress, illustrator and artist,
provide aid for underprivileged women.
Alexandrea Mallia; American actress and comedian, Abigail
South African actress, Elena du Pisanie, says, ‘We strongly believe in the value that women should support other women and we have construed the production in a manner that shows
Wilson; and Bulgarian-born actress who was raised between Russia, the US and UK, Maria Raine. Elena du Pisanie has been acting from a very young age
a diverse group of women supporting each other by sharing
and had the privilege of being in many theatre productions
personal experiences in an open, safe and nonjudgmental
in South Africa during her childhood and her teenage years.
environment. It is such an honour to be a part of a cast where
In 2016, she made the big move from South Africa to New
each individual’s life experience is completely different from
York to study acting on a talent-based scholarship at the
mine – I feel that surrounding myself with people from all
New York Film Academy. Since completing her studies,
walks of life inspires growth in me.’
she has been in various independent and Off-Broadway
The Vagina Monologues is extremely relevant, especially
theatre productions as well as numerous independent
in light of recent events in the entertainment industry as it
films, including a short film that had its world premiere at
touches on subjects of rape and the oppression, objectification
Sundance this year.
and abuse of women – things that are not only prevalent in
Gaby Georgeson is currently living and working in New
this industry, but in all industries worldwide. It also empowers
York City and working on two Off-Off-Broadway plays. She
women by shedding light on certain subjects that are often
has appeared in several plays, web series, short films and at
seen as taboo and it boldly uncovers the strength and wonder
festivals throughout her career. Georgeson is a co-creator
that lies in being a woman.
of the thrilling play, Welcome to the Zoo. She has trained
Gaby Georgeson, also a South African actress, says, ‘This
in acting at the New York Film Academy and Rhodes
play has fast become one of my favourites. The effect it has
University. She also has the award-winning Jim Jermanok
had on the cast so far is incredible. It’s helped us foster a
as her mentor. CF
14 / Creative Feel / July 2018
Not a Single Story
N
ot a Single Story is Nirox Sculpture Park’s
and inspiration for the title, Not a Single Story. Adichie
Winter Sculpture Exhibition for 2018. Hosted
starts her talk with these words: ‘I’m a storyteller. And
from 12 May to 29 July 2018, the exhibition is
I would like to tell you a few personal stories about
a collaboration between the Nirox Foundation,
what I like to call “the danger of the single story”.’ She
South Africa, and its Swedish counterpart, Wanås Konst, the
adds, ‘Stories matter. How they are told, who tells them,
Wanås Foundation.
when they’re told, how many stories are told, are really
The exhibition is the result of a longstanding partnership between the two sculpture parks, and looks at individual
dependent on power.’ Says Millqvist, ‘Referring to a venue as a sculpture park,
artistic practices as overlapping dialogues and it brings
and working mainly in the outdoors, addresses an entire
forward contemporary concerns and working methods
art historical canon on sculpture in general and land art
related to sculpture.
in particular, with earth, rocks, and sand as media and
The relationship between the Nirox Foundation and
subject matter. This history is a male history. As a response
Wanås Konst originated five years ago, when Wanås Konst
to a very singular art history, the majority of the artists in
asked Nirox to provide a platform for researching the South
the exhibition are women, representing a rich diversity
African arts scene. The purpose was to exchange knowledge,
of perspectives. As a nod to the art experience you get at
and to do more than scratch the surface of what was going
Wanås, Yoko Ono was invited to make “Wish Trees” at Nirox,
on, as part of Wanås Konst’s commitment to working
and the branches of the African olive will now carry written
with artists from around the world. One outcome was the
down wishes in her Wish Trees for Hope, while Marianne
The Ambassador of Sweden Ms Cecilia Julin exhibition Barriers in Sweden in 2015, which featured six
Lindberg De Geer’s sound archive of voices calling “Mamma”
South African-based artists.
will intrigue and excite; both works are highly associated
Not a Single Story continues this dialogue between the two countries, and is about giving space for multiple perspectives. ‘Being two venues, we also wanted the project to grow out of
with Wanås. We also wanted to include works by forerunners alongside less established artists. ‘Other central elements of this project, linked to the
collaborative efforts; between us, the curatorial team that was
exhibition, are workshops, talks and a comprehensive
put together on site, and the artists engaged,’ says Elisabeth
educational programming aimed at children and youth
Millqvist. ‘Making new works with artists in the outdoors,
to expand understanding of life and art. This follows a
whether in the beechwood forest in Sweden or in the Cradle
long tradition at Wanås where exploring artists’ methods
of Humankind, a UNESCO World Heritage Site, where Nirox
has been the foundation of the extensive art education
is located, the surroundings will inevitably be an important
programme for 20 years. At Nirox, pedagogical ideas are
influence and itself a framework for the exhibition. We decided
paralleled and exchanged. Discussing, debating, dreaming
to let the works by 25 artists, which showcase contemporary
and performing together, more than 500 participants
issues and practices related to sculpture, be linked by the site
will contribute to the stories told and questions raised in
and a conceptual concern – that of the story. The story lends
different activities,’ she says.
itself to a metaphor and carries endless possibilities.’ Millqvist refers to writer Chimamanda Ngozi Adichie’s well-known TED Talk as the exhibition’s starting point
16 / Creative Feel / July 2018
Chimamanda Ngozi Adichie concludes in her talk: ‘When we reject the single story, when we realise that there is never a single story about any place, we regain a kind of paradise.’ CF
Stanley Pinker, Puzzle Picture, oil on canvas, canvas laid down on board, board and found objects, signed, 115 x 63 cm
INVITING CONSIGNMENTS SPRING AUCTION IN JOHANNESBURG | 28 OCTOBER 2018 Historic, Modern & Contemporary Art For enquiries & free art valuations contact JOHANNESBURG | +27 11 243 5243 | enquiries@aspireart.net CAPE TOWN | +27 83 283 7427
www.aspireart.net
Comfort, art, beauty, cuisine and service excellence–
a pure delight
The beautiful and serene Casta Diva Boutique Hotel, nestled on the northern slopes of the Magaliesberg mountain range in Pretoria, is a place to escape the madness of the everyday busy world. If you are searching for a place to relax and enjoy some of the natural beauty South Africa has to offer, book a room at this four-star boutique hotel and spoil yourself with some affordable luxury. Not only do they offer the most amazing accommodation, breakfast and lunch but there is also a true fine-dining restaurant where your taste buds can enjoy a culinary adventure from breakfast to dinner. The á la carte menus for breakfast, lunch and dinner offer a selection of dishes sure to satisfy your hunger.
Boutique Hotel A unique venue, nestled high on the northern slopes of the Magaliesberg amidst peaceful and tranquil surroundings that offer stunning views and an unsurpassed setting of natural beauty and elegance in an oasis of peace and serenity in the city.
On stage 21 July: The Sounds of Musicals starring Tonya Koenderman There’s something magical about musicals. With their exhilarating combination of memorable tunes, lavish sets and costumes, relatable characters and engaging storylines, it’s no wonder musicals have mesmerised theatre- and movie-goers for centuries. And now you get to enjoy the best of them, all on one stage. Welcome to The Sound of Musicals – a whistle-stop tour of the very best songs from the world’s most-loved stage and movie musicals. Your diva for the evening, the renowned cabaret artist Tonya Koenderman, will entertain, amuse and maybe even educate you as she pays tribute
Restaurant Guaranteed the true Decadent, Divine, Delightful fine dining experience, the perfect fusion between the magic of Casta Diva, fresh ingredients, a dedicated culinary team and the friendliest service of South Africa.
to the international hit shows that have had such a big influence on her life and career. With songs from Cabaret, The Lion King, Mamma Mia!, Annie, Chicago, The Wizard of Oz, The Sound of Music, Evita, and a host of others, this show is bound to have you singing out loud and recalling the tingle of excitement that follows each time the curtains open and the first notes are played. Be transported to a world where characters are larger than life and everything can be solved by a song. The show commences at 19:30. Tickets are R140. To book, email info@castadiva.co.za Casta Diva Boutique Hotel is the perfect place for guests who require a peaceful environment to ‘go home to’ and relax; the tranquillity of the property will soon have you forgetting about the hustle and bustle of day-to-day life and stress, without needing to take a long journey to get there. So indulge yourself… Visit their website today, www.castadiva.co.za, and book a room at Casta Diva Boutique Hotel. You could also like their Facebook pages to stay updated on the special events they offer: Casta Diva The Place To; Casta Diva’s Charisma; and Casta Diva’s Vissi d’Arte. CF
18 / Creative Feel / July 2018
ADVENTURING INTO ART
THE IMBALI ARTBOOKS
ADVENTURING INTO
THE IMBALI ARTBOOKS:
Adventuring into Art
I
magine a new generation growing up with heightened imagination, creativity and innovative thinking. Studies have found that children who have been motivated to practice a specific art form and who spend time with
focused attention on arts projects, have measurably increased attention capabilities, even in maths and science. Other studies reported similar scientific findings on the arts’ impact on the brain, showing that sustained arts education is an essential part of social and intellectual development. At each stage of childhood, the development of a sense of self-esteem, capacity and confidence that art-making generates is unparalleled in other subjects. But art-making is not only a means to another end. Imagine if all young people could experience the emotional, aesthetic and psychological fulfilment gained in expressing their own creative ideas and discover the sheer pleasure and excitement of the creative process! The Imbali Visual Literacy Project has been working in the area of training art teachers for 30 years and has produced a series of books called Adventuring into Art, which is a culmination of these three decades of experience. This series introduces young people to the world of art, through looking at many different South African artists and their work, from the first artists in this country up to young contemporary artists working today. Through these books, young people will discover this world of art by looking, thinking and discussing, by making and doing, by exploring different materials, and by expressing visual ideas of their own. The Imbali Artbooks consist of a box set of eight books. The series is structured around a number of themes and each chapter raises interwoven topics, issues and ideas that are engaging and relevant to young people in the 21st century. This important series of artbooks will be launched at the Wits Art Museum on 17 July. CF
Since its inception in 2013, the RMB Turbine Art Fair has unfailingly offered visitors an opportunity to view and buy quality artwork from emerging and established talent in a fun and undaunting way with great live music, artisan food, all curated within the heritage building that is Turbine Hall in the heart of Newtown.
2018
WHAT TO EXPECT AT RMB TURBINE ART FAIR
E
ach year, RMB Turbine Art Fair offers visitors a host of special projects, installations, talks and walkabouts alongside the host of artworks on sale by handpicked galleries. This year is no different,
with Strauss & Co’s Life Force: The Still Lifes of Irma Stern, numerous installation works, Talent Unlocked, The Graduate Show – Home/Land and a special tribute to David Koloane. In line with the dual mission of the RMB Turbine Art Fair to promote emerging artists and encourage art collecting, Strauss & Co has embarked on a series of exhibitions by prominent South African artists to show budding art collectors what they can achieve if they select
Because of this, the Fair has earned itself
their art wisely.
a top spot on the annual calendar of South
single-owner collection of Pierneef landscapes. The owner
Africa’s very rich art scene.
purchased his first Pierneef linocut when he was 13 years
20 / Creative Feel / July 2018
In 2017, Strauss & Co mounted an exhibition of a
old and has since amassed one of the finest collections of
still life in a medium of their choice. These works will be
Pierneef landscapes in the country.
exhibited alongside the Sterns and will be on sale.
This year at RMB Turbine Art Fair, in an exhibition
For Talent Unlocked, Assemblage, in collaboration
featuring a selection of Irma Stern still lifes from private
with VANSA and RMB Turbine Art Fair, has coordinated a
collections titled Life Force: The Still Lifes of Irma Stern,
six-month intensive workshop programme for emerging
Strauss & Co expands on the notion of the ideal collector
artists that integrates practical art-making (focusing on
and what he/she can achieve in a lifetime of collecting.
process and conceptual development) and professional
One collector recalls, as a young girl, looking at a still
practice training. The objective of this comprehensive
life strategically hung by her mother in the dining room
programme is to provide the selected participants with
at breakfast, lunch and dinner. This painting is now in her
support and guidance to develop their work and, very
own collection.
importantly, with tools to sustain their art career once the
Not only is Irma Stern the best-selling artist on the
programme is completed.
secondary market, and specifically at Strauss & Co, her still
Participating artists include Vanessa Tembane, Theko
lifes serve as inspiration for a group of young contemporary
Boshomane, Sharon Moses, Selwyn Steyn, Ofentse Seshabela,
artists. Strauss & Co has launched a competition among
Nathi Khumalo, Mncedi Madolo, Mignon Modema Mayhew,
scholars at tertiary art schools in Gauteng to submit a
Marguerite Visser Sanders, Lusanda Ndita, Loreal Vos,
Creative Feel / July 2018 / 21
Lebogang Mabusela, Keneilwe Mokoena, Jessica Le Roux, Henrietta Elizabeth Scholtz, duo Jacques du Toit (Andre) and Tamara Langwe (Bumba), Xoliswa Ngwenya and Zandri Oosthuysen, with mentors: Koulla Xinisteris, Murray Turpin, Lara Koseff, and Lawrence Lemaoana. This year’s Talent Unlocked curator, Fulufhelo Mobadi, is a South African photographer born in Johannesburg in 1986. In 2012, she graduated from the Photojournalism and Documentary Photography Programme at the Market Photo Workshop. Her photographic practice focuses on the day-to-day struggles of women within contemporary South Africa and the African continent more broadly. As a socially engaged photographer, she is motivated by making the unspoken and the hidden visible. In June 2016, Mobadi collaborated with the Zimbabwean photographer Kresiah Mkhwanazi on a project exploring issues of rape and the objectification of women’s bodies. The work produced was exhibited at the National Gallery of Zimbabwe in an exhibition titled In my Private Moments. Mobadi’s most recent achievement was being selected as the winner of the ASEF Visual Arts Award 2017, a prize created by the philanthropic arts organisation Prospero World. This award supported a six-
in Mukuru, and debut her first solo exhibition, titled In
week artist-in-residency programme in Nairobi, Kenya.
Between, at a Private View in Mayfair.
During her stay, she worked with an organization called
The Graduate Show returns for the fourth year and is
Access AFYA, and ran photography workshops with young
curated especially for the Turbine Art Fair. This exhibition
mothers in the informal settlements of Mukuru, Nairobi.
features some of the best post-graduate painting and,
During the course of the residency, Mobadi produced a
in 2018, the inclusion of photography from the arts
new body of work titled In Between. She also organised
departments across South Africa. The 2018 exhibition will be
and curated an exhibition titled To the Women I Have
curated by Musa N. Nxumalo.
Never Met, which displayed the 400 works produced by
‘We are interested in exploring how graduate artists
the young mothers of Mukuru with disposable cameras.
regenerate the idea of home, land, space and identity. How
The residency was a turning point in understanding
their work speaks to hopes, fears and dreams regarding this
the possibilities of photography as an educational and
subject. We are looking for graduate artists that work with
community-building tool.
the medium of photography as well as painting to explore
In December 2017, Mobadi was invited by Prospero World to travel to London to speak about the work completed
22 / Creative Feel / July 2018
the reality, fantasy and abstract ideas relating to home, land and identity,’ says Nxumalo.
This landscape. This landscape! The Quintessential Metaphor For Life is an exhibition by David Koloane in collaboration with LL Editions, curated by Ruzy Rusike. This tribute to David Koloane exists in the odd tension of his approach to the world and art-making. Installations have always been an exciting part of the RMB Turbine Art Fair, this year the Fair has engaged curator Tamzin Lovell Miller, who has been involved with the Fair since its inception as the director of participating galleries, Lovell (Cape Town), and later Sulger-Buel Lovell (London). This year, not hosting a booth, but as installations curator, she brings a new vision to the Fair. Specifically, she’s asking the question ‘who are we after this “Post-Truth” time has shaped us?’ Pulling together artworks that range from the finely crafted to the augmented virtual, and the interactive physical and digital, this year’s installations are experiences set to intrigue and inspire visitors to the Fair, and leave them with some extraordinary new ideas. Another interesting installation is the thirteen-metrelong RMB THINK Bench. The original bench, which can be found outside RMB’s offices in Sandton, was created by Louis Olivier and the Workhorse Bronze Foundry. For the Fair, Olivier is recreating the bench in resin so that it can travel (its next stop is the Hilton Arts Festival), while still retaining its enormous structure and allowing visitors to the Fair to experience this life-size structural wonder. The extraordinary bench is designed to spell out ‘THINK’ from one side, while from another appear to be life-sized human figures in different thinking poses – a spectacular feature that will add something special to this year’s RMB Turbine Art Fair. The ‘THINK’ theme continues with the talks programme and art walkabouts, this year sponsored by RMB Private Bank. Interesting topics include ‘THINK Promise’ and ‘THINK Legacy’, and John Vlismas’ art walkabout: ‘THINK Fun – Art that tickles my fancy’. The Newtown precinct will come alive this July as visitors make their way across the Nelson Mandela Bridge. Just a short trip from Turbine Hall is the Standard Bank Gallery; Sci-Bono Discovery Centre, which is hosting the historic The Wonders of Rock Art: Lascaux and Africa exhibition; and Johannesburg Art Gallery (JAG) will be showing Wolfgang Tillmans’ Fragile. This is all just a taste of what one can expect at this year’s RMB Turbine Art Fair – which is sure to yet again be an unmissable event. Tickets are available at www.turbineartfair.co.za CF
Creative Feel / July 2018 / 23
John Vlismas
Wilhelm van Rensburg
THINK TALKS AND ART WALKS
O
ne of the most exciting art walkabouts on this
Sponsored by RMB Private Bank, the talks at this year’s RMB Turbine Art Fair are guaranteed to make you THINK.
An insightful walkabout to look forward to is ‘THINK
year’s schedule is ‘THINK Fun – Art that tickles
Big Ideas – RMB Turbine Art Fair installations’ by Tamzin
my fancy’ by comedian John Vlismas. Known
Lovell-Miller, this year’s installations curator.
for his extreme brand of comedy, Vlismas has
The exemplary knowledge of the Strauss & Co team will
performed at the Royal Albert Hall, received death threats
be on display on both the talks and walkabouts programmes.
from Steve Hofmeyer, and, among many things, is an artist
Strauss & Co’s Johannesburg General Manager, Susie
and a successful businessman.
Goodman will conduct the ‘THINK Knowledge’ walkabout,
As an artist, Vlismas is influenced by Francis Bacon
with Senior Art Specialist Wilhelm van Rensburg giving
and Robert Hodgins, and spent a lot of time painting with
the ‘THINK Growth – Art for Investment’ walkabout. Van
the latter before he passed away. He had his first solo
Rensburg will also give the ‘THINK History’ talk. He will
exhibition Off The Reservations in 2009, and has exhibited
discuss how contemporary artists respond to history and
numerous times since then, including a collaborative
present a selection of contemporary artists who responded
exhibition with Juanita Frier entitled Through the Roof and
to the exhibition Life Force: The Still Lifes of Irma Stern.
Underground at Art Eye Gallery in 2016. Vlismas invests in art as well as creating it, and says that art is ‘much more important to human beings than most realise.’
24 / Creative Feel / July 2018
Amsterdam-based art buyer and Instagrammer, Els van Mourik, will give the talk ‘THINK Africa’. Ronnie Apteker will lead a panel discussion in ‘THINK Film’. The discussion with artists, fashion designers,
Tamzin Lovell-Miller
Kholisa Thomas
Susie Goodman
curators, writers and filmmakers will cover topics like: How much does film as an art form influence us as a society, and as artists? Is this changing now in a social-mediadriven world? How has the Hollywood bias affected the rest of the world? Do our own aesthetics, our own stories in South Africa and Africa, have enough influence, are they beginning to have influence elsewhere in the world? The ‘THINK Scenes of Success’ panel discussion between gallerists, artists, an educator and a career coach will ask, is the ‘starving artist’ label a myth or reality? Should parents guide their children away from the arts? What are the chances of success as an artist today and in the future? What support exists for the arts? Why is the creative economy important? Art advisor Kholisa Thomas will do a walkabout entitled ‘THINK Promise’, looking at a selection of up-and-coming artists. Thomas is a Joburg-based curator who is passionate about bridging the gap between artists and art lovers. With her company The Art Talks, Thomas connects people with art in an accessible, fun and educational way, and aims to do the same with this walkabout. Other topics covered in the talks include ‘THINK Passion’, ‘THINK Promise’, ‘THINK Legacy’ and ‘THINK Home’. So, whether you want to learn a bit more about art, about investing in art, want to identify the next big star, or just have a bit of fun, make sure you book your tickets! To book for any of the talks, walkabouts or children’s walkabouts, purchase a general admission ticket online and select which additional programme you would like to attend. These are free to attend and are available on a first come, first serve basis. Should you not be able to get a spot for a talk or walkabout online, there are a few spots available for walk-ins on the day. CF
Creative Feel / July 2018 / 25
White Lilies, Irma Stern, 1936. Oil on canvas Sold by Strauss & Co, November 2010 Irma Stern, Dahlias. Estimate R8 000 000 – 12 000 000. From the Labia Family Trust To be sold at auction in Cape Town on 15 October 2018
e c r o F Life
The Still Lifes of Irma Stern
As the annual RMB Turbine Art Fair approaches, there’s much to be excited about. An exhibition of still lifes by Irma Stern, however, is already getting people talking. Dave Mann spoke to Strauss & Co’s Dr Alastair Meredith, Susie Goodman, and Wilhelm van Rensburg to find out a bit more.
T
he exhibition, presented by Strauss & Co and titled
where she was heavily influenced by German Expressionism,
Life Force: The Still Lifes of Irma Stern, will feature
before moving back to South Africa in 1920. From there, Stern
a host of works by the painter from a number of
travelled to destinations across Africa – including Zanzibar and
private collections. The exhibition also seeks to
the DRC. In 1926, Stern was married in Cape Town and acquired
expand on the notion of the ideal collector and what can
‘The Firs’, the house that is now known as the Irma Stern
be achieved in a lifetime of collecting. But with many of
Museum. She continued to travel and paint, and built up a strong
the artist’s works sitting in corporate or private collections,
relationship with her friend and muse, Frieda Feldman over the
Stern’s life and works aren’t widely known. So just who was
years, often staying in the Feldmans’ Johannesburg home. By
the painter Irma Stern?
the mid-1940s, Stern began to gain recognition as an established
Born in 1894 at Schweizer-Reneke in the Transvaal to German-Jewish parents, Stern spent much of her younger years travelling with her family to Berlin and to small towns and rural communities in South Africa. She lived and studied in Germany,
26 / Creative Feel / July 2018
artist and her works were exhibited in shows across South Africa and abroad. Stern passed away in 1966 at the age of 71. Just how much of Stern’s life and history can be gleaned from her still life paintings? According to Strauss & Co’s
“To look at a still life by Stern is to be offered a brief vignette of the artist’s personal life. Objects and vessels such as bowls or vases appear frequently in her paintings, providing a glimpse into what would otherwise be a very intimate space – Stern’s private studio and home” Still Life of Delphiniums, Irma Stern, 1938. Oil on canvas laid down on board. Sold by Strauss & Co, March 2011 Dr Alastair Meredith, Susie Goodman, and Wilhelm van
institutions to present lectures on Stern’s work and the
Rensburg – quite a lot.
works of other still life artists over the years.
‘When she got her first house at The Firs in Cape Town,
‘For the Pierneef exhibition we held last year, we invited
she immediately started gardening, planting trees and
Artist Proof Studio students to make prints inspired by
flowers,’ explains Van Rensburg. ‘They all flowered, and her
Pierneef,’ explains Van Rensburg. ‘They were exhibited, they
garden was this profusion of colours, and so she would paint
were up for sale, and they sold like hotcakes. So now we
what she saw.’
thought “okay, let’s broaden it to painters and sculptors, and
‘And when she would stay at Frieda Feldman’s house,’ adds
ceramic artists, too”. I’ve already addressed the UJ students,
Goodman, ‘she used to take over the dining room. She literally
the University of Pretoria and Tshwane University of
painted the fireplace. She and Feldman used to throw these
Technology. It’s primarily to introduce them to Stern, to still
brilliant themed dinner parties, too, often based on colour.’
life, and putting that genre into context, globally.’
All of this and more can be found in her still lifes. To
Art students from tertiary institutions across Gauteng
look at a still life by Stern is to be offered a brief vignette of
have been invited to submit their works, with winning works
the artist’s personal life. Objects and vessels such as bowls
being exhibited and up for sale alongside the Stern exhibition.
or vases appear frequently in her paintings, providing a
‘Supporting educational programmes is very important
glimpse into what would otherwise be a very intimate space
to us,’ concludes Goodman. ‘We do a lot of school visits,
– Stern’s private studio and home. Similarly, items such as
which are great fun because we’re not just showing them
African masks speak to Stern’s travels across the continent
a slideshow of these works. We’re actually borrowing the
and her interest in various cultures and artefacts. These
works from collections and bringing them to the students to
things, as well as Stern’s use of colour and composition
see, which I think is incredibly exciting.’
when painting objects like flowers and vases, can give
If, like many, you’ve always been curious about the story
viewers some insight into the person she was – a lover of
of Irma Stern then Life Force: The Still Lifes of Irma Stern is
all things bright, vibrant, and adventurous.
your chance to catch a first-hand glimpse into the treasured
‘This exhibition will serve as a refresher on her work, and
artist’s work and life. CF
on the various forms of still lifes and what they represent,’ says Meredith. Ahead of the exhibition at this year’s Turbine Art Fair, Van Rensburg has been visiting various tertiary educational
This exhibition is proudly sponsored by Strauss & Co, ITOO Artinsure, The Forum and City Lodge.
Creative Feel / July 2018 / 27
Creative Feel
www.creativefeel.co.za
www.creativefeel.co.za
Creative Feel
Sold. Valued. Recognised. This sticker validates the creative vision of an emerging artist. Presented by RMB in collaboration with Assemblage, the Visual Arts Network of South Africa (VANSA) and the Turbine Art Fair, Talent Unlocked is a six-month mentorship programme that upskills young artists through learning about and participating in the creative economy. On completion, the artists are given the opportunity to exhibit at the Fair. This is the most measurable example of RMB helping artists to establish themselves in Africa’s art world.
Talent Unlocked
RMB: unlocking talent and social transformation through the creative arts.
JULY 2018
JUNE 2017
FUTURE INVESTMENT SA R36,90 (incl. VAT) - July 2018
Rand Merchant Bank is an Authorised Financial Services Provider
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Themba Khumalo, Creative Feel June 2018 13038_Talent Unlocked Print Ad D.indd 1
2018/06/15 9:54 AM
771607
A look at promising young South African artists
519004
Lebohang Motaung, Creative Feel July 2018
Creating possibilities through excellence Artist Proof Studio is one of the most successful visual arts education facilities in South Africa, producing top-quality artists and printmakers who are respected worldwide. They are leaders in fine art printmaking excellence, specialising in arts training, print collaborations, partnerships, sales and the distribution of prints.
A
rtist Proof Studio (APS) is a community-based
hosting, publishing and collaborative projects with many
printmaking centre in Newtown, Johannesburg,
artists and organisations each year. Some of these students
founded by Kim Berman and the late Nhlanhla
are further sponsored to achieve a university degree.
Xaba in 1991.
One of the largest and most vibrant printmaking
APS has 30 staff members and interns on its payrolls. The organisation employs its fourth-year graduates as interns.
facilities in Southern Africa, the organisation’s core
Through this programme, they receive professional work
function is to create ‘possibilities through excellence’. This
experience and are expected to independently produce work
extends from their education programme, which subsidises
that can be showcased on all of APS’ sales platforms.
and trains talented young artists, to their alumni and associated artists. APS’ education programme accommodates up to 100 students per year, 60 to 80 of which are fully subsidised by
28 / Creative Feel / July 2018
Some of the current well-known young artists have either graduated from or been associated with APS, like Nicholas Hlobo who became a protégé in the Rolex Mentor and Protégé programme and whose artworks can be seen
Kim Berman at work at Artist Proof Studio
at major art fairs around the world. Phillemon Hlungwani,
and isolation. My attempt is to build trust and closeness
Mongezi Ncaphayi, Jan Tshikhuthula, Themba Khumalo and
with others through my artwork. There are never human
Nelson Makamo are a handful of well-known APS alumni.
figures in my images. Electric poles, plugs and cables
APS also has a team of master printers who each have
feature a lot in my work, these are metaphors for life,
many years’ experience in collaborative printmaking. Their deep commitment to excellence enables alumni and artists
energy, hope and movement. ‘The subjects are seen in different contexts, all outside,
who publish with APS to produce some of the most skilful,
in a city or landscape. This gives the context and the
dynamic and innovative printmaking work in the country.
atmosphere is created by the sky. I’m used to being alone
Some artists who have used APS’ printmaking services
and being with myself. I think this is the reason why you will
include William Kentridge, Walter Oltmann, Norman
find that my work is so empty; it’s only now that it’s starting
Catherine, Diane Victor, Gerhard Marx, Willem Boshoff,
to have more movement and I’m adding human figures in my
Colbert Mashile, Doris Bloom, and Mmapula Mmakgabo
work. It’s a reflection of my upbringing, that sense of being
Helen Sebidi, among many others.
alone and as I grow older that longing to find a connection.
By chance (or perhaps not), Creative Feel has featured artworks by APS alumni two months in a row now. Themba Khumalo’s Let’s Fly Together As One graces our June cover –
I think this is something people who like my work relate to the most. ‘I have a digital camera, which I take with me wherever
the print depicts the iconic Turbine Hall with a flock of birds
I go. I often document scenes between Johannesburg and
flying over it in Khumalo’s signature style.
Orange Farm. I take pictures of spaces and the sky at various
Khumalo has become known for his emotive charcoal
times of the day. These images are used as a reference and
drawings that capture busy cityscapes and the vast empty
from there I develop charcoal drawings. I like using charcoal
fields he observes in and around Joburg where he lives. In
because it allows for manipulation of form and the blending
an interview with Kholisa Thomas, Khumalo said that ‘One
of tones.
of the themes behind my work is based on my relationships
‘Etching is my chosen printing technique because it
with people. In my work, I explore feelings of connectivity
allows me to use the range of tones that are present in the
Creative Feel / July 2018 / 29
“This exhibition will serve as a refresher on her work, and on the various forms of still lifes and what they represent”
original charcoal drawings. Each work created is intended to capture and evoke a different mood and feeling.’ Since graduating from APS, Khumalo has participated in numerous group exhibitions, solo exhibitions and had
Another technique that Motaung has developed is using synthetic hair fibres to create portraits, with braids and plaits often reaching off the canvas. Blaque Inq Contemporaries will present // MORIRI | We’re
residencies in places like France and Germany. ‘Artist
O U R S E L V E S at RMB Turbine Art Fair. This will be a ‘hair’
Proof Studio was one of the best things that happened to
themed solo booth of prints, drawings and photography
me as an artist, I still go back there and it’s like home to
work by Motaung, alongside a special experimental hair
me,’ he says.
plaiting performance piece and behind the scenes short
This year, Khumalo’s work will be for sale by APS and Gallery2 at RMB Turbine Art Fair. The artist behind our July cover, Lebohang Motaung studied at both APS and the Vaal University of Technology. A hairstylist in addition to being an artist, Motaung’s work focuses ‘on the activity and process of doing hair, and the significance of hairstyles in women. I am mostly
film documentation of Motaung’s collaborators, influences, inspirations and creative process. The show celebrates how hair has taken on many meanings in cultures across Africa and today – a fashion statement, a medium for beauty but also an object of loss, a symbol of pride, identity, time passing, and ultimately art. Artist Proof Studio’s stand at RMB Turbine Art Fair is a
influenced by the conversations I have with some of the
must visit; find some gems from some of South Africa’s top
people I plait.’ She works mostly in printmaking and
artists, or invest in some of the country’s most promising
drawing, centring around the theme of hair.
young artists. CF
30 / Creative Feel / July 2018
Creative Feel / July 2018 / 31
Entries for the 2019 PPC Imaginarium Awards are open!
Tiara of the Heart and Head, Aleks Ashton, PPC Imaginarium 2018 Jewellery winner
E
ntries for the 2019 PPC Imaginarium Awards in
each work is original, and may enter if they have previously
South Africa and Zimbabwe are now open! The
entered or won in the competition.
prestigious competitions invite creatives to test
The PPC Imaginarium Award for Architecture is
their skills and produce innovative works using
announced at a separate prize-giving and is open to all
Portland cement-based concrete. Entrants stand to win their
architecture schools in Southern Africa. The winner is
share of publicity, mentorship opportunities and over half-a-
seen as the top design student in Southern Africa currently
million-rand in cash prizes!
registered for a degree in architecture.
Launched by the innovation department of the
The awards are open to artists, designers and
renowned cement company PPC Ltd, the annual PPC
architecture students living in South Africa and Zimbabwe
Imaginarium Awards give emerging creatives the chance
– including resident holders and foreign students with
to showcase their talent and creative thinking across
study permits living in both countries. In order to qualify,
the competition’s six categories, including film, fashion,
entrants must not be established professionally in their
jewellery, sculpture, architecture and industrial design.
respective industries.
The competition is the most supportive of its kind in South
The competition recently opened its doors to
Africa and has seen many of its past entrants and finalists go
Zimbabwe, with the first PPC Imaginarium Awards
on to become recognised in the art and business community.
Zimbabwe taking place in 2017/2018. Category winners and
Each category winner will receive R50 000, while the
runners-up are announced separately in each country, with
runner-up will receive R20 000. From the category winners, judges also choose an overall winner, who receives R100 000 over and above the prize for his/her category. Artists and designers may enter in one or more categories, provided
32 / Creative Feel / July 2018
the exception of architecture. The closing date for entries is 30 November 2018. Entry registrations must be submitted online via www.ppcimaginarium.co.za. CF
Banele Khoza: a man to watch With a recent solo show at Zeitz MOCAA, the 2017 Absa L’Atelier Gerard Sekoto Award under his belt and a fleet of taxis covered in his work (as the result of him winning the SA Taxi Foundation Art Award), Banele Khoza’s work is going places.
Untitled, Banele Khoza
K
Confessions of a Loner, Banele Khoza
Overthought, Banele Khoza
hoza’s first suite of lithographs published by The
stops one from fully accessing it, questioning the viewer’s
Artists’ Press demonstrate his skill and dexterity.
motives for the intrusion. Khoza’s journals are an integral
Khoza’s ability to embrace the unknown and to
part of his practice and are reflected in his image-making.
immerse himself in the technical possibilities of
‘I have never seen so many sharp pencils’ is some of the
what lithography has to offer, combined with the skills of
text included in one of his lithographs. Khoza’s interest in
Master Printer Mark Attwood, have resulted in prints that
the private and the public merges with his interest in social
reveal the artist’s gifts.
media, technology, connection/disconnection, isolation and
Khoza worked on stone and grained film, using a combination of pencil, litho crayon and ink and tusche
a longing to be whole and completely present with someone as well as with oneself.
washes. The delicate traces of the dried ink, Khoza’s choice
In the six two-colour prints, faces and bodies are alluded
of colours and drawing abilities combine to delight the eye.
to, the delicacy of the washes contrasting with the boldness
Khoza has been a keen draftsman since the age of 5, drawing
of the forms. And just as things seem to be getting really
images of the toys that he wanted but could not get from his
serious, the text and titles pull one back with a sense of
conservative parents. This sense of longing and vulnerability
delight and quirkiness. Dear Olympia (a reclining nude with
can be seen in Khoza’s lithographs.
two cats) and Don’t forget the tomatoes reminding one of
Obsessively neat and detailed text weaves through some of the prints, but one cannot read all of the words. It is as if the artist entices one into his private world and then
everyday routines. For more info, visit www.artprintsa.com or contact mark@artistspress.co.za CF
The Artists’ Press
The Artists' Press full logo.ind1 1
3/9/10 8:43:49 AM
Bent, Igshaan Adams, 2018. Mild steel, wire, rope, cotton offcuts, twine and beads
WHEN DUST SETTLES Speaking of investing in young artists, do yourself a favour and go to the Standard Bank Gallery, which will be showing When Dust Settles, the muchanticipated solo exhibition by Standard Bank Young Artist Igshaan Adams, from 27 July to 15 September.
34 / Creative Feel / July 2018
I
gshaan Adams was born in 1982 in Cape Town, South
convention found in recent South African art. He uses the
Africa. Combining aspects of performance, weaving,
material and formal iconographies of Islam and ‘coloured’
sculpture and installation that draw upon his upbringing,
culture to develop a more equivocal, phenomenological
his cross-disciplinary practice is an ongoing investigation
approach towards these concerns and offer a novel, affective
into hybrid identity, particularly in relation to race and sexuality. Raised by Christian grandparents in a community
view of cultural hybridity. Adams states: ‘I am concerned with my two
racially classified as ‘coloured’ under apartheid legislature,
environments: the internal and the external; and the
he is an observant but liberal Muslim who occupies a
constant exchange of information between the two. As
precarious place in his religious community because of his
I project myself onto the world, so too do I internalise
homosexuality. As such, the quiet activism of Adams’ work
the world’s projections onto me. Initially, I grappled
speaks to his experiences of racial, religious and sexual
with deconstructing my hybrid identity, focusing on my
liminality, while breaking with the strong representational
multicultural, religious and sexual identities in relation
Vlaggies, Igshaan Adams, 2018. Woven nylon rope, string and wire.
Creative Feel / July 2018 / 35
Untitled, Igshaan Adams
to the domestic and political environments in which they
For When Dust Settles, Adams presents an eclectic and
were formed, hoping to understand the conflict I was
multi-sensory large-scale installation, bringing together
experiencing. My focus has since shifted to wanting to know
aspects of sculpture, textiles, found objects, furniture and
more about the self from a multidimensional, universal
performance to create an immersive environment.
and mystical position. Doing and undoing, pushing and
‘I have always taken a personal approach to making my
pulling, employing restraint while at the same time being
work,’ says Adams. ‘As soon as I’m done, I detach myself
open to discovering new elements of beauty through playful
completely. For me, it’s the process of making the work that
experimentation, all of this allows me as the artist to insert
becomes meaningful. I get to understand these conflicting
my personal inquiry into the work. My aim has always been
aspects of myself.’
to question and challenge boundaries in a sensitive way.’ Adams is the 2018 winner of the Standard Bank Young
Revisiting earlier bodies of work, the presentation will draw inspiration from conceptual themes, artistic processes
Artist Award for Visual Art. Presented annually, the
and materialities dating back several years to investigate the
prestigious award culminates in a solo presentation of the
evolution of ideas within the artist’s practice. For Adams, the
recipient’s work, launched at the National Arts Festival
intrigue lies in the questions underpinning it: How have his
(NAF) in June before travelling to institutions nationwide.
personal views and objectives shifted? How has the artist’s
Following its recent premiere at NAF, Adams’ When Dust
language evolved? What was overlooked the first time?
Settles will conduct a nationwide tour of museums and institutions across seven cities. Drawing upon the material and formal iconographies of
Previous exhibitions were preoccupied with the domestic environment, specifically that of his upbringing in Bonteheuwel on the Cape Flats. This earlier period in Adams’
Islam and coloured culture, Adams’ cross-disciplinary practice
art-making is exemplified by his use of found objects, the
is an ongoing investigation into hybrid identity and liminality,
marks left behind on their surfaces suggesting the physical
particularly in relation to race, religion, and sexuality.
space as a manifestation or reflection of our internal spaces.
36 / Creative Feel / July 2018
Later, in 2012, Adams’ work shifted to explore ideas
‘The Standard Bank Award has certainly prompted a period of
around sexuality, and the challenges of reconciling his own
stocktaking – I have had to absorb everything that I have created
homosexuality with the Islamic faith. It was also at this
up until this point, my entire contribution as an artist, and this
time that Adams furthered his investigation into textile
process has left me feeling at ease and positive about the future,’
craft, employing string curtains in sculptural installations
says Adams. ‘While an award of this nature certainly gains
along with other religious paraphernalia and domestic items
recognition for the artist, you cannot rely on this recognition
associated with Cape Malay culture.
alone, and I wouldn’t underestimate curators or collectors and
Adams first fell in love with textiles while making
their ability to see through it. As an artist, you can’t make work
‘thread-based works during my time at Ruth Prowse School
to get rich or famous. I make what I feel compelled to make, for
of Art. I think my sensual nature responded strongly to the
me creativity remains a sacred force that responds to honesty.’
tactility of embroidering with cotton onto the felt blanket.
To date, Adams has held eight solo exhibitions at
Physically I somehow felt more involved in the process
blank projects (Cape Town), A Tale of a Tub (Rotterdam),
and I could fully immerse myself in it, while the fabrics
Rongwrong Gallery (Amsterdam), Stevenson Gallery
themselves felt imbued with meaning.’
(Cape Town) and AVA Gallery (Cape Town). He has also
His interest in textiles developed into the weaving of
participated in numerous group shows, both locally and
tapestries out of recycled nylon rope and rags, in designs
internationally, including Les jour qui vient (2017) curated
that often incorporated Arabic calligraphy to reference
by Marie Ann Yemsi at the Galerie des Galeries in Paris,
surahs (chapters) from the Quran. These tapestries, now
Sacre du Printemps (2015) curated by AA Bronson at the
synonymous with Adams’ oeuvre, were first exhibited on the
Grazer Kunstverein in Graz and Barriers (2015) at the
exhibition Parda in 2015.
Wanås Foundation in Knislinge, Sweden. Adams has been
In a sense, When Dust Settles serves to insert chapters
selected for a number of artist residencies, among them
into existing bodies of work, re-examining those
the Sommerakademie im Zentrum Paul Klee in Bern,
concerns that have informed Adams’s practice for almost
Switzerland and the IAAB/Pro Helvetia residency, Basel,
a decade.
Switzerland. Adams lives and works in Cape Town. CF
Untitled, Igshaan Adams
Creative Feel / July 2018 / 37
COLLECTABLE METAL ART:
The South African Mint commemorates
n o s l e N s ’ a l e d Man C E N T E N A R Y
Top: bronze and silver collectable coins Bottom: 24ct gold collectable coin and R5 circulation coin
Imagine a hobby that enhances your appreciation of topics as diverse as local heroes,
legends, inventions, nature and the environment. One in whose pursuance you never stop learning. The South African Mint, a subsidiary of the South African Reserve Bank, prides itself as one of the foremost champions of South African heritage and storytelling that covers all these topics. The Mint is proud of its diverse portfolio of commemorative and collectable coins, and its collaborations with local artists to bring these themes to life.
T
he South African Mint produces legal tender
In the world of collectable coins, design, or ‘looks’, sells.
circulation coins, investment coins (the world-
The South African Mint’s splendidly designed coins boast
famous Krugerrand), and also produces a range
themes such as South African Inventions which depict the
of limited edition collectable coins in premium
world’s first successful human-to-human heart transplant
precious metals as well as more affordable metal alloys. This year, the Mint is paying tribute to Nelson Mandela’s
and the CAT Scan, among some of the innovations it celebrates (in sterling-silver). The full-colour silver, laser
legacy with a range of new coins. 2018 marks 100 years
printed coins featuring the birds and flowers of our various
since the birth of Nelson Mandela, and to commemorate
biosphere reserves are highly popular among new coin
this milestone, the Mint has introduced the perfect gift:
collectors and a definite show-stopper.
beautifully designed collectable coins in bronze, silver, gold and a R5 circulation coin. Led by Richard Stone, the product development team
‘Our products are conversation starters. When you hold one of our coins, you cannot help but share the story,’ Stone says. The themes which inspire the coins’ designs allow for
at the Mint is in constant pursuit of coin programmes that
cross-disciplinary collaborations with different industries
showcase South Africa’s rich culture and heritage and serve
and artists. The coins are works of art that are increasingly
as odes to those who shaped the destiny and direction of
positioned as gift options for a growing consumer base of old
the country. The team is responsible for seeing each coin
and new collectors.
through the rigorous theme conception, coin design and ultimately, Cabinet approval processes.
38 / Creative Feel / July 2018
The Celebrating South Africa series, which was introduced by the Mint in 2017 to commemorate South
Africa’s various symbols of freedom, democracy and culture, was one such opportunity that allowed for a collaboration with a local designer. Contemporary illustrator and multidisciplinary graphic artist, Sindiso Nyoni (aka R!OT), designed the portraits of Nelson Mandela, featured on the 2018 Mandela Centenary coins, as well as the portraits of OR Tambo, featured on the 2017 OR Tambo Centenary coins. Nyoni’s art was first commissioned for the Mint in 2015, when three silver medallions were produced to celebrate 100 years of the Johannesburg Art Gallery (JAG). The full 2018 Mandela Centenary coin range is comprised of a 1 oz (24ct) gold R500 coin, a 1 oz sterlingsilver R50 coin, and a bronze alloy R50 coin, which are all available for purchase at the South African Mint in
R50 collectible silver coin (R695)
Centurion, Elegance Jewellers in Melrose Arch as well as various weekend pop-up shops in malls across the country (visit www.samint.co.za for more information). To mark this significant anniversary and extend the commemoration of
‘It has been a rare honour for me to be invited to
Mandela’s centenary to the general public, a R5 circulation
celebrate our heroes. Immersing myself in the life and
coin will also be available in July.
times of Mandela provided me with clarity of thought and
The bronze alloy coin is priced at R127 and tells its own tale. Pricing the coin was a conscious tribute to Nelson Mandela’s legacy and our way of paying it forward.
sparked the inspiration and excitement that stayed with me throughout this collaboration,’ says Nyoni. Over the years, minting technology has evolved from
To celebrate 100 years since the birth of Mandela, and in
using a hammer and anvil to the most current technology
remembrance of the 27 long and lonely years he spent in
where hydraulic presses are used to strike the coins. While
prison, the entry level bronze alloy coin is priced at R127.
the average South African is only concerned if the vending
With every coin purchased, R27 (VAT-free) will be donated to
machine will accept the coin or not, coin collectors and
the Nelson Mandela Foundation.
numismatists are very interested in the minting process.
The portrait designs of Mandela on the Centenary
‘As part of the collaborative creative process, our own
coins use a graphic illustration style previously used on the
design team, which includes me, Lilian Guerra, our senior
portraits of OR Tambo with the 2017 OR Tambo Centenary
design artist and the die-development team, then translate
coins. These and other popular coins that have been
drawings we receive as part of our coin programs into a base
produced by Stone’s team are beautiful collectors’ pieces
relief model. The team likes to present a fresh take, to keep
that inspire pride in South Africa.
things relevant and give it currency so it appeals to new
Nyoni’s artistry brings out Mandela’s youth and his statesman-like disposition with effortless skill applied with so much sincerity, it gives the designs a life-like appearance.
collectors and old,’ Stone adds. Coin collectors are in the game for pride and accomplishment more than a return on investment. So designs must not only meet their expectations as far as craftsmanship and quality are concerned but also stand up to durability and be relevant to the times. ‘Whether your interests are thematic, or piqued more by the metallurgy or denominational relationships of certain coin series, our offering appeals to any collector’s tastes. We also make coins in bronze, silver and circulation coins in proof quality so you really don’t have to be wealthy to start a coin collection,’ concludes Stone. ‘We view our coins as global ambassadors of South Africa and its heritage. In creating our coins, we tell stories about our country, our people and our legacy – these stories are always uniquely South African, yet they resonate universally around the world.’ CF
R50 collectible bronze alloy coin (R127) Creative Feel / July 2018 / 39
Lazy Day, Peter Clarke, 1975
A0037 47/47/16, Andrezj Urbanski, 2016
Aspire Art Auctions achieves sparkling results in latest sale Aspire Art Auctions’ latest Johannesburg sale was held on 17 June 2018. The dynamic and innovative auction house made impressive statements, and set several world records, selling rare works by Irma Stern, and setting a new world mark for Peter Clarke. World records are also set for Zander Blom, Paul Stopforth and Andrezj Urbanski in a major coup in the contemporary segment. The fine art was joined by a small, intimate private collection of antique furniture, an area into which Aspire has recently branched out.
T
he top lot by value on the sale was the superb Irma
Another significant Stern still life, one which has
Stern, Still life with magnolias, apples and bowl
also never been at auction before, was sold. Still life with
(1949), which fetched R6 828 000. While not a South
chrysanthemums in the artist’s handmade ceramic jug, from
African record by the artist, it is the highest price
1950, sold for R3 414 000.
achieved for a work by Stern for over a year. The painting has
Among other mid-twentieth century fine art to attract
an impeccable provenance, having been in the same family
substantial bids and sale results were two works by Alexis
since 1950, when it was first purchased in Johannesburg, and
Preller, The Wounded Soldier (1944) and Celestial Twins
has never been exhibited.
(1955). Preller’s work has been solidifying its reputation
40 / Creative Feel / July 2018
from this period. A sculpture by perhaps the best known Amadlozi alumnus, Edoardo Villa, fetched a world record with Aspire in 2017, when his Vertical Composition (1958) sold for R1 818 880. Villa’s work is, at last, being provided with an appropriate retrospective exhibition context, with the newlyopened Norval Foundation staging a major show. On this sale, Villa’s successful association with Aspire continued, with his Sculpture VIII fetching R1 138 000. Aspire has since its inception been a leader in the industry for contemporary fine art. The segment is a specific strategic focus for Aspire, and its contemporary benchmark was set in November 2017 when the company achieved a South African record price for a drawing by contemporary doyen William Kentridge. His Drawing from Mine (Soho with coffee plunger and cup) (1991), sold for R5 456 640. On this sale, the company set a number of records for contemporary work. World records were achieved for an early abstract by Zander Blom, Untitled 1.5 (2010), which fetched R386 920; and for a new artist at auction, Andrezj Urbanski, whose work A0037 47/47/16 (2016) reached over its high estimate at R125 180. At the other end of the contemporary experience spectrum, the elder statesman Still life with magnolias, apples and bowl, Irma Stern, 1949
of South African fine art photography, David Goldblatt, achieved the second highest South African price ever
in the auction market in recent times, and these two fine
of R318 640 for his magisterial photograph from 2003,
examples proved no exception, fetching R796 600 and
Johannesburg from the Southwest. Finally, another world
R1 046 960 respectively, both in line with estimates.
record for a contemporary artist was reached when Paul
Aspire has led the auction market recently with sales of
Stopforth’s Steve Biko’s Right Hand (1980) sold for R79 660,
work by Cape Town artist Peter Clarke, achieving a world
an important record to have achieved in the context of post-
record for one of his gouaches in 2017. The company has
apartheid South Africa. These successes in very different
now proved itself to be the premier purveyor of Clarke’s
areas of the market segment provide definitive evidence that
work in the country, achieving a substantial world record
Aspire is the chosen destination for sellers and buyers of
– and beating their own previous best – for his seductive
contemporary art at auction in the country. CF
acrylic and gouache on paper from 1975, Lazy Day, which sold for R1 479 400, a mark which also obliterates his
UPCOMING AUCTION DETAILS:
overall auction record achieved in 2016 for one of his oil
Aspire’s next sale is on 28 October 2018, at GIBS in Johannesburg.
paintings. The success Aspire has cemented with the market for Clarke was extended with a price of R432 440 achieved
For gratis and obligation-free valuations, and to consign
for his gouache Sunset at Windemere (1957), more than
works of art to the upcoming Johannesburg live auction on
double its high estimate. The sale of both works ensures that
28 October, please contact:
Clarke’s reputation in the auction market as a subtly ironic commentator on apartheid life is maintained. Taken as a group, work by the 1960s Amadlozi Group,
Johannesburg Jacqui Carney | jacqui@aspireart.net | 071 675 2991
based around collector Egon Guenther and the Polly Street
Mary-Jane Darroll | mj@aspireart.net | 082 567 1925
Art Centre under Cecil Skotnes, is becoming more and more
Ruarc Peffers | ruarc@aspireart.net | 084 444 8004
significant among collectors. Several works by Skotnes himself appeared on the auction, and the top lot among them,
Cape Town
The Legend of the Judean War (1984), sold for R819 360, just
Emma Bedford | emma@aspireart.net | 083 391 7235
below its high estimate and a resounding price for a work
Marelize van Zyl | marelize@aspireart.net | 083 283 7427
Creative Feel / July 2018 / 41
New Dispensation A solo exhibition by Pat Sithole
Pat Sithole’s latest solo exhibition, New Dispensation will be shown at the Absa Gallery from 8 July to 3 August 2018. Creative Feel has been following Sithole’s career ever since his first solo exhibition at the same Absa Gallery in 2007 and recently caught up with him to discuss his latest work and his perspective of the interleading years.
C
reativity runs through Pat Sithole’s veins. He is
When asked about changes in his surroundings, Sithole
the nephew of the renowned South African wood
says that he has experienced many positive developments
sculptor, the late Lucas Sithole and has been artistic
and transformations since 2007. He feels that the conditions
all his life. He is convinced that this is something
in which he lives have changed drastically, even though
he was born with. Sithole feels that his work has really grown over the last few years. ‘I have produced some new artwork in
some things remain unchanged and there are still problems to be solved. The changes that have taken place over this period,
which I’m inspired and influenced by the daily changes
both in his surroundings and the country, have had a
and experiences that are happening in my life and in my
significant influence on Sithole’s work for his forthcoming
country.’ When Creative Feel interviewed him previously,
show. This can be seen in his choice of colours for the
his home and studio were in the far East Rand township of
show, which he says are chosen specifically to represent the
KwaThema in Springs. He confirmed that he chooses to still
transformation he has experienced. The colours are strong
live there because he is intrigued by and draws inspiration
and bright, which he says represent hope and optimism.
from his surroundings and the constant buzz of activity
‘In fact, we are living in a country where we are faced with
going on around him.
many things, some of them are bad and some good, but my
New Dispensation is an introspective and reflexive project that focuses on the social and political conditions
colours only focus on hope and development,’ says Sithole. ‘That is why I use bright colours instead of using strong
that many South Africans are finding themselves in. It is mostly inspired by societal changes, memories and the lived experiences that various South Africans and South African communities have and use to construct and understand their daily reality. As an emotionally charged exhibition, New Dispensation draws on sadness, pain and joy that individuals experience in their daily lives and how these emotions motivate them to continue to strive for a better life and a better tomorrow. Drawing further on Sithole’s social surroundings, personal life and experience of the transition from one political dispensation to another, this exhibition questions notions of human endurance, emotion and position.
42 / Creative Feel / July 2018
“I’m inspired and influenced by the daily changes and experiences that are happening in my life and in my country”
Untitled, Pat Sithole, 2018
political colours.’ Sithole feels that there are more positive changes taking place now than there were in 2007. ‘I see the opportunities,’ he says. When asked about a recurring motif in his art – a newspaper – Sithole explains, ‘That is a sort of collage. I used the newspaper because it plays a part in my life in a sense that it informs me about what is happening in my surroundings.’ When Pat Sithole is not painting in his studio in Springs, he is teaching art to children in his township at KwaThema Library in a project sponsored by the Ekurhuleni Municipality. In fact, the municipality runs the project in collaboration with the Department of Arts and Culture and is involved in everything, including managing it. Sithole is employed to teach the children, something that he is passionate about. Sithole is determined to use his own Untitled, Pat Sithole, 2018
experience to unearth artistic talent in young people. CF
Creative Feel / July 2018 / 43
The Great All An essay on Elsa Duault WORDS: A SH RA F JA M A L
The mystic-philosopher-painter, the French-born South African-based artist, Elsa Duault, has introduced a rich vein of thought and feeling into our art world. Running against the dominant interest, domestically and globally, in narrative-driven art, that is, art shaped by the consuming fixation with a raced or gendered identity politics, Duault has provided us with a more esoteric or gnomic set of concerns.
44 / Creative Feel / July 2018
E
lsa Duault’s ‘credo’, she says, is defined by ‘the Great All’, a belief in the eternal circularity of life in which ‘nothing is created, nothing lost, everything transformed’. This vision, or credo,
deserves closer attention, for what Duault believes in is not the customary monotheistic absolute, shared by Christianity, Judaism, and Islam, but, rather, a belief in an organically self-creating – and perpetually transforming – world in which neither a sovereign God nor a self-possessed artist is ever wholly in control of creation. In freeing herself from self-control and from the reliance upon the absolute, Duault opens up a very different understanding of creation. It is perhaps fitting, as a French woman, that Duault should echo the visions of the molecular
of itself. Rather, paint is a means through which nature’s fragile
theorists, Félix Guattari and Gilles Deleuze, as well as the
harmonies are articulated – paint is a mystic portal.
philosopher of movement and author of Creative Evolution,
Duault speaks of ‘energy colliding… dispersing…
Henri Bergson. For, like Duault, these three thinkers, and
reaching equilibrium… a resting point’. For what interests
Bergson in particular, advocate the notion of an ‘Open
her most is the ‘essence of movement’. In other words, it
Whole’, that is, the vision of a ceaselessly morphing totality.
is paint’s intrinsic vitality – after Bergson, its élan vital –
This vision is evident in the artist’s recognition of ‘mother
which compels her. It is the mercurial, or ‘molecular’ nature
nature’s balances and harmony’ which, all importantly, is
of paint as a material and medium which, mysteriously,
‘full of surprises and beautiful expressions’.
fulfils life’s meaning – the very meaning of creativity.
In Duault’s world, therefore, nothing is given, and yet
It is curious to remember that Duault began her career with
everything is given. One cannot underestimate the centrality of
a degree in marketing. One would reasonably have expected
this paradox in the artist’s painting. Her surfaces and framing
the artist to apply this very secular and media-driven skill to,
form for her work are circular. This refusal, structurally, of a
say, marketing the products of others. However, on discovering
four-cornered world, affirms the artist’s commitment to an
a secret trove of paintings made by her grandfather, the artist
eternal, never-ending, geometry, for the circle, more than any
chose to radically shift gears. A degree from the Michaelis
other form, attests not closure but infinity.
School of Fine Art followed. Well known internationally for
Working in acrylic paint, the artist operates by creating
its conceptually driven ethos, and its commitment to an
three densities – three plastic containers of paint, in
Afrocentric international style, Michaelis could, logically, have
different colours, which vary in their thinness and thickness.
spawned an artist who could have branded herself as such.
The first layer, spilt on the canvas, is the most thinly pliable.
Duault, however, would have none of this.
Duault then varies the density, manipulating the paint by
This is because Duault is emphatically an outlier,
breathing upon and against it through a straw, or by shifting
someone who has chosen to carve out a singular and
it about with a stick or blow dryer. What is immediately
complex spiritual and philosophical path. One does not
evident is that no paintbrush is used.
read her works as a cypher for some prescribed and current
Duault’s reasoning behind this technique has its own
meaning – her works are not representative or illustrative.
mystic root, for the artist, as best she can, refuses to control the
Caught up in the enigma and fluidity of marbled paper – an
movement – coagulation and dispersal – of paint. In this regard,
ancient Turkish tradition – her paintings invoke feelings
the artist acknowledges the influence of Jackson Pollock, wittily
and meanings as unerringly on point as they are mysterious.
remembered as ‘Jack the Dripper’. Action painting, or colour
Aniconic, non-symbolic, anti-narrative, strange, Duault’s
field painting, or, more inclusively, abstract expressionism, is
paintings have chosen – peremptorily, suddenly, surprisingly
the artist’s ancestral painterly root. In a similar vein, she too
– to call up the unknowable at the very heart of the known.
seeks to gift priority to the animus of paint. For in Duault’s
This unknowable realm, which precedes and exceeds the
hands – hands which operate more as a medium than an
fetish and obsession of the human today – its beleaguered
agent – what assumes centrality is the matter that is paint.
subjective consciousness and fraught agency – is not,
However, if Duault refuses the ego she does not do so with
however, something to be afraid of. On the contrary, it is
the cool flippancy displayed in Damien Hirst’s spin paintings.
this primal mystery – the very mystery of the natural world
Rather, for Duault, it is neither the ego nor the machine that,
– which, for Duault, will offer us a greater calm, a greater
finally, matters. Paint as a material does not only exist in and
peace – a greater All. CF
Creative Feel / July 2018 / 45
A RT@ F I R ST
August House artists’ studios. All photos courtesy Kate Ballenden
The Af termath
46 / Creative Feel / July 2018
From 22 August until 22 September 2018, FirstRand’s Art@First Gallery will show the works of established and emerging artists from August House in an exciting new group exhibition titled The Aftermath.
T
he Art@First Gallery at FirstRand is situated between the entrance foyer to 4 Merchant Place and Fresh@First, the staff canteen. The pop-up exhibition space was initiated by Beth van Heerden,
FirstRand’s art executive, and opened its doors to staff about 18 months ago. Van Heerden had originally been tasked with filling the wall spaces that had opened up when the canteen was extended and new boardrooms were established. According to Craig Higginson, at the time Van Heerden didn’t have the budget to buy more work for the FirstRand collection – a role she has played now for over four years – so she and her colleagues went to the storeroom to look for existing works that could be displayed. There they found a great many ornithological and botanical artworks, some of which hadn’t been displayed for several years; but in the end, in an effort to showcase more contemporary works by contemporary South African artists, they decided on a pop-up exhibition. As Van Heerden has stated, ‘If you want people to be bitten by the art bug, they need to be exposed to what art can be. That’s why, in the last few shows, we’ve approached a wide range of galleries so that our staff can be exposed to a much wider range of art than they might be used to… We are all so pressurised these days. To make time to go and see an art exhibition is difficult – even for those who would like to. So we thought we’d bring the art directly to our staff. On their way to the canteen, they can pass through an exhibition and perhaps stop, and look, and experience something unique.’ Justin Glickman, who helped conceive the Art@First initiative, designed a touch-screen kiosk that is situated inside the exhibition space and provides further information about the art and artists on display. Glickman says that ‘art can be quite intimidating, especially to people who feel they know little about it. We wanted to provide a platform for existing art lovers as well as for people who may not have the confidence or inclination to go and look at art. We wanted them to engage with it in a way that was not intimidating, in a way that was relaxed, and so the middle space between the offices and the canteen is perfect for that. The great thing is: when a new exhibition goes up, you can immediately feel a shift in energy in the corridors. Suddenly, the whole place is alive.’ Teresa Lizamore, who is the curator of the Rand Merchant Bank art collection, has curated several exhibitions in the space since it opened, including an exhibition celebrating Women’s Day in August last year. Lizamore was approached by August House for the idea of The Aftermath exhibition and it was decided that a call would be put out for a young new curator for the exhibition, who
Creative Feel / July 2018 / 47
would be mentored by Lizamore. Independent curator, artist and entrepreneur, Olwethu de Vos made the grade. De Vos obtained her B-Tech in Fine and Applied Arts at the Tshwane University of Technology in 2016, having majored in sculpture and glass. In her final year of study, De Vos volunteered as an educational assistant at the Pretoria Art Museum where she was introduced to curatorship and conducting children’s workshops. The following year, she ventured fully into curatorship and by the end of that year, she had curated eight exhibitions in Gauteng. Known to locals as ‘the artist’s playground’, August House has grown from a former light factory into an exclusive art building. A five-storey, 1940s urban building with high columns, authentic architecture and expansive open plan floors, it’s a wonderful blend of inspiration and stillness. Housing Pan-African artists in private studio spaces, August House is very possibly the largest community of African contemporary artists under one roof in the country, and most definitely the largest group of emerging professional artists in one space, incubating, collaborating and creating art together. August House offers artists a platform to be in a community while working independently on professional platforms with their own galleries and buyers. This well-respected art institution is enigmatically paving its own way in the local arts scene with its traditionally rebellious nature. August House supports its leasing artists by initiating new projects like open days, where the public is invited to visit the individual studios, exhibitions such as The Aftermath or the one recently held at the Absa Gallery; providing vital opportunities for exposure for artists to launch their careers. ‘August House houses about 60 tenant artists and after meeting all the artists at a briefing session, 40 of the artists accepted our invitation to be part of the exhibition at FirstRand,’ says Lizamore. ‘Olwethu and I have had meetings with all the interested artists to determine if their works are appropriate for the exhibition. As the exhibition is aimed at potential new staff buyers, it is important to exhibit works that will attract new buyers and show what the market has to offer. Also important is to ensure that the works exhibited are affordable.’ The plan is to exhibit about 60 artworks, says Lizamore. The artists have been given a theme, ‘aftermath’, which allows for artists to create works within the framework of the current situation in the country and the history of the country. This will include works by established artists such as Greatjoy Ndlovu, Sizwe Khoza, Toni-Ann Ballendan, Diane Victor and Benon Lutaaya, as well as works by emerging and lesser-known artists. The exhibition will consist of
48 / Creative Feel / July 2018
mainly two-dimensional works, but will include a few three-
compiling of this exhibition is to get to know the artists,
dimensional works and an installation.
create bonds with the artists, ensure that they understand
‘The exhibition is a visual exploration of narratives of
the concept and produce appropriate works, and that all
today depicted by various artists residing in August House,’
works are produced and exhibition-ready by required dates,’
says De Vos. ‘These narratives vary in content and visual
says Lizamore.
representation such as colour, technique, style and material.
‘The framing, finishing off of an artwork, the placement
However, as much as these narratives vary, they all share a
and the hanging of this exhibition is an important part of the
common thread which is an underlying social and cultural
mentoring. Olwethu and I will discuss the best way to allow
reflection of the times that they are living in now, in the
for an aesthetically pleasing and interesting exhibition,’ says
contemporary landscape of Southern Africa. While we are
Lizamore. De Vos has also been charged with compiling a
living in a democratic country, the exhibition simultaneously
catalogue of the exhibition, which will additionally serve as a
manifests into a discourse of the ramifications and benefits
marketing tool.
of decolonisation such as land rights and ownership;
Central to the philosophy of Art@First is to make art
economic structures; cultural and traditional objectification
available and affordable. As with previous shows, the works
of the female and, currently, the man too.
are for sale for no more than R15 000, although there could
‘The exhibition draws a parallel between the August House artists, portraiture and urban landscape art, while
be a few exceptions. It is important with all Art@First pop-up exhibitions
simultaneously exploring the long history of the August
that those passing through know that the works are
House building as a heritage site in Johannesburg. Artists are
only there for a brief period. Otherwise the artworks risk
encouraged to explore various elements of South Africa and
becoming normalised, or naturalised, so that they are no
its inhabitants and create work that reflects the melting-pot
longer fresh provocations that demand attention.
of cultures and spaces that resemble the beloved country.’
The Aftermath runs from 22 August to 22 September
De Vos and Lizamore meet on a weekly basis and visit
and is open to staff, but also to the public by invitation
the artists’ studios. ‘Some of the main criteria with the
or appointment. CF
Creative Feel / July 2018 / 49
The Wonders of Rock Art: LASCAUX AND AFRICA AT SCI-BONO DISCOVERY CENTRE
In a first for Africa, the Sci-Bono Discovery Centre in Johannesburg, in collaboration with the French Embassy in Pretoria and the French Institute of South Africa (IFAS), have brought a replica of the world-famous Lascaux cave paintings and the cave itself to South Africa.
T
he Palaeolithic cave paintings are around 17 000
in 1979. Today, extremely limited access is allowed to test for
years old and are mostly of large animals native
air quality only and to monitor the condition of the cave.
to the region at the time. They are regarded as masterpieces because of their outstanding quality
and sophistication. The Lascaux cave paintings were discovered in 1940 when a group of teenage boys stumbled upon them in the Dordogne region in southwestern France. The site was opened to the
In the Lascaux Exhibition, the work is shown as accurate, life-size and handmade replicas. Special lighting enables visitors to admire the masterpieces. The exhibition focuses on the five panels of the Lascaux Nave (the Great Black Cow, The Stags, the Crossed Bison, the Imprint) and the Shaft Scene. The replica amazes and fills with awe everyone who sees it.
public in 1948 and gained almost instant fame. More than a
It’s an exact reproduction of more than 2 000 figures painted
million people have visited the original cave since its opening
on the walls of the caves. They are on show at the Sci-Bono
and, by 1955, carbon monoxide, the heat and humidity of so
Discovery Centre until 1 October 2018, alongside prehistoric
many visitors had visibly damaged the artworks. Deteriorating
South African rock art, for a once-in-a-lifetime opportunity to
conditions caused fungi and lichen to grow on the walls.
engage with humanity’s earliest impulse for creative expression.
The cave was closed in 1963 to protect the priceless artwork. Lascaux was added to the UNESCO list of World Heritage Sites
50 / Creative Feel / July 2018
The world’s first examples of art and symbolism, found in Southern Africa, are more than 100 000 years old, while
Europe is home to some of the world’s most wellpreserved prehistoric cave-art sites. This will be the first time that the Lascaux paintings will be exhibited alongside the oldest African art, celebrating the earliest works created by humans on two continents. The Lascaux and African rock paintings have much in common and point to one essential truth: there’s more that unites and binds us as people and cultures than there is that divides us. The South African component of the exhibition, The Dawn of Art, is curated by the University of the Witwatersrand’s Rock Art Research Institute, the Origins Centre and IFASRecherche. It will include photographs of iconic South African rock art, as well as a display of priceless authentic pieces. The Lascaux cave replica was meticulously recreated using materials and tools identical to those that the original artists used about 17 000 years ago. Located in the historic Electric Workshop at the corner of Miriam Makeba and Helen Joseph Streets in the cultural precinct of Newtown, Johannesburg, the Sci-Bono Discovery Centre is Southern Africa’s largest science centre. CF Tickets for The Wonders of Rock Art: Lascaux and Africa at Sci-Bono Discovery Centre are R70 for children and R130 for adults, with special family packages available. For more information, please visit www.scibono.co.za
Creative Feel / July 2018 / 51
BUSINESS & ARTS |
MICHELLE CONSTANT
Public-private partnerships and the conversation about social cohesion
T
he value of public-private partnerships should be
the space to transfer one’s gaze to other, often less visible,
flagged and, if done correctly, rigorously defended.
wins. It also highlights iteration and reiteration. Working
BASA is a successful public-private partnership,
with an excellent team, which included the Wits University
which is supported by, and supports, both the
Cultural Policy and Management team, and former Market
public sector, i.e. the Department of Arts and Culture (DAC)
Theatre CEO, Annabell Lebethe, as well as the Institute of
and around 130 private sector members including the
Directors in Southern Africa (IoDSA), saw some real rewards
Johannesburg Stock Exchange and other big hitters. While it
in the process. Direct engagement with a team from the
provides a partnership space, which is sometimes fractious,
Department has also been extremely valuable, allowing us to
slow-moving and challenging, the value of the different
constantly frame the project in relation to the real needs.
sectors adds enormously to the conversation of social cohesion in society. BASA is currently working with two of its stakeholders
Perhaps what became most striking for me was the challenge for board members to balance absolute governance, the rigours of the Public Finance Management
– the DAC and the FirstRand Foundation – on a project
Act, or the PFMA, and the need to drive the mandate of the
that seeks to address greater governance and the growth
organisation – its ability to create change, equality, social
of fiduciary skills of Schedule 3A Boards in the creative
cohesion, and work creation in the creative sector. It’s a
sector. The project has been a long journey, taking over
balance that needs to remain equally weighted in the board
three years, but the first phase is now coming to a closure.
education process. Indeed, we should uphold the creative
The knowledge gained during the process has been as great
minds as, ‘creativity will become one of the top three skills
as what the final outcome aims to be. The original award,
workers will need. With the avalanche of new products, new
which was described as an ‘innovation award’, aimed to
technologies and new ways of working, workers are going to
develop a stronger partnership between sectors, with the
have to become more creative in order to benefit from these
goal of strengthening the sector (in this case the arts sector).
changes,’ according to the World Economic Forum.
Political shifts, unexpected changes in the original goal,
What strikes me too about this process, and I pull on my
research challenges, diverse needs from diverse partners
SA Tourism Board hat here, is the real need for us to start
(both stakeholders and service providers) saw the project
crossing sectors more deliberately. There is no doubt that
changing shape like a hydra. What it required, and received,
culture, in particular, is both a progressive enabler and an
was a flexibility to include change, sometimes failure and re-
opportunity to diversify – the need for it to cross sectors,
imagining. What was successful was the desire of all parties
to be active on diverse boards expands opportunities in
to make a difference in our sector.
education, tourism and more – promises to change the shape
As we come to the close of the first phase, the anchor
of our society. CF
and ballast has been the FirstRand Foundation. Their insistence that we all keep returning to the process of ‘design thinking’ – the need to reiterate the different goals of the project, to accept the failure of some, and then rework the process. Design thinking is extremely valuable as a
Business & Arts is a monthly column by
problem-solving process, not simply for entrepreneurs, but
MICHELLE CONSTANT,
also for the creative sector. The design thinking process
CEO of Business and Arts South Africa (BASA).
includes the following stages: define, research, ideate, prototype, choose, implement, and learn. It accepts failure as simply a part of the process and, more importantly, as
52 / Creative Feel / July 2018
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ISMAIL MAHOMED
Nelson Mandela: a legacy for the world to celebrate
W
hen South African theatremaker Jenine
Naledi Best Ensemble Award. The play also had a season at
Colocut produced her play, Making Mandela,
the 2014 ASSITEJ Congress in Denmark.
in 2015, one of South Africa’s most significant theatre reviewers, Robyn Sassen, wrote on her
In her review, Sassen commented that it was ‘a lovely work, albeit with a few dents that affect its clarity’ but
blog, ‘Telling Mandela’s story to young people is a massive
overall she summed the production as having the potential
challenge as it is a tale so rich with values, contradictions and
‘to hold a whole generation’s imagination.’
real-life adventures. In the hands of this talented cast and
Cape Town Opera’s story of Nelson Mandela, Mandela
creative team, it needs a little more massaging, but promises
Trilogy, brings to the stage an epic and original musical
to be the play that will touch and ignite many a young
tribute. It is an inspirational musical retelling that reaches
person’s reflections on one of the biggest historical heroes
far beyond any boundary, reflecting on a life of extraordinary
who was a part of South Africa’s bigger narrative.’
contrasts and unflinching courage in the face of adversity.
The production, which tells the story of Nelson
Mandela Trilogy is a spectacular portrait of a man who
Mandela’s childhood, featured the talents of Jaques De Silva,
touched hearts and minds around the world. Presented in
Mlindeli Zondi and Barileng Malebye. It went on to win the
three parts by a cast of over 60 performers, including three
2015 Standard Bank Ovation Fringe Award at the National
different incarnations of Mandela, the contrasting phases of
Arts Festival and the 2016 Naledi Theatre Award for Best
his journey are recreated through strikingly divergent styles
Youth Production. The cast was also nominated for the
of music, ranging from tribal initiation rites on the banks of the Mbashe River and heady and rebellious jazz-fuelled days in Sophiatown, to incarceration and reflection on Robben Island, and finally freedom and liberation. Since 1994, South Africa has not been short of theatre productions about the iconic leader. Neither has South Africa been short of controversy associated with productions about the legendary political leader whose life is celebrated across the globe. In March 2016, The Telegraph in the UK carried huge headlines reading ‘Mandela the Opera: South African creator vanishes with production money’. The newspaper wrote that Mandela the Opera, a state-funded production that was meant to celebrate the early life of Nelson Mandela and draw big crowds, was beset with crisis when the producer (a distant relative of Mandela who is now deceased) disappeared and fled the country with the money. Even though several international theatre managements were astounded by the story in The Telegraph, two years later they’re still attracted to productions that will celebrate the centenary of Nelson Mandela’s birth. Leading up to Mandela’s 100th birthday on 18 July 2018, primary and secondary school pupils and a massed community choir, assembled to celebrate and perform African songs, dances and drum progressions at the New Theatre Royal in Portsmouth.
54 / Creative Feel / July 2018
Re-imagined by the Freewheelers Theatre Company of disabled and non-disabled performers, this momentous tale of struggle, hope and inspiration will find new resonance with a cast who themselves understand ‘struggle’ every day. The performance included a specially-choreographed
During May this year at the Tourism Indaba held in
dance by internationally renowned South African ballet
Durban, the Market Theatre Foundation’s artistic director,
dancer Dane Hurst, which was originally created in honour
James Ngcobo, was commissioned to produce the 100 Faces
of Nelson Mandela and first performed in his presence
of Madiba. His powerfully poignant and vibrant production
during Mandela’s visit to London.
received a rousing standing ovation when the Market Theatre
Other featured South African artists in the production include Chris Lubbe, Mandela’s bodyguard after his release
produced this iconic work outside of its own premises. Known for his unique style of creating narratives
from 27 years of imprisonment, and Colin Chambers,
interspersed with music, dance and digital media, James
Mandela’s spiritual guide, confidant and a trusted friend.
Ngcobo’s production was a testimony to Nelson Mandela’s
Their media release states they ‘are celebrating the
incredible legacy as more than just one of South Africa’s
centenary of Nelson Mandela’s birth by revisiting the values
greatest political stories. Nelson Mandela’s legacy is by
enacted by the revolutionary political leader during his life
far one of South Africa’s greatest tourism resources. It can
and time as President of South Africa, through their Mandela
attract visitors to our country and take our country to the
100 project.’
rest of the globe. The Tourism Indaba could not have found a
The production is created by AWF, a non-religious and apolitical group with financial support from the Heritage
more significant way to tell South Africa’s story in this very significant centenary year. CF
Lottery Fund support from the Portsmouth City Council, Victorious Festival, and the University of Portsmouth. On Nelson Mandela’s birthday on 18 July, The Harlequin Theatre will present their production, Amandla! The Story of Nelson Mandela. The production will chart the remarkable
Artlooks & Artlines is a monthly column
life of Nelson Mandela from his tribal boyhood and
written by ISMAIL
education in Methodist missionary establishments, to his
CEO of the Market Theatre Foundation.
MAHOMED,
time as a freedom fighter, through the Robben Island years, to the peak of his fame as president of South Africa.
Creative Feel / July 2018 / 55
The 2018
Women’s Humanity Arts Festival It is with pride and heartfelt thanks to women from all walks of life that Artscape hosts yet another Artscape Women’s Humanity Arts Festival this August to celebrate them and their relentless work encapsulated in the theme ‘A Spotlight on Cultural Diversity: Transformation and Healing Through the Arts’. The festival, which is celebrating its twelfth year, will run from 27 July to 18 August.
O
ver 60 years ago, more than 20 000 women of all
dedicated to both iconic women who led the struggle as
races marched to the Union Buildings in Pretoria
well as modern-day sheroes. This includes celebrating,
to protest the pass laws and inhumane apartheid
through the arts, the centenary of Albertina Sisulu and
legislation. Discriminated against based on the
the dynamic Ruth First as well as modern day activists,
colour of their skin, the pass laws directly affected their
Lee-Ann van Rooi, Siphokazi Jonas and the late disabled
personal lives as well as their economic emancipation. Then
activist, Patience Lunika, who had her first fashion show
democracy dawned, and we identified iconic events that led
just last year at this very festival and whose contribution
to our emancipation from the shackles of apartheid. August
to women’s challenges we want to remember.
9, the historic day those women marched, was earmarked and
More than 24 years into our democracy, as South
declared a public holiday to be henceforth commemorated in
Africans we presumed that, given our civil liberties and Bill
honour of women’s struggle towards freedom. The day was to
of Rights, we would be completely and entirely free to live
be known as National Women’s Day.
our lives guided by our founding document, the Constitution
Thus, as part of Artscape Theatre Centre’s
of the Republic of South Africa. But we must stay abreast
commemoration of this struggle and in celebration of
of the new set of challenges that we, as the citizens of this
the strides we have made as a democratic society, the
fledgling democracy, face. Sexism remains rife. Women are
Artscape Women and Arts Humanity Festival will be
judged based on what they wear; lambasted for defying
56 / Creative Feel / July 2018
The Absolutely Fabulous Drag Show
Liefde is Rooi is one several productions during the Women’s Festival
traditional roles – both ‘African’ and ‘Western’; vilified for
day clause. She became the first white woman to be arrested
entrenching their guaranteed rights; and many are subjected
under this act.
to violence, partner abuse, sexual attacks, rapes and femicide
Around the Fire is a fusion of theatre, poetry and live
– vile deeds encouraged by patriarchal, misogynist norms
music. A uniquely South African story unfolds as four
that remain deeply entrenched within the male psyche.
women with very different backgrounds unravel their
Unfortunately, many women uphold the aforementioned
respective stories.
norms too, something we also hope to highlight during this important festival. A glance at the Artscape Women’s Humanity Arts
Liefde is Rooi, an Afrikaans play written by 22-year-old Enrico Hartzenberg, tells the story of victory in a ghetto community in Cape Town where there is no time for love; no
Festival programme (with its stage productions, film, poetry,
time for regret; only time to survive. Directed by Lee-Ann
exhibitions, discussions and workshops) testifies that
van Rooi.
our theme of shining ‘A Spotlight on Cultural Diversity:
Take a trip down memory lane with drag mime artists
Transformation and Healing Through the Arts’ will go a long
Ramsay Davids and Martin Neethling in the colourful
way to address and ask pertinent questions like: Where is
Divalicious Dames.
the struggle for women’s liberation at today? In what ways
Bollywood Enchanted will showcase Taare dancers
have women’s challenges of modern-day changed? Are
alongside other guest artists as they bring themes of hope,
our modern-day women empowered and do they honour
love and resilience to life while staying true to all that
themselves enough to take up those challenges? Are we
Bollywood rhythm, colour and vibrancy.
steadily working towards the equality that stalwarts like
The Absolutely Fabulous Drag Show, back by popular
Mama Sisulu, Dora Tamana and, of course, Tata Madiba so
demand, features among others, drag divas Vida Fantabisher
impeccably led?
and SA’s Got Talent 2016 runner-up Manila von Teez.
Integral to the festival is the Humanity Walk, symbolising
Tickets for the festival’s productions are available
the spirit of the women who marched to the Union Buildings
through Computicket or Artscape Dial-A-Seat on
more than 60 years ago.
021 421 7695. Discounts are available for students, seniors
Meanwhile, a host of productions will entertain:
and block bookings. Visit www.artscape.co.za for more
After a sensational sell-out debut at the National
information. To stay up-to-date on Artscape’s programmes
Arts Festival in 2016, Ruth First: 117 Days dramatises her
and productions, follow them on Facebook and Twitter
harrowing 1963 arrest and detention under the notorious 90-
@ArtscapeTheatre. CF
Creative Feel / July 2018 / 57
New cast members for
THE COLOR PURPLE On 31 January this year, the musical The Color Purple premiered in South Africa on The Nelson Mandela stage at Joburg Theatre with an all South African cast.
D
uring its first run, the South African production of
Jay and musical director Rowan Bakker embarked on another
this Tony and GRAMMY Award-winning musical
round of auditions.
wowed audiences. For the talented cast members, this journey has been a career highlight.
Theatre journalists and audience members raved about
After several auditions, the creative team identified three highly talented people to join the cast: Masego Mothibakgomo, Terrence Ngwila and Lebo Borole.
the Janice-Honeyman-directed production. Due to public
Well-known actress and vocalist Lelo Ramasimong,
demand for hard-to-come-by tickets, Joburg Theatre and
who initially played the role of Darlene in The Color Purple,
Executive Producer Bernard Jay have announced that the
will now be stepping into the leading role of Shug Avery.
show will give 32 additional performances during Women’s
Ramasimong created her own fan base during The Color
Month in August 2018. The 31 000 additional tickets are
Purple’s first season with her spine-chilling vocalisation of
already selling quickly.
the role of Darlene. Now her fans can’t wait to experience
As arts journalist Leon van Nierop stated in his review of the show: ‘This was a life-changing and sweeping experience
her play the gutsy, blues singing star, Shug Avery. Masego Mothibakgomo takes over the role of Darlene
that will go down as one of the best and most thought-
from Lelo Ramasimong. Mothibakgomo obtained her
provoking of the past few years… a brilliant and touching
Bachelor of Arts in Drama from the University of Pretoria.
production… This is a once-in-a-lifetime experience… You
Her theatre work includes roles in Disney’s The Lion King (in
will never forget it.’
which she played Nala and later the storyteller), Romeo and
Seventeen of the original 20 cast members have signed
Juliet (Juliet), Alchemy of Desire/Dead-Man’s Blues, directed
on to reprise their roles, including acclaimed performers
by Ball State University’s Wendy Saver-Mortimer, and
Didintle Khunou as Celie and Aubrey Poo as Mister. To find
Seussical. Mothibakgomo is also embarking on a career as a
the three necessary replacement cast members, Honeyman,
singer/songwriter in the commercial music industry.
58 / Creative Feel / July 2018
Terrence Ngwila will be playing the role of Grady. He is trained in Latin dance, basic tango, and jazz but he describes himself mostly as a hip-hop and dubstep dancer. Ngwila was also trained and awarded an introductory teaching certificate in Jazz-Ed by one of South Africa’s dancers on Broadway, Pinto Ferreira. He was part of the award-winning South African soapie Generations: The Legacy and worked with Mpumelelo Paul Grootboom on The President’s Man. Ngwila played the lead in the production 1606, which received a Standard Bank Ovation Award at the National Arts Festival in 2015. Other theatre roles include Marikana – The Musical, Freedom the Musical and Sophiatown – all at The South African State Theatre in Pretoria. Lebo Borole also joins the company. Borole studied drama and performance at the National School of the Arts and continued her studies at the University of Witwatersrand, where she received a Bachelor of Arts degree. She has worked as a radio personality at Trans World Radio and performed in an a cappella music group called Blacklace. She toured Hong Kong with Disney’s The Lion King as Nala. Borole was also cast as the lead in the
musical Milked Voice and is currently featured in the new production Tsotsi, the Musical in Cape Town. ‘I continue to be thrilled with the levels of talent displayed by South African artists,’ says Honeyman. ‘Masego, Terrence and Lebo will fit beautifully into the wonderful family we have brought together on stage for The Color Purple.’ The Color Purple will reopen at The Mandela at Joburg Theatre on 7 August and will run until 2 September 2018. CF To secure your tickets now before they’re sold out again, you can call 0861 670 670 or go online at www.joburgtheatre.com – or book in person at Joburg Theatre’s box office. Theatre patrons can also book online and pay at selected Pick n Pay stores.
Creative Feel / July 2018 / 59
SAMRO bursaries help almost 100 students to ‘compose their future’ The Southern African Music Rights Organisation (SAMRO) is paying it forward to nurture the musicians of tomorrow! This year, 99 music students at nine South African public universities will receive almost R1.2 million in bursaries from SAMRO to assist with their studies.
M
ost of the recipients of the SAMRO bursaries
special award for research into indigenous
are from the University of Cape Town (24) and
African music.
Nelson Mandela University in Port Elizabeth (19), with the remainder studying at the
She writes: ‘I was elated and grateful to learn that I was selected as the recipient
universities of the Witwatersrand, Stellenbosch, KwaZulu-
of your bursary… [which] has encouraged
Natal, North West, Pretoria and Rhodes, as well as at the
and motivated me to work even harder to
Tshwane University of Technology.
produce quality research.
The SAMRO Foundation’s Managing Director, André le
‘I hope to inspire, influence, impact
Roux, says the organisation is continually streamlining its
and nurture growth in others as Professor
music bursary application process. This year’s application
Mzilikazi Khumalo has done and continues
form was available online from December 2017, giving
to do. I hope to one day emulate your
students enough time to gather the required documents and
generosity and assist students [in
submit their applications.
achieving] their dreams, just as you have
Several grateful recipients have written to SAMRO to express their delight and gratitude, with a Rhodes student
supported me.’ Motswedi Modiba, another Wits
saying the news was ‘music to my ears’, and a UKZN student
student, has three siblings still at school,
noting that it was proof that ‘there’s absolutely nothing
making it difficult for her parents to pay fees for all of them.
wrong with dreaming big’.
She is now able to resume her studies, thanks to the SAMRO
‘We’ve received countless letters of thanks from
bursary. ‘What was once a mountain that seems impossible
appreciative students, who now have some of the financial
to climb is now a hill that I can conquer. I am eternally
pressure lifted from their shoulders. It means the world to
grateful to the SAMRO team!’
us as the Foundation to see how much these bursaries mean
In expressing her gratitude, Rikalet Mostert from NMU
to them, as a solid investment in our future musicians and
says that this bursary will ‘really assist me in growing into
educators,’ Le Roux says.
the musician I want to be, with regards to being able to
Although most of this year’s recipients are second-year,
spend more time on developing my art and having to do
third-year, fourth-year and Honours students, a significant
fewer shifts in my day job in order to support my studies. I
number – 14 – are studying music at Master’s level.
hope to have the honour, in the future, of being one of the
One of the SAMRO Foundation’s focus areas is enriching the country’s body of indigenous music
musicians that promotes the name of SAMRO.’ Brownlee Dlulane, a second-year student at Wits, writes:
knowledge. Among the future scholars committed to
‘Thank you so much to the SAMRO team for watering the
achieving this goal is Wits Master’s student Thembela
seed I am trying to grow. It is moments like these I will
Ndesi, who won the R30 000 SAMRO Mzilikazi Khumalo
look back on in life and always be thankful for. SAMRO has
60 / Creative Feel / July 2018
officially played a huge role in the development of my career
comes from a low-income household, I know full well how
as a musician, and for this, I will always be grateful.’
harsh reality can be, but also how absolutely life-changing
On a lighter note, Nosihe Zulu from UKZN says: ‘I am so
fantastic opportunities such as this one will prove to be as
speechless! This is very rare coming from a loudmouth like
a vital contribution toward my academic well-being and
me. SAMRO, I cried real ugly tears when I thought about
ultimate success as a qualified musician. So, on behalf of
what this means. This bursary means so much to me and it’s
my entire family and myself, our humble and most heartfelt
just so encouraging to hear that “someone out there believes
thank you for this much-needed financial award!’
in your dreams”.’ A Stellenbosch University student, Cornél Engelbrecht,
The significance of the bursaries is summed up perfectly by Wits student Anwyll de Leeuw, who says: ‘With this
writes: ‘Thank you so much for supporting an art that so
contribution towards my student fees, the worry of
many bursaries refuse to consider. Thank you for believing
finances is reduced, allowing me to focus more clearly on
that studying music can be just as valuable to this country as
musicianship mastery, where someday I hope that I too can
being a doctor or engineer. Be assured that your tremendous
make an impact with my music and knowledge gained in our
contribution will not be in vain!’
South African communities.’
Poignantly, Stellenbosch Master’s student Michelle Nell writes: ‘As a visually impaired postgraduate student who
A complete list of all bursary recipients is available on www.samrofoundation.org.za CF
Creative Feel / July 2018 / 61
DURBAN MUSIC SCHOOL:
Providing first-class
music education
WORDS: KIM MATTHEWS, CEO, DURBAN MUSIC SCHOOL
W
hen I look at the Durban Music School (DMS),
find that when a child who has very little materially and very
I see a tiny glimpse of what is possible when
little support from adults, is given an expensive instrument
people who are passionate come together.
and we say to them that we feel they are worthy and we
Particularly with sponsors who understand
trust them, the child’s self-esteem skyrockets and they look
the importance of music education for all children in South
after their instruments with great care. Most children come
Africa, be they orphaned, disadvantaged financially, or
to the school when they are around 12 to 14 years old. We
physically disabled. The school is a non-profit organisation
assess them very carefully and identify those who we feel
that has Section 21 Company status and is run by a board of
will be successful as musicians later in life. We pay for their
directors with Bongani Tembe as its chairperson.
practical and theory lessons, and exams. They also receive
We are able to give 611 orphaned or vulnerable children
transport money, sheet music and ensemble training. The
the opportunity to receive first-class music education by
exams that the students do are internationally recognised so
giving them full music bursaries. They receive everything
that they can use this accreditation if they want to apply for
they need to learn to play an instrument and are then
a job or study further.
equipped with the skills they need to find employment in
It doesn’t matter how good a musician a person is, if
the industry. The children receive the instrument of their
they have been trained by an educator on a one-on-one
choice, which they are expected to take home and practise
basis in a studio and have never had ensemble training,
on every day. Some instruments are very expensive, but I
they won’t be able to get a job in an orchestra, band or
62 / Creative Feel / July 2018
ensemble. Professional ensembles don’t have the time to train someone to read a conductor. So, with this in mind, as soon as our learners reach grade two musically, they join one of our twelve ensembles. This also forces them to work in a group, learn consideration for other members and learn to sight-read well, a major consideration when working in an orchestra. We have a cello ensemble, a jazz band, a string ensemble, a guitar and percussion ensemble, a junior wind band, a marimba group, a saxophone ensemble, two choirs
“We are able to give 611 orphaned or vulnerable children the opportunity to receive first-class music education by giving them full music bursaries”
at the Open Air School (which specialises in education for learners with physical impairments), a choir, a contemporary band called Kwini Kuza and our most senior ensemble, the
booking out a commercial studio. One of the main reasons
KwaZulu-Natal Youth Wind Band (KZNYWB). All these
for the studio is to use it to train people with the skills
ensembles practise regularly and perform at functions and
needed to become sound engineers. This is a good job that
do educational concerts at schools. They are often booked
pays well and I believe a partially sighted person would
by eThekwini Municipality or the Department of Arts and
also be able to excel in this field. We are planning to give
Culture (DAC) to perform at their functions. Three-hundred-
bursaries to children from the Open Air School so that they
and-sixty-two of our learners take part in these ensembles.
have another option when it comes to a career.
The KZNYWB, junior wind band and jazz band have all
Our annual street festival is held in October. We close off
done well recently. In March 2017, the KZNYWB entered a
the street in front of the school and invite our community
prestigious international youth music competition held at
to a free day of entertainment. The festival starts at 10:30
Carnegie Hall, New York, and were one of five ensembles
and the music and dancing goes on non-stop until 17:00. It
chosen to compete out of 36 from around the world. They
is a great day with hundreds of people coming to enjoy the
went on to win a gold award.
entertainment. We have our ensembles performing and then
In October 2016, the junior wind band entered the
invite other groups to join in the day. These include classical
annual SAMOV (The South African Marching Band and
Indian music, Zulu dancers, jazz bands, our music learners
Concert Orchestra Association/Suid-Afrikaanse Mars- en
from the eThekwini creche, poets, Maskandi artists and the
Konsertorkes Vereniging) competition, taking home first
SANDF marching band. This is one way we enhance social
place and the award for Best Overall Impression, Discipline
cohesion in our community as people from different walks
and Neatness.
of life, cultures and races come together to enjoy the day. It
The jazz band was recently invited to take part in the University of Stellenbosch’s ensemble competition where they did well. They also won first place at a national competition in Empangeni in 2016. The band has performed at the Dundee Jazz Festival and the Edinburgh Jazz and
breaks down barriers between the different groups and they chat and become friends. For many years now, DMS has been sending educators into primary schools to teach music education. As the school is a non-profit organisation and relies
Blues Festival – where they have an open invitation as they
completely on donations, I would like to thank our sponsors
were a real hit with the audience there. Another highlight
who continue to support us and the important role they
was being asked to perform for the then Vice Premier of the
undertake in the development of our youth.
People’s Republic of China, Ms Liu Yandong. She loved the band and asked them to visit China. A definite highlight for DMS has been a grant from the
This amazing community arts centre is only here because there are people and organisations who understand the importance of the arts and how it impacts communities.
DAC that enabled us to build a state-of-the-art recording
Playing and listening to music can be a powerful tool for
studio. The studio will be used to teach our students what to
creating social cohesion in communities. Music breaks down
expect when they do recordings and to record them playing
barriers, even if people can’t speak each other’s language,
so that they can play the recording back and hear what
being involved in music gives them a common language that
their performance sounds like – all without the expense of
they can all understand. CF
Creative Feel / July 2018 / 63
PHOTOS: Creative Space Media
Developing a new generation of dancers In a continuous effort to develop a new generation of dancers, dance teachers and choreographers as part of Vuyani Dance Theatre’s (VDT) founding objectives, nine young people have begun their year as trainees at VDT. Vuyani continues to use dance in a provocative and ambitious way as a vehicle to create sustainable arts jobs.
T
he training programme is developed to cover
contemporary dance by rooting its artistic works and
the scope of dance skills, technique and
training programme in contemporary, social, political
choreography. It aims to give young people
and psychological contexts, which gives the organisation
from diverse backgrounds an opportunity to
an edge in the creative industry. This approach ensures
excel in dance and to develop them into professionals
that each year’s class of trainees has an understanding
who will later contribute to the creative economy.
of dance techniques and an appreciation of other art
VDT has expanded its vocabulary of contemporary
forms along with further key learning points; arts
dance movement and is forever altering the scope of
administration, creativity and improvisation.
64 / Creative Feel / July 2018
“The training programme ensures that VDT has a consistent supply of welltrained dancers who continue to build Vuyani’s exceptional international reputation as a leading African contemporary dance company”
2018’s class of trainees have really challenged themselves. Accelerating their development in the company even further, seven of the trainees have been
Vuyani Dance Theatre,’ shares Smangaliso Ngwenya, VDT training alumni. The training programme ensures that VDT has a
cast in Vuyani’s Cion: Requiem of Ravel’s Bolero, which was
consistent supply of well-trained dancers who continue
presented at this year’s Sibiu International Theatre Festival
to build Vuyani’s exceptional international reputation as
in Romania (15 and 16 June). This month they will perform
a leading African contemporary dance company. Vuyani
at Artscape Theatre in Cape Town from 6 to 8 July and at
is rooted in developing young talent, and trainees also
the Vrystaat Kunstefees on 9 July.
give of their time to impart the knowledge they soak up
‘The training programme has been a challenging
to the school-going generation through the Outreach
journey that has helped me tap into parts of myself as
Programme. The objective of this programme is to reach
a dancer, performer and aspiring choreographer. The
out to community organisations and primary schools with
training programme has exposed me to an array of
a keen focus on those that include an arts and culture
teachers and classes, which has played a major role in
programme in their curriculum. Each year’s trainees are
helping me improve my body awareness and embodiment.
expected to create a three-to-five-minute dance piece
Furthermore, Vuyani demands you to be present, to
to showcase as part of their assessment, to demonstrate
own and master any opportunity you are given to dance
what they have learnt during their training period.
or perform, be it in class or on stage, this creates a
Vuyani has successfully achieved its inception mandate,
consistency and better work ethic. This was the first time
having trained over 60 young dancers who have gone on to
I was exposed to the arts and entertainment industry,
further their careers. Some have since made their mark as
especially the dance industry, and I am grateful for the
freelance dancers, dance teachers and choreographers, while
opportunity to have seen it in all its colours and forms at
others have become full-time VDT company members. CF
Creative Feel / July 2018 / 65
Fire and Ice for Joburg Ballet this winter
Fire and Ice, a glittering double bill from Joburg Ballet, takes place from 29 June at Joburg Theatre for eight performances only. Accessible ticket options include opening night at 50% off and free student seats.
F
rom the diamond brilliance of classical ballet to the
and a world premiere by internationally acclaimed French-
sweep and surge of contemporary dance, Joburg
Algerian choreographer Redha.
Ballet returns for its second 2018 season at Joburg Theatre with Fire and Ice, a glittering double bill, for
eight performances from 29 June to 8 July. Fire and Ice showcases the company’s range and expertise in two contrasting ballets, the classical Raymonda Act 3,
66 / Creative Feel / July 2018
Never before performed in Johannesburg, Raymonda Act 3 will premiere in a staging by Brazilian producer Guivalde de Almeida. Drawn from a full-length nineteenth-century ballet, with music by Russian composer Alexander Glazunov, Raymonda Act 3 captures
Joburg Ballet members of the company in Fire & Ice PHOTOS Lauge Sorensen
some of the finest classical choreography ever created in a single glittering act. ‘When I saw Guivalde’s work in Brazil last year, I was
‘In our continuing drive to make dance accessible to everyone, Joburg Ballet is again offering free tickets throughout the Fire and Ice season to everyone studying at
so impressed that I immediately asked him to share his
tertiary level,’ Nasser explains. ‘Students can simply present
expertise with us,’ says Joburg Ballet Artistic Director, Iain
a valid student card in person at the box office before any
MacDonald. ‘His staging of the technically challenging but
performance to claim two free, best-available tickets.’
breathtakingly beautiful third act from Raymonda will give
This season will also see six recently promoted dancers
Joburg audiences the opportunity to see this great classical
on stage at Joburg Theatre. Leading the list are ballerinas
jewel for the first time.’
Nicole Ferreira-Dill and Claudia Monja, who have been
The second part of this dynamic double bill will be
promoted to the rank of principal dancer. Both long-serving
a world premiere commissioned by Joburg Ballet from
members of Joburg Ballet, Ferreira-Dill and Monja have
celebrated Paris-based choreographer Redha. CEO Esther
distinguished themselves in leading roles in a range of
Nasser, who has previously worked with him, sums him
ballets including Swan Lake, Giselle, Cinderella, La Traviata,
up, ‘Always known simply as Redha – powerful, wildly
Snow White and Big City, Big Dreams.
imaginative, and poignantly beautiful. That is Redha!’ As part of its ongoing commitment to audience development, the company offers a range of affordable tickets throughout the season, including half price on
Promoted from soloist to senior soloist are Monike Cristina and Sanmarie Kreuzhuber, while Ruan Galdino and Leusson Muniz move from senior corps de ballet to soloist rank. Tickets for Fire and Ice are available in person at Joburg
opening night and a budget-priced morning matinee
Theatre box office, phone 0861 670 670 or visit
where all seats are just R100. This season also sees the
www.webtickets.co.za.
return of free student seats for tertiary level learners at every performance.
Keep up to date with the company on social media @JoburgBallet or online at www.joburgballet.com. CF
Creative Feel / July 2018 / 67
u d e b M o s u h
TA star that continues to shine Thuso Mbedu’s expeditious acting career has seen her become one of South Africa’s top actresses. A familiar face to many, she has graced our television screens since 2016 and recently made it into the 2018 Forbes Africa Under 30 list. Mbedu graciously gave Creative Feel’s Tshepang Ralekgari a moment of her time to chat about her journey so far.
68 / Creative Feel / July 2018
L
ife has not always been all glitz and glamour for Thuso Mbedu. Growing up, this beautiful actress battled with skin problems, which fueled her goal to become a dermatologist. But life led her down a
different path. In grade 10, she wrote, directed and starred in a school production; the play received a standing ovation. Mbedu fell in love with the art of acting. At times, one needs some form of inspiration in order to
succeed in what we want to accomplish. ‘In terms of those that inspire me to be better, it is not actually one person; it is a number of people around me and in my circle,’ says Mbedu. ‘I also draw inspiration from various well-known people, of which some are not specific to acting or my craft.’ Mbedu’s breakout role was in Is’thunzi, a role that she says was a challenge and allowed her to showcase what she is capable of. Another project that is of great significance and a source of pride for Mbedu is iDrive, a crime action drama series that she wrote. While she has managed to shoot the pilot and get the ball rolling on the project, she says that she needs ‘more funding so that I can bring it to your television screens. To be able to create content and see it come to life and be supported by industry colleagues is amazing.’ Growth comes with hard work, and every successful
‘So it is about looking for opportunities during hard times.
journey has challenges one has to overcome. Though Mbedu
If I am working, I do not have time to write, it was a blessing
experienced many of these such challenges, she pushed forward
that has allowed me to hone my writing skills,’ she says.
in pursuit of what she is passionate about. Having graduated
When asked what her core motivation to succeed is,
with an Honours Degree cum laude from the University of the
Mbedu says, ‘Never stop dreaming. Pray without ceasing
Witwatersrand, she says, ‘The journey beyond university was
because there is a God who listens. I have experienced Him
difficult. I left home in 2014 with no financial backing and I
for myself and nobody can take that truth away from me.
couch-surfed at my friend’s place while I auditioned and hoped
Yes, you have to work twice as hard as the next person, but
to acquire my first job. When a close aunt of mine departed this
that’s okay because the journey makes the endpoint that
life – having played a major role in assisting our grandmother
much more enjoyable. The process teaches you not to take
with raising us – three days before my graduation ceremony;
anything for granted and it builds character, which sustains
sadly I could not go back home for her funeral. My sister was
you much longer than anything else can.
able to arrive in the morning and leave immediately after the graduation ceremony. ‘Five weeks later, a few days before my first TV debut,
‘Keep your head down. Focus on what matters. Put in the work. It’s not how you start that matters, it’s how you finish. You will not regret pushing through. Paraphrasing from
my grandmother passed on. It was a dreadful period for
Wonder Woman: “You’re stronger than you believe and hold
me. I had to use that pay-cheque to help my sister and her
more power than you know.” Oh, and training is vital!’
daughter relocate from KwaZulu-Natal to come live with me
Winning an award in recognition of our hard work or talent
in Johannesburg. I did not get a job for another three months
is something that we all hope to attain, but it’s often a dream
and the jobs that came in after that were few and did not pay
that feels out of reach. This is true for Mbedu too, who thought
much. In 2016, I found myself without a job for almost six
that if she was fortunate to win any awards, it would only be in
months. That made me question if I should continue on this
her thirties or forties. Being nominated for an Emmy Award and
path or “get a real job” like others would say.’
DStv Mzansi Viewers’ Choice Award so early in her career was
During this time, Mbedu began writing the types of
truly unanticipated, but it was a delightful and most humbling
scripts that she would like to see herself in. A year later, she
surprise for Mbedu. Winning an award at the South African
is starting to see her hard work come to fruition. In addition
Film and Television Awards (SAFTAs) this year, she says was
to iDrive, Mbedu has written a feature film, which has been
‘amazing. It is always pleasant to be recognised in one’s country
commissioned for development by the KZN Film Commission.
as this is my home. It was a sweet experience.’ CF
Creative Feel / July 2018 / 69
SHEER GRIT, PASSION AND FOCUS:
Alfonso Cuarón & Chaitanya Tamhane
Mexican director Alfonso Cuarón’s latest film is shrouded in mystery, yet he is happy to share its secrets with protégé Chaitanya Tamhane. WORDS: NICK JAMES
Alfonso Cuarón and Chaitanya Tamhane
70 / Creative Feel / July 2018
Alfonso Cuarón and Chaitanya Tamhane
S
omewhere in central Mexico, a mansion has been transformed into a studio of sorts for director Alfonso Cuarón’s film Roma, a project veiled in secrecy. All that Cuarón will reveal to anyone is that
the story takes place in the 1970s and follows a year in the life of a middle-class family ‘with many elements and experiences of my childhood’. Cuarón is a master director, best known for big, brilliant entertainment movies, such as Gravity, Children of Men and Harry Potter and the Prisoner of Azkaban. For Roma, however, he has returned to his homeland, where his stratospheric career took off with the breezy naturalistic 2001 road movie Y Tu Mamá También, in which two young men pursue the older woman of their dreams. That film was crucial in putting Mexican cinema back on the international map.
Chaitanya Tamhane PHOTO Reto Albertalli
The sprawling colonial house where Cuarón’s new film is being made has many beguiling features. There’s a double grand staircase at the entrance and a more sinister set of steep steps without rails leading down to a storage area. Most of the action, though, takes place on the upper floors. There you will find the professorial-looking director – he could have been in Harry Potter himself – shooting in a side room, concentrating on the scene with laser-like intensity. Watching in the background is a young, anchored figure.
Creative Feel / July 2018 / 71
That man is Indian director Chaitanya Tamhane, Cuarón’s
construction are so high and so sophisticated. The kind of
Rolex protégé, who has wisdom in his wary eyes beyond his
films I grew up on either weren’t necessarily well lit or didn’t
years. He has just one documentary, a short film and one
have a very strong aesthetic sense, so this is something I have
feature film to his name – but what a feature! Court tells the
to consciously work on. The first step is being sensitised to it,
tragicomic story of the trial of an impoverished Indian folk
secondly, assimilating it, and then thirdly, executing it in your
singer accused within the Byzantine Indian court system of
own work. For example, I would go to a location and if I didn’t
abetting the suicide of a fan. It enjoyed considerable success
like it, I would visit ten others to find the one that fits the
on the international film festival circuit.
script. Alfonso can look at a location and think of 14 changes
‘When I first saw Court,’ says Cuarón, ‘I saw the work
to set it up in a way that is stunning. There was a location we
of someone who understands film language, and not just
went to and they had given the entire road a wet down and
in terms of technique.’ What made the film so fresh was its
they just placed a scarecrow in the background. That, for me,
distanced approach to the intricate action of the courtroom.
was just amazing because it would not be my first instinct.’
‘I know the insecurities of a first film,’ Cuarón continues.
As you watch mentor and protégé together, chatting
‘I am sure that Chaitanya was craving to shoot things closer
about other people’s films as they wander through the
and to do some typical coverage, but he kept to his approach
courtyard, past the dance floor that was laid for a scene but
and that’s the moment when you really make the language
also used for an impromptu party for Cuarón’s birthday on
flourish. It’s not the usual cinematic wallpaper, which I hate.’
set, their camaraderie is obvious, evident from the constant
Tamhane walks around the set with the calming smile of the cat that’s got the cream, but there’s no arrogance about him. He knows what an important opportunity he has and
ribbing of each other’s nationalities. Cuarón was treated to a demonstration of one of Tamhane’s talents at his birthday party: a magic trick done with pieces of card and a felt pen that left the mentor
how necessary it is to soak up all he can through observation
dazzled. ‘It’s not magic per se, it’s illusionism,’ says Cuarón.
and careful questioning. You can see that all the crew like
‘When he arrived, I asked him about his next film, which is
and admire him, and are eager to share their discussions
about classical Indian music. We started talking about the
with him. He admits to being somewhat amazed at watching
old school of magic that came from India and I said, “Do
Roma being put together.
something”, and he did, and I was like, “Wow, that was very
‘Alfonso’s approach to cinema comes from a very refined,
cool.” Then I said, “Anything else?” and he did something
visual aesthetic that’s quite alien to me,’ he says. ‘I’m so
even more impressive. We were laughing like crazy, I didn’t
happy to be exposed to somebody whose standards for image
want to go back to the set.’
72 / Creative Feel / July 2018
The trust Cuarón has invested in his protégé seems destined to bear fruit. But Tamhane is in no hurry. He is very much under the spell of his next subject, Indian classical music. ‘Every time I undertake a project that is researchheavy, I come out of it a new person,’ he says. ‘My existing beliefs have been shaken up in a big way, so it’s almost like a process of birth, life and death, and then reincarnation within the time of that project. I have no rational explanation as to why I got interested in Indian classical music. It’s just a bug that came out of nowhere and bit me,’ he adds. ‘One of the aspects that seduced me is that there is this element of secrecy, of myth-making, of stories attached to this world and with very eccentric characters. That was my initial entry point into this music. And also this seductive idea of having to dedicate your entire life to an art form that is so difficult to master.’ It is a similar dedication that bonds Cuarón and Tamhane, a belief in their art form as the only way they © Chien-Chi Chang / Magnum Photos
can exist. ‘It’s the medium that I think in quite naturally,’ Tamhane says. ‘I can’t live if I don’t do this.’
As you would expect, being on set is rarely about such
But Cuarón has a note of warning for his young friend.
entertainment, though Tamhane is convinced there is a
‘I hope that Chaitanya learns everything that is
direct and more serious link between his illusionism and
productive for him,’ he says, ‘but what’s also important
the cinema. ‘All art is magic,’ he says, ‘and films definitely
is that I learned from him. A lot of masters have these
come from magic but not in any esoteric ways. An actor,
cautionary tales about talented people who could not
for example, is an illusion you’re building. Will the people
follow the pulse of history. You have to understand what’s
believe in this person? Casting right is 50 per cent of the
happening around you and the effect that’s having in
battle won. It’s about what you can make the audience feel
cinema. I’m not saying, “OK, now everybody should start
that’s not in the frame. That psychological aspect of magic
doing Marvel movies”, because it’s not about that.’
happening in the mind of the audience is cinema.’ On Roma, Cuarón is working his own kind of magic with a
Mentorship, he says, has ‘a very selfish side to it. When you see Roma, you will see it has a certain kinship to Court,
clandestine approach, making sure as few people as possible
and that was something I was already after. When I saw
know what the story is about. It’s hard for someone so
Chaitanya’s film it just gave me more certainty. This guy
naturally voluble not to talk openly about his project. When
went all the way for it and I’ll do the same.’
he talks, he dances verbally around it and you can feel he is
For Tamhane, the experience of being on the set of Roma
almost ready to explode. Such secrecy led to a remarkable
gave him a thoroughly career-affirming perspective. ‘The
enhancement of the mentor-protégé relationship.
sheer grit, passion, and focus with which Cuarón overcame
‘Absolutely nobody on the crew has read the
the challenges on a daily basis was inspiring and revealing. I
screenplay,’ says Cuarón. ‘I have the only copy. Frankly,
learnt that no matter how successful your track record is, or
I’m working with a lot of people who are working very hard
how many resources you have at your disposal, it never gets
but who are a bit confused. For me, mentoring is not the
any easier. It’s just the nature and scale of problems that
same as a teacher-disciple thing – it should be horizontal.
change. What will eventually keep you afloat is your love for
For Chaitanya to understand what I am trying to do, I
what you do and your faith in your vision.’ CF
had to disclose my pieces to him. So I told him, “I think this collaboration will be way more productive if you read
NICK JAMES is the editor of the British Film Institute’s
the screenplay.” It was a treat based on our relationship,
Sight & Sound magazine. This article was published with
of course, because the costume designers don’t have the
kind permission from Rolex. Cuarón and Tamhane partook
script, the line producer doesn’t either. He is now like a
in the 2016 – 2017 cycle of the Rolex Mentor and Protégé
mirror for me on the set.’
Arts Initiative.
Creative Feel / July 2018 / 73
MARY SHELLEY DIRECTOR: Haifaa Al-Mansour STARRING: Elle Fanning, Douglas Booth, Joanne Froggatt, Maisie Williams, Stephen Dillane, Bel Powley Mary Shelley tells the story of Mary Wollstonecraft Godwin – author of one of the world’s most famous Gothic novels, Frankenstein – and her fiery, tempestuous relationship with renowned romantic poet Percy Bysshe Shelley. The scenery is played out by Elle Fanning (Mary Shelley) and Douglas Booth (Percy Bysshe Shelley). The pair are two outsiders constrained by polite society but bound together by a natural chemistry and progressive ideas that are beyond the boundaries of their age and time. Mary and Percy declare their love for each other and, much to her family’s horror, they run away together, joined by Mary’s half-sister Claire. In the midst of growing tension within their relationship during their stay at Lord Byron’s house at Lake Geneva, the idea for Frankenstein is conceived when a challenge is put to all houseguests to write a ghost story. An incredible character is created, which will loom large in popular culture for centuries to come, but society at the time puts little value in female authors. At the tender age of 18, Mary is forced to challenge these preconceptions, to protect her work, and to forge her own identity. Mary Shelley will be released at selected sites on 3 August 2018.
16DS
AT CINEMAS 3 AUGUST Creative Feel / July 2018 / 75
LITERARY LANDSCAPES |
INDRA WUSSOW
On Haus Cajeth and outsider art
C
ontinuing my exploration of the German town of
lighthouse typical of the city’s prolific intellectual life.
Heidelberg, I find that literature is omnipresent.
During the 1930s, the then owners of the palace, the Jewish
Taking a walk through the city, publishing houses,
entrepreneurial Zimmern family, hosted famous soirées
bookshops and libraries can be found around
in their home. Intellectual giants such as Ludwig Börne,
almost every corner. Looking at the vibrant scene of writers,
Nikolaus Lenau and Ludwig Uhland were frequent guests of
translators and theatre life, one finds a high level of literary
the family. Today, the bookshop is a treasure trove with an
productiveness. The city was declared a UNESCO City of
abundance of books whose exploration would take hours.
Literature within UNESCO’s Creative Cities Network on 1
New discoveries compel visitors to spend some money, and
December 2014 and thus celebrates its long dedication to
the knowledgeable bookseller, Barbara Schulz, imparts so
literature and culture. There are one-and-a-half bookshops
much about the cultural history of the city and the region.
for every 10 000 Heidelberg residents. Heidelberg is
She was the life partner of Egon Hassbecker (1924 – 2003),
traditionally home not just to shops selling new books, but
the founder of the bookshop and owner of one of the most
also to a large network of second-hand booksellers. All of
famous collections of ‘outsider art’. The bookshop and art
these together make an important contribution to the cultural
gallery have been situated in Heidelberg since 1982 when
life of the city.
Hassbecker moved here from the small town of Eberbach on
One of the most original is the bookshop and art gallery in Haus Cajeth in the heart of Heidelberg’s famous old town. This baroque palace has long been a cultural
76 / Creative Feel / July 2018
the Neckar. This versatile and visionary man was a young soldier during World War II and endured many years as a prisoner
of war in one of the Soviet Gulags. After difficult years of uprooting, he settled in the Neckar region and discovered the art of ‘outsiders’: of those artists who created original artworks without any formal training. During his extensive travels around the world, Egon Hassbecker built a unique collection of paintings from unknown artists who had been working without any mentor. Those whose oeuvre cannot be associated with any artistic style. Hassbecker explained the initial spark for his collection as follows: ‘in the 1970s, there was a prevailing trend to discover the so-called “naïve painting”. I felt this theme should be thoroughly scrutinised and I started to engage with paintings that were crafted by non-academic artists, but which display their own coherent form.’ British outsider artist Helen Downie, who started her career without any formal education when she was 48 years old says, ‘If you don’t study art, your subject matter is entirely different, everything comes from inside you – which is both an advantage and a disadvantage. I never have anyone else’s opinions on what I should create, whereas I know there can be pressure at art school to produce something others appreciate.’ Folk art, outsider art, Art Brut – no matter what you call it, the work of self-taught artists has been fascinating curators, and other artists, for the past one hundred years. Inspired by a vision, these artists are often driven by an obsession to realise their ideas on found materials, using makeshift methods that might seem illogical but end up leading to profound works of art. The Haus Cajeth museum/
grew to over 5 000 pieces from over 450 patients. Today, the
gallery shows not only parts of Hassbecker’s collection,
collection is still on display in the University of Heidelberg
but continues to discover new artists and offers art lovers
Psychiatric Clinic and has been expanded with works from
the opportunity to learn more about the ‘primitive art
similar programmes across the globe. Paintings, wooden
of the twentieth century’. The beautiful palace and its
sculptures, collages, and sketches from mentally ill patients
generous architecture provide the perfect ambience for a
are now on permanent display giving a creative voice to
reconsideration of traditional understandings of art.
decades of an otherwise creatively confined group.
It is a real asset for the city of Heidelberg to have this
Focused efforts to obtain synergy effects between
pioneering place next to the famous Prinzhorn Collection,
these two ‘outsider art’ collections have enabled a broader
a collection of artworks exclusively created by the mentally
public to question their perceptions of ‘primitive art’ and
ill. Located in a university psychiatric clinic, the Prinzhorn
art in itself, making Heidelberg a major destination for
Collection is devoted to collecting art that acted like
unconventional art aficionados. CF
windows into the psyche of its mentally ill patients. The collection is named after art historian Hans Prinzhorn, who was educated in medical science during World War I and sought to merge his two disciplines after the
Literary Landscapes is a monthly column by
war. After joining the University of Heidelberg Psychiatric
INDRA WUSSOW, a writer, translator
Clinic in 1919, Prinzhorn was tasked with expanding the arts
and director of the Sylt Foundation.
programme, which had been established among the patients. Under Prinzhorn’s direction, the collection of artworks from sufferers of everything from schizophrenia to depression
Creative Feel / July 2018 / 77
THE ART OF PERFORMANCE |
DAVE MANN
Writing
I
performance
n an age of online-first, visually-driven content, what
of slang words or phrases they used in direct quotes, were
is the value of writing about art or performance? And is
to be taken out. Other requested edits were that I include
writing about art even necessary?
absolutely every piece of work they’ve done, and accolades
For someone who enjoys writing about art and
they’d received named in full. In short, I had written a piece
performance, those are a few of the questions that can
that spoke on the nature of their craft, why they did it, and
gnaw at my mind each time I sit down to begin a new
what it meant to them and those who engaged with it, and to
piece. I never used to think like this. Back when I first
my mind, they had simply wanted an incredibly long-winded
realised I loved writing about art, I was convinced that
artist bio all along. Besides those ‘small changes’, they told
writing was more important than ever – that it was an
me, they absolutely loved the piece.
entirely necessary medium that wouldn’t fade away no
The whole experience made me want to quit banging
matter how smart they made our phones, or how cluttered
around on keyboards for good. Afterwards, I called a
our timelines became. And I still feel that way about
friend for advice. ‘What’s the point of writing about
writing, it’s just that these days I fight a little harder each
someone’s practice if all they want is a new artist
time to remind myself of those feelings.
statement for their website?’ I asked. ‘And what’s the
It was a few months back when I really struggled to reconcile these viewpoints. I had written a long-form piece on a performer and the interview had gone well. I took my time with the piece, polishing and re-reading it many times over, and before I was set to send the piece in for publishing, I sent it to the performer for a read-
“Writing is performative – it’s process-based. You go out and experience something, gather the facts and the insights, run those things through your own experiences and knowledge, lay it out in a format that’s readable and understandable, and then you let it go”
through. I do this whenever I write a particularly indepth piece about a person, because I like to believe that
point of writing about someone’s process if everyone
whenever you’re tasked with handling someone’s personal
would sooner watch an Instagram story about it?’ A little
story, there’s an agreement of trust that’s entered into,
dramatic, yes, but the call helped. As these things go,
and by working through the final draft of that person’s
the friend had no quick-fix advice on the matter, but we
story with them, you’re honouring that relationship.
did end up having a good conversation about the value
The piece came back to me filled with requests for changes. As I read through the edits, I realised that nothing about the form, the facts, or even the story itself was an issue for the performer, but that small things like the inclusion
78 / Creative Feel / July 2018
of process, and the value of documenting and archiving outside of social media. Writing about art or performance is a tricky business for a number of reasons, one of which is that the majority of
us have preconceived ideas about arts writers as arts critics – sharp, ruthless folk, always poised to take up their pens and make or break artists’ entire careers. I am not an arts critic. I am someone who writes about art, and I find it’s the medium that makes the most sense to me. And if we’re differentiating an arts critic from an arts writer, I’d say that the latter is simply someone who takes the words, works, and processes of an artist, and puts them into a story that’s comprehensible. In this way, arts writers are much like political reporters who we rely on to sit in on things like SONA debates and parliamentary discussions, taking down all the bureaucratic jargon and presenting it to us in a way that makes sense – and if done well, makes us understand the significance of large-scale issues to individual people. And if art is just another way of making sense of the world and our places in it, then someone who writes about, documents and archives art, is ideally the conduit of these ideas to other people who are interested in creative forms
"Writing about art or performance is a tricky business for a number of reasons, one of which is that the majority of us have preconceived ideas about arts writers as arts critics – sharp, ruthless folk, always poised to take up their pens and make or break artists’ entire careers"
of expression. The other thing that makes writing about art a tricky
work, he said, is to have it engaged with, and seen by as
practice is inherent to the act of writing itself. I’ve been
many people as possible so that each person can draw
lucky enough to write about all kinds of art and artists
their own meaning from the work, or leave their individual
over the years and I still have these small pangs of fear in
impressions on it. Writing about art, he said, was another
my stomach whenever I see my writing out in the world.
way of doing that.
I’m scared of misinterpreting something, coming across as
Later, while I tried to put Soal’s work and thoughts into
too soft, too hard, too arrogant, or too ignorant. Because
words, I went through the same performance of writing that
writing is performative – it’s process-based. You go out and
I always do. I gathered the information and the insights,
experience something, gather the facts and the insights, run
I ran it through my own thoughts and impressions, typed
those things through your own experiences and knowledge,
it out into what I thought was a coherent structure, and
lay it out in a format that’s readable and understandable,
then I let it go. I still felt the same fears and anxieties, and
and then you let it go.
I still wondered what the value of my contribution really
I went to a talk by the arts writers Sean O’Toole and
was. I thought back to the phone call I had with my friend,
Ashraf Jamal a while back. The talk, which focussed loosely
and I tried to remember what we said about writing being
on Jamal’s new book, saw the two discussing things like
a means of communication – another version of someone’s
arts writing in South Africa, the media industry as a whole,
practice or process being sent out into the world as a means
and the various politics of writing. At one point, O’Toole
of reference.
asked Jamal how he dealt with people engaging with his
Ultimately, if all the pains and processes that go into
writing, either positively or negatively. While Jamal didn’t
trying to write about art or performance end up playing
quite answer the question, he did state that he ‘wrote to
some small part in making meaning out of the way we exist
be read’. I found that to be a strange stance, although
in the world, then I think that’s enough. CF
naturally, I understand that public writing will inevitably be read by someone. The following day I had a chat with the artist Chris Soal ahead of his debut solo exhibition, Orbits of Relating. We spoke about his process, his approach to artmaking, and his
DAVE MANN is an editor and
own experiences of writing about art. He explained how, if
award-winning arts journalist.
you’re creating art that’s only seen by a select few – peers, educators, close friends – ‘then you’re essentially creating work that exists in a vacuum.’ One of the aims of creating
Creative Feel / July 2018 / 79
BOOK REVIEWS |
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Reading Mandela Published on the centenary of Madiba’s birth, these inspiring reads reveal with poignance, passion and inspiration, messages of resilience, peace and hope from the Father of the Nation.
GOING TO THE MOUNTAIN: LIFE LESSONS FROM MY GRANDFATHER By Ndaba Mandela | Publisher: Penguin Random House | ISBN: 9781786331564
I
n Going to the Mountain, Ndaba Mandela weaves the trials and frustrations of his early life with tales of his grandfather’s watchful eye and council to paint a new portrait of the man to whom so many feel a
unique connection. The Prison Letters of Nelson Mandela, with a foreword from Zamaswazi Dlamini-Mandela, is the first, and only, authorised and authenticated collection of
THE PRISON LETTERS OF NELSON MANDELA Edited by Sahm Venter | Foreword by Zamaswazi Dlamini-Mandela | Publisher: Penguin Random House | ISBN: 9781631495465
correspondence spanning the 27 years Mandela was held as a political prisoner. With remarkable intimacy, both books delve into the life of Nelson Mandela as political activist, prisoner, lawyer, father, husband, uncle and friend. CF
80 / Creative Feel / July 2018
MANDELA
THE MADIBA APPRECIATION CLUB: A CHEF’S STORY By Brett Ladds | Publisher: Jonathan Ball Publishers | ISBN: 9781868428663 Once, chef Brett Ladds was given a cigar by Fidel Castro, he talked weightlifting with Swazi King Mswati III and his cooking made Quincy Jones sing. For many years he also
Uplifting life lessons from one of the greatest leaders the world has ever known...
served Nelson Mandela cups of rooibos tea and made him his favourite meals. Ladds was the executive chef of the SA government and manager of the presidential guesthouse at Bryntirion Estate in Pretoria from 1994 to 1999 where he served both Mandela and Thabo Mbeki. During this time, he managed the presidential guesthouse, cooked daily for the president and his guests and catered for 54 state banquets. It was a naïve and star-struck 21-year-old Ladds who started working at the guesthouse in the months before the first democratic election. During
OUT 10 JULY
this time, he was always in the background when struggle stalwarts like Steve Tshwete, Joe Modise and Dullah Omar met Mandela to discuss the future of the country. This heart-warming book tells of a young man’s coming of age at a turning point in our history. His stories of meeting kings and queens, presidents, rock stars and even the pope are laced with his unique, self-deprecating sense of humour. Of Queen Elizabeth, he says it felt like speaking to his gran. ‘I asked myself, how does all that power fit into this lovely, caring lady?’ Of Robert Mugabe: ‘He never moaned about a thing.’ Then there are the Russian diplomats and their drinking habits and the Saudi-Arabian sheikh who had eight television sets installed in his room and bought 20 blankets at R5 000 each for his stay. And Madiba’s favourite champagne? Pêche Royale... It’s a book to make you laugh and cry.
An unforgettable portrait of one of the most inspiring historical figures of the twentieth century.
Creative Feel / July 2018 / 81
AVAILABLE AT BOOKSTORES AND ONLINE
ENCORE DR SAME MDLULI is the manager of the Standard Bank Gallery, a position she took up earlier this year. She has a PhD in Art History, which she completed in 2015. Mdluli has worked as an art teacher (while completing her Master’s in Arts and Culture Management with a focus on Heritage Studies), as well as at the Goodman Gallery both in Cape Town and Johannesburg.
Name three artworks that you love and why.
and, in some respects, still distant from the social, economic and
I don’t really have any specific artwork that I love, but
political issues prevalent in national debates. There are various
the following have left a lasting impression on me for
reasons for this, one of them is the lack of transformation in key
various reasons:
strategic positions, such as in the academic and private sectors.
Frida Kahlo, Self Portrait in a Velvet Dress, 1926. It is a powerful representation of the artist’s artistic repertoire in
Name one thing you think would improve the arts and
that she was bold and elegant. There is a level of honesty to
culture industry in South Africa.
it that Kahlo carried in all her work.
More financial support of the arts from corporate entities.
Francis Bacon, Three Studies for a Crucifixion, 1962. Bacon is one of my favourite painters and in this piece I am both
What is your most treasured possession?
seduced and repulsed by the paint and subject matter. I think
An old travel document – it is a reminder not to take freedom
that is what makes it a powerful piece.
for granted because my family was once deemed stateless.
Cyprian Shilakoe, We Want to See Koko, 1971. Shilakoe had a short life but produced the most extraordinary work
What do you regard as the lowest depth of misery?
during this period. His technical ability in giving his etchings
Hopelessness. My aunt, who had a physical disability, used to
an aura makes him a master of his craft in what he was able
call it the eighth of the seven deadly sins.
to achieve with the technique. What is it that makes you happy? Name one artist you would love to meet.
Music.
Kerry James Marshall. Describe a defining moment in your life. What are you reading at the moment?
Completing my PhD, I became more confident in who I am.
Swallow by Sefi Atta. What projects will you be busy with during 2018 and If you could change one thing about yourself, what
into 2019?
would it be?
I am currently working on putting together a dynamic
Say ‘no’ more often.
exhibition schedule with a more youthful focus for 2019 at the Standard Bank Gallery.
How have the arts industries in South Africa changed over the last ten years?
Name one goal you would like to achieve in the next
Other than the introduction of new younger artists entering the
twelve months.
market, there has been very little change in how the industry
To create a more Pan-African audience for appreciating the
operates in general. The art market is still highly commercialised
arts at Standard Bank Gallery. CF
82 / Creative Feel / July 2018
It’s all happening at Poe�c Thursdays 26 July 2018
Ghe�o Laughs 26 July 2018
The home of premium Township comedy. Ghetto laughs has been bringing you nothing but quality laughs for the past 5 years. At the majestic Soweto Theatre, every last Thursday of the Month some of South Africa's funniest comics gather to bring you chuckles, giggles and lols. Come witness some of the greatest comedy talent on the continent. Tickets: R80-R100
Seven Colour Sundays 29 July 2018
Soweto’ s first food market that takes place every last Sunday of the month at Soweto Theatre and is fast becoming one of Jozi’s favourite food market. Seven Colour Sundays attracts food and music lovers from all over Gauteng while providing a platform for young talented DJ’s to do their thing. Tickets: R20-R60
House of Kwaito 28 July 2018
MKFCU in partnership with Soweto Theatre is proudly to present another musical event named “Soweto The House of Kwaito” sessions to occur last Saturday of June and July at Soweto Theatre. The purpose is to celebrate the inception of Kwaito music and give a spotlight to the young talented upcoming artist to shine. Tickets: R100
DON’T MISS OUT - BOOK NOW!
www.sowetotheatre.com. Free and safe parking.
Outstanding spoken word showcases. Tongue twisting, word bending magic, enchanting and breath-taking display of poetry. Featuring an open mic, DJ and exhibitions by some of the country's leading performers on our headline section. One of Joburg’s leading poetry platforms. Tickets: R30
Soweto Art and Cra� Fair 4 August 2018
Adding to the landscape of premium outdoor markets, Soweto Art and Craft Fair which happens every 1st Saturday of the month at Soweto Theatre has proved to be a great space for the growth of young businesses and performers. It has become one of the premium Live Music venues attracting some of South Africa’s best talents as well as unearthing new diamonds. The Market attracts people from all over South Africa and indeed the world. Tickets: R20-R60
Music Tutorial Programme (MTP) 25, 26, 27 July 2018 Soweto Theatre continues to meet the development and empowerment needs of the community, through robust programming that ensures that the theatre is accessible to all. The schools’ music outreach programme, in partnership with Concerts SA, aims to link and expose learners to different forms of music disciplines. Every month, the Programme provides workshops to identified schools, followed by a live music performance at the school.
Free Entrance
cfd
Creative Feel / July 2018 / 83
Sold. Valued. Recognised. This sticker validates the creative vision of an emerging artist. Presented by RMB in collaboration with Assemblage, the Visual Arts Network of South Africa (VANSA) and the Turbine Art Fair, Talent Unlocked is a six-month mentorship programme that upskills young artists through learning about and participating in the creative economy. On completion, the artists are given the opportunity to exhibit at the Fair. This is the most measurable example of RMB helping artists to establish themselves in Africa’s art world. RMB: unlocking talent and social transformation through the creative arts.
84 / Creative Feel / July 2018
Rand Merchant Bank is an Authorised Financial Services Provider
Talent Unlocked
