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Andy Warhol VESUVIUS

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Art Times November 2020 Edition

CONTENTS Cover: Esther Mahlangu, Ndebele Abstract, 2019 The Melrose Gallery

12 M.O.L 13: ART AS THERAPY Ashraf Jamal Column 18 INVESTEC CAPE TOWN ART FAIR 2021 Connect Through Art From Africa And The World 22 PORTRAIT AWARD 2021 Call For Entries 24 ESTHER MAHLANGU 85 A visionary and disruptor 30 VESSEL Wood Paper Clay 34 ANDRÉ NAUDÉ ‘Beige’ 40 EXTENSIVE LANDSCAPE New Horizons – Memoirs of the past 44 ARTS TOWN RIEBEEK VALLEY Summer Art Season in Full Swing 54 BATSWANA HISTORY AND HERITAGE PRESERVATION United Communities 58 THEOPHELUS RIKHOTSO Scattering of resources, misrepresented relief 66 BUSINESS ART Art auction highlights galore 84 ARTGO November Exhibition Highlights

MJ Lourens, Old Routes, 2019, acrylic on hardwood, 70cm x 90cm, 131 A Gallery

Editors Note As we come to nearing the end of this very challenging year, to which many artists and galleries are apprehensive about holding out and adapting themselves until year end and the start of 2021. Traditionally the end of the year lends itself to finishing up the year and heading for the coast or an inland town to let one’s hair down, relax and then fortify oneself with sleep, good food and ample amounts of reading and thinking- including the odd purchase of work of art. This year seems no exception. We have Riebeek Kasteel’s “Art Town”, as well as Prince Albert “Open Studios “and Hermanus “Fynarts” that provide excellent rejuvination in this current Covid-19 madness. In addition to this, The Rupert Museum in Stellenbosch – with its incredible restaurant is again open. There is also the new Zeits MOCAA show of local South African art- which received well over a surprising 2000 entries from local artists who stood in the que for more than 2 hours to register their work– which essentially I believe will prove to be a hit. I know of many more people wanting to see this fresh show of current work- than many of their previously politically focused shows. The Investec Cape Town Art Fair is the next big thing to look out for in February 2021 which will certainly bring the crowds and the thrill back to local art. Lastly it’s with great sadness that we report the passing of Linda Givon, a Giant in the SA arts community who we will sadly miss with. Linda Givon held court in the SA Art community from the early 60’s who went boldly against the Apartheid principles of the day by introducing many Black artists into her gallery (The Goodman Gallery) and contemporary art fold. She had a huge heart and worked tirelessly with a diverse group of talented SA Artists while also launching their careers. We mourn her passing of a passionate life well lived - but we can also celebrate that we were fortunate to have had her drive,passion and her real talent for promoting art and artists in our lifetime, which made our lives as artists, art collectors, academics and South African’s so much richer. Gabriel Clark-Brown


CONTACT ART TIMES Tel: +27 21 300 5888 109 Sir Lowry Road, Woodstock, Cape Town PUBLISHER Gabriel Clark-Brown editor@arttimes.co.za ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ON THE KEYS Brendan Body ARTGO CONTENT info@artgo.co.za Rights: the Art Times magazine reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the sa art times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved. Errata: Hermanus FynArts - would like to apologise for omitting the name of Karin Lijnes from the list of artists who are exhibiting at Sculpture on the Cliffs - 2020. Her work, Freedom Tree comprises of a large steel mobile of five ceramic bird forms.



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M.O.L 13



y copy of Art as Therapy, by Alain de Botton and John Armstrong, is jammed with pink post-its. It’s my go-to book whenever I need an antidote to the snobbery of the art world. It is filled with good cheer and kindness. As the writers remind us, ‘the main point of engaging with art is to help us lead better lives – to access better versions of ourselves … assist the individual soul in its search for consolation, self-understanding and fulfilment’. Art commemorates, they say, gives hope and dignifies suffering, rebalances and guides, inspires ‘selfknowledge and communication’, expands horizons. All importantly, art is democratic and all-inclusive. This is not the accepted view in the art world, certainly not one enshrined by the art canon which, as De Botton and Armstrong remind us, ‘is in many ways disconnected from our inner needs’. This is because the art we come to value most is ‘the result of complex systems of patronage, ideology, money and education, supported by university education courses and museums, all of which guide our sense of what makes a work of art especially worthy of attention’.

In South Africa, this exclusivity was famously, or notoriously, exemplified by Irma Stern and the board she headed, which refused Vladimir Tretchikoff entry into the AVA. Undeterred, Tretchikoff, before Warhol, pioneered the sale of his photo-lithographic prints in chain stores. His response to the ban? That the art world was ‘riddled with bitchiness like a gorgonzola with penicillin’. Years later the Michaelis School of Art would try to shut down the Tretchikoff retrospective at the Iziko National Gallery – unsuccessfully. That the show by the RussianSouth African, curated by Andrew Lamprecht, remains its most popular is a sobering fact.

What mattered was not whether Tretchikoff was a good or bad artist – we all have an axe to grind in this regard – but that he was, and remains, greatly loved. De Botton and Armstrong conclude their book with this salvo: ‘The true purpose of art is to create a world where art is less necessary, and less exceptional; a world where the values currently found, celebrated and fetishized in concentrated doses in the cloistered halls of museums are scattered more promiscuously across the earth … It is not that we should one day lose our devotion to the things that art addresses: beauty, depth of meaning, good relationships, the appreciation of nature, recognition of the shortness of life, empathy, compassion … Rather, having imbibed the ideals that art displays, we should fight to attain in reality the things art merely symbolises, however graciously and intently. The ultimate goal of the art lover should be to build a world where works of art have become a little less necessary’. While I share this sentiment, I do however hold fast to art’s necessity. It is not only a symbol of human value but the deepest expression of the need for it. This view is shared by Zeitz MOCAA. In its press opening for ‘Home is where the art is’, and the Q&A which followed the tour, it was evident that the institution, and those who represent it, were wholly focussed on the need to sustain art as a democratic principle. Within an alarmingly short time frame – three weeks – over 2000 entries were collected in Khayelitsha, Langa, Muizenberg, Stellenbosch, and at Zeitz. People lined up for hours. All the works were accepted, all exhibited. Richard Kilpert, who works for Zeitz’s educational arm, tells me that this might be the first ‘unjuried’ expo ever shown in a leading art institution anywhere in the world. The radicality of this decision was trenchantly in evidence. Koyo Kouoh,

“This might be the first ‘unjuried’ expo ever shown in a leading art institution anywhere in the world.” 12

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the director of Zeitz MOCAA, spoke to us via zoom while billeted in Basel. ‘We are working very hard to write another narrative of this museum’, she said. There is a time ‘before and after COVID’ which compels us to rethink what we value, why art matters, what makes art institutions sustainable. Tapping into our collective conscience and consciousness, she reminded us of the global escalation in racism, police brutality, and the need for ‘accountability’ in institutions and museums. Against the rise of global fascism, we needed ‘solidarity’, to rethink cultural practice and enshrine ‘collegiality’. It was impossible to ‘resume business as usual’. Like museums the world over, Zeitz MOCAA has been under lockdown. ‘Home is where the art is’ is its first offering in seven months. Kouoh’s rousing call to inclusivity, her need to re-evaluate the culture of art and its institutional rigging, was shared by the museum’s key curators. As Storm Janse Van Rensburg noted, ‘a museum without people is a horrible place’. And as Tandazani Dhlakama added, the exhibition was ‘a love letter to Cape Town’. The city of Cape Town,


its people, were the primary target. What better way to inspire interest in art and the institutions which house it, than to make a direct call to the city’s occupants? Kouoh was adamant that this was the museum’s primary focus, notwithstanding the fact that Zeitz is on the world map as Africa’s leading institute of contemporary African art. Janse Van Rensburg is correct, a museum without people is a ‘horrible place’. One hopes, now that Zeitz MOCAA has reopened, that it will find a more committed local audience, not an easy thing given the continued socio-political and cultural divisiveness of the city and country. That the city’s premier, Allan Winde, was in attendance, amplified this urgency and commitment. Liberalism, the basis of De Botton and Armstrong’s vision, remains in abeyance in this country. Systemically, structurally, this is a country that cares little, if nothing, for the ‘individual soul’. And yet, despite the odds stacked against us, Zeitz MOCAA and the city of Cape Town has chosen to up the ante and give us what we long for most, a mirror of ourselves.

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‘Home is where the art is’ occupied the entire third floor, the art packed to the rafters, hung cheek by jowl. Themed uncannily in accordance with De Botton and Armstrong’s vision – preoccupied with the fragility of time, relationships, the importance of nature – it broached our most tender needs. Crammed together, leaving little room to breathe, the show conveyed the defining problem of our age – the lack of living room, space, the right to life – while, at the same time, telling us that despite the fact that we ‘can’t breathe’, we can still find a way to do so. To bemoan the lack of breathing room, given the crushingly brief time it took to put up the show – one week – would be churlish. Despite the fact that I felt caught in a honking blaring traffic jam, I nevertheless found the wherewithal to focus on the works which attracted me. That we all have differing tastes is the point. That we all exit a show with wildly alternative takes equally so. I was struck by a small portrait of a young girl flush against the floor … a tangled forest inspired perhaps by Jackson Pollock … a view of the city seen from Tamboerskloof caught in a dance of windblown plant debris … a vision of a woman painting in a garden accompanied by a bird and protea … a


transparent plastic shift stitched with flowers, hanging from a gnarled stump … a shallow bowl holding a bough of delicate pink flowers and pale leaves … an exquisite landscape filled with palm trees, wildebeest, and a lone elephant … a vision in blue, pink, and yellow of a child beside a pool, alongside works by artists I recognised, Sepideh Mehraban’s sticky rug, Swain Hoorgevorst’s vase. I saw an adorable ceramic figure plonked on its bugeyed head, brightly spotted in yellow, orange, green and red, and a striking series of portraits on newspaper which I coveted. A black mood board sparsely filled with reminders to ‘keep praying’ and ‘to stay with my mom’. A sculpture of a jaunty red figure determinedly heading somewhere. First, off the starting blocks, this playful, open, ever-ready figure conveyed the abiding mood of the show. There is life before, within, and after COVID. While we all remain in situ, our movement compromised at every turn, there is no stopping us from getting somewhere good.

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Richard Adusu, ‘Echoes of Peace’, mixed media on canvas, 100 x 125 cm

Christopher Moller Gallery www.christophermollerart.co.za; @christophermoller_gallery

INVESTEC CAPE TOWN ART FAIR 19-21 FEBRUARY 2021 Connect Through Art From Africa And The World Cape Town International Convention Centre www.investeccapetownartfair.co.za


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hile art fairs globally and locally accelerate their existing online platforms, Investec Cape Town Art Fair has boldly committed to opening its doors -- rather than online viewing rooms -- by presenting a physical fair for 2021. The 2020 edition showcased 49 local and 58 international galleries presenting a total of 423 artists, many with booths boasting sold out shows. Not to mention an accommodation value of an estimated 21 million ZAR for the Mother City. For the ninth edition, taking place from 19-21 February 2021 at the Cape Town International Convention Centre, Investec Cape Town Art Fair plans to collaborate with South African art institutions, thereby collectively encouraging, and inspiring visitors to come out of isolation and engage with the transformative world of tactile, visual contemporary art.Â

Understanding that the actual physical experience of viewing artwork is entirely unique and irreplaceable -- not by reproduction in books, and certainly not by online pixilation. The digitization of artwork changes the nature of the work -- scale, hues, flat-ness. Consider the light fractals and compression of image files alone as original artworks hand painted by individuals, are digitally reduced and altered. ‘Human connections are the answer to our isolated state. We believe in the

transformative power of art. There is nothing like the unique shared experience of viewing art in its physical form -- it is palpable,’ says Investec Cape Town Art Fair Director, Laura Vincenti. ‘Across our programming we will highlight collaboration with a strong line-up of ideas exchange.’  For the scheduled campaign ‘connectivity’ is the central narrative Investec Cape Town Art Fair 2021 will use to weave together simple bold graphics, colour-codes and abstracted patterns. ‘At Investec Cape Town Art Fair 2021, art remains centre-stage as seeing art brings people together,’ says Vincenti. All access to Investec Cape Town Art Fair 2021 will follow safety protocols for those emerging physically. Investec Cape Town Art Fair 2021 will welcome back galleries, artists, curators, collectors and visitors to vibrant Cape Town to contemplate and converse at


the forefront of the contemporary art world on the Southernmost tip. The ninth edition of Investec Cape Town Art Fair opens at the Cape Town Convention Centre from the 19th - 21st of February 2021, VIP/vernissage/preview day Thursday, 18 February, 2021. For more information, visit: www.investeccapetownartfair.co.za The fair is produced by Fiera Milano Exhibitions Africa (FMEA) of Fiera Milano S.p.A, a global leader in exhibition management and the organisers of miart art fair. Follow Investec Cape Town   Art Fair on Twitter @ ictartfair, Instagram @investeccapetownartfair and Facebook @ICTArtFair #ICTAF

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COUNTDOWN TO PORTRAIT AWARD 2021 Start working now and stand a chance to win 150K www.rustenvrede@telkomsa.net

Winning Portrait, Lesala in Silhouette by Craig Cameron Mackintosh, Oil on Italian Cotton, 100.5 x 80 cm, 2019

Stand a chance to win R 150 000 (first prize) by entering the national Portrait Award competition in 2021. Digital entries are open from 1 June 2021 until 12 June 2021. For rules and regulations, visit the official pagewww.rust-en-vrede.com/portrait-award/


To celebrate the fifth Portrait Award competition (since its inauguration in 2013), a second prize of R 30 000 and third prize of R 20 000 have been added. Happy creating! Contact Rust-en-Vrede Gallery, rustenvrede@telkomsa.net 021 976 4691 for more information.

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Second Place, Dr Charles Niehaus by Annette Pretorius, Acrylic on Canvas, 160 x 110 cm, 2019

Third Place, Oliver by Andre Serfontein, Oil on Canvas, 80 x 60 cm, 2019

(Detail) Fourth Place, Champion by Willem Pretorius, Oil on Canvas, 88 x 80.5 cm, 2019

Fifth Place, Aimee by Ruan Huisamen, Charcoal and Pastel on Paper, 75 x 63.5 cm, 2019

ESTHER MAHLANGU 85 www.themelrosegallery.com Photos. Clint Strydom


he Melrose Gallery is proud to announce ‘Esther Mahlangu 85’, a solo exhibition, in honour of Dr. Esther Mahlangu’s 85th birthday this month. The exhibition will run at The Melrose Gallery Johannesburg from 19 November until 20 December 2020. It will also be presented on a viewing room on www. themelrosegallery.com for those who are unable to visit the physical exhibition. ‘Esther Mahlangu 85’, curated by Ruzy Rusike, will present a comprehensive selection of the bold, abstract paintings for which she has become globally acclaimed. The works range from small A4’s to round ‘tondo’s’ and a large panel piece that is 3,6m x 2,4m in size and were painted over 4 years. Whilst Dr. Mahlangu is globally acclaimed, very few solo exhibitions of Dr. Mahlangu’s artworks have been curated in South Africa and this will be a rare opportunity for enthusiasts to see such a large selection of her works in one space. Mam Esther, as she is affectionately known by many, started painting at 10 years of age, where her mother, and her mother before her, taught her the skills of mural painting with fingers and feathers, as well as the intricate art of beadwork. Since her ascension to global notoriety in 1989, she has brought a touch of South Africa to other continents so that those abroad may experience the structured and vivid complexity of her work. Establishing herself as a visionary and disruptor from an early age by becoming the first person to reimagine Ndebele design on contemporary mediums. This has led her to paint anything from planes, cars, motorbikes and skateboard decks to canvas, walls, pots, mannequins and even war helmets.

Ndebele Abstract, 2019

In 1991 she became the first lady and first African to be invited to participate in the BMW Art Car Collection with other notables of the likes of Andy Warhol, David Hockney, Roy Lichtenstein and Frank Stella. In February 2020 she became the first artist in the world to be commissioned to create a painting for insertion in the ‘gallery’ of a Rolls-Royce Phantom called the ‘Mahlangu’ in her honour. Ndebele Abstract, 2020 26

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Ndebele Abstract, 2019

Ndebele Abstract, 2020

Dr. Mahlangu still chooses to live at her homestead in rural Mpumalanga but she has spent extensive time visiting and working in many of the world’s largest cities. She continues to travel to collaborate with respected curators, museums, galleries, art fairs, global brands and celebrities. She has painted two murals at the Smithsonian Museum, participated in a residency at the Virginia Museum of Fine Arts in 2014, her BMW 7 Series was unveiled at Frieze Art Fair in 2017 and her BMW 5 Series graced the front cover of the catalogue for SA Art of A Nation at the British Museum in the same year. Dr. Mahlangu has received numerous awards over her career including two honorary doctorates, an appointment as Officer of Arts and Letters which is the highest recognition granted by France for excellence in the arts,


the first UNHCR Southern African NGO and Multi Stakeholder Award from the United Nations in 2019. Her artworks grace many important collections including the Smithsonian, Virginia Museum of Fine Art, Dean Collection – Swizz Beatz and Alicia Keys, John Legend, Oprah Winfrey, Usher, the Sovereign Art Fund, Iziko SA National Gallery and many others. Mam Esther is a national treasure and great source of national pride. She is an inspiration to all as a symbol of how one can overcome the greatest of challenges with passion, commitment and dedication. Please join us in celebrating Dr Mahlangu’s 85th birthday. Halala Mam Esther.

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An exhibition of works by Laurel Holmes, Lisa Ringwood and Paul Kristafor RK Contemporary, Riebeek Kasteel 8 – 29 November 2020 www.rkcontemporary.com

Paul Kristafor, pin oak, bleached, diameter 29cm. height 14.5cm. Opposite Page: Paul Kristafor in his studio.


he concept of ‘vessel’ represents a profoundly feminine idea. Our planet earth (usually described as female) is ultimately a living vessel where the birth/death/rebirth cycle is enduring, and embodies the physical, psychological and spiritual aspects of all life. The vessel is a metaphor of interior and exterior, of containment, of transport, of usually liquid substance.  It is a universal and personal image, where containers are objects that are ordinary daily items, yet can be sacred too depending on the attachment of the role placed on them. These three artists use their chosen medium to develop unique treasures that embody a deep love for and connection to the natural world and the environs around them. The works on this exhibition represents the intimate relationship that each artist has with their material, and have developed over the years with this medium, their ideas and the form they take. The intention is not to


reproduce or replicate and the result is that the artists abstract and translate their response to their material and environs into a tangible, evocative object. Using salvaged timber, Paul Kristafor makes delicate sculptural and functional wood bowls. The ceramic vases, bowls and plates by Lisa Ringwood, are built slowly by hand, coiling and pinching the clay as well as using slab moulds for the plates and platters. This hand building adds vitality and charm to the work and gives each piece its own individual, unique character. Here, the circular form is powerful in its representation of the never-ending journey of eternity. Laurel Holmes’ works are drawn from a strong attachment to the land; its sense of place and the life it supports. In this exhibition, she uses paper as her modality of expression. RK Contemporary, 32 Main Street Riebeek Kasteel. www.rkcontemporary.com art@rkcontemporary.com 083 6533 697

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Laurel Holmes, Senescent IV, monotype with chine colle, 35x33cm

Paul Kristafor, pin oak, ebonised, 34cm diameter, height 20cm


Paul Kristafor, pin oak, copper stitching, diameter 22cm, height 21cm

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Laurel Holmes, Shards, etching with chine colle and deboss, 35x33cm

Laurel Holmes, Carrier of hopes and dreams I, drypoint with offset print, 35x33cm

Tall vase by Lisa Ringwood

Yellow vase by Lisa Ringwood


The Viewing Room Art Gallery at St Lorient: ‘Beige’ By Karin Preller www.stlorient.co.za

Above: Obviously, Mixed Media On Board 25 X 40 cm


n what is undoubtedly one of the most disruptive and disturbing years in recent history, paying havoc with peoples’ lives, dreams and aspirations, André Naudé presents an exquisite body of paintings in an exhibition which he titles, simply and unceremoniously: ‘Beige’.

The title provides the perfect starting point to write about an artist that understands colour and form like few other artists: rightfully acknowledged as one of South Africa’s foremost colourists. But more than this, the title is immediately evocative of the playfulness, wry sense of humour and dark irony that permeate Naudé’s work, and life, in various ways. Not an artist that lets himself be dictated to by whim or the capriciousness of the artworld, Naudé’s visual language is uniquely and unmistakably his own. “Cantankerous”,

Naudé describes himself when we speak, and I smile. Conversations with Naudé are never dull, always inflected with humour, and always contextualised by his immense knowledge and love of art. Naudé’s prolific career, and his involvement with all aspects of the art world – as lecturer, teacher, curator, adjudicator, but primarily as artist – spans more than four decades from the mid-1970s to date. This exhibition, as was his mid-career retrospective at the Pretoria Art Museum in 2001, is again reflective of salient aspects of his work, drawing together, but also taking further, the rich diversity of his processes of making in eminently seductive works that speak not only of colour but of a consummate understanding of paint, line, form, composition, of sheer immersion in his work as a whole.

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Left & Right: Bleu, Mixed Media On Canvas, 121 x 76 cm Opposite Page: Aftermath, Mixed Media On Canvas, 122 x 92 cm

“Not an artist that lets himself be dictated to by whim or the capriciousness of the artworld, Naudé’s visual language is uniquely and unmistakably his own. “Cantankerous” Art critic Lucia Burger, in the first line of her opening speech for one of Naudé’s many solo exhibitions, stated unequivocally: “Andre Naudé is a flirt”. I quote her because it is essentially Naudé’s love affair with paint that shines through in all of his work over his illustrious career. His flirtation with paint, with medium and material, is perhaps most viscerally discernible in his distinctive use of colour. It is reflective of a special knowledge of how colours will mix; how they will look, interact with, recede, and advance on the surface of the canvas. The same entrancement that holds the viewer’s attention is also the artist’s entrancement and enchantment with paint. As I write this, I recall the different


spaces in which I have encountered Andre’s work. I conjure up, ‘tangibly’ almost, the colour of certain works that drew me to the work. Whether in variations of solid or evanescent blues and yellows, in ominous reds and black, it is Naudé’s colour that resonates as one of the most tantalizing and enigmatic elements of his work. Ultimately, Naudé’s manipulation of his medium and material enables a world at once familiar and ambiguous, ordered and disrupted. The very substance of paint, of marks on the surface, references not only Naudé’s engagement with the world, but the skill, commitment and judgment one senses

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Title In Progess, Mixed Media On Canvas 51 x 51 cm Opposite Page: Check My Whalebone, Acrylic Paint On Canvas, 200 x 150 cm

have been honed over years: a particular, intimate connection between the artist’s hand and head – a tactile and tacit knowledge of subject and medium that is imbedded in the work. His is a dialogue between practice and thinking that is layered not only in terms of technical virtuosity, but layered in terms of meaning and subtle references/links that viewers might make when looking at his work. However, while Naudé’s work might be read partly as a commentary on life’s absurdities and ironies (displayed more than ever in this extraordinary year), this is not an artist setting out in the first place to dictate meaning.

His work is seductive in the way that it ‘entices’ meaning. From smaller works of pure abstraction with a lightness and economy of brushstrokes to the layered complexity of works in which familiar motifs recur, Naude’s work is a life recast in paint. The surface is the primary site, in the very gesture and substance of paint, where meaning is first and foremost generated and where it resides. It is a flirtation with paint that comes across in a life lived with and through his art. And it is, ironically, not beige.

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EXTENSIVE LANDSCAPE New Horizons – Memoirs of the past By Gail Dorje www.capegallery.co.za


pen to view online www.capegallery. co.za and in The Cape Gallery, 60 Church St from 5th November this exhibition of ‘Extensive Landscapes’ showcases a diverse collection of landscape paintings and graphics.

Prevailing influences from the past. Landscape paintings form the core of many South African art collections, a trend set when trade and exploration forged new frontiers in the 17th century, followed by the establishment of a prosperous middle class in Europe who brought new patronage for the arts. Popular genres of landscape painting in Europe were to be paralleled in South Africa. In the 19th century in France a group of artists rejected formal academic strictures and chose to paint ‘en plein air’, accurately observing the light and painting a ‘slice of life’. Known as the Impressionists their influence was felt throughout Europe and in the colonies. In South Africa Pieter Wenning (1873 –1921), Tinus de Jongh (1885 –1942), Gabriel de Jongh (1913-2004), Edward Roworth (1880 –1964), Nita Spilhaus (1878 –1967) and Ruth Prowse (1883 –1967) were aware of the Impressionist’s colour theory and occasionally resorted to it but they favoured an academic approach to painting landscape. It was left to Gregoire Boonzaier (1909 –2005) and Strat Caldecott (1886 – 1929) to fully embrace the Impressionist precepts. Interestingly, Dutch born J H Pierneef (1886 – 1957} considered himself to be a decorative artist. His landscape compositions are underpinned by a strong geometric design, consistent with the 20th Century Art Deco architecture and ornament. Roelof Rossouw, Cape Point, Where Two Oceans Meet, 80 x 100, Oil


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Frederike Stokhuyzen, Tabe Mountain from The Glen, Kloofnek, 52 x 57 cm, Oil

Robert Koch, End of the Road, 54 x 30 cm, Oil 42

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Rachelle Bomberg, The Chasm, 75 x 130 cm, Oil

In the 20th Century post war technology accelerated change and a thirst for new directions in art such as Expressionism, photorealism, abstraction etc. Our current exhibition. In the Post-Modern climate of the 21st century an artist can select a genre appropriate to their practice. South African artists grounded in past traditions carry cellphones with cameras, use computers and can Google libraries of images and technical information. Roelof Rossouw enjoys painting within the post-impressionist tradition, often painting ‘en plein air.’ However, when challenged to paint a view of ‘Cape Point where the Two Oceans meet’ Roelof will compose the scene on his computer using an aerial photograph before painting it in the traditional manner. Frederike Stokhuyzen daughter of Dutch parents grew up in South Africa. J H Pierneef was a family friend. She studied Fine Art at Rhodes University following this with a course in stain glass at the Central School of Art in London. Her oil paintings are a paeon to nature, painted in vibrant colours with a palette knife from carefully observed pen and wash sketches.

In a subtle way, human thoughts, or feelings can become entangled and encoded in representations of landscape. Poetry, history, and novels we read, music we listen to; all these are predisposed cultural filters informing the intent of the artist and will elicit the attention of the viewer. Rachelle Bomberg’s painting ‘Chasm’ conveys her concern that the amazing advances in technology may come at a cost of our humanity, that ironically as we unlock the mysteries of creation, our connection to the natural world becomes remote. Bangikaya Maqoqa, a traditional sangoma whose dream is a message from his ancestors requiring interpretation, paints a land divided in ‘Omen of the disconnected.’ The scope of the ‘Extensive Landscape’ is varied and the influences as complex as the group of artists who have contributed paintings. For further information please visit The Cape Gallery website www.capegallery. co.za and follow the links.

ARTS TOWN RIEBEEK VALLEY Summer Art Season in Full Swing www.artstown.co.za

The Royal Arts Town Amphitheatre (RATA) Image. Neil Geldenhuys

Top Row Left: Visitors to the studio of conceptual artist Emma Willemse. Top Row Top right: Studio Greta McMahon. Top Row bottom right: Studio Tamlin Blake. 46

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ne of the most keenly anticipated art events on the Western Cape cultural calendar, Solo Studios – Intimate Art Encounters, is back this summer. Currently in its fifth edition, Solo Studios is traditionally held over the Women’s Day weekend at the beginning of August. However, due to the Coronavirus pandemic, this year’s event had to be postponed and is now scheduled to take place over the weekend of 11-13 December. The creative community of the Riebeek Valley, which encompasses the twin towns of Riebeek Kasteel and Riebeek West, took the opportunity during the months of lockdown to develop the concept of what has become known as Arts Town Riebeek Valley, an umbrella platform which unites initiatives and projects which create and develop products within the cultural tourism sector. Arts Town Riebeek Valley is also breathing new life into the Performing Arts through the Royal Arts Town Amphitheatre’s Summer Theatre Season, the Olive Branch Project’s community performance initiatives and the return of First Fridays which has been expanded into a weekend long event of live productions, shopping and eating experiences. Solo Studios – Intimate Art Encounters 17 Artists’ Studios The core of Solo Studios has always been the studio artists, who once a year collectively open their studios to a limited number of art aficionados, collectors and investors. This not only provides the visitor with unique insights into the creative processes and inspirations of the artists, but also an opportunity to engage directly with the creators of their works and to purchase art ‘fresh off the easel’.

Every year a new application and selection process is followed to ensure both continuity and variety. The 2020 selected studio artists are: Anton Momberg, Sharon Bischoff, Tamlin Blake, Gordon Williams, Solly Smook, Claudia Gurwitz, Greta McMahon, Riaan van Zyl, Ade Kipades, Louisa Gerryts, Francois van Vuuren, Tanja Mayo, Emma Willemse, Jenny Parsons, Anthony Harris and Wiehan de Jager. Bottom Row Left to right: Studio Clauda Gurwitz. Studio André Francois van Vuuren. Andries Dirks will hold his first solo exhibition titled Klipkinders

This year, an exciting emerging talent will be joining the acclaimed artists, some of whom have over fifty solo exhibitions under their belts. Sculptor Andries Dirks will be presenting his first solo clay sculpture exhibition, Klipkinders, which marks a formidable personal victory for him. Born and raised in the Riebeek Valley, Andries left school in Standard Four to work on farms. Turbulent years followed, resulting in nearly fourteen years behind bars. It was art that finally set him free, thanks to rehabilitation programs. When he walked out of prison for the last time in 2005, it was with a firm grasp of pottery techniques and life skills. Working with clay has always been a natural calling for Andries. As the only child on an isolated farm he made ‘friends’ from the clay in a ditch. Later he would skip school to play with clay in the veld. Andries remembers a sense of reverence when his people talked about ‘klipkinders’ (referring to their Khoi ancestry), as if it added substance to their existence as so-called ‘coloureds’. The Khoi influence resonated with him throughout his years adrift, and now finds form in his art. Andries’ participation in Solo Studios has in past years been on the periphery as part of social development initiatives or group exhibitions but, thanks to a generous benefactor, he is now working full-time as an artist in his studio with a kiln in the tourism hotspot of Short Street in Riebeek Kasteel. 10 Galleries and Group Exhibitions The three permanent galleries which have participated in every Solo Studios; Gallery Riebeek Kasteel, RK Contemporary and Pictorex Photographic Gallery, will this year be joined by another new Arts Town Riebeek Valley initiative, Gallery 7 on Plein. Located at the Riebeek Valley Tourism offices in Riebeek Kasteel, Gallery 7 is a platform for emerging talent and aspiring and non-professional artists to exhibit and sell their work. The opening was recently celebrated and the gallery’s participation in Solo Studios is keenly anticipated and welcomed. A further six galleries and group exhibitions have been selected for participation: The Arteri, @ 17 Roos Creative Workspace, Swartland Photographic Club, The Hub, Q Studio and the Stone Circle Project.


Andrea and Chris Mullineux at The Art of Wine

Peripheral Activities Although the emphasis of Solo Studios has always been on artists and art investment, a range of peripheral activities has been developed over the years. Musicians, authors, poets, actors, directors and vintners create, produce or convene a range of high-end activities and events which complement the art. As is the case with all Solos Studios content and product, 90% is local, created by Riebeek Valley residents, or residents of the immediately surrounding areas. The Art of Wine The Swartland has become internationally

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renowned for its new breed of “revolutionary� wine makers, who now occupy positions alongside the established traditional wine estates of the Riebeek Valley. Multi-award winning viticulturalists have recognized Solo Studios as a platform for wine connoisseurs and have participated keenly when invited to do so. In 2020 the event boasts arguably the finest line-up to date, with participation confirmed thus far by Andrea and Chris Mullineux of Mullineux and Leeu Family Wines and Adi Badenhorst of A.A.Badenhorst Family Wines. A few more marquee names in the industry are currently under consideration, as are a few of the new emerging stars of the Swartland winemakers.

Solo Kitchens canapes at Vineyard Views Country House

Solo Kitchens The popular Solo Kitchens returns this year, with social distancing elements in place. Instead of sit-down dinners at dining tables, some of the valley’s finest hosts and caterers will entertain visitors on their stoeps and in their gardens. Do not miss this unique evening of canapes paired with wines and hosted in partnership with some of the country’s top winemakers.

eerstemense Performance poet Donker Jonker debuts his latest one-man production at Solo Studios 2020. Last year his haunting exploration of depression, Kopkamer, was the talk of the event, this time he will be taking audiences back in time to when the Riebeek Valley was inhabited by the Khoi and San peoples. Vibrant fireside theatre in an intimate open-air setting. Directed by Mark Graham-Wilson.

Performance Art The Riebeek Valley is home to several performing arts practitioners, some of whom have been collaborating for some time on producing short innovative and cutting-edge performance pieces, two of which are being presented at Solo Studios.

The Harlequin’s Needle Built around projections juxtaposed literally and figuratively with mirroring and monologue, the piece explores the notions of fear, alienation and sexual abuse and emancipation experienced by the queer community through evoking multiple emotional responses and interpretations which


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Top & Bottom Right: The Arteri presents The Uncouth Youth. (Detail) Gordon Williams, Quiver Abstract #1, 2020, Acrylic on canvas, 91cm x 61cm

are mirorred back to the performer. Conceived by and starring Georick Veltman aka The Mirrosister. Directed by Mark Graham-Wilson. Booking Due to the nature of the event and the limited capacity of the artists’ intimate spaces, attendance at Solo Studios has always been restricted. This year numbers will be further limited as social distancing regulations are likely to still be in effect. Taking into account that most of the peripheral activities were sold out too in 2019, early booking is essential to avoid disappointment. There are a variety of passes to Solo Studios, from Premier Weekend to Day Passes. All are available online to book now.

Tickets to the peripheral activities will be released as details are confirmed. These tickets will be made available for purchase to existing Pass Holders for a limited period before sales are opened to the public. Most peripheral activities are anticipated to sell out again this year, so attendees are advised to purchase their passes well in advance. As accommodation is also likely to sell out, visitors are advised to book early on www. roomsinriebeek.co.za. For info and bookings visit www.solostudios.co.za. Royal Arts Town Amphitheatre (RATA) Summer Season Opened in response to the Covid-19 pandemic which shut down the performing arts industry

Adries Dirks with a work from his solo exhibition Klipkinders

world-wide, the open air ROYAL ARTS TOWN AMPHITHEATRE in the gardens of the iconic Royal Hotel in Riebeek Kasteel is one of the first live performance spaces in the country to start operating post lockdown. Director of the amphitheatre, Mark GrahamWilson, has put together a programme of ten professional theatre productions which make up the RATA Summer Season. The theatre opens officially on November 13 with the production of a new play written and directed by multi award winning Clare Stopford, Covid Moons. This will be followed by a children’s production, Stuppet Stories and Lynita Crofford’s acclaimed performance in An Audience with Miss Hobhouse.

2021 productions, which will take the Summer Season through to its close at the end of April, include Roger Lucey in How to Build a House in the Mountains, Hannes van Wyk in Se Groete vir Ma, Godfrey Johnson’s Shadow of Brel and Marc Conc Colli’s Conc the Karoo Clown. Negotiations are in progress to bring in other plays and opera productions. For more information and to book tickets go to www.artstown.co.za & www.solostudios.co.za *Solo Studios – Intimate Art Encounters and Arts Town Riebeek Valley are proudly partnered with and generously supported by Art Times, Business and Art South Africa (BASA), Wesgro and The Royal Hotel Riebeek Kasteel.

Over the Solo Studios weekend, RATA will present The Harlequin’s Needle and the last production of 2020 is Oom Schalk from the Heart, David Muller’s celebrated production of Herman Charles Bosman stories.


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492 Fehrsen Street, Brooklyn Circle, Pretoria 012 460 0284 / 066 274 2094 art@stlorient.co.za www.stlorient.co.za/the-viewing-room/ StLorientFashionAndArtGallery

NWU GALLERY Batswana History and Heritage Preservation – United Communities 18 November

“United Communities� is our 2020 theme, which displays the long-prevailing unity among an African grouping of the Batswana speaking community of the Royal Bafokeng nation. The exhibition narrates the historical events that positioned the nation and its people to their current status. Displaying integrity and good governance by our leaders and the involvement of the community. The show displays images of Dikgosi tsa Bafokeng from the times of the legendary Kgosi Mokgatle to the current Kgosi Leruo Tshekedi Molotlegi. The community participation and involvement through various traditional structures is represented through paintings and sculptures like; Kwena (Bafokeng totem), Bafokeng men who went to Kimberley, Tiro ya kutle (clan duties). Tshepang Maelangwe Paintings and sculptures representing community participation and involvement through various traditional structures are created by Rre Tshepang Maelangwe. In his artworks, Rre Tshepang used the traditional mediums of painting and wood carving. The traditional approach emphasizes the Bafokeng traditional structures, customs, morals and values that encourage unity amongst the community members. The images are well painted using two different colour pallets; the ethnic pallet and the natural pallet. He used the ethnic pallet to indicate ancient mythology, traditional customs and heritage while the natural pallet is used to display historical practices which are still embedded within this cultural community and the current influence. He carefully selected and used wood to resemble the ancient traditions of the Batswana mythology, spirituality and proverbs. Tshepang Maelangwe, Bafokeng men leaving Kimberley (mines) to Phokeng, 2018


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Motswana Molotlegi, Kgosi Mokgatlhe

Tshepang Maelangwe, Tsie e Fofaka Moswang, 2020

Motswana Molotlegi, Kgosi Molelwane Molotlegi

The exhibition narrates the historical events that positioned the nation and its people to their current status. Princess Motswana Molotlegi The choice to use digital art breaches traditional values with a contemporary structure of life today. Princess Motswana’s paintings are well-created artworks with layers on top of layers of vibrant colours resembling the wisdom and integrity of our previous and current Dikgosi. The use of the computer emphasizes the prolonged ability of adaptation, competitiveness, innovation, visionary and ownership embedded in our Dikgosi. This pattern of leadership, relayed


from generation to generation is well captured with ethnic and cool colours. The bold vivid colours and background resembling unique approaches by individual Kgosi and unique contributions. Our Dikgosi, from as early as Kgosi Mokgatle to the current Kgosi Leruo Tshekedi Molotlegi, are extraordinary men who steered the community to archiving greater things.

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Scattering of resources, misrepresented relief NWU Gallery, 18 November Curated by Amohelang Mohajane

Above: Untitled, 2020. Opposite Top: Keep Calm, 2020. Opposite Bottom: Xibelani dance, 2020


e believes that making art is a vehicle for the expression of his thoughts, memories and everyday life experiences. Growing up in a rural village has offered him the perfect opportunity to observe nature, that includes animals and birds especially the African pied crows. His work is mostly inspired by nature and his environment.

His work explores the everyday life experiences, thoughts and memories including socio-political issues, identity, inequalities, Social-status within the socialpolitical spheres. He investigates the way our identities have been imagined and shaped


within a social and political commentary in the country. Furthermore, the challenges facing us in our everyday life as South Africans. His art-making process combines ready-made objects, manipulated polymer, metal and soil. His is interested in using children as a symbol of hope and strength. Objects are juxtaposed and placed in dialogue to stimulate a certain emotional response in the viewer. Birds and found objects such as shovel are used as symbols and metaphors. Simultaneously, the work is also open-ended and allows the viewer to interpret it in terms of his or her own experiences and personal narratives.

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COVID - 19 - THE GIFT OF WALLS - DYS-U-TOPIA AND EXHIBITION OF DIGITAL ARTWORKS featured in the book By Bettie Coetzee Lambrecht

The responses of 29 participants are also printed in the book. Sometimes the reactions from different participants to the same picture are illuminating and surprisingly similar reactions sometimes to the same picture. In this way, I managed to create a kind of imaginary art gallery where friends or even strangers would sometimes chat informally about an artwork.  This was the Gift I received from the Participants. Being forced to sit in front of my computer screen to design and layout the book, when otherwise I would have escaped my 64 sq m sized apartment in Cape Town, I finally managed to get it printed. Sometimes one needs to be detained to be free…. DATE: 10 November 2020 The content of the book deals with the simultaneous experience of Good and Bad, Pain and Delight which was served to us so generously during South Africa’s hard Lockdown. Instead of chapters, the book of 84 pages in A4 portrait format, is divided into “Rooms”, each dealing with different aspects of the emotions evoked during this period. Universal experiences and feelings are however, not restricted to only this particular period in time. This paradox features in many works of art, literature and in everyday expressions.  The reason for “Rooms” instead of chapters: During Lockdown we practice(d) social distancing. How to overcome the feelings resulting from this inhuman experience? Imagination. I invited friends, writers, poets, artists to be participants in my photo project by visiting my website and choose two Posts dealing with the above theme. My request was: Write down your gut feel response to whichever image speaks to you. Whether it is one word, a sentence without proper punctuation or grammar, a poem, a picture of your own. However long you want to write. 


VENUE: MOGALAKWENA GALLERY at Montebello Design Centre, 31 Newlands Avenue, Newlands Cape Town. TIME: Exhibition of Digital Artwork, Artists Book daily from 10.30 to 16.00 until 30 November. Certain responses from participants will be read at 11.00 at the launch on 10 November.  Please note that Covid-19 protocol will be observed at all times. You are welcome to join us for lunch at 12:00 at The Gardener’s Cottage on the same premises at Montebello. The telephone number, should you wish to make a table reservation, is: 021 689 3158. For a Preview of the book, go to www.publisher.co.za The signed, limited edition of 100 books as well as the Digital Artworks printed by hand on archival paper can be purchased from the Author/Artist at the Mogalakwena Gallery.

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5th Avenue Auctioneers

J.H. Pierneef (SA 1886 - 1957) Oil

Sat 5th & Sun 6th December Live online only

Full Catalogue available on our website prior to the auction Closing date for consignments Wednesday 18th Nov


011 781 2040



Museums Can Help Fill the Gap—But Only If They Survive First published on Artnet by Laura Lott, October 21, 2020

The formal education system is in peril. Museums in every community can help fill the gap—but unless we act quickly, thousands of cherished institutions will close forever. Due to COVID-19’s grip on the country, many school systems are engaging students virtually to safeguard the health of their students, teachers, and communities. Other school systems have or will be opening their doors, some think prematurely, and causing many families with means to consider alternatives to the classroom environment until the coronavirus is under control. For most families, homeschooling and private tutors won’t be an option. Teachers and parents alike are scouring the internet for curricula, lesson plans, and teaching tools—high-quality and affordable educational material to help students get through the school year in front of a computer screen. There are some green shoots across America’s otherwise barren summer schoolyard. New resources are emerging to help teachers and families—but they’re not coming from Silicon Valley. They’re coming from your community museums. Always more than a field-trip destination, museums of every shape and size are quickly but quietly mobilizing to meet the emerging national education crisis.


The Exploratorium offers a COVID-19 Science Spotlight with activities to explore and understand how viruses work. The Monterey Bay Aquarium provides “Learning at Home” activities for students to explore ocean habitats and the habitat in their own neighborhood. The Virginia Museum of Fine Arts suggests at-home hands-on art activities while exploring the museum’s relevant collections, virtually. And Mount Vernon’s “Be Washington” is an interactive leadership experience that confronts participants with the challenges George Washington confronted as president. In fact, so many museums have stepped into their education roles during the pandemic that a Museum Distance Learning Repository has been created to organize the thousands of resources available. American museums spend more than $2 billion per year on education, with programs in every subject, often tailored to the needs of state and local curriculum standards. Museums are centers of learning, popular with people of all socioeconomic backgrounds, races, ages, educational levels, and political affiliations. From art museums to science centers, arboretums to zoos, aquariums and history museums, all play an important role in supporting the education of our children. There are approximately 66,000 public elementary schools in the United States—and more than 35,000 museums alongside them in every inner city and rural town across the nation. Fifty million students attend public schools in the US—and 55 million students visit American museums each year. A major museum like the Smithsonian’s National Air and Space Museum may have dozens of paid and volunteer educators and serve more than one million students per year through their programs—nearly as many

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pandemic, which are expected to continue as communities are struck with new outbreaks across the country. Museums found themselves in this precarious position when revenue from admission, gift shops, special events and programs disappeared overnight as the pandemic shuttered all cultural institutions. Sadly, many will never recover—but we can stop the field from dwindling further if we act now.

students as the New York City Department of Education, the largest school system in the nation. These stats seem like apples and oranges—and they are in very important ways—but, let’s face it, apples and oranges have a lot in common when you’re going hungry. Schools and museums are not the same. The nation’s 3.7 million teachers comprise the professional pedagogical backbone of our informed and engaged civil society. But these two communities share a common mission, and many common methods. As the otherwise-disparate statistics above show, museums stand as a ready reserve, with more than 300,000 hands on deck to help steady the ship in our current tempest. Museums represent the only educational system outside of our formal framework with the knowledge and people power to back up our teachers and parents on the front lines. But the museum field faces a crisis of its own—at once more existential and yet far simpler to solve. Within the next 12 to 15 months, we face the grim specter of losing 33 percent of all museums across the nation. Without direct near-term assistance from governments and private donors, one third of museums may not survive the financial fallout from the pandemic. A survey of more than 750 museum directors, fielded in June before the most recent spikes of COVID-19, confirmed early estimates of the dire economic harm to museums caused by necessary measures to contain the


Museum advocates across the country have sent more than 50,000 letters to their elected officials to make it clear to that there is a desperate need for COVID-19 financial relief for the museum field. This relief is necessary for the future stability of our economy, our educational system, and our communities. The CARES Act assisted numerous museums to retain some of their staffs and maintain what operations were possible, however this funding has run out and we’re witnessing massive layoffs and furloughs that will have ripple effects throughout communities. Of the museums able to reopen, more than 40 percent plan to do so with reduced staff—in most cases this includes reducing or eliminating the very education positions communities need most. Some museums have already cut their education staffs significantly. Institutions will also need to spend additional funds to ensure public safety—even with a partial reopening, costs will outweigh revenue, and there is no financial safety net for many of these institutions. The distress museums are facing will not happen in isolation. The permanent closure of 12,000 museums will be devastating for communities, economies, education systems, and our cultural history. Museums have quietly mobilized alongside our teachers and students, and unless we raise our voices now, many of those museums will quietly perish—we can take this simple measure on behalf of our children and their children, or we can pray their forgiveness for our inaction.

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Business Art News


Bold ideas and new categories inform NORTH/SOUTH, Strauss & Co’s new four-day sale www.straussart.co.za

Irma Stern, Swazi Woman, R 3 000 000 - 4 000 000


trauss & Co is pleased to announce details of its forthcoming multi-day live virtual auction of art, decorative arts, jewellery and fine wine, due to take place from Sunday, 8 November to Wednesday, 11 November 2020. This exciting bi-city initiative is titled NORTH/SOUTH and replaces the company’s traditional endof-year city sales in Johannesburg and Cape Town with a consolidated virtual sale involving both offices simultaneously. While new in format and duration, NORTH/ SOUTH is a showcase of everything Strauss & Co does best.

Maggie Laubser, Boy in a Fez, R 500 000 - 700 000

“As market leader we have a responsibility to innovate constantly,” says Strauss & Co joint managing director, Bina Genovese. “We successfully introduced new hybrid ways of trading and connecting with our clients in response to the Covid-19 pandemic. The net outcome of our hybrid live-digital strategy for 2020 has been a 30% growth in new clients. We have learnt that in a pandemic economy, when collectors pursue their passions remotely, the geographic location of a sale is of secondary importance. This suggested an opportunity to remodel and strengthen both the format and content of our live sales by creating a marquee virtual sale to showcase optimally our incredible offerings.” Prestigious single-owner collections have long been a hallmark of Strauss & Co’s sales. Continuing in this tradition, the NORTH/ SOUTH sale commences on 8 November with a session devoted exclusively to a singleowner collection from a private cellar of the


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John Newdigate and Ian Garrett, Birds Feeding, R 50 000 - 70 000

Alexis Preller, Craters, R 1 800 000 - 2 400 000

most hallowed wines of Burgundy and the northern Rhône. The 19 producers on sale include Domaine Armand Rousseau Père et Fils, Domaine Comte Georges de Vogue and Domaine de la Romaneé-Conti, exceptional vineyards known to produce among the most sought-after wines in the world.

ritual dance at the Royal Kraal in Ludzidzini at the invitation of Swazi King Sobhuza II. Painted during a transitionary stage in Stern’s career, this important work captures both the artist and her subject coming of age.

On the following day, 9 November, there is a session devoted to the Tasso Foundation Collection of Important South African art assembled by the late Giulio Bertrand of Morgenster. Italian-born Giulio Bertrand (1927–2018) is best known to South Africans for his transformative activities at Morgenster Estate in Somerset West. The 75 lots consigned by the Tasso Foundation Collection, whose collecting activities Bertrand initiated, include exemplary pieces by William Kentridge, Maggie Laubser, Stanley Pinker, Alexis Preller, Irma Stern, Diane Victor and Pieter Wenning. The cover lot for catalogue 1 of Strauss & Co’s three-volume print catalogue for NORTH/SOUTH is drawn from the Tasso Foundation’s outstanding survey collection and features Irma Stern’s 1927 oil portrait Swazi Woman (estimate R3 – 4 million). The work was probably executed in the region of the Ezulwini Valley where Stern attended a


Two further collections feature in a session devoted to modern, post-war and contemporary art on 11 November. Initiated by Moravian missionaries Jan Hugo and Sophie Charlotte Küpper, the Küpper Family Collection comprises six works by Maggie Laubser. Laubser gifted these works, including Boy in a Fez (estimate R500 000 – 700 000), to the couple as thanks after painting trips spent at their mission in Mamre. The Late Desmond Fisher Collection contains excellent examples of midcentury vernacular modernism by Dumile Feni, Sydney Kumalo, Cecil Skotnes and Edoardo Villa. Kumalo’s seated figure Madala I (estimate R500 000 – 700 000) is a highlight of this private collection, and also introduces a further lot selection focussed on mid-century sculpture. In addition to Kumalo and Villa from the Desmond Fisher Collection, the line-up includes fine bronzes by Lynn Chadwick, Elizabeth Frink, Ezrom Legae, Speelman Mahlangu and Stanley Nkosi, among others. This particular session concludes the four-day sale.

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Ezrom Legae, African Goat; She Goat, two, R 2 500 000 - 3 000 000

Andile Dyalvane, Scarified Conical Vessel, R 50 000 - 70 000

All these properties slot into a remodelled catalogue and session design. NORTH/ SOUTH comprises a total of eight sessions spread across four days. The scheduling, pacing and formatting of the sale has been optimised better to serve collectors and their interests. Among the innovations are Interiors, an integrated session of art, furniture and decorative arts on 9 November, and New Collector, a session featuring a mediumspecific focus on South African ceramics and prints and multiples, on 10 November. The lot selection for Interiors includes Cape, English and European furniture and collectable silverware interspersed with fine examples of 20th-century South African painting. Conceived by Vanessa Philips, Strauss & Co’s joint managing director, the intention of this session is to emphasize the total experience of collecting, as well as the integration of collectables in various media and from various ages into a domestic setting. The print catalogue includes photographs of beautifully styled displays organised by celebrated interior designer, Monique Lion-Cachet. The Interiors session includes a vibrant selection of flower paintings, among them Irma Stern’s Still Life with Basket from 1937 (estimate R3.5 – 5 million) and Vladimir Tretchikoff’s The Tropical Flower from 1945 (estimate R1.4 – 1.6 million). An 18th-century Cape stinkwood and satinwood armoire formerly owned by collectors Punch and Cynthia Barlow (estimate R600 000 – 800 000) forms part of an impressive furniture consignment. Highlights include a Piero Fornasetti ‘Trumeau Architettura’ cabinet (estimate R750 000 – 850 000) and a Hans Wegner rosewood dining room suite (estimate R180 000 – 200 000). The New Collector session acknowledges developments and innovations in contemporary South African ceramics and presents a diverse ensemble of notable protagonists, including Deborah Bell, John Newdigate, Ian Garrett, Katherine Glenday, Robert Hodgins, Ruan Hoffmann, Eugene Hön, Barbara Jackson, Martine Jackson, William Kentridge, Noria Mabasa, Lucinda Mudge, Nesta Nala and Hylton Nel. Important lots by pioneer contemporaries include Bonakele Ntshalintshali’s painted ceramic Elephant and Stork Embracing (estimate R20 000 – 30 000) and a painted and glazed


Lisa Brice, Untitled IV, R 100 000 - 150 000

ceramic tile by Esias Bosch (estimate R80 000 – 120 000). The session includes two lots by Andile Dyalvane, a star participant in Design Miami, including Scarified Conical Vessel (estimate R50 000 – 70 000). NORTH/SOUTH has been designed to cater to collectors who wish to engage in their passion in a socially distant manner consistent with prevailing Covid-19 health guidance. As such, the sale will be live-streamed on Strauss & Co’s website. Collectors are nonetheless invited to the preview commencing on Monday, 26 October in Cape Town (at Brickfield Canvas, 35 Brickfield Road, Woodstock) and Johannesburg (at Strauss & Co, 89 Central Street, Houghton). Clients are advised to consult our website for the location of individual lots, either Johannesburg or Cape Town, details available on the Strauss & Co website. A programme of walkabouts, lectures and Zoom talks will take place during the fortnight preceding the auction. The topics and the links will be available at www.straussart.co.za

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Art, antiques, objets d’art, furniture and jewellery wanted for future auctions

Walter Meyer, oil on canvas SOLD R 42,000 View previous auction results at www.rkauctioneers.co.za

011 789 7422 • 011 326 3515 • 083 675 8468 • 12 Allan Road, Bordeaux, Johannesburg

Business Art News


To offer the Tasso Foundation Collection of Important South African Art assembled by the late Giulio Bertrand of Morgenster www.straussart.co.za

Strauss & Co is delighted to announce that its forthcoming NORTH/SOUTH sale (8–11 November 2020) will include a session exclusively devoted to the holdings of the Tasso Foundation Collection of important South African art assembled by the late Giulio Bertrand. Italian-born Giulio Bertrand (1927–2018) is best known to South Africans for his transformative activities at Morgenster Estate in Somerset West. Bertrand became involved in this renowned estate in 1992 and went on to reinvigorate its winemaking traditions as well as introduce olive cultivation, a complimentary activity to winemaking in Italy that was unheard of at the time in South Africa. The Italian olive trees and Bordeaux vines he introduced at Morgenster prospered and Bertrand acquired the legend as a champion olive-oil maker and discriminating wine producer. “Giulio Bertrand was a true Renaissance man: a successful industrialist who in his later years became a pioneering agriculturalist, and whose passion for art was instrumental in assembling the Tasso Foundation Collection,” says Bina Genovese, Strauss & Co’s joint managing director. “His impact on the culture of the Cape winelands is well known. Morgenster’s extra virgin olive oils have received numerous accolades, both local and international, as have its prestigious and multi-award-winning Bordeaux-influenced wines, as evidenced in the estimate-beating prices achieved in our May 2020 fine wine sale. The passion and devotion Giulio Bertrand brought to wine growing and olive cultivation was similarly evident in building this impressive collection.” The 75-lot sale of paintings, sculpture and works on paper consigned by the Tasso Foundation tells the story of South African art and artists from the period of union to liberation, but is framed by a far older history of exchange between South Africa and Italy.


Established in 1711 from a section of the farm that originally constituted Vergelegen Estate, Morgenster’s first owner, Jacques Malan, was a French Huguenot whose family traced their ancestry back to the north-western Italian valleys of Piedmont. Bertrand was born in Biella, an important Italian wool processing and textile centre in Piedmont. Much of his discernment and knowhow was formed in the Piedmont region. Bertrand’s introduction to South Africa predated his activities at Morgenster. Born into a respected family-run textile business supplying yarns and fabrics, its operations included two factories located in the Eastern Cape. Starting in 1975, Bertrand visited South Africa four-times annually from Italy to oversee production at these factories. It started his longstanding love affair with South Africa. Morgenster was ostensibly a retirement project for Bertrand, but given his unique flair and passion, the last three decades of his life were anything but sedate. Bertrand embarked on the ambitious transformation of Morgenster’s agricultural production as well as the restoration of its historic buildings. Built in 1786, the original manor house at Morgenster is famous for its six gables, in particular the front gable, which is widely considered the finest example of Cape baroque style. Bertrand oversaw the renovation of the house with the guidance of architect Revel Fox and designer Graham Viney. Collaboration was central to Bertrand’s ethos. He established productive partnerships with the Olive Oil Research Institute of Italy and Pierre Lurton of Chateau Cheval Blanc and Chateau d’Yquem in Bordeaux, as well as with auctioneer and tastemaker Stephan Welz. Opposite Page: Irma Stern, Seated Woman, Zanzibar, 1945, R 1 500 000 - 2 000 000

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Building an art collection is about enthusiasm and long-term commitment,” says Bina Genovese, who, along with other colleagues, knew Bertrand personally. “From the time he started acquiring works for the collection, in the late 1990s, Giulio Bertrand was a regular attendee of art auctions. He not only partook in the bonhomie but also sought the counsel of others with insight to guide his acquisitions. Over time he built up a remarkable collection of historical works, which he later – without hesitation – complemented with works by leading contemporary artists.” The collection includes various artists whose works reiterate the strong historical links between Italy and South Africa. Irma Stern’s marine landscape of the Grand Canal in Venice (estimate R5–7 million), the highest valued lot on offer, is the most explicit. A noted traveller, Stern frequently visited Venice, most consistently throughout the 1950s when she represented South Africa at four editions of the Venice Biennale. Grand Canal in Venice dates from Stern’s 1948 visit to the Most Serene Republic of Venice (La Serenissima Repubblica di Venezia) as the city is nicknamed. She set up a studio overlooking St Mark’s Square, met art patron Peggy Guggenheim and painted the Grand Canal from a yacht with two assistants at hand. “Venetian artists say that she is a Rubens-Veronese type and is herself eminently paintable,” reported the Cape Times in 1948 of her visit. Bertrand was strongly attracted to Stern’s output, acquiring works from various periods in several genres. The Tasso Foundation Collection includes two flower studies from the 1940s, the decade in which Stern painted her most important still lifes. A Cape Times critic in 1948 described Stern’s flower studies as “bold in composition” and “superbly sumptuous in colour”. Both works on offer – Still Life of Dahlias in a Vase with a Basket of Apples (estimate R3.5–4 million) from 1945 and Still Life of Hydrangeas in a Jar with Mangoes (estimate R3.5–4 million) from 1949 – embody these characteristics.

Irma Stern, The Grand Canal – Venice, 1948 R 5 000 000 - 7 000 000


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Painted in 1962, when she spent much of her time touring around the Mediterranean, Olive Pickers (estimate R2.5–3.5 million) describes a favourite Stern motif: women at work. The subject of this late-period painting neatly dovetails with Bertrand’s own mature interests in olive cultivation. Morgenster released its first oil in 1998 and has gone on to win numerous international accolades. Many of South Africa’s olive groves are directly related to the 2000 trees Bertrand initially imported from Italy in the early 1990s. Stern is one among many pioneering moderns in the Tasso Foundation Collection. Other notable artists include Gwelo Goodman, J.H. Pierneef, Maud Sumner and Pieter Wenning. An influential post-impressionist, Wenning’s An Eating House (estimate R500 000 – 700 000) was exhibited at the South African National Gallery in 1931, shortly after the museum opened at its permanent address. The historical selection also includes three paintings depicting Morgenster’s illustrious manor house, two by Edward Roworth and a further work by Frank Spears. Important post-war artists represented in the Tasso Foundation Collection include Walter Battiss, François Krige, Stanley Pinker, Fred Page, Alexis Preller, Gerard Sekoto and Cecil Skotnes. Highlights include Pinker’s The Bathers (estimate R800 000 – 1.2 million), a sensuous figure painting typical of his earlier French-influenced period, and Preller’s The Red Pineapples (estimate R700 000 – 1 million), a still life made during or shortly after his 1948–49 trip to the Seychelles. Although immersed in classical traditions and culture at Morgenster, Bertrand was unafraid of new challenges and aesthetic pursuits. He effortlessly pivoted to acquiring contemporary art for the Tasso Foundation. Its holdings include works by leading South African artists Norman Catherine, Robert Hodgins, William Kentridge, Penny Siopis, Simon Stone, Andrew Verster, Diane Victor and Harold Voigt. It also includes a work by renowned Zimbabwean sculptor Tapfuma Gutsa who represented his country at the 2011 Venice Biennale. Siopis and Kentridge have also exhibited at the Venice Biennale. Kentridge, whose work Tree (estimate R600 000 – 800 000) features an arboreal design


in Indian ink on book pages, is a well-known artist in Italy. In 2016 he created Triumphs & Laments: a Project for Rome, a monumental frieze along the banks of the Tiber River. The artist’s connection with Italy is longstanding and was inspired by stories told to him as a child by his father, lawyer and judge Sir Sydney Kentridge. “He was in the South African Air Force as an intelligence officer, and was with the Allied Forces as they came up from Sicily during the second part of World War Two,” said Kentridge in 2016 of his father. “I think that from that moment he had a love for Italy, so of all the places in Europe, Italy is the most infectious for me.” Another contemporary artist in the Tasso Foundation Collection with direct links to Italy is Diane Victor. Through one of her Italian relatives, a Papal Swiss Guard in the Vatican City in Rome, she once secured an audience with the Pope in his private chambers. Victor’s three-part etching Trinity Fetish (estimate R150 000 – 200 000) is typical of the artist’s ambitious methods, which challenge the traditional limits of printmaking. The art historian Elizabeth Rankin has likened Victor’s habit of presenting images that spill out of the boundaries of their format, as evidenced in Trinity Fetish, to the eighteenth-century Italian printmaker Giovanni Piranesi. The Tasso Foundation Collection of important South African art meticulously assembled by the late Giulio Bertrand will be auctioned on Monday, 9 November. This dedicated sale session forms part of NORTH/SOUTH, an exciting weeklong virtual sale of art, fine wine and decorative arts due to be held over five consecutive days from 8–11 November 2020. This new, multi-day virtual sale replaces Strauss & Co’s remaining two marquee live sales – scheduled for October (Cape Town) and November (Johannesburg) – with a single, consolidated live virtual online sale supported by a series of catalogues. Preview open from 26 October - 11 November 2020 by appointment: Johannesburg 011 728 8246 Cape Town 021 683 6560

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Alexis Preller, The Red Pineapples, 1949, R 700 000 - 1 000 000

Zander Blom, Untitled [1.62], R 90 000 - 120 000

Irma Stern, Still Life of Dahlias in a Vase with a Basket of Apples, 1945, R 3 500 000 - 5 000 000

Business Art News


September 2020 Auction Highlights www.swelco.co.za

Above: Andy Warhol, Vesuvius, R400 000—R600 000 Sold: R754 650 Opposite Page: Norman Clive Catherine, Blue Man, R10 000—R15 000 Sold: R52 405


he hybrid auction model may sound like something out of a science fiction novel, but is in fact a practical middleground between the traditional nature of the art auction, and the ease and convenience of online platforms. The auction world has historically been slow to adopt technology, however, 2020 and its attendant challenges, has forced many once-reluctant business sectors to embrace a digital outlook and move towards the hybrid model. This framework sees potential buyers viewing by appointment only, and the auctioneer conducting a live sale, gavel in hand, but to only a sociallydistanced few in the room—turning the focus to online and telephone bidders.


Stephan Welz & Co. has fully embraced this reinvented auction model, using the new guidelines to allow specialists and staff to provide a seamless viewing and buying experience. The viewing sessions have become more intimate, allowing specialists one-on-one time with each potential buyer to discuss and revel in the stories behind the individual artworks. The use of online platforms has also significantly broadened buying pools, extending our product reach to interested parties from across the globe. While these clients are essentially purchasing artworks sight-unseen, buyers are presented with a more transparent buying process, where condition reports, refined online visualisation and connoisseurship are built upon the

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Above: Dirk Adriaan Meerkotter, Die Rooi Kombers, R6 000—R9 000, Sold: R27 875 Opposite Page: Philipp Klein, Woman in Boudoir, R40 000—R60 000, Sold: R81 270


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Pablo Picasso, Two Old Men Courting Nude, R40 000—R60 000, Sold: R83 370

“Our September auction saw the sale of works by the likes of Warhol, Picasso, Meerkotter, Catherine and Klein, well above their estimates, indicating a keen and unwavering art market” foundation of an already-established positive reputation and sense of trust. The online buyer is also given a less intimidating platform to engage with specialists and educate themselves outside of art institution walls, while still benefitting from the knowledge that lies within. While the hybrid auction model may not mimic the gladiatorial feel of room bidding, the overall experience is still high in drama, and clients have the opportunity to participate in the excitement of a bidding war, but can do so from the comfort of their own home. The success of Stephan Welz & Co.’s recent September sale is evidence that maintaining


certain traditional aspects of the auction experience, while embracing the digital process and its reach, has reinvigorated the auction experience. Our September auction saw the sale of works by the likes of Warhol, Picasso, Meerkotter, Catherine and Klein, well above their estimates, indicating a keen and unwavering art market that hasn’t let even the claustrophobia of a major pandemic affect its resilience. Stephan Welz & Co. is looking forward to our end-of-year sales and all 2021 has to offer!

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Andries Visser, In Our Hands. 2019, Birch Wood and Indian Laurel,160X70x30 cm







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Ulrich de Balbian Fine Art Foundation. Home.Studio.Gallery. ulrichdebalbian.org Painting/video library. Torch night tours. Several galleries. Garden installations & exhibitions. 17 Vierde Laan MoorreesburgW. Cape. 0844604541 ravenyoung1806 @gmail.com

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DEC 2020 - AUGUST 2021







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Kelechi Nwaneri, Fat-Boy, Charcoal sticks, Pastel and Acrylic paint on Fabriano Paper, 70cm x 100cm, 2020, EBONY/CURATED

MW Soyola, The Harpist, 1996, Lino Print and Friendship Tour, 1996, Lino Print.

SA Print Gallery We buy, take on consignment prints from classic masters including Battiss, Boonzaai, Botes, de Jong, Goldin, Kannemeyer, Kay, Pennington, Seneque, Muafangejo, Skotnes, Spilhaus and more

109 Sir Lowry Road, Woodstock, Cape Town Tel 021 300 0461 gabriel@printgallery.co.za www.printgallery.co.za

Irma Stern, Swazi Woman (detail) R3 000 000 - 4 000 000 From the Tasso Foundation Collection of Important South African Art assembled by the Late Giulio Bertrand of Morgenster


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Auction 8–11 November 2020


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