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Monuments and Museums for Post-Apartheid South Africa
Humanities 2013, 2, 72–98; doi:10.3390/h2010072 OPEN ACCESS humanities ISSN 2076-0787 www.mdpi.com/journal/humanities Article Creating/Curating Cultural Capital: Monuments and Museums for Post-Apartheid South Africa Elizabeth Rankin Department of Art History, University of Auckland, Private Bag 92019, Auckland 1142, New Zealand; E-Mail: [email protected] Received: 5 February 2013; in revised form: 14 March 2013 / Accepted: 21 March 2013 / Published: 21 March 2013 Abstract: Since the first democratic elections in 1994, South Africa has faced the challenge of creating new cultural capital to replace old racist paradigms, and monuments and museums have been deployed as part of this agenda of transformation. Monuments have been inscribed with new meanings, and acquisition and collecting policies have changed at existing museums to embrace a wider definition of culture. In addition, a series of new museums, often with a memorial purpose, has provided opportunities to acknowledge previously marginalized histories, and honor those who opposed apartheid, many of whom died in the Struggle. Lacking extensive collections, these museums have relied on innovative concepts, not only the use of audio-visual materials, but also the metaphoric deployment of sites and the architecture itself, to create affective audience experiences and recount South Africa’s tragic history under apartheid. Keywords: South African museums; South African monuments; cultural capital; transformation; Apartheid Museum; Freedom Park 1. Introduction This paper considers some of the problems to be faced in the arena of culture when a country undergoes massive political change that involves a shift of power from one cultural group to another, taking South Africa as a case study. -
PUBLICATIONS the Constitution of Public Intellectual Life Research Project
PUBLICATIONS The Constitution of Public Intellectual Life Research Project According to the University of the Witwatersrand Research Office figures for 2004, the Graduate School for the Humanities (which comprised the Constitution of Public Intellectual Life Project, the Graduate Programme in Journalism and Media Studies, and the Forced Migration graduate and research programme) had the highest relative publication figures, viz 2.453 (pubs/ftes) and 2.404 (pubs/sles). The next highest in the university was the School of Public Health on 1.758 (pubs/ ftes) and 2.033 (pubs/sles). The University average was 0.629(pubs/ftes) and 0.647 (pubs/sles). Accredited publications only. Platform for Public Deliberation Constitution of Public Intellectual Life Research Project Publications *Designates DNE accredited publications. Please note that as the Public Intellectual Life Project we are committed to publishing in public interest media as well as accredited academic publications. Platform for Public Deliberation Constitution of Public Intellectual Life Research Project Barstow, O. & Law-Viljoen, B. (eds) Fire Walker: William Kentridge and Gerhard Marx Fourthwall Books: Johannesburg, 2011. Barstow, O. “The Thinking Machine / Digging in the Rubbish Heap”, Itch Magazine: The Theme is Dead 1(5):76-79, 2005. Bester, R.M. “David Goldblatt’s Making Visible: Photographic Strategies of Rumination, Orchestration and Circulation” Social Dynamics 36(1): 153-165, 2010. Bester, R.M. “2009 Joburg Art Fair”, Art South Africa 7(4):81, 2009. Bester, R.M. “The Bride Stripped Bare for Her Bachelors”, Art South Africa 8(1): 44- 49, 2009. Bester, R.M. “Between the Wars and Walls”, Art South Africa 8(2): 64-69, 2009. -
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. -
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 -
NEW STATESMAN | 26 JULY – 8 AUGUST 2013 2013+30Photo Essay:NS 25/07/2013 11:30 Page 45
2013+30photo essay:NS 25/07/2013 11:30 Page 44 STEVENSON GALLERY/YOSSI MILO GALLERY Pieter Hugo (above) photographs and chose to focus on the close to the mines. Hugo was attracted to Johannesburg, Gauteng Province Witwatersrand, the gold mining region that the notion that Main Reef Road is a modern surrounds Johannesburg. He meandered equivalent of the Roman Via Appia. “All The South African Pieter Hugo was along the city’s Main Reef Road, which South Africa’s wealth was generated along commissioned to take landscape connects the towns that have sprung up this road,” he says. 44 | NEW STATESMAN | 26 JULY – 8 AUGUST 2013 2013+30photo essay:NS 25/07/2013 11:30 Page 45 PHOTO ESSAY Transition Contested landscapes in South Africa Photography by Philippe Chancel, Raphaël Dallaporta, Pieter Hugo, Santu Mofokeng, Zanele Muholi, Jo Ractliffe, Thabiso Sekgala and Alain Willaume In Southern Africa, landscape photography is invariably political. The camera was an im- portant tool to Europeans in the appropria- tion of land. In 1858, the Scottish missionary David Livingstone asked his brother Charles to photograph an expedition to the Victoria Falls (which he had “discovered” in 1855). He wanted “to extend the knowledge already attained of the geography and mineral and agricultural resources” there, in the hope that “raw material” might be “exported to England in return for British manufactures”. When those that followed came to depict the land for its own sake, they relied on a vi- sual aesthetic adopted from French art. They did not record the landscape: they “invented” it. Throughout the 19th and early 20th cen- turies, white salon photographers developed an iconography that aimed to reveal a virgin territory whose mountains, plains and tribal inhabitants illustrated the grandeur of the imperial project. -
African Arts African Studies Center
Surname Name Year Title Publisher Note African Studies Center University of California, Los Proehl, Paul O & Povey, John (founding eds). [Various] [Periodical] 1967- African Arts Angeles Data not yet entered Bell-Roberts, Brendon (founding ed.). Data not [Various] [Periodical] 2015- Art Africa Art Africa Magazine, Cape Town yet entered [Various] [Periodical] 2002-2015 Art South Africa Bell Roberts, Cape Town Data not yet entered [Various] [Periodical] 1966-1976 Artlook Johannesburg Data not yet entered [Various] [Periodical] 1989- Artworks in Progress Michaelis School of Fine Art, Cape Town Data not yet entered [Various] [Periodical] 1970-1994 Bulletin Pretoria Art Museum, Pretoria Data not yet entered University of Pretoria Department of Art and [Various] [Periodical] 1934-1938 Castalia Data not yet entered Culture, Pretoria Critical Interventions: Journal of African Art history Ogbechie, Sylvester Okwunodu (founding ed.). [Various] [Periodical] 2007- Aachron Editions; Taylor & Francis and culture Data not yet entered University of South Africa Department of Art [Various] [Periodical] 1967- De Arte Data not yet entered History and Fine Arts, Pretoria Walker, Garth & Gunning, Siobhan (founding [Various] [Periodical] 1995- i-Jusi Magazine Orange Juice Design, Durban eds). Data not yet entered University of Pretoria Department of Visual Arts Sauthoff, Marian (founding ed.). Data not yet [Various] [Periodical] 1992- Image & Text: A Journal for Design and Art History, Pretoria entered Adult Education Division Union Education [Various] [Periodical] 1949-1995 Lantern Department; The Foundation for Education, Data not yet entered Science & Technology, Pretoria Krause, Otto (founding ed.). Data not yet [Various] [Periodical] 1962-1963 NEWS/CHECK on South Africa and Africa entered Duke University Press, Durham; NKA Publications, Hassan, Sallah (founding eds). -
Spring/Summer 2016 Program Independent Curators
INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2016 PROGRAM I C IC I I C IC I I C I C I I C I C I I C I C I EXHIBITIONS PUBLIC PROGRAMS & RESEARCH NETWORK & ACCESS 4 The Ocean After Nature 18 Curatorial Intensive 30 Publications 6 Apichatpong Weerasethakul 22 Alumni Updates 32 Limited Editions 8 Salon de Fleurus 24 Research Fellowships 34 Annual Beneft 10 EN MAS’ 26 Curator’s Perspective 36 Support ICI 12 Free Play 28 Curatorial Hub 13 Harald Szeemann 39 Thank You 14 do it 40 Access ICI 16 Performance Now 17 Project 35: Volume 2 Yonatan Cohen & Raf Segal, detail of Territorial Map of the World, 2013. Courtesy of the artists. INDEPENDENT CURATORS INTERNATIONAL 1 WELCOME Today more than ever—with a region. In addition, ICI will provide a three-part Curatorial growing network of collaborators Mentorship program in collaboration with ArtPrize to take spanning 64 countries—Independent place in Grand Rapids, Michigan, to enhance the learning Curators International (ICI) opens experience of curators and institutions participating in up a multiplicity of perspectives that the ArtPrize Fellowship for Emerging Curators program. are fundamental in understanding And lastly, ICI has teamed up with the Liverpool Biennial contemporary art, through exhibitions, and Cactus Gallery on a major new initiative to provide publications, events, curatorial curatorial guidance and support to artists based in the training and research initiatives. North of England to develop their careers internationally over a three-year period. Like the tens of thousands who visit an ICI exhibition each year, you may know ICI as an access point to Each of these collaborations uniquely refects how ICI’s international developments in contemporary art through network impacts local and regional art scenes within an your local museum. -
Paul Ndema, Uganda Ndema Paul Was Born in Uganda in 1979
Paul Ndema, Uganda Ndema Paul was born in Uganda in 1979. He studied at the Margaret Trowell School of Industrial and Fine Arts, Makerere University from 1999-2002 where he obtained a Bachelors degree in Fine Arts. In this latest series of work, Paul Ndema’s technical proficiency together with his satirical interpretations of religious moral order gives his paintings a unique and playful insight into the meeting of tradition and modernity. His final pieces are the result of his experiences growing up in a Catholic family together with his questioning of the ethics of those in positions of power and influence. His subjects, often self-portraits, are elevated to an iconic status yet compromised by the artist’s use of irony. Ndema places his subjects on colourful, patterned and symbolic backgrounds and his use of light suggests that his subjects are both literally and figuratively in the spotlight. Most recently he has participated in FNB Joburg Art Fair (2016); Circle Modern and Contemporary Art Auction in Nairobi (2015, 2014); Cape Town Art Fair (2015); Kampala Art Biennale (2014) and East African Encounters Exhibition, Circle Art Gallery (2014). His work is also housed in many international private collections. Ato Malinda, Kenya Ato Malinda (born 1981, Kenya), lives and works in Rotterdam. She has a Master of Fine Arts (MFA) from Transart Institute, New York. Her works consist of performance, drawing, painting, installation, video, and ceramic object-making. Through her diverse practice, Malinda investigates the hybrid nature of African identity, contesting notions of authenticity. She has worked with western museums to dispel notions of a Unitarian Africa, so often seen in ethnographic exhibitions. -
Photography at Auctions
AFRICAN CONTEMPORARY PHOTOGRAPHY AT AUCTIONS CONFIDENCE IN THE INTERNATIONAL MARKET REACHES AN ALL-TIME HIGH CAPE TOWN ART FAIR’S RISING PROFILE ART 14 LONDON, SETTING NEW HEIGHTS HASSAN HAJJAJ DAVID GOLDBLATT SIMON OTTENBERG JOACHIM MELCHERS UGOCHUKWU - SMOOTH C. NZEWI PAUL SIKA JOHN FLEETWOOD ARTUR WALTHER THE PHOTOGRAPHY ISSUE II OMENKA MAGAZINE 2 3 4 6 7 0 8 8 1 0 0 0 0 VOLUME 1 ISSUE 2 Ben (Benedict Chukwukadibia) Contact Enwonwu, M.B.E +44 (0) 20 7468 8355 (Nigerian, 1917 - 1994) [email protected] ‘Snake Dance’ carved wood 141 x 20 x 20cm (55 1/2 x 7 7/8 x 7 7/8in) (including base) £50,000 - 80,000 US$83,000 - 133,000 Africa Now New Bond Street bonhams.com/africanow 2014 Sandton Convention Centre, Johannesburg 22-24 August To submit your application, please visit www.artlogic.co.za/fairs The deadline for applications is the 28th of February 2014. Decoration or Asset? The Art Exchange’s Products and Services include... Advisory Services Acquisition Financing Custodian & Insurance Services www.theartexchangelimited.com [email protected] +234 706 590 4800 VOLUME 1 ISSUE 3 118 99 FEATURES Spot Lighting The Sanlam Food Wine Design Fair 2013 100 John Fleetwood: The Market Photo Workshop 106 Peer Conversation 114 Jude Anogwih and Adejoke Tugbiyele Art 14 London, Setting New Heights 118 Cape Town Art Fair’s Rising Profile 124 5 OMENKA MAGAZINE VOLUME 1 ISSUE 3 COLUMNS 81 ArtTactic 82 Confidence in the International Photography Market Reaches an All-time High Ask the Curator 84 Ugochukwu-Smooth Nzewi Letter to the Editor -
DANNY MYBURGH DATE of BIRTH 20 June 1962 ID NUMBER 620620
DANNY MYBURGH DATE OF BIRTH 20 June 1962 ID NUMBER 620620 0144 084 ADDRESS 10 Armagh Road Parkview Johannesburg 2193 South Africa CELLPHONE +27 82 881 7516 EMAIL [email protected] WEBSITE www.dannymyburgh.co.za MARITAL STATUS married to Craig Watt-Pringle with 2 sons, Simon 25 and Thomas 22 MATRICULATED 1980 St Mary’s School for Girls Waverly Johannesburg South Africa UNIVERSITY OF STELLENBOSCH South Africa 1981-1985 BA (Law) UNISA South Africa 1995-1996 History of Art THE ART THERAPY CENTRE – LEFIKA LA PHODISA Johannesburg South Africa 1998-2002, Certificate in Community Art Therapy 2002-2004 Project manager, The Art Therapy Centre – Lefika la Phodisa, Rosebank Johannesburg South Africa 2004-2007 Art therapist, Johannesburg Parent and Child Counselling Centre, Berea Johannesburg South Africa 2007-2012 Head of Art Department, The Ridge School, Westcliff Johannesburg South Africa 2012 - present Artist in residence at The Bag Factory, Fordsburg Johannesburg 2016 - present founded Editions art gallery EXHIBITIONS 2014 Turbine Art Fair, Newtown, Johannesburg 2014 Joburg Art Fair, Sandton, Johannesburg 2014 Solo exhibition Container/Contained, The Bag Factory, Fordsburg, Johannesburg 2014 Salon 1 group exhibition, Bamboo Centre, Melville, Johannesburg 2015 In Toto art gallery group exhibition, Birdhaven, Johannesburg South Africa 2015 Turbine Art Fair Newtown Johannesburg 2015 Johannesburg Art Fair Sandton Johannesburg 2015 Transitions at the Post Office group exhibition, Vrededorp ,Johannesburg South Africa 2016 Cape Town Art Fair 2016 The Bag Factory Salon Sale Fordsburg Johannesburg South Africa 2016 Hermanus FynArts festival South Africa, joint show with Terry Kobus 2016 Joburg Fringe at August House, Doornfontein, Johannesburg, group show COLLECTIONS Michaelis Art Library Johannesburg CURATOR 2015 Transitions at the Post Office Vrededorp Johannesburg 2016 Joburg Fringe at August House, Doornfontein, Johannesburg RESIDENCY 2015 Vallauris AIR Vallauris Alpes Maritime France . -
Highly Personal Curated by Gary Schneider
Stephen Daiter Gallery is pleased to present… Highly Personal Curated by Gary Schneider South African Artists Hasan and Husain Essop; David Goldblatt; Pieter Hugo; Donna Kukama; Terry Kurgan; Senzeni Marasela; Nandipha Mntambo; Zanele Muholi; Cedric Nunn; Jo Ractliffe; Mikhael Subotzky and Andrew Tshabangu. ...and Their HandPrint Portraits Gary Schneider I left South Africa in 1977 at the age of 23. In 2011, I returned for my first exhibition there, and began making handprint portraits of South African artists. A Guggenheim Fellowship allowed me to continue the project through 2013. I embarked on the project and traveled widely in order to meet artists and, through them, understand what it means to be a South African artist two decades after the end of apartheid. These handprints do not reveal race, economic status, gender or age. They all follow the same format. I set up a process in which the person is responsible for the information deposited in the film emulsion — it is an assisted self-portrait. The variables are their performance and gesture, the physical shape of the hand, their body chemistry, and their relationship to me. For this exhibition at Stephen Daiter Gallery I have selected the work of thirteen artists — who are all photographers, or artists who use photography — to be exhibited along with their handprint. This is a very small group from the seventy-seven artists published in HandPrints: South African Artists, Fourthwall Books, 2015 which is itself a subset of the more than two hundred handprint portraits I made in South Africa over the three years I spent there. -
N O M a D G a L L E R Y B R U S S E L S
N O M A D G A L L E R Y B R U S S E L S HELEN TEELE Artist Statement / Bio / CV ARTIST STATEMENT: My paintings are grounded in the idea of “staying with the trouble.”1 They open up an exploration of abject bodies and monstrous shadows that we have to learn to live with and make kin with in a time characterised by ecological and humanitarian crisis. I am neither searching for polemic truths, nor pretending that the trouble isn’t there, but rather trying to find a visual way of sitting with it and learning how to be with it. For me painting is an intersectional medium that offers a peculiar, non-binary logic which the rigidities of language and positivism preclude. It doesn’t try to make the world transparent, but rather allows it to exist in the thickness of being that makes the world worldly.2 It is the most direct way for me to explore multi-layered meanings, not-knowing and uncertainty, and of translating the ways in which the body – conflicted, gendered, cultural, political, sexual and social as it is – comes to know the world by literally being in the world, as a human body in a multi-species environment, and learning how to live with its thickness, its contrariness, its opacity, its mystery and its trouble. BIO: Helen Teede is a painter born in 1988 in Zimbabwe. CV: EXHIBITIONS AND ART FAIRS 2020 “Body Language”, a two person show at Nomad Gallery, Brussels 2019 - “Bare Limbs”, solo show at First Floor Gallery Harare: Harare, Zimbabwe - “Home Affairs”, group show at Daor Contemporary: Cape Town, South Africa - “The Harare Fauves”,