NATIONAL ART EVENT ART TIMES
ART TO GET EXCITED ABOUT We asked some of the country’s top galleries what they would be presenting at the Fair. Sulger-Buel Lovell presents a two-man photographic exhibition featuring David Lurie and Ralph Ziman, and an interactive installation by Jenna Burchell as part of the curated special projects programme. David Lurie’s photographs are from his new body of work, Writing the City, a photographic ‘journal’; part of his ongoing work on urbanization. He captures Cape Town’s inscribed surfaces in immense detail, and considers what they tell us about the inclusion and exclusion of different communities in the city. Lurie’s landscapes turn their attention to the plethora of placards, banners, billboards, posters, words and images, which inform and direct us, and sometimes surprise and disturb us. Alongside Lurie, Ralph Ziman exhibits brightly hued, arresting photographs from his new body of work taken in Ethiopia and Sudan. The alluring, yet unsettling works are an extension of his previous photographic series, Ghosts, which examines the international arms trade, specifically on the African continent. Sulger-Buel Lovell has also been selected to exhibit Jenna Burchell’s new interactive installation, The Narrators, in the special projects programme. The artwork is comprised of interactive sculptural instruments that play with the container of storytelling; revealing audial glimpses of fading memory, tales of places lost, ballads to home, love and land as they exist in oral history. For the duration of the Fair, Burchell will present a walkabout at 2pm daily, giving audiences an opportunity to further engage with her creative methodology.
Lizamore & Associates showcases the work of emerging photographer, Justin Dingwall. Dingwall is known for his series of beautiful composed portraits of Thando Hopa, a young lawyer-turned-model with albinism. These gained international acclaim after being exhibited at the 2013 1:54 African Art Fair in London, then London14 Art Fair, and in a solo exhibition at the MIA Gallery in Seattle. “Exploring the ambiguities of classical beauty” is what is at the heart of the collaboration between Dingwall and Hopa. Dingwall will show a new body of work at the Joburg Art Fair, titled In with the new. This title plays on the well-known English saying, which Dingwall re-interprets as “out with our old preconceived ideas and in with change and a new perspective”. Dingwall’s photographic series originates from this line of thought and offers fresh perspectives and new perceptions to the viewer. These new works continue the artist’s exploration of albinism and feature model Sanele Xaba. “As a society, we are uncomfortable to acknowledge the prevalence of albinism in our country. People with albinism are shunned for reasons of witchcraft and for not fitting in with society’s norms. There are many misconceptions that attach a severe social stigma to people with albinism,” explains Dingwall. The artist has made a conscious effort to portray an intimate perspective to foreground the myths surrounding albinism.
ROBERT HODGINS: ANNUNCIATION TOMORROW
FIGURE AND GROUND: A SELECTION OF PAINTINGS BY LEADING SOUTH AFRICAN ARTISTS WALTER BATTISS CHRISTO COETZEE PETER CLARKE GERARD SEKOTO DUMILE FENI ROBERT HODGINS CECIL SKOTNES NORMAN CATHERINE
EXHIBITION OPENS:
Sulger-Buel Lovell
Bottom: Ralph Ziman, Untitled, 2015, Digital print on Moab Entrada paper with Ultrachrome HDR Ink, 122cm x 167cm. Sulger-Buel Lovell Right: Detail from digital print from Justin Dingwall’s In with the new series. Lizamore & Associates
1ST AUGUST 2015
SECOND FLOOR AFRICAN TRADING PORT PORT CAPTAIN’S BUILDING V&A WATERFRONT 021 418 1953 INFO@WALLSAART.CO.ZA WWW.WALLSAART.CO.ZA
WALL
Top: David Lurie, The People Shall ShareKhayelitsha, (detail), 2015, colour photograph on fibre based archival paper, 123cm x 82cm.
Christopher Moller Gallery is proud to present photographs by Tony Gum. Enter Tony Gum, a young black woman artist from Guguletu in the Western Cape. Her decision to fuse a specific brand – Coca Cola – with an array of projected identities, ranging from the matriarch in traditional Xhosa costume to the West End Playboy Bunny, marks a newly minted ironic and playful take on the ubiquitous and morbid preoccupation with Identity Politics. In Tony Gum’s case it is the fusion of the African exotic, the ethnic traditional, the Afropolitan urban chic, and the iconic Bunny Girl which allows for a new framework, or prism, through which to see contemporary African art. All importantly, it is Tony Gum’s wit, her lightness and playful irony which sets the work apart for therein we find no grim exploitation
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