ART FUL LIVING
Curating the future
THE SWEET LIFE:
Experience 19th-century farm life at Babylonstoren’s Soetmelksvlei
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HORSE POWER:
Two new Ferrari masterpieces highlight the marque’s endless luxury appeal
THE ART ISSUE
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THE ART OF CONNECTION: Contemporary works and upcoming events at Africa’s largest art fair
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THAT’S WHAT SHE SAID: Celebrating artist Mary Sibande
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THE FUTURE IS HANDMADE: Merchants on Long founder Hanneli Rupert takes us into the world of Homo Faber
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THE VOICE THAT ALWAYS WAS: An intimate refl ection on Banele Khoza’s artistic journey
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THE DIGITAL ART OF USURPA: Empowering artists at Africa’s fi rst digital art space
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HOOPS & HUMANITY: Looking through the lens of basketball photographer Kevin Couliau
A NEW FIRST: THE 140TH ANNIVERSARY LIMITED EDITIONS
Harnessing the manufacture caliber B19, Breitling’s first exclusive perpetual calendar chronograph movement. A tribute to 140 years of watchmaking innovation.
PREMIER B19 DATORA I NAVITIMER B19 CHRONOGRAPH I SUPER CHRONOMAT B19
TheAR T&issueDESIGN
The art world is rapidly evolving thanks to the developments in key trends such as digital technologies, sustainability, experiential art, diversity, and globalisation. Africa’s rich cultural heritage and contemporary art scene are influencing these global changes.
One of today’s most exciting trends is the rise of digital and AI-generated art. As much as it’s exciting, it’s not short of challenges – copywriting being one of them. African artists are harnessing digital platforms to create and share their work, exploring themes such as identity, history, and the future through new technologies. The Afrofuturism movement, which combines African history, culture, advanced technology, and science fiction, is gaining traction across the African continent, and allows artists to experiment and break boundaries. A few names come to mind: Nigerian artist Malik Afegbua, Kenyan digital artist Malik Afegbua, and our own Thekiso Mokhele.
Khetiwe McClain, Executive Director Client Advisory at Strauss & Co, shares some exciting trends emerging in the art world…
ON THE COVER
As global environmental issues become increasingly urgent, African artists are leading the way by addressing the concerns of climate change, deforestation, and pollution by using recycled materials. We see this in the works of the likes of El Anatsui, Mo at Takadiwa, Mbongeni Buthelezi, and the recent winner of the Cassirer Welz Award, Tawanda Takura.
Awareness and importance of diversity and inclusion are progressively gaining prominence
PHOTOGRAPHER: Bernard Brand
in the art world. After centuries of erasure and invisibility, today we recognise the importance of including the voices of the marginalised. This is underpinned by a deeper understanding that art can challenge societal norms and promote social change. Historically, African artists have been under-represented in the global art market, but this is changing. Institutions, galleries, and art fairs worldwide are displaying more African art and artists. Most recently, this year’s Venice Art Biennale saw many African countries participating, with 13 having o cial pavilions.
We’re also seeing more African artists embrace immersive and experiential art, designing installations and performances that invite the audience to participate in or immerse themselves in the artwork itself. These experiences often draw on the continent’s rich traditions of storytelling. An exhilarating example I recently experienced was in the Benin Pavilion at the Venice Biennale, where Romuald Hazoumè’s centerpiece featured his signature masks using petrol containers; the use of found objects was so cleverly executed.
As you page through this issue of YourLuxury Africa, you’ll see how our artists are contributing their unique insights and innovations to the global art scene. As these dynamics continue to unfold, Africa’s influence is poised to grow, o ering new perspectives on art, culture, and society.
EDITORIAL: EDITOR Ntokozo Maseko Ntokozo@yourluxury.africa
PUBLISHER & BEAUTY EDITOR Ingrid Wood ingrid@yourluxury.africa CREATIVE DIRECTOR Kate Walters
COPY EDITOR Tamlyn Cumings CONTRIBUTING EDITOR Leigh Herringer IMAGE EDITOR Coralie Elske DIGITAL EDITOR Norma Young norma@yourluxury.africa
ADVERTISING & MARKETING: ADVERTISING DIRECTOR Yvonne Sha +27 (82) 903 5641 I yvonne@yourluxury.africa
ADVERTISING CO-ORDINATOR Yvette Mehl + 27 (21) 439 4907 I yvette@yourluxury.africa ACCOUNT MANAGER: NATIONAL Gina van de Wall I gina@yourluxury.africa
MANAGEMENT: MANAGING DIRECTOR Yvonne Sha DIRECTOR Jacquie Myburgh Chemaly
DISTRIBUTION & PRINT: DISTRIBUTION On the Dot, Media Support PRINTED BY CTP Printers, Cape Town for YourLuxury PO Box 1053, Sea Point 8060, Cape Town. All rights reserved. Whereas precautions have been take n to ensure the accuracy of information, neither the editor nor YourLuxury Africa can be held liable for any inaccuracies, injury or damages that may arise. The opinions expressed in the articles may not reflect those of the publisher. All prices correct at time of going to print.
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When the Rado Anatom debuted in late 1983, the luxury watch brand introduced the ground-breaking convex sapphire crystal that followed the natural curve of the wrist. Now Rado’s exploration of novel designs continues with a striking tribute to the original. The new Anatom appears in three versions sporting blue, green, or cognac dials. Find out more at yourluxury.africa.
FEZOKUHLE MTHONTI
Fezokuhle is a feminist writer and researcher living in Johannesburg. She is also co-host of the Know It All’s podcast.
“I recently watched one of my former teachers, Professor Andrew Buckland, give a performance lecture. He offered that the core practice of art is to create empathy. This idea resonated deeply with me. Art at its best is the tool we use to create empathy.“
See: p24, p28
MEET OUR CONTRIBUTORS
INNOCENT NDLOVU
Innocent is a fashion expert and journalist with more than a decade of experience.
In 2022, he established Renoch Group, a multifaceted PR and wholesale agency dedicated to fashion and design.
“Art is an integral part of our design. It’s all about finding the perfect piece of artwork to evoke emotion.“
See: p16
PHILA TYEKANA
Phila began her media career as an intern at Marie Claire magazine and has worked for various titles. She’s also a radio content producer and recently ventured into entertainment and lifestyle PR with her own agency, Meka Media.
“I appreciate contemporary and modern art, as well as efforts of both the established and emerging artists. I work near the Everard Read gallery in Joburg and walk around it when work gets overwhelming.“
See: p48
À LA MAISON
As if we needed another reason to visit Paris in 2024, the most anticipated event on the global design calendar, Maison & Objet, takes place in the city from 5 – 9 September. Emphasising sustainability and eco-friendly design this year, visitors can expect innovative products and inspiring displays that blend style with environmental consciousness. Look out for the new well-being experience, talks, and coaching workshops. maison-objet.com
CULTURE DIARY
PLAYING THE FIELD
On 21 and 22 September, foodies and fans will unite at the DStv Delicious International Food & Music Festival at the Kyalami Grand Prix Circuit in Johannesburg. Marking 30 years since South Africa’s first democratic election, the festival features performances by Janet Jackson (pictured above left), Boom Shaka, Jesse Clegg, Jill Scott, and the Soweto Gospel Choir, among others, together with a melting pot of African cuisine, art, and fashion. deliciousfestival.co.za
DANCE SOME MORE
Acclaimed South African choreographer Robyn Orlin is being honoured as the 2024 JOMBA! Legacy Artist for her ground-breaking, politically charged dance and theatre work spanning four decades. Watch her perform on 7 and 8 September at the 26th annual JOMBA! Contemporary Dance Experience, as well as at the Market Theatre in Johannesburg on 11 and 12 September. For tickets, visit webtickets.co.za.
CIRCUS ACT
Described as “an antidote to the everyday”, don’t miss out on this spring’s Luxurious Marble Circus in collaboration with Investec. Part picnic, part performance, and part concert, the two-day event combines outdoor experiences, music, and fine dining, thanks to iconic South African chefs David Higgs and Reuben Ri el. 26 and 27 October, at Ground The Venue in Muldersdrift. luxuriousmarblecircus.com
FROM CAPE TO CAIRO
FASHION CALL
Traditional craftsmanship and cutting-edge fashion merge to showcase the new season’s mix of heritage and modernity at New York Fashion Week. From 6 – 8 September, the Historic West Edge between the vibrant Chelsea Market and the High Line will be the backdrop for fashion shows, unique experiences (think yoga and mimosas, or bespoke tours), and stylish after parties. For more information, go to nyfashionweek.com.
On 6 September, multiple Grammy Award-winning artist PJ Morton returns to the Baxter Theatre Centre with his latest album, Cape Town to Cairo. The keyboardist for Maroon 5 who is also listed on Barack Obama’s 2024 summer playlist, PJ has four Grammy awards for his own music, solidifying his solo status in the music industry. Joined by his band, Afro Orleans, and inspired by his recent African tour, fans will be treated to soulful melodies and genre-blending sounds. For tickets, visit webtickets.co.za.
Timeless art in moti o n
1. CZAPEK AND CIE PROMENADE GOUTTE D’EAU
The independent watchmaker encourages enthusiasts to “take a walk on the style side” with its Promenade collection, featuring designs that reflect the brand’s evolution with “creative audacity” as it builds its own codes. The dial of the Promenade Goutte d’Eau uses grand feu enamel to create an optical illusion of a ripple e ect. As the watch moves, ripples appear to radiate out from the seconds subdial. Launched at Watches and Wonders Geneva earlier this year, the watch is already sold out. Join the waiting list via czapek.com, POA.
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IT’S ALL IN THE DETAILS, DARLING, AND VISIBLE ONES SUCH AS DIAL DECORATION, HAND-CUT NATURAL STONE DIALS, AND INTRICATE MOVEMENT EMBELLISHMENTS ARE THE FIRST TO ENCHANT WATCH ENTHUSIASTS WORDS DEBBIE HATHWAY
JAEGER-LECOULTRE DUOMETRE CHRONOGRAPH MOON
One can’t help noticing the “smile” on the dial side – an unintentional result from the watchmaker creating a view of the mechanism on the dial side. Turn the watch over and you get an eyeful of excellence through the transparent crystal case-back. Much of the movement is open worked, with bridges appearing to float above the levers and wheels, drawing the eye deep into the mechanism. The watch fastens with a hand-stitched leather strap. POA, jaeger-lecoultre.com
3. CHOPARD L’HEURE DU DIAMANT COLLECTION
Combining technical prowess with avant-garde design, the collection blends art, tradition, craftsmanship, and modernity to showcase the creators’ expertise. The three new models, all powered by an in-house mechanical movement, feature an octagonal case. Enhanced with a gem-setting technique called crown setting, this Chopard innovation is seen on a supple handcrafted gold bracelet inspired by historical designs and a refined dial in mother-of-pearl or malachite. POA, chopard.com, bhhboutique.co.za
4. PATEK PHILIPPE 5160/500R-001
The Retrograde Perpetual Calendar Rare Handcrafts Reference 5160/500 is now available in rose gold with a silvery opaline dial. Hand-engraved decorations adorn the dial centre, bezel, case middle, crown, hinged cover, lugs, fold-over clasp, and strap screws. Powered by the self-winding 26-330 S QR calibre, it displays the day, leap-year cycle, and month through apertures at nine, 12, and three o’clock, while the retrograde hand indicates the date over an arc between eight and four o’clock. The o cer-style case has a sapphire crystal caseback protected by a hinged cover. POA, patek.com
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MASTER OF MATERIALS
CAPTAIN COOK HIGH-TECH CERAMIC SKELETON
raftedC NARRATIVES
Clockwise from top:
Louis Vuitton’s Awakened Hands, Awakened Minds collection comprises 220 unique masterpiece jewels across 13 themes. The pieces are designed to awaken the creators’ hands and the admirers’ minds. POA, louisvuitton.com
Inspired by Sardinian tradition, Dolce&Gabbana’s Alta Gioielleria collection merges art, handcrafted precision, and artisanal expertise. POA, dolcegabbana.com
Moraglione’s Madame Butterfly collection features delicate, butterflyinspired jewellery designs, displaying intricate craftsmanship and vibrant gemstones reflective of nature’s beauty. POA, moraglione.com, shemer.co.za
Bulgari's Serpenti Viper line comprises sleek pieces in 18kt yellow or rose gold, adorned with demi pavé diamonds showcasing the familiar snake-scale motif. POA, bulgari.com
FOPE's Bubble Rings highlight an interplay of colours between white and brown diamonds, and pink, blue, or multicoloured sapphires, against the brand’s iconic mesh design. POA, fope.com, charlesgreig.co.za
THESE COLLECTIONS FROM ACCLAIMED HOUSES CELEBRATE THE METICULOUS CRAFTSMANSHIP AND ARTISTIC EXPERTISE THAT TRANSFORM PRECIOUS MATERIALS INTO WEARABLE ART
WORDS DEBBIE HATHWAY
“In a world where machine precision often dominates, the allure of handcrafted jewellery remains unparalleled”
metallica aboutMad
FROM SHIMMERY FINISHES TO SUBTLE DETAILS, SPRING’S METALLICS STRIKE A PERFECT BALANCE BETWEEN DAYTIME PRACTICALITY AND GLAM-NIGHT DRESSING, WHILE HONOURING EXCEPTIONAL CRAFTSMANSHIP
COMPILED BY INNOCENT NDLOVU
Clockwise from top: Aquazzura Atelier Mule 95, €795, aquazzura.com
Chanel metallic leather & gold metal clutch, POA, chanel.com
Bottega Veneta Orbit metallic rubber and mesh sneakers, £800, mrporter.com
Erdem o -the-shoulder floral-print metallic crinkled-satin midi dress, $3 895, net-a-porter.com
Viviers Suminagashi silk apron dress, R24 000, viviersstudio.com
Acne Studios super baggy fit jeans –2023M, $750, acnestudios.com
Orire Oman dress $285, orire.co
MasterpieceDaring New A
THE NEW LA PRAIRIE LIFE MATRIX HAUTE REJUVENATION CREAM MAKES SKIN LONGEVITY AN ART
Having healthy, durable skin with longevity is key as we age. Skin rejuvenation – keeping it looking and feeling youthful for as long as possible – requires a cellular reset, and this is achieved through La Prairie’s High Longevity Science, a new approach to extending the skin’s youthful functionality.
Skin cells use a wealth of complex cellular information to ensure optimal functionality for healthy, youthful skin. Age, as well as lifestyle factors, cause this cellular information to break down, and this results in ageing. By creating skincare products that can modulate cellular information in the skin, its functionality and health span can be optimised and extended.
The new Life Matrix Cream by La Prairie addresses the structural information encoded in the biomolecules that maintain cellular health. To produce new collagen, for example, specific information encoded in the DNA and the
specific activities of many RNA biomolecules and proteins is needed. All these biomolecules work together for cells to generate new collagen.
La Prairie Life Matrix Haute Rejuvenation Cream, the first launch in the Life Matrix collection, resets cellular function, enabling skin cells to behave like a more youthful version of themselves and decreasing the signs of ageing. Firmness, elasticity, and skin volume improve, and the texture is refined for a smooth, healthy complexion. Over time, it revitalises the skin from within, increasing the production of collagen, improving firmness and elasticity, and amplifying skin youth longevity.
Even more incredible is that the cream adjusts your unique epidermal biomolecules to allow skin cells to function according to your personal physiological needs. Now that is opulent longevity. Available at selected Edgars and Woolworths stores and online.
Lush magnolia and lavender make Estée Lauder Beautiful Magnolia EDP a perfect scent for the season. R2 995 for 100ml, esteelauder.co.za
glowingreport
A must-have for collectors with its hand-painted bottle, the limited edition Parfums de Marly Delina EDP celebrates the seductive Damascena rose. R6 390 for 75ml, skins.co.za
PRETTY COMPACTS AND FLORAL SCENTS… IT’S THE SEASON FOR ALL THINGS LIGHT, BRIGHT, AND BEAUTIFUL
COMPILED BY
INGRID WOOD
Sisley L’Orchidée Corail highlighter blush enhances and sculpts with its three stunning shades. R2 050, sisley-paris.com/en-ZA
hope and happiness. R2 350 for 75ml, selected Edgars and Foschini stores
The queen of flowers, rose is the heart of Guerlain Aqua Allegoria Forte Rosa Rosse EDP. R2 345 for 125ml, arcstore.co.za
Givenchy Prisme Libre Pressed Powder quartet blurs, mattifies, and illuminates – perfect for on-the-go touch-ups. R1 650, edgars.co.za
Maison Francis Kurkdjian reinterprets the rose using masculine overtones in l’Homme À la Rose EDP. R4 950 for 70ml, skins.co.za
Give your skin the ultimate glow with Chanel Enchanting Exclusive Complexion Creation Blush and Highlighter Duo in Light and Berry. R1 505, Chanel Fragrance and Beauty Boutiques
A juicy cassis, Dolce&Gabbana Dolce Violet EDT is inspired by the rich colour that symbolises
WINGS
Walk on the WILDSIDE
CARTIER’S LATEST HIGH JEWELLERY COLLECTION, NATURE SAUVAGE, IS AN EXTRAORDINARY REIMAGINING OF THE HOUSE’S CELEBRATED ANIMALS.
RECENTLY LAUNCHED IN VIENNA, AUSTRIA, YLA’S YVONNE SHAFF WAS THERE FOR THE EXCLUSIVE EVENT
Every year, Cartier unveils its high jewellery collection at a new venue, inviting media and celebrities from around the world. This year, Nature Sauvage was launched in Vienna at Cartier’s iconic and recently refurbished boutique on the Kohlmarkt. Over three days, YourLuxury Africa and other invited guests experienced all that the city has to offer, culminating in private viewings of the Nature Sauvage Collection and a grand gala evening.
With Cartier’s signature blend of craftsmanship and creativity, the collection captures the essence of wild beauty. The pieces are a fusion of organic shapes and precious materials, textures, and colours that are meticulously translated into wearable art.
Nature Sauvage was revealed at Vienna’s Kursalon Hübner, a Renaissance-style music hall and a fitting backdrop for the spirit and energy of the 87-piece story. “It’s a new perspective on the Cartier animals to surprise, amaze, and bring modernity by way of unexpected encounters,” says Creative Director Jacqueline Karachi. “It’s expressive jewellery, which showcases the attitudes, personality, and vitality of an animal. Like an actor, it plays with graphics, volume, and optical illusions, blending into an imaginary landscape. This is the spirit of Nature Sauvage.”
wrist to finger in the form of a hybrid jewel encrusted in diamonds. The feline’s coat is flecked with blue sapphire spots and its eyes sparkle with flashes of emerald green, leading admirers to a majestic 8.63-carat Zambian emerald.
Another highlight of the collection is the Tatsu necklace, a silhouette of the Chinese dragon made with rubies and onyx, the contrast of red and black representing the Cartier colour palette.
And then there’s the Star of the Koaga necklace, which comprises an emerald-cut diamond and a 6.25-carat pearshaped rubellite held from the a zebra’s mouth. With precise, stylised design, the zebra’s coat is a play of alternating onyx stripes and lines with brilliant- and emerald-cut diamonds revealing the skin. The flamingo, a poetic and familiar species in the Cartier menagerie, has a beak enhanced by black lacquer and rose gold, while a multitude of emeralds create a bed of reeds with aquamarines depicting the aquatic environment.
“There’s a playfulness about it, a joyful game of hide-and-seek where creatures appear where you least expect them”
Each piece is a testament to Cartier’s archival attention to detail, with emeralds, diamonds, and sapphires set in ways that have given the fauna – panther, tiger, snake, zebra, and birds – a new lease of life. The evocative panther motif, Panthere Jaillissante, has been reimagined as a threedimensional white gold bracelet-ring, lithely stretching from
A gala dinner – the pinnacle of the event – was held at the MAK (Museum of Applied Arts) and was as enticing as the Nature Sauvage Collection itself. Set in a venue that epitomises the artful combination of past and future, fashion elites, celebrities, hand-picked media and long-time friends of Cartier enjoyed a superb dinner created by Juan Amador, one of the world's leading avant-garde chefs. While Cartier paid homage to its jewellery collection in a fashion show, guests were treated to a farewell serenade by Brit Awardwinner, Raye. ■
cartier.com
From the moment you enter Steyn City, you’ll notice the large number of magni ficent land artworks dotting the 2 000-acre indigenous parkland, transforming it into an outdoor art galler y There are more than 40 of these beautiful works, all created by local artists who took part in Steyn City’s community art project, an exciting initiative which trained artists from Diepsloot and Cosmo City and gave them an opportunity to collaborate with renowned ceramic sculptor, Charles Gotthard.
Each piece has special meaning, imbuing the parkland with symbolism. For example, Walk to Freedom, the evocative rhino sculpture standing in Mandela Park, is an expression of the helplessness many feel in the face of our dwindling rhino population. A remarkable mosaic work featured on one of the underpasses is equally noteworthy. It depicts Tembeka Nkamba-van Wyk, a groundbreaking entrepreneur who worked to upskill rural women through her Talking Beads Project. Each piece in the collection has its own unique story, ensuring there’s
E-STATE OF THE ART
Best known for its accent on luxury and convenience, Steyn City’s unique urban design also places art under the spotlight
something that resonates with every resident.While being a feature of Steyn City’s great outdoors, art is also evident in other spaces. There’s The Gallery at Steyn City, for instance, located in the City Centre, which is home to mixed media pieces by local artists.
The Gallery has, in fact, been selected as a source of artworks for the Steyn City Hotel by Saxon, which will open its doors in October this year. Amanda Elliott of Design Collective is adding her signature stamp to the hotel’s interior design and has chosen key works from The Gallery at Steyn City for the hotel reception and penthouse. “Art is an integral part of our design. It’s all about finding the perfect piece of artwork to evoke emotion,” Amanda explains, emphasising how she and husband Matthew Fogg draw a great deal of inspiration for their design work from art, nature, jewellery, and fashion.
Amanda has also opted to showcase a large number of works from The Creative Block Project – an initiative run by Spier Art Trust which
invites upcoming artists to make their mark on canvases of the same size – in the 50 hotel apartments. Placed as a collage, these pieces have a tremendous impact, but they are just as striking when they stand alone, hence their appeal for starter collectors.
Of course, many consider the homes at Steyn City to be the estate’s most enduring works of art and design. Careful planning has ensured that there is accommodation for every individual at every life stage – from the urban-chic City Centre, Steyn City’s flagship apartment development, to lock-up-and-go clusters and luxurious freehold homes.
Like any valuable art investment, a property purchase at Steyn City is considered one of the best investments you’ll make in your life. To book a viewing, visit steyncity.co.za.
The
AR T of Connection
CELEBRATING SOUTH AFRICA REACHING 30 YEARS OF DEMOCRACY, FNB ART JOBURG IS THE PERFECT REPRESENTATION OF CONTEMPORARY AFRICAN ART
WORDS FEZOKUHLE MTHONTI
On 15 September 1987, African American Nobel laureate and writer, Toni Morrison, sat down with American journalist, Don Swaim. Toni was in the midst of her book tour for the then newly released book, Beloved The conversation that ensued was a meditation on the brutality of slavery, violence, and the reification of Black life. In her musings, Toni poignantly remarked that, for her, “art is the restoration of order”. “It may discuss all sorts of terrible things,” she continued, “but there must be satisfaction at the end.
A little bit of hunger, but also satisfaction.” This is perhaps an interesting provocation for the 2024 edition of FNB Art Joburg.
At the Johannesburg media launch and FNB Art Prize announcement last month, Managing Director of the fair, Mandla Sibeko, spoke extensively about the role art plays in Joburg and on the African continent. “Throughout my many encounters across Africa, I’ve found that Johannesburg is an apt representation of the continent,” he started. “This is in the grit, the relentlessness, the tenacity, and the city’s irreverent energy. I am not alone in this thought. Whether they call it home or
frequent the city, the artists, curators, and cultural policy makers that encounter Johannesburg know that it is a city that speaks for the continent.”
With 2024 marking a 30-year milestone in South Africa’s democracy, Mandla continued, “The need to galvanise the relationship between this important city, its people, and their formations has never been more urgent.” This reflection, which ties the city to the rest of the continent, was of particular significance given the rise of xenophobic sentiment that was expressed on digital platforms like X over the last few weeks. Art in many ways, is a useful tool to recalibrate our social order.
From 6 – 8 September, FNB Art Joburg returns to the Sandton Convention Centre. The 17th iteration is not only significant in that it comes 30 years into South African democracy, but that it is now also a significant feature of the international art and curatorial landscape. “When this fair was first established in 2008, there were a total of 55 contemporary art fairs in the world. Today, there are more than 250 fairs every year,” remarked Mandla. Seventeen years on, FNB Art Joburg has really shaped the contemporary direction of African art and art markets on the continent.
“Art, in many ways, is a useful tool to recalibrate our social order”
The fair now takes on an exciting hybrid approach where curatorial and commercial interventions meet, and is divided into seven specialised sections: gallery HUB, gallery LAB, MAX, GIF, ETC, AUX, and ORG sections. These come together in the form of 41 exhibitors, 14 countries, and more than 100 artists represented at the fair. Frequent art goers will be treated to specialised sections like gallery HUB + MAX, which attends to the fair’s objective to be a quality focused fair by including internationally renowned galleries that represent institutionally recognised artists.
PREVIOUS:
Installation shot at the 2023 edition of FNB Art Joburg from the series A Hopeful Love, 2022, Mikhaila Petersen. Pigment Print on Hahnemuhle photo rag LEFT & BELOW: Gresham Tapiwa Nyaude, winner of this year’s FNB Art Prize and one of his pieces, MMXXIII
New sections, such as the inaugural GIF section, will feature works by photographic stalwarts Alf Khumalo, Ernest Cole, and Peter Magubane. GIF will also feature contemporary reflections of African liberation through inputs from Stevenson, Everard Read, First Floor Gallery Harare X Modzi Arts, Goodman Gallery, Eclectica Contemporary, Luvuyo Equiano Nyawose, and Moyo Oyelolla.
When asked about the introduction of this new section, FNB Art Joburg Fair Manager, Kim Kandan, said, “Photography is a misunderstood medium in the art practices. Many people still call it a new medium, but we actually have a long history of photographic production or lens-based production for fine-art purposes. So, we wanted to spotlight and highlight three legendary photographers who I think are important at this point in time.”
It is notable too, that in celebrating this democratic milestone as an artistic community, Gresham Tapiwa Nyaude is the winner of the 2024 FNB Art Prize. Born and raised in Mbare, Zimbabwe, Gresham’s images oscillate between figuration, abstraction, and hallucination. The artist draws from the restless energy of his neighbourhood and country, where more than 70 percent of the population is under the age of 30. Living on the edge between survival and chaos, his visual messages swing between brutal and sentimental. This restless energy is not unfamiliar to South Africans as they make sense of their own experiences within their own country. Defying characterisation, Gresham’s work captures a generation’s absurdly relentless drive to attain and maintain dignity and a quality of life that sometimes appears beyond reach. By winning the FNB Art Prize, Gresham joins previous winners Lindokuhle Sobekwa, Dada Khanyisa, Wycliffe Mundopa, Lady Skollie, Bronwyn Katz, Haroon Gunn-Salie, and Peju Alatise, among others.
Outside of the fair, FNB Art Joburg is committed to supporting artists and educating the public. This is done through several initiatives such as the FNB Art Prize exhibition, the BMW Young Collectors Co, and Open City. BMW Young Collectors Co, an educational programme, hopes to address the severed relationship between corporate and contemporary art in South Africa. In partnership with BrandSA, the fair will host Open City – a city-wide measure to reassert Johannesburg as the continent’s culture capital by taking the ethos of economic stimulation out of the convention centre and into essential hubs across Johannesburg. The city will be activated with art, music, performance, food, and fashion every day of the week for 16 days.
In his final remarks to the media, Mandla said, “Art is not for a select few, it is for all of us.” This crucial imperative that connects us all, will provide rich and important artistic interventions at FNB Art Joburg this year. ■ artjoburg.com
CELEBRATING ARTIST
MARY SIBANDE, ITOO ARTINSURE HONOURS HER LEGACY AND IMPACT ON BOTH THE LOCAL AND GLOBAL ART SCENE
WORDS FEZOKUHLE MTHONTI
THAT’S
SAID WHAT SHE
Mary Sibande’s expansive studio is an eclectic assemblage of materials, images, drawings, sculptures, and figurines. It is a visual feast; a glimpse into the inner workings and imagination of a luminary artist. Dressed in black from top to toe, Mary appears with a smile that envelops the entirety of her face.
Our interview starts with the mention of her latest honour at the #ThatsWhatSheSaid Celebratory Dinner. Presented by special-risk insurance provider iTOO Artinsure and an initiative by Sematsatsa Library, this dinner highlighted Mary’s significance and impact on the contemporary art landscape in South Africa and across the world. “To be celebrated in this capacity at this stage of my career feels like a boost,” she starts.
“It’s like people are opening the door and saying, ‘You’ve done well, welcome, come in, let’s sit down and feast’. I just love that feeling,” she adds with delight.
Mary recalls the day she received the email from the gallery and immediately looked up who had been celebrated before her. The list included renowned artist Zanele Muholi and multi-disciplinary artist Nandipha Mntambo, among others. This is unsurprising given that #ThatsWhatSheSaid is an initiative designed to build a community of interlocutors who are determined to support a cohort of women and women-identifying artists. In fulfilling the objectives of this initiative, Mary brought a young emerging artist that she has been mentoring through the Occupying the Gallery initiative.
RIGHT:
Mary Sibande’s latest sculpture with her new yellow colourway, The Dance of Abundance
“Mary is known for her exploration of colour as a means to communicate meaning and context”
Occupying the Gallery is a project led by Mary and visual artist Lawrence Lemaoana. In its first iteration, the project, as is suggested by the title, was to take up residence in an otherwise single-purpose gallery space, transforming it into an active and open working environment that showcases both the end-result of artistic process, as well as the process itself. The project has since evolved with the needs of the artists in residence, but at its core, it is a mentorship space promoting the sharing of knowledge and access or exposure to resource emerging art practitioners. Recently, Occupy the Gallery partnered with the French Institute of South Africa (IFAS) on a project entitled Fahla Fahla!, a public exhibition of murals and an occupation of the conference room at IFAS.
“What we realised was that a lot of young artists don’t have studios. If you want to produce you need a space to do so, or a space that motivates you to work,” reflects Mary. After hearing about the #ThatsWhatSheSaid initiative, she was excited to bring one of the young female artists that she has been mentoring and working with. “I have one young artists in mind, and I think that this will be an opportunity to elevate the way they think and allow them to see their peers who are also working and also rooting for their work to thrive,” Mary adds.
Almost beaming, Mary continues, “I’m curious about the impact of this project in the next few months, or even years. It is all very exciting, and I am curious to see how this will affect their careers in the long run.”
As we make our way through the interview, the artist glances over to a small figurine of a woman painted in yellow. “What is the next colour way?”, I ask cheekily. “Yellow,” she laughs knowingly.
Mary is known for her exploration of colour as a means to communicate meaning and context. From her iconic blue which birthed the image of the larger-than-life Sophie, to the purples that populated her dreamscape and the searing red that coloured her more recent work Flight of Fancy, she portrays meaning through a narrative and artistic kaleidoscope. “I’m introducing the yellow colour, and this is the first work that I’ve made,” she says as we both look at the figurine of a woman on the desk. “Yellow is a happy colour, unlike the red, which was filled with emotions and communicated how crucial they are.”
By introducing yellow into her work, Mary hopes to channel a hopeful and reconciliatory mood to almost counterbalance the red and display the shift from blue to purple, and red to yellow in the same way as a rainbow amalgamates colours.
“At this point, I want to collect all the work I’ve done as a kind of retrospective, and dinners like these give you the platform and the confidence to do so,” she concludes. ■
marysibande.com
futurethe handmade is
MERCHANTS ON LONG FOUNDER HANNELI RUPERT TAKES US INTO THE WORLD OF HOMO FABER, THIS MONTH’S SHOWCASE OF HANDICRAFT IN VENICE THAT IS MORE A GLOBAL MOVEMENT THAN AN EXHIBITION WORDS JACQUIE MYBURGH-CHEMALY
When Hanneli Rupert was a little girl, her mother bought a handcrafted wooden Noah’s Ark at a fair in the UK. It had been crafted by English wood artisan David Plagerson who has been crafting wooden arks for more than four decades and continues to have a cult following amongst those who treasure his precious and nostalgic handmade creations. Many years later, Hanneli commissioned David to make her own bespoke ark; this one was of the Cape Dutch house she grew up in, along with two of every African creature. It’s now one of her most treasured pieces in her own collection of handcrafted works.
It's in the stories behind the making of an object that the true value of craftsmanship comes alive, says Hanneli, Vice Chair of the Michelangelo Foundation, which founded the concept of Homo Faber taking place in Venice this month.
She has always championed the value of true craftsmanship in her own career. First came her handbag label Okapi, which features luxurious, artisanal leather goods and accessories entirely handmade in Africa from sustainably sourced local materials. She then started Merchants on Long, a treasure trove of African design with a branch in Cape Town and in London’s Burlington Arcade. It therefore made sense when her father, Richemont Chairman Johann Rupert, asked her to come on board at the Michelangelo Foundation that he had started with cultural writer and authority Franco Coligni. “Having been fortunate enough to be exposed to the wonderful craftspeople and makers across the journey with Richemont, it was a real sadness for my father that a lot of these craftsmen were shutting down their studios
and that their craft was dying out. The Michelangelo Foundation and Homo Faber were created to help support those artisans to continue their generations of craft. Homo Faber is giving longevity to craftsmanship and guaranteeing these remarkable people a future.”
This year sees the third showcase of some of the world’s most talented craftsmen at the Homo Faber exhibition. Hanneli has worked with art director Luca Guadagnino and architect Nicolò Rosmarini to create an event that celebrates skilled artisans from around the world.
The theme “The Journey of Life” will take visitors on a voyage through a human life, exploring standout moments and everyday simplicities through the lens of craftsmanship. There will be more than 800 objects from 400 different artisans, with about 40 of these craftsmen working on site.
But Homo Faber is much more than an event. Through its global craft guide or travel companion, downloadable as a phone app, anyone can access a guide to hundreds of craftspeople around the world. The Homo Faber Guide is intended to offer another dimension to international travel, where the user can identify craftsmen and studios all over the world to visit while in a foreign country. “The foremost vision for Homo Faber’s existence is to support artisans and to help them keep working. And the best way to do that is to get them customers and bring them to the market. So, our guide is there to help individuals who are interested in craft to find talented craftsmen wherever they are in the world. Some people may not be able to physically go to the studios, but they can go through the guide and learn and find them.”
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Artists Josh Gluckstein and Liam Lee at work BELOW: Collar White by Zena Holloway INSERT: Moulaye Niang
Homo Faber also facilitates a fellowship programme that pairs young (or “young” in their careers) artisans with master craftspeople, in order to help preserve the craft and the passing on of rare skills. Hanneli says she’s been personally inspired by the work she’s done in Africa with craftsmen and women. “There is so much to learn about a region through its crafts.”
I CHOSE VENICE
Many foreign-born artisans have chosen to make Venice their home. No visitor to Venice can fail to be enchanted by the city’s unique, watery beauty and the craft traditions woven into its very fabric. But while most visitors to the lagoon city are tourists passing through, some have fallen so far under its spell that they’ve never left, choosing instead to take a deep dive into its craftsmanship culture and finding their own place within in it.
Meet Senegalese-born Moulaye Niang (below left) from Collection Muranero, who has made Venice his home.
A chance encounter kickstarted Moulaye’s life in Venice. Born in Senegal and growing up between there and Paris, he was just 15 when he came to Venice on a school trip and fell in love with glass. Lost in the winding canal-side streets one day, he stumbled across the workshop of lampworker Vittorio Costantini and was transfixed by the lifelike glass insects in the window. “I went in and told him, ‘master, I want to do this job’.”
She firmly believes that an appreciation of craft is going to gain momentum as societies continue to reject a “throw away culture”. “People want to buy something that has meaning and will last – and craft very much fits into that category. There’s also a lot of upcycling that happens in the craft community and I’m not surprised. It’s a global consciousness that people are thinking about what they are buying and how they live,” she says.
Hanneli adds that there is a huge focus on functional craft at this year’s exhibition – an aspect of craft for which she has great appreciation. Favourites in her personal collection are a set of handcrafted wooden speakers created by the Opere Sonore studio in the Fiemme Valley in northern Italy, which deliver a unique sound. “I bought them for my husband who loves classical music. It is the ultimate example of remarkable, bespoke craft and something you are proud to have.”
Homo Faber also focuses on usable objects, and Hanneli is particularly inspired by handcrafted kitchen utensils such as pans, knives and serveware. “I have swapped all my non-stick pans for hand-welded pans from the Homo Faber makers. You don’t have to use something ugly,” she quips.
Craft will also never go out of fashion, as Hanneli adds that the joyous nature of craft gives it timeless appeal. “What is rare and what people really enjoy at Homo Faber is to see a showcase of incredibly talented people and how they choose to use their time, and what they make with their hands – with very little agenda. Craft is very joyous in its simplicity.” ■
Homo Faber 2024: The Journey of Life takes place in Venice from 1 to 30 September. homofaber.com
Perhaps it wasn’t so surprising. Both his parents are artisans, and craftsmanship was part of his upbringing, so when he saw the intricate glasswork, he just knew it was for him. “In my opinion it’s not that I chose glass. Glass chose me,” he says. But Venice itself was also a draw. He found Paris too frenetic and always thought he wanted to live in the countryside, but in Venice he found a happy middle ground. “I realised that it’s a city that slowed me down and I really liked it.”
After deciding to move to the lagoon city, he studied at Abate Zanetti Glass School in Murano for four years before opening his own shop in the Castello district in 2004, making lampworked glass beads. As a foreigner, integrating into the glassmaking community wasn’t easy, and he encountered some resistance. But his self-confidence and determination eventually won out, so much so that in 2010, when he decided to go to Africa to teach his craft over there, many people in Murano gave him materials to take with him. “Murano is a closed community, but if you persist, after a while all the doors open,” he says. “My culture helped me overcome this, teaching me that for every difficulty we have to knock three times at the same door, and never be too proud to do so.”
Back in Venice, he began to teach Venetians, too, in a conscious effort to keep the craft he loves alive and ensure its future. “The city gave to me and I wanted to share this with the city, to give back to others.”
After more than 20 years in Venice, the artisan nicknamed ‘Muranero’ has carved his own niche there. Inspired by the colours, sounds and watery light of both his native Senegal and his adopted home, he creates unique work while encouraging others to find their own way in the craft. He’s a modern cross-cultural ambassador in the original melting-pot city. “I don’t feel like I totally belong to one culture or the other,” he says, “but it has made me something interesting.”
collectionmuranero.art
In the world of luxury jewellery, where grandeur often overshadows personal touch, Shemer Jewellers stands out as a beacon of family heritage and bespoke service.
Established more than 70 years ago as a modest familyrun venture, the esteemed jeweller has evolved into a significant player on the international stage while maintaining its core values of craftsmanship and personalised service.
A STORIED BEGINNING
Shemer Jewellers was founded by the Shemer family before being bought by the Carrington family in 1998. Derrick, the Carrington family patriarch who was an apprentice watchmaker at Shemer in the early years, took over the business with a simple yet profound vision: to create jewellery that not only reflected individual elegance but resonated with personal stories. From its inception, the Shemer family selected and infused each piece with a sense of heritage and care, crafting a reputation for unparalleled quality and bespoke craftsmanship.
A TRADITION OF EXCELLENCE
Dedication and strong vision have ensured that Shemer Jewellers has remained synonymous with luxury and reliability. As the business evolved, it embraced the opportunity to nurture partnerships with key international luxury watch brands while preserving the artisanal skills that define its heritage.
MODERN
Heritage
SHEMER JEWELLERS
EPITOMISES THE LEGACY OF CRAFTSMANSHIP AND FAMILY VALUES ON THE GLOBAL STAGE
ALAN CARRINGTON: A NEW ERA
The current chapter of Shemer Jewellers is marked by the leadership of Alan Carrington, who took the helm from his father Derrick. Alan’s transition into the role of owner was a natural evolution that blended his father’s legacy with a modern approach, and he has brought a unique perspective to the operation, merging financial acumen with an intrinsic understanding of the jewellery trade and the love of luxury watches. While Shemer Jewellers has positioned itself on the global stage, Alan remains committed to the family-orientated ethos that has always been at the heart of the brand.
LOOKING AHEAD: A NEW CHAPTER
As Shemer Jewellers prepares to open two new stores in 2025, the brand’s commitment to its founding values is more resolute than ever. These new locations will not only enhance the brand’s reach and luxury offering, but serve as new touchpoints for clients seeking the exceptional personal service and craftsmanship that Shemer Jewellers is renowned for. By staying true to its roots and embracing its international partners, Shemer Jewellers not only honours its past, but paves the way into the future. shemer.co.za
ON THE EVE OF BANELE KHOZA’S FIRST EXHIBITION AT JOHANNESBURG’S
GOODMAN GALLERY, WE CHAT ABOUT PAST REFLECTIONS, FUTURE PROSPECTS, AND THE IMPORTANCE ARTISTIC AUTHENTICISM
WORDS DANIELLE BOWLER
It’s a warm morning as a rush of deliveries create a cacophony at Keyes Art Mile in Rosebank. The insistent clamour echoes the season’s frenzy, and preparations for FNB Art Joburg are in high gear. Yet, as I sit down with Banele Khoza at the coffee shop adjacent to his BKhz gallery, he retains his characteristic sense of calm, warmth, and ease. Any stress is spinning far below the surface.
This year, FNB Art Joburg marks multiple milestones for the gallerist, curator, and artist, who has four upcoming presentations. Alongside BKhz’s group exhibition at the fair, the gallery is running an Athi-Patra Ruga solo in collaboration with Cape Town-based WHATIFTHEWORLD gallery, and Banele will show with Goodman Gallery for the first time. He is, in short, busy – yet relaxed and reflective as he enters a new chapter. Banele turned 30 in February and BKhz turned six last month, and both his studio practice and gallery are expanding their sense of what is possible.
Born in eSwatini in 1994, a flurry of early success met Banele’s arrival in the art world. Shortly after graduating with a degree in Fine Art from Tshwane University of Technology, he won numerous awards, had three solo shows across South Africa, participated in three fairs nationally and in Paris, and his work was acquired by and shown in museums. But rather than focus on his individual successes, Banele quickly widened the aperture. From a vision born in his tween years, BKhz opened in August 2018 in Braamfontein, before moving to its Rosebank location in 2021.
Showing young artists from across the continent, the gallery quickly established
voice the that always was
itself as the place to discover new voices with a playfulness, experimentation, and openness that has now become signature. Taking an artist-first approach that is supportive, considerate, and open to collaboration, the gallery focuses on nurturing relationships. “Artists choose to stay with us,” Banele says. At FNB Art Joburg, they are exhibiting an impressive group show, featuring long-term collaborators including Zandile Tshabalala, Talia Ramkilawan, WonderBuhle, Lukhanyo Mdingi, and AthiPatra Ruga, and first-time collaborators Lebohang Kganye and Terence Maluleke.
Now more established, many lessons have been learnt at BKhz, particularly with the challenges and a shifting art market over the last year. “I think by June everything felt like it had broken down, and then I took to the rebuild with the team,” he reflects. Alongside Banele, Kwanele Kunene, Francesco Mbele, Papi Konopi, and Mankebe Seakgoe form a community of like-minded creatives with the flexibility to explore their own interests and careers, while building BKhz together. Additionally, Banele credits his team of Nicole Siegenthaler and Sinki Makubu with helping him return to himself in studio practice. “I'm in a space of trust with the gallery”, he says. “I’m also trying to be more ambitious. To be honest, I think it's possible that BKhz could one day occupy [the ranks of] Gagosian. It's not going to be easy, but I'm in it for the journey.”
Collaborating with Athi-Patra is a pivotal moment for Banele. He first came across the artist at Woordfees Festival in 2017. “I just saw courage – the courage between masculinity and femininity, and [I haven’t] always been able to
present myself that way. But to see it within their art practice as well, that courage to do performance, sculptures, and more; that's kind of what I would like to be,” he shares.
In the last few years, Banele has been refocusing on his own studio practice, even as work at the gallery remains ‘really fulfilling’. “I think what happens is that when you avail yourself to so many people, you forget yourself,” he says. After seeing life and business coaches, Banele realised that he needed a more balanced approach to the gallery and studio and began to think about the spaces he wanted to align with. “In that moment, I just began to sit in studio,” he says.
But the feeling was different. Early in his career, works were flying out of his studio, but now he sat for long periods with completed artworks. After the initial frustration and anxiety, Banele realised it presented a moment to reflect. “It taught me how I wish to prepare for shows. The shows will pick from what the studio has, which creates no pressure about what the work should be.”
This is how selections were chosen for What’s Left Unsaid at Goodman Gallery, which opens on 5 September. Approaching the exhibition, Banele opened his archives, showing the team his work from 2013 until the present. “What's interesting with this show is that they’re also looking back, rather than just selecting what's new. I love that,” he says, noting that the oldest work in the show is from 2017.
Working across painting, drawing, and digital mediums, there’s a poetic intimacy to Banele’s work marked by sketching, handwritten text, and treating water as a collaborator in fluid paintings on page and canvas. With influences that range from Penny Siopis to Moshekwa Langa, Zanele Muholi and Marlene Dumas, he presents tender stories of personal experiences with love, considering masculinity, technology, and how we relate to each other. Banele is always feeling, in public.
For What’s Left Unsaid, the Goodman team has selected a tight curation of watercolours, interestingly the medium that drew Banele to art as a teenager and inspires his style. The show is a collection of abstracted self-portraits, portraits of friends, and colour washes, accompanied by a self-penned poem as wall text that urges the artist to ‘let go of perfection’. “For Goodman to select watercolours and really focus on what feels authentic to me, I think that's the highlight,” he says.
His words from an interview five years ago echo. “In the past, I would hear that I was the artist of the moment or man of the hour. Hearing this repeatedly made me realise that someone else would be taking my space once my window passes. So, starting BKhz was me offering a sense of comfort to artists and myself that the work we do isn't just a moment, but a lifetime's investigation.” The voice was always there. ■ bkhz.art
ABOVE:
The Clown of Fort Glamorgan, oil on canvas, Athi Patra-Ruga
RIGHT:
Rest I, watercolours on paper, Banele Khoza Atelier
ABOVE: Tomorrow Belongs to Me, oil on canvas, Athi Patra-Ruga
the Digital Art of USURPA
AT JOBURG’S PIONEERING ART SPACE, USURPA, EXHIBITIONS AND DIGITAL INNOVATIONS EMPOWER AFRICAN ARTISTS THROUGH A DECENTRALISED PLATFORM THAT INTRODUCES DIGITAL ART AS A MODERN FORM OF FINE-ART INVESTMENT
WORDS PETRA MASON
As a writer with a lifelong interest in the cutting edge, back in 2000 – during ‘the millennium’ – I was living in New York City at the peak of the dot-com boom. I worked with Silicon Alley start-ups out of the offices of Artbyte, an in-print glossy magazine devoted to digital art and culture. At the time, I was covering speed culture and my digital diaries included AI at the start of the digital takeover. That was 25 years ago.
Fast forward to 2024 in the Motherland and me writing an in-print and digital profile on the minds behind Johannesburg’s pioneering art space, USURPA Gallery (the name, a clever play on the verb usurp, meaning to take a position of power or importance by force). The upstart gallery originated in the digital space during the pandemic, when digital art innovation was having its official moment. With the world locked down, everything and anything was forced online, creating ideal conditions for an explosion of the digital artform. A gold rush followed, and huge amounts were paid for non-fungible tokens (NFTs), best described as the digital watermark attached to an artwork, like a barcode.
After the barely known artist Beeple sold on auction at Christie’s for close to $70 million, it became clear that this craze had redefined what it means to be a collector. Seemingly, everyone was trying to work out if they could cash in, and USURPA joined the fray with the power bestowed upon it by the digital forces and the mystique of its African location.
“USURPA’s curated exhibitions embody a distinctive African aesthetic and provide a platform for artists to gain recognition and exposure”
With a portfolio and profile planted firmly in afro-positivity and future-thought, a click through USURPA’s website hints at artist Basquiat as its patron saint, signalled by the crown motif. While selected artists have been placed on a platform scroll-through, the luscious talent that is artist Nandipha Mntambo is officially represented by USURPA for all her digital and NFT-based works. “The first works we made were a series of works re-visiting a sculpture and its maquette, Minataurus We digitised the maquette and animated it to create two video works that were shown at RMB Latitudes Art Fair this year,” explains Nandipha of the process.
The concept of digital art has experienced a meteoric rise in recent years, thanks to the advent of NFTs. The unique digital assets use blockchain technology to establish ownership and origin. Over the years, they’ve enabled artists to sell and showcase their work in a decentralised, secure, and transparent manner. “We specialise in curating groundbreaking digital art exhibitions, showcasing the work of both established and emerging talents from Africa on a global stage. Our curated exhibitions embody a distinctive African aesthetic and provide a platform for artists to gain recognition and exposure,” USURPA’s Chief Curator Kokona "Kay Kay" Ribane explains.
Kay Kay is a visionary known for his multidisciplinary work across an array of artistic realms. As a co-founder of Dear Ribane, a creative collective with his siblings Tebogo and Manthe, Mungu Creative Lab, and now the first digital fine art NFT gallery in Africa, Kay Kay consistently pushes boundaries and challenges norms while striving to reshape the narratives surrounding art, fashion, culture, and identity.
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Mvelo Midoli Mahlangu (left); Minataurus by Nandipha Mntambo (right) TOP & MIDDLE: Kokona “Kay Kay” Ribane is the creative visionary behind Africa’s first digital fine art gallery, USURPA
HOW DID YOU LEAP FROM 'SPORT SCHOOL' TO THE ART WORLD? My father was deeply embedded in the world of sports management and eventing, but seamlessly intertwined the realms of sports and art. From an early age, this exposure fostered my intrinsic understanding of their profound similarities. I believe that the body is a magnificent tool, capable of crafting extraordinary works of art.
IF YOU COULD TIME TRAVEL, WHAT ERA WOULD YOU LIVE IN? It’s the year 2040, a time when digital art has ascended to unparalleled heights of sophistication. In this era, it transcends mere expression and is an essential element of daily life. It transforms environments with dynamic, interactive, and personalised experiences, creating spaces that are ever evolving and deeply attuned to the rhythms of our existence.
WHAT DO YOU LOVE ABOUT JOBURG? It’s a city that pulsates with vibrancy and a rich tapestry of cultures, embodying the spirit of collaboration and diversity. The very essence of this metropolis is a dance of dynamic creativity, where every corner tells a story, and every street breathes life into art.
TELL US ABOUT THE FREEDOM YOU GET FROM BEING AN ART AND CREATIVE DIRECTOR… The ability to explore your own imagination while aligning with someone else's story is a dance of creativity and empathy. It’s the art of weaving your vision into the tapestry of another's narrative, creating harmony between different perspectives. This delicate interplay invites you to enrich your creative expression with diverse experiences.
TELL US ABOUT THE RECENT SHOWCASE AT DECOREX… Dear Ribane’s Solid DNA Exhibition was a curated showcase of its multidisciplinary artistry, embodying a fusion of art landscapes. This exhibition encapsulated a holistic experience through art, fashion, furniture, and music. It highlighted collaborations with esteemed brands and merged diverse creative disciplines into a cohesive and immersive artistic narrative.
HOW HAS USURPA GALLERY POSITIONED ITSELF AS AN UPSTART IN THE ART WORLD? It’s provided an alternative for artists who are multi-faceted and those who want to engage with innovation.
GALLERY HIGHLIGHTS? Usurpa has curated a series of group exhibitions over the past few years, each a testament to the boundless creativity of African digital artists. Our journey began with the groundbreaking New Medium Group Exhibition, which set the tone for our commitment to spotlighting pioneering talents. Our first solo exhibition with the enigmatic African Ginger further solidified our presence in the digital fine art landscape. For the Women’s Month exhibition in 2023, we hosted 26 female artists in two shows and workshops that included a female youth organisation called Fuel her Flame. RMB Latitudes was another amazing showcase that allowed us to exhibit our new technical skills. Our most recent triumph, the powerpacked group exhibition Don’t Look Back, featured a stellar lineup and was a resounding success. We’ve brought the dynamic world of digital fine art to the broader art community, as seen in our partnership with BODE Gallery in Germany, which represented Cinthia Sifa Mulanga at the Investec Art Fair 2024. ■
usurpa.co.za
s hOOp & humanity
LOOKING THROUGH THE LENS OF RENOWNED BASKETBALL PHOTOGRAPHER KEVIN COULIAU WORDS MONALISA MOLEFE
Paris-based photographer and filmmaker Kevin Couliau carved a life path defined by his deep engagement with basketball culture and its social implications. His journey into the world of basketball photography is one that differentiates him from others in the field and is marked by a commitment to documenting the grassroots essence of the game rather than its most glamorous aspects. With an eye for urban design, a passion for basketball, and a profound understanding of the sport’s impact on communities, Kevin’s work goes beyond the court to capture the stories, struggles, and dreams of those who play.
“Through his lens, Kevin Couliau captures the soul of basketball and how it can heal, unite, and uplift communities across the globe”
“The energy, the dreams, the raw emotion on the court – it was deeply moving to see how basketball could surpass the harsh realities many of these young people faced.”
One of Kevin’s most memorable moments came in Mogadishu, Somalia, where amidst a city scarred by conflict, he found hope and joy in a small basketball clinic for women. “Witnessing their enthusiasm and love for the game despite the surrounding turmoil, was a highlight of my career,” he says. “It was a powerful reminder of basketball’s ability to bring light into even the darkest circumstances.”
Kevin’s global travels have revealed different facets of basketball culture, each unique in its expression. In the Philippines, for instance, he documented the game as a way of life, played not for professional aspirations, but out of pure love for the sport. “In the Philippines, basketball is woven into the fabric of everyday life. Kids play on makeshift courts, driven by creativity, resilience, and an unwavering passion for the game.”
Yet, it is Hong Kong that stands out as one of the most visually inspiring places for Kevin. “Hong Kong is my basketball oasis,” he explains.
“The city’s 1 500 outdoor courts, perched on rooftops and nestled in unexpected corners, blend architecture, urban planning, and basketball in a way that I’ve been searching for over the past two decades.”
Back in Paris, Kevin reflects on the contrast between the urban density of his home city and the vast landscapes of his travels. “Living in a big city like Paris can sometimes feel suffocating,” he admits. “That’s why places like New Zealand, with its breathtaking landscapes and remote basketball courts, offer a refreshing change of pace.”
Despite his global adventures, Kevin’s heart remains tied to the grassroots. His dedication to capturing the essence of basketball, from playgrounds to professional courts, is what sets him apart in his career. “I’ve chosen a path that isn’t easy,” he acknowledges. “Instead of focusing on the most visible and lucrative parts of basketball, like the NBA, I’ve sought to capture the essence of the game as it’s played by amateurs. There’s incredible beauty in these everyday moments. Sometimes, the most powerful images come from capturing the grace and determination of ordinary players in extraordinary situations.”
The French photographer has become synonymous with the basketball world and is also constantly sought after by those on the art scene to portray its more urban, social facets. His journey into Africa, though, is where his story takes a significant turn. Kevin’s first encounter with a nonprofit using basketball as a tool for change was with the SEED Academy in Senegal. Here, he witnessed first-hand the philosophical connection between the sport and personal growth. “Senegal was an eye-opener,” he recalls. “The determination and resilience of the young athletes was awe-inspiring. It was here that I first saw how basketball could shape lives beyond the court.”
This experience ignited a deeper passion in Kevin, leading him to collaborate with Giants of Africa, an organisation co-founded by Masai Ujiri, ViceChairman and President of the Toronto Raptors basketball team. Through his work with Giants of Africa, Kevin travelled across the continent, visiting countries such as Kenya, Nigeria, and Tanzania, documenting basketball camps that focused on youth empowerment and leadership. “Travelling with Giants of Africa was life-changing,” he reflects.
Kevin’s commitment to his craft is evident in his upcoming projects. He is working on two books that encapsulate his passion for basketball. The first is a life project, documenting 20 years of grassroots basketball across 60 countries. “This book is my contribution to the game,” he explains. “It captures the beauty of basketball as it is played around the world, accompanied by a documentary.” The second one focuses on Hong Kong, exploring its unique basketball courts and the urban policies promoting sports in residential estates. “This project combines architecture, photography, and basketball, highlighting the vast interplay of these elements in one of the world’s most lively cities,” Kevin enthuses.
Through his lens, Kevin captures the soul of basketball and how it can heal, unite, and uplift communities across the globe. In every frame, Kevin tells a story that resonates with the human spirit, revealing the true essence of a game that is so much more than a sport. ■ kevincouliau.com
For bookings and enquiries, contact: reservations@newmarkhotels.com www.newmarkhotels.com
WHETHER YOU DAY TRIP OR STAY, SOETMELKSVLEI AT BABYLONSTOREN IS A HIVE OF ARTISANAL ACTIVITY WHERE GUESTS CAN IMMERSE THEMSELVES IN 19TH-CENTURY FARM LIFE
WORDS & IMAGES JARED RUTTENBERG
THE SWEET life
It’s a bracing winter’s morning at Babylonstoren in the Cape Winelands, and while the vines are still waiting for their spring foliage, there’s plenty of life on the farm. Hens are clucking in the distance, the day’s first guests are eagerly arriving, and of course, a hive of staff are busy preparing for the activities, each taking time to smile and offer a hello.
I’ve driven through the farm gates at Babylonstoren many times, every visit heralding something new. Creativity and innovation are at the core of the farm’s DNA. On this visit, I was off to visit the farm’s newest development –the no-longer-so-secret Soetmelksvlei.
From the reception, an open vehicle meanders through the farm while fascinating commentary is given en route with GPS-triggered headsets. After a scenic drive where you feel like you’re given an exclusive peek behind the curtains of Babylonstoren, Soetmelksvlei comes into view. This interactive farmyard has a late 19th-century setting, paying homage to the traditions and artistry of the period.
Construction of this living history experience began in 2020 and opened in May this year. The 142-hectare farm was originally granted to two Huguenots in 1694, and the modern-day experience carries more weight while knowing that many of the activities experienced today would have been part and parcel of life a century ago – and on the very spot.
Meticulous consideration and research have ensured that Soetmelksvlei accurately depicts activities on a 19th-century farm. The result is a multisensory experience – more than the usual museum concept of ‘come and see’, there’s an invitation to come and see and get involved.
“Simply put, there’s no experience like it in the country”
One of the creative minds at the centre of the project is museologist Elsa Vogts. After completing her museum studies in Amsterdam, she consulted at KWV and then Ellerman House in Cape Town. Her passion and interest for this impressive project is utterly contagious. “I’m fascinated by the culture of self-reliance that farm life in 1897 required. It was a self-contained eco-system where everything was handmade and repaired on-site,” she says.
With the privilege of Elsa as a guide who happily faced my barrage of questions, we explored the collection of buildings scattered across the sprawling farmyard. All activities are centred on handcraft and traditional methods, and you can visit them all or craft your itinerary based on your interests.
The central Farmhouse has been meticulously refurbished and gives insight into the home life of a 19th-century farm, which includes tasty treats from the Cape kitchen (the freshly buttered bread is unmissable). The Workshop then offers visitors the chance to watch traditional woodwork and ironmongery being done by actual carpenters and blacksmiths. In the Old Cellar, a treasure trove of curiosities awaits, from an extensive taxidermy collection to a life-sized wagon, and much more.
Exploring further, we were able to witness and participate in the milking of cows, cream separation, butter churning, and wheat milling. The watermill is fully functional and in addition to the milling of flour for guest experiences, the flour is used daily by Soetmelkvlei’s bakers.
Since this is an authentic working farmyard, Soetmelksvlei is home to a host of friendly creatures, including cows, oxen, Blackhead Persian sheep, miniature donkeys, horses, dogs (the farmyard’s adorable Collie duo), chickens, ducks, turkeys, and bees. These animals, together with a variety of child-friendly activities such as ox-wagon rides, create an exciting day out for the whole family.
On the culinary side, fresh food is served in the Old Stables Restaurant– a natural continuation of the farm-to-fork philosophy that those who’ve visited Babel will be familiar with. And yes, there’s a chance to take home something from one of the farm’s artisans. The Jonkershuis Farm Shop has hand-crafted goods from the master crafters on the farm and local communities. From the shop you can buy a bag of freshly milled flour to take home – a fitting and unique souvenir.
Simply put, there’s no other experience like it in the country. If after visiting the “sweet milk meadow’ (the direct translation of Soetmelksvlei) you want to indulge a little more in Babylonstoren’s land of milk and honey, the farm has several accommodation options.
My favourites are the newer Cape Dutch-style Fynbos Cottages, tucked away from the main gardens and adjoining vineyards and orchards. Each cottage comes with a golf cart, which you can use to drive around and explore the farm. There’s also a separate heated pool and a bar where you can sip on the estate’s wine and marvel at the endless creative energy and natural beauty that is Babylonstoren. ■ babylonstoren.com/soetmelksvlei
HORSE POWER
THE MARANELLO-HEADQUARTERED MARQUE PRESENTED TWO NEW MASTERPIECES EARLIER THIS YEAR –THE FERRARI 12CILINDRI AND 12CILINDRI SPIDER – WHICH STAND AS BEACONS OF DESIGN, INNOVATION, AND ELEGANCE
WORDS EDWARD MOLEKE MAKWANA
In the ever-evolving world of luxury supercars, few brands have achieved the iconic status of Ferrari. Synonymous with unparalleled performance, exquisite design, and an unrelenting pursuit of excellence, the brand transcends trends and generations. Its storied history, marked by groundbreaking innovations and victories on the racetrack, cements its place as a timeless symbol of automotive perfection. Each Ferrari, from classic models to latest releases, is a testament to the brand’s unwavering commitment to crafting masterpieces that ignite the passions of car enthusiasts around the globe.
Two masterpieces were presented in May this year – the Ferrari 12Cilindri and Ferrari 12Cilindri Spider – and draw inspiration from the iconic Grand Tourers and open-topped Ferrari Gran Turismo models of the ’50s and ’60s, embodying elegance, versatility, and performance. As the latest evolution of the brand’s front-mounted V12 two-seaters, these models combine harmonious design with cutting-edge active aerodynamics, a front-hinged bonnet, and signature twin tailpipes. Their powerful V12 engine delivers 830 cv (610 kW) and maximum torque of 678 Nm, revving up to 9 500 rpm for exhilarating acceleration. What’s more, both versions sprint from zero to 100km/h in just 2.9 seconds.
Inside, the Ferrari 12Cilindri offers luxurious comfort, featuring a glass roof, premium materials, and multiple displays for driver and passenger engagement. It targets both long-standing
Ferraristi and new clients seeking a blend of performance, comfort, and Italian design.
On the other hand, the Ferrari 12Cilindri Spider’s design, both exterior and interior, focuses on clean lines and modern aesthetics. The interior emphasises sustainability by using recycled materials, while advanced aerodynamics and a state-of-the-art cooling system ensure optimal performance. The car’s dynamics benefit from innovations like brake-by-wire, four-wheel steering, and optimised weight distribution, providing exceptional handling and comfort.
According to Ferrari Scuderia South Africa, both models are expected to go on sale in the country in the first quarter of 2025. Official pricing is expected to be announced soon, however, prospective owners can expect to invest between R7.6 million to R8.6 million.
The last quarter of 2024 promises a thrilling clash of titans as two German powerhouses, BMW and Mercedes-Benz, unveil their latest luxury executive sport sedans. BMW South Africa (BMW SA) is set to launch the new BMW M5, while Mercedes-Benz South Africa (MBSA) will introduce the new Mercedes-AMG E 53 Hybrid 4MATIC+. Both marques will make history with the debut of hybridised versions of these legendary models.
BMW SA has announced that the worldwide launch of the seventh-generation BMW M5 will begin in the fourth quarter of 2024. This new M5 features the innovative M Hybrid drive system, combining a high-revving 4.4-litre V8 engine with an electric motor to produce a formidable 535 kW of power and 1 000 Nm of torque. The integration of M TwinPower Turbo technology, an eightspeed M Steptronic transmission, and M xDrive all-wheel drive allows the M5 to sprint from 0 to 100 km/h in a breathtaking 3.5 seconds.
From Stuttgart, the Mercedes-AMG E53 emerges with a compelling blend of a 3.0-litre six-cylinder in-line engine and a permanent E-synchronous machine. This pairing delivers a maximum output of 430 kW and 750 Nm of torque, propelling the E53 from 0 to 100 km/h in just 3.8 seconds. The 120-kW electric motor is elegantly integrated into the AMG Speedshift TCT 9G transmission, optimising both performance and space.
Pricing for the new BMW M5 starts at R2 690 000, while the Mercedes-AMG E53 Hybrid 4MATIC’s pricing will be revealed later this year.
It’s safe to say that a new era in luxury performance sedans will begin this summer as two iconic brands redefine the standards of power and elegance.
As the sun sets on yet another chapter in Ferrari’s illustrious legacy, the 12Cilindri and 12Cilindri Spider stand as beacons of innovation and timeless elegance. These masterpieces are not merely vehicles; they are a celebration of engineering prowess, a testament to the brand’s relentless pursuit of perfection, and an embodiment of the passion that drives car enthusiasts worldwide. For those privileged enough to experience them, they offer a journey into the very soul of luxury and performance, a rarefied realm where dreams meet reality. In the world of the few, Ferrari continues to lead, inspiring awe and admiration with every curve, every roar and every moment behind the wheel. ■ ferraridealers.com
bmw.co.za; mercedes-benz.co.za
THE ULTIMATE RIVALRY TO END THE YEAR: BMW M5 VS MERCEDES-AMG E53
CO-FOUNDERS OF MO’S CRIB, SISTERS MICHELLE AND MORONGWE MOKONE, PRODUCE DECOR ITEMS FROM WASTE AND RECYCLED MATERIALS. AIMING TO PROVIDE 10 000 JOBS BY 2030, THIS IS THEIR INSPIRING STORY…
COMPILED BY PHILA TYEKANA
Sustainability in Sisters
WHAT SPARKED YOUR ENTREPRENEURIAL SPIRIT? Our Pretoria upbringing was shaped by our parents; our father spent most of his life in sand mining and our mother was a nurse. We were surrounded by business as they were both very entrepreneurial.
LIFE PURSUITS AFTER MATRIC?
Mo: I’m a born artist and a law-school dropout. From an early age, I was passionate about crafts and handmade goods. My love for travel was stronger than my desire to go to university, so I spent most of my 20s abroad. Michelle: I completed my undergraduate and honours degrees in B.Com Agriculture at the University of Pretoria before pursuing a career as an agricultural economist. I later completed a master’s degree at the University of Bern in Switzerland.
HOW DID ORIGAMI BECOME ONE OF THE FOUNDATIONS OF THE BUSINESS?
Mo: Our business started as a hobby. During my travels, I had a Japanese roommate who taught me how to make origami sculptures. For years, I wasn’t sure where to sell these until Michelle invited me to the Kamers Market in 2015 and I saw someone selling roses made from newspaper. That same evening, I looked up how to participate in the market, and the following year, we exhibited for the first time selling origami swan sculptures and walked away with the Best New Product award.
BRAND HIGHLIGHTS? Our amazing partnerships with our customers, both locally and internationally, have been highlights. Locally, we’ve partnered with Woolworths Home, @home, and Mr Price Home. Internationally, we’ve collaborated with Target in the USA, Crate & Barrel, and recently CB2. In the future, we would love to collaborate with H&M, Zara, and Ikea.
WHAT’S THE DESIGN PROCESS FOR EACH BASKET? We source materials from construction sites and landfills. If we use grass material, it comes from local farmers in and around Africa. Once we receive the materials, we start the weaving process. For our PVC products, we strip the pipes before weaving. Depending on the product, the process takes from one to seven hours.
PROS & CONS OF BEING SISTERS AND BUSINESS PARTNERS? Initially, it was just a hobby, so we didn’t really have a formal conversation about it. But when we decided to take the business full-time, it
was a discussion we needed to have. We are very different, with distinct strengths and skill sets, so we set boundaries early.
OTHER “MADE IN SA” BRANDS YOU LOVE?
Wonki Ware produces amazing pottery. The founder started a small studio in George about 20 years ago, which gradually became a meeting place for other potters and creative people. They developed a method of making pottery that could be replicated with sensitivity in pattern and design. Switch Make Up –we admire this brand because it’s local, different, and inclusive.
HOW DO YOU SPEND YOUR DOWNTIME?
Mo: I love to take long walks around my neighbourhood. It’s my time to disconnect and be still. I’m also a big fan of the local restaurants in my area.
Michelle: I really enjoy hiking. It’s a wonderful way to appreciate nature and stay active at the same time. I also love travelling and a recent trip to Franschhoek was particularly special.
A BOOK EVERY ENTREPRENEUR SHOULD READ? Essentialism: The Disciplined Pursuit of Less by Greg McKeown is a must-read. It teaches the importance of focusing on what really matters by eliminating non-essential activities and making disciplined choices in how you use your time and resources. It’s a great guide for entrepreneurs.
A QUOTE YOU LIVE BY? “What’s the next best thing?”
BEST TIP ON STYLING A MO’S CRIB BASKET?
Be creative, there’s no specific style and no basket is ever the same. We advocate for creativity, so whether it’s using laundry baskets to store firewood or toys, our products are made to be incredibly versatile. ■ moscrib.co.za
