THE SOUTH AFRICAN Issue : May 2009

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Cecil Skotnes in his studio 1967 Photo: courtesy Pippa Skotnes Cecil Skotnes 1926 – 2009 As a tribute to this great man The Art Times has commissioned an artist’s profile on Cecil Skotnes. Also see Hayden Proud’s Obituary in SA Business Art .

Art life renews itself through recession ‘What we’re going through is not unique,’ says Siebrits. ‘Sadly, no one is immune.’

Lim-Fat and Roger Signer of global wealth and putting their demand for morphosed from a hazy projection ‘phenomenally successful Art Fair’, This is no flash-in-the-pan, art on ice. into an uncomfortable reality. the gallery’s doors will only be open financial services company Credit fly-by-night gallery, but one of Alex Dodd Suisse. ‘Nowadays, deals are Still, all this nasty weather seemed until the end of May. Johannesburg’s most exacting taking longer to close. Buyers are quite distant and academic to us I tiptoed into January with a and scholarly minded contem- more prudent and taking more time down here in the sun-drenched dreaded sense is that our land- porary art institutions. Warren to get to know the paintings before South – until sales figures from the scape was going to be morphing Siebrits has been responsible for We started out the year on tenter- reaching a final decision.’ recent Joburg Art Fair came home quite irrevocably over the next few reviving the reputations of many hooks, not knowing how the global to roost. Art sales at this year’s Fair months and that the status quo we 20th century artists (Alfred Thoba, economic recession would hit our It didn’t help that a large percentage grossed R12-million, about half of currently take for granted as stand- Cyprian Shilakoe, Lucas Sithole…) local contemporary art market. Dark of contemporary art buyers in re- what was achieved last year – and ard and unchanging will, despite whose legacies were overlooked murmurings from over the stormy cent years have been cock-a-hoop this downturn despite the fact that Trevor Manuel’s bizarre assurances Siebrits will soon be embarking on a or underestimated due to their seas weren’t very encouraging, with hedge fund managers, as well as the Fair’s attendance was up by 4 to the contrary, undergo something new chapter working privately as a place in history under apartheid, as reports of the almost irrationally the newly bling emerging from mar- 000 and that the production value of a seismic shift. The first evidence Web-based dealer, specialising in rare art well as for adding muscle to some exuberant boom experienced since kets like Russia, China, the Middle of this year’s event way outstripped of the quake hit me this week, (warrensiebrits.co.za). His gallery might significant contemporary careers, 2005 crunching right down to a slow East and India, many of whom last year’s. It was a jackpot of a Fair with the lousy news that Warren not be around for much longer, but we’re from that of Jo Ractliffe to Gerard likely to hear more from this indomitable crawl. ‘Gone are the days when have caught a nasty cold during in every sense other than sales, Siebrits Modern and Contemporary character who has already made a Marx, Stefanus Rademeyer and artworks were being snapped up at the recent winter of our discontent, which can only really be attributed will soon be no more. Despite the significant mark on Sabelo Mlangeni. the blink of an eye,’ wrote Juliette with the credit crisis slashing their to the dreaded slump having meta- blessed irony of having just had a South African art history (continued on page 5)

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BLUE FLASH OF LOGO CYAN 100 Autumn 2009 Sale of Decorative and Fine Arts Stephan Welz and Company, in interest to admirers of Cape furniture. Ardmore. Hylton Nel (1941-) steals the A fine near pair of association with Sotheby’s, will hold In the evening session, a particularly show with his tin-glazed earthenware WMF Art Nouveau their 2009 Autumn Sale of Decorative well-preserved 19th Century Stinkwood ‘Crucifixion’ plaque (estimate R3 000 - Electroplate plaques and Fine Arts at the Kirstenbosch Rusbank (estimate R18 000 - R20 000) R4 000), an enigmatic earthenware (estimate R8 000 - National Botanical Gardens on 26 and and a 19th century Cape Yellowwood doll (estimate R4 000 - 6 000), and R10 000) are on 27 May 2009. The sale will be on view and Stinkwood Cradle (estimate two delightful tin-glazed earthenware offer, each depict- to the public from 22 to 24 May 2009. R3 000 - R5 000) are two items that plates: one decorated with an insect ing a woman in rarely appear on auction. (estimate R 7 000 - 9 000) and the profile surrounded FINE ARTS other decorated with a bird on a green by foliage. The Art Strong lyrical narratives by Marjorie A delightful collection of Toby Jugs, ground (estimate R 9 000 - R12 000). Nouveau move- Wallace are on offer with Ons available for the first time to collectors, The renowned Rorke’s Drift pottery ment was charac- (estimate R120 000 - R150 000), includes a Staffordshire ‘Ordinary’ Toby studio is showcased with a stoneware terised by organic a tender depiction of love between Jug, 1790-1810 (estimate R6 000 - vase executed in 1977 by Lephina subjects, especially Jan Rabie and Marjorie; Claude and R8 000). Although similar Delft jugs Molefe (estimate R6 000 - R8 000); a floral motifs, as the Children (estimate R70 000 - existed in the Netherlands, the Toby stoneware vase by Elizabeth Mbatha well as highly- R90 000), an intimate portrayal of Jug was first developed and popu- (estimate R5 000 - 7 000); two incised stylised, flowing Claude Bouscharain and her children; larised in England by the potter Ralph stoneware vases (estimate R8 000 - curvilinear forms. and Rachel and Ou Nooi with a letter Wood. A typical jug depicts a seated R10 000 each) and a two-handled bowl Art Nouveau was from Breyten (estimate R70 000 - man wearing an English ‘tricorn’ hat and cover (estimate R5 000 - R7 000), an approach to R100 000), the reading of a letter world with most being housed in bracket clock by G. J. Champion, Paris and holding a mug of beer and a glass all 1980, by Joel Sibisi. Sibisi’s action design according to which artists penned by the imprisoned writer National Collections.” (estimate R25 000 - R30 000) should or a pipe. The original jug is said to of carving out images in the slip should be involved with the design of Breyten Breytenbach, jailed by the attract much interest. This item, inlaid have been inspired by a song ‘Brown painted stoneware mirrors the act of everything from architecture to furni- State for high treason. Wallace, best Terence McCaw has a strong presence with tortoiseshell and richly decorated Jug’, popular in 1761, whose lyrics linocut production. Similarly the stylised ture, making art part of everyday life. known for her portrait studies, was in this sale with the particularly striking with mythological figures and beasts, featured ‘Toby Fillpot’. and somewhat naïve motifs closely trained at the Edinburgh College of Art View from the Artist’s Garden, Hout epitomises Rococo craftsmanship. mirror the iconography found in linouts. Collectors’ items include a Fruitwood and made such an impression that she Bay (estimate R120 000 - R150 000) Other clocks include a Dutch Frisian Another fine example of English Apple-shaped tea caddy (estimate became the youngest person to be one of six works by the artist due Wall Clock, circa 1850 (estimate ceramics is a Lucie Rie (1902-1995) Of historical interest is a group of R10 000 - R15 000), which dates to elected to the Royal Scottish Academy. to come under the hammer on the R8 000 - R10 000) and a novelty Asymetrical Stoneware Bowl (estimate Nine Rare Chinese Armorial Wares, the turn of the nineteenth century. Tea She met and married the writer Jan 26 May. McCaw was a founder mem- Jaeger Timepiece in the form of a R25 000 - R35 000), impressed with Qianlong, 1736-1795 (estimate which was a valuable commodity at Rabie in Paris in 1953, later a leading ber and active protagonist of the New lamp post (estimate R5 000 - R7 000). the designer’s initials. European R60 000 - R90 000), created for the that time, was kept under member of the Sestigers, and the Group, established in 1938 with Walter ceramics are well represented; in Cape market. Similar examples can lock and key. Also couple settled in Onrus in 1954. Battiss and Gregoire Boonzaier. While English and European furniture particular a striking Large De be found on p 126 and 127 of on offer for Amanda Botha, a friend of Wallace working closely with Boonzaier, McCaw collectors should bid competitively for Porceleyne Fles ‘Nieuw Delfts” vase Woodward’s “Oriental Ceramics at the the boy at and an art writer, said, “[people] were was also exposed to the work of first an 18th century oak and inlaid chest- 1910 -1920 (estimate R7 000 - 9 000) Cape of Good Hope, 1652-1795”. heart always important to Wallace, but she generation Cape Impressionist – Pieter on-stand (estimate R30 000 - R40 000) decorated in tones of blue and are never had a voyeur's approach. She Wenning. This influence is clearly seen and a Set of Four Sheraton Style turquoise and borrowing from Islamic English and Continental silverware lived alongside the people in her paint- in McCaw’s work. Pieter Wenning’s Fruitwood Armchairs, circa 1880 earthenware patterns, and an assem- includes items ranging from 1736 ings … her lasting contribution is (her) Old Church (estimate R400 000 - (estimate R15 000 - R20 000), each bled Meissen part- dinner service through to the latter half of the cultural-historical record of work on the R600 000) is also available to collec- chair stamped Howard & Sons Ltd. (estimate R15 000 - R20 000), 20th twentieth century. A George III Silver marginalised people in society.” tors of South African Masters. The Berner Street. century, freshly applied with spring Seven-Bar Toast-rack by the renowned Wenning, previously sold in 1991 by flower motifs on a white background silversmith Paul Storr, executed in Ian Hunter of Stephan Welz & Co’s Stephan Welz & Co, in association with Furniture on offer to Colonial collectors and finished off with gilt trim. An attrac- 1817, is offered for sale at R7 000 - Cape Town Paintings department says: Sotheby’s, is again on offer to the is a magnificent 19th Century Rose- tive collection of Scandinavian wares 9 000. Paul Storr, a favourite of George “We are fortunate to have three Paul market having resided since that sale wood, Stinkwood and Satinwood Drum includes designs by Berndt Friberg IV, was known for his fine craftsman- Stopforth resistance artworks in our till now in a magnificent South African Table (estimate R30 000 - R40 000) (1899-1981), Gertrud Vasegaard ship and was skilled at using designs Contemporary section. Stopforth, who collection. which should attract discerning bids. (1913-2007) and Herbert Krenchel executed in other media by artists and two now resides in America, fused art and This unusually large example boasts (1922-). These vessels share pared- then adapting these concepts to suit swords: a politics in the mid ’70s to raise aware- Further highlights include: a rare entry eight real and dummy drawers with down lines married with a strong sense the purpose for which he required Prussian Infantry ness for the atrocities being committed from auction-shy Siegfried Hahn titled ivory-tipped handles. of design; the Krenchel ‘Krenit’ wares them. This fine sense of design and Officer’s sword designed in under Apartheid. Death in Detention Spring, Saragossa (estimate R7 000 - punctuated by strong interior colours. craftsmanship is what has seen his 1889 (estimate R2 500 - R4 000) and (estimate R10 000 - R15 000) and R10 000), Gregoire Boonzaier’s There are many items that will appeal pieces through the fashion highs and a Victorian Infantry Officer’s sword Altarpiece for Thomas Kasire (estimate Mosque, Loop Street, Bo Kaap to Cape furniture collectors. In the day South African ceramics include works lows of silver, making him an enduring dating from the 19th century (estimate R8 000 - R12 000) are particularly (estimate R350 000 - R450 000) and session, a 19th Century Cape Rooiels by Hym Rabinowitz, Esias Bosch, Tim favourite with collectors. R3 000 - R5 000). poignant pieces, rare to the auction Irma Stern’s Portrait of Zoë Randall Koskas (estimate R20 000 - R25 000) Morris, Andrew Walford, Hylton Nel, (estimate R1 800 000 - R2 400 000). should be of Rorke’s Drift and A fine set of Elizabeth II silver ‘rat-tail’ These and other items are scheduled Stern’s painting demonstrates her vir- pattern cutlery by Gee and Holmes of to go under the hammer on the tuosity in paint application and debt Sheffield, England, is also due to come 26th and 27th of May 2009 at owed to African masks as part inspira- under the hammer at Kirstenbosch. In Kirstenbosch Botanical Gardens. tion for this composition. The sitter, Zoë addition to the hallmark denoting the Randall, was a well known and much year 1977, this set of twelve place set- accoladed star of the South African tings is also stamped with the special theatre world. In 2002 at the Fleur du commemorative Silver Jubilee Hallmark Cap Theatre awards she received a which displays Queen Elizabeth's head lifetime achievement award in recogni- facing left. Amongst other highlights in tion of her 60 years of dedication as the Silver sessions are a William an actress and supporter of the arts. Suckling George V Silver six-piece tea and coffee set (estimate R12 000 - DECORATIVE ARTS R15 000) and a James Deakin and For clock enthusiasts, a magnificent Sons George V two-handled silver tray early 18th century Louis XV boulle (estimate R15 000 - R20 000).

AUCTION OF DECORATIVE AND FINE ARTS Tuesday 26 May at 2pm and 7pm Wednesday 27 May at 10am Auction: Enquiries and Catalogues Tuesday 26 May 2pm and 7pm Cape Town Office: 021 794 6461 Wednesday 27 May 10am At the Saleroom, Kirstenbosch Venue: from Friday 22 May Old Mutual Conference and Exhibition Centre, Tel: 021 761 4288 Kirstenbosch Botanical Gardens, Newlands, Fax: 021 761 8690 Cape Town e-mail: [email protected] Viewing: Friday 22 May 10am to 5pm Catalogues can be viewed Saturday 23 May 9am to 2pm on our website: Sunday 24 May 10am to 5pm www.swelco.co.za

Gregoire Johannes Boonzaier, MOSQUE, LOOP STREET BO KAAP signed and dated 1951; inscribed with the title on the stretcher 56 by 63cm R 350 000 - 450 000 South African Art Times. May 2009 Page 3 suggested by artists. In broad less areas in between. Although democratic strokes, artists were several pieces are gorgeously KUNSGALERY Peter Machen invited en masse to propose accessible, for the most part the Mary Corrigall site-specific works and were, to show consists of the kind of work this end, also invited on a brief that will send Sunday Magazine tour of the stadium, the giant editors running in one direction or JOHANS BORMAN mass of steel and concrete naked, another, depending on how keen unadorned and rising into the sky. they are to identify with contem- Joburg Art Fair 09: FINE ART GALLERY It was difficult to work out exactly porary art. But like DuChamp’s how things would look when all urinal, which occupies at least one Sculptures steal the scaffolding was gone but I’ve harbour in Sadie’s ocean of theory, always loved a building site (the complexity is often the mask worn the attention ultimate sandpit) and I was struck by simplicity. And I know that I’m (First published in The Sunday CAPE TOWN by the fact that the beauty of all not as well versed in theory as Independent) this massed raw concrete would Sadie, but after the initial relent be a hard act to beat. Fortunately that always needs to happen At the Frieze Art Fair in London in I often marvel at how much more for the participating artists though, when viewing any exhibition, I 2007, devotees queued up to have beautiful large-scale buildings the judges will no doubt have was completely enchanted. The artists Jake and Dinos Chapman are when they are half built than broader set of critera than cooler levels and layers came later in a defile the royal insignia on their when they are completely finished. than concrete. one-question-interview with Sadie, pound notes. Adding to the buzz Indeed many of Durban’s most which cascaded into a mini-ava- was Rob Pruitt, an artist who garish and formless monstrosities lanche of conversation. We agree turned a gallery booth into a flea were once, for a brief period of to meet later. market, where he flogged disused time filled with beauty, texture and In work that is, at least on some objects donated by other artists. awe, before their structure was levels, about theory, I’m always A life-size copy of a 1970 Dodge covered with facade and plastic interested in whether an artist Challenger made by Richard and polish and made safe for thinks that a degree of theoreti- Prince dominated another booth shoppers. Looking at the digital cal engagement is necessary in and a performer dressed as a rendering of the proposed final the viewer. In other words, if my bobby entertained passersby with structure, the Moses Mabhida mother, who loves art but lacks his yoga moves. But the most Stadium, Durban’s chief 2010 theory, visited the show, would notable moment was when Kris venue, might, perhaps, be an Henrietta Hamilton from The Bank Gallery she be able to engage with it in a Martin affected his intangible art- exception to that tendency. But manner that satisfies both her and work, dubbed One Minute Silence even if the monolithic post-modern the artist? (and that last “satisfies” (2007), which demanded that JH Pierneef, ‘Bosveld bome, N.Transvaal’ – 1944 sea-turtle ends up being anything The still skeletal stadium reminded is mine, not Sadie’s; he lacks arro- everyone in the fair remain quiet less than exceptional, it will, at the me of Stephen Hobbes’ explora- gance, possessing instead a criti- for one minute. very least, be home to a broad tion of architecture, structure and cal rigour that no doubt drives him selection of South African art. And light in recent works which showed mad in the production of his own Call them art fair gimmicks if you A showcase for the best of South African Masters, considering how sport pretty much in Durban at the KZNSA and work). He never really answers must, but all of these staged as well as some leading contemporary artists. kills art dead in the endless game Bank Gallery. Traces of Hobbes’ the question but he does point out interventions at this art fair not only of paper-rock-scissors, such a conversations echo – in entirely that he’s more satisfied producing created a frisson of excitement, cultural highjacking can only be different form – in Vaughan Sadie’s complex work which hopefully ex- but reiterated the fact that artists a good thing. This is after all, a exquisite exhibition, situation, tracts a mental investigation in the cannot be contained within the Telephone: 021 423 6075 guaranteed way of ensuring that currently on show at Bank Gallery. viewer than complex work which is confines of a strictly commercial hundreds of thousands of of South While Hobbes calls our attention accessibility but whose accessibil- art event. Nor can their subversive Africans will walk past, and per- to the beauty, fragility and brutality ity allows the viewer to be content compulsions be tamed; they will www.johansborman.co.za haps even look at, a whole bunch of cities and their architecture, with the surface. automatically disrupt and chal- of contemporary art – even if that Sadie’s current work, produced for I left Vaughn Sadie staring at his lenge convention at every turn. Mon-Fri: 09h30 - 17h30 art has to make allowances to the his Masters degree, explores the digital clock installed on the front At this year’s Joburg Art Fair, Sat: 10h00 - 13h00 colour scheme of the décor. very nature of light and the way in of the gallery, above the entrance. however, there were few such or by appointment The eThekwini Municipality has which it constructs our interior and Constructed out of twenty eight memorable attractions or interven- In Fin Art Building made a public call – the first, ap- exterior world, worlds which are fluorescent tubes, each minute tions. Marcus Neustetter’s Work in Upper Buitengracht Street, Cape Town 8001 parently, among those municipali- more fragile even than buildings. passes not discreetly, but in flicker- Progress (2009) was perhaps the Cell: 082 566 4631 ties blessed with a stadium – for Encompassing a century of ing indecision. I waited with him only artwork that defied the art fair work which will populate several modernism and post-modernism, as the clock turned from 11:59 to setting. walls and atriums in the build- Sadie’s personal evolutions and 12:00. A flurry of flickers. He was E-mail: [email protected] ing, as well as any other spaces convolutions exists in the count- visibly thrilled. (Continued on page 4) Page 4 South African Art Times. May 2009

to photographing aged women Girl, showing at SMAC’s booth, but exists in terms of the creator’s Joburg Art Fair 09: draped in clothing made from were also eye-catching. He has intentions and motives. If the art fair Continued from Page 3 animal entrails, they were trying ditched the neon lights (at last!) and is to achieve its objective in terms out all manner of visual tricks to get progressed to produce wonderful, of “growing a new audience” for attention. But mostly their efforts kitschy-art-slash-crafty-slash-pop- art, then it seems paramount that felt contrived and superfluous to artish beadworks that appear like a novice audience is able to grasp Consisting of coloured building their expression. Berry Brickle’s a stereotypical advert parading the difference between a slick chair blocks stacked up to the ceiling, it Melancholia 01 (2007) from the obvious markers of sex and wealth. and an artwork. However, it is more protruded from the confines of the Encounters of Bamako collection They were beautifully crafted, witty than likely that succeeding Joburg white display, physically and con- stood out: a synthesis of collage and relevant. Art Fairs might include more design ceptually challenging the bounda- and photography that saw a variety Most gallery stands showed stands. ries that define such an event. of found images and photographs artworks in isolation from the bodies It is not because designers don’t As a temporary object, Neustet- layered over each other to create to which they belonged - except for have a platform - they do; there is a ter’s artwork couldn’t be sold or an otherworldly image that played Blom’s Travels of Bad series. And surplus of interior décor and design transported, thereby defying the with its temporality - no mean feat the arbitrary arrangements of the expos. The problem is the limited objective to create sellable or easily considering that photography is art ensured that most of the works number of bona fide contemporary packaged art. inextricably tied to reality. were shown out of context which art galleries - most of those little Even Jane Alexander’s installation, The documentary style genre, silenced their subtext. shops in malls peddling trite land- Security (2006), with its barbed wire which was fairly well represented at But art fairs are about generating scape art don’t count.So in order borders that hemmed in a rectangle the fair, just couldn’t compete in the sales and, as such, most gallerists for Artlogic, Douglas’s company, to of artificial grass, seemed to face more progressive forms of art. were keen to hedge their bets by grow the fair each year they will be conform to the controlled spatial dy- Photographers should take Zander displaying a full array of art in the forced to embrace more and more namics of the art fair. Nevertheless Blom’s lead in his Travels of Bad hope that they would have more of object displays derived from that it was originally commissioned for series, displayed at the Rooke a chance of nailing a sale. In such a fuzzy territory that delineates the the 27th Sao Paulo Biennale, but gallery stand. Blom exploits the context, the aesthetic or transcen- overlap between art and craft. perhaps its neat boxlike configura- documentary function of photogra- dental nature of art objects is stifled. No doubt Artlogic will find expedient tion appealed to the organisers. phy while simultaneously allowing And with hoards of people jostling ways of dressing up this art event At least last year art world tricksters it to serve a so-called high art for a view and a glut of art distract- as something more substantial than Avant Car Guard created a stir function too. ing one’s attention, there is scant a commercial venture as they have with their performance piece at the With so much art on view it was room for the viewer to meditate on done to-date with public assertions Whatiftheworld booth, with their hard for individual pieces to shine. each piece. In other words art fairs that their event is a more viable tongue-in-cheek memorial marking It often was the more three-dimen- do not make ideal environments endeavour than the Johannesburg the “death” of Kendell Geers. sional sculptural pieces that tended for viewing or appraising art. Nor Biennale’s or Cape Africa Platform’s to steal attention, such as Mary are they, as Ross Douglas, the art initiatives in Cape Town. The The absence of such performance Sibande’s A Conversation with organiser of the art fair, proposes, Joburg Biennale might have ceased interventions at this year’s fair en- Madam CJ Walker (2008), on show opportunities for the South African and Cape Africa Platform may sured that it was nothing more than at Gallery Momo’s stand. It featured public “to be educated about have an exercise in heightened com- an upward struggle in staging two mannequins of contemporary art”. their event but these are exhibitions mercial activity. Avant Car Guard’s domestic workers in their “maid The Invoice (2009), a make-believe and not commercial art expositions. attire”, which appeared more like The BMW Art Talks at the fair did receipt painted on to canvas, made There is huge difference in terms a period costume, suggesting that provide occasions for the public to a wry comment on the commodi- of their approach to display and their task/role belonged to another learn more about art production in the discourses they engage with fication of art. But otherwise there era. this country, but the catalogue, a were few works that threatened or and create. Douglas may believe thick book that almost exclusively questioned the conventions of such that he is offering an alternative to Though the title may have inferred contained images, ensured there an exposition. such events but in no way does or they were engaging in a dialogue wasn’t reading material that visitors The fair did, however, provide can a primarily commercially driven with a white woman, the conversa- could take home that might have an opportunity to identify what is art initiative be able to compete or tion that Sibande refers to is one provided some sort of introduction considered sellable. Photographic achieve the same objectives as a with the first black American million- to the central issues. works were in abundance and there biennale. aire, summoning a more meta- The introduction of a design stand was a palatable sense that artists These Joburg Art Fairs only provide phorical dialogue that encompasses - staged by Southern Guild - might working with this medium were a temporary diversion and will no issues pertaining to servitude and also distort the public’s under- searching for ways to stand out doubt cease to be of any interest the aspiration for wealth and power. standing and appreciation of art. from the crowd. From superimpos- once the makeshift galleries inside One can only guess what the Sand- While the boundaries between art ing existing dated cut-outs on to ton madams visiting the fair would and design are blurred, there is a the Sandton Convention are pulled- contemporary photographs to down to make way for the next have made of the artwork. distinction; it might not necessar- sealing each part of a photograph exposition. Wayne Barker’s Desire and Golden ily manifest in the final product, in a see-through plastic container

David Brown TWO MEN AND THEIR DOG AND OTHER WORKS 6 - 30 May 2009 Opening reception: Wednesday, 6 May at 6pm

70 Loop Street Cape Town 8001 South Africa t: +27 21 4235403 f:+27 088 021 4232136 [email protected] www.joaoferreiragallery.com South African Art Times. May 2009 Page 5

Art life renews itself through ephemera (warrensiebrits.co.za). office, or add life to a family man- TransCape and the flaccid Cape recession : His gallery might not be around sion, there was nothing to be seen. 07 - may smile that Cape 09 is now Continued from page 1 for much longer, but we’re likely to punted as a biennale. hear more from this indomitable One would have thought that a Fuelled by his passion for historical character who has already made a smart little gallery with affordable, Throughout those hot-headed context, Siebrits has been dedi- significant mark on South African good prints (of which there are years, the political correctness of cated to the research and publish- art history.This week’s news must so many being made right here being otherwise, the organisers ing side of his business, having have come as a tough blow to his and now in the Mother city) and refused to use the word ‘biennale’; produced a range of immaculately artists, but Siebrits is committed to a knowledgeable person on duty in the present version, Cape 09 is produced catalogues, contributing finding the right match for each of could have used the opportunity. firmly named as such. (Important to to the growth of the careers in his them with other leading galleries But, I suppose, when the halls are note that this signals that there is a care. and to sustaining his relationship filled up with framed twaddle, the two-year future for such an event, But at R150 000 per month, before with them on a personal basis. competition is overwhelming. (The even though the organisers are they’d even started with catalogue Something about the solid and much-punted and popular Design already saying they’ll do something ethical manner in which Siebrits Indaba also seemed to have run next year at the time you-know- expenses, their overheads had A quality selection of SA old masters started to become crippling, says and his partner, Lunetta Bartz, have out of steam on this point.) what-cup.) Siebrits. ‘We’ve been subsidising run their gallery had me believing To be honest, this year’s pro- and selected contemporary art our contemporary shows through that, like hot buttered toast, it would In a way, such amusing scenes at gramme looks promising, even our sales in the secondary market somehow always be around. Decorex hinted again about the exciting in preview. There seems www.artwessels.co.za for some time now.’ gentle crisis in the contemporary art to be a reality-checked honesty More than a freak quirk, the gal- world, where people simply don’t about the fifteen or so projects that lery’s imminent closure is a sign know - and get waylaid by talk and will unfold during the month. The of the times. ‘What we’re going Melvyn Minnaar money. (Oh, and a nice frame.) hoopla has been contained and the through is not unique,’ says Sieb- After all the hoopla which saw curatorial mumbo-jumbo is not too rits. ‘Sadly, no one is immune.’ the local galleries up north for the dizzying. But on a more heartening note, Connecting with da people Joburg Art Fair, most are back But what is particularly heartening he recalls one of his personal with little to report on sales and is not that the sights are not set highpoints since opening the gal- If you really wanted to depress influence. How long they’ll hang on too high, but that there seems to lery seven years ago. He doesn’t yourself about the nonsense to the blind belief in the fabulous be a genuine effort to connect with hesitate in saying that handling sometimes offered as ‘art’, a visit bond between money, fame and art people on the ground. Previously Gerard Sekoto’s painting, Soka to a far-a-way corner of the recent remains to be seen. Maybe we’ll politically-correct (anti-gallery and Majoka (Sixpence a Door), featured Decorex at the CTICC was pure see some of them in the Decorex sometimes highly patronising) as part the 2003 group show, Art poison. Using the designation corner next year. curatorial decisions collapsed ‘kitsch’ seemed an all too easy due to lack of proper logical and and Urbanisation, has been his JH PIERNEEF write-off for bad taste and visual If Gauteng (who tried so hard, way greatest honour. Painted in 1946/7, management support. Most of the LANDSCAPE TRANSVAAL 1946 present projects look as if their very it is considered Sekoto’s most stupidity that filled stall after stall back, with its biennales) is working 65 X 85 CM next to pretty chairs. reason-of-being is grounded among important painting, having been to box (hopefully) exciting and OIL ON CANVAS part of an exhibition that travelled At first one laughed a bit at hefty- new art within that money/fame Capetonians of all persuasions. the world in the late 1940s, when it priced, funky frames with what paradigm, the Cape, at least, still resembled pop-up mini opera-de- has, well, Cape. February’s Spier performance Tel (+27) 12 346-0728 / Fax (+27) 12 346-0729 was admired by the Queen Mother [email protected] [email protected] and featured in Time magazine. ‘In signs (with that specific patina of festival, Infecting the City, showed that, even if they are slightly 2002, I sold that painting for R1-mil- the unreal realness of stage decor) Alette 082 652 6663 Gerrie 084 589 0711 lion, and played a part in catalysing in careful (built-in) lighting. Then flabbergasted at what they are the Sekoto market,’ says Siebrits the sad penny dropped that this confronted with in the name of art, Alette Wessels Kunskamer proudly, from under the dapper brim event is where interior people are da people can connect. Cape 09’s Maroelana Centre, 27 Maroelana Street, of one of his signature hats. ‘At that supposed to acquire their ideas and installations, performances, site Maroelana, Pretoria stage, no South African painting the stuff that get them a spot on Top specific works, processions, and Billing and Pasella. This is where As the merry month of May gets the rest, the organisers say, are GPS S25º 46.748 EO28º 1.5615' had sold for so much. If it went back ' on the market today, it would fetch you’d throw quite a few thousand into its stride, that rather chimerical “participatory, encouraging visitors about R10-million, conservatively, rand around for a new couch and a organisation which sometimes also to step inside art and discover new OPEN couple of lampshades, and possibly goes as the Cape Africa Platform ways of looking and thinking about Mon to Fri 09h00 - 16h00 which shows how much the market Saturday 09h00 - 13h00 has changed since when we first buy something to hang on the wall. has launched its second effort at a life today.” started the gallery.’ city-wide art event, Cape 09. Now isn’t that a much nicer invita- Siebrits will soon be embarking on Of nice art (we’re not talking deep, Those who remember those early tion than having to decide whether a new chapter working privately as hefty stuff that only attracts the initi- days - the sad chaotic talk-shop you want to hang some Decorex a Web-based dealer, specialising ated) that will cheer up a smart little called Sessions eKapa, way back kitsch on your wall, and still now in rare art, signed books and other apartment, bring zing to a business in 2005, the over-reaching plans for know that it ain’t art?

David Brown TWO MEN AND THEIR DOG AND OTHER WORKS 6 - 30 May 2009 Opening reception: Wednesday, 6 May at 6pm

70 Loop Street Cape Town 8001 South Africa t: +27 21 4235403 f:+27 088 021 4232136 [email protected] www.joaoferreiragallery.com Churchill Madikida, Virus, DVD projection, 2005

Lisa Walker, Delilah ceramic, wire

Clementina van der Walt Leora Farber Hylton Humboldt Nel Lisa Walker Carla da Cruz Masks Cultivars: Perrusonii Madonna and child Pine seed Growth ceramic wax, plastic, fabric, plant material earthenware, 1985 ceramic, wire, beads glazed earthenware 2005 2006-7 2008 COLLECTIONS AT THE NELSON MANDELA METROPOLITAN ART MUSEUM

South African art (particularly that of the Eastern Cape), British art, international printmaking, Oriental art (including Indian miniatures and Chinese textiles). EXHIBITIONS

Art Talk Decade: Highlights from 10 years of collecting Nelson Mandela Metropolitan Art Museum Until 26 May 2009 for the Sanlam Art Collection Biennial 2008 Award Winners: Art Talk explores three categories of visual communi- 5 June – 19 July 2009 Linga Diko cation, namely, narrative, iconography and expression. A selection of works by some of South Africa’s most 17 October – 15 November 2009 Celebrated artists on display include William Kentridge, valued and emerging artists from the Sanlam Art Linga Diko’s extensive volume of work represents, Penny Siopis and Andrew Verster. Also featured is the Collection, one of South Africa’s finest collections of through delicate mark-making and subtle humour, the “Mendi” triptych by Hilary Graham which tells a story of South African Art. With holdings of more than 2000 struggles and hopes of people living under difficult the sinking of the troopship Mendi. items, the collection provides a representative overview conditions. of South African art dating from the late nineteenth New Acquisitions century to the present. Christine Maree Until 26 May 2009 23 October – 25 November 2009 Recent acquisitions of works into the permanent Standard Bank Young Artist 2009: Christine Maree’s body of works will focus on the family collections of the Art Museum by some of South Africa’s Nicholas Hlobo portrait as an indicator of familial dynamics and relations, top contemporary artists including Berni Searle, Churchill 30 July – 20 September 2009 particularly in a South African context. Madikida, Conrad Botes and Durant Sihlali. Local artists The 2009 Standard Bank Young Artist award winner for featured are Marc Pradervand, Christine Dixie, Brent Visual Arts, Nicholas Hlobo, uses strategically chosen Meistre and Maureen de Jager. materials to “create conversations” around issues of masculinity, gender, race and ethnicity. Scenes in the street 7 May – 12 July 2009 Poking fun A playful look at street scenes through the eyes of artists 25 July – 25 November 2009 including Tommy Motswai’s City scene/Township scene, Works from the Art Museum’s permanent collection George Msimang’s The bus stop and The flower sellers which explore humour, biting commentary and satire. by Hugo Naude. Street scenes as seen through the From depictions of power, greed and lust to candy- lenses of local photographers Marc Shoul and Rob coloured malice, this exhibition is full of dark humour Duker, who have extensively documented life in Mandela and artistic insight. Bay, will also be on display.

1 Park Drive, Port Elizabeth, 6001, South Africa Telephone: +27 (0)41 5062000 Fax: +27 (0)41 5863234 E-mail: [email protected] Website: www.artmuseum.co.za 10 DAYS OF AMAZ!NG DAYS AMAZ!NG OF 10 GRAHAMSTOWN, SOUTH AFRICA SOUTH GRAHAMSTOWN, AINLCOUNCIL NATIONAL ARTS

s WWW.NATIONALARTSFESTIVAL.CO.ZA s 2-11 JULY 2009 2-11

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The City of Cape Town, in collaboration with Cape Friends of Calligraphy and artb Gallery, has the pleasure of inviting you to an exhibition of letters and calligaphy.

b.lettered Opening: Wednesday 20 May 2009 18:30 for 19:00 Venue: artb, Gallery Bellville Library Centre Carel van Aswegen Street, Bellville

Exhibition closes: 17 June 2009

Rust-en-Vrede Gallery Marion Cross 12 Wellington Road, Durbanville. Tel. +27 (0)21 9764691 www.rust-en-vrede.com Mon – Fri 9am –5pm. Sat 9am – 1 pm 082 5535 104 [email protected]

‘Landscapes, cityscapes and still lives, journeys in colour, form and 5 May – 28 May equilibrium. My inspiration is taken from my surroundings, from Salon A: On the Surface - Pots by Mervyn Gers travel and things that are beautiful.’ Cape Town artist working in oil, Salon B: The Exquisite Corpse : A portfolio of 16 uniquely collaborated etchings,based on the theme of an Adam and an Eve, acrylic, pastel, charcoal and mixed media on canvas and paper. by Judy Woodborne, Chris Diedericks, Paul Birchall, Eunice Geustyn, BAFA - Unisa Theo Kleynhans, Richard Kilpert, Diane Victor, Julia Teale Advanced Diploma Painting - Wits Pot by Mervyn Gers Salon C: ONTHOU/VERGEET – by Theo Kleynhans Inspired Painting Courses at La Creuzette, France

Pastel Painting Master & Classes Cooking

30 August - Course 07 September 03 - 11 Louis Jansen van Vuuren October presents this advanced art course - using pastels An ideal opportunity for as the main medium in couples and friends who his studio at la Creuzette. wish to travel together, At the end of the stay at but each focuses on a la Creuzette, one night different passion – food in Paris and a private or art or even BOTH! tour of the Orangerie museum are included!

La Creuzette, 17 Avenue D’Auvergne,23600 Boussac Fr ance. www.lacreuzette.com and jansen-van-vuuren@wan a d o o . f r

The National School of the Arts The Festival of Fame, now heading into its eighth year, brings youth and professionals together for five days of exciting and dynamic activities, workshops, events and OPEN productions in all of the art forms. Since its inception in 2002, this event has • showcased the talents of young people, DAY up-and-coming stars, and established artists • given young people the opportunity to engage with professional artists Saturday 9 May • provided stimulating learning experiences in 17 Hoofd Street, Braamfontein five full days of structured activities Tel +27 11 339 6539 • provided opportunities to explore and Fax + 27 11 339 6695 experiment with the art forms in practical 17 Hoofd Street art [email protected] and exciting workshops and competitions Braamfontein www.festivaloffame.co.za • presented artistic and cultural performances dance and shows of outstanding quality Tel + 27 11 339 6539 • generated excitement around arts and culture Fax+ 27 11 339 6695 drama in young people [email protected] music • promoted and enlivened the concept of the www.artschool.co.za “cultural arc”, bring people back into the Braamfontein area LAN REID

A Cape Artist working in the Romantic Impressionist Style

Influenced by the natural beauty of the Western Cape as well as my travels abroad, I enjoy working on a variety of subjects in all media. In my work I strive to capture the intense light and vibrant colour that is the lens through which I see the world.

I have had 6 solo exhibitions and exhibited in numerous collective exhibitions. My work is owned by collectors, both at home and abroad and I am happy to accept commissions.

Mobile: +27 83 333 4834 Email: [email protected]

i n•fin•arT Custom Picture Framers & Art Gallery

Wolfe Street • Chelsea • Wynberg • Tel: 021 761 2816 + Buitengracht Street • Cape Town • Tel: 021 423 2090 E-mail: [email protected] • web www.infinart.co.za The Hout Street Gallery

270 Main Street, Paarl

The Gallery is open Monday - Saturday from 08:30 - 5:30 pm and on Sunday from 10:00 - 5:00 pm

Visit www.houtstreetgallery.co.za or contact 021 872 5030

SWART The Fencing Studio 60 x 60 cm Oil CHRISTOPHER MøLLER ART SOUTH AFRICAN CONTEMPORARY AND MASTERS 82 Church Street (Corner Church & Loop Street) Cape Town, 8001, South Africa Tel: +27 21 439 3517, Fax: 086 611 3871 Cell: 083 312 3450 Lipschitz Gallery is a well established art company which assists private and corporate buyers wanting to purchase South African art. We represent and promote a wide spectrum Email: [email protected] of artists in all genres nationally and internationally, and are also known and respected for our work in the secondary art market. Our gallery team specialises in providing full Website: www.christophermollerart.co.za consultation services and valuations.

“Blue”, a group show tel/fax 27 44 533 4581 cell 082 900 6631 [email protected] www.southafricanart.co.za Thursday 14th – 30th of May, 2009. hill house one main street plettenberg bay po box 1732 6600 gps S34° 03.405’ E023° 22.330’ Lionel Smit, “Awe II”, oil on canvas