Berni SEARLE CV July 2021

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Berni SEARLE b. 1964, Cape Town, South Africa Lives and works in Cape Town EDUCATION 1987 BA in Fine Arts 1995 Masters Degree at the Michaelis School of Fine Art, University of Cape Town SELECTED SOLO EXHIBITIONS 2013 Refuge, La Galerie Particulière, Paris, France 2012 Black Smoke Rising Trilogy, Ron Mandos, Gallery, Amsterdam, Netherlands 2011 Interlaced, De Hallen, the Belfry Tower, Bruges, Belgium | Museum voor Moderne Kunst Arnhem, Netherland | Frac Lorraine, Metz, France Shimmer, Stevenson Gallery, Cape Town, South Africa SELECTED GROUP EXHIBITIONS 2019 Yithi Laba, Market Photo Workshop, Johannesburg, South Africa Made Routes: Mapping and Making, Richard Saltoun Gallery, London, UK 2015 Distance and Desire: Encounters with African Archive, The Walter Collection, Ulm, Germany 2014 Earth Matters, National Museum of African Art, Smithsonian Institution, Washington D.C., US Public Intimacy. Art and Other Ordinary Acts in South Africa, Yerba Buena Center for the Arts with San Francisco Museum of Arts, San Francisco, CA, US 2013 Terminal, GIPCA, Cape Town, South Africa 2012 The Human Condition, Bradbury Gallery, Jonesboro, AR, US 2011 Figures & Fictions: Contemporary South African Photography, Victoria and Albert Museum, London, UK 2010 The Dissolve,8th International Biennial, SITE Santa Fe, Santa Fe, New Mexico 2005 She Devil, MACRO, Museum of Contemporary Art of Rome, Rome, Italy Pictures by Women: A History of Modern Photography, Museum of Modern Art, New York, NY, US Venice Biennale, Venice, Italy 2001 Venice Biennale, Venice, Italy 1997 2nd Johannesburg Biennale, Johannesburg, South Africa AWARDS 2014 Rockefeller Bellagio Creative Arts Fellow 2003 Standard Bank Young Artist Award 2011 Civitella Ranieri Fellowship 2000 Minister of Culture prize at Dak’art Biennale 1998 UNESCO/ AICA Award at the Cairo Biennale.

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27 June 07 July
27 JUNE TO 07 JULY TWENTY NINETEEN Recommended Retail Price: R75 4 Festival Messages 6 Acknowledgements 9 Standard Bank Young Artist Award Winners 16 2018 Featured Artist 20 Curatorial Statement & Curatorial Team 22 Curated Programme 27 Main Programme 155 Fringe Programme 235 Travel and Accommodation 236 Booking Procedures 238 Index 241 Map We will be publishing an update to our Programme which will be available in Grahamstown throughout the Festival, at all of our Box Offices and Information Kiosks. This update will contain the latest possible information on performances and events, changes, cancellations and additional shows, a daily diary, map, local emergency services number, etc and is a must-have for all Festival-goers. Latest Programme changes and updates available at www.nationalartsfestival.co.za Images from left to right: Gas Lands (58), Moonless (31) and Wanderer (63) MAIN MAIN PROGRAMME FRINGE PROGRAMME Cover image: 27 155 Birthing Nureyev by Theatre Theatre leftfoot productions Director: Andre Odendaal Performer: Ignatius van Heerden 39 181 Designer: Gustav Steenkamp (Gustav-Henri Designstudio) Student Theatre Comedy Disclaimer: The Festival organisers have made 43 199 every effort to ensure that Comedy Illusion everything printed in this publication is accurate. However, mistakes and 46 203 changes do occur, and Public Art Family Theatre we do not accept any responsibility for them or for any inaccuracies 48 208 or misinformation within advertisements. Artists Family Theatre Dance provide images, logos and advertisements and we accept no responsibility for 57 214 the quality of reproduction Dance Music Theatre & Cabaret in this publication. 64 218 Visual & Performance Art Music Recital 82 220 Music Contemporary Music 105 224 Jazz Poetry 121 225 Film Festival Film 130 227 Critical Consciousness Visual Art 145 233 Creativate Spiritfest 4 Welcome to the Eastern Cape – the “Home of Legends”! 2019 sees the 45th edition of the National inspired.
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Contemporary South African Visual Art and the Postcolonial Imagination, 1992-Present
CONTEMPORARY SOUTH AFRICAN VISUAL ART AND THE POSTCOLONIAL IMAGINATION, 1992-PRESENT A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Thembinkosi A Goniwe December 2017 © 2017 Thembinkosi A Goniwe CONTEMPORARY SOUTH AFRICAN VISUAL ART AND THE POSTCOLONIAL IMAGINATION, 1992-PRESENT Thembinkosi A Goniwe, Ph.D. Cornell University 2017 This study examines themes of history, humanness, cultural appropriation and identity politics, as engaged by selected contemporary South African artists and scholars in the 1990s and 2000s. During this period visual artists produced artworks and scholars posited arguments characteristic of postcolonial imagination whose contemporary qualities demonstrated a shift away from the culture of resistance to that of innovative expressions and expanded subject matter. There also emerged contentions that evidenced the complexity of the transition from apartheid to democracy. Working with local discourses (by Njabulo Ndebele and Albie Sachs) preoccupied with a liberated imagination from the stranglehold of apartheid as well as global postcolonial theories (of C.L.R. James, Frantz Fanon, Edward Said, Gayatri Spivak and Homi Bhabha) on the aforementioned themes, this study presents six chapters. The introductory chapter maps out a theoretical framework and contextual background of the study and articulates the meaning of postcolonial imaginary. Chapter 1 reads Johannes Phokela’s oil paintings as a postcolonial critique of (art) iii history’s Eurocentrism and his visual rewriting of such history by inserting black subjects into colonial master narratives from which they were omitted, obliterated and misrepresented. Chapter 2 examines Zwelethu Mthethwa’s color photographs through which he proclaims to restore the dignity of black subjects surviving in the margins of postcolonial modernity.
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Afrique Du Sud. Photographie Contemporaine
David Goldblatt, Stalled municipal housing scheme, Kwezidnaledi, Lady Grey, Eastern Cape, 5 August 2006, de la série Intersections Intersected, 2008, archival pigment ink digitally printed on cotton rag paper, 99x127 cm AFRIQUE DU SUD Cours de Nassim Daghighian 2 Quelques photographes et artistes contemporains d'Afrique du Sud (ordre alphabétique) Jordi Bieber ♀ (1966, Johannesburg ; vit à Johannesburg) www.jodibieber.com Ilan Godfrey (1980, Johannesburg ; vit à Londres, Grande-Bretagne) www.ilangodfrey.com David Goldblatt (1930, Randfontein, Transvaal, Afrique du Sud ; vit à Johannesburg) Kay Hassan (1956, Johannesburg ; vit à Johannesburg) Pieter Hugo (1976, Johannesburg ; vit au Cap / Cape Town) www.pieterhugo.com Nomusa Makhubu ♀ (1984, Sebokeng ; vit à Grahamstown) Lebohang Mashiloane (1981, province de l'Etat-Libre) Nandipha Mntambo ♀ (1982, Swaziland ; vit au Cap / Cape Town) Zwelethu Mthethwa (1960, Durban ; vit au Cap / Cape Town) Zanele Muholi ♀ (1972, Umlazi, Durban ; vit à Johannesburg) Riason Naidoo (1970, Chatsworth, Durban ; travaille à la Galerie national d'Afrique du Sud au Cap) Tracey Rose ♀ (1974, Durban, Afrique du Sud ; vit à Johannesburg) Berni Searle ♀ (1964, Le Cap / Cape Town ; vit au Cap) Mikhael Subotsky (1981, Le Cap / Cape Town ; vit à Johannesburg) Guy Tillim (1962, Johannesburg ; vit au Cap / Cape Town) Nontsikelelo "Lolo" Veleko ♀ (1977, Bodibe, North West Province ; vit à Johannesburg) Alastair Whitton (1969, Glasgow, Ecosse ; vit au Cap) Graeme Williams (1961, Le Cap / Cape Town ; vit à Johannesburg) Références bibliographiques Black, Brown, White. Photography from South Africa, Vienne, Kunsthalle Wien 2006 ENWEZOR, Okwui, Snap Judgments. New Positions in Contemporary African Photography, cat. expo. 10.03.-28.05.06, New York, International Center of Photography / Göttingen, Steidl, 2006 Bamako 2007.
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Vivienne KOORLAND and Berni SEARLE
‘Made Routes: Mapping and Making’ Vivienne KOORLAND and Berni SEARLE Curated by Tamar Garb 30 August – 26 September 2019 Private view: Thursday 29 August, 6–8pm ‘Made Routes: Mapping and Making,’ curated by acclaimed academic and art historian Tamar Garb, brings together the work of two South African artists: Vivienne KOORLAND and Berni SEARLE. The encounter between them speaks to their shared artistic concerns and participation in the landmark exhibition ‘Trade Routes: History + Geography’ at the 1997 2nd Johannesburg Biennale under the artistic directorship of the late Okwui Enwezor (1963–2019) to whom this exhibition is dedicated. In ‘Trade Routes,’ Enwezor and his curatorial team explored the way in which contemporary art interrogates and negotiates national boundaries and cartographic hierarchies, as well as the global movement and flow of people and commodities across modernity’s variegated landscapes. The exhibition at Richard Saltoun Gallery revisits key works from Enwezor’s 1997 ‘Trade Routes’ show. Koorland, in her ‘flag monuments’ and ‘chimney monuments’ map paintings, conflates banal place names with iconic ones, building an intimate childhood lexicon to address collective experience through revisions of history and the brutal havoc of colonialism and its legacies. Berni Searle’s reconstructed ground plan of the 17th-century Castle of Good Hope, filled with paprika, reconceives the earliest colonial building in South Africa (a fort) while referencing the role the Cape once played as a trading post for goods and peoples from the East. Both artists continue to rework these themes, from Koorland’s painting Pays Inconnu (2016), her remake of the idyllic 18th-century French King Louis XVI’s map of Southern Africa, to Searle’s As the Crow Flies (2017), a video work using Google Earth which imitates drone footage to conjure an image of the Cape Flats today.
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Exhibition Handout/Checklist
The Curators Rory Bester Rory Bester is an art historian and curator based in Johannesburg, South Africa. Since 1994 he has taught film, photography and cultural studies in the undergraduate and postgraduate programs in the Department of Historical Studies at the University of Cape Town and the Department of Art History at Wits University. Bester's special interest in historical and contemporary photography from Africa has resulted in a number of research and curatorial projects funded by, amongst others, Arts and Culture Trust of South Africa; Ford Foundation; HIVOS/Interfund; Human Sciences Research Council; National Arts Council of South Africa; and Standard Bank Group African Art Foundation. He completed a master's thesis on mission photography in colonial Southern Africa and has curated and/or co- curated a number of exhibitions on photography, film and video, including "Democracy's Images: Photography and Visual Art After Apartheid" for BildMuseet (Umea, Sweden, Sep 1998), "Kwere Kwere - Journeys into Strangeness" for The Castle of Good Hope (Cape Town, South Africa, Mar 2000) and Gertrude Posel Gallery (Johannesburg, South Africa, May 2000) and "The Short Century – Independence and Liberation Movements in Africa" for Museum Villa Stuck (Munich, Germany, Feb 2001), House of World Cultures (Berlin, Germany, May 2001), MCA (Chicago, Sep 2001) and P.S.1/MOMA (New York, Mar 2002). Bester is the associate editor of the 2nd Johannesburg Biennale 1997 catalogue, editor of the 2nd Johannesburg Biennale 1997 short guide, and is currently a consulting editor to Nka: Journal of Contemporary African Art. He has written essays for a number of catalogues and journals, including African Arts, Flash Art and Nka: Journal of Contemporary African Art.
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Historical Events, Trauma and Memory in South African Video Art (J0 Ractliffe, Penny Siopis, Berni Searle, Minnette Vári)
1 PRECARIOUS VIDEO: HISTORICAL EVENTS, TRAUMA AND MEMORY IN SOUTH AFRICAN VIDEO ART (J0 RACTLIFFE, PENNY SIOPIS, BERNI SEARLE, MINNETTE VÁRI) PhD DISSERTATION – HISTORY OF ART VOLUME 1 Yvette Mariette Greslé History of Art University College London January 2015 2 Declaration I, Yvette Mariette Greslé, confirm that the work presented in this dissertation is my own. Where information has been derived from other sources, I confirm that this has been indicated in the dissertation. 3 Abstract This dissertation explores four recent examples of video art by four South African women artists. It focuses on Jo Ractliffe’s Vlakplaas: 2 June 1999 (drive-by shooting) [1999/2000], Berni Searle’s Mute (2008), Penny Siopis’ Obscure White Messenger (2010) and Minnette Vári’s Chimera (the white edition, 2001 and the black edition 2001-2002). I consider the visual, sonic, temporal, durational, spatial, sensory and affective capacities of these works, and their encounter with historical events/episodes and figures the significance and affective charge of which move across the eras differentiated as apartheid and post-apartheid. I seek to contribute to critiques of the post-apartheid democracy, and the impetus to move forward from the past, to forgive and reconcile its violence, while not actively and critically engaging historical trauma, and its relation to memory. Each of the videos engaged enter into a dialogue with historical narratives embedded within the experience and memory of violence and racial oppression in South Africa. The study is concerned with the critical significance and temporality of memory in relation to trauma as a historical and psychoanalytical concept applicable to ongoing conditions of historical and political violence and its continuous, apparently irresolvable repetition in political-historical life.
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Walther Collection Distance and Desire-Media Kit 2013 4 9__Final
African Photography from The Walther Collection Distance and Desire: Encounters with the African Archive Press Kit Unidentified photographer, Portrait of King Khama III, South Africa, early twentieth century Distance and Desire: Encounters with the African Archive Dates June 9, 2013 – May 17, 2015 Curator Tamar Garb Historical Photographs by C. J. Aldham, Samuel Baylis Barnard, Barnett & Co, E. J. Bundy, Caney Brothers, B W. Caney, Crewes & Van Laun, Felix Coutinho, Coutinho Brothers, A. M. Duggan-Cronin, George T. Ferneyhough, A. C. Gomes & Sons, H. F. Gros, Gray Brothers, A. James Gribble, Kimberley Studio, Lawrence Brothers, T. Frederick Lewis, J. E. Middlebrook, William Moore, Henri Noyer, W. Rausch, John Salmon, M. Veniery, C. Vincenti, G. F. Williams, W. D. Young, and Unidentified Photographers Contemporary Photography and Video by Philip Kwame Apagya, Jodi Bieber, Sammy Baloji, Candice Breitz, Kudzanai Chiurai, Samuel Fosso, Attilio Gatti, David Goldblatt, Zwelethu Mthethwa, Zanele Muholi, Sabelo Mlangeni, Santu Mofokeng, Andrew Putter, Jo Ractliffe, Berni Searle, Guy Tilim, Carrie Mae Weems, and Sue Williamson Opening Hours Thursday–Sunday By appointment and guided tour only. Contact: [email protected] Address The Walther Collection Reichenauerstrasse 21 89233 Neu-Ulm/Burlafingen www.walthercollection.com Facebook: facebook.com/thewalthercollection Twitter: @walthercollect Contact Press Contact The Walther Collection Markus Müller/Bureau Mueller Maria Schindelegger Alte Schönhauser Straße 35 Tel.: +49 731 1769143 10119 Berlin [email protected] Tel.: +49 30 20188432 [email protected] Distance and Desire: Encounters with the African Archive The Walther Collection is pleased to present Distance and Desire: Encounters with the African Archive, the third exhibition devoted to African photography and video art.
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Spheres of Ambivalence: the Art of Berni Searle and the Body Politics of South African
Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South African Coloured Identity A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Erin M. Schwartz August 2014 © 2014 Erin M. Schwartz. All Rights Reserved. 2 This dissertation titled Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South African Coloured Identity by ERIN M. SCHWARTZ has been approved for the School of Interdisciplinary Arts and the College of Fine Arts by Andrea Frohne Associate Professor of Interdisciplinary Arts Margaret Kennedy-Dygas Dean, College of Fine Arts 3 ABSTRACT SCHWARTZ, ERIN M., Ph.D., August 2014, Interdisciplinary Arts Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South African Coloured Identity (242 pp.) Director of Dissertation: Andrea Frohne Berni Searle is an artist based in Cape Town, South Africa who uses her body in performance and photographic works. In this dissertation, articulations of identity within the context of Searle’s work are examined in their social-historical relationships. Searle, in her art, both uses her body to illustrate constructions of identity and reclaims her body (and by extension, other similar bodies). These performances of articulated identity considered through the rubric of reprendre will elucidate the construction of Coloured identity in the South African body politic. These performances will also allow a consideration of counter-spaces for discussing political agency. Since the collapse of apartheid in South Africa in 1994 the citizens of the new, non-racial state have had to contend with lasting effects of the violence and racism that founded much of South African history.
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Mop4 Catalogue
PRESENTED BY NEW MISSION STATemenT The South African Centre for Photography endeavors to: Promote a broader understanding of the medium of photography in all its forms, nationally and on the continent, and to foster the development of its practice, teaching, scholarship and criticism through the establishment of sustainable programmes and exhibitions. Promote photography through local, national and international exhibitions as well as related events. Promote photography as a means of expression through formal and informal educational programmes and by establishing links with institutions and partner organisations. Run pilot projects and skills-based training programs, placing special emphasis on developing communities and create sustainable models that can be used elsewhere. Establish, maintain and grow a database of southern African photographic information. Establish an online and physical library. Maintain and expand a photographic print collection. Network and dialogue with photographers, curators, collectors, writers, publishers and researchers. Establish relationships with our counterparts worldwide. Contribute towards setting and protecting industry standards. THE SOUth AFRICAN CeNTRE FOR PHOTOGRaphY P.O. Box 4020 Cape Town 8000 E / [email protected] E / [email protected] W / www.photocentre.org.za T / +27 21 462 4911 C / +27 82 9355522 MoP Festival Director & Curator: Jenny Altschuler Exhibition Curators: Rima Geffen, Meredith Randall, Pam Warne, Heidi Erdmann, Paul Weinberg, Julia Meintjies, Irvine Meyer, Tracey Derrick,
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170922 MINE Lantrobe
—The FilmWillAlways BeWithYou —The Bridget Baker MINE Doris Bloom Jacques Coetzer Barend de Wet Teboho Edkins Neville Gabie William Kentridge Michael MacGarry Mohau Modisakeng Tabita Rezaire Robin Rhode Athi-patra Ruga Berni Searle Bogosi Sekhukhuni Lerato Shadi Johan Thom Minnette Vari MINE is a selection of films of mainly South African arists and the diaspora, as MINE refers not only to the idea of deep level mining, but also to the idea of personal well as artists from other parts of the world living in South Africa. MINE was first ownership. The works featured have been chosen for their diversity, with the shown at Iwalewahaus, University of Bayreuth, Germany, 2011. Since then, various common denominator that the artists reference themselves in their work, either in iterations of MINE have been shown at DUCTAC Dubai, United Arab Emirates; person, as actor, model, observer, interviewer or instigator. MINE seeks to explore University of Johannesburg, and University of the Free State, Bloemfontein, the myriad of ways in which we identify and position our ‘selves’. South Africa, 2012. In 2013 MINE was hosted by MC2a & Novart, Bordeaux, and by Khiasma Paris, France. The Tate Modern London staged a revised version of MINE, —Abrie Fourie titled The Film Will Always Be You: South African Artists On Screen, as part of SA-UK Seasons 2014-2015 in collaboration with Tate curator Zoe Whitley. Editor: Abrie Fourie Copy-editing: Emily McDermott Essay: Dagara Dakin & Dr. Katja Gentric Introduction: Erin Mathews Curators: Abrie Fourie & Erin Mathews Director: Dr. Mark Themann Special thanks to all the participating artists and Harrie Siertsema, Erik Detwiller, Anne McIlleron, Ella Ziegler; Nadine Siegert and Ulf Vierke, Iwalewahaus, Bayreuth; Baylon Sandri, SMAC Gallery Cape Town/ Stellenbosch/ Johannesburg; Andrew da Conceicao, Stevenson, Cape Town/ Johannesburg; Kim Stern, Tyburn Gallery, London; Ashleigh Mclean, WHATIFTHEWORLD, Cape Town.
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The Film Will Always Be You: South African Artists on Screen
The Film Will Always Be You: South African Artists On Screen The Film Will Always Be You Yours > MINE > ours: curatorial notes on the origins of The Film Will Always Be You “The films opened an enormous door because they gave me a sense that it was possible to work without a program in advance, without first having written a script – a sense that if you work conscientiously and hard, and there is something inside you that is of interest, you yourself will be the film and the film will always be you.” – William Kentridge 1 It’s something of a cliché to open as over-arching inspiration: it a curatorial essay with an obscure is a declaration of the film series’ and/or erudite quote. A well-chosen artist-centred approach and keen excerpt not only sets the tone but often interest in the expression of artists’ casts the essayist(s) in a learned and subjectivity through moving image. cultured light with minimal effort. We, the authors are both fans and, most Within the South African context evidently, adopters of this technique. of maverick filmmakers, the This unique collection of South African Johannesburg Free Filmmakers’ Co- artists’ films does indeed open with Operative (FFM) provides tantalising a quote, not only literally deriving insight down what Kentridge’s studio the series title from artist William confirms is a “slightly erased and Kentridge’s reflection on his own fragmented trail.” 2 Comprising a evolving technique but also serving loose association of like-minded 5 individuals mainly making political drawing, and animation, this
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COPYRIGHT and CITATION CONSIDERATIONS for THIS THESIS/ DISSERTATION O Attribution — You Must Give Appropriate Credit, Provide
COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujcontent.uj.ac.za/vital/access/manager/Index?site_name=Research%20Output (Accessed: Date). REPRESENTATIONS OF DOMESTIC WORKERS IN POST-APARTHEID SOUTH AFRICAN ART PRACTICE A full thesis submitted in fulfilment of the requirement for the degree of DOCTOR OF LITERATURE AND PHILOSOPHY In the FACULTY OF HUMANITIES At the UNIVERSITY OF JOHANNESBURG by IRENE ENSLÉ BRONNER Student No. 201338351 January 2016 Supervisor: Professor Brenda Schmahmann Co-supervisor: Dr Stephen Sparks Abstract In this study, I analyse selected examples of South African art practice that represent black female domestic workers, focusing on works of portraiture and performance produced in the post-apartheid years. I argue that this liminal figure is often fetishised or positioned as uncanny because the trope of the domestic worker or servant is a site for the interpellation of self and other and family and nation, serving both material and ideological ends.
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