SA R36,90 (incl. VAT) - July 2017
The Anthropologist III Colbert Mashile, Monotype A cacophony of layers and meaning
Creative Feel / July 2017 / 1
Strauss & Co: The global leader in the South African art market
Making History at Strauss & Co JH Pierneef Farm Jonkershoek with Twin Peaks Beyond, Stellenbosch, (detail) 1928 SOLD R20 462 400, 5 June 2017 WORLD RECORD FOR THE ARTIST 011 728 8246 | 021 683 6560 | www.straussart.co.za
EARLY SPRING SYMPHONY SEASON
CALL 031 369 9438 TO SUBSCRIBE & SAVE UP TO 20%
Making music together. THURSDAY, 24 AUGUST 2017, 7:30PM, DURBAN CITY HALL
031 369 9438 • www.kznphil.org.za
Conductor:
Wolfram Christ
Soloist:
Kyoko Takezawa, violin
Mendelssohn Ruy Blas, Op. 95: Overture
WORLD SYMPHONY SERIES
Tchaikovsky
Violin Concerto in D major, Op. 35
Dvorák
Symphony No. 6 in D major, Op. 60
THURSDAY, 31 AUGUST 2017, 7:30PM, DURBAN CITY HALL Conductor:
Wolfram Christ
Soloist:
Ben Schoeman, piano
Weber
Turandot: Overture and March
EARLY SPRING SEASON 2017
Mozart
Piano Concerto No. 20 in d minor (K466)
Schumann
Symphony No. 3 in E-flat major, Op. 97, “Rhenische”
WITH OUTSTANDING SOLOISTS, STAR CONDUCTORS AND AN INTERNATIONAL TRIO, THE KZN PHILHARMONIC WILL PRESENT THE EARLY SPRING SEASON OF ITS RENOWNED WORLD SYMPHONY SERIES 2017 FROM 24 AUGUST TO 14 SEPTEMBER.
THURSDAY, 7 SEPTEMBER 2017, 7:30PM, DURBAN CITY HALL Conductor:
Daniel Boico
Soloists:
Fidelio Trio: violin, cello and piano
Beethoven
Coriolan Overture
Beethoven
Triple Concerto for Violin, Cello and Piano in C major, Op. 56
Beethoven
Symphony No. 2 in D major, Op. 36
THURSDAY, 14 SEPTEMBER 2017, 7:30PM, DURBAN CITY HALL NATIONAL YOUTH CONCERTO FESTIVAL Conductor:
Lykele Temmingh
Soloists:
Various Young South African Performers
Vivaldi
Concerto for 2 oboes in d minor: Mvts 1, 2 and 3
Arutiunian
Trumpet Concerto in A flat: Mvt 1
Stephenson
Introduction and Allegro: Mvt 1
Vivaldi
“Summer” from The Four Seasons: Mvts 1, 2 and 3
Hue
Fantasie
Rachmaninoff Piano Concerto No. 2 in c minor, Op, 18: Mvt 3 Mozart
Piano Concerto No. 20 in d minor: Mvt 1
Bongani Tembe, Artistic Director
“The
KZN
Philharmonic
is
committed
to
Single tickets priced from R65 – R230 are available at Computicket. All concerts commence at 7:30pm at the
enriching the cultural life of South Africa’s diverse
Durban City Hall. Pre-concert talks are held from 6pm -
audiences by presenting world-class concerts
6:40pm. The City Hall precinct, including surrounding
and implementing education and community
parking garages, is patrolled by a dedicated security team.
engagement programmes.”
Ben Schoeman
Kyoko Takezawa
Wolfram Christ
Sponsored by
SOME OF THE Fidelio Trio © Hugo Glendinning
ARTISTS FEATURED IN THE KWAZULU-NATAL
Daniel Boico
PHILHARMONIC’S EARLY SPRING SEASON
NYCF soloist Shaheel Kooverjee
The KwaZulu-Natal Philharmonic Orchestra
NYCF soloist Pendo Masote
The South African Cultural Observatory has developed a free, online event and festival economic impact calculator to help event organisers track the economic impact of their events on a host city or town’s economy.
The South African Festival Economic Impact Calculator (SAFEIC) is a ground-breaking tool and is available free of charge to any event organiser wanting to know the economic impact of their event.
WHAT
WHO
The calculator reports on three key elements of economic impact:
Event and festival organisers – whether your event is big or small, high or low impact.
DOES SAFEIC DO?
IS SAFEIC FOR?
R Total spending on accommodation.
Total amount spent by the organisers in the host economy.
Economic impact – including the multiplier effect – on the host economy.
{
Economic impact studies can be used for valuing all kinds of events, but they best when large numbers of tourists from outside the town, city or municipality hosting the event come specifically to attend a festival or event.
{
WHO DEVELOPED SAFEIC? FOR
+
BY EXPERTS
Prof Jen Snowball SACO Chief Research Strategist
TRY IT OUT:
https://www.southafricanculturalobservatory.co.za/safeic-intro
Prof Bruce Seaman Georgia State University
NOTE: the SAFEIC doesn’t measure the cultural impacts of the event – only the increased spending associated with it.
MEASURING & VALUING SOUTH AFRICA’S CULTURAL & CREATIVE ECONOMY
HOW DO I USE IT? GOOD DATA IN
=
GOOD DATA OUT
{
SAFEIC has been carefully, and conservatively, designed so as to produce results that are as reliable and valid as possible for a wide range of events – provided the data that is inputted is as accurate as possible.
{
To use the SAFEIC, a festival or event organiser requires a minimum of seven pieces of information:
1
2 DAYS: Number of days of the festival or event.
5
3 POPULATION: Population of the host city or town.
VISITORS: The total number of attendees.
FUNDING: Funding or sponsorship from outside the host town or city.
EARNINGS: Total organiser earnings from ticket sales, venue hire, bar, other earnings.
WHAT
IS ECONOMIC IMPACT? Economic impact studies attempt to answer the question: ‘If the event had not taken place, what would the loss of economic activity to the impact area have been?’ An economic impact study thus calculates all the additional economic activity that takes place in the region as a result of the event or festival – this includes spending patterns on accommodation, daily expenditure on food, souvenirs and other purchases – excluding tickets.
Festival/ Event Attendance
ACCOMMODATION: Average visitor spending on accommodation per night (from a visitor survey; or using averages).
7
6 SPENDING: Visitor spending on nonaccommodation e.g. food, shopping (visitor survey/ averages).
4
Visitor Spending On Accommodation & Non-Accommodation
SAFEIC WORKSHOP COMING UP September | Cape Town
WATCH THIS SPACE
%
Organiser Spending
WHY IS IT IMPORTANT? The SAFEIC provides an estimate of the festivals and events economic impact that can be used for:
DOWNLOAD THE SAFEIC GUIDE:
CONTACT US +27 (0)41 504 493 21-23 Donkin St, Central, Port Elizabeth info@southafricanculturalobservatory.co.za @SACultureObs facebook.com/SACulturalObservatory
www.southafricanculturalobservatory.co.za/safeic-intro The monitoring and evaluation process.
Internal for event planning and management.
Reports to funders, sponsors and other stakeholders.
Motivation for support.
Cover image: The Anthropologist III (detail), The Baboon Series, Colbert Mashile. Monotype. 105 x 75cm. SOURCE The Artists’ Press
30 ARTISTS CONFESS SOUTH AFRICANS’ SEARCH ENGINE SECRETS If you had to take a snapshot of South Africans’
cover story
statistically most-searched-for topics according to
52 COLBERT MASHILE: A CACOPHONY OF LAYERS AND MEANING
August 2017 will have the opportunity to find out.
During TAF17 The Artists’ Press, located near White River in Mpumalanga, is showing some
Google over a year, what would it look like? Visitors to the Absa Gallery in Johannesburg from 10 July to 4
32 50 YEARS LATER: SASOL NEW SIGNATURES
works recently produced in their studio by
The longest-running South African art competition
Colbert Mashile.
is celebrating 50 years since it was started by the
contents Association of Arts Pretoria in 1967.
arts and culture 16 GONE NATIVE
18
36 HONOURING SOUTH AFRICAN INVENTIONS: THE WORLD’S FIRST HEART TRANSPLANT
Joburg City Theatres (JCT) will stage Gone Native at
The second instalment of the South African Inventions coin
Soweto Theatre in August 2017 as part of its women’s
series from the South African Mint commemorates the life-
month programming.
saving heart transplant procedure, pioneered by Dr Chris
CAST ANNOUNCED FOR KING KONG Over half a century since the original production, the
Barnard in Cape Town 50 years ago.
38 THE 2017 PPC IMAGINARIUM AWARDS
Fugard Theatre’s forthcoming, brand new production of
South Africa’s most supportive art and design
the legendary South African musical, King Kong, is now
competition, the PPC Imaginarium Awards, announced
fully cast and rehearsals commenced on 12 June.
its Overall Winner, Category Winners and Runners-up.
28 ACT | UJ UNLEARNS HOW TO CONFERENCE #CreativeUprising, the fifth ACT | UJ Creative
42 THE EXPRESSIONIST In line with their innovative #MadeOfTaste campaign, The Singleton teamed up with Anthony Bila to host
Conference will engage with South African art
a night of wonder and sensation and, of course,
education in its current state and possible future.
exceptional whisky and whisky cocktails.
44 FRAGMENTS OF INCREDIBLE HAPPINESS It has been a great success story for Neo Image
68 PLENTY TO LOOK FORWARD TO WITH CANDICE BERMAN AT TAF17 Candice Berman Gallery will be exhibiting both well-known and new artists at TAF17.
Matloga since he pursued his Fine Arts studies at the University of Johannesburg and graduated in 2015.
46 TURBINE ART FAIR CELEBRATES FIVE YEARS The fifth edition of the Turbine Art Fair (TAF) will take place at the iconic Turbine Hall, Johannesburg from 14 to 16 July 2017.
48 TOUCH: THE GRADUATE PAINTERS SHOW Curator for the Graduate Painters Show at TAF17,
70 THE WRATH OF THE BLACK GODS Art lecturer and historian, Lloyd Pollak, reviews the group exhibition Disclosure.
lifestyle and entertainment 72 76 79
SPECIAL FEATURE: THANDA SAFARI BOOK REVIEWS CD REVIEWS
contents Jessica Webster, is a talented artist and painter in her own right.
56 2017’S FRESH PRODUCE Started in 2014 for the second edition of the
contributors 20
ARTLOOKS & ARTLINES
Artlooks & Artlines is a monthly column by Ismail
Turbine Art Fair (TAF), Fresh Produce Presented by
Mahomed, CEO of the Market Theatre Foundation.
RMB Talent Unlocked is a mentorship programme and exhibition.
60 UNSEEN PIERNEEF SMASHES RECORDS AT STRAUSS & CO The star of the show at Strauss & Co’s winter sale, held on 5 June at the Wanderers Club in
22
Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).
24
Aspire Art Auctions’ upcoming July sale at The Park on 7, Hyde Park Corner, offers a selection of some of the best works produced by local and international artists available on the local market.
LITERARY LANDSCAPES
Literary Landscapes is a monthly column written by
Johannesburg, was undoubtedly JH Pierneef.
64 ASTOUNDING ART AT ASPIRE’S AUCTION
BUSINESS & ARTS
Indra Wussow, a writer, translator and director of the Sylt Foundation.
26
THE ART OF PERFORMANCE Dave Mann is an editor and award-winning arts journalist.
EDITOR’S NOTE
I
A reflection of social change
t is that time of the year again in Johannesburg. It is cold, dark and downtown, yet the visitors still come ‘over the bridge’ to join the Turbine Art Fair in New Town. They not only come to socialise but to buy art, art that is affordable (not sure how affordable the upper limit of R50 000 really is, but many great works are much less). More importantly,
they come to see works by young emerging artists who are showing art that is often a reflection of social change in our country. As Nina Simone asked, ‘how can you be an artist and not reflect the times?’ Art is a potent language to speak against various forms of oppression and persisting inequalities regarding gender, race or class. Throughout history, it has been shown that art can open up space for the marginalised to be seen and heard by raising awareness and contributing to social change. During the 1920s, the Mexican Muralists were in revolt against tyrannical industrialisation. Their intention was to protect workers’ rights. Picasso’s Guernica (1937) is based on the Spanish Civil War, and capturing its atrocities and inhumanity served as an inspiration for the modern human rights movement. Today, one of the most famous figures associated with political activism in contemporary art is certainly Ai Weiwei. Using his art to address the corruption of the Chinese government and their neglect of human rights. In South Africa, much work in the past was fuelled by resistance to South Africa’s apartheid government and particularly the existence of the State of Emergency. Norman Catherine’s early works with titles like Suicide, House Arrest and Intensive Care are raw expressions of his abhorrence to the political intolerance and suppression. Jane Alexander’s Butcher Boys is the most visited artwork in the Iziko South African National Gallery in Cape Town. The three figures reveal aspects of violence and yet are more passive than any of her other works. Sam Nhlengethwa’s It left him cold – the death of Steve Biko was selected by David Koloane for inclusion on Seven Stories About Modern Art, an important pan-African show at London’s Whitechapel Gallery. Now there is a new wave of work addressing sociopolitical issues and challenging the traditional boundaries and hierarchies imposed by those in power. At TAF17 The Artists’
Press will exhibit South African artist Colbert Mashile, who comments on the present social Sylvaine Strike landscape in our country. Creative Feel decided to feature The Anthropologist III, one of the monotypes from his Baboon series, on the cover of this July issue. Undoubtedly, this cover will open up some interesting dialogue. And dialogue is what Creative Feel is hoping to encourage by taking over the central point of the Turbine Art Fair, the ‘underground bar’, and making it into a fun space where people will meet, read, chat, have a good time at the photo booth and of course discuss the current social changes. Please do come and join us.
10 / Creative Feel / July 2017
Lore
Marina Abramović, Golden Mask, 2009, framed chromogenic print, 127 x 127 cm, pre-sale estimates: R1 400 000 - 1 800 000 Photograph: Nina Lieska | Repro Pictures
WINTER AUCTION IN JOHANNESBURG | 17 JULY Historic, Modern & Contemporary Art The Park House of Events on 7 | Hyde Park Corner | 7th Floor enquiries@aspireart.net | +27 11 243 5243 | www.aspireart.net
Inviting consignments for our Spring Auction in Cape Town Entries close end July 2017 F or a free valuation contact Marelize van Zyl | marelize@aspireart.net | +27 83 283 7427
We love this!
T
E
A
M
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 Michelle Constant Indra Wussow Lloyd Pollak Dave Mann SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Zama-Africa Mkhize; zama@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za 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 www.creativefeel.co.za www.desklink.co.za PRINTING Raptor Print (Pty) Ltd © 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.
Black Coffee 2017 SA Fashion Week Autumn/Winter Hyde Park PHOTO Simon Deiner / SDR Photo
WHAT’S YOUR DEFINITION OF Taste? #MADEOf TASTE
Not for Sale to Persons Under the Age of 18. Drink Responsibly.
During July, Gauteng Opera will present one of the most well-known and all-time favourite operas on the regular opera performance circuit: La bohème, generously supported by the Joburg Theatre and Creative Feel.
Giacomo Puccini’s La bohème
F
rom 18 to 23 July 2017, Gauteng’s most vibrant opera
love with Mimi, a neighbour in the building where they live;
company will present this heartwarming opera by
and Marcello who has a stormy relationship with Musetta.
composer Giacomo Puccini, with the libretto written by
The story is universal and ageless. The new Kobbés Opera
Luigi Illica and Giuseppe Giacosa. La bohème premiered
book describes it as follows: ‘In La bohème, Puccini’s melodic
on 1 February 1896 at the Teatro Regio in Turin, Italy. Gauteng Opera is proud and honoured to invite South
invention and its turn to expressive use is at fullest flood, and he combines it with an epigrammatic, conversational
African bass, Vuyani Mlinde, currently working extensively
conciseness that is unique in his output, technically adroit
in Europe, to perform the role of Colline. Mlinde was the
though that always is.’
first ‘incubator’ with Gauteng Opera (then known as Black
Performances of La bohème will take place on 18 July at
Tie Ensemble) in 2001. In 2004 he left South Africa, and in
20:00, 20 July at 20:00, 22 July at 20:00 and 23 July at 15:00.
2007 became a member of the Jette Parker Young Artists
Tickets range from R200 to R500 and are available by calling
Programme at the Royal Opera House, Covent Garden.
0861 670 670, online at www.webtickets.co.za or
We are proud to welcome back one of our own. Other cast
www.joburgtheatre.com and in person at the Joburg Theatre
members include Khayakazi Madlala as Mimi, Phenye
box office.
Modiane as Rodolfo, Litho Nqai as Musetta and Solly Motaung will sing the role of her jealous lover, Marcello. Gauteng Opera CEO, Marcus Desando will direct this
Patrons can also book and pay via the Nedbank app and at selected Pick ‘n Pay stores (full list at www.webtickets.co.za/pnpoutlets.aspx ) CF
brand-new production with set design by exciting new designer, Lungile Cindi. This ‘human’ opera revolves around four friends – particularly two of them: Rodolfo, a poor poet who falls in
14 / Creative Feel / July 2017
For more information, log on to www.gautengopera.org, visit Gauteng Opera’s Facebook page or follow @GautengOpera on Twitter.
Comfort, art, beauty, cuisine and service excellence –
a pure delight
T
he 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
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.
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. Did you know that in the past years, due to high ratings by visitors, Casta Diva has made it into the top ten on TripAdvisor? Not only do they offer the most amazing accommodation, 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. The culinary team has just finished the design of some amazing game
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.
dishes. Be daring, hunt your game at Charisma! As they often collaborate with up-and-coming performers, you might be lucky enough to stay when they have a show in the intimate Vissi d’Arte Theatre/ Art Gallery. 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. Give yourself something special as winter tightens its grip on our country; visit Casta Diva Boutique Hotel – the one place where you can truly just… be. CF
16 / Creative Feel / July 2017
GONE NATIVE G Joburg City Theatres (JCT) will stage
one Native shows the power of love, the strength
Gone Native at Soweto Theatre in August
and resilience of youth, and complex nature of life
2017 as part of its women’s month
programming. The play will be directed by
in South Africa at the time. It encourages young South Africans today to follow their hearts despite
political boundaries and to persevere, even when success
JCT’s Artistic Manager, Makhaola Ndebele,
looks unlikely. It is truly a story of inspiration, love, and truth.
who will be working closely with Louis
them. Not language or foe; no law, not even apartheid, could
Molamu, who has compiled the research
come between these star-crossed lovers.
material and provided written guidance for
from the 8 to 20 August, is about the life of Regina Brooks.
the scripting of the play. Hugh Masekela
Regina Brooks was a white woman who never could find her
will be the musical director for the play.
When two people fall in love, nothing can come between
Gone Native, which will be showing at the Soweto Theatre
place in white society. She was far happier spending her time with ‘Africans’, as she would say. Throughout her life, she had black lovers and chose to live with black families.
18 / Creative Feel / July 2017
Hugh Masekela (playing at work) by Vatic Studio. Photography: Brett Rubin. Art Direction: Nicole Van Heerden
Richard Khumalo grew up herding cattle for his father. He later became a servant for a white family and he assisted in raising their white children. He was then diagnosed with
‘
Makhaola Ndebele
The play focuses on how two young South Africans were able to fall in love against incredible odds and how they stood up against society and the apartheid laws that were against their union
wants; a woman who makes her own choices despite the
‘
heart disease and travelled the country searching for a cure,
odds. Regina Brooks was a white woman who preferred to
which fortunately he found. A few years later, he moved to
live with black people. She moved from farm to farm until
Johannesburg where he joined the police force, became a
she found a community and a farmer who would let her be.
sergeant and married a woman by the name of Roseline. It was
She fell in and out of love in relationships that society as a
at his wedding to Roseline, in Vrede, that he met Regina Brooks.
whole disapproved of. When she met Richard Khumalo, the
The play focuses on how two young South Africans were able to fall in love against incredible odds and how they stood up against society and the apartheid laws that
man she calls her soul mate, she was unafraid to fall in love, despite meeting him at his wedding (to another woman)!
Even though in the end this love is lost, what an inspiring
were against their union. Although ultimately, the negative
tale that it even lasted for some period of time during
conditions of society and government at the time made
apartheid. For a moment, Regina and Richard lived in bliss,
certain that the relationship would not last long, it is a story
lived in happiness and, against all odds, they existed!
worth telling. Today, women speak to men that speak to them, even
The Soweto Theatre over the past two years has steadily standardised its programme, bringing major productions
if they don’t want to, out of fear of what the man would do
for the theatre and art loving community in Gauteng. The
should they ignore them. Today, wives are raped because
productions are of a high quality and service at the theatre
they are not allowed to make their own decisions about
is impeccable. Show times are fixed at 20:00 Tuesday to
what it is that they want with their own bodies, in their own
Saturday and 15:00 on a Sunday. Tickets to the theatre are
homes. Some men feel they are entitled to the love and the
available through webtickets on the Soweto Theatre website:
body of a woman. Gone Native articulates another narrative.
www.sowetotheatre.com. There is a 10% discount applied
Regina Brooks, so confident in herself, allows us to share a
to all bookings of 10 or more and bookings may be made via
different narrative with the communities of women around
telephone by calling 0861 670 670. CF
Soweto and the greater Johannesburg region. The narrative of this story is that women are entitled to happiness. The staging of Gone Native, in particular, is important
Let us celebrate our history, let us celebrate our women, let us tell our stories. Soweto Theatre invites you to Gone Native, so
for Soweto Theatre because of this narrative. Here, we have
you can remember that we are is resilient, we are strong, we
a woman strong in her convictions, who goes for what she
are love!
Creative Feel / July 2017 / 19
Andile Gumbi and Nondumiso Tembe
Cast announced for King Kong Over half a century since the original production, the Fugard Theatre’s forthcoming, brand new production of the legendary South African musical, King Kong, is now fully cast and rehearsals commenced on 12 June.
20 / Creative Feel / July 2017
K
ing Kong – The Musical tells the story of heavyweight
propelled Miriam Makeba to
1950s boxing champion Ezekiel Dlamini whose
international fame in the original
self-appointed ring name was King Kong, set to the
production of King Kong. Tembe’s
wildly exhilarating music of Todd Matshikiza.
extensive list of credits includes
‘We are thrilled that this long-awaited production of
HBO’s Golden Globe and Emmy-
this iconic and first South African musical of King Kong,
award winning True Blood, SABC’s
is a Fugard Theatre production which will showcase the
Generations, the military drama
very best of South African talent,’ says Daniel Galloway the
SIX on the History Channel and
Executive Director of the Fugard Theatre.
Zulu Wedding opposite Darrin
The Fugard Theatre’s King Kong is directed by Jonathan
Dewitt Henson. She won the Best Actress in a Supporting
Munby, who directed the Fugard Theatre’s production of A
Role Naledi Theatre Award in 2014 for her portrayal of Susan
Human Being Died That Night with Noma Dumezweni (the
in David Mamet’s RACE, which toured South Africa and to
only double Olivier award-winning Southern African actor)
the Edinburgh Festival. Her debut album Izwi Lami – My
amongst many other international productions. Following
Voice received much acclaim, including a Metro FM Music
King Kong, Munby directs Sir Ian McKellen in Shakespeare’s
Award for Best Music Video.
King Lear for the Chichester Festival in the UK. The revised book (with additional lyrics) is by Academy
The Fugard Theatre’s King Kong cast includes: Sanda Shandu as Lucky (Orpheus in Africa); Tshamano Sebe as
Award-nominated screenwriter and playwright William
Jack (Athol Fugard’s Painted Rocks at Revolver Creek; Master
Nicholson (Shadowlands, Gladiator, Les Misérables, Sarafina,
Harold and the Boys; Noem my Skollie); Ntambo Rapatla as
Long Walk to Freedom). South African star choreographer
Miriam (Menopause the Musical); Sne Dladla as Pop (District
and recent Chevalier de l’Ordre des Arts et des Lettres
Six: Kanala; Orpheus in Africa; Painted Rocks at Revolver
recipient, Gregory Maqoma, will choreograph King Kong to
Creek); Lerato Mvelase as Petal (Isibaya; Play Me) and Sabelo
the irresistible original music of the late great South African
Radebe as Caswell (West Side Story; Peter Pan) .
composer Todd Matshikiza. The Fugard Theatre’s production sees musical direction
Also performing with the ensemble are Joel Zuma; Ben Kgosimore; Athenkozi Mfamela; Shalom Zamisa;
by Charl-Johan Lingenfelder (West Side Story, Funny Girl,
Sibusiso Mxosana; Aphiwe Menziwa; Namisa Mdlalose;
Cabaret) and Sipumzo Lucwaba, with arrangements and
Siphiwe Nkabinde; Lungelwa Mdekazi; Dolly Louw;
additional music by Charl-Johan Lingenfelder.
Barileng Malibye; Edith Plaatjies; Rushney Ferguson and
Set design is by Paul Wills (A Human Being Died that Night, Royal Shakespeare Company’s Hamlet, West End – Wyndham’s Theatre – David Mamet’s American Buffalo); costume design by Birrie le Roux (West Side Story, Orpheus in Africa, District
Given Mkhize. A live nine-piece band, under the direction of Sipumzo Lucwaba, will accompany the action at every performance. King Kong will run at the Fugard Theatre from 25 July
Six: Kanala); lighting design by Tim Mitchell (A Human Being
until 2 September 2017, Tuesdays to Saturdays at 20:00 with
Died That Night; Royal Shakespeare Company’s King Lear
a 16:00 matinee performance on Saturdays. The Fugard
with Antony Sher – Associate Artist RSC/Chichester Festival
Theatre is situated in the heart of District Six, on the corner
Theatre) and sound design by Mark Malherbe (West Side Story,
of Harrington and Caledon Streets, Cape Town. Tickets range
Funny Girl). The associate director is Mdu Kweyama.
from R130 to R280.
Cast in the title role of King Kong is South African
King Kong will run at Joburg Theatre’s Mandela Theatre
actor, singer and dancer Andile Gumbi. Gumbi made his
from 12 September until 8 October 2017, Tuesdays to
Broadway debut as Simba in Disney’s The Lion King and
Saturdays at 20:00 with a 16:00 matinee performance on
has starred in productions of this musical in London,
Saturdays and a 16:00 matinee performance on Sundays.
Sydney, Melbourne, Shanghai and South Africa. Gumbi,
Tickets range from R150 to R350.
who was voted by The Sowetan as one of Mzansi’s Top
Bookings for both seasons can be made through
12 Sexiest Celebs in 2015, is the character Zweli in the
Computicket on 0861 915 8000, online at www.computicket.
Mzansi Magic soap opera isiBaya, which was voted most
com or at any Shoprite Checkers outlet. Bookings can also
popular TV soap at the 2017 SAFTA Awards.
be made at the Fugard Theatre box office on 021 461 4554.
Multiple-award-winning actress and singer-songwriter Nondumiso Tembe will be recreating the role of Joyce, which
There is a generous 15% discount available for the Friends of the Fugard members. CF
Creative Feel / July 2017 / 21
Artlooks & Artlines Artlooks & Artlines is a monthly column written by Ismail Mahomed, CEO of the Market Theatre Foundation.
I
n the entrance hall of the impressive new Market Square
with single shots to the head in Mowbray, Cape Town after
building which houses the Market Theatre’s administrative
they had left a party in the trendy Camps Bay area. The
offices, the Market Theatre Laboratory and the Market
double murder sent shockwaves throughout South Africa
Photo Workshop, it is a portrait of the late South African
and England.
actor, Brett Goldin, that grabs a visitor’s attention. At 28, Brett Goldin was a passionate and talented artist
Soon after the murder, the Royal Shakespeare Company (RSC), the Actors Centre in Johannesburg and the Baxter
with huge dreams of having his name written in lights; he
Theatre Centre established the Brett Goldin Bursary, kick-
had been cast to perform the role of Guildenstern in the
started by donations from respected South African-born actor Sir Antony Sher and Honorary RSC Associate Dame Janet Suzman to give another young actor the opportunity that Goldin was denied and to honour his memory in an appropriate manner. The first recipient of the Brett Goldin Bursary was Omphile Molusi whose play Itsoseng returned last month for a highly acclaimed season at the Market Theatre. The production is now running into its tenth year. This year is the last year in the life of the ten-year-old bursary. While it will cease to exist, the Market Theatre Foundation will continue to keep Brett Goldin’s memory alive with the boardroom at Market Square that is named after the actor. ‘We wanted to pay homage to a promising career that was cut short. Brett Goldin was a passionate thespian and a dreamer of infinite opportunities,’ said James Ngcobo, Artistic Director of the Market Theatre Foundation. ‘Most of the rooms at the Market Square building are named after older theatremakers, but the Brett Goldin boardroom
Kate Liquorish
honours our memory of an actor who represented a dreamer, and most exciting ideas/dreams are put to work in
Baxter Theatre’s production of Hamlet, directed by Janet Suzman. The production was to be presented in William
boardrooms,’ concluded Ngcobo. Earlier last month, the Market Theatre invited the
Shakespeare’s hometown, Stratford-upon-Avon, to launch
late actor’s mother, Denise Goldin, to a reception at the
the prestigious Royal Shakespeare Company’s Complete
Brett Goldin Boardroom. That afternoon, she wrote on her
Works Festival.
Facebook page, ‘A very special reception of the opening of
Goldin’s life was sadly cut short. His body, together with
the Brett Goldin Boardroom at the Market Theatre. Ismail
that of his friend, upcoming fashion designer Richard Bloom,
Mahomed’s welcoming address, filled with warmth and
was discovered on Sunday 16 April 2006. The two were found
tribute, touched all of us deeply. This beautiful boardroom
22 / Creative Feel / July 2017
Denise Goldin (right) at the opening of the Brett Goldin Boardroom
and the entire building is vibrantly decorated, modern, classy
another country and its rhythms, art and people was an
and magnificently planned – conducive to the performing
experience all on its own. Then, to be surrounded by, observe
arts. The palpable togetherness of the entire team and their
and be taught by veterans like Cicely Berry, Greg Doran,
combined energy bodes well for the future actors of our city.
Janet Suzman and Sir Anthony Sher, was something I never
Huge thanks to Ismail and the board for this unexpected,
imagined would happen to me. Apart from this being an
poignant recognition.’
incredible privilege, it also removed some of the “loftiness”
The Market Theatre asked some of the beneficiaries of the Brett Goldin Bursary to share their thoughts. ‘The Brett Goldin Bursary was a turning point in the
surrounding the whole thing, and showed me how much we actually have going for us in South Africa,’ he said. There is no doubt that for the young beneficiaries of
story of my life that brought a lot of hope and light. The
the bursary the experience will remain with them for their
Bursary spoke for me. The Bursary easily opened more
whole lifetime.
doors I’d never imagined would open. The Bursary gave
‘My experience at the RSC in 2012 will stay with me for
me a platform where my voice would be listened to and
the rest of my life. It was a month that helped form who I am
acknowledged. I will forever be grateful,’ said Omphile
as an actor today. It served to reveal to me certain truths and
Molusi, playwright, teacher and actor and the winner of the
mysteries of our industry and the creation and performance
inaugural bursary.
of Shakespearean text. I shall never forget the people I met
Kate Liquorish said, ‘The Brett Goldin Bursary afforded
and the training I received. I believe that this may be in tune
me a once-in-a-lifetime opportunity; complete immersion
with the ethos behind the Brett Goldin Bursary. I will forever
at the Royal Shakespeare Company (RSC). To work with,
be grateful to those who so generously granted me this
and be exposed to, the minds of such accomplished
Bursary. It was an experience in honour of a much brighter
directors, voice coaches and actors at the RSC was a gift.
star who was stopped short of realising this same dream,’
It has not changed the course of my career per se but has
said actor Timothy Redpath.
rather forever changed the way I approach theatrical text in
While the Brett Goldin Bursary has now run its full
performance and the way I approach my body and voice as
course, the Brett Goldin Boardroom at the Market Square
tools in performance, in other words, it has changed me as
will continue to inspire many people in the South African
an actor. I am forever grateful.’
industry. More-so, with a boardroom now named to
For actor David Viviers, the bursary offered him his
honour his memory, it will inspire the decision-makers
first visit overseas. ‘I had never been overseas before I
and policymakers who shape the lives and careers of
was awarded the Brett Goldin Bursary. To be immersed in
young actors. CF
Creative Feel / July 2017 / 23
Business & Arts Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).
Gregory Maqoma in Cion SOURCE Vuyani Dance Company
G
regory Maqoma’s work, Cion, at the Market
through. It’s not often that I am moved to tears in theatre,
Theatre may well be one of the most profound
but director James Ngcobo’s production did exactly that.
dance productions I have seen in many years.
It is thrilling when time after time one walks out of
The piece revealed the intrinsic relationship
the Market Theatre Complex debating and discussing. The
between narrative, music and dance as is not easily or often
space is vibrant and engaging and certainly answers some
demonstrated. It also highlighted Maqoma’s extraordinary
of the needs of a cultural city. I feel the same way about The
talent and skill as a leader in creativity. Maqoma is one of the
Orbit in Braamfontein. Last night, after watching Standard
students to graduate from the GIBS Social Entrepreneurship
Bank Young Artist Benjamin Jephta performing with Kyle
Programme and his ability to join the dots between creativity
Shepherd, Jitsvinger, Marcus Wyatt and an excellent crew, I
and the business of creativity is a joy and a pleasure to watch.
felt that skin buzz you get when you know you are watching
The performance came a few days after watching another
something special, something many people should see. I
great show at the Market Theatre, The Suit. The Can Themba
felt proud to be South African, and knew I was watching
tale of a cuckolded husband and his wife is a brutal one. The
something that shines brightly beyond the venue and its
performances by Siyabonga Twala and Zola Nombona as
locals – but how to promote it further?
the tragic couple were a powerful and moving indictment
A recent presentation to an equity firm on BASA’s
on the fabric of apartheid and the personal stories woven
operations reminded me of the challenges of growing
24 / Creative Feel / July 2017
Over the last year, BASA has been working on a mapping system, mapping the cultural events and spaces of South Africa nationwide, as a means of support for both international and domestic tourists with an appetite for creative South Africa. As we have aligned events to accommodation, to provinces and to the time
Gregory Maqoma’s work, Cion, at the Market Theatre may well be one of the most profound dance productions I have seen in many years... The performance came a few days after watching another great show at the Market, The Suit Zola Nombona in The Suit SOURCE Market Theatre and promoting cultural intelligence. If we are going to
of year, we are slowly starting to understand what is
engage more holistically in society, then we need to
required to support the focus of SA Tourism’s fourth and
exercise that cultural muscle. And while I don’t mean
fifth tourism pillars, i.e. City Life, and Cultural Routes
we should all go off and take a dance class with Maqoma
and Roots. In supporting creative cities, and even a
(although that too might provide some excellent arts-
creative country, the cultural sector is supporting the SA
based intelligence. In fact, I recently read an article on
Tourism campaign #IDoTourism – artists, performers,
the value of choirs in the workspace, providing both
gallerists, venue managers, stage setters, lighting
teamwork and transformation), I am talking about the
designers, the Gregory Maqomas, Benjamin Jephtas,
attendance of events.
the cast of the Molière production Tartuffe, the Market
Unless we include new creative and cultural experiences
Theatre managers and the Orbit’s sound assistants, every
in our lives frequently, life is less lived. And yet it isn’t
single one is doing tourism – supporting creativity and
easy to find out where to go, what to attend. With the slow
culture as a driver of tourism, and thus of work. In order
demise of arts journalism in the mainstream media, the onus
for them to do tourism, we also need to do tourism and
lies more and more with the curious and the passionate
attend events. I dare you to exercise that cultural muscle
mavericks who cover culture in blogs, social media, print
– it will be far easier than conducting an orchestra or
media and other online and hardcopy spaces.
going on pointe! CF
Literary Landscapes Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.
G
rowing up in the 1970s in West Germany, life was
The village I grew up in was a place that had probably
still very much defined by silence. The silence
not changed much between the end of the war and my
was imperative when it came to our families’
childhood. All 450 inhabitants knew each other, which does
pasts when it came to their potential involvement
not mean that envy, resentment and ignorance were not
in the monstrous crimes committed by the Nazis – whom
an integral part of village life and, of course, village talk.
nobody seemed to have followed.
The smalltown girl did not grow up with heroes or freedom
Scenes from Büscherheide
In the buses we found handicapped old men with missing
fighters but with farmers and villagers who tried to forget
limbs, they were called Kriegsversehrete (war invalids) and we
their involvement in the Nazi machinery, often rather styling
had to stand up to offer them our seats. The war was a huge
themselves as victims. Their skill at looking away was only
void that fascinated us children, despite our grandparents’
matched by their stubborn refusal to address the past.
constant reminders that war is the worst experience of all.
It was a strange situation to be brought up in. On
Why it was such a bad experience, we were never told. We
the one hand were my relatives who were refugees and
knew nothing but the silence and the unsaid that made
stranded in the village, bare of everything and never
everything even more intriguing for us. In the schoolyard,
welcomed in their new place. On the other hand, there
we compared the little that we had been told, or simply
were those who had lived quite safely in the village, who
overheard when adults had talked together, and wove it into
knew the war through their fathers, husbands, sons and
a tale so false and fragmented. We were thirsting for heroes;
cousins who often did not return, but they themselves
heroes who had never existed.
lived unperturbed until the downfall of the Thousand-Year
26 / Creative Feel / July 2017
Reich. They kept silent, and turned the past into an abyss
powerlessness when faced with the crimes that were so
of speechlessness.
deliberately blamed on others – the Nazi was always the
Our village had its own pub. As there was no shop, it
other. The shameful silence in most families remained intact
was the only place where ice cream could be bought, and
despite vast research on a social level. The diaries of the
the young girl entered the dive as enemy territory – full of
13-year-old Anne Frank and her death in the concentration
smoke and the smell of stale beer. This was the terrain of
camp of Bergen Belsen were the last spark needed to besiege
men, they met to release the tension of their trauma and
the persistent silence of our families.
also to share the crimes that they committed during the war.
In the midst of persecution and death, Anne Frank wrote
Alcohol opened them up, and the aggression that billowed
in her diary: ‘I keep my ideals, because in spite of everything
in the air prompted the girl to cling to the ice cream and flee
I still believe that people are really good at heart.’ A sentence
the place as quickly as possible. The girl left with the feeling
that made our blood freeze, thinking about the apparent
of having passed a test of courage. The men’s world, a place
indifference we were facing in our homes. Society was ready
of fear and frustration turned into violence.
to confront the horrors of the past and tried to explore how
The relatives from Ostpreussen (East Prussia) hardly ever
such a murderous regime could rise to power and commit
talked and worked the hardest to finally arrive somewhere.
their crimes almost unhindered. The literature of ‘Group 47’,
Where they hoped to arrive, they never specified. Only
named after the year it was formed, intended a radical new beginning and challenged the restorative order of the time in many of their works. As it stemmed from the rubble of the second world war, it was called Trümmerliteratur (rubble literature) or Kahlschlag (eradication). We grew up with these texts that our parents did not read, and our grandparents neither read nor discussed. A memento mori ignored by those who still preferred to live in the enormous void of silence. Time passed, and the new generation really tried to make a difference. Jewish cemeteries were restored by engaging citizens, but many local people still kept up the ruse that they had not known anything about the Holocaust. Their claim to be innocent was something so shameful for their descendents that it turned into a brimming feeling of powerless, and sometimes even self-hatred, in the next generations. For the young generation, shame was an integral part of our upbringing. A shame not to be talked about, and not to be understood. It took years and hard work to overcome the silence, to study the dark history, and to make this history
The Jewish Cemetery Preußisch Oldendorf
a turning point; a place that should never be visited again. Chained and locked by examining it, not by leaving it to itself. The darkest place humankind ever inhabited, a place darker
after several Likörchen (liqueurs) did they start crying and
than one could ever have imagined before. If there could ever
bemoaning the loss of their homes. Their ample figures were
be poetry or love after Auschwitz was a question so often
witness to their fight to combat their homelessness with
asked. If there is a form of comfort, it is that love and poetry did
Schnaps and Schwarzwälderkirschtorte (Black Forest Gateau).
flourish and taught us that beauty can arise out of the darkest
Only much later did the young woman understand that
space. An example of which is the famous poem Die Todesfuge
this tragedy was made worse by the silence of the time, and
(The Death Fugue) by Paul Celan, himself a survivor of the
the seemingly impossible task of the different generations
Holocaust. It teaches us about trauma and survival, about guilt,
learning from the difficult past together.
and that healing wounds always needs to start in recognising
In school there was the enormous effort to learn from
one’s own involvement. The important task of the descendants
this difficult past. The time of the Nazis was discussed
of perpetrators to make a difference is to accept that there is a
widely, with all its horrendous aspects. The young, 12-year-
guilt, and even if it is not their own, it is their responsibility to
old student was left with an appalling feeling of guilt and
ensure such crimes never happen again. CF
Creative Feel / July 2017 / 27
The Art of Performance Dave Mann is an editor and award-winning arts journalist.
Broken dialogues:
Public performance and privatised festivals
I
t’s Festival time again. Depending on what you do or which circles you move through, those words could mean nothing at all, or they could only really mean one thing – it’s time for eleven straight days of art, music, theatre and more
at the annual National Arts Festival. As the cold moves in on Grahamstown and the students of the local university take their leave, thousands of artists, art-lovers, journalists and other wild ones make their way to the sleepy Eastern Cape hollow.
‘ ‘ For some, it’s a highly anticipated trip, embarked on every year
without fail. For others, it can be the start (or end) of a successful career in the arts. For the most part, the NAF is an event that many seek to attend. But it is not without its problems.
Creativity is currency in Grahamstown, and as it goes, some profit more than others I have a complex relationship with the NAF. This is
probably because I have a complex relationship with
Grahamstown. I lived and studied in the small, colonial
settler town for four eventful years before leaving it for
the decidedly busier and smoggier city of Johannesburg.
During those four years, I did what students do. I studied, I partied, I missed home, made friends, made a new
home, attended a few National Arts Festivals – student
stuff. It was also in Grahamstown that I decided I wanted to write about the arts for a living and this is where
the complexities began. Grahamstown is a place with a bloody history and it wears its scars openly – from the
architecture and the zoning of the city, to the colonial
monuments still firmly anchored to its hillsides and main roads. It’s an infuriatingly rigid place in this way, and art,
Parade participants at the National Arts Festival
28 / Creative Feel / July 2017
in all its forms, becomes a good lens through which to
are unaffordable for even the most established acts in the
interrogate these stubborn histories.
country. In short, eleven days of uninterrupted art spread
Art is everywhere in Grahamstown. You’ll see it at the
across one small city is a wonderfully unique thing to
University and at the NAF of course, but you’ll also see it
experience, if you have the money to experience it.
in the graffiti that marks the walls, the small, but dedicated
And ultimately, I know the NAF has its many benefits,
hip-hop scene, the community outreach programmes,
and I also know that issues of access to the Festival have to
the touring musicians and more. Creativity is currency in
do with more than just the spatial and economic factors of
Grahamstown, and as it goes, some profit more than others.
the Festival, (Grahamstown’s infrastructure, for example,
To give a brief overview of the city, Grahamstown is
is a continual stumbling block) but perhaps it’s time to
commonly known as being divided into two parts and it
reassess the very nature of South African arts festivals. To
is this divide that halts a fostering of communal artistic
take a cursory glance at artistic, performance-based festivals
talent at the Festival. Writer and Grahamstown resident
in the country would show you a neat, linear theme of
Aphiwe Ngalo put it best in her 2016 piece for the Cue
inaccessibility. The Franschhoek Literary Festival, the Cape
newspaper: ‘It is no secret that Grahamstown is an unequal
Town International Jazz Festival, the FNB Joburg Art Fair,
town. In Grahamstown, the black population is mainly
The Design Indaba Festival – all of them take place at set
situated in the eastern, less developed side of town, while the affluent population lives on the west side of town, with
‘
its picturesque settler-town colonial architecture and clean streets. The Festival seems to have followed this trend.’ Because of the way these two sides have been set up (historically and presently), most people living in the east will travel to the west daily in order to work. Those in the
west mostly remain there. The west is also where the annual NAF situates itself, setting up shop in the various venues owned by the University and other private institutions. At
the end of it all, the NAF packs up, the posters and stalls get taken down, the city empties out and everything goes back to normal. The city remains divided. This is not to say that the NAF should be some great
machine of change, capable of correcting centuries of injustice over a few short days in the year, but it can certainly do more than it currently does. To name a few arts-centred initiatives in Grahamstown outside of the NAF and the University, there is Via Kasi Movers, a local pantsula crew who teach the craft to local kids in Joza; there is the Sakhuluntu Cultural Group
times of the year, in set spaces, for a set amount of time. The only thing that changes is the increasing tickets prices. If you’re at the NAF this year, go ahead and revel in the
endless amount of artworks and performances; go and mull
Grahamstown is a place with a bloody history and it wears its scars openly – from the architecture and the zoning of the city, to the colonial monuments still firmly anchored to its hillsides and main roads
‘
around the markets and sample the city’s many quirky bars, coffee shops and restaurants. Pay good money to see great
work – sure! But also, make an effort to learn about the city a little more. Walk the parts of it that don’t have Festival
which provides a space for artistic learning and performance of
posters plastered all over them and find out what keeps the
the arts to children and teenagers after school. Rhanga Crew,
creative heart of the city beating when the NAF isn’t in full
Dakkie Yam Studios, and Around Hip Hop are a few of the many
swing. Make a habit of doing this and take it home with you.
hip-hop crews and initiatives who host regular cyphers and
Remember that good art and music and theatre are things
performances for the local community.
that exist in abundance outside of the set halls and low-lit
All of these organisations and collectives are situated
venues we’re used to frequenting.
in the east and are active year-round. Like all performing
Performance, after all, is one of the few public and
artists, they rely on their craft as a source of income. The
immediate acts that exist offline in the increasingly online
NAF, then, could be a great source of both exposure and
world we’re living in. If we don’t get into the habit of actively
income for these artists, but it’s often not the case. Space is
seeking it out and supporting performance-based arts in
even more policed than usual during the Festival, meaning
our own time, we’ll likely lose it too. This is one of the main
travelling to the city centre to perform is no easy task.
issues plaguing the NAF – the lack of communication and
There’s also the fact that performance venues are booked
collaboration with its local, year-round artists. And a little
out months ahead of the Festival and venue hire fees, poster
communication, as the tired saying tells us, goes a long way. It’s
expenses, and advertising space in the Festival programme
time the NAF, and all those who attend it, get to talking. CF
Creative Feel / July 2017 / 29
ACT | UJ UNLEARNS HOW TO CONFERENCE #CreativeUprising, the fifth ACT | UJ Creative Conference will engage with South African art education in its current state and possible future.
T
his iteration of the conference is about unlearning
and inclusive to all its users. Instead, #CreativeUprising
and rethinking how we do things and present things.
will be presented by Ashraf Jamal, Puleng Plessie, David
From curating a conference to how we talk about
Andrew, Alison Kearney, Thuli Gamedze, Nike Romano, Prof.
art education in South Africa, the aim of the ACT |
Mzobanzi Mboya, Avril Joffe, and Motsumi Makhene, among
UJ Conference has been to share knowledge with the view of
a list of art education specialists, thought provocateurs and
enabling, advancing and inspiring creative South Africa.
industry leaders.
‘There are many conferences and symposiums this
‘The conference is not about the customary PowerPoint
year that are investigating art education. We see this as an
or lengthy panel discussions, it is about art education,
indication that this content is pertinent to our industry and
which comes in many shapes and forms,’ Pather says. ‘Art
that we are in a position to add to this conversation,’ says
education happens in a classroom, in a community centre,
Anastasia Pather, the conference Project Manager. ‘The
on the street, in a book, on the stage, in a protest, on
conference is not about repetition or making bold claims.
museum walls, and through people.
We will be recapping and reporting on previous conferences
‘#CreativeUprising is a creative conference about
like NEPAD and SACO with the view to give our delegates
capturing the evolving and stimulating nature of art
a refresher on what has already been discussed so they can
education. We have paired academics and educators with
share that information in their networks and establish how
performance artists so their arguments have the room to
they can progress those ideas further.’
jump off the screen and live on our stage and that delegates
To ensure there is no ranking of content, each engagement has been carefully curated and is equally valuable and as such the conference will have no keynote
are not left with small fonts and bullet points to try and decipher,’ she says. Pather continues that this instalment of the conference
speakers. The conference organisers feel that there is no
would not dedicate resources and time to artisanal lunches
room for hierarchy when talking about modernising colonial
and elaborate conference printouts. Resources will be
knowledge systems, with an aim for it to be appropriate
employed to facilitate engaging presentations and keep the
30 / Creative Feel / July 2017
“Art education happens in a classroom, in a community centre, on the street, in a book, on the stage, in a protest, on museum walls, and through people” ticket price affordable. In addition to this, the needs of the
discuss ethical African leadership. ‘We want to stimulate
participants have been taken into account, especially in lieu
conversation so that educators can collaborate with art
of the timing. Understanding that students and educators
centres and artists already changing the face of art education
would not be able to take two full days off, they have
to refresh what we teach and how we teach,’ Pather says.
structured the programme to make it feasible for delegates
‘Questions need to be asked about whether art
to attend selected presentations, attend between classes or
curriculums should include basic entrepreneurial skills to
after school.
empower artists and graduates after school and students and
Full conference passes will be available for R300,
educators should have equal opportunity to contribute to
while those attending only selected presentations can
the discourse in order for it to hold a sustainable relevance
purchase the R150 pass. Student prices will be half of
for its future users.’
that and there is an option to purchase lunch at R60 per
The conference will offer a platform to collect input and
day. Alternatively, delegates are welcome to pack their
offer a place for delegates to ask questions and get answers
own lunch. ‘This conference is about contributing to the
from various role players such as the Department of Basic
betterment of art education and not about bells, whistles
Education and the Department of Arts and Culture. The
or profit,’ explains Pather.
goal is for decision makers, students, art educators and
The 2017 instalment of the conference will focus on providing a platform for students and educators to talk
professional creatives to be in the same room to envisage a workable plan for the future. CF
about how art education needs to change and how to achieve it. Through the presentation of performance art as an
#CreativeUprising will take place at the UJ Arts Centre
educational tool to discuss visual literacy or how Maths and
on their Kingsway campus on 27 to 28 July and is for
English can be taught using music and drama, other topics
educators looking to expand their practice, art educators
covered will include presenting a case for Shakespeare’s
from formal and non-formal institutions and centres,
Macbeth in Xhosa and sign language to be used to
academics and art learners.
Creative Feel / July 2017 / 31
Artists confess South Africans’ If you had to take a snapshot of South Africans’ statistically most-searched-for topics according to Google over a year, what would it look like? Visitors to the Absa Gallery in Johannesburg from 10 July to 4 August 2017 will have the opportunity to find out when they browse Absa’s acclaimed group exhibition, The Confessional, curated by 2014 Absa L’Atelier winner, Liberty Battson.
Red Kashkha, Shenaz Mohammed
I’m tired and sore#1, Heidi Mielke
T
Cape Mongo (VHS), Francois Knoetze. PHOTO Francois Knoetze
he Confessional showed at the Klein Karoo
expressing these within the context of each artist’s own
Nasionale Kunstefees (KKNK) earlier this year.
greed and fear.
Aligned to the festival’s overall curatorial theme for visual arts, ‘Greed gone mad and fear got
This is Battson’s first curatorial exhibition. She is an abstract painter who is well known for using statistics –
bought’, the exhibition draws on the basic emotions of fear
particularly figures from digital and new media channels – as
and greed as characteristics of western-constructed morals
her subject matter. Battson tracked and recorded Google
that are closely linked to the seven deadly sins. Greed is one
searches for more than a year. Interestingly, her findings
of the sins, and fear a driving force behind it.
don’t only point to South Africans’ current areas of interest
The premise of Absa’s The Confessional is built around the core idea of top Absa L’Atelier artists (previous entrants and finalists in the competition) ‘confessing’ the most-searched-for topics on Google in South Africa and
32 / Creative Feel / July 2017
in terms of web-based research, but also to those subjects that, uncannily, are direct by-products of greed or fear. Participating artists were asked to pick a topic from within Battson’s most-searched-for Google results – a topic that was
true to them and their usual subject of choice. They then had to create an artwork that reflected that topic and put down their thoughts by way of a confession (also known as a declaration of guilt, a revelation or acknowledgement) about the subject. Some of the most-searched topics over the year-long period include social media, substance abuse, peer pressure, xenophobia, pollution, depression, The Bible, fear, love, South Africa, human rights violation, poverty, abortion, friendship, water pollution, quitting smoking and immigration. ‘I believe it is important that artists use their voice to speak up about the subjects people often don’t want to talk about, like confession as a whole. In saying this,
‘
Kamo, Sophia van Wyk. Fibreglass and automotive paint
The result is a body of work representing some of the most searched topics and how greed or fear relate to them, and a platform for the artists to use their voice to inspire and enlighten within this context
‘
Treatment, Nina Liebenberg
the participating artists were asked to be vulnerable or
of each artist speaking or voicing what they represent. The
passionate in making their selection and to represent their
result is a body of work representing some of the most
truth in creating their work,’ explains Battson.
searched topics and how greed or fear relate to them, and
The show gets personal when Kevin Irungu confesses to lying and cheating on his ‘baby mama’; Peter Mammes confesses his personal experience with abortion; and Luyanda
a platform for the artists to use their voice to inspire and enlighten within this context,’ Battson adds. These confessions will be made available to viewers as
Zindela confesses his struggle with depression and the daily
they stand before the artwork, so they may see the visual and
pressure he faces being an artist and his family’s breadwinner.
hear the audio together to immerse themselves in the artist’s
‘The artists were also required to produce an audio clip of their confession – either a truthful confession or a revelation of the chosen topic. In listening to some of the confessions, the success of these clips lies in the truth and vulnerability
personal perspective on the chosen subject. A CD with the audio of the various confessions will also be for sale. The Confessional runs at the Absa Gallery in Johannesburg from 10 July to 4 August 2017. CF
Creative Feel / July 2017 / 33
Mohau Modisakeng
50 YEARS
LATER
The longest-running South African art competition is celebrating 50 years since it was started by the Association of Arts Pretoria in 1967. 2017 also marks 28 years of Sasol’s sponsorship of the competition; 28 years of discovering and promoting South Africa’s artistic talent. Sasol New Signatures has played a pivotal role over the past five decades in unearthing local artistic talent and promoting them to the artloving public. This year’s competition remains true to this legacy by searching for those hidden artists who want to break into the mainstream.
34 / Creative Feel / July 2017
I
nvesting in projects with great passion often creates long-
world can be difficult for artists at all stages of their careers,
lasting ventures. This is certainly the case with Sasol’s
but compounded for the younger artist seeking to make their
sponsorship of the New Signatures art competition, which
initial inroads. Sasol New Signatures functions as both a filter
basically grew out of the efforts of former Sasol Chairman,
and a showcase for the selected artists. Being one of the chosen
Johannes Stegmann. He worked tirelessly to assemble a great
artists for the exhibition also bolsters the confidence of these
art collection for Sasol, one which gives enjoyment, inspires,
practitioners, telling them they have something to offer, and
enriches and occasionally perplexes. His influence initiated a
that theyhave the potential to make it as artists.’
period of many years where young South Africans were given
Nelmarie du Preez, who was the overall winner of the
the opportunity to excel in the visual and performing arts.
competition in 2015 and is a lecturer in Visual Arts and New
According to Stegmann, ‘What touches the spirit of man
Media at Unisa, feels strongly that, ‘for any emerging South
more than art? From the earliest times, it was literature,
African artist it is essential to apply to Sasol New Signatures.
music and the visual arts which distinguished man from
It offers high-profile exposure to artists looking to break into
other beings. Art is a mystery which communicates through
the art world and is a great platform to create consciousness
languages that cannot easily be translated into words. Art is
‘
also often controversial, especially when it is contemporary.’ At the launch of this year’s competition, Elton Fortuin, Vice President: Group Communication and Brand Management, reaffirmed Sasol’s commitment to the arts. ‘As a collector and corporate supporter of the arts, Sasol understands the importance of discovering new talent and
providing a platform to showcase it. For us, this is one of the many ways we contribute to meaningfully celebrating South Africa’s heritage and capturing its essence for the benefit of current and future generations.’ Some of this year’s judges, who are made up of talented
arts practitioners and respected academics, shared what they are expecting from the competition this year, and why the competition is important to the country. Prof Raimi Gbadamosi, from the Department of Visual Arts at the University of Pretoria, feels that, ‘“breaking” into the art
around what contemporary art is and can be. It has given me a kind of “stamp of approval” and a launch pad for my artistic career. I have since had numerous exhibition opportunities and also the chance to sell some of my videos.’
Art plays an important part in the cultural fabric of our nation and competitions serve to encourage greater creativity across age, gender and education, as well as to acknowledge the wealth of talent that we have in our country
‘
Bongani Khanyile
Creative Feel / July 2017 / 35
‘
We recognise that art is one of the most fundamental expressions of human behaviour, and Sasol has thus been assembling a collection of contemporary South African art since the 1960s
‘
Sasol New Signatures has had many interesting winners over the past 50 years and we caught up with some of
Pupa, Colleen Winter
judges, gallerists and influential artists were able to see my work on the platform Sasol New Signatures created. The
these artists to find out how this competition helped them
competition is successful in promoting young artists to the
advance their career.
right audience. The stature and weight of putting my merit
Zyma Amien, who was the winner in 2016, says, ‘Winning the Sasol New Signatures Art Competition has given me
the opportunity to highlight the problem of the garment
award onto my CV substantiated my effort as I tried to show my sustainability in the art word.’ Merit award winner for 2015, Sethembile Msezane,
and textile workers in a public space. The publicity that this
says that Sasol New Signatures ‘exposed new audiences
competition has given me via the press, radio, art magazines,
to my practice, while recognising and rewarding work
etc. has ensured that the plight of these workers is heard.
that is political, that alludes to social inequalities
The prize money has been well received and has been used
which are still present in the “New South Africa”. Young
to create artworks for my solo exhibition. By winning the
emerging artists need all the help they can get in the
competition, my career in the art world has been launched.’
early stages of their career.’
‘Winning the Sasol New Signatures has been extremely
Colleen Winter (merit winner 2015) says, ‘I became
beneficial to me as an artist starting their art career,’ says
involved in the art world later in life and winning a merit
2012 winner, Ingrid Bolton. ‘The exposure and experience of
award in a prestigious competition such as Sasol New
producing a solo show for the Pretoria Art Museum enabled
Signatures has been confirmation that I am doing the right
me to move forward with confidence. You meet amazing
thing at this stage of my life.’
people along the way and it is a journey not to be forgotten.’ ‘As the 2011 runner up winner, it helped broaden my
2017’s discovered talent will join a long list of illustrious winners like Minette Vári, Marco Cianfanelli,
network in the visual arts industry and my work received
Luan Nel, Nomthunzi Mashalaba, Hanneke Benadé,
coverage through marketing,’ says Sikhumbuzo Makandula.
Mphapho Hlasane, Wim Botha and, of course, Candice
Liberty Battson (a 2013 merit winner) says, ‘being a merit award winner justified my later win. Scouts, competition
36 / Creative Feel / July 2017
Breitz and Mohau Modisakeng who are representing South Africa at the Venice Biennale this year. CF
EXHIBITION OF WINNING WORKS 31 August to 8 October 2017 Pretoria Art Museum
est. in 1947
www.sasolnewsignatures.co.za #SasolNewSignatures
HONOURING SOUTH AFRICAN INVENTIONS:
THE WORLD’S FIRST HEART TRANSPLANT The second instalment of the South African Inventions coin series from the South African Mint commemorates the life-saving heart transplant procedure, pioneered by Dr Chris Barnard in Cape Town 50 years ago.
T
he South African Mint has issued a pair of sterling silver collectable coins that celebrate the world’s first heart transplant. The extraordinary surgery is celebrated on the 2017 R2 crown and 2-½ cent
Tickey, which portray the design of a human chest and heart respectively. Together, these coins allow the viewer to imagine the transplant; the small Tickey coin depicting the human heart fits perfectly the design of a human chest cavity that appears on the larger crown coin. Each coin depicts, in accurate detail, the complexity of the human anatomy and beautifully pays homage to this
Sterling silver replica of a human heart (this replica comes with the full coin set)
great South African medical innovation. The head designer
the heart, as well as the web of blood vessels connected to
on the coins was the South African Mint’s Richard Stone, as
the liver. Also visible is the detailed texture of the outer
well as renowned artist Carl Jeppe (a well-respected artist
wall of the heart, and even the puffy pillow-like tubing of
and lecturer of figure drawing at the Tshwane University
the large and small intestines. This diseased heart shows fat
of Technology, Pretoria). The engraver (aka die sinker) was
deposits, dying muscle and an area of blocked blood flow,
Paul Botes of the South African Mint, who worked closely
as noted in the area where the frosted and polished surface
with the designers to ensure that the precise details were
seems darker. A prominent circle indicates the position of
transferred to the master tooling.
the heart, as well as serving as the placeholder for the small
The R2 coin depicts, in great detail, the skeleton,
Tickey and the imagined cavity of the human chest. Also
epidermis, veins and organs of the torso area of the human
located on this side in the upper right quadrant of the coin
body. The level of detail on this coin reveals the complexity
is the anniversary date, 1967.12.03 (3 December 1967), when
of the veins and arteries weaving their way into and out of
this highly specialised surgery was performed; the face value
38 / Creative Feel / July 2017
‘
Each coin depicts in accurate detail, the complexity of the human anatomy and beautifully pays homage to this great South African medical innovation
‘
of R2 and the words ‘First Heart Transplant’, superimposed over the lower half of the torso.
The small 2-½ cent Tickey coin depicts, again in minute
The small 2-½ cent Tickey coin bearing the design of a human heart and the abbreviation ‘CNB’ for Chris Neethling Barnard, the pioneering surgeon
detail, a healthy heart, with the thick aorta coming out of the top of the heart, the many blood vessels and the texture of
the heart wall. The frosting of the relief of the healthy heart is lighter, whiter to indicate the better physical condition
of this heart. The proof finish on the mirrored background
focuses attention on the perfection of the healthy heart. Also located on this side are the face value of 2 ½ cents, the alloy
of .925 silver combined with .75 copper and the initials ‘CNB’ representing the chief surgeon of this miracle, Dr Christiaan Neethling Barnard. Each coin may be purchased separately or as a set that includes an anatomically-correct mould of the human heart, housed in an elegant hand-crafted wooden box made of walnut with a glossy, piano-finish varnish. Only 700 of these elegant wooden cases with the pair of coins will be made available. The first South African Invention to be honoured by the South African Mint in 2016 was the dolos, the large concrete mould designed to break ocean waves at shore. These are innovations that were adopted the world over, putting South Africa at the fore of engineering and medical advancement. More inventions that originated in South Africa will be commemorated on collectable coins by the Mint. CF The Heart Transplant coins may also be purchased directly from the South African Mint or by completing the order form found online at: http://www.samint.co.za/order-form/ or emailing: numismatics@samint.co.za.
The larger R2 Crown coin bears the design of a human torso with the smaller Tickey coin nestled in the chest cavity
Creative Feel / July 2017 / 39
Ben’s Ladder, Stefanus Nel (Film Category Winner)
THE 2017 PPC IMAGINARIUM AWARDS Reveals Its Overall Winner, Category Winners And Runners-up South Africa’s most supportive art and design competition, the PPC Imaginarium Awards, announced its Overall Winner, Category Winners and Runners-up at a gala event hosted on 18 May 2017 at the UJ Art Gallery in Johannesburg. The winners were selected from the competition’s 55 finalists who submitted their concrete art and design works across the categories of Sculpture, Industrial Design, Fashion, Jewellery and Film. (No Architecture submissions made it to the finalist round this year).
40 / Creative Feel / July 2017
Alphga, Zanele Vilakazi (Jewellery Category Winner)
Cyberglyph, Aleks Ashton (Jewellery Runner-up)
L
ast year, up-and-coming jeweller Mignon
By doing so, this does not mean our concrete society has
Daubermann scooped the top prize with her
lost its strength. It only means it can make a stand. We are
exquisitely crafted pair of tinted cement rings.
taken advantage of and treated as stepping-stones, while
This year, emerging artist Mziwoxolo Makalima
our votes only gave us seconds of fame. Today, we are tired
impressed the judges with his thought-provoking sculpture
of waiting and yet we go back to waiting. This waiting has
submission titled Doubt-Queuing, securing him the
become the trademark of our liberation; waiting, hoping
prestigious titles of 2017 PPC Imaginarium Overall Winner
for change. This is a long wait for promises made by those
and Sculpture Category Winner, as well as a total cash prize
who call themselves leaders. Now, we wait because we are
of R150 000.
starting to think that maybe we should just be so grateful for
Makalima’s sculpture, fashioned out of concrete and mild steel, aims to be the voice of a voiceless, subjugated society. Doubt-Queuing represents a group of community
our freedom that we should not want to be anything more than just voters.’ The competition’s category winners and runners-up also
members who have stood for so long waiting and hoping
fared well in terms of cash prizes, each walking away with
for change, and who have remained as strong as concrete.
R50 000 and R15 000 respectively. All winners, including the
The concrete represents the strength of the community
Overall Winner, are also awarded extensive public exposure
that has had to endure a queue of unfulfilled promises that
by way of a nationwide travelling exhibition, media exposure
seem to have been extended ever since the dawn of social
and mentorships.
equality called democracy. Makalima further explains the concept behind his work: ‘For our society, it is time to let go of “rotten” reinforcing.
The 2017 winners were selected by a formidable panel of industry heavyweights, including architect and director of the awards, Daniel van der Merwe, fashion and design
Creative Feel / July 2017 / 41
‘
‘
This year, emerging artist Mziwoxolo Makalima impressed the judges with his thought-provoking sculpture submission titled Doubt-Queuing
Emweka, Sonwabiso Ngcai (Sculpture Runner-up)
consultant Allana Finley, and well-known curators Stephen Hobbs and Zanele Mashumi. A project of the innovation department of PPC Ltd, the PPC Imaginarium Awards encourages the ingenious use of Portland-based cement across the competition’s various categories. It serves as a platform for highlighting exceptional South African creative talent and assisting emerging artists and designers to launch their careers. A winner of several BASA Awards, the PPC Imaginarium Awards has cemented PPC Ltd as a benevolent supporter of art and design in South Africa. Members of the public will have the opportunity to view and engage with the finalists’ works, including works by the Overall Winner, Category Winners and Runners-up, at a nationwide travelling exhibition that includes a variety of auspicious galleries and events across the country, including 100% Design South Africa in Joburg, the KZNSA Gallery in Durban and The AVA Gallery in Cape Town. To stand a chance of winning a share of R500 000 in cash prizes and kick-starting your career, enter the 2018 PPC Imaginarium Awards in one of the competition’s six categories, namely, Sculpture, Industrial Design, Fashion, Jewellery, Film and Architecture. Entries officially opened on 18 May 2017. For more information on the PPC Imaginarium Awards, visit www.ppcimaginarium.co.za. CF
Doubt-Queuing, Mziwoxolo Makalima (Overall Winner and Sculpture Category Winner)
Concrete Journey, Cara Jade Bezuidenhout (Fashion Category Winner)
Dawn of a New Epoch, Tshepo Sizwe Phokojoe (Fashion Runner-up)
CS Project, Handre de la Rey (Industrial Design Category Winner)
Kilroy, Deon de Lange (Industrial Design Creative Feel / JulyRunner-up) 2017 / 43
Anthony Bila
In line with their innovative #MadeOfTaste campaign, The Singleton teamed up with Anthony Bila to host a night of wonder and sensation and, of course, exceptional whisky and whisky cocktails. Creative Feel spoke to Bila about this collaboration and his work as a multi-talented ‘expressionist’.
THE EXPRESSIONIST Creative Feel: Who is Anthony Bila, The Expressionist, and how would you define your creative style? Anthony Bila: I am a creator, a storyteller at my core. I use various mediums like motion picture, photography, illustration, writing and music to express and tell my story and share those of others too. My creative style isn’t so
other disciplines and interests. The Singleton approached
much described as it’s felt, but essentially I want to bring
me because they found like-mindedness in my approach to
Africa to the world and the world to Africa by redefining
creativity and creating. The images I selected to exhibit were
how we’re perceived by ourselves and the world at large. My
from two of my favourite projects I’ve done in recent history,
creative style is based in sharing my point of view but also
Black History March volume one and two respectively. The
empathising and inhabiting those other perspectives for
images speak to being African at various times in history and
one reason and one reason only, to connect with the world
celebrating that blackness unapologetically.
around me, the people around me. CF: Tell us more about the collaboration, how did it come CF: The collaboration with The Singleton was about your
about and what was the brief?
photographic work, tell us more about the photographic images.
AB: The Singleton was interested in collaborating with
AB: As cliché as it is, pictures really are a universal language
various prominent people in South Africa’s burgeoning
in many ways. They can communicate so much beyond
black creative class. The creative individuals featured were
language, which often becomes a barrier. Photography is
the likes of Rich Mnisi, Punk and Ivy, I See A Different You,
what I am most known for currently despite my foray into
Austin Malema and, of course, myself. Just in those few
44 / Creative Feel / July 2017
The Singleton #MadeOfTaste experience people there are illustrators, musicians, designers, graphic
CF: You have been called ‘an urban phenomenon’ due to
designers, art directors, directors and photographers to
your street style fashion blog. Could you imagine living in
name a few disciplines. We were all tasked to create a unique
another city? What do you like about Joburg?
dinner experience where we hosted followers, collaborators,
AB: I love Johannesburg and I’ve lived here all my life,
contemporaries and others. We created the decor, the
I’ve also been fortunate to work in Ireland, England,
drinks, the menu and the theme in accordance with our own
Germany, China, Singapore to name a few places. The way
personal preference and style.
my career is going I am going to live in a foreign city, it’s just a matter of when and I would welcome the change and
CF: How do you express, through photography, ‘taste’ in the
perspective shift, I think it would inform my work in an
way that you would fashion, without using food or drink?
interesting way. I have ambitions of working in New York
AB: I think taste is subjective and is only as good as what
for a while and Tokyo too as well as short stints across our
you consume, the same way a good, healthy diet means
own very continent, Nairobi and Lagos are on my list too.
you have a healthy body. A creative taste diet is also good,
Johannesburg will always be home though and after I’ve
consuming inspiring work by the world’s most accomplished
roamed, I’ll always come home.
and recognised creative people and organisations means you’re already in good stead to create or at least aspire to create
CF: What are your favourite hangouts in Joburg? Where do
work at the same level or beyond. You need to be a student of
you find your inspiration?
whatever field you work in or have an interest and beyond it,
AB: I enjoy anywhere with good restaurants and
in my capacity as a photographer some of my most inspired
galleries, so Kalashnikov, Circa, Keyes Art Mile, Parkhurst,
concepts and work have been born from fields as far reaching as
Jeppestown or Maboneng and other small intimate spaces
architecture, fine art, literature, film, fashion and more. There
like these really make the city interesting and amazing. I
are lessons in everything that can inform your palate or ‘taste’.
love exploring Johannesburg. CF
Creative Feel / July 2017 / 45
FRAGME OF INCREDIBLE HAPPINESS It has been a great success story for Neo Image Matloga since he pursued his Fine Arts studies at the University of Johannesburg and graduated in 2015, the same year he completed a residency at the Bag Factory.
N
eo Matloga is a young South African artist whose
Matloga was born in Mamaila, Limpopo in 1993, just
talent and hard work has already earned him a great
a year before South Africa’s democratic elections, and is
reputation. His work has been showing at Turbine
considered a true representative of South Africa’s young
Art Fair since 2014 and at FNB Joburg Art Fair since
generation of post-1994 artists. His decision to study art was
2015. His list of selected group exhibitions is long and impressive
supported by his father, who said, ‘son, if you study medicine
and he now adds two solo exhibitions to his resume. In 2016,
you’ll be helping people with their physical health but if you
Moo re tswang gona with Christopher Moller Gallery at FNB
become an artist, you’ll be helping people psychologically.’
Joburg Art Fair, and most recently, Molatelo with Christopher
Matloga rejects the notion of limiting himself to specific
Moller Gallery at SCOPE New York in 2017.
artistic mediums and his paintings, drawings and collages
Creative Feel first became aware of Matloga’s work when
explore the mythic power of Sophiatown in a post-Mandela
Dawid Ras Gallery showed him as a new artist in their New
era. He brings into existence fragments of incredible
To The Gallery – Dawid’s Choice exhibition in 2015. We have
happiness from his own upbringing, classical moments of
since followed his work, recognising him as an example of a
existence and poetic moments he remembers of growing up
young artist who is likely to be successful.
in South Africa.
46 / Creative Feel / July 2017
ENTS Oseke watswa tseleng, ke ya bowa, Neo Matloga
Lerato la go hloka Tshepo II, Neo Matloga
Matloga’s works have a lot of movement and fluidity and
in post-apartheid South Africa, the work nostalgically revisits Matloga’s childhood home in Mamaila, Limpopo. He uses colour, patterns, collage and obscure hyperrealism to communicate memories he describes as “fragments of incredible happiness”. ‘... The show is named after his mother, who is the main character in most of the paintings. Her multiple facets are highlighted in Matloga’s depiction of her as an educator, dancer, lover, friend and, of course, mother. Even in the paintings where her physical self is not present, there are cues of her omnipresence in the home. ‘This is seen in objects like the enamel tableware, porcelain hen and crocheted tablecloth which were key pieces in most black households. These objects are rendered
in an interview with Annicia Manyaapelo, he explained why
in such a way that their soft, feminine form becomes a
that is important to him. ‘I am traumatised that the ghosts
distinct feature in the otherwise rigid interior. They add a
of the past haven’t rested. These ghosts are racism, sexism,
sense of calm, similar to how a mother exudes strength yet is
patriarchy and inequality. With their presence, there’s a lot
still vulnerable around her loved ones.
of unresolved anger. However, I choose to not be angry, but
‘… South Africa is in a sense a woman. Her womb carries
to focus on themes that reflect on incredible happiness. For
in it seeds brimming with hope and anxious to be planted in
some reason, I have had a nostalgic feeling of the past. This
the fertile soil. This is not to say the issues of apartheid have
affection for the past has increased over the years. My age
been completely eradicated, but merely to offer a different
group are constantly accused of not knowing where we come
perspective on the lived experience of a young millennial.
from, but on a real note, the spirit and ghosts of the past still
Molatelo is so layered both figuratively and literally that one
live in us. In a way, the historical and political context has
can’t steer away from the notion of a village raising a child.
become an everyday psychological experience for me.
So, we all have a Molatelo in our lives, and sometimes it is
‘On my way to the studio I once saw an old man folding a handkerchief, I wanted to know why he was paying so much
not a person but a place.’ – Luyanda Mpangele At present, Matloga is completing a two-year residency
attention and detail into folding a handkerchief in a particular
in Amsterdam at De Ateliers. He sees the residency as a
meticulous way. And this reminded me of the days of chivalry
platform to broaden his artistic ambitions, appreciating
and taking pride in who you are. The days of Sophiatown.’
the meaning of ateliers as a working space for artists. For
His 2017 solo exhibition Molatelo with Christopher Moller Gallery at SCOPE New York earned him great reviews ‘…set
him, it is a springboard to a successful, international career, something he also wishes for every other young artist. CF
Creative Feel / July 2017 / 47
T
AF has firmly established itself as a must-attend event on the annual South African art calendar by offering visitors an opportunity to
view and buy quality artwork from emerging and established talent in a fun and undaunting way with great live music and artisan food, all curated within the heritage building that is Turbine Hall in the heart of Newtown. ‘The Turbine Art Fair has undoubtedly made its mark as a not-to-be-missed event for art lovers and those looking to learn more about South Africa’s rich art scene. With over 50 galleries and exhibits from across South Africa there’s bound to be something to catch everyone’s eye,’ says Glynis Hyslop, TAF Fair Director. Exhibitors, whether galleries, collectives or dealers will exhibit contemporary artwork priced below R50 000 (incl. VAT). ‘Art as an asset class shows excellent returns but many people do not know where to start,’ says Hyslop. ‘Our fair is an accessible way to see what is available and to learn more.’ TAF17 will see numerous exciting projects and exhibitions take place, including
TURBINE ART FAIR CELEBRATES FIVE YEARS OF CONTEMPORARY SOUTH AFRICAN ART The fifth edition of the Turbine Art Fair (TAF), brought to you by the forum company, will take place at the iconic Turbine Hall, Johannesburg from 14 to 16 July 2017 with a First Access experience on the evening of 13 July.
48 / Creative Feel / July 2017
the Fresh Produce and Graduate Painters exhibitions, which return this year, as well as free talks, guided walkabouts for both adults and children alike, a dedicated children’s area and a selection of exciting art installations throughout the Fair. ‘We have been so delighted with the feedback that many of our visitors bought their first artworks at TAF and are coming back to buy again,’ says Hyslop. ‘This year we have really focused on collecting, which is the theme of the talks as well as the magnificent Pierneef show from Anton Taljaard’s extraordinary collection, which he started in his teens.’ Inspired by his parents, who were avid collectors themselves, Taljaard accompanied them to collect their latest Pierneef acquisition from a prominent Johannesburg gallery, where he promptly bought his first artwork, a Pierneef linocut, at the age of 13. He has been collecting ever since, and today Taljaard
‘
The Turbine Art Fair has undoubtedly made its mark as a not-to-be-missed event for art lovers and those looking to learn more about South Africa’s rich art scene
‘
is respected as one of the foremost collectors of modern
be on exhibition, together with prints pulled from these by
and contemporary South African art. He has a penchant for
Pippa Skotnes from the Michaelis Art School, University of
Pierneef, with a vast collection of all the media in which
Cape Town.
Pierneef worked. Of particular note is the very special group of Pierneef’s rare caseins. The exhibition at TAF17 encompasses top examples
In addition, Artist Proof Studio students will
demonstrate the linocut technique as part of the exhibition. These students study Pierneef’s graphic work as part of
from Taljaard’s collection, ranging from etchings to
their curriculum, and they will be showing how their work is
watercolours and oil paintings, showing the artist’s diversity
inspired by the master.
in all its splendour. Of special note is Taljaard’s collection of the etching plates Pierneef used in his lifetime. They will
For safety and convenience, TAF17 will be a completely cashless environment. See you at the Fair! CF
Creative Feel / July 2017 / 49
T H E G R A D UAT E PA I NT E R S S H O W Curator for the Graduate Painters Show at TAF17, Jessica Webster, is a talented artist and painter in her own right.
J
essica Webster is a Joburg-based painter and writer.
perspective on the everyday. In 2015, Webster was awarded
Born in the Free State in 1981, she is fascinated
the Oppenheimer Memorial Trust as well as the Mellon
by the disjunctures and elisions manifested in the
Postgraduate Mentoring Programme award for her work in
interpretation of South African society and artistic
painting and academia. Her work is in private and public
identity through a Western discursive framework. Her second
collections, such as the Johannesburg Art Gallery and
solo exhibition, Wisteria, showed to critical acclaim at
MTN Collections.
Goodman Gallery Cape Town in May this year. In 2006, Webster survived an act of extreme violence
Creative Feel: Tell us a bit more about yourself and your
in a shooting that left her paralysed from the waist down.
own art.
Her practice has since evolved, guided by a heightened
Jessica Webster: I am a dyed-in-the-wool painter
sensitivity to painful but moving life experiences that
forever, but it has also been an intellectual focus since my
can impair but also empower, by offering an alternative
undergraduate days at Michaelis (2005), and I have just
50 / Creative Feel / July 2017
submitted my PhD in philosophy on painting (Wits 2017). So I see myself as a producer and an observer of painting. To me, painting has an existential thrust, a core sense of something elemental about what it means to be human. It is not based on style – any painting can convey this intrinsic and enigmatic particle, even if it deals with comical subject matter. The foundation of my own practice is to try and create these moments that arise from a deeply critical view of my life experience, and project it onto the surface as visual form. Perhaps there, viewers can find the element which resonates with their own experience. CF: What is the Graduate Painters Show and how did you get involved? JW: The exhibition has been established by the forum at Turbine, to run during the Turbine Art Fair. While it forms part of the greater project of marketing art to a wide sphere of the population, Graduate Painters is a special showcase which introduces extraordinary talent to not only general viewers, but also the press and galleries exhibiting at the fair. I was invited by Glynis Hyslop to curate the show, after the artist Professor Karel Nel had motivated me for the position. I then Jessica Webster PHOTO Kelly Berman, Goodman Gallery
Creative Feel / July 2017 / 51
Amber-Jade Geldenhuys, Jessica Webster and MC Roodt
decided to invite my peers Amber-Jade Geldenhuys and
have been showing in group and solo shows. However,
MC Roodt to co-curate the show with me. They have
commitment can also be seen in the level of consistency
different conceptual backgrounds and come with curatorial
the artist demonstrates across a body of work: that they
experience. We, therefore, represent a rich and complex
show focus in how they approach surface, that they are
view of curating which ensures the diversity and integrity
specific about their mark-making. The work should also
borne of many debates!
present an element that most of us can conceivably relate to. This shows that the artist is thinking deeply about their
CF: What do you look for when selecting artists
‘self’ in relation to others, and is, therefore, a cerebral and
and curating?
potentially interesting activity.
JW: I want to make sure this show is objectively good – i.e., that it appeals to a wide range of individuals and
CF: Is there a particular theme?
intellectual groups. So it has been crucial to engage in
JW: We have called the show ‘touch’. This does not present
discussions with each other (myself and the co-curators)
a theme that is controlled by a particular narrative – the
that tend to start from our subjective inclinations – what
work can be about any subject. Rather, ‘touch’ is about
we immediately and simply ‘like’ about a submitted work.
paintings which emphasise surface quality and texture in
This, of course, is where the most conflict between us arises
which the meaning of the work is made. For example, thick
– when you like a painting, you seem to very quickly form
layers of paint may heighten a sense of the psycho-somatic,
an emotional attachment to it. But the discussion/debate
or, painting in ultra-thin layers can provoke an experience
is also buttressed by our critical judgment of a factor that
of the ethereal. Alternatively, painting in hyper-realistic
an artist’s work presents: importantly, we ask whether
ways can capture the visual textures of objects and figures.
the artist demonstrates that they are committed to their
In sum, we want the show to evoke a deep impression of
practice. This commitment can be evident in whether they
sensuality in material methods of painting.
52 / Creative Feel / July 2017
A sneak peek of artworks exhibited as part of The Graduate Painters Show
Related to this is that ‘touch’ opposes the sign you normally see in galleries and museums, which is ‘Don’t
motivation for viewers to keep on attending events where painting can be found.
touch!’ We don’t take this to mean that viewers can literally touch the work: rather, viewers can become
CF: What role does a platform like this play in developing
immersed in how the artists have created a tactile
future successful artists?
experience of the materials on canvas, and the way
JW: The key thing is that artists are offered opportunities
in which this may provoke a physical and emotional
and funding to keep on creating work. Painting is an
sensation in you.
expensive activity, so it is essential that they have reason to carry on and make the sacrifices painting requires. We
CF: What would you like visitors to take from the project
want new and experienced collectors to invest in the works.
this year?
This is so that our developing artists can practically afford
JW: That painting offers two gifts. Firstly, you don’t have
to keep on making work: this is an important part of how
to be educated in the arts to recognise and enjoy good
society supports the arts. But also, this platform is where
painting. It is an open form of finding meaning that is
galleries that are exhibiting at the fair can take notice of
available to everyone. Secondly, it is also very much a
the artists that are making their way. If a gallery selects
mental exercise: because it is subjective, the viewer can
an artist for their stable, this means that the artist will
engage in a multitude of aspects that create meaning for
have an infrastructure to work within, and be given goals
them. If you are a new viewer or collector, a painting may
to work towards: whether towards a group show or solo
appeal to you because it reminds you of certain memories
show. Further, the platform is where the media can begin
or experiences. If you are an academic, you may choose
publicising an artist – once an artist starts becoming well-
to think about how a painting interprets certain political
known in South Africa and abroad, they will be given a lot
and social themes. The choice of either, and of both, is a
of opportunities and funding to keep on creating work. CF
Creative Feel / July 2017 / 53
Words: Mark Attwood, The Artists’ Press
COLBERT MASHILE: a cacophony of layers and meaning During TAF17 The Artists’ Press, located near White River in Mpumalanga, is showing some works recently produced in their studio by Colbert Mashile. Both the monotype series Baboons and the lithograph series Harvesters show what he calls the ‘truth about the land and its people and thus my existence in South Africa.’
T
he Artists’ Press is dedicated to creating the finest limited edition, original prints available in southern Africa. Their focus is on hand-printed lithographs that are printed by master printers in
collaboration with artists. The artists that they represent are among the finest in South Africa and have exhibited locally and internationally. Lithography is a method of printing based on the principle that oil and water do not mix. Printing is done from a stone (lithographic limestone) or a metal plate with a grained surface; using oil-based inks. The artist works on a separate stone or plate for each colour. A hand-printed lithograph print is an original work of art and is an image that does not exist in any other form.
54 / Creative Feel / July 2017
Time Keeper I, Colbert Mashile. Monotype
The Harvester Lithographs Mashile is clear in his views on what South Africa has and has not achieved since 1994 and despairs at the sociopolitical and socioeconomic realities of the country. He is keenly aware of the hypocrisy of the country’s current leadership and is troubled by the continued poverty and inequality that is still so much in evidence. In these prints, Mashile examines the relationship between media, aspiration and consumption and those who struggle to survive on the edges of urban life. The images focus on waste pickers, who inadvertently take care of the environment by recycling what the wealthy discard. The animal shadows suggest alter egos.
Colbert Mashile was born in 1972 in Bushbuckridge in the
Mystical figures, phallic images, pods, huts and organic
Mpumalanga Province of South Africa. Mashile says, ‘I come
shapes are but some of the visual stimuli that abound in
from a place that is shrouded in powerful cultural norms and
Mashile’s recent work. Minuscule figures stand unobtrusively
customs.’ These customs, such as the ritual of circumcision
atop high structures surrounded by open fields.
(which both he and his wife have undergone), informed his earliest work, and he sought refuge and healing through art. Colbert Mashile explores the psychological impact of
Mashile, a quiet individual, reflects on his use of symbols and icons. He comments that it simply shows the ‘truth about the land and its people and thus my existence in South Africa.’
traditional circumcision and initiation rituals on initiates.
This poignant statement reflects someone who has a clear
He also explores the often problematic narratives of
understanding of the prevalent issues in South Africa. Mashile
collective cultural determinants within these communities.
has found an individual way in which to communicate his own
As Mashile has matured, the psychological underpinnings
concerns and those of society as a whole, and he does so in a
are still evident, but his imagery has transgressed these
remarkable manner. His work references various elements of
limitations to begin addressing issues such as home,
more traditional art-production techniques (printmaking and
language and the natural landscape.
painting). But, within this production, he isolates the personal
Mashile comes from a family of teachers and was expected to join the family trend on completion of high school. While
narrative as the loudest voice in a cacophony of layers of meaning and reference. CF
studying in Pretoria, he became curious about the art that he saw in gallery windows on the streets of Pretoria. This led him to the Johannesburg Art Foundation and then to a degree in Fine Arts from the University of the Witwatersrand. Colbert Mashile has risen to prominence on both national and international levels. His work is infused with the natural
The Baboons Monotypes Colbert Mashile believes animals have human traits. He says that in African culture animals
and mystical elements that are part of his physical and
are allocated various characteristics but
psychological environment. In nearly every work, what
he chooses to focus on their personalities.
emerges is a subtle tension between an invasive nature and a
‘For example, in African culture baboons
sense of serenity. It is this dichotomy that is so engaging. Mashile has an uncanny ability to ‘tune into’ universal psychological archetypes in his work. These images are
are associated with bad things, including witchcraft. But its personality is that it has a
completely based on his African identity and yet they link
good memory and a strong character.’ The
up with the universal. His horned figures that loom over
focus in these monotypes is baboons, topical
men, coffin-like vehicles and vast landscapes fill his prints. Mashile’s fine sense of colour complements his forms, which seem to celebrate a connection to the earth.
given the current national discourse on race. These prints comment on current realities in a darkly humorous manner. The titles say it all.
Creative Feel / July 2017 / 57
2017’S
FRESH PRODUCE
Started in 2014 for the second edition of the Turbine Art Fair (TAF), Fresh Produce Presented by RMB Talent Unlocked is a mentorship programme and exhibition that provides a vital platform for young, upcoming artists. To find out more about this incredible development programme, Creative Feel spoke to Louise Van Der Bijl of Assemblage and this year’s curator, Rolihlahla Mhlanga.
58 / Creative Feel / July 2017
Mentorship session PHOTO Gemma Garman
F
resh Produce Presented by RMB Talent Unlocked is an extension of the longstanding relationship that Rand Merchant Bank (RMB) has had with the arts in South Africa, and with Assemblage in particular. The project is a four-way partnership between Assemblage, RMB, TAF and the Visual Arts Network of
South Africa (VANSA). ‘Fresh Produce is a mentorship programme accompanied by an exhibition at the Turbine Art Fair,’ explains Van Der Bijl. ‘The project was started by Assemblage in conversation with RMB and the Turbine Art Fair... In the second year, VANSA was brought on board to help with the curatorial side of the project.
is the main funder of the programme and without them, it would not be possible,’ says Van Der Bijl. ‘The workshop programme is eight sessions over six months,’ she explains. ‘We have titled the programme the Artist Career Development Programme. The workshops cover a range of professional practice topics including artist statement writing, funding proposal writing, treating my career as a business, project management, art law, documenting your artwork and so on. In addition, the programme includes peer mentoring. Assemblage’s peer mentoring has been happening for seven years. The concept is simple; a group of artists is mentored by a more experienced arts practitioner, meeting regularly and sharing ideas around their concept and art making. The emphasis is on group participation and growing and improving your body of work. ‘A programme like this is vital for developing artists as most artists are simply not receiving any of this training through the numerous degrees or courses they complete. In order to function effectively within the arts industry, they need to understand the business side of the arts as well as receive critical feedback on their © Manyatsa Monyamane
actual artworks in order to grow their practice. ‘The main aim is to choose artists who are young and/or emerging, who have little to no support or training. This programme is for artists who have a lot
‘Assemblage’s focus has been on growing the mentorship and training side of the programme. 2016 and 2017 have seen the mentorship programme expand into a six-month programme consisting of
of potential but need a leg up, further support or direction in their practice.’ Mhlanga, who was invited by
professional practice workshops and Assemblage’s peer mentorship
VANSA to apply for the role of curator
programme. A group of young emerging artists who particularly need
in 2016, has previously worked with
mentorship or training are chosen to participate in the workshops for the
VANSA and Assemblage before, having
entire period.
taken part in their Artist Career
‘The end point is a group exhibition of their work at TAF, titled Fresh Produce. The exhibition is currently curated by Rolihlahla Mhlanga. RMB
Development Programme. Before taking part in the programme, he had
Creative Feel / July 2017 / 59
already been ‘using unconventional methods’ working as a
international attention; Setlamorago Mashilo, who won
curator and gallerist in Soweto. His role as curator for Fresh
the first TAF & Sylt Emerging Artist Residency Award; and
Produce includes choosing artists who will benefit most
Zanele Mashinini, who has exhibited in Dakar, Senegal.
from the project. ‘Because the programme is an opportunity
Also, the programme definitely helps artists to figure out
for candidates to improve their professional practice,’ says
whether they actually want to be artists, and what other
Mhlanga. ‘It is important to assess the artist’s aptitude and
options may be available to them as well as understanding
commitment to this intense workshop-orientated process
better how to pursue these options.’
around professional practice and participating in the unique
Fresh Produce Presented by RMB Talent Unlocked plays
peer mentoring geared to assist the conceptual development
a ‘disruptive’ role, says Mhlanga. ‘This is an artist-focused
of their individual work.’
and outcomes based operation aimed at artists being
The benefits of this programme are evident in the
able to assert themselves with regards to their business
calibre of artist that comes out of it. Says Van Der Bijl,
(administrative and creative) and protecting the integrity of
‘The artists we are working with are very young and we
their work. By so doing, building the overall understanding
are working with them at a very early stage of their career
of each artist’s value proposition.’
and so to measure the full impact is hard. But several of
While this is an artist-focused programme, Mhlanga
the young artists who have gone through this programme
has curated an exhibition for TAF17 that will not only show
have seen almost immediate results in their practice. This
the immense talent that is being produced by young South
is mostly because they take to heart the information shared
African artists but has also ensured that ‘there are works
in the programme and grow and adjust their practices.
that will cater to every palette. From sculptural pieces and
Previous participants who we have seen grow in obvious
innovative media, to striking imagery that informs social
ways include Audrey Anderson, 2016 SA Taxi Foundation
commentary, identity and the ever-so-complex South
Art Award winner; Thandiwe Msebenzi, now part of the
African colonial history.
collective iQhiya who have been gaining much local and
‘This is a show not to be missed.’ CF
Mentorship session PHOTO Gemma Garman
60 / Creative Feel / July 2017
Unseen Pierneef Smashes Records at Strauss & Co The star of the show at Strauss & Co’s winter sale, held on 5 June at the Wanderers Club in Johannesburg, was undoubtedly JH Pierneef, when a new all-time world record was set by his previously unseen painting, Farm Jonkershoek with Twin Peaks Beyond, Stellenbosch, which shattered its estimate of R6 000 000 – R8 000 000, by fetching a mammoth R20 462 400. This is the second highest price ever achieved for a painting sold at auction in South Africa.
Farm Jonkershoek with Twin Peaks Beyond, Stellenbosch, Jacob Hendrik Pierneef
T
he night also saw Strauss & Co top their own
Other regular performers on the auction circuit did not fail
record of R73 million in sales achieved in March
to disappoint when Alexis Preller’s Still Life with Thangka and
this year at their Cape Town auction, with a total
Pomegranates came in at number two of the night, fetching
of R89 million and an 87% sell-through rate by lot
a total of R7 502 880, above the high estimate R5 000 000. In
and value combined. Commenting on the success of the sale,
third position on the night was Irma Stern, whose enigmatic
Strauss & Co’s Chairman, Frank Kilbourn, stated ‘tonight
portrait in oil, Malay Woman, fetched R5 456 640, beyond the
proved conclusively that South Africa is the most appropriate
given estimate of R3 000 000 – R4 000 000.
place to sell high quality local artwork, be it historic or
Finally, another consistent performer on the secondary
contemporary masterpieces. This reaffirms Strauss & Co’s
market was William Kentridge who held four places on
position as the global leader for South African art.’
the night’s top ten sales, indicating a bright future for
Pierneef dominated the sale from the outset when lot 14,
contemporary art. His Dancing Couple brought in
a linocut titled Hardekoolboom, Transvaal (Nilant 74), came
R4 902 480, well above the given high estimate of
in at an astounding R193 256, way beyond the given
R2 000 000, whilst his Untitled Drawing Towards Responsible
R25 000 – R30 000 estimate. This was followed immediately
Hedonism performed similarly well, coming in at
by another, Bome (Nilant 75) which exceeded its R12 000 –
R3 978 800, comfortably between estimates.
R18 000 estimate by fetching R120 000. This trend was
Likening the sale to its star, the ‘once in a generation’
further cemented when lot 16, a third linocut, fetched
Pierneef, Bina Genovese, joint MD of Strauss & Co, who
R140 000, way above the high estimate.
conducted the Evening Sale, commented, ‘It was an honour
Another of his high performers featuring in the top
and privilege to be involved in an auction where works of
ten lots of the sale was his Extensive Landscape, Northern
such exceptional quality and historic importance were on
Drakensburg which fetched R3 410 400, while his Storm
offer. This sale set a new benchmark for prestigious South
over the Lowveld brought in R1 250 480, well above the high
African art auctions and the outstanding results are the
estimate of R700 000.
embodiment of Strauss & Co’s pursuit of excellence.’ CF
62 / Creative Feel / July 2017
excellence through possibilty
Visit us at Turbine Art Fair 13 -16 July 2017 STAND BM5 Ar st Proof Studio (APS) is proud to be one of the leading printmaking studios that also provides a professional printmaking training programme to talented students from South Africa as well as other African countries. Students who graduate from our programme are featured in various exhibi ons and art fairs. Turbine Art Fair showcases the best of our emerging printmakers who are posi oned to have successful careers. When you purchase work from APS, you are inves ng in excellence.
Sizwe Khoza - Noelani - Linocut - 2017 (detail)
Themba Khumalo - Just the Two of Us - Etching - 2017 (detail)
Lebohang Motaung - e kojwa esale metsi - Etching - 2017 (detail)
Cromwell Ngobeni - Xifafa I - Linocut - 2017 (detail)
Kelebogile Masilo - Evolving I - Etching - 2017 (detail)
Sifiso Temba - I Chose To - Lithography and handcolouring - 2017 (detail)
Donald Makola - All the Way to Work - Etching - 2017 (detail)
Phillip Mabote - Hope of My Journey - Linocut - 2016 (detail)
Ilse Pahl - Alien African IV - Lithography and handcolouring - 2017 (detail)
Featured artists include: William Kentridge | Norman Catherine | Victor Kuster | Themba Khumalo Sizwe Khoza | Siso Temba | Ramarutha Makoba | Phillip Mabote | Mario Soares | Luzuko Dayile | Lebohang Motaung Kelebohile Masilo | Jan Tshikhuthula | Donald Makola | Alexandr Alexandré Vosloo | Mongezi Ncaphayi
Contact us for more info: gallery@artistproofstudio.co.za Artist Proof Studio
@ArtistProofJHB
@ArtistProofJHB
011 492 1278
Artist Proof Studio
www.artistproofstudio.co.za
artistproofstudio
DAWID RAS GALLERY, BASED IN SANDOWN ESTATE, JOHANNESBURG, WAS ESTABLISHED IN 2004 AND DEALS IN CONTEMPORARY SOUTH AFRICAN ART.
Dawid Ras Gallery is not a ‘white cube’ gallery, but a space where you can feel at home and experience personal attention and guidance, should you require that. Artists whose works are available at the gallery vary in age from 25 to 88: The young artist Michael Cheesman completed his Fine Arts degree at Wits in 2014, while, at 88, Nel Erasmus still works in her studio on a daily basis. The focus, however, is on mid-career artists. Among them are Henk Serfontein, who recently won an award for his exhibition at the 2017 Stellenbosch Woordfees, and Olaf Bisschoff, who currently lives in Sweden. Both these artists are represented by the Dawid Ras Gallery at TAF17. Joining Serfontein and Bisschoff on this year’s TAF is Colijn Strydom, part-time art lecturer at the University of Stellenbosch and the Ruth Prowse School of Arts. Clare Menck, Hanneke Benade, Margaret McKean, Sotiris Moldovanos and Zolile Phetshane all work on paper as well as canvas. Well-known sculptors Johan van Heerden, Ruhan Janse van Vuuren, Guy du Toit, Sarel Petrus and the ‘glassman’, Lothar Böttcher, represent works in 3D. Arno Morland, currently living in the UK, is exhibiting at the Dawid Ras Gallery in September. He is preparing a collection of canvasses as well as a number of sculptural pieces. Upcoming exhibitions include work by the challenging Knysna-based artist Leon Vermeulen, and the sisters Julia Kuhlman and Carol Eady, based in Johannesburg and George respectively.
FOR MORE INFORMATION VISIT WWW.DAWIDRAS.COM OR SEND AN EMAIL TO MDAWIDR@IAFRICA.COM.
A S TO U N D I N G A R T Theodolite Drawing Lovers in a Pond (drawing for the film Felix in Exile), William Kentridge, 1994-2001. Charcoal and pastel on paper, 47 x 51 cm. PHOTO Nina Lieska, Repro Pictures
Aspire Art Auctions’ upcoming July sale at The Park on 7, Hyde Park Corner, offers a selection of some of the best works produced by local and international artists available on the local market.
A
at Aspire’s Auction in illuminated gold leaf. The presence of such major contemporary international art on auction in South Africa, is cause for great excitement and anticipation. Contemporary African art is well-represented by Cameroonian-born, Belgium-based Pascale Marthine Tayou, who expands the serious subject of Marx’s critique of political economy through his witty, subjective interpretation. Locals who’ve made their mark internationally include
mongst the stellar international artists,
William Kentridge and Kendell Geers. Kentridge’s Theodolite
appearing for the first time locally, is Marina
drawing lovers in a pond, made for his film Felix in Exile
Abramović, possibly the world’s highest profile
between late 1993 and early 1994, just before South Africa’s
living female artist, who has established a
first general elections, is eminently collectable. Geers’ Border
particular niche in performance art since the early 1970s,
Order, first exhibited at the Migros Museum, Zurich in 2003,
culminating in her most celebrated and discussed work
presents a work rarely encountered here.
in recent years The Artist is Present, at MoMA in New York. Her Golden Mask, presents the artist’s face covered
66 / Creative Feel / July 2017
Exiled artists that shook our world include Dumile Feni, who devoted his life and his art to the struggle for freedom.
In his powerful drawing, Children under Apartheid, he spoke out internationally against the degradation of his people. Louis Maqhubela’s Flight is technically and stylistically comparable to his record-breaking, Exiled King, offered on Aspire’s Cape Town auction earlier this year. An idyllic pastoral landscape by Maggie Laubser, painted in the mid-1950s on a visit to the Ficksburg area, represents a sought-after period in the artist’s career, when she broke away from the depiction of Cape farm and fishing scenes in favour of these boldly coloured Free State rural scenes. Peter Clarke’s Figures on a path, painted in 1960, shows a similarly bold reduction of form while portraying a couple making their way along a country road through the rural landscape of the South-Western Cape. Pierneef’s Bushveld landscape was painted in 1925, the year he was awarded the commission to paint the Johannesburg station panels. A selection of Irma Stern gouaches, a watercolour and a sculpture from the sought-after Feldman collection – the artist’s closest life-long friends and supporters – includes works made in Madeira in 1931, a significant turning-point in her career. The women of Bonnefoi are represented by Rosamund Everard-Steenkamp’s Fugue in Colour, an outstanding example of the landscape seen from above by this adventurous artist, who was also a qualified pilot. By contrast, scenes by George Pemba and Ephraim Ngatane offer commentaries on everyday life in South Africa’s urban areas. Walter Battiss’ unusually large painting produced around 1979, was likely painted while he was in Boston, at a time when he had become, according to Warren Siebrits, South
Children under Apartheid, Dumile Feni, 1987. Charcoal, 247.5 x 133 cm. PHOTO Nina Lieska, Repro Pictures
Africa’s most advanced painter. Powerful sculptures range from Anton van Wouw’s The Bushman Hunter, a 1902 Massa cast, to Edoardo Villa’s African
at the Louis Vuitton Foundation in Paris, depicts a scene of
Mask IV, produced in 1965, one of his most striking and
introspection in Illuwane as uNtsikana, as a man gazes at
important bronzes. Norman Catherine’s Speaker is as much
himself in the mirror.
a commentary on today’s tragicomedies of kleptocracy and state capture, as when the artist began work on it in 1988. Cecil Skotnes remains one of the most influential figures in South African art. His series of carvings depicting stories and legends from the life and death of Shaka, are amongst
Doreen Southwood’s installation, The Dancer, exhibited at Siena’s Palazzo delle Papesse in 2008, explores the balancing act of women’s experience in a captivating response to Edgar Degas’ Dancer. The catalogue featuring superb images, accompanied by
his most renowned. Much of the stylised energy of his Shaka
articles from top South African arts writers, provides insights
panel, draws on the influences of the German Expressionists.
into these significant works. The Aspire team, recently
Younger artists are claiming their space in international art arenas. Mohau Modisakeng’s Frames series explores the relationship between history and his own body. His work
joined by Marelize van Zyl, looks forward to welcoming you and sharing its acknowledged expertise. Aspire’s Spring sale on 4 September 2017, at the Avenue,
on the current Venice Biennale has catapulted him into
V&A Waterfront offers a breath of fresh air. Visit this
international artworld celebrity, while his current show at
beautiful venue to enjoy some choice works, amongst them
the Standard Bank Gallery celebrates his Young Artist award
a rare early Simon Stone mosaic triptych, sure to delight
for 2017. Likewise, Athi-Patra Ruga, whose work is on view
viewers and collectors. CF
UPCOMING AUCTION | 17 JULY 2017 | THE PARK HOUSE OF EVENTS ON 7 | HYDE PARK CORNER | JOHANNESBURG 011 243 5243 | www.aspireart.net
GEMS FROM THE LIMPOPO AN EXHIBITION CURATED BY NATALIE KNIGHT www.knightgalleries.net
Natalie Knight, owner of the
has had the added advantage of being trained at the Wits
Natalie Knight Gallery in Hyde
Technicon where his conceptual skills were honed. Collen and
Park in the 80’s and 90’s will
I have worked together for many years now.
be exhibiting at the Turbine Art Fair (TAF) in Johannesburg
“I included his work at Wits University when I was curator on
from July 13 to July 16, 2017.
the West Campus and in a tribute to Nelson Mandela, held at South Africa House in London in 2013.”
She has curated Gems from the Limpopo, which spans many
The works on show will include unique beadwork created by the
years, with items ranging from
Makhubele family – Billy, his three wives and seven daughters.
antique sangoma medicine
Billy is an artist and entrepreneur. After an injury which
containers to Collen Maswanganyi’s modern painted images.
prevented him from making wire sculptures, he started collecting
Also on show are Nceka (capes worn by Shangaan women) to
authentic, rare artefacts of the Tsonga/Shangaan culture.
modern depictions of Shangaan beadwork by members of the Makhubele family.
He and Natalie co-curated an exhibition at JAG called Dungamanzi/Stirring Waters with Nessa Leibhammer. In
Collen Maswananyi, a young sculptor born in Giyane,
addition Billy has modified some of the designs of the
Limpopo Province will be showing his quirky, thought-
Nceka. Using the format of the cloth and beads, the
provoking, visually appealing sculptures at TAF.
Makhubeles have created a series of beaded items which tell the story of the new South Africa.
“Working with Collen, who is half my age, has been a rejuvenating experience” said Natalie Knight, “After closing
What has Natalie Knight been doing recently? The answer
my gallery in 1995 I curated shows at JAG, and Museum
is in her Art-o-biography – The Big Picture, which (together
Africa, which included the work of Collen’s father (the
with other books she has written) will be on sale at TAF. The
established sculptor, Johannes Maswanganyi). When I met
striking cover of The Big Picture is based on the poster There’s
Collen I realized that this young man was a talented and
No Sugar Left by Norman Catherine. There will be special
innovative artist. Collen has inherited his father’s skill but
offers on books and posters at TAF.
Daniel Stompie Selibe | Without the past, there is no future
Olive Grey
Karoo Drift
Phantom Ship
Lightstone
Basalt Grey
Agate Grey
Paris Paving
Riverside Shopping Centre, Bryanston Drive, Sandton. info@candiceberman.co.za | candicebermangallery.com | 011 463 8524 | 084 843 8302
Plenty to look forward to with Candice Berman at TAF17 is undeniably found in the Basement of
H
Turbine Hall, where the Candice Berman
pastel tones and Rothko-esque fields of colour. John Vusi
Candice Berman Gallery will be exhibiting both well-known and new artists at TAF17. The buzz and energy of the Fair
aving designed the stand to best showcase the artists’ works, it is narrow and long but, most importantly, unmissable. The exciting selection this year includes well-known artists like Daniel
‘Stompie’ Selibe who has completed a magnificent series of panoramic abstracts, softening his bold application with
Gallery stand has established itself in the
Mfupi has been busying himself with a series of collage
same spot year after year.
create an interesting depth and dimension.
originals, incorporating a fine rain or mist over the works to This year, the avid collector can look forward to some familiar names as well as exciting new artists. Manuela Holzer has been working fervently to get together a strong selection of works incorporating materials such as melted, black refuse bags, steel armature and epoxy. After much
70 / Creative Feel / July 2017
From left to right: Broken Line Series 8, Daniel Stompie Selibe, 2017. Mixed Media on Paper 1000 x 700mm Broken Line Series 7, Daniel Stompie Selibe, 2017. Mixed Media on Paper 1000 x 700mm Broken Line Series 6, Daniel Stompie Selibe, 2017. Mixed Media on Paper 1000 x 700mm
that will be officially launched on her stand this year. You can look forward to colours like Phantom Ship, Light Stone and Agate Grey, as many of the works have been complemented by the latest framing style. Furthermore, after much experimentation, the range is ready to be launched to the public. All postfinish (i.e. the finish has been applied after the frame has been custom cut for the selected piece) this range plays with shadows and neutrals and creates a subtle but warm take on the warm and cool greys. What is most exciting of all, is that this range pairs up beautifully with the success at the Cape Town Art Fair in February, this will be
wood range, including Kiaat, Maple, Ash and Ramen. The
the first time she shows at TAF. Look out for tall, metal
idea is to offer framing concepts that best complement the
plinths adorned by her sculptures of figures depicting
artwork and incorporate distinctive design elements into
the darker or shadow states of the human psyche such as
your home.
isolation and collapse. Ephia Mmbidi shows her works for the second time at
The current trends in furniture design and decor have further pushed Berman to develop this range, which is not as
TAF, with a focus on texture and mark-making. Her mixed
obvious as a standard black or white frame. Glossy finishes
media pieces are portraits etched into materials using tools
including black and white are easily accompanied by soft
that mark and maim their substrate but, in the process,
woods and greys. This new selection also includes a rose
create beautiful scars that have a textural appeal and play
gold/copper colour.
with the light and composition. As a Black female artist
From the organic and natural wood finishes to the putty-
who has shown at the FNB Joburg Art Fair in 2016 and
colours in the Olive Grey and Karoo Drift, this selection
recently in Miami, USA, her work has come a long way in
of frames will create a warmth and atmosphere to best
terms of compositional and material quality. Her human
accompany your artwork. CF
figures drip with paint and are plastered with collaged cardboard, charcoal and engravings to create an intricate
Please visit the Candice Berman Gallery at the Riverside
portrait revealing a beauty associated with the scars that our
Shopping Centre in Bryanston for a consultation or we will
personal histories inscribe upon us.
gladly bring a team through to your home. Looking forward
What is new and exciting this year is that Berman has been busying herself developing a new range of frames
to seeing you at the Turbine Art Fair this year where you can view the whole custom range!
Creative Feel / July 2017 / 71
I’m black alright. I’ll never let them forget it!, Katlego Tlabela
THE WRATH OF THE BLACK GODS
The group exhibition Disclosure, which took place at SMAC Gallery in Cape Town, brought
conflict and stress. Deciphering the black-on-black words
together artworks that investigate alternative
survey it from varying viewpoints, before the reflective pearl
forces you to grapple with the piece, revolve around it, and
means of combining medium, subject and
base in the lettering catches the light, and suddenly – hey
theme, with each piece individually created
a mirror: your reflection becomes part of the work, and if you
to engage with the framework of its specific geopolitical context. Disclosure not only attempted to divulge to audiences a slice of artistic practice on the African continent, but also served to impart an atmosphere of innovation – displaying commonalities in theme, aesthetic or subject matter with other artists practising in parallel. Art lecturer and historian, Lloyd Pollak, spoke to one of the exhibiting artists, Katlego Tlabela.
F
presto! – the message reveals itself. The glass frame becomes are white, you realise you belong to the race which provoked the statement, and who is incriminated by it. The texts range from the inflammatory like We want the whole thing! to wittily satiric as in Last week I was in my other, other, other, other Benz to the poetic eloquence of Blackness. A priceless currency that brings new growth, where beauty, pride and an unapologetic defiance is born out of the ashes. Tlabela claims his work is pro-black, not anti-white, and his warm, friendly manner bears this out. One of his principal goals is the reinvention of the Black body shorn of its associations with slavery, servitude and abjection. In Levitate, Tlabela presents himself as a lordly bare-chested chief sporting a Lesotho crown as he commandingly gazes outwards as if the world were his oyster. His partner’s portrait is heart-stoppingly beautiful, and even more poised, regal and invested with authority. The portraits
rom 1908 to 1915, Jack Johnson reigned supreme
form ‘a display of power’ in which the Black African body
as the world’s first African-American heavyweight
assumes a ‘hyper-visible, hyper-fetishistic and hyper-real’
boxing champion. In a country riven by segregation,
magnificence, instead of remaining unassertive, unremarked
virulent racial prejudice and an unquestioned belief
and ignored. Tlabela’s art is redemptive: it seeks to liberate
in white supremacy, Johnson’s title, and his very existence,
Black minds from all the demeaning white stereotypes that
were fiercely resented. As the champ remained undefeated,
the previously and currently oppressed have internalised vis-
the animosity escalated. In 1910, John Jeffries, the former
à-vis their supposed inferiority.
white world heavyweight champion, fought Johnson in Reno,
The Black body assumes triumphal abstract form in
Nevada. By the fifteenth round, Jeffries had been knocked down
Tlabela’s sculpture, Black People, are you ready to smash
twice and his manager threw in the towel. In the aftermath of
white things, a title derived from a Nina Simone torch song in
Johnson’s decisive victory, the seething, pent-up, white rage
which she aggressively taunts her audience:
unleashed itself. Riots flared up in 50 cities and hundreds of
‘Are you ready to call the wrath of Black Gods?
Black Americans were beaten up, while 20 were lynched.
… Are you ready to love Black?
Any conversational response seems inadequate in the face of such barbarity, particularly when the tale is told by
Are you ready to change yourself?’ Black People… consists of a black plinth surrounded
an impassioned young black man, so wordless I remained.
by the smashed busts of discredited colonial figures, like
Katlego Tlabela, a contributor to the group show Disclosure
Rhodes. By contrast, the ascending black plinth soaring
at SMAC, explained that Johnson epitomised an ideal Black
above the detritus of history symbolises a new era far more
historical figure who could serve as a model of pride, dignity
favourably attuned to Black hopes and aspirations. It also
and achievement for his generation. Tlabela is an artist, and
epitomises the decline of the West and the collapse of belief
Johnson’s ringing challenge ‘I’m black alright. I’ll never let
in the paramountcy of European culture and civilisation.
them forget it’ forms the basis of one of his own works. Typically, text works consist of instantly legible
After the gallery, the pub, where we share a few convivial pints. When Tlabela remarks that his generation possesses
typography, and although the sentiment may be searing,
scant faith in the political process, I ask what he would
the visual impact remains bland. Tlabela’s screen-prints
ideally like to see happen in South Africa. ‘We want it all
retain the painterly gesture, and thus transcend the limits
back,’ he says. ‘The land, the minerals, the wealth that is
of typesetting, asserting a compelling visual presence. In
rightfully ours.’ ‘But nothing will be left for us poor whiteys!’
his Black Mirror sestet, the black area carrying the words is
I exclaim. ‘Then you’ll just have to suffer like we did,’ Tlabela
enclosed by broad margins of tempestuous swirling brushwork
replies with a finality that brings our conversation to an
in which Tlabela’s decisive mark-making orchestrates clash,
abrupt halt. CF
A TRULY IMMERSIVE AFRICAN EXPERIENCE
74 / Creative Feel / July 2017
SPECIAL FEATURE
Thanda Safari, a private game reserve rooted in Zulu culture, was born from the desire to preserve Africa’s wildlife and provide an income for local people.
L
ocated three hours north of Durban, Thanda Safari is set amid 14 000 hectares of stunning landscape. Wild animals – including the Big Five – roam the surrounding lands and, famed for its close-up
animal encounters, Thanda Safari’s passionate conservation of the environment makes a stay here truly exceptional. Meaning ‘love’ in Zulu, Thanda Safari is a proud member of The Leading Hotels of the World and a multiple winner of
‘ ‘ the World’s Leading Luxury Lodge, and is perfect for families, weddings and honeymoons.
The epitome of a five-star luxury safari experience, Thanda Safari offers three distinctive accommodation choices: tents, suites and a villa As the epitome of a five-star luxury safari experience,
Thanda Safari offers three distinctive accommodation choices: tents, suites and a villa.
Thanda Tented Camp comprises 15 spacious canvas tents,
including the Jabula (Happiness) Tent and offers a relaxed and
authentic safari experience, which is perfect for bridal couples, honeymooners or families seeking beautiful accommodation for special occasions. The camp is non-electrified but has
limited solar and battery power with a generator to power the
tents for a few hours daily. Thanda Tented Camp uses minimal
Creative Feel / July 2017 / 75
lighting, with beautiful scenery enhanced by firelight from the boma and paraffin lanterns lighting the walkways. The nine bush suites at Thanda Safari Lodge are shaped like traditional Zulu homesteads, each offering near-panoramic views of the game reserve. Each has its own spacious lounge area, master bedroom and bathroom, as well as a thatched, elevated sala (open pavilion), a plunge pool and a private boma (fire pit) for an intimate dining experience. Consider your bush suite a hideaway for relaxation, romance or reflection. The public areas are colourful and include a library overlooking a waterhole frequented by elephants and other game, a private business area, cigar bar and an impressively stocked wine cellar. With its own helipad, Villa iZulu is a majestic five-suite villa that provides a safari hideaway for those seeking true privacy. Its large, heated swimming pool and fenced garden
‘
make it a favourite for families. Complete with its own chef, butler, private guide and tracker, Villa iZulu ensures every
beautiful scenery enhanced by firelight from the boma and paraffin lanterns lighting the walkways
‘
Choose from two spa sanctuaries offering luxurious
simplicity where therapists will lead you on a journey of
beauty, healing and restoration with signature treatments
boasting a combination of western techniques and ancient Zulu holistic practices.
Menus, created by Thanda’s chefs, reflect diverse South
need is catered for and is consistently voted ‘Africa’s Leading
African cuisine such as rich potjiekos and delicious game
Luxury Villa’ and ‘South Africa’s Leading Luxury Villa’ at the
meat enhanced by freshly grown, locally sourced vegetables,
World Travel Awards.
fine local and international wines and Champagnes.
Thanda’s Bucks & Bugs Club encourages kids to join the
Guests can spend their days in search of the Big Five on
Junior Ranger’s Course while spending time with the guides,
game drives, marvel at South Africa’s beautiful flora and
learning about game tracking/spotting, spoor identification,
fauna on bush walks, join bird watching and photographic
bird and plant life. Upon completion, they receive a Junior
safaris and take part in a complimentary photography
Ranger certification from Thanda Safari.
session with the resident wildlife photographer.
76 / Creative Feel / July 2017
SPECIAL FEATURE
Visitors are invited to participate in biodiversity and
a student wanting to pursue research and/or gain work
wildlife protection initiatives, including assisting with
experience in the wildlife and conservation field or on a gap
game counts and the daily monitoring of ‘priority species’
year wanting to contribute to conservation, this is ideal.
(cheetah, lion, elephant), as well as rhino tracking and taking
For an experience that is every bit as unique as Thanda
part in community projects and cultural celebrations. For a
Safari is, guests can enjoy the sister property, Thanda Island,
truly immersive African experience, Zulu cultural tours of
a tropical island off the coast of East Africa with exquisite
the rural community provide a deep insight into the modern
white beaches, turquoise seas and a five-bedroom luxury
way of life of the people who have long inhabited this region.
villa. Nestled within Tanzania’s Shungimbili Island Marine
Alternatively, simply enjoy a hippo and croc cruise up the St.
Reserve, Thanda Island can only be booked on an exclusive
Lucia Estuary.
basis. Here, beach house romance meets nostalgia and East
Thanda Safari has recently launched the Ulwazi Research Programme for those wishing to take part as a Volunteer Research Assistant or Research Intern. Whether you are
African elegance. Two unique African experiences, offering beach and bush, await the discerning traveller. CF
Creative Feel / July 2017 / 77
CONCEAL AND REVEAL Following the global success of The Monogram Murders, international best-selling crime writer Sophie Hannah was commissioned by Agatha Christie Limited to write a second, fully-authorised Poirot novel. The new book, Closed Casket, marks the centenary of the creation of Christie’s world-famous detective Hercule Poirot, introduced in her first book The Mysterious Affair at Styles. Lore Watterson caught up with Sophie Hannah during her recent visit to Johannesburg.
Lore Watterson: You are a successful crime writer in your
way, being asked to write the Poirots was like being invited to
own right. Have you always been an Agatha Christie fan? What
come out of the closet and write overtly Agatha Christie-ish
made you take on Hercule Poirot, the elegant Belgian detective,
novels, whereas before I’d try to disguise the ‘Christie-ish-
he of the patent-leather shoes and the waxed moustache?
ness’ in a more modern contemporary format.
Sophie Hannah: My agent had the idea, without asking me or even telling me, he was in a meeting with HarperCollins
LW: The purists, of course, shake their heads in disapproval,
(he knew they were Agatha Christie’s publishers) and he
arguing that fictional characters are the product of a
suggested, ‘you know what you should do, you should get my
particular imagination and should not be endlessly
author Sophie Hannah to write a continuation.’ He was the
reimagined by later generations of authors.
one who set the whole train in motion.
SH: I should point out that, of those purists who thought
The differences [between my continuation of Christie’s
this is sacrilege and should never happen, there are some
books and my previous books] are mainly on the surface. My
who still think that. There are some people who just think
other crime novels are contemporary, not set in the 1920s.
that nobody should ever continue the character of another
They are psychological thrillers rather than classic detective
writer and those people will probably never change their
novels and the tone is darker. In many ways, writing the
minds. I’m an Agatha Christie purist and that’s why I would
Poirots has made me realise that I was already writing very
never have, for example, added details to Poirot’s character
Agatha Christie-ish books in terms of the story structure, the
or life story that she hadn’t put in. It was very important to
stories I was telling – my approach to storytelling was very
me that the Poirot in my book should be very much Agatha
Christie-ish anyway. She, for example, starts her books with
Christie’s Poirot. But in a funny way, I’m such an Agatha
a really weird, surreal, outlandish type of mystery – not just
Christie purist that I don’t see my books as ruining that
‘here’s a dead body’ – but something much weirder than that.
purity. She is still the great Agatha Christie. Her books will
And I do too. I was doing that in my psychological thrillers, I
always be her books, and that is a category that does not
was always trying to start with a mystery that was really extra
and will never contain my books, which I find are a different
puzzling. In terms of the way I built up the layers of clues and
thing. I’m not trying to sneak into the Christie canon, I
red herrings and twists, all of that was very Christie-ish. In a
don’t think anyone can ever do that. What I’m trying to do is
78 / Creative Feel / July 2017
almost like fan fiction; I love Agatha Christie, I love Poirot. When it was suggested to me that I should do this, I just thought that it would be such fun and creatively so exciting and so, what I say to people is: ‘don’t think of me as trying to be Agatha Christie, don’t think of me as trying to write Agatha Christie novels because I’m absolutely not. Think of me as someone who writes Agatha Christie fan fiction, or new Poirot novels that are in a different but related category.’ And actually, a lot of die-hard, purist Christie fans, that’s exactly what they do think, they know I’m not Agatha Christie, they know that Agatha Christie is still their favourite writer and her books are the books they love. At the same time, they are delighted to be able to read more, and different kinds of mysteries starring Poirot because they love him as a character and I think once a character becomes so iconic, they do become a separate thing from their creator, so Poirot is a thing, Poirot exists now in the collective imagination. What I’m doing is writing new Poirot novels, not trying to write Agatha Christie novels, which sounds like the same thing but it’s not. LW: And when one reads your book, it doesn’t seem to be. How do you make sure that you get all the details of the 1920s right? SH: I’m not a historian, my knowledge of history is extremely sparse, but I’ve read many 1920s English detective novels, so that is where I’d say I get the ability to write in that 1920s style and then regularly, as I’m writing the books, I have to check things. You know that one of the characters has fatal kidney
LW: How does Agatha Christie Limited work?
disease, so I had to find out whether kidney transplants were
SH: The chairman is Agatha’s great-grandson, James
available. And in fact, the reason I made it kidney disease rather
Pritchard, so he has a personal and family interest in looking
than any other is because I happen to have a friend who’s one
after her legacy. They’re basically a business that has the
of the UK’s leading kidney medicine specialists. He’s the one,
aim of making sure that as many people get to read Agatha’s
for example, who told me that in those days instead of calling
books, making sure that the various film and TV adaptations
it fatal kidney disease it was called Bright’s Disease and he
are all as good as they can be, so they oversee all Christie-
said, ‘I’m sorry there were no kidney transplants at all until
related projects because they own the intellectual property,
something like 1958,’ and I thought, ‘damn, well couldn’t there
and they are the people who authorise or don’t authorise.
have been one very clever doctor who was just trying out?’
It’s interesting, one of the reasons the Christie family
And he said, ‘nope, you’re not putting a kidney transplant in.’
wanted to have books written was not only so they could
So I had to work around that. And for the Monogram Murders,
have new books but also because they want to remind people
because there was a glass of sherry that’s very important to the
of how brilliant Agatha Christie was and that’s what’s really
plot, I wanted it to be Harvey’s Bristol Cream because that’s my
worked. All around the world, sales of Agatha’s books are
favourite sherry and I needed to find out if it existed in 1920, so
picking up again because people are reading mine and going:
I do lots of googling.
‘oh yeah, Poirot, I’ll buy a few more.’ CF
Book Reviews Recently published
Girl in Snow | By Danya Kukafka | Publisher: Pan Macmillan | ISBN:9781501144370 When a beloved high schooler named Lucinda Hayes is found murdered, no one in her sleepy Colorado suburb is untouched – not the boy who loved her too much; not the girl who wanted her perfect life; not the officer assigned to investigate her murder. In the aftermath of the tragedy, these three indelible characters – Cameron, Jade, and Russ – must each confront their darkest secrets in an effort to find solace, the truth, or both. In crystalline prose, Danya Kukafka offers a brilliant exploration of identity and of the razor-sharp line between love and obsession, between watching and seeing, between truth and memory. Compulsively readable and powerfully moving, Girl in Snow offers an unforgettable reading experience and introduces a singular new talent in Danya Kukafka.
As by Fire | By Jonathan
Get Up! Stand Up! | By Mark
Pages for Her | By Sylvia Brownrigg
Jansen | Publisher: Tafelberg |
Heywood | Publisher: Tafelberg |
Publisher: Pan MacMillan |
ISBN:9780624080305
ISBN:9780624081135
ISBN:9781509831067
What are the real roots of the student
Mark Heywood plays a pivotal role in
Flannery, a writer with one well-
protests of 2015–16? Why did the
the South African movement for social
known rather racy book to her name,
protests turn violent? Do the students
justice. He has spearheaded momentous
is, by her own admission, in a situation
know how to end it? Former Free State
victories for poor people; establishing
she never thought she’d be: married
University Vice-Chancellor Jonathan
the right to antiretroviral treatment
to a man who overshadows her and
Jansen delves into the unprecedented
and to textbooks in schools. Executive
defined by her primary relationships
disruption of universities that caught
Director of SECTION27 and a key
as wife and mother. When Flannery is
SA by surprise. In frank interviews
figure in SaveSA and the Treatment
invited to a writers’ conference, she
with eleven of the VCs most affected,
Action Campaign, Heywood has inside
sees a chance to return to a world she
he examines the forces at work and
experience of what it takes to mobilise
knew well. And then she recognises
what is driving our youth. As by Fire
thousands to create change. He provides
the name of the chair of the event:
gives us an inside view of the crisis
frank insights into how power and
Anne Arden. Suddenly Flannery is
and tells us what it means for our
politics work as it calls on each of us to
thrown back 20 years to her 18-year-
universities. Prof Jonathan Jansen is
play our part. Urgent and inspirational,
old self and the most intense love
a leading South African educationist,
it is also a personal story about love, loss
affair of her entire life. The pull
commentator and the author.
and safeguarding your soul.
between them proves irresistible.
80 / Creative Feel / July 2017
RENÉE REZNEK
From My Beloved Country: New South African Piano Music Two works by Michael Blake from his six-volume cycle Afrikosmos reference Eastern Cape uhadi music, and the connection between this and Bartok’s Mikrokosmos, much of which draws on the folk music of his homeland. Meanwhile, Rob Fokkens’ ‘Five Miniatures’ also explores South African music, but in a concentrated form. These pieces offer ‘microstudies’ in melody, rhythm, tonal palette and texture. ‘Partita Africana’ (Hendrik Hofmeyer) is one of the longer works on the disc. Darker in character, it merges the Baroque prelude and fugue with elements found in African music, including the pentatonic scale, repetitive melodic elements and irregular pulse. It’s an imposing work which evokes the vastness of the African plains. Peter Klatzow’s ‘Barcarolle (Arnold Schoenberg in Venice)’ is a moody, atmospheric work which commemorates Schoenberg’s visit to Venice in 1925, and the piece includes motifs from the second of his Three Piano Pieces op 11. Reznek highlights the music’s inherent lyricism with a warm The South African-born pianist Renée Reznek is releasing her recording of new South African piano music,
sound and sensitive pacing. ‘Song Without Words’ (David Earl) has a personal
entitled From My Beloved Country: New South African Piano
association for Reznek – it was composed as a wedding present
Music, which features works by Neo Muyanga, Kevin Volans,
for her daughter and was played during her wedding ceremony.
Michael Blake, Rob Fokkens, Hendrik Hofmeyr, Peter
It has the charm and lyricism of a song without words by
Klatzow, David Earl and David Kosviner. Some of the works
Mendelssohn, with hymn-like elements in keeping with the
were commissioned by Reznek, including ‘Hade Tata’ (Neo
ceremony. Earl’s ‘Barcarolle’ was also written in celebration of
Muyanga, 2013), composed in honour of Nelson Mandela. It
a family event: commissioned by Reznek on the occasion of her
opens with a haunting four-note dirge motif which provides
daughter’s engagement, the piece owes something to late Liszt
the theme for this programmatic piece whose title translates
in its haunting, rolling motifs and dramatic climaxes before
as ‘Sorry, Father’. Written as a tribute to Mandela on the 20th
the music settles into more peaceful waters. These works are
anniversary of South Africa’s first democratic elections in
played with great warmth and affection by Reznek.
1994, the music suffuses traditional Sesotho and Zulu music
The final work on the disc is ‘Mbira Melody’ (David
with Ethiopian melismatic style, jazz and western classical
Kosviner) which celebrates the African ‘thumb piano’, a
music idioms. It celebrates Mandela’s childhood, his release
instrument consisting of a wooden board with staggered
from prison, and the weight of expectations placed upon him
metal keys, which are plucked with the thumbs. Redolent of
following his release to create a new South Africa.
Volan’s ‘PMB Impromptu’, it is also minimalist in style with
Kevin Volans’ ‘PMB Impromptu’ (2014) was written ‘as a little tribute to Renée Reznek’s amazing fingerwork’. It appears to reference the minimalism of composers such as Reich and
its repeating figures and perpetuum mobile character. It ends with a witty chord. This varied and imaginative collection of piano music
Adams, but it also pays homage to Debussy in a reworked
reflects the influence of Western European music on South
passage from l’Isle Joyeuse, and Sindling’s ‘Rustle of Spring’.
African composers, while also paying homage to the folk
Reznek’s clarity and tonal colour really brings this music to life.
music and vernacular of the country. Reznek’s very personal
Volans’ ‘A Garden of Forking Paths’ is taken from his
affinity with the highly varied musical idioms presented in
Progressively Prickly Piano Pieces, part of a graded series for
this collection is clear from the warmth and ease which is
players of all ages. Here, tonal control and sensitive use of
evident throughout, yet she is alert to the myriad moods and
the piano’s resonance create a piece whose meditative mood
characters of each piece, creating an album which is both
contrasts perfectly with the previous work.
refreshing and revelatory. CF First published by Frances Wilson on www.crosseyedpianist.com
encore Thuli Mambo-James is the Director of the Bag Factory Artists’ Studios. Her role is to ensure the Bag Factory attracts and retains the best potential among mid-
career artists by providing developmental opportunities through residencies and workshops. Her job also entails the promotion of the vision and mission of the Bag Factory, making it a place where artists can work and develop.
Name three artworks that you love and why.
corporations to also play a role in the industry, not only a
Music: Jazz, especially Miles Davis, his music was ahead of
philanthropic one. The arts need to create social and financial
his time. Another favourite musician is Gill Scott Heron.
value, therefore as art practitioners it is our responsibility to
Unfortunately, he never gained the widespread status as his
make sure that it’s not only seen as a product for the elite.
contemporaries, but his message in his music was powerful.
We also need to inform communities that art is not only
Aloe Blacc is one of the artists and creatives I appreciate, I
entertainment but can also be taken seriously as it sometimes
love his music, talent and how multifaceted he is. He’s also a
addresses fundamental issues in society.
philanthropist involved in the anti-malaria mission. Visual Art: I love fine art, dance and performance art as it helps us to think and interrogate issues. My favourite visual
What is your most treasured possession? My memory.
artist of the moment is Dathini Mzayiya, I’m intrigued by how he makes use of whatever material is available to him. I’m
What do you regard as the lowest depth of misery?
also impressed by his work and how it interrogates social and
Depression.
political issues, which is also what art should do. Literature: I read a lot of biographies, I find biography as
What is it that makes you happy?
a genre gives a different perspective of how a subject matter
Being around people who are driven and passionate at bringing
is perceived.
about change to humanity. I’m also happy when I see the end product of a project I’ve been working on, come to fruition.
Name one artist you would love to meet. Unfortunately, it has to be two artists and both are late, they
Describe a defining moment in your life.
are Dumile Feni and Gerard Sekoto.
Life has different and obvious defining moments. One of my defining moments was when I became a mom.
What are you reading at the moment? I never read one book at a time, this is what I’m currently
What projects will you be busy with during 2017 and
reading: Art of the 20th Century by Ingo F Walther; Art as
into 2018?
Therapy by Alain de Botton and John Armstrong; Vivienne
TAF17; Curatorial Mentorship Programme (Young aspiring
Westwood by Vivienne Westwood and Ian Kelly; and Rock my
curators in SA); Visiting Artists Programme (Non-SA Artists):
Soul: Black People and Self-Esteem by bell hooks.
we currently have Onyis Martin from Kenya who won the L’Atelier Award in 2016, as well as Miatta Kawinzi, an artist
What is in your car’s CD player?
from New York.; FNB Joburg Art Fair; Non-Metropolitan Artist
Sibusile Xaba.
Mentorship (for artists outside of Johannesburg); IASPIS Collaboration – IASPIS is an International Studio space in
If you could change one thing about yourself, what would
Stockholm Sweden, which facilitates creative dialogues and
it be?
collaborations between Swedish and international artists;
The fact that I always want to do everything by myself,
and possible residency exchange with Kooshk Residency in
thinking no one can do it better than me. I need to constantly
Tehran (Kooshk tries to provide a convenient space for artists,
remind myself that in order to have a good final product,
curators, researchers, writers and filmmakers to encourage
teamwork is essential.
inter-cultural dialogues and art creation).
Name one thing you think would improve the arts and
Name one goal you would like to achieve in the next
culture industry in South Africa.
twelve months.
Introducing the arts in formative years of school, as well as
To be able to sustain our local and international partnerships
widening access to it. Involving corporates as well as black
and to create more exciting programmes. CF
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The Anthropologist III Colbert Mashile, Monotype A cacophony of layers and meaning
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