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771607
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SA R36,90 (incl. VAT) - November 2016
2 / Creative Feel / November 2016
Nine-time GRAMMY-winner, Norah Jones has released Day Breaks, her sixth solo album “This new album feels full circle because I’m going back to my early influences,” says Norah. “After the first record, I drifted away from the piano a little bit. I still played it, but was more inspired to write on guitar. I really loved playing piano on this record.”
Returning to the piano and her roots, Day Breaks is a kindred spirit to the singer’s breakout album Come Away With Me.
NORAH JONES | DAY BREAKS album out now Creative Feel / November 2016 / 3
Lyndi Sales, Sickeningly sweet: Rainbow Butterfly by the Crash Site at Night in the Future Utopia, 2015, Acrylic on hand cut aluminium, 300 by 600 cm.
Air: Inspiration – Expiration 8 October to 3 December 2016, Standard Bank Gallery Weekdays: 8am to 4.30pm, Saturdays: 9am to 1pm, Closed Sundays and Public holidays Tel: 011 631 4467 www.standardbank.com/sponsorships
Cover image: Re-form VI, Lehlogonolo Mashaba, 2016. Mixed media drawing on Arches paper. 108x80cm. Valued at R36 000
cover story 42 25: A CONTEMPORARY ART AUCTION In celebration of its 25th anniversary, the Bag Factory is hosting a number of events for the
22 25 YEARS OF CELEBRATING PRINTMAKING AND PARTNERSHIPS Artist Proof Studio (APS) is proud to share its 25th birthday with the Bag Factory and the Artists’ Press.
public and artistic community at large.
contents Together, and in our distinct ways, we continue to
create spaces and opportunities for art and artists in South Africa to develop and flourish.
arts and culture 16 STRAUSS & CO’S SUMMER BLOCKBUSTER AUCTION place at the Wanderers Club, Johannesburg, on Monday
24 CONCERTS SA GETS INTO THE GROOVE WITH BASA AWARD AND NEW LIVE MUSIC STUDY
7 November 2016, and includes what is undoubtedly
In recognition of its ongoing efforts to boost
Strauss & Co’s much anticipated summer auction takes
18
the most important group of paintings by Alexis Preller
and re-energise South Africa’s live music scene,
to appear on the market in recent years.
Concerts SA was honoured with the Increasing Access to the Arts Award during the 19th Annual
MAPPING PLATO’S CAVE
Business and Arts South Africa (BASA) Awards, held in Johannesburg in September.
Pearls of wisdom to be found at SMAC Gallery in Stellenbosch in the exhibition, Re-opening Plato’s Cave: The legacy of Kevin Atkinson.
26
THE VALUE OF EXCELLENCE
The Arts & Culture Trust announces the winners of the 19th annual ACT Lifetime Achievement Awards and ImpACT Awards.
52
INHALE. EXHALE.
lifestyle and entertainment 62 63
BOOK REVIEWS CD REVIEWS
Making the invisible visual, the exhibition Air: Inspiration - Expiration, curated by Cyril Coetzee assisted by Robyn Sassen, takes place at the Standard Bank Gallery in Johannesburg until 3 December 2016.
contributors 10
BUSINESS & ARTS
Business & Arts is a monthly column by
contents Michelle Constant, CEO of Business and Arts South Africa (BASA).
54 MANTSOE’S ICONIC MAN-BIRD SOARS GLORIOUSLY ONCE MORE
12
Artlooks & Artlines is a monthly column
The always inspiring, annual Vuyani Week is
by Ismail Mahomed, CEO of the Market
taking place at the beginning of December and a highlight will be Phumlani Nyanga and fellow
56
ARTLOOKS & ARTLINES Theatre Foundation.
Vuyani dancers’ performance of Vincent Mantsoe’s
14
LITERARY LANDSCAPES
Gula. Christina Kennedy spoke to Gregory Maqoma,
Literary Landscapes is a monthly column written
Mantsoe and Nyanaga about this exciting project.
by Indra Wussow, a writer, translator and director of
the Sylt Foundation.
A DECADE OF FACES AND PHASES
A personal reflection on the career and photographs of Zanele Muholi by Donna A M Smith, who cofounded FEW (Forum for the Empowerment of Women) with Muholi.
Creative Feel / November 2016 / 7
Congratulations!
T
here is much to celebrate in this issue. The Arts & Culture Trust (ACT) has awarded, for the 19th time, their annual Lifetime Achievement Awards, and bestowed these prestigious awards on some really great South Africans. Creative Feel won the Arts & Culture Trust Media Award in 2005 and we have partnered with ACT
ever since, first as media partners to their annual Awards and in 2014 we decided to sponsor a new category for Arts Advocacy. A Lifetime Achievement for Arts Advocacy can be defined quite broadly as an award for someone who has continually championed the support of the arts. We feel that the recognition should go to someone who has ‘made the arts happen’ behind the scenes, someone who is not always recognised for the hard work that they put in to make the arts happen. The 2016 recipient, whom the ACT Trustees chose, is Justice Albie Sachs, an extraordinary South African. A man who, having been labelled a criminal and a terrorist, went on to become a judge, a prolific author, activist and patron of the arts. Known for his contribution to the anti-apartheid struggle, and later his work as a Constitutional Court judge in democratic South Africa, Albie Sachs is a passionate art collector who created The Constitutional Court of South Africa’s Art Collection (CCAC), ‘a unique collection of South African and international artworks that stimulates and enriches education, critical debate and research on the roles of the Constitution and the Constitutional Court of South Africa.’ Just before Albie Sachs retired in 2009, I was privileged to interview him in his chambers at the Constitutional Court. I was shown this extraordinary art collection, including some pieces that are normally not accessible to the public, in the judges’ chambers. Typical of Albie Sachs, he was generous with his time, his words and his sharing of knowledge, but he also expects precise and prepared questions and when talking about his books, he expects his interviewer to be really knowledgably about his writing. Sachs’ passion for the art enables this author to even turn his book about legal reasoning, A Strange Alchemy of Life and Law by Oxford University Press, into a fascinating case study by starting the book with a description of some pieces of art housed in the Constitutional Court
Justice Albie Sachs, Arts Advocacy Lifetime Achiever
‘which are emblematic of a country and of a court whose judges have to grapple with some extraordinary problems and some extraordinary legacies’. The signed copy of his book and the memory of the interview are something I will always treasure. Congratulations to Justice Albie Sachs! By the way, a Lifetime Achievement Award does not ‘contain more than a hint that you are over the hill’, please enjoy the award ‘because flattery is the spice of life’ and there is still so much for you to do. Lore
‘Untitled’ (Tree on landscape), William Kentridge. Sugarless Etching, printed 2016 by Artist Proof Studio. 51.5 X 39.5 cm. Valued at R50 000
We loved 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 Abigail Phiri; abigail@desklink.co.za ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Michelle Constant Indra Wussow Mary Corrigall Matthew Krouse Christina Kennedy SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Oupa Sibeko; oupa@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 ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.
Lehlogonolo Mashaba’s huge mural towers above visitors to the Absa Gallery at their head offices in Joburg. Mashaba, whose work entitled Re-form VI, is featured on the cover of Creative Feel this month, is one of South Africa’s most exciting emerging artists. Since completing his art studies at Funda and then Artist Proof Studio, he has participated in numerous group exhibitions around the globe and has been invited to participate in a number of residencies. Apart from his mural overlooking the Absa Gallery, an artwork that he did for Pick n Pay Maponya Mall was placed on a billboard in Soweto.
10 / Creative Feel / November 2016
While every last effort has been made to check that the information in this book is correct at the time of going to press, the publisher, author and their agents will not be held liable for any damages incurred through any inaccuracies.
‘I lived for my art, I lived for love’
Nestled on the northern slopes of the Magaliesberg mountain range, this stunningly beautiful hotel is hidden away from the ‘hustle & bustle’ of Gauteng, here people come together to have fun and relax... With 28 luxurious rooms, a beautiful garden, on-site entertainment and access to hiking trails on the mountain, Casta Diva truly offers an escape from the hectic cities. Little treasures can be found spread over the property of almost two hectares, amongst breath taking views and serene surroundings. One does not expect to find such a tranquil environment so near to the activities of the busy city. Perfect for a ‘retreat on any day of the week.’ Their 40-seater restaurant serves from á la carte menus for breakfast, lunch and dinner. It is also open to the public for bookings. Charisma delivers exactly what the name insinuates – charm, personality, appeal, magnetism and allure. Booking for this delightful restaurant is essential. Take that special someone, enjoy a weekend away at Pretoria’s best-kept secret, and experience the elegance and rejuvenation of the Casta Diva Boutique Hotel. The name Vissi d’Arte is inspired by the famous soprano’s aria, taken from Act II of Tosca by Giacomo Puccini. The aria begins with ‘I lived for my art, I lived for love, I never did harm to a living soul!’ It is only natural, then, that the main focus of the venue is the exposure and development of arts and culture. So, if you are on the look-out for new talent, or if you are new talent waiting to announce yourself, Casta Diva’s Vissi d’Arte truly is the perfect place to ‘show off your talents’. Koeksisterrzzz en Oorlog is a bittersweet cabaret filled with music from Marlene Dietriech, Édith Piaf, Vera Lynn and the local trio Die Koeksisterzzz. You do not want to miss out on this hysterical cabaret show to be performed at Casta Diva’s Vissi d’Arte Theatre on 12 November at 18:30 for 19:00. Tickets are only R100 per person. Book dinner or just have a drink from the bar, whilst being entertained by the talented Koeksisterzzz as they take the stage in the beautiful intimate theatre! CF
Creative Feel / November 2016 / 11
Business & Arts Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).
A
ccording to Sadiq Khan, the Mayor of London,
She talks of passion and perseverance for long-term goals,
the planning of culture needs to run parallel
stamina, the need to live the marathon and not the sprint.
to the planning around transport and housing
But how do we build this in society? she asks. Talent doesn’t
in the city. For Khan, it is about the crossover
necessarily make you gritty. Grit requires follow through.
of sectors and of needs. Culture, he implies, is a real need,
Duckworth talks of ‘failing fast’ (the current catchphrase, or holy
sitting at the physiological base of the pyramid, not at the
grail of the business world, it seems) saying that failure is not
‘self actualisation’ tipping point of Maslow’s Hierarchy.
a permanent position. I believe that the arts teach grit – they
I thought this particularly pertinent after reading what
are about failure and iteration. Every good artist or creative has,
had developed into a full-blown (and on occasion, overly-
at some point in his or her life, failed – a theatre production
spirited) war on Facebook about the funding of arts
that bombed, an artwork that never sold, a less-than-perfectly-
education. There is one comment that struck me, when
pitched song. The gritty artists are the ones that get back into the
someone noted that monies should go to medical students
ring and test a new answer to a different question.
before the study of poetry. It’s a disingenuous argument
Going back to the steel band, perhaps what was more
and the constant weighing of the arts against other needs
powerful than the performers themselves, was the large and
is a real concern. Perhaps if more people studied poetry,
diverse audience that had gathered around the musicians –
the arts, literature, and the humanities, we would have
men and women, young and old, smiling and participating.
less need for medicine! Importantly, the STEMtoSTEAM
For someone who believes in the demonstrative impact of
argument (or STEMtoTEAMS, as they like to call it Down
the arts on broader society, this audience was a case study in
Under, suggesting that Steam is just hot air) supports the
perfection. It demonstrated the relationship between artist,
arts not as it is important for artists, but as it acts as a
product, marketability and audience. This is something that
progressive enabler, and the key to other skills, supporting
we have been working on with the British Council Connect
the development and growth of broader society.
ZA. The Creative Markets Growth Hub is fast becoming an
That we need to argue for the rights of the arts, and
extraordinary online learning tool freely distributed on our
culture, is infuriating, given we know and have endless
website. Not only are we growing a deeper understanding
research attesting to the value of it. Beyond the research,
of what it means to create and grow markets, we are also
though, is the need to experience it. Recently, I watched
able to learn from diverse case studies, and research from
a steel band of youngsters performing outside a mall. I
different African countries and markets.
didn’t get a chance to find out who they were, but man,
Recently, I had the opportunity to attend the Edinburgh
they were alive. They were vibrant, passionate, coordinated
Cultural Summit. Fundamentally, the arguments for and
and exhibited true grit. Any businessperson watching
against (mostly for) funding of the arts were much the
them could have learnt a lot from them. If you had a staff
same as here. When a young student asked why we have
contingent like these young people, you would move quickly
to measure the arts for its value, it’s ROI, I sympathised.
and enthusiastically towards the goals of transformation,
Unfortunately though, this is a time when, more than ever,
diversity, shared value and even profit. (Their donation box
we need to be able to demonstrate the value argument –
was loaded!). In her book Grit – the Power of Passion and
both intrinsic and economic. Otherwise we will continue to
Perseverance, Angela Lee Duckworth describes a world that
be told that the usual culprits should supersede arts when it
is less dependent on IQ, and more on ‘grit’.
comes to the funding of education. CF
12 / Creative Feel / November 2016
Elvis Presley with the Royal Philharmonic Orchestra This remarkable new album is the follow up to last year’s
Love’, the glorious ‘Amazing Grace’, the heartfelt emotion
huge global phenomenon If I Can Dream: Elvis Presley With
on ‘Kentucky Rain’, a stunning new take on the classic
The Royal Philharmonic Orchestra, which topped charts
‘Always On My Mind’, and the fun, upbeat ‘I’ve Got A
worldwide and sold over 1.5 million copies.
Thing About You Baby’.
The Wonder Of You focuses on the iconic artist’s
This spring will also see the world exclusive live
unmistakable voice with lush new orchestral
concert experience featuring the most recognizable voice
accompaniment. Recorded at Abbey Road Studios in
of all time, Elvis Presley, backed by the legendary Royal
London with acclaimed producers Don Reedman and Nick
Philharmonic Concert Orchestra, for a six-date UK arena
Patrick, the album features Elvis’ most dramatic original
run in November. Fans will have the chance to experience
performances augmented with lush new arrangements
the man who changed the course of popular music – the
by The Royal Philharmonic Orchestra. The album spans
biggest selling solo artist in history (having sold an
a variety of musical styles that Elvis embraced, from rock
astonishing one billion records worldwide), on screen, with
and gospel to country and ballads, featuring beloved
the Royal Philharmonic Concert Orchestra live on stage
Presley classics along with several surprises. Standout
performing renditions of songs from If I Can Dream and The
tracks include a sultry new version of the ‘A Big Hunk O’
Wonder Of You. CF
Good Music THE PERFECT CHRISTMAS GIFT
Artlooks & Artlines Artlooks & Artlines is a monthly column written by Ismail Mahomed, CEO of the Market Theatre Foundation.
U
ntil the mid-1990s, promoting any theatre
the esteemed position of theatre critic. Anyone who holds a
production was very different from how theatres
view about a production now has an audience to which that
now do it in the digital age. Previously, it required
opinion can be articulated.
the full energy of a large promotions and
Theatre publicists no longer need to sweat about
marketing team to sit around a table with an artistic director
newspaper circulation figures or about whether their
to design a poster, programme and a set of press releases.
production has hit the front pages of the entertainment
It required promotions managers to strategise how they
section of a newspaper. Now they look at how many
would schmooze with the arts media. It required promotions
followers any opinionated member of the audience has
managers to come down like a ton of bricks on the box office
on social media. Apart from just studying the number
clerks if they did not offer theatre critics the best seats on
of followers that the opinionated person may have, the
opening nights.
publicist also trawls to see on whose walls a comment or
Front of house managers were warned prior to the opening night that they had to shower the arts media with
review about a production gets posted or shared. Theatre, no doubt, gets spoken about more now than
complimentary drinks during intervals. The arts critics
it ever did before the advent of social media. Whether that
were feared, worshipped and respected. There’s no doubt
discussion is informed or critical matters little. The most
that many deserved the special treatment. They worked
important factor is that it has followers who impact on
passionately. They were committed to promoting excellence.
whether a show gets sold out or bombs out as a failure.
They gave context to work in relation to our social and
Facebook is still by far the most popular platform on
political landscape.
which posts are shared. It is here where artists often start
In the world of the arts that was being covered by the
off the discussion by posting how delighted they are to
mainstream media, the scholarly theatre critic held court.
be cast in a particular productions or to be contracted by
Over the last decade, print media began to cut back on
particular managements. Often the post is shared by friends,
theatre writing. Photographs and write ups of Hollywood
family and acquaintances in the actor’s network. For most
movies now take up huge columns in return for advertising
managements, this is the first point of free advertisement
revenue that cinemas bring to the newspaper. The
for a production. As the production goes into rehearsals, the
traditional arts critic is slowly becoming extinct.
actor’s friends, family and acquaintances stayed tuned.
The era of social media has dawned upon us all. In this
Rehearsals are the factory floors of a theatre. Like
changed landscape, the theatre publicist has to evolve from
all progressive factories, they should offer structured
being a semi-socialite to becoming a geek. The publicist’s
opportunities for consumers to take a peep into the
work routine now centres around Facebook, Twitter,
production process. When photographs and anecdotes about
Instagram and a range of other social media platforms. Most
a work in progress are posted on social media, the director,
publicists have come to realise that their theatre critic is
stage manager and cast offer their networks a digital visit
no longer the graduate with a Master’s degree in theatre
into the work in progress. This is a powerful way to draw
studies. Social media has graduated the hairdresser, the
audiences into areas of a production that they previously did
housekeeper and every other member of the audience to
not know about. It increases their interest in a production
14 / Creative Feel / November 2016
long before it hits the stage. Photographs and anecdotes about rehearsals shatter the myth that all rehearsals should be intimate activities. When a production finally opens, it is the opening night
Even for artists who no longer want to gripe about
photographs from the foyers of theatres that hit Facebook.
the lack of funding, social media has offered them newer
This is a strong and powerful way to show off the kind of
opportunities to become more enterprising about how they
people who are loyal supporters of a theatre.
can draw people from their networks to fund their work.
The Baxter Theatre’s communications head, Fahiem
Over the past five years, the number of small, independent
Stellenboom, is perhaps one of the most prolific social
South African theatre companies that crowdfund through
media posters on opening night. Hardly a celebrity goes by
social media campaigns has risen. It requires hard work and
without being captured by his camera lens. In Johannesburg,
special skills to run a successful crowdfunding campaign.
communications specialist and socialite, Brian Heathfield,
Those who want to put their energy into it reap the benefits.
is always seen in theatre foyers with his camera. It is their
I was a late starter to social media. During a long
camera lenses and their social media pages which give more
and boring weekend in Grahamstown, I signed up for
momentum to the flight to fame that is always being hunted
Facebook. Nervously I created a profile hoping that those
for by artists and celebrities.
who recognised me would join my network. It wasn’t long
One no longer has to wait for the morning after a
after I began to post articles about theatre productions and
production to read reviews of a production. It is often from
festivals abroad that my target of 5 000 Facebook friends
the foyer of a theatre that audiences post their views about
was reached. Facebook has become one of my greatest
a production on Twitter and Facebook. It is the short and
theatre buddies. It is here that I turn when I need to read
often personalised responses to the work that resonate with
about productions happening under bright lights and even
the people in their networks. Managements who follow the
in township shacks. It is here where I find out what is new
social media comments of their audiences will notice how
and cutting edge. It is here where I get the low down on
this impacts on box office trends. Progressive managements
who has run away with another pot of public funding for a
often open pages which are specific to the productions that
production that was not realised.
are being staged. Here, the conversation can often become
A theatre, gallery, festival or arts event that has not yet
a free for all but it is between these lines that managements
tapped into the world of social media has to ask itself the
are able to gauge just what their audiences like and dislike.
pertinent question, ‘Are we still relevant?’ CF
Creative Feel / November 2016 / 15
Literary Landscapes Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.
V
alparaíso in Chile is one of the country’s most
flea markets, where anything from car parts to old furniture,
important sea ports and has often been called
second-hand clothing and DIY accessories is available, one
‘The Jewel of the Pacific’ by international sailors.
enters a small, inconspicuous, old building. Inside there is a
Since 1536, when a homesick Spanish lieutenant
treasure trove for any book lover. The Librería Crisis has been
named this small settlement after his home town, the ‘Valley
a family business for several generations and is a place that is
of Paradise’ has sprawled in all directions. In particular, the
rarely found, even in bigger cities. The Llancaqueo family that
town has spread over its 45 hills that frame the bay like an
owns it is deeply connected to its customers and is extremely
amphitheatre, guaranteeing each property a box seat.
knowledgeable. Books that you cannot find in the overloaded
The streets of Valparaíso stubbornly defy the colonial
sales counters or in the bursting shelves will be ordered for
chessboard pattern that often defines Latin American cities.
you. Enrique Winter is a customer as well and that this family
It might be due to its immanent rebellion, the lovable chaos
of book lovers is so informed and interested in the novel that
of its infrastructure, the permissiveness of its harbour dives
Enrique is currently writing, speaks volumes about the spirit
and the radical nature of its bar manifestos that from its
of Valparaíso. ‘Every time I am coming here they show me
early days onwards, Valparaíso has attracted the country’s
some important books to support my intellectual research
bohemians: artists, poets and intellectuals.
for the novel. Sometimes I buy, sometimes I don’t and it is
Standing downtown and looking up, the colourful houses on the hills look like worn-out books gently leaning on their shelves. Aside from its steep streets and endless stairways,
always great to chat and exchange,’ says Enrique after a long conversation with the owner about his latest projects. Enrique Winter was born in 1982 and belongs to the
Valparaíso is famous for its ascensores. These centenarian
young generation of poets who are playing an integral
cable railways, with their jerking steel cables, pass behind
role in the renaissance of Valparaíso after the dark and
buildings, offering glimpses of everyday life. Past washing
traumatising Pinochet years. The coup d’etat started in the
lines, kitchen windows and pot plants, until the bruised glass
port of Valparaíso in 1973, when the battleships anchored
windows of the car finally offer a view of the port and never-
in the bay and directed their cannons at their own people in
ending horizon.
order to overthrow the democratically elected government.
Chilean poet Enrique Winter is one of the best examples
The dictatorship acted with enormous cruelty for 17 long
of how Valparaíso still attracts writers and artists from the
years. Opponents were imprisoned, tortured, killed and
city of Santiago. ‘Valparaíso has the perfect distance to the
disappeared if they could not escape into exile. During
country’s capital for me to isolate and concentrate on my
these troubled times, the bay of Valparaíso became a kind
creative process. At the same time, the artistic scene here is
of graveyard, where the bodies of many of those who
strong and whenever I step out of my isolation I bump into
disappeared were dropped to destroy any evidence of their
other poets, writers and artists.’
perpetrators’ wrongdoing.
The city, with its 300 000 inhabitants, is rather small
In the early 1990s, investment crept onto the cerros
and interdisciplinary projects have been commonplace for
(hills) of Valparaíso after those leaden years. Writers
the artistic community for many years. The openness of
and artists returned from exile. But the dark legacy still
Valparaíso, its authenticity and genuine subversiveness
constitutes an important part of the current artistic and
blaze the trail for enormous artistic freedom and creativity.
political debate of the city and the country as a whole.
Downtown, near the port in the bustling centre, one of Valparaíso’s oldest cultural institutions can be visited. Next to
16 / Creative Feel / November 2016
Present and past are tightly interwoven and history still holds on with its iron grip.
Salvador Allende, former president of Chile, 1970 - 1973 The sea above and the sky below. A city is burned or abandoned, ashes coming through the roof. She stands and the trembling lake is covered with petals: a carpet where the shore lays its head, our names the only reminder we used to be them. Desire won’t fill this bottle,
Enrique Winter and his dog
only seal it like a bag or a lid.... regularly until his death in 1973, shortly after the coup. ‘We These lines are taken from Enrique Winter’s poem
learned from him how to relate directly to things, to the
‘Muñoz’ (2010), which tells its own compelling story of
landscape, in a vivid and sensual way. He could be choral
the contradictory structure of longing. A longing that
and material at the very same time, displaying all the five
might be fulfilled or might be futile and that comes with
senses,’ says Enrique Winter on the importance of Neruda,
happiness as well as torture and destruction. The cruelty
who won the Nobel Prize in Literature in 1971.
of its finite nature, the deception of its memory, its
Neruda was maybe the grandest newcomer into a city
fragile beauty, its dichotomy of belonging and alienation
that is not short of great sons and daughters. Today his
– contrasts that are yet mutually dependent. It doesn’t
house, which is now a museum, still towers over Valparaíso
matter if we deal with personal relationships, with
and its bay as a reminder of the power of the arts, of the
the perception of past and present, or with nature and
power of an independent mind and of the very Chilean way
humankind. These paradigms are not only inherent in our
in which the arts have become intertwined with politics
personal relationships, but also in the troubled history of
and dissent.
Chile and its difficult path to reconciliation. If Enrique Winter is ‘the Prince of Valparaíso’ as one
Valparaíso charms with the seeming effortlessness with which the arts have awakened new life in the city and
art gazette called him recently, Pablo Neruda is the city’s
created an amazing amalgam of old and new, of strength
undisputed king. Neruda bought his Valparaíso house, La
and sensibility, of seriousness and playfulness, all at the
Sebastiana on Cerro Bellavista, in 1959 and lived there
same time. CF
Creative Feel / November 2016 / 17
Strauss & Co’s SUMMER BLOCKBUSTER AUCTION Strauss & Co’s much anticipated summer auction takes place at the Wanderers Club, Johannesburg, on Monday 7 November 2016, and includes what is undoubtedly the most important group of paintings by Alexis Preller to appear on the market in recent years.
P
reller’s stunning work titled Space Angel (estimate R4 000 000 – 6 000 000), built up in the artist’s unique high-relief gesso technique, and showing a disembodied aquiline head with sensuous lips,
will go under the hammer for the first time since the artist’s estate was sold in March 1978. It will be joined by other pivotal works from Preller’s oeuvre including the early and luxuriously painted Breying the Riems (estimate R900 000 – 1 200 000), the Seychellois Archaic Sandals (estimate R200 000 – 300 000), the jewel-like Ritual Bull (estimate R80 000
Walter Whall Battiss Genesis - Adam Signed, oil on canvas, 34 x 50cm R150 000 - R200 000 18 / Creative Feel / November 2016
– 120 000), the surreal Moon Suite (estimate R150 000 – 200 000), the symbolically-charged David (estimate R250 000 – 350 000) and the Tower of Babel executed in 1975 (estimate R500 000 – 700 000). The pièce de résistance, titled Adam, a long-lost work from the late 1960s, will be seen for the first time since leaving the country shortly after it was executed. This masterpiece by Preller has been repatriated from New York and will undoubtedly cause a sensation (estimate R6 500 000 – 9 000 000). Prior to the auction, Professor Karel Nel, leading Preller expert and co-author of the respected monograph on the artist, will present a lecture on the importance of this group of works titled The Lost Prellers, at Strauss & Co’s Johannesburg offices on Monday 17 October 2016. On the back of the well-received Walter Battiss: I Invented Myself exhibition at the Wits Art Museum, three major paintings by this much-loved artist are also on offer. Two large-scale panels showing the style-shifting influence of South African rock art on Battiss’s work have been repatriated from Australia. The instantly recognisable Limpopo (estimate R900 000 – 1 200 000) is sure to attract considerable interest from collectors. Extra wall power is provided by Cecil Skotnes’s monumental quadriptych Figure Panels (estimate R2 000 000 – 3 000 000). Its beautifully incised and painted surface ranks as one of the artist’s most significant works. Sculptures from Skotnes’s fellow Amadlozi Group artists, Lucas Sithole and Ezrom Legae, also highlight the sale. An outstanding work by Robert Hodgins, the country’s colour-supremo, will attract keen interest. Titled Howling at the Age of Dawn (estimate R700 000 – 900 000), it gives evidence both subtle and direct to Francis Bacon’s influence on the artist. Sought-after drawings by leading South African artists William Kentridge and Penny Siopis will no doubt attract competitive bidding, particularly as both artists are represented in South Africa: The Art of a Nation exhibition
Alexis Preller Adam Signed and dated 1969 Intaglio, oil on fibre glass 183 x 91cm R6 500 000 – 9 000 000
at The British Museum in London. Strong works by Dorothy Kay, Andrew Verster and Norman Catherine will also be on
Important South African and International Art
view, as will landmark sculptures by Jane Alexander and
Monday 7 November 2016 at 16:00 and 20:00
Deborah Bell.
Venue: The Wanderers Club, Illovo, Johannesburg
Top contemporary artists are also brought to the fore
Preview: Friday 4 to Sunday 6 November, 10:00 to 17:00
with major examples from Deborah Poynton, Willem
Walkabout: Sunday 6 November at 11:00
Boshoff, Walter Oltmann, Joni Brenner, Pieter Hugo, Gerard
Enquiries and Catalogues: 011 728 8246
Marx and Georgina Gratrix making Strauss & Co’s summer
jhb@straussart.co.za | www.straussart.co.za
auction unmissable. CF
Creative Feel / November 2016 / 19
Kevin Atkinson’s studio, The Entrance to ‘Plato’s Cave’, 2013. Observatory, Cape Town
Mapping Plato’s Cave Pearls of wisdom to be found at SMAC Gallery in Stellenbosch in the exhibition, Re-opening Plato’s Cave: The legacy of Kevin Atkinson.
M
ore often than not, one finds that history
this icon of free-thought’s legacy is the plethora of artworks
most clearly remembers those who leave
left behind, all stored in his phenomenal underground vault,
the most formulaic impression. Nothing
located in the basement, underneath the old Price’s Candle
could be further from the legacy left by one
Factory, in Cape Town’s southern suburb of Observatory.
of South Africa’s most innovative and influential artists,
In perfect symmetry with Atkinson’s reputation for open
Kevin Atkinson. Best described as ‘ahead of his time’ and
minded, alternative reasoning, he selected this very large
therefore, often considered ‘enigmatic’ by history, he
subterranean space as his studio. The cavern is strangely
was, however, renowned as not only an artist, but also an
opposite to what many artists would seek out in a studio
inspiring educator. Atkinson is remembered with adoration
space, such as an abundance of natural light and therefore
and reverence by his former students, most notably Marlene
warmth, the vault has neither of these qualities.
Dumas, who, upon Atkinson’s sudden passing in 2007, wrote
During his previous 30-year teaching career at the
a sincere dedication to him, where she described him as
University of Cape Town’s Michaelis School of Fine Art,
‘postmodern before modern became post’.
Atkinson kept an upper floor studio, boasting three walls
Kevin Atkinson exhibited widely in his lifetime, both
of multiple windows emitting almost all-day sunshine.
international and regularly at home, in South Africa. His
Atkinson explained this turn in his preference for studio
embrace of science and technology also made him the ideal
requirements by succinctly stating that the space had a
recipient of a number of public commissions for mural and
‘rightness’ about it. This perhaps precisely describes the
lighting installations in the 1960s and 70s. A large part of
artist’s idiosyncratic attitude to his practice; he was almost
20 / Creative Feel / November 2016
All images copyright of the Kevin and Patricia Atkinson Trust, and courtesy of the Kevin and Patricia Atkinson Trust and SMAC Gallery
Ritual Arena no.1, Kevin Atkinson, 1977-8. 157 x 157 cm Plato’s Cave is a mine of hidden gems and conceptuallyeffulgent pieces that encompasses the tremendous collection of artworks and artefacts, unveiling the extent to which Atkinson pushed the boundaries of the period in which each piece was created. His perseverance for exploring unconventional thinking and methodology is an innate trait that can be glimpsed in this most curious anthology of Atkinson’s vocation. On perusal of the completely consistent in his unpredictability. However,
quantum of Plato’s Cave, not only does one come across
Atkinson was not alone in his conjectures, his conceptual
unexpected moments of enchantment, thrill, intensity and
and performative approaches to the ‘art experience’, which
solace, but also laid bare are the foundations of many a
sought to avoid the more customary emphasis on art
more familiar artists’ practice. The roots and influences of
objects, were encouraged by his colleagues, such as Neville
so many of South Africa’s artists find their origins here in
Dubow, and Richard Wake.
this underground treasure house. In a career spanning over
Practicing full-time in the basement studio, after taking
40 years, his approaches ranged from the ‘purely retinal’
early retirement from teaching in 1999, Atkinson fittingly
concerns of hard-edge abstraction, to what Duchamp
dubbed his new studio, ‘Plato’s Cave’ after the allegorical cave
referred to as the ‘non-retinal’.
discussed by Plato in his renowned text, The Republic. It is no
In 1978, Kevin Atkinson had one of his many solo
coincidence that Atkinson found affinity with this giant of
exhibitions, however this was his first in Stellenbosch,
philosophy, and his seminal work which is, most briefly, about
thereafter his work formed part of many group shows in the
‘the effect of education and the lack of it in our nature’.
town until 1987. SMAC Gallery has brought back the work
Among the extensive collection of artworks that find refuge
of this dynamic and lauded painter to the Boland in a solo
in The Cave, are paintings spanning from his early art-making
presentation, the likes of which has not been seen in the
career in 1960s, right up to his last artworks made before his
region for more than three decades.
death in the late 2000s. Also preserved in this voluminous
Re-opening Plato’s Cave: The legacy of Kevin Atkinson at
collection are records of Kevin Atkinson’s correspondence with
SMAC Gallery in Stellenbosch follows on from the acclaimed
luminaries of conceptual art, such as Joseph Beuys, Marcel
2013 retrospective, titled Opening Plato’s Cave: The Legacy of
Duchamp and Jack Burnham, among others. In addition,
Kevin Atkinson, at the Iziko South African National Gallery.
Atkinson’s engagement in 1965 with the famous Surrealist
The exhibition at SMAC has been curated by Marilyn Martin
printmaker, Stanley William Hayter at the Atelier 17 studio
and Jo-Anne Duggan, both members of the Kevin and
in Paris is also unearthed, showing how the latter’s notion of
Patricia Atkinson Trust, and includes paintings, prints and
‘psychic automatism’ became a persistent principle underlying
drawings all selected from Plato’s Cave. The exhibition runs
much of Atkinson’s drawing, printmaking and painting.
from 15 October to 19 November 2016. CF
Creative Feel / November 2016 / 21
ROBIN HOOD AND THE BABES IN THE WOOD
A brand new pantomime adventure from Janice Honeyman Normington, will surely be wildly comic as Silly Sylviana, the Spirit of the Forest! Also featured in Robin Hood and the Babes in the Wood are Graham Hopkins as the villainous Norman the Nasty, Sheriff of Nottingham; LJ Urbani as the ever-popular panto Dame Emmarentia Ugly; Phumi Mncayi as chief lieutenant of the Merry Men, Little John; award-winning actress Candida Mosoma as Much the Miller’s Son (written with an inevitable panto twist!); beautiful Carmen Pretorius as Robin’s love interest, Maid Marian; and Jaco Van Rensburg as the wandering minstrel, Alan-a-Dale. ‘It’s an exciting year for us when Janice Honeyman writes
R
a brand new pantomime script,’ says Bernard Jay, executive producer of the panto. ‘We don’t know exactly what to
iding through the royal forest of Sherwood on a
expect until the last minute, but we do know it will be full of
glorious May morning, you don’t have a care in the
her magical flair for storytelling, spectacular special effects,
world. Then you hear a bird call, the faint rustling
zany comedy and outrageous double entendres!’
of trees, and suddenly a man armed with a longbow
Writer/director Janice Honeyman collaborates with
appears in your path. He wears a feathered cap, or is that a
producer Bernard Jay on their sixteenth Joburg Theatre
hood? You can’t see the man’s face clearly, but you don’t have
pantomime together. Rowan Bakker joins the team
to. He is dressed in Lincoln green, the colour of Robin Hood –
this year as musical director; Nicol Sheraton returns as
the most famous English outlaw of all time.
choreographer; the eagerly anticipated, over-the-top,
And now comes Janice Honeyman’s brand new
fabulous sets and costumes are once again supplied by
pantomime adventure, Robin Hood and the Babes in the
Qdos in the UK; the lighting design is by Graham McLusky;
Wood, on the stage of The Mandela at Joburg Theatre from 5
sound design by Richard Smith; and Timothy Le Roux is the
November to 30 December 2016.
resident director. As with many past successful pantomime
The plot combines the babes-lost-in-the-forest story with the Robin Hood legend. The young children, Hansel and Gretel, come to visit their uncle, the Sheriff of Nottingham,
productions at Joburg Theatre, Claire Pacariz and Simon James serve as associate producers. Robin Hood and the Babes in the Wood has preview
little suspecting that he is plotting their demise. But never
performances on The Mandela stage at Joburg Theatre
fear, help is at hand – in the shape of Robin and his Merry
on 5 and 6 November, with tickets from R170. Its official
Men, plus Maid Marian and the Spirit of the Forest!
Opening Night is scheduled for Sunday 6 November and
Playing the role of Robin in his first Joburg Theatre pantomime is Izak Davel, best known to TV viewers as
the season continues until 30 December, with tickets priced from R220. CF
Isidingo’s arrogant Bradley Haines. Much loved panto star, Desmond Dube returns to Joburg Theatre to play the jovial
Tickets are available by visiting www.joburgtheatre.com or
Friar Tuck. Idols finalist Bongi Mthombeni features in his
calling 0861 670 670, as well as through Webtickets and at
fifth Joburg Theatre pantomime as the dandy Will Scarlet
Pick n Pay stores. For group bookings of ten or more, contact
and leading lady of South African musical theatre, Kate
the theatre directly on 011 877 6853/6815.
22 / Creative Feel / November 2016
25 years of celebrating printmaking and partnerships Artist Proof Studio (APS) is proud to
Towards the end of 2015, APS held a number of events and
share its 25th birthday with the Bag
well as plan for our sustainable future. With support from
Factory and the Artists’ Press. Together, and in our distinct ways, we continue to create spaces and opportunities for art and artists in South Africa to develop and flourish.
exhibitions to celebrate and consolidate our 25 years as our partners, alumni and collaborating artists, we held an extremely successful art auction in November 2015, raising over R3 million for our Education Endowment Fund. We also held a comprehensive exhibition of new releases called Hot off the Press, providing a platform for some exciting new talents, at the Absa Gallery from November to January 2016. APS is one of the largest and most vibrant community and professional printmaking facilities in the country. We offer specialist printmaking training to up to 60 talented art students annually, and our professional printing studio,
THREE-DAY PROGRAMME: DAY 1: Thursday 1st December (World AIDS Day). APS will or ‘Pro-Shop’, collaborates with many established and
host a series of Paper Prayers workshops. Paper Prayers is
emerging artists each year, nourishing the South African
an annual activity at APS where artists work with children and
art-world with exciting and affordable new works. The APS
members of the public to create monotypes that celebrate
Gallery promotes and sells prints, sustaining the careers and
positive living and positive attitudes towards HIV.
livelihoods of many of our graduates, and our outreach and CSI projects provide our senior students with work experience
DAY 2: Friday 2nd December. Walkabouts by all of the artists
and the ability to make an important social impact in our
featured on the Annual Student Exhibition.
communities. To celebrate our birthday year, we are opening our doors
DAY 3: Saturday 3rd December. APS Family Day: Members of
for three days to the public to share in the Artist Proof Studio
the public are welcome to bring their children (4 years and
experience. From 1 to 3 December, we will offer a variety of
older) for printmaking workshops and demonstrations while
monotype and Paper Prayers workshops, offer printmaking
parents peruse the prints, engage with artists and buy bargain
and papermaking demonstrations, studio tours and a
works on sale.
discounted sale on selected prints. We hope to share our passion for printmaking and give members of the public a
These activities are free and open to the public and we look
unique opportunity to witness the tremendous talent in the
forward to sharing the diverse and innovative processes and
studio, meet the newest ‘crop’ of emerging artists and to
products available at Artist Proof Studio.
purchase their work at extremely affordable prices. A raffle will be available for only R50 to win a beautiful artwork by Victor Kuster, one of APS’ most exciting young talents. For more information regarding the activities mentioned above and group bookings please contact: admin@artistproofstudio.co.za
L
ess than four years old but already regarded as highly influential in helping the country’s musicians earn a sustainable livelihood and promoting a culture of live music, Concerts SA is a joint nonprofit initiative between the SAMRO Foundation, the Royal Norwegian
Embassy and Concerts Norway. This South Africa-Norway partnership was set up in 2013 in a bid to arrest the decline of the Southern African region’s once-vibrant live music scene, which had virtually ground to a halt despite its well-documented treasure trove of cultural creativity. Concerts SA has since made impressive strides in supporting venues and promoters to host concerts, helping musicians to tour, sparking an appreciation of live music among schoolchildren, and producing industryspecific research – knowing that live music can and does play a vital role in both culture and the creative economy. At the BASA Awards, Concerts SA was also nominated for a Beyond Borders Partnership Award, toasting global-level partnerships and international agencies that continue to nourish South Africa’s arts scene despite funding cutbacks and reallocations. The Increasing Access to the Arts Award celebrates a partnership that has materially contributed to audience development and regeneration for the arts in South Africa – which Concerts SA has certainly accomplished, through a slate of initiatives targeted at elevating the country’s dynamic and multifaceted live music scene to its rightful place.
Herbie Tsoaeli SOURCE Concerts SA
Concerts SA gets into the groove with BASA Award and new live music study André le Roux, managing director of the SAMRO Foundation, which
In recognition of its ongoing
administers Concerts SA’s activities, said of the BASA Award: ‘The award is a
efforts to boost and re-
statement of confidence and support towards the Concerts SA programme, and
energise South Africa’s
recognises the value of productive collaboration not only between institutions but between countries too. Increasing access to the arts is exactly what we set
live music scene, Concerts
out to achieve.’ Explains Nailla Dollie, Concerts SA project manager: ‘Concerts SA supports
SA was honoured with the
the live music sector through a unique model of micro-grants for venues,
Increasing Access to the Arts
promoters and artists. Our work in developing live music circuits informs the
Award during the 19th Annual Business and Arts South
kind of research and skills development initiatives we pursue, and learnings from these inform our strategic interventions and implementation processes.’
Africa (BASA) Awards, held in
Putting the zeal back into live music
Johannesburg in September.
live music is the Music Mobility Fund. Since it kicked off in 2013, this fund has
Among the initiatives that Concerts SA has rolled out to inject new life into created work for more than 250 local artists by supporting close to 100 tours in South Africa as well as in Botswana, Lesotho, Malawi, Mozambique, Namibia, Swaziland, Tanzania and Zimbabwe.
26 / Creative Feel / November 2016
BASA Award 2016 Emerging and established musicians in genres ranging
Ihhashi Elimhlophe, performance at Sauti za Busara 2015. PHOTO Sameer Kermalli The 2014 study Song Lines: Mapping the SA Live Music
from jazz and kwaito to rock and indigenous music,
Landscape found that urban South Africa (particularly
including Carlo Mombelli, Tlokwe Sehume, Nibs van der
around tourist destinations) has an active live music scene,
Spuy, Concord Nkabinde and Taxi Violence, have received
but that the scars of apartheid continue to be felt across
funding to enable them to perform and undertake projects
the music business, through unequal access to live music,
throughout the region.
performance opportunities, music training and skills
The value of the Music Mobility Fund, according to Dollie, ‘is multi-fold – it builds a network of live music
development. The report suggested remedies to stimulate growth and open up opportunities for the sector.
performance spaces across Southern Africa, it increases musicians’ exposure to new audiences, encourages and
Taking the pulse of SA music
stimulates collaborations between artists, and enhances the
Now, Concerts SA is set to release a new report produced in
organising skills of recipients.’
association with the Wits School of Arts, titled It Starts with a Heartbeat. The report recommends that policy measures
Feeding future audiences
are needed to make live music venues and events more
Concerts SA also takes live music to learners through its
attractive, and reduce the deterrents, such as:
School Circuit Programme, which currently has more than
•
50 participating schools in Gauteng, KwaZulu-Natal and the Western Cape. Musicians are brought in to perform
publicity platforms such as social media; •
and conduct workshops to show children how magical and transformative live music can be.
Help small businesses understand and access Aim for a better spread of live music venues and protect legacy venues;
•
Improve night-time public transport and parking provisions for venues; and
Developing the industry via research
•
Introduce a ‘Night Mayor’ or night cultural officer
Furthermore, Concerts SA regularly commissions research into
to deal with issues affecting live music venues and
mapping the country’s live music sector and developing audiences.
their surrounding communities. CF
Considering that live music has become a more significant revenue-earner than recorded music, it holds untapped potential
For more information, visit www.concertssa.co.za or
for job creation and economic activity in South Africa.
www.samrofoundation.org.za
Creative Feel / November 2016 / 27
A R T S & C U LT U R E T R U S T AWA R D S
The value of excellence Pieter Jacobs, the CEO of the Arts & Culture Trust,
applauds the contributions to arts and culture, and society as a whole, of this year’s ACT Award Winners.
T
his is the 19th year that the Arts & Culture Trust (ACT) is acknowledging and celebrating excellence. In a sector as creative as ours, identifying worthy recipients is less of a challenge than achieving consensus on which of the many phenomenal stalwarts in our industry
to acknowledge next. This process is diligently undertaken by current and previous ACT Trustees, and every year we are inspired by the lives of the front-runners who have not only made a lasting impact on the local arts and culture industry but who have also earned South Africa global respect through their exceptional creative output. Especially in the case of our Lifetime Achievement Awards recipients, Aristotle’s view on excellence is quite apt. ‘Excellence is never an accident. It is always the result of high intention, sincere effort and intelligent execution… it represents the wise choice of many alternatives… choice not chance determines your destiny.’ In a world where artists are increasingly challenged to justify their
existence, and to both quantify and qualify the value that their craft contributes to society, a cursory glance at the careers of this year’s winners does the job for those in doubt. They now join an impressive honours roll of true South African arts and culture icons, featuring the likes of Miriam Makeba, Nadine Gordimer and Dr John Kani, to mention a few. Collectively, the exemplary careers of the ACT Lifetime Achievement winners have enriched the arts and culture industry significantly, leaving a legacy that inspires young artists (as exemplified by the ImpACT Awards recipients) to strive to reach the highest level of excellence in their chosen fields. We congratulate all the 2016 winners and wish them the very best with the creative journeys they may choose to embark on. The 19th annual ACT Awards are hosted by Sun International, in association with the National Lotteries Commission (NLC) and supported by the Southern African Music Rights Organisation (SAMRO), the Dramatic, Artistic and Literary Rights Organisation (DALRO), Media24 Books, the Nedbank Arts Affinity, JTI, Creative Feel, Business and Arts South Africa (BASA) and the Distell Foundation.
16397
Join the Nedbank Arts Affinity to support the development of the arts, at no cost to you. Thanks to our Arts Affinity members, to date, the Nedbank Arts Affinity Programme has donated more than R16 million to support over 800 arts, culture and heritage development projects countrywide. If you want to make a difference in the lives of talented young artists, open an Arts Affinity account and use it to create more opportunities for the arts. As you use your Arts Affinity current, savings, investment or credit card account, Nedbank will donate to the Arts & Culture Trust, at no cost to you.
Visit any Nedbank branch, call us on 0860 555 111 or go to nedbankarts.co.za. Nedbank Ltd Reg No 1951/000009/06. Authorised financial services and registered credit provider (NCRCP16).
Creative Feel / November 2016 / 29
A R T S & C U LT U R E T R U S T AWA R D S
Penny Siopis VISUAL ARTS LIFETIME ACHIEVEMENT AWARD
The 2016 Arts & Culture Trust (ACT) Visual Arts Lifetime Achievement Award, sponsored by Nedbank Arts Affinity, has been handed to renowned artist, Penny Siopis.
A
CT, South Africa’s well-established funding agency, was founded in 1994. For its annual Lifetime Achievement Awards, ACT has awarded individuals ranging from Nobel Laureate Nadine Gordimer to
Miriam Makeba, David Koloane, David Goldblatt, John Kani, Mimi Coertse and Esther Mahlangu. From the pool of senior artists, the selection of Penny Siopis is smart, yet brave. While her output has been tireless, her recent work is complex, often abstract and left to chance. It contrasts with her earlier work that explored more predictable territory: the colonial divide; curious historical victims of racism – like Saartjie Baartman – and her own family history of migration. In the book Penny Siopis: Time and Again, released on the occasion of her major retrospective at the South African National Gallery in 2014, academic Achille Mbembe writes that Siopis experiments ‘with deep time, connecting larger historical events with personal histories.’ He adds, ‘With Siopis the artist is engaged in a constant attempt to find form in formlessness.’ Siopis was included in the seminal book on antiapartheid artists, written by Sue Williamson in 1989, titled Resistance Art in South Africa. In it, Williamson drew attention to Siopis’ deconstruction of the illusionism of Western painting, with its misrepresentation of what was popularly called the ‘other’ in the late 1980s.
30 / Creative Feel / November 2016
‘I work within the tradition of Western painting in
Stevenson Gallery Director, Sophie
ways which attempt to turn its own values against itself,’
Perryer, who currently represents
Siopis told Williamson, ‘to show that it is not only the
Siopis, says, ‘she continues to make radical
representation of politics that is an issue, but the politics of
investigations into materiality and process in
representation as well.’
her current glue, ink and oil paintings and her videos
Most memorable were her delicious cake paintings
utilising found home-movie footage. She combines a poetic
portraying tables laden heavily with food – in paint thick and
sensibility and a lightness of being with an underlying rigour
colourful as cake icing. No doubt, they were supposed to evoke
and integrity.’
the bloated decadence of privilege in the turbulent 1980s. An anthology about her work published by the Goodman Gallery in 2005 tells us that Siopis was born in Vryburg in
The final words should go to Siopis herself who recalls, ‘I cut my creative teeth in the dark days of apartheid – which actually were not so dark when it came to the rich creative
1953 to Greek parents who had inherited a bakery from her maternal grandfather, an ‘adventurer and entrepreneur’. He had established businesses in film production and distribution locally and abroad. Siopis’ most famous art film, My Lovely Day, was culled from her family’s home movies. The work was included in the Second Johannesburg Biennale in 1997, curated by Okwui Enwezor, and installed in a tiny vintage cinema environment. Siopis was awarded a British Council Scholarship in
“‘ONE OF THE WONDERFUL THINGS ABOUT HAVING A LONG CREATIVE LIFE – LONG ENOUGH TO GET AN
1978 for overseas study, and has received various other research grants abroad. She has been attached to the fine art departments of local universities since the late 1980s, and
AWARD FOR – IS THAT THINGS FALL
the ACT Lifetime Achievement Awards is given as much for her artistic output as for her four decades of teaching. These days, Siopis is honorary professor at Michaelis School of Fine
INTO PLACE IN RETROSPECT”
Art in Cape Town. This week, colleagues, students and gallerists paid
energies that the struggle unleashed, generally, and in me. It
tribute to Siopis. ACT noted that Siopis has been ‘critical
was a time, though, when I wrestled with the meaning of art
of gender roles and works to break those expectations. Her
in the face of such extreme repression, but it also made me
oeuvre remains relevant and provocative.’
understand what creative freedom really meant.
A running theme has been the longevity of Siopis’
‘One of the wonderful things about having a long
artistic career. And the fact that she has not kowtowed to,
creative life – long enough to get an award for – is that
what Goodman Gallery curator Neil Dundas calls, ‘a market
things fall into place in retrospect. You see a logic to past
influence that said we can sell lots of these very beautifully
practices and events that was not evident at the time – the
decorated tables.’
wild experiments, acts of creative instinct, moments that
The Goodman Gallery represented Siopis in her earlier years. Senior curator Dundas observes that in the 1990s and
seemed seriously off the wall. ‘The same can be said of the very diverse media and
early 2000s Siopis ‘worked with found objects in a way that
disciplines I have embraced over the years, confirming
brought conceptual art to a different kind of peak when a lot
that you don’t have to specialise to go deep. In fact, the
of her peers were a little afraid of it. They were not ambitious
vulnerability that comes with being “new” at something, a
enough to really enter the more international vernacular of
novice, is one of the deepest creative encounters one can
what conceptual art wanted.’
have. I was always trying something new!’ CF
A R T S & C U LT U R E T R U S T AWA R D S
Dr Mongane Wally Serote LITERATURE LIFETIME ACHIEVEMENT AWARD
The Arts & Culture Trust (ACT) has named esteemed poet and author, Dr Mongane Wally Serote as the Literature Lifetime Achiever, sponsored by Media24 Books, for 2016.
D
r Mongane Wally Serote, whose poetry has won numerous awards and has been read the world over, was born in 1944, into what he calls ‘a highly politicised community’. In high school,
Serote joined the African National Congress (ANC) and soon became involved in the Black Consciousness movement in South Africa; his poetry has been hailed as pivotal to the rise of Black Consciousness in the 1970s. ‘The two, politics and writing, have played a key role in my formation as a person: the two feed on each other,’ says Serote. ‘My political involvement, being an active member of the ANC, Umkhonto we Sizwe (MK), and the underground structures of the African National Congress, has helped me to understand the dynamics of people. That in itself has fed into what I write.’ Serote was considered a key member of a group classified as the ‘Soweto poets’ in the 1970s. Drawing inspiration from writings that spoke of black identity, resistance and revolt, his poetry, alongside works by Sipho Sepamla, Joseph Mbuyesini Mtshali, Christopher van Wyk, Mifika Gwala
32 / Creative Feel / November 2016
and Don Mattera, was often performed at political rallies
characters, places, history and culture come
due to its ability to arouse the emotions of the people.
to life when he taught.’ Serote also believes that
The immediate impact of their drama and poetry drove
both practice and perseverance are required in order
the momentum for change. ‘We saw writing as something
to grow as a writer. ‘Write and write and write,’ he says,
that could inspire, record, express, but also entertain,’ says
‘but also, find a manner to put your ear to the ground.’
Serote. Serote’s poetry, which often includes themes of political
Serote believes that, ‘Literary arts, together with other art forms on the African continent which emancipate the
activism and the life of a politically aware black person,
African voice, will contribute, as with other art forms from
soon gained positive and negative attention. In 1969 he was
all over the world, to the human experience. Both the art
arrested and detained for nine months, without trial, under
and culture expressions have, since time immemorial and
the government’s Terrorism Act. Following the publication of his first collection of poems, Yakhal’inkomo (1972), Serote won the Ingrid Jonker Prize for debut poetry in English in 1973. He was subsequently granted a Fulbright Scholarship and travelled to Columbia University in New York to complete a Master’s degree in Fine Arts. Following the completion of his studies in 1979, Serote went into self-imposed exile in Botswana. There, he continued his resistance against apartheid, largely through the work he did by joining the Medu Arts Ensemble. In 1986,
“I FEEL HONOURED. TO BE HONOURED IN ONE’S OWN COUNTRY, BY ONE’S COUNTRYMEN
Serote relocated to London, where he began working for the ANC’s Department of Arts and Culture. He eventually returned to South Africa in 1990, shortly after the ANC
AND WOMEN, IS A VERY
was unbanned, and in 1994 served as chairperson of the Parlimentary Select Committee for Arts and Culture. In 1993, his seventh poetry collection, Third World
IMPORTANT ACHIEVEMENT”
Express, won the Noma Award for Publishing in Africa and in 2004, he received the Pablo Neruda award from the Chilean government. Adding to his long list of awards and honours, in
will forever, for as long as we walk the earth, immortalise us
2007 Serote was awarded The Order of Ikhamanga in Silver by
and also contribute to the immortalisation of other human
the South African presidency, for ‘Excellent contribution to
beings.’ He adds, ‘arts and culture can be the tapestry which
literature, with emphasis on poetry and for putting his artistic
weaves our nation together.’
talents at the service of democracy in South Africa’. The poet, who believes that South African literature
Serote has spent a lifetime voicing the injustices and harsh realities of life for black South Africans under
should feature more prominently in South African
apartheid. Through his work, he has inspired and continues
curriculums at both school and university levels, says,
to inspire generations of youth throughout South Africa
‘I began to write when I was in primary school, perhaps at
and the world, to use art as a way to express themselves
the age of 14 or so. This engagement was most enhanced
and speak out against injustices. His poetry and prose have
when I got to secondary school, because our teacher, Mr
been invaluable contributions to literature in South Africa
Phefadu, insisted that we be readers of literature and his
and stand as a timeless body of works marking an important
teaching of literature was most inspiring as he made the
period in South Africa’s history. CF
A R T S & C U LT U R E T R U S T AWA R D S
Johnny Clegg MUSIC LIFETIME ACHIEVEMENT AWARD
The 2016 Arts & Culture Trust (ACT) Music Lifetime Achievement Award, sponsored by SAMRO, has been presented to Johnny Clegg, in recognition of his supreme contributions to music in South Africa and around the world.
O
ne of South Africa’s most revered musicians, Johnny Clegg, has been an iconic figure both locally and internationally since Juluka – his musical partnership with Sipho Mchunu –
released their first album in 1979. Le Zoulou Blanc (The White Zulu), as Clegg is affectionately known, is a musician and anthropologist who brought the dances and sounds of South African townships to world stages during South Africa’s repressive apartheid years. As a soloist and with his bands Juluka and Savuka, Clegg has produced over 19 albums and many, many songs that are not only recognised, but celebrated worldwide. Songs like ‘Asimbonanga’ and ‘Impi’ have become anthemic in South Africa and symbolic of how music can bring a divided country together. ‘Scatterlings of Africa’, ‘Great Heart’, ‘Cruel, Crazy, Beautiful World’ and numerous others have provided a soundtrack to the lives of South Africans. Clegg, who is originally from England, was introduced to South African music when he heard street musician, Mntonganazo Mzila, and then spent two years learning the basics of Zulu music and Inhlangwini dancing. This
34 / Creative Feel / November 2016
is what made Johnny Clegg, Savuka and Juluka so iconic,
Clegg reunited with Mchunu in
especially given the political climate they found themselves
1996/7 to tour and record under the
in. ‘One of the things Juluka did was we mixed languages,
Juluka name and returned to solo work in
which was not culturally acceptable to the Nationalist Party
the late 1990s. In 2002, he returned to the studio
and we had a lot of problems with that,’ Clegg told Creative
to complete his solo album, New World Survivor, and
Feel in an earlier interview.
followed it up with Heart of the Dancer (2006), One Life
Savuka was no different in terms of creating a musical
(2006) and Human (2010). In 2003, he released an audio-
melting pot of South African culture. In fact, ‘Savuka was
visual ‘political-cultural musical life story’, A South African
more broad in its crossover,’ says Clegg. ‘Instead of relying
Story: Live at the Nelson Mandela Theatre. His latest album, a
on Zulu music, we incorporated other African styles: a
concert set recorded in 2013, Best, Live & Unplugged: At the
Zimbabwean guitar, we looked at Zairian music – we were
Baxter Theatre Cape Town was released in 2014.
more pan-African – and because of the Indian influence in our country, I looked at other communities in South Africa – we even incorporated Hindu moments in our songs, in our presentation.’
“CULTURE IS A SHARED
Soon after meeting Sipho Mchunu and forming Juluka, Clegg recorded his debut single, ‘Woza Friday’. Although the political climate prevented Juluka’s first album, Universal Man (1979), from being broadcast in South Africa, it quickly became a word-of-mouth hit. Their second album, African Litany (1981), included the South African hit, ‘Impi’ and two years later, Juluka received international acclaim for their album, Scatterlings.
ROAD MAP AND MULTILAYERED COMPASS OFFERING SOLUTIONS TO PROBLEMS
After Clegg and Mchuna split, Clegg formed Savuka in 1986. Savuka, meaning ‘we have risen’ or ‘we have awakened’, ‘came out of the 1986 state of emergency in
ALL HUMANS EXPERIENCE“
South Africa,’ says Clegg. ‘From 1986 to 1994 we did four albums – most of those albums were very much driven by what was going on in South Africa.’
Johnny Clegg’s cultural significance goes beyond the
Savuka’s debut album, Third World Child (1987), sold
boundary crossing and breaking music that he has made over
more than two million copies. Following their second album,
the years, to the work he has done with the Nelson Mandela
Shadow Man (1988), Savuka embarked on a world tour. The
Foundation and many Aids NGOs, particularly the Starfish
band reached their peak with their fourth album, 1993’s
Foundation. ‘I became involved in Aids awareness in 1995
Heat, Dust and Dreams, which was nominated for a GRAMMY
when one of my key dancers contracted Aids,’ says Clegg. He
in the Best World Music category and received a Billboard
played a pivotal role in not only getting anti-retrovirals into
Music Award for Best World Music Album.
the country but also pushed to find ways to reduce the cost,
‘When the election happened in April of 1994, it was a
while increasing the efficacy.
new South Africa and I really wanted to have a new start,’
Clegg’s contributions to music and culture have been
Clegg says of the decision to disband Savuka. ‘I wanted to
recognised the world over: he was awarded the Chevalier
give myself a two-year break and then move on. I looked
des Arts et Lettres by the French government in 1991, was
more at the entrepreneurial side of the cultural field, I
bestowed the Order of Ikhamanga by the South African
got involved in radio, I launched my own little record
government in 2012 and was made an Officer of the Order
company called Look South Records, which was then
of the British Empire in 2015. He holds numerous honorary
bought up.’
doctorates from various universities across the globe. CF
A R T S & C U LT U R E T R U S T AWA R D S
Johaar Mosaval DANCE LIFETIME ACHIEVEMENT AWARD
Awarded the 2016 Dance Lifetime Achievement Award, sponsored by JTI, by the Arts & Culture Trust (ACT), Johaar Mosaval is a worldacclaimed ballet dancer who succeeded against all odds.
B
y all accounts, Johaar Mosaval was not born to be a dancer. Certainly, the barriers towards realising this were substantial enough to suggest as much. Growing up in South
Africa in the 1930s and 40s presented a massive hurdle. Categorised as a ‘coloured’, Mosaval was not permitted to watch a ballet performance in the whites-only theatres. This would naturally dampen any ambition of taking to the stage, but also translated into limited access to dance education. ‘My parents were completely against it. It is unheard of for a Muslim to become a ballet dancer,’ recalls the 88-year-old Capetonian. There was also an issue with his height – a barrier that Dulcie Howes, the late choreographer and ballet teacher who discovered him in a school pantomine, suggested would inevitably prevent him from landing a place in a dance company. His gender also loomed as a barrier – ‘my father was a foreman, a builder, that was the work of men, not dancing.’
36 / Creative Feel / November 2016
Back then, and probably to some degree today, ballet would
Mosaval counted the Royal Opera
have been seen as a preoccupation for petite, young, white
House in Covent Garden as his artistic
girls. Mosaval not only disturbed this picture and challenged
home for 20 years and travelled the world with
the stereotypes, but would go on to achieve the highest
the renowned ballet company associated with it.
accolades in this field of the arts, landing a permanent
He returned to South Africa in the late 1970s, when he
position in the Royal Ballet company in the UK, touring the
became too old to perform – he was 48 years old when he last
world as a principal dancer alongside the likes of Margot
took to the stage of that famous London theatre.
Fontyn and Rudolf Nureyev. In the absence of any formal recognition for achievements from the state or other bodies, this award clearly is an important landmark for Mosaval, who spends much of his time recounting his astonishing life to visitors to his Landsdowne home, which is adorned with paintings, photographs and newspaper articles charting his years as a famous ballet dancer. One of the toughest, and perhaps most important performances, was a spontaneous one performed in a gym outfit for a pair of Muslim priests who had seen a picture of the young District Six resident in the newspaper and needed to assess whether he should be allowed to continue. They
“MY HOPE IS THAT YOUNG DANCERS DREAM TO SATISFY THIS HUNGER FOR THE ARTS, AND THAT THEY CHOOSE TO PERFORM THESE
had never seen a ballet performance before, so Mosaval had to impress. He was a boy then, but he remembers his routine as if it was yesterday.
DREAMS WITH EXCELLENCE, GRACE
‘I held onto the windowsill and I did pliés and I showed them a pirouette. They were fascinated. In the end I finished with the splits. They could not believe it; they
AND PHYSICAL BEAUTY”
were so impressed.’ This response smoothed out any opposition from his
Back home, he would continue to break barriers, becoming
parents, eventually paving the way for Mosaval to take up a
the first black member of CAPAB (Cape Town City Ballet). He
scholarship at Sadler Well’s Ballet School in the UK. As the
broke the race barrier when he performed at the Nico Malan
scenario with the Muslim priests demonstrates, Mosaval’s
Theatre. He would also go on to become the first black person
talent was so apparent that it left such an indelible impression
to head an association tasked with assessing dance teachers.
on all who witnessed it. This is what ultimately allowed him to
This was afforded to him as he was the first dancer to do the
transcend racial, religious and gender barriers.
professional dance teacher’s diploma, initiated by Fontyn. He
His fondest recollection is the moment he realised he had been offered a place in the Sadler Well’s Ballet company, which would later be named the Royal Ballet company. ‘They said, “congratulations, please sign here” and passed me a form. I must have looked confused. “Weren’t you told?
had given classes to the Royal Ballet Company. ‘Even Fontyn attended my classes. She knew I had a great knowledge to teach. She was the president of the royal academy of dancing. So there I made a little bit of history.’ Mosaval has made a lot of history, and while he will be
You are joining the Sadler’ Well’s Ballet,” they said. I became
remembered for his talent, the way in which he defied a
ill. I was so shocked but it was the most exciting experience. It
history that might have been fostered on him because of
then came back to me; my teacher said I would not get into a
his race (and gender) will forever earn him a place in South
ballet company because I am too short.’
Africa’s history books. CF
A R T S & C U LT U R E T R U S T AWA R D S
PieterDirk Uys THEATRE LIFETIME ACHIEVEMENT AWARD
Satirist, performer, author and social activist, Pieter-Dirk Uys was recognised for his ample contributions to the arts as the Arts & Culture Trust (ACT) Theatre Lifetime Achiever, sponsored by DALRO, for 2016.
W
ith his hilariously relatable characters and performances, Pieter-Dirk Uys has written and performed 20 plays and over 30 revues and one-man shows throughout South
Africa and abroad. Uys is perhaps best known for his celebrated character, Evita Bezuidenhout, who has been with him for over 30 years and has amassed an enormous repertoire. ‘First of all, in the 1970s, when I started doing female characters, it was against the law in those days for men to dress up as a woman, you were arrested. And I thought that was pretty stupid. But as an actor I enjoy exploring different things... It’s part of my job. So the first one was Nowell Fine, my Jewish African, my kugel, in 1975, and then Evita started as a character in the late 1970s, when all my plays were banned and I really couldn’t get a job in the theatre. Somebody on the Sunday Express said, “write us a weekly column, 100 words every week about the political thing.” That was a great way for me to actually write material, but quickly; and once a month I wrote about this woman, this tannie from Pretoria who would say “have you heard the latest scandal?”… And so, when I did my first one-man-show in 1981, I put Evita in the show as a character, because people had already got to know her. And that’s where she started, as a character; but she just came at the right time. People enjoyed her.’
38 / Creative Feel / November 2016
Uys and Evita Bezuidenhout have received a bevy of
contact with his parents’ friends like
awards for both their theatrical work and their humanitarian
‘Uncle Andre the ballet dancer’ and
efforts. Uys was awarded South Africa’s prestigious Truth
those who told of their experiences at places
and Reconciliation Award in 2001. He has received honorary
like the Salzburg Festival. But, he adds, ‘My
degrees from Rhodes University, the University of Cape
father was very strict, make no mistake – Eisteddfods,
Town, the University of the Western Cape and the University
my father was very determined we must win. Sorg dat julle
of the Witwatersrand. While Evita Bezuidenhout proudly
wen! – “be sure to win!” My mom would drive us to the
received the Living Legacy 2000 Award in San Diego, USA. In
Eisteddfods, Tessie would play the piano and I would sing,
2011, Uys was honoured with a Lifetime Achievement Teddy
and as we went there my mother would say to us “if you
Award at the Berlin International Film Festival, and in 2012
win, you get an ice cream. If you don’t win, you get two ice
he received the FW de Klerk Goodwill Award.
creams!” And I think that is an extraordinary philosophy.’
His plays Paradise is Closing Down, Panorama, God’s Forgotten, Auditioning Angels, Faces in the Wall and Just Like Home have been performed internationally, and his one-man shows Adapt or Dye, One Man One Volt, You ANC Nothing Yet, Truth Omissions, Live from Boerassic Park, Dekaffirnated, Foreign Aids, Evita for President, and Elections & Erections have been presented in the United Kingdom, Denmark, Germany, Holland, Switzerland, Australia, the USA and Canada. Recent successes include Desperate First Ladies and F.A.K. Songs and Other Struggle Anthems, which he has
“ART IS THE OXYGEN; CULTURE IS THE CALCIUM. WITHOUT THEM, ANY SOCIETY WOULD BE WITHOUT
presented throughout South Africa and toured to Berlin, Holland and London. During 2012, Uys launched his latest one-man onslaught, Adapt or Fly, throughout South Africa
BREATH OR MOVEMENT”
and later toured it to Namibia, while in 2013 he added An Audience with Pieter-Dirk EISH! to his repertoire, and premiered a new Bambi Kellermann cabaret, 50 Shades of Bambi, at the Fugard Theatre in Cape Town. Although mainly known for his fierce wit and satire, Uys
In his decades on stage, and even before, Uys has ‘learned to tell the difference between comedy and humour. Comedy is the joke. Humour is very seldom funny. Humour is what
dedicates a lot of his time to social issues in South Africa.
a friend of my mother said to me in 1957; I was bunking
He has visited over 1.5 million school children, as well
school and this woman came to visit my mom... She was a
as prisons and reformatories, with a free Aids-awareness
school friend from Berlin, and had come out to SA to find
entertainment show called For Fact’s Sake!. He has also
some friends, because everybody had thought she was dead.
released a corporate Aids-information video, Having Sex
And I was introduced to her and my ma went to the kitchen,
with Pieter-Dirk Uys, as well as the family-friendly video,
and I saw this woman had something on her arm, and I said,
Survival Aids, and Just a Small Prick!, which tackle the fears
“what is that, is that a phone number you have on your
surrounding testing for HIV. An important aspect of Uys’
wrist?” She said, “darling, if you phone this number, nobody
school visits, for him, is also encouraging the youth to
will answer.” That’s humour. She laughed, not because it
pursue their passions. ‘The reason I’m in theatre is because
was funny, but because she had survived the horror. So
someone at school took the trouble to take me to see
my humour is to get people to laugh at their fear, and to
something and change my life,’ he says
confront their fear knowing that they’re in charge; you
Home was another space where Uys was exposed to
know, “you can kill me, but I see you!” and not looking away,
performance and the arts growing up – through putting on
because once you don’t see or fear, it becomes terribly hard,
Sunday concerts with his sister for their oumas or through
you will never confront it.’ CF
A R T S & C U LT U R E T R U S T AWA R D S
Albie Sachs ARTS ADVOCACY LIFETIME ACHIEVEMENT AWARD
Justice Albie Sachs, a retired Constitutional Court judge, prolific author, activist and patron of the arts, was honoured for his commitment to democracy and arts and culture in the country with the Arts Advocacy Lifetime Achievement Award, sponsored by Creative Feel, at the 19th Arts & Culture Trust (ACT) Awards.
T
here is no doubt that Justice Albie Sachs’ greatest legacy is the South African Constitution. South Africa has a Constitution and Bill of Rights that stands proudly above many others in the world, honouring
equality, human dignity and privacy rights, and we have to thank people like Sachs for their commitment and vision. Sachs was born into a fervently political, Jewish family. His father Solly was a renowned trade unionist who fought against racism in South Africa, while his mother introduced him to art. Paintings by his mother’s artist friend which adorned the walls of his childhood home nurtured his life-long interest in the arts. Sachs himself began his career fighting against South Africa’s oppressive laws, when he took part in the Defiance of Unjust Laws Campaign as a teenager. The rising political turmoil in the country at the time, saw him being targeted by the Security Branch and being placed in solitary confinement. He went into exile in 1966: first to England for just over a decade, where he studied and taught law, and later to Mozambique.
40 / Creative Feel / November 2016
In Maputo, in 1988, a bomb that was placed in Sachs’
They represent a kind of a spirit of
car exploded – resulting in the loss of his right arm and the
the sacrifice, the loss, the pain that
sight in his right eye. This event did not deter Sachs from
was involved in the treatment of our
continuing his active role in the fight for democracy in his
democracy, but also the spirit soaring and
home country. He continued to work closely with leaders
the rights that are now protected.
of the ANC to help to draft the party’s statutes and code of
Sachs says the presentation of this Lifetime
conduct. On his return to South Africa in 1990, Sachs assisted
Achievement Award stirs a concoction of emotions, ‘I feel joy
with negotiations between the ANC and the National Party
mixed with sadness, joy because flattery is the spice of life, and
to end apartheid. Four years later, after the first democratic
sadness because it contains more than a hint that you are over
election, then-president Nelson Mandela appointed Sachs as a
the hill.’ He certainly is not that, as a retired Constitutional
judge in the newly established Constitutional Court.
Court judge he still has plenty of work to do. He is writing books
While in exile, he retained his interest in the arts,
and travelling the world, sharing with conflict-ridden countries
acquiring some prized works, and in 1994, when the first eleven justices were appointed to the Court, Justice Albie Sachs and Justice Yvonne Mokgoro were given the portfolio
“ARTS AND CULTURE REPRESENT THE
of décor. They were asked to use a budget of R10 000 to decorate the courtroom (at that time housed in temporary office space) with the dignity befitting the people that
DEEPEST ASPECTS OF OURSELVES,
would move through it. Justices Sachs and Mokgoro used that budget to commission a single artwork – Humanity, by Joseph Ndlovu. It now hangs in the lower gallery of the Constitutional Court. Since then, hundreds of artworks have been donated to the Collection. Many other works are integrated into the architectural fabric of the building itself, which became the permanent home of the Constitutional Court in 2005. Artists, members of the public, and the Justices
OUR DREAMS AND DOUBTS, OUR JOLTS AND JUBILATIONS; ALL THAT IS EXASPERATING AND ELEVATING”
themselves have donated artworks that Justice Albie Sachs stated would serve to ‘create a court that was rooted in our
South Africa’s experience of dealing with ‘extreme pain’ through
national experience and expressed the many and varied ways
the TRC. He explains that it is very inspiring for him to see how
in which South Africans envisioned justice.’
SA’s experiences, for all the many problems, give hope to other
One of the most salient pieces in the collection is The Blue Dress. The artist, Judith Mason, was listening to the
parts of the world. Winner of the Tang Prize in Rule of Law in 2014, Sachs
Truth and Reconciliation Commission (TRC) processes on
is currently using a portion of the award to tell the story
the radio while she was painting and she heard the story
of the making of South Africa’s democratic constitution.
of an African woman, a freedom fighter, a guerrilla, whose
Sachs is also one of only two people to win the Alan Paton
naked body was discovered because the man who executed
Award twice. A documentary about his life, Soft Vengeance:
her pointed out where she’d been buried. And the only
Albie Sachs and the New South Africa, by Abby Ginzberg, was
covering the body had was a little bit of blue plastic bag
released last year, and he is using this documentary in anti-
over her private parts. Mason, moved by this, went out
bullying and anti-retaliation programmes, while also using
and bought some plastic bags and sewed them into a dress
his passion for creativity to inspire troubled youths.
for the person she called ‘My Sister’, and wrote the most
His advice to the country’s young activists? ‘Don’t listen
beautiful words on it. That dress is now hanging in the
to the advice of older people like me, be as daring and
court, together with two other paintings that Mason did.
aspirational and challenging as we were. And we achieved the impossible…’ he says. CF
I M PA C T AWA R D S f o r
Young Professionals
THE WINNERS
Since their inception in 2010 the ImpACT Awards for Young Professionals have provided 25 young practitioners with a platform from which they can launch their careers. Partnering with the Distell Foundation and the National Lotteries Commission, the Arts & Culture Trust (ACT) has recognised five new professionals, all in the first five years of their careers.
VISUAL ARTS | Chepape Makgato Born in Kensington, Johannesburg, Khehla Chepape Makgato has a Fine Arts diploma equivalent, majoring in printmaking with Artist Proof Studio and is currently studying towards a three-year diploma in Media Practices. In 2010, he established Samanthole Creative Projects to provide mentorship, art skills, and motivation for the youth in Polokwane and Limpopo rural areas. Makgato won a studio art bursary and residency at Assemblage Studios from the African Arts Trust in 2014, and facilitated an arts programme at the Lefika La Phodiso Art Therapy Centre in the same year. He has participated in several local and international art exhibitions, including two solo shows in 2013 and 2014 and a William Kentridge collaboration in 2015.
MUSIC | Thandi Ntuli Pretoria-born vocalist and composer, Thandi Ntuli began playing the piano at the tender age of 4. She has since graduated with a BMus in Jazz Performance from the University on Cape Town. Ntuli established her professional repertoire as a supporting artist for the likes of Jimmy Dludlu, Thandiswa Mazwai, Judith Sephuma, Zara McFarlane (UK) and Lady Alma (USA), to name a few. She has also graced stages both locally and abroad, such as the Cape Town International Jazz Festival and the Standard Bank Joy of Jazz. In 2014, Ntuli launched her solo career with The Offering. The debut album received, among others, a Metro FM Award and an Mbokodo Award for Women in Jazz, both in 2015.
THEATRE | Mkhululi Z. Mabija Librettist Mkhululi Zandile Mabija was born in Kimberley, in the Northern Cape where he currently teaches creative arts in schools within his hometown of Galeshewe. He obtained a degree in Musical Performance from Tshwane University of Technology and won a bursary to study Musical Theatre Writing at the prestigious University of New York Tisch School of the Arts, where he completed his Master’s in 2008. In 2015, Mabija co-wrote a short opera for Cape Town Opera as part of their Four: 30 – Operas Made In South Africa. Notably, he has written numerous successful operas and musicals that have reached far afield, including to, for example, the state of Massachusetts in the US.
DESIGN | Jody Paulsen Jody Paulsen was born and currently resides in the city of Cape Town. He graduated from Michaelis School of Fine Art at the University of Cape Town in 2009, specalising in Print Media. In the same year, Paulsen was awarded the prestigious Jules Kramer Departmental Scholarship and went on to obtain a Master’s degree in 2013 with his solo exhibition What You Want, Whenever You Want It. He has been a part of several group exhibitions across London, Spain, Milan and Brussels. Paulsen has also collaborated with respected fashion designer, Adriaan Kuiters to present multiple collections for the Mercedes-Benz Fashion week in Cape Town, as well as New York Fashion Week. In 2016, he participated in the Generation Africa fashion show in Florence, Italy.
DANCE | Sunnyboy Motau With 17 years in the arts industry, nine of which have been dedicated to dance, Sunnyboy Mandla Motau has humble beginnings, training with the Plumule Theatre Group in Alexandra. He currently provides dance classes and workshops for school children. In 2008, he expanded his training by joining Moving into Dance Mophatong (MIDM), and later established himself as a professional dancer and choreographer for the company. By 2010, Motau had presented his first choreographed solo at Dance Umbrella, titled Within Me. He has also toured throughout South America, Australia, Canada and Europe with Robyn Orlin’s Beauty Remained… In 2015, Motau toured Germany with the enthralling collaborative piece, Rebellion and Johannesburg.
Visual Arts |Benon Lutaaya
Creative Feel / November 2016 / 43
David Koloane in front of Sam Nhlengethwa’s work
A quarter-century for the
BAG FACTORY Over the last 25 years, the Bag Factory in Fordsburg has served as a space to facilitate, educate and provide opportunities for cultural exchange for both local and international artists. With its 18 studios, residency programmes,
I
n the late 1980s, following renowned South African artist Dr David Koloane’s engagements with artist workshops and artists’ studios during his studies in London and visits to New York, the initial idea for what is today the
Bag Factory was born. Koloane was inspired by the Triangle Workshop, started by artist Anthony Caro and art collector and philanthropist Robert Loder in New York, as well as the Stockwell Depot studios in London. Donated by the city, Stockwell Depot was a disused former
regular exhibitions, educational
brewery in south London that functioned as a co-operative
workshops, curator programme and
studio and exhibition space that heralded the emergence of
training opportunities for artists, it plays a
the London artists’ studio movement and gained international
key role in nurturing and promoting South
recognition as a centre for abstraction in Britain. Having witnessed the way in which artists were able to work in these
African artists.
studios, occupying a private space to create while easily able to work with the artists around them, Koloane brought this ‘new’ idea of artist studios back to South Africa.
44 / Creative Feel / November 2016
Bag Factory artists examine a model workshop by Public Works
David Koloane
David Koloane in his studio
After speaking to local artists to gauge interest, Koloane approached Robert Loder with the idea and he agreed to
and Sam Nhlengethwa moved in. They were soon joined
purchase such a space – if they could find one. Scouring
by Mark Atwood and Joachim Schönfeldt. Other artists
Johannesburg for a building with potential was tough at
who took up residence included such present-day
first, says Koloane, particularly with the racial divides and
luminaries as William Kentridge, Penny Siopis, Helen
most areas being strictly ‘white’ or ‘black’. It didn’t take long
Sibide, Wayne Barker, Benon Lutaaya, Ricky Burnett and
though for the ideal building, an old hessian bag factory in a
Deborah Bell.
‘grey’ area, to be found. Although procuring local funding to turn the factory
Today, the Bag Factory is part of the international Triangle Network, a group of 30 similar spaces from around
into individual studios took time, they were ready for
the world, keeping the studios continually connected to the
occupation in 1991 and David Koloane, Pat Mautloa
international contemporary art scene.
Creative Feel / November 2016 / 45
The Bag Factory, Mahlatini Street, Pat Mautloa, 2005. Acrylic on canvas
Helen Sibidi in her studio, 1994
From the very beginning, an integral part of the Bag
‘We also offer a curator programme for young
Factory has been the residency programmes. Although now
people to learn curating skills, taught and guided by
a desirable space for artists from around the world, the
experienced curators.’
residency programmes started quite casually and organically, says Koloane. Officially started in 1996, the Visiting Artists Programme
Through their two awards: the David Kolane Award and the Cassirer Welz Award, both for artists under the age of 35, the Bag Factory aims to develop the creative
is a three-month residency programme that allows for
and professional talents of young artists and kickstart
twelve artists from around the world to visit throughout the
their careers.
year. Once in residence, the artists create works, interact
The late Nadine Gordimer originally funded the
with the local art community and experience Joburg’s
Reinhold Cassirer Award (now the Cassirer Welz Award,
diverse cultural environment. Key for both visiting and local
in partnership with Strauss & Co and the Everard Read
artists is the networking opportunities that these residencies
Gallery), in memory of her husband, a noted art collector
provide. At the end of the residency, the artists hold open
and promoter. The award provides an opportunity to an
studios and public exhibitions.
emerging South African artist, working in the field of
For artists who can afford it, the Artist in Residence, self-
drawing and painting, and under the age of 35, to spend
funded programme provides self-catered accommodation
ten weeks at the Bag Factory’s studios, followed by an
and a studio for rent, along with support from the studio’s
exhibition at Everard Read.
staff and artists. ‘Apart from our residency programmes, we offer
The David Koloane Award is a six-week mentorship programme aimed at Johannesburg-based emerging
professional skills workshops to our artists as well as the
artists. During the programme, artists are mentored
public, such as video art, animation and performance art,
and trained by various experts in the field, with an
which are not generally taught in art schools,’ says the
opportunity to exhibit their work following the six-
Bag Factory. ‘When there is funding, we offer an audience
week period.
development programme, for example, where a school is
In addition, the Bag Factory has partnered with the
bussed in from a township to visit the studios and interact
Barclays L’Atelier competition to provide one non-South
with the artists. It is often the first time children from
African merit award winner a three-month residency,
disadvantaged areas have been to a gallery or come into
bringing him or her into contact with some of South Africa’s
contact with art in their life.
most exciting talents.
46 / Creative Feel / November 2016
Pat Mautloa and David Koloane featured in the Sunday Times
Pat Mautloa, who was one of the first artists to have a studio at the Bag Factory and is now a member of the board, says that art has always been a unifying medium to bring
Penny Siopis with work
gone on to win numerous other awards and has exhibited his work locally and internationally. ‘Being at the Bag Factory has given me the space to
those who lived in separate worlds together. ‘Now our artists
learn and develop. The residence has helped me to get
in residence are ambassadors for South Africa, and they
where I am today. And my success has allowed me to
come from all over the globe,’ he says.
give back to those in need and to the Bag Factory,’ says
‘Studio artists are able to attend residencies overseas,
Lutaaya. He has donated over R400 000 to children’s
such as India, Cuba and the rest of Africa. They’ve been
NGOs and has started a trust for underprivileged children
invited to exhibit at international biennales. Young
in Uganda.
artists who have won the Reinhold Cassirer Award and
Blessing Ngobeni applied for and won the Reinhold
the David Koloane Mentorship, their careers have really
Cassirer Award in 2012 and his career has blossomed
taken off. The Bag Factory is sustaining the culture of
since. He feels that this experience has benefitted him
the country.
both ‘artistically and personally’. ‘My works are now being
Artists who have been residents at the Bag Factory
recognised around the world. Art collectors know my
demonstrate how the organisation has given many unknown
work. All the media recognition I’ve got has stemmed from
artists their big break. Benon Lutaaya, originally from
winning this award,’ says Ngobeni.
Uganda, is now a hugely successful artist in his own right,
At its core, the Bag Factory is a space for
commanding upwards of R40 000 for a painting. He is
collaboration, inclusion and the creation of
known for his powerful paper collage portraiture paintings,
opportunities for artists working in a variety of media
‘recycling’ his materials as a medium by creating giant
from around the world. This once abandoned space
collages out of pieces of paper on which he previously mixed
has, for 25 years, provided a home and a foundation for
his paints. Lutaaya’s work often focuses on isolation and the
many of South Africa’s top artists. To celebrate this, the
fragility of life.
Bag Factory is hosting a retrospective exhibition on 28
‘Back in Uganda, life was a struggle,’ he says. ‘After
October, followed by an auction of works, in partnership
attending university, I started collecting newspapers to make
with the Absa Gallery, Strauss & Co and Creative Feel,
collages. I had no access to any kind of art or art materials.’
on 17 November, in order to raise funds to continue
Following his win of the Reinhold Cassirer Award in 2011,
providing the space that is so vital for the continued
creating art became a little bit easier for Lutaaya, who has
creation of art in South Africa. CF
Creative Feel / November 2016 / 47
Re-form VI, Lehlogonolo Mashaba, 2016. Mixed media drawing on Arches paper. 108x80cm. Valued at R36 000
48 / Creative Feel / November 2016
Towards A Scene, Jessica Webster, 2016. Oil on paper, series of six A3 paintings. Valued at R55 000
25:
A CONTEMPORARY ART AUCTION
large. The exhibition, Foundations and
F
Futures will kick off the festivities on
in the highest regard and experimentation is encouraged.’
In celebration of its 25th anniversary, the
Bag Factory is hosting a number of events for the public and artistic community at
28 October, with an important public
ounded in 1991, the Bag Factory was one of the first communal studio spaces in South Africa. Built out of the dream for artists from different backgrounds to be able to work together, the Bag Factory is a
community that continuously supports and builds on its ethos of ‘the community studio space where artists practice is held ‘Over 25 years, these foundations have been
auction entitled, 25: A Contemporary
strengthened by the artists and staff who have poured
Art Auction taking place at the Absa Art
the space,’ says Sara Hallatt, director of the Bag Factory.
Gallery on 17 November.
their passion and efforts into the community and ethos of ‘In recent years, the Bag Factory has worked hard to
Creative Feel / November 2016 / 49
NO 92 ,Gideon Appah, 2016. Oil on canvas. Valued at R45 000 encourage a younger community of artists to engage in our
Saxophone 6, David Koloane, 2016. Mixed Media. Valued at R120 000 On Friday 28 October 2016, the Bag Factory officially
programming, ensuring that the life-blood of the space –
begins the celebration of an incredible 25 years with
interaction and development – continues to pump.’
an exhibition entitled Foundations and Futures. ‘Since
In the past two and a half decades, the Bag Factory has
the inception of the organisation, over 300 artists have
played host to a number of South Africa’s top artists, such as
come through the space as studio artists, visiting artists,
Helen Sebidi, Deborah Bell, Sam Nhlengethwa, Penny Siopsis,
participants in workshops and exhibitions and as winners
Benon Lutaaya, Blessing Ngobeni, Neo Matloga, Dinkies
of award programmes. All of them have been influenced
Sithole, Kay Hassan and many, many more. The Bag Factory
and have influenced the space in many rich and diverse
has created an international following and a consistent
ways,’ says Hallatt. Artists participating in the exhibition
space for art loving members of the public to experience
include Blake Daniels; Paul Emmanuel; Jarrett Erasmus;
outstanding work. ‘While many things have changed over the
Marie Fricout; Gordon Froud; Carlo Galli; Arash Hanaei;
last 25 years, some have stayed the same,’ says Hallatt. ‘Artists
Diana Hyslop; Sharlene Khan; Asanda Kupa; David
David Koloane and Pay Mautloa, two of the original residents,
Koloane; Shenaz Mahomed; Pat Mautloa; Tshepo Mosopa;
still have studio space at the Bag Factory; the hessian bag
Ndikhumbule Ngqinambi; Tracey Rose; Usha Seejarim;
factory that gave the organisation its name still houses
Lerato Shadi; Johan Thom; Stijn van Dorpe and Mary Wafer.
the studios; and the creative community ethos remains in
There will be a buyer’s preview of Foundations and Futures
place. All this plays an integral role in the identity of the
on 27 October at the Bag Factory (tickets cost R250), with the
organisation and contribute to its longevity.’
exhibition officially opening to the public on 28 October.
50 / Creative Feel / November 2016
Armed Response, Norman Catherine, 2014. Silk Screen, 75x106cm, edition 10 of 30. Valued at R11 000 This will be followed by a public auction being held
November and December are full of activities for the
in partnership with Absa and Strauss & Co, entitled 25:
Bag Factory, with a master class in live drawing with
A Contemporary Art Auction, which takes place on 17
Diana Hyslop taking place on 15 and 16 November at
November at the Absa Gallery. The auction aims to raise a
the Bag Factory – the class is open to artists; the public
significant amount of capital to be used to initiate the Bag
will be able to attend In Conversations with Artists on 3
Factory’s large scale renovation programme, which will be
December at 14:00 at the Bag Factory; they will also host
done by architectural firm PGMA. It is estimated that this
a master class in sculpture with Usha Seejarim on 28
project will take between five to eight years to complete,
to 30 November, as well as a children’s puppet making
with the renovations being done in phases, matched by
workshop on 8 and 9 December. A special closing event
phases of fundraising. ‘The intention is to upgrade the
will take place at the Bag Factory on 10 December.
studios and their facilities as well as extending the Bag
Join the Bag Factory from October to December as
Factory’s studio offering and support its programming,’
they celebrate 25 years of outstanding artists, art and
says Hallatt. Through the auction, the organisation hopes
art enthusiasts. CF
to raise R1 000 000 of the R6 000 000 needed to complete the renovation project. A preview of the auction will be held at the Absa Gallery from Thursday 10 November, with the auction taking place
The Bag Factory Artists’ Studios can be found at 10 Mahlatini
at 18:00 on 17 November.
Street, Fordsburg.
Creative Feel / November 2016 / 51
The 2015 Artist Proof Studio Endowment Auction at the Absa Gallery and head offices
An Art Auction Collaboration Dr Paul Bayliss, Absa Gallery and Museum Curator,
pays homage to all the artists that it has impacted over
explains Absa’s partnership with the Bag Factory
this time. In essence, by supporting the Bag Factory we are
Artists’ Studios on the auction 25: A Contemporary Art
ultimately supporting young artists develop sustainable
Auction.
careers for themselves.
Dr Bayliss, you have again put your own experience and
Could you detail Absa’s involvement in the upcoming
that of the Absa Gallery behind an NPO to help them
Bag Factory auction?
raise money (as you did with Artist Proof Studio and
The Absa Gallery will host the auction and will promote
their endowment auction in 2015), is this something
the extraordinary work that the Bag Factory artists have
that you and Absa feel passionate about?
done over the past 25 years. The works on auction will
These projects align with our Shared Growth commitment,
be displayed in the Absa Gallery, forming a profile of the
announced earlier this year, whereby we aim to make a
calibre of artist that the Bag Factory attracts and helps to
positive impact on the communities in which we operate.
mould. The auction will take place at the Absa Gallery at our
With projects like this, we hope to support and enhance
Head Office Complex in downtown Johannesburg. Through
the broader visual arts industry. The Bag Factory does
working with other partners of the auction, like Creative Feel
remarkable work to support, empower and provide platforms
and Strauss & Co, we hope to promote both the auction and
for artists in South Africa and the continent as a whole.
the Bag Factory’s 25-year journey and the positive impact
There is a definite alignment with what the Bag Factory does
the organisation has had on the visual arts industry and the
in identifying and nurturing young talent from across Africa
development of young artistic talent over the years.
and the work that we do through our L’Atelier competition in the African countries that we have a presence in. Just
Why has Absa chosen to support the Bag Factory
as we recently celebrated 30 years of the L’Atelier, the Bag
specifically? Is there a synergy between them and Absa?
Factory is celebrating its 25th birthday. This is a remarkable
The Bag Factory is a valued partner to our L’Atelier art
achievement and shows the legacy of the Bag Factory and
competition. Through this partnership, a three-month
52 / Creative Feel / November 2016
residency at the Bag Factory is awarded annually to one of
reaching those with little access to or knowledge of the arts
the L’Atelier merit award winners. Many of the artists that
and showing the important role that visual arts plays locally
have come through the L’Atelier have formed part of the Bag
and internationally, and thus grow a greater appreciation. At
Factory family.
the same time, we want to be able to provide support to other institutions, like the Bag Factory, which are so vital to the
To do these charity auctions and exhibitions has
ongoing success and growth of visual arts in South Africa.
certainly brought new and interesting momentum to the Absa Gallery, is this part of a bigger strategy?
How were the artworks that are being auctioned
An important aspect of our strategy is identifying and
chosen? Were they donated or part of a collection?
nurturing young talent in the visual arts industry, which we
Artists who had taken up residency at the Bag Factory in
do through the L’Atelier art competition and ongoing monthly
the past 25 years were invited to take part. The response
exhibitions in the Gallery. Our strategy is twofold, as we also
was exceedingly positive and some artists created works
work to ensure that these young artists have a market that can
specifically for the auction, while others made their existing
appreciate their work. A lot of our programmes are aimed at
works available.
For many years the Bag Factory has been very special to Creative Feel because it’s one of the few arts institutions that has always provided mentorship, an inspirational space and opportunities for artists to grow and thrive. Twenty-five years later, it is reaching and making a positive impact on the lives of even more artists across our continent. - Lore Watterson, Editor-in-Chief of Creative Feel, media partners to 25: A Contemporary Art Auction
Susie Goodman is General Manager Johannesburg
Why has Strauss & Co chosen to support the Bag
of auction house, Strauss & Co. They have partnered
Factory specifically? Is there a synergy between them
with the Bag Factory Artists’ Studios to ensure the
and Strauss & Co?
auction runs smoothly and to the high standard
The Bag Factory has a long history of nurturing and
associated with the auction house.
promoting South African artists. As an important educator, it has provided a supportive and creative platform to
Strauss & Co again put its extensive knowledge and
launch the careers of many well-known artists, many
expertise behind an NPO to help them raise money (as
who are still involved with the studio. It provides studio
you did with Artist Proof Studio and their endowment
space, residencies, exhibitions, educational workshops,
auction in 2015), is this something that Strauss & Co
curator programmes and training opportunities for artists,
feels passionate about?
community groups and the general public. Strauss & Co
Strauss & Co is deeply committed to investing in the
recognise the importance of these initiatives, hence the
development of art education, aligned with a philosophy of
support of its fundraising initiatives.
supporting the art community, and more specifically initiatives that enable creative skills training. As the leading fine art auction
Is there a particular artwork on auction that you think
house in South Africa, we are acutely aware of our responsibility
will do very well?
to further the growth of grassroots organisations and to expand
There are a number of wonderful contemporary artworks
the art market. To this effect, we are able to provide considerable
on auction and we believe that the new work entitled
knowledge and expertise to assist in fundraising efforts.
Modelling Figure by Benon Lutaaya and Woman I by Deborah Bell will generate much interest. There are also
Could you detail Strauss & Co’s involvement in the
new or never before seen works by David Koloane, David
upcoming Bag Factory auction?
Goldblatt, Ed Young, Gail Behrman, Nelson Makamo and
The company provides the live auctioneering and
many others. CF
logistical support.
Creative Feel / November 2016 / 53
Inhale. Exhale. Making the invisible visual, the exhibition Air: Inspiration - Expiration, curated by Cyril Coetzee assisted by Robyn Sassen, takes place at the Standard Bank Gallery in Johannesburg until 3 December 2016. Various wood and hide drums. Standard Bank African Art Collection and Wits Art Museum Collection
Ingilozi (Angel), Bhekhizenzo Myeni, 2003. Standard Bank African Art Collection, housed in Wits Art Museum
Graft, Gerhard Marx, 2015. Goodman Gallery
A
ir: Inspiration - Expiration is the fourth and final
condition for the creation of the world. For artists,
exhibition in a thematic series based on the ancient
creativity begins with the blank canvas or page or screen,
elements of water, fire, earth and air. It could be
with materials that can be stretched and compressed – or
argued that, of these four, air presents the greatest
otherwise manipulated to produce shapes, lines and colours.
challenge to visual artists: although it is in and around us at
Air may be ‘invisible’ most of the time, but its effects are
every moment, it is the most difficult to ‘see’ and thus to depict in
everywhere on display.
a visual medium. As curator Cyril Coetzee notes in his catalogue
Wind, as we learned as schoolchildren, is moving air. In
essay Forms of the Unlimited: Air and Breath in Contemporary
this exhibition, some of the artists used have used ‘moving
South African Art, air is ‘without direction’: ‘it eludes structure.
air’ to create. Christine Cronjé’s Ek is (I am) was formed by
It is “chaotic” – hence the word “gas”, which derives from the
her breath blowing gently over a circle of ash as she spoke
ancient Greek khaos (chaos), meaning “empty space”. Air is
the words in the work’s title. For Cronjé, too, the ancient
typically elastic. It can be stretched and compressed.’
Greeks offer a useful reference point: the Greek pneuma is
Here, however, there is a conceptual link with the praxis of art. In Greek mythology, khaos was also a necessary
54 / Creative Feel / November 2016
both wind and breath, but also has a spiritual implication – ‘Pneuma is the breath-soul’. This is evoked in her 2013 video
work Pneuma, which lends both mystery and sanctity to the
Siopis’Blow Up and Ash seem to capture the mushroom
expansion and contraction of the lungs.
cloud effect following a nuclear blast. Coetzee suggests that
Last year, NASA produced an animated account of how
the atomic cloud is also one of the ‘omnious connotations’
the earth appears to ‘inhale’ and ‘exhale’; the video shows
to Robyn Penn’s cloudscapes, which might otherwise be
the seasonal cycles as if the planet itself were breathing
understood to belong to a very different aesthetic tradition.
in and out. Since the release of the famous ‘blue planet’
Casper David Friedrich or William Turner are the forebearers of
photograph taken from Apollo 17 in 1972, images of the earth
pieces like Penn’s Nine Views of a Cloud and Echo. Yet, for 21st
Incelwa/Nefuko (Woman’s bubble-pipe and bowl), Artist unrecorded. Standard Bank African Art Collection, housed in Wits Art Museum
Locust, Walter Oltmann, 2004. Goodman Gallery
Madeline Groenewald plays the French Horn
from space – perhaps precisely because space is airless and
century viewers, the sublime is tainted; Penn juxtaposes her
inhospitable to life as we know it – have emphasized both the
cloud paintings with portraits of climate change denialists.
wonder and the fragility of the planet’s ecosystems. Of course,
Several pieces in this exhibition taken from the Wits
the world does breathe (albeit with increasing difficulty).
University and Standard Bank’s African art collections
Animals and humans exhale carbon, which is absorbed by
likewise, connect sound and sight – and, more specifically,
planet matter; plants produce oxygen during photosynthesis.
musical and visual art – including Venda ngoma drums from
The earth absorbs carbon when plants and animals decay;
southern Africa, and a Luba iron bell from central Africa.
carbon is extracted from the ground by humans, who burn
In one of her catalogue essays, co-curator Robyn Sassen
fossil fuels, releasing carbon into the air again. We are in
celebrates each of the eleven musical instruments on display
the age of the Anthropocene – human behavior affects our
as ‘more than just a beautiful object … Touch the string of an
planet’s atmosphere and its biosphere. Climate change is a
umrhube, blow into the airhole of a pipe, take a baton and
consequence of the carbon cycle gone wrong.
knock on a key of a marimba, touch the membrane of a drum,
A number of the works in this exhibition address both the power and the danger of industry and technology. Penny
and something happens: the object comes to immediate and relevant life, and its voice defines its identity.’ CF
Visit www.standardbank.com/air for further info. Creative Feel / November 2016 / 55
Gula by Vincent Mantsoe. PHOTO John Hogg
Mantsoe’s iconic man-bird soars gloriously once more The always inspiring, annual Vuyani Week is taking place at the beginning of December and a highlight will be Phumlani Nyanga and fellow Vuyani dancers’ performance of Vincent Mantsoe’s Gula. Christina Kennedy spoke to Gregory Maqoma, Mantsoe and Nyanaga about this exciting project.
T
he man-bird whistles, coos and preens as he arches his back and looks around curiously before setting off on a mesmerising avian dance. No, it’s not Birdy, the Alan Parker film about a
mentally unstable Vietnam veteran, or Birdman, the Oscarwinning satire starring Michael Keaton. It’s choreographer Vincent Mantsoe’s influential solo work Gula (meaning ‘bird’), which is being reprised by a new generation of South African dancer almost 25 years after it was created. Inspired by the pigeons he used to feed in his gogo’s backyard, the young Mantsoe conceived what is regarded as one of the defining works in the South African contemporary dance lexicon.
Book for Vuyani Week, taking place at the Market Theatre
Now based in France, Mantsoe returned to this country
from 2 to 4 December 2016, through Computicket.
recently to pass the Gula baton on to a dancer and budding
Visit www.vuyani.co.za for more details.
choreographer from Vuyani Dance Theatre, Phumlani
56 / Creative Feel / November 2016
Nyanga, guiding him while encouraging him to take flight
Nyanga, whose soft-spokenness in person is in stark contrast
with his own interpretation of the work. Mantsoe also
to his confidence and charisma on stage, recalls first seeing Gula
performed his new solo work, KonKoriti, and gave workshops
performed at the National Arts Festival in Grahamstown in 1997
and master classes in Johannesburg and Durban during his
and being inspired by it as a teenager, never dreaming that one
brief South African sojourn.
day he would be performing it on a professional stage.
From 25 to 30 November 2016, Nyanga will perform Gula
He admits: ‘It’s not easy to step into someone’s shoes, to
at the Danse l’Afrique, Danse! festival in Ouagadougou,
carry that person’s load. But when I’m working with people,
Burkina Faso, and also in Paris next year. He and other
I create an extra room [in my mind] so that that person can
Vuyani dancers will reprise it for Johannesburg audiences
fill that room. It allows me to be me, and throw away what I
during Vuyani Week at the Market Theatre from 2 to 4
know and let him give you what he has.’
December 2016, when the youngsters from the company’s outreach programme will also be performing.
Still, it could be intimidating being mentored by a dancerchoreographer who has won so many awards for the iconic work
It was an emotional occasion when Nyanga gave a preview performance of the Gula solo (there are other dancers, or ‘pigeons’, who join him for the rest of the piece) at Vuyani’s
Gula by Vincent Mantsoe. PHOTO John Hogg
Newtown studios recently. Waves of love washed over the slightly-built 45-year-old Mantsoe as friends and former dance colleagues gathered to see Nyanga, 11 years his junior, take his masterwork and add his own feathers to its plumage. ‘It’s a pleasure and honour to bring back Gula, especially here at Vuyani,’ Mantsoe said, struggling to hold back tears. ‘It’s goosebumps for me. I may have left, but home is home. And this is the solo that made me who I am today.’ Vuyani founder Gregory Maqoma recalled auditioning for Moving into Dance (MID) at the Braamfontein recreation centre in 1990 along with Mantsoe – having stopped by his friend’s house en route only to find Mantsoe half-asleep, and convincing him to come along. It was an encounter that would change both their lives. ‘MID founder Sylvia Glasser envisioned us as giving back, and now we’re continuing the cycle of giving back and breeding new voices,’ said Maqoma, himself a successful
in question. But, Mantsoe says: ‘I tell dancers that we’re all very
dancer-choreographer of international stature. He related
different – we don’t have the same DNA, so we’ll have our own
how Mantsoe later repaid the favour of dragging him to that
interpretations of the same work. Once you know what your body
career-defining audition, coaxing Maqoma away from the
has to do, it’s your responsibility as a dancer to make it your own
world of insurance brokering and back into dance in 1994.
– and to own that work … without copycatting other people.’
Nyanga is the fourth dancer to perform the work – which
Mantsoe runs Association Noa/Company Vincent
Mantsoe has danced all over the world, and continues to do.
Mantsoe in the French village where he lives, teaching,
He explained that when he was given the opportunity by
dancing and creating new works that regularly tour North
French funders to mentor someone to perform his work at
America, Europe and Asia. His signature choreographic style
the Danse l’Afrique, Danse! Festival in Burkina Faso, he knew
fuses his African dance roots with contemporary influences
it should ideally be a dancer from back home.
drawn from around the world, including Asian movement.
‘I didn’t want to take someone from France, knowing
He is eager to bring the passion and ‘hunger’ back to
there were very good dancers in SA, where the work was
the increasingly professionalised world of contemporary
originally formed. I’d seen Phumlani in other Vuyani work
dance. ‘I may live in France, but it gives me even more of
and felt it was necessary to transmit this very old work
an opportunity to understand where I come from and who
to him. There are very important things to the solo: the
I am, and share it with others,’ he says. ‘My work is really
articulations, the whistling, the communication with the
appreciated abroad but I want to share it with the people I grew
birds, how to use the head, the flexibility – it’s not just
up with, and with the younger generation. It’s a question that’s
flapping. You have to convince people that you are a man
been bugging me and so when the opportunity came to transmit
who’s literally transforming into a bird.’
the work locally, I jumped at it.’ CF
Creative Feel / November 2016 / 57
Kebarileng Sebetoane Parktown, Johannesburg 2012
A DECADE OF
58 / Creative Feel / November 2016
FACES
Ayanda Magoloza Kwanele South Katlehong, Johannesburg 2012
Collen Mfazwe August House, Johannesburg 2012
AND PHASES A personal reflection on the career and
photographs of Zanele Muholi by Donna A M Smith, who co-founded FEW (Forum for the Empowerment of Women) with Muholi.
M
uch has been written and said about awardwinning photographer, Zanele Muholi, and
her ground-breaking work of documenting the lives of black lesbians and transgender persons
in South Africa and other parts of the continent, as well as in the diaspora. Not all of it has been complimentary. In fact, I
Stevenson Gallery recently hosted Muholi’s
overheard a conversation some time ago among a group of
exhibition, Faces and Phases 10, a special
young, black, queer women activist intellectuals bemoaning
project celebrating the 10th anniversary of
the fact that no-one was telling ‘our’ stories. When I suggested that Muholi was doing exactly that, they dismissed
her acclaimed portrait series documenting black lesbian and transgender individuals from South Africa and beyond.
her work as elitist, in that its primary target is academics in North America and Europe; and biased, in that it focuses on poor, black lesbians in the townships of South Africa, who have experienced violence and other forms of abuse…
Creative Feel / November 2016 / 59
Funeka Soldaat Makhaza Khayelitsha, Cape Town 2010
At the same time, I can’t help but thinking, is this not the appeal of Muholi’s Faces and Phases series – its authenticity, its sincerity, its honesty? The fact that it tells the story that Muholi knows, the story of her friends, neighbours, colleagues, community, people she grew up with – her story? The fact that it dares to tell the story through the eyes of those who live it, to those who would presume to tell it on their behalf? When I met Muholi 17 years ago… She had no camera, no formal training in photography, no plan, no connections, no following, no crew. But she loved pictures – not just taking them, but pictures in and of themselves – the stories they tell, the way they are able to capture particular moments in time, in the way words cannot. And she loved people, being with people, living and working and making things happen for/with people, taking pictures of people being themselves. In particular, Muholi loved/loves women – not just romantically or sexually as a lesbian, but with a profound appreciation and respect for our power, as women; our capacity for understanding, compassion and nurturing; our strength, forbearance and resilience; our capabilities, our wisdom; our ability to achieve whatever we set our minds to, against all odds, and without the advantage of male privilege. As she was raised by a single mother – a warm, loving woman, the sweetest, most compassionate, supportive, accepting soul I’ve ever known – in a household dominated by an array of
Women (FEW), the black lesbian organisation we co-founded
formidable older sisters, this is not surprising.
in 2002. Having by then honed her own skills through the
Most importantly, Muholi had a vision of the quality of
Market Photo Workshop, she wanted to share what she had
life that she and other black lesbians should be enjoying,
learned with others, and empower them to tell their own
and an almost scary determination to close the gap
stories on their own terms…
between their lived realities, and that vision. And she knew
But it must be understood that Faces and Phases did
instinctively that the place to start would be to expose that
not start as a standalone photography project. Its context
gap, by documenting our lives and telling our stories, in our
was FEW’s work of documenting and reporting hate crimes
voices, in various spaces.
against black lesbians in South African townships. As
Previously, what was seen in the media about black
part of the interviews – which often took place over many
lesbians was either the product of some heterosexual male’s
visits during which trust grew and bonds developed –
uninformed imagination, or some scandalous titbit of
Muholi would request permission to capture images of the
celebrity gossip, that bore no relation to our experiences.
interviewees, to go with their stories…
There was very little actual research, and such as existed
Over the decade since its inception, the series has made
was mostly generated by journalists and academics overseas
nonsense of the assertion that homosexuality is ‘un-African’,
whose primary sources were few and far between. Images of
by placing before the public, image after image of very
black lesbians were virtually non-existent, so much so that it
African homosexual women and transgender persons. ‘We
was easy to suppose we ourselves also did not exist.
exist, we are here, we are part of the fabric of our societies,’
It was the need to reverse this trend that led to Muholi’s first Photography Experience (PXP1), as part of the skills development programme of Forum for the Empowerment of
60 / Creative Feel / November 2016
the series screams. But Faces and Phases is about more than visibility – it is also about urgency. Muholi is always careful to explain
Charmain Carrol Parktown, Johannesburg 2013
me as I am, stop trying to make me into what you want. And if you won’t, I’m willing to resist, to stand up to whatever you might throw at me. I may bend, I may wobble, but I will not allow you to break me.’ Over the decade since the first F&P exhibition, many black lesbian lives have been lost, either to violence or illnesses related to violence. In the same year that Busi died, another FEW stalwart – multi-talented artist, activist and mother, Buhle Msibi – succumbed to an Aids-related condition which, as bad as it often got, rarely prevented her from showing up at, and contributing to, our events and activities. The series seeks, as well, to call to mind and honour them, and others like them – death is, after all, one phase that we will all experience, sooner or later. And, before that, there is aging; and, before that, career changes, and life events like marriage, loss of loved ones, becoming parents, re-locating; and before that, the movement from childhood, to adulthood, to maturity… But there is another type of transition that Faces and Phases has always spoken to, and that is the transition from one gender to another. Long before the LGBTI community had any proper conversations or developed any real understanding of what it meant to be transgender; and long before transgender issues became the flavour of the month for funders in the gender and sexuality sector, the F&P exhibitions included images of women who were so masculine-presenting as to that the individuals in her photographs are not subjects,
completely turn on their heads whatever notions viewers may
but participants…
have previously had about gender.
Participants choose how they wish to be presented –
So, then, Faces and Phases is also about claiming and
the setting, their clothes, even their poses, where they feel
occupying space – not only political and social space, but
strongly enough about it. Despite this variety of contexts,
also space for self-reflection. This is why the exhibitions
Muholi’s style is distinctive, and as uncompromising as the
are always packed to the rafters with Muholi’s constituency
gaze that participants return to the camera. Making the
– because they provide all three. And also because Muholi
portraits black and white – Muholi’s favourite medium –
makes every effort to ensure that the participants in the
immediately evokes the racial tension that is still so very
project are able to attend and see the results of their work
much a part of the South African landscape.
together, including sponsored transport for those who would
The faces are unsmiling, but open, inviting engagement, making it clear that this is not entertainment, but
not otherwise be able to make it… Faces and Phases is more, much more than just a collection
communication… The eyes in particular ask the question:
of photographic works for exhibition. It is a relationship
What don’t you see when you look at me? – the title of another
between photographer and participants, participants and
of Muholi’s earlier exhibitions. They invite a closer, deeper
society. It locates black lesbians and transgender persons
look into them, to see the pain and joys, the hopes, the fears,
within the body politic, and guarantees that we will not be
the love and laughter, that are all part of what the person
obliterated from history, like so many minorities in previous
behind the image has experienced, and who she is.
civilisations. It is a record, for all posterity, of our presence
There is a certain dignity about each portrait, and the defiant stance – head raised, shoulders back – says: ‘accept
here, an assurance that never again can it be said that ‘such human beings’ do not exist in Africa. CF
Creative Feel / November 2016 / 61
ALONE IN BERLIN DIRECTOR: Vincent Pérez STARRING: Emma Thompson, Daniel Brühl, Brendan Gleeson
Berlin 1940. The city is paralyzed by fear. Otto and Anna Quangel are a working class couple living in a shabby apartment block trying, like everyone else, to stay out of trouble under Nazi rule. But when their only child is killed fighting at the front, their loss drives them to an extraordinary act of resistance. They start to drop anonymous postcards all over the city attacking Hitler and his regime. If caught, it means certain execution. Their campaign soon comes to the attention of the Gestapo inspector Escherich and a murderous game of cat-and-mouse begins. But the game serves only to strengthen Otto and Anna’s sense of purpose and a renewed love for each other. Slowly their drab lives and marriage are transformed as they unite in their quiet but profound rebellion...
62 / Creative Feel / November 2016
10-12PGV
AT CINEMAS 18 NOVEMBER Creative Feel / November 2016 / 63
Book Reviews Recently published
On Bowie | Rob Sheffield | Publisher: Headline Publishing Group | ISBN: 9781472241054 Rolling Stone critic, bestselling author, and lifelong Bowie fan, Rob Sheffield shares his own feelings in a thoughtful and loving meditation on the life of the late David Bowie. This concise and penetrating book explores his creative legacy and the enduring and mutual connection he enjoyed with his fans as an innovative, pioneering and brave icon. Until his death in January 2016, David Bowie created art that not only pushed boundaries, but helped fans understand themselves and view the world from fantastic new perspectives. When the shocking news of his death on 10 January 2016 broke, the outpouring of grief and adulation was immediate and on going. Fans around the world and across generations paid homage to this brilliant, ever-evolving artist who both shaped and embodied our times. In On Bowie, Sheffield explains why Bowie’s death has elicited such an unprecedented emotional outpouring from so many.
Dear Mr M | Herman Koch | Publisher:
Emily Hobhouse: Beloved Traitor |
The Jungle Books | Rudyard Kipling |
Picador, an imprint of Pan Macmillan |
Elsabé Brits | Publisher: Tafelberg,
Publisher: Alma Classics Ltd | ISBN:
ISBN: 9781447294726
an imprint of NB Publishers | ISBN:
9781847495839
Mr M is being watched and as a
9780624076629
In The Jungle Book and its sequel, The
famous writer, he is no stranger to
Defying the constraints of her gender
Second Jungle Book, are the mythical
the limelight. Even though interest
and class, Emily Hobhouse travelled
adventures of Mowgli, the young man
in his work has been dwindling
across continents and spoke out
raised by wolves in the jungles of
of late. This gripping page-turner
against oppression. A passionate
central India, and his friends Baloo the
explores the narrator’s keen interest
pacifist and a feminist, she opposed
bear, Bagheera the panther and Kaa
in M’s work, and indeed in every
both the 1899-1902 Anglo-Boer
the python, as they face the archvillain
aspect of the writer’s life. All while
War and World War One, leading
Shere Khan the tiger. Now, with brand-
the narrator’s own life resembles
to accusations of treason. Elsabé
new illustrations by Ian Beck, Kipling
a plot straight from Mr M’s most
Brits travelled in Emily Hobhouse’s
draws from these ancient fables and
famous novel. Dear Mr M is nothing
footsteps, retracing her inspirational,
his own experiences in India to vividly
short of thrilling fiction from the
often astonishing journey, to bring to
form the relationship between humans
author of the internationally best-
life a colourful story of war, heroism
and nature in The Jungle Books, that
selling novel, The Dinner.
and passion with a fresh and nuanced
will continue to inspire readers young
look at an extraordinary woman and
and old.
her lifelong fight for justice.
64 / Creative Feel / November 2016
CDs & DVDs The latest releases to suit all tastes
Cantata Memoria: For the Children | Karl Jenkins | Deutsche Grammophon 4796486 With raindrops simulated in the orchestration by harp, percussion, then pizzicato strings, Cantata Memoria is a choral commemoration of the Aberfan tragedy of 21 October 1966. The day 116 children and 28 adults perished when a coal spoil tip enveloped a school and some houses in Aberfan, South Wales. The recording features leading Welsh soloists including baritone Bryn Terfel, soprano Elin Manahan Thomas, euphonist David Childs and harpist Catrin Finch, together with young violinist Joo Yeon Sir. The work, commissioned by S4C, is symbolic and offers a memorial in music for the disaster in Wales, while cherishing the childhoods of the country’s young through two distinct sounds from the two sections. Jenkins says, ‘this work is music and a poem. It is not a documentary, nor even a dramatisation, but it does include a conflation of ideas and facts that were relevant and are by now part of the legacy.’
Legacy - The Very Best Of | David
Verismo | Anna Netrebko | Orchestra
Breeze: A Definitive Jazz Collection |
Bowie | Parlophone (Warner Music
dell’Accademia Nazionale di Santa
Various | Warner Music Group | 459
Group) 5919870
Cecilia | Antonio Pappano
The ultimate laid back, guitar
Referred to as ‘an introduction to
Deutsche Grammophon | 4795105
sounds that George Benson’s own
a world of incredible music, just
Anna Netrebko, with a recording
breakthrough album titled Breezin’ is
waiting to be enjoyed by a whole new
career stretching a mere dozen years,
known for as the introductory track,
generation’ Legacy is a double-disc
has managed to seduce the classical
this collection induces audio time
compilation of David Bowie’s biggest
scene with the beauty of her voice,
travel through jazz classics. ‘The Best
singles, including the breakthrough
superb vocal control and supreme
is Yet to Come’ is a memorable 1983
hit ‘Space Oddity’, the collaboration
musicality. Having successfully
duet between saxophonist Grover
with Queen on ‘Under Pressure’
broached Verdian roles of Giovanna
Washington Jr. and the ‘Godmother
and an unreleased version of the
d’Arco and Lady Macbeth, she expands
of R&B’ Patti LaBelle that serves as
1971 classic, ‘Life on Mars?’. The
her vocal and artistic range on Verismo
a soulful blend. Other enchanting
collection is hand-picked from 50
through her dazzling portrayals
vocals include a silky Anita Baker in
years worth of music: from the very
of Puccini’s Manon, Butterfly and
her piano-driven hit ‘Body & Soul’
first recordings, right through to the
Tosca, Cilea’s Adriana Lecouvreur
and sultry Gabriela Anders’ Latin-
last album, Blackstar. David Bowie
and Giordano’s Maddalena (Andrea
tinged offering, ‘Fire of Love’, while
was at the vanguard of contemporary
Chénier). Between the two poles
Joe Sample, Miles Davis and David
culture as a musician, with a
represented by Ponchielli and Boito
Sanborn provide jazz instrumental
constant influence on generations,
on the one hand and by the world of
favourites ranging from the smooth
artists and designers, and will always
Puccini on the other, we find a veritable
and relaxed to the Cuban infused and
be remembered as an icon.
repository of the verismo style.
the pop-charged.
encore Sara Hallatt is currently the Director of the Bag Factory Artists’ Studios. Prior to that, she spent ten years in event management, notably playing
a role in producing the opening and closing ceremonies of the 2010 FIFA
World Cup. In 2015, Hallatt completed a Diploma in Business Management and, upon being awarded the Mandela Washington Fellowship, studied entrepreneurship at Northwestern University in Chicago.
Name three artworks that you love and why.
Name one thing you think would improve the arts and culture
I have the privilege to be surrounded by the outstanding artists of the Bag
industry in South Africa.
Factory but my most recent purchases of work are from artists:
I would love to ensure that the children of South Africa have better
Tshepo Mosopa – 2011 Reinhold Cassirer Award Winner; Mmabatho
access to the arts. So many young people in South Africa have never
Mokalapa – 2016 L’Atelier finalist; Diana Hyslop – Bag Factory studio
visited a museum or studio space and aren’t taught the value of creative
artist. Tshepo’s work has a unique language of line that I am in love with.
pursuits. I would love to see more political will to make the arts an
Mmabatho’s work is a plaster of Paris piece that expresses both a delicateness
important part of young people’s lives.
of material and harshness of engraving. Diana’s bold colours and unique figures (in the case of the work – two figures moulding into one) literally spoke
What is your most treasured possession?
to me everyday until I convinced her to sell it to me.
Ummmm, what would I save in a fire? Probably my photo albums. I am very sentimental.
Name one artist you would love to meet. I am fascinated by artists that cross boundaries of mediums and I am,
What do you regard as the lowest depth of misery?
at present, fascinated by Antoni Gaudi’s work. Crossing boundaries of
This was the hardest question to answer. Probably doing dishes. It’s a
design, art and architecture. I do love all things 3D, which I suppose is a
running joke in the studios that artists use the dishes for all kinds of art-
hang-up from my design background.
related endeavours, which makes them really difficult to clean!
What are you reading at the moment?
What is it that makes you happy?
I am always between a couple of books, so right now it is Notes on a
Spending time with my family (which includes my dogs) and designing
Scandal by Zoe Heller, Notes from a Small Island by Bill Bryson and Zero
‘things’ at home.
to One by Peter Thiel. What projects will you be busy with during 2016 and into 2017? What is in your car’s CD player?
The 2016 programme is filled with events that celebrate our 25th
Sheryl Crow – Tuesday Night Music Club, Counting Crows – August and
anniversary, including artist talks, walkabouts, master classes and
Everything After and Nina Simone – Anthology: The Colpix Years.
kids activities (for more information watch our Facebook page: BagFactoryArt). 2017 kick starts with our Cassirer Welz Award winner’s
If you could change one thing about yourself, what would it be?
show, opening at the Everard Read Gallery on 4 February 2017. That will
I wish I had a better handle on ‘busy-ness’. I feel like the way the world
be followed by a visiting artist’s residency exhibition opening at the end
requires us to work does not allow for too much experimentation. If I could
of March and then the L’Atelier Merit Award winner, Onyis Martin, joins
do away with my busyness, I would experiment more. Its why I love the
us in June for his residency. We are supremely grateful to our partners,
process versus product ethos of the Bag Factory.
who see the value in our studio space and the difference it can make in an artist’s career.
How have the arts industries in South Africa changed over the last ten years?
Name one goal you would like to achieve in the next twelve months.
In the last almost six years as director, I have seen a notable change in our
We are aiming at greater international partnerships that both allow
audience base and I am so pleased by this. More and more South Africans
South African artists to have their work shown overseas as well as
express an interest in the creative industries and seem to better understand
bringing international artists and curators to the Bag Factory. We
its potential positive impact on our lives. In addition to this, I think that the
would also like to kick start a major renovation to the Bag Factory
arts have become more competitive, driving artists to produce higher quality
building. The funds raised from our 25th anniversary auction will be
work. The level of professionalism with which young artists are approaching
invested and used to this end. We expect the project to take between
their work is truly impressive. Their understanding of the market and their
five to eight years to complete but my hope is that it will be launched
drive to produce work is seeing the industry grow from strength to strength.
in 2017. CF
e Creative Feel Creative Feel www.creativefeel.co.za
www.creativefeel.co.za
The Bag Factory
11016 519004 771607
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The global leader in the South African art market
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Important South African and International Art AUCTION IN JOHANNESBURG | 7 NOVEMBER 2016 | PREVIEW 4-6 NOVEMBER | 011 728 8246 | jhb@straussart.co.za | straussart.co.za
SA R36,90 (incl. VAT) - November 2016
Alexis Preller, Space Angel R4 000 000 – 6 000 000
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11016 519004 771607
The Bag Factory The global leader in the South African art market
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AUCTION IN JOHANNESBURG | 7 NOVEMBER 2016 | PREVIEW 4-6 NOVEMBER | 011 728 8246 | jhb@straussart.co.za | straussart.co.za
NOVEMBER 2016
Important South African and International Art
SA R36,90 (incl. VAT) - November 2016
Alexis Preller, Space Angel R4 000 000 – 6 000 000
A contemporary
25: Art Auction
Alexis Preller, Space Angel R4 000 000 – 6 000 000
Important South African and International Art AUCTION IN JOHANNESBURG | 7 NOVEMBER 2016 | PREVIEW 4-6 NOVEMBER | 011 728 8246 | jhb@straussart.co.za | straussart.co.za
The global leader in the South African art market