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X We are excited to announce a groundbreaking partnership with highly regarded contemporary French auction house PIASA for our AUTUMN 2020 auction in Cape Town. Aspire and PIASA will present the best quality fine art lots with a focus on Modern & Contemporary African Art.



Modern & Contemporary African Art Cape Town, February 2020 Consignments close end-December 2019

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Marlene Dumas

b.1953 South Africa

Oktober 1973

oil on canvas 183.5 x 122.5 cm Estimate: R3 000 000 – 5 000 000 accompanied by a certificate of authenticity signed by the artist




Self portrait of a Sunday evening suburban freedom fighter, Etching. Gabriel Clark-Brown

Anton Kannemeyer, Swartberg Pass III Lithograph buy and sell quality prints

The SA Print Gallery is proud to present:

JOSHUA MILES FYNBOS CITY A study of light, colour and life Opens Saturday 18 Junuary 2020

SA Print Gallery 109 Sir Lowry Road, Woodstock, Cape Town


Art Times December/January Edition 2019/20

12 STELLENBOSCH TRIENNALE Art tourism comes to the Cape 26 M.O.L 4 - ASHRAF JAMAL COLUMN Day in the life of William Kentridge 34 DENNIS OSADEBE I like history, but I love fiction 38 BETWEEN THE LINES Sensible beings trying to make sense of our feelings 46 PRINCE ALBERT OPEN STUDIOS Creatives and colourful characters 54 DARKNESS RISING Showcase of contemporary Congolese artists 58 ONYIS MARTIN Before tomorrow comes 70 NEW BREED ART COMPETITION Winners announced 80 JOSHUA MILES Fynbos City 88 OLIEWENHUIS ART MUSEUM The ideal pit-stop for all art lovers BUSINESS ART 98 STRAUSS & CO CONTEMPORARY Art Auction Highlights 102 ASPIRE X PIASA SHAKES UP SA AUCTION MARKET 106 STEPHAN WELZ & CO. 2019, a year of developments 112 ARTGO DEC/JAN 2020 DEC/JAN 2019/20 COVER Joshu Miles Signal Hill Bling, reduction woodblock, SA Print Gallery

Alex Marmarellis, Fun-Day, Acrylic on canvas, 61cm x 45.5cm

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ecember January is without doubt the sweetest time of the year. What’s done is done, and there is another chance of setting ambitious goals for next year. The Christmas lull brings with it the chance of investing one’s time wisely, catching up on forthcoming art market, media, political, cultural trends et al.

CONTACT ART TIMES Tel: 021 300 5888 P.O Box 428 Rondebosch 7701

During the lull take a stroll around the cultural malls to enjoy a great day out experiencing well filtered art, walkabouts, museum shops and restaurants. Once that’s done, I would suggest that one roughs it a bit to experience less tame art like the Prince Albert Open Studios; Dylan Lewis’s sculpture garden or the Richmond’s Map Project, (located in the “Upper Karoo”) where their incredible art collection it’s told, is in part hosted in a disused supermarket.

EDITOR Gabriel Clark-Brown

If you’re in the area go to the UCT Irma Stern Museum and stand in Irma’s studio to hear perhaps her faint yells to her Dudley. In Dombeya, at Hartebeespoort, visit the grave of Alexis Preller and his gorgeous young lover Guna- who died tragically days later after Alexis- who now lie together for eternity; or visit Helen Martins beautiful, but deteriorating headstone in Nieu-Bethesda.


What I strongly advise against this season is to ever think of picking up a pen and drawing a picture on a scrap of paper, or writing a piece of poetry, Don’t do this! - you might discover too late that there’s no turning back. The love of creating could be more powerful and long lasting than hitting the Bells, or potato salad from New Year’s Eve. Creativity, self-expression and reflection should be left to qualified artists (preferably with a license or degree), curators and people who can tell you about art and its meaning. Art is a risky thing and should be kept behind museum walls - any attempt to understand it should be supervised and preferably discouraged. If somehow you have to dabble in art and couldn’t afford for now to buy it - maybe as a cost saving this year one could make one’s own art to enjoy its effects first hand.Like Mahatma Gandhi going to the sea and making salt his own salt - rather than paying British tax on purchasing salt, so too, maybe we should start enjoying and trusting our own creativity and soul rather than be caught up in the loud drone of Art Fairs and Art Media Hype. On a more down to earth note, I would like to thank my dedicated team and all our special friends and art community in supporting us at The Art Times. We have loved working with you and we feel inspired everyday through your art work and enjoyment of arts and culture. We will be back for our special February ICTAF 2020 edition. God Bless and have a great Christmas and festive season.

ON THE KEYS Brendan Body


Gabriel Clark-Brown @ARTTIMES.CO.ZA


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Prosperous 2020 to all.

After a succesful 2019, Stephan Welz & Co would like to thank all of our clients for their continuous support and wish all a prosperous 2020. Contact your nearest branch for more information and to schedule your valuation with our specialists


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Summer 2020 will be remembered in South African art and tourism circles as the time when the Cape – Cape Town and Stellenbosch – emerged as a fully fledged art tourism destination. Melvyn Minnaar looks forward to what visitors can expect. Featured in Stellenbosch Visio, summer 2019/2020 edition Written by Melvyn Minnaar

Sethembile Msezane, Sebashilo Ukuthi Basilindile II, (2017)

ART TOURISM has always been a big deal. Cultural expression tickles the fancy of foreigners. It inspired wayfarers in ancient times to visit strange temples and exotic palaces, and more recently to go to places of ritual and celebration. It compels crowds to turn up in their thousands at events like the Venice Biennale and festivals like Frieze and Documenta to ogle art and what may pass as art. It gets travellers to pack their bags and cameras and take journeys to other corners of the Earth, where artists do things differently. Creativity is a remarkable drawcard. Cultural curiosity can be a high-powered economic driver. Nowhere is this more evident than in our own backyard. Between them, Cape Town and Stellenbosch are hosting a summer of art that is set to be the focus of a strong invasion of art tourists. And uniquely so, for a number of factors have dropped perfectly into place for what can only be described as a remarkable African art ecosystem that has been established at the continent’s southern tip. Yet this may not be a once-off summer, for numerous cultural institutions have coordinated their efforts and shared their skills and displayed truly global professionalism. They are breaking new ground and look set to make the Cape a meaningful centre for international visitors in search of that energising cultural fix.

Above: Lazaro Samuel Photo (photo by Valerie Amani) Right: Victor Ehikhameno, The Prayer Room, Dakar Biennale, Dakar, 2016


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Above: Malebona Maphutse, When gods Battle Mortals (A Revival). Opposite Page: Canon Rumanzi, ALL-HANDS-ONDECK- building-better-babel-beta.

February will be the month when all art breaks loose. Coinciding with the inaugural Stellenbosch Triennale 2020, which opens on 11 February, the eighth Investec Cape Town Art Fair annexes the Valentine’s weekend of the 14th, while the crowd-drawing master retrospective shows of William Kentridge continue at Zeitz MOCAA and the Norval Foundation. Also in February, the 26th is the first day of the globally recognised Design Indaba at the Cape Town International Conference Centre. And in March, Stellenbosch University’s widely popular Woordfees comes to town. It goes without saying that the natural beauty of the Cape, the landscape and the weather, as well as the urban configuration, make it an ideal setting for this new art ecosystem. Tumelo Musaka, who curated the Investec Cape Town Art Fair for several years, has stressed the city’s place on the African continent. “Cape Town’s geography is an integral part of Investec Cape Town Art Fair’s success. The city is a vibrant cultural hub, attracting

international collectors with the novelty of diverse, cutting-edge art and a favourable exchange rate.” One can obviously add that, from a tourist’s point of view, all the add-on pleasures of visiting are on tap: top-notch facilities and fine restaurants, museums, theatres, music and fun. (Is there any other place in the world that can boast an art event of this nature within easy reach of one of the finest and most colourful winelands in the world?) Talks, cultural platforms and walkabouts have become established facets of the Investec Cape Town Art Fair, as have the exhibition sections of this popular show at the Cape Town International Conference Centre. In the 2020 edition, Solo consists of mini-shows of artists who deserve more attention, while Tomorrows/ Today, with an eye on the moneyed, visiting collector, focuses on emerging artists. “For such artists, this publicity can go a long way towards building social interest in their career which, when well exploited, could translate to further opportunities,” says current curator Nkule Mabaso.

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The theme of ‘up-and-coming’ is also the motivation for the Design Indaba Emerging Creatives, an adjunct to the international design conference and festival that starts on 26 February. This positive project has encouraged and supported young designers and creative personalities for the past 15 years and in 2020, it will showcase the work of 40 young people to an international audience. Visitors will no doubt pick up on the African echo reverberating through all these events as they will on the prevalence of women in charge of the events, shows and selections. Gentle hints of the prominence of women will be found in the two relatively new private Cape Town art institutions that slip seamlessly into this art ecosystem and that no overseas visitor should miss during their summer trip to the Cape: the Norval Foundation (with Elana Brundyn as its CEO) and Zeitz MOCAA (with Koyo Kouoh as its executive director and chief curator). The blockbuster overview of South Africa’s most famous artist, William Kentridge, Why Should I Hesitate? will still be on view at both venues until March. The Norval Foundation will also host a show of the fine young Kenyan, Michael Armitage, and Zeitz MOCAA a solo survey by Nigerian, Otobong Nkanga. (Walkabouts are regular additions to the art on the floors and walls of these smart art spaces.) If the leitmotiv of any art visitor during our super summer is guided by the female presence and an African air, no-one should miss that wonderful small gallery in Rosebank that was once home to Irma Stern, currently South Africa’s most famous deceased artist. Not only are numerous paintings and artworks by Stern on display, but also some of the most enchanting and beautiful African craft art that she collected. (February will have a curated exhibition featuring the nude in art on view.) Cape Town may not have a museum dedicated specifically to historical African artworks, but the various institutions under the flag of Iziko have much to offer. Venues such as the South African National Gallery, the Castle of Good Hope, the Slave Lodge, Groot Constantia and the South African Museum are richly endowed with cultural treasures that nowadays are often getting a contemporary contextualised revamp.


Then there are the commercial and ‘alternative’ galleries in and around the Mother City. In recent years, local art dealers have schooled themselves in the skills to work, promote and sell internationally, and not just because of the treasure of talent that is so abundant here. Noncommercial galleries (the likes of the A4 Art Foundation in District Six) and community art spaces have found their own niche appeal for visitors from elsewhere. The latter showcase the unique awareness among South African cultural operatives that producing art is not elitist and that much which was ignored under earlier regimes is only being

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Donna Kukama, Chapter Q, Dem Short-Short-Falls Performed and documented at the Bijlmerramp Monument, Amsterdam, 2017-2018

Khanyisile Mbongwa, Chief Curator, Stellenbosch Triennale, Photo Alena Gelen.

Mongezi Ncaphayi, Obsession, 2019, Indian Ink and, Watercolour on Cotton Paper, 199 x 140 cm

Bernard Akoi-Jackson, Co-Curator, Stellenbosch Triennale, Photo Alena Gelen

Above: Sethembile Msezane, Water Bodies- Isinqumo I, (2018) Opposite Page: Lazaro Samuel Buku Jero, Acrylic on canvas, 80 x 49cm (Photo by Martin Shayo)

discovered in present times. Attentiveness to the educational aspects of art and craft production, of how it acts positively within communities and energises the social weave, has finally become part of our system. If Cape Town’s art spaces will be hosting exhibitions with strong African relevance through the summer, the charming town of Stellenbosch, just 40 minutes from Cape Town International Airport, will be putting down what could well be a marker in South African art history. Already it is gearing up – and has been for months – for potentially the most significant local art jamboree in living memory. Of course, that should be ‘African art jamboree’ because the focus of the first Stellenbosch Triennale (ST2020) is squarely on the amazing talent being uncovered all over our continent. As auction and international collector sales increasingly indicate, contemporary African art is very much in vogue. ST2020 is a ground-breaking, investigative adventure whose various components will provide visitors with a range of experiences.


The culmination of years of investment in public art with sculpture displays in the town, the event is the brain child of the Stellenbosch Outdoor Sculpture Trust. Anchoring the triennale is the exhibition Tomorrow There Will Be More of Us – a stimulating, poetic theme if ever there was one. Chief curator Khanyisile Mbongwa and her team of curators worked hard to sift through the 200 artists suggested from all over Africa and whittle the number to just the 20 whose selection of works are to be displayed in the reconfigured Old Wood Mill. Seven South African artists join others from Nigeria, Ghana, Uganda, the DRC, Kenya, Mozambique, Angola, Zimbabwe and Rwanda. Two other exhibitions will provide a wider context for ST2020: On the Cusp (young and new) and From the Vault (classic masterpieces). The historic square of Die Braak will have a pavilion, while various other venues in Jamestown, Cloetesville and Kayamandi will make up a defined art route. ST2020 will also comprise an extended programme of music, talks, film and performances. Visitors are sure

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Above: C+N Canepanerie, Danica Lundy, hey there delilah, ballpoint pen on paper mounted on canvas, 30 x 40 in 2019 Opposite Page: Teresa Kutala Firmino, Wounding boundaries red, mixed media on canvas, 79 x 108 cm, Everard Read Gallery (Image courtesy of Michael Hall)

to be particularly impressed by the extensive online open-source discovery and learning centre that will underpin the Stellenbosch event under the delightful name The Imaginarium. They will also note that local art endeavours are embedded in the community. The region is rich in art schools, while art fairs provide room for non-profit organisations. There can be no doubt the thread running through this novel art ecosystem in the Cape is the vibrancy of youthful talent and artistic invention. The new and the dynamic of difference are cornerstones of both a noncommercial art venture like the Stellenbosch Triennale and the commercial Investec Cape Town Art Fair. They are what stimulates both serious collectors and observers attending in search of excitement and upliftment. Art lovers, if you will.


When the plans for the Stellenbosch Triennale were announced in February 2019, the presentation was strong on punting the points that would make it distinctive and be drawcards for visitors and tourists from afar. “Why visit?” asks the marketing brochure and then gives some reasons. On a serious note, ST2020 would be the only event of its kind in southern Africa and an opportunity to see unique or unseen African work in an African setting. More cheerfully, overseas visitors would find a favourable exchange rate and leave the northern winter behind to enjoy a southern summer. Tellingly, they would have an opportunity to visit a world-class art hub at the best time of year in the Cape. According to Elana Brundyn of the Norval Foundation, “Cape Town is becoming a cultural destination with world-class institutions. We

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Victor Ehikhameno, Wealth of Nations, Installation at Jogja National Museum, Indonesia

“It gets travellers to pack their bags and cameras and take journeys to other corners of the Earth, where artists do things differently.” are proud of how this cultural ecosystem has evolved, changing the very fibre of our community. There is this growing confidence and excitement around what we offer the world. Museums are creators of credibility and this cluster of cultural development allows the Cape to compete with other global cities for tourism. A study by Myerscough College and others pointed out that three out of 10 visitors to London travelled there for the museums.” Need one say more, except to celebrate the birth of this vibrant art and culture ecosystem on our doorstep and welcome the foreigners whose fancy is tickled by cultural expression – in the high African mode at the height of the Cape summer.


CONVENIENT CULTURE Following international best practice, enterprising local agents are compiling tight and exclusive travel packages for visitors. Hanlé Hill is the preferred operator for Stellenbosch Triennale 2020 and has customised a special small-group tour that spends three days each in Cape Town and Stellenbosch and includes a dedicated art and culture programme.

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Dennis Osadebe Opens Friday 31 Jan 2020; @christophermoller_gallery


DAY IN THE LIFE OF WILLIAM KENTRIDGE Ashraf Jamal Images Courtesy of Zeitz Mocca


he occasion and day in question – the Kentridge Symposium, Sunday 27 October at Zeitz MOCAA – began dramatically when the glass panel of a flatscreen smashed to smithereens on the black stage. With a front row seat, I saw no startled heads though felt my own snap in shock. The two men hoisting the cumbersome screen onto the stage remained calm while I, agog, marvelled at the spume of shattered glass. Much toing-and-froing followed, the stage cleared of debris, the screen readied for the keynote speaker, Carolyn ChristovBakargiev, who would deliver her talk from her home in Turin, in the province of Piedmont, Italy. Because of a freak storm that flooded the museum she oversaw, she could not be physically present. Further glitches of a technical nature followed which ChristovBakargiev took in her stride, reminding us that accidents do and must happen, that nothing worthwhile is ever shared without tribulation and mess. ‘Someone had blundered’, I muttered, recalling the phrase in Virginia Woolf’s novel, To the Lighthouse. However, despite the many glitches which afflicted transmission, Christov-Bakargiev’s warm reflections on Kentridge prevailed. Charcoal – Kentridge’s signature medium – is a ‘freak of nature’, she said. It ‘gives oxygen to the whole planet’. It is art as oxygen that mattered, because ‘life was more important than art’. This was an excellent beginning to the day’s proceedings. Christov-Bakargiev’s view is shared by John Armstrong and Alain de Botton who in Art as Therapy note, ‘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’. Like smithereens of glittering glass, I thought. This however is not the prevailing sentiment. Given its inflated value, it remains the domain of museums. So it seems it must be, so it is. The Kentridge retrospective, running jointly until March 2020 at Zeitz MOCAA and the Norval Foundation, is a case in point. Monumental, thickly descriptive, it is the most authoritative exhibition of well-nigh half a century of work. It grieves me that attendance will never be


comparable to that, say, at the Tate Modern, or any other major Western institution. There is a sorry reason for this. We in South Africa remain out of synch with the flood of interest, nay, the tsunami of popular affection for art elsewhere in the ‘civilised’ world. The problem is political-cultural-economic. Nevertheless, I long for an increase in foot-traffic, a greater buzz. For surely, if anyone can inspire a greater attendance and interest in South African art, it is Kentridge. Adventurous, anarchic, political, and easily readable, his works are a canny computation of our DNA. Hence the fervour that drives our interest in the man and his herculean achievement. However, it is not the magnetic

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power of Kentridge’s global appeal that matters most, but his consistent yet inconsistent grasp of life through creative expression. For Kentridge, no matter how attractive an art work may appear to be, it is never finished. Rather, it is the radical unsettlement of things that counts – the fact that we never wholly understand our lives, never truly find resolution. This is not a cynical or ironical view – which Kentridge sees as ‘the last refuge of the petit-bourgeoisie’ – it is artist’s understanding of Fate, the subject of his closing remarks on that day. As the French philosopher, Gilles Deleuze, puts it, the system works because it does not work. Things make sense through error. Kentridge concurs, noting that ‘Vulnerability and the process of growth are continuous acts of transition’.

Uncertainty – through drawing – is his ‘model for knowledge’. All art works are subject to ‘erasure’ – Kentridge’s key trope – always reconstituted, reframed, assigning to an everunfolding and unfinished narrative. Is Kentridge’s understanding of unscripted error the source of his appeal? And Is it not this very vulnerability which was displayed through shattering glass and technological glitches? As metaphor, these unscripted errors assumed centre-stage as the day’s proceedings advanced. A performance by Themba Stewart, Richard September and Iman Isaacs, Red Aloes, punctuated the roster of conversations. Centred on Truth and Reconciliation – and its impossibility – the

performance placed us squarely in the rub of political and psychic difficulty. For Stewart, September, and Isaacs, resolution and truth remained deferred. And yet, in the agonistic mix, the drama’s second iteration proved an uplifting marvel of whimsy and wonder as a Kafkaesque mountain of paper was hurled into the air. Another instance of shimmering chaos, another resplendent mess, which Koyo Kouoh, Zeitz MOCAA’s executive director and chief curator, requested be left on the stage. After all, tumbling paper is a vivid theme in Kentridge’s repertoire. Besides, it was lovely to see the archivist, Carolyn Hamilton, and poet, Antjie Krog, resume the conversation tossed about by waves of crumpled A4 sheets. Because of course not everything is futile. Miracles thrive in mess. This was Albie Sachs’s point in his seminal essay, ‘Preparing ourselves for freedom’. The legend was in attendance and, I’m sure, must have been saddened when joy – as is life’s want – was promptly derailed by a fixation on abuse, neglect, denial – Rage and Race. This is unsurprising. Ours is the ‘Age of Anger’. Joy is perversely deemed impermissible in a world as grievous and as ungracious and embittered as ours. Kentridge knows this. His art is never blind to inequality, cruelty, resentment. Yet he too feels that psychic-economic-cultural damage cannot be resolved through reactive protest alone. ‘Argument and logic’ – and here I would include the scourge of political correctness – lies ‘on top of the world’, he noted in his Norton Lecture at Harvard, it is not ‘embedded in it’. it is the embeddedness of life’s hurts and hates and loves that concerns him more. His greater concern is how we can ‘continue’, which is why his engagement in politics is ‘concerned but distanced’. If his art remains profoundly generative, if it is able to connect to the sufferings of the world, it is because of the artist’s method. Kentridge implicates us in a problem. This is all that art can and must do. It is not a commandment. If the call to accountability shifted the conversation from pleasure to pain, the conversation that followed was nevertheless productive. At Kouoh’s just insistence, the focus turned to the matter of ‘rage’, the museum’s director promising future debates on this inconsolable and critical matter.


Did I mention that I was a target, given my doubt regarding the value, creatively and ethically, of a reactionary and divisive position? What mattered far more to me at the time was the observation made long ago by the celebrated novelist, James Baldwin, that ‘The rage of the disesteemed is personally fruitless, but it is also absolutely inevitable’. We must acknowledge this paradox if we are to advance productively. On that day however – the day that William Kentridge’s life-work was placed under scrutiny – it was the temperament of the man that stayed the course. If Antjie Krog dove deeply, darkly, and poetically into the matter of white guilt, it was not merely to challenge ongoing white privilege, but to ask for a greater consciousness, a greater empathy. Moreover,

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and more importantly on that occasion, Krog’s key question concerned what it was that art can do? This is also the core matter that informs Kentridge’s endeavour. What distinguishes Kentridge’s best work is its embedded interplay of discordant elements – voice-song-movement-shadowplay-drawing. And here perhaps his most recent major work, The head and the load – staged at the Tate Modern in 2018, and moving to Johannesburg, his inspirational font – that summarises the artist’s impact. Its focus? The black African soldiers erased from the history of the First World War. As with all his work, this too has its sights fixed on the ‘strange contradictory relationship’ between Africa and Europe, because for Kentridge it is impossible to separate these continents. This is not merely because of his European lineage. It is because the forced removal of one aspect from another remains fantastical. Yes, the personal is political. And yes, our histories – in a continent that includes the oft forgotten Mahgreb from a Sub-Saharan perspective, and the Mediterranean and Atlantic and Indian Oceans that flank it – are deeply implicated. Our human condition is a nexus of competing and conflicting influences. Kentridge understands this well. As does the Cameroonian philosopher, Achille Mbembe, who was scheduled to speak and sadly was


unable to attend. As Mbembe has noted in Africa Modern, our relegation to the margins of global history has in fact given us a unique insight. By being ‘above all the body of a vast diaspora’, Africa is ‘by definition a body in motion … constituted in the crucible of various forms of migrancy. Its art objects, too, are above all objects in motion, coming straight out of a fluctuating imaginary’. It is this complex sensibility that Kentridge has transformed into a masterclass. His drama The head and load (are the troubles of the neck) exemplifies an unwavering preoccupation with the rich complexity of Africa and its greater place in the greater world. All in all, the day we spent with Kentridge proved fortifying. He made us feel a part of that greater world. Though the matter of Kentridge keyrings and place mats, or the gormless valorisation of his importance – not so. But then, commerce and awe is a by-product of any blockbuster event. Nevertheless, if there was one thing which surprised and moved me most on that special day, it was the artist’s gentleness. His skin, paper thin, appeared to me as a mist. Was it Banquo’s ghost I was seeing? What was it that lay behind the herculean showmanship? And what of the artist’s sweetly fragile tenderness?

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The Rupert Museum showcases One Hundred years of South African Artists making Art. See the Masters from the 20th Century and experience the Contemporary Masters in full colour. Original artworks from Bhengu to Bester, Stern to Siopis, Pinker to Kentridge are courting your consideration. Stay for a cup of coffee in our new Café and contemplate the day in the garden.

Stellentia Road, Stellenbosch Tue – Fri: 10h00 – 17h00, Sat – Sun: 10h00 – 16h00 Entrance Complimentary | | 021 888 3344



ennis Osadebe (born in 1991) is a Nigerian mixed-media artist best known for his contemporary, vibrant postpop style. Osadebe’s style is a unique blend of digital processes, which he uses to create canvasses that are subsequently layered with acrylic paint. With his characteristic use of flattened planes and bold colour, the artist creates what he refers to as a “neo” visual style, one that is “modern, bright, expressive and provocative”.

This exhibition draws a lot of inspiration from art history and questions its authenticity. It does this by playfully posing the question, is art history accurate if parts of it have been neglected and purposefully removed? The aim of this exhibition is not to change history but to make an attempt in amending it by presenting a new perspective that allows for inclusivity, in essence to complete the picture and restore lost history. The works in this exhibition weave together different elements, features and compositions throughout the


history of art, moving seamlessly between antiquity, modernity and popular culture. Such are works like American Gothic, one of the most familiar images in 20th century American Art. This exhibition moves through time into themes such as equestrian portraiture, which has played a pivotal role in the politics of art from ancient Greece and Rome. It guides the viewer to icons we recognise from popular culture such as a Superman. In the exhibition he uses a mixture of historical trends and incorporates his unique voice and heritage into it. Additionally, he puts the arts and culture from Nigeria in dialogue with these works and amplifies them by making them the centre of the narrative. I Like History, But I Love Fiction is a satirical interpretation of art which is playful & provocative. – Dennis Osadebe. I Like History, But I Love Fiction will launch at the Christopher Moller Gallery in Cape Town from 31 January 2020 - 13 March 2020.

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Group show: Patrick Bongoy, Jake Michael Singer, Atang Tshikare 12 December 2019 – 8 February 2020 By Marie Sygne Le Baud

Above: Atang Tshikare, Kwena ya mo-nageng (‘Crocodile of the Soil’), 2018. Opposite Page: Pagama (Climb), 2018


weight of colonisation and conflicts, free to develop and evolve with nature, free from humans; full of life and promises.

The line of the pen in Atang Tshikare’s works get us to a new world that he has designed, where we discover creatures born from his imagination, distancing us from what has happened to the country, the continent, he grew up in. His surreal works inspire familiarity by using African patterns and references, he is setting an Afrofuturistic vision. Revoking the past, he creates a future free from the

With his rubber installations Patrick Bongoy works with the matter as if it was fabric, playing with texture and sensations. The beautiful rawness of what he brings before our eyes leaves just enough space to keep us upright when we could crumble. Deeply anchored in the Democratic Republic of Congo’s social and political situation, his works are embedded in the environment people are living in and what is left after despair and chaos. Recycling what was discarded to rubbish and bringing it into a new aesthetic, he uses inner tubes of vehicle tyres and African fabric, raising a sense of banality through the materials and questioning what comes next.

etween the lines of the rational and the intangible we are sensible beings trying to make sense of our feelings. In each of the exhibited artists practice there is a linearity, urging us to look at the structure and technique. Here we would like to reflect on the in between, the drive that leads to the creation, the message behind the artwork, the strength of the form guiding us to our inner emotions.


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(All Artworks courtesy of Ebony/Curated) Patrick Bongoy, Fragments 1, 2019, Recycled rubber, 45x45cm. Opposite Page: Undone, 2019, Recycled rubber on board, 122x195cm

Fragment 5, 2019 Recycled rubber 45 x 45 cm


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Fragments 10, 2019, Recycled rubber, 45x45cm

When asked why he decided to work with stainless steel Jake Michael Singer replies that it is the imposed focus dictated by the dangerousness of cutting the steel stem and the welding that made this material his. Playing with paradoxes his sculptures take you on a poetic journey, bringing lightness to stainless steel and making it fly. The choice of this material is well thought: very rough, solid and sustainable, in South Africa, it is extensively used to protect or divide people. Here, in Singer’s hands, it gains another purpose. The artist uses emergent behaviour to dictate forms: twists and curves result from the relationship between parts rather than from the individual parts themselves – mimicking nature in the


way that birds flock, the Murmurations series is a dance of creation. Everything is intertwined, dependent, and comes to life when looked at as a whole, creating a symbol of transcendence. This group show focuses on the works of Patrick Bongoy, Atang Tshikare and Jake Michael Singer and will be held in Cape Town at THK Gallery from 12 December 2019 to 8 February 2020.

Previous Page: Jake Michael SInger, The Great Square Has No Corners, 2019, Installation View, Photo Kimberly Hale. Above: Jake Michael Singer, Without what makes it settled, earth might sink 1, 2019

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ver the years, art routes have sprung up around the country, covering a full spectrum of art offerings, from Sunday painters to leading contemporary artists showing their recent sought-after work in galleries. Each has a unique flavour, and while all are about the art, certain places seem to stand out from the rest, as hubs of inspiration and innovation, as if something in the air attracts more than its share of artists, creatives and colourful characters

One such place is the beautiful Karoo town of Prince Albert, which has become a noted hub of resident artists, many of whom are internationally respected. For the past 3 years, the town has hosted the bi-annual Prince Albert Open Studios, brainchild of celebrated print-maker Joshua Miles and his wife, Angela, who were among the founding members of the popular Baardskeerdersbos Art Route in the Overberg. When they moved to Prince Albert, they collaborated with resident artists and Brent Phillips-White, of Prince Albert Gallery, to set up a similar event there. The idea was to offer local artists a chance to attract a wider following for their art, simultaneously bringing a personal interface to the business of creating and selling art, by allowing the artist to be present when something they have made resonates with someone else. At the same time, art lovers and investors can enjoy a rare opportunity to meet the artists in their personal domains, and engage with them on a one-to one basis about their thoughts, methods and the ‘heart’ behind the art. So, twice a year, for 4 days at a time, colourful bunting and sky-blue A-frame boards pop up in front of various venues around the town,


Louisa Punt-Fouche in her gallery

Kevin de Klerk explains his symbolism

Above: Cobus van Bosch in his studio. Opposite Page: Marieke Prinsloo-Rowe at work

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Above: Group show at Prince Albert Gallery. Opposite Page: Joshua Miles-Albert College

marking the studios of approximately 28 diverse artists and a couple of galleries, which are opened to the public. Prince Albert Open Studios has evolved into a unique and well attended art route, due largely to two factors. First, it is consciously artist driven, a collaboration of creative minds. All decisions and direction choices are made by the group, without the influence of sponsors or individuals. This element of artistic independence, diversity and lack of regulation provides a tangible fresh dynamic to the art route. Here, established and new names can be found exhibiting alongside one another. As a result, visitors can find everything from ancient skills such as blacksmithing, weaving, calligraphy, woodcutting and etching, through a whole spectrum of painting in oils, mixed media and acrylics, both traditional and contemporary, photography, sculpture, found objects, assemblage, jewellery-design, land art, ceramics, and even some handcrafted knives, kaleidoscopes and functional art.Â


All the participants have one thing in common‌ that pioneering and independent spirit, which is fostered and tinged by the Karoo where they have chosen to live, and which permeates their everyday life and creative expression. This leads us to the second factor, which is the Prince Albert experience. It is dry and harsh, yet it is bursting with life, integrity, creativity, quirkiness and originality. Set in the shadow of the majestic Swartberg mountains, this small town, with a larger-thanlife presence, is an oasis in the heart of the arid surroundings. The town exudes the authentic charm of old Karoo architecture, lovingly and respectfully restored, and has a noticeable creative energy which is hard to resist. With ample accommodation and restaurants to suit all tastes, local produce and art and culture, all set in an adventure/scenic playground, Prince Albert deserves more than just a whistle-stop visit.

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Prince Albert from The Kopje

“Prince Albert has become a noted hub of resident artists, many of whom are internationally respected.” As a result, most visitors stay for at least two or three nights, to take in not only the art itself, but everything the surrounding area has to offer. This makes all the difference to Prince Albert Open Studios, because it is transformed from an event, into an EXPERIENCE. Apart from access to art studios, another aspect which enhances Prince Albert Open Studios, as an art route, is the collaboration with Prince Albert Gallery. Owner Brent Phillips-White has always had a passion for showcasing local artists. During each Open Studios event, his gallery holds a group show, with one work from each participating artist, in addition to a few guest artists. Visitors are welcome and encouraged to attend the exhibition opening, held the night before the studios open, where not only can they collect a route-map, but also identify the artists they particularly wish to meet.


This forthcoming Group Exhibition will take place in beautiful new premises, next door to the Seven Arches building, in Church Street. PRINCE ALBERT OPEN STUDIOS Friday 3 - Monday 6 JANUARY 2020 / 10am to 6pm Book your accommodation early, to avoid disappointment. Details about the town and accommodation can be found at: For a full list of participating artists, and news of workshops and other events linked to Open Studios, please visit – Website: Facebook: princealbertopenstudios Instagram: @prince_albert_open_studios E-mail: Prince Albert Open Studios is grateful to their media partner, The Art Times, for their support.

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DARKNESS RISING Eclectica Group showcase of contemporary Congolese artists


he possibility of understanding, of cultures, societies, communities and places, rises from the framework and perspective from which we begin. The possibility of recontextualisation or reinterpretation is made wholly more exciting when this reconsideration can be guided by first-hand, self-reflexive or introspective work - whether that comes from an individual or communal interaction. Darkness Rising is such an opportunity - to receive and engage with a collection of work by artists from the Congo, whose work investigates and explores different aspects of their experiences or their relation to the country. Many of us receive information about the happenings in The Congo through the media. The information is received with the understanding that there is implied bias that often misses nuance and personal impact. The artists - residents of the country or of Congolese backgrounds, gathered in this exhibition - add shape and perspective to the magnitude of the context and lived experiences of the country. Darkness Rising, as a curated group exhibition, along with each individual artists voice, opens the opportunity for different narratives to be heard and to alter current understandings and assumptions. With Darkness Rising, a conversation takes place, taking on the form of a group exhibition inspired by the tricky balance between the ongoing crises in the Congo and its different aspects of cultural production and expression. Across the work exhibited there is a celebration of creation that illustrates aspects that make up the unique heritage and distinctive aesthetics of the Congo. With work by various artists across different mediums, contemporary creative expressions of the region are shown through distinctive styles, wide ranges of colours, as well as themes passed down from generation to generation that people of the community consider as culturally definitive traits. Ley Mboramwe Fungola Misu, 2019, Acrilyc on canvas 100 x 100 cm


Thonton Kabeya La Rumba, 2019 walnut powder and newspaper Ink transfer on Canvas, 24 x 16 cm

Patrick Tankama, The Rise of Mother Democracy, 2019 Paper collage 84.1 x 59.4 cm. Opposite Page: The Naked Truth, 2019 Paper collage 84.1 x 59.4 cm

The work of Ley Mboramwe and Thonton Kabeya creates a conversation about the journeys they have embarked on, expressed through their work and the dynamics they illustrate through the play of abstraction in figurative images. Ley Mboramwe’s vigorous burst of lines and colours on canvas activate a kind of energy within the room that calls for attention, His participation in group exhibitions, art fairs and solo exhibitions has traced his creative trajectory as he grappled with his memories and experiences of the Congo, his childhood in the country and the landscape he has had to leave behind. He uses his work to reflect on and remain aware of ​current social and political circumstances, while not forgetting the sociopolitical influences of the past. Using what’s happening around him as stimuli, Mboramwe creates a sense of emotional drive and connection both personally and conceptually through his paintings. He demonstrates an eagerness to share and command his own narrative through his work.

in Lubumbashi, living in Johanesburg and visited other European cities, and the related conflicts of these spaces - both politically and artistically. His work extends the dimensionality of framed works, expanding sculpturally and challenging mediums as he uses his creations work to illustrate the experiences of the chaos of individuality amongst masses.

In Thonton Kabeya’s mixed media artworks he repurposes and reimagiines materials and objects. Kabeya challenges perceptions through the layering of perspectives. Having created work along the juxtapositions of urban and rural contexts, in this exhibition Kabeya reveals the precarity and vulnerability of the individual in the Congo. His work grows out of his exploration of the cities he’s experienced, having studied


The works in this exhibition are vast, complex and specifically individual, offering various vantage points from which to examine or query the complexities of the ongoing crisis in congo but also the creativity and lived realities of those who have borne witness to it in their various ways. While the unknown has often been presented as a darkness to be feared or withdrawn from, darkness rises in this exhibition to reveal an invitation, into thoughts, pain, celebrations and understandings. Held within the unknown there is possibility, potential and beauty. As the click of a camera allows only a glimpse of light into an otherwise dark chamber, or the hollow of a string instrument carries its sounds, perhaps darkness is imbued with a kind of fullness that when embraced can recover and realise possibilities. Participating Artist : Ley Mboramwe, Thonton Kabeya, Papytsho Mafolo, Aza Mansongi, Jacques Dhont, Patrick Tankama and Jonathan Vatunga

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ONYIS MARTIN @ Eclectica Contemporary Before tomorrow comes


oarders are critical and complex entities, concepts and constructs. Many artists have engaged with notions of permeability, transience and constraints in relation to boarders but few have dealt with the impressions of boarders and their bureaucratic ephemera as tangibly as Onyis Martin. Before Tomorrow Comes is a presentation of his latest body of work, as a solo exhibition at a Eclectica a Contemporary. The works are reminiscent of wheat-pasted advertisements, posters on walls, backdrops to busy intersections - the traces left behind of information that is posted, pasted, changed and updated. Travel has become a prominent aspect of contemporary discourse, as the ease of technology and transport has become more established. It has been, and often still is, used as a measure of societal development and progress. How we access spaces and knowledge is mediated by the traveling of information and data in ways that were previously incomprehensible. Concurrently, boarders and the limits and definitions they create have played a roll in establishing restrictions, assumptions and biases amongst people, about places, societies and behaviours. Recently xenophobia reared it’s head once more in South Africa, a low threatening growl that never dissipated exploded into yet another roar. Boarders on the continent of Africa are tenuous and contentious; the scrawled lines still hold the trauma of their making and the circumstances that result in their need to remain porous remain the echoes of unresolved and irreconcilable histories.

Talking walls 21, 2019, Mixed media on canvas, 160 x 170 cm


Talking wall 79, 2019 Mixed media on canvas 132 x 160 cm. Opposite Page (Detail) Talking wall 2, 2019 Mixed media on canvas 120 x 150 cm



Talking wall 37, 2019, Mixed media on canvas 175 x 130 cm

Talking wall 4 rent, 2019 Mixed media on canvas 115 x 145 cm

For a long time the topic of migration, travel and identity have been wound up in the practice of Onyis Martin. His careful constructions that pair documents with figures and cartography within printmaking demonstrates an awareness and a focusing toward social issues that impact the individual within the broader context of societal complexity. By describing his depictions through the motif of the singular figure, Martin calls into question the relationship between the solitary figure as subject, with the potential to be victim, actor, witness or instigator.

communication that are part of the constantly shifting urban landscape. Embedded in the work is the repetition of key words, reminding the viewer that what may be disregarded and considered unremarkable is shown as a poignant found commentary, like found objects that reveal a profoundness in what would otherwise be missed. Words like “rent”, “help” “not for sale” speak to the socioeconomic layerings that underpin both the exhibition and the visual stimuli that can be encountered at transportation sites and points of traversing different kinds of boarders.

Inscribed in his work is an embedding of ideas through impressions. Using the technique of embossing into the paper he additionally prints onto, Martin layers his work with tactility and content – expressing the weight of his topics and the delicacy with which he approaches them through further exploration and consideration with inks. Recently, his work has become denser and more layered, moving away from the monotone silhouettes of ink on embossed paper and towards an impasto or decollage working of papers and paints. The conversation instigated by Martin through his work draws attention to the impressions left behind about news and banal events, transactional updates or advertisements and reflects on the forms of visual currency and

The title of the exhibition is lyrical but also somber by reminding us the pace of time and the urgency of how things shift, are replaced, pasted over, changed and left behind. The work speaks to a kind of visual vocabulary that is accustomed to the arrival of a tomorrow but leaves its trace through torn papers, stencil outlines and the residue of activity and dirt. It asks us to remember that through removal, traces are always left and that surfaces hold onto what has past through. Boarders that are set up, be they physical or financial, remain in the landscape of our consciousness with the remnants of who and what might have passed by, before tomorrow begins to arrive.




Buhle Nkalashe Solo Exhibition


uhle Nkalashe is an independent full time visual artist from Khayelitsha who will be having his second solo exhibition at the Youngblood-Africa Gallery, in Bree Street, Cape Town, from Thursday December 5 to mid-January 2020. Born in 1994 in Cape Town, Buhle is best known for his contemporary artworks that mainly consists of portraiture and abstract paintings.He has exhibited in group and solo exhibitions in Cape Town and Johannesburg. His first solo exhibition, THE NEW AFRICAN, was held at the Youngblood Beautiful Life Building in Cape Town. Buhle was a Graphic designer before he decided to pursue his passion as a full-time visual artist at the end of April 2019. He realised that his gift as a visual artist can influence his generation, which he feels still needs to be liberated by their calling.

Window shop, Mixed mediums on canvas, 100 x 100, cm, 2019


Liberated,Mixed mediums on canvas, 151 x 200 cm, 2019

In a cage, Mixed mediums on canvas 100 x 100 cm, 2019

Since The New African exhibition, Buhle has received offers for various commissions and shows, namely being commissioned by the Johnson & Johnson Credo and has been part of The Turbine Art Fair which took place in July. The exposure at Youngblood helped him to connect and meet with various collectors and established artists. “I want my art to form a seed in the heart of the viewer, a seed which will manifest a treasure of possibilities and another way the viewer can look at him/herself.” The New African was such a major success that the curators at Youngblood (Wongalethu Bushu and Ina Wichterich) have offered Buhle another opportunity to exhibit at the gallery in December 2019. In this coming solo show, Buhle explores his creative mind and


how he has reconnected with his inner child. The artworks explore how he sees the world and the possibilities that come with it. He believes that we should listen and bring to life what is blessed upon us and not allow ourselves to be trapped by the rules and expectations of others, rather we should set our own limits and aspire to be more. Buhle plans to do another solo exhibition in Johannesburg and one abroad as he feels he needs to take his vision all over the world, as it tells a story from a creative African mindset, which expresses positive and beautiful ideas. To see more of Buhle Nkalashe’s inspirational work visit

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OPENING: 5 DEC 2019 - 17:30 5 DEC 2019 - 15 JAN 2020 YOUNGBLOOD AFRICA GALLERY | 70 - 72 BREE STREET, CAPE TOWN | | 071 178 6292 © 2019 Buhle Nkalashe. All Rights Reserved.

NEW BREED ART COMPETITION Winning work tackles mental health issues among our youth


n speaking to the growing threat of mental health issues, depression and suicide among our country’s youth, the judges of the New Breed Art Competition 2019 were in full agreement from the outset that this year’s winning work is Neo Theku’s compelling photographical work, entitled “Suicide mask.”

“The work asks the viewer to understand the darkness that many of our young people are forced to deal with, often without support or understanding,” said Sam Moleko, competition spokesperson, at the official awards ceremony at Oliewenhuis Art Museum. He echoed the judges’ sentiments by further remarking that through the use of powerful imagery and precise presentation, Theku’s thought-provoking work immediately demands attention, drawing the viewer in to reflect on this highly contemporary issue. Overcome with emotion when announced as the overall winner of this year’s competition, Theku, a third-year student at the Central University of Technology, was awarded R50,000 in prize money. The Runner-Up Award and R20,000 in prize money went to Kay Fourie, who holds an Honours Degree in Fine Arts from the University of the Free State, for her technically and conceptually strong charcoal drawing entitled “Scrapyard”. This well-executed work addresses the highly relevant topics of water scarcity, drought and food security in a South African context. The first of two R10,000 Merit Awards, with which the judges had a bit more leeway to identify emerging talent that can be nurtured and mentored to unlock potential and promise, went to Miné Kleynhans, who has a Master’s Degree in Fine Arts from the University of the Free State. Neo Theko, overall winner with his winning work, Suicide Mask


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Bokang Nkejane, Merrit winner with his winning work I was in the Jim.

Bongani Tshabalala, public choice award winner with his work, Deeper into the soul.


Kaye Fourie, runner-up, with her winning entry Scrapyard

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Her award-winning installation work consists of finely assembled wood and glass, visually representing the different pathways in which morality flows around contested issues, and is aptly titled “Moral Compass”. The second R10,000 Merit Award went to Bokang Nkejane, a Central University of Technology student, in praise of his intuitive and bold style of working with oil and pastels in his work, “I was in the Jim”. Herein he aggressively portrays his views on abundance, arrogance and even sexualisation, demanding close consideration of the work. Finally, with about 10% of the nearly 2 000 votes cast online, the Public Choice Award went to Bongani Tshabalala for his two striking photographic images, entitled “Deeper into the soul” and “Hidden pain”, wherein he touches on the stark perceptions and expectations society place on both men and women.  Moleko reflected how this year’s works, especially those that emerged as the winners, indicated how the New Breed Art Competition is maturing and gaining momentum in uncovering and inspiring emerging artists who are putting their hands up for greater recognition through their innovative, boundarypushing art. “At its core, the competition is about providing a platform for emerging artists to display their talent and show why they are potentially a New Breed of Artist. And the results are starting to show with increasingly exciting new artists coming forward and entering.” Above outlined five winners were chosen by die official competition judges out of a total of 36 top Free State artists whose 44 works formed part of this year’s official New Breed Art Competition exhibition. The judging panel consisted of Thabo Seshoka, Specialist Curator at the Absa Art Gallery, Colbert Mashile, renowned painter and visual artist from Johannesburg, Nonto Sheryl Msomi, the Project Manager for the Art Bank of South Africa, and Karen Brusch, former Director of Gallery MOMO Johannesburg and founder of the Free State Art Collective. The New Breed Art Competition is presented annually by Phatshoane Henney Attorneys, in association with Oliewenhuis Art Museum. For more information, visit Mine’ Kleynhans, Merrit winner with her winning work, Moral Compass.

BURSTING, FLOWING AND MORE... @ Art in the yard By Gita Claasen


he long-awaited season has arrived. The sun is out and hatted patrons and visitors alike relish the coolness our gallery offers from the sweltering Summer heat outside. Helen van Stolk’s floral abstracts will be on show until 17 December 2019, creating a lush haven for the weary village-trotter and sunbeaten art-lover this season. Her solo show, Bursting Into Life, takes the viewer on an exploratory journey of her intuitive processes, inviting them to become joint creators through thought and share in the creative pleasure. Coupled with the babbling water in the alley next to our gallery, this is an exhibition for all the senses. From 22 December 2019, we host a group exhibition titled “Flow”. Artists featured during this mid-season meander through various topics and styles all relating to our theme will include but will not be limited to: Alex Marmarellis, Alexandra Spyratos, Antoinette Hampton, Dave Robertson, Duncan Stewart, Greta McMahon, Joshua Miles, Leila Fanner, Lerato Motau, Nic de Jesus, Obert Jongwe, Richard Pratt, Simone Wojciechowski, Tilemachos Kyriazatis, and Vanessa Berlein. Our theme will include topics of social commentary, of movement, of transformation, and will feature a pleasant flux of styles and genres to offer something for everyone this holiday season.

Antoinette Hampton, Marvellous Deep, Acrylic on Canvas, 91cm x 91cm


Above: Alex Marmarellis, Summer Days, Acrylic on Canvas, 105cm x 80cm. Opposite Page (Detail) Alex Marmarellis, White wash, Acrylic on Canvas, 100cm x 100cm

Claire Denarie-Soffietti, Farouche, Acrylic on canvas, 90cm x 120cm

Obert Jongwe, Forgotten Past, Oil + mixed media incluiding transfer on canvas, 100cm x 80cm

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Leila Fanner, Abstract, Oil and Oil pastel on wood, 100cm x 100cm

The group exhibition, Flow, concludes 21 January 2020, making way for another delightful treat: a solo exhibition by Mark Hilltout, until 17 February 2020. Mark Hilltout celebrates unwanted, weatherworn corrugated iron. He has a way of making us appreciate the imperfection of his medium – some of the pieces he uses in his thoughtful compositions and tapestries are up to 150 years old, oozing history and character as layers of paint and rust reveal previous lives of the metal underneath. Flattening the corrugated sheets he finds in townships and junkyards, he unearths the delicate patinas and textures that formed naturally over time, and exposes their fragile elegance. Reworked and reformed into his signature compositions, they come to life and suddenly grab our attention anew.


Summary of our exhibition line-up for the holiday season: 23 November 2019 – 17 December 2019 Helen van Stolk | Bursting Into Life 22 December 2019 – 21 January 2020 Group Exhibition | Flow 25 January 2020 – 17 February 2020 Mark Hilltout Contact details for Art in the Yard Email Phone +27 (0) 21 876 4280 Website Address 38 Huguenot Road, Franschhoek, 7690 Find us on Facebook @aityfranschhoek and on Instagram @aitygalleryfranschhoek

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Darkness Rising group exhibition

Showing until the end of January +27214224145 | 69 Burg Street,Cape Town |

JOSHUA MILES Fynbos City Saturday 18 January 2020

Above: Bo Kaap Jazz. Opposite Page: Chiappini Street

In a world that so often gravitates towards the shiny he tries to find the real bling  in the everyday ever-changing landscape. 80

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Above: Broken Windpomp

Joshua has always had a fascination with light and with his recent move to the Karoo the contrast of light has become more extreme. In an ongoing mission to create an atmosphere to trigger emotion he plays with the contrast between the dark shadows and gems catching the light.


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A Group Exhibition, Framing Place Cape Town 06 - 19 December 2019

Neeske Alexander, Still Life Clean

Neeske Alexander, In My Mothers shoes


efresh is a group exhibition celebrating the onset of Summer and a new outlook for the Framing Place, Observatory, Cape Town. Participating artists include Peter van Straten, Neeske Alexander and Simthandile Witbooi.

With more than thirty years experience in the art framing industry, Framing Place has always assisted with making choices in a number of alternative ways with ideas that suit individual taste and needs, considering the subject and it’s surroundings. “We are committed to producing frames of a high quality, exceeding expectations with special attention to detail. Refreshing our space, giving it a new look and with the new year approaching, we likened it to the idea of “2020 vision” With that, we hope to create a fresh space for the artists to exhibit their creations”, says Michelle Abrahams, co-owner.


This group exhibition brings together some of South Africa’s sought after contemporary artists. Neeske Alexander received training in oil painting and printmaking from her art mentor, Ian Tainton, since 1998. In 2019, Neeske participated in an international comics workshop and exhibited at the Angoulême Comics Festival, France. She has taken part in a variety of group exhibitions both nationally and internationally. Neeske has received several awards for her work including a prize in the international Picture This! Illustration competition in 2017 and first prize in the Tollman Bouchard Finlayson Tondo competition in 2019. She is currently a parttime lecturer at Stellenbosch University. Opposite Page: Simthandile Lisakhanya Witbooi, Untitled

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(Detail) Peter van Straten, I Want You

Peter van Straten is one of South Africa’s best loved painters of esoteric and philosophical themes. His paintings are immediately recognisable by their smoothness and translucency - achieved through “glazing” - the method favoured by old masters like Vermeer. “If anything it is reassuring to know that one’s journeying will never be threatened by something as crass as destination, and it is pure bliss to paint that journey.” Peter van Straten. Simthandile Lisakhanya Witbooi is a visual artist and metaphysical poet from Langa, Cape Town. Still a student and her debut public exhibition participation, her work is of 86

mixed media including acrylic paint, pencil colour, and collage. In it, she explores the identity of a young African woman through contemporary surrealism and expressionism that explores the light, potential and history we all carry within. Be sure to pop in at the Framing Place to enjoy a feast for the eyes and soul. REFRESH will run until 19 December 2019 at Framing Place 46 Lower Main Road, Observatory, Cape Town / enquiries 021 447 3988 email info@


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The ideal pit-stop for all art lovers found in the heart of South Africa

Vision Oliewenhuis Art Museum is an Art Museum which holds in trust an historical and contemporary art collection of South African art on behalf of the people of South Africa. We aim to enrich the people’s knowledge, understanding and appreciation of our cultural heritage, to reflect its full diversity, to provide a cultural and educational resource, to encourage involvement in the visual arts and nurture a culturally diverse but shared national identity. Historical Background Oliewenhuis Art Museum is housed in a NeoDutch style mansion, completed in 1941, which served as residence for the Governor General of the Union of South Africa. The building was converted in 1985 into an Art Museum as a satellite of the National Museum, Bloemfontein, an agency of the Department of Arts and Culture. Permanent Collection Oliewenhuis Art Museum is committed to building a representative collection of South African visual art and has shown a steady and interesting growth in its collection as South Africa has produced a number of celebrated artists whose works have become highly regarded both locally and abroad. The Permanent Collection currently comprises 1467 works of art in total. A selection of artworks from the Permanent Collection exhibited on the first floor of the Main Building showcases a diverse range of styles and media. The Permanent Collection is devoted exclusively to works produced by South African artists and has a solid foundation of early South African artists, including works by Thomas Baines, J.E.A

Volschenk, J.H. Pierneef and W.H. Coetzer. The Museum continues expanding its collection of works by contemporary South African artists. Temporary Exhibitions Various temporary exhibitions are hosted in the Art Museum galleries, including the unique underground Reservoir gallery. Every attempt is made to provide excellent exhibition spaces for artists to showcase their work and to enrich the public’s knowledge, understanding and appreciation of our cultural heritage and to reflect the full diversity of South African art. Exhibition highlights for 2019, include the annual Free State exhibition of the Art Bank of South Africa, Tswela Pele: New Acquisitions of the Art Bank of South Africa, Gordon Froud’s, Harmonia: Sacred Geometry, the pattern of existence, Centennial, A Century of South African Art from the SANLAM Art Collection exhibition, Cedric Nunn’s photographic exhibition, Blood Relatives and Jodi Bieber’s public art poster campaign #i. The Sculpture Park At the end of 2003, Oliewenhuis Art Museum received funding from the National Lotteries Distribution Trust Fund to launch and to coordinate a Sculpture Park Project. Sculptors residing and working in South Africa were invited to submit proposals for consideration for the execution and erection of sculptures to be permanently installed in the Museum gardens. The Sculpture Park, comprising twelve sculptures, was officially opened on 7 May 2005 and provides an environment that allows for an almost per-chance encounter with three-dimensional form and demonstrates how a public space can be successfully created to the benefit of the surroundings and the people it serves.

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The African Carousel The African Carousel is a public sculpture commission comprising 16 original artworks. It is a safe and fully functioning carousel where myth, fantasy and music, derived from many of the cultural traditions of the people of Southern Africa, come together. The focus of the African Carousel is to introduce children to the concept of art in an unintimidating, fun way and in so doing, to build an audience for the future. The original project had its beginnings in 1994 and took approximately three years to complete. The Cement and Mosaic Project The Cement and Mosaic Project, comprising five functional sculptures created by 14 unemployed Mangaung residents, is an attraction for both young and old. The Reservoir In the back garden an underground water reservoir, dating from the early 1900s, has been converted into a distinctive exhibition space after a chance discovery. During the planning phase of the African Carousel at Oliewenhuis Art Museum in 1994, a site plan of the back garden was requested from the Department of Public Works. An underground construction north of the main building was indicated on the plan; the only access to the area was via a manhole. On further investigation a large underground reservoir was discovered containing approximately half a metre of water.

Above:Isolde Krams, Fish out of water, Fiberglas forms part of the Sculpture Park. Right: The Reservoir interior


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Exhibition view of the 31st Annual Sophia Gray Memorial Exhibition: in[de]finite by Jon Jacobson

Willem Boshoff, Blind Alphabet, 94 wooden sculptures, wire baskets, Braille on aluminium, cloth, steel base, forms part of the Permanent Collection. 92

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Exhibition view of #i | A Public Art Poster campaign conceptualised by Jodi Bieber in collaboration with 45 young people from Johannesburg. Poster design by Brenton Maart.

Above: The Frog Slide, designed by Sikhumbuzo Wesley Tokwana forms part of the Cement and Mosaic Project. Opposite Page: Wilma Cruise, Sheep may safely graze, the return of the Bloemfontein sheep (2004 - 2005), ceramic, forms part of the Sculpture Park.

The transformation of the underground reservoir in the Museum garden into an exhibition space began in 1996 and the project was completed in November 2002. The Reservoir is used for temporary art exhibitions and is also a popular venue for weddings and other functions. Education Oliewenhuis endeavours to promote the essential educational function that the arts play in the development of creative and intellectual abilities by means of exhibitions and associated walkabouts by artists and curators, lectures, workshops and guided tours. In an ongoing commitment to nurture and encourage the development of local artistic talent, the Museum hosts learning sessions for local artists, school groups, students and disadvantaged communities. Education services include access, by appointment, to the research library in the main building. This library offers a comprehensive collection of art books, art catalogues, DVDs, periodicals, news clippings and journals with a special emphasis on South African art.

Restaurant The restaurant at Oliewenhuis, The Terrace, overlooks views of the Museum’s surroundings and the Sculpture Park. It provides both indoor seating and an outdoor terrace where delightful breakfasts and freshly prepared lunches are served. Sunday Lunch buffets are also available for the whole family. The Terrace also caters for functions on the Museum’s premises. Contact The Terrace @ Oliewenhuis at 060 726 1719. Walking Trails Situated on 12 hectares of natural vegetation on Grant’s Hill, Oliewenhuis Art Museum offers access to marked walking trails through the unspoilt natural surrounding areas. The walking trials are easily accessible to young and old and offer a unique opportunity to experience the wild beauty and tranquillity. Zet Labyrinth This labyrinth was gifted to the Oliewenhuis Art Museum by Zarine Roodt and dedicated

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School group guided tour of the African Carousel.

“Oliewenhuis Art Museum is an Art Museum which holds in trust an historical and contemporary art collection of South African art on behalf of the people of South Africa.� on 7 September 2018. The Zet Labyrinth is a 7-circuit Medieval design based on the labyrinth laid in the floor of Chartres Cathedral in France around 1220 CE. Walking the labyrinth is a form of meditation as its design facilitates calm and contemplation. Fossilised Trees Fossilised Glossopteris trees are abundant in the Senekal District of the Free State where a tree trunk was found during an Ecological Impact Assessment, conducted in an area intended for building construction. The 9-metre long, well-preserved fossil was recovered and donated to the National Museum, and is now displayed in front of Oliewenhuis Art Museum. This fossilised or petrified tree lived about 260 million years ago during the Middle to Late Permian Period


Visiting Hours and contact details Oliewenhuis Art Museum is located at 16 Harry Smith Street, Bloemfontein, and is open to the public from Monday to Friday between 08:00 and 17:00 and on Saturdays, Sundays and public holidays between 09:00 and 16:00. Entrance is free and secure parking is available to visitors and for buses. A ramp provides access for wheel chairs at the main entrance, while a lift provides access to the Permanent Collection display areas on the first floor. Stay up to date by following Oliewenhuis Art Museum on Facebook, Instagram and Twitter for all upcoming exhibitions and events. For more information please contact Oliewenhuis Art Museum at 051 011 0525 (ext 200) or

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A Celebration of South African Arts

5 - 16 June 2020

Exhibitions performances talks, presentations demonstrations, workshops food and wine, films and children’s events

A Fusion of Arts Festival and Winter School More information at or

Charmaine Haines

Sign up for our newsletter and social media platforms to keep updated on who, what and where in the run up to the FynArts Festival

Business Art News

STRAUSS & CO CONTEMPORARY ART AUCTION 15 February 2020 Quay 7 Warehouse, V&A Waterfront, Cape Town

Above: Lisa Brice, Untitled E, oil on canvas 152 by 122cm, R 150 000 - 200 000. Opposite Page: Athi-Patra Ruga, Touched by an Angel, wool and thread on tapestry canvas 300 by 177cm, R 700 000 - 900 000 98

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Nicholas Hlobo, Umphokoqo, ribbon, rubber on Fabriano paper, 71 by 99cm, R 400 000 - 600 000

Georgina Gratrix Happy Couple, oil on board, 123 by 88,5cm, R 180 000 - 240 000


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Turiya Magadlela, Ngizokuthanda ngaso sonke isikathi-ngoba wena ulithemba lami-sakhile (Will Love You Forever, Nylon and cotton pantyhose, thread and sealant on canvas, 150 by 150cm, R 70 000 - 90 000

Business Art News


Bambo Sibiya, Umabhalane (The Writer), 2017, acrylic, pastel and charcoal on unstretched canvas. Opposite Page: Marlene Dumas, Oktober 1973, Oil on canvas.

Aspire Art Auctions has announced a groundbreaking and unique partnership initiative, which commences with its next auction sale on 14 February 2020, at OroAfrica House, 170 Buitengracht Street, Cape Town. The auction house has teamed up with PIASA, a French auction house based in Paris which has a growing reputation for innovation and strategic thinking in the European market. The collaboration focuses on work from Africa, and represents the first time a South African auction house has teamed up with a European equivalent to host a sale of African art in Africa. African art, especially contemporary African art, is considered one of the fastest growing and most exciting art market segments in the global art industry. While other auction houses have and continue to offer sales of African modern and contemporary art, this generally takes the


form of art from Africa being exported to and sold in the major European and US markets. Says Aspire MD Ruarc Peffers, “Aspire decided to partner with PIASA in order to circumvent this one-directional outflow of art and capital out of the African art market, and we were interested in the fact that PIASA has a well-regarded and established department of Contemporary African Art”. Christophe Person, head of the department, comments, “We really believe in the value of the work in this segment, and that the African market generally is under-represented and undervalued. Our dedicated department is seeing significant success, and we feel that we’ve only scratched the surface of the potential that exists. From our point of view we’re very excited by the possibilities of a collaboration with an innovative, dynamic young African auction house like Aspire, situated in one of the biggest and most sophisticated art markets on the continent”.

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Marc Padeu Untitled, 2018

Both auction houses will consign work to the auction, and highlights include the sale’s lead lot, a spectacular early painting by South African/Dutch painter Marlene Dumas, entitled Oktober 1973. Dumas has become a leading light of the global auction market, at one stage holding the record for the highest price at auction for a living female artist, and buyers will be eager to acquire this magnificent example. Other important contemporary work on sale from South Africa includes pieces by Mustafa Maluka, Bambo Sibiya and Simphiwe Ndzube. From further afield on the continent, the auction will present work by Kenyan artist Peter Ngugi, Mozambican Ernest Shikhani, and work by hot young Cameroonian artist Marc Padeu, who had two paintings sell on PIASA’s most recent auction in Paris at €195,000 (euros) each. “Our announcement of this collaboration is a statement of intent”, says Peffers. “Our aim is to see more of the proceeds of the exceptional art produced on this continent returned to the producers and fabricators on the continent, and to feed into the economies and value-systems in Africa. As we look to diversify geographically a partnership of this kind, with a kindred spirit in the shape of PIASA, makes economic and business sense, but also meets our vision of Aspire as a progressive and representative African auction house.” Upcoming Auction details: Aspire’s Autumn 2020 sale is on 14 February at OroAfrica, 170 Buitengracht Street, CT Simphiwe Ndzube, Even I Exist, 2015, acrylic on card, 47 x 67.5 cm.

Business Art News

STEPHAN WELZ & CO. 2019 a year of developments

Deborah Bell, (South African 1957 - ) In The Shadow Of The Lion 106

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019 has been a year of new developments for Stephan Welz and Co. The beginning of the year saw the company come under new ownership and management, and the second half of the year was marked by the opening of a new bespoke office and showroom space at 14 Dreyer Street, Claremont, Cape Town. During this, the fifty-first year of existence, Stephan Welz and Co. has been proud to be able to offer their collector base some wonderful treasures, including works by some of South Africa’s foremost artists and creators. Paintings continue to be the most sought-after aspect of the Fine Art department. Many of South Africa’s foremost artists have maintained their presence at the top of the auction market, including J.H. Pierneef, whose 1949 work Vasco Da Gama Seil Om Kaap Punt was sold for R 338 260, Alexis Preller’s charming Seychelles Girl selling for R 1 366 050, Irma Stern’s Scene of Zanzibar Beach With Dhow selling for R 986 850, Maggie Laubser’s Still Life With Poinsettias selling for R 390 300, and Gerard Sekoto’s Head of An African Woman selling for R 780 000. Alongside these, Stephan Welz and Co. was proud to be able to offer two exquisitely executed watercolours by Lady Anne Barnard, Mother and Child (R 208 160) and Black Madonna (R 338 260) which offer a wonderful insight into Cape life at the time.

William Kentridge, (South African 1955 - ), Thinking Aloud, Small Thoughts


Above: Esias Bosch (South African 1923-2010), A River Running Through Trees And Reeds Opposite Page: Maggie Laubser, (South African 1886 - 1973), Still Life With Poinsettias

Esias Bosch (South African 1923 - 2010), Namaqualand, A Large Ceramic, Vitrified Tile 108

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Sydney Alex Kumalo (South African 1935 - 1988), Large Seated Woman

South African sculptures continue to be wellrepresented and Stephan Welz and Co. was pleased to be able to offer the extremely rare sculpture, De Vogelaar, Anton van Wouw’s earliest known sculpture in South Africa on the open market, which sold for R 905 580. Alongside this is Sydney Kumalo’s Large Seated Woman which sold for R 859 140. There has been a strong showing in the prints and multiples department with collectors eager to pick up William Kentridge’s Thinking Aloud (Small Thoughts) (R 232 200) in which the artist explored ideas and imagery connected to his production of The Magic Flute, and Deborah Bell’s In the Shadow of the Lion (R 116 100), an etching and aquatint made unique by the artist’s lush hand-painting.


A series of large panels by South Africa’s preeminent ceramicist, Esias Bosch, have been a particular highlight through the year with Namaqualand achieving R 986 850, Flowers in a Vase against an Indigenous Landscape achieving R 754 650 and A River Running Through Trees and Reeds achieving R 545 670. Stephan Welz and Co. is looking forward to a successful 2020 and is currently consigning for the first auctions in 2020 which will be held in February in Cape Town and March in Johannesburg. Should you be interested in having artwork evaluated with a view to selling on auction you can contact Stephan Welz and Co on, 011 880 3125 or 021 794 6461, or via Whatsapp on 079 431 9415.

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Grande December art & antiques auction on 7 December 2019 9:30am

Peter Clarke, oil paint, wax crayon and lino printing ink on card SOLD R290,000 View previous auction results at

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

5th Avenue F ine Art Auctioneers Irma Stern (SA 1894 - 1966) Gouache,

“Lion’s Head from Lagoon Beach”, Signed & Dated 1938, 52cm x 69cm

Next Auction, December 8th at 10am ~ Full catalogues available on our website

Enquiries: ~ 011 781 2040


EXHIBITIONS & GALLERY GUIDE ONGOING SHOWS & OPENING EXHIBITIONS DEC 2019 - JAN 2020 Aldo balding, letlgramme Atang Tshikare_Itjhebe (‘Self-reflection), 2018 (THK Gallery)



UNTIL 12/12/2019

UNTIL 14/12/2019


UNTIL 15/01/2020 114

UNTIL 18/01/2020

UNTIL 17/12/2019






UNTIL 18/01/2020

UNTIL 25/01/2020

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UNTIL 30/01/2020

UNTIL 30/01/2020




UNTIL 31/01/2020

UNTIL 31/01/2020


UNTIL 31/01/2020

UNTIL 31/01/2020

Heather Auer Art Gallery



UNTIL 31/01/2020

UNTIL 31/01/2020




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10 Forrest Way Glencairn, Cape Town UNTIL 31/01/2020

Photo: Hendrik Theron

Frederik Eksteen CAVE PAINTINGS

10 November – 16 December 2019

Ruhan Janse van Vuuren HIRAETH

17 November 2019 – 29 February 2020

11 Huguenot Road, Franschhoek 021 876 2071

Tokara, Helshoogte Road, Banhoek, Stellenbosch


SUMMER EXHIBITION 2nd floor, 5 Hudson street, De Waterkant, Cape Town 11 Huguenot street, Franschhoek

1 DECEMBER - 30 April



SANS FRONTIERS Works from the 2016 and 2019 South African Linocut Project. Produced and Published by Hard Ground Printmakers UNTIL 13/01/2020



UNTIL 31/01/2020

IS Sculpture

Tokara Delicatessen

Featured Artist - Lwandiso Njara 012 4600284


RUHAN JANSE VAN VUUREN ‘Hiraeth' Tokara Wine Estate, Helshoogte Pass. 021 8762071 or 021 8839717

Gallery Collection

UNTIL 29/02/2019

UNTIL 29/02/2020

UNTIL 05/03/2020






UNTIL 23/03/2020

UNTIL 29/03/2020

UNTIL 30/03/2020


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UNTIL 10/05/2020

UNTIL 31/05/2020


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





DEC 2019/JAN 2020 WEEKS 1-4

Alex Marmarellis, Mall Rats, Acrylic on canvas, 122cm x 91cm



01/12/2019 UNTIL 30/01/2020 WEEK 1 DEC

01/12/2019 UNTIL 30/01/2020 WEEK 1 DEC

Richard Scott





04/12/2019 UNTIL 04/01/2020 WEEK 1 DEC

05/12/2019 WEEK 1 DEC

05/12/2019 UNTIL 22/01/2020 WEEK 1 DEC





05/12/2019 UNTIL 20/01/2020 WEEK 1 DEC

05/12/2019 UNTIL 08/01/2020 WEEK 1 DEC

Solo Exhibition

76 Albert Road, Woodstock, Cape Town


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05/12/2019 UNTIL 16/01/2020 WEEK 1 DEC







06/12/2019 UNTIL 19/12/2019 WEEK 1 DEC

07/12/2019 UNTIL 18/01/2020 WEEK 1 DEC

12/12/2019 UNTIL 07/02/2020 WEEK 2 DEC

Presilience 4, 2018 by Patrick Bongoy

BET WEEN THE LINES Atang Tshikare, Jake Michael Singer and Patrick Bongoy 12 December 2019 – 08 February 2020 OPENING: 12 December at 18h00 52 Waterkant Street, Cape Town

12/12/2019 UNTIL 08/02/2020 WEEK 2 DEC

22/12/2019 UNTIL 20/01/2020 WEEK 3 DEC






Lindo Zwane - Umcebo - 2019


Artist Proof Studio



01/01/2020 UNTIL 31/01/2020 WEEK 1 JAN

01/01/2020 WEEK 1 JAN

03/01/2020 UNTIL 06/01/2020 WEEK 1 JAN





01/01/2020 UNTIL 31/01/2020 WEEK 1 JAN

21/01/2020 UNTIL 12/02/2020 WEEK 3 JAN

22/01/2020 UNTIL 22/02/2020 WEEK 3 JAN

25/02/2020 UNTIL 17/02/2020 WEEK 4 JAN

25/01/2020 UNTIL 29/02/2020 WEEK 4 JAN

31/01/2020 UNTIL 13/03/2020 WEEK 4 JAN


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Ontrack with the most adventurous Rovos Rail readers who love a world of art and beauty.


19th Century, Modern, Post-War and Contemporary Art, Decorative Arts and Jewellery Cape Town, 30 March 2020 Please contact us for a valuation Entries close end January 2020

Erik Laubscher, Still Life with Fruit and a Blue Jug (detail)

R 500 000 - 700 000

+27 (0) 21 683 6560 |

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