DOCSLIB.ORG

Mop4 Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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, Leah Hawker, Jenny Altschuler, Alistair Berg Project Co-ordinators: Jess Meyer, Ayesha Price, Kathy Coates, Hanna Lowenthal, Shani Judes, Jenny Altschuler Venues co-ordinator: Jenny Altschuler Local Liaison Portfolio: Jess Meyer International Liaison Portfolio: Rima Geffen Education officers: Buyaphi Precious Mdledle, Shani Judes; Kathy Coates, Ayesha Price Guest educators: Stephen Shore, Bryan Traylor, Garth Stead, Sue Hillyard, Georgina Karvellas MoP4 Logo and poster design: Dale Yudelman Website Designer: Dawid Wapenaar The Cape Town Month of Photography Concept: Geoff Grundlingh ISBN 9780-620-42287-1 CataLOGUE Design: Lari Meyer Editor: Jenny Altschuler Front Cover Design: Dale Yudelman Proof Readers: Pam Warne, Jess Meyer, Dale Yudelman Reproduction and Printing: Castle Graphics South First Published 2008 © The South African Centre for Photography All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording or otherwise, without prior consent of the copyright holders. Unless otherwise stated, copyright in the photographic works is retained by the artists. All reproduction of work by kind permission of the artists. THE 4TH CAPE TOWN MONTH OF PHOTOGRAPHY EMERGENCE & EMERGENCY In support of MoP4 CONTENTS pg12 / SOUTH AFRICAN PHOTOGRAPHY NOW by Jenny Altschuler pg18 / GOING GOING GONE.... Photo Auction of the Decade pg22 / POWER, SECRECY, PROXIMITY: A HISTORY OF SOUTH AFRICAN PHOTOGRAPHY by Patricia Hayes exhiBITIONS pg36 / Graham Abbott - Positive Negative pg37 / Livestock - Arlene Amaler-Raviv & Dale Yudelman pg38 / Jenny Altschuler - Brink 2008 pg40 / Lens Magic - Andrew Barker, Brendan Bell, Jac de Villiers, Michael Hall, Obie Oberholzer, Inge Prins, Roger Young pg41 / Pieter Bauermeister - Ambiguity pg42 / Construct - Roger Ballen, Zander Blom, Lien Botha, Jacques Coetzer, Abrie Fourie, Nomusa Makhubu, Bernie Searle, Barbara Wildenboer, Dale Yudelman pg44 / Talking Images - Biocafé Live Exhibitions at CityVarsity School of Media and Creative Arts pg46 / Merge - Ruvan Boshoff, Greg English, David Gur, Trevor Samson, Dale Yudelman pg48 / Nic Bothma - Benn Luxo du Taccu : One Hand Can’t Clap pg49 / Changing Perspectives - Sean Brown, Alice Inggs, Buyaphi Mdledle, Bruce Meissner, Jess Meyer, Mandla Mnyakama Lindekha Qamphi, Rosy Ramsay, Sandy Tolosana, Laurianne Woollatt, Koos Loijesteijn. Curated by Paul Weinberg pg50 / The League of Ahistoric Anachronistic Photographers Specialising in Obsolete and Archaic Processes - Jean Brundrit, Nicky Cooper, Vanessa Cowling, Svea Josephy, Adrienne Van Eeden pg52 / Candice Chaplin - The Self pg53 / Clifton Childree (Locust Projects) - Dream-Cum-Tru pg54 / Beneath The Surface - Students and past students of CityVarsity. Curated by Jenny Altschuler and Rima Geffen pg56 / Cape Peninsula University of Technology - Juig Jeug: Noodtoestand! Curated by Irvine Meyer pg58 / Raquel de Castro Maia - Ephemeral pg59 / Araminta de Clermont - Life After pg60 / Tracey Derrick - Eye Inside pg61 / Identifying My Ubuntu Bathong – ‘My Reflection’ - Jabulani Dhlamini, Witney M. Rasaka pg62 / Richard Mark Dobson - The Crest Hotel pg65 / Tribute to Neville Dubow CONTENTS pg66 / Christelle Duvenage - The Coast pg67 / Ian Engelbrecht - Seed of Memory pg68 / Hasan & Husain Essop pg69 / Odendaal Esterhyze - Landscape pg70 / Rima Geffen - Below The Surface pg71 / Madge Gibson - Community Security pg72 / Adele Gordon - Faltering Steps Towards Democratic Schooling pg73 / Tessa Frootko Gordon - Days of The Iguana: Photographs from Grenada, West Indies pg74 / My Life - Greyton Primêr pg75 / George Hallett - Made In France pg76 / Then and Now - David Goldblatt, George Hallet, Eric Miller, Cedric Nunn, Guy Tillim, Paul Weinberg, Graeme Williams, Gisele Wulfsohn pg78 / Simon Harries - Paysage Urbain pg79 / Daniel Harris - Man With A Camera: Out Of The Past pg80 / Leah Hawker - The Debut Girls pg81 / Damon Hyland - Evanescent pg82 / Yazeed Kamaldien - Sudan Under My Skin pg83 / Georgina Karvellas - To Serve Only The Horse pg84 / Emile Kotze - Commonplace Vol.1 pg85 / Chris Kirchoff - Mobile pg86 / Dorette Kruger - Open Secret pg87 / Iliso Labantu “Structural Necessity: Images of Township Dwellings” - Mandla Mnyakama, Lindeka Qampi Lusindiso Maxhele, Lindele Mbontsi, Lulekwa Mbadamane, Thobile Nompunga, Kenneth Sihlali, Sibhulele Tom Vusile Ntukuva, Massie Xola. Facilitated by Alistair Berg pg88 / Anneke Laurie - And Then Suddenly… pg89 / Gerda Louw - The Wings Of A Woman pg90 / Kim Ludbrook - Burning Man, Burning Nation pg91 / David Lurie - Fragments from the Edge pg92 / Malmsbury Prison Inmates - “Ek sê my Broe …” Curated by Tracey Derrick pg93 / Craig Mason-Jones - Sea And The City CONTENTS pg94 / Andrew McIlleron - Day And Night: Preternatural Landscapes pg95 / Buyaphi Mdledle - Slipping Through pg96 / Nan Melville - Frustration PG97 / Irene Mey - Sunrise Sunset pg98 / Jess Meyer - Departure pg99 / Santu Mofokeng - Child Headed Households pg100 / Henk Mulder - Foot-Loose In The Galaxy pg101 / Jackie Murray - Exhale pg102 / Eric Miller - Rebel Chic pg104 / Mark Oppenheimer - The Process of Unraveling and Reconstructing pg105 / Monique Pelser - Bystanders pg106 / Malcolm Phafane - Representation pg107 / Inge Prins - Daar is ‘n Slang in die Gras pg108 / Sharon Peers - Kaleidoscope: The Butterfly Effect pg110 / Dave Robertson - Rain pg111 / Brett Rubin - The State of Freedom pg112 / The Ruth Prowse School of Art - “Re-Nude - Beyond the Body” Curated by Leah Hawker pg113 / Sergio Santimano - Terra Incògnito pg114 / Damien Schumann - Face It: The Stigma Exhibition pg115 / Robin Sprong - The Outsiders pg116 / Stephen Shore - Colouring American Photography pg118 / Bernard Sterk - The Race pg119 / Garth Stead - “Die dag is vaag voor jou”’n Dag in die Lewe van ‘n Straat Kind pg120 / Berni Searle pg121 / Youssef Nabil pg122 / Colin Stephenson - The Outeniquas pg123 / Antonia Steyn - After The Fact pg124 / Melinda Stuurman - Letecia 2008 pg125 / Zandile Tisani - Remember pg126 / Michelle Van Aswegen - The Space Between CONTENTS pg127 / Ian Van Coller - Interior Relations:Portraits of Female Domestic Workers in South Africa pg128 / Christof Van Der Walt - Into the Light pg129 / Michael van Rooyen - Still Moving pg130 / Marie Stella von Saldern - The Miracles of Lourdes pg131 / Barry White - Time Passed pg132 / Barbara Wildenboer - Present Absence / Absent Presence pg133 / Michael Wyeth - City Skin pg134 / Sean Wilson - An Awe-Full State pg135 / Sean Wilson - Memento Vivere pg136 / Juhan Kuus - Carnival Portraits WorkShopS, MASTerclaSSES anD walkaBouTS 2008 pg140 / Noluthando Camngca pg142 / MoP4 Workshops & Product Exhibitions pg144 / Workshop Programmes pg146 / Walkabouts 2008 pg148 / Masterclasses pg150 / Labia Film Festival - Cinema Of The Voyeur: Photography in Movies pg153 / ARTISTS’ BiographieS South African Photography Now Jenny Altschuler Festival Director Emergence and Emergency, the theme of MoP4, suggests the paradoxical character of societies in transition: growth and destruction, calamity and opportunity. South Africa is still extricating itself from the tenacious hold of apartheid and its ramifications, emerging from its isolation to become part of a globalised world. Both locally and internationally, we are faced with unprecedented crises that demand new and extraordinary ways of being and doing in order to meet the challenges we are confronted with. We are, in many ways, ‘on the brink’ with both its positive and negative implications. In this terrifying and exciting landscape, fresh, dynamic photographies have been emerging. MoP4 sets out to give them exposure. The challenge in South Africa after the first democratic elections in 1994, for many photographic image makers (as well as artists working in other media), was to find new and worthwhile purposes and processes for making photographic work. Social documentary in some form or another had been the paradigm
Load more

Recommended publications
  • Global Photographies
    Sissy Helff, Stefanie Michels (eds.) Global Photographies Image | Volume 76 Sissy Helff, Stefanie Michels (eds.) Global Photographies Memory – History – Archives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3006-4. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Kordula Röckenhaus, Bielefeld Cover illustration: Sally Waterman, PastPresent No. 6, 2005, courtesy of the artist Proofread and typeset by Yagmur Karakis Printed by docupoint GmbH, Magdeburg Print-ISBN 978-3-8376-3006-0 PDF-ISBN
    [Show full text]
  • AFRAPIX SOCIAL DOCUMENTARY PHOTOGRAPHY in 1980S SOUTH AFRICA
    Fall 08 AFRAPIX SOCIAL DOCUMENTARY PHOTOGRAPHY IN 1980s SOUTH AFRICA Amy McConaghy Acknowledgments I would like to thank Paul Weinberg, Eric Miller, Don Edkins, Graham Goddard, Zubeida Vallie and Omar Badsha for taking the time to be interviewed and for all being so incredibly obliging, kind and helpful. I thoroughly enjoyed meeting all of you and listening to your incredible stories. I would also like to express my gratitude to my supervisor, Sean Field, for his excellent guidance, support and patience throughout this thesis. i Abstract This thesis examines the development of the Afrapix collective agency throughout the 1980s. It argues that despite often being confined within the context of ‘struggle photography,’ Afrapix produced a broad body of social documentary work that far exceeded the struggle. However, within the socio-political milieu photographers were working, there was limited space for a more nuanced and complex representation of South Africa. Resisting this narrow visual format, Afrapix photographers in the 1980s faced the challenge of documenting the struggle and an extended repertoire of social issues whilst expressing a nuanced and complex point of view that countered the predominant narrative. Table of Contents INTRODUCTION ......................................................................................................... 1 AFRAPIX IN CONTEXT .............................................................................................. 7 FISTS AND FLAGS PHOTOGRAPHY in the 1980s ...............................................
    [Show full text]
  • Yipsa Catalogue
    2016 CATALOGUE YOUNG IN PRISON SOUTH AFRICA “Combining the arts with therapy is as a powerful way for youth who have been in conflict with Young in Prison South Africa (YiPSA) is a non-profit organisation that works to support young people in conflict with the law through law to reconnect with their humanness and three main programmatic areas: Rehabilitation of incarcerated build skills for expressing their emotions in youth, Reintegration of ex-offenders and Advocacy. a safe, positive and constructive way. In this way, we give them a unique platform for In the area of Rehabilitation, YiPSA uses At an international level, YiPSA is part Arts Therapy as a vehicle to facilitate of the Young in Prison International connection, collaboration, expression, creativity behaviour modification and psychosocial Network, which consists of other partner development of incarcerated youth organizations based in Malawi, Kenya, and fun – which in turn creates opportunities offenders. Our team of qualified art and Colombia and the Netherlands. music therapists works with a group of for their personal transformation.” 10 youth in three-month cycles, using music, visual art and mindfulness practices To date, we have reached over 3000 to boost their empathy, self-awareness, participants across our programmes in – Khethiwe Cele – Director: Young in Prison South Africa confidence and sense of responsibility. Cape Town and Johannesburg. We’ve delivered over 2500 rehabilitation and reintegration workshops, and have Our Reintegration programme supports seen 60%-65% of our post-release released youth ex-offenders to successfully participants never return to crime again. reintegrate into mainstream society through More information on YiPSA can be found on our Entrepreneurial and Personal Development.
    [Show full text]
  • 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.
    [Show full text]
  • Between States of Emergency
    BETWEEN STATES OF EMERGENCY PHOTOGRAPH © PAUL VELASCO WE SALUTE THEM The apartheid regime responded to soaring opposition in the and to unban anti-apartheid organisations. mid-1980s by imposing on South Africa a series of States of The 1985 Emergency was imposed less than two years after the United Emergency – in effect martial law. Democratic Front was launched, drawing scores of organisations under Ultimately the Emergency regulations prohibited photographers and one huge umbrella. Intending to stifle opposition to apartheid, the journalists from even being present when police acted against Emergency was first declared in 36 magisterial districts and less than a protesters and other activists. Those who dared to expose the daily year later, extended to the entire country. nationwide brutality by security forces risked being jailed. Many Thousands of men, women and children were detained without trial, photographers, journalists and activists nevertheless felt duty-bound some for years. Activists were killed, tortured and made to disappear. to show the world just how the iron fist of apartheid dealt with The country was on a knife’s edge and while the state wanted to keep opposition. the world ignorant of its crimes against humanity, many dedicated The Nelson Mandela Foundation conceived this exhibition, Between journalists shone the spotlight on its actions. States of Emergency, to honour the photographers who took a stand On 28 August 1985, when thousands of activists embarked on a march against the atrocities of the apartheid regime. Their work contributed to the prison to demand Mandela’s release, the regime reacted swiftly to increased international pressure against the South African and brutally.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Berni SEARLE CV July 2021
    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.
    [Show full text]
  • 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.
    [Show full text]
  • Heritage Impact Assessment of Eskom Network Strengthening, Mthatha, Eastern Cape Province, South Africa
    HERITAGE IMPACT ASSESSMENT OF ESKOM NETWORK STRENGTHENING, MTHATHA, EASTERN CAPE PROVINCE, SOUTH AFRICA Assessment and report by For ARCUS GIBB (Pty) Ltd Telephone Pat Jennings (043) 706 3610 Box 20057 Ashburton 3213 PIETERMARITZBURG South Africa Telephone 033 326 1136 Facsimile 086 672 8557 082 655 9077 / 072 725 1763 [email protected] 27 January 2009 HERITAGE IMPACT ASSESSMENT OF ESKOM NETWORK STRENGTHENING, MTHATHA, EASTERN CAPE PROVINCE Management summary eThembeni Cultural Heritage was appointed by ARCUS GIBB to undertake a heritage impact assessment of a proposed Eskom network strengthening project between Butterworth and Mthatha, in terms of the Heritage Resources Act No 25 of 1999. Two eThembeni staff members inspected the area on 4 and 5 December 2008 and completed a controlled-exclusive surface survey. We identified no heritage resources within the proposed development area. No specific places associated with living heritage were identified within the proposed development area, although the general region is one of living heritage. We have assumed that compensation for the loss of agricultural and grazing land, if any, has been addressed during the public participation process. If not, such negotiations must occur through the project management team. The landscape within which the proposed development will occur is one of scattered rural settlement, characterised by homesteads surrounded by crop fields and extensive grazing lands. Infrastructure includes a tarred regional road, power lines, water pipelines and telecommunication lines and towers. The impact on this landscape will be long term to permanent, but in keeping with existing infrastructure and largely limited to a visual impact. Ancestral graves might occur within the proposed development area.
    [Show full text]
  • AIDS, Intimacy and Care in Rural Kwazulu-Natal
    welfare care & Patricia C. Henderson is a lecturer in the Department of Social Anthropology at the University of Cape Town. Patricia C. Henderson AIDS, Intimacy and Care in Rural KwaZulu-Natal and Care in Rural Intimacy AIDS, From 2003-2006, Patricia Henderson lived in the South African province of KwaZulu-Natal, where she recorded the experiences of people living with HIV/AIDS. In this illuminating study, she recounts the concerns of rural AIDS, Intimacy and Care people and explores local repertoires through which illness was folded into everyday life. The book spans a period when antiretroviral medication was not available, and moves on to a time when the treatment became in Rural KwaZulu-Natal accessible. Hope gradually became manifest in the recovery of a number of people through antiretroviral therapies and ‘the return’ of bodies they could recognise as their own. This research implies that protracted interaction A Kinship of Bones with people over time, offers insights into the unfolding textures of everyday life, in particular in its focus on suffering, social and structural inequality, illness, violence, mourning, sensibility, care and intimacy. Taking the reader through landscapes of disease, devastation and hope, Henderson’s book is theoretically erudite without her philosophical observations overwriting the words of her respondents. She shows what fidelity means in the fields anthropologists cultivate. Veena Das, Krieger-Eisenhower Professor of Anthropology, Johns Hopkins University In a most personal and ethically informed narrative, Henderson develops a carnal anthropology of the decaying and dying body of HIV/AIDS patients that may trigger love and care, as well as stress and rejection.
    [Show full text]