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District Six 50Th Commemoration Print Exchange District Six 50th Commemoration Print Exchange “Remembering 60 000 forced goodbyes” 33 Foreword from the District Six Museum Sponsor’s Forewords Inspiration comes from many sources Sanlam t has been wonderful for the Museum to be part of this He is but one of an elder generation of artists who have istrict Six has been a site / sight of fascination for artists manifestation in artworks is symbolic of this experience. Icollaboration, and to be presented with the creativity of the contributed to the cultural repertoire of our city. This Dfor many decades. When it still had residents its mix of Sharing this symbolism is an invitation to all willing to engage participating artists as they responded to the call to use the print exchange collaboration is privileged to have one of cultures and quaint combination of architectural survival and with the artwork and to participate in this experience of commemoration of District Six’s declaration as one of their his contemporaries, Lionel Davis, participating as a print- decay provided a fecund source of vistas and picturesque integration. main inspirations for the prints which they have created. maker. I am sure that I will be excused for singling out one encounters that professional and amateur painters and artist among the many who have participated, but I do photographs actively explored and offered to a hungry and The District Six 50th Commemoration Print Exhange is Telling stories of our past using visual media is consistent so because of the Museum’s commitment to honouring willing buying public. such an invitation – to the artists, those that participated in with both the Museum’s methodology, as well as with the past legacies particularly those which have been under- the realisation of the exchange and all those that will come past of District Six. Many artists have formed part of that celebrated, and of which we have been organisational Even after its physical demise at the hand of the Apartheid to view the exhibition. Sanlam is privileged to have been story and many more are continuing in that trajectory. beneficiaries. state, images of this District as in its heyday, were and are offered the opportunity to support and to collaborate still being produced and reproduced. Irrespective of the in making this print exchange, catalogue and exhibition In the context of District Six, it is hard to think about While continuities and legacies are important, so is ignorant insensitivity that this may in particular context possible. Sanlam’s origins are in Cape Town and its success visual arts in general and print-making in particular, without innovation and even discontinuities. We celebrate the works represent, there is no doubt that the memory of District is intimately linked to the history of South Africa. The referencing one of our city’s great artistic legends, the late made by the range of printmakers in this print exchange Six as a unique place remains present and potent. Now half company acknowledges the significant role it has played Peter Clarke. He designed the poster for the Museum’s first and thank them for their contributions. The diversity of a century since its declaration by the state as an exclusive and still plays in the lives of many citizens in this country exhibition in 1994 based on an earlier print that he had participants in terms of age, gender and geographic origins district for “whites only” the image of District Six as a barren amongst them being those that lived and were removed made. Traces of that wonderful work can still be found in amongst other things, has added significantly to the richness partially developed stretch of land in the middle of the city from District Six directly and indirectly. the Museum, most visibly in the ornate gate that welcomes of this offering. stands out even more distinctly. The political contestation visitors to the Museum’s Homecoming Centre which will over its future continues without prospect of resolution Besides contributing significantly to upliftment of host the exhibition linked to this project. I invite you to join me in savouring their inspirations, reflecting how deeply divisive its destruction was on all communities through a diversity of infrastructure investment celebrating their artistic commitment and to bask in the communities that inhabited it. programs, Sanlam also comprehends the vital role played by Although he was not a resident of District Six, the area can reflected radiance of their brilliant creativity. the visual arts in providing tangible and visible expression claim to have provided a creative home for Peter Clarke Clearly the political language of the post-Apartheid South to the concerns and values of the communities it operates during his formative years as he explored his creativity Bonita Bennett Africa with its attendant grammar and rhetoric of social in and supports many organisations and individuals through within the walls of the St Phillip’s School in Chapel Street. 31 October 2016 justice has not the capacity to present or accommodate a funding and collaboration on projects, this print exchange resolution that is just for all the stakeholders involved. It is being one example of this. May this exchange be the therefore all the more appropriate that lest the memory of beginning of many more to come. this place becomes ossified that artists take on this subject. Aesthetic practice allows us to integrate our ethical Stefan Hundt disposition with our practical existence and its concrete Curator: Sanlam Art Collection Hard Ground Printmakers “The portfolio to remember District Six provides an urgent call to find creative and peaceful ard Ground Printmakers and my sponsorship came Hard Ground Printmakers press with which to produce their Habout by an invitation to me, to participate in the District work. The sponsorship was in solidarity with my fellow artists solutions to engage and negotiate change.” Six 50th Commemoration print exchange. On seeing the and the District Six 50th Commemoration print exchange. I list of participating artists I anticipated that for a number of would like to acknowledge my supporting sponsors Michael Kim Berman the Cape Town artists, whom I have known for many years, Graglia (USA), The Cape Gallery and Stefan Hundt , as well to be able to afford to produce their work and participate as the support of the D6 Home Coming Centre and staff. in the print exchange they would need assistance. I elected to travel from London, to sponsor, eventually, eight artists by Jonathan Comerford providing my printmaking technical expertise, materials and Owner: Hard Ground Printmakers 2 3 Contents Introduction Foreword . 2 n 1999, while at the Oliewenhuis Art Museum in to visually communicate the theme through various IBloemfontein, I compiled together with Tinus Boshoff, mediums and symbolises inclusiveness and a cultural Sponsors Forewords . 3 then a lecturer in printmaking at the Central University exchange through creativity. of Technology, the print exchange “Address Redress Print Introduction . 5 Collection”. The concept of a print exchange is to swap artworks amongst artists. The artworks are editioned prints based A faculty board meeting held at Cape Peninsula University on the number of participants. The prints are presented of Technology (CPUT) made me aware that the land, on in a portfolio case which each participant and supporting which the university is situated, was once the center of organisation will receive. Participating Artists District Six and the implications of forced removals under the Apartheid Group Areas act which followed. This inspired Generous support for this project was provided by Sanlam, me to embark on a print exchange reflecting this history Business Arts South Africa, the Cape Peninsula University Michael Adashie . .6 Banele Khosa . 31 and involving the District Six community and District Six of Technology, Meltt Pty Ltd and the District Six Museum. Museum who often raise objections to the expansion of Jonathan Comerford of Hard Ground Printmakers sponsored Kim Berman . .7 Richard Kilpert . 32 CPUT infrastructure which encroaches on the rights of the use of his printing press and his technical skills by installing Johann Booyens . .8 Ian Marley . 33 former and current residents of this area a temporary printing studio in the District Six Museum Homecoming Centre facilitating the editioning of prints by Tinus Boshoff . .9 Abe Mathabe . 34 A proposal presented to the District Six Museum artists who did not have access to printing facilities. George Homecoming Centre resulted in a partnership project to Wentzel offered his expertise in constructing the portfolio Ben Botma . 10 Sipho Mdanda . 35 commemorate the 50th anniversary of the declaration of boxes and Wizardz Print & Design supported the printing of Julia Brewis . 11 District Six as a White Group Area under Apartheid in 1966 the accompanying catalogue. Lesego Motsiri . 36 and the gradual forced removal of the entire community Walter Buchholz . 12 Vedant Nanackchand . 37 which followed. Most of all I would like to acknowledge the generous effort of all the artists in making this exchange possible. Bev Butkow . 13 Lucas Nkgweng . 38 I wanted to emphasise the historic cultural mix of Tatenda Chidora . 14 the area by inviting fifty local and international artists Nhlanhla Nhlapo . 39 to participate in the compilation of a print exchange Peneria George Micah Chisholm . 15 Vulindlela Nyoni . 40 portfolio under the theme ‘Remembering 60 000 Forced Cape Town Good-byes’. The exchange offered a unique opportunity October 2016 Alettia Vorster Chisin . 16 Sophie Peters . 41 Gabriel Clark-Brown . 17 Ayesha Price . 42 Jonathan Comerford . 18 Makoba Ramarutha . 43 Rouxanne Dauncey . 19 Tina Ratzer . 44 Lionel Davis . 20 Mark Rautenbach . 45 Jac de Villiers . 21 Elias Sewape . 46 Helena de Waal . 22 Edwine Simon . 47 Christiaan Diedericks . 23 Tina Smith . 48 Johandi du Plessis . 24 Dominic Thorburn . 49 Garth Erasmus .
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