DOCSLIB.ORG

1 December 2018, Cape Town

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 December 2018, Cape Town o Nnenna Okore Yinka Shonibare Cyrus Kabiru Naomi Wanjiku Gakunga Kate Got dge Igshaan Adams Frohawk Two Feathers Peterson Kamwathi Peju Alatise Patrick arker Mongezi Ncaphayi Peju Alatise Cameron Platter Goncalo Mabunda Wallen era Barthélémy Toguo Jeanne Gaigher Wayne Barker Thania Petersen Igshaan Ad s Hlobo Nnenna Okore Yinka Shonibare Cyrus Kabiru Naomi Deborah Bell Kate G dge Frohawk Two Feathers Peterson Kamwathi Patrick Bongoy Peju Alatise Patrick yne Barker Mongezi Ncaphayi Jeanne Gaigher Cameron Platter Goncalo Mabund uo Naomi Wanjiku Gakunga Thania Petersen Igshaan Adams Peju Alatise Nnenn holas Hlobo Nnenna Okore Kate Gottgens Yinka Shonibare Cyrus Kabiru Naomi G wk Two Feathers Peterson Kamwathi Peju Alatise Nicholas Hlobo Patrick Bongoy W Okore Mongezi Ncaphayi Cameron Platter Goncalo Mabunda Cyrus Kabiru Walle Toguo Jeanne Gaigher Hank Willis Thomas Peterson Kamwathi Thania Petersen Ig olas Hlobo Nnenna Okore William Kentridge Yinka Shonibare Cyrus Kabiru Kate Go Bell Wallen Mapondera Frohawk Two Feathers Peterson Kamwathi Peju Alatise Pat er Mongezi Ncaphayi Gonçalo Mabunda Blessing Ngobeni Cameron Platter Yinka nda Wallen Mapondera Barthélémy Toguo Mongezi Ncaphayi Jeanne Gaigher H k Thomas Thania Petersen Igshaan Adams Nicholas Hlobo Blessing Ngobeni Nnen onibare Cyrus Kabiru Naomi Wanjiku Gakunga Nnenna Okore Kate Gottgens Willia rah Bell Frohawk Two Feathers Thania Petersen Deborah Bell Mongezi Ncaphayi P Bongoy Cameron Platter Mongezi Ncaphayi Blessing Ngobeni Goncalo Mabunda n Mapondera Barthélémy Toguo Yinka Shonibare Jeanne Gaigher Mongezi Ncap an Adams Hank Willis Thomas Yinka Shonibare Nicholas Hlobo Nnenna Okore Yinka Kabiru Naomi Wanjiku Gakunga Kate Gottgens William as Naomi Gakunga Barthélémy Toguo William Kentridge Deborah Bell Kate Gottge arker Mongezi Ncaphayi Blessing Ngobeni Cameron Platter Goncalo Mabunda W ens Frohawk Two Feathers Peterson Kamwathi Patrick Bongoy Wayne Barker Mon hayi Blessing Ngobeni Cameron Platter Goncalo Mabunda Wallen Mapondera Contemporary ART AFRICA Zeitz MOCAA Benefi t Auction Saturday 1 December at 6pm The auction will be preceded by a champagne preview at 5pm. Lots 1-28 VENUE Zeitz Museum of Contemporary Art Africa Silo District, South Arm Road, V&A Waterfront, Cape Town PREVIEW Thursday 29 November to Saturday 1 December, 10am to 6pm WALKABOUTS Thursday 29 November at 11am Friday 30 November at 11am ENQUIRIES, ABSENTEE AND TELEPHONE BIDS + 27 (0) 78 044 8185 | + 27 (0) 72 337 8405 [email protected] PAYMENT AND SHIPPING + 27 (0) 87 350 4777 [email protected] E-catalogue available: www.straussart.co.za ALL LOTS ARE SOLD SUBJECT TO THE CONDITIONS OF BUSINESS AS THEY APPEAR ON THE STRAUSS & CO WEBSITE. In support of Zeitz MOCAA, Strauss & Co will waive all commissions. 2 Zeitz MOCAA Benefi t Art Auction 3 Zeitz MOCAA Benefi t Auction The museum’s inauguration last year captured our times, one that participates in and leads the imagination of the global art community, global discourse, one that grows in relevance, and since then, we have remained committed and one that is a leading voice in the to building a sustainable future, while engaging international art world. wider African and international audiences. With critical support from artists, collectors, and Since the museum opened, we have pursued patrons alike, we can shape the museum’s numerous programmes guided by our mission future programming and ensure that we to advance, promote and preserve arts and continue to have a deep and sustained impact culture from Africa and its diaspora; to provide on our community at large. access to contemporary art to the public; to operate schools’ programmes to enrich, inspire We are incredibly thankful to the artists and and bring art and culture to school children; galleries who have donated such signifi cant and help create a new platform for African art works to this benefi t auction – our fi rst in Cape and culture. Town. We are humbled by their deep generosity, and remain grateful for both their contributions This year saw a number of exciting exhibitions, and partnership. The artists and galleries public programmes, and special events taking included here have been dedicated to the place in and around the museum – ranging museum’s success since inception, and their from artist talks and scholarly lectures, to unwavering support is appreciated across children’s workshops and fi lm screenings. the museum. We have cemented our commitment to driving Thank you also to the collectors who are joining new research, as well as implemented training us for this auction. Your support of this fundraiser and development programmes for museum will allow the museum to continue and expand staff, including the curatorial team. our community outreach efforts, underscoring our commitment to Access for All which remains A crucial part of our programming has been central to the mission of the museum. our community outreach efforts, organised by the Centre for Art Education. We are thrilled To Strauss & Co, and to all the other supporters to share that in the fi rst year of operation, Zeitz of this benefi t auction, and of the museum MOCAA welcomed more than 100 000 visitors year-round: thank you again. We very much look with free admission (30% of our overall visitation), forward to collaborating with you on the next and engaged nearly 9 000 students and adults phase of our journey at Zeitz MOCAA. through education, outreach and public programmes. Brooke Minto Azu Nwagbogu We are confi dent in our vision to become a Director of Acting Chief contemporary art museum that represents Institutional Advancement Curator 4 Zeitz MOCAA Benefi t Art Auction “In“ my opinion, there has never been a better local and international art scene, harnessing timet to collect African art in general, and South several international awards for architecture AfricanA art, in particular. and its contribution to contemporary culture. Zeitz MOCAA, together with the Iziko National ThisT demand for African art is the result of Museum, the Irma Stern Museum, A4 Foundation a combination of positive forces which, and the Norval Foundation, in conjunction collectively,c form a very healthy and vibrant with our excellent gallerists, have created the arta ecosystem. African artists are creating foundation for Cape Town becoming a much exceptionale works which dynamic galleries sought after international art destination. haveh succeeded in presenting to the world, securings access and exposure at leading Strauss & Co is delighted to join forces with Zeitz arta fairs across the globe. Leading auction MOCAA and leading African and international housesh are cementing the secondary market artists and galleries in presenting an auction of throught dedicated sales and academics outstanding artworks, to be sold for the benefi t anda museums are lending gravitas through of the museum’s Art Education programme, researchre and carefully curated exhibitions. an initiative we closely identify with. We salute AfricanA artists featured prominently at infl uential the generosity of the artists who contributed internationalin art events such as the Venice the works and, having waived all commissions Biennale,B Documenta and Performa, generating in order to maximise the contribution to the awarenessa and desirability among collectors program, invite patrons of Zeitz MOCAA and globally.g our clients to lend their support to this worthy cause.” ThisT ecosystem was given signifi cant impetus anda substance with the opening of Zeitz MOCAAM in September 2017. Since opening, the Frank Kilbourn museumm has made a dynamic impact on the Strauss & Co’s Executive Chairperson 5 1 Mongezi Ncaphayi SOUTH AFRICAN 1983- Libation Grounds 2018 mixed media on cold pressed Fabriano 140 by 99,5cm ZAR50 000 - 70 000 £2 800 - 3 800 PROVENANCE $3 500 - 5 000 Donated by the artist. €3 100 - 4 400 Courtesy of SMAC Gallery. Through a mixture of printmaking and paint, Mongezi Ncaphayi’s vast, cartographic art uses the principles of line, colour and form to illicit a sensory reaction not unlike that of jazz music, with its unpredictable rhythms, electric surges, and moments of calm. The emancipatory undertones of jazz are made Mongezi Ncaphayi (b. 1983, South Africa) has explicit through the titling of Ncaphayi’s Libation held numerous exhibitions through David Krut Grounds (2018). Here we see a subliminal Projects, and SMAC Gallery, South Africa. He landscape, marked by contours of calculated has also exhibited work at the Investec Cape gesture. There are moments of control, where Town Art Fair, Cape Town (South Africa: 2018); the artist’s hand is evident; at other times the 1:54 Contemporary Art Fair, London (UK: 2017); inks and watercolours have been left to run their and the 10th World Triennial of Printmaking in own course, according to their own principles. Chamalières (France: 2017). copyright the artist Gallery, courtesy Image of SMAC 6 Zeitz MOCAA Benefi t Art Auction 7 2 Blessing Ngobeni SOUTH AFRICAN 1985- Hero in Me 2018 mixed media on canvas 129 by 80cm ZAR80 000 - 120 000 £4 500 - 6 600 PROVENANCE $5 700 - 8 600 Donated by the artist. €5 000 - 7 500 Courtesy of Everard Read Gallery. Although well-known for his depictions of violence and the abuse of power, Blessing Ngobeni’s Hero In Me (2018) brings to the surface an undercurrent of optimism: the desire and will to overcome, in spite of one’s circumstances. By pairing the face of a young boy next to that of a demonic fi gure within the head of a single abstracted form, Hero In Me refl ects our capacity for both good and evil. Unlike the other silenced fi gures – who balance Blessing Ngobeni (b. 1985, South Africa) is the precariously on the edge of their seats, fading recipient of the Arts and Culture Trust Impact back into the blue-grey backdrop – the image Award (2013) and the Reinhold Cassirer Art of the boy pops out, his cheeks full. We can Award (2012).
Load more

Recommended publications
  • Art at the Silo Hotel a Brief History
    ART AT THE SILO HOTEL A BRIEF HISTORY The history of Africa is the history of being plundered for its most valuable resources. This was exemplified by the original grain silo building in Table Bay from which grain was exported to Europe. The new building represents a showcase retaining Africa’s greatest creative resources. The building itself can be seen as a work of art, offering it’s beautifully reimagined structure as an industrial canvas that highlights the very best of African art and design. “I have always included wonderful art at each of The Royal Portfolio properties. Art brings a space Liz Biden, owner of The Royal Portfolio pays tribute to this vision, through her use of to life, it creates warmth and tells stories. But moreover, art takes you on a journey which evolves contemporary African art and local craftsmanship in her interior design of The Silo as we evolve. Our guests love to enjoy the art collection at our properties. The Silo Hotel will take Hotel. that art experience to a whole new level with a focus on contemporary African art…” LIZ BIDEN During her trips throughout Africa, aided by her well-travelled eye for the exquisite FOUNDER AND OWNER and the unusual, Liz Biden has acquired a unique and varied collection of art that complements that of Zeitz MOCAA situated below The Silo Hotel. Highlighting both young, aspiring artists, as well as established, highly acclaimed artists such as Cyrus Kabiru, Mahau Modisakeng and Nandipha Mntambo. Liz Biden has specifically chosen pieces to complement the unique interiors of each of the 28 rooms, offering individualised experiences for guests and many a reason to return.
    [Show full text]
  • Filing in the Gaps
    University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town , " ,; r •\ Ii r, i" Filling In The Gaps Ruth Sacks 2007 ., I ~ ! :J I; I !I A dissertation submitted in fulfilmentUniversity of the requirements for the ofaward ofCape the degree of Master Town of Fine Art, Faculty of the Humanities, University of Cape Town DECLARATION: This work has not been previously submitted in whole, or in part, for the award of any degree, It is my own wOrk. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. I am the author of all Images unless otherwise stated in captions. Signature: Date:________ / Acknowledgements: To my father Benzion Sacks, for his unconditional support. My supervisors Jane Alexander and Virginia Mackenny for their insight, advice and patience. Andrew Lamprecht for his skilled editorial assistance and sustained encouragement. Ed Young for teaching me how to stand up for myself and allowing me to use his books. Douglas Gimberg for being an utter1y reliable assistant and maintaining a sense of humour. University of Cape TownChad Rossouw for proofreading and keeping me calm. The staff and students of the Michaelis School of Fine Art, particular1y everyone who works at Hiddingh Hall Library.
    [Show full text]
  • Cameron Platter Monster June 7
    Cameron Platter Monster June 7 – July 19 2014 Cameron Platter’s interdisciplinary work examines consumption, excess, detritus, identity and violence within a fragmented society. Through engagement with unorthodox and transient sources, his work schizophrenically documents and unearths contemporary reality. Entitled Monster, this exhibition presents an installation of new sculptures, drawings, ceramics and tapestries that look towards an internal landscape while cannibalizing the personal, political and social. These hybrid monuments to transience and impermanence and nightmare highlight Platter’s continued subversion of both medium and content. In his sculptural series, ‘Aliens’, carved wooden forms recreate totem-like artifacts. Drawn from disparate sources such as Brancusi and Moore; ethnographic objects (from the future or the past); futuristic sci-fi weapons; sex toys and fetish objects – they are an attempt to produce an authentic sculpture in an inauthentic manner. The monolithic sculpture ‘Monster’ is a shape-shifting collage/ assemblage that embodies the collapse of meaning and medium. Standing over 3 m tall, it is parts totem, dysfunctional consumerist object, monument and portal to the 4th dimension, a relic from a dystopian future. The drawings presented in Monster act as formal and conceptual links between the different works. The focal point of these drawings is ‘Stations II’ a large-scale pencil crayon triptych that reflects the artist’s ongoing investigation of the residues of excessive consumption and decay. In the same vein, the ‘Stain’ series of pencil crayon studies capture fallouts and defects, reclaiming unresolved fragments (of other drawings) and reanimating them as formal compositions. ‘River’, a series of charcoal drawings, has its genus in a set of drawings made in strip clubs.
    [Show full text]
  • THE SILO ART - PUBLIC SPACES “I Have Always Included Wonderful Art at Each of the Royal Portfolio Properties
    THE SILO ART - PUBLIC SPACES “I have always included wonderful art at each of The Royal Portfolio properties. Art brings a space to life, it creates warmth and tells stories. But moreover, art takes you on a journey which evolves as we evolve. Our guests love to enjoy the art collection at our properties. The Silo Hotel takes that art experience to a new level with a focus on contemporary African art…” LIZ BIDEN FOUNDER AND OWNER A BRIEF HISTORY Throughout much of its history, Africa’s valuable resources have been extracted for the benefit of foreign economies. This was exemplified by the original grain silo building in Table Bay from which grain was exported to Europe. The new building represents a showcase retaining Africa’s greatest creative resources. The building itself can be seen as a work of art, offering its beautifully reimagined structure as an industrial canvas that highlights the very best of African art and design. Liz Biden, owner of The Royal Portfolio pays tribute to this vision, through her use of contemporary African art and local craftsmanship in her interior design of The Silo Hotel. During her trips throughout Africa, aided by her well travelled eye for the exquisite and the unusual, Liz Biden has acquired a unique and varied collection of art that complements that of Zeitz MOCAA situated below The Silo Hotel. Highlighting both young, aspiring artists, as well as established, highly acclaimed artists such as Cyrus Kabiru, Mahau Modisakeng and Nandipha Mntambo. Liz Biden has specifically chosen pieces to complement the unique interiors of each of the 28 rooms, offering individualised experiences for guests and many a reason to return.
    [Show full text]
  • Photography at Auctions
    AFRICAN CONTEMPORARY PHOTOGRAPHY AT AUCTIONS CONFIDENCE IN THE INTERNATIONAL MARKET REACHES AN ALL-TIME HIGH CAPE TOWN ART FAIR’S RISING PROFILE ART 14 LONDON, SETTING NEW HEIGHTS HASSAN HAJJAJ DAVID GOLDBLATT SIMON OTTENBERG JOACHIM MELCHERS UGOCHUKWU - SMOOTH C. NZEWI PAUL SIKA JOHN FLEETWOOD ARTUR WALTHER THE PHOTOGRAPHY ISSUE II OMENKA MAGAZINE 2 3 4 6 7 0 8 8 1 0 0 0 0 VOLUME 1 ISSUE 2 Ben (Benedict Chukwukadibia) Contact Enwonwu, M.B.E +44 (0) 20 7468 8355 (Nigerian, 1917 - 1994) [email protected] ‘Snake Dance’ carved wood 141 x 20 x 20cm (55 1/2 x 7 7/8 x 7 7/8in) (including base) £50,000 - 80,000 US$83,000 - 133,000 Africa Now New Bond Street bonhams.com/africanow 2014 Sandton Convention Centre, Johannesburg 22-24 August To submit your application, please visit www.artlogic.co.za/fairs The deadline for applications is the 28th of February 2014. Decoration or Asset? The Art Exchange’s Products and Services include... Advisory Services Acquisition Financing Custodian & Insurance Services www.theartexchangelimited.com [email protected] +234 706 590 4800 VOLUME 1 ISSUE 3 118 99 FEATURES Spot Lighting The Sanlam Food Wine Design Fair 2013 100 John Fleetwood: The Market Photo Workshop 106 Peer Conversation 114 Jude Anogwih and Adejoke Tugbiyele Art 14 London, Setting New Heights 118 Cape Town Art Fair’s Rising Profile 124 5 OMENKA MAGAZINE VOLUME 1 ISSUE 3 COLUMNS 81 ArtTactic 82 Confidence in the International Photography Market Reaches an All-time High Ask the Curator 84 Ugochukwu-Smooth Nzewi Letter to the Editor
    [Show full text]
  • Africa-Lite: Cultural Appropriation and Commodification of Historic Blackness in Post- Apartheid Fabric and Décor Design
    Africa-Lite: Cultural appropriation and commodification of historic blackness in post- apartheid fabric and décor design By Annemi Conradie Dissertation presented for the degree of Doctor of Visual Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Lize van Robbroeck Department: Visual Arts April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. April 2019 Copyright © 2019 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract Over the past few years, cultural appropriation has gained a degree of notoriety as a buzzword, after emerging into the wider public arena from academic, legal and political discourses. Internationally and in South Africa, debates arise predominantly around cases where historically asymmetric power relations are symbolically or materially re-enacted when dominant groups appropriate from economic or political minorities. This study examines the appropriation of colonial images of black individuals and bodies for commodification in twenty- first century South African décor and fabric design. A prominent trend in post-apartheid visual design, the re- purposing and commodification of archival photographs, and its circulation within local and global image economies and design markets demand further research and comprehensive theorising.
    [Show full text]
  • Universe Africa Universe 4 5 Africa Universe
    AFRICA UNIVERSE AFRICA UNIVERSE 4 5 AFRICA UNIVERSE During the last two decades there has been a rise of interest in the work of contemporary Afri- can artists, who eventually became a solid part of the global artistic community. We have re- cently recognized and became conscious of the ‘Africa Universe’ – a kaleidoscopic universe able to speak to the whole world, even if built from complex visual and cultural codes. Once on the margins of the mainstream narratives, today, the work of African artists is featured in the evolving discourse of contemporary art. From publications to biennales and exhibitions in the most prestigious museums, from academic research to new curatorial methodologies and pro- grams, from auction houses to commercial art galleries - the world’s attention has been focused on Contemporary African Art. In the current cultural, social and political context, we observe important shifts of power and knowledge, once exclusively reserved to the West. Over the centuries, we have been exercising the self-affirmation of Western identity through the intellectual discrimination of non-European societies. However, the theory of ‘Otherness’ discussed by Edward W. Said in the Orientalism from 1978, is gradually vanishing, as we are trying to stop patronizing the cultural representa- tions based upon fictional, Western images of “the Others”. This kind of discursive control ap- plied also to the history of art, a discipline, which excluded many talented artists from the litera- ture and which in consequence is finally being revisited. The dialectics about art, but not only, is steadily changing and we are fortunate enough to observer this epoch-making intellectual and cultural transition.
    [Show full text]
  • “I Have Always Included Wonderful Art at Each of the Royal Portfolio Properties
    “I have always included wonderful art at each of The Royal Portfolio properties. Art brings a space to life, it creates warmth and tells stories. But moreover, art takes you on a journey which evolves as we evolve. Our guests love to enjoy the art collection at our properties. The Silo Hotel takes that art experience to a new level with a focus on contemporary African art…” LIZ BIDEN FOUNDER AND OWNER A BRIEF HISTORY The history of Africa is the history of being plundered for its most valuable resources. This was exemplified by the original grain silo building in Table Bay from which grain was exported to Europe. The new building represents a showcase retaining Africa’s greatest creative resources. The building itself can be seen as a work of art, offering it’s beautifully reimagined structure as an industrial canvas that highlights the very best of African art and design. Liz Biden, owner of The Royal Portfolio pays tribute to this vision, through her use of contemporary African art and local craftsmanship in her interior design of The Silo Hotel. During her trips throughout Africa, aided by her well-travelled eye for the exquisite and the unusual, Liz Biden has acquired a unique and varied collection of art that complements that of Zeitz MOCAA situated below The Silo Hotel. Highlighting both young, aspiring artists, as well as established, highly acclaimed artists such as Cyrus Kabiru, Mahau Modisakeng and Nandipha Mntambo. Liz Biden has specifically chosen pieces to complement the unique interiors of each of the 28 rooms, offering individualised experiences for guests and many a reason to return.
    [Show full text]
  • Art Collection
    Art Collection contents ELLERMAN ART COLLECTION Gregoire Boonzaier 2 Thomas William Bowler 3 Dorothy Kay 4 William Kentridge 5 Francois Krige 6 Erik Laubscher 7 Maggie Laubser 8 John Meyer 9 Pieter Hugo Naude 10 George Pemba 11 Jacob Hendrik Pierneef 12 Alexis Preller 13 Irma Stern 14 Maud Sumner 15 About The Ellerman House Art Collection Maurice van Essche 16 Jean Welz 17 Pieter Wenning 18 Ellerman House is distinguished from other fine December 2009 dates the birth of Ellerman hotels in South Africa by the Ellerman House Contemporary, our contemporary art gallery hidden ELLERMAN CONTEMPORARY Art collection. The grand collection of fine art is away under the manicured lawns of the lower terrace. Anton Kannemeyer 20 based on the sound principle of acquiring works of This space was created to expose guests to the Cameron Platter 21 unquestionable quality. The owners have spent the immense talent of South African contemporary artists Diane Victor 22 last three decades assembling a substantial collection and their work. Ever evolving, the contemporary Georgina Gratrix 23 Kate Gottgens 24 of the best South African artwork. The originals collection rotates throughout the year allowing guests Kevin Brand 25 span from the turn of the last century to current day to explore new talent in and amongst well respected Mary Sibande 26 works - from the 1910 Volschenk of an undeveloped and established South African contemporary artists. Norman Catherine 27 Camps Bay, to the contemporary new art forms of Paul du Toit 28 Vusi Khumalo. Guests are invited to take the Ellerman House Art Phillemon Hlungwane 29 Tour within the public places of Ellerman House and Strijdom van der Merwe 30 While the initial emphasis was on a collection of Ellerman Contemporary Gallery.
    [Show full text]
  • Anton Kannemeyer: Very Very Good, 2011, Acrylic on Canvas, 63 by 687⁄8 Inches; at Jack Shainman
    EXHIBITION REVIEWS JANUARY 2012 Anton Kannemeyer: Very Very Good, 2011, acrylic on canvas, 63 by 687⁄8 inches; at Jack Shainman. ANTON KANNEMEYER big red lips and googly eyes. In The Sleep small, tidy collages laden with emotional JACK SHAINMAN of Reason Produces Monsters, a small contradiction. Here Kannemeyer juxta- When, in 1992, Anton Kannemeyer work on paper, Tintin dreams in bed, while poses news clippings about violent events and Conrad Botes began publishing the minstrel has materialized, naked and with gleaming ads and his own very beau- Bitterkomix—the underground comic shocked-looking, on an animal rug. Tables tiful, less comical, drawings of politicians books written mainly in their native lan- are turned in the 63-inch-square canvas or heroes. In these, formal orderliness guage, Afrikaans—they had a clear target Some Kind of Boo-Boo, in which three belies a content of economic and social for their biting satire, for apartheid had minstrel doctors diagnose Tintin, who lies breakdown, much as in the larger works not yet entirely fallen in South Africa. sweating on a gurney. In Very Very Good, cheery colors sublimate violence of a Bitterkomix was a huge hit—revelatory, a white artist (Kannemeyer’s self-portrait, more psychological nature. I imagine even liberating for many young South I was told) critiques a distressed-looking Kannemeyer’s work would be tough to Africans. Then rainbow democracy was minstrel-like student, assuring him in a live with, its message the darker for all the born, and truth and reconciliation warily speech bubble that really, he does like the pretty packaging.
    [Show full text]
  • Andrew Kreps Gallery 22 Cortlandt Alley New York
    ANDREW KREPS GALLERY 22 CORTLANDT ALLEY NEW YORK, NY 10013 TEL (212) 741-8849 FAX (212)741-8863 WWW.ANDREWKREPS.COM MOSHEKWA LANGA 1975 Born in Bakenberg, South Africa Lives in Amsterdam, the Netherlands Education: 2008 Rijksakademie van Beeldende Kunsten, Amsterdam, the Netherlands Solo Exhibitions: 2018 Relatives, Blain Southern, London, UK 2017 Fugitive, Stevenson, Johannesburg, South Africa 2016 Ellipses, Stevenson, Cape Town, South Africa Mini Survey, Frieze, New York, USA 2014 The Jealous Lover, ifa-Galerie Stuttgart; ifa-Galerie Berlin, Germany 2013 Counterpoints: Moshekwa Langa, In and Out of Africa, Krannert Art Museum, University of Illinois, Urbana-Champaign, USA Mogalakwena, Goodman Gallery, Cape Town, South Africa 2012 Ramokone, Goodman Gallery, Johannesburg, South Africa 2011 Marhumbini: In An Other Time, Kunsthalle Bern, Switzerland 2010 Black Maria, Galerie Mikael Andersen, Copenhagen, Denmark Wuthering Heights, Galerie Mikael Andersen, Berlin, Germany 2009 Rose Coloured Glasses, Bernier/Eliades Gallery, Athens, Greece Thresholds, Goodman Gallery, Johannesburg, South Africa 2008 MiraCle in the Rain, Taché-Lévy Gallery, Brussels, Belgium 2007 Encounters: Moshekwa Langa - Homeland, Modern Art Oxford, UK The Inheritance of Loss, Goodman Gallery, Cape Town, South Africa 2006 The man who cast no shadows, Taché-Lévy Gallery, Brussels, Belgium Terms of Endearment, Galeria Bonomo, Rome, Italy 2005 Moshekwa Langa, MAXXI, Museo nazionale delle arti del XXI secolo, Rome, Italy Backlash Blues, Goodman Gallery, Johannesburg, South Africa
    [Show full text]
  • Cameron Platter Monster June 7
    Cameron Platter Monster June 7 – July 19 2014 Cameron Platter’s interdisciplinary work examines consumption, excess, detritus, identity and violence within a fragmented society. Through engagement with unorthodox and transient sources, his work schizophrenically documents and unearths contemporary reality. Entitled Monster, this exhibition presents an installation of new sculptures, drawings, ceramics and tapestries that look towards an internal landscape while cannibalizing the personal, political and social. These hybrid monuments to transience and impermanence and nightmare highlight Platter’s continued subversion of both medium and content. In his sculptural series, ‘Aliens’, carved wooden forms recreate totem-like artifacts. Drawn from disparate sources such as Brancusi and Moore; ethnographic objects (from the future or the past); futuristic sci-fi weapons; sex toys and fetish objects – they are an attempt to produce an authentic sculpture in an inauthentic manner. The monolithic sculpture ‘Monster’ is a shape-shifting collage/ assemblage that embodies the collapse of meaning and medium. Standing over 3 m tall, it is parts totem, dysfunctional consumerist object, monument and portal to the 4th dimension, a relic from a dystopian future. The drawings presented in Monster act as formal and conceptual links between the different works. The focal point of these drawings is ‘Stations II’ a large-scale pencil crayon triptych that reflects the artist’s ongoing investigation of the residues of excessive consumption and decay. In the same vein, the ‘Stain’ series of pencil crayon studies capture fallouts and defects, reclaiming unresolved fragments (of other drawings) and reanimating them as formal compositions. ‘River’, a series of charcoal drawings, has its genus in a set of drawings made in strip clubs.
    [Show full text]