Art Times September 2022 Edition

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Art Times September 2022 Edition CONTENTS 10. M.O.L 31 - A SMUDGED INTIMACY Ashraf Jamal Column 18. SCULPTX 2022 Sculpture Fair to Captivate Joburg Again 26. SASOL NEW SIGNATURES Winners Announced 32. THE NEXT GREAT PORTRAIT Portrait Award 2023 36. A SPRING OF BECOMING Kim Berman in conversation with Mongezi Ncaphayi 42. FRAGILE BEINGS: MENAGERIE By Gordon Froud 48. BRENDON EDWARDS’ Muse-Spheric Written by Briony Haynes 54. ORGANIC MATTERS: MARKS THAT MATTER Michèle Nigrini’s Latest Body of Work 60. UNDER THE SURFACE Imagined Dreamscapes, Landscapes & Geometric Abstractions 64. DECOLONISING THE BOOK Decolonial Book Arts Project 68. ARAK FELLOWSHIPCOLLECTIONPROGRAMS Curating Cultures in Sub-Saharan Africa 78. BUSINESS ART Fine Art Auction highlights 82. ExhibitionARTGOHighlights Cover: Mongezi Ncaphayi, A Place in Time, 2020 Michèle Nigrini, Heath Wave (detail), Mixed media on canvas, AITY Gallery

Gabriel Clark-Brown

Editors Note

In terms of Shows and Awards, we are again in for a great treat for the upcoming calls for entries for Rust en Vrede’s National Portrait Award that have produced an incredible appetite and appreciation of portraiture in the country. A new rising star is the winner of the 2022 Sasol New Signatures Art Competition Mondli Mbhele who won the coveted title for his work titled Iphasi Nesiphesheli, which is part of a bigger series titled Umlando Uyaziphinda. This is an isiZulu phrase, meaning “history repeats itself”. Moving south Brendon Edwards’ Muse-Spheric ‘A Symphony of Spheres - Beethoven’s 5th’, Author Rodney Trudgeon stated “Beethoven’s 5th is like Michaelangelo’s David, a monument to art and humanity. Brendon’s work will be installed in Art@Africa’s Franschhoek sculpture garden located opposite the Huguenot monument from September 24th. Around the corner in Franschhoek at the newly re-branded AITY Gallery (Art In The Yard Gallery) is an exhibition of Michèle Nigrini’s latest body of work entitled ‘Organic Matters: Marks that Matter’ that depicts the layering of plant shapes and markings within the landscape, capturing a personal response to what the artist sees rather than simply reproducing images. In these paintings, organic plant shapes from the artist’s environment are layered like compost; that substance which, through a complex process that seems like alchemy, transforms organic waste into the essence of life.

Included in this edition are some great South African art writers namely Ashraf Jamal and his M.O.L (Man Of Letters) contribution that considers the works of the painter Cheryl Franz. Kim Berman, one of my favourite human beings writes about Mongezi Ncaphayi (whose work adorns this month’s cover) in an article entitled A Sprint of Becoming - which looks at his works produced during the recent Covid Pandemic. Lastly, Gordon Froud looks at the mature art of Niël Jonker- (exhibiting at the splendid Prince Albert Gallery) who has grown up with clay as an extension of his being – from digging in communal clay pits on the family farm as a child - whose sculptural forms are reductive, simplified and archetypal and this is their power.

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Lastly be sure to look up White River Gallery’s latest show entitled Under the Surface Imagined Dreamscapes, Landscapes & Geometric Abstractions for more creative stimulation. For the latest AND UPCOMING Spring Art Auctions and shows please be sure to keep up with our ArtGo Art Guide, SA’s leading fine art events guide.

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Subsequently, Adendorff’s ‘palette gradually darkened. The texture of the paint began to thicken…. He began to work with clusters: a greater concentration of forms in the middle of the canvas, suggesting the proscribed image –not through any recognisable representation, but via the intensity of heightened expression. Warm clusters of emotion, longing, memory. A melting together and a densification, foreshadowing the non-present image. Although Aaron restrained himself from painting anything recognisably figurative, this remained the basis, the frame of reference, the point of departure. His longing for the image lay in the root of its absence.’

The pathos in this concluding sentence is impossible to ignore. What is presence, what absence, in a painting, in a being and body? It is poignantly clear throughout the novel, that Adendorff is consumed and haunted by an ambivalent longing for that which eludes his grasp. If abstraction allows him ‘a way of escaping the tyranny of the specific, while still offering him a means to express emotion’, he nonetheless ‘experienced this renunciation of the recognizable image as a loss’. For Winterbach, the burden of expression, its tension, exists between abstraction and figuration – not seeing, yet seeing. Later in the novel we read, ‘gradually, very gradually, the image began to make a comeback in his work, after it had seemed for a long time as if something was straining to emerge. Certain parts of the canvas became even more compressed, more dense, calling up the abstract echoes of images, recognizable objects. Strange and still indeterminate forms began to rise. During the very last stages of abstraction, the paintings were dark, mainly black and grey, and gradually – sometimes it felt like a lifetime of struggle – he replaced the purity of the abstract mark with the impurity of representation’.

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Cheryl Franz, Francolin

10 M.O.L 31

A SMUDGED INTIMACY

Ashraf Jamal One of the finest studies of South African art – the life of an artist – is Ingrid Winterbach’s novel, The Road of Excess. At its heart we find the painter, Aaron Adendorff, in remission following chemotherapy and radiation, with ‘a certain vulnerability around the kidney’ – his freakish third, the absence of which he acutely senses. It is this sense of absence and ‘vulnerability’ that defines the entire book, which is not only shaped by the artist’s inner turmoil, but the distinctively South African world which informs it. No filter exists between these worlds. Rather, they interpenetrate each other, and, as such, expose the complicity of colonialism and apartheid in the forging of Adendorff, as acutely aware of his own passing, as he is of a world which he thought he understood. ‘The eye is a witness. What it’s a witness to is not clear’, Winterbach notes. It is this lack of clarity, despite the persistent act of looking, which informs the novel’s telling, and the journey which our painter-protagonist undertakes. The novel’s title references William Blake’s Proverbs of Hell, in which we read, ‘the road of excess leads to the palace of wisdom’. As to the truth of this view? I cannot quite say. But, as a wager, it certainly positions a very particular art form – Expressionism – at the novel’s crux, as a specific aesthetic and creative force in South African culture, one that is also central to the work of the artist I will be examining – Cheryl Franz. In the novel’s second paragraph, immediately following the confession of bodily vulnerability, Winterbach turns to painting, and to the protagonist’s discovery that ‘something new began to happen in his art. Less detail, less tonal modelling, the configuration rawer, crasser than before, with more daring in his approach’. All these are the vital signs of Expressionism – signs which have emerged out of a physical and psychological damage.

Above: Cheryl Franz, Hadeda. Cheryl Franz, Scops Owl

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Typically, Expressionism is defined by a radical subjectivity. As such it is impelled primarily by emotions which are considered an uncharted frontier. Put crudely, it is an acutely interiorized vision of the world, the emphatic negation of any ideologically consensual view, and, as such, an act of defiance against an inherited oppressive history. If I belabour this point, it is because one cannot understand our better artists without acknowledging the criticality of Expressionism. Because, in our better artists – those unconvinced by the breastbeating righteousness of identity politics, or the dogmatic aesthetics of resistance –we are presented with the tenuousness of figuration, the paucity of enshrined clarity, the foreshadowing of some Keatsian ‘negative capability’ which embraces ‘uncertainties, mysteries, doubts, without any irritable reaching after fact and reason’ – in other words, a resistance to the finality of things. If the figure persists, it must also be refused. If density is invoked, it must also be seen as illusory. If there is a ‘densification’ of ‘emotion, longing, memory’, there is also its ruthless evacuation.

One cannot ignore the snarled complex in this novel – purity and impurity, abstraction and figuration – their entanglement in an embattled life, and, by extension, an embattled society and history. Because, if Expressionism is the defining art movement in South Africa, if, more profoundly than any other, it tells us who we are, this is because we remain witnesses of what we cannot quite understand – an obscenity, a perversion, which those who possess a conscience cannot suppress. This is because Expression, a fallout of the ‘Great War’, and the resultant collapse in the belief in an objective reality, perforce demanded an inwardly searching, often traumatic journey. As a counter-aesthetic to Realism, Expressionism, in Germany in particular, sought to destroy boundaries, obfuscate clarity, and override conventional perspective. This too is Adendorff’s struggle, a fictional character who embodies the embattled right to a deeply private creative journey. For Expressionism taps into a deeper stress – that in South Africa, the sonority of being lacks fluency. Because our history continues to hurt us, one can never quite resolve oneself, or another. The harshness, on the ground, in the South African soul, is far too damaged.

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This,14 I feel, is the case when considering the works by Cheryl Franz, which will be the focus of the remainder of this reflection. While deeply subjective, febrile and wild, her art nevertheless seeks to find a hold, some tether, no matter how fragile it may be. This is the prevailing tension in compelling art, as Winterbach’s irascibly brilliant novel makes abundantly clear. Our objective – if such a thing is possible – is to assess how Franz arrives at her clusters of energy and forms, and what these tell us about the nature of her expression. My first intuition regarding Franz? That hers is a world-vision muted and tonally monochromatic, impelled by a rudimentary deployment of forms and a pronounced emphasis on line – a crude wild rectilinearity –that insists upon the diagrammatic, or gestural inclination, which Gilles Deleuze calls a line of flight. What Deleuze means by this is that expression – in this case Franz’s – is driven by the desire not for closure or completeness, but a taut-fraught-bonded unravelling or combustion. In other words, Franz holds onto figurative form, yet like Winterbach’s artist, she is as inspired by its dispersion – its estranged becoming. This is why the dominant register in her art is its energy field. While the artworks are circumscribed by the dictates of canvas and paper, they nonetheless hurtle onward, outward, inward. The mark-making is febrile yet distinguished by a smudged intimacy in which the conflicting mediums and techniques compel the viewer to enter an oblique story, some tenuous, arrested, and peculiarly sublimated passion.

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Three traditions converge in Franz’s deliberately feckless use of techniques: Impressionism, Expressionism, Action Painting. This combination of aesthetic modes reveals a desired tension between an impressionistic sonority, an expressionistic psychic entanglement, and the fauvistic splattering of action painting, typically associated with Jackson Pollock. In this combination, we arrive at the deliberately fudged complexity of the artist. If I consider Franz’s to be an arrested passion, this is because of the tautness of her declarative energy. In her work, we are always at some threshold, some pivotal point and place – invited, yet thrust away, seduced then scandalously abandoned, held always in some equivocatory place in which worlds hidden are momentarily seen, where the implacable muteness of a painted expression nevertheless cries Theseinwardly.reactions were triggered by a divergent series of paintings – one of birds, another inspired by a visit to Ireland, the third, anonymous – untitled. I would like to begin with the ‘untitled’ series, which, for me, is Franz’s most powerful. Therein we encounter an acute loosening of forms, yet the perceptible world remains discernible. The three best works in the series do not announce themselves or carry any explanation. One suggests a nocturnal tempest, another a Twombly-esque dance of lines which never ceases to entrance, as is the case with any inexplicable mystery. Charcoal is the dominant medium in these two works –carboniferous, elemental, implicitly incendiary. In them, a greater daring is operational – a readiness to embrace the unthinkable and inconceivable, to refuse the representational despite the knowledge that the viewer’s eye will invariably conjure some image. (After all, we inhabit an occularcentric world — we must see something, anything, for fear that we will not only go blind but mad if we do not.) In the other two untitled works, we can recognise trees. These, however, are not arborescent forms which, symbolically, are attributed as markers of knowledge. Nor are they stately, infused with self-belief and power. Instead, they lean askance, their branches in a tizz, frantically embroiled, animate. Franz’s tree is fundamentally rhizomatic, weedlike, feral, unconstitutional, illiberal – excessive. Similarly, Franz’s paintings of Ireland’ are not representative of the country, but of her sensations and experiences therein. They are distinctly pastoral. We see a gate that opens onto a rustic thatched homestead, yet what provokes sensation is not the sublimated picturesque dimension, but the alarming whiplash of white paint which refutes the invitation to enter a cozy scene – which is why I note that Franz’s paintings and drawings are both inviting and alarming. If her paintings of Ireland appeal to me, it is because they refuse the comforts they inspire, such as the thatched cottage as a place of retreat, the beckoning woodland pathway, banked all about by an arched thicket overridden by arced lashes and splashes of white paint.

Because Franz veers between discernible forms and their extinction, she is, perhaps, closer in temperament to Winterbach’s vision than Dickinson’s. I say this under duress, because Franz cannot quite be fixed in this regard. It is true that she shares Dickinson’s understanding that a fire prevails ‘in the chilliest land’, that no despair will override hope, that endurance is key, that art is best bonded to extremity, which it must control, must tame, despite the impossibility of this drive. Then again, like Winterbach, she also holds radically fast to ‘the desiring of desire. And to hell with control’.

Cheryl Franz, Albatross Storm

Birdlife dominates the third series, entangled and enmeshed once more in scrub and bush and tenebrous air. Albatross Storm over Sheffield Beach is an aria. This avian series is accompanied with accompanied by a poem by Emily Dickinson – ‘Hope’ is a thing with feathers. The poem suggests that triumphalism resides in flight. ‘”Hope” is the thing with feathers – That perches in the soul – that sings the tune without the words – And never stops – at all’. Inside the song lies a deep and fathomless silence. Thus, the airborne world which Dickinson and Franz imagine is also internal, a drive that ignites our living being. This recognition is critical, because while Franz draws and paints the world, it is a profoundly internal perspective. Hers is the sonority of the soul. Here a conundrum surfaces, for to understand Franz as an artist, as a human being, requires that I reiterate the acute ambivalence of my reading thus far – one in which the history of colonialism and apartheid are inescapable, the other in which Expressionism, and all its subjective excesses, is definitional. How so? Because if we are to assign to Franz the critical importance of Emily Dickinson’s vision, then we must accept that she is far more greatly bonded to regulated excess than its anarchic extremity. Where, indeed, does Franz stand regarding abstraction and figuration? Need one in fact resolve this matter? Or should one not rather operate in the slippage between the two? It is true Winterbach’s painter holds fast to the ghost of figuration, but it is also true that he experiences the ‘renunciation of the image as a loss’. Like Winterbach’s protagonist, Franz knows that ‘the loss of the image –of the identifiable object – runs ‘the risk of eventually resulting in a loss of form, a formal cul de sac’. This risk is also very seductive.

This desiring to desire is the most powerful force in art, akin to Deleuze’s line of flight. It illumines Franz’s reckless mark-making. And yet, after Dickinson, it seems that Franz must embrace restraint. This tension is one we find in her Scops Owl, a marvel of containment and wildness, the bird a presencing in a thicket of rustling energy. Her Hadeda is a dipped and pointed colophon, graphically bird-like, its beak atop a maelstrom. But I must conclude, as I began, with the more indecipherable of Franz’s paintings, this time pointedly more colourful. The first is a triptych titled Soaring I, the second is Dancing Through the Waterfall II These vertical works are, like Francolin in the Garden, the most obfuscated. Nothing is quite seen, though everything is intuited. The last is a mixed-media amalgamation of paint and charcoal, while the others are in acrylic. Titled Soaring, I wonder, do we soar? Or are we not, rather, enraptured – blind while tethered? When encountering Franz’s drawings and paintings, one cannot escape that they are never quite what they seem. A rupture is built into them. She wills a world that negates clarity, pulling us into the stark entanglements of twentieth and twenty-first century art. Like the ‘untitled’ works, Soaring breaks away from figuration, but if this is actively the case, what is ‘soaring’? My answer is energy. As I’ve declared throughout, the intangible far outweighs the 16

Cheryl Franz, Untitled I, Mixed Media on Watercolour Paper, 36 x 36cm

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I remarked that the artist does not care to speak on behalf of her art – and yet her paintings do speak. Certainly, the worlds they address are private – insofar as Expressionism is a radically subjective realm. Their sonority is another matter. The best paintings and drawings sing, holler, or simply breathe. They are empathic. They signal us out and say, ‘I am a part of you, as you are of me.’ This is my point regarding what Franz does. I recognise and feel what she is and makes – the reason and condition for this thrum and holler and bother. I may have no idea of her personal history, nor the precise nature of the impact of empire and apartheid – and our now misbegotten democracy – upon her, and her work, yet for me, it seems clear that her creative journey negates the crudity of forms, the type’s human beings are subjected to, the hurt that history ensnares us in, the endurance needed to survive, the greater pleasure that comes with being unlicensed, free – trapped though we all are by compromise and dread. For if Cheryl Franz’s adventure in painting and drawing tells us anything, it is that we must unchain ourselves, assume risk, remember hope in the midst of fear, then venture into that darkening pathway she has painted for us, knowing that night is never the end, that brightness prevails… in a thatched and cosy retreat, an aria of birdlife, a dense thicket, flood and froth, or drunken dance of root-like branches … in a beating heart in which all of life’s depths and superfluities converge.

In Dancing Through the Waterfall II, we do see the waterfall – a broken vertical slab of white paint – but it is the greater violent discordance all about that dominates the scene. This is the case in all of Franz’s drawings and paintings – the illustrative is quashed, the burden of the figurative fudged. To conclude – though I could continue to hedge my bets – perhaps the more potent signature is that of an artist who, in sharing Dickinson’s proclivity for the barest of surety – a hope abetted, abused, yet triumphal – still chooses to hold fast to the most fragile of private dignity – the singularity of a snarled and snarling artist – one who invites and rebuffs, ensnares and overrides. If Franz’s layers of paint and story are provocative, perhaps they are deliberately so. As to what Franz’s snarled choreography tells us? It surely speaks to an artist who, at this moment, remains most comfortable within a suppressed tonal spectrum, for whom the wild line far outweighs decorum, for whom the vitality of art-making thrives because of its eviscerated innards. There is no orchestrated depth of field – Franz is all about the concatenated overlay of forcefields. The peace her paintings might afford is illusion. Hers is a modulated turbulence.

tangible in Franz’s paintings. Her best works keep the figurative in abeyance. Her branches transform into roots, the underworld becomes the overworld. Perhaps, then, I should steer away from Dickinson and err more firmly on the side of Winterbach and declare – ‘to hell with control’. Then again, as I stated at the outset, Franz holds her cards tightly to her chest, which means that we are presented with an extreme equivocation, or after Winterbach – ‘this matrix, this disrupted and unstable space’.

Above: Cheryl Franz, Unbroken Wings Series, No. III. Mixed-media on Arches cotton 300gsm, 118 x 78cm. Above Left: Cheryl Franz, Untitled II, Mixed Media on Watercolour Paper, 36 x 36cm

Female artists are represented strongly in the fair with works by Wilma Cruise, Elizabeth Balcomb, Ela Cronje, Rirhandzu Makhubele, Philiswa Lila and Sarah Richards among many others, dispelling the myth that sculpture is primarily the preserve of male artists.

“We have put much effort into sourcing female and young artists from previously disadvantaged communities to give them the benefit of this valuable platform as they are often overlooked and underrepresented in this genre,” adds Mark.

A public call-out process was used to identify works for the fair and attracted proposals from many emerging artists. Curator, Ruzy Rusike and her team, considered more than 300 submissions before settling on the 200 works by 70 artists. This approach ensures that SculptX remains an open platform that offers up many surprises in terms of its content.

SCULPTX 2022 SCULPTURE FAIR TO CAPTIVATE JOBURG AGAIN!!!

The Melrose Gallery www.themelrosegallery.com

The fifth edition of SculptX will open this spring offering Joburgers the unique opportunity to view the largest and most diverse collection of sculptures

This annual sculpture fair, the largest of its kind in South Africa, will, this year, present over 200 works created by more than 70 sculptors. The materials they are fashioned from vary from bronze to wood, glass, crystal, steel and bone to stone, resin, and other media. Similarly, the modes of expression encompassed in this vast number of sculptures vary widely too from figurative works, depicting the human body, the natural world, or the built environment to abstract works, where form, texture and line entertain the eye. Works also range in scale from a 5m Roger the Rabbit created by Carol Cauldwell and a 18 tonnes granite sculpture by Pitika Ntuli to miniature works that weigh less than 1kg. In this way SculptX reveals the breadths and depths that this traditional art medium can offer and the abundance of artistic talent in the country that has applied itself to this three-dimensional art form. In short, SculptX is a celebration of all manner of sculptural Itexpression.wasestablished by The Melrose Gallery in 2017 in association with Melrose Arch and will be presented across multiple indoor and outdoor venues from September 1 until October 16. “SculptX has grown to become a highlight of the South African arts calendar providing a valuable platform for the promotion of sculpture and those who create them,” says Craig Mark, director of The Melrose Gallery. This fair was conceived in response to the increased number of artists adopting this genre in response to the global demand for sculpture. This has translated into the establishment of several outdoor sculpture parks in the country by a number of art foundations and artists primarily working in this medium. “SculptX provides much benefit to those who live, work, and play in the Melrose Arch precinct but also to the artists in terms of exposure and revenue and collectors who wait all year for such a varied and diverse selection to choose from”, adds Craig DevelopmentMark.is the foundation on which SculptX was founded and it is unique in that it provides a valuable space for artists at different levels in their careers to present their artworks. Established artists – Willie Bester, Pitika Ntuli, Andre Stead, Jean Doyle and Strijdom van der Merwe amongst numerous others – will show alongside a younger set of artists pushing the boundaries of the medium such as Mandy Johnston, Simon Zitha, James Cook and Bridget Modema as well as other emerging and mid-career artists still exploring the possibilities of sculpture.

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Pierre Fourie, Realization (Face), 207 x 81 x 82 cm, Aluminum, 2022

Sonja Swanepoel, Avis fractii, 2 pieces 330 x 200 x 200 mm, Marble Composite (acrylic), 2020

21WWW.ARTTIMES.CO.ZA Rirhandzu Makhubele, I’m awake I’m awake!, 2020. Earthernware, Charcoal Clay, 26x17x15 cm Willie Bester, Trendy women with glasses, 2022, Bronze, 68x38x29 cm Carol Cauldwell, I’ve got you, Bronze, 190x50x60 cm Esther Mahlangu, Ndebele Abstract Sculpture, 2020, Acrylic on wood

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‘We feel that the South African arts sector needs to be more inclusive and less exclusive in order to provide wider benefit to artists and audiences from all segments of the population and SculptX has been extremely successful in achieving this,” says Ruzy Rusike. The works will be shown at The Melrose Gallery and a number of other indoor and outdoor venues in Melrose Arch. This year the fair will once again be paired with an online viewing room where more details about the artworks and the artists will be available on www.themelrosegallery.com , allowing those near and far to enjoy and browse through the vast content this fair offers. Dialogues, walkabouts and workshops focussed on the artists and sculpture as a form of expression will be held during the run of the fair. All are welcome and entrance for SculptX is free from 1 September to 16 October 2022 at The Melrose Gallery, Melrose Arch, Johannesburg.

Neil Jonker, Adonis’ dance, 2017, Bronze on steel base, 30x15x15 Mark Swart, Horse, 2022, Rusted Steel, 290x180x80 cm

Dr Willie Bester Releases New Series of Bronzes: Dr Willie Bester will be attending the opening of SculptX 2022 to unveil 3 bronze busts to the public for the first time. These works are the first in a new and natural direction for the artist who is globally acclaimed for his powerful sculptural works that are typically created from metal and found objects gathered from scrap yards in the Western Cape. Willie is globally recognised as one of South Africa’s foremost resistance artists and his assemblages speak against all types of social, economic, political, and other injustice.

SCULPTX 2022 HIGHLIGHTS: Dr Esther Mahlangu Releases New Series of Sculptures: We are excited to be presenting a new series of sculptures created by Dr Esther Mahlangu for the first time. Whilst many of Dr Mahlangu’s most known artworks have been created by painting on objects such as cars, planes, vodka bottles and motor bikes this is the first time that she has actually focused on specifically creating a sculpture and not using products created for another purpose.

Carol Cauldwell, Roger The Rabbit, 2019, 5200cmBronze,

Lothar Bottcher

Public Walkabout: Please join Willie Bester and other participating artists for a walkabout and engagement around their artworks at 12:30 till 2pm on 1 September at The Melrose Gallery, 10 The High Street, Melrose Arch, Johannesburg.

Alan Ainslie, Alexander von Klitzing, Amita Makan, Andre Stead, Andries Botha, Arno Morland, Ben Tuge, Bridget Modema, Bronwynn Gooch, Carl Roberts, Carol Cauldwell, Cassian Robbertze, Chonat Getz, Chuma Maweni, Chumisa Fihla, Coral Bijoux, Cobus Haupt, Cornelia Stoop, Cristina Salvoldi, David Hlongwane, Debbie Farnaby, Dikeledi Maponya, Dominique Albinski, Dora Prevost, Elizabeth Balcomb, Ella Cronje, Dr Esther Mahlangu, Eve de Jong, Gabriele Jacobs, Glen Cook, Gordon Froud, Sir Ike Nkoana, Jean Louw, James Cook, Jean Doyle, Jenny Nijenhuis, Jimmy Law, Keith Calder, Kenneth Shandu, Larissa Matthews, Lee-at Meyerov, Lothar Böttcher, Luyanda Mkhize, Mandy Johnston, Maritza Breytenbach, Mark Chapman, Mark Swart, Millicent Hoko, Niel Jonker, Nicola Roos, Oscar Henning, Paul du Toit, Pedro Malada, Philiswa Lila, Pholile Hlongwane, Pierre Fourie, Pitika Ntuli, Rirhandzu Makhubele, Sandile Radebe, Sandra MaythamBailey, Sandro Trapani, Sarah Richards, Simon Zitha, Siyabulele Ndodana, Sonja Swanepoel, Strijdom van der Merwe, Theophelus Rikhatso, Uwe Pfaff, Dr Willie Bester, Wilma Cruise and Xirilo Wayne Ngobeni..

RSVP essential to curator@themelrosegallery. com as space is limited. Sculpture Workshops: Sandro Trapani will be coordinating a series of two-day sculpture workshops at Melrose Arch and at Art & Collect in Midrand as part of SculptX 2022. Previous workshops implemented by Sandro throughout South Africa have been extremely well received and those with an interest in sculpture benefitted greatly from his vast experience as a sculptor.

PARTICIPATING ARTISTS

The workshops will take place at Melrose Arch on Friday 30 September and Saturday 1 October and in Midrand on Fri 14 and 15 October. The cost is R1900 per workshop, including all materials and you will create and take home your own sculpture once complete.

SCULPTX 2022

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For more information on these workshops and to book your space contact Sandro Trapani on 073 170 9176 or on info@sandrotrapani.com

Sanlam Art Lounge 11 Alice Lane, Sandton 7 September 2022 – 27 January 2023 Viewing times by appointment: Weekdays 09:00 – 16:30 Contact: sanlamart@sanlam.co.za / tel. and whatsapp: +27 083 457 2699 niel.nortje@mtn.com / tel: +27 83 222 5325 katlego.lefine@mtn.com / tel: +27 83 212 6512 “We are together” (translated from Se Tswana) Selections from Sanlam and MTN Art Collections shown together in collaboration with

DURBAN VISUAL ARTIST MONDLI MBHELE WINS 2022 SASOL NEW SIGNATURES www.sasolsignatures.co.za

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Pfunzo Sidogi, Chairperson of the Sasol New Signatures Competition, said: “This year, we received over 1,000 entries from the seven regional judging rounds, the highest number of submissions in the competition’s long history.

Full-time artist Mondli Mbhele (28) from Durban, KwaZulu-Natal has been announced as the winner of the 2022 Sasol New Signatures Art Competition. Mbhele walks away with a cash prize of R100 000 and an opportunity to have a solo exhibition at the Pretoria Art Museum in 2023. Mbhele won the coveted title for his work titled Iphasi nesiphesheli, which is part of a bigger series titled Umlando uyaziphinda This is an isiZulu phrase, meaning “history repeats itself”. The series of mixed-media works is inspired by various iconic events from South Africa’s history. In his winning work, Mbhele explores the dynamics of protests in contemporary South Africa. The brightly coloured collage is a snapshot of an ominous moment in a protest wherein a person is lying lifeless on the ground, yet no one seems alarmed. Sasol has been the proud sponsor of the New Signatures competition for 32 years, which was established by the Association of Arts Pretoria in the late 1960’s. “For emerging artists, the challenge remains the same: breaking into a very competitive, ever-evolving field. Sasol is honoured to play a role in providing opportunities for emerging artists to showcase their work. This year we had an unprecedented number of entries, which reinforces the need for a platform such as this. It also highlights the depth of talent and creativity across South African society,” said Elton Fortuin, Sasol Vice President: Group Communications and Brand Management.

Winner, Mondli Mbhele, Iphasi nesiphesheli, mixed-media

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The 5 Merit award winners are:

Herman Pretorius (Pretoria) Instructures

Linde Kriel (Bloemfontein)

We were particularly encouraged by the increased number of entries received from artists who did not attain formal university art education. This speaks volumes of the creative energy and passion to produce art that exists in all quarters of the country, and it is critical that we provide platforms for this creativity to be seen and celebrated”.

Omolemo Rammile from Bloemfontein was crowned runner-up and awarded R25 000 for her work entitled Mére célibataire (single mom), which pays tribute to her mother and acknowledges the personal sacrifices she makes on a daily basis as a sole provider and breadwinner for her twin daughters. Bread is universally considered a staple food source. The artist uses embossed bread tags to symbolise the ‘daily bread’ her mother buys to feed her family. The multiple imprints of the bread tag on the paper are akin to the lasting impact and inner mark that the mother’s love has left on the artist and her family.

Each Merit Award winner received a R10 000 cash prize. Malik Mani, From the concrete grew a rose, Pencil on Arches paperRunner-up, Omolemo Rammile, Mére célibataire (single mom) A, x 1 of diptych

[REST]ROOM Copperplate etching Malik Mani (Cape Town) From the concrete grew a rose

Rohini Amratlal (Durban)

Unveiling the archive Epoxy resin, wood, ‘Icansi’ (grass mat)

Pencil on Arches paper

Archival prints & computer installation Andrea Walters (Durban)

#OverMyDeadBody 1 Sunlight soap & Perspex & #OverMyDeadBody 4 Hospital gurney, embroidered shroud & speaker

Linde Kriel, [REST]ROOM, Copperplate etching Rohini Amratlal, Unveiling the archive, Epoxy resin, wood, ‘Icansi’ (grass mat) Herman Pretorius, Instructures, Archival prints & computer installation Andrea Walters, #OverMyDeadBody 1, Sunlight soap & Perspex

“On behalf of Sasol, we congratulate all the winners of the 2022 Sasol New Signatures Art Competition, as well as those whose works were selected for this exhibition, and wish them all the best for the future. We also extend our gratitude to the Association of Arts Pretoria for their dedication and hard work, as well as to our partners, the City of Tshwane, the Pretoria Art Museum and Stuttaford Van Lines, for their continued and loyal support,” concluded Fortuin.

Andrea du Plessis’ solo exhibition and the Sasol New Signatures Art Competition exhibition, featuring the work of the 2022 winners and finalists, take place at the Pretoria Art Museum from 25 August until 2 October 2022. All the finalists are included in the highly respected competition catalogue. The full exhibition is also available to view virtually on the website.

Andrea Walters, OverMyDeadBody 4, Hospital gurney, embroidered shroud & speaker

Supernature: Simulacra, the solo exhibition by multidisciplinary artist Andrea du Plessis and winner of Sasol New Signatures 2021, will also be unveiled at the Pretoria Art Museum. This exhibition is a deepening of her research into the sublime experience and the complex relationship with nature in an age marked by technological augmentation and simulation. As an extension of the Supernature series, Du Plessis began in 2020; the work features an exploration of emerging technologies in combination with traditional oil painting to create interactive, immersive realms as well as an encyclopaedia of hybrid lifeforms.

“The judges at both the regional and final judging round were inspired and impressed by the diversity of narratives and boldness in artistic vision evident in some of the submissions. My sincerest appreciation goes to all the judges who served on the various panels this year. Your professionalism and exceptional knowledge, and experience are evident in the calibre of artworks that made it into the catalogue. But the biggest acknowledgement goes to every artist who entered the competition this year. Your creativity, passion, and commitment to artmaking are priceless. The incredible turnout of entrants bodes well for the current and future vitality of art in South Africa. Onwards with the spirit of creativity. All sectors of South Africa are desperate for it,” added Sidogi.

Supernature: Simulacra aims to offer the viewer an opportunity to consider our interconnectivity with the natural world and examines the possibility of reconnecting to nature via technology.

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MELROSE ARCH, JOHANNESBURG The largest annual sculpture fair in SA themelrosegallery.com TheMelroseGallery themelrose_gallerysa 1 Sep to 16 Oct ‘22 * Sculpture by Sonja Swanepoel

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THE NEXT GREAT PORTRAIT

Over the past 10 years, since the inaugura tion of the biennial National Portrait Award Competition, hundreds of talented local art ists have taken up the challenge of creating a great portrait. Since 2013, the competition (whose rules are based on the long-standing BP Portrait Award in the UK) has evolved and transformed con siderably, attracting entries of an increasingly higher standard each year. In 2021 the RustPortrait Award 2023

The challenge of creating a great, enduring portrait painting has captivated artists throughout history. But why go to all that effort when a photograph would be easier and convey a more truthful likeness? It might seem odd that in the age of Instagram artists still opt to conjure a human replica with a brush or pencil. But creating a great portrait – whether painted, photographed, or comput er generated – is trickier than it might seem. Artists use their skills to reveal something intimate about the subject. Poses, gestures, clothing, or props hint at the sitter’s psyche. A great portrait shows what an Instagram selfie might lack, namely the essence of a person – not only the physical, but also their psycho logical make-up.

www.rust-en-vrede.com-portrait-award

A great portrait communicates a variety of information to the viewer, including context, identity, and/or socio-political issues. Por traits have the power to spark empathy, create awareness, tell a story and aid in the visual representation of overlooked individuals.

2019 Winner Craig Cameron-Mackintosh with his winning portrait Lesala in Silhouette

2021 Winner Felicity Bell with Winning Portrait Khulani d. February 2021

The competition culminated in the eagerly an ticipated Top 40 exhibition, displayed at Rusten-Vrede Gallery, as well as the Portrait 100 exhibition, which was shown at the Rupert Museum in Stellenbosch, attracting an un precedented number of visitors.

34 WWW.ARTTIMES.CO.ZA en-Vrede Gallery in Durbanville, Cape Town, partnered with The Italian Art Shop, The Coart and Blue Cactus Artist Residency in Spain to include more prizes such as Sennelier Art Hampers and an invitation to the Spanish Art ist Residency. A special award was also given to a young artist, which entitled them to six Zoom sessions with Andrew James, Master Portrait Artist, member, and former Vice-Pres ident of the Royal Portrait Society in Britain.

Artists from all walks of life and from all over South Africa have been participating each competition year. With the end of the year fast approaching, artists can now start working on creating the next great portrait for the 2023 Portrait Award Competition.

The five overall winners to date have been Heath er Gourlay-Conyngham (2013) from Hilton, Cape town-based artists John Pace (2015), Kate Arthur (2017) and Craig Cameron-Mackintosh (2019), as well as Felicity Bell (2021) from Mbombela. Who will be joining their ranks in 2023? It could be you! Digital entries are open from 1 June 2023 until 10 June 2023 and artworks may only be sub mitted during this time via the gallery website (www.rust-en-vrede.com-portrait-award).

2017 Winner Kate Arthur with her winning portrait Gemma and Felix

In 2021 The Rupert Art Foundation gracious ly sponsored the new whopping R 150 000 monetary prize to the overall winner, a second prize of R 30 000 and a third prize of R 20 000.

2015 Winner John Pace with his winning portrait After the Match 2013 Winner Heather Gourlay Conyngham with winning work Portrait of a Man

A SPRING OF BECOMING Kim Berman in conversation with Mongezi Ncaphayi 36 WWW.ARTTIMES.CO.ZA

Artist Proof Studio invited Mongezi Ncaphayi, who now lives in Cape Town, to come to Johannesburg for a one week residency to develop a new body of prints for the FNB Joburg Art Fair in September. He stayed in our home, and so I had the opportunity to speak with him about his journey since his return from his study at the Museum School in Boston almost 10 years ago.

Mongezi Ncaphayi working at Artist Proof Studio - A Spring of Becoming

It has been many years since he was last here, and Mongezi describes his coming home to work at Artist Proof Studio as “so exciting to come back to my roots from where my career as an artist started.”

“I needed to go back where I started, to develop further and stretch my artistic language further. My thought processes come from my training as a printmaker”. He talks nostalgically and enthusiastically about his APS family and his years as a student. He lights up when asked about the value of working with the incredible team of master printmakers, and “rekindling the excitement of collaborating with students and printmakers who improvise and bounce ideas back and forth spontaneously”. He also refers to the time that APS arranged for him to go to Boston for a year. We selected him to be a visiting post graduate student at the Boston School of the Museum of Fine Arts, (my alma mater), where he was housed by my former printmaking mentors Jane Goldman and Catherine Kernan. While there, Mongezi had full access to their printmaking studio, as well as their guidance and remarkable expertise. The experience in Boston changed his life, and he returned with a stunning work that won him first prize for the Absa L’Atelier Gerard Sekoto Award. From that point, his career catapulted him onto the national and international stage. Since his return, he has had three highly successful exhibitions, while with SMAC gallery in Cape Town.

unflinching in witnessing the terrors of the present moment. The virus that cuts across the shadowy figure’s midsection is terrifying, and seems to be proliferating outwards, suggestive of mounting danger to the whole community (Auslander; 2020).”

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“When I feel despair, I always turn to my best friend in music. I find a soft balance when I play my sax. The problem may still be there, but playing a playful or funky melody helps me find the joy, in spite of the unhappiness.”

During the beginning of Lockdown in 2020, I partnered with entrepreneur Carl Bates, and Lauren Woolf, a creative leader in branding design, and we invited 21 artists to respond to this historic moment of the COVID-19 pandemic. Through The Lockdown Collection, a different artist’s work was released on social media each day; the works were auctioned and generated a remarkable R2million, which was immediately disbursed as emergency grants in R3000 increments over the three months of the hard lockdown. Mongezi’s work was released on the 15th Day of the lockdown (April 10, 2020`). The beautiful work, titled A Place in Time, gave voice to the despair, anxiety and physical and spiritual sickness of the moment. He spoke about being in a very dark place… “I was not grounded, my world was in chaos. It was not easy looking at myself and seeing how desperate people were behaving around me. I was surrounded by confusion, hopelessness, uncertainty and struggle. My work is a kind of meditation, trying to put out questions.”

In the United States, contemporary art critic Pam Allara and historian-anthropologist, Mark Auslander, wrote a blog commenting on each of the 21 works released by the TLC in order to record this period through the eyes of the artists. They wrote the following about A Place in Time: See: with“Divinersncaphayi.htmlcom/2020/04/a-place-in-time-mongezi-https://artbeyondquarantine.blogspot.donotshyawayfromengaginglife’shardesttruths,andthepaintingis

“…are the spots of red referring to blood, the metaphorical wounds of the plague? And the beautiful yellow-green bough that floats over the whole might be a healing balm. Seen in that light, Ncaphayi’s image may not be entirely one of despair; might it serve as a transformative act of witnessing, a gift to the deceased, a promise of hope, to all of us who now shelter in fear? (Allara, 2020).”

The prints produced at APS express this sense of renewal and joy. The colour and transparency in the works evoke hope and an internal journey that is filled with depth, dimension and complexity and are evocative of the natural movement of sky and water. Mongezi is energised by this new body of work, and when asked what’s next, he smiles and says: “Watch this space!”

A spring of becoming, are joyful and musical. Walking into the studio the energy of the space is electric and abundant. Spring is in the air. The colours of purple, pinks yellows, oranges are dancing and glowing from every surface.

Following this very dark period in his life, Mongezi emerged and produced a beautiful series of paintings shown at SMAC Gallery in 2021 titled Let the Waters Settle. He describes these works as dealing with his trauma and hope for a better future. In the published press release, Olivia Barrell describes the work quite poetically: “’Let The Waters Settle...’ is centred around landscapes and internal places. The latter subconscious and personal. A place that we arrive at after transcendence. …in the words of poet Jalal ad-Din Muhammad Rumi: “let the waters settle and you will see the moon and the stars mirrored in your own being.”

Jazz is playing, the students are racing around to support the printers, layers of colourful washes are printed through the largest silkscreen, copper plates are being etched and proofed on the press. The language Mongezi uses to describe his experience at APS is about renewal, ‘new faith’, ‘new trust’, and ‘hopeful aspirations.’ He talks about his wish for his work to “shed more light”, and “for people to grow within themselves and feel more empathy and sympathy for the next person”. He talks about the value of being in therapy as growth in a new mindset that is empowering. His fervent wish is to share this understanding with others and to work with community in the hope to foster more tolerance amid so much violence, trauma and despair.

“Perhaps Ncaphayi’s work shows each of us how to feel. Or to look bravely into ourselves, preparing to feel the breadth of emotion that is intrinsic to being human.” (From the press release courtesy of SMAC Gallery by Olivia Barrel, atThegallery/exhibitions/let-the-waters-settle/https://ocula.com/art-galleries/smac-)newseriesofworksMongeziproducedArtistProofStudiothathecalls

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“I feel this spark, like a light I would like to share. Our problems don’t have to be so big if we learn how to shift them”.

It was with a sense of wonder that I encountered the exhibition ‘Fragile Creatures’ by Niël Jonker at the Rossouw Modern Art Gallery in Hermanus during the FynArts Festival in June 2022. This powerful exhibition was, in my opinion, one of the highlights of the festival. Niël and the gallery team did a remarkable job of installing this evocative show. The darkened walls, spot-lit images and forms transported the viewer to another time and place.

Solo exhibition by Niël Jonker at the Prince Albert Gallery 2022 By Gordon Froud Instalation view Niel Jonker, Fragile Creatures - Cower

21 October to 5 December

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FRAGILE BEINGS: MENAGERIE

Jonker, a graduate of the then Natal Technikon, has grown up with clay as an extension of his being – from digging in communal clay pits on the family farm as a child, to collecting clay along the coast in the way that ancient inhabitants of Africa did eons ago. His manipulation of mostly terracotta clay infused with natural pigments like ochre and other earths, is intuitive and thereby timeless. The sculptures feel like they could have been made hundreds of years ago or last week. The forms are reductive, simplified and archetypal and this is their power. Surfaces are scratched, hewn, incised and even cracked adding to their timeless quality. Representing animal forms that have anthropomorphic and therianthropic qualities remind the viewer of our innate connection to sentient beings such as birds, baboons and other animals. As viewers we experience a moment in time where animal and man are closer to each other than in reality. This phenomenological moment provokes feelings of familiarity with past, present and future – reminiscent of the Sankofa bird images made by the Akan tribe from JonkerGhana.says of this body of work “Vulnerability is suggested in the title of this series of sculptures. I invite the viewer to explore the potential of being while simultaneously acknowledging the fragility of life, and this as a force of potential rather than the less sustainable posture of being resilient”.

Niel Jonker, Cower, 2020, Terracotta steel cement, 70x500x70cm Instalation view Niel Jonker, Fragile Creature -sentinals 44 WWW.ARTTIMES.CO.ZA

Niel Jonker, Sentinal, terracotta, 30x25x65cm, 2021

Jonker achieves a modern and emotional sophistication in these works that places them firmly within the 21st century but evokes a bygone era when man and beast were closer and more in tune. In the ways of a shaman this hints to the possibility where, as in magical realism, the forms become interchangeable, morphed into one another, inhabiting an almost dreamlike Jonkerspace.also pays an element of homage to workers in clay like Noria Mabasa, Henrietta Ngako and Wilma Cruise who depict animals and humans in a biomorphic way infusing human features, qualities and postures into animal forms. Like them, Jonker allows us to identify with the animals and see ourselves as part of them. Through this, we reconnect with a part of our past in our quest to become whole.

The dic(onary defines a menagerie as a collec(on of wild animals kept in cap(vity for exhibi(on; and a strange or diverse collec(on of people or things. This deeply contemplative, quiet and moving exhibition carries the weight of history, the power of our link to the natural world and embodies our quest for meaning in turbulent Thetimes.Prince

Albert Gallery will host an exhibi(on by Niël Jonker (tled Menagerie from 21 October to 5 December 2022. This solo show of terracoIa sculpture, as well as charcoal drawings on paper, forms part of the ar(st’s ongoing series of works (tled Fragile Beings.

Gordon Froud, Senior Lecturer and HoD, Dept of Visual Arts, University of Johannesburg Instalation view Niel Jonker, Fragile Creatures - sankofa

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His works defy definite interpretation by alluding to a moment, a feeling or a contemplation in time. The pieces resonate with the energy of sacred objects that are not specific in meaning but evoke a sense of power. The charcoal drawings based on the sculptures are not merely descriptive but are suggestive of the symbolic nature of the works. They too become timeless, made of ancient materials like charcoal and clay with ochre in it that has been used to make marks and images in the same way as our cave-dwelling ancestors.

25#SasolNewSignaturesAugustto2October 2022 Featuring Solo Exhibition by Andrea du Plessis Winner of Sasol New Signatures 2021 foundWe’ve Africa’sSouth new talentartistic

The unveiling Saturday 24th September 2022 Art@Africa’s Franschhoek sculpture garden.

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BRENDON EDWARDS’ MUSE-SPHERIC

Written by Briony Haynes Author Rodney Trudgeon stated “Beethoven’s 5th is like Michaelangelo’s David, a monument to art and humanity”, however, like all great works, popularity and intemperance cause the impact of these great works to become “dangerously blunted”. South African artist Brendon Edwards believes that these greats must be visualised and reinterpreted in newly creative ways to recapture their stupendousness.

Returning to his home country after his early years in Zimbabwe Edwards studied the Philosophy of Aesthetics and Logic before becoming an artist. His high impact, large scale works can be seen across South Africa and Edwards’internationally.mostrecent work, ‘A Symphony of Spheres - Beethoven’s 5th’, will be installed in Art@Africa’s Franschhoek sculpture garden located opposite the Huguenot monument from September 24th. The work is a visual representation of Beethoven’s 5th symphony. A masterpiece that encapsulates triumph over adversity, considered by many critics and composers to be the greatest musical composition of all time. ‘A Symphony of Spheres’ is a patinaed steel sculpture that represents opposites: earth and water, manmade architecture and organic flowing forms of nature. Its colour is selected to draw perfectly from the South African landscape and its material to represent every building’s internal skeleton. The work is a timeless, visual vibration of Beethoven’s 5th transformed into an immersive three-dimensional experience. In explaining his work, Edwards communicates there is more than a man-made and natural connection, something that lies much deeper in human existence. This begins with a shape that has played a monumental role in Edwards’ work, circles. He states, “The spherical form is the language of our universe, the most inclusive language from the beginning to the end of time. From the tiniest atom to the infinite space of galaxies, all creation is spherical”. The circle is important not just in science but in art and history, it is the language of our DNA. The circle has transcended across continents and time. It was considered by Ancient Greeks to have been the most beautiful shape, with its ideally geometric ratio and proportions. This idea was reborn in the Renaissance and carried into ecclesiastical architecture as well as religious iconography. Even present day mathematicians and philosophers see the circle as ideal, with no weak spots and perfect symmetry. A shape that much like music, suppasses the barriers of humanity, unites and allows people to feel whole. The circle is primitive yet modern, symbolising infinity, completeness, inclusivity, growth, time, life, seasons, planets, man, woman, the universe, right down to our language. Brendon Edwards outdoor studio.

50 WWW.ARTTIMES.CO.ZA Brendon Edwards

Edwards’ studies and understanding of the world, philosophy and artistic language allow him to harness an incredible talent of creating art by taking complicated subjects and representing them in a simple aesthetic form.

The unveiling of Brendon Edwards’ ‘A Symphony of Spheres - Beethoven’s 5th’ will take place on Saturday 24th September 2022 at 11:00am in Art@Africa’s Franschhoek sculpture garden.

“Edwards presents his work as a way to visually allude to an idea Plato labelled as the “Music of Spheres”

Edwards has labelled his genre Muse-spheric as a nod to this philosophical concept but adding emphasis to the idea of art and music.

52 WWW.ARTTIMES.CO.ZA Edwards presents his work as a way to visually allude to an idea Plato labelled as the “Music of Spheres”. This is an ancient philosophical concept which demonstrates that the spatial relationship of the Sun, Moon and planets form a musical scale. The Pythagorean theory states that the distances of the planets from the Sun and the distances between these bodies, are represented by musical intervals of tones and half-tones, etc.

Brendon Edwards, Symphony of Spheres

The reference to Muse refers to the Muses; nine deities in Greek Mythology who presided over the arts and sciences, becoming specifically associated with music. What is ever present in Edwards’ spherical work is this underlying idea that music is at the very core of our existence, born from the universe and considered by many intellectuals as the universal language of mankind. It has the ability to cross borders, ethnicities, time, race and religion; uniting humans together through pure emotion.

ORGANIC MATTERS: MARKS THAT MATTER

Nigrini continues her exploration of the essence of matter, offering an extensive palette of marks, colours, and techniques within every single canvas.

Organic Matters | Marks that Matter, a breathtaking exhibition of Michèle Nigrini’s latest body of work opens at the AITY Gallery, Franschhoek on Saturday 24 September.

Michèle Nigrini’s latest body of work

AITY Gallery, Franschhoek

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‘Organic Matters’ depicts the layering of plant shapes and markings within the landscape, capturing a personal response to what the artist sees rather than simply reproducing images. In these paintings, organic plant shapes from the artist’s environment are layered like compost; that substance which, through a complex process that seems like alchemy, transforms organic waste into the essence of life. Like the alchemy of compost, Michèle’s marks go through a process of transformation, creation, and combination. The resulting canvases are a bristling accumulation of lines and colours, and of unique marks that are created and curated with intent.

Tales of a Forest, 80 x 80cm, mixed media on wooden canvas

Chain Reaction, 80 x 80cm, mixed media on wooden canvas Heat Wave, 80 x 80cm, mixed media on wooden canvas

“When working on a large exhibition, I prefer to do it within the geographical area of the exhibition itself so that the complete body of work centres around that place. The textures, colours, and structures of the environment dictate the development of my artwork which, whilst predominately abstract, is based on fleeting images, imagination, and experiences.”

Organic Matters | Marks that Matter, solo exhibition of Michèle Nigrini’s latest body of work opens 24 September at the AITY Gallery, Shop 1, Heritage Square, 9 Huguenot St, Franschhoek and will be available to view until 17 October 2022. Monday to Sunday 9:30am – 5:30pm. Visit www.artintheyard.co.za Michèle Nigrini’s protea brush

The artworks in this exhibition specifically reflect Nigrini’s style of ‘gestural expressionism’.

Nigrini uses a variety of media materials; charcoal, conté, high flow acrylics, watercolour, inks, stamps, stencils, and handmade brushes. She pushes the boundaries of each medium as far as possible, creating works of harmony and integrity.

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“I make my tools and brushes from objects I find in my environment. I have the privilege to work in two provinces: in my Rosendal studio, my favourite brush is one made of maize leaves, which is emblematic of the Free State farmlands which surround me. In my Stanford studio, I have been working with dried protea flowers and other fynbos collected from the beautiful biomes around the Western Cape village. I also use stencils, brooms, and all manner of domestic cleaning utensils, which makes the process wonderfully unpredictable.”

The essence of Nigrini’s work lies in her ability to allow the spirit of each medium to find and occupy its own space without disturbing the unity of the whole. For the artist, creation is a process, not a product. She complicates simplicity by intuitively creating chaos and then cognitively curating the chaos. The Spirit of place is made visible by the spirit of chance.

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The three artists work as independent creative researchers who use various degrees of abstraction as a means to think through contemporary notions of interconnectedness. They envisage extending physical and psychological spaces through a layering of meaning and material. Thinking about “stories that gather stories” (Haraway 2016), there are links between real and imagined ecologies. Each artist works with different locations - of concrete dwellings, natural sites, and soul spaces. Philip paints imagined dreamscapes in densely glazed oil paint and expressive brushstrokes, to evoke sanctified space. His work is characterized by a dramatic use of chiaroscuro, building illusive light and shadow plays. Philip weaves a poetic rendering of figurative abstractions in strong colour. He transforms real life into assertive symbols, playing intuitively to create bursting compositions and linear forms, which dance with bold colour fields in rhythmic structures. Transparent layers of paint speak about veiled longings and perishing glory. Philip’s work is born from an inner necessity, moving personal narratives to embodied expression. It acknowledges the creative act as a dynamic process.

UNDER THE SURFACE Imagined Dreamscapes, Landscapes & Geometric Abstractions White River Gallery 24 September - 10 October 2022 whiterivergallery.co.za

Philip Badenhorst, Gwenneth Miller and Adelle van Zyl grew up in rural areas in vastly different landscapes – from outposts in Western, Northern, and Eastern South Africa, yet they all currently live in Pretoria. Philip and Gwen have known each other since student days, sharing a passion for Neo-Romantic narratives and the sensuality of paint. Gwen and Adelle worked together at Unisa, where they both considered personal archives of belonging through their art and teaching.

Above: Philip Badenhorst, This storm is you, 2020, oil on artist’s litho print, 40 x 58cm. Opposite Page: Gwenneth Miller, Forest walk (detail), 2022, mixed media, monoprint and oil paint, 200mm x 280mm

The exhibition visualises how all three practitioners ‘listen’ to what is underneath the surface. The works come from diverse ecological spaces, but bring to the fore a reciprocal flow of ideas and media response.

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Adele van Zyl, A Glass Darkly II, 2022, oil on canvas, 61 x 76.5cm

Her work alludes to internally laden aspects of the human condition and, through an intimate and intense focus on interior details the viewer is transported to a psychological space of surreal alchemy.

On one hand these translations of space reflect how different the artists’ observations and experiences are from each other. Yet, on the other hand the exhibition is unified as a sense of urgency to consider relations with earth and each other.

Gwen reflects on the force felt in landscapes, objects and growth. In Limpopo, her birthplace, lichens grow with glowing colours in dry heat, anchored on rocks. Harsh landscapes yield fungi - creating life through mycorrhizal partners. Through the language of magic realism and with a microscopic eye, Gwen composes images below or next to another, to suggest symbiotic relationships. She applies photography as an analytic tool to forms, abstracting and restructuring images to evoke new connections. One form grows into another through unfolding layers of drawing, monotypes, digital prints, paintings and collages. Through her medium manipulation she considers how organisms transform substrates into new materials. Adelle’s paintings emphasize reflected light and the transformative effect it has on everyday scenes. She renders cropped, closeup views of ordinary architectural spaces in oil paint, translating photorealistic precision into rippling geometric abstractions. These everyday details vary from the embossed glass windows of mid-century buildings to abstracted architectural details of rural churches.

Under the Surface opens at The White River Gallery, Casterbridge Lifestyle Centre R40 cnr Numbi Rd & Hazyview Rd, White River, Mpumalanga on Saturday, 24 September and will be available to view until 10 October 2022. Visit www.whiterivergallery.co.za

info@artatafrica art | 082 774 1078 |1st Floor, Clocktower Centre, V&A Waterfront Cape Town WWW ARTATAFRICA ART Art@Africa Sculpture Garden Franschhoek Now Open in collaboration with Perfume Prive Workshop An extraordinary collection of South African Contemporary sculptures

“Decolonising the Book” is a product of the “Decolonial Book Arts Project” that was initiated in 2018 by artist and former bookseller Chris Reinders (of The African Moon Press) and developed further over the next few years by the Johannesburg Chapter of the Artist’s Book Club. This arts project’s inception was the result of the prominent, and still ongoing, calls for decolonisation, particularly those which had been driven by students in South Africa’s higher education sector. Reinders invited a group of individuals to engage with the theme of decolonisation through the book arts at an open meeting held at the studio of artist and lecturer Gordon Froud in Johannesburg. To avoid over-controlling the project, Reinders provided only two things – firstly, an open brief, consisting of a few quotes taken from publicity for the book “Apartheid: Britain’s Bastard Child (Transgenerational Trauma)”, and a personal reflection on the project theme; and secondly, a collection of Africana, colonial and apartheid era books, and ephemera that he had amassed during his time as a bookseller. Project participants were tasked with choosing a book from the selection provided and to use it as the starting point from which to respond to the project theme.

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Jo-Ann Chan, The British Colonies Deconstructed Book 1, 2020 Erica Lüttich, Pages from Book 1: Ellen Rogers and Queen Victoria, 2021

DECOLONISING THE BOOK NWU Art Gallery 06 - 28 October 2022

The NWU Gallery in collaboration with Visual Narratives and Creative Outputs (ViNCO) and the Artists’ Book Club presents the exhibition “Decolonising the Book”. The exhibition will be available for viewing from the 6th to 28th of October 2022 at the NWU Main Gallery.

Deirdre Pretorius, Into the Interior, 2019 Jo-Ann Chan, Close-up of page from The British Colonies Deconstructed Book 3, 2022 Deirdre Pretorius, Pages from Into the Interior, 2019

Deirdre Pretorius, Into the Interior, 2019

The artists’ books in this exhibition are the extended responses to this invitation by JoAnn Chan, Cheryl Gage (who sadly passed in 2020), Erica Lüttich and Deirdre Pretorius (four members of the Artist’s Book Club). The works range from mixed media objects and redesigned volumes to a carefully curated cabinet of curiosity. All, however, make use of found objects that have been refigured through needlework, experimental printmaking, juxtaposition or digital mash-up, to contest ideas or offer new ways of seeing the found objects; and in some instances, challenging the codex as the standard book form.

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The exhibition opens at the NWU Gallery on 6 October 2022 and has a series of associated public events, ranging from online discussions and artist walkabouts to bookmaking workshops that will be hosted during the month of October. For more information, please contact NWU Art Gallery Curator, Ms Amohelang Mojahane on the following contact details… Tel: (018) 299 4341 email: amohelang.mohajane@nwu.ac.za

UNDER THE SURFACE Philip Badenhorst, Gwenneth Miller, Adelle van Zyl Opening Sat 24 September at 12noon Opening words: Dr Nathani Lüneburg Concludes 16 October Casterbridge Lifestyle Centre Contact Dana MacFarlane +27 82 784 6695 whiterivergallery.co.za Gallery Hours Monday to Friday 10am - 4pm Weekends & Public Holidays 10am - 2pm FOLLOW US ON OUR SOCIALS @White River Gallery @whiterivergallery SCAN THE QR CODE TO JOIN OUR MAILING LIST

Considering the need for more access to opportunities, ARAK’s new fellowship programs were created to have a positive impact in the creative ecosystems of SubSaharan countries, to be relevant and diverse. The program support artists as the innovative visual arts thinkers and producers, curators as the visionaries that think of new ways to bring art to the audiences and promote engagement, and art writers as the creators of new worlds and new ways to look at the world, art, culture, and life in general.

Maliza Kiasuwa (1975), Untitled (Today is yesterday, part 2), Mixed Media, 42 x 30cm. Opposite Page: Lizette Chirrime (Mozambique 1973), The Fluid Dauce, Dressed in Red, Print on archival paper, 76 x 56cm

Curating Cultures in Sub-Saharan Africa www.arakcollection.com

Curatorial Residency: The Residency Fellowship Program was created to support ARAK Collection’s Mission of developing and supporting young and mid-career artists and curators through promoting curatorial research, the publication and exhibitions of their collection’s works. The exhibitions developed and produced by ARAK Collection aspire to be impactful and are all associated with relevant public programming. The ARAK Collection Annual Residency Fellowship Program aims to promote a better knowledge and understanding of Contemporary Sub-Saharan Art in the Middle East and Beyond through research of the extensive works that form part of its collection.

The resident guest curator is expected to research the collection with the intention of curating an exhibition and writing the exhibition catalogue at the end of the residency period, after in-depth research and the submission of a curatorial concept to be approved by the ARAK Collection Curatorial Advisory Committee. Each Fellowship Grant is approximately USD 20,000. The grant includes USD 5000 for research expenses and fees and USD 15,000 to produce the exhibition and publish the catalogue.

ARAK Collection is a public platform to foster critical dialogue around contemporary art practices with a focus on Sub-Saharan African Artists and educational programs that have an educational and developmental impact in the local community. The collection consists of paintings, paper and prints of more than 200 young and mid-career artists of Sub-Saharan African countries.

ARAK COLLECTION INTRODUCES NEW FELLOWSHIP PROGRAMS

The ARAK Collection is an independent, Qatari-based initiative, that aims to promote through exhibitions, publications, research and educational programs, contemporary sub-Saharan African art and artists. The collection is a resource for artists, curators and researchers, it hosts in-house and traveling exhibitions, it also lends artwork to regional and international organizations, institutions and museums, producing print and online publications, and impactful public programs associated with the exhibitions it produces and hosts.

The ARAK collection is managed by Curating Cultures, a Kuwaiti company specialized in providing consulting services and developing strategic planning to implement cultural and artistic projects to support the creative and cultural industries.

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Artist Commission: Annually the Committee makes several research and fact-finding trips to Sub-Saharan Africa to encounter artists in their production context and exchange ideas about ways their artwork can complement the current ARAK Collection outlook and catalogue. If you are an artist with a working studio, you can send your contact and address of your art studio to be added it to the Artists Studio Map and Database at ARAK Collection. Artists that are working in new and innovative artworks are invited to submit applications for the annual Artist Commission. If an artist requires funds for production of a specific artwork series or artwork and need support, the fund for Artist Commission can support towards developing and producing the work.

The final objective is to add an artwork to the ARAK Collection through a direct commission or support to artwork or series that the artist needs funding for.

If you have any idea that you believe the current publishing Sub-Saharan Art panorama is missing, either new or something you have been working on, you may submit it for consideration. If your idea collects the ARAK Curatorial Advisory Committee consensual approval, it will be selected for development and ultimately publishing.

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Art Writing & Publishing: The Art Writing & Publishing Program is targeted at interested Art Writers, Academics, Critics and Intellectuals that have a publication project they would like to collaborate on or develop with ARAK Collection. Art writers (used broadly) may propose reference level publishable projects for ARAK Collection to Publish under its Publishing Umbrella activities.

For more information regarding applications for the ARAK Collection Fellowship Programs, visit www.arakcollection.com

“The collection is a resource for artists, curators and researchers” Yasmeen Abdulla (Sudan), Untitled, acrylic on paper

O r g a n i c M a t t e r s | M a r k s t h a t M a t t e r M i c h è l e N i g r i n i p r e s e n t s 2 4 0 9 2 0 2 2 | 1 7 1 0 2 0 2 2 " F i n d i n g t h e P a t t e r n " M i x e d M e d i a o n w o o d e n c a n v a s , 6 0 c m x 6 0 c m a r t i n t h e y a r d . c o . z a | A I T Y G a l l e r y F r a n s c h h o e k | @ a i t y g a l l e r y f r a n s c h h o e k

Selections from Sanlam and MTN Art Collections shown together

Hundt continues, “key works were selected to highlight the communalities where both collections hold artworks by the same artist such as Gerard Sekoto, Durant Sihlali, Willem Boshoff and Simon Lekgetho. In other instances, there were conceptual or formal congruities such as in the works for Gavin Younge and Stephen Maqashela, Yinka Shonibare and Tracey Rose, Kwesi Owusu-Ankomah and Alexis Preller”.

William Kentridge 1955, The Battle between Yes and No, 1987, screenprint on paper, MTN Art Collection Bongani Malapane, Unknown Marabaraba, 2007, etching on paper, MTN Art Collection

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MTN and Sanlam are showcasing a selection of artworks from their respective art collections in the collaborative exhibition Re Mmogo: We are Together which will be open for viewing at Sanlam’s Offices on 11 Alice Lane, Sandton, Gauteng, from 7 September 2022.

This considerable exhibition features over 100 pieces by 75 artists from South Africa, the African continent, and its diasporic global Stefancommunity.Hundt, curator of the Sanlam Art Collection says, “the present exhibition with the MTN Art Collection was conceived to be one of a complimentary collaboration in the spirit of the title Re Mmôgô (We are Together, translated from Se Tswana).

This is not MTN and Sanlam’s first collaboration. In August 2021 the companies announced that they have joined forces in an exclusive strategic alliance to develop and distribute a comprehensive range of insurance, investment and savings products to their customers across Africa. “For MTN, this is an opportunity to aggressively grow its fintech business while Sanlam gets the benefit of tapping into new markets”, writes Londiwe Buthelezi for Finance24 (12 August 2021). ARE

TOGETHER

Business Art RE MMÔGÔ: WE

Ephraim Ngatane 1938 - 1971 Portrait of Dumile Nhlaba Feni, 1964, oil on board, MTN Art Collection

74 WWW.ARTTIMES.CO.ZA Above: Sam Nhlengethwa 1955, Platform 5, 1998, oil and collage on canvas, MTN Art Collection Opposite Page: Irma Stern, 1894 - 1966, Portrait of a young Malay Girl, 1939, oil on canvas, Sanlam Art Collection Willie Bester 1956, Blue Truck Crossroads, 1992, mixed media collage on board, Sanlam Art Collection

Further to this Hundt says, “the works showcased are a small selection of significant images which reflect on the historical transformation of South Africa over the past 50 years. They present a testament to the creative ingenuity of developing a diverse visual vocabulary which speaks of the struggles, anxieties and dreams of an evolving nation as it comes to terms with history and its place in Africa.”

“The cultural collaboration further solidifies this business partnership and demonstrates how two corporates, from historically different backgrounds, have come together to also present an exhibition which not only showcases a selection of works from the Sanlam Art Collection, now in its 56th year, and the MTN Art Collection, now in its 24th year, but to also validate how both companies have for decades contributed to the South African arts sector in markedly similar ways”, says Niel Nortje, manager of the MTN Art Collection.

Sfiso Ka Mkame 1963, Open Letters for our Children, 1988, pastel and wax crayon on paper, MTN Art Collection

The exhibition will run until 27 January 2023 and can be viewed by appointment on weekdays from 09h00 to 16h30.

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Nortje continues, “through the responsible management and preservation of heritage treasures, availing education and internal awareness programmes, and managing avid publication drives to disseminate information about South African, and African, arts, culture, and heritage - Sanlam and MTN have both been contributing significantly not only towards the sector, but also towards government’s nation building efforts.”

Business Art STEPHAN WELZ & CO. www.swelco.co.za We’re rapidly approaching the last quarter of the year and are looking forward to ending the year with more successful sales. We have seen the successful sale of works from a wide range of artists over the last few years, and this year has been no exception. Our Cape Town February and June auctions had the following highlights that we are proud to mention. 78 WWW.ARTTIMES.CO.ZA A.R. Penck Aka Ralf Winkler (German 1939 - 2017) Brigade Buch (Penck’s 1971 Private Sketchbook) R250 000 – R300 000Hammer: R382 560 Angus Taylor (South African 1970 - ) Deduct Figure, Estimate: R120 000 – R160 000 - Hammer: R143 460 Gregoire Johannes Boonzaier (South African 1909 - 2005) Geel Huis Interior, R150 000 – R200 000 - Hammer: R215 190 William Joseph Kentridge (South African 1955 - ) Another Cat R75 000 – R100 000 - Hammer: R131 505

Jacobus Hendrik Pierneef (South African 1886 - 1957) Landscape - Eastern Free State, R400 000 – R600 000 - Hammer: R508 088 Nelson Makamo (South African 1982 - ): Portrait With Glasses, R100 000 – R120 000 Hammer: R203 235 Jacobus Hendrik Pierneef (South African 1886 - 1957): Landscape, R200 000 – R300 000 Hammer: R310 830 Johannesburg March and August auctions highlights

The upcoming Cape Town October auction

will showcase many exciting works by local and international artists including, amongst others, Dylan Lewis, Maurice Van Essche, John Meyer, John Rodger and Ephraim Ngatane. As we wait for the lots to go under the hammer in October, The Johannesburg team are preparing for an equally exciting sale in November. We are consigning for our November Johannesburg sale. Should you wish to consign please contact us on 011 880 3125 (Jhb) Or 021 794 6461 (CT). For more information regarding our future sale dates and valuation days, please visit our website at www. swelco. co.za or follow our social media pages. 80 WWW.ARTTIMES.CO.ZA Richard Scott (British 1968 - ) She Lives At No. 4 R7 000 – R10 000 - Hammer: R38 256 Esther Mahlangu (South African 1935 - ) Ndebele Pattern R10 000 – R15 000 - Hammer: R31 083 Nelson Makamo (South African 1982 - ) Figure Carrying Child R50 000 – R80 000 - Sold: R43 460

arakcollection.com ����/�� Apply now and join our annual fellowshipcuratorialprogram CALLOPEN View previous auction results at www.rkauctioneers.co.za 011 789 7422 • Bram Fischer Centre, Lower Ground, 95 Bram Fischer Driver Cnr George Street, Ferndale, 2194 Art, antiques, objets d’art, furniture, and jewellery wanted for forthcoming auctions Dylan Lewis, Male Trans Figure Maquette, bronze cast SOLD R200 000

Kirsten Beets, Mysterious Creatures, 2022, Oil Paint On Paper, 60cm X 80cm 131 A Gallery ANDNEWSEPTEMBERARTGO2022GALLERIES,ONGOINGSHOWSOPENINGEXHIBITIONS

WWW.ARTTIMES.CO.ZA84 ARTGO: SEPTEMBER 2022 OPENING EXHIBITIONS MELROSE GALLERY SCULPTX 2022 AT MELROSE ARCH THIS ANNUAL SCULPTURE FAIR, THE LARGEST OF ITS KIND IN SOUTH AFRICA, WILL, THIS YEAR, PRESENT OVER 200 WORKS 01/09/2022 UNTIL 16/10/2022 WWW.THEMELROSEGALLERY.COM ART.B CUADERNO 03/09/2022 UNTIL 30/09/2022 SAREL PETRUS, NICOLENE LOUW, SHENAZ MAHOMED, ANTOINETTE DU PLESSIS & LELANI WWW.ARTB.CO.ZANICOLAISEN ARTIST PROOF STUDIO FNB JOBURG ART FAIR A SPRING OF BECOMING | A NEW BODY OF PRINTS FOR THE FNB JOHANNESBURG ART FAIR BY MONGEZI NCAPAYI 02/09/2022 UNTIL 04/09/2022 WWW.ARTISTPROOFSTUDIO.CO.ZA NEL THE TRUTH ABOUT LOVE 01/09/2022 - 30/09/2022 THIS EXHIBITION OF POETRY AND PAINTING EXAMINES INTIMACY AND THE IMPORTANCE OF LOVE IN THE ROLE OF WWW.NELART.CO.ZADECOLONIALITY.

Summer Edition: 24-27 November 2022 10am-1pm & 3pm-6pm Group Show Prince Albert Gallery Opening 23rd November 6 pm www.princealbertopenstudios.co.za

86 WWW.ARTTIMES.CO.ZA RUST-EN-VREDE GALLERY THE SECRET LIFE OF PLANTS A SOLO EXHIBITION BY ADELE VAN HEERDEN 03/09/2022 UNTIL 01/10/2022 WWW.RUST-EN-VREDE.COM FNB ART JOBURG DON’T MISS THE 15TH EDITION OF FNB ART JOBURG, AFRICA’S LONGEST RUNNING CONTEMPORARY ART FAIR. SANDTON CONVENTION CENTRE 04/09/2022 UNTIL 06/09/2022 WWW.ARTJOBURG.COM ARTGO: SEPTEMBER 2022 OPENING EXHIBITIONS RUST-EN-VREDE CLAY MUSEUM THE CUBE: IMAGINE - A GROUP EXHIBITION FEATURING 10 CERAMISTS AS WELL AS CLAY SCULPTURES BY CHILDREN FROM DURBANVILLE PRIMARY SCHOOL. 03/09/2022 UNTIL 29/10/2022 WWW.RUST-EN-VREDE.COM RUST-EN-VREDE GALLERY VAN SKOONHEID EN TROOS / OF BEAUTY AND COMFORT A SOLO EXHIBITION BY LYNIE OLIVIER 03/09/2022 UNTIL 01/10/2022 WWW.RUST-EN-VREDE.COM

26 August – 26 September 2022 Department of Sport, Arts and Culture 10095752550 Sophia Gray 33 advert_Art Times_set up for print 17 August 2022 08:29:41 AM C U R A T E D B Y T S H E G O F A T S O S E O K A A N D S A N G O F I L I T A THE DEPARTMENT OF ART AND MUSIC & THE UNISA ART GALLERY INVITE YOU TO THE EXHIBITION SMEETS ALICE 2007 WALKING THROUGH MISERY DIGITAL PHOTOGRAPH 60 X 90 CM

88 WWW.ARTTIMES.CO.ZA ARTGO: SEPTEMBER 2022 OPENING EXHIBITIONS DAOR CONTEMPORARY PLAY PLAY KATJA ABBOT, CARIN DORRINGTON AND JP MEYER OPENS 07/09/2022 AT 6PM UNTIL 31/10/2022 WWW.DAOR.CO.ZA RUST-EN-VREDE GALLERY PLANT MATTERS A SOLO EXHIBITION BY SUSAN GRUNDLINGH 03/09/2022 UNTIL WWW.RUST-EN-VREDE.COM01/10/2022 GALLERY 2 WILD PLACES AND OTHER FEELINGS A SOLO EXHIBITION BY KARIN DAYMOND 10/09/2022 UNTIL 08/10/2022 WWW.GALLERY2.CO.ZA

90 WWW.ARTTIMES.CO.ZA ARTGO: SEPTEMBER 2022 OPENING EXHIBITIONS ART@AFRICA SCULPTURE GARDEN (WC) BRENDON EDWARDS‘ - A SYMPHONY OF SPHERES. THE WORK IS A VISUAL REPRESENTATION OF BEETHOVEN’S 5TH SYMPHONY . 24/09/2022 UNTIL WWW.ARTATAFRICA.ART24/01/2022 AITY MICHÈLE NIGRINI ORGANIC MATTERS | MARKS THAT MATTER 24/09/2022 UNTIL 17/10/2022 WWW.ARTINTHEYARD.CO.ZA 131 A GALLERY TIME AND PLACE/ TYD EN PLEK MJ LOURENS AND JACO BENADE OPENS SEPTEMBER WWW.131AGALLERY.COM15 THE VIEWING ROOM ART GALLERY AT ST. LORIENT ART GALLERY NEXT GENERATION - CELEBRATING INTERNATIONAL GLASS YEAR WITH A GROUP EXHIBITION IN COLLABORATION WITH THE TSHWANE UNIVERSITY OF TECHNOLOGY. 10/09/2022 - 29/10/2022 WWW.STLORIENT.CO.ZA

NWU ART GALLERY DECOLONISING THE BOOK NWU GALLERY IN COLLABORATION WITH VISUAL NARRATIVES AND CREATIVE OUTPUTS(VINCO) AND THE ARTISTS’ BOOK CLUB.A SERIES OF ASSOCIATED PUBLIC EVENTS: ONLINE DISCUSSIONS AND ARTIST WALKABOUTS TO BOOKMAKING WORKSHOPS THAT WILL BE HOSTED DURING OCTOBER. 06/10/2022 UNTIL 2/10/2022 WWW.SERVICES.NWU.AC.ZA/NWU-GALLERY WHITE RIVER GALLERY UNDER THE SURFACE IMAGINED DREAMSCAPES, LANDSCAPES & GEOMETRIC ABSTRACTIONS 24/09/2022 UNTIL 10/10/2022 WWW.WHITERIVERGALLERY.CO.ZA ISART GALLERY STELLENBOSCH LIVING WATER A SOLO EXHIBITION BY KATIE FARRINGER 20/08/2022 UNTIL 11/09/2022 WWW.IS-ART-GALLERY.COM ABSA ART GALLERY PARSING THE JUNCTURE: 110 BILLION PRAXIS SOLO EXHIBITION BY WINIFRID LUENA WINIFRID LUENA IS AN ABSA L’ATELIER 2019 AMBASSADOR. 05/08/2022 UNTIL 09/09/2022 THE ABSA GALLERY IS OPEN TUESDAY TO FRIDAY, PRE-BOOKING IS ESSENTIAL WWW.ABSA.AFRICA/ABSAAFRICA/ABSA-ARTPORTFOLIO/ART-GALLERY

ARTGO: SEPTEMBER 2022 ONGOING SHOWS 92 WWW.ARTTIMES.CO.ZA AITY GALLERY, FRANSCHHOEK TEN THOUSAND WOMEN SOLO EXHIBITION BY LERATO MOTAU 21/08/2022 UNTIL 16/09/2022 WWW.ARTINTHEYARD.CO.ZA OLIEWENHUIS ART MUSEUM ALL THE THINGS SHE SAID: A MILE IN HER SHOES AND OTHER STORIES 05/08/2022 UNTIL 11/09/2022 WWW.NASMUS.CO.ZA GALLERY @ GLEN CARLOU PART FOREST A DUO EXHIBITION WITH KATJA ABBOTT & PAUL OPENINGKRISTAFORSUNDAY14 AUGUST AT 11AM. 14/08/2022 UNTIL 16/09/2022 WWW.GLENCARLOU.COM GALLERY @ GLEN CARLOU UNTITLED - GROUP EXHIBITION FEATURING WORKS BY DEBBIE FIELD, KIM BLACK, LAURA WENMAN, LAURINDA BELCHER, MARINDA DU TOIT, NATHAN PETERSON & TANJA TRUSCOTT. OPENING SUNDAY 14 AUGUST AT 11AM. 14/08/2022 UNTIL 16/09/2022 WWW.GLENCARLOU.COM

THE CAPE GALLERY WILDLIFE 2022 ( GROUP EXHIBITION) THE CAPE GALLERY ANNUAL WILDLIFE EXHIBITION. 01/08/2022 UNTIL 17/09/2022 WWW.CAPEGALLERY.CO.ZA NWU MAIN ART GALLERY ATTACHED TO THE SOIL OPENS 18H00 - 22H00 11/08/2022 UNTIL 16/09/2022 WWW.SERVICES.NWU.AC.ZA/NWU-GALLERY PRINCE ALBERT ART GALLERY FRAGILE BEINGS: MENAGERIE A SOLO EXHIBITION BY NIËL JONKER 21/10/2022 UNTIL 05/12/2022 WWW.PRINCEALBERTGALLERY.CO.ZA LIST YOUR GALLERY OR NEXT SHOW TODAY ARTTIMES.CO.ZA

94 WWW.ARTTIMES.CO.ZA OLIEWENHUIS ART MUSEUM 33RD ANNUAL SOPHIA GRAY MEMORIAL EXHIBITION. 25/08/2022 UNTIL 25/09/2022 WWW.NASMUS.CO.ZA/ EVERARD READ JHB A NEW SOLITUDE NEILL WRIGHT SOLO EXHIBITION. 25/08/2022 UNTIL 24/09/2022 WWW.EVERARD-READ.CO.ZA EBONY/CURATED ACTIONS AND REFLECTIONS A SOLO EXHIBITION BY PLACIDO ‘POCHO’ GUIMARAES 03/08/2022 UNTIL 24/09/2022 WWW.EBONYCURATED.COM ARTGO: SEPTEMBER 2022 ONGOING SHOWS STEVENSON CPT WHERE DO I BEGIN GROUP EXHIBITION 20/08/2022 UNTIL 23/09/2022 WWW.STEVENSON.INFO

RK CONTEMPORARY BLUE - A SALON-STYLE GROUP EXHIBITION EXPLORING THE COLOUR BLUE IN ITS MYRIAD TONES, ASSOCIATIONS AND METAPHORS. 26/08/2022 UNTIL 25/09/20222 WWW.RKCONTEMPORARY.COM AVA GALLERY TOGETHER | GROUP EXHIBITION FIRST THURSDAYS 10 YEAR ANNIVERSARY EXHIBITION 18/08/2022 UNTIL 29/09/2022 WWW.AVA.CO.ZA UNISA ART GALLERY CELEBRATING WOMEN ARTISTS CURATED BY TSHEGOFATSO SEOKA AND SANGO FILITA, THE EXHIBITION SHOWCASES VARIED ARTISTIC RENDITIONS FROM WOMEN ARTISTS. MUCKLENEUK CAMPUS,KGORONG BUILDING, GROUND FLOOR,PRELLER STREET,NEW MUCKLENEUK, PRETORIA UJ ART GALLERY URBAN SOUNDSCAPES - CRAFTING SPACES OF SOLOBELONGINGEXHIBITION BY KAGISO “PAT” MAUTLOA 06/08/2022 UNTIL 30/09/2022 WWW.MOVINGCUBE.UJ.AC.ZA

ARTGO: SEPTEMBER - NOV 2022 ONGOING SHOWS 96 WWW.ARTTIMES.CO.ZA SANLAM ART GALLERY, BELLVILLE HER... AN EXHIBITION CELEBRATING THE ARTISTIC TALENTS OF SOUTH AFRICAN WOMEN ARTISTS FROM EARLY TWENTIETH CENTURY TO THE PRESENT. 04/08/2022 UNTIL 22/10/2022 WWW.BLOG.SANLAM.CO.ZA/ABOUT THE VIEWING ROOM ART GALLERY AT ST. LORIENT ART GALLERY SCULPTURAL WONDERLAND AT @SANDTON HOTEL IN BENMORE JOHANNESBURG 4/06/2022 UNTIL 02/10/2022 WWW.STLORIENT.CO.ZA EVERARD READ JHB THE OWNERS OF THE EARTH (VISSAQUELO) SOLO EXHIBITION BY TERESA KUTALA FIRMINO 11/08/2022 UNTIL 01/10/2022 WWW.WWW.EVERARD-READ.CO.ZA SASOL NEW SIGNATURES ART COMPETITION WINNING WORKS WILL BE DISPLAYED AT THE PRETORIA ART MUSEUM 25/08/2022 UNTIL 02/10/2022 WWW.SASOLSIGNATURES.CO.ZA

OLIEWENHUIS ART MUSEUM THE POWER OF REPRESENTATION UNTIL 30/10/2022 WWW.NASMUS.CO.ZA ART@AFRICA CAPE TOWN 100 DAYS – 110 DRAWINGS 15/08/2022 UNTIL WWW.ARTATAFRICA.ART15/11/2022

Artist Laura Amiss: The Print Design Studio Digital Print Woodstock arts hub at 109 Sir Lowry Road, Woodstock, Cape Town, South Africa. Email: info@printgallery.co.za / Tel: 021 300 0461 CAPE TOWN TRAVELEXHIBITIONPOSTERS

www.swelco.co.za Johannes Petrus Meintjes HEAD WITH40oilSEAWEEDonboardby26,5cm R50 000 – R70 000 Cape PremiumTownAuction 11 - 13 October 2022 Contact us for an obligation free valuation Johannesburg 011 880 info@swelco.co.za3125 Cape Town 021 794 ct@swelco.co.za6461