Creative Feel July 2015

9 771607 519004

05015

SA R36,90 (incl. VAT) - July 2015

JOBURG THE VIBRANT HEART OF SOUTH AFRICA Creative Feel / July 2015 / 1

A Space for Landscape

The work of JH Pierneef

Standard Bank Gallery Cnr Frederick and Harrison Streets, Johannesburg

8 July to 12 September 2015 Monday to Friday 8am – 4.30pm and Saturdays 9am – 1pm Tel: 011 631 4467 www.standardbankarts.co.za

Authorised financial services and registered credit provider (NCRCP15) The Standard Bank of South Africa Limited (Reg. No. 1962/000738/06)

2 / Creative Feel / July 2015Moving Forward is a trademark of The Standard Bank of South Africa Limited

205807 PIERNEEF Ad DPS.indd 1

SBSA 205807-6/15

JH Pierneef, Bushveld near Thabazimbi, 1953, Oil on canvas, South African Reserve Bank

Moving Forward

TM

2015/06/08 2:13 PM

EDITOR’S NOTE

F

Joburg, the new destination for 2015 amed South African film director Neill Blomkamp

and energy. The Inner City itself, once a no-go zone, is

(District 9, Elysium, Chappie), is reported to have

becoming a tourist gem, with plenty of pleasant surprises…

said, ‘Johannesburg represents the future. My version of what I think the world is going to

become looks like Johannesburg.’

Rough Guides, which has been providing travel advice since 1982, picked Johannesburg ahead of Malaga (Spain),

‘However, the wealth divide remains stark, and crime and poverty haven’t been eliminated…

‘Still, Jo’burg is an incredibly friendly, unstuffy city and there’s a lot to see here…’

Somehow whenever I think of Joburg’s regeneration I think

New Orleans (United States), Hamburg (Germany) and

of Turbine Hall. The original building was the Jeppe Street

Nizwa (Oman) as the best place to visit in 2015.

Power Station, the largest of Newtown’s three steam-driven

Turbine Hall 1999

Turbine Hall 2009

Their website states: ‘Joburg has a reputation problem.

power stations. The facility was built and extended between

But South Africa’s biggest city is finally beginning to break

1927 and 1934 to keep pace with Johannesburg’s growing

free from the chains of its troubled past, and parts – like

electricity demand. Although the power station was officially

the arty Maboneng quarter – have rooted themselves as

decommissioned in 1961, it was re-equipped and kept on

exciting cultural hubs. New clusters of forward-thinking

standby as a back-up power facility from the mid-1960s through

museums, galleries and shops are set to emerge in 2015,

the 1970s. By the early 1990s, the facility was largely mothballed

though better-known attractions like Constitution Hill and

and it fell into disrepair (perhaps it would have been good to

the poignant Apartheid Museum should still be on the to-

have this on standby today to help with loadshedding).

do list of any first-time visitor.’

This recognition came after Lonely Planet made their prognostications for 2015, ‘Johannesburg, more commonly known as Jo’burg or

After years of neglect, the Turbine Hall was given a new lease on life in 2005, when the dilapidated north boiler house was demolished and, in its place, a structure was built to accommodate the global headquarters of mining

Jozi, is a rapidly changing city and the vibrant heart of

giant AngloGold Ashanti. Over two years, the building was

South Africa. After almost 20 years of decline and decay,

carefully refurbished to preserve its industrial heritage while

the city is now looking optimistically towards the future. Its

transforming it into a top-class, modern facility, featuring the

centre is smartening up and new loft apartments and office

Turbine Art Fair (16-19 July), with whom we are partnering.

developments are being constructed at a rapid pace. The

So join us, cross the Nelson Mandela Bridge into

cultural districts of Newtown and Braamfontein, with their

Newtown and explore the inner part of the city that

theatres, restaurants, cafes and museums, teem with creativity

represents the future. CF

Creative Feel / July 2015 / 5

T

We love thi&s creation you can win!

E

A

M

PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za FEATURES EDITOR Natalie Watermeyer; natalie@desklink.co.za SALES AND MARKETING EXECUTIVES sales@desklink.co.za sales@creativefeel.co.za BUSINESS DEVELOPMENT MANAGER Mariapaola McGurk; mariapaola@desklink.co.za SPECIAL PROJECTS Fiona Gordon; fiona@desklink.co.za DESIGN Mxolisi Gumbi; mxolisi@desklink.co.za FINANCIAL DIRECTOR Debbi Gregory; debbi@desklink.co.za RECEPTION Angelina Ramano DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION Debbi Gregory; debbi@desklink.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za

Creative Feel readers stand the chance to win a copy of the second edition of Roger Ballen’s Outland, courtesy of Jonathan Ball and Phaidon Publishers.

First published in 2001, Outland is back in print and expanded to include 45 never‐before‐seen images from Ballen’s archive with illuminating new commentary from the artist himself.

To stand a chance of winning, email or fax the answer of the question below to competitions@creativefeel.co.za or 011 787 8204.

Name one of Roger Ballen’s subsequent works, which was influenced by his 2001 publication, Outland.

PRINTING ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.

CONTRIBUTORS: Nondumiso Msimanga; nondumiso.msimanga@yahoo.com Ismail Mahomed; ismail@nationalartsfestival.co.za Michelle Constant; michelle@basa.co.za Indra Wussow; indra@syltfoundation.com

EXHIBITION OF WINNING WORKS 2015 and solo exhibition by Elizabeth Balcomb, 2014 winner 3 September to 4 October Pretoria Art Museum www.sasolnewsignatures.co.za

*2014 works depicted

Presented by

Association of Arts Pretoria

Cover image:

Thirty-two years on, Wits Theatre is still standing,

Hot bronze in the Workhorse Foundry. Photograph by Rina Noto

still staging exceptional work, drawing audiences

into Johannesburg, and serving as an important

mirror reflecting a constantly-evolving society.

50

CONSIDERING PIERNEEF

J.H. Pierneef: A Space for Landscape comes to the

cover story 26

WORKHORSE FOUNDRY

Four years ago, artist Louis Olivier was asked

Standard Bank Gallery in July, Creative Feel spoke

if he’d like to start a foundry in Maboneng,

to the show’s curator, Wilhelm van Rensburg

Johannesburg.

about the famed artist.

arts and culture

56

ADDICTIVE ART

The annual three-day Turbine Art Fair (TAF)

begins on 16 July and contains a programme tailor-

made for first-time art buyers and emerging artists.

Creative Feel spoke to Glynis Hyslop, the driving

force and founder of TAF.

30

THE EMPIRE CITY STRIKES BACK

Johannesburg, South Africa’s economic capital,

makes a comeback after white flight, overcrowding

and neglect led to the decline of the inner city.

40

ART AND ABOUT IN JOZI

58

FRESH PRODUCE

If you’re looking to find the work of young and

Creative Feel’s Nondumiso Msimanga spoke to

talented African artists, the Absa Gallery is an

curator of Fresh Produce (supported by Rand

excellent place to start.

Merchant Bank), Zanele Mashumi about her

curatorial process and role at the Turbine Art Fair.

contents 44

THE MONEY MUSEUM

If you find yourself at a loose end in Johannesburg’s

60

THE TAF GRADUATE PAINTING SHOW

CBD on a weekday, you’re in a perfect position to visit

This year’s Turbine Art Fair features an innovative

the Barclays Money Museum, the only banking and

new component – a show of graduate artwork from

money museum in South Africa.

several of the country’s universities.

46

A THEATRICAL CANON IN THE HEART OF THE CITY

64

THE SHADOW AND THE SCREAM

Daniel ‘Stompie’ Selibe is a musician, artist and

8 / Creative Feel / July 2015

art counsellor, all of which he weaves into an

emotional response to his life and times.

66

GIANTS OF THE ART WORLD COME TO THE TURBINE ART FAIR

Yet another exciting new initiative forms part of

this year’s Turbine Art Fair; a small selection

of works on paper from the Johannesburg Art Gallery’s

astonishingly rich collection will go on show.

68

DEAD BUNNY SOCIETY

The Dead Bunny Society (DBS) comprises four

practicing artists with a wide variety of artistic and

curatorial experience.

80

JOY OF JAZZ RETURNS

This year’s annual Standard Bank Joy of Jazz Festival

returns to its new home in the glitzy Sandton

Convention Centre for the second year running.

lifestyle and entertainment 84 86 87

CINEMA NOUVEAU BOOK REVIEWS CD REVIEWS

contents contributors 18

ARTLOOKS & ARTLINES

Artlooks & Artlines is a monthly column

Yes, people have been and still are living here

by Ismail Mahomed, Artistic Director of the

somewhere in downtown Joburg. No, the book is

not a documentary about these tenants, it is Roger

20

National Arts Festival.

Ballen’s Theatre of the Absurd.

Business and Arts is a monthly column by Michelle

Constant, CEO of Business and Arts South Africa

(BASA).

An important aspect of the Turbine Art Fair (TAF)

Literary Landscapes is a monthly column written

for emerging artists is the TAF and Sylt Emerging

by Indra Wussow, a writer, translator and director of

Artist Residency Award.

the Sylt Foundation.

74

PEOPLE ARE LIVING HERE

76

TAF AND SYLT EMERGING ARTIST RESIDENCY AWARD

22

BUSINESS & ARTS

LITERARY LANDSCAPES

Creative Feel / July 2015 / 9

Tutankhamun – His Tomb and His Treasures

Creative Feel’s Nondumiso Msimanga spoke to world-renowned Dr Zahi Hawass about the exhibition, which is currently showing at Grand West in Cape Town. to touch and learn. The exhibit is beautiful and I love to see the thrill in the eyes of people who see the exhibition.

CF: Your history is a part of the telling of the story of ancient Egypt. Not only are you a world-renowned Egyptologist but you also served as the Secretary General of the Security Council of Antiquities (up until 2011). What was your role in this capacity?

ZH: My role was to restore the monuments and create a site management programme for each site. This included building museums such as the Grand Museum – which protects the Egyptian monuments – educating Egyptians on their past and return stolen artefacts. Also, with my discoveries I brought Egypt to the hearts of people all over the world. The most important was training young people to be able to restore these great monuments.

CF: The tale of King Tut is one that even fairy tales can hardly rival. He was a pharaoh at age nine and mysteriously dead before leaving his teen years, it is a story that has lasted through the ages. What are some of the anecdotal Dr Zahi Hawass

clues that his biology gives the world into the mysteries of the ancient world?

Creative Feel: The exhibition Tutankhamun – His Tomb

ZH: He ruled for ten years, we know about his teacher and

and His Treasures reconstructs over 1 000 perfect replicas

we have discovered the mummy of his father, Akhenaten,

found in the Boy King’s place of rest in the Valley of Kings.

his mother, as well as his grandmother and we know that

Why is King Tut so significant to the story of ancient Egypt?

he died in an accident when he was riding a chariot in the

Dr Zahi Hawass: Because his tomb was found intact,

desert of Memphis.

5 398 objects found, gold – a boy ruled Egypt at age nine and the ‘curse’ that was born after the discovery of the tomb.

CF: What did it feel like to walk through the exhibition for the first time?

CF: As an Egyptologist, you have brought the knowledge

ZH: The exhibit is amazing and something that cannot be

of ancient Egypt to people through your academic writing,

explained, I am really happy that I see this great exhibit and

books and even television shows. What makes an exhibition

that it helps people learn. It makes me happy when I see this

different to these media?

exhibit in every town. I have to say that no one can feel that

ZH: This exhibit is important to educate people for the first

it is a replica. I think this exhibit is a great educational tool

time. It is not to see gold objects, but for children and adults

for the public. I myself learn a lot each time I see it. CF

10 / Creative Feel / July 2015

Gauteng Opera introduces Cula Mzansi

G

auteng Opera has thus committed celebrating South

compares the masses in our young democracy to the Panther

African operas as part of their mission statement

in Rilke’s poem – powerful yet paralysed.

moving forward. Cula Mzansi is the beginning of a

Tronkvoël is inspired by an event that occurred during

wonderful series, which will mean pursuing the creation of

the imprisonment of the South African poet, painter, and

a new opera every year in Gauteng, to share with the world

freedom fighter, Breyten Breytenbach in Pretoria Central.

our wonderful stories. Gauteng Opera CEO, Marcus Desando

The opera attempts to stage this sequence of events

chose to start this series with operas that have already

against the backdrop of the struggle for freedom during the

debuted in Cape Town, as an introduction: Hani (composed

apartheid regime. Breytenbach’s prison poetry voices his

by Bongani Ndodana-Breen and directed by Warona Seane),

own circumstances, as well as those of the oppressed in his

Tronkvoël (composed by Peter Klatzow and directed by

country. By combining his poetry with the universal language

Tshepo Ratona) and Words from a broken string (composed by

of music (from African, European, and Asian origins alike),

Martin Watt and directed by Marcus Desando). The orchestra

this opera is an endeavour to relate to people universally, who

will be conducted by Graham Scott.

endure the misgivings of humanity and the world.

Hani uses the slain anti-apartheid leader Chris Hani as an

Words from a broken string tells the story of Lucy Lloyd,

embodiment of all those who lost their lives fighting injustice.

the 19th century linguist, who with her brother-in-law

It is set in the dead of the night in the study of a writer (The

Wilhelm Bleek recorded the now extinct language of the

Librettist) who, in an extended monologue recalls his personal

San Bushmen. The opera relates the relationship that Lucy

encounter with Hani while in exile in Los Angeles. The writer

forms with convicted San men who are brought to her house

enters a dream-like state where he encounters a Soothsayer,

to tend to the garden. The cast includes Coert Grobelaar,

an ImBongi (a praise singer) and a chorus of ancestors. Woven

Natalie Bath, Phenye Modiane, Khumbuzile Dhlamini,

in with this metaphor of bravery, sacrifice (Hani), the libretto

Elizabeth Lombard and Kagiso Boroko. CF

Conductor: Graham Scott

hani, tronkvoel, words from a broken string

07

20:00

Aug 2015

08

17:00

Aug 2015

Three operas by P Klatzow, B Ndodana – Breen and Martin Watt

09

15:00

Aug 2015

Soweto theAtre, JohAnneSburg Starring: With: Gauteng Opera Orchestra and Gauteng Opera chorus

Tel: 011 026 8118

Web: www.gautengopera.org

Natalie Dickson, Elizabeth Lombard, Phenye Modiane, Khumbuzile Dhlamini, Kagiso Boroko and many more

Directors: Marcus Tebogo Desando Tshepo Ratona Warona Seane

STANDARD BANK YOUNG ARTIST AWARD WINNERS NEVER STOP MOVING FORWARD

Mikhael Subotzky and Patrick Waterhouse win Deutsche Börse Photography Prize 2015

T

he publication Ponte City by Mikhael Subotzky and Patrick Waterhouse has won the Deutsche Börse Photography Prize for 2015. Published by Steidl in 2014, the publication is presented as a

photographic book with booklets of commissioned essays and historical background to the 54-floor apartment block in Johannesburg. The Deutsche Börse Photography Prize description notes that Subotzky and Waterhouse ‘have created an intimate and deeply evocative social portrait of a culture, building and its community of residents through photographs, architectural plans, and other archival and historical material. An additional sequence of 17 booklets containing essays and personal stories complete the visual and spatial narrative of this.’

The Deutsche Börse Photography Prize aims to reward a contemporary photographer of any nationality, who has made the most significant contribution (exhibition or publication) to the medium of photography in Europe in the previous year. The Prize, one of the most prestigious in the world of photography, was originally set up in 1996 by the Photographers’ Gallery in London to promote the best of contemporary photography. Deutsche Börse has sponsored the £30 000 prize since 2005. The prize showcases new talents and highlights the best of international photography practice.

The members of the Deutsche Börse Photography Prize 2015 jury were: Chris Boot, Executive Director, Aperture

Photograph from Ponte City by Mikhael Subotzky and Patrick Waterhouse. Image courtesy of Goodman Gallery

Foundation; Rineke Dijkstra, artist; Peter Gorschlüter, Deputy Director, MMK Museum für Moderne Kunst and

Broomberg and Chanarin are also represented in South

Anne Marie Beckmann, Curator, Art Collection Deutsche

Africa by Goodman Gallery and won the Deutsche Börse

Börse. Brett Rogers, Director of The Photographers’ Gallery,

Photography Prize in 2013 for their work War Primer 2.

is the non-voting Chair.

The prize was handed to Subotzky and Waterhouse by

Works by the shortlisted photographers were exhibited at the Photographers’ Gallery until 7 June 2015 and are

artist and photographer Oliver Chanarin, who works in

subsequently presented at the Museum für Moderne Kunst

collaboration with South African Adam Broomberg, at a

(Museum for Modern Art) in Frankfurt from 20 June until

ceremony at the Photographers’ Gallery in central London.

20 September. CF

12 / Creative Feel / July 2015

The best-kept secret in Gauteng

CASTADIVA Boutique Hotel

N

estled on the slopes of the Magaliesberg, the stunningly beautiful Casta Diva Boutique Hotel is hidden away in the northern parts of Pretoria.

With luxurious rooms, beautiful garden paths, on-site

entertainment and access to hiking trails on the mountain, Casta Diva truly offers an escape from the city. These little treasures can be found spread over the property – of almost two hectares – amongst breathtaking views and serene surroundings. One does not expect to find such a tranquil environment so near to the activities of a busy city. Perfect for a retreat on any day of the week, Casta Diva offers conference and function facilities, as well as four-star accommodation. Take that special someone, enjoy a weekend away at Pretoria’s best-kept secret, and experience the elegance and rejuvenating qualities of Casta Diva Boutique Hotel.

The on-site Charisma Restaurant boasts à la carte menus for breakfast, lunch and dinner. Open to public bookings, Charisma delivers exactly what the name insinuates – charm, personality,

A unique venue, nestled high on the Northern slopes of the Magaliesberg amidst peaceful and tranquil surroundings that offer stunning views and an unsurpassed setting of natural beauty and elegance in an oasis of peace and serenity in the city.

appeal, magnetism and allure.

Dining at Casta Diva’s Charisma does not have to take place indoors. If romantic is what you are looking for, book a table under the Fig Tree where the fairy lights and gorgeous surroundings will transport you to a magical memory. With several outside tables, a Sunday lunch for example, takes on a memorable colour when served under the clear blue sky surrounded by greenery. Perhaps you would like to host a dinner party for that special occasion (birthday/anniversary/celebration) – do not hesitate to contact the Casta Diva Team, who will tailor-make a menu and event set-up to

CHARISMA Restaurant

Guaranteed the true Decadent, Divine, Delightful fine dining experience, the perfect fusion between the magic of Casta Diva, fresh ingredients, a dedicated culinary team and the friendliest service of South Africa.

cater to your specific needs.

Enjoy a meal at Charisma, where you will find the perfect fusion between fresh ingredients, the creativity of a dedicated culinary team and the magical ambience of Casta Diva.

The 70-seater theatre/art gallery’s name ‘Vissi d’Arte’ is inspired by the famous soprano’s aria, taken from Act II Tosca by Giacomo Puccini. The aria begins with ‘I lived for my art, I lived for love, I never did harm to a living soul!’

It is only natural, then, that the main focus of the venue is the exposure and development of arts and culture. Functioning on a nonprofit basis, Casta Diva’s Vissi d’Arte offers a warm, intimate venue to showcase art; whether it is musical performances, theatre

Functions Conferences

pieces or exhibitions – all artists are welcome. Book your tickets

Concerts

for upcoming shows as well as your dinner/lunch table at info@

Restaurant Theatre

castadiva.co.za or phone 012 542 4449. (Final food orders need to be in by 19:00 on a show night.)

Art Gallery

Spoil yourself with a journey to Casta Diva, The Place To… enjoy life. CF

67 Albatros Street, Ninapark, Pretoria Tel: 012 542 4449 | Fax: 012 542 3085 info@castadiva.co.za | www.castadiva.co.za

The Something Prince “The Self Portrait – the study of self. The artist’s most intimate theme – HERSELF. It is in the complex view inwards – the gaze that penetrates back beyond the frame, that allows the viewer to see the lines, the lineage, the history, the cellular patterning, the memory, the mark, the scar... the trace, left by time. It is that ‘introspective view’ that reflects and mirrors the gaze, of the viewer looking in” – Sue Pam-Grant

T

he Market Theatre is proud to present The Something Prince, a new work by interdisciplinary artist Sue Pam-Grant. Penned in 2014, it has been described by artist William Kentridge as an

all-immersive experience of the artist’s unique practice – he calls it a ‘talking, walking sculpture’.

The Something Prince is about forbidden love and collective loss as the play unpicks and unpacks the age-old ‘mother/son’ relationship in its never-ending complexity.

It stars an accomplished cast of Leila Henriques, David Butler and Dorothy Ann Gould as ‘stuck artist’ and two therapists. Through an interwoven witty web of short fragments and microscopic moments, the play travels poetically to explore the daily domestic minutiae of life alongside the larger poignant themes of our contemporary life’s cycle.

The script builds a web of images and associations, in which birthdays, dreams, drawings, haircuts, fantasies, seasons, sorrow, time, insight and the ever present ‘empty page’ are put under a microscopic lens.

This layered collage of text, immersive imagery, vascular verse and poetic prose make up the urgent matter that balances on the rung of a rickety ladder. The play is a subliminal inquisition into the human condition.

Through gurgling dreams and wonderings, eccentric insights and melodic motifs, Greek Chorus refrains, punk prose, funky dialogue, tactile texting, self-deprecating ironic musings, line drawing and contemporary music, the themes thread and weave their way through the three characters, stitching up their vulnerabilities, fantasies and funny foibles.

It’s a journey towards growing up, transforming mystification into art and the endlessly relearned lessons that the ‘empty space’ and love can teach us. It talks of our core need to return and the pain of having to let go. CF

14 / Creative Feel / July 2015

Laager Theatre reopens with two dynamic shows Classics by Can Themba and Barney Simon back in the limelight. since the days of these iconic works from the era of struggle and protest theatre.

Khayelihle Dom Gumede was the recent winner of the Sophie Mgcina Best Emerging Voice category at the Naledi awards, an award initiated and sponsored by The Market Theatre. He has created this play by adapting Themba’s short story Crepuscule, which is believed to be a fictional interpretation of Themba’s real life love affair with a white woman, Jean Hart, during the 1950s. Set in the often revered and romanticised world of Sophiatown, the play asks a range of pertinent and contemporary socio-political questions. Themba

A

and Hart’s illicit relationship serves as a means to unpack how much of our identity is formed by our environment and how fter almost 18 months of renovations, The

much is shaped by our choices as individuals. Crepuscule is a

Market Theatre is delighted to be reopening its

story about human connection and a search for freedom and

Laager Theatre with productions created by two

humanity in a world that sought to deny it.

luminaries in South Africa’s cultural history.

The Laager Theatre will reopen in July with two

This ensemble-based production offers a highly visual feast, combining the poetry of language, movement and song

dynamic and award-winning young directors adapting and

to create a high energy, fast paced and sometimes dangerous

reviving works written by Can Themba and Barney Simon.

look at a time that still has more influence on who we are

Both figures became cultural icons through their creative

today than we may realise.

work and its socio-political critiques of the oppressive regime of the day.

Director Khayelihle Dom Gumede will be revisiting an

Award-winning actor Leroy Gopal will play the role of Themba in his first appearance at The Market Theatre.

The production also features a highly accomplished and

old flame in Can Themba’s Crepuscule and Clive Mathibe will

internationally renowned ensemble cast of Kate Liquorish,

be awakening a sleeping giant in Barney Simon’s Cincinatti

Lerato Mvelase (Emmy Nominated), Conrad Kemp, Nhlanhla

– Scenes from the City Life. The two young directors are

Mahlangu and Thami Ngoma.

both being mentored by industry visionaries and renowned

Crepuscule will run from 11 July – 02 August, followed

theatre practitioners Kgafela oa Magogodi and Vanessa

by Cincinatti – Scenes from the City Life from 19 August – 13

Cooke, respectively. The Market Theatre is world famous for

September 2015. For the first time in its history, The Market

staging struggle theatre during the dark days of apartheid,

Theatre is offering theatre lovers a discounted package of a

and continues its legacy today by giving fresh young talent

ticket to see both productions for R180, a saving of 50% for

a platform to express and showcase their skills. These two

any day of your choice. This season ticket offer is another

works will inspire conversations about our current socio-

initiative by the theatre to ignite a love of the performing

political landscape and issues that have remained with us

arts in a new generation of audience. CF

16 / Creative Feel / July 2015

Creative Feel / July 2015 / 17

Sister Act for Joburg Theatre S ister Act will open on the stage of The Mandela at Joburg Theatre on July 10th and run until August 16th 2015.

This brand new ‘non-replica’ production of

the musical Sister Act will be directed by Janice Honeyman,

with Bernard Jay as executive producer, musical direction by Rowan Bakker, choreography by Nicol Sheraton, production design by Declan Randall, costume design by Sarah Roberts and sound design by Trevor Peters.

Leading the cast will be Naledi award-winning actress Candida Mosoma as disco diva Deloris Van Cartier, the role made famous by Whoopi Goldberg in the top grossing 1992 movie comedy of the same name.

Joining Candida Mosoma, South African stage star Kate Normington will play Mother Superior (legendarily portrayed by Maggie Smith in the movie) and Keith Smith will play the pivotal role of Monsignor O’Hara.

Bernard Jay produces Sister Act for Joburg Theatre, with Simon James and Claire Pacariz as associate producers.

Timothy Le Roux will serve as resident director.

The wittily infectious musical is written by Cheri and Bill Steinkellner, with additional book material by Douglas Carter Beane, lyrics by Glenn Slater and music by Oscar and Tony winning composer Alan Menken (Newsies, Beauty and the Beast, Little Shop of Horrors, etc.).

When disco diva Deloris Van Cartier witnesses a murder, she is put in protective custody in one place the cops are sure she won’t be found: a convent! Disguised as a nun, she finds herself at odds with both the rigid lifestyle and uptight Mother Superior. Using her unique disco moves and singing talent to inspire the choir, Deloris breathes new life into the church and community but in doing so, blows her cover.

Sister Act is brought to South Africa by the City of Joburg

Soon, the gang is giving chase only to find them up against

in association with MNet and is on The Mandela stage at

Deloris and the power of her newly found sisterhood.

Joburg Theatre from July 10th to August 16th.

Filled with powerful gospel music, outrageous dancing

Tickets range from R200 to R350 and are exclusively

and a truly moving story, Sister Act leaves audiences

available from www.joburgtheatre.com or by calling 0861 670

breathless. A sparkling tribute to the universal power of

670. Discounted rates for groups of ten or more are available

friendship, Sister Act is reason to rejoice!

by calling Joburg Theatre on (011) 877 6853/6815. CF

18 / Creative Feel / July 2015

Artlooks & Artlines Artlooks and Artlines is a monthly column written by Ismail Mahomed, Artistic Director of the National Arts Festival.

C

reating a culture of collaboration requires a shared passion and a shared vision. Over the past 20 years, a partnership between the National Arts Festival and the Embassy of

the Kingdom of the Netherlands has given audiences in Grahamstown the opportunity to enjoy some of the best art from the Netherlands.

From kicking off their presence with a single exhibition in 1995, the Embassy of the Netherlands is now one of the Festival’s strongest international supporters. Over the past two decades, over 150 Dutch artists and 50 Dutch productions have been welcomed on the Festival’s stages.

Over the years, the contribution from the Embassy has focused on supporting programmes in various genres with a primary aim of trying to promote international collaboration and newer opportunities for South African and Dutch artists.

Last year, as the Festival celebrated its 40th edition and the 20th anniversary of South Africa’s constitutional democracy, audiences in Grahamstown were able to reflect on the contributions of Dutch artists in their solidarity against apartheid. The exhibition, Signs of Solidarity, which was created specifically for the 2014 Festival, continues to tour to institutions in South Africa.

The Embassy’s support for jazz programming at the Festival is one of its strongest features. This year, the Embassy supported the participation of Yuri Honing, one of Holland’s most important saxophone players. He is hailed as ‘one of the most creative and fearless saxophonists of the moment’ by The Times. His unique personal style, based on jazz, pop and non-Western musical instruments and his powerful sound, similar to the human voice, amount to a musical revelation.

Fostering a partnership between PACOFS in Bloemfontein, the Orkater Theatre Company in Amsterdam, the Soweto Theatre and the National Arts Festival, the Embassy threw its backing behind the production of Masote’s Dream, an

Yuri Honing

20 / Creative Feel / July 2015

inspiring journey about the life of one of South Africa’s most iconic classical musicians, Matlhaela Michael Masote.

During the apartheid era, Masote founded the first black

about peace and justice. The ten best cartoons will be on

youth orchestra, now named the Soweto Symphony Orchestra,

display at the Peace Palace in The Hague, in the week of

and which gave birth to one of the most acclaimed South

September 21, 2015.

African musical groups, the Soweto String Quartet.

The Embassy recognises that building newer audiences

The Embassy’s support for various productions and development initiatives has always been jointly envisioned

is crucial for promoting a sustainable theatre industry.

and jointly strategised. Each year, the various partnership

This year, the Embassy threw its support behind Red Earth

projects have also been jointly evaluated. The Embassy of the

Revisited, created by the renowned Dutch puppet theatre

Kingdom of the Netherlands is more than just a sponsor. It

company, Speeltheater Holland Studio. Drawing on actors

is an invested stakeholder that is passionately committed to

from South Africa and the Netherlands, the production is

helping South African artists create meaningful partnerships

a vibrant and engaging piece of visual storytelling about

with their Dutch counterparts.

the legendary Xhosa story about Nongqawuse, the young

As South Africa forges forward into the 21st year of

girl who prophesised that the Xhosa would be rid of their

constitutional democracy and towards broadening access to the

enemies if they killed their cattle and burnt their grain.

arts and towards the increased internationalisation of South

The production was developed in partnership with ASSITEJ South Africa and Speeltheatre Holland Studio and was also made possible with generous funding from the

African arts and culture, the National Arts Festival is delighted that it can continue to do so hand in hand with the Embassy.

This year, the Embassy launched its campaign,

Performing Arts Fund NL, Theatre de Krakeling (Amsterdam).

#cocreateSA. This is more than a popular hashtag. It is

This year, the Festival boldly featured satire on its

a platform for South African and Dutch counterparts to

Main programme. The Embassy took centre stage at

exchange ideas and innovations for a sustainable future,

the Festival by launching the South African leg of an

based on the belief that if we work together, we can make

international Cartoon Competition headed by the Cartoon

a difference and co-create solutions for local and global

Movement. The competition is aimed at inspiring young

challenges. Join the conversation on social media

cartoonists to create their own cartoons on this year’s

www.facebook.com/cocreateSA or visit their website for

theme ‘my peace, your peace’ and to join the global debate

more information: www.cocreatesa.com CF

Red Earth Revisited featuring Macebo Mavuso

Red Earth Revisited featuring Macebo Mavuso

Creative Feel / July 2015 / 21

Business & Arts Business and Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).

Here was (and is) the fulcrum of the great reality of Africa – the cradle of humankind.

The further you walk from the source, the more it becomes about economics and opportunity, or lack of it.

Telling this story with verve and passion was a theatre group from the township of Mpophomeni, on the hillside of Midmar Dam in KwaZulu-Natal. They performed a fantastic piece of street theatre on the dangers of polluted water; of blocked sewerage systems and of dying rivers. Seeing young audience members sign up as ‘clean water’ ambassadors and volunteers on the back of that small theatrical intervention reminded me again how the arts are also the key to other Tugela Falls vicinity, Tugela River visible in valley, Drakensberg

T

opportunities and skills.

I can talk about the Fashion Show of Plastic Waste, the

he arts are practiced in a different language to

extraordinary Capture Site in Howick, close to the polluted

that of business or government, or even broader

Howick Falls. The Capture Site, like Constitution Hill, is a

society, and whilst at BASA we spend a lot of our

space that demonstrates simply the transformative power of

resources on deepening the understanding of

art, and also of cultural tourism.

the language of business, it is the language of the arts, the

But what should be noted about the #journeyofwater

power of storytelling in a fractured country and continent,

were the journey-takers themselves. Apart from members

that offers us succour and resource. It is a language which, if

of the private sector, and government officials – local and

engaged correctly, can drive transformation.

provincial – the majority of those journeying were artists

A couple of months back I was invited by the World

– musicians, poets, actors, DJs. These were the people who

Wildlife Foundation to hike the #journeyofwater – to follow

would be able to tell the story with passion, energy and

the journey of a river from its magical source to city. Over a

empathy. They would tell the story in a language that would

period of four days, academics, government, those working

be understood and heard by diverse communities.

in the private sector, artists and media walked along the

The sooner broader society understands the power of this

banks of rivers, waterways and dams, watching as the quality

language, the better off our country will be. Businessman

of water changed according to the communities it passed

Mark Barnes recently wrote in his Business Day column:

through. It was a life-changing experience, not least because

‘From the point of business we’re forever preaching

it demonstrated how the arts acted as a progressive enabler

partnership. But what do we bring with us? What do we

on so many levels, telling the tale of this finite resource.

have to offer, other than take over talk and high-minded

At the source of the water, high up in the Drakensberg,

advice? We arrive armed only with the tools of profit motive.’

we clambered behind curtains of crystal clean water, beneath

This is not sustainable, not in South Africa, and not on the

rocky outcrops and here we found the ancient history of our

continent. And it does not align comfortably or easily with

past in the rock art and rock paintings. The idea that water is

the values of the arts. Perhaps it’s time, business came to

a finite resource, that we are in fact drinking the very water

the table, with another language in their book – one that

our ancient ancestors sipped from, was highlighted in those

offers (more often that not) innovation, creativity, discipline,

red images of hunters and hunted high on the rock face.

cultural and emotional intelligence – the arts. CF

22 / Creative Feel / July 2015

Artist in Residence Charlotte Seither, the well-known and celebrated Berlin-based composer, will be taking up residency at the Sylt Foundation, Johannesburg in July.

During her stay in South Africa, Seither will also be the guest composer at the New Music Indaba 2015 in Bloemfontein.

Singers at the BBC Proms, which was broadcast live from Royal Albert Hall.

During the New Music Indaba in Bloemfoentein, Seither will be holding outreach workshops, and her works Dreizehn Verwehungen Guedes, Seule avec des Ombres, Firnis III and Far From Distance will be performed by Liesl Stoltz and Douglas Scott, as well as Morné van Heerden (Clarinet), Marguerite Spies (Cello) amd Kathleen Tagg (Piano).

Whilst in Johannesburg, Seither will be giving lectures and master classes at Wits University. Also on her agenda while visiting South Africa, is a much-anticipated collaboration with Jill Richards, which will hopefully culminate in the world premiere of Ask him!

When asked what she is expecting of her time in South Charlotte Seither

C

Africa, Seither readily shared her ideas, ‘I really feel very curious about my first visit to the country! Over the last few

harlotte Seither (born 1965 in Landau, Germany) is

years, I have met some authors and visual artists from South

the first German composer to be awarded the first

Africa and have learned a lot about their art. As a musician,

prize in the International Composition Contest

I am especially keen to get in contact with the vocal music

Prague Spring. In 2009, she was awarded the

culture of South Africa. Since music for voice is very important

Rome Prize of the German Academy Villa Massimo and lived

to me, I want to see how people handle their voices and what

and worked for one year in the Italian capital. In 1998, she

the languages sound like if you listen to them with the ear of a

received a Doctor of Philosophy degree and is a frequently

composer – and from the perspective of an outsider. I want to

requested jury member of international competitions and

hear what sounds the country will bring to my ears.

committees. Seither has been a guest at many international

‘I look forward to meeting people, to getting in contact

festivals like Generations Festival Warschau, Gaudeamus

with institutions and other artists and, importantly, to

Amsterdam, Grame Lyon, Wien Modern or IFWM Seoul. The

enjoying these encounters.

composer has received many honours and prizes, including

‘During my time in South Africa, it is more important for

first prize in the International Composition Contest Ciutat

me to listen than to produce. I want to collect material and

de Palma, Spain, in 2004, the Förderpreis of the Ernst von

see what will happen with it when I am back in Germany. It

Siemens Musikstiftung and the Praetorius Musikpreis for

remains to be seen if the commission pieces, which I have to

Composition in 2010. She has lived and worked as Artist in

create after my journey, will be influenced by my trip, or in

Residence in the Cité des Arts, Paris (1999); in the Academy

what way this may happen. I am not worried about that at

Solitude Castle, Stuttgart (1995); in the Palazzo Barbarigo,

the moment. Our subconscious is incredibly large, as well as

Venice (1993); at Civitella Ranieri, Italy and in the Villa

powerful and unpredictable. I just want to “celebrate the life”

Aurora, Los Angeles (2000). In 2013, Seither’s orchestral

during my stay, regarding and listening to what I come across.’

piece Language of Leaving (2012/13) had its world premiere with the BBC Symphony Orchestra London and the BBC

For more information on the New Music Indaba 2015, visit www.newmusicsa.org.za. CF

Creative Feel / July 2015 / 23

Literary Landscapes Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.

innocence and felt we had to fight for the victims, who were not only victims of our elders, but also of us.

Homelessness and loneliness, misunderstanding and depression became companions of a society that neglects their past, their actions and implications. Transgenerational

A

transmission of war-related trauma is what it is called today. I still feel ashamed of how I ignored my beloved

t first glance, Joburg appears like a chimera –

grandmother’s stories about her flight – with her four

far on the horizon appears a valley from which

children and ailing mother – from the Red Army, which she

high rises and skyscrapers loom – the city of

hardly survived. My generation’s shame about German guilt

gold as a Fata Morgana for the weary traveller.

and our mandate to honour the victims and the liberations,

Growing up in Germany, South Africa

kept the elders silent at first. We felt that it was important

was a forbidden place full of hatred and violence, a minority

to pay for the unimaginable crime of the Holocaust and

exploiting and suppressing the majority. Our heroes were

the Second World War. It has been – and still is – the most

Nelson and, for us adolescent girls, the beautiful and never

important mandate of German self-perception that such

surrendering heroine Winnie Mandela, whose ban in Brandfort

crimes and such terror should never, ever arise again.

became a political awakening for many of us, causing us to enter the streets of a boring and silent West Germany.

‘Children of the Fog’ is how my generation is referred to

Being part of a perpetrator’s group or society requires the courage to venture into the unknown, the awkward and painful. To meet your own demons…

in Germany today, we are the grandchildren of World War II

Coming to South Africa, I have witnessed how a society

who finally understood that within the boring and peaceful

in transition is working on shedding its colonial skin on its

West German society we inhabited, we still suffered from

way to democracy and freedom and to address the crimes

the past, from the War and the silence of our ancestors and

and traumas of the past.

relatives who denied their traumas and, in many cases, also their sympathy and participation in the Nazi regime.

The iron weight of the past was a burden on the

The task to liberate all of its people out of the dark ages of colonialism and apartheid that still resonates with all South Africans – and this is my point to the born-frees too

younger generation, families were a cradle of silence and

– to heal the wounds of the past, means that perpetrators

suppression. For us, the later born, guilt and redemption,

and victims have to negotiate a present and future that does

shame and self-loathing were part of our journey to

acknowledge the sufferings and wrongdoings of the past.

understand what had happened in the past and, as our

Johannesburg is the place I chose to make my home, a

grandparents and parents remained silent, the crimes

place full of wonder and frustration at the same time. The

of the Nazi times became even more monstrous and

beauty lies in the sharp contrasts, in the restlessness of the

incomprehensible. We navigated in a fog, in a mist

sun as the counterpoint to the nebulous ephemeral of the

of hidden guilt and hidden trauma. The failure of the

place that I left. The road to understanding the underlying

survivors to acknowledge their guilt made us angry, but

psychological and sociological patterns of transition

we were too young and inexperienced to understand

brought the perpetrator’s grandchild into a boomtown that

where this came from. We only knew that we had lost our

is constantly reinventing itself. The sharp contrasts made

24 / Creative Feel / July 2015

visible through the sun are an underlying pattern of the

about the slowness of change is readily expressed. Most

city’s architecture that was shaped by the absurd idea to

people don’t realise the trauma and guilt that they carry in

separate people and keep them apart.

private, it has not penetrated due to the terrible defensiveness

One can imagine how long it will take to overcome the spatial division of the city that is still manifested in so many of its citizens’ heads and perceptions of each other.

The child of the fog embraces the colourfulness, the

of many. But trauma and guilt cannot be suffocated.

It is a deeply comforting fact that the sufferings and traumas are named and talked about in South Africa, even though it sometimes feels that each group is only talking

brightness and the multiculturalism of this exciting city, so

about itself, even former perpetrators often seem to perceive

lively, diverse and energetic. This diversity is a revelation

themselves as victims. And victims they are, but victims

and the coexistence of so many different people, nations,

of their own actions and of their unwillingness to embrace

religions and languages offers such a powerful idea of how

their guilt and to reconcile with their former enemy. The

the world could be if we finally learned to embrace each

task to get to know each other seems so enormous. The past

other in her/his own right.

and different experiences make it such a mammoth task

Embracing each other in the aftermath of violence, war

to find common ground – language and socially inherent

and separation is a long, winding road to travel and beneath

patterns are too often relics of colonisation and apartheid.

the sharp contrast is a nebulous space of misunderstandings

Victimhood is a stance that I often find among those

and incorrect self-perceptions. Old patterns and values have

who once profited from the status quo ante – also ‘fellow

to be abandoned, old privileges named and replaced.

travellers’ have to deal with the consequences of their

The paradise of the newcomer is full of thorns and shards

actions or omissions. In all parts of society. The children

for those who grew up in it. Divisions, some invisible to

and grandchildren of the perpetrators are not guilty in the

the inexperienced new citizen, are still in place and often

legal sense, but ethically and morally. In the sociopolitical

so long a part of the social dialogue that it is difficult to

context they play an important role – they must learn from

perceive them, let alone overcome them.

the injustice and create a new way of social interaction. That

In contrast to the silence and passiveness of post-war

is their responsibility – to abandon the old ways and build

Germany, here there is debate and a cacophony of different

a just and democratic society of equals where victimhood

attitudes and ideas eagerly expressed in the media. Anger

should not be a parameter of self-perception for anyone. CF

Creative Feel / July 2015 / 25

STREET ADRIANA

ET RE F ST

IE

ST

RE ET

KL OO

BE SS ET

RE

STREE TUCKER

T

DENVER EXT.2

BE ND

ST RE ET UT

ET RE

DENVER EXT.13

BENROSE EXT.7

DENVER EXT.9

BENROSE EXT.15

BARNEY ROAD

DENVER EXT.1

DENVER EXT.6

BENROSE EXT.4

M2 E RAMP

PRIVATE ROAD

ET

ROAD

BE ZU IDEN HO

CAVANDIS H

TH E

ST

BENROSE EXT.14

BENROSE EXT.3 BENROSE EXT.5

M2 W

RAMP

M2 W

STREET

VICKERS ROAD

T

beneficiaries of the UDZ tax incentive that enables them to claim up to 100 per cent of their investments through

T

BENROSE EXT.8 BENROSE EXT.13

ER S ST RE

ET STRE STAIB

ED WAR D ST

STREE FAWCUS

CH ILV

ET

ET

STRE

STAIB

JU NO

ERIN STRE ET

PR HT EX SIVEW RIG

ROAD SIEME RT

STRE

UT

CL AR EN DO

DE LA REY

HOUGHTON DRIVE SOUTH

BOUNDARY ROAD

H

LA NE

AC E SO N PL

PA RK

QUEENS ROAD

DUFF ROAD

VAN BEEK

KING

STRE ET

WEST

HIL L N RD O O G

RA MP M1 N

AD RO

NS SE OY BO

ET GER S ST RE

AY TA XIW PA T MB AT HA

RO

UT HN M1 SO

M1 S

M1 N RAMP

NE W FO DA RE RN ST AW RO AY AD RO O XF AD O RD RO AD N RO AD

ROAD

DURRIS ROAD

JAN SMU TS SER VICE

M1 N

M1 S

S RA MP

M1

M1 N RAMP

M1 S RAMP

PARK LANE

PINE AVEN UE

STREET

ROAD

LILIAN ROAD

CENTRAL

AVENUE MINT ROAD

CROESUS

PARK DRIVE

STREET

STREET ET

ROAD

ET

AN STRE

ET

PRINCESS

ST ERNE

FIRST STRE

SOMERS ET

ROAD

ET

HANOVE R

STRE

BIRD STRE

from their investments. All these investors are major

AD

RD MALLA

AD

ET

RO

RE

ALICE

T

NEW GOCH ROAD

RG

ET

RTS

ROAD

KENT STREE

STREET BLORE

T

BE

PROLECON EXT.1

RE

ET STRE

ROBE

RSET

DENVER EXT.7

HE IDEL

H ST NT

IRIS

SCOTT STREE

STREET

VE RO OLK SUFF

UE AVEN

BENROSE EXT.9 BENROSE EXT.10

M2 W RAMP

and invested in sectional title units, and are reaping benefits

HIGHLAND ROAD

T JULES STREE STREET DORAN

BENROSE EXT.12

M2 E RAMP

ST HTH

ET

KENT STREET

MAGNET STREET

SOME

young investors have also taken advantage of opportunities

ROAD CUMBERLAND CL AC TO N RO AD

JEPPESTOWN SOUTH ELCEDES

BENROSE EXT.11 BENROSE

M2 E RAMP

SE

STRE

Y D WA NTH OA NI BR

STREET

DROSTE PARK EXT.3

LANE

UE EN

EIG

AV

TH SIX

EET S STR

LANGERM

ET

EMPRES

STREET

STRE

UE EN

STREET STREET ROBINSON HOPE GOOD STREET SINCLAIR STREET COLE ET STREET LD STRE FLOSS MACDONA STREET PRINCESS

HANOVE R

T

TH TH UR

KENSINGTON

T

conversion of offices in Braamfontein, Marshalltown and title modern apartments throughout the inner city. BEE and

FO

ET

R AV

high-rise office buildings, new hotels and hotel apartments, Doornfontein into students’ lifestyle precincts, and sectional

UE EN

RE

PRINCESS

EE STR

AV

DE WETSHOF

FIF

D ST THIR

NE

physically transformed before everyone’s eyes, with major developments led by the banks and the mining houses, new

DIAS STREET

ILE PH

STEYN STREET

PROLECON EXT.4

UE EN

T

PROLECON VILLAGE MAIN EXT.2

VILLAGE DEEP

AV

T

N

FOURIE STREET

T

M2

PARK STREET

HOUT STREE

T

SPES BONA

DROSTE PARK EXT.1

LONG STREE

WOLHUTER STREET

PARK STREE

CITY AND SUBURBAN EXT.6

LAUB STREET NEW CENTRE EXT.1

T EE T EE STR KA STR N CIS OR AN DO FR

BEZUIDENHOUT VALLEY

AD RO

A PRISCILL

BOOM STREE

HANAU STREET

WOLHUTER

LK

STREET

JEPPESTOWN BERG STREE

T WEST JULES STREE E

RFO NO

BENROSE BENROSE EXT.2 DROSTE PARK BENROSE EXT.6 DROSTE PARK EXT.2 BORDER

M2 E RAMP

ERNA STREET

E

UE UE UE EN EN EN AV AV UE AV EN NTH AV HTH VE TH EIG SE SIX

HE KITC

MARSHALL

T

M2 W RAMP

INNES STREET

M2 E RAMP

STREET

CITY AND SUBURBAN EXT.5

CITY AND SUBURBAN EXT.7

RAMP

REGENT STREET

AD RO

T FOX STREE STREE GRACE

HANS STREET

M2 W

STREET

HIGHGATE

T

ET

VILLAGE MAIN EXT.1

P RAM

DR IV

TH

STREET DORIS D IUM ROA EET SANTOR D STR WOO COLLING EET A STR BAROSS EET IM STR BLENHE STREET ARLE ALBERM

PA GE

OP DE BERGEN

STREET CROWN STREET CORRIE STREET BROWNING

ET

T

GUS STRE

T KARL STREE

HANS STRE

ET JANIE STRE ET STREET RE GUS ST

M2 E

ET

US

HN

ET

O

FAIRVIEW

JO

E

ET

G

IE DR AN

STREET

STREE MACINTYRE T AURET STREE

BETTY STREE T

M2 S

KRUGER

STREE ALBRECHT

CITY AND SUBURBAN EXT.9

ET STRE

T

DROSTE PARK EXT.7

CITY AND SUBURBAN EXT.2 CITY AND SUBURBAN EXT.3

REET IN ST

RE

ER FULL

E RE ST

AT IV PR

AV ND UE EN D AV THIR

CO

FIF

AD AD RO LEY E RO AD ER FRER N RO KIMB VO AR RN CA ST WE ET STRE UT HO T E IDEN ZU RE BE ST S RT EA EL BE ET RE TROYEVILLE ST SE UR NO

ET RE ST A ET IN RE ET LM ST RE HE E ST IL W S W DA

UT

SE

ST EEN QU

ET RE ST

O RH

STRE

BERTRAMS

AD RO

R LE

O

AD

UT UE HO EN AV IDEN ZU RTH BE UE EN AV ST FIR

UE EN

STRE

AD

DROSTE PARK EXT.5

M2 E RAMP

ET STRE

OBSERVATORY EXT

HIGH

NO

RO AD ON AD AD RD Y RO T RO N RO RB AD CO UR DE AS RO BO RIA TO MILL VIC

CITY AND SUBURBAN INDUSTRIAL NORTH DOORNFONTEIN

T

TE ECKS

URANIA STREET

LORENTZVILLE JUDITH'S PAARL

AD

TH E CU RV

GILL STREET

LANG

A RO

S

ER

T

STREE DURBAN

E RO AC TERR

ET RE

RE BE

CITY AND SUBURBAN EXT.1 CITY AND SUBURBAN EXT.10 CITY AND SUBURBAN EXT.4

WEMMER VILLAGE MAIN

NEW CENTRE

STREET

RD GERA

CLERKE STREET

RANDVIEW

M RA RT BE

IL M

ET RE ST ET H RE HT ST TH AD NIN RO AY W IL RA

W

MOOI STREE

STREET

T

PARK CENTRAL

ST

GO

VO

AD

KLIP STR EET

OBSERVATORY AVENUE

ST FIR

CHARLTON TERRACE

EIG

NUGGET

T GOUD STREE

T FOX STREE

ET

VILLAGE MAIN EXT.3 M2 E

ER NT HU

NEW DOORNFONTEIN

STREET

LO

T

EET LL STR STREET DAVIES STREET END

STREET

SHERWE

STREE BANKET

NUGGET

SMAL STREE

M2 W RAMP

ET

STREET

E NU AVE STREET LOUISA

E RO

OBSERVATORY

NATAL STREET JOLLY STREET

HIGHLANDS

T

SALISBURY CLAIMS

SALISBURY CLAIMS

M2 E RAM P TRUM P STRE ET

POPE STREET

ISIPINGO STREET

DURBAN ROAD

GORDON TERRACE

CITY AND SUBURBAN ALBERT

STRE MELROSE

BECKER STREET KENMERE ROAD

FORTESQUE ROAD

END

T

FRANCES STREET

BELLEVUE EAST

YEO STREET

YEOVILLE

SOUTH STREET

DOORNFONTEIN

T

BELLE-VUE

HOPKINS STREET

GRAFTON ROAD

AVENUE

NUE

NUE

AVENUE

POLLY STREE

T

T

SALISBURY CLAIMS EXT.1

RE

HUNTER STREET

HENDON STREET

AVENUE

FIFE

GA

BEDFORD ROAD

MULLER STREET FRANCES STREET

ACE TERR

RIDG

ELLIS STREET

DUNBAR STREET

REGENT STREET

PERCY STREET

NE LA

ECKSTEIN STREET

ST GEORGES ROAD

AD

HARLEY STREET

OSE PRIMR

T

T

STREE ALBERT

ST

S RO HN

UE EN G AV UN AD RO TER PE SHARP STREET

KE LU

MONS ROAD

RALEIGH STREET

T

T

ST

ET

JO

ST

E TUDHOP

INE AVE CATHER

T

STREET

IGH STREE

T FOX STREE

AD

ROAD

TO RA SA

KERK STREE TROYE STREE

SELBY EXT.1

DELVERS

ET

VON WEILL

RE

STREET QUARTZ

ST

SELBY SOUTH EXT.1

BUSWAY

HN

EET

T

STREET

EET Y STR LOVEDA

JO

AD STR

T

D IA ROA

BEIT

BOK STREE

T MAIN STREE

WEBBER STREET

BRO

E E LAN BEATRIC

T

SELBY EXT.4 SELBY EXT.2

SELBY EXT.6

M2 E RAMP

SELBY

CLAIM STREE

MARSHALLS TOWN FREDERICK

M1 S RAMP

STREE QUARTZ

VILLAGE ROAD

SELBY EXT.3

TWIST STREE

M2 W

T

RA M P

PLEIN STREE

KRUIS STREE

STREET

T

N

M2

DIS STREE VON BRAN

JOUBERT

SELBY EXT.18

SELBY EXT.14

T

RO

EW DR AN

BEREA JOEL

OLIV

STREE HANCOCK

T

T

CROWN CITY CROWN CITY EXT.1 CROWN CITY EXT.5

M1 S

SELBY EXT.5

SELBY EXT.10

STREE LOVEDAY

TREU ROAD

SELBY EXT.12 SELBY EXT.15 SELBY EXT.13

STREET MARSHALL STREET ANDERSON

M2 E M2 W MP W RA

M2 E RAMP

M2 E

RISSIK STREE

1

CROWN NORTH CROWN NORTH EXT.3 SELBY EXT.19

FERREIRAS DORP

RS STREE

AD

STREET YORK EET O STR BARNAT STREET SAUNDERS

STREET

KOCH STREE

T

ET

T MAIN STREE

FERREIRAS DORP EXT.2 MARSHALLS TOWN EXT.2 FERREIRAS DORP EXT.1 MARSHALLS TOWN EXT.1 M

CITY WEST

CROWN NORTH EXT.1

ET

ER STREE COMMISSION

FOX STRE

T

T

WESTGATE

AD

STRE MARKET

T

F RO

DE VILLIE

STREET PRITCHARD STREET PRESIDENT

WEST STREE

REE MAIN

HUBERT STREET

ROAD

FORDSBURG

ET

KERK STREET

T

T

PARK ROAD

JEPPE STRE

T

STREET NOORD

NEWTOWN EXT.1

T

SAUER STREE

NEWTOWN

ET OUT STRE BEZUIDENH

STREE MALHERBE

HIGH ROAD

CLARE ROAD

SELBY EXT.24 SELBY EXT.20

PIM STREE

T

T BREE STREE

AVENUE ROAD

FORDSBURG

MAY ROAD

PIONEER

PIM STREE

T

T

JOHANNESBURG

STREE HARRISON

CARR STREE

STREET

KAPTEIJN

ET

S STREE WOLMARAN

KOCH STREE

LANE PARK

STREE QUARTZ

STRE HOSPITAL

STREET T

JOHANNESBURG AY

PRETORIA

KOTZE STREE

STREET ESSELEN

T SMIT STREE

ST

T

JOUBERT

RE ET

T KLEIN STREE

JOUBERT STREET EXT

ROAD

T

ST

JUTA STREE

STREET

HA

SIMMONDS

STREE BICCARD

BE RT

STREET

RO

UE EN AV THA BO UIS LO STREET HELL MITC EET LL STR STREET MITCHE HONEY EET STR HIGH

AD

UE AVEN

STREE BANKET

TH D SOU ROA

IDE HILLS

UTH SO

EMPIRE ROAD EAST

SAM HANCOCK

VID DA

AVE YORK

CTION JUN

ST

LILY

UE EN AV

QUEENS

T

SLIPROAD

AD

RO RIDGE

RIA

MELLE STREE

STREET

T JUTA STREE

STREET

SU BW

BURGHERSDORP EXT.1

E RO

TO VIC

JORISSEN

PAGEVIEW

MAYFAIR

STREET

HOOFD

ET

T

H SEVENTEENT

ROAD

T E STREE DE KORT

T

T

HENRI STREE

T

HULL STRE

TENTH STREE

STREE TWELFTH

AD

BRAAMPARK

ET T STRE EENDRACH

T

T MN H STREE FOURTEENT

WELLINGTON

ROAD

SLIP

T

VREDEDORP

STREET GRAF

STREE KRAUSE

SOLOMON STREET

T

SIXTH STREE

E NU

AD

JAN HOFMEYR THIRD STREE

EWS ROAD ST ANDR

GIRTON

MP N RA

YALE ROAD

RO

AVENUE

M1

T EE TR

COTTESLOE

BU NT ING

AVENUE

DES

AVE

LS

UTS SM

OW

N JA

AD

SHERBORNE ROAD

AD FALKLA NDS

SUNNYSIDE BRAAMFONTEIN WERF EXT.1

TE RO PRIVA

ETON ROAD

ROAD

IVAT PR

EAST

YO

ET

PARKTOWN

RHO

EMPIRE

BRAAMFONTEIN WERF

AD

AD RO SE RO D ROA RICK ST PAT

STRE

ROCKRIDGE ROAD

AD

RO

AD RO

RO

GAL E ROA D

EE

ST

LINKSFIELD RIDGE

ROAD GRACE

MOUNTAIN VIEW

DRIVE

HOUGHTON

VE

HOUGHTON ESTATE

UE AVEN

EENS QU

RK

N

RO

R NAPIE

ETO

JUBIL

FIRST AVENUE

RO DRI MUN

RE

D LEY ROA THE VAL

LY RK BA

V DO

PARKTOWN EXT

ROAD

P M A R

FOREST TOWN EXT.1

YO

LOCH AVENUE

RICHMOND EXT.1

S

MP S RA

KILLARNEY

NINTH STREET

H ST AS

1 M

D OD ROA

M1 N RAMP M1

AV EN UE

ELM

PALLINGHURST ROAD

FOREST TOWN

SHERWO

TH IR D

AD

ESCOMBE AVENUE

MELVILLE EXT.2

NINTH AVENUE

IVE DR

E RO

PRINCESS/WAL TERRACE

MELVILLE EXT.1

LAWLEY ROAD

PALALA ROAD

THE VALLEY ROAD

MELVILLE

FIRST STREE

PARK

FE DE RA TIO

F

KE RR Y

TC LIF W ES

WEST CLIFF WATERFALL ROAD

AN NE T RO

R UPPE

ERIDG

AD

WEST CLIFF EXT

RICHMOND

AD

STEYN STREET

ON RO

RO

FIR

TYS

PR IVA TE

WOOLSTON ROAD

JUDITH STREET

PARKVIEW

SAXONWOLD

Urban Development Zone: Johannesburg Inner City

D R IV

RO

GREENSIDE EXT.2

E

AD

The second Gold Rush into the Heart of the City of Gold!

M2 W

depreciation over time.

The city and its stakeholders’ vision is to create an economically vibrant and modern inner city, befitting of the “golden heartbeat” of the World Class African City. We intend to leverage on the highly successful Joburg Urban Development Zone (UDZ) tax incentive and anchor all innovative on-going and emerging economic development

he inner city of Joburg continues to experience

initiatives in it, to attain a structural transformation of the

the ‘second gold rush’. Today, the scramble for

inner city’s economic and physical landscape.

investment in Africa’s world-class financial capital city is no longer driven by the promise of gold;

instead, modern-day smart investors are attracted by the

The inner city has state-of-the art infrastructure and is highly endowed with abundant investment opportunities.

The City of Joburg invites investors to take advantage of

boom in property development. Led by the innovative Urban

‘beckoning and exciting investment opportunities that come

Development Zone (UDZ) tax incentive that has brought

in the form of creation of wall-to-wall thematic precincts

about the investment of billions of rands into Joburg’s

from Fordsburg to Doornfontein, re-engineering of Hillbrow/

inner city, the city is set to continue experiencing a massive

Berea/Bertrams and Joubert Park economic catchments, all

spurt of economic growth and wealth creation, as well as

of which fall under the UDZ.’

employment opportunities. This property development

Lebo Ramoreboli, Deputy Director for the Inner City

boom is manifested in notable pockets of excellence, such as

Regeneration says: ‘The economic future of the inner city of

Maboneng, Barclays Towers, Turbine Square and the Zurich

Joburg has never been brighter! With emerging initiatives

Building in Newtown, FNB’s Bank City, Main Street Precinct,

such as the development of new 21st Century Gulch City

Ghandi Square and Fox Street, and Southpoint Precinct in

by commercialising the Gautrain station at Park Station,

Braamfontein, to name but a few.

development of a Film City at the Carlton and re-activation

The City acknowledges the contribution of inner city investors for their demonstration of confidence in the area, and calls on all investors to stake their claim and participate in further transformative investment in opportunities offered by the city. All of these investors are responsible for the

of the Carlton Hotel, as well as the establishment of the financial district in the inner city.’

‘So, come stake your claim, be part of progress, join the second gold rush into the heart of the City of Gold.’

For more information contact: Lebo Ramoreboli, Deputy

over R14 billion worth of cumulative investment in property

Director Inner City Economic Regeneration, Tel; 011 358

development attracted under the UDZ; the inner city is being

3437; email: lebor@joburg.org.za. CF

26 / Creative Feel / July 2015

SECOND GOLD RUSH Into the heart of the city of gold

Joburg Urban Development Zone CONTACT DETAILS

Lebo Ramoreboli City of Joburg (011) 358-3437 lebo@joburg.org.za www.joburg.org.za

Workhorse Foundry Four years ago, artist Louis Olivier was asked if he’d like to start a foundry in Maboneng, Johannesburg. Such an immense project would entail substantial time away from developing his own practice, yet it also happened to be a personal dream, one he never really expected to realise. Olivier’s work includes commissions for Rand Merchant Bank, among them sculpture for the Sandton Benchmark project, and the ‘Think’ benches, a large-scale project that has been underway for a few years now, and set for completion in the near future.

28 / Creative Feel / July 2015

Louis Olivier after a cast. Photograph by Stella Olivier

Crucible during cast. Photograph by Rina Noto

A

key element to starting a sustainable foundry is

And so it began. Olivier set about looking for people

the support of at least one ‘good, reliable’ artist

that could ‘help in different areas where I knew I had

sending plenty of work your way, ‘otherwise,

shortcomings,’ he says. Armed with four cardboard

it’s very difficult to just start from scratch,’

sculptures created by Kentridge, Olivier made the moulds for

notes artist Louis Olivier. He therefore discussed the idea

these pieces and took them down to Cape Town, where he

with William Kentridge, and asked whether the artist would

did the casting at the Woodstock Foundry (formerly based

be interested in sending work for casting. Kentridge, says

in Simonstown, and home to design company Bronze Age).

Olivier, was ‘very keen’: ‘He asked me two basic questions:

After a month, Olivier returned to Gauteng; while still en

“do you want to own a foundry? And, can you cast bronze?”’

route, he received a call from the Goodman Gallery, asking

The answer to the first question was straightforward.

According to Olivier, ‘I had dreamed about it ever since I

when the new sculptures would be available.

‘We got back, we editioned them, and suddenly there was

knew foundries existed, and the process that they made,’

an order of 40-odd sculptures that we needed to make,’ he

he says. As to casting bronze, although he lacked crucial

recalls. ‘I started building, finding the necessary equipment

experience, he was confident that he could master the

to do basic things – and it grew from there.’

process. ‘I said to him, “I haven’t done it, but I know, at my core, I will be able to do it.”’

30 / Creative Feel / July 2015

For a lot of the Workhorse Foundry’s first castings, Olivier and his steadily growing team would do some of

the processes – creating the waxes and ceramic shells, for example – before taking these through to a ‘sculptor friend’ in Pretoria, who had a small foundry in which they did the actual casting. ‘We would come back with the castings and work on them, finish them off, while we were busy setting up this facility,’ says Olivier. ‘So it was three years of an avalanche of activity to get this thing up and running.’

Kentridge was ‘a pillar’ of the process in that the demand for his art meant that there was plenty of work coming in to the Workhorse Foundry, ‘which helped us quite a lot, because we could fall back on that security of having this amount of sculptures that we needed to make. We could budget with

Kettle Fish Bowl, William Kentridge. From Rebus set, cast by Workhouse Foundry. Photograph by Rina Noto

that.’ The Workhorse Foundry grew from the proceeds of this work, bringing in and training new employees. It now provides a casting service that can take two to three months to complete, working from ‘a cardboard piece, or a clay, or a piece of plaster,’ to a finished product in bronze. ‘In most cases, an artist will give us a piece, and we’ll deliver it to their gallery as a final product. Here and there, an artist will come in at stages to give approval, but in most cases if you have that trust and relationship, you almost become the artist’s third hand,’ says Olivier.

At this point the Workhorse Foundry employs 15 people, with each member specialising in a particular aspect of the process – correcting wax, joining castings, or colouring the bronze, for example. Along with William Kentridge, the Foundry now does work for artists including Wilma Cruise, Johan Moolman, Joachim Schonfeldt, and Michele Mathison.

As expected, establishing the Workhorse Foundry was time and energy consuming, which took considerable time away from Olivier’s own artistic practice. ‘I thought to myself, “I give myself five years to establish the Foundry and

Face &, William Kentridge. From Rebus set, cast by Workhorse Foundry.

Photograph by Rina Noto

not do my own work” – but it turned out that I can’t ignore that part of me... I need to make work, so I’ve just kept on going. I’ve just extended my days a bit.’

The Workhorse Foundry includes a gallery space, and serves as a kind of artistic hub – ‘as an artist you want people in your studio; there’s always work in progress, so it’s almost like you feed from people’s reaction and how they respond to works,’ says Olivier. The Foundry also sometimes presents viewings of the casting process, which at least one institution has scheduled as a corporate event. ‘I love to take people through the process, because to me it’s almost an artwork [in itself].’

It’s a great venue, and well worth a visit – although, preferably by appointment. ‘I’m very passionate about building this facility with a lot of aesthetic and visual [appeal]. We’re not just a factory that produces bronzes,’ says Olivier. CF

Harvard students with William Kentridge. Photograph by Stella Olivier

Creative Feel / July 2015 / 31

Anstey’s Building and Manners Mansions Art Deco style buildings. Photograph taken by Mark Straw on a Joburg Photowalkers walk in 2011. Johannesburg has the world’s third largest number of Art Deco buildings after New York and Miami. Both buildings were designed

by Emley & Williamson firm in the late 1930s. Anstey’s elegant department store occupied the first four floors and had elegant street level shops at the time while Manners rounded corner house was a popular venue for cigarette and pipe smokers

The Empire City strikes back 32 / Creative Feel / July 2015

The Cosmopolitan Hotel. Photograph by Ken Jerrard. Camera: Canon 5D Mk3. Lens: Canon 70200 f2.8 Mk2. Focal length: 70mm. Aperture: f5.6. Speed: 1/500 sec. ISO: 800

Johannesburg, South Africa’s economic capital, makes a comeback after white flight, overcrowding and neglect led to the decline of the inner city.

Extracts taken from an article by Simon Allison, first published on Good Governance Africa (http://gga.org/s/8c83).

J

ohannesburg came into being in 1886 after

By [the 1960s and ‘70s], the seeds of Johannesburg’s

vast quantities of gold were discovered in the

eventual downfall had already been scattered onto

Witwatersrand reef. People flooded in to make money.

the pavement. A bylaw passed in the 1970s limited

Within ten years, Johannesburg was a bustling town

companies in the central business district to six black

of 100 000 people; within 20, it had become one of the jewels of

employees. This forced most factories and offices to

the British colonies and became known as ‘the Empire City’...

relocate, leaving the city’s industrial periphery vacant.

By the 1930s, Johannesburg was stretching upward and

In the early 1970s, a new development, Sandton City,

adopted the New York template of Art Deco skyscrapers.

which included residential, commercial and office

By the early 1950s, it was a hub for international business

space, and acres of parking, began luring downtown

and a playground for the rich, who – because this was the

businesses away. Thus began the northern migration out

apartheid era – were exclusively white…

of Johannesburg.

HOW GOES THE NIGHT, BOY? This is the old Transport building on the corner of Henry Nxumalo Street and Barney Simon Road in Newtown. ‘HOW GOES THE NIGHT, BOY?’ which has been changed to ‘BOI’ was done by Sean Hart as part of his collection called Greetings From Jozi. The drawings on the building were done for the video ‘Pitbull’ by Die Antwoord. Photograph by Gail Scott Wilson

FAITH47 – “‘una salus victis mullam sperare salutem’ is the title of a Faith47 mural located on the corner of Fox and Rissik Street, Johannesburg. The phrase is from book 2 of Virgil’s Aeneid, ‘The one safely for the vanquished is to abandon hope of safety. Surrendering to the knowledge that there is no hope, can bring deep courage.’ – The mural spans two sides of an old now vacant department store, brings movement to the fast transforming African City centre troubled with urban decay.” Photograph by Gail Scott Wilson

34 / Creative Feel / July 2015

‘I like the lines. There seem to be hidden so many dimensions behind these clear lines. Maybe the person who painted the mural choose the straightness and clearness of his picture because both embedds it perfectly into the structure around it. The Ford-Jaguar-BMW-Mercedes-Benz writing is one of the most striking features of Joburg for me. You can find these garages in some quite shady places, I am astonished and unsettled by what role German cars play in South Africa – I guess we all need to through the same emotional journey to acknowledge that German cars are not the solution either. You can’t just tell people,’ writes photographer Hannah Helmke

Unsurprisingly, the apartheid government hammered the final nail in the coffin of the inner city as a space for well-heeled gentility. President P.W. Botha’s ‘Rubicon’

movement of black South Africans, inciting a huge migration from rural to urban areas.

Tens of thousands descended on Johannesburg…

speech in August 1985, in which the finger-wagging

forming huge squatter camps on its periphery or

president reaffirmed the government’s commitment to

occupying the inner city’s abandoned buildings, which

racial segregation, generated an international backlash and

were closer to the few available jobs. Some property

signalled the widespread implementation of sanctions against

owners rented out space in defiance of the Group Areas

South Africa. This forced most international companies to

Act, which still classified the inner city as a whites-

leave South Africa. They abandoned their headquarters in

only area. Buildings became overcrowded; landlords

the inner city and their staff hurriedly left behind their plush

exploited their often vulnerable tenants; and by the late

apartments in nearby Hillbrow – then the most densely

1980s the local government, unimpressed with the new

populated suburb in the British Commonwealth, thanks to the

demographics of the area, had scaled down or suspended

huge expatriate presence. By the end of 1985, parts of inner-

any meaningful services, such as water, electricity and

city Johannesburg resembled a ghost town.

refuse collection.

A year later, with South Africa teetering on the brink of bankruptcy, Mr Botha abolished the laws regulating the

The congestion, coupled with the official disinterest, precipitated the inner city’s transformation from empire

Creative Feel / July 2015 / 35

Photograph by Farrah-Diba Sing

Shoes on a wire are a common sight in most cities around the world. The practise involves tying the shoelaces together and flinging the shoes over an electrical wire or telephone line where it is caught up and left dangling. There are several urban myths associated with this trend. Photograph by Natalie Field

In search of the truth... Photograph by Belinda Carina Gibson, ‘I converted the photo to black and white for two reasons: immediately the photo became uncluttered and the focus was on the taxi, the pedestrians and the sign and secondly, it worked with the irony of the black and white history of our country.’

Metropolis. ‘Not many people realise that Johannesburg’s public transport network provides the keen eye a unique insight to this wonderfully diverse city. You just have to pay the fare and enjoy the view.’ Photograph by Michael Abrahams

36 / Creative Feel / July 2015

Converging Jozi. Photograph by Farrah-Diba Sing

showpiece to urban slum, eventually home not only to South

commitment to redevelop and provide services to the inner

African migrants but also to refugees, asylum seekers and

city. The Johannesburg Development Agency (JDA) has

would-be entrepreneurs from all over the continent.

spearheaded this inner-city regeneration programme.

From this point on the rot was inevitable, but not

Its first move was to invest in public space… hoping

irreversible. In the early 2000s, a new mayor, Amos Masondo,

this would give private developers the confidence to

armed with a new vision and generous public funds, started

invest. JDA started by building the Nelson Mandela

to transform the inner city once again. Pockets of space were

Bridge, spanning a railway yard to link Newtown with

cleaned up and made safe. Investment flowed into the area

Braamfontein, another downtown district. This was

for the first time in three decades.

followed by a brand new Constitutional Court on the site

The blueprint for Johannesburg’s regeneration can be found in ‘Joburg 2030’, a near utopian plan written in

of an old prison fort, completed in 2004, and projects in the Newtown neighbourhood…

2002 that envisions a city where crime is a faint memory; a

While Joburg 2030 targeted commercial interests,

service-based economy thrives; public transport is smooth;

a 2007 charter – drawn up jointly by the city, tenants’

government is clean and efficient; and all its citizens are

associations and business forums – focused on making the

highly-skilled, enjoying a quality of life on a par with

inner city attractive to residents. It called for providing

London, San Francisco or Tokyo.

more and better services and affordable housing for the

Although dreams often differ from reality, over the past decade Johannesburg authorities have demonstrated a

lower-middle class, people who are economically active.

Since then, the private sector has built about 50 000 units,

Creative Feel / July 2015 / 37

Newtown. Photograph by Suzanne Morshead

The Mill Junction, I wish I could be a student again Photograph by Alejandro Garcia. Camera: Canon 500. Lens: 85mm. ISO: 400, F/13, 1/320 sec. Newton, 1 October 2014

with rents ranging from R3 500 to R7 000 per month,

responsibility to provide emergency temporary

according to the JDA.

accommodation for all evictees, even those dislodged by

Despite this success in drawing back business and

private property developers. The city vehemently disputed

residents into the inner city, the new, regenerated

this interpretation, arguing that it could not afford to

Johannesburg has turned its back on the people who have

provide temporary housing….

lived in it for the past three decades: the poor…

But where do they go? On several occasions, the city has

Developers are also frustrated because their projects are often delayed by months or years as they try to evict

forced them out in contravention of a 2008 law which seeks to

the squatters. Some private developers have taken matters

limit illegal evictions and prohibits dislodging anyone without

into their own hands by paying off the trespassers to leave

arranging alternative accommodation.

or simply removing them by force, with the help of private

A 2011 landmark Constitutional Court judgment (City of Johannesburg v Blue Moonlight Properties) refined this law even further, ruling that it was the municipality’s

38 / Creative Feel / July 2015

security companies or hired heavies.

The inner city was once home to South Africa’s poorest because they could afford the low rentals. Street vendors

Mandela Mural – Madiba the Heavy Weight Boxer depicted on a building in Maboneg. Photograph by Diana Lynne Sanderson.

Camera: Nikon D7100. Lens: Sigma 18-250. Focal Length: 80mm. Aperture: F8. Shutter Speed: 1/320. IS0 100

catered to their food and clothing needs. But peddlers too

compete in economic terms and grow businesses,’ says

are no longer welcome.

Sharon Lewis of the JDA. ‘It’s a balancing act that we’ve had

In October 2013, Parks Tau, Johannesburg’s mayor, launched ‘Operation Clean Sweep’. Police rounded up

to achieve and we’ve kind of wobbled on both ends.’

All photographs published alongside this article are taken

unlicensed small-time vendors, sometimes confiscating

by members of the Joburg Photowalkers, a social group which

their goods, according to media reports. Many legal traders

combines their love for Joburg with their love for photography.

were caught in the dragnet, according to the SA National

Members have been meeting regularly to explore public space

Traders Retail Alliance, which estimates that around 4 000

and streets in local suburbs as well as to go on photographic road

illegal and licensed traders were chased off the streets…

trips together since 2009. The group has a varied photographic

The so-called transformation could have been handled better… ‘It’s [a] balancing act between being a really inclusive society that allows anyone to make a living anywhere, and being a clean, well-managed city that can

interest which includes street, wildlife, nature, night time and painting with light, studio, macro and astro photography.

Join www.meetup.com/joburg-photowalkers and www.facebook. com/JoburgPhotowalkers. CF

Creative Feel / July 2015 / 39

Newtown Junction Shoppers, office workers and residents in the Joburg CBD now have a world-class retail and leisure destination right on their doorstep, close to the historic Market Theatre.

N

ewtown Junction is an 85 000m² mixed-use

stores, Mr Price, Clicks, Levingers, major banks, as well as

project developed by Atterbury Property

cellular and jewellery stores. There is also a Ster Kinekor

Developments (APD) for Atterbury Property

cinema complex, a Planet Fitness gym, a medical centre and

Holdings and JSE-listed Attacq Limited. It

several eateries and restaurants. Nedbank – the major tenant

incorporates 38000m² of retail space, some 39 000m² of

within the office component at Newtown Junction – has also

prime office space, basement parking for 2 400 cars and a

launched its Newtown Campus, currently on track to achieve

new City Lodge Hotel, presently under development.

a 4 Green Star SA rating from the Green Building Council of

According to Zahn Hulme of Atterbury Property, the company is committed to the success of the Newtown node

South Africa.

According to Wiehan Strydom, Atterbury’s project manager

and urban regeneration within the Joburg CBD. Atterbury

on Newtown Junction, the project has thus far created around

is leading the effort towards the establishment of a fully-

2 700 jobs during construction, of which 850 were jobs for local

fledged City Improvement District (CID), which looks to

unemployed people. Some 4 800 people are expected to work

ensure the success of the precinct and Newtown Junction as

within the development once it is fully operational.

a safe, clean, hip and happening destination. As part of the

‘As one of the biggest private sector investments and

CID, building owners and businesses will contribute towards

developments in the Joburg CBD, we are extremely proud

a levy for the upkeep and security in Newtown, in addition to

of the Newtown Junction project. It will take the historic

their normal municipal rates.

Newtown precinct to another level as a cultural, shopping and

Retail stores and outlets at Newtown Junction include

entertainment hub not only for people living and working in

Pick ‘n Pay, Shoprite, Edgars, Truworths, the Foschini Group

the CBD, but visitors and tourists to the city,’ says Hulme. CF

40 / Creative Feel / July 2015

Department Stores Pick n Pay

137

011 492 2140

Shoprite

117

011 298 2730

Newtown Junction Store Directory

Pick n Pay Liquor

Category

Shoprite Liquor

Shop no.

Banks, Forex & Financial

Telephone no.

Food

135 101

011 492 2140 011 492 0177

Absa Bank

116

011 240 0409

Bread Basket

148

011 492 1239

Capitec Bank

109

011 492 3936

Chicken Licken

207

076 661 7397

011 724 6037

Delhi Delicious

African Bank

Nedbank Old Mutual Standard Bank

165 125 217 111

011 641 1200

Bubble Boost

011 667 7424

Debonairs

011 556 0610

Galito’s

KFC

Clothing, Footwear, Jewellery & Accessories

NewsCafe

Al Capone

078 276 9603

Philly’s Cheesesteak

011 492 0567

Smooch

146 201 141 211

011 440 3835

010 091 0400 011 492 0570

011 492 0293

159

011 492 0034

145

011 492 0015

147

010 091 0306

Ackermans

128

011 492 0277

Ocean Basket

American Swiss

320

011 298 2019

Subway

219

011 492 0013

011 492 0301

Wimpy

143

010 091 0304

011 298 2821

Home, Décor, Interior & Furniture

011 298 2801

OK Furniture

Cajees

Designer Shoe Outlet Edgars Exact

Fashion Express Foschini Global Brands

Hydraulics Identity Indigo Interoptika Jet

Markhams Mr Price

Pep Perfume Garden

Pick n Pay Clothing Side Step

Skipper Bar Spitz Sports Scene

Studio 88 Total Sports Truworths

197 177 312 313 317 167 321 350 352 127 153 133 311

318 333 175 181 308 155 151 353 351 178 319 129

011 689 5600

213

163

011 492 0888

011 492 0282

011 298 2807

HiFi Corporation

331

087 740 2020

010 091 0300

Sheet Street

169

011 492 2027

011 492 3890

Services

011 492 7946

Cell C

011 298 2812

Clicks

011 492 0108

Levingers

011 492 0659

MTN

011 492 0515

Nubian Queen

011 298 2815

Planet Fitness

011 298 2810

Postnet

011 029 7730

105

060 571 7130

010 091 0303

Autopage

123

011 217 8829

011 689 5620

Cell Care Centre

102

011 492 0426

011 492 0427

Hair City

072 182 5103

Medical Centre

011 492 0509

Naked IT

011 49 20671

Ster Kinekor

011 492 0513

Pep Cell

011 492 3988

Vodacom

173 221 327 114

223 171 112

107 303 355 139 106 170

084 777 2546 011 492 0452

010 091 0305 010 091 0301 011 492 3999

083 869 3697 011 492 1981

078 313 3183 082 437 5965 010 020 1360 011 492 0182 011 492 0781 011 492 2601

Art and About in Jozi

If you’re looking to find the work of young and talented African artists, the Absa Gallery is an excellent place to start.

Absa Gallery

N

Tapestries by Norman Catherine

estled within Barclays Towers North – a short

Barclays L’Atelier (formerly known as the Absa L’Atelier),

walk from Barclays Towers West, where you’ll

which serves as a stringent form of quality control. ‘One

find the Money Museum – is the Absa Gallery,

of the challenges that any gallery faces is that many

where a new exhibition of work goes up each

people want to get their work out there,’ explains curator

month. What makes the Gallery unique is its focus on the

Dr Paul Bayliss. ‘Some of the works are exceptional but,

work of young and emerging artists, stringently vetted

unfortunately, others do fall short.’

through a competitive process that seeks to identify the Diane Victors and Marco Cianfanellis of tomorrow.

At the heart of this process is one of the country’s longest-running and most prestigious art awards – the

42 / Creative Feel / July 2015

‘Our focus has always been on providing a platform for young and emerging artists. We want to give these artists an opportunity to grow and prosper. At the same time, the L’Atelier allows for the discovery of unearthed talent. It’s not

Y E S YO U YOU WITH THE POWER OF T H O U G H T. YOU WITH THE ABILIT Y TO FEEL. Y O U W I T H T H E PA S S I O N T O C R E A T E .

AR T NEEDS YOU, FOR WITHOUT YOU, T H E R E C A N B E N O A R T.

For 30 years the L’Atelier art competition has helped develop some of the world’s most admired artists.

Create. Prosper.

just about the competition, but the building of the artists’ skills and their brand; that is why we invite these artists to participate in other exhibitions hosted by the Absa Gallery.’

All of which makes the Absa Gallery an ideal place to discover hot new talent, now more than ever, as the competition has just gotten a whole lot more exciting. As Absa is part of the Barclays Africa Group, the L’Atelier has recently been rolled out into a number of African countries; as of last year, artists in five countries (including South Africa) are now invited to take part in the competition. ‘So the focus of the Gallery is no longer only on South African artists, but also on young African artists that have come through the L’Atelier, enabling us to showcase the rich talent of artists across the African continent,’ says Bayliss.

At the time of writing, a show of work by Jaco van Schalkwyk (a 2013 Merit winner) had just gone up, soon to be followed by the works that made it into this year’s L’Atelier competition finals. Previous 2013 L’Atelier winner Pauline Gutter’s solo show goes up in September, and in November, visitors can catch an exhibition celebrating the 25th anniversary of Artist Proof Studios. While this marks a slight departure in form, ‘a number of their artists have come through the L’Atelier, and done very well – such as Bambo Sibiya and Mongezi Ncaphayi (both former winners of the Gerard Sekoto prize),’ notes Bayliss; so the link to the L’Atelier is still present.

The Absa Gallery is not the only attraction luring art lovers to the Barclays buildings. ‘We’ve also got a lot of art on show in the building, which can be viewed by appointment (as it is within a business environment),’ says Bayliss. ‘We would prefer people to come as a group of about eight to ten, and then we will gladly take you through and show you some of the artworks, which include a Susan Wolf installation, a Walter Oltmann, a Lehlogonolo Mashaba, and the Norman Catherine tapestries that are in Towers North. There is also the seven story high Marco Cianfanelli installation in Towers West… as well as works that make up the Absa corporate art collection, seen hung along the corridors and in boardrooms.’

The Absa Gallery is open Monday to Friday from 08:00 to 16:00, and no appointment is necessary (although you will need to present some form of ID to get in). There is also a canteen adjacent to the Gallery where visitors can grab a cup of coffee or a bite to eat. To make an appointment to Sculpture by Walter Oltmann

44 / Creative Feel / July 2015

see some of the art on show within the building, contact the Gallery on 011 350 5139. CF

Discover how something so complicated simplified our lives In 1889, LĂŠon BollĂŠe invented a machine that revolutionised the way we count. With just one turn of a crank, it could multiply the number entered by any other number. Crowned with a gold medal at the 1889 Paris Exhibition, it was the first multiplication-table calculator. Known as The Millionaire, only 4 655 were sold. We have no idea where the other 4 654 are, but we do have this one rare gem in our possession.

Come and see it at the Money Museum.

Enrich your mind. Prosper.

Absa Bank Ltd Reg No 1986/004794/06 Authorised Financial Services Provider Registered Credit Provider Reg No NCRCP7

The Money Museum If you find yourself at a loose end in Johannesburg’s CBD on a weekday, you’re in a perfect position to visit the Barclays Money Museum, the only banking and money museum in South Africa.

of these saving boxes; we’ve got them dating back 200 odd years. So there’s something here for everyone in that sense; that nostalgic element.’

Also on display is some of the technology that has been used in banking over the centuries. This, says Bayliss, is aimed particularly at today’s youth, who come from a world where technology has advanced at a staggering rate, with today’s necessities – cellphones, the Internet, email – all being recent inventions. ‘In the last 20 years we’ve had this rapid advance – that’s really what we’re showing through

T

he Money Museum is home to an extensive collection of the many currencies that have flowed into South Africa over the centuries. From Katanga crosses, Manilla rings, cowrie shells and

venetian glass beads, to the global currencies that arrived with prospectors in search of diamonds and gold, the Money Museum has plenty of cold hard cash.

Looking at money can tell you a lot about a country, as the Museum’s curator Dr Paul Bayliss will tell you.

Currency is an immediate, tangible aspect of a country’s identity, one that reflects its values, history, economy and society. ‘If you look at our bank notes, we’ve got Madiba on them at the moment, but before that we had the Big Five; prior to that, we had an individual that was supposedly meant to be Jan van Riebeek. (It wasn’t.),’ says Dr Bayliss.

‘Beyond those, there are other aspects on that note that reflect the agriculture, the industry, the environment, and the tourism of the country – so suddenly the note becomes that ambassador, that allows you to see what the country is actually about’.

Many visitors are drawn to the Museum for nostalgic reasons, the chance to come face to face with lost time.

‘People come in here and love the saving boxes,’ says Bayliss.

‘Whether you’re 80 or 40, you can remember having one

46 / Creative Feel / July 2015

Inside the Money Museum

the technology,’ says Bayliss. ‘The fax machine, for example,

South Africans we don’t have a saving culture; and secondly,

invented in the late ’80s, revolutionised how business

to read. By reading you stretch your imagination and

worked. Suddenly you could put a document in and it would

experience the world…’

“pop out” the other side. You didn’t have to post it.’

To get the most out of the Museum, it’s worth making an

Nevertheless, history leaves its mark on today’s

appointment for a guided tour (to do this, email the Museum

appliances. For example, Bayliss notes that the traditional

at museum@absa.co.za). The Museum also provides guided

Qwerty keyboard was specifically designed to slow one down

tours to school groups of not more than 25 students, from

while typing. ‘The old typewriters had keys that went up

grade seven upwards (by appointment only). The tour lasts

and down; if you typed too quickly, the keys jammed,’ he

between 90 minutes to two hours, and is tailored towards

explains. ‘It was only when they brought out the electronic

each class; when making a booking, teachers should have an

typewriter, which used the rollerball, that one was able to

idea of what they want to achieve through the visit.

type a lot quicker without the risk of keys jamming.’ And yet most keyboards continue to feature the Qwerty keyboard, presumably because it is so familiar.

‘In this respect the Museum aims to unpack technology

Otherwise, the Museum is open to the public from Monday to Friday between 08:00 and 16:00.

‘Anyone’s welcome, you don’t need to make an appointment, although you will be required to show some

and history,’ says Bayliss. ‘At the same time we say to people,

ID,’ says Dr Bayliss. ‘If you’d like us to book parking for

whenever you go into a museum – don’t view it as you would

you, that can be arranged, just phone us in advance.’ There

view the world today. Try picturing what was happening in

is also a canteen where visitors can buy a cup of coffee or

the world at that particular time... Look at what you’ve got,

something to eat. Best of all, entry to the museum is free –

and then go read up on it. We encourage youngsters that

so you can keep your own collection of currency safely in

come into the Museum, on the one hand to save, because as

your pocket. CF

Creative Feel / July 2015 / 47

A Theatrical Canon in the Heart of the City Wits 969 Festival 2015: aLEXA – A Mobile Thriller; directed, designed and conceptualised by Quintin Wils

Thirty-two years on, Wits Theatre is still standing, still staging exceptional work, drawing audiences into Johannesburg, and serving as an important mirror reflecting a constantly-evolving society.

F

or the last century, Johannesburg has been a

Wits Theatre was built, however, the Wits School of the

changing landscape, with everything from churches,

Arts’ Dramatic Arts Department had been staging plays in

factories and shops being converted to theatres, to

the Nunnery, a converted convent hall that was also used by

theatres changing names and owners. They closed

Junction Avenue Theatre Company and The Market Theatre

down, reopened, or, unluckily, were demolished. With all of

Company to stage productions. The Nunnery is still in use

this change, the performing arts have remained a constant

today as a working theatre venue; at one time it also served as

within this iconic South African city, with the country’s

a teaching venue for the Dramatic Arts Department.

problems and passions being played out on the stage by top

Celebrating 32 years of existence, and two years

storytellers. Joburg theatres have been a place of revolution,

under the directorship of theatre maven, Gita Pather, The

transformation, new thought, excitement, frustrations,

Wits Theatre is an important landmark on our country’s

experimentation, entertainment, talent, risk, division, art,

cultural landscape; a space where our culture continues

and so much more; the melting pot of a culture. Today, five

to be explored, where students can experiment and ideas

theatres stand tall, having adapted to the times, in buildings

are challenged. Commenting on its role in the city of

as iconic and grand as their long histories: The Market

Johannesburg, Pather says, ‘Wits Theatre is a space for

Theatre, The Joburg Theatre (previously The Civic Theatre)

learning and teaching since its primary stakeholder is the

The Alexander Theatre, The Wits Theatre complex, The

Wits School of Arts whose students practice and showcase

Windybrow and The Victory Theatre.

the skills learned on stage. However, The Wits Theatre

The Wits Theatre as we know it today first opened its

mandate goes beyond to encompass the goals of creating

doors in 1983. It was the result of a ten-year-long plan, which

a vibrant artistic and creative life on campus. As a leading

centred on raising the R5 million it cost to build. Before

university, a primary task is to contribute towards a

48 / Creative Feel / July 2015

Wits 969 Festival 2015: Actress and Girl; directed by Simona Mazza; performed by Maude Sandham and Rachael Neary

cosmopolitan, sophisticated campus culture that moulds

nights were not too cold or it did not rain in summer.

intelligences that are informed and nuanced by exposure

In 1992, it was enclosed and added a third venue to the

to the performing arts. Research definitely shows that

complex – a 120-seater all enclosed theatre where work that

the creative arts impact on graduates who are not merely

cannot be housed in the other two venues can find a home. It

“qualified” but who manifest a sensibility that adds value to

has its own foyer space.

society in a holistic, positive manner.’

The complex consists of The Wits Theatre with 367

The Great Hall, which is also managed by the same Performing Arts Administration that heads up The Wits

seats in an adaptable auditorium. Its foyer contains bar and

Theatre complex, seats up to 1 035, has a rich heritage that

cafeteria facilities. The Downstairs Theatre is directly below

dates back to the world premiere of the SA musical, King

it, and was designated ‘store room’ on the original plan

Kong and beyond.

by the architect Don Lennard but now houses a versatile

Both The Wits Theatre complex and The Great Hall are

experimental theatre with its own foyer, which also serves as

(and have long been) the home of important festivals such as

an exhibition space. This venue seats 120.

the 27-year-old Dance Umbrella, the So Solo Festival and the

On the ground level to the north of the building,

969 Festival. They also cater for a large, diverse collection of

the architect, whose consultant was John Bury (one of

professional companies (including the recent performance

the great British designers from the Royal Shakespeare

of La Traviata by Gauteng Opera), jazz artists, and are

Company and the Royal National Theatre), placed an open

home to the Wits Choir (currently under the direction of

air Amphitheatre.

accomplished Conductor and Trainer, Dalene Hoogenhout,

For the first eight years of its existence, the occasional open-air production was staged there when the winter

since 1995), dance studios and schools. These theatres are where our society can be mirrored and minds challenged. CF

Wits 969 Festival 2015: Smaarties; directed by Quintin Wils; performed by Jannes Erasmus

The Wits Choir

Creative Feel / July 2015 / 49

New Dates and New Venues for the Cape Town Art Fair

Fiera Milano Exhibitions Africa (FMEA) is proud to announce that the fourth edition of the Cape Town Art Fair will take place from 19 to 21 February 2016 at the Cape Town International Convention Centre (CTICC).

F

iera Milano Exhibitions Africa are also excited to

the leading local and international galleries in order to bring

announce the appointment of Matthew Partridge

contemporary art from Africa to Cape Town and the world.’

as Fair Director and Laura Vincenti as the Architect

With ten years of experience working as the Principal

and Special Projects Manager. Together they will join Fair

Consultant Architect for Artissima in Torino, Italy, Vincenti

Manager, Liza Dyason to form a dynamic team that will take

brings with her a working knowledge of international models

the Cape Town Art Fair into its next chapter – as the premier

that will provide the skills needed to bring the Cape Town

international contemporary art fair on the African continent.

Art Fair to the eyes of the art world.

Holding a masters degree in Art History from Wits

Speaking about these two new additions to the FMEA

University, Partridge has worked as a writer, critic and

team, Dyason said: ‘With Cape Town providing a beautiful

journalist for publications that include Financial Mail,

backdrop and with a growing contemporary art market in

Business Day, The Sunday Times and the Mail & Guardian.

Africa, the Fair will build on its success and provide a space

Partridge is excited about his new role as Fair Director: ‘I am thrilled to be given the opportunity to work with some of

50 / Creative Feel / July 2015

where established and new collectors can sample the very best of what Africa has to offer the art world.’ CF

R&R Musuem Advert FA.pdf

1

2012/09/11

Stellentialaan / Avenue

8:40 AM

Stellenbosch

Tel: (021) 8883344

‘n Versameling Suid-Afrikaanse Kuns van die 20ste Eeu, Moderne Franse Tapisserieë en Internasionale Beeldhouwerke A selection of 20th Century South African Art, Modern French Tapestries and International Sculptures

Maandag tot Vrydag / Monday to Friday : 09:30 - 16:00 • Saterdag / Saturday : 10:00 - 13:00 Gesluit op openbare vakansiedae / Closed on public holidays

A

t the bottom end of historic Dorp Street in Stellenbosch, on the banks of the Eersterivier, is what appears to be a whitewashed cellar set in a vineyard. It is actually the Rupert Museum, home to a superb collection of South African and International art.

The Rupert Museum showcases the private art collection of wellknown South African industrialist the late Dr Anton Rupert and his wife Huberte which they collected from 1940 to 2006.

Huberte Rupert commissioned the building in 2003, choosing Hannes Meiring, known

for his love of historic architecture, as the architect. Officially opened in February 2005, the Rupert Museum now shows the best of South African artists such as Maggie Laubser, Irma Stern, Alexis Preller, Walter Battiss, Elza Dziomba, Jean Welz, JH Pierneef, Lippy Lipshitz, Moses Kotler, Anton van Wouw and Coert Steynberg. In addition, there are also major European works by leading sculptors such as Auguste Rodin and Käthe Kollwitz, as well as French tapestries by Jean Lurçat.

Foundation, now fill one of the three galleries at the museum.

To many art lovers another highlight of a visit to the Rupert Museum will be the exhibition of JH Pierneef’s Station Panels – considered to mark the high point of his career. These national treasures, the property of the Transnet

He completed the panels over three years, working on them in groups, as his studio could not accommodate them all at once.

Twenty-eight panels are of landscapes and the remaining four of indigenous trees.

Pierneef was commissioned by the then South African Railways and Harbours to paint panels depicting places of natural beauty and historical value for the new Johannesburg Station in 1929. The architecture of the concourse specifically included spaces for the panels to be affixed. This determined both the size and number of the panels – 32 in total.

JH Pierneef’s Station Panels

Graaff-Reinet

The Collector issue 22.indd 57

Louis Trichardt

Okahandja

Table Mountain

2013/08/19 9:32 AM

Considering Pierneef J.H. Pierneef: A Space for Landscape comes to the Standard Bank Gallery in July, Creative Feel spoke to the show’s curator, Wilhelm van Rensburg about the famed artist.

52 / Creative Feel / July 2015 Thorn tree at dusk, casein, 22.8 x 30.5 cm Private Collection

Premier Mine 1932 Oil on board 81.5 by 69.5 cm Private Collection

P

Tulbagh 1929 Oil 52 x 62.5 cm Private Collector

ierneef is arguably one of South Africa’s most

labels this approach the ‘dominant reading’ of Pierneef’s

famous artists. His work fetches millions at

work, in which ‘you have the empty land, grand landscapes,

auction, placing him second only to Irma

all too ready to be appropriated. And I thought that this

Stern in the astronomical figures it commands

was something to interrogate, because I didn’t quite know

among South African work. And yet, notes Wilhelm van Rensburg, curator of the forthcoming Pierneef exhibition

whether it was true,’ he says.

His conclusion is that there is plenty of evidence to

at the Standard Bank Gallery, the general public has, for

cast doubt on this reading, a position that has also been

the most part, had little opportunity to experience much

defended by Stephan Welz. Welz rejects the idea that in

of his oeuvre over the past two or three decades: the last

painting an empty land, Pierneef sought to imply the

extensive retrospective of Pierneef’s work took place

moral ascendance of the Afrikaner, as ‘patently ridiculous’.

in 1982. A subsequent exhibition celebrating Pierneef’s

Rather, he suggests that Pierneef ‘recognised and accepted

centenary showed at the Pretoria Art Gallery in 1986, but

his own limitations. The human figure presented him

drew only on works from their own collection.

with serious problems and in the main he steered clear of

Thus a whole generation has largely been deprived of the chance to get to grips with Pierneef’s work (short of a trip to Stellenbosch, where it is possible to see the Johannesburg

them... Pierneef was [also] passionate about the vastness of our South African landscape.’

Van Rensburg notes that Pierneef, far from being the

Station panels at the Rupert Museum). Part of the reason for

darling of the Afrikaner art community, struggled to find

this may lie in the controversial nature of the way in which

acceptance with the South African art buying public of the

his art is interpreted.

1920s and 30s, as did contemporaries such as Maggie Laubser,

In the early 1990s, a revisionist approach focused on an

Irma Stern, and Wolf Kibel. ‘It was the Dutch intelligentsia

overtly political interpretation of Pierneef’s work, aligning

in Pretoria who collected his work,’ he says. ‘The reigning

him with the rise of Afrikaner Nationalism, a position that

orthodoxy at this time was the stuff of Edward Rowarth, Hugo

is still often repeated in academic circles. Van Rensburg

Naude, Frans Oerder – 19th century realist/impressionist

Creative Feel / July 2015 / 53

Gorge between two ridges, 1930 oil on canvas, 90 x 121 cm Pretoria Art Museum

landscapes of the Dutch and European landscape tradition.

Pointillist, quasi-Cubist.’ Pierneef is often identified as a

That’s what people collected. Pierneef arrived on the scene

Cubist, a label that van Rensburg is quick to reject, noting

with different things. He went through different stages.’

that the artist’s concern was with ‘the simplification of form,

Moreover, says van Rensburg, ‘For me, probably the most

rather than Cubism.’ In this he may have drawn inspiration

decisive argument that he was not necessarily this “Afrikaner

from his exposure to Bushmen painting, an interest that

Nationalist” that people made him out to be, was that in

shows up in his early work, in particular a series of murals he

1948, when the Voortrekker Monument was opened, he was

did for Ficksburg High School in 1922.

ostracised. He was not involved at all. If anything, that would have been his moment as “Afrikaner Nationalist artist”.’

Thus van Rensburg has chosen to focus on an

‘That influenced his style, his abstract work,’ says van Rensburg. ‘He was interested in Bushman art, but he didn’t pursue it. A very close friend, Erich Meyer, was more

‘oppositional reading’ of Pierneef’s work: ‘if he’s not for the

interested, and Erich Meyer was the one who inducted Walter

group, then he must be for himself, the individual artist,’ he

Battiss to Bushman art. But Pierneef gave a number of public

says. ‘So I looked up his individual trajectory as an artist,

lectures throughout his life, and in the late 1910s, early 1920s,

which was very interesting. And it was on that basis that I

when he mentioned the importance of Bushman art he was

selected his works, demonstrating how his style evolved...

heckled. When he said, “We should really take these people

there was a whole range –Impressionist, Post-Impressionist,

seriously, it’s important art,” he was booed off the stage.’

54 / Creative Feel / July 2015

“To be blind to its beauty is crass, but to be swallowed up by it, seems equally foolish” The Soutpansberg, c.1923, oil on panel, 30 x 42 cm, Pretoria Art Museum

All in all, Pierneef is best classed as a Modernist, says van Rensburg, who notes that the artist’s work exhibits many of the hallmarks of Modernism, including an abandonment of local colour, an increased abstraction in form, and repetition of the same subject matter.

‘That was interesting, to look at the way he rendered a particular scene in different ways,’ he says. ‘He depicted Rustenburg Kloof, for instance, in a very geometrical style, and then in a sensitive, delicate Impressionist style.’ This has informed the curator’s approach to the exhibition, in that he abandons a chronological approach in favour of one juxtaposing multiple takes on the same subject, allowing the audience to appreciate the extent of Pierneef’s experimentation and ability.

Van Rensburg has also included work by several contemporary artists who have responded to Pierneef’s works, among them Wayne Barker, Andre van Zijl, and Roger van Wyk, who are largely critical of the artist; and Carl

Old Red Mill, Daspoort, 1912, oil on panel, 50 x 65 cm, Pretoria Art Museum

Becker, who revisits the scenes that Pierneef painted, thus reflecting upon change and the passing of time.

Van Rensburg also considers a third reading of Pierneef, one inspired by the 1988 writings of William Kentridge, in which he discusses the landscapes of Pierneef, Volschenk and the likes: ‘His words were something like: “To be blind to its beauty is crass, but to be swallowed up by it, seems equally foolish.” They are breathtakingly beautiful landscapes... but one cannot deny the political implications; it’s part of a broader cultural thrust. And he, Kentridge, used the example of looking at a very beautiful artwork depicting a forest scene in Europe, only to realise that it was actually the site of one of the Eastern European death camps of the Second World War. ‘His conclusion is that people get on with their lives. So, yes, it was the site of massive atrocities, but people get on with their lives. They don’t forget. It’s still there. The land, and the landscape actually contains all the history – you don’t necessarily need to portray it explicitly.’ CF

Wolke, 1952, oil on board, 65.5 x 81cm Private Collection

Creative Feel / July 2015 / 55

G A L L E RY A O P www.galleryaop.com

Nhlanhla’s Open Chair: 10 March to 18 April Lizamore & Associates gallery@artistproofstudio.co.za

Daughter Language by Robert Hamblin

www.artistproofstudio.co.za

Daughters by Heike Allerton-Davies

011 492 1278

2 – 25 July 2015

3 President Street, Newtown,

011 880 8802

Johannesburg, Gauteng.

info@lizamore.co.za

Tuesday to Friday: 09:00 to 16:00.

155 Jan Smuts Avenue, Parkwood

Saturday: 10:00 to 15:00.

Tuesday to Friday: 10:00 – 17:30

Closed Mondays and Public Holidays.

Saturday: 10:00 – 15:30

Fiona Pole

le monde flottant (the floating world) 11 July – 1 August info@artonpaper.co.za www.artonpaper.co.za 011 726 2234 44 Stanley Avenue, Braamfontein Werf, Johannesburg, Gauteng.

Tuesday to Friday 10:00 to 17:00.

Saturday 10:00 to 15:00.

info@bagfactoryart.org.za www.bagfactoryart.org.za 011 834 9181 Dylan Lewis July/August 2015

info@assemblage.co.za

gallery@everard.co.za

www.assemblage.co.za 41 Gwi Gwi Mrwebi Street, Newtwon, Johannesburg, Gauteng.

By appointment.

www.circagallery.co.za

10 Mahlatini Street, Fordsburg, Johannesburg, Gauteng Office hours: Monday to Friday 09:00 to 17:00.

011 788 4805 2 Jellicoe Avenue, Rosebank, Johannesburg, Gauteng.

Wits Art Museum is home to an extraordinary collection of African art, including contemporary and historical art from South Africa and art from West and Central Africa.

It hosts a dynamic program of events and art exhibitions. The Museum is one of Johannesburg’s premier tourist attractions, along with the Apartheid Museum and Constitution Hill. It is part of the Wits University Cultural Precinct, just three blocks from

University Corner, Corner Bertha (extension

Nelson Mandela Bridge. WAM is in the hip, regenerating

of Jan Smuts Avenue) and Jorissen Streets,

area of Braamfontein, which is also home to many

Braamfontein, Johannesburg.

students, interesting shops and places to eat. The WAM

Opening Hours: Wednesdays to

Cafe is a fun place to meet friends and enjoy delicious

Sundays 10:00 – 16:00

food and coffee. It is part of the Wits University Cultural

To book for tours and events please email

Precinct, just three blocks from Nelson Mandela Bridge.

info.wam@wits.ac.za

“WHAT A FANTASTIC SHOW. GREAT ART, GREAT FOOD AND IN A GREAT LOCATION - TURBINE HALL IS MAGNIFICENT.”

Turbine Hall I 65 Ntemi Piliso Street I Newtown Johannesburg

AFRICA’S MOST EXCITING CONTEMPORARY ART FAIR

Special projects include: Fresh Produce Young Talented Artists Curated Exhibition and Programme Emerging Painters: The Graduate Show Curated by Hentie van der Merwe The TAF & SYLT Emerging Artist Residency Award (Tasa) Johannesburg Art Gallery Exhibition an exciting exhibition featuring major 20 th century Modern American and European artists.

www.turbineartfair.co.za #TAF15 www.facebook.com/turbineartfair www.twitter.com/turbineartfair

Addictive Art The annual three-day Turbine Art Fair (TAF) begins on 16 July and contains a programme tailor-made for first-time art buyers and emerging artists. Creative Feel spoke to Glynis Hyslop, the driving force and founder of TAF.

A

rt has the ability to make one ecstatic. This is the sentiment of Glynis Hyslop, the MD of The Forum Company and coordinator of Turbine Art Fair. The Bacchanalia knew this thrill in ancient

Greece. The otherwise stoic art connoisseurs of the Golden Age would engage in revelries during a week-long festival of the arts. Today, it is difficult to imagine an art-collector jumping for joy when they see an image that moves them. They may quietly poise a hand across their chest or carefully place a finger on the chin to gingerly show their appreciation. Ask a collector to tell you the story about why they bought the piece that hangs in their home when they are entertaining, and it is an entirely different kind of response. A woman let tears simply roll down her face when she beamingly relayed the tale of how she purchased a Nhlanhla Xaba print because she had seen in it what she had been praying for; and returned to an exhibition in his honour to thank him for the two daughters from his artwork, who were now her daughters. Glynis Hyslop grew up among her father’s art collection as her father – not exactly an art-lover – had an investment in an art gallery.

But it was not until she spent a day at a gallery, excitedly learning about art on paper, that she fell head-over-heels in love. The only problem with art, as she says, is that ‘it can be addictive’.

TAF is ‘Africa’s most exciting contemporary art fair,’ in the words of Hyslop. It is certainly intoxicating to know that, during the weekend of 16 to 19 July at the expansive Turbine Hall in the Newtown cultural precinct, a person can wander through the collectables of more than 50 galleries and exhibitions. The burgeoning art collector can attend talks to enable them to make their purchases wisely, they can talk to gallery owners and artists to get the full story behind the pieces that make them joyful, and can even find literature to whet their appetites whilst actually sampling some of the Turbine Art Fair’s artisan

58 / Creative Feel / July 2015

food. They can do all this while tapping their feet to the

exciting because of the special projects, because it’s a great

smooth melodies of a band. And, if they have children, they

space and experience for all ages, exciting because it gives

can share their exhilaration with Johannesburg culture

visitors access to top galleries.’ At the heart of the matter is that

by giving them the chance to create their own prodigious

art really matters to Hyslop and she cares about ensuring the

artworks at the STAEDTLER Kids’ Café. As art can be

continued success of South Africa’s young talent. The special

addictive, parents should know what they are in for if their

projects, that are a significant section of the fun, showcase

children also find themselves falling in love with art, like

emerging creators from across the country and provide them

little Glynis Hyslop did years ago. The MD, who still gets

with support and mentorship as well as necessary recognition.

excited about TAF as it grows more successful each year,

‘We want to showcase the diversity of art production, and we

says of art: ‘It’s a representation of how we see the world

believe we can achieve this by creating sustained training and

around us and it speaks to your own personal journey

conversation platforms for artists and artist collectives within

throughout this life.’

the art fair environment,’ Hyslop states.

Not only has Hyslop made art part of the way she paints her

The Turbine Art Fair is a tremendous space for engaging

journey through life but she has also put structures into TAF

with like-minded, ambitious, art-lovers and those looking to

that help young artists carve a significant career in the arts as

learn more about the art world. Named for its location in the

well. The unofficial slogan for the Turbine Art Fair is that it is

mammoth Turbine Hall, TAF employed an architect to ensure

the most exciting contemporary art fair in Africa, because that

visitors glimpse ‘every brick [that] speaks of its colourful history

is how Hyslop has created it and why serious gallery managers

within Newtown Johannesburg.’ While TAF may not be Bacchic,

send their best emerging artists to exhibit at TAF. Hyslop says,

it is epic. And, in Hyslop’s words, addictive because, ‘the more

‘The Turbine Art Fair is exciting as new artists are revealed,

you learn the more one wants to learn!’ CF

Creative Feel / July 2015 / 59

Banele Njadayi

Andrew Ntshabele

Fresh Produce

Creative Feel’s Nondumiso Msimanga spoke to curator of Fresh Produce (supported by Rand Merchant Bank), Zanele Mashumi about her curatorial process and role at the Turbine Art Fair.

‘I

started drawing at a very young age… All of us

with an exciting voice as an emerging young South African

have done it, whether you do a very messy drawing

painter, printmaker, sketcher, photographer or any other visual

or whatever,’ Zanele Mashumi demystifies the

art form. And yet, they must also have a sense of colour that

art of artistry. She believes in the power of art to

makes them stand out in the crowd.

communicate with anyone and share something of the artist in

The Turbine Art Fair provides people of all walks of life

an unspoken and yet tangible way. A piece of art, she believes,

with the opportunity to engage with art in a way that is

should stand testimony to how enjoyable the act of creating can

not as intimidating as the ascetic white walls of a gallery.

be. This mantra of the ability of art to ameliorate life’s diurnal

South African art has shown a trend of recognising the

tasks and allow anyone and everyone to be more sensitised to

need to be more inviting for the laymen who may want to

their surroundings is the vision through which she curates the

own artworks but feel as though the art-world is elitist and

Fresh Produce exhibition at the Turbine Art Fair (TAF) this year.

exclusively for those who have studied it at tertiary levels.

Hosted by the Visual Arts Network of South Africa (VANSA),

The growing popularity of art fairs in the country and the

the Fresh Produce exhibition is one of the projects of the

recent mobilisation of gallery-to-gallery evening-walks in

Turbine Art Fair that actively seeks out young artists with great

the form of First Thursdays in Johannesburg and Cape Town

potential and affords them the chance to exhibit at the massive

stand testimony to this welcoming approach to visual art.

event at Turbine Hall in Newtown. ‘We are looking for an artist

Mashumi adds to this conversation by stating that, ‘We don’t

who takes themselves seriously,’ says Mashumi. This is an artist

want to make the curation of the show too conceptual. We are

who has a business sense about the art world and somebody

supporting professional artists but also being able to relate.’

60 / Creative Feel / July 2015

She visited Port Elizabeth, Durban, Cape Town and Polokwane before returning to Johannesburg in search of bright-eyed and bushy-tailed artists who displayed an invigorating artistic voice and, significantly also showed a sense of entrepreneurship. After assessing the work of over 70 artists around the country, plus conducting interviews with each one to ascertain their aptitude for professional engagement, she selected only ten of the finest fresh young produce the nation has to offer. The artworks are varied but one of the great aspects of TAF is not only the breakthrough that it provides for these young ‘art-trepreneurs’ but also the chance for people to engage with them as they purvey their offerings.

She says that they are simply, ‘breaking boundaries’.

And this is what TAF stands for as a leading contemporary art fair. When she describes the fine lines and watercolour paintings of buildings in Johannesburg city created

by Audrey Anderson, she gently reaches out a hand as though to touch the soft images she’s seen. And Thandiwe Sebenzi’s new take on Xhosa initiates in their plaid suits just makes her smile; a wide gleam across her face.

When one ponders that everyone drew something at some point in their lives it is eye opening to discover that all people

Mthombisi Maphumulo

are ingrained with the capacity to understand art. Mashumi,

she remembers her first sale in Soweto, she becomes bright

who has worked at the Joburg Art Fair, curated a number of

eyed as she feels again the emotion of doing something that

exhibitions for agencies and also curates exhibitions for her

matters. She spends her weekends at the Locrate Market, in

own company Mashumi Art Project in Soweto, says that art

the famous township, painting with children and adults of all

was incredibly therapeutic for her as a young girl. She did not

ages; enjoying the smiles induced by seeing a feeling made

study art in high school (her formal art education only began

tangible through colour on paper, and sometimes on hands and

when she enrolled at the University of Johannesburg) but

clothing. TAF will also have art sessions hosted by STAEDTLER.

she would visit established artist-mentor Kenny Nkosi after

And, for Mashumi, this is the joy of TAF because ‘It goes beyond

school and simply immerse herself in the environment. When

being an art fair’. CF

Andrew Ntshabele

Bamaye Ngxale

Creative Feel / July 2015 / 61

The TAF Graduate Painting show This year’s Turbine Art Fair features an innovative new component – a show of graduate artwork from several of the country’s universities.

Creative Feel spoke to curator of the graduate show, Hentie van der Merwe, about this venture, the first of its kind in a very long time.

Desmond Mnyila

W

Jenny Parsons

hen the Turbine Art Fair’s founder, Glynis

focus on painting. ‘I think this choice speaks of my own interest

Hyslop approached Hentie van der Merwe

– I’m very interested in painting – and I’m also quite confident

– head of Fine Arts at the Visual Arts

in saying that some of the most interesting student work being

department at Stellenbosch University – to

produced at the moment is in the medium of painting,’ he says.

put together an exhibition of exciting new work coming

‘Although having said that, I’m not going to claim that painting

out at both an undergraduate and graduate level, he chose

is absolutely “where it’s at”, because there is very interesting

to focus on a single medium. ‘It makes much more sense

work being done in other media – sculpture, photography.’

to focus on one medium, it just holds together nicely,’ he

Van der Merwe thus compiled a list of some of the

explains, adding that the painting work being produced is

painting being done at the moment, drawing from

often more ‘nuanced’, seeking less to illustrate a particular

Stellenbosch University, Michaelis School of Fine Art, the

message or agenda than is often the case in other media.

Fine Art Department of the University of Cape Town, Rhodes

In the course of his work as an external examiner for several

University in Grahamstown and the Wits School of Arts at

art departments across the country, van der Merwe has been

University of the Witwatersrand. The works selected for

exposed to a range of student work, and from this he decided to

exhibition include a wide variety of both subject matter and

62 / Creative Feel / July 2015

Richard Mabula

Callan Grecia

Chemu Ng’ok

Danielle Wepener

Rachelle Hugo

approaches. ‘So there is abstraction, there is Photorealism,

people saw painting as “dead”, if you like... but I think

there is figurative work that is quite loose, in a Marlene

painting never really went away. I think this exhibition goes

Dumas kind of style – a wide variety, in terms of painting

to show that young people are very much interested in the

styles, he says.’ Although all the work is drawn from South

medium of painting, more so than one would imagine.’

African universities, the artists include both homegrown

The show is unusual in that it brings together the work

talent and individuals from further afield, including Iran and

of students from several universities, something that hasn’t

several countries in Africa – ‘a really nice mix of race and

been done in several decades. ‘The whole focus of the Turbine

cultural background, which is exciting,’ says van der Merwe.

Art Fair is on growing a young generation of collectors, and so

The works are predominantly oil on canvas, with one

it makes perfect sense to put together a show of what I think

notable exception in the form of a video piece from Rory

will be important artists in ten, 20 years’ time, in South Africa.

Emmet (which incorporates painting in its subject matter/

If anything, this would be a show for young collectors to go

execution). There is much talk of ‘the return of painting’,

and look at, and maybe even buy from: Because who knows?

which van der Merwe notes is a theme that has informed

They might just buy a work of the next big important South

numerous exhibitions over the last decade. ‘For a while,

African painter, at a very decent price,’ he says. CF

Creative Feel / July 2015 / 63

Turbine Art Fair, Johannesburg

64 / Creative Feel / July 2015

Mikhael Subotzky, Encounters: Marico and West Point (detail) R30 000 – 50 000

16-19 July 2015 | stand GH7 011 728 8246 | www.straussartonline.co.za

Artwork by Stompie Selibe

Look out for the Candice Berman Fine Art Gallery at TAF15 (16 – 19 July at Turbine Hall, Newtown).

Candice Berman Fine Art Gallery Shop 8, Riverside Shopping Centre, 319 Bryanston Drive, Bryanston, 2191 011 463 8524 / 084 843 8302 / info@candiceberman.co.za / candicebermangallery.com

Stand Number TH9

The Shadow and the Scream Daniel ‘Stompie’ Selibe is a musician, artist and art counsellor, all of which he weaves into an emotional response to his life and times.

I

t was Nhlanhla Xaba of Artist Proof Studios, where Selibe

same with my visual art; so all my images are different, they

worked for several years, first as a student and later as a

have a different emotion, a different expression.’

printmaker, who introduced the young artist to the idea

This intuitive approach makes it difficult for the artist

of using abstraction as a means of expressing himself. The

to talk about his work, to explain the whys and wherefores

two discussed ‘how to fuse the confusion that you’re living

behind his subject matter and inspirations, beyond the fact

with in your daily life... how to find material to express that,’

that he expresses ‘the challenges I face as an individual...

recalls Selibe. ‘For me it was through using paint, spray

and then people say, “no, there has to be a story”. I say,

paint, charcoal, to just explore what [that confusion] means.

“sometimes there is no story”. And sometimes people say,

These’ – he indicates some of his works, surrounding him in

“put a title”, and I say, “there isn’t any title”. And they say,

his studio – ‘are the outcomes of the scream, the loudness of

“but it feels empty”; I say, “well it feels empty to you, but to

the city, the loudness of our politics currently.’

me, it’s not.” If I call it, for example, Oh what a journey of life

Selibe’s work is intense in both its expressive quality,

then I have to say more about ‘a journey of life’, I have to give

and in the range of his experimentation. Newspapers, sheet

more content, but I don’t have that. What I have is a feeling,

music, paint, charcoal, and spray paint all make their way

an emotion. I can tell you more about that.’

into his mix, overwritten with scribblings, drips, softly

Selibe is fascinated by the metaphor of the shadow, the

delicate line drawings and wildly expressive brush marks,

darkness trailing each person through the city. ‘I wanted to

comprising a kind of visual jamming, an intuitive process of

work with that... we’re living in the shadow world, things

discovery. ‘It’s a form of improvisation,’ he explains. ‘When

aren’t so clear... I feel like there is this shadow that people

you improvise something with different melodies... at some

are living with – there’s so much dishonesty, there’s so much

point as you’re playing, it eventually comes together... And

anger, so much violence, violence against women. I feel that

it’s something that you do, but you can’t repeat it. It’s the

there’s this sadness in this country... you walk in downtown

All artworks by Daniel ‘Stompie’ Selibe, courtesy of Candice Berman Fine Art Gallery

66 / Creative Feel / July 2015

Johannesburg and somebody’s been robbed, or somebody’s

‘I was moved by his work, and the story behind it. As an

been beaten up really badly, and those things stay with you.

individual who was really struggling emotionally, trying

People who see that – how do they deal with it? I feel like we

to find himself, his identity in New York. He was really

[as artists] have such a privilege, that we can deal with it. I can

powerful in terms of art making,’ says Selibe.

deal with that anger, I found [art and music offer] a healing process, even if it doesn’t go away.’

Selibe has been represented by Candice Berman Fine Art Gallery since 2013, and will exhibit work at the

Selibe’s work is both fascinating, powerful, and sometimes disturbing in the undercurrent of pain that runs through it.

And yet, he himself finds happiness and peace in the studio: ‘At this moment, I’m so happy, because I’m so loose in

Turbine Art Fair under the gallery’s auspices; Berman’s

terms of expressing myself visually. It took me so many

enthusiasm and excitement regarding his work have

years to get where I am now; sometimes you can get stuck,

served as a great confidence boost. Selibe has undertaken

drawing something for days and days, months and months,

several international residencies for both visual art and

and then you realise you only did two paintings in a year. I

music (he plays a number of indigenous instruments, and

feel really content and very happy. There are challenges, but

has researched and recorded indigenous music in several

when I’m in this space – I got what I needed,’ he says. CF

countries). One of the his earliest artist residencies was at Boston Brandeis University in 2003, followed by a residency in New York in 2007. Here he encountered the work of Jean-Michel Basquiat, while trawling through the city’s museums. Basquiat’s work struck an emotional chord with Selibe, who counts him among his greatest influences:

Candice Berman Fine Art Gallery. Shop 8, Riverside Shopping Centre, 319 Bryanston Drive, Bryanston, 2191 011 463 8524 / 084 843 8302 / info@candiceberman.co.za / candicebermangallery.com

Creative Feel / July 2015 / 67

Giants of the Art World come to the Turbine Art Fair Yet another exciting new initiative forms part of this year’s Turbine Art Fair, when a small selection of works on paper from the Johannesburg Art Gallery’s astonishingly rich collection will go on show.

J

ohannesburg is home to a gold mine – of art. The Johannesburg Art Gallery (fondly known as JAG) owns one of the greatest collections of art in the country, a fact that is perhaps not fully appreciated, even by local Jozi-dwellers.

‘Johannesburg Art Gallery is sitting on the most fantastic

collection; it’s phenomenal,’ enthuses Susie Goodman of Strauss & Co. In a bid to highlight this, Karel Nel and Joni Brenner proposed a collaboration between JAG and TAF. The result: an initiative that will see work by some of the world’s most celebrated artists exhibited at the Turbine Art Fair in Newtown in July.

The exhibition will include art by the likes of Man Ray, Miro, and Pop legend Roy Lichtenstein; a lithograph by Salvador Dali; a postcard collage, dated 1981, by art duo Gilbert and George; and a number of works by Richard Hamilton, among others, all of which were selected by Antoinette Murdoch of JAG. Look out for a work by Lucien Freud, says Goodman – ‘it’s beautiful, a really lovely etching.

It’s a privilege to see his work.’

Also included is a reproduction of Picasso’s Tete d’Arlequin II (Head of a Harlequin II) (the original is currently showing in Venice). This provoked something of an outcry when it was purchased back in 1974, a year after the artist’s death. ‘Why should we, the public, be forced to have this odious original Picasso in our art gallery,’ wrote one outraged member of the

Roy Lichtenstein (American 1923-1997) Blonde signed, dated ‘78 and numbered 9/38 in pencil in the margin colour lithograph sheet size: 75,5 by 68,4cm.jpg

68 / Creative Feel / July 2015

public. ‘Anything more hideous, outrageous and vulgar would be hard to imagine.’ The purchase also prompted an annoyed

Chuck Close (American 1940-) Portrait of a Man signed, dated 1992 and numbered 55/75 image size: 64 by 53 cm colour lithograph

local figure to commission a large sculpture for a similar

Lucian Freud (British 1922-2011) Kai signed with the artist’s initials and numbered A/P in pencil in the margin etching image size 75,5 by 60 cm.

The exhibition also goes some way to educating

amount of money. Today the value of the Picasso far exceeds

the public as to the difference between a lithograph, a

that of the commissioned work. Stephan Welz and Nel

colour screenprint, an etching, and so on. ‘There’s lots

Erasmus, who were involved in the purchase of the original,

of terminology that would help people that are wanting

will use this point as a springboard for discussion around

to start buying art understand the methodology behind

buying art (July 7, at the Strauss & Co offices in Houghton), in

works on paper, which I think is a very important part

particular the importance of buying quality work by an artist

of buying such works – you want to know what you’re

with a good name.

buying’, says Goodman.

The exhibition serves another purpose, in that it focuses

JAG will also serve as a highlight on a bus tour that

on works on paper, created using techniques ranging from

will take TAF visitors to a number of leading Johannesburg

etching to lithography and beyond. ‘It’s part of a process of

galleries, including the Standard Bank Gallery, where

educating people about the wonder of works on paper, and

Pierneef: A Space for Landscape will be on show; and the

buying them – particularly young collectors,’ says Goodman.

Wits Art Museum, where Penny Siopis’ work will be on

‘The works on exhibition are not the million dollar

exhibition. ‘It’s a nice addition to the weekend at the

paintings that are sold by Christies in New York; but for a

Turbine, having the opportunity to learn a bit more about

new collector going to the Turbine Art Fair, who is going to

the art world. Go and see Pierneef, go and see Penny Siopis

look at lots of work on paper that weekend, it’s a fantastic

– two important South African artists – and then to go to

opportunity to see work by international names... Works on

JAG,’ says Goodman.

paper are a great way to start collecting.’

Don’t miss it! CF

Creative Feel / July 2015 / 69

Wayne Matthews

Dead Bunny Society The Dead Bunny Society (DBS) comprises four practicing artists with a wide variety of artistic and curatorial experience. DBS aims to create a community of artists that work towards common goals to support each other.

‘A

s DBS we propose to create an independent and fringe platform for various artists from varying disciplines, both established and emerging, finely curated for the TAF 2015, with the long-

term aim of creating various other exhibitions in pop-up locations in JHB, nationwide and abroad.’ The Dead Bunny Society consists of artists Dirk Bahmann, Stephan Erasmus, Peter Mammes, Neil Niewoudt.

Dirk Bahmann is an architect and artist who was born and lives in Johannesburg. He studied Architecture at the University of the Witwatersrand and obtained his qualifications, a BAS in 1997 and B.Arch in 2000, with distinction. His work spans and combines a number of diverse disciplines ranging from photography, physical

Ree Treweek, Basher

70 / Creative Feel / July 2015

computing, sculpture, and architecture. Central to his work

is the exploration of the existential dimensions of the nature of place of Johannesburg.

Stephan Erasmus has been a practicing artist for more than 20 years and has gained experience in the gallery industry by working in a wide variety of galleries that includes municipal, commercial and corporate galleries.

Through his experience in the art world, he has honed his skill as an educator, curator, sales person and as an artist.

In his artistic career he has established himself as a recognised artist represented in corporate, university, museum and private collections locally and internationally.

Peter Mammes has always had an interest in the macabre and absurd. He has worked as a puppeteer’s apprentice and a prop maker specialising in making hangman’s nooses for a few theatre productions. He has

Stephan Erasmus Splittext

exhibited extensively and has had several solo exhibitions.

Mammes went into hiding for a long period to develop a new technique and style, only exhibiting in a group show or two during that period but emerged reinvented with a completely new style of drawing. He travels extensively to find the imagery and patterns he uses in his work.

He collects medical instruments, specialising in birth instruments. Mammes has worked for months in different locations so as to assimilate the culture and surroundings of that particular society; first in Moscow, Russia and more recently in Varanasi, India, where one can see open air cremations. Mammes is influenced by Kathe Kolwitz, Helnwein, Van Gogh and Klimt.

Barbara Wildenboer OLOGIES archaeology

Neil Niewoudt is a visual artist and has been curating professionally since 2008 (Cape Town) until present (NIROXprojects, Johannesburg) where he functions as gallerist and has been project manager/curator for numerous independent projects.

His work has been included in exhibitions around the world in Berlin, San Francisco and Luxembourg, and locally in Port Elizabeth, Cape Town and Johannesburg.

His artwork primarily explores notions of subjectivism/ objectivism, the creation of symbols and sigils, asemic writing, using found books and collage to reinterpret the meaning that these objects and symbols hold for us.

Nieuwoudt’s work is held in prominent private collections both locally and abroad.

Confirmed artists exhibiting with Dead Bunny Society for TAF15 are: Jonathan Freemantle, Barbara Wildenboer, Craig Mcclenaghan, Ree Treweek, Laetitia Lups, Suzanne Erasmus, Wayne Matthews, Julius van der Wat, Jaco van Schalkwyk and Elizaveta Rukavishnikova, among many more.

The anchor sponsor of Dead Bunny Society TAF 2015 is Priest. CF

Creative Feel / July 2015 / 71 Niel Nieuwoudt

72 / Creative Feel / July 2015

Sauce Advertising 31692

home about current exhibitions selfies archive contact

Creative Feel / July 2015 / 73

Creative Feel

Creative Feel

05015

SA R36,90 (incl. VAT) - July 2015

THE VIBRANT HEART OF SOUTH AFRICA 9 771607 519004

05015

SA R36,90 (incl. VAT) - July 2015

9 771607 519004

05015

SA R36,90 (incl. VAT) - July 2015

9 771607 519004 400915 706177 9

OF SOUTH AFRICA THE VIBRANT HEART

JOBURG

JOBURG JULY 2015

51050

THE VIBRANT HEART OF SOUTH AFRICA JULY 2015

5102 YLUJ

5102 yluJ - )TAV .lcni( 09,63R AS

JOBURG

www.creativefeel.co.za

www.creativefeel.co.za

JULY 2015

Either Creative Feel print/Creative Feel + UK Gramophone print bundle/Creative Feel digital Contact us: subs@creativefeel.co.za 011 787 0252

www.creativefeel.co.za

CREATIVE FEEL MAGAZINE/CREATIVE FEEL & UK GRAMOPHONE MAGAZINE BUNDLE

Creative Feel

SUBSCRIBE

JOBURG THE VIBRANT HEART OF SOUTH AFRICA

az.oc.leefevita

Creative Feel / July 2015 / 75

People are living here Yes, people have been and still are living here somewhere in downtown Joburg. No, the book is not a documentary about these tenants, it is Roger Ballen’s Theatre of the Absurd. Ballen was shooting in an abandoned building that a number of destitute people, many of whom he is still in regular contact with today, had slowly annexed and taken over… ‘I started to work with the subjects in a theatrical, performative way. I was there to transform reality. You could call these installation photographs.’

Roger Ballen

O

Show off, 2000

Puppy between feet, 1999

riginally published in 2001 and named Best

was a crucial time in the American culture, and Berkeley

Photographic Book of the Year at PhotoEspaña

epitomised the counterculture like anti-Vietnam sit-in

2001, Madrid, Spain, this second edition was

protests and civil rights marches.

recently launched at the David Krut Bookstore in

Squeezed, 2000

After graduating he returned to New York and studied

Johannesburg with a conversation between the author and

paintings and then set off on a journey of some five years

Lore Watterson, Editor of Creative Feel.

around the world, observing and photographing different

This edition is a new and expanded version featuring 45 previously unpublished pictures from Ballen’s archive and a new essay by Elisabeth Sussman, Curator and Sondra Gilman,

places and people, which resulted in his first book Boyhood in 1979.

Also in 1979, Ballen decided not to exclusively work as

Curator of Photography at the Whitney Museum of American

an artist anymore and studied geology and did a PhD in

Art, New York.

Mineral Economy and Geology from the Colorado School of

Ballen was born in New York in 1950 but lived and

Mines. After graduating in 1982, he moved to South Africa

worked in South Africa for over 30 years. He was introduced

permanently. How does a Berkeley graduate arrive at such

to photography at the age of 13 when his mother started

an idea? And South Africa under apartheid, how did that

working as an editor at Magnum Photos. From 1968 to

affect his work? His answers were books of documentary

1972 he studied psychology at Berkeley, which of course

photographs like Dorps: Small Towns of South Africa (1986)

76 / Creative Feel / July 2015

and Platteland: Images of Rural South Africa (1994). Dorps is

Ballen explained that the white man was on the phone

the first and the only time he solely photographed buildings

and the black man kept coming up to him and asking

and in Platteland, ‘the concept was trying to photograph or

him to take his photo, ‘take my photo, take my photo!’ So

document an archetypal group of people living in the South

eventually Ballen agreed and with that the black man walked

African countryside, faced with revolution, fear, alienation,

over to him but then fell back right on the bed and ‘I got the

isolation, and rejection.’ Ballen provides the viewer with

shot, one go. I could never repeat that shot. It happened so

powerfully provocative portraits of marginalised, poverty-

fast I wasn’t sure I got it or not…

stricken communities and these photographs can make

‘In the picture and many of the Outland pictures, I had

for shocking viewing; the lives of their subjects something

been using a lot of wires in the photographs, it was my

too brutish for some to dwell upon and this new edition of

so called ‘wire period’. Sometimes the wires were there,

Outland is by no means an exception!

sometimes I nailed them up there…’

When Ballen was asked by a reviewer how his

Outland contains images of children who grow up there

relationship with his subjects changed over the years,

and images of animals which play an important role in the

Ballen explained, ‘I think it changed in Outland. Up to the

lives of the tenants, like the first main image in the book,

point when Platteland was taken, basically people would

Puppy Between Feet taken in 1999.

just sort of stand there. I wasn’t too interactive. I went to the house, found these subjects, and took photographs.

For some time before he took this photograph Ballen was attempting to get closer and closer to his subjects. But,

“Like Beckett’s dialogue, Ballen’s photographs are starkly minimal with anecdotal exposition and narrative detail reduced. In this way reality is trimmed down, exaggerated and heightened to the degree that it becomes surreal – sometimes dreamlike, sometimes nightmarish” – Elisabeth Sussman Balancing, 1997

Whereas in Outland, around ‘96 or ‘97, I started to interact

by his own admission ‘just couldn’t get there.’ A visit to a

with the environment and the subject to create these

New York camera store saw him pick up a recently traded-in

photographs.’ That continued until about 2003, with an

macro 90mm lens. ‘The first real close-up picture that I ever

interactive relationship with the subjects, almost a Beckett-

took in my career was Puppy Between Feet, with that lens.’

type Theatre of the Absurd.

When asked to comment on specific images in Outland,

He had seen this guy’s feet that rarely wore shoes because he couldn’t fit his malformed feet into them. When there was

Ballen shared the moments of taking the photographs like

a new litter of puppies in the building Ballen asked to take a

the cover image Show Off, taken in 2000, ‘When I look back

picture of the guy with them and he lay down on this bed and

at this one I always say to myself, well I was really lucky I got

put this puppy between his feet. ‘In a way it was his idea, not

it, but I was also really lucky that nothing happened to me. I

mine, but I immediately knew there was something there.’

was lucky to get out of there alive…

‘It was a dangerous place and it was one of the few

Outland is a series of tableaux vivant portraying the grey spaces in which the subjects of these photographs interact

times in my career where I felt very uncomfortable. As I was

and exist and since it was first published in 2001 it has in

working there I became aware that I had kind of become

many ways influenced Ballen’s subsequent works like Shadow

hemmed in. There were a lot of criminal types around, taking

Chamber (2005), Boarding House (2009), Animal Abstraction

drugs and a lot of bad people on the loose…’

(2011) and Asylum of the Birds (2014). CF

Creative Feel / July 2015 / 77

TAF and Sylt Emerging Artist Residency Award An important aspect of the Turbine Art Fair (TAF) for emerging artists is the TAF and Sylt Emerging Artist Residency Award. Creative Feel spoke to the 2015 winner of the Award, as well as the Sylt Foundation.

Sarah Biggs The Gloaming 2015 Oil on canvas 80x100 cm

78 / Creative Feel / July 2015

Sarah Biggs Gathering dust 2014 Oil on paper 20x29 cm

F

reedom requires space in which to be free. Freedom

sponsored by the Sylt Foundation is a key to solitude for an

also necessitates that an agent – often a human

artist of proven worth. This year, in partnership with the

being – carry out its innate duty as a free being. This

Turbine Art Fair (TAF), the Sylt Foundation has handed over

can be an immense responsibility, as Voltaire once

the key to the Island to Sarah Biggs as part of the new TAF

said; and Marvel Comic superhero Spiderman popularised.

and Sylt Emerging Artist Residency Award (TASA). But, as all

But the essence of freedom has to do with the blank page

members of newly independent nations know, freedom is not

of life on which one can do what they chose to. At the Sylt

a simple equation of addition.

Island in Germany, a particular kind of person is afforded the

‘A figure and a space,’ is how Biggs describes the thematic

opportunity to exercise their freedom: the artist. The role of

content of her paintings. She is a fresh graduate (2013) from

the artist in a free world has been explored at length in various

the University of Cape Town’s Michaelis School of Fine Arts

literature and TED Talks, but it still cannot be overestimated. It

and an emerging artist who is quickly garnering recognition

is the infamously lone illustrator of the world who possesses

for her work. She has been involved in a number of

the ability to paint a picture of humanity that can allow

exhibitions and has received a number of positive critiques,

people to connect with themselves. And as the world moves

these favourable reviews are the sine qua non of TASA,

faster and people are pummelled with information per diem, it

as an award for a young exhibitor at the art fair. Simple

may be one of the greatest contributions to present society to

mathematics would say that Biggs should do very well in

gift them with a space for contemplation. The artist residency

her time at Sylt. Biggs, however, recognises that she is still

Creative Feel / July 2015 / 79

‘figuring out what it means to be an artist.’ The freedom of

says, ‘With Sylt it comes from the heart,’ he could also be

the residency on the Island means that no output is required

speaking of Biggs’ work. Mokgope adds that freedom is the

of the visiting artist. It is an unique residency precisely

core thing. He says, ‘Because artists have been evaluated it’s

because it is not studio-based and the artist is actually

an interesting thing; you go there because you know that

not expected to have anything to show at the end of their

you deserve it’. While Biggs is still in sheer awe that she

tenure; in the case of TASA, this is two months.

is deserving of the award, she has busied herself with the

In the partnership with TAF this particular residency

creation of a completely new collection in preparation for

is another means by which the Turbine Art Fair creates a

the Fair so that she may truly feel that she has been worthy

meaningful way to further progress the young artists of South

of it. For her, it was a huge surprise but one that has filled

Africa. Along with the Fresh Produce Exhibition and Emerging

her with excitement about the future. She has been given the

Painters graduate exhibition, TASA is significant in its

space to imagine herself exceed her expectations as a young

recognition of a singular artist with the qualities of someone

artist in a difficult artistic landscape. Her work now, she says

who may be able to become a really big name. Sarah Biggs is

as she paints for TAF, is about ‘shifting it completely into the

simply full of pep. She has an animated vivacity and yet she

sublime and the political.’ With soft strokes or drips evoking

is also systematically spirited. This juxtaposition of energies

new feelings she is painting ‘the moments in between or the

makes her an interesting person and perhaps exceptionally

moment of contemplation or being lost.’

Sarah Biggs Day 37 (I know you’re out there) 2014 Oil on Canvas 60x100 cm

Sarah Biggs How long 2014 Oil on canvas 65x100 cm

suited for this residency – which is definitely not for just

The Little Prince, of the famous book, gets lost and seeks

anyone, nor any artist. She likes ‘little road-trips and camping’

to return to his rose – which because he owns, he wants

and works with keen discipline in a shared studio where she

to take care of – and grow into a responsible adult in his

thrives on getting critical feedback from other artists. Her

homeland. He travels to different planets and encounters

approach to painting is visceral and embraces chance. She

isolated adults on each of these who represent aspects of

says that painting is ‘a space that I sort of just lose myself in.’

society. He is disappointed to learn that the Businessman,

And yet, she works like the methodical lone figure from The

Drunkard and Geologist alike fail to comprehend their

Little Prince, gathering information from different spaces of

accountability to their world as free beings. The book ends

solitude to find answers in what she calls: ‘The field of origin’.

with the hope of the author that the Little Prince should

The Antoine de Saint-Exupery children’s story for adults

return with a happy story one day. Biggs’ hope is that she

is analogous to her and her work. She often paints gentle

will come back with an open mind after travelling. For now

discoveries of life made by a solitary geologist in a vast

she is just happy to have ‘recognition that comes from

field. This truth-seeker is an everyday superhero, using

someone other than your mom.’ But, as Mokgope observes

their freedom to search for answers that connect them

that on returning from the island, ‘People will tell different

to all existence. When Tumi Mokgope, Project Manager

stories,’ just as The Little Prince is a kind of catalogue of

80 / Creative Feel / July 2015

disparate solitudes. ‘It’s like being a first year student,’ Mokgope provides a useful analogy, ‘Suddenly you’ve got all this freedom and then you still have to choose to study.’

Poignantly, this is the difficulty with freedom: making the choice to continue to be better.

Indra Wussow (Sylt Foundation Director) articulates it similarly as ‘a place of beginnings: of ideas.’ But why go on a residency at all, some might ask. Biggs happily and fruitfully shares a studio space; and Sylt does not offer a studio space. Her answer is, ‘I have quite a busy schedule for the next few months… So it offers a different kind of space to step outside the studio that I know so well.’ So the space can be an alluring respite from the business of producing. The artist is not expected to create. Space can also be used as a term synonymous with ‘freedom’.

Couples often take space apart from each other in order

Sarah Biggs It’s all relative 2014 Oil on canvas 150x90 cm

Sarah Biggs The encounter I 2014 Oil on paper 20x29 cm

to see the world and their lives through fresh eyes and return, hopefully, with a greater appreciation of each other.

Going away on holiday is often an eye-opener for the little daily joys of living in a country, which one only realises by stepping away and experiencing another way of life. A residency means that a person gets to travel. They may meet other like-minded people with whom they may then reconnect at a later stage and return home with a new work-collaborator. They may expand their network in this way or simply take the opportunity to see art produced in a dissimilar environment. Mokgope acknowledges that the residency may simply be a quiet holiday for the artist. ‘Let’s say, for example, you have an artist who’s done a hectic show [like TAF] and he needs a break. We give that person a break: Freedom!’ CF Sarah Biggs Nervous twitch 2014 Oil on paper 20x29 cm

Creative Feel / July 2015 / 81

Joy of Jazz Returns This year’s annual Standard Bank Joy of Jazz Festival returns to its new home in the glitzy Sandton Convention Centre for the second year running and with a renewed three-year sponsorship commitment from its partner, Standard Bank. Central to the festival line-up is the undeniable depth and broadness of the music on offer.

Sara Tavares

82 / Creative Feel / July 2015

The 3 Cohens

T

he Standard Bank Joy of Jazz will herald in the

Davis alumnus – and needs little introduction to South

spring from 24 to 26 September with a blazing

African jazz lovers. He has won numerous awards for

line-up. This clear promise is evident in the list of

his ability to tread a line between the worlds of pop and

artists set to headline this year’s annual Standard

straight-ahead jazz. Miller and his all-star band will be

Bank Joy of Jazz Festival.

The curators have not only selected a judicious mix

touring his latest album Afrodeezia, recorded at slave-trade locations in Africa, the Americas and France to register

of popular favourites alongside great classics, they’ve

Miller’s statement against human trafficking and the power

also sought to stretch audiences’ imaginations with some

of music to overcome a history of hurt. He recently became a

visionary musical concepts and collaborations, along with

spokesperson for UNESCO’s Slave Route Project.

some enchanting jazz heavyweights. These include Marcus

Yellow Jackets have been dishing out their inimitable

Miller (USA), Yellow Jackets (USA), Hugh Masekela and Oliver

brand of jazz fusion with R&B leanings for over 30 years

Mtukudzi featuring Shai-Shai Mbira Ensemble (SA, Zim),

now. They’ve raked in many awards, and enjoy the respect

The 3 Cohens (Israel – USA), Matthew Halsall (UK), Nduduzo

not only of jazz purists the world over, but mainstream

Makhathini, Wanda Baloyi and Jaco Maria, Dwight Trible, Dee

audiences too. This turns each of their shows into a kind

Alexander (USA), William Parker (USA) and Peabo Bryson.

of homecoming wherever they perform. They are not just

Marcus Miller is best known as a jazz bassist, multi-instrumentalist and producer – who is also a Miles

a band loved by many, but a resilient musical institution.

If their second Mack Avenue Records release A Rise In The

Creative Feel / July 2015 / 83

Paolo Fresu, Trilok Gurtu and Omar Sosa.

Photograph by Elio Guidi

Dee Alexander

Dwight Trible

Estelle Kokot. Photograph by Richard Kaby

Marcus Miller

Road is anything to go by, the band remains as innovative as

to our shores before in various contexts. This marks their

it has always been.

first performance as a unit.

Hugh Masekela and Oliver Mtukudzi featuring Shai-Shai

Matthew Halsall is part of a new generation of jazz

Mbira Ensemble is an historic collaboration between two

musicians that mixes the strength of the old with the fire

giants of song in Southern Africa. Both Bra Hugh and Tuku

of the new. He is acknowledged as one of the UK’s brightest

have struggle pedigree in their respective countries and

talents for his work as DJ, bandleader and trumpeter.

undeniable international elder-statesman status. Their meeting

The current Standard Bank Young Artist, Nduduzo

at Standard Bank Joy of Jazz comes at a time when the power

Makhathini will perform his rooted music with an

of culture and music is most needed to heal strained relations

international band, showcasing why he is one of the

in lieu of the recent xenophobic attacks. The performance

country’s most exciting young jazz performers.

promises to blend kindred musical styles from Zimbabwe and

Dwight Trible is going to be a rare treat for fans of the

South Africa, which have fed into each other for generations. It

great jazz vocalist tradition. The New York based crooner is

will be as entertaining as it will be instructive.

credited as an influence on a new generation of singers that

The 3 Cohens is a rare family band made up of equally prodigious talents. Tenor saxophonist and clarinettist Anat Cohen, trumpeter Avishai Cohen and soprano saxophonist

includes the like of Gregory Porter. Trible delivers his sung jewels with dexterity akin to virtuoso instrumentalists.

Serious jazz listeners will need little persuasion to see

Yuval Cohen live up to the promise of genius that happens

William Parker who brings with him to the stage: Leena

when jazz meets the genome factor. The siblings have been

Conquest, Eri Yamamoto, Rob Brown, Lewis Barnes and

84 / Creative Feel / July 2015

Peabo Bryson

Nduduzo Makhathini. Photograph

by Adam McConnachie

Larry Carlton black and white

Matthew Halsall. Photograph

by Simon Hunt

Steve Dyer

Simphiwe Dana

Hamid Drake. Parker’s pedigree as an elder jazz bassist is

Commented Hazel Chimhandamba, Head of Group

legendary. However, it is the work he did with our own late

Sponsorships at Standard Bank, ‘We are excited to extend

Zim Ngqawana’s New York outfit, The Collective Quartet,

our 16 year association with the Standard Bank Joy Of Jazz

which makes him an honorary local and makes his visit a

Festival for a further three years until 2017; and to continue

musical homecoming.

to forge a close relationship with such an exciting and

Peabo Bryson is a global household name with a sure promise to captivate audiences with his irresistible sing

progressive genre of music – jazz.’

Peter Tladi, the man who puts the ‘T’ in T-Musicman

along hits. The multi-award winning singer-songwriter will

believes, ‘The sponsors have helped to minimise the impact

bring joy to all with new hits and unforgettable favourites

of cost for music lovers who would otherwise feel the pinch

like ‘Beauty And The Beast’; ‘Tonight I Celebrate My Love for

in their pockets. It democratises access to great music. Jazz

You’ and, of course, ‘A Whole New World’.

is, after all, the music of democracy.

Other artists performing include: Jimmy Dludlu and

‘Above all, it also makes it possible for us to put together

Friends: Sara Tavares (Cape Verde), Manou Gallo (Ivory Coast),

this major event and create jobs. The Festival’s contribution

Mingas (Mozambique) and Nono Nkoane (SA); Larry Carlton

to both the city and provincial economies speaks for

(USA); Steve Dyer (SA); Estelle Kokot (UK, SA and Switzerland)

itself.’ The 2015 Standard Bank Joy of Jazz is produced

with Chico Freeman, Herbie Tsoaeli, Kevin Gibson; Lee Oscar;

by T-Musicman and brought to you by Standard Bank, in

Stimela; Vusi Mahlasela; Simphiwe Dana; and of course Paolo

association with the Department of Arts & Culture and

Fresu, Trilok Gurtu, Omar Sosa (Italy, India, Cuba).

Gauteng Province. CF

Creative Feel / July 2015 / 85

Woman In Gold Director: Simon Curtis Starring: Helen Mirren, Ryan Reynolds, Daniel Bruhl, Katie Holmes Woman In Gold is the remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Helen Mirren), starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting Portrait Of Adele Bloch-Bauer I. Together with her inexperienced but plucky young lawyer Randy Schoenberg (Ryan Reynolds), she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the US Supreme Court, and forces her to confront difficult truths about the past along the way.

AT CINEMAS 31 JULY 2015

Books – recently published A selection of titles from international and South African publishers

J.M. Coetzee & the Life of Writing

By David Atwell Publisher: Jacana Media ISBN: 9781431421534

J.M. Coetzee & the Life of Writing is a ‘critical biography whose purpose is to read the life and work of its subject.’ It is not a biography in the style of John Kannemeyer’s J.M. Coetzee: A Life in Writing (2012), nor a ‘critical biography’ in the conventional sense. J.M. Coetzee is one of the most intriguing authors in all of world literature. Supple, razor-sharp, compelling, erudite: the adjectives pile up, but we seem to get no closer to the elusive heart of his fiction. Now, in J.M. Coetzee and the Life of Writing, David Attwell illuminates the extraordinary creative processes behind Coetzee’s novels from Dusklands to The Childhood of Jesus. Using Coetzee’s manuscripts, notebooks and research papers – recently deposited at the Ransom Center of the University of Texas at Austin – Attwell produces a fascinating story of the creative trajectory and the life out of which the fiction was engendered. He shows convincingly that all of Coetzee’s work is autobiographical, the memoirs being continuous with the fictions, and that his writing proceeds with self-conscious and never-ending reflection. David Attwell, who is Professor of English at the University of York, is one of the most sophisticated critics of J.M. Coetzee’s novels. His own writing about Coetzee has in fact become inseparable from Coetzee scholarship (he edited the seminal book of essays and interviews with Coetzee entitled Doubling the Point).

101 Detectives

The Fifth Heart

Green Lion

By Ivan Vladislavić

By Dan Simmons

By Henrietta Rose-Innes

Publisher: UMUZI

Publisher: Little, Brown and Company

Publisher: UMUZI

ISBN: 9781415206904

ISBN: 9780316198820

ISBN: 9781415206850

‘A private-eye convention and a tussle

In 1893, Sherlock Holmes and Henry

When a lion at a breeding park mauls an old

over a Pierneef. A young man’s unsettling

James come to America together to

school friend of his, Con steps in as the keeper

experience in the American South and

solve the mystery of the 1885 death of

of Sekhmet, the last remaining black-maned

a tragedy off the coast of Mauritius. A

Clover Adams, wife of the esteemed

lioness in the world. In a Cape Town where fences

bizarre night of industrial theatre and a

historian Henry Adams. Clover’s suicide

keep people and wildlife apart, park officials

translator at a loss for words.’ These are

appears to be more than it at first

and investors fret about their flagship big-cat

but a few of the fictions in 101 Detectives,

seemed; the suspected foul play may

project. And while Con grows steadily more

a new collection of short stories by Ivan

involve matters of national importance.

bonded to his enigmatic charge, a cult of animal

Vladislavić, one of South Africa’s most

Holmes is currently on his Great

lovers with obscure alchemical aims seeks to

celebrated authors. Twenty-six years

Hiatus – his three-year absence after

claim the lioness as their own. When she escapes,

and a whole oeuvre later, 101 Detectives

Reichenbach Falls during which time

Sekhmet engulfs the city’s imagination, stirring

showcases Vladislavić’s virtuosity as

the people of London believe him to

up rumours of terror and magic. In Con’s quest to

he bends and recasts this literary form

be deceased. Holmes has faked his own

track her down, he must enter the wilderness of a

in spectacular fashion. Ivan Vladislavić

death because, through his powers of

cordoned-off Table Mountain – and his own dark

is a novelist, essayist, editor and a

ratiocination, the great detective has

history. Henrietta Rose-Innes was awarded the

Distinguished Professor in Creative Writing

come to the conclusion that he is a

South African PEN Literary Award in 2007 and

at the University of the Witwatersrand.

fictional character.

won the Caine Prize for African Writing in 2008.

88 / Creative Feel / July 2015

CDs – new and exciting The latest releases to suit all tastes

Wagner: Der Fliegende Holländer Terfel | Kampe | Salmien | Altinoglu Deutsche Grammophon (DVD) 073 5173

Is he a human being or a ghost, this Dutchman, who should long since have been dead but who sails the seven seas as a damned soul until he is redeemed and released from his torment by the unconditional love of a woman? He is neither of these, says the Welsh bass-baritone Bryn Terfel, but he concedes that the figure exudes a sense of ‘something creepy’. And there is no doubt that it is a long time since such a spine-chilling Dutchman has been seen. German director Andreas Homoki has little time for forced attempts to update the action of the opera. Instead, he shows Wagner’s early opera for what it essentially is: a ghost story. Aesthetically speaking, Homoki has taken his cue from the silent films of the 1920s, the horror effects of which can be transferred to the stage without difficulty. The Dutchman, for example, appears just as quickly as he disappears. At times he even seems to be in two places at once. He is a magnetic presence both in history and on the stage of the Zurich Opera. Whenever he appears, the light changes, and above all there is a change in the people whom he meets. This was the third production of Der fliegende Holländer in which Bryn Terfel had sung the role of the Dutchman, and he already knew his Senta – Anja Kampe – from London’s Covent Garden.

LUX VOCES8

The French Collection Piotr Beczala

Cinderella Patrick Doyle

Decca 478 8053

Deutsche Grammophon 479 4101

Walt Disney Records 50087312312

Commenting on the title of the album

‘Piotr Beczala himself compares his career

Cinderella is a 2015 American romantic fan-

and choice of works, VOCES8 said:

as a leading opera singer to the road that

tasy film directed by Kenneth Branagh, from a

‘Warmth, radiance, guidance and

leads to Mount Everest. A singer can

screenplay written by Chris Weitz. Produced

comfort: from the pale glow of moon

“lower himself on to the summit from

by David Barron, Simon Kinberg and Allison

or starlight to the blaze of summer sun,

a helicopter and then die quickly as a

Shearmur for Walt Disney Pictures, the story

light has always been a symbol for our

result of the thinness of the air – or he

is based on Charles Perrault’s eponymous fairy

most basic human needs, both physical

can choose the slow and steady ascent”.

tale. Although not a direct remake, the film

and spiritual. In compiling the music

He comes closer than all his colleagues

borrows many elements from Walt Disney’s

for this album, we found ourselves

to the sort of romantic and youthfully

1950 animated musical film of the same name.

returning time and again to this idea of

dramatic French tenor once embodied by

On June 7, 2013, news confirmed that composer

the desire for comfort being expressed

César Vezzani, Georges Thill and René

Patrick Doyle would score the film, with the

through music. Composers of the

Maison. His Roméo, like his Werther, is

music having an emphasis on romance. Doyle

Renaissance era would of course draw

no mild-mannered or effeminate youth

has previously scored several Branagh films,

on sacred texts, where light is often

but an emotionally strong and passionate

including Hamlet and Thor. He has also scored

closely linked to hope, security and

man who unburdens himself with an

the Disney Pixar computer-animated fantasy

salvation, and our more contemporary

impassioned cri de cœur. In Faust’s aria he

film Brave. Doyle recorded the film’s score with

offerings follow in that tradition. Even

sings the climactic C not with a voix mixte

the London Symphony Orchestra at the Air

those pieces we have chosen which do

but, following in the tradition of Jussi

Lyndhurst Studios in London. The soundtrack

not explicitly reference light still hint at

Björling and Nicolai Gedda, with a lean and

debuted at No. 60 on the Billboard 200, selling

the solace which it provides.’

concentrated tone,’ writes Jürgen Kesting.

8 000 copies in its first week.

Creative Feel / July 2015 / 89

encore What is in your car’s CD player?

I use an app called Deezer, Tinariwen is currently one of my favourite artists.

If you could change one thing about yourself, what would it be?

I’m too scared to change anything, what if it doesn’t turn out that great? I prefer things as they are.

How have the arts industries in South Africa changed over the last ten years?

I think we’re a country with unique art and artists and over the years this reputation has grown internationally. There are great opportunities for young artists.

Name one thing you think would improve the arts and culture industry in South Africa.

Cultivate a culture in people, communities and businesses that love arts, love to live with it and that invest in it.

Louis Olivier during a cast. Photograph taken by Jurgen Marx

Louis Olivier currently co-owns and runs the Workhorse Bronze Foundry, and is very passionate about the practice of art and sculpture. Olivier had his first solo exhibition in 2009 and is currently preparing for his fifth at Lizamore and Associates in November this year.

Name three artworks that you love.

What is your most treasured possession?

My driver’s license and ID document.

What do you regard as the lowest depth of misery?

To be alone.

What is it that makes you happy?

I have got so much to be thankful for. When I reflect on that, I smile.

Describe a defining moment in your life.

The day I exchanged a suit and tie for a dirty apron in the studio.

That’s a difficult question, too many to name....

Field, Antony Gormley

What projects will you be busy with during 2015 and into 2016?

The end of the 20th century Joseph Beuys

Preparing for a solo exhibition in November 2015 at

Three-Piece Reclining Figure, Henry Moore

Lizamore and Associates

Name one artiste you would love to meet.

Completing the first edition of the Rand Merchant Bank

Would have loved to have met Henry Moore, but living:

‘Think bench’ commission

Antony Gormley.

What are you reading at the moment?

Name one goal you would like to achieve in the next twelve months.

Jim Collins: Good to Great.

Set-up a sculptor-in-residence programme at Workhorse

KINGJAMESII 157

e

DAILY SUNDOWNER CONCERTS DAILY SAF M BROADCASTS BEST O F JAZZ W IT H IK E PHAA HLA

NDUDUZO MAKHATHINI

SIYA MAKUZENI

BEATENBERG

STOCKHOLM JAZZ ORCHESTRA

RAY PHIRI

KUNLE MAYO

AURIOL HAYS

LIONEL LOUKE

SOUTH AFRICAN JAZZ CLASSICS

THANDISWA MAZWAI

MICASA

LINDIWE MAXOLO

AURIOL HAYS

THE BOULEVARD BLUES BAND

OLIVER MTUKUDZI

DAVE REYNOLDS & POPS MOHAMED

DON LAKA

BOKANI DYER QUINTET

Creative Feel / July 2015 / 91

92 / Creative Feel / July 2015