KE R O W
THE VISUAL LIBRARY
HUM CON AN NEC TIO
Published by Bridget Modema
In collaboration with Art Source and the National Arts Council. Published to accompany the exhibition entitled Bibliotheca 700, The Bag Factory, 10 Mahlatini Street, Forsburg, Gauteng, South Africa, 24 May 2019. All rights reserved. No part of this publication may be reproduced, stored in retrieval system, or transmitted in any form of by any means electronic, photocopying, recording, or otherwise, without the prior written permission of the copyright holder or in accordance with the provisions of the Copyright Act, 1978 (as amended). Any person who does any unauthorized act in relation to this publication may be liable for criminal prosecution and civil claims for damages. Please direct any queries to the publisher. First Published 2019 Text @2019: Images: Curator: Curatorial Assistance: Project leader: Language editing: Layout and graphic design:
Individual authors Provided by the artists Bridget Modema Sharon Moses Les Cohn Sharon Moses Bridget Modema
Directors and Curators
8 Curator's Statement
Programme & Sponsors
Special thanks to:
Art Source South Africa thanks the National Arts Council and the Bag Factory Studios for their support. Additional thanks to the following people who generously gave of their time to share their expertise on the 2019 Artist Career Boot Camp Programme: Usha Seejarim, Paul Emmanuel, Ruarc Peffers (Dir. Art Aspire Auctions), Julie Taylor (Dir.Guns & Rain Gallery), Thabo Seshoka (Assistant Curator ABSA Gallery) and Puleng Lesala (Arts Development Officer (Visual Arts), NAC). Additional thanks for acts of kindness goes to: Rick Bothma (RCBothma Architecture) - 3D Exhibition Layout Neo Mahlangu - Vector Images Michele Rolstone - Helping to organizing sponsors Nico Athene - Editing of content Matty Moneti - Setting up exhibition Sponsors for exhibition: Everson's Cider &The Tap Room Marileze and Bert Bekker Annemarie Botes Maggie Mayhew All participating artists fund contribution Press: Olkabolka magazine - Miggie Krauspe
BIBLIOTHECA 700 GROUP EXHIBITION
This exhibition of a diverse emerging group of artists enables various modes of dialogue between the observer, artists and artworks as objects that ‘speak back’ through shifting the relationship to the viewer, concept of location and placement. Such ‘objects’ can be cataloged, disrupted, ‘read’ and rewritten across different systems of meaning, modalities of experience and moments of encounter, creating and complicating new and existing canons. Welcome to our interactive library where you can research a topic that intrigues you, lose yourself beyond language, discover more about something you had never previously been curious about, or forget a thought you didn’t know you knew. TOPICS OPEN FOR DISCUSSION: Identity, Trauma, Sentimental Memories, Spirituality, Channelling, Urban Philosophy, Home and Homelessness, Liminal Space, CounterApocalyptic Feminism.
The participating artists were selected as participants in the Art Source Artist Career Boot Camp Programme (ACBC) a total of 14 participating artists. The programme took place over a 3 month period and aimed to impart the necessary knowledge and skills required by emerging artists to successfully build an art career. Each artist received a bursary courtesy of the National Arts Council (NAC) to cover the course fees. The programme was held at Bag Factory Artist Studios and the exhibition will be situated within the Bag Factory gallery space.
Directors and Curators Project Director Les Cohn
Les Cohn gained a B.A. Fine Art Hons. from Michaelis Art School, University of Cape Town (1968); a National Higher Diploma in Fine Art with distinction, receiving the Technikon Honours Medal in 1995. In 1997 she gained a Diploma in Arts & Culture Management, School of Public Management and Development (PD&M), Witwatersrand University. She was appointed the first Administrator of the Fordsburg Artist Studios (aka the Bag Factory) in 1996, a position she held for 5 years. In 2001 she founded Art Source South Africa - an art project consultancy - servicing the contemporary South African arts sector. Cohn has developed and managed diverse arts projects and contributed her qualifications, wide experience and professional expertise to the visual arts sector, where her extensive network and high profile allowed her to play a significant professional role in the industry. In 2006 the Resource Alliance, London granted her the Guy Stringer Bursary Award in recognition of her fundraising successes. As the South African delegate she attended the 7 th International Workshop on Resource Mobilisation, Bangkok Thailand. Cohn has served on several Boards namely; the Executive Committee, Johannesburg Art Gallery, Executive Council of Artist Proof Studios and on the Gallery Committee of the Rembrandt Art Gallery, Market Theatre and was an appointed Mentor to final year undergraduates in project management and curatorship on the Fine Art Department, University of Johannesburgâ€™s Workplace Learning Programme for several years. 2009 saw Art Source South Africa launch their Professional Practice Seminars on which Cohn presents on the business of art. This ongoing seminar programme has been presented at tertiary institutions and venues around South Africa, in Namibia and Botswana. In 2015 and 2016 she adjudicated the Thami Mnyele Fine Art Awards run by the Ekurhuleni Metropolitan Municipality. Cohn has worked in museums and organisations across South Africa and taken projects to Namibia, Botswana, Mozambique, Germany, France and the U.S.A.
Curator Bridget Modema
Bridget Modema is an emerging curator. Previous curatorial experience: 2019. Open Studio, August House, Johannesburg. 2018. Africas Spring Art Collection Season Exhibition. Julie Miller Investment Gallery. Johannesburg. 2016. Earthly Nebula. Longstreet Art Lovers Gallery. Pretoria 2016. JHB Art Fair. Johannesburg 2016. EAâ€™s Preparatory Programme, Kids Art Exhibition in North wing, Grafika Workshop, in Pretoria, Gauteng, 2015. Subculture, Longstreet Art Lovers Gallery, Pretoria.
Curatorial Assistant: social media, project planning and installation
Sharon Moses (b. 1992) is a contemporary visual artist, language and digital media professional. She is a proficient content writer and editor, and currently writes for The Millennial Gen.
Curatorial Assistant: Installation
Bruce Bowale currently serves as a tour guide and art facilitator at the Pretoria Art Museum.
Bibliotheca700 Artists: Matty Monethi Mhlonishwa Chiliza Michele Rolstone Henrietta Scholtz Lebo Thoka Neo Mahlangu Nico Athene Bridget Modema Bruce Bowale Sharon Moses Sibusiso Khumalo Patrick Seruwu Vianca Malan Kenneth Ndumiso
Essence behind the 'Bibliotheca 700' curating
'Bibliotheca' originates from the Latin for a library or collection of books. '700' refers to the Dewey Decimal Classification for Arts & Recreation in the library classification system first published in the United States by Melvil Dewey in 1876. The use of this fusion creates a space within which the observer may step, and in so doing observe the juxtaposition of that which a library is commonly known for, and the visual. Textual connotations are now visual bibliographies; books are replaced by objects, paintings, prints and artists. The traditional, canonical form of curating is now also challenged by this system of categorizing the artworks by literary topics; playing off of the viewers thoughts and emotions towards art. The artists are categorized but not limited to their respective categories, and the viewer is made an active participant - given the choice to ask questions and engage with the library, rather than bluntly accept that which they can see. Bridget Modema Curator and Visual Artist
Main Classes of DDC classification: 000 Computer science, information & general works 100 Philosophy & psychology* 200 Spirituality* 300 Social sciences* 400 Language 500 Science 600 Technology 700 Arts & recreation 800 Literature 900 History & geography *Categories in the exhibition
100 PHILOSOPHY & PSYCHOLOGY PAGE 10
300 SOCIAL SCIENCES PAGE 19
PHILOSOPHY & PSYCHOLOGY
Sharon Moses Michele Rolstone Bridget Modema Henrietta Scholtz Vianca Malan Mhlonishwa Chiliza
SHARON MOSES BIOGRAPHY Sharon Ruth Moses (b. 1992) is a Johannesburg-based visual artist and painter. She graduated with a BFA from Rhodes University (2015) and has exhibited locally and internationally. She has participated in career development programmes including the RMB Talent Unlocked Artist Career Development Programme and the Art Source Artist Career Boot Camp. She recently placed in the top 3 finalists for the Cassirer Welz Award (2019) and the top 40 artists in the StateoftheART Gallery Award (2018). She has also participated in other national art competitions, exhibiting at the Sasol New Signatures Top 100 Exhibition (2013) at the Pretoria Art Museum. Instagram: @sharonmosesartist
ARTIST STATEMENT I feel inspired to create works based on my experiences and surroundings. Art provides an outlet for emotions I struggle to otherwise express or articulate, and I find that I feel compelled to make art. The process of art-making is cathartic, and for me artmaking is simultaneously a meditative and confrontational process. My work is a self-reflexive process; a visual means to process and generate information. My work is preoccupied with the human condition and the experience of existing in the world today. Moments of meditation and the personal daily rituals that we create as a means to cope with existence in the modern world has been my primary focus in past works. In my most recent body of work which I am currently developing, I find myself harnessing my struggles with sleep disturbances, night terrors and sleep-induced hallucinations. These disturbances in my subconscious mind link to my current, conscious attempts to come to terms with human mortality, something which has always been a preoccupation of mine. I take great interest in creating artworks that evoke a sense of intimacy and occasionally a sense of intrusion when viewed and I find that harnessing the gaze (or lack thereof) is quite an effective way to elicit these responses in my viewers. Painting is my main interest, and the feminine face and body is the vehicle I tend to employ the most as a means to express my thoughts and emotions. My work is generally quite autobiographical and I draw upon my own body, personal history and memories as inspiration and subject matter. I primarily work with oil on canvas or wood, as I find the texture of oils is simultaneously tactile, emotive and ethereal, evoking a more visceral response in the viewer.
MICHELE ROLSTONE BIOGRAPHY Michele Rolstone graduated from Michaelis School for Fine Art, UCT in 2010. As a member of Judy Woodborneâ€™s Intaglio Studio 2015-2018, she offered printmaking classes as well as professional printmaking services, assisting in the production of printed editions for numerous artists. Rolstone has participated in a number of international print exhanges, and international printmaking biennales where one submission was selected for further exhibition in NYC, and another is now in the collection of the Muzeum Miasta Ostrowa Wielkopolskiego, Poland. Rolstone opened her first solo exhibition in 2018 as part of the visual arts programme at the University of Stellenbosch Woordfees. Instagram: @limina_l
ARTIST STATEMENT I am interested in the relationship between our inner and outer worlds, and the way in which we simultaneously exist in both. In light of this, the concept of liminality is one that I often find myself returning to. Anthropologically speaking, liminality refers to the stage, usually in ritual ceremony, where the subject ceases to be what it was but has not yet become what it will be. The word liminal refers to something that sits at, or on both sides of a boundary or threshold. I see liminal spaces as kinetic and transformative and attempt to keep an element of this alive in my work. My work is often experimental, both in medium and style. It is largely the idea or the subject matter which determines my approach to form and medium. I am fascinated by printmaking for its link to an invention that marked a major paradigm shift for society. However, I break from traditional printmaking here. Rather than producing an edition from my plates or blocks, I use the mechanical reproduction of the press to allow me to build rich textured layers and explore the use of pattern as metaphor.
BRIDGET MODEMA BIOGRAPHY Bridget Modema (b.1992) is a Gauteng-based visual artist, performer, sculptor and painter. She is currently completing a BFA at TUT and a Metaphysics degree through the University of Metaphysics, Arizona. She has exhibited locally and internationally, and has participated in artist career development programmes including RMB Talent Unlocked (2018). Her work is held in collections including the DOAC Pretoria and Pretoria Art Museum. She recently placed in the top 10 UJ MTN Portrait Awards (2018). She apprenticed from 2013-2018 under Lothar Bรถttcher, Smelt Glass, Johann Nortje and Guy de Toit. She has studio spaces in August House and in Pretoria. Instagram: @artmodema
ARTIST STATEMENT Channeling Beuys is a poetic endeavored Surrealistic body of work based on a performance act on 28 Feb 2019, 12:45. Through automatic writing and entering a shamanic state of mind; I produced a poem and read the poem aloud to an audience while standing on a chair. 'The Act' is a metaphysical and symbolic link between two worlds: reality and divinity. I draw inspiration from Francis Bacon's 'Innocent pope', Niki de Saint Phalle's 'Retrospective' and Joan Miro's principles of fertilizing an artwork. Bacon said, "How are you going to trap reality without making a demonstration from it?" 'I call you' represents the subjective environmental experience where I am having a conversation with the artist Joseph Beuys. I am influenced by the art movements: Surrealism (undermining the rational and encourage the unconscious dream state), Fluxus (release of create energy in human culture). Fluxus was a reversal of behavior to a newly industrial developed culture.
HENRIETTA SCHOLTZ BIOGRAPHY Born in Cape Town, Henrietta Scholtz, is a designer and contemporary artist who lives in Johannesburg and considers her artworks drawings, irrespective of medium. She holds a BA (Hons) degree in Creative Brand Communications Management from Vega. She also, holds a BA in English Literature, and explores language and narrative via writing, classical singing and drama. In late 2017, she participated in her first art exhibition and since then was accepted for the RMB Talent Unlocked Emerging Artist Development Programme (2018) and placed Top 10 in the UJ MTN Emerging Artist Portrait Competition(2018). She has also exhibited in various group shows including Turbine Art Fair, Thami Mnyele Fine Art Awards top 100 and MTN & UJ Continuing Conversations, also on show at NAF, 2019. Instagram: @henrietta_scholtz
ARTIST STATEMENT I am interested in mediums and processes that allow for emotion, intent and accident. For me, the residue of the shared human condition is buried in the landscape of the human form and face, which is embedded in my work. The human form also speaks to a common vernacular; the body’s rituals, expression, line and systems of knowledge. I like to include mediums that are connected to nature, such as ink and charcoal. I prefer to utilize the natural vagaries of light, dark and muted colours. I draw the body as landscape in layered form; using fluid shape and sedimentary texture in order to create a visual archaeology. With this visual archaeology, I attempt to unearth the binary in myself and the viewer; to embody a new space or perspective, straddling the now and then, past and present, self and other, known and unknown. Currently, I am working on two bodies of work, with one looking at museumification, the individual and the collective ‘Us’ and the other around an archipelago of externalised ideologies and opposites. They both seek to engage the viewer with actions and self reflective questions around social power, the self, appearance, expectation and avoidance. The actions aim to uncover or add a performativity to the act of ‘looking’. These actions are intimated and sometimes mirrored by the composition, such as looking left and right or up and down. Pairing actions with a visual space and self awareness is similar to blocking the stage in theatre. Actors associate their cue with spatial positioning and a personal or emotional response. This creates an emotional, mental and/or physical ‘trigger’. The aim of this performative looking is for the viewer to take part in or carry part of the artwork with them when they leave, and the trigger to consciously or subconsciously manifest in their everyday lives.
VIANCA MALAN BIOGRAPHY After Vianca Franciska Malan completed her B.A. Graphic design (2005, NWU), she worked for several years in the commercial printing environment. In 2012 she completed her M.A. History of art (NWU, cum laude, NRF-scholarship). Her discipline shifted from graphic design to drawing after attending Diane Victor’s drawing workshops, and she entered the art market with a top one hundred ABSA l’Atelier (2018) drawing, now part of the ABSA corporate collection, South Africa. Since then she participated in several select group exhibitions. Vianca draws inspiration from her own life experiences, her work closely tied to themes concerning power, identity and memory.
ARTIST STATEMENT I believe that art can be thought provoking, that it might ignite discussion and influence lives, including my own. I would describe my art as simultaneously explorative, playful and serious – basically Western-traditional, but with a high dose of contemporary South African freedom. In my art I explore a world that can be a better place - that is, with more talking, truthfulness, understanding and love. My art-making is guided by that which I feel passionate about or which angers me, and is mainly related to abuse, fear and trauma; always with subtle references to power, identity and memory. The liminal space, shifting borderlines, the imperfection of memory and the transcendence of trauma interests me greatly. I enjoy working with charcoal, ink and watercolours as these mediums often lead me to instinctive decision-making whereby I let some of my own control go. I usually have a lot of fun using non-traditional art tools; which have included a bottle brush, a syringe, bunched paper, steel wool, a food basting brush and a hairbrush. In this way I explore various different mark making techniques which keeps my art-making challenging and interesting for myself. I am hoping to draw viewers closer with this interesting mark making. I am greatly influenced by Diane Victor’s drawing techniques in my similar use of various techniques. I am also awed by Willem Boshoff’s ability to effect the reversal of power relations, often instigating communication between unlikely parties which in turn could lead the way in a process of healing. Deborah Bell’s use of religious and cultural symbolism fascinates me, as I too make use of religious and cultural symbolism in my work. Paul Emmanuel’s The Lost Men series deserves special reference. It acted as a trigger for the work I am now creating. Although I have to state that my work deals more with found women.
MHLONISHWA CHILIZA BIOGRAPHY Mhlonishwa Chiliza was born in 1990, rural village (uMzumbe) near port Shepstone. He is an award winning visual artist whom his work ranges from large scale charcoal drawings, sculpture installations and mixed media. His current body of work where he uses lighting objects and indigenous artefacts is a metaphor to search for the light socially spiritually and economically...the process is a mirror introspection in wich he intends to evaluate his stand and position in a post apartheid context. Instagram: @mhlonishwachiliza
ARTIST STATEMENT Ukukhanya has a double meaning beyond our literal understanding; as metaphorically it can relate to enlightenment. Enlightenment broadly defines itself as a philosophical term that can somehow contribute to ones meaning of life and growth. Internationally, all mankind pass stages where being enlightened plays an essential role. The process strengthens ones consciousness about life and to understand the world spiritually, socially and political. I have chosen to start by using a candle, as it is a nostalgic, multifunctional object that can bring back historical memories such as family gatherings of the past (during apartheid many blacks in remote spaces / areas did not have access to electricity, in my subconscious I still have that beautiful memorial picture when sharing a warm candle light with my family (1992- and June 1996). However it is still commonly used in churches and also by indigenous traditional healers. The candle is a powerful object that is still used today as it can mysteriously give an impression to contain healing power because of its ability to connect humans with spiritual realm and fortune. The work is a mirror introspection in which I intend to evaluate my stand on socio- political and economic positioning in the society. This meditative use of relevant materials is both a physical and a visual metaphor to search the light in life; also intend to reflect on frustrating difficult stages of growing up to a man hood and being responsible, solving micro problems, and ability survive as an individual in a fast changing urbanised landscape. Synopsis Symbolic meaning of the collected objects that surround spaces I intersect somehow help me to search for direction and also to revaluate the meaning of life. Hair- collected and kept my own hair that remains in the comb as it is an important and a responsive sensory organ attached to the body and purposefully used as a metaphor to feature myself in the work. Impepho â€“ indigenous African plant and it is it is used to connect with the ancestors 1. Rural Map- place of birth where I can reconnect with my background and roots (a peaceful space where I can access undocumented histories I bout myself and family history from knowledgeable elders. 2. Urban Map, Cityscape: an embryo that is an entrance for migrants entering the city for opportunities (A map captured is also a place for informal trading and it contributes a potion to South African economy. 3. Rural Map 2- place of burial- life conditions compels most of us to travel away from our families to seek opportunities, the migration process has been happening for centuries which is now a normal routine, but it is a victory to be buried in a landscape where your forefathers are.
SIBUSISO KHUMALO BIOGRAPHY Sibusiso Khumalo was born in 1986 Orlando East Soweto and currently resides in Orange Farm. He completed his Fine Arts Diploma at Funda Community College in 2007. He participated in a number of group exhibitions, art projects, Workshops and art competitions. He lives and works in Orange Farm.
ARTIST STATEMENT In my work I investigate issues pertaining to identity through spirituality. In accordance with our traditions and customs as indigenous South Africans, I interrogate what spirituality means to us, how we practice its rites and why. I also highlight my personal experiences in the spiritual phenomenon, the experiences I have had with different traditional healers in their ceremonies; as well as issues, politics and controversies regarding traditional healers and their practices in our society.
Neo Mahlangu Kenneth Shandu Bruce Bowale Matty Monethi Lebo Thoka Nico Athene Patrick Seruwu
NEO MAHLANGU BIOGRAPHY Neo Mahlangu is a fine artist and illustrator based in Johannesburg. Her striking bodies of work, which examine the tension between social media, ego and isolation, are created using digital illustrations and charcoal. She was a finalist for the Cassirer Welz Award in 2017 and was named as one of the Design Indaba Emerging Creatives for 2018. She has undergone training practising Design and has also obtained a degree in Medical Sciences from the University of Pretoria. Instagram: @nenemahlangu
ARTIST STATEMENT My work explores my yearning, struggle and curiosity with deep and authentic human connection in a tech saturated world. I constantly and unfortunately spend my time in online and social media spaces and although these platforms are tools that are meant to ‘connect’ us and despite their occasional entertainment, I often find myself silently struggling with feelings of isolation and distant human connection. I use the moon as a fitting metaphor for this personal experience. The expectation to carefully show an appropriate and radiant side of myself, hiding and revealing depending on circumstance. Being a lone observer of others. The tension of feeling so close yet so distant to the rest of the world. Having an audience that spectates but will never know every side of me. The fluctuating desire to pull the tides of attention towards me. The permanence of the steps left on the moon and the mark I leave on the internet. If the platforms themselves can be likened to the moon, we cannot avoid the massive influence both comparatives have. Social media influences societal tides. It is known to have negative influences on mental health, specifically increasing levels of anxiety, loneliness and often depression. Urban legends suggest a full moon does the same. The word lunacy and a related term “lunatic”, which was coined in the mid-16th century to refer to a temporary insanity in humans attributable to changes in the moon, have their origin in the Latin root “luna” which means moon. These thoughts are heightened at various degrees as I scroll through my feed and have birthed Texting, the title of my current body of work.
KENNETH SHANDU BIOGRAPHY Kenneth Shandu is a South African contemporary artist based in Durban. He works with found materials to create drawings, prints and installations. The main body of his work addresses the issue of homelessness, inspired by Diane Victor and Kay Hassan. Kenneth received the runner-up award in sculpture at the PPC Imaginarium 2019, Emma Smith Art Scholarship award (2019), and he was selected as a finalist for the Sasol New Signatures Art Competition (2018). Kenneth participated in the Thupelo Art Workshop 2018 and Artist Career Boot Camp Programme 2019. He has exhibited in group exhibitions in Durban and Johannesburg. Instagram: @kennethpress
ARTIST STATEMENT My work focuses on my critical visual exploration regarding the everyday experiences of the homeless in the post-colonial era; particularly in urban spaces. Using my work as a mouthpiece I express my views, opinions and emotions; looking at the critical perspectives gained from my observations of the living conditions of marginalized people in urban spaces. In my work I use found objects as metaphors to challenge stereotypes regarding the idea of home as a physical, permanent space. By manipulating found objects as well as other materials, I aim to create a sense of home within a space by producing installations, drawings and prints. I employ a range of disciplines in my work, and I am influenced by Kay Hassan, Diane Victor, Anselm Keifer and Cornelia Parker.
BRUCE BOWALE BIOGRAPHY Bruce Bowale is a South African born artist from Pretoria. He received a National Diploma in Fine Arts from the Tshwane University of Technology (TUT) in 2018. He currently serves as a tour guide and art facilitator at the Pretoria Art Museum. In 2018 he was among the top 5 short-listed candidates for the South African Reserve Bank (SARB) scholarship. In June he participated in his first group exhibition at the Pretoria Art Museum. He was part of the top 40 finalists of the StateoftheART award. He was a top 100 finalist in the Thami Mnyele Fine Art Award Competition. Instagram: @theboybowale
ARTIST STATEMENT What is apparent and holds the center of my work is not only to be creative, but also to see and enjoy, and at the same time to speak through the art of healing. I aim to give the viewer insight into the African indigenous way of living from the artists' point of view. This body of work hopes to give the viewer the perspective of an African child's memories and experiences. I personally work with feelings of nostalgia or the sentimental memory of or longing for the past in a self-indulgent way; while wanting to approach my art with the eye of a story-teller.
MATTY MONETHI BIOGRAPHY Matty Monethi (b. 1996) is a Mosotho artist who grew up in Lesotho and Ethiopia. She completed her Diploma in Fine Art at the Ruth Prowse School of Art in Cape Town in 2016, and is currently doing a BAFA at the University of the Witwatersrand in Johannesburg. Monethi works predominantly in the mediums of painting and printmaking. She has been involved in group shows in Cape Town at Rust-en-Vrede Galley, the Ruth Prowse School of Art and The Belle Studio. In Johannesburg Monethi participated in the Africa Art Collective 2019 at the Julie Miller Art Institute. Instagram: @matty_monethi
ARTIST STATEMENT Matty Monethi is a young artist currently based and studying in Johannesburg. Monethi is interested in the effects of migration on one's sense of self, as well as the complexities that arise when they engage with socio-political and cultural aspects of life. Monethi draws from their own experiences as an expat child having left their native country Lesotho at age 9 in order to move to Ethiopia for their father's job. Having been exposed to a global and multicultural upbringing since then has left Monethi feeling like a citizen of nowhere and everywhere. This duality has and continues to either improve or hinder their assimilation on a daily basis. With their work Monethi aims to communicate the sense of displacement and belonging they feel as a self identified Third Culture Kid. To express this fragmented sense of identity â€“ both on a personal, national and global level â€“ they use mixed media because the diversity of it reflects their state of being. Monethi further uses abstraction in their work to express the ragmentation and uncertainty that governs their paths and experiences in life.
LEBO THOKA BIOGRAPHY Lebo Thoka is a Johannesburg based photographer,and artist. Born and raised in Johannesburg, she studied a BA in Visual Communication which she graduated cum laude. Since then she has won a Loerie certificate award in 2018. She has been shortlisted for the 2019 Contemporary African Photography Prize, and her work has been featured in the Washington Post and New York Times' online platforms. Thoka’s work is primarily influenced by her feminism. Her work uses the re-purposing of objects as a means to translate new narratives to address social issues linked to navigating black womanhood and the societal violence it faces Instagram: @lebo.th
ARTIST STATEMENT I would consider my work to be a constant documentation in navigating life in post-apartheid South Africa and the greater world as a black woman. I also identify as a feminist and my work addresses the various aspects of how black womanhood is still largely marginalized within society. Black womanhood is a lifelong journey which I aim to celebrate, analyze my place and role within it, highlight the injustices it’s exposed to, and to honor the beauty of it outside the parameters of oppression. Blackness has shown me the way and continues to do so ––– blackness is the beginning. My photographic exploration of this has led me to explore and expose the violent realities women face, with the hope of liberation. Through these self-portraits and various forms of photographic exploration documenting the violence on various levels I aim to expose its normalization. The silence of society has acted as a stamp of acceptance of it, a validation of its place. Solidarity through the act of self portraiture is my method of addressing how on a societal level violence towards women has been normalized largely through isolation of the survivors and victims, through the isolation of experiences. My work aims to explore the multi-layered experiences of black womanhood, exposing the consistent violence it faces and celebrating the glory that it is.
NICO ATHENE ARTIST STATEMENT & BIO Nico is a body of colliding personas and intimate intricacies: of political and personal, immediate and distant, academic and under-qualified. Born and raised in Cape Town South Africa, she has two degrees under her formal identity, neither directly related to art. She worked a number of years in the creative film industry before giving up her ‘real name’ to become a stripper in a Cape Town club. She blames patriarchy and glass ceilings, ‘I figured that if I was going to be sucking cock for cash, I may as well be doing it for proper pay.’ Actually, it’s because she always wanted to be a dancer. It was here that she was born - a stripper with a mandate to use artists and their institutions to up her cultural capital. Currently a self-proclaimed transplant into the University of Witswatersrand's MFA programme and with the assistance of an Andrew Mellon Foundation Grant, Nico is attempting to invoke alternate knowledges and powers beyond those canonised or allowed by western history. Through the collapse of time and institutional boundaries, and via the liminal and precarious body, she hopes to reckon with the violence and intimacies of the urgent, and working, femme-aestheticised body as both a site of war and mutual nourishment. If the apocalypse has simultaneously already been and is never to come, how does that change our relational imperative to community, self, environment and other? Nico has been an artist in residence at Vermont Studio Centre, USA, Arteles in Finland, Santa Fe Art Institute in New Mexico, USA, and Any Body Dance Lab in Cape Town.
PATRICK SERUWU BIOGRAPHY
I am Patrick Seruwu, Ugandan, my mother raised my three sisters and I under tough circumstances. Single women are tormented and disrespected in Uganda. My mother nonetheless provided what she could for her family by being a street vendor. I too became a street vendor when I first arrived in Johannesburg, and here too I witnessed the strength of women I came across . But I was determined to succeed in life, to do the unheard. Motivated by how my mother never gave up on providing for us, I decided to start my own business, hair salon in central Johannesburg.
My work is about the strength of women; capturing moments of their daily lives. In a special way it acknowledges the different attributes I always see in my mother.
I’ve been exposed to art through my late friend Benon Lutaaya, I often visited him to his studio and as I spent more time with him, attending art exhibitions, This helped to grow in me the desire to experiment, which later grew to a passion for art making and art became more appealing as a career. While working as a hair stylist, I was the only male in the hair salon. The other hair stylists were female and as most of our clients were women our space was never short of conversation. It’s called “wound-bonding”, women share with each other their traumatic experiences as a means of comforting one another and offering each other advice and words of encouragement to overcome their difficult situations. This happened often in the hair salon. I could relate to their stories because of my upbringing. I use art to communicate to the world my experience, how I see my immediate environment and how it affects me as an artist. I also driven by immediate environment, the life of people I meet everywhere and the ones I associate myself with. I have been engaging with painting and drawing for the past 2 years. My work has been featured in group exhibitions such as “The Spring Salon exhibition” at Lizamore & Associates gallery, corporate exhibitions such as “Aftermath” at Rand Merchant Bank, ABSA Bank Gallery, Investec Cape Town Art Fair and the like. As a self-taught working artist, my work has been well received in art community
I use charcoal drawing and acrylic painting on canvas, applied in the form of a wash. The washes mimic the constant wish that some women have - to wash away certain experiences they have undergone in their lives. I chose deliberately to wash the canvas and allow the paint to drip, not only as a metaphor for the women’s tears of pain, but also their tears of joy and success. My choice of color, sepia or pink. This is both a reflection of time, that is needed for healing, as well as to portray the tension of their daily lives. Most portraits are drawn in the form of bust figures, like the idealized eternal youth and strength of the Roman and Greek statues, which to me signifies pillars of strength, but also a reflection of womanhood and also of time that passes like the shades of old photographs or the color of aging and rusting material. To me, these Greek and Roman statues signifies the strength of the depicted figures. While I draw inspiration from this, the idealization of the women in my paintings are a more truthful representation of the real and everyday lives that women lead. These moments of women captured in my works are a very sensitive issue around the world; in this case I use Johannesburg as a point of reference. Johannesburg is a cosmopolitan city that globally attracts people from all sorts of social, political, and cultural backgrounds especially from the neighboring African countries. People move to Johannesburg in search of work. It is particularly within this multi-cultural, work-deprived and overpopulated environment of Johannesburg, where I see the strength of the women I come across in my own daily life.
ARTIST CAREER BOOT CAMP PROGRAMME Art Source South Africaâ€™s Artist Career Boot Camp is an exciting programme for artists looking to fully immerse themselves in the art world, and learn what it takes to manage their careers effectively. A first in South Africa, it is designed to empower aspiring artists with the relevant practical information and critical skills to develop a professional career in the visual arts. The programme is designed as a launch pad to enable artists who are ready to enter the market at a professional level, or are in the early stage of their careers, the opportunity to develop the art industry knowledge they will require, as well as prepare a professional portfolio of work. In an intensive 3 month programme artists receive professional practice training on topics such as marketing, pricing, engaging galleries and other critical areas from an experienced trainer, as well as input and direction from industry specialists. Participants receive mentoring related to defining their career goals, as well as information on how the art industry operates.
The Programme comprises 3 intensive full contact weeks over a three month period and is designed to assist each participant to define their personal artistic and career goals. Art Source South Africa presents this programme in association with the Bag Factory Studios and with the support of the National Arts Council.
Les Cohn Visual Arts Project & Management Consultant
NATIONAL ARTS COUNCIL
The National Arts Council is an agency of the Department of Arts & Culture. Their Mission To promote, through the arts, the free and creative expression of South Africa's cultures. Their Vision To develop and promote excellence in the arts. Strategic Plan It is certainly true that change is the only constant! The NAC is undergoing constant, unrelenting transition, evolution and adaption at both strategic and an operational levels. It is imperative for the NAC to change at a faster pace than its environment in order to stay relevant to the needs and expectations of its stakeholders and to deliver on its mandate as a public sector entity.
Mandate The mandate (objects) of the NAC is set out in its founding legislation, the NAC Act (1997). To provide, and encourage the provision of, opportunities for persons to practice the arts To promote the appreciation, understanding and enjoyment of the arts To promote the general application of the arts in the community To foster the expression of a national identity and consciousness by means of the arts To uphold and promote the right of any person to freedom in the practice of the arts To give the historically disadvantaged such additional help and resources as are required to give them greater access to the arts To address historical imbalances in the provision of infrastructure for the promotion of the arts To promote and facilitate national and international liaison between individuals and institutions in respect of the arts To develop and promote the arts and to encourage excellence in regard to these.
EVERSON'S CIDER& THE TAP ROOM “CIDER” You know that guy you meet who constantly uses his fingers to make inverted commas. He’s annoying, right? Well…if you met me I would annoy the hell out of you. You see, I do that all the time. I do it when I talk about the massproduced “cider” that some commercial producers make, bottle and sell. Some may call it “cider” but, in fact, often it isn’t cider at all. Not really. It’s actually made from a fermented apple concentrate. That means concentrated alcohol – sometimes 12 – 13 %. And, yes, if you’re thinking the only way to water that down is to…water it down… you’re right. So they do. Which means less alcohol. Cool. But also less flavour. Not so cool. GENUINE CIDER But enough about that. Let’s look for the silver lining. Luckily, we make genuine cider.And what makes our cider a genuine cider? Well, ingredients for a start. We use the real deal. Elgin apples. Up to five different types to be exact. We even make a pear version and, yes, those are as good. For us fruit is key – it’s the backbone of our product. The quality of the raw ingredients also means that, at Everson’s, we don’t really need to add much else.
OUR SECRET WEAPON Ingredients are one thing though. You need someone to actually do something with them. We’re lucky to have a secret weapon. William Everson. Having built up a bit of cult following as a garagiste winemaker in Elgin, he realized that the same factors that come into play when creating a beautiful bottle of wine can be adapted to create a perfect cider. Things like terroir. Things like soil condition. Things like the fermentation processes. Things like climate.
Things like terroir. Things like soil condition. Things like the fermentation processes. Things like climate. So he set out to make a cider. Starting with those Elgin apples (or pears), our process involves crushing the fruit and fermenting the juice in tanks, along with a premium cider yeast. From there the juice is aged in oak, racked and filtered. The final step is a hit of CO2 to make it a sparkling cider. What you’re left with in the bottle is the good stuff. Genuine, proper, real cider. SOMETHING TO BE APPRECIATED This is a drink with actual flavour profiles and subtleties. This isn’t a cider that you drink when the bar runs out of beer. It’s something to be appreciated. And while we might not spend loads of cash on advertising or promotions, we hope the proof is inside the bottle. Crack one open and find something that has been crafted the old fashioned way. With care. And love. It’s honest and it’s real. It’s delicious.
THE BAG FACTORY ARTISTS' STUDIOS Bag Factory Artists’ Studios is located on the border of the vibrant suburbs of Fordsburg and Newtown in Johannesburg. Founded by South African artist Dr David Koloane, and British art lover and philanthropist Sir Robert Loder, Bag Factory Artists’ Studios has been a space for visual artistic creativity since its inception in 1991. Established in an old bag manufacturing warehouse converted to provide studio space to artists from different racial, cultural and educational backgrounds, over more than two decades the organisation has grown to be synonymous with inclusion and diversity. Its groundbreaking and internationally renowned visiting artists’ programme as well as its numerous professional practice workshops and exhibitions have extended the scope of the organisation towards one that supports, promotes and develops the visual arts and artists in South Africa. At the time of its founding it was one of the first studio spaces in the country. Some of South Africa’s now most famous artists started their careers at the Bag Factory, including Helen Sibidi, Debora Bell, David Koloane, Sam Hlengethwa, Pat Mautloa and Penny Siopis, to name a few. The organisation is still a launching pad for emerging artists while enabling them an opportunity to be mentored by established, full time practicing artists.
Through its various programmes, it aims to address the needs of local artists, promote the visual arts in South Africa, and encourage international networking and learning by exchange. The building contains 17 studios, a fine art lithography printing studio, as well as a workshop and exhibition space. The Bag Factory has provided one of the few dedicated spaces for visual arts studios in Johannesburg. The organisation’s programmes continue to stand for inclusion and diversity, built on an idea of open access. Key elements to the success of the Bag Factory have been the ability to attract and maintain relationships with local and international artists to its various programmes: - Studio Provision Programme - International Visiting Artists Programme - Curatorial Development Programme - Professional Skills Development Programme - Outreach and Community-based Workshops - Audience Development Programmes
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680 Manufacture of products for specific uses 681 Precision instruments and other devices 682 Small forge work (Blacksmithing) 683 Hardware & household appliances 684 Furnishings and home workshops 685 Leather, fur goods & related products 686 Printing and related activities 687 Clothing and accessories 688 Other final products & packaging 689 [Unassigned] 690 Construction of buildings 691 Building materials 692 Auxiliary construction practices 693 Specific materials & purposes 694 Wood construction 695 Roof covering 696 Utilities 697 Heating, ventilating & air-conditioning 698 Detail finishing 699 [Unassigned]
700 700 The arts
701 Philosophy of fine & decorative arts 702 Miscellany of fine and decorative arts 703 Dictionaries of fine & decorative arts 704 Special topics in fine and decorative arts 705 Serial publications of fine & decorative arts 706 Organizations & management 707 Education, research & related topics 708 Galleries, museums & private collections 709 History, geographic treatment, biography 710 Area planning and landscape architecture 711 Area planning (Civic art) 712 Landscape architecture (Landscape design) 713 Landscape architecture of trafficways 714 Water features in landscape architecture 715 Woody plants in landscape architecture 716 Herbaceous plants 717 Structures in landscape architecture 718 Landscape design of cemeteries 719 Natural landscapes 720 Architecture 721 Architectural materials and structure 722 Architecture from earliest times to ca. 300 723 Architecture from ca. 300 to 1399 724 Architecture from 1400 725 Public structures 726 Buildings for religious and related purposes 727 Buildings for education & research 728 Residential and related buildings 729 Design & decoration 730 Sculpture and related arts 731 Processes, forms, subjects of sculpture 732 Sculpture to ca. 500 733 Greek, Etruscan, Roman sculpture 734 Sculpture from ca. 500 to 1399 735 Sculpture from 1400 736 Carving and carvings 737 Numismatics and sigillography 738 Ceramic arts 739 Art metalwork 740 Graphic arts and decorative arts
741 Drawing and drawings 742 Perspective in drawing 743 Drawing and drawings by subject 744 [Unassigned] 745 Decorative arts 746 Textile arts 747 Interior decoration 748 Glass 749 Furniture and accessories 750 Painting and paintings 751 Techniques, equipment, materials & forms 752 Color 753 Symbolism, allegory, mythology, legend 754 Genre paintings 755 Religion 756 [Unassigned] 757 Human figures 758 Nature, cityscapes & other subjects 759 History, geographic treatment, biography 760 Printmaking & prints 761 Relief processes (Block printing) 762 [Unassigned] 763 Lithographic processes 764 Chromolithography and serigraphy 765 Metal engraving 766 Mezzotinting, aquatinting, related processes 767 Etching and drypoint 768 [Unassigned] 769 Prints 770 Photography, computer art, cinematography 771 Techniques, equipment & materials 772 Metallic salt processes 773 Pigment processes of printing 774 Holography 775 [Unassigned] 776 Computer art (Digital art) 777 Cinematography and videography 778 Specific fields & kinds of photography 779 Photographic images 780 Music 781 General principles and musical forms 782 Vocal music 783 Music for single voices 784 Instruments & instrumental ensembles 785 Ensembles with one instrument per part 786 Keyboard & other instruments 787 Stringed instruments (Chordophones) 788 Wind instruments (Aerophones) 789 (Optional number) 790 Recreational and performing arts 791 Public performances 792 Stage presentations 793 Indoor games and amusements 794 Indoor games of skill 795 Games of chance 796 Athletic and outdoor sports and games 797 Aquatic and air sports 798 Equestrian sports and animal racing 799 Fishing, hunting, shooting
800 Literature (Belles-lettres) and rhetoric 801 Philosophy and theory 802 Miscellany 803 Dictionaries & encyclopedias 804 [Unassigned] 805 Serial publications 806 Organizations and management 807 Education, research, related topics 808 Rhetoric & collections of literature 809 History, description & criticism 810 American literature in English 811 American poetry in English 812 American drama in English 813 American fiction in English 814 American essays in English 815 American speeches in English 816 American letters in English 817 American humor and satire in English 818 American miscellaneous writings 819 (Optional number) 820 English & Old English literatures 821 English poetry 822 English drama 823 English fiction 824 English essays 825 English speeches 826 English letters 827 English humor and satire 828 English miscellaneous writings 829 Old English (Anglo-Saxon) literature 830 Literatures of Germanic languages 831 German poetry 832 German drama 833 German fiction 834 German essays 835 German speeches 836 German letters 837 German humor and satire 838 German miscellaneous writings 839 Other Germanic literatures 840 Literatures of Romance languages 841 French poetry 842 French drama 843 French fiction 844 French essays 845 French speeches 846 French letters 847 French humor and satire 848 French miscellaneous writings 849 Occitan, Catalan, Franco-Provenรงal 850 Italian, Romanian & related literatures 851 Italian poetry 852 Italian drama 853 Italian fiction 854 Italian essays 855 Italian speeches 856 Italian letters 857 Italian humor and satire 858 Italian miscellaneous writings 859 Romanian & related literatures 860 Spanish & Portuguese literatures 861 Spanish poetry 862 Spanish drama 863 Spanish fiction 864 Spanish essays 865 Spanish speeches
866 Spanish letters 867 Spanish humor and satire 868 Spanish miscellaneous writings 869 Portuguese and Galician literatures 870 Latin & related Italic literatures 871 Latin poetry 872 Latin dramatic poetry and drama 873 Latin epic poetry and fiction 874 Latin lyric poetry 875 Latin speeches 876 Latin letters 877 Latin humor and satire 878 Latin miscellaneous writings 879 Literatures of other Italic languages 880 Classical Greek & Hellenic literatures 881 Classical Greek poetry 882 Classical Greek dramatic poetry & drama 883 Classical Greek epic poetry and fiction 884 Classical Greek lyric poetry 885 Classical Greek speeches 886 Classical Greek letters 887 Classical Greek humor and satire 888 Classical Greek miscellaneous writings 889 Modern Greek literature 890 Literatures of other languages 891 East Indo-European and Celtic literatures 892 Afro-Asiatic literatures 893 Non-Semitic Afro-Asiatic literatures 894 Altaic, Uralic, Hyperborean & Dravidian 895 Literatures of East and Southeast Asia 896 African literatures 897 North American native literatures 898 South American native literatures 899 Austronesian & other literatures
900 History & geography 901 Philosophy and theory of history 902 Miscellany of history 903 Dictionaries & encyclopedias 904 Collected accounts of events 905 Serial publications of history 906 Organizations & management 907 Education, research & related topics 908 Groups of people 909 World history 910 Geography and travel 911 Historical geography 912 Maps and plans of surface of earth 913 Geography of & travel in ancient world 914 Geography of and travel in Europe 915 Geography of and travel in Asia 916 Geography of and travel in Africa 917 Geography of & travel in North America 918 Geography of & travel in South America 919 Geography of and travel in other areas 920 Biography, genealogy, insignia 921 (Optional number) 922 (Optional number) 923 (Optional number) 924 (Optional number) 925 (Optional number) 926 (Optional number) 927 (Optional number) 928 (Optional number)
929 Genealogy, names & insignia 930 History of ancient world to ca. 499 931 China to 420 932 Egypt to 640 933 Palestine to 70 934 India to 647 935 Mesopotamia & Iranian Plateau to 637 936 Europe north & west of Italy to ca. 499 937 Italy & adjacent territories to 476 938 Greece to 323 939 Other parts of ancient world 940 History of Europe 941 British Isles 942 England and Wales 943 Germany & central Europe 944 France and Monaco 945 Italy, San Marino, Vatican City, Malta 946 Spain, Andorra, Gibraltar, Portugal 947 Russia & east Europe 948 Scandinavia and Finland 949 Other parts of Europe 950 History of Asia 951 China and adjacent areas 952 Japan 953 Arabian Peninsula and adjacent areas 954 India & south Asia 955 Iran 956 Middle East (Near East) 957 Siberia (Asiatic Russia) 958 Central Asia 959 Southeast Asia 960 History of Africa 961 Tunisia and Libya 962 Egypt, Sudan, South Sudan 963 Ethiopia and Eritrea 964 Morocco, Ceuta, Melilla, Western Sahara 965 Algeria 966 West Africa and offshore islands 967 Central Africa and offshore islands 968 South Africa & southern Africa 969 South Indian Ocean islands 970 History of North America 971 Canada 972 Mexico, Central America, West Indies 973 United States 974 Northeastern United States 975 Southeastern United States 976 South central United States 977 North central United States 978 Western United States 979 Great Basin & Pacific Slope region 980 History of South America 981 Brazil 982 Argentina 983 Chile 984 Bolivia 985 Peru 986 Colombia and Ecuador 987 Venezuela 988 Guiana 989 Paraguay and Uruguay 990 History of other areas 991 [Unassigned] 992 [Unassigned] 993 New Zealand 994 Australia 995 New Guinea & Melanesia 996 Polynesia & Pacific Ocean islands 997 Atlantic Ocean islands 998 Arctic islands and Antarctica 999 Extraterrestrial worlds