DOCSLIB.ORG

Previous Winner of the Sanlam Portrait Award, Heather Gourlay-Conyngham

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Previous Winner of the Sanlam Portrait Award, Heather Gourlay-Conyngham AARTRT TTIMESIMES The South African Art Times: SA’s leading visual arts publication | May 2017 | Free | Read daily news on www.arttimes.co.za leading visual arts publication | May 2017 Free The South African Art Times: SA’s Previous winner of the Sanlam Portrait Award, Heather Gourlay-Conyngham: Morning sleeper, 76 x 90 cm, Oil on canvas (edited for cover) John Pace, Farmer. Image courtesy of Rust-en-Vrede Gallery A1/<<7<52757B/:>@7<B7<5:7B6=5@/>6G 6 SA ART TIMES | MAY 2017 CONTENTS Art Times Gallery Guide 8 Hermanus FynArts 26 Art Events Calendar – NEW LOOK Willie Bester & the visual arts Now you really can’t miss out programme 42 Gallery Buzz 12 Portrait, Portrait, This month’s art celebrities “NOT A PORTRAIT” The start of three new art traditions 14 100 Greatest SA Artworks Series Business Art By Lyn Holm 18 A Decade That Changed 16 Print Takes Centre Stage Everything By Jeremy Sampson And other Strauss & Co happenings 18 Powerful Prison Photography 16 Auction Action Incarceration like you’ve never seen it Results, highlights & lots to watch 20 Be Discovered 14 The NEW Palette Fine Art Gallery With Sasol New Signatures Bronze sends a message 22 Banele Khoza Wins SA Taxi 12 SACO - Monitoring & Evaluation Keys to creative potential Foundation Art Award Amos Langdown See his work in print before you 10 SA Artists Abroad see it on the road Get your visa ready +27 217627983 [email protected] 24 MOK gallery 8 Interview with Belgian, Booshra www.eclecticaartandantiques.co.za ‘Diane Victor Beetsop’ & worthwhile The one who paints faces 11 Wolfe Street, Chelsea Village, Wynberg art courses 6 Turbine Turns Again You’ve practically bought your ticket already ADVERTISE IN THE ART TIMES: With the largest reach Magazine: Distributed monthly to over 20 000 readers. MARKED of any art publication in SA’s art history. The SA Art Times Tailored advertising packages are available that include all is trusted by art lovers and art buyers as a source of visual media platforms thus maximising your advertising budget. A group exhibition arts news and information. For budget friendly advertising contact Eugene: 021 424 7733 or e-mail [email protected] OUR READERSHIP: We take pride in our diverse readership, from all walks of life – including art SUBSCRIBE FOR JUST R280 PA professionals and collectors, from students to retired • Get your Art Times magazine delivered to your business people. door. • SA Art Times Subscriptions make great gifts. OUR MEDIA PLATFORMS INCLUDE: SA Art Times Social network: +499 000 followers (multiple broadcasts daily) Email: [email protected] | SA Art Times Website: 1 200 - 1 600 readers per day (www.arttimes.co.za) | SA Art Times Weekly National RE-SUBSCRIBE FOR JUST R240 PA. Newsletter: +15 000 readers, twice a week | SA Art Times Call 021 424 7733 for more information COVER SHOT: AT Heather Gourlay-Conyngham Morning sleeper SOUTH AFRICAN ART TIMES 76 x 90 cm, oil on canvas CONTACT DETAILS: Adam Rabinowitz EDITOR: DESIGN: RIGHTS: The newspaper reserves the right Gabriel Clark-Brown [email protected] [email protected] to reject any material that could be found ADVERTISING: SEND: offensive by its readers. Opinions and Eugene Fisher [email protected] Artwork to: [email protected] views expressed in the SA Art Times do not SUBSCRIPTIONS: Letters to: [email protected] necessarily represent the official viewpoint of +27 214224185 Jan Croft [email protected] CONTACT: the editor, staff or publisher, while inclusion 69 Burg Street, Cape Town LISTINGS: Tel: 021 424 7733 of advertising features does not imply the [email protected] Astrid Mc Bean [email protected] PO Box 428 newspaper’s endorsement of any business, www.eclecticaprintgallery.co.za NEWS & CONTENT: Rondebosch product or service. Copyright of the enclosed 7701 Lyn Holm [email protected] material in this publication is reserved. 7 Hermanus FynArts Featured Artist: Willie Bester Willie Bester rose to fame during the late 1980s and years, Willie Bester has always been primarily an artist especially for this exhibition. But there will be a few early 90s; his scrap metal sculptures and painted of the Western Cape. He grew up in Montagu, lives other recent works from his studio also. assemblages powerfully capturing the emotional in Kuilsriver, and addresses issues pertinent to this turmoil of what would become historic circumstances. region. From a different point of view, the Hermanus How do you think the artist’s work has evolved National narratives were portrayed in a style so raw Fynarts Festival will attract a broad spectrum of over the years? and so loud that they seemed to scream at viewers, society and Bester’s work has always appealed to a Like most artists’ work, Bester’s career is one of remaining unignorable and unforgotten. diverse viewership – from international collectors, to change and continuity. During the 1980s, he made The icon of mixed media will be the featured artist art specialists, to tradespeople and school children: mixed media work that castigated the injustices for this year’s Hermanus FynArts festival. We now all are fascinated by how he makes his works, by a of apartheid in new and often startling ways. His speak to the co-curator of Willie Bester’s upcoming sort of magic in his illusions and, in his sculptures, particular targets were the racial classification system, solo exhibition at the festival, Professor Michael his ability to find exact equivalents for anatomical especially in education, and police brutality. These Godby, on behalf of himself and Professor Sandra structures in machine parts and scrap metal. works show an extraordinary invention, working, Klopper. sometimes on massive scale, between sculpture and What will be the focus of this exhibition, recent elaborate mixed media compositions. But Bester was How do you think Willie Bester’s work fits into works or an historical overview? concerned not to render black people simply victims the context of Hermanus Fynarts? Willie Bester is making works, both large-scale works of this unjust system: he found ways to celebrate their While enjoying an international reputation for many in sculpture and mixed media and smaller works, resistance, their resilience and their humanity. He 8 SA ART TIMES | MAY 2017 Image: Willie Bester at an exhibition of his work at Art.b Gallery, 2016. Photo: Jeanine Bresler invented new subjects, such as the stabilizing force order to foreground the idea of labour, the dignity of In what ways do you think Bester’s political of women in society, and re-interpreted old ones, labour and labour as the bedrock of the South African pieces from the 1980s and 90s still hold such as still lifes, to communicate the endurance of economy. And, in his invention of frames hand–made relevance today? simple values in an unjust and chaotic world. More from scrap metal and traffic signs, he challenged the The inclusion of one of Bester’s large early political recently, Bester has turned to the genre of portraiture traditional location of the work of art in the rarefied pieces in the recent British Museum exhibition on and applied it to orders of society in which it was not space of an art gallery – and introduced yet another the art of South Africa, suggests that his work from practised traditionally. Moreover, Bester has used – metaphorical form into his visual language. that period still stands as a powerful indictment and mastered – the humanistic medium of oil paint Like many others, Bester has become somewhat of apartheid – and, perhaps, by extension of all to create such honorific images of ordinary people. disillusioned with the revolution he worked to bring repressive regimes of all times. Certainly, Bester’s During the 1980s and 90s, Bester moved at a about. He sees, and depicts, new incidences of early work still forms a dramatic introduction to the bewildering pace inventing both new subjects and police brutality, such as Marikana, and the ubiquitous struggles of that time. But, as I have said, Bester’s new forms of expression. He invented symbolic forms scourge of corruption. Most poignantly, as a person work of this period includes various forms of quiet, in his sculptures such as the Trojan Horse and the whose family was persecuted under apartheid less spectacular, celebrations of ordinary life – and Dogs of War. He made many variations in quasi-relief through the racial classification system, Bester is its power to resist oppression. This lesson, surely, sculpture of guitars that illustrate loosely the idea particularly concerned about the fate of Coloured is ageless and, indeed, Bester is still inventing new that one must dance as the music plays. He began to people in the new dispensation. expressions in these terms today. use tools such as spades as frames for his works in We look forward to the main event in June. 9 HHermanusermanus FFynArtsynArts 22017017 “The fifth Hermanus FynArts Festival takes place from 9 - 18 June and will once again offer 10 uplifting days of celebration. The programme consists of a wide variety of the arts that are featured in the natural beauty of our coastal landscape. FynArts is rapidly becoming a unique, quality event on the South African Arts Calendar: a classic- style festival that showcases the creativity of South African artists while it also seeks to remain relevant to the widest community and encourage the appreciation of arts in its diverse forms. The programme is a fusion of arts festival and winter school and includes something for everyone: exhibitions, music, talks, demonstrations, workshops, tastings, films and events for children.” - Festival Director, Mary Faure Some highlights from Visual Arts is the work of the this year’s finalists in the cellar of Sieberhagen, Jean Theron Louw, Strijdom van der This year the FynArts programme includes more than the Bouchard Finlayson Wine Estate, the culmination Merwe, Wilma Cruise.
Load more

Recommended publications
  • South African Artists at the Constitutional Court of South Africa
    UNIVERSITY OF CALIFORNIA Los Angeles Decoding Memories: South African Artists at the Constitutional Court of South Africa A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in African Studies by Mary Ann Braubach 2017 © Copyright by Mary Ann Braubach 2017 ABSTRACT OF THESIS Decoding Memories: South African Artists at the Constitutional Court of South Africa by Mary Ann Braubach Master of Arts in African Studies University of California, Los Angeles, 2017 Professor William H. Worger, Chair This paper examines the decoding of the memory of apartheid and post apartheid years of South Africa’s recent history. And it contextualizes how the struggle influenced the visual arts. Also analyzed are the history of the Constitution and Constitutional Court of South Africa. It interrogates the formation of the Constitutional Court art collection. by Justices Albie Sachs and Yvonne Mokgoro for the yet-to-be-constructed Constitutional Court building in Johannesburg. Many donated artworks are responsive both to the anti- apartheid struggles and also to the new democracy. The essay also examines the underlying politic that now hangs in the Constitutional Court building. Select works, that function as signifiers of the new Constitution, are examined. I draw on interviews with South African artists, Court Justices and curators to investigate the role of memory, the archeology of the site, and the significance of the collection to the artists, the Justices, and citizens of South Africans twenty years post apartheid.
    [Show full text]
  • Representations of African Bodies in the 1983 Contre
    Visual Trauma: Representations of African Bodies in the 1983 Contre Apartheid Exhibition MA Thesis Department of English University of the Western Cape Name: Charlise Petersen Student Number: 3222728 Supervisor: Dr Hermann Wittenberg Due Date: 7th June 2018 PLAGIARISM DECLARATION 1. I hereby declare that I know what plagiarism entails, namely to use another’s work and to present it as my own without attributing the sources in the correct way. (Refer to University Calendar part 1 for definition) 2. I know that plagiarism is a punishable offence because it constitutes theft. 3. I understand the plagiarism policy of the Faculty of Arts of the University of the Western Cape. 4. I know what the consequences will be if I plagiarize in any of the assignments for my course. 5. I declare therefore that all work presented by me for every aspect of my course, will be my own, and where I have made use of another’s work, I will attribute the source in the correct way. Signature: ii http://etd.uwc.ac.za Acknowledgements I wish to extend my sincere gratitude to the following people whose valued assistance played a vital making my thesis a reality: Dr Hermann Wittenberg for his patience, passionate guidance, and his constant support as my supervisor, my family and friends for their faith in my abilities and their encouragement throughout my research journey, Dr Vanessa Brown for being an amazing mentor and constantly motivating me to succeed and the SSRC Mellon for enabling me to conduct research in the U.S in aid of my thesis.
    [Show full text]
  • Apartheid: History Through an Artistic Lens Sarah Latimer • St
    Apartheid: History Through an Artistic Lens Sarah Latimer • St. Olaf College, MN, United States • June 4th - August 26th, 2018 • Cape Town, South Africa “Education is the most powerful weapon you can use to change the world.” - Nelson Mandela Goal: This project aims to educate 20-30 Hyde Park Primary music students on the history of apartheid through an ​ artistic lens, showcase a gallery of their creative responses, and ultimately empower them to achieve lasting peace in their community. Background: Apartheid was a system of institutionalized racial segregation and discrimination that existed in South ​ ​ Africa between 1948 and 1991. The law classified four races – white, black, coloured, and Indian. The Group Areas Act of 1950 allocated living areas for each race, resulting in the forced removal of 3.5 million people from their homes over the course of 23 years. Non-whites were treated as subhuman and were often beaten and killed to secure white power. In one instance, the police opened fire on a peaceful high school student protest in Soweto; reports estimated 170 were killed. In the face of growing internal and international resistance and a failing economy, President F. W. de Klerk released anti-apartheid revolutionary Nelson Mandela from prison in 1990, and after much negotiation, officially ended apartheid. While much of the historical record emphasizes the violence of this era, the struggle against apartheid also sparked many profound and non-violent responses from artists like Miriam Makeba, Mongane Wally Serote, and Willie Bester. Encyclopedia articles provide basic facts and dates, but cannot convey the true depth of experiences held by apartheid victims and survivors.
    [Show full text]
  • Sarah Baartman Sculpture Reignites Art Dialogue at UCT
    27 September 2018 Sarah Baartman sculpture reignites art dialogue at UCT The University of Cape Town (UCT) is running an exhibition as part of an ongoing process and dialogue about the display of artworks at the university, with the intention of creating a more open and inclusive space. The Sarah Baartman sculpture by Willie Bester is being exhibited alongside a sound installation featuring a poem by Diana Ferrus, images and other artwork in an exhibition entitled Sarah ‘Saartjie’ Baartman, A Call to Respond which is being held at the Ritchie Gallery on the University of Cape Town’s (UCT) Hiddingh campus. The exhibition, which runs until October 4, is part of an ongoing process. It has also been designed as an expressive space and a place for thinking and reflecting. People are also free to write their own messages on a wall which forms part of the display. Dr Nomusa Makhubu, senior lecturer in art history at UCT’s Michaelis School of Fine Art, says: “Art is not just the beautiful things we put on walls and in various spaces, but they themselves are the intellectual discourse we are looking for. This sculpture has become a very significant catalyst for that intellectual discourse, about a number of things, but also focusing on the narrative of Sarah Baartman.” UCT acquired the sculpture in 2000. It was initially located in the engineering section of the Chancellor Oppenheimer Library on the upper campus. “It was not only an inappropriate location, but a difficult sculpture to engage with and deal with,” says Dr Makhubu.
    [Show full text]
  • Sfiso Ka Mkame Suewilliamson Norman Catherine Sam
    THEART Compiled by GRIZEè LL AZAR-LUXTON Sam Nhlengethwa and DALENA LE ROUX Sam Nhlengethwa wasborn on 9 January Librarian,Central Collection 1955 at PaynevilleTownship, Springs. He studied artthroughthe ELCArt and Craft rtcannotexist without society. Centre at Rorke'sDrift. Hisexperience also There can be no line separating includesthat of set designer. `A the artist from his community. The progressive effectof our societygives Pippa Skotnes riseto culturalgrowth. The artistmust seek The few tinygroups of San who stillexist new formsof changing hissociety for the todayinthe Kalahari Desertin Botswana better.' are avidly studied by anthropologists, and Profoundwordsdatingbackasfar as1987 have beenthe subjectof a number of docu- and containedin a letter to the editor by a mentary films. Buttothe Dutchfarmers of reader of a largely black-read newspaper, the eighteenth century the nomadic San, or The New Nation.Wordsthatembody Bushmen as they called them, were vermin much of what has transpired in the visual to be tracked down and ruthlessly extermi- and other formsof artduring the pastthree nated. decades. We take a look at a selection of In South Africa, allthat remain ofthe San some verycollectible artists whose work Ebrahim, one ofthelastresidents of District are their beautiful and elegantrock paint- encapsulates protestor resistance art- a Six. The chairs were usedin Naz'shouse for ings, executed in the colours of the earth, most powerful medium in the peoples of the last celebration of the Eid feast in Dis- and to be foundin shallowcaves right across South Africa'sstruggle forliberation. Many trict Six, and were draped with white the country. Itisknownthat painting was of their worksare held in stock.
    [Show full text]
  • Willie Bester: an Artist Resisting the Injustices of Post-Apartheid in South Africa
    Visión Doble Revista de Crítica e Historia del Arte Título: Willie Bester: An Artist Resisting the Injustices of Post-Apartheid in South Africa Autor: Ivette Pérez Vega Resumen: Willie Bester is regarded as one of the most important resistant artists against the injustices of “apartheid” and “post-apartheid” in South Africa. His artworks expose the state of extreme poverty in which the inhabitants of the townships of the Cape of Good Hope still live today, defining a strategy of opposition, as well as a means to generate a rebellious consciousness among his people. They present the oppression, violence and racial discrimination often misreported or ignored by the newspapers, law enforcement, and the South African government. Palabras clave: Africaan , Apartheid , Installation , Nelson Mandela , Painting , Sculpture , South Africa , Willie Bester Fecha: 15 de abril de 2018 Contacto: Visión Doble Revista de Crítica e Historia del Arte Programa de Historia del Arte Facultad de Humanidades Universidad de Puerto Rico, Recinto de Río Piedras 13 Ave. Universidad Ste. 1301 San Juan, Puerto Rico 00925-2533 Tel.: 787-764-0000 ext. 89596 Email: [email protected] Web: http://humanidades.uprrp.edu/visiondoble Willie Bester: An Artist Resisting the Injustices of Post- Apartheid in South Africa visiondoble.net/willie-bester-artist-resisting-injustices-post-apartheid-south-africa/ Ivette Pérez Vega April 15, 2018 Introduction Willie Bester is regarded as one of the most important resistance artists working against the injustices of apartheid and post-apartheid realities in South Africa. The term “apartheid”—which is from Afrikaans, one of the official languages of South Africa—literally means separation, segregation or “apartness,” and, more broadly, the official government policy of South Africa from 1909 to 1994 which rigidly controlled the movements and living conditions of non-white citizens.
    [Show full text]
  • The Democratisation of Art: Cap As an Alternative Art Space In
    THE DEMOCRATISATION OF ART: CAP AS AN ALTERNATIVE ART SPACE IN SOUTH AFRICA BY EBEN LOCHNER SUBMITTED IN FULFILMENT OF THE REQUIREMENT FOR MASTER OF ARTS AT RHODES UNIVERSITY. 02 JUNE 2011 SUPERVISOR: PROF. RUTH SIMBAO. Declaration of originality. I declare that this thesis is my own work and that all the sources I have used have been acknowledged by complete references. This thesis is being submitted in fulfilment of the requirement for Master of Art at Rhodes University. I declare that it has not been submitted before for any degree or examination at another university. __________________ __________________ Signature Date This thesis is dedicated to the late Dr. Michael Herbst who made me enthusiastic about Art History during my 1st year at university. He supported me with his time and his advice and his presence is sorely missed. Abstract While formal arts education was inaccessible to many during Apartheid, community-based centres played a significant role in the training of previously disadvantaged artists. By engaging in a socio-political critique of the history of South African art, this thesis argues that even though alternative art spaces are often marginalised, they remain essential to the diversification and democratisation of contemporary South African art today with its re-entry into the international art scene. According to Lize van Robbroeck (2004:52), “some of the fundamental ideals of community arts need to be revised to enrich, democratize and diversify [South Africa's] cultural practice.” The aim of my Thesis is to investigate this statement in relation to the contribution the Community Arts Project (CAP) in Cape Town (1977-2003).
    [Show full text]
  • Willie Bester
    WILLIE BESTER Willie Bester nasce nel 1956 a Montagu, in Sud Africa. Diventa artista a tempo pieno nel 1991, dopo aver frequentato dei corsi d’arte alla Community Art Cape Town. Egli è riconosciuto come uno degli artisti attivisti più significativi del Sud Africa: il suo lavoro è caratterizzato dagli sviluppi drammatici a livello sociale e politico nel Sud Africa post- apartheid, affrontando questioni scomode quali criminalità, povertà, corruzione e responsabilità del governo. Bester grazie ai suoi dipinti, assemblaggi e sculture, incorporati a materiale di riciclo, punta proprio ad alimentare consapevolezza e discussioni in merito Bester vive e lavora a Kuilsrivier, un quartiere di Città del Capo. Willie Bester was born in 1956 Montagu, Cape Town. In 1991 he attended art classes at the Community Art in Cape Town. He is regarded as one of South Africa’s most significant activist artists. His work is characterized by dramatic social and political developments in post-apartheid South Africa, discussing uncomfortable issues such as crime, poverty, corruption and government responsibility. Thanks to his paintings, assemblages and sculptures combined with recycled material, Bester comments the political injustice and the human rights issues. Bester currently works and lives in Kuilsrivier, a district of Cape Town. SOLO EXHIBITIONS 2017 “Willie Bester's social engineering”, The Melrose Gallery,Johannesburg, South Africa “Transformation”, Fynarts Festival, Space Gallery, Hermanus, South Africa 2016 “Comprehensive”, Art B, Bellville Sout Africa
    [Show full text]
  • Professor Sandra Klopper Curriculum Vitae
    Professor Sandra Klopper Curriculum Vitae Narrative Prof Sandra Klopper is currently Dean of the Faculty of Humanities at the University of Pretoria. She did her undergraduate studies at the University of the Witwatersrand, where she obtained her Honours in Art History (cum laude) in 1978. Her MA, from the University of East Anglia, was on Art and Social Reform. She lectured in Art History at the University of the Witwatersrand from 1981 to 1988, where she also obtained her PhD, which traces the socio-political histories of various traditionalist art forms from present-day northern KwaZulu-Natal. She was appointed as lecturer (specialising in African art) at the University of Cape Town in 1989. While at UCT, she was promoted to Senior Lecturer, then Associate Professor, before accepting an appointment as Head of Visual Arts at the University of Stellenbosch in June 2001. Following her subsequent appointment as Vice Dean: Arts (Drama, Fine Arts and Music) at that university in January 2006, she accepted an additional appointment as Acting Head of the Music Department in mid-2006. She was appointed by the University of Pretoria as Dean of the Faculty of Humanities in October 2008, after being approached to apply for this position in early 2008. Prof Klopper has written extensively on the traditionalist art of southern African communities, including the expressive culture of migrant labourers and their families; on African fashion, textiles and beadwork; on various aspect of contemporary South African youth culture; and on the work of several contemporary South African artists. She has collaborated with photographer Peter Magubane on the publication of three books and has served on the editorial boards of African Arts (UCLA) and NKA: Journal of Contemporary African Art (Cornell).
    [Show full text]
  • Senior Phase Teacher's Guide
    Grade Arts and 9 Culture Phase Senior Guide Teacher’s WORK SCHEDULES AND TEACHER GUIDES FOR ARTS AND CULTURE GRADES 7 – 9 INTRODUCTION Arts and Culture are an integrated part of life embracing the spiritual, material, intellectual and emotional aspects of human endeavour within society. All arts are a representation of culture. Arts and Culture consists of four disciplines – Dance, Drama, Music and Visual Arts. The main purpose of the learning area is to provide a general education in Arts and Culture for all learners. In the Senior Phase the organising principles encompass national, African and global concerns. The learner engages with human rights, heritage and nation-building. This Phase also lays the basis for careers in the arts and offers opportunities for the learner to focus on his or her area/s of preference. NOTE TO TEACHERS ON HOW TO USE THIS WORK SCHEDULE This Work Schedules will save you time and make your planning easier. More time can therefore be spent on planning creative, relevant and interesting assessment tasks. As a teacher using these work schedules, you should be in a position to teach this learning area with greater clarity and confidence and learners should be able to make an informed decision when selecting subjects like Dance Studies, Dramatic Arts, Design, Music, and Visual Arts in Grades 10 to 12. The purpose of the Work Schedule is: • To ensure that teachers have a common understanding of the concepts, knowledge, skills and values to be taught • To guide teachers on the minimum content and skills that needs to be covered – remembering to take into account the contexts of their learners; and • To promote a common pace of teaching within the province.
    [Show full text]
  • Uct Reflects on the Last 100 Years
    2018 ALUMNIALUM NEWS UCT REFLECTS ON THE LAST 100 YEARS A CENTURY OF REMEMBERING SHAWCO: 75 YEARS LEADERS 1968 OF GIVING BACK MISSION UCT aspires to become a premier academic meeting point between South Africa, the rest of Africa and the world. Taking advantage of expanding global networks and our distinct vantage point in Africa, we are committed, through innovative research and scholarship, to grapple with the key issues of our natural and social worlds. We aim to produce graduates whose qualifications are internationally recognised and locally applicable, underpinned by values of engaged citizenship and social justice. UCT will promote diversity and transformation within our institution and beyond, including growing the next generation of academics. UCT STRATEGIC PLAN 2020 VISION Our vision for UCT is to be an inclusive, engaged and research-intensive African university. UCT will inspire creativity through outstanding achievements in discovery and innovation. It will be celebrated for the quality of its learning and contribution to citizenship. We will enhance the lives of students and staff and will advance a more equitable and sustainable social order. We aspire to be a leader in the global Higher Education landscape. OUR STATEMENT OF VALUES • We embrace our African identity. • We widen educational and social opportunities. • We enhance the lives of individuals and communities. • We build an equitable social order based on respect for human rights. • We advance the public good by teaching, generating knowledge and actively engaging with the key challenges facing our society. CREATING A UNIVERSITY CULTURE THAT IS creative rigorous curious research-informed nurturing honest accountable excellent collegial responsible open inclusive respectful open-minded A NEW, INCLUSIVE IDENTITY FOR UCT We want a student and staff body that is more representative of the country and the continent, and for students and staff to see themselves – their cultures, values, heritage and knowledge systems – reflected at the university.
    [Show full text]
  • A Função De Cultural Worker E a Arte Como Denúncia Na África Do Sul Pelo Olhar De Willie Bester
    VIDA, OBRA E HISTÓRIA: A FUNÇÃO DE CULTURAL WORKER E A ARTE COMO DENÚNCIA NA ÁFRICA DO SUL PELO OLHAR DE WILLIE BESTER Carolina de Campos Tornich Programa de Pós-Graduação Interunidades em Estética e História da Arte Universidade de São Paulo http://www.pgeha2.webhostusp.sti.usp.br/index.php/pt-br/ Nascido em um ano bissexto, em 29 de fevereiro de 1956 em Montagu, próximo à Cidade do Cabo, Willie Bester é um artista sul-africano cuja história está intimamente atrelada às leis do apartheid. Filho de mãe classificada como “coloured” pelo regime de segregação e pai xhosa, ele é fruto da união incomum e ilegal à época entre duas pessoas no país, que proibia o casamento inter-racial. Neste contexto, foi classificado como “other coloured”, termo que determinava a sua origem mestiça. Submetido à Lei de Áreas de Grupo criada na mesma década de seu nascimento, Willie Bester viveu sua infância em uma township, onde, para sobreviver e ser criança, buscou formas criativas de lidar com a sucata das ruas ao transformá-la em brinquedos elaborados, abstraindo seu aspecto descartável e atribuindo a ela novos significados. Apesar de estar consciente, por essas experiências, de que sua existência estaria sempre ligada às artes, Bester precisou buscar trabalho no exército (momento de sua vida que o marcou por lidar diariamente com a exclusão e violência do apartheid) e por quinze anos atuou como assistente de dentista. Depois voltou passou a dedicar-se às artes, mas para apenas decorar a casa de burgueses. Pintou muitas paisagens até descobrir-se como cultural worker no Community Arts Project, escola destinada ao ensino das artes para aqueles que não tiveram acesso à educação formal.
    [Show full text]