SOUTH AFRICAN
Hayden Proud,
Michaelis
Collection,
Cape Town,
South Africa
page 3
The Venice experience was unforgettable
SMAC Gallery reports back
A well known Italian curator, Dott
Vincenzo Sanfo visited Cape Town
in March this year in order to do
preparatory work for an exhibition
involving South African and Italian
artists for the 2010 World Cup.
During his visit, he was so im-
pressed with what he saw, that he
invited certain artists to participate
in an exhibition which he was pre-
paring for a new exhibition venue
in Venice as a collateral event to
coincide with the 53rd Biennale di
Venezia. He was initially going to
exhibit only Chinese and Italian
artists, but after viewing the works
of Kay Hassan, Johann Louw
and Wayne Barker, he invited
the gallery (SMAC) to include
important works by these artists in
this exhibition, eventually entitled I
Linguaggi del Mondo / Languages
of the World.
The choice of the three artists
was by no means arbitrary. The
proposal was that due to South Af-
rica’s long absence and the need to
“create history” at Venice, it would
be appropriate to show mid-career
artists who historically would
certainly have been exhibited, if
there had been an official presence.
Furthermore, these artists rose to
prominence during the so-called
resistance period (the late eighties),
but have managed to forge success-
ful careers and remain relevant in
the new South Africa. The decade
before democracy was undoubt-
edly the most important period in
South Africa’s history, politically
and culturally. However, many
so-called “protest” artists lost their
way after 1994 and others used the
opportunity and platform which the
country provided to pursue careers
abroad. We wanted to promote
artists who live, work and find
their inspiration in South Africa.
Most of the famous South African
artists such as Marlene Dumas,
Kendall Geers, Lisa Brice and even
Moshekwa Langa have moved on
to become international artists. We
felt that it was essential to present
powerful art of the highest quality
which originates and speaks about
life in the country. The theme of
“Languages of the World” was
chosen after the consideration of
the South African experience and
Wayne Barker Venice Times
Wayne Barker reports
from Venice
Arriving again in Venice unoffi-
cially, officially invited, I realised
that living in Africa has a certain
charm and a sense of necessity.
The night before I left I watched
the history of the Congo which
was an insightful piece of info to
arrive in Europe with, at an art
show of international acclaim.
I realized how tired most of the
international art can be and how
up its own revisionist arsehole it
can be.
We started by looking for the
space where our exhibition was
housed .This took an entire day
but during the day we saw all the
exhibitions being installed and all
the artists could be spotted a mile
away, they had been invited by
their country and were feeling on
top of the world. I, coming from
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the message that many different
cultures as represented primarily by
their languages can co-exist in har-
mony. The exhibition installation
commences with “South Africa is a
country with 11 official languages
…”. Besides the obvious fact that
the three artists; Wayne Barker,
Kay Hassan and Johann Louw each
descend from one of the official
languages (English, Zulu and
Afrikaans), the work on show
adopts distinct visual languages;
Wayne Barker’s large “bead-
works”, Kay Hassan’s “paper
constructions” and “photographic
collages” and Johann Louw’s dark
and powerful oils. The success of
this exhibition lies in the fact that
despite the differences in back-
ground and approach to art making,
the works complement each other
perfectly and form a harmonious
entity which is simultaneously
beautiful, challenging and unde-
niably South African. It is a perfect
springboard for us to expand on
in 2011.
The gallery had to make a sig-
nificant financial contribution to
facilitate the exhibition and despite
attempting to get sponsorship or
support for the initiative, we had
to pay our own way. The govern-
ment approach is discussed below,
but it is necessary to mention that
the South African exhibition could
have been much larger if any of the
numerous potential corporate spon-
sors had backed the project. There
was almost no interest and with the
exception of one company, none
of the companies had ever heard
of the Venice Biennale. The most
common response was; “We have
no clients in Venice”. The banks
and multinationals appear ignorant
to the fact that Venice, during
vernissage week, may be the larg-
est assembly of the world’s richest
individuals at any one time, from
Paul Allen to Roman Abramovic
and Francois Pinault, to mention
a few. Couple this to the fact that
well over a million visitors (not
your average tourist) visit the
Biennale during the five months
of its duration and it is clear that
a major marketing opportunity,
far exceeding most major sports
events, has been missed.
continued on page 2
the so-called bottom of the world
started feeling more and more
frustrated, as usual we were doing
it for ourselves – carrying boxes of
invites and paintings to our venue,
while our ministers were probably
sipping champagne in faulty
palaces around the world unaware
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Wayne’s Prada Courage: I decided to buy a Prada suit and go to the show again and place my work in the main exhibit. I was a little nervous, but needed to
make this statement. The work is still up, so I am starting to feel a bit like a selected artist.
of the importance of Arts and
Culture in South Africa and the
strength thereof, let alone the
financial spin-offs and oblivious
to the cultural importance to
represent the diverse visual art
works that are being produced
here in SA today.
The stereotypical views about
Africa are rife and many artist in
SA are dealing with this “poor
cousin concept”, that we are naive
and the art produced here is less
important on a global level, this
by the way is bollocks, as through
the challenging past two decades,
the work produced here, is chal-
lenging for sure and often deals
with relevant issues globally and
locally with a degree of freshness
and brutal honesty.
While dealing with my frustra-
tions and the unbelievable charm
of Venice in usual African style,
we realised that since we had
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traveled half way across the globe
we might as well make the best of
the moment. It was now time to
clandestinely give the biggest art
collectors our invites and press
release. The sky was full of jets
and planes, landing to bring
people to this art extravaganza.
The whose who in the interna-
tional art fraternity were descend-
ing in private planes and boats like
the sardine run in Kwazulu Natal.
Our first target was a little
hidden bar called Harry’s Bar
where the famous Bellini drink
was invented. Walking in sober
was maybe a little ambitious, as
sitting with his entourages was
the Biggest art collecter, Henri
Pinault. After downing 2 Bellinis,
I muscled my way to his table and
introduced myself and invited the
table to our exhibition called “lan-
guages of the world”, he almost
didn’t know where SA is, again
I felt the frustration of being an
artist in SA. I left the little bar and
consoled myself with my cognac
from my faithful hip-flask, looking
at the grand canal glowing in the
Venetian light, I was so embar-
rassed that I felt like jumping in
and swimming home and only
make wooden sculptures from
now on! Our 2nd target was the
notorious BAUER HOTEL where
the artists and patrons hang out
and drink champagne flaunting
their egos and arrogance; I sup-
pose that came with the territory?
So we started meeting people and
inviting them to our exhibition
2 out of 10 people would give it
more than 5 seconds attention and
the others would throw it back in
our faces. This made me consult
my hip flask with vengeance and
I thought to myself; who are these
people anyway ??? We all on this
sinking island together exhibiting
our work, with this new-found
freedom and realization I was able
continued on page 2
Photo: Bianca Baldi
Did Kebble smuggle art treasures
out of the JCI corporate collection?
Slain mining magnate, Brett
Kebble, may have siphoned off the
best works from the JCI corporate
collection for his own personal art
collection, Noseweek reports.
Slain mining magnate, Brett
Kebble, may have siphoned off
the best works from the JCI
corporate collection.
This after senior executives who
attended the May auction of
Kebble’s art collection recognised
several of the works on sale as
having once appeared on the walls
of the JCI. The company’s current
Chief Executive, Peter Gray, is to
order a forensic investigation into
the provenance of certain works,
which are suspected to have been
purchased by JCI, not Kebble.
JCI already had an established art
collection when Kebble joined
How are
galleries coping?
How are Jo’burg galleries coping
with the economic downturn and
accompanying recession in the art
market? The ultimate response is
to close down, and either operate
from home or go into some other
business. But none of the galleries
I spoke to would admit to be con-
sidering following Warren Siebrits
in taking that course, and most ex-
pressed amazement bordering on
incredulity that it could ever have
been economic to carry the level
of overheads Siebrits says forced
him to give up his premises.
Still, with one notable exception,
there’s agreement that times are
hard and that one must cut one’s
coat in accordance with one’s
cloth. Goodman Gallery curator
Neil Dundas, for one, puts it as
strongly as “adapt or die”, and
argues that artists as well as gal-
leries must realise this. Goodman
will be offering more smaller and
editioned works on its upcoming
shows, which by definition will be
lower-priced.
While artists must still feel they
can make bold statements and
produce magna opera, they must
accept that these may not be as
salable as they were a couple of
years ago. The size of the market
has shrunk, and buyers’ pock-
ets have got shallower. He cites
Deborah Bell’s offerings through
the gallery at the recent Jo-burg
Art Fair as examples of this more
modest approach.
He’s confident that the super-rich
will still have money to spend, but
will be even more conscious of
quality than ever, and the “obses-
sive collector” won’t go away, but
the broad middle market is under
pressure.
Like Dundas, MOMO’s Monna
Mokoena stresses the need to
keep more closely in touch with
the market. As Mokoena says, gal-
leries must also be more flexible.
Pointing to three gaps on the wall
when I visited his current show,
he said: “If a buyer wants to take
his purchases home straight away,
you can no longer tell him he must
wait until the show’s over. If you
their ranks in 1997, having invest-
ed in works by Walter Battiss and
George Pemba in the 80s, Grey
reports. When evaluator Anthony
Wiley was brought in to price the
collection in 2006 however, there
was very little of value left. Wiley
reported that in several cases, the
frames were more valuable than
the paintings.
Gallerist Mark Read of the
Everard Read Gallery, who sold
Kebble many paintings over the
years, also reported a somewhat
murky situation around the deal-
ings of Kebble and the JCI. “We
had so much trouble, about nine
different invoices per picture.
They had to be invoiced to a
company, then he’d say no, do
it to another.” When pressed to
reveal the contents of the invoices,
however, Read declined, saying
that his business with clients was
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don’t accommodate him, he may
decide to go elsewhere.”
To some, the scaling down of the
market has not been entirely nega-
tive. Gordon Froud, of gordart,
says he’s been hit hard but is
relieved that most of his gallery’s
shows this year have at least
broken even, though he hastens to
add that he mainly deals in the
R3 000-R10 000 range. He points
out, too, that while his recent
move to Parkwood was triggered
in part by problems over renewing
the lease on his former premises in
Melville, he took the opportunity
to trim his sails.
Turning away artists he’d
scheduled for shows and laying
off staff was painful, but turned
out to be vital.
More imaginative and flexible
use of space is another response.
When Teresa Lizamore launched
her Artspace Warehouse venture
at her old gallery site in Fairland,
letting it out for functions and
events was an integral part of her
strategy, and she won’t preclude
such usage at her new Parkwood
gallery either.
Froud’s variation on this is to
stage mini-shows at his tiny up-
stairs balcony-gallery, which are
in effect teasers offering just
a small sample of an artist’s
available work.
And there are specific cost areas
that can be cut back without
damaging the basic service to
artists and clients. Like catering at
openings: Siebrits went this route
months before his closure, and
despite (or, perhaps, because of)
its institutional backing, so has the
Absa gallery. Then, invitations:
MOMO has scrapped printed
invitations altogether, in favour of
e-mail, and gordart offers artists
the same option, though Froud
says few have taken it up.
How long will it last? Froud be-
lieves that at his end of the market,
the worst is over, and hopes for a
continued on page 2
confidential, and that the invoices
would be destroyed.
Noseweek identifies three of
the works recently auctioned by
gallerist and auctioneer Graham
Britz, as having once hung in
the JCI’s corporate collection.
The paintings, including a Walter
Battiss, and two works by George
Pemba, fetched R 1 150 000 on
the May auction, a sum which JCI
will no doubt seek to extract from
the insolvent Kebble estate.
It is also rumoured that several
high-profile works from both
Kebble’s and JCI’s collections
were auctioned in London in
2006, under the radar of the
estate trustees.
To get the full story, subscribe
to Noseweek at
www.noseweek.co.za
02 BUSINESS ART | JULY 09
Feedback
RE: Love of Art in the Time of Recession
In Pretoria the economic recession
is certainly taking its toll at present
and especially the contemporary
art market is going through tough
times. It would seem that it is really
the young budding artist who is
suffering most - being disillusioned
and disheartened when you’ve pro-
duced a good body of work, yet not
selling. To the gallery it is heart-
breaking to see a strong exhibition
go home to the artist with only one
or two works sold.
The upside of the recession is that
people who weren’t collectors
before have woken up to art as a
commodity investment, maybe due
to other kinds of investments not
delivering on envisaged returns.
Investors are shopping around,
checking and comparing prices
and indeed looking for the work
of big-name artists and potential
investments. Yet the typical profile
of a modern art investor versus a
contemporary art investor is really
a matter of money – the former
allows relatively quick returns
whereas the latter often is a matter
of buying solely for the love of art
and hoping that returns will even-
tually realise.
Art exhibition and sales at Fried
Contemporary are alive and
continued from page 1
How are galleries coping?
pick-up by September-October.
Dundas, though, fears that in the
Goodman’s market even 2010
will be a tough year.
I said at the outset that there was
one exception to the general
pessimism. Even if it’s a con-
trarian minority of one, it can’t
be dismissed, as it’s the view of
Mark Read, director of one of
Joburg’s most respected top-end
galleries, and certainly its oldest:
Everard Read.
continued from page 1
The Venice experience was …
South Africa has been absent from
the Venice Biennale for decades
since its official participation
ended in the seventies due to the
cultural boycott and subsequent
sale of the South African Pavilion
to Israel. The 1993 return in a
collateral event was premature
and unsuccessful. South Africa
was still involved in a period of
radical change and transition.
Simultaneous with the political
and social changes which were
taking place, the South African Art
industry was yet to be established,
as we emerged from decades
of international isolation. It is
now clear that a certain distance
from those tumultuous times was
needed to provide perspective.
It took ten more years for South
Africa to start catching up with
the international contemporary
art world. The seeds were sown
by the now acclaimed Johannes-
burg Biennales of 1995 and 1997
(again premature from a South
African context). Since the mil-
lennium we have seen significant
Letters to the Editor
well, although a little down with
recession flu. We are finding that
several non-Pretoria based buyers
are approaching the gallery in the
search for good buys and prices.
Yet it is the higher priced works
of established artists that are
attracting more attention; non-
editioned works such as sculpture
and painting seem to be firm
favourites whilst photography is
less in demand. A recent afford-
able art fair at the gallery produced
only nine sales, whereas demand
from collectors for investment
pieces was abundant. This seems
to challenge the idea that only the
cheaper works are currently selling.
Although art sales are certainly
carrying on, we are working much
harder in order to develop new
strategies to survive.
Galleries could find alternative
ways of funding and cutting costs,
for instance, by closing the gal-
leries for certain days of the week
and employing fewer staff. This is
not exceptional – many European
contemporary galleries are anyway
open only for a few days a week
and for short hours. Artworks
should also not be priced too
highly, though artists and galleries
should be careful not to underprice
work just for the sake of having
“Like most businesses, we’re
having to hold on to our hats
and work very hard. But most
business failures are own goals.
We haven’t really changed our
ways much. We’re probably
advertising even more, and being
even more aggressive in trying to
find better things.
“There’s still strength in the top
end of the market here, just as
there is in Paris and London.
Fabulous, weighty things still
changes in the local art industry;
the proliferation of contemporary
galleries, publication of catalogues
and art books, the establishment
of an independent art magazine,
an art newspaper, record prices
at local auctions, the emergence
of international auction market
for South African art and a large
annual contemporary art fair. The
South African contemporary art
industry is now ready for Venice.
The limited participation in the
2007 “African Pavilion” was
and will not be sufficient for a
country like South Africa, even if
a permanent African Pavilion is
established, as is being discussed.
The unfortunate reality is that the
South African Department of Arts
and Culture does not appreciate
the significance and importance
of participation in the Venice
Biennale. Since World War II, the
Biennale reinvented and set the
course for contemporary art every
two years.
It creates and in many cases recre-
ates the most important artists of a
sales, since this comprises the very
raison d’être of both artist and
gallery and lowers the esteem for
professional art practice and exhibi-
tion as enterprise and vocation.
Galleries could also consider
amending their income with short
courses in art practice or theory,
since the informal training sector is
very active still. The short courses
offered at Fried are as in demand as
before, maybe due to people desir-
ing an after-hours occupation or an
alternative retirement activity, or
simply to understand art better.
The dire situation of the art market
could have been alleviated had
government been more supportive
and empathetic towards the arts
and provided an infrastructure
that compared with first-world
countries. In order to survive and
overcome the current stale-mate
situation, artists and galleries might
consider engaging in activities with
a dedicated social upliftment objec-
tive, since these are well sponsored
by government and business alike.
Prof Elfriede Dreyer
Curator-owner of Fried
Contemporary Art Gallery & Studio
Brooklyn, Pretoria
sell readily, and we’re expe-
riencing increasing interest
from our clients for such work.”
When I suggest that his current
show by French artist Guy Ferrer,
where despite the few six-figure
pieces, most works are priced at
only R3 800, hardly bears this out,
Read becomes even more adamant.
“We were asked to stage this show
by the French Institute. I’d never
seen the artist’s work until it
generation; from Henry Moore to
Jeff Koons, the influence and
stature of the greatest artists can
be traced to Venice. If countries
such as Palestine and Azerbaijan
deem it important enough to
participate, it defies logic that
South Africa is absent. More
importantly, in the year before the
2010 World Cup, where all eyes
are on South Africa and a South
African Pavilion would have at-
tracted huge attention, this must be
seen as an opportunity lost for the
country as a whole. The artists and
the art comm unity are the ones
who suffer the most as a result of
this apathy.
We arrived in Venice with a bit of
confusion surrounding the exhibi-
tion, as last minute certificates and
approvals still had to be obtained
from the Commune di Venezia, to
ensure that the exhibition opened
as planned. To make matters
worse, most Italians had taken a
so-called “ponte” or long weekend
to link the weekend to the Italian
republic day celebrations on
LETTERS TO THE EDITOR
Request for Art
Patronage
I have had the privilege to be
invited to represent South Africa
at the Florence Biennale in
December 2009. I applied for
funding at the NAC, National Arts
Council, in January.
The deadline for the outcome of
the application was the end of
May and the NAC did not grant
me any funding because they
don’t fund the Florence Biennale.
I have already paid R15 000.00 as
part of the deposit in November
2008 and the rest of the deposit
was due at the end of May. I asked
for a second extension and have
to pay R20 000.00 by September.
The Arts and Culture Trust, BASA
Business Art South Africa and The
National Lottery Board cannot
assist me in the matter. I not only
need funding for the deposit but
also for art materials, crating,
shipping, insurance, accommo-
dation etc. I would really appre-
ciate ideas and help to enable me
to participate in this wonderful
event.
My work can be viewed on the
website www.art.co.za.
Natasja de Wet
arrived a week before the opening,
and we weren’t responsible for the
pricing, which is in line with what
he charges in Europe.”
Well, it’s divergent views that
make markets. But whether the
optimists or pessimists are proved
right is no mere academic debate:
it could determine the survival
of some galleries not just on the
Parkwood artstrip, but throughout
SA and, for that matter, inter-
nationally.
Tuesday the 2nd of June. This
meant that we all worked frene-
tically to ensure that the space
was ready for the opening of
the Biennale on Wednesday the
3rd and our official opening on
Thursday.
Due to late acceptance of the
invitation to participate, South
Africa is not listed specifically
amongst the collateral events, but
the exhibition in which we parti-
cipate is listed and well advertised.
A major draw card is the close
proximity of the South African
exhibition to the Yoko Ono show,
both just off Campo San Barnaba
(which is just a few minutes from
the Accademia Museum and the
Guggenheim).
This exhibition received huge
attention due to the fact that Yoko
Ono received a Golden Lion award
at this year’s Biennale for lifetime
achievement. A further advantage
for us was the distribution of 500
000 pamphlets by the Commune di
Venezia, advertising the exhibi-
tion to everybody purchasing a
Vaporetto ticket (Vaporettos are
the only means of public transport
in Venice). This brochure was
prepared by the Centro Italiano per
le Arti e la Cultura and contains
images of the works by all three
artists. Slightly belatedly, more
prominent public signage and
banners advertising the exhibition
has been placed all over the city,
including the main bridges travers-
ing the Grand Canal.
If one takes all of this into account
and the actual space made avail-
able to the South African artists
(± 230m2), with a dedicated room
for each artist, then this must be
considered the biggest and most
prominent presence by South
Africa at the Biennale, at least in
the last 40 years and if you con-
sider how small the old pavilion
is and the how the Biennale has
grown in stature, size and atten-
Wayne Barker in the process of inserting Erratum (whose worlds?) 2003 (Insertion 2009) Exhibiting unofficially on the Making Worlds exhibition is
Barker’s attempt to break the pervading silence that surrounds local art expressions within the international domain and to draw attention to South
African contemporary art and the representivity thereof.
continued from page 1
Wayne Barker Venice Times
to meet some fun people in the
greater Art world.
What a pretentious lot, the next
morning I woke up in the Bauer
hotel next to a tall blonde stranger, a
curator and a buyer of contemporary
art, on the floor were dresses that
looked like they had been flown in
from Pep stores in Africa.
I sheepishly left and looking into
the shop windows I spotted my
friend’s frocks – just one of them
would have paid for the entire
SA exhibition (not quite) to be in
Venice. F*ck, the Ministry of Arts
and Culture should up their game,
I thought and sat on a bridge with a
post-coital cigarette and laughed and
cried, until the realisation kicked in,
to go to the exhibition space and see
if the work was up and lighting had
been sorted out. At our exhibition I
found a grumpy Baylon putting up
the works of Kay Hassan.
We worked for 2 days and were
happy with the way our work was
dance, then this may be the largest
presence ever.
Another South African artist, Jake
Aikman, was selected to parti-
cipate in a highly prestigious
exhibition entitled L’Anima
dell’Acqua.
This exhibtion is being held in a
landmark Venezian Gothic Palace
and Museum, the Ca’ d’ Oro. The
exhibition received huge publicity
during press week and was with-
out doubt one of the main exhibi-
tions in the city. The press opening
was unlike anything I have seen
before, with at least five television
crews and 100 press officials
attending a press conference with
a five member curatorial panel
answering questions behind glass
walls. The exhibition was then
officially opened by the Italian
Minister of Culture, Sandro Bondi
at a gala dinner in the Palazzo,
attended by numerous dignitaries
and celebrities. After the dinner,
the guests were given a tour and
specific attention was drawn to the
South African painting. Aikman’s
painting, Echo II, holds pride of
place in this brilliantly curated and
meticulously installed exhibition
(hazelnut walls and embossed
poetry surround the art). He also
finds himself in some serious
company; the exhibition celebrates
two artists in particular; Fabrizio
Plessi and Bill Viola.
Plessi is currently enjoying a
revival in Italy and renewed
recognition. He is a Venetian
artist and his works can be seen
in many of the public spaces
across the city. He is known
primarily for large installations
and sculptures incorporating
digital media and he repeat-
edly explores the themes of fire
and water. His artworks also
adorn many of the Louis Vuit-
ton windows in Europe and he is
responsible for the first “digital
handbag” designed for the same
hanging in Venice ... with this
behind us we could continue our
work to pull guests to our show, of
course Harry’s Bar and the Bauer
Hotel became our frequent haunts.
Also we were invited to differ-
ent country’s parties, which were
a representation of their food and
drink and wine, fun was had by all.
But again sunny South Africa was
not present.
As we settled into the rhythm of the
situation we realised our exhibit was
a minute away from Yoko Ono’s
exhibit, this was unexpected and we
realised that we were in a good spot,
of course we met her and gave her
the press release. Now that we had
worked on the publicity I was ready
to view the artworks from the dif-
ferent countries and the main show
called; “Making Worlds”.
There was some powerful work
from the different Pavilions and
some very disappointing. On the
other hand, the main show, “Making
Worlds”, got me thinking about
company. He explained the signifi-
cance of this exhibition (entitled
“The Soul of Water”) to me over
a coffee prior to my departure. He
started with the significance of
Venice and the unique characteris-
tics of the city. He then proceeded
to explain how man is made 90%
of water and how we are affected
by the tides and how at high tide
or Acqua Alta (when everything
floods in Venice - ironically we
were all wading around without
shoes on the final evening with an
overhanging full moon) pushes
up the tears. Plessi is keen to
visit South Africa and Cape Town
in particular and to do a major
artwork here. Aikman has been
offered an exhibition with a well-
known Venetian gallery.
The South African entourage,
which included a number of inter-
esting characters; gallerist, artist,
collectors, journalists, students
and friends, went about marketing
the South African exhibition as
aggressively as possible. This
involved a daily routine of hand-
ing out leaflets and invitations
all over Venice but in particular
Harry’s bar and later at the
infamous Bauer Hotel. It also
involved the strategic target-
ing of the power players who
had descended on Venice for the
“settimana di stampa”. This led
to many close encounters of the
third kind – on Wednesday, we
managed to catch Larry Gargosian
as he was being ushered off a
speedboat into the Cipriani Hotel
and the next morning as he was
brunching at the pool. On the
Wednesday evening Wayne Barker
managed to escape the guarding
eyes of the Maitre’d at Harry’s
Bar to get in a five minute speech
to Francois Pinault and his twelve
guests, together with pamphlets
and a manifesto lamenting the
lack of official representation for
South Africa. A similar encounter
occurred the following day with
Roman Abramovic and Yoko Ono.
Photo credits: Bianca Baldi
what in the world was the curator artists like Barker living on the
on about and why did he not take so-called periphery can ask the
a trip to sunny S.A. and do some question; Whose Worlds?
research. This gave me the idea to
exhibit on his show in the room I decided to buy a Prada suit
dealing with the fluxus movement. and go to the show again and
I photographed the labels of the place my work in the main exhibit.
official artists and replicated the I was a little nervous, but needed
label with my text; to make this statement. The work
is still up, so I am starting to feel
a bit like a selected artist.
Erratum (whose worlds?) 2003 Eventually I had to leave and
on my way out of town I noticed
(Insertion 2009) people reading small leaflets,
Exhibiting unofficially on the handed out as they bought their
Making Worlds exhibition is Vaporetto tickets. I saw them
Barker’s attempt to break the looking at the illustrations of
pervading silence that sur- our work and later discovered
rounds local art expressions that our curator had managed
within the international domain to distribute 500 000 of these
and to draw attention to South brochures via the public
African contemporary art and transport network. Mission
the representivity thereof. accomplished.
I was itching to get back and start
producing – whilst listening to
In response to Daniel Birnbaum’s Charles Aznavour crooning about
exhibition title, Making Worlds, how sad Venice can be.
No one escaped without being
fully briefed on the South African
dilemma and being invited to the
show; Daniel Birnbaum, Okwui
Enwesor (who gave us great sup-
port and encouragement), Simon
Njami, Maurizio Cattelan and
even Keith Richards. One would
expect most of these people to be
tired of being approached by such
types in Venice, but the response
was overwhelmingly positive and
receptive. We sensed a genuine
interest in South Africa and
general disbelief at its non-
participation. We certainly made
our presence felt.
To cap everything Wayne Barker
took the argument a step further
or rather to its extreme: with the
assistance of Bianca Baldi (a
Michaelis graduate spending three
months in Venice and part of the
South African entourage), Wayne
managed to get himself official
representation by inserting an
artwork into the main Birnbaum,
curated exhibition; Making Worlds
and carefully documenting the en-
tire event. The best part is that as
of 17/06/09 the work remains on
the wall unnoticed by any officials
or organizers and comfortably
forming part of the exhibition. The
small text printed on card reads as
follows:
Wayne Barker
Erratum (whose worlds?) 2003
(Insertion 2009)
Exhibiting unofficially on the Mak-
ing Worlds exhibition is Barker’s
attempt to break the pervading
silence that surrounds local art ex-
pressions within the international
domain and to draw attention to
South African contemporary art
and the representivity thereof.
In response to Daniel Birnbaum’s
exhibition title, Making Worlds,
artists like Barker living on the
so-called periphery can ask the
question; Whose Worlds?

Hayden Proud, Michaelis Collection, Cape Town, South Africa
Hayden Proud on the
Michaelis Collection
The collection was assembled by Sir
Hugh Lane and was presented by
Sir Max Michaelis to the people of
South Africa in 1914. It is one of the
most significant collections of Dutch
and Flemish paintings outside of
Europe, the USA and Russia. It was
installed in Cape Town’s Old Town
House, formerly the city’s seat of
civic government, in 1914. The build-
ing dates from 1755, and its interior
was refurbished to accommodate
the collection. Works by Frans Hals,
Melchior de Hondecoeter, Jan Steen,
Jacob van Ruisdael, Paulus Moreelse,
Hayden Proud was born in Zimbabwe Ludolf Backhuysen, Frans Snijders,
and studied Fine Arts at the University Emmanuel de Witte and others are
of Cape Town (UCT), later teach- supplemented with holdings of Old
ing art history there. He undertook Master prints and drawings. With the
postgraduate studies at the University creation of Iziko Museums in 2001,
of South Africa (UNISA) and at the the 17th- and 19th-century Dutch
Courtauld Institute of Art in London. collections at the SA National Gallery
Hayden was first appointed curator now usefully augment many new
of historical collections at the South displays. A comprehensive catalogue
African National Gallery (SANG). by Dr. Hans Fransen was published by
With the latter’s amalgamation into Waanders Uitgevers, Zwolle, in 1997.
Iziko Museums in 2001, his brief was
extended to include the curatorship of The Michaelis Collection is unique in
the Michaelis Collection of Dutch and Africa and constitutes a nodal point
Flemish paintings at Cape Town’s Old of contact between the diverse South
Town House. His curatorial expertise African cultures and the heritage of
covers wide areas of the Iziko Art European art. While other art museums
Collections Department, which also in South Africa also count Dutch and
features British art and major hold- Flemish paintings, Iziko Museums is
ings of 19th- and 20th-century South the only one with such a collection as
African art. He has been supervising its principal focus. It is supported by a
improvements to the Old Town House 400-member strong Friends’ organiza-
building and its facilities, as well as tion. A vital educational emphasis un-
several conservation projects on the derpins an active program of temporary
collection. Promoting the Old Master exhibitions that prioritize the use of the
tradition in a time of demands for collection, inviting the involvement of
transformation in post-apartheid South local schools and art centres.
Africa is not without its challenges.
He works strategically with the Past exhibitions include “The muse
Michaelis Collection to make it of history” (2005), which united the
relevant to a new generation of South collection with large contemporary
Africans. His strategies involve paintings based on the Dutch masters
integrating the Michaelis Collec- by local artist Helmut Starcke. Its
tion within thematic exhibitions and theme was a speculation on the
promoting it as a site for debate on the interface between the Dutch settlers
colonial past and the transformational and the indigenous inhabitants of the
present, as well as a dialogue between Cape when it was colonized in 1652.
historical and contemporary art. Andrew Putter’s video-based “sing-
Helmut Starcke (b. 1935) Pieter de Putter (1606-1659),
The muse of history, 2001 Portrait of a woman (oil on canvas)
(acrylic on canvas) Cape Town, Michaelis Collection
ing portrait” Secretly I will love you
more, exhibited in 2007-08, explored
similar issues. Based on a portrait
by the artist’s namesake Pieter de
Putter (1600-1659) in the collection,
it consisted of a video-audio back-
projection inside an identical Old
Master frame. The original portrait
was recreated conceptually with a
“live” sitter-singer. Re-imagined as
Maria de Quellerie, the wife of Jan
van Riebeeck, the first Dutch Gover-
nor of the Cape, she sang a lullaby in
the indigenous Nama language to her
adopted black daughter Krotoa. The
work proposed a topical “what if”
scenario on 17th-century inter-racial
relationships for a post-apartheid
South Africa now engaged in a con-
tinuous quest for reconciliation.
Hayden Proud on a selected work
from the collection
One of Proud’s favorite works, and
indeed one of the most useful from a
didactic point of view with visitors,
is Emanuel de Witte’s Interior of the
Oude Kerk, Amsterdam of circa 1653
(inv. no. 14/66). It is a good example of
the artist’s concerns with representing
space, spatial ambiguities and illusion,
all of which ultimately comment on
the mimetic effect of the art of painting
itself. The green drapery with its golden
fringe is a painted imitation of the kind
of protective curtain hanging from a
rod often attached to such paintings in
domestic settings. An ambiguous fea-
ture in true baroque trompe-l’oeil style
is the painted shadow that the drapery
casts to the right onto the “surface” of
the painting.
De Witte’s Interior of the Nieuwe
Kerk in Delft with the tomb of
William the Silent (1653) (LACMA)
uses a similar curtain. As a painter,
Proud is fascinated by the way in
which De Witte creatively engages
with layered spatial and formal
concerns that seem to be strikingly
modern. His strategic inclusion drap-
eries amidst the generally somber garb
of the figures in this painting is but a
part of the complex optical “choreo-
Andrew Putter (b. 1966), Secretly
I will love you more, 2007 (video
projection)
ART LEADERS PROFILE AND IN THE NEWS JULY 09 | BUSINESS ART 03
John Meyer receives Gottorff
graphy” that is embodied in the best Museum Award 2009
of his works in this genre.
Selected recent publications
by Hayden Proud
Scratches on the face: antiquity and
contemporaneity in South African
works of art from the collections
of Iziko Museums of Cape Town.
Exhibition catalogue published for a
touring exhibition to the Republic of
India in 2007. 64 pp. Pretoria (UNISA
Press) 2007 (2nd ed. 2009) ISBN
13-978-1-874-81739-0 (paperbound)
ReVisions plus: expanding the
narrative of South African art. The
Campbell Smith Collection. Book.
104 pp. Pretoria (UNISA Press/
Dr Thomas Gaedeke, Herr Frank Zarp, Director Herwig Guratzsch of the
SMAC) 2008 ISBN 13-9781874-817-
Gottorf, John Meyer and Minister of agriculture and environment Herr
369 (paperbound)
Christian von Boetticher at the unveiling ceremony.
Contributing author & editor.
ReVisions: expanding the narrative
South African artist John Meyer regarded one of the most important
of South African art. Book. 360 pp.
received the 2009 contemporary international art awards in Germany
Pretoria (UNISA Press) 2006 ISBN
artist award from the Museum (earlier recipients include Bernhard
1-874817-33-2 (hardbound)
Schloss Gottorf in Germany on the Heisig, Johannes Grützke and
“The advancement of art”: the South 17th May at a special unveiling Magdalena Abakanowicz),
African Society of Artists and its ceremony. A capacity crowd filled
exhibitors (1902-1950). Exhibi-
the museum’s inner courtyard, Currently the museum’s contem-
tion catalogue. 64 pp. Cape Town
where a choir sang in English in porary rooms are hosting two solo
(SA National Gallery) 2002 ISBN
honour of Meyer’s visit. exhibitions, one by Anselm Kiefer
1874817316
and the other by John Meyer.
The Sir Edmund and Lady Davis An estimated crowd of 15,000
presentation: a gift of British art to visited the complex on the day. Gottorf Palace is the largest museum
South Africa. Exhibition catalogue. Meyer was chosen after his enthu- complex in northern Germany and
SA National Gallery 1999 ISBN siastically received one-man exhibi- is the headquarters of Schlegwig
1874817235 tion in Berlin in 2008, which was a Holstein’s state museums. The
Hayden’s research interests are diverse. collaboration between Everard Read museum, visited by up to 600,000
He has published several significant Cape Town and Brusberg Berlin. visitors a year, is situated in the
books on the work of black South northern German city of Schleswig.
African artists. He recently contributed Two works by Meyer were commis- Schloss Gottorf comprises a vast
two chapters to The visual century, sioned by the director of the Gottorf, complex of museums and exhibition
a new publication on South African Professor Guratzsch, a narrative halls, ranging from the state col-
art between 1907 and 2007, due painting and a silkscreen edition, lections of renaissance and period
for publication by the University of produced with David Krut Projects art, modern collections and contem
Witwatersrand Press in late 2009. He is in South Africa. porary collections, as well as invited
presently engaged in research for a new solo exhibitions.
publication on the South African land- The award was established by
scape painter J. H. Pierneef (1886- the German entrepreneur Gunter Known for his sequential narrative
1957), whose complex relationship Fielmann in 2000, after his donation works, which are influenced by film
with Dutch modernism in the 1920s of 200 lime trees for an avenue in noir and the cinematic and motion
became central to his aesthetic. the Gottorf Baroque Gardens at the picture tradition, John Meyer’s art
For further information see: museum. The prize is regarded in explores complex human emotions
www.codart.nl Germany as a prize of honour. It is and interactions.
Emanuel de Witte (1617-1692), Interior of the Oude Kerk in Old Town House, Cape Town (built 1755)
Amsterdam. ca. 1653 Cape Town, Michaelis Collection

Eastern Cape
East London
Ann Bryant Art Gallery
For July, works by South African
artists from the permanent collection
9 St Marks Road, Southernwood,
East London
T. 043 722 4044
Annbryant@intekom.co.za
Grahamstown
School of Fine Art
2-11 Jul, The stranger who licked
salt back into our eyes and other
histories, a series of short films
by Brent Meistre
Somerset Street, Grahamstown
Port Elizabeth
Nelson Mandela Metropolitan
Art Museum
7 May-12 Jul, Scenes in the Street,
through the eyes of artists and
photographers. 4 Jun-10 Aug,
Decade, A selection of works by
some of South Africa’s most valued
and emerging artists from the
Sanlam Art Collection. 30 Jul-20
Sep, sculpture by 2009 Standard
Bank Young Artist Award Winner,
Nicholas Hlobo.
1 Park Drive, Port Elizabeth
T. 041 506 2000
www.artmuseum.co.za
Free State
Bloemfontein
Oliewenhuis Art Museum
2 Jun-15 Jul, Past/Present, a multi-
media retrospective of Andrew
Verster’s work.
16 Harry Smith Street, Bloemfontein
T. 051 447 9609
Johan Smith Art Gallery
Glass, Bronze, Ceramics, Old
Masters, Contemporary works.
Windmill Centre Main Str, Clarens
T. 058 256 1620
www.johansmith.co.za
Blou Donki Art Gallery
Contemporary Art, Steel Sculp-
tures, Functional Art, Photography,
Ceramics.
Windmill Centre, Main Street,
Clarens
T. 058 256 1757
www.bloudonki.co.za
Gauteng
Art on Paper
20 Jun-11 Jul, Silent Nouns and
Breathing Verbs, drawings by
Walter Battiss
44 Stanley Ave, Braamfontein Werf
(Milpark)
T. 011 726 2234
www.artonpaper.co.za
Artspace - JHB
22 Jun-11 Jul, Collected, oil paint-
ings by Jeannie Kinsler; Wish List,
paintings by Faye Spencer. 4-25 Jul,
No(n) Place Like Home, laser cut
sculptures by Jaco Sieberhagen
Chester Court, 142 Jan Smuts
Avenue, Parkwood, Johannesburg
T. 011 880 8802
www.artspace-jhb.co.za
Entitled No(n) place like home, the show
comprises a series of laser cut metal and
perspex scultptures. Visually appealing,
these works are however loaded with
intricate detail and potent commentary on
societal issues.
See more at www.artspace-jhb.co.za
Alliance Francaise, Johannesburg
From 1 Jul, Lomographic Itinera-
ries, an exhibition of photography
17 Lower Park Drive, cnr Kerry
Road, Parkview, Johannesburg
T. 011 646 1169
www.alliance.org.za
Brodie/Stevenson
4 Jun-4 Jul, ‘Scuse us while we kiss
da sky, editioned prints, painting,
sculpture and installation by Avant
Car Guard. 9 Jul-4 Aug, photo-
graphy by Zanele Muholi.
373 Jan Smuts Ave, Johannesburg
T. 011 326 0034
http://www.brodiestevenson.com/
The Constitutional Court
2-31 Jul, Mandela @ 90, a tribute to
Madiba in his 90th year, including
works by Billy and Jane Makhubele,
Johannes Maswanganyi, Roy
Ndinisa, Beverly Price and Susan
Woolf.
Constitution Hill, Cnr Queens and
Sam Hancock, Hospital Streets,
Braamfontein
T. 011 359 7400
David Brown Fine Art
From 9 Jul, Pandora’s Box,
works by Peter Engblom,
39 Keyes Ave, off Jellicoe,
Rosebank, Johannesburg
T. 011 788 4435
www.davidbrownfineart.co.za
David Krut Projects
18 Jun-25 Jul, In Search of Lost
Time, paintings and works on paper
by Alexandra Ross.
142 Jan Smuts Avenue, Parkwood,
Johannesburg
T. 011 447 0627
www.davidkrutpublishing.com
Gallery MOMO
11 Jun-6 Jul, exhibition of Designer
Rugs and Littoral, a solo exhibition
of photographs by Patricia Driscoll.
9 Jul-3 Aug, Long Live the Dead
S O U T H A F R ICA N A RT G A LLERY SH O W LISTIN G S J U LY 2009
Queen, work by Mary Sibande.
52 7th Avenue, Parktown North,
Johannesburg
T. 011 327 3247
www.gallerymomo.com
Gallery on the Square
For July, a mix of South African and
international fine art sculpture and
ceramics
32 Maude Street, Nelson Mandela
Square at Sandton City, Sandton,
Johannesburg
T. 011 784 2847
www.galleryonthesquare.co.za
Gold of Africa Museum Gallery
30 Jun-30 Sep, Headgear, drawings
by Jeannette Unite.
Turbine Hall, Jeppe Street,
Johannesburg
T. 07829251834
www.goldofafrica.com
Artist Proof Studio Gallery
2 Jun–10 Jul, Wonderful Experience,
Monotypes and multiple prints by
Cameroonian artist, Joël Mpah
Dooh.
Bus Factory, 3 President Street,
c/o Henry Nxumalo, Newtown
T. 011 492 1278
apsprintshop@mweb.co.za
www.artistproofstudio.org.za
Goodman Gallery
9 Jul- 1 Aug, Lisa Brice.
163 Jan Smuts Avenue, Parkwood,
Johannesburg
T. 011 788 1113
www.goodman-gallery.com
Everard Read Gallery Jhb
18 Jun-5 Jul, Elsewhere Brothers,
sculpture and paintings by French
artist, Guy Ferrer.
6 Jellicoe Avenue, Rosebank,
Johannesburg
T. 011 788 4805
www.everard.co.za
Grahams Fine Art Gallery
11-18 Jul, 2010 FIFA licensed works
by Clint Strydom and Keith Calder
in conjunction with 2010 Fine Art.
16 Jul-16 Sep, Imaging and
Imagining: South African Art circa
1896-2008; South African Invest-
ment Art, from the permanent
collection.
Shop 31, Broadacres Lifestyle
Centre, Cnr. Valley & Cedar Roads
Fourways, Johannesburg
T. 011 465 9192
www.grahamsgallery.co.za
One of Keith Calder’s bronzes
celebrating the 2010 Soccer World Cup.
To be seen at Graham’s Fine Art Gallery.
To see more see:
www.grahamsgallery.co.za
GordArt Gallery
11 Jul-1 Aug, Family by Lettie
Gardiner and Sticks and Stones
(Dodge Burn) by Carla Crafford.
Shop 1 Parkwood Mansions,
144 Jan Smuts Ave, Parkwood
t/f 011 880 5928
gordon@gordartgallery.com
Johannesburg Art Gallery
10 May-3 Jul, Journey on a Tight-
rope an Albert Adams Retrospective.
Until 3 Jul, Portraiture through
Photography, curated by Khwezi
Gule, in the Basement Gallery.
30 Jun-27 Sep, Musha Neluheni:
Vantage, in the artist’s project
room #5.
King George Street, Joubert Park,
Johannesburg
T. 011 725 3180
www.joburg.org.za
Market Photo Workshop
From 8 Jul, Alternative Kidz, an
exhibition of photography by Musa
Nxumalo.
2 President Street, Newtown,
Johannesburg, 2000
T. 011 834 1444
www.marketphotoworkshop.co.za
Museum Africa
25 May-24 Dec 2010, l’Afrique:
A Tribute to Maria Stein-Lessing
and Leopold Spiegel; Co-curated
by Nessa Leibhammer and Natalie
Knight.
121 Bree Street, Newtown,
Johannesburg
T. 011 833 5624
www.knightgalleries.net
Steven Cohen_Golgotha_Wall Street
#1_N.Y. 2007_©Marianne Greber-VBK
October 8 – November 15, 2009:
Museum Africa, Johannesburg
Broadly speaking, Dystopia deals with
the following themes: political utopia
gone wrong; teleology and apocalypse;
dystopian contestations of gender, race
and culture; spatiality and boundaries
as postideological zones; and the post-
industrial city; and technodystopia.
Origins Centre
28 May-24 Jul, Exposition, Solo
exhibition by Fiona Couldridge.
Cnr Yale and Enoch Santonga Str.
University of the Witwatersrand
T. 011 717 4700
www.origins.org.za
Resolution Gallery
For Jul/Aug, The Wealth of No
Nations, works by Pat Mautloa and
Godfried Donkor.
142 Jan Smuts Avenue, Parkwood,
Johannesburg
T. 011 880 4054
www.resolutiongallery.com
Sally Thompson Gallery
14 Jun-11 Jul, A Child’s Gaze,
photographs by Martin Osner and
Lens Light Landscape, photographs
by Eugene van der Merwe
78 Third Avenue, Melville
T. 011 482 9719
www.thompsongallery.co.za
Standard Bank Gallery
9 Jun-18 Jul, Wonderland, photo-
graphs by Standard Bank Young
artist of 2008, Lolo Veleko 4 Aug-
19 Sep, SBYA 25th Anniversary.
Cnr. Simmonds & Frederick Streets,
Johannesburg, 2001
Tel: 011 631 1889
www.standardbankgallery.co.za
The Art Place, Gallery & Art
Centre
13 Jun-4 Jul, Dream World, a mixed
media exhibition. 11 Jul-8 Aug, All
Creatures Great and Small, a group
show.
144 Milner Ave, Roosevelt Park
T. 011 888 9120
University of Johannesburg Arts
Centre Gallery
1 Jun-8 Jul, Alter, a solo exhibition
by Majak Bredell. 29 Jul-22 Aug,
Boarding House, photographs by
Roger Ballen.
University of Johannesburg,
Auckland Park Kingsway campus
cnr. Kingsway and Universiteits Rd,
Auckland Park
T. 011 559 2099/2556
www.uj.ac.za/artsacademy
Pretoria
Alette Wessels Kunskamer
Exhibition of Old Masters and
selected leading contemporary
artists
Maroelana Centre, Maroelana.
GPS : S25º 46.748 EO28º 15.615
T. 012 346 0728
C. 084 589 0711
www.artwessels.co.za
Cameo Framers and Gallery
1-15 Jul, Pretoria 8: 50 year
reunion. Works by Walter Battis,
Bettie Cilliers-Barnar, Ernst de
Jongh, Robert Hodgins, Otto Klar,
Laurence Scully, Gunther van der
Reis and Johan van Heerden
198 Long Street, Waterkloof,
Pretoria
T. 082 923 2551
trent.art@gmail.com
Fried Contemporary Art Gallery
27 Jun-25 Jul, Just Visiting, an
exhibition of works by Nathani
L_neburg, Adèle Oldfield and
Maria van Rooyen.
430 Charles Str, Brooklyn, Pretoria
T. 012 346 0158
www.friedcontemporary.com
Magpie Gallery
20 Jun-2 Jul, Mama Dada, an
exhibition by Kelly Daniels, Wihann
Strauss, Braam Pretorious and
Eckaardt Kasselmann.
Shop 21B, Southdowns Shopping
Centre, Centurion
T. 012 665 1832
www.magpie.co.za
Naude Modern
27-29 Jul, Surprise! An early
Christmas car boot sale site specific
installation.
254a St Patrick’s Road, Muckleneuk
Ridge, Pretoria
T. 012 440 2201
www.art.co.za/andrenaude
Platform on 18th
2-25 Jul, painting and sculpture by
Lionel Smit, Vasti Wilkinson and
Andre Stead
232 18th Street, Rietondale, Pretoria
T. 084 764 4258
Pretoria Art Museum
Until 1 Dec, A selection of artworks
tells a brief story of South African
art from the time of the first San
artists, includes early 20th century
painters, Resistance artists and
artists of the 21st century. 14 May-
16 Aug, Mbongeni Buthelezi’s first
touring national exhibition of
“plastic painting”. Until 20 Jul,
Polly Street and Rorke’s Drift
Artworks. Glass Gallery, Corobirk
Collection, ceramics selection
representing studio ceramics and
rural traditional potters of SA
T.012 344 1807/8
http://www.pretoriaartmuseum.co.za
Pretoria Association of Arts
10-29 Jul, Debbie Cloete, 12-30 Jul,
landscapes and clay pots by Corne
van Eck and Nic Sithole
173 Mackie Street, New
Muckleneuk, Pretoria, Gauteng,
0181
T. 012 346 3100
www.artsassociationpta.co.za
St Lorient Fashion and Art Gallery
7 Jun-12 Jul, Is it an ism or is it me?
A group exhibition of portraiture
492 Fehrsen St, Brooklyn Circle,
Pretoria
T. 021 460 0284
Email: stlorient@iafrica.com
Sally Thompson Gallery
14 Jun – 11 Jul, A Child’s Gaze,
photography by Martin Osner
78 Third Avenue, Melville
T. 011 482 9719
www.thompsongallery.co.za
KwaZulu-Natal
Durban
Artisan Contemporary
17 Jun-15 Jul, an exhibition of
hand-crafted rings
344 Florida Rd, Morningside
T. 031 312 4364
Email: sue@artisan.co.za
Art Space – DBN
22 Jun–11 Jul, Collected, oil paint-
ings by Jeannie Kinsler and Wish
List, paintings by Faye Spencer.
13 Jul-1 Aug, Under Construction
– Seven DUT 3rd year sculpture
students and Flavours – emerging
jewellery designers from Durban.
3 Millar Road, Durban
T. 031 312 0793
www.artspacedurban.co.za
Bank Gallery
11 Jun-11 Jul, Erosion, a solo
exhibition of sculptures by Ledelle
Moe
Bank Gallery, Morningside,
Durban
T. 031 312 6911
www.bankgallery.co.za
Durban Art Gallery
3 Jun-19 Jul, Roger Ballen:
Boarding House. Until Dec 2009,
Pic(k) Of The DAG, South African
works from the gallery’s Permanent
Collection
Second Floor, City Hall, Anton
Lembede Street, Durban
T. 031 311 2268
www.durban.gov.za/durban/
discover/museums/dag
Durban University of Technology
(DUT) Gallery
4 Jun-10 Jul, Industry Sets Criteria:
interior design student exhibition
Steve Biko Campus, Cecil Renaud
Theatre 2nd floor, Durban
artgallery@dut.ac.za or
031 373 2207
Avant Car Guard: The Centre vs. Periphery Ultimate Cage Fight. See more work at
www.brodiestevenson.com
Elizabeth Gordon Gallery
A variety of new South African
artworks
120 Florida Road, Durban
T. 031 303 8133
eqqart@iafrica.com
Imbizo
From 11 Jun, Once upon a Thyme,
an exhibition of paintings by Frans
Groenwald
Shop 7A, Ballito Lifestyle Centre,
Ballito 4418
T. 032 946 1937
info@imbizogallery.co.za
KZNSA Gallery
23 Jun-19 Jul, Red: the iconography
of colour in the work of Penny
Siopis, an exhibition of paintings by
Penny Siopis, curated by Brenton
Maart
166 Bulwer Road, Glenwood
T. 031 2023686
www.kznsagallery.co.za
Tatham Art Gallery
25 Jun-6 Sep, Into the Light, work
by KZN women artists of the early
part of the 20th Century. 9 Jul-
13 Sep, Heath Family Retrospective,
paintings by Jack, Jane and Jinny
Heath.
Cnr. Of Chief Albert Luthuli
(Commercial) Rd. and Church
Street, (Opposite City Hall)
Pietermaritzburg
T. 033 342 1804
www.tatham.org.za
Northern Cape
Kimberley
William Humphreys Art Gallery
Permanent Collection Exhibition
– Includes works of a variety of
contemporary SA artists
Civic Centre, Cullinan Crescent,
Kimberley
T. 053 831 1724
www.museumsnc.co.za
Mpumalanga
The Loop Art Foundry &
Sculpture Gallery
Casterbridge Complex Corner R40
and Numbi Roads White River
T. 013 751 2435
www.tlafoundry.co.za
Western Cape
Cape Town
The Anglican Aids and Healthcare
Trust
25 May-3 Jul, Art From Southern
Africa, a collection of contemporary
artworks from South Africa,
Zimbabwe and Mozambique.
1 Braehead Road, Kenilworth,
Cape Town
T. 021 7631300
FAX: +27 21 7624237
www.anglicanaids.org.za
Art B Gallery
Am I a Painter?
Library Centre, Carel van Aswegen
Street, Bellville
T. 021 918 2301
www.artb.co.za
Association for Visual Arts (AVA)
15 Jun-3 Jul, Saturnine, a solo
exhibition of acrylic painting and
screenprints by Connor Cullinan.
6-24 Jul, Main gallery: Spencer
Street Studio painters group show
Long gallery: an installation by
Wessel Snyman, Artstrip: paintings
by Riaan Vosloo, New Media Room:
collaborative work by Christian
Nerf and Barend de Wet. Also on
show: Other Works Other, a colla-
borative project between Barend de
Wet and Christian Nerf, with a little
something by Francis Burger
35 Church Street, Cape Town
T. 021 424 7436
www.ava.co.za
Atlantic Art Gallery
A permanent display showcasing
leading contemporary South African
artists
25 Wale Street Cape Town
T. 021 423 5775
Bell-Roberts Contemporary Art
Gallery
4-25 Jul, No More Me, new
paintings by Andrea Mariconti
176 Sir Lowry Road, Woodstock
T. 021 465 9108
www.bell-roberts.com
Blank Projects
17 Jun-24 Jul, Man Eating, two
videos by David Greg Harth
198 Buitengracht Street, Bo-Kaap,
Cape Town
T.072 1989 221
www.blankprojects.blogspot.com
Cape Gallery
21 Jun-26 Jul, Winter Solstice, a
group exhibition, including paint-
ings by Margot Hattingh, Derek
Drake and Judy Woodborne.
60 Church Street, Cape Town
T. 021 423 5309
www.capegallery.co.za
Cape Town School of Photography
From 18 Jun, Stems, photographs
by Adrienne van Eeden Wharton,
Andrew Putter and Emmett Walsh.
4th Floor, 62 Roeland Street,
Cape Town
T. 021 465 2152
www.ctsp.co.za
Carmel Art
Dealers in Fine art
66 Vineyard Road, corner Cavendish
St, Claremont
T. 021 671 6601
Constantia Village Shopping Centre,
Main Road, Constantia
T. 021 794 6262
Christopher Møller Art
New arrivals including JH Pierneef,
Otto Klar, Charl Theodore and
Hugh Mbayiwa
82 Church Street, Cape Town
T. 021 439 3517
www.christophermollerart.co.za
David Porter Antiques
Buyers and sellers of South African
art
T. 021 683 0580/083 452 5862
david@davidporterantiques.com
Erdmann Contemporary /
Photographers Gallery
Until 16 Jul, Diesel and Dust,
photography by Obie Oberholzer.
25 Jul-29 Aug, Painting and Photo
graphy group show.
63 Shortmarket Street, Cape Town
T. 021 422 2762
www.erdmanncontemporary.co.za
Exposure Gallery
For July, Soy Cuba.... I am Cuba, an
exhibition of photographs
The Old Biscuit Mill, 373 Albert
Road, Woodstock
T. 021 447 4124
www.exposuregallery.co.za
Johan Wilke will be opening his exhibition
entitled: Inrespectof, at the Exposure
Gallery, The Old Biscuit Mill, Cape Town.
The exhibition is a selection of images
taken over 20 years, 50 black & white
documentary images from all over the
world, Cuba, India, etc.
Focus Contemporary, Fine
Young Art
27 Jun-15 Aug, All Together Now,
work by Ian Cattanach, Mark
Stanes, Glen Green, Chris
Diedericks, Philip Marinig, Karin
Miller
2 Long Street Cape Town
T. 021 419 8888
www.focuscontemporary.co.za
Gallery F
Contemporary and archival South
African Art
221 Long Street, Cape Town
T. 021 422 5246
www.galleryf.co.za
Gill Allderman Gallery
5 Jun-25 Jul, Featuring a collec-
tion of sculptures, paintings and
works on paper by various artists;
including Claire Christie, Donovan
Ward, Kemang Lehulere, Liz Linder,
Gill Cowen, Judy Conway, Velile
Soha, Jeanne Wassenaar, Anne Gas,
Sophie Peterson, Selvin November,
Lionel Davis, Baba Jakela,
Dathini Mzayiya, Ena Carstens,
Butho Phakathi
278 Main Road, Kenilworth,
Cape Town
T. 083 556 2540
www.gillalldermangallery.co.za
Goodman Gallery, Cape
2-19 Jul, Artslot, a compilation of
artist’s films at the Encounters
Documentary Film Festival 2009.
Includes work by Moshekwa Langa,
William Kentridge, Minnette Vári,
Kathryn Smith, Clive van den Berg,
Dan Halter, Sue Williamson and
Charles Maggs. 16 Jul-15 Aug,
Kudzanai Chiurai
3rd Floor, Fairweather House,
176 Sir Lowry Road Woodstock,
Cape Town
T. 021 462 7573/4,
www.goodmangallerycape.com
Hout Bay Gallery
17-26 Jul, The First People, quilts
and linoprints by twenty-four artists
of the Pomegranate group, a collec-
tive of artists of Bushman descent
71 Victoria Avenue, Hout Bay 7806
T. 021 790 3618/ 021 790 0137
art@houtbaygallery.co.za www.
houtbaygallery.co.za
Infin Art Gallery
Wolfe Street Chelsea Wynberg
T. 021 761 2816 and Buitengracht St
Cape Town
T. 021 423 2090
www.infinart.co.za
Irma Stern Museum
24 Jun-25 Jul, If beauty is in the eye
of the beholder, does it matter if the
lens is made in China? Recent
paintings by Paul Roux.
Cecil Road, Rosebank, Cape Town
T. 021 685 5686
www.irmastern.co.za
Iziko South African National
Gallery
Until Jul 09, Scratches on the Face.
2 Jun-16 Aug, Jol, paintings and
prints on the subject of jolling.
Includes work by William Kentridge,
Bob Gosani, Michael Wyeth and
Gerard Sekoto, amongst others.
17 Jun-25 Jul, The Edunsemble Art
Project, artworks by 30 learners,
aged 10 to 17, from various Cape
Town schools. Visions & Voices,
Rights & Realities – Children in
South Africa, photographs by school
children from around the country,
highlighting the abuse of children’s
rights in South Africa
Government Avenue, The
Company’s Garden
T. 021 467 4660
www.iziko.org.za
Johans Borman Fine Art Gallery
SA Master Paintings; By Irma Stern,
Maggie Laubser, JH Pierneef, Hugo
Naudé, Ruth Prowse, Gerard Sekoto,
George Pemba and Gregoire
Boonzaier, as well as contemporary
works by Walter Meyer, Jacobus
Kloppers, Hussein Salim, Ben
Coutouvidis, Hennie Niemann Jnr,
Philip Barlow, Marlene von
Dürckheim and others.
In-Fin-Art Building, Upper
Buitengracht Street, Cape Town
T. 021 423 6075/082 5664631
www.johansborman.co.za
Kalk Bay Modern
24 Jun-24 Jul, Art Works on Paper,
Cecil Skotnes, Penny Siopis, Colbert
Mashile, Michele Tabor, Jane
Eppel, Lyn Smuts, Rory Botha, Nat
Mokgosi
1st Floor, Olympia Buildings,
136 Main Road Kalk Bay
T. 021 788 6571
kbmodern@iafrica.com
Kunst House
18 May–31 Aug, a varying collec-
tion of work by resident artists
62 Kloof Street, Gardens
T. 021 422 1255
www.kunsthouse.co.za
Lindy van Niekerk Art
Gallery
Exhibition of SA’s leading artists
31 Kommandeur Road, Welgemoed,
Bellville
T. 021 913 7204/5
www.artpro.co.za
Michael Stevenson Contemporary
4 Jun–1 Aug, Everything Matters,
paintings by Deborah Poynton;
Ingubo Yesizwe, new installation by
Nicholas Hlobo; This is my Africa,
documentary by Zina-Saro-Wiwa;
Shroud, sculpture by Katharine
Jacobs
Ground Floor, Buchanan Building,
160 Sir Lowry Road, Cape Town
T. 021 462 1500
www.michaelstevenson.com
Raw Vision Gallery
For Jul, Messages from the Future,
digital prints by Mike Fisher
89 Sir Lowry Road, Woodstock
T. 076 581 9468
fishermike@mac.com
Muti Gallery
11 Jun-31 Jul, Tee Hee, kinetic
sculptures by Francois van Reenen;
Until 4 Jun, Solo exhibition by
Gabrielle Raaff.
3 Vredehoek Avenue, Oranjezicht
T. 021 465 3551
mutigalery@mutifilms.co.za
Orange Cactus
From 28 May, Caleidoscope, paint-
ings by Leonie E. Brown, Hannes
van der Walt, Frieda van Zyl and
Salome Briers.
Shop 28 & 29 Seaside Village, cnr
Otto du Plessis Drive & Cormorant
Rd, Big Bay, Bloubergstrand
T. 021 554 4797 or 082 3777 474
christelle@orangecactus.co.za
www.orangecactus.co.za
Rose Korber
1-31 Jul, Jurgen Schadeberg
48 Sedgemoor Road, Camps Bay,
Cape Town T. 021 438 9152
e-mail: roskorb@icon.co.za
www.rosekorberart.com
Rust-en-Vrede
1-22 Jul, Sandveld Diary, oils by
Annelie Venter; Brokkies Nostalgie,
oils by Madelein Marincowitz and
Cube in the Clay Musuem, ceramics
by Martin Swart and Noeleen Read
10 Wellington Road, Durbanville
T. 021 976 4691
www.rust-en-vrede.com
Salon91 Contemporary
30 Jun-15 Jul, Originale, drawings,
printed media, sculptures, videos
and sound installation by Louis
Minnaar.
91 Kloof Street, Gardens, Cape
Town T. 021 424 6930
www.salon91art.co.za
South African Museum
25 Jul-Mar 2010, Subtle Thresholds,
the representational taxonomies
of disease, a mixed media show
curated by Fritha Langerman.
25 Queen Victoria Street, Cape
Town T. 021 481 3800
http://www.iziko.org.za/sam/index.
html
South Gallery
Showcasing creativity from
Kwazulu-Natal; For Jul, Ardmore
Ceramic Art
Fairweather House, 176 Sir Lowry
Road Woodstock, Ground Floor.
T. 021 465 4672
info@southgallery.co.za
Tagores
From 18 Jun, The City and the
People, paintings and drawings
by Lee-Ann January and Ronald
Muchatuta
42 Trill Road (off Lower Main
Road, Observatory, Cape Town
These Four Walls Fine Art Galley
19 Jun-4 Jul, Equal in Silver, paint-
ings by Conor Ralphs
169 Lower Main Road, Observatory,
T. 021 447 7393
www.thesefourwalls.co.za
The South African Print Gallery
For Jul, a mid-career retrospective
of etchings by Gabriel Clarke-
Brown. For August, etchings by
Ben Coutouvidis
107 Sir Lowry Road, Woodstock,
Cape Town
T. 021 462 6851
www.printgallery.co.za
UCA Gallery
1 Jul-24 Jul, Dark Side of the Moon,
a group show of works, by Mary
Grey, Wonder, Albert Coertse, Shani
Nel, Colijn Strydom, Vusi
Beauchamp, Zach Taljaard and
Conor Ralphs. 29 Jul-21 Aug,
Voight-Kampff
46 Lower Main Road, Observatory,
Cape Town
T. 021 447 4132
www.ucagallery.co.za
VEO Gallery
From 2 Jun, Ani-mal, a group
exhibition and charity auction in aid
of P.E.T.S. Including work by Ian
Marley, Solly Smook, Candice Dawn
B, Willie le Roux, Kevin de Klerk,
Thalea Lombard, Riaan van Zyl,
Téreza Harling, Lana Faasen, Thea
van Staden, Anastasya Eliseeva, Ilze
Coetzee, Richard Mudariki, Wallen
Mapondera, René Schoonraad,
Leonie van der Westhuizen, Chantel
de Lange, Kevin Collins, and others
Jarvis Road, De Waterkant,
Cape Town
T. 021 421 3278
www.veo.co.za
What if the World…
1-20 Jul, Syndrome, a two-man show
featuring work by Charles Maggs
and Robert Sloon
First floor, 208 Albert Road,
Woodstock
T. 021 448 1438
www.whatiftheworld.com
Worldart
27 Jul-22 Aug, The Plot Thickens,
paintings by Michael Taylor
54 Church Street Cape Town CBD
T. 021 423 3075
www.worldart.co.za
Franschhoek
Galerie L’ Art
A permanent exhibition of old
masters
Shop no 3, The Ivy, Kruger Street, –
Franschhoek
T. 021 876 2497
www.galart.co.za
Plettenberg Bay
Lipschitz Gallery
From 4 Jul, a selection of South
African artists, Including Alfred
Krenz, Amos Langdown, Dumisani
Mbaso, Thomas Kgope, Sam
Nhlengethwa, Helen Sebidi and
others
42 Cutty Sark, Plettenberg Bay
6600, by appointment
T. 044 533 4581
www.southafricanart.co.za
George
Strydom Gallery
9 Jun-11 Jul, Southern Cape Art,
selected artwork from artists of the
Southern Cape
Marklaan Centre, 79 Market Street,
George
T. 044 874 4027.
www.artaffair.co.za
Paarl
The Hout Street Gallery
30 Jul-20 Sep, the 34th annual
Winter Gala, including paintings by
25 South African artists, as well as
sculptures, glass work and ceramics
270 Main Street Paarl
T. 021 872 5030
Stellenbosch
Dorp Straat Gallery
1 Jun-1 Jul, group show of sculp-
tures and paintings by Kobus
Lagrange, Louis Nell, Henk
Serfontein, Anthony Sherratt. 1-31
Jul, Winter Warmers Exhibition,
featuring work by Henk Serfontein,
Anthony Sherratt, Anya Adendorff,
Maraleen Jonker-Arangies, Kelly
John Gough, Louis Nel, Cornelia
Stoop, Jenny Parsons, Anthony
Johnson Anton Momberg and
ceramics by light from Africa, Laura
du Toit and John Newdigate
144 Dorp Street, Stellenbosch
T. 021 887 2256
www.dorpstraatgalery.co.za
Red Black and White
2-25 Jul, Beyond Buildings: the soul
of an architect, paintings by Hannes
Meiring
5a Distillery Road, Bosman’s
Crossing, Stellenbosch
T. 021 886 6281
www.redblackandwhite.co.za
SMAC Art Gallery
25 Jun-1 Sep, On Skin, works by
Ricky Benett; Abstract South African
Art from the Isolation Years, part
III; Collection 11 in the library
De Wet Centre, Church Street,
Stellenbosch
T. 021 887 3607
www.smacgallery.com
Stellenbosch Art Gallery
Permanent exhibition of Conrad
Theys, John Kramer, Gregoire
Boonzaier, Adriaan Boshoff and
other artists
34 Ryneveld Street, Stellenbosch
T. 021-8878343
www.stellenboschartgallery.co.za
Elgin
Oudebrug Gallery
Showcasing oil paintings, pastels
and sculptures in the sculpture
garden
Grabouw, Elgin T. 021 859 2595
www.ridley.co.za
Hermanus
Abalone Gallery
15 Jun-28 Jul, Printed III, graphic
works by Nils Burwitz, Hannes
Harrs, Dirk Meerkotter, Pippa
Skotnes
2 Harbour Rd, The Courtyard,
Hermanus. T. 028 313 2935
www.abalonegallery.co.za
The Old Harbour Gallery
For Jul, a selection of contemporary
and early 20th Century paintings
and sculptures
No. 4 Warrington Place, Harbour
Road, Hermanus
T. 028 313 2751 / 0822595515
www.oldharbourgallery.co.za
Philip Harper Galleries
Specialising in South African old
masters and select contemporary
artists
Oudehof Mall, 167 Main Road,
Hermanus
T. 028 312 4836
www.philipharpergalleries.co.za

Alex Dodd
Art Pig, Johannesburg
In retreat from the bright red
injunction to ‘Kill and Go’ that is
currently hanging in the window of
the Goodman Gallery on Jan Smuts
Avenue and freaking the bejesus
out of me every time I drive past it,
I decided to follow a gentler, more
generative impulse, and headed to
David Krut Projects for a solo by
Alexandra Ross. The series of nude
photographs printed on aluminium
that Ross produced for In Camera
– last year’s two-hander with her
brother, David Ross, at Resolution
Gallery – were darkly erotic and
conceptually concise all at once.
Shortly after completing a four-
month residency at the Nirox
Foundation in 2008 and receiving
her Masters in Fine Arts from Wits
University, Ross was invited to
collaborate with the printmakers
at David Krut Print Workshop and
this current solo is the result of that
studio experience.
Not only was I drawn to the title of
the show, In Search of Lost Time,
but also to the attendant quote by
contemporary philosopher, Alain
de Botton: ‘Journeys are the mid-
wives of thought.’
Last year at this time I was about to
embark on a journey to Paris to at-
tend a literary conference at which
De Botton was one of the speakers.
The author of thoughtful treatises
like How Proust Can Change Your
Life and Essays in Love, De
Botton’s wit and erudition is like
saffron in a world of Wimpy. Far
from the dark currency of the
smash-and-grab, kill-and-go men-
tality, his writing is an injunction
Nationalism seen through new eyes
Take in a group exhibition
that approaches the
concept of nationalism in
a variety of interesting ways,
writes Mary Corrigall
This exhibition could have so eas-
ily been trite. We could have been
treated to yet another politically-
correct investigation into the con-
structions of Afrikaner nationalism
and its long-standing repercussions
or have been served up a litany of
literal depictions of nation-building
tactics in the New South Africa.
It is refreshing to view national-
ism within a wider context, which
artworks hailing from other parts
of the world establish. Perhaps our
navel-gazing period is drawing to
a close?
Certainly viewing nationalism
from a multitude of perspectives
enhances our understanding of the
ideologies that have shaped our
national identity or desire to settle
on an identity that encompasses our
diverse society.
Unpacking the mechanics of na-
tionalism was a popular theme on
the art circuit in the late 1980s and
early 1990s in places like Britain,
where marginalised communities
fought their way into galleries and
destabilised notions of Britishness.
In this context all it took were pho-
tographs of black or Asian British
citizens in traditional English set-
tings or English garb to undermine
the status quo.
Curators Liza Essers and Storm
Janse van Rensburg have succeeded
in creating a group show that does
not challenge notions of nationalism
in such obvious ways. Nevertheless
it should be acknowledged that this
theme does lend itself to an obtuse
form of expression.
Because nationalism is built on
shared experiences or world-
views, it draws upon overstated or
generalised commonalities in its
Alex Dodd
to contemplate, to think differently
about things and, in so doing, ex-
pand and multiply the possibilities
of perception and experience avail-
able to us as conscious, sensate
beings.
So this winter, I was about to hijack
my own frazzled consciousness
and depart for the hills of Ixopo
to spend some time thinking and
walking amidst the greenness and
clearness that has been cultivated at
the Buddhist Retreat Centre there.
But before I left town, I managed
to slip into gallery for a sneak
preview of Ross’s work.
Having packed my own suitcase,
I was delighted to discover that the
show was all about journeys and
the mysterious way in which train
journeys, in particular, start out in
the physical realm, but as we sur-
render to the reality of movement,
soon become metaphysical.
‘While the journey as metaphor
evokes collective, generic memory,
it is also my personal journey,
objective to unite diverse groups
of people in order to achieve a
common end. Easily recognised
symbols are, therefore, readily,
drawn upon to forge a sense of
interconnectedness.
Doing it for Daddy (a Cape Town-
based collective, which counts
Bettina Malcomness, Renée
Holleman and Linda Stupart as
members) summon the rhetoric
of nationalism in their work,
Nation State (2009), an installa-
tion piece that sees rows of chairs
situated in front of a screen on
which the 2009 election slogans
from political parties’ campaigns
are displayed.
Elections are thought to be
empowering for citizens, as it is
during these occasions that they are
permitted to actively engage in the
political process but this artwork
implies that the public are passive
receivers. The installation conjures
an educational setting in which
ideas and opinions are instilled
in vacant minds. In this context
the people appear to have no
power, they are receivers of empty
rhetorical phrases such as “ready
to deliver” and “together we can
make a difference.”
The latter statement has particular
relevance to nationalism where
it is commonly implied that
transformation can only be enacted
when one acquiesces to the
collective will.
Slick phrases are the powerful
triggers that activate such forms of
acquiescence.
Drawing on a vocabulary particular
to advertising Stuart Bird’s RSA
(2009) work, a tube lighting sign
that reads “For Sale” best articu-
REVIEWS AND ART TIMES RECOMMENDED UPCOMING SHOWS
regaining “lost” time – a journey
through photography back to
painting and drawing,’ says Ross,
who hadn’t put pencil to paper
for 15 years before embarking on
this tinglingly ephemeral series of
editioned prints.
In Search of Lost Time features a
long line of immaculately and iden-
tically framed drawings, paintings,
mezzotints and monotypes that run,
like a train track, along one wall of
the gallery, each image precisely
contained within a format that
recalls the memento-like quality
of a Polaroid photograph. Walking
along this ‘track’ from image to
image echoes the experience of
gazing out of a train window at the
changing view. The finely rendered
prints track the artist’s recollection
of a recent train journey from Cape
Town to Johannesburg, but just as
the journey becomes more meta-
physical, the images start to rise up
from the dark bed of memory as
much as from the landscape itself.
The frames hold mental snapshots
of characters walking along station
platforms, an abandoned swing in
a park, a reservoir, a man pushing a
trolley, etiolated winter trees, fleet-
ing aspects of small town and rural
life along the trans-Karoo train
route, but there is also an image of
birds taking flight that stems from a
memory of Ross’s time in London
and another of figures in a park that
turns out to be Emmarentia.
I find myself particularly drawn to
the subtle tonalities and immacu-
late twiggy lines of a image of a
naked leafless tree, and warm to
the discovery that the image is
from the memory of a tree at the
Buddhist Retreat in Ixopo, where,
in 24 hours, I will be. Loops within
loops of mysterious sense – these
strange circuits of commonality
seem to offer up an alternative
logic of their own. And this journey
hasn’t even begun yet.
lates the persuasive tactics that
nation building is reliant upon.
Kadia Attia’s Oil and Sugar #2
(2007), a video work, reaches to-
wards an abstract representation of
the (forced) unification of two dis-
parate and conflicting substances.
As one watches the sugar cubes
and oil separate from each other the
futility of establishing and
trying to maintain a national
identity comes sharply into focus.
The Austrian artist, Pieter Friedl,
highlights the dangers of unques-
tioning collective thinking with Kill
and Go. Friedl’s sign also draws
from the advertising idiom but
here the message references more
devastating actions spurred by
nationalistic pride: war.
A collection of collages by Sam
Nhlengethwa document life under
apartheid. Ranging from landmark
events such as the Sharpeville mas-
sacre to more quiet moments
of suffering such as Candlelit
Studying (2003), Nhlengethwa
literally pieces together the past
with torn images retrieved from a
multitude of sources. The result is
an artificial form of documentation
that while referencing a reality is
fabricated by the artist. In so doing
he is able to articulate the suffering
of the individual without locating
it within the realm of an actual
individual. It is this communal
experience of suffering that acts as
a binding agent for a new nation.
Taysir Batniji’s Mirador (2006),
a triptych of grainy photographs
of a guard’s tower from multiple
viewpoints, conjures the artificial
physical boundaries that divide
states from each other. A role
reversal is afoot here: the guards
are being watched and studied.
Such a close investigation infers
a planned insurgency that will
threaten the borders and the ideolo-
gies that keep them intact.
It is a collection of photographs by
Mikhael Subotsky that deliver the
most incisive view into the varied
states of our nation.
Photographs of luggage outside a
refugee camp and a street party in
an affluent Johannesburg suburb,
which shows a group of whites
caught up in the frivolity while a
black security guard sits alone in
a chair slightly removed from the
party, speaks of the kinds of inclu-
sions and exclusions that are made
based on ethnic and economic
criteria. The photo highlights the
deep divides that continue to keep
South Africans divided and yet
despite this lack of homogeneity
among South Africans outsiders –
refugees – are rejected – published
in The Sunday Independent,
June 14, 2009
Peter Machen
Art Cowboy, Durban
I’m sure Durban’s not the only
place where it never rains but it
pours. But it’s certainly the case
in this not so sleepy, not so little
town next to a seaside that hardly
anyone visits except on New Year’s
Day, that things will seem slightly
depressed for a period and then
suddenly there’s cultural fire-
works. This month there’s much
to light up the sky. Roger Ballen’s
‘Boarding House’ is on show at
the DAG. Ledelle Moe’s haunting
‘Erosion’ is currently occupying
the Bank Gallery. There’s a Heath
family retrospective at the Tatham
in Pietermaritzburg and Penny
Siopis’ survey show ‘Red’ opens
at the KZNSA before it moves to
the Goodman in Johannesburg. But
the most significant exhibition – in
a month of significant exhibitions
– comes from a photographer who
isn’t well known as an art photog-
rapher in South Africa, but whose
subject matter has become one of
the most controversial issues to
flood the city’s cultural conversa-
tion in recent years.
Two years ago, Dennis Gilbert,
a Durban-born London-based
architectural photographer, returned
to his home town to document the
wonders of the Warwick Avenue
area for a book called Working in
Warwick by Richard Dobson and
Caroline Skinner. As a former city
planner, Dobson was instrumental
in helping to create the current real-
ity of Warwick in which existing
urban structures – including one
of apartheid’s many freeways to
nowhere – were used in innovative,
organic and often distinctly African
ways to accommodate the 400 000
or so commuters that pass through
the area each day, and make the
Review
Siener van Rensburg’s shinning jewel: Pandora
A lot of people know a little about
Siener van Rensburg and his visions,
many take them with a large pinch
of salt & others add a little Tequila.
There may be a coherent story hid-
den in these visions as some facts
balance perfectly mod ern occur-
rences. His stories consist of four
main parts. One of them contains
extensive reference to the “fall of
the European Government”, while
another one deals entirely with the
modern day struggle between the
USA and the extremist revolutionar-
ies that follow Islam. He noted that
the vierkleur would be flying above
the Union Buildings when the ice
began to melt, that around this time
Koeberg power station would blow
up, that the world economy would
collapse, the Kruger millions would
be found, etc. These visions were all
recorded by his daughter some time
before his death in 1926.
What many people do not know is
that his granddaughter, Pandora van
Cape Winter Views – To venture out for..
Melvyn
Minnaar
Mid-year’s deep winter along
these shores and surroundings
has a curious effect on the local
cultural industry. Capetonians
like to stay home when it is cold
and dark, so visits to galleries
and theatres drop. Of course,
those with more Spartan proclivi-
ties take the high road to places
like the Grahamstown art festival
for their cultural fix. Artists,
cocooned, usually produce good
stuff for public showing when the
sun brightens up life and move-
ment in the public art institutions.
The city’s galleries, thankfully,
persevere to offer sustenance
for those of us who need to see
Not Another Art Market
lives that they already lived better
and more functional.
I remember being highly suspi-
cious when the traditional herbalist
traders were removed from the
edge of the city’s freeways – and
replaced with aloes – but being
relieved and gratified when the
herbalists reappeared on the disused
freeway, which was now connected
to the morning market below it by
a simple metal bridge with shade
from a roof of wattle branches. It
was a perfect example of positive
intervention that acknowledged the
reality of people’s lives and the fact
that poverty was not about to van-
ish, and did so within an aesthetic
framework that resonated with its
surroundings.
But those changes – fundamental
both in attitude and in the way in
which they restitched a physically
fragmented city together – needed
to go further. Warwick might be
thriving, but it’s also under-supplied
in terms of municipal resources such
as toilets and waste removal. And
the conflicts between vehicles and
pedestrians has never been properly
resolved. But the British-style train-
station-attached-to-a-mini-mall
which is proposed and which will
involve the demolition of the Morn-
ing Market – and has city manager
Michael Sutcliffe as pretty much
its only defender – doesn’t seem
to be anything close to an elegant
solution. But then neither does
bringing in the rubber-bullet armed
forces to quell protests or attempting
to send in a demolition team when
the heritage body Amafa has denied
a permit for the demolition of the
Morning Market. (The traders – not
Amafa – stopped that one).
Rensburg, was the first Burlesque
performer in Africa. The Boer com-
mandos had a hard time fighting the
British forces and there was little or
no entertainment for them. Pandora
set up a little dance troupe and trav-
eled the various frontlines with her
ostrich feathers. Weather this was
motivated by patriotism or greed we
will never know. What we do know
is that she was so successful that
she eventually toured the country in
a pink sedan, and there are rumors
that she may have performed in St
Helena, Bermuda and Ceylon for
the imprisoned Boer troupes at no
cost to these bitter patriots. Pandora
carried her ostrich feathers in an
old guitar case and this eventually
became known as “Pandora’s Box”
in Afrikaans known as “Pandora
se doos”.
Pandora’s live shows for “Spring-
bok Cigarettes” predated most live
advertising in the country and many
of her pioneering ideas were later
used on the radio station named
Around South Africa in July
a good painting or video or two
from time to time.
Baylon Sandri’s SMAC in
Stellenbosch, well placed for a
hearty lunch as well, is one of the
winter’s better art hotspots with
the third show in what they some-
what oddly call Abstract South
African Art from the Isolation
Years. Equally interesting there
will be Ricky Burnett’s second
solo exhibition since returning
last year, called On Skin.
The more adventurous will flock
to Whatiftheworld to see what
the talented Charles Maggs and
clever-shady Robert Sloon had
invented in that friendly space.
In August the camp adventures
of Athi-Patra Ruga should be
equally attractive.
Meanwhile at Michael Stevenson,
Deborah Poyton’s mammoth,
It’s entirely a coincidence that the
book and exhibition of Working
in Warwick are being launched at
the Durban Art Gallery at the same
time as the eThekwini Municipa-
lity is attempting to pull out this
beating heart of the west-end of
the city and replace it with a mall.
The coincidence is a happy one
in that Working in Warwick will
help the Morning Market to garner
even more support than it already
has (I haven’t come across a single
person who isn’t in support of
retaining the market). But it is also
an unhappy coincidence for the
project’s progenitors in some ways,
since the full richness of the work
and of the place that the work docu-
ments might get subsumed by the
controversy.
But probably not. What is more
likely is that those who see
Gilbert’s pictures will be convinced
by all that richness and texture and
humanity. And it’s important to
point out that this love for Warwick
is not about the romanticisation of
the poor or of marginal street life.
It might however be about a love
for the real and the organic and
the sense of freedom that you get
on most streets, whether it’s Bond
Street in London, or Bond Street
in the Indian Quarter, just a few
minutes walk from the Morning
Market. A freedom that is entirely
missing from malls.
Which is probably why very few
contemporary artists hang out at
shopping centres in Durban – in
Jo’burg, it’s different and the malls
are also often different, since they
are an extension of the culture rather
than an escape from it. And it’s
probably also why you seldom see
art interventions in malls - except
it’s not why. The real reason is that
you’re not allowed to do anything
other than shop and eat in a mall
without permission. Try taking
pictures with an SLR camera in a
shopping centre and see how long it
is before the security guard arrives.
after this Burlesque show. Many
people think that “burlesque” means
female strippers walking a runway
to a bump and grind beat. But that
only fits this form in its later years.
At its best, burlesque was a rich
source of music and comedy that
kept audiences laughing.
Underdressed women performed as
sexual aggressors, combining good
looks with impertinent comedy, and
all this was in a production written
and managed by a woman. Unthink-
able in those times. No wonder the
commandos turned out in droves,
making Pandora and her “Boer
Burlesque” the hottest thing from
Pretoria to Potchefstroom. Demand
for tickets was such that she held a
special command performance for
President Kruger and his generals
in his stables behind his house in
Pretoria.
Pandora’s principal legacy was
her shifting of patterns of gender
representation that forever changed
the role of the woman on the South
African stage. The sight of a female
body, not covered by the accepted
norms of respectability, forcefully
if playfully, called attention to the
entire question of the “place” of
woman in society.
See more at
www.davidbrownfineart.co.za
slap-you-in-the-face paintings
will hold forth until Wim Botha
and Simon Gush arrived early
August. The Goodman Cape has
Kudzanai Chiurai lined-up. This
young Zimbabwean-born is
making waves with a powerful
visual punch. It could be a star
gallery event.
Joao Ferreira is hosting another
top African artist’s work in
August. Joël Mpah Dooh comes
from Douala in the Cameroon and
has an international reputation.
More local is the very shiny
talent of Michael Taylor, recently
named Art SA’s ‘sixth Bright
Young Thing for 2009’. His
funky paintings go on show at
Charl Bezuidenhout’s WorldArt
late July. Opposite, at the AVA
gallery, stalwart Lionel Davies is
promising some real surprises.
JULY 09 | BUSINESS ART
Warwick, on the other hand, is one
of the city’s most photographed
areas and is a frequent site for
artistic interventions. Those tourists
who manage to move outside the
commercial corridors of uShaka,
Suncoast and Umhlanga love it, and
it is often the place that makes them
love Durban.
Although the city has insisted that
the demolition of the Morning
Market is going to take place, the
battle is far from over. Every day
this week, as I write this, there is an
event somewhere in Durban, taking
up the plight of the market, its
Editor’s Choice
Barend de Wet and Christian Nerf
AVA Gallery | Cape Town | 6 – 24 July 2009
deleted scene from But Not
produced by Ronan X
Thieves, poets and others adopted
working under pseudonyms since
time immemorial. Now it’s com-
monly used online; one simply
adopts an AKA and voilà one has
a clean slate. Now everyone can
live a secret life. In this case the
artists have voluntarily given up
their names to one another, both
Barend de Wet and Christian Nerf
have been experimenting with each
other’s signatures since 2003, to
what extent may never be known.
“… in the autographed picture
cards you take each other’s place.
But this is not the first time either of
you has acted” (laughter) Sebastian
Charilaou.
The smallest exhibition space in
South Africa, even smaller than
On Show in Durban in July
Heath Family Retrospective at the
Tatham Art Gallery: Although their
work has not been fully acknow-
ledged, The Heaths are one of
KwaZulu-Natal’s most influential
artistic families. Between them,
they taught in the Fine Art Depart-
ment at the University of Natal (now
University of KZN) for more than
70 years. Jack Heath was the head
of department for many years, while
his wife Jane, taught there until her
retirement, as did their daughter
Bronwen, who has restored much
of her late parent’s work for this
exhibition. Regarded as artists’
artists, the Heaths’ talents have
thus far been recognized only by
colleagues, their students, the South
African art museums and a handful
of private art collectors. This Family
Retrospective is an excellent place to
start for everyone else.
Closes 13 September.
Penny Siopis at the KZNSA:
Siopis, who taught at DUT (then the
Natal Technikon) for several years
in the 80s, returns to Durban for her
first show here in many years. ‘Red’,
05
traders and its commuters who are
able to buy fresh produce at less
than half the price of any mall or
supermarket in the city. Not the
least of these events will be the
launch of Dobson and Skinner’s
book and Gilbert’s accompanying
exhibition. And I can’t help but
once more praise the Durban Art
Gallery for continuing to allow
space for a conversation that isn’t
necessarily in keeping with official
policies. Such space for dissonance
– even if it is unplanned – in our
national cultural institutions con-
tinues to remain a vital element of
our freedom.
Abrie Fourie’s Outlet gallery, has
been crammed full of stuff by
artists de Wet and Nerf. This
month they present sculptures
with prints, film and text done
by one another as well as a little
something something by guest artist
Francis Burger in the AVA’s New
Media room.
“While filming the closeness
surpassed anything I could have
imagined and we couldn’t help
laughing like nervous virgins. And
wearing Barend’s spectacles made
it all the scarier, like an out of focus
B-Grade skin flick” Nerf.
Displayed alongside one of the
original contracts, witnessed in
2003 by Ronan X at the Johan-
nesburg Art Gallery, will be a
replacement version for the other,
witnessed in 2009 by Burger at the
National Gallery.
“Christian does whatever the fuck
he wants with my name*” de Wet.
* I, Barend de Wet, agree to
allow the artist currently known
as Christian Nerf to use my
name … 33 times within the
next 10 years.
28 July 2003
subtitled ‘the Iconography of Colour
in the Work of Penny Siopis’ is
curated by KZNSA director Brenton
Maart. The exhibiton includes many
of Siopis’ most seminal works from
her Cake painting to ‘Melancholia’
to the Pinky Pinky and Shame series,
and even includes a reconstruction
of her 1997 video installation, My
Lovely Day, complete with the
original mini-cinema and plush red
seats. Closes 19 July.
Roger Ballen at the Durban Art
Gallery: In ‘Boarding House’, Ballen
continues to zoom in on the physical
and psychological details of his
artistic landscape. Although it is clear
to anyone who has been following
the arc of Ballen’s career that
‘Boarding House’ evolves directly
from his earlier work, at the same
time the work recalls the dadaism,
primitivism and surrealism that
fueled the western art world in the
late 20s and early 30s. When looking
at Ballen’s images it easy to forget
that photography is considered by
many to be a figurative art form.
Closes 19 July.
06 BUSINESS ART | JULY 09 GALLERY BUZZ

‘Sky’s the Limit’ by Di Erasmus

at the Crouse Art Gallery
Pictured here are author of SPUD, John Van Der Ruit with Julia
and Sue Clarence

“Artist’s Choice” Exhibition in Bay Gallery, Marra

Square, Bree St, Langebaan, Western Cape The opening of the exhibition ‘Industry Sets Criteria: Interior Design Students’ of the Durban University of Technology
Amy Maxwell at the Crouse Art Gallery.
Artist Jannie Jordaan with his wife, in front of his painting Opening address Prof Andrew, DVC academic DUT, Prof G Stewarts, FAD Deputy Dean, Professor Donal Fitzpatrick (Curtin, Australia) Lecturers of
“Mood Swing” the Interior Design Departments

Exhibition of Jane Digby and Hermine Spies

Coleman Lindsay Gallery in Durban North
As seen at the opening of l’Afrique: A Tribute to Maria Stein Lessing and
www.jjdigby.com
Leopold Spiegel Museum Africa, Newtown
The Second shows Twiz Tweedie, Sue Boulle and
Steven Sack congratulates Natalie Knight and Nessa Leibhammer, the curators of the l’Afrique exhbition
Denise Arro
at Museum Africa

Herbert Prins, Dr. Paula Girshick and Prof Andrew

Spiegel

Top left: Zamie LIKNAITZKY, Ali Hlongwane and

Carolina Geldenhys at the opening of l’Afrique
at Museum Africa

Left: Karel Nel and Esme Berman Focus Gallery, Cape Town winter show entitled: all together now
Photo credits: Debbie Yazbek The World Of Pamela Prendini – The Art
– until 15 August 2009
Space Gallery, Johannesburg

Andre Stead launched his female figurative sculpture series

at the 2009 Winter Good Food & Wine Show
Maureen Quin, well-known bronze sculptor, opening the exhibition

Opening of Obie Oberholzer’s show entitled: “Diesel and Dust”

The Photographers Gallery za & ERDMANN Contemporary
Obie and David Kramer Photo: Odendaal Esterhuizen
Opening of at the Gordart Gallery, Johannesburg
Andre and well-known painter friend, Lionel Smith
 SOUTH AFRICAN ART AUCTIONS JULY 09 | BUSINESS ART 07

Upcoming
Strauss & Co Obituary South African
South Africa’s new dynamic Art Auction House opens its doors art auctions
at the prestigious The Oval, in Newlands, Cape Town Fred Schimmel

On SWELCO Auction:
Cecil Edwin Frans Skotnes,
(South African 1926-2009)
a carved, incised and painted wood
panel of 122 by 120 cm
(estimate R300 000 - 500 000)

16 July 2009 – Cape Town, 10 am

Cape Town office
Strauss & Co’s Cape Town opera-
tions were launched in February of
this year in the Dolphin Room of
the Cape Castle, attended by the
crème of the social scene who pre-
viewed works from the inaugural
Johannesburg auction before spill-
ing over into the courtyard around
the fountain for summer evening
cocktails. Strauss are now pleased
to introduce their elegant new
premises at the Oval in Newlands,
the counterpart to their Houghton
office in Johannesburg.
Inspired by the marked move of
International auction houses away
from panelled and plush Victorian
design as a synonym for luxury,
Strauss’ Mary Jane Darroll has
achieved a gallery-style mini-
Important Cape Art Collection to be auctioned
malism that places the artwork
centre stage with optimal hanging
and lighting consideration.
Prime locations and a sophisti-
cated contemporary ambience
are one expression of Strauss &
Co’s dedication to state-of-the-
art presentation, yet beyond the
double-glazed doors celebrating
South Africa’s greatest artists,
design becomes secondary to the
company’s guiding principles of
world class expertise, efficiency
and professionalism.
Following the success of the
inaugural Johannesburg auction
in March, Strauss are currently
preparing their first Cape Town
auction of Important Paintings,
Johannesburg office
Furniture, Silver and Ceramics
which takes place on October 8th
this year at the Vineyard Hotel.
The sale features highlights by
leading South African artists
including Irma Stern, Jean Welz,
Maud Sumner, Gregoire Boonzaier,
Frans Oerder and Maggie Laubser,
Important Cape Furniture Silver
and Ceramics and The Collection
of the Late Leslie Milner.
Johannesburg
89 Central Street, Houghton
Tel: 011 728 8246
Cape Town
Colinton House, First Floor,
The Oval, 1 Oakdale Road,
Newlands
Tel: 087 806 8780
Gay Youngleson and Giulio Bertran
Baylon Sandri, Cristo Wiese, Caro
Wiese, Stephan Welz, Ivan Fallon
Angela Zehnder, Joseph Wolpe,
Bernard Milner, Dorothy Milner
Caro Wiese, Mariane Louw,
Liz Fallon
By Annemi Conradie
(art historian & writer) and
SMAC Art Gallery
Veteran printmaker and painter,
Fred Schimmel died on the 23rd of
June in Melville, Johannesburg at
the age of eighty. Born in Holland
in 1928, Fred Schimmel arrived
in South Africa with his parents
in 1948, who had come to look
for a better life with their children
after witnessing the destruction of
the Second World War. Over the
next six decades, this modest and
prolific artist would make rich
and lasting contributions to South
African abstract art and print-
making. It is however not only
the innovative and powerful
work of Schimmel that will be
remembered by those who knew
him, but perhaps more so his
relationship and engagement with
the landscape of his country of
residence manifests itself. “I’m a
Dutchman”, he said, “but I’m a
South African artist.”
Schimmel will be remembered
by many artists for the generous
sharing of his knowledge, time
and artistic expertise. From 1949
he worked as voluntary instructor
and assistant at the Polly Street
Art Centre, where for nine years
he worked with young artists such
as Sidney Khumalo, Louis
Maqhubela, Ben Arnold and others.
In 1970 he founded the Graphics
Club of South Africa, which served
to make high-quality art available
to buyers who could not afford
the original works of well-known
South African artists. In order to
produce an annual catalogue, he
asked artists such as Walter
Ashbey’s Galleries cc
Decorative & Fine Art Auction
43 Church Street Cape Town
4 & 5 August 2009 – Johannesburg
Stephan Welz & Co.
In Association with Sotheby’s
Fine & Decorative Arts, Furniture,
Silver, Ceramics & Jewellery
Venue: 13 Biermann Avenue, Rosebank
7 September 2009 – Johannesburg
Strauss & Co
Important South African Paintings,
Watercolours and Sculpture
(Entries open till 3 July 2009)
Venue: Country Club, Johannesburg,
Woodmead at 8 pm
8 October 2009 – Cape Town, 8pm
Strauss & Co
(Entries open till 15 July 2009)
Venue: The Vineyard Hotel, Newlands
13 & 14 October 2009 – London
Bonhams
The South African Sale
20 & 21 October 2009 – Cape Town
Stephan Welz & Co.
In Association with Sotheby’s
Fine & Decorative Arts, Furniture,
Silver, Ceramics & Jewellery
Venue: Kirstenbosch
1 February 2010 – Cape Town, 8pm
Strauss & Co

Strauss & Co Inaugural Auction in Cape Town

wholehearted embrace of play,
life and liberty, as well as his
generosity of spirit.
Battiss, Bettie Cilliers-Barnard,
Cecil Skotness, Winston Saoli and
Dirk Meerkotter to each contribute
an edition of signed serigraphs, all
Important Paintings, Furniture, Silver
and Ceramics
(Entries open till 10 December 2009)
Venue: The Vineyard Hotel, Newlands

Thursday 8 October 2009 Schimmel’s art consists of wide

Strauss & Co is proud to announce
the sale of Fine South African
Paintings and Watercolours from
the Collection of the Late Leslie
Milner to be sold in Cape Town
on 8 October 2009 as part o f their
inaugural auction. Fresh to market,
the forty-two works assembled
predominantly in the 50s and 60s
are emblematic of the Cape Art
scene of the time. Described by
Managing Director Stephan Welz
as a “collection formed with great
passion”, the array of exceptional
works features such gems as Irma
Stern’s Still life with Tiger
Lilies and Melon, 1944 (estimate
R1 200 000 - 1 600 000), Maggie
Laubser’s Seascape with boats,
house, and seated woman hold-
ing a baby, dated 1926 (estimate
R400 000-600 000), Maud
Sumner’s Still life with Flowers
and Candle, (R180 000 -200 000)
and May Hillhouse’s Still Life
with Teapot and Flowers 1954
(R60 000 - 90 000). Other artists
include among others Maurice van
Essche, Gerard Sekoto and Paul
du Toit.
Leslie Milner, known as ‘Les’,
was born in Lithuania in 1927
and moved to South Africa with
his family at the age of six. After
matriculating in 1948, he joined
‘Milly’s, the family business and
Auction of the late Leslie Milner Art Collection
began a career defined by industry
and innovation. Over the course
of the next decades, he travelled
extensively, pioneering many
areas of South African foods,
including frozen pastries, a frozen
food plant, a pickled cucumber
factory, as well as South Africa’s
first smoked salmon factory
which, in addition to supplying
the local market, exported to
Germany, Australia and Canada
under the name of “King
Solomon”. Following the sale of
the ‘Milly’s’ chain in 1984, he
relocated to Johannesburg. Five
years later, Leslie and his wife
Dorothy purchased a small fac-
tory called New York Bagels in
London’s Kentish Town and grew
it into a leading producer of fresh
and frozen bagels. This became
the namesake for the landmark
deli and bakery in Sea Point, once
the location of an old Milly’s
store, which they opened upon
their return to South Africa.
Leslie Milner’s interest in art was
awakened back in the 1950s, when
he met Solly Disner, a sculptor
and poet of Polish origin who
lived above his small factory in
Hatfield Street. Disner was also an
art dealer, and through him, Leslie
was introduced to the leading
Cape artists of the time. He would
and varied bodies of work, which
have rather organically branched
over categories of medium and
style over the decades. Like the
jazz music, beat poetry and
science fiction he so enjoyed, his
sometimes accept art in lieu of
creative output has shunned
rent and purchased some of his
conventions and boundaries.
finest paintings from Solly,
Loathe to repetition and adamant
including important works by
about the importance of continuous
Maggie Laubser, Paul du Toit experimentation, he has refused to
and Maurice van Essche, but his be bound by the limits and pres-
first acquisition was notably Irma sures of individual or ‘signature’
Stern’s Still life with Tiger Lilies
style, freely jumping between
and Melon, 1944. His wife Dot different media and ‘styles’. He
recalls that she was furious when had no formal art training, and
he brought the painting home, perhaps this has facilitated his
because they still had no curtains liberal and playful creative inves-
or chairs. He formed enduring ties tigations. His output thus includes
in the art world, including with seemingly disparate motifs and
Gerard Sekoto whom he often media: playful and satirical
visited with Dot even after he ‘cartoons’; large canvasses soaked
moved to Paris. and stained with monochromatic
pigments; tightly controlled hard-
Les never speculated in art. edge works with carefully polished
He had good instincts and made surfaces; poignant figurative
choices motivated not by invest- studies that have been scratched
and hacked into board; energetic
ment, but the pure enjoyment his
collection brought him and his arabesques in ink and paint; experi-
mental prints on homemade paper.
family over the years. Conse-
quently many of these paintings
Yet the impression that the South
have never been seen outside of
African landscape made on the
the circle of Milner’s family and artist is one theme that does run
friends. Les was well-known for through most of the work he
his pioneering work in the food
created over the decades. Though
industry, but many people have seldom featuring literally, the land-
yet to discover his passion for scape is suggested in most works
art. Les passed away in March by a single horizon line dividing
2009 after a short illness at the the canvas or board, separating
Irma Stern, South African 1894-1966, Still life with Tiger Lilies and Melon
age of 81. earth and sky, warm and cold or
Signed and dated 1944, Oil on canvas, R1 200 000 -1 600 000
dark and light. In many of his
Enquiries Cape Town Office: hard-edge paintings, serigraphs and
Telephone: 087 806 8780 calligraphic works, his immigrant’s
printed in Schimmel’s home studio.
This period is described with
fondness by Judith Mason in the
catalogue to Schimmel’s eightieth
retrospective at SMAC gallery in
2008:
“The jam-session in the garage,
the silkscreen on the kitchen table,
individuals wrestling with their
dreams and then finding an avenue
where they can show what they
have created. The ‘fun’ of making,
the fun of finding an artwork for
purchase, the fun of vicariously
sharing the creative life. Fred has
given us all this for many years...”
Fred Schimmel was an artist
with an unusually prolific career,
exhibiting locally and inter-
nationally, one with a world of
experience and an intimate know-
ledge of his craft. He was an artist
who refused to be quoted, as he
firmly believed that “nothing
I have to say is important enough
to be recorded for posterity.” An
artist who lived according to the
gospel of his friend Walter Battiss:
“Have fun! Have fun! The whole
thing with art is... do whatever you
want to do, but don’t take yourself
too seriously!” This artist will be
sorely missed, but his work and
life will be celebrated and remem-
bered by friends, family, artists
and art lovers. He is survived
by his daughter, author Gail
Schimmel, and his son-in-law
and grandson, Paul and Thomas
van Onselen.
To see more work go to
www.smacgallery.co.za
Auction Houses Contact details
Ashbey’s Galleries cc
Antique & Fine Art Auctioneers-
Valuers & Appraisers
For an appointment please contact:
Inge Beck
43 Church Street Cape Town
Tel: 021 423-8060
Fax: 021 423-3047
email: info@ashbeys.co.za
www.ashbeysgalleries.co.za
Bonhams
Contact for SA Artwork:
Hannah O’ Leary
sapictures@bonhams.com
www.bonhams.com/southafrica
+44 (0) 20 7468 8213
Stephan Welz & Co.
In Association with Sotheby’s
Johannesburg
13 Biermann Avenue, Rosebank,
Johannesburg
Telephone: +27 (11) 880-3125
Fax: +27 (11) 880-2656
Email: jhb@swelco.co.za
www.swelco.co.za
Cape Town
The Great Cellar, The Alphen Hotel,
Alphen Farm Estate, Alphen Drive,
Constantia 7808
Tel: +27 (21) 794-6461
Fax: +27 (21) 794-6621
Email: ct@swelco.co.za
www.swelco.co.za
Strauss & Co
Johannesburg
89 Central Street, Houghton, Gauteng,
2198
Tel: +27 11 728 8246
Fax: +27 11 728 8247
General Information jhb@straussart.co.za
Cape Town
The Oval, 1st Floor Colinton House,
1 Oakdale Road, Newlands, 7700
General Information ct@straussart.co.za
Tel: +27 87 806 8780
Fax: +27 86 654 6100

Ashbey’s Galleries cc Decorative & Fine Art Auction

Antique & Fine Art Auctioneers
16 July 2009 at 10:00 Ashbey’s Galleries
Established 1891
Valuers & Appraisers The name Ashbey’s Galleries have become a household name in Cape Town’s Art and Antiques
Ashbey’s Galleries has been involved in the World of Art and circles since its establishment in 1891. Operating from their offices and auction rooms at 43-51
Church Street, a Georgian Double Storey Building dating from the mid 1700’s.
Antiques for over 100 years. The company’s expertise and experience
Ashbey’s Galleries conduct weekly General Auctions as well as Antiques and works of Art
in the fields of South African art, as well as the general auctions every 7 to 8 weeks. Having been involved in the World of Art and Antiques for over
antique market is part of our proud history. 100 years, Ashbey’s continues to offer specialised knowledge, friendly and prompt service, a
reputation for fair dealing and authorative catalogues.
Ashbey’s Galleries has had many highlights over the years, having held the first exhibitions of
All opinions and valuations are confidential some of South Africa’s most respected artists such as Irma Stern (Feb 1922, Feb 1925 & Nov
1932), J.H. Pierneef (Oct 1921), Hugo Naude (Nov 1921), H.W. Trollip and Douglas Tennant
For an appointment please contact: (Dec 1921), J.H. Amschewitz ( Jan 1922), Ruth Prowse, Nita Spilhaus & Florence Zerffi (Feb
Inge Beck 1923), Gregoire Boonzaier (Aug 1925 & June 1934). The visitors’ books proudly display the
exhibitions of many other well known South African Artists, Royalty, Members of Parliament
as well as many prominent South Africans.
The next Fine Art and Antiques Auction will be conducted on the 16th July 2009 at 10:00;
one of the highlights of the sale is a Bronze by Anton van Wouw (1862-1945), “The Dagga
Tel: 021 423-8060 email: info@ashbeys.co.za Smoker”, 1907, estimate R250 000-350 000.
Fax: 021 423-3047 www.ashbeysgalleries.co.za
43 Church Street For an appointment please contact:
Anton van Wouw (1862-1945), “The Dagga Smoker” 1907, 17.5cm Paul Myson or Inge Beck on 021 4238060 or email info@ashbeys.co.za.
CAPE TOWN
(on auction 16 July 2009) All opinions and valuations are confidential.