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Modern & Contemporary Art 3 SEPTEMBER 2020 Day Sale 4pm | Evening Sale 7pm

Edoardo Villa, Traverse, Estimate: ZAR 2 000 000 – 3 000 000


FOR VALUATIONS & SALES CONTACT JOHANNESBURG +27 71 675 2991 | enquiries@aspireart.net CAPE TOWN +27 83 283 7427 | ct@aspireart.net

Johan n e sb u rg Au ct i on 21, 22 & 2 3 S e p t e m b er Fine, Decorative & African Art, Books & Maps, Furniture, Silverware, Militaria, Fine Jewellery, Watches, Designer Handbags & Collectables

Preview, register and bid on www.swelco.co.za Contact us for viewing appointments or condition reports on 011 880 3125 or email info@swelco.co.za

Consign for our forthcoming Cape Town auction. Contact us for an obligation free valuation on 021 794 6461 or email ct@swelco.co.za

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Diane Victor | EXTINGUISHED: RHINO V | Estimate R 30 000 - R 50 000

Art Times Sept 2020 Edition

CONTENTS Cover: Olivié Keck, Love In The Long Grass, Acrylic on hardwood, 30cm x 21cm, 2020, 131 A Gallery

10 M.O.L 11 - HANG UPS: ART’S SHIFTING ECOSYSTEM Ashraf Jamal Column 18 MANDLENKOSI MAVENGERE - Of flight and readjustment By Lloyd Pollack 24 CLOSE at Deepest Darkest By Ashraf Jamal 30 LEGAKWANALEO MAKGEKGENENE Art has the capacity to be timeless 38 ARTS TOWN RIEBEEK VALLEY A cultural tourism hotspot 46 UNIVERSAL RHYTHMS Regi Bardavid Solo Exhibition 52 RACONTEUR COVID-19 The NWU Way 54 HERMANUS FYNARTS 2020 Sculpture on the Cliffs 64 BUSINESS ART Art auction highlights galore 84 ARTGO September Exhibition Highlights

Michael Amery, City Trees 6, 2020 Acrylic on canvas, 40cm x 30cm, 131 A Gallery

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ow that we are slowly coming out of Covid 19 the effects of this period are only now starting to become clearer. I believe that in the next few months new and old ways of doing art business will emerge from the deluge, with the sudden shifting of the art market to embrace both online and physical art spaces and the opening up quality SA art, at affordable international prices. The effects of the lockdown seems to have elevated digital marketing - previously seen as a poor cousin of publishing, but now emerging as a more consistant,authentic and steadfast media medium. To a large extent this has unexpectedly proved to be the survival rope between gallery and client and now an everyday essential. During this time the unthinkable has happened, in that it feels that all the oceans of various geographic and types of art retail - artists, galleries, art fairs and auction houses, have for the first time been pulled together onto one laptop or cellphone screen. One thing is for sure, that no one one saw the pandemic coming and most, if not all people are happy to see it go. The Pandemic has, I believed taught us many lessons, especially about economic vulnerability and that we as humans are curious as well as social animals. We enjoy on the whole, being together and enjoying each others company and opinions. I’m sure despite galleries being closed all this time, many galleries will find new ways of luring people through their doors again. Perhaps galleries would have their revenge on the online virtual – by enticing clients with consumer comfort – as in being offered a good whiskey tasting on arrival / or to simply enjoy the smell of fresh ink and paint / or consuming the familiar bouquet of beautiful scents and interesting opinions at auction house viewings and art fairs. It’s the small things in life that make it Extra good. Thank you for sharing this time reading our magazine, it is great to be able to after 14 gorgeous years, to keep on bringing this beauty to you today. Thank You!, Gabriel

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




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c l o s e rossouw van der walt johannes wewetzer talut kareem-black

5 Sep – 10 Oct



M.O.L 11



fter months padlocked with gritted teeth, galleries and museums have reopened. I raise my tin cup of whisky and drink a toast. While some dealerships have sadly closed – a second solemn toast to SMITH, a dealership I adore – most, large and small, have found the wherewithal to reboot. As Brett Bellairs of 131 A Gallery reminds us, ‘there is still room for the tangible once this dreadful pandemic decides to recede to the bat cave from whence it came. There is no substitute for the “real thing”. Imagine trying to view an Anton Karstel impasto on a screen … probably 80% of our collectors who have purchased online have still wanted to come into the gallery to view the work or exhibition in its entirety before they “push the button”’. That said, virtual reality has had a knock-on effect, ‘people now tend to browse online and arrive at the gallery more informed and with more purpose than before’, says Charl Bezuidenhout of Worldart. ‘This means a more sophisticated and practical online presence’.

In an interview with Malibongwe Tyilo the director of the Stevenson Gallery, Joost Bosland, notes that digital platforms have ‘opened up a new way of working … Now we have curators and collectors from around the world attending these virtual gallery events. I think we all feel a bit silly that we didn’t think of doing stuff like this more often before’. On the 26th of March, a day prior to lockdown, Stevenson hosted its first totally online show of works by Thenjiwe Niki Nkosi, the die was cast, the digital interface from a business perspective here to stay. However, while buoyed by the success of online sales, rebates provided to brick and mortar dealerships, monies saved by the shutdown of global art fairs, Bosland remains well-aware that a virtual art economy has profound limits. ‘When you’re reading a book online, you lose a lot less by transitioning to digital. But when it comes to art you lose more. Art is about scale, it’s about surface, it’s about texture. One loses that encounter online’, which is why, for Bosland, a digital platform, while financially viable and in the foreseeable future inevitable, is ‘just a temporary placeholder; a band aid’. Like Bellairs and Bezuidenhout, Bosland is convinced that galleries won’t disappear, physical presence and tangibility is vital. True, but one cannot discount the fact that social media has irrevocably shifted the terms of engagement. Through their office in Cologne, Linda Pyke and Frank Schonau of THK Gallery have operated internationally while in lockdown. They will be participating in Paris Photo later this here. However, like everyone else, they are well aware that art fairs will not possess their familiar frisson, those ‘one-onone … meaningful art discussions’. Distance can cripple. Though, as Marc Stanes points


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out, Ebony Curated sold ‘at least 70% of their booth’ at 1:54’s New York online show. As for their three premises, they remain open by appointment, and, reassuringly, they have managed to hold onto all their staff. ‘Online sales have been very good, and we have noticed a considerable upswing in inquiries as each month goes by – from both local and international buyers. Physical gallery visits ‘will be very slow until the end of the year when hopefully borders reopen’. February 2020, for Stanes, is the magical date when the potential for normalcy returns. That said, Stanes reassuringly adds that ‘if the past five months has taught us anything it’s to be nimble and to expect the unexpected!’ For Lucy MacGarry, director of Latitudes, the Johannesburg based art fair initiated in 2019, online conversation and exchange is not as vicarious or limiting. ‘Over the past few months, we have certainly become more accustomed to looking at work online, and I now believe that the experience can be just as powerful as on the wall of a gallery or museum. Online viewing allows for greater dialogue, which in turn has the power to change perceptions around a seemingly inaccessible industry. Perceptions around access need to be dismantled in order to encourage new and emerging collectors. For artists, online platforms can offer increased opportunities for exposure’. Banking, as we all do, on a full recovery of the market, MacGarry nevertheless remains convinced that ‘online buying behaviour – from affordable to bluechip – will have been positively impacted’. MacGarry holds fast to the democratic and inclusive power of digitisation. So does Layla Leiman with whom she spoke. Leiman quotes

Daudi Karungi, director of the Afriart Gallery in Kampala: ‘The pandemic has brought about some kind of democratisation in the art world. For once the only place to see art is online; and everyone has access. There has truly been a shift and we might be seeing new gatekeepers in the art world’. Karungi’s view, seen from a relatively isolated and marginal perspective – notwithstanding the increasing interest worldwide in contemporary art from Africa – makes sense. How else can artists reach a wider audience other than through a virtual realm? Then again, what of digital fatigue? Are online platforms truly productive? Economic indicators suggest the affirmative. The Latitudes Online website, launched in August, has a ‘good-news story’ to tell. Cinthia Binene Sifa, who marketed her work solely on the site, sold out. However, to what extent is it the platform which played its part, to what extent the work by a black African woman, the holy grail of contemporary taste? As Lindsey Raymond of WHATIFTHEWORLD informs me, the physicality of being at an actual opening still matters greatly. ‘We’re thrilled to be re-opening’, she says, and was ‘pleasantly surprised by the amount of people coming to see Athi-Patra Ruga’s exhibition, Interior/Exterior, at WHATIFTHEWORLD. We have even extended its run until the 9th of September. Visitors who have re-engaged with art, at least physically, seem to be even more in awe and excitable being in Ruga’s immersive installations. This was exactly what the show was intended for – to give joy, particularly to Ruga’s community. His works are created with a tactile and spatial experience in mind, so a digital interface just maybe isn’t enough. Recently, however, a visitor took a loved one on a walkabout through the gallery via video

chat, sharing their thoughts on every work. It was heart-warming to see, and we’re excited for the future of art engagement’. Raymond succinctly expresses the inextricability of the physical and virtual. We now live between these worlds, cannot live at the expense of one or the other. The title of Ruga’s show, Interior/Exterior, encapsulates the rub. Doubtless, those who attended Ruga’s show were ‘excitable’, who wouldn’t be after months locked away? But it is not only the exquisitely mortal pleasure of hanging out, being amongst others, that Raymond reminds us, but the exquisite pleasure experienced when in the midst of a creative world. Her excitement is shared by all. But the question remains, are the pleasures art galleries afford the same as ever? Is something crucially changing? Because what Raymond reminds us of is not the economic viability of dealerships, but their vital role in generating culture, altering vision and value, re-making the worlds in which we live. For his September show at Deepest Darkest, Deon Redman chose to affirm tactility as his governing theme. Titled ‘Close’, his showing of works by the graphite artist, Talut KareemBlack, the sculptor, Rossouw van der Walt, and photographer, Johannes Wewetzer, focuses not on the ‘solace, isolation, introspection’ which a lockdown compelled, but a more probing examination of the ‘physical and psychological disconnect’ we are all experiencing, and the need, because of a psychic disconnect, to re-examine the importance of closeness, proximity – immediacy. Redman’s curatorial decision suggests that galleries are not only adjusting their business models but rethinking content – what art means, how it works, and why. Given a global revisionism, the need to speak on behalf of silenced groups, integrate black and woman artists into the fold, has meant that established alliances and tastes


have had to change. South Africa does not wholly suffer from this exclusionary culture – comparative to the West that is – however, it too has been profoundly shaped by Western – read white male – canonical values. South African galleries are by no means exempt. Much remains to be reconceived, not only to accommodate a profound shift in reception but perception. Optics matter, all the more so now. That said, supposing inclusivity as the defining new MO is also limiting. Statement art is treacherous at best. While art increasingly absorbs cultural difference and inequality – racial, cultural, sexual – it nevertheless requires that one maintain a ‘double consciousness’, a recognition of misogyny, racism, classism, but also a capacity to express formally and aesthetically lived conditions which are irreducible to these very real but overdetermined categories. Redman’s show, ‘Close’, both incorporates and ventures beyond this limit. SMAC’s Cape Town and Stellenbosch dealerships have been welcoming visitors by appointment since June, associate director Shona van der Merwe informs me. In response to art fair cancellations, SMAC has created ‘Artists Rooms’ which provide a platform to show work without ‘the pressure of a big solo exhibition’. These change every four weeks. ‘It means a lot of extra logistics and engagement’, but then ‘the SMAC team has never shied away from a challenge’. Clearly, normality hasn’t returned, and neither has a new-normal taken its place. Uncertainty is rife, some galleries in Cape Town remain shuttered. And as Jonathan Garnham, the director of blank projects remarked when probed, ‘I’m too depressed to think’. He is by no means alone in this regard. The lockdown has taken its toll not only economically but psychologically. We are all suffering from varying degrees of anxiety. While Bellairs would like to send COVID back

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“I must confess that I have always enjoyed the silence and solitude an art gallery affords.”

to the ‘bat cave’ from whence it came, nothing of the sort is likely in the foreseeable future. Garnham’s depression is commonplace, and thoroughly understandable. Redman sums up our woeful state as one caught ‘between a rock and a hard place’. ‘We’ve thrown the rock – populating our social media platforms more densely … moving into other online platforms…. While there are eager reports of a robust market thriving despite the pandemic, I’m not sure how much of this extended beyond savvy buyers…. I don’t believe virtual realms to be nearly as effective. Sure, there are increasingly clever ways to employ evolving virtual avenues, but by their very nature, they do have certain limitations’ which, we can all agree, ‘do not adequately transcend the physical, lacking texture, presence’. As for the ‘hard place – navigating the need for physical engagement with the work while prioritising safety’? It’s a bummer. ‘We’ve always enjoyed lively, well attended openings at Deepest Darkest’, says Redman. ‘It’s key to the inclusionary culture we cultivate here – the gallery not as incubator, but rather a space encouraging casual yet active engagement’. I can vouch for its inclusive convivial energy, its progressive culture and ability to straddle the austerity of the white cube and the greater world. ‘We’re re-focusing on a combination of collectors’ previews, and extended hours for openings to limit the amount of masked and sanitised visitors to the space … a more focused one-on-one with the artist and curator. We’re definitely encouraged by the challenge of recreating the experience of an opening’, with the added bonus of ‘separating those there for the free prosecco from those invested in the experience of the work’. Caught between incubator and living organism – the former tending to dominate in the art world – the challenge is one which Deepest

Darkest will assume with aplomb. However, all dealerships will have to redefine what they are and do. While dedicated collectors – the monied – have barely skipped a beat, banking on artists who have retained their currency, others who have leapt to the forefront in answer to an urgent global readjustment in taste and value, what has radically changed is the zeitgeist and culture upon which art has relied, its openness, worldliness, edginess. Sobriety now reigns, and along with it the creepy sanctimony, inherited from the Church. As Sarah Thornton, author of Seven days in the art world, remarked, art is a ‘religion for atheists’, dealerships metropolitan chapels. We visit to find succour, reassurance, adventure, innovation, delight, shock, surprise. ‘The art ecosystem is complex’, Kirsty Cockerill notes in an essay penned for Maverick Life. ‘The ecosystem, from a market perspective, when looked at superficially, can appear like a Ponzi scheme. It is, however, one of the most sophisticated thermostats a democratic society has at its disposal … Both the makers and the buyer have to be sustained, fulfilled, and facilitated to keep the ecosystem going for society as a whole to enjoy the benefits’. What concerns her most is the livelihood of minor and mid-career artists who require the support of galleries. SMAC’s ‘Artists Rooms’ provides an answer. We, particularly those who sustain art’s ecosystem, need the human encounter. After Redman, we need to be ‘close’. Which is why the delight and thrill Raymond expresses on seeing the popularity of Ruga’s opening is important. ‘At this juncture, galleries have been forced to make pragmatic decisions around which artworks translate better onscreen and who is already an established market darling’, Cockerill resumes. ‘Enticing online buying audiences and soothing their confidence is a short-term necessity. Not, however, a sustainable solution, even in the

midterm, as it comes with a debilitating toll on the visual arts sector ecosystem, and its future sustainability … The critically engaged feedback from viewers, critics, curators, and peers allows the artist the opportunity to master their storytelling … Seeing individual works on a screen gives you a badly translated paragraph. A tweet as opposed to a book. A brand as opposed to a tool for inquiry’. While I share Cockerill’s belief in authenticity, her recognition that ‘artworks lose their resonance when seen on screen – they become flat, literally’, and while I agree that a screen encounter lacks an absorptive and immersive power, ‘so safe it is dangerous’, one cannot discount its market dominance. Joost Bosland was right when he noted that the art world was slow on the digital uptake. Besides, how many of us truly have the privilege of seeing great art in the flesh? Exclusionary and divisive from the start, sequestered within its white walled citadels, art, alas, was never truly inclusive. Right now, we are confronted by many reckonings, the obvious being survival and sustainability. Cockerill makes a very real point: ‘Collectors do age and die and a younger generation of buyers have to be prepped to take on the mantle’. That generation is the inheritor of digitisation, for them an online realm is familiar terrain. In sum, after Redman, we find ourselves caught ‘between a rock and a hard place’. While the outcome of a COVID fallout is unclear, what is I think indisputable is the fact that art will have to straddle worlds real and imagined, actual and virtual. That democracy, tragically, is under threat worldwide, means that the closeness and connection we need is also in profound danger. And yet, despite the compromises with which we are all afflicted, despite the ‘solace, isolation, introspection’ which we are forced to endure, I think that the dread and hope we feel will allow for new, more generatively enabling possibilities. We are already living within this possibility, as Raymond and Redman will agree. The case of auction houses, key engine rooms of the art ecosystem, is intriguing. The extent to which they too rely on face to face human encounter not commonly considered, given the prevailing stereotype of the auction room as a silent theatre of hand gestures and secretive financial transactions. However, as Bina Genovese of Strauss & Co reminds us,


auction houses are ‘dynamic and animated’. ‘In the heat of level 5 lockdown, Strauss & Co adopted a hybrid model … streamed live, with auctioneers “passing the gavel” from empty physical salesrooms in Cape Town and Johannesburg bringing the auction room into the sitting room with bidders all over the world, at times over 1000’. For Genovese, this merger of the digital and actual is here to stay. The digital interface is ‘a refinement rather than a reimaging of traditional live sales’. However, as an auctioneer, Genovese misses ‘the unique atmosphere of a live auction room, the excitement, the theatre, the energy, the gasps, the claps … It’s quite a shift from an animated saleroom to stare at a screen for hours on end watching bids pop up, no eye contact, no face to face human engagement … Behind that black screen are people, passionate and committed collectors after an artwork that they desire and will bid for, often at all costs’. Nothing can deny the thrill of the chase experienced by buyers, or, as a friend recounted, the search for new works to auction, long lost to memory, discovered in some unlikely and remote attic. Rereading A.S. Byatt’s novel, Possession, during lockdown, compellingly reminded me of the pleasurable intrigue the art world irresistibly affords, its chilling covetousness, but also its grace and nobility. Art is a romance, with all the arcs and dips, agony and ecstasy, the word implies. It’s a love affair, and not only a changing business model. While Genovese justly enjoys the auction houses’ theatre of gasps and claps, I must confess that I have always enjoyed the silence and solitude an art gallery affords. For someone who lives on the smell of an oil rag, it has never been about collecting art. Will people like myself become less and less relevant? I don’t think so. Given that too little art ends up in the public domain – our national museums don’t have the money – its always a pleasure to be able to track a gift in person. Now that our galleries are reopening, this pleasure, which feels positively Neolithic, is returning too. Along with the artworks – those too long mothballed, those inspired by a seismic global shift in taste and value – it’s time to hang out, while hanging in there.

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Mandla Mavengere, ‘Sigwazi’, acrylic on canvas, 168 x 148 cm

Christopher Moller Gallery

www.christophermollerart.co.za; @christophermoller_gallery

MANDLENKOSI MAVENGERE Christopher Moller Gallery By Lloyd Pollack.



andlenkosi Mavengere is a Zimbabwean artist living in Johannesburg. His experience of flight and readjustment to a hostile South Africa saddled with a faltering economy, informs his entire oeuvre which addresses the plight of migrants forced to accept demeaning jobs as street vendors and domestic workers despite their superior education and possible qualifications. They struggle to support themselves and their loved ones back home with their pitiful earnings, however, fortunately there is a reverse side to the coin. Mavengere, like many of his exiled compatriots, disdain meagre socialist hand-outs and make capitalism work for them, achieving wealth and status by dint of unremittingly hard work. The artist’s squarish canvases - slightly taller than broad - feature flat backgrounds composed of banknotes stacked one on top of the other that embody the dream of affluence. This fictive legal tender - the Gondruala currency – carries printed words that reflect the corruption and strife endemic amongst many countries of our continent. The phrase ‘the African United States’ has a hollow ring, as the continent’s different nations have never formed a harmonious collectivity. Nor do the words ‘promise to pay the bearer’ ring true, particularly in Zimbabwe and South Africa where the currency is notoriously volatile, and the promise of fixed value is constantly broken. The artist introduces wavy, undulant patterns and explosive designs into the banknotes. These not only suggest the political and economic instability that refugees yearn to escape, they also function as maps in which the sinuous lines trace the escape routes from Zimbabwe.


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Uxakuxaku/Slime Apple Tree, charcoal on canvas ,50 x 60 cm

For Bread + Butter, mixed media on canvas, 120 cm x 127 cm 20

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’Sigwazi’, acrylic on canvas - 168 x 148 cm

Who Am I?’, mixed media on canvas - 73 x 68 cm

Poignant images of imperilled black, female, Zimbabwean refugees are floated upon this agitated surface and portrayed in various head and shoulder formats in frontal or pure profile poses which together with strict centrality, symmetry and balance infuse Mavengere’s compositions with a classical architectonic rigour and cohesion. The conflict between figure and ground orchestrates powerful tensions. The plastic modelling of the women lends them a relief, volume and weight entirely absent from the paper money. This contrast makes the women far more real than the banknotes, emphasizing their steely determination to succeed against all odds. Secondly, the migrant women are tightly compressed within the white borders around the banknotes which exert a crushing pressure, affording them scant space in which to manoeuvre. Given that the women long to escape their country of origin, the banknotes become symbolic of their confinement within an environment they both love and loathe, love because it is home, loathe because Zimbabwe is a tyranny which condemns all but the ruling party elite to dire poverty. The women’s enclosure within the banknote implies that money will control their destinies, and that the lack of it will curtail their freedom and deprive them of agency. Will their earnings in their host country provide a better life? Will they dispose of sufficient income to remit to their hungry families back in Zimbabwe? Will they inspire xenophobic attacks? Such grave worries beset these brave but hapless women. Five of the seven paintings depict the wanderings of the same heroic woman clad in a turban of coloured scarves. In the first painting, she gazes out with hope and eager anticipation. As she moves from country to country - identified by the different banknotes - so she becomes increasingly browbeaten, finally ending up exhausted and careworn in Zimbabwe where her journey commenced. Such is the wretched fate of many refugees throughout the world who end up where they first started - back in their own home country because they could not survive financially or were forcibly repatriated. Mavengere’s corpus possesses an undeniable universal relevance. Through the Peril, acrylic on canvas, 70 x 66 cm



Deepest Darkest 5 Sept - 10 Oct 2020

By Ashraf Jamal www.deepestdarkestart.com

introspection. Redman is not wholly convinced by the resurgence of contrition, regret, or the reawakening of a need for moral, social, and political redress. It is not human betterment that moves him – though this reckoning is vital – but the crisis that underpins it – ‘the breakdown and redefinition of our sorry selves’.

Talut Kareem-Black, Lost ID 1, Pencil and Charcoal on Paper, 56 x 84 cm, 2019


eon Redman reopens Deepest Darkest in September. The title of the show – ‘Close’ – is a fitfully precise wager and exploration of what we feel and think we’ve lost – intimacy. For Redman, however, the three artists on show are not preoccupied with ‘solace, isolation, introspection’, but with a ‘physical and psychological disconnect’. The realisation that we are not as connected as we imagined ourselves to be is not the result of a globally enforced isolation, it was always the gnawing crux of our unease. We long for intimacy, for closeness, and yet we have always sensed our exile from it. This disconnect, which we scrupulously conceal from ourselves and others, has now glaringly resurfaced. It is unsurprising, therefore, that we now find ourselves seeking answers for the wanton deceits we have coolly practiced, and why throughout the world we find a need for


One of the most astute curators I have encountered, Redman never loses sight of human complexity and the role of art in the examination and expression of that complexity. If ‘Close’ is cannily astute, it is because it allows for the uncertainties that afflict us, the break and suture without which closeness cannot be realised. To be close, bound to and with another, is not to attain oneness. This ideal is a fantasy. Human life only ever allows for tenderness because it is fragile. It is this realisation of our fragility which Redman asks us to embrace. The artists he has selected are markedly different in their practice. Rossouw van der Walt is a sculptor, Johannes Wewetzer a photographer, Talut Kareem-Black a graphite artist. However, while the mediums differ, what connects them is the naked human body – its classical perfection, and imperfection. Anthony Gormley sums up the focus at Deepest Darkest, ‘what it feels like to be alive, dealing with the body … from the inside, exploring it as a place rather than an object’. Closeness is only possible when we challenge what Gormley calls ‘the contemporary obsession with bodily appearance and … idealisation’, or better, when we allow for the breakdown and redefinition of this obsession. This is the project-instinct-feeling that informs Wewetzer’s ‘near classic recreations’ of a Greek and Renaissance ideal, Kareem-Black’s nano-second shivers of bodily clarity, Van der Walt’s achingly elegant and shattered sculpture of a foot. In each artist we find a clouded detail, nothing is quite what it seems to be. Opposite Page: Rossouw van Der Walt, Lost and Found 2, Seasand Concrete, 60 x 90 cm, 2019

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Johannes Wewetzer, Ascension, Contour Cut Diasec Facemount Archival Chromogenic Print, 70 x 105 cm, Edition of 12, 2018


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Johannes Wewetzer, Davide, Contour Cut Diasec Facemount Archival Chromogenic Print, 70 x 105 cm, Edition of 12, 2019

Talut Kareem-Bl, Untitled, Pencil and Charcoal on Paper, 56 x 84 cm, 2019

Chiaroscuro, the Renaissance technique used to graphically sharpen contrasting light and dark now seeps and disturbs the entangled bodies in Wewetzer’s photographs. The frantic judder of twisting heads in Kareem-Black’s drawings reveals the body not as an object but an agonised maw. The meticulous detail which Rossouw applies to his sculpture of a


foot reminds us that nothing is ever grasped in its entirety. We bind ourselves to the particular because, always, we fail to grasp the whole. This is not a failing, it is the way in which we learn what it means to be … close.

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Aimee Lindeque Alet Swarts ChloĂŤ Jayne Emma Blencowe


Moving backwards is still moving

Kirstin Warries Nina Holmes Sue Greeff Yvette Hess

LegakwanaLeo Makgekgenene Malwande Mthethwa Shana-Lee Ziervogel Elijah NdoumbĂŠ

Alice Toich Femme Bodies: The relationship between a

Lamb of Lemila Ranji Mangcu Rona

female painter & her models

0 6 . 0 8 .. 22002200 +27 214224145 | 69 Burg Street,Cape Town info@eclecticacontemporary.co.za| www.eclecticacontemporary.co.za

LEGAKWANALEO MAKGEKGENENE Eclectica Contemporary www.eclecticacontemporary.co.za


s an artist LegakwanaLeo Makgekgenene expands and broadens the mediums they work with, reminding viewers that art has the capacity to be timeless, while grounded in recognition of varying histories as well as looking forward to new imaginings. The realms of physical and digital overlap and intersect in a vibrant culmination of photography, photo-manipulation, live video, animation, sculpture, costume making and integrated sound pieces. Their work aims to re-materialize the metaphorical spaces where taught ideologies and memories are held, recognising how narratives, conceptualisations and entrenched understandings play a role in shaping African Contemporaneity. In this way, their practice catalyses a challenging of experiential environments, and furthermore how we engage with them. As the curator of Ke Namile, which currently forms one of the curatorial collaborations at Eclectica Contemporary until the end of September, their practice has extended to facilitation of art spaces both physically, in the gallery, and virtually through an online curation of the exhibition. Ke Namile features the work of Malwande Mthethwa, Shana-Lee Ziervogel, Elijah Ndoumbé, Lamb of Lemila, Ranji Mangcu and Rona and confronts gender binarism and exclusionary feminism. On the process of curating the exhibition Ke Namile, Makgekgenene describes that “ it was beautiful, honestly. Organic. I would say that the central idea [of the exhibition] was not even an idea, just a sentiment- one that I know is shared by many people around me. The artists I invited into the space are all artists that I’ve worked with, alongside or admired from a relatively short distance. Artwork 3 of Untitled Triptych - The unit: The Believer (The one that has pledged their faith), Digital Collage, 42 x 42, cm 2018. Following Page: Seipone sontaga, le Mangeloi (Mirror/reflective Sunday with the angels), 2020, Digital photomontage, 80 x 60 cm



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What has been significant for me, is the opportunity to get intimate with their work as well as becoming better acquainted with the makers themselves (suddenly having hi-res copies of what are now some of my favourite works and being able to zoom in, look and feel at my leisure was definitely the highlight of this for me).” Makgekgenene reflects that “I am proud of the collective resourcefulness, adaptability, resilience and overall yesness of QPOC- I’m proud of the efforts we make to create and hold space for ourselves and one another”. When it comes to making work, support is an integral part of their work – the support of loved ones, of storytelling and the support of releasing into the process of creating instinctively. Their sewing machine and drawing tablet are also crucial, allowing for the creation of illusions and illustrations. When asked about important influences in their practice, Makgekgenene explains “because (dis-/re-) illusion is centred in my practice, the discourse surrounding it becomes the salient influential aspect. The work is inspired by and borrows aspects from Negritude, Fallism, Afrofuturism, Black existentialism, Afrosurrealism, Black radical feminism, ideas of Black interiority & secrecy, the ‘Ambivalent (Grotesque)’, the list is long. However, more important than the discourse, are the people and spaces that allow me to continue that discourse in relation to (shared) experiences and spaces Makgekgenene’s work is embedded with allegorical storytelling, looking to idioms and satire to air out the psychological remnants of personal, social and political disillusionment. The act of storytelling is so integral that Makgekgenene goes so far as to say “all my work is prefaced by Bo Mmaruri,1 followed by an ‘idiomatic’ title. I would say then, that the images and objects thereafter are only ‘supporting documents’.” So images exist as documentation of their praxis, but remain an avenue of exploration, rather than the entirety. This is exemplified in their Untitled Triptych The unit: Motlhokomedi, badisa le moitshepi. The triptych, a digital collage, is an inquisition into the three beings that self exists as Lesea, Sethunya and Bonani, existing in parallel sensory planes, and relying on the discretion of their ‘non-existence’ to freely (re)narrate pivotal existential reflections. Motlhokomedi le badisa (The caretaker with The Herders), 2018, Digital collage, 60 x 60 cm


Artwork 2 of Untitled Triptych - The unit: Motlhokomedi le badisa (The Herders) 2018, Digital collage, 35 x 42 cm

Of the interplay between concept and imagery in their practice, Makgekgenene explains that “I imagine [the works] as not too dissimilar to the coloured pencil illustrations that would be alongside the comprehension text in our Setswana textbooks. Setswana is an oral culture, a lot of our colloquialisms are similes and metaphors, the language becomes increasingly and poetically vague in it’s expression the better one knows it. This paradox has always been of interest to me”. They point out that language and particularly the ones they speak are “context markers and describing tools - like images. Language is a barrier or a bridge like any other”. An expanding of language, in allegory, engagement and play,


is prominent in all the works. They explain that “though language has the ability to limit the imagination, I think we are only limited by the predetermined terms of engagement. I choose to interact with it aqueously”. LegakwanaLeo Makgekgenene’s work is an offering of exploration, extending and reaching beyond known realms. They challenge, interrogate, re-illustrate and prompt re/disillusion. As an artist exploring new working potentials in our ever changing world, the works offer a guide into alternative imagining and radical creativity.

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To make a landscape ямБt indoors JEANNE HOFFMAN 09.09 - 3.10.2020


ARTS TOWN RIEBEEK VALLEY www.artstown.co.za

The Royal Arts Town Amphitheatre. Photo Johan Viljoen 38

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ith the global coronavirus pandemic having created havoc with the economy, in particular the cultural tourism and events industries, a rural community has found creative ways to regenerate, reinvent and position itself at the forefront of local travel destinations.

Arts Town Riebeek Valley, which encompasses the twin towns of Riebeek Kasteel and Riebeek West and surrounds, has in recent years become known as a cultural tourism hotspot. With a high density of resident creatives collaborating on events, exhibitions and attractions, visitors from across the country and the world have been drawn to the area to experience its arts and entertainment offerings. The harsh lockdown measures, particularly the alcohol ban and travel restrictions, put a temporary halt to these activities and the resultant hardships to the community, also famous for its wine and olive industries, have been far reaching. Several businesses have closed their doors permanently and, unless there is a resurgence of visitors to the valley, the same fate could befall many more. Some creative project leaders, however, have utilized the slower pace of life as an opportunity for the development of ideas which have been bubbling beneath the surface for some time. As such, these projects are being realized because of current circumstances, rather than in spite of them.

Artist Leila Fanner at Solo Studios

“Arts Town Riebeek Valley has effectively been in existence for some years”, explains Klaus Piprek, founder of Solo Studios - Intimate Art Encounters. “We have such a large community of resident artists, poets, writers, musicians and other performers that there has always been a local creative energy which has manifested in various spontaneous activities and events. The challenge has been to add physical elements to the virtual entity, and to offer them to visitors through a structured calendar which details the events to be showcased throughout the year. Arts Town now serves as an umbrella entity covering all creative initiatives of the resident artists, artisans and crafters.” Right: Sculptor Anton Momberg will be participating in Solo Studios and REVIVE! Opposite Page: The hands of Jon Wreal arranging stones collected from the Voëlvlei Dam for an installation of a stone circle in the Royal Arts Town Amphitheater. Photo credit: Erynne de Bruyn


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Solo Studios Returns Solo Studios - Intimate Art Encounters has established itself as one of the premier art events in the region since its inception in 2016 and has reached near capacity in four years of development. “Given that our towns are small and considering that the core activity of the event is visiting intimate private studio spaces of the renowned participating artists, we have always kept the numbers limited and access restricted. Having postponed the original dates over the August Women’s Day long weekend, we are well positioned to host the rescheduled event with restricted access and the prescribed health and safety protocols in place. “We are pleased to announce that Solo Studios will now take place on the weekend of 11-13 December 2020, and are looking forward to hosting it for the first time during the Swartland summer” says Piprek. Also for the first time, Solo Studios will add a virtual element to the event. “We have always maintained that we are not just another art fair, festival or expo; it is more about the experience of visiting artists in their studios and enjoying the best of local artisans and crafters’ work in a rural setting. Although we had pledged not to go online in the past, we recognize that our ‘new normal’ lifestyle compels us to provide an alternative to those who may not be comfortable with going out in public or may not be able to physically visit us. We are currently setting up systems via which both virtual tickets and real artworks can be purchased online.” The Royal Arts Town Amphitheatre An exciting addition to the Arts Town portfolio is the Royal Arts Town Amphitheatre (RATA). Purpose built for events in the sprawling gardens of the iconic Royal Hotel which lies in the shadow of the Kasteelberg, the amphitheatre was for many years host to the legendary Swartland Revolution, a bespoke wine event. However, since the discontinuation of the Revolution, the venue has been largely under-utilized, providing an opportunity for the founders of Arts Town to obtain the use of the facility for theatrical performances.


Mark Graham-Wilson, Director of the Royal Arts Town Amphitheatre has put together a summer season of productions which opens on Friday 13 November 2020 with the premiere of a new play, Covid Moons, written and directed by leading director, Clare Stopford. Nine other productions starring several famed South African performers, including Roger Lucey, Hannes van Wyk, Godfrey Johnson and Dorothy Ann Gould, make up the rest of the season which runs until the end of April 2021. Graham-Wilson says: “Being in the open air with plenty of space for social distancing, RATA will be one of the first performance spaces in the country to bring back the live theatre experience for audiences and to provide much needed opportunities for perfoming artists to get back on stage and start earning again.”

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Emma Willemse. Boat circle (2020), Steel cradle, found boat, stones collected from the Kasteelberg mountain, Riebeek Valley. Boat and path 20m x 23m.

An Olive Branch Project street performance

Kayla Grové, Mariana del Carmen and Jon Wreal. Keep your eyes peeled (2020), Site-specific stone circle, stones collected from the Riebeek Valley environment. 120cm diameter.

Arts Town Riebeek Valley has commissioned Emma Willemse, Riebeek Kasteel resident and renowned conceptual artist, to create a series of art installations, called The Stone Circle Project, in and around the amphitheatre. This project consists of two components, namely a community project, the Amphi Circles, and a public sculpture installation entitled The Boat Circle. In creating the Amphi Circles, Willemse is collaborating with and guiding a collective of young creatives in the Riebeek Valley, known as The Arteri, whose task it is to design, install and maintain sixteen stone circles in the amphitheatre. In addition to their aesthetic function, these stone circles will serve as social distancing devices during the performances. The central point of The Boat Circle is a six meter found boat, filled with stones collected from the iconic Kasteelberg, complemented by a labyrinth path leading to the boat. Viewers will be able to engage with the artwork by walking the path and placing stones in the boat. Willemse says: “The ritual of placing a stone in the boat could be a symbolic memorial act for each viewer, a unique remembrance performed individually, yet visually part of a collective mass of stones.”


REVIVE! Public Sculpture Exhibition The Boat Circle installation also forms part of REVIVE!, a public sculpture exhibition to be launched on 4 December 2020 and which will initially be on display for six months. REVIVE! pairs a sculpture, statue, installation or other conceptual art work with one of approximately twenty businesses throughout the valley, from Meerhof Wines at the Bothmaskloof Pass, gateway to the valley, to Pulpit Rock Winery at the exit towards the West Coast. This will possibly include other well-known businesses along the route such as Kloovenburg, Het Vlock Casteel, The Olive Boutique, Allesverloren, The Wine Kollective and Riebeek Valley Wine Co. Visitors to the valley will be able to download an electronic guide of the sculpture trail and follow it either physically or virtually online. With these projects about to burst onto the scene, and others in the pipe line, Arts Town Riebeek Valley is poised to establish itself as the Western Cape’s most exciting performance, conceptual and fine art destination. www.artstown.co.za www.solostudios.co.za

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JHB: 011 206 1500 | fineartjnb@stuttafordvanlines.com CPT: 021 514 8700 | fineartct@stuttafordvanlines.com www.stuttafordvanlines.com

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UNIVERSAL RHYTHMS Regi Bardavid Solo Exhibition 24 Aug – 20 Sept. The Melrose Gallery JHB www.themelrosegallery.com

Home alone. Learning to live with myself. No outside interference. I become one with my surroundings and the sounds of silence. Time is mine. More in tune with myself. Bubbles of insight emerge from my being. A profound unconscious sense of self and calm. Frees my hands and mind. Charcoal and pencils. Paint and colours applied without constraints. The music has started. The dance followed. Regi Bardavid was born in Alexandria Egypt and has travelled extensively, living in Italy, Zimbabwe, Zaire and South Africa. She has remained firmly rooted in the ‘abstract’ throughout her career which spans more than four decades. Bardavid studied under the guidance of the artist, teacher and activist Bill Ainslie at the Johannesburg Art Foundation (1979-1983). Completed her Matric in 1984 and enrolled as a Fine Art student at UNISA in 1985 achieving a B.A.F.A. in 1989. Her work has can be found in the South African National Gallery, the South African embassy in France, Oppenheimer Collection and the Commonwealth Bank of Australia to name a few. She has been a guest artist at the Cite International des Arts in Paris, where she started a preparatory work for an exhibition entitled: Into The Earth, an analogy to travelling underground on the Metro and travelling through African Shaman meditations. The inspiration and passion that she manifests in her work demonstrates her sincerity in her conviction, which offers the work integrity and justifies the critical and commercial successes it has garnered through the years which made her the highlight artist in 2016 at 1:54 | London.

Lockdown 1

Above: Lockdown 2 Opposite Page: Taste of Pink

She refers to the experience of one-ness with her colour as symphonic, and understands the thrill of blending possibilities and thus creating new, kaleidoscopic ones, as overwhelmingly exciting and addictive.

In my quest to find answers to these questions I am drawn to spirituality, meditation and the practices of traditional South African healers, who throw bones to read messages from the ancestors. The physical objects are thrown and allowed to land of their own accord. The ultimate position is unplanned and left to chance and the universe.

“It’s the ultimate experience”, she says, referring to the ineffable which can be attained only occasionally and fleetingly in music or scent, in food or memories. The realization that a work is complete is beyond verbal explanation, but the sense of closure and beauty calms an inner sensibility within her. “In this time of Covid-19, and the forced isolation that it brings, I have had plenty of time to consider the meaning of my life and the important role that art continues to play in it. Why do I paint? Why have I spent so many decades so committed to this practice? Is it enough to put this down to enjoyment or is there something deeper, almost spiritual and mystic about applying one’s inner most emotions, feelings and thoughts to create an artwork? And why have I remained true to ‘abstract’ rather than ‘figurative’ art throughout?


I apply materials to the canvas and paper in a similar way, without planning. For me the excitement and joy lies in seeing how the colours and shapes manifest themselves as ambiguous, enigmatic forms and not a recognisable image. Mystery is significant in life, religion, the unknown and the undecipherable. Intangible things that trigger the imagination, shapes that have the presence and not the lineaments of objects. I work from my intuition, almost in a state of meditation, in order to find ways to contact the subconscious, so as to reach the collective unconscious. This allows me to search for something larger and more meaningful than myself. Mine is more a nonfigurative nor descriptive or illustrative image,

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“My inspiration comes from the act of play. Releasing the Self of all obligations and constrictions of upbringing.” rather an analogy of the incomprehensible, the transcendent. Paint is freed from the dictates of the narrative that the painting is an object. An exploration of playfulness within a discipline. Chance and hazard are an important part in the process, pouring paint, making marks on the surface allows the painting to paint itself, until reaching the realisation that no more is needed and the painting is ‘ finished “ this being an experience that goes beyond verbal explanation, an intuitive response to the work. I would compare this to the surprise and gratification that a composer must feel when he finally hears the symphony that he has composed and has lain within his mind until that point that it is materialised in full.

Mythologically it is a metaphor for what would be all the emotions, all the visions, unconscious parts of the artist going so far as to say that it could be stuff from the memory bank from past and future lives . imagination flowing . the dance of life.” - Regi Bardavid Regi’s artworks grace numerous public and private collections. Awards include 1984 and 1989 merit award winner for the New Signature competitions, 1994 and 1995 received the Kempton Park Awards, 1994 the Bertrams African Award, 2003 finalist for the Brett Kebble Awards 2015 the Sandro Botticelli prize, Italy, 2015 the Roma Imperiale International prize, Italy 2015 the Marco Polo International Prize, Italy 2015 the contemporary Paradise prize, Italy.

If according to a quote by Malevich the canvas is a window or mirror to the self whatever falls on that window is a self-portrait.


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5th Avenue Auctioneers Next Auction Sunday 18th October 2020 Live online only

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RACONTEUR COVID-19 NWU Gallery - 11 September Images by Laurence Moorcroft Curated by Amohelang Mohajane www.nwu.ac.za/nwugallery

Above: Simple Things. Opposite Page: My Hands


ACONTEUR COVID-19 the NWU WAY is an online exhibition that seeks to explore the stories of our students and staff during lockdown through a series of online exhibitions.

We are excited to announce that we haven’t stopped just because the doors are shut. We have been preparing to mesmerize you with creativity and stories of the lockdown on a digital platform the NWU WAY. Lockdown blues has given us ample opportunity to explore the many hidden talents. We hope to see visually the splendor that creativity has been during these unprecedented times with different levels of


pressure. Recounts of stories at home make up the crux of the offering for this exhibition, the real behind the scene glimpse into your artistic processes. RACONTEUR COVID-19 the NWU WAY hopes to ease the strain the pandemic has brought to everyone. We hope that this offering will be enjoyed and shared widely to whisk away the lockdown blues. Artworks in this exhibition are students, staff and alumni members of the North-West University. Follow the NWU Gallery social media pages for more information.

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HERMANUS FYNARTS 2020 www.hermanusfynarts.co.za

Above: Guy du Toit, The Hare with baggage waiting for ship to come in, 2020. Opposite Page Top: Wilma Cruise, Kom sit Come sit. Opposite Page Bottom: Jaco Sieberhagen, Taking Flight, 2020


t long last the South African lockdown necessitated by the Covid-19 pandemic has eased sufficiently to open a number of the flagship exhibitions on the programme for Hermanus FynArts 2020. These openings will take place inline with lockdown protocols over the next couple of months. Sculpture on the Cliffs will remain until the opening weekend of the ninth Hermanus FynArts festival in June 2021. All other exhibitions this year will remain open for 3 – 4 weeks instead of the usual ten days of the festival. Sculpture on the Cliffs – 2020: The first ten of this twelve-sculpture exhibition were installed and opened on Saturday 22 August. Professor Jane Taylor presented the opening address. The exhibition with the theme of Vertical Animal, was curated by Gavin Younge and comprises


of works by Wilma Cruise, Guy du Toit, David Griessel, Collen Maswanganyi, Right Mukore, Nanette Ranger, Jaco Sieberhagen, Jake Michael Singer and Site_Specific Land and Nature Art Collective. Because of the lockdown, two artists, Jean Theron Louw and Kevin Brand were unable to complete their work in time. They will install their sculptures in mid-October. FynArts Gallery is the venue for an exhibition of smaller works by the above artists. This was opened at the same time as the Sculpture on the Cliffs exhibition. Creative Collection, an exhibition of contemporary ceramics, curated once again by Liz Coates, will open in a pop-up gallery adjacent to the FynArts Gallery on Saturday 29 August. The exhibition will run concurrently with the small sculpture exhibition at the FynArts Gallery.

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Beezy Bailey

Rika Herbst 56

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Beezy Bailey, Festival Artist for FynArts 2020 – Landing Stars is planned to open on Saturday 26 September, which follows a public holiday (Heritage Day) on Thursday 24 September. This exhibition is presented in association with the Everard Read Gallery. A recorded interview by Frank Kilbourn is available on the FynArts YouTube Channel. This interview took place in Beezy’s home and studio. A number of other exciting FynArts festival events will take place over the weekend to coincide with the opening of Beezy’s exhibition. The programme will include a number of special exhibitions in galleries that signed up to participate in FynArts 2020. In addition, a number of arts related workshops, talks and other events are scheduled to take place over this weekend. When the original FynArts festival had to be cancelled in its usual form this year, it was re-created into FynArts Select 2020 – an extended programme of online events. Since July events have been offered twice a week via a number of social media platforms. FynArts Select events will also be presented over a number of weekends towards the last quarter of the year – the first being the long weekend of 26 September, concurrently with Beezy Bailey’s exhibition. To sign up for the FynArts newsletters and find out more about the programme for FynArts Select @ Home as well as FynArts Select @ Weekends please go to hermanusfynarts. co.za or call Chantel Louskitt on 060 957 5371. Recordings of past events are avallable on the FynArts YouTube Channel. Tiffany Wallace

A Good Read

THE MAIL ORDER ART CATALOGUE Is the Future of Art Fairs… the Mail-Order Catalogue? This Design

Fair Is Launching a Glossy Magazine in Lieu of Its In-Person Event At least 35 of the 50 planned exhibitors for the scuttled in-person November edition will participate. First Published on Artsy By Eileen Kinsella, August 20, 2020


ike many other art events, the Salon Art + Design fair has had to pivot in recent months.

if readers didn’t buy works directly from the publication immediately, but instead waited a few months, that alone would be a benefit,

The show, scheduled for November, has been cancelled this year, after fair organizers decided that “conditions are not appropriate for an event of this scale to take place in New York this year,” according to a statement on the fair’s website.

“The sensibility of the fair will run very strongly through the magazine,” Bokor says. “We’re encouraging our exhibitors to show a piece or two that they would have brought to the fair. As usual, a few people tell me they have been saving objects for the fair. They can show readers things that they wouldn’t otherwise get to see this year.”

And in a move that suggests everything old is indeed new again, organizers are instead turning their focus to creating a luxury-style print magazine that will be sent to over 30,000 VIPS and collectors from the fair’s subscriber list. Compare that to the 13,500 people that attended the fair in its best year, and the reasoning is clear.

As far as cost, Bokor says “the math was really pretty simple.” Thus far, 35 of the 50 planned exhibitors have opted to buy spreads in the publication, and Salon will seek additional advertising from exhibitors as well as sponsors.

“This isn’t a quick fix,” executive director Jill Bokor, a print magazine veteran, said in a phone interview with Artnet News. “Obviously it took a lot of thinking to make the decision and to resolve that that is how we will put the Salon platform out this year. It’s sort of a deeper dive, in a way.”

First priority goes to exhibitors and past partners, and the remaining pages will be sold to appropriate art and designrelated advertisers. Single issues of the magazine will be on sale for $25, although the aforementioned 30,000 VIPS will receive complimentary copies.

There will also be a digital component to the fair but The Intersection of Art & Design, as the magazine is called, will be a major focus. Salon has enlisted the production services of the UK-based Cultureshock Media, known for putting together publications for Sotheby’s, the Tate, and the Victoria & Albert Museum.

“This is not a money-making endeavor,” Bokor says. “Our clients have had such a rough time these past few months, like many other industries. If we basically break even and it’s successful and well-received, we can consider doing another version in the spring. We won’t have another fair until November 2021. This is not going to add to our bottom line this year, but we think it’s really important to do it.”

Early exhibitor response has been enthusiastic, Bokor says, noting that the first design exhibitor she approached told her that even

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A Good Read

BELARUS PROTEST WORK-PAINTED WITH A POLICE BATON-SELLS FOR THREE MILLION RUBLES Contemporary artists in the country are reacting to the crisis after allegations of election fraud and police brutality By Sophia Kishkovsky, 17Th August 2020 First Published on Artsy


ontemporary artists in Belarus and across the border in Russia are depicting the growing protest movement against the autocratic leader Alexander Lukashenko amid widespread allegations of election fraud and police brutality. On Friday, the Russian protest artist Artem Loskutov held an auction on his Facebook page for a work he created with a nightstick (police baton) instead of a paintbrush. He used red paint on a white background (the colours of the Belarusian flag), a technique that he created in 2019 to depict Russian police brutality and dubbed dubinopis’ [“nightstick art”]. In this case, he used red paint on a white background, the colours of the historical Belarusian flag. Reflecting the nerve struck by the Belarus protests, he sold the work titled Belarus (2020) for 3m rubles (about $41,000), a record for his Facebook auctions and by any measure a striking price for Russian contemporary art. Loskutov, who has faced criminal prosecution for his political stance and artistic expression in the past, says that “50% [of the proceeds] will be sent to the Belarusians”. Rufina Bazlova, a Belarusian artist based in Prague, has been using the red-white colour scheme and concept of traditional embroidery known as vyshivanky to create protest art that she posts on Instagram. She told Czech Radio that vyshivanky is both “a coded history of the people” and a way “to ward off bad spirits.”

support, saying the West is encroaching on Belarus. Svetlana Tikhanovskaya, the wife of a jailed blogger whose presidential bid met with wide support among Belarusians, was forced to flee to neighbouring Lithuania. According to official election results of this month’s presidential elections, Lukashenko, who has ruled for 26 years, won more than 80% of the vote and Tikhanovskaya just over 10%. Tikhanovskaya and her supporters say the actual results are almost the opposite of that and are calling for new, transparent elections. On election day, 9 August, the performance artist Alexey Kuzmich came out of a polling booth in Minsk nearly naked, in a white loincloth and red blindfold, striking a Christlike pose. He had drawn a phallus on his ballot and affixed it to his chest. That night, Kuzmich, who previously protested against censorship by taking Viagra and hanging a “ministry of culture” sign off of his penis, repeated the performance in front of riot police vehicles. He was detained by police the next day. After his release several days later he posted a photo showing deep scars and bruises from his time in custody and a short comment: “The OMON [riot police] did not appreciate my performance.” As protests and strikes spread across Belarus, on 13 August artists formed a human chain in Minsk, the capital, holding slogans and images against police violence and election falsification.

Russia and Belarus’s autocratic fates are intertwined. Lukashenko has appealed to Russian President Vladimir Putin for military


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Loskutov, who has faced criminal prosecution for his political stance and artistic expression in the past, says that “50% [of the proceeds] will be sent to the Belarusians�.

Artem Loskutov’s Belarus (2020) sold for 3m rubles

A Good Read


The search for a the owners of a painting stolen in WWII First Published on Art critique on 21 August 2020 By Katherine Keener


n Verdun, an artwork by Nicolas Rousseau has gone on display at the World Centre for Peace, Liberty and Human Rights. Hung in the lobby, the 19th-century artwork featuring a figure sitting on the banks of a river in the forest isn’t meant to stay there, instead it’s simply there for exposure.

Just a few weeks ago, the painting was driven from Germany back to France by Philippe Hansch, director of the centre. Now installed in the lobby of the World Centre, thousands of people will walk by it and it is Hansch’s hope that it might jog someone’s memory. Beside the painting is a sign that reads: “If you recognise the landscape or have any information about this painting, we would be grateful if you would let us know.” During World War II, the painting was stolen by a German soldier while the Nazis

occupied France. He was commanded to take the painting to an address in Berlin, but when he got there it had been destroyed. He then took it home, and after more than 75 years in Germany, the son of that soldier wants to return it to its rightful owners. Unfortunately, though, unlike big-ticket items or betterknown works, there is relatively nothing to go off in the way of provenance for the untitled work. “The painting is a big symbol of FrancoGerman friendship and allows the history of World War II to be told with fresh eyes from the French side and German side,” said Hansch, who added that they wanted it to be immediately accessible to visitors to the World Centre. “There’s pride and emotion, a lot of happiness, but also a responsibility.”

Philippe Hansch, the director of the World Peace Centre, with the untitled artwork by the French painter Nicolas Rousseau.


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An 18-carat gold diamond-encrusted face mask being made by Yvel. The commissioned mask costs over £1 million. Courtesy Yvel.

PANDEMIC… BUT MAKE IT FASHION First Published on Art critique on 21 August 2020 By Katherine Keener


rom museums searching for the sassiest items in their collection to people recreating famous masterpieces in their own homes, we thought we’d seen it all during the pandemic. That was until it was revealed that Yvel, a Jerusalembased jeweller, has been commissioned to make what might be the most expensive facemask in the world, according to Yvel owner Isaac Levy.

The mask is being constructed by 25 of Yvel’s jewellers – hand-selected by Levy – and will feature a N99 filter, 250 grams of 18-carat gold, and a whopping 3,600 black and white

diamonds. The mask will set its buyer, an unnamed art collector who is reported to be a billionaire from Shanghai living in the US, back $1.5 million (£1.1 million). Yes, you read that correctly, $1.5 million. “Money maybe doesn’t buy everything, but if it can buy a very expensive Covid-19 mask and the guy wants to wear it and walk around and get the attention, he should be happy with that,” Levy told The Independent. “I am happy that this mask gave us enough work for our employees to be able to provide their jobs in very challenging times like these times right now.”

Business Art News

STEPHAN WELZ & CO. September Premium Auction www.swelco.co.za


he Stephan Welz & Co. September Premium auction is fast-approaching, and following the great success of the Cape Town winter sale, we are looking forward to an equally exciting Johannesburg auction. The sale will be launching on our website on the 1st September, with bidding opening from the 15th September, and our specialists are eager to present some highlight pieces going under the hammer. We asked some of our team members to tell us about a few pieces they are particularly excited about and share why these works are so special: Luke Crossley, Senior Art Specialist, JHB “I am very excited that we are able to offer a selection of prints and works on paper by South Africa’s premier draughts-person, Diane Victor. Leading this selection is the monumental Baited. This breath-taking work combines accomplished and layered classical printmaking techniques with digital printing to create a haunting image of an apocalyptic horse soaring over a devastated landscape, as an image of the artist lurks within the body of the beast. In Let Sleeping Crocs Lie, the artist again depicts herself within the image, this time lying atop the back of a symbolic crocodile with human hands and bound jaws. This artwork was created at the Robert Blackburn Printmaking Workshop in New York in April 2012 during the artist’s two-month stay in New York to create a body of work for her successful exhibition, Reap and Sow, at David Krut Projects. Alongside these iconic editioned works I am also pleased to be able to offer Extinguished V: Rhino one of the artist’s ethereal smoke drawings where the very delicacy and impermanence of the medium evokes the plight of the animals in the 21st century”. Andy Warhol, Vesuvius, screenprint on Arches, 79,5 by 99,5cm, R400 000—R600 000.


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Mmakgabo Mmapula Mmangankato Helen Sebidi, Alexzandra Seene Near Johannesburg North (sic), oil on board, 50 by 72cm, R 100 000—R 150 000. 66

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Diane Veronique Victor, Let Sleeping Crocs Lie, drypoint, etching and embossing, 80 by 120cm, R 60 000—R 90 000.

Diane Veronique Victor, Baited, etching and digital print, 99 by 194cm, R 90 000—R 120 000.

Amy Carrington, Junior Art Specialist, Johannesburg “Our September auction will have works on offer by many South African art heavy-weights, and I am particularly excited about the mix of contemporary and historical pieces on the sale, harmoniously standing together to represent our dynamic art scene. Helen Sebidi is just one of these notable artists, with the available works showcasing her unique stylistic qualities, which are immediately recognisable. Alexzandra Seene Near Johannesburg North (sic) offers a captivating example of the artist’s use of fragmented, juxtaposed colour, as well as the use of characteristic impasto and spirited brushstrokes to create a vibrant surface that represents Sebidi’s connection to her community and the values that endure there. This eye-catching work is complimented by Sharing Spirits Together, a linocut work that offers just as much textural interest, taking on an embossed aesthetic quality. The symbolisation of tradition and community is clear in Sebidi’s work, and transcends generations, as contemporary artists, such as Phillemon Hlungwani, translate these concepts through their own visual language.

Phillemon Hlungwani, Tatanahorisambilu Ya Wenall, charcoal on paper, 150 by 200cm, R 80 000—R120 000.

Hlungwani uses his immense control of his medium to present Tatanahorisambilu Ya Wenall; a large-scale charcoal depicting a landscape shared by members of the artist’s community, and by extension, depicting shared experiences. This evocative, vivid work is another personal favourite on the upcoming sale, and I am looking forward to presenting these pieces, among many others, to our keen collectors”. Alexia Ferreira, Junior Art Specialist, JHB “We have quite an interesting and diverse selection of art works on our September sale. One of my favourite pieces would be Andy Warhol’s Volcano (Vesuvius). As one of the 20th Century’s most ground-breaking and anti-establishment artists, even after his death, Warhol is considered one of the greats within the art world. So it is quite exciting to personally handle this piece.


Volcano (Vesuvius), part of a series of vibrant acrylic on canvas paintings and silkscreens depicting Mount Vesuvius at its sublime moment of eruption, encapsulates Warhol’s renowned Pop vernacular. Vesuvius is illustrated in a manner that it is renowned for, a vicious, erupting volcano, spewing its contents of molten lava and plumes of ash into the air. The entire composition is imbued with the threat of impending catastrophe. The size of the piece paired with a palette of dense blacks, garish crimson layered above golden accents is awe-inducing. It truly is a piece worth seeing in person.” For more information about the works discussed here, please visit our website at www.swelco.co.za or contact us on 0118803125 or info@swelco.co.za.

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

William Joseph Kentridge, silkscreen SOLD R 130,000 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


Consignments open for North/South, Strauss & Co’s new cross-country virtual sale www.straussart.co.za


trauss & Co is pleased to announce details for North/South, an exciting weeklong virtual sale of art, fine wine and decorative arts due to be held over five consecutive days from 8–12 November 2020. The new, multi-day virtual sale replaces Strauss & Co’s remaining two flagship live sales – scheduled for October (Cape Town) and November (Johannesburg) – with a single, consolidated online sale supported by a catalogue. Consigning, viewing and selling for this amalgamated sale will take place concurrently in Cape Town and Johannesburg.

Strauss & Co is currently inviting consignments for its North/South sale at its Cape Town and Johannesburg offices. Consignments end on Monday, 31 August 2020. North/South is a refinement rather than a wholesale reimagining of Strauss & Co’s historical live sales, premium events that offer buyers and sellers an opportunity to learn, socialise and place bids. The cross-country and cross-departmental format of North/South was suggested by the success of Strauss & Co’s virtual auctions in May and July, socially distant events necessitated by regulations contained in the Disaster Management Act. The reimagining of Strauss & Co’s geographically discrete live sales as virtual events highlighted a number of efficiencies. North/South is a further adaptive response in Strauss & Co’s long-term digital journey. Strauss & Co will conclude its 2020 auction calendar with an online-only sale from 16–23 November 2020.

Georgina Gratrix, It Must Suck Being A Poodle, oil on canvas 45,5 by 60,5cm, R 30 000 - 50 000


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William Kentridge and Rosenclaire, Lesheba, drypoint, 79 by 107cm, R 80 000 - 120 000

Adolph Jentsch, Extensive Landscape, SWA, oil on canvas, in the artist’s chosen frame from Tischlerei Ellmer, Windhoek 67,5 by 97,5cm, R 400 000 - 600 000


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Deborah Bell, Vase, R 20 000 - 30 000

Maggie Laubser, Seated Girl, pastel on paper laid down on cardboard 37 by 29cm, R 150 000 - 200 000


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Maggie Laubser, Boy in a Fez, oil on cardboard 44 by 35cm, R 500 000 - 700 000

Business Art News


Treasures & Trailblazers: Aspire Art Auctions sets the stage for exciting sale of Modern and Contemporary Art in Johannesburg www.aspireart.net


his Spring, Aspire returns to Johannesburg with a much-anticipated auction of Modern and Contemporary art taking place on 3 September. With this large-scale auction, which presents a collection of 168 works by 103 artists, the company is breaking new ground with a fresh, yet considered selection of artworks that is demographically more representative and reflects the spirit of current times. With a strong focus on South Africa, the sale also proudly represents artists from 10 African countries (Benin, DRC, Ghana, Mozambique, Namibia, Nigeria, Sudan, Togo, Uganda and Zimbabwe) and international artists from Europe, the UK and USA. More than half of the lots on offer are by artists of colour, with over a third by women artists. Rare and important historical works are presented alongside an impressive and diverse collection of contemporary art which accounts for a solid 70% of the sale. Photography and new media works make up over 30% of the collection, while 12 new rising stars are introduced. Art collectors can look forward to the opportunity to acquire sought-after pieces by outstanding artists through an engaging virtual auction format that will be live-streamed from Aspire’s gallery in Johannesburg. Buyers are invited to make use of telephone and various real-time online bidding platforms.

William Kentridge, Three Sisters, 2016 Estimate: R 3 000 000 - R 4 500 000


The leading lot in the sale is an exceptional early painting by Gerard Sekoto titled In the beer hall. Painted before Sekoto permanently left South Africa in 1947 was first exhibited at Gainsborough Gallery in Johannesburg circa 1939/40. The painting is a fine example of Sekoto’s new found oil technique at the time and considered one of the earliest images of black people painted sympathetically by a black artist. Another important painting from Sekoto’s ‘golden-era’ period on auction is the radiant Portrait of a young woman. Early paintings by Sekoto of this quality are very rare and seldom come to market. Two impressive works by Sekoto’s brotherin-arms, George Pemba, also feature. Both painted in the 1970s, a period of great artistic maturation for Pemba, The Wedding and Congregation are exemplary of Pemba’s unique social realist works. A great highlight is Edoardo Villa’s monumental steel sculpture titled Traverse from 1957. Originally commissioned by Monty Sack for the Carlton Hotel, it is one of the largest works Villa ever produced and is testament to his innovative use of steel and new construction methods. Breath-taking in scale, the work is a welded piece constructed from a series of intersecting flat and curved planes of steel. Also on offer is Villa’s impressive Standing Form, a large vertical figure of tubular forms epitomising South Africa’s rapidly growing industrialisation in the 1960s and 70s. Works by Ablade Glover, Peter Clarke, Gladys Mgudlandlu, Helen Sebidi, Jackson Hlungwani, Speelman Mahlangu and Diederick During further complement the modern offering. Headlining the contemporary section is a collection of significant works by William Kentridge, spanning his career. The spotlight falls on the limited edition bronze sculpture set Three Sisters (2016) which underlines Kentridge’s masterful use of medium and materials. Each sculpture takes the form of a human torso with their heads transformed into a propeller fan, a cone dial and a cubic box. Cast in bronze, they are meticulously painted to appear as if made of wood, cardboard and fabric. David Goldblatt, Philamon Mabunda, flat cleaner, Geraldine Court, Hillbrow, Johannesburg, July 1972, 1972, Estimate: R 200 000 - R 300 000


Gerald Machona, The Tulip (Turkey), 2017, Estimate: R 60 000 – 80 000

Brett Murray, One Party State, 2010, Estimate: R 150 000 - R 200 000

Bridget Baker, The Maiden Perfect, 2005, Estimate: R 120 000 - R 180 000

Ablade Glover, Crowd Estimate: R 150 000 - R 200 000

“Art collectors can look forward to the opportunity to acquire sought-after pieces by outstanding artists through an engaging virtual auction format that will be live-streamed from Aspire’s gallery in Johannesburg”

Robert Hodgins, A Suit of Flames and a Brooks Bros’ Shirt, 2008/9, Estimate: R 600 000 - R 900 000

Penny Siopis, Spirit Matter, 2016, Estimate: R 350 000 - R 500 000. Opposite Page: Edoardo Villa, Standing Form, Estimate: R 700 000 - R 900 000

Ideas around the technological transformation of the human, so beloved by the avant-garde, are beautifully realised in these delightful works, which were recently exhibited in Kentridge’s retrospective Why Should I Hesitate at Zeitz MOCAA in Cape Town.

Works by eminent contemporary artists include early ceramic sculptures by Nicholas Hlobo from his Sit - on or stand up and be counted installation; Sam Nhlengethwa’s large oil and collage on canvas interior diptych; a large bronze sculpture titled One Party State (2010) by Brett Murray, and a captivating bust by Wim Botha from his Witness series. A welcomed addition is Gerald Machona’s delicate work The Tulip (Turkey).

The two gracious Dancer Twice charcoal drawings from 1996 are unique for their sublime beauty. Each portrays a dancer leaping forward with effortless ease while the folds of their diaphanous tunics gracefully animate the action. Complementing these drawings are two sets of prints Dancer Twice and Dancer Twice (Reverse), each with their own distinctive handmade elements. This editioned series, made from the original drawings also on sale, marked the birth of digital printing in South Africa. By working with charcoal and wash on the prints, Kentridge transformed each into a unique piece.


Of the women’s voices featured in the sale is Penny Siopis with a striking painting Spirit Matter (2016) rendered in ink and glue on canvas – an experimental medium now synonymous with the artist’s work, but rarely available on the secondary market. Alongside Siopis is Judith Mason, Diane Victor’s captivating large-scale triptych No Hope, No Guts, No Glory (1991), and significant photographic and performative works by Zanele Muholi, Berni

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George Pemba, The Wedding, 1973, Estimate: R 180 000 - R 240 000

Searle, Tracy Rose, Mary Sibande, Bridget Baker and newcomer to auction Khanyisile Mbongwa with photographs from Umnikelo Oshisiwe – Ibandla Lomlindo. Following Aspire’s recently achieved world record at auction of €34,150 for a single photograph by renowned photographer David Goldblatt in Paris in June, four scarce and highly sought-after photographs from his Particulars, Johannesburg, Some Afrikaners Photographed and Fietas series’ are offered as part of an outstanding photographic range which further includes photos by Leonce Raphael Agbodjélou, Hasan and Husain Essop, Jo Ractliffe and Guy Tillim.


Available on auction for the first time locally is a sculpture by El Loko whose permanent installation can be seen at Zeitz MOCAA, and a large expressive painting from 2001 by George Hughes titled Yellow Rage. Concluding the auction from the very serious to the more satirical is Robert Hodgins’ delightful painting A Suit of Flames and a Brooks Bros’ Shirt (1997) which is sure to draw attention. The fully illustrated and interactive catalogue is available online and can be downloaded at www.aspireart.net. For more information, contact 011 243 5243

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Daily Online Art Thrill Catalogues, Clips & Fun www.artgo.co.za


Artwork by Beezy Bailey, Festival Artist for FynArts 2020


FREE TO GO Olivié Keck, Adele Van Heerden and Michael Amery www.131agallery.com

BERMAN CONTEMPORARY Chrisél Attewell Solo Exhibition 19/09/2020 Until 17/10/2020 www.bermancontemporary.com



All Womxn Matter Until 24/09/2020 #AllWomxnMatter: A Group Exhibition www.art@africa.art

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Sights For The Next Generation Until 26/09/2020, www.capegallery.co.za


Sizwe Khoza - Ahitsakeni Vananga Monotype 2019 www.artistproofstudio.co.za



Sounds In Solitude Featuring Andrew Ntshabele And Daniel Stompie Selibe Artyli.com Gallery, 6 Stanley Studios, Milpark, Johannesburg. Until 30/09/2020

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CLOSE: Rossouw Van Der Walt, Johannes Wewetzer, Talut Kareem-Black www.deepestdarkestart.com



The Cabinet - August Edition - Online 17/08/20 Until 30/09/20 www.ebonycurated.com

Mandlenkosi Mavengere - www.christophermollerart.co.za





Weeds Jenny Parsons Until 18/09/2020 www.rkcontemporary.com

10 Forrest Wy, Glencairn, Cape Town, www.heatherauer.com

Ke Namile, a group show curated by one of our invited collaborators, LegakwanaLeo Makgekgenene. They have brought together 7 artists which include: Malwande Mthethwa, ShanaLee Ziervogel, Elijah Ndoumbé, Lamb of Lemila, Ranji Mangcu and Rona to present a show which confronts gender binarism and exclusionary feminism. www.eclecticacontemporary.co.za


Be Still My Heart A Solo Exhibition by Oliver Scarlin UNTIL 10/10/2020 www.glencarlou.com/art-gallery/

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The Heather Auer Art Studio Visit us at Glencairn, Simonstown (By Appointment Only) South Africa: +27 (0)82 779 2695 / Email: info@heatherauer.com www.heatherauer.com

David Madlabane

Raymond Fuyana

Thokozani Madonsela

Bokang Mankoe

For more information: tracey@artistproofstudio.co.za www.artistproofstudio.co.za +27 84 411 3657

27 AUG - 2 SEP


Joshua Miles Available at The SA PRint Gallery www.printgallery.co.za


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New Chapter 09/08/2020 UNTIL 09/09/2020 This exhibition, “NEW CHAPTER”, intends to engage not only the visual appeal on the viewer’s eyes, but also the intellect, allowing for powerful commentary and exploring questions about the history and future of books as symbols of knowledge and joyful experience. Follow our social media pages for more information www.nwu.ac.za/nwugallery

THE MELROSE GALLERY Universal Rhythms Regi Bardavid 24/08/2020 Until 20/09/2020 www.themelrosegallery.com


4 Fold - An exhibition consisting of artworks created by the Kuijers artist family – David, Dina, Max and Isabella Kuijers. 29/09/2020 UNTIL 28/10/2020 www.rustenvrede.com

RUST EN VREDE GALLERY Boys Don’t Cry 18/08/2020 Until 23/09/2020 www.rustenvrede.com


To Make A Landscape Fit Indoors A Solo Exhibition By Jeanne Hoffman 09/09/2020 Until 03/10/2020 www.salon91.co.za



Transhumanism - Group Show Until 01/10/2020 www.stlorient.com

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Get your monthly Art Times delivered for only R380 per year The Art Times is a monthly 132 page gloss perfect bound South African Art Publication available in print, online and on mobile. If you would like to subscribe to The Art Times please email proof of payment with your full name as reference to subs@arttimes.co.za or 021 300 5888 to confirm your subscription. Pay: ARTLIFE (PTY) LTD Bank: FNB Acc Number: 62752894058 Branch Code: 260209

THE VIEWING ROOM AT ST LORIENT Only Lines & Reflection 26/09/2020 Until 19/11/2020 www.stlorient.com

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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RUST-EN-VREDE GALLERY André Serfontein – Flux 18/08/2020 until 23/09/2020 www.rustenvrede.com

Dorothy Kay (1886–1964),The Song of the Pick, 1938, etching, 38 x 32 cm

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

Modern, Post-War and Contemporary Art, Decorative Arts and Wine 8–12 November 2020

011 728 8246 | jhb@straussart.co.za | www.straussart.co.za | 021 683 6560 | ct@straussart.co.za

R600 000 - 900 000

New cross-country virtual flagship auction

Maggie Laubser, Bird in a Landscape with Rays (detail)


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Art Times September 2020  

Art Times September 2020  

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