UFS Art Gallery: #PauseRecallRelook

#PauseRecallRelook

During the months of June and July, we will revisit a selection of exhibitions presented over the last 8 years. Please join us on a virtual journey where we pause, recall what has been done and take another look at art that has been exhibited at the Johannnes Stegmann Art Gallery. #PauseRecallRelook has been conceptualised in an effort to rethink, reevaluate and open up new conversations around the incredible artists and art we have been privileged to host. Featuring exhibitions by Peter Magubane, Nomusa Makhubu, Mohau Modisakeng, Sue Williamson, David Goldblatt, Diane Victor, Pauline Gutter, Sam Nhlengethwa, Andrew Tshabangu, and many more.

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Mohau Modisakeng | Lefa la Ntate 22 February – 31 March 2017, Standard Bank Young Artist 2016

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Lefa la Ntate represents a poignant moment of grieving, catharsis and critical response to the historical legacy of exploitation and current lived experience of many black South Africans.

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Mohau Modisakeng, Lefa 1 I (2016), Ink-jet print on Epson Ultrasmooth, 200 x 150 cm. Image courtesy of WHATIFTHEWORLD Gallery

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Mohau Modisakeng, Lefa 2 III (2016), Ink-jet print on Epson Ultrasmooth, 200 x 150 cm. Image courtesy of WHATIFTHEWORLD Gallery

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“Black people didn’t only experience violence as a physical threat but also on a political, economic, psychological level. My work responds to the complexities that come from such a history.” Mohau Modisakeng

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Mohau Modisakeng, Lefa la Ntate (2017), Details of installation, Johannes Stegmann Art Gallery

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“In Modisakeng’s work the personal is political….His images are not direct representations of violence, but powerful yet poetic invocations where the body is transformed into a poignant marker of collective memory.” WHATIFTHEWORLD Gallery

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Mohau Modisakeng, To Move Mountains (2015 – 2016), Installation stills from four-channel HD video, Johannes Stegmann Art Gallery

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“So it is often asked in public discourse: has the rainbow nation failed us? For the 34 mineworkers killed at Marikana, their families and the majority of South African’s living in poverty the answer would quite possibly be “yes”.” Candice Thikeson | exhibition opening speaker

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“Lefa la Ntate is indeed one of the most beautiful and poignant exhibitions I have seen. In this exhibition, we are confronted with black in its plethora of forms, bold and unapologetic.� Candice Thikeson | exhibition opening speaker

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Diane Victor littleHistory – a retroflection 9 July – 17 August 2018

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“littleHistory – a retroflection touches on the many themes covered throughout the prolific career of artist Diane Victor, featuring her characteristic barefaced and unapologetic style in order to capture the very essence of the world we live in today. Victor sheds a brazen light on the nature of man and contemporary South Africa, delving deep into the folds of politics, poverty, domestic and sexual violence, and the morally dubious state of the nation.” Andisa Shayi

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“…Perhaps, I make work that is quite serious and I look at serious issues, but it is very necessary, for me to make these images. I cannot solve the world but I can make images that expose issues and perhaps raise awareness to situations. This is important to me.” Diane Victor

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Diane Victor, Baited Four Horses series (2010), Etching, aquatint and digital print, 105 x 200 cm. Images courtesy of the artist.

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Diane Victor, Better the Devil You Know (2014), Charcoal and ash drawing, 127 x 151 cm. Image courtesy of the artist.

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Diane Victor, Scorched (2018), Hand coloured lithograph, Printed at e Artist Press studios, 56 x 76 cm. Image courtesy of the artist.

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Diane Victor, The Ones Who Ride and the Ones Who Walk (2017), Charcoal on paper, 93 x 143 cm. Image courtesy of the artist.

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Diane Victor, Showing Truth to Power (2017), Hand coloured lithograph, Printed at CCP Centre for Contemporary Print, Connecticut. 65 x 57 cm. Image courtesy of the artist.

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“Whether in simple line drawings or more complex compositions, Victor’s work is distinguished by its powerful iconography and an uncanny ability to disrupt complacency and disturb longheld beliefs or values. Her razor-sharp insight taps into the unravelling thread of our social fabric, teasing out each nasty truth and hidden horror; each poorly conceived ‘good intention’ that paves our road to hell.” Karen von Veh

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Diane Victor, Selected artworks from the Disasters of Peace series (2001 – present), Etching and aquatint on paper, 34 x 40 cm each. Images courtesy of the artist.

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“The images I am working with are taken from our daily media coverage of recent and almost commonplace happenings in our newspapers, on TV and on radio of social and criminal acts of violence and ongoing unnecessary deaths – occurrences so frequently that they no longer raise an outcry from our public…” Diane Victor

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Diane Victor, A Butcher’s Altar (2012), Smoke on glass on found frame.

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‘A Butcher’s Altar’ four smoke-on-glass portraits of notorious figures in history: Saddam Hussein, Joseph Goebbels, Muammar Gaddafi and Godfrey Moloi. Perhaps a reminder to us of the atrocities that humanity was capable of, and is still capable of today.

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“littleHistory is overwhelming at times. It tells hard-truths that are widely known, and possibly even more widely ignored because it is more convenient to do so. Diane Victor does what she does best with this collection: she confronts us with reality, and dares us not to look away. Or blink.� Andisa Shayi

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100 Plates

Curated by Marjorie Human & Angela de Jesus 9 – 15 July 2012 Photography by Mudboots Photography & Film

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Over 50 visual artists, contemporary designers and community arts initiatives consider the cultural, personal, decorative, ritualistic, sentimental and commemorative meanings of plates.

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Janine Allen-Spies, Caitlin Appelgryn, Ben Botma, Johannes Botma, Richard Letsatsi Bollers, Mbongeni Butelezi, Wilma Cruise, Elsabe Dalton, Davina de Beer, Piet Diradingoe, Angela de Jesus, Helena de Waal, Yolanda Els, Gordon Froud, Bronwen Findlay, Penny George, Dina Grobler, Gerrit Hattingh, Marjorie Human, Elrie Joubert, Marius Jansen van Vuuren, Carol Kuhn, Keiskamma Art Project, Sandy Little, Tefo Magasane and the Emandulo Arts Project, David Molapisi, Johannes Mosala, Nicole Munroe, Mothobi Mefane, Tsegofatso Moamogwa, Loki Maselwane, Busisiwe Mayise, Jabu Mbizane, Ntombifuthi Maphumulo, Bennet Ntsing, David Padi, Toni Pretorius, Ann Pretorius, Landi Raubenheimer, Jaco Sieberhagen, Spier Architectural Arts in Collaboration with Marthunis Wonder, Nikki Swanepoel, Makara Tsoenyane, Francesca van der Walt, Jan van der Merwe, Paulene van Tonder, Gillian Vermaak, Marguerite Visser, Adelheid von Maltitz

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The plate as utility object forms an almost unnoticed part of our everyday rituals, yet it carries a wealth of meaning. The shape, decorative style and material that it is made of, carry meaning of personal taste, sentiment and cultural heritage.

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Makara Tsoenyane, Difaha, Earthenware, 29 cm

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Spier Architectural Arts in collaboration with Wonder Marthinus, Inside out I & III, Mixed media mosaic, 30cm each

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Janine Allen-Spies, Deliverance, Still from the animated film

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Helena de Waal, You wear what you eat, Ceramic, 28,5 cm each

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Richard Letsatsi Bollers, Innocence I, Ceramic, 26cm

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Busisiwe Mayise, Hardwire basket, 31cm

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Jabu Mbizane, Hardwire basket, 41.5 x 41 cm

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David Molapisi, Wooden plate, Carved wood, 28 cm

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Dina Grobler, Interlacing cultures I & II, Terracotta, porcelain, raku and crochet, 24.5 cm each

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Penny George, Cacti Tesselations, Handmade woolfelt, terracotta and glass, 26 x 26 x 5 cm

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Jaco Sieberhagen, Child grant & Old age pension plates, Lasered steel and paint, 30cm each

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Landi Raubenheimer, Sheep tongue, Resin cast and found objects, 30 cm.

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Gordon Froud, Virus I, II & III, Ceramic, 30 cm

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Sandy Little, Dinner conversations – Cornier to Cronje, Digital drawings, 84 x 59 cm

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Yolanda de Kock, Meng jou met die semels, Mixed media, 25cm

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Mbongeni Buthelezi, Where is the plate?, plate?, Plastic on plastic, 244 x 122 cm

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“This exhibition is the accumulation and the playful juxtaposition of ideas and craftsmanship, functionality and art which meet up in unexpected ways and raise questions about the boundaries surrounding them.” Marjorie Human

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Nomusa Makhubu Intertwined 2005 – 2017 24 May – 23 June 2017

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Through the medium of photography Nomusa Makhubu explores issues of identity and particularly the issues of representation and self-representation.

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“How was it possible to subvert that hierarchy and re-write the political implications in the [colonial] photograph? Since they represent colonialism, should they simply not be erased from memory, forgotten, delegitimized? The women in the photographs that I selected had come to represent collectivities of women and men who have been subjected to the dehumanizing scientific gaze. The patronizing visual language in colonial photography had to be rudely interrupted.� Nomusa Makhubu response on her Self-Portrait Project

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Nomusa Makhubu, Inkosikazi (Queen) & Ntombi (Young Girl) from Self-Portrait Project (2007), Digital print on archival Litho paper, 106 x 72 cm.
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Nomusa Makhubu, He-stories I, II & III from Old Gaol series (2005), Hand processed colour photograph, 30 x 40 cm. Images courtesy of ERDMANNCONTEMPORARY


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Nomusa Makhubu, Amakhosikazi (Women) & Imicabango (Thoughts) from Trading Lies series (2006), Hand processed colour photographs, 30 x 40 cm. Images courtesy of ERDMANNCONTEMPORARY

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Nomusa Makhubu, Amahem’hem (Gossip/Rumours) & Ufakazi (Witness) from Trading Lies series (2006), Hand processed colour photograph, 30 x 40 cm. Images courtesy of ERDMANNCONTEMPORARY

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Nomusa Makhubu, Inquietude I (2009), Digital prints on archival paper, 60 x 100 cm (each). Images courtesy of ERDMANNCONTEMPORARY.


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Nomusa Makhubu, Nyembezi II from The Flood series (2013),
Colour photograph printed on Hahnemühle cotton rag paper, 60 x 79 cm. Images courtesy of ERDMANNCONTEMPORARY.

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Nomusa Makhubu, Nyembezi IV from The Flood series (2013),
Colour photograph printed on Hahnemühle cotton rag paper, 60 x 79 cm. Images courtesy of ERDMANNCONTEMPORARY

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“Makhubu has never struck me as one to collect hearts on Instagram; she wants her audience to step away from her images and give it a good think over. She makes it our collective responsibility to reflect on our history – and in exchange, she is prepared to take a first and brave step – by inserting herself into our uncomfortable colonial past.” Heidi Erdmann

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A struggle without documentation is no struggle

Photographs by Dr Peter Magubane from 1954 to 1994 13 August – 12 September 2014

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From the township streets to the hallways of power, Dr Magubane has spent more than half a century photographing the struggle against apartheid as well as other social issues. It is largely thanks to this type of heroic work that the atrocities of apartheid and the struggle by the people was documented, so all may learn from the past.

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Peter Magubane, The Young Lions, Soweto 16 June 1976. Image courtesy of Absa Gallery and the artist

On 16 June 1976, photographer Peter Magubane went into Soweto at the break of dawn. The protesting children came up the street to meet him and said, “Stop! We want no pictures.” Magubane replied, “A struggle without documentation is no struggle.”

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Peter Magubane, Soweto 16 June 1976. Image courtesy of Absa Gallery and the artist

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Peter Magubane, Black power, Soweto 1976. Image courtesy of Absa Gallery and the artist

Just before 16 June 1976.

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Peter Magubane, The green car, Soweto 1976. Image courtesy of Absa Gallery and the artist.

The infamous green car, a particular sinister visitor to the township, cruised around filled with armed men who fired indiscriminately on residents.

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Peter Magubane, Fleeing, Soweto 16 June 1976. Image courtesy of Absa Gallery and the artist

Demonstrators fleeing from teargas.

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Peter Magubane, Retaliation, Soweto 1976. Image courtesy of Absa Gallery and the artist

Students torch a police van in response to police opening fire on them.

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Peter Magubane, Orphaned, Soweto 16 June 1976. Image courtesy of Absa Gallery and the artist

Mother brutally killed by police – two boys left orphaned.

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Peter Magubane, Mourners, Soweto 1976. Image courtesy of Absa Gallery and the artist

Mourners tear-gassed by police while attending a funeral for those killed in the 1976 massacre.

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“June 16 made sure what we have today possible. June 16 was pressure. It helped change the system in the country.� Peter Magubane

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“I cut a hole in a bible to hide my camera. I cut a hole in a loaf of bread so I could take photographs without being seen. You have to be brave in everything.” Peter Magubane

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Peter Magubane, Europeans only. Image courtesy of Absa Gallery and the artist

A young girl with her nanny. Many of the children in segregated South Africa were often looked after by the nanny.

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Peter Magubane, Forced Removals: Sophiatown to Meadowlands, Soweto (I) Mid to late 1950s. Image courtesy of Absa Gallery and the artist

Over eight years, from 1955, the vibrant Sophiatown was flattened and removed from the maps of Johannesburg to give way for white suburbs.

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Peter Magubane, Women’s march. Late 1950s. Image courtesy of Absa Gallery and the artist.

Women’s march, demonstration against the pass laws.

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Peter Magubane, Pass Book. Late 1950s. Image courtesy of Absa Gallery and the artist

A demonstration against the pass book. It was a “chain� that shackled the lives and movements of black South Africans.

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Peter Magubane, Sharpeville (IV) 1960. Image courtesy of Absa Gallery and the artist.

Stretching into the distance are the coffins of the people massacred in Sharpeville.

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Peter Magubane, Child Labour: Bethal (I). Late 1950s. Image courtesy of Absa Gallery and the artist

Child labour was one of the effects of apartheid, as black children had no rights.

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Peter Magubane, Coal Yards. Image courtesy of Absa Gallery and the artist

A worker taking a break from the harsh working conditions in the mines.

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Peter Magubane, Demonstrations by students, University of the Witwatersrand 1980s. Image courtesy of Absa Gallery and the artist

Students of the University of Witwatersrand arrested for demonstrating against apartheid.

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Peter Magubane, State of emergency, Diepkloof, Soweto. Late 1980s. Image courtesy of Absa Gallery and the artist

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Peter Magubane, A country coming together, Cape Town, 11 February 1990. Image courtesy of Absa Gallery and the artist

Cheering crowds wait to greet Nelson Mandela outside the City Hall in Cape Town on his first day of freedom.

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“…we must not forget from where we have come, and the struggle that was fought for freedom. Peter’s exhibition reminds us of this. These were the pictures many of us did not see, and the stories we did not hear. Now we have the opportunity to do both, and that is very powerful.” Paul Bayliss

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Posting Presence by Dot Vermeulen 1 – 30 October 2015

Photography by Frikkie Kapp

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“Did not everything between us begin with a reproduction?”

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“Posting Presence essentially originated from a fascination with correspondences – specifically our constant correspondence with invisible others through the proliferating posting of visual media in urban and digital space.” Dot Vermeulen

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Dot Vermeulen, Anthropology, Painting installation, painting on plywood and monitor, 200 x 300 cm. Image courtesy of the Vermeulen Family

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Dot Vermeulen, Did not everything between us begin with a reproduction? Oil and inkjet on Arches, 105 x 67 cm. Image courtesy of the Vermeulen family

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Dot Vermeulen, Burn, Trash, Dodge, Oil and inkjet on fabriano, 110 x 68 cm. Image courtesy of the Vermeulen family

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Dot Vermeulen, Eyestone, Inkjet on Arches, 78 x 59 cm. Image courtesy of the Vermeulen family

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Dot Vermeulen, Death of the trespasser, Inkjet on Arches, 86 x 52 cm. Image courtesy of the Vermeulen family

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Dot Vermeulen, The wall I & III, Oil and inkjet on Arches, Variations 1 of 5, 89 x 62 cm each. Images courtesy of the Vermeulen family

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Dot Vermeulen, Posting walls under city bridges, DF Malherbe Avenue twin bridge below UFS & Nico van der Merwe Avenue bridge on Curie Avenue turn-off. Images courtesy of the Vermeulen family

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Dot Vermeulen, Desperately disciplined, Painting installation with animation. Video courtesy of the Vermeulen family

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Dot Vermeulen, Straight ahead, Inkjet on Arches, 62 x 49 cm. Image courtesy of the Vermeulen family

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“I became increasingly conscious of the means by which images move: from the imagination into a visible medium, from one medium to another, how and where they travel and how these movements influence their reception.� Dot Vermeulen

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13 September 1985 – 29 April 2015 In memory of Dot Vermeulen. Artist, Lecturer, Friend.

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The Blind Astronomer

Berco Wilsenach 29 May – 21 June 2013

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In The Blind Astronomer the visible night sky and cartographically correct star maps are presented as a tactile experience written only in Braille. Both sighted and blind remain in the dark. The sighted can only see the night sky for its superficial beauty; the blind has a more informative experience but cannot totally grasp the visual impact of the night sky.

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Berco Wilsenach, The blind astronomer: Manoeuvres in the dark, Table with movable glass panels, LEDs, sandblasted star maps & braille. Artworks courtesy of Spier Arts Trust and the artist

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Berco Wilsenach, The blind astronomer: Manoeuvres in the dark, Table with movable glass panels, LEDs, sandblasted star maps & braille. Artworks courtesy of Spier Arts Trust and the artist

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Berco Wilsenach, The blind astronomer: Stereographic shift, Sandblasted glass hanging installation. Artworks courtesy of Spier Arts Trust and the artist.


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Berco Wilsenach, The blind astronomer: Star atlas for the blind astronomer, Braille star maps on paper. Artworks courtesy of Spier Arts Trust and the artist

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“it is written in the stars… but only for those who can read it.” Through the metaphor of the blind astronomer, the artist explores ideas around access to knowledge through text and language as well as the primacy of sight in the aesthetic experience.

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“The project relies to a large extent on the synesthetic exchange of senses. You must feel to see to understand. Hopefully this will inspire people to start looking (and touching) again...even if it is only for a short while.� Berco Wilsenach

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Graduates

The annual exhibition of final year students from the Department of Fine Arts, UFS.

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Bontle Tau, The look of reading (after Garret Steward), Self-portrait digital print on fabriano. Graduates exhibition 2018

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Johandi du Plessis, Seeds of success, (voort)planting & Studium fragmentum, sollum verrere, found objects, pins, marigold seed, thread, paper labels, beeswax, linseed oil in entomology cabinets. Graduates exhibition 2015

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Andisa Luvalo, Sinobomi, Synthetic hair and metal. Graduates exhibition 2020

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Lyrene Kühn, Mimicry, digital drawing on fabriano. Graduates exhibition 2015

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Sphatho Mzantsi, Emva kwe Zindlu, Pitt charcoal on fabriano. Graduates exhibition 2020

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Petra Schutte, Terrain metamorphosis I & II, pigment ink and oil paint on fabriano. Graduates exhibition 2018

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Antoinette Strydom, Bowls, Digital print on photo paper. Graduates exhibition 2020

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Nyasha Ruvimbo Chikiwa, Lost in Translation, Plastic of Paris and ink. Graduates exhibition 2020

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Jessica Taute, Fetishizing the femme, Shoes and found objects. Graduate exhibition 2016

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Micaela Gabriela Balie, Blossoming, Colour pencils and embossing on Fabriano. Graduates exhibition 2019

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Kara Schoeman, Observing the observed, Interactive installation with glass and projection. Graduates exhibition 2017

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Teboho Mokhothu, Mpimpi, Still from the video. Graduates exhibition 2019

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Mandi Bezuidenhout, Segregation, Photographic print. Graduates exhibition 2013

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Jade Lara Hoffman, Studio Chimera, Digital prints with paint on fabriano. Graduate exhibition 2017.

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Dina Grobler, DNA, Mixed media installation with found chairs. Graduates exhibition 2013

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MinĂŠ Kleynhans, Ms. Gis, Ceramic. Graduate exhibition 2013

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ZandrĂŠ Botha, Psigrium, mixed media installation with table, rust, coffee, water and cotton on fabriano. Graduates exhibition 2015

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Ndukenhle Mpanza. Trees and the pavement – Water surfaces. Mixed medium drawing on paper. Graduates exhibition 2020

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Claudi Els, Keepsake, Transparencies, stockings and wax. Graduates exhibition 2020

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“The Graduate exhibition interrogates the broader concept of what it means to be human, but more importantly it takes a step beyond the usual frames of representation and recognition that we have failed to critique, deconstruct and problematise in our search for a more humane experience of everyday life.� Nadine Lake

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Unrest

Hasan and Husain Essop 4 March – 2 April 2015 Standard Bank Young Artist 2014

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“Oftentimes satirical and even outright humorous, the works in Unrest directly address Western stereotypes of Islam and South Africa—examining heavily relevant themes including radicalisation, gang violence, and xenophobia …” Danna Lorch

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Hasan & Husain Essop, Athlone Superette (2014), Lightjet C-print on archival paper, 114 x 193.5 cm. Image courtesy of the Goodman Gallery Athlone Superette, 2014 Lightjet C-print on archival paper 114 x 193.5 cm Edition of 5 + 2 AP

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Hasan & Husain Essop, 99 Steps (2014), Lightjet C-print on archival paper, 114 x 188.5 cm. Image courtesy of the Goodman Gallery 99 Steps, 2014 Lightjet C-print on archival paper 114 x 188.5 cm Edition of 5 + 2 AP

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“…a minimum of 200 shots are spliced together on the computer in order to complete a single piece.” Husain Essop

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Hasan & Husain Essop, 786 (2014), Lightjet C-print on archival paper, 114 x 193 cm. Image courtesy of the Goodman Gallery. 786, 2014 Lightjet C-print on archival paper 114 x 193 cm Edition of 5 + 2 AP

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Hasan & Husain Essop, Resurrection (2014),
Lightjet C-print on archival paper, 114 x 194.5 cm. Image courtesy of the Goodman Gallery Resurrection, 2014 Lightjet C-print on archival paper 114 x 194.5 cm Edition of 5 + 2 AP

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“Basically, whatever is in front of the lens is your stage. The camera never moves. Husain and I each get a chance to perform in front of the lens while the other releases the shutter and takes the photos. We might want to represent a gang war, a drug deal, or someone praying on the beach. When we are performing it is with an imaginary self.� Hasan Essop

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Hasan & Husain Essop, Freedom Fighters (2014),
Lightjet C-print on archival paper, 114 x 145 cm. Image courtesy of the Goodman Gallery Freedom Fighters, 2014 Lightjet C-print on archival paper 114 x 145 cm Edition of 5 + 2 AP

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Hasan & Husain Essop, Night Patrol (2014), Lightjet C-print on archival paper, 114 x 138 cm.Image courtesy of the Goodman Gallery

Night Patrol, 2014 Lightjet C-print on archival paper 114 x 138 cm Edition of 5 + 2 AP

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“It’s the gross misrepresentation of Muslim identities we see strategically being toyed with and reappropriated by the Essop brothers. The artists insert themselves as subjects in their images – “the Muslims”. ... Their pictures show how liberal societies preach peace and personal liberties – and then sponsor violence and deny the individuality of others.” Athi Mongezeleli Joja

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“It seems that through their pictorial essays, the Essops wish us to absorb the lessons of religious and racial tolerance and understanding. Their object lessons are salutary, and we should give their brilliantly executed photographs the careful study they deserve.� Sue Williamson

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The Mesh

Keith Armstrong 17 July – 11 August 2017

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The Mesh is an interactive and experiential exhibition which investigates how the ‘mesh’ of environmental, social and cultural ecologies form our worlds. It asks us to consider how we might re-imagine and implement concrete actions that will help our fragile ecologies and increase our time left in the future (Re-Future).

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Keith Armstrong, O Tswellang, Glass, fibre optics, wood, LED display. Text: Thabang Mofokeng, Acknowledgements: Dr. Ricardo Peach & Angela de Jesus, Programme for Innovation in Artform Development (PIAD), Anita Venter and Qala Phelang Tala (Start Living Green), Centre for Development Support, UFS

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O Tswellang, a small-scale hybrid form, created from a matrix of miniature cut glass bottles, displays the animated words of Thabang Mofokeng, a social change agent and leader of the HOT Rural Workers Collective in Botshabelo:

There is no time to complain, the only remaining time is to start implementing change. If not, we will perish.

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Keith Armstrong, Inter-State, Microfiche, microfiche reader, LED Signboard, transparent print, headphone sound. Sound: Prof. Roger Dean, Original Imagery: Stuart Lawson, Quotes drawn from Tony Fry’s refuturing philosophies.

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Displayed on a light-box and interactive microfiche, Inter-State takes the thinking of science and ‘futuring’ philosophies and presents it in a re-imagined version of the scientific periodic table of elements.

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Keith Armstrong, Shifting Dusts, Video, wood, beach sand, stereo sound. Choreography: Charlotte Vincent, Sound: Guy Webster, Dancer: TC Howard, Acknowledgements: Vincent Dance Theatre.

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Our world is literally and figuratively turning to ‘dust’. Like many minute things, dust is an often-unnoticed residue, with planetsize consequences. Shifting Dusts seeks to acknowledge the decay and renewal of our ecologies.

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Keith Armstrong, Seasonal, Metal, mechanics, motors, lights, 3D printed forms, organic materials, video, four-channel sound, interactivity. Co-direction/sound: Lawrence English, Coding: Luke Lickfold.

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Seasonal is an installation of interactive and robotic systems, with changing images and real time audio. It displays an array of seasonal field recordings and detailed observations of foliage and flowering phases.

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Keith Armstrong, Eremocene (Age of Loneliness), Glass, fibre optics, electronics, computers, water, lighting, mechanics, five-channel sound. Sound: Luke Lickfold, Video: Matt Davis, Acknowledgements: UTS Life Sciences (Prof. William Gladstone), Living Data, UTS Institute for Sustainable Futures (Tania Leimbach)

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A mysterious, glowing creature moves uncannily in fluid motion within dense blackness. Eremocene (Age of Loneliness) is a play on our fear of the ‘extinction of the human experience’ and the descent of all bio-diverse worlds, as we know it, into permanent darkness. It suggests that we might instead embrace artificially intelligent ‘things’, with little need for that which we are comfortable with.

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“In the lives we lead, nothing is individual; nothing acts alone. And so, whilst we may choose to remain unaware, misunderstand or deny ecology, we can never avoid the effects of its gradual destruction.� Keith Armstrong

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Footprints

Andrew Tshabangu curated by Thembinkosi Goniwe 1 July – 16 August 2019

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This survey exhibition covers twenty-five years of Andrew Tshabangu’s distinctive black-and-white photography. Tshabangu is drawn to people, urban landscapes and domestic spaces. He is fascinated by religious pilgrimages and devout ceremonies as well as the more mundane rituals like washing clothes, baking bread, carrying firewood, waiting for transport or brewing beer.

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“When I started photography, it was during the height of the violence in this country. The images that were being published in mainstream media were violent ones. As somebody from the township, I knew that violence wasn’t the only thing that existed in townships – I didn’t see myself in those images, I didn’t see my people in those images. There were other, quieter moments. So, I decided to dedicate myself to capturing those quieter images.” Andrew Tshabangu

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Andrew Tshabangu, Umbrella Lady (2004), From the series City in Transition, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, City Informal Trading Place (2004), From the series City in Transition, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Township - Reflection (2004), From the series City in Transition, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Brazier – Joubert Park II (2004), From the series City in Transition, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Traders - Apples (2004), From the series City in Transition, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Inside Bree Street Taxi Rank (2004), From the series City in Transition, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Inside Shembe Holy Sacrament (2008), From the series Bridges, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Ngome Midnight Mass II (2000), From the series Bridges, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Umqombothi (2000), From the series Emakhaya, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Ukhamba (2002), From the series Emakhaya, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Venda Traditional Dance (2001), From the series Emakhaya, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Boys Resting on the Boat (2005), From the series Water is Ours, Archival print. Image courtesy of Gallery MOMO.

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Andrew Tshabangu, Lovers at the Durban Beach (2016), From the series Water is Ours, Archival print. Image courtesy of Gallery MOMO.

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“Tshabangu’s photography is about the importance of making visible neglected and marginalised narratives, to put on screen images of people, places and things that in spite of their vulnerability and fragility exhibit resilience, endurance and hope.” Thembinkosi Goniwe

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Representations of Otherness and Resistance curated by Annali Cabano-Dempsey & Angela de Jesus 20 May – 19 June 2015

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Representations of Otherness and Resistance is an exhibition that investigates different ways in which contemporary artists contest ideologies associated with otherness. Artists address the politics of identity in a world where acceptance and rejection are shaped by power structures, and by past and present social constructs.

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Senzeni Marasela, Sarah Baartman remembered (2008), Linocuts, 11 x 30 cm (x4), University of Johannesburg Art Collection. Image courtesy of the University of Johannesburg.

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Rae Goosen, Sw.e.et 16 installation (2010), Raku, 21 x 84 x 174 cm, William Humphreys Art Gallery Collection. Images courtesy of the William Humphreys Art Gallery.

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Rae Goosen, Sw.e.et 16 detail (2010), Raku, 21 x 84 x 174 cm, William Humphreys Art Gallery Collection. Images courtesy of the William Humphreys Art Gallery.

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Lynnley Watson, Nanny Adelaide Myeke, Stoneware, William Humphreys Art Gallery Collection. Image courtesy of the William Humphreys Art Gallery.

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Mary Sibande, I have not, I have (2010), Digital print, 110 x 80 cm, University of the Free State Art Collection. Image courtesy of Gallery MOMO.

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Keiskammahoek Project (Designed by Nombuyiselo Malumbezo), African Guernica II & III, Embroidered textiles, 40 x 39 cm (x2), William Humphreys Art Gallery Collection. Images courtesy of the William Humphreys Art Gallery.

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Andrew Putter, Joao the Portuguese, From the series African hospitality (2009), Archival pigment ink on cotton rag paper, 74 x 52.6 cm, Photography and compositing by Tony Meintjes. Image courtesy of the artist.

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Berni Searle, In wake of, From the series Into the dark (2014), Archival digital print, 100 x 210 cm, University of the Free State Collection. Image courtesy of the artist.

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Paul Alberts, Louw Weppener se graf, Bethulie 1993 (2006), Archivally processed print, 42.5 x 28.5 cm, Oliewenhuis Art Museum Collection. Image courtesy of Oliewenhuis Art Museum.

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Paul Emmanuel, Video stills from 3 SAI: A rite of passage (2008), 14 minutes, no narration, Oliewenhuis Art Museum Collection. Images courtesy of Format Digital Production and Art Source South Africa.

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Zanele Muholi, Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg, From the series Being (2007), Lambda print, 86.5 x 86.5 cm, University of the Free State Collection. Image courtesy of the Stevenson Gallery.

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“… we should respond to this exhibition as if it were an invitation to gather around a site for ethical engagement, a site for forging human links across time and space with the Other.” Pumla Gobodo-Madikizela

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Memory & Make-believe

Elrie Joubert and Toni Pretorius 17 October – 9 November 2018

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Memory & Make-believe is a contemporary take on the vanitas genre which focuses on the passage of time, the fragility of life, the inevitability of death, and the endeavours of the living that continue regardless.

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Elrie Joubert, Bone Diary (2018), Mixed media and found objects, 83 x 37 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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“The act of collecting and an interest to turn the unexceptional into something precious is the basis of my artworks. Each object is reminiscent of a specific time, place and memory….” Elrie Joubert

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Elrie Joubert, Lepidoptera collection (2018), Mixed media and found objects, 81 x 42 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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Elrie Joubert, 29° 07 ’35.8 S · 26° 13 ’48.0 E (2018), Mixed media and found objects, 75 x 46 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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Elrie Joubert, Desiccate series (2018), Watercolour on Bockingford paper, 42 x 33 cm (each). Images courtesy of the artist. Photographs by Jano Myburgh.

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Elrie Joubert, Enshrined II (2018), Three colour silkscreen on Fabriano. Image courtesy of the artist. Photograph by Jano Myburgh.

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Elrie Joubert, Adrift series (2018), Mixed media, watercolour and driftwood, 29 x 28 cm (each). Images courtesy of the artist. Photographs by Jano Myburgh.

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Elrie Joubert, Nรณg Meer Haas (2018), Laser cut woodblock from ink drawing, 68 x 48 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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Toni Pretorius, Bone Nest (2018), Bone, maple wood and glass, 54 x 54 x 16 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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Toni Pretorius, Cycle II (2018), Pen drawing and watercolour, 57 x 57 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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“My work has grown from a pre-occupation with, and a longing for, an era that recognized the brevity of life and focused on human achievement through labour intensiveness, technical skill and meticulous artistry.� Toni Pretorius

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Toni Pretorius, Kus I (2018), Porcelain, driftwood, bone, teak wood, 94 x 45 x 20 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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Toni Pretorius, Jackal & Vulture (2018), Oil pencil on board, 41 x 35 cm (each). Images courtesy of the artist. Photographs by Jano Myburgh.

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Toni Pretorius, Ephemerals (2018), Monoprints, 31 x 66 cm (each). Images courtesy of the artist. Photographs by Jano Myburgh.

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Toni Pretorius, Three Wise Mice (2018), Porcelain, bone, teak wood, mirror and glass, 69 x 29 x 18 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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Toni Pretorius, Little Timers (2018), Porcelain and found object, 26 x 62 x 12 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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Toni Pretorius, Memento Mori Wreathe (2018), Porcelain, bone, maple wood and glass, 49 x 49 x 26 cm. Image courtesy of the artist. Photograph by Jano Myburgh.

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No More Fairy Tales

Sue Williamson

18 August – 16 September 2016

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No More Fairy Tales reflects upon the long-term effects of the violence of apartheid in South Africa, twenty years after the formation of the Truth and Reconciliation Commission. It focuses on the reality that the painful trauma of apartheid deeply affected not only those who had to live through it, but continues to be a defining factor in the lives of their children.

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“No More Fairy Tales, is derived from a quote by apartheid assassin Eugene de Kock describing the troubled South African situation in the eighties. Twenty years after the processes of the Truth and Reconciliation Commission, it is clear that there are still ‘no more fairy tales’.” Sue Williamson

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Sue Williamson, It’s a pleasure to meet you (2016), Two channel video, 25min. UFS Art Collection.

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It’s a pleasure to meet you is a conversation between Candice Mama and Siyah Mgoduka, two young people who have not previously met, but share the common experience of losing their father to an apartheid assassin at an early age. The two discuss their lives, how their fathers’ death has affected their families, and forgiveness.

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Sue Williamson, It’s a pleasure to meet you (2016), Two channel video, 25min. UFS Art Collection.

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Sue Williamson, It’s a pleasure to meet you (2016), Two channel video, 25min. UFS Art Collection.

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Sue Williamson, What is this thing called freedom?, 2016, Two channel video, 19min 25s. UFS Art Collection. Images courtesy of the artist and Goodman Gallery.

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In What is this thing called freedom? three generations of the women of the Siwani family talk about their lives. Grandmother Joyce describes the humiliations of apartheid. Mother Buli talks of student unrest in the eighties, and Buhle, a UCT masters fine art student, talks about the #RhodesMustFall and #FeesMustFall protests.

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Sue Williamson, What is this thing called freedom?, 2016, Two channel video, 19min 25s. UFS Art Collection.

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Sue Williamson, What is this thing called freedom?, 2016, Two channel video, 19min 25s. UFS Art Collection.

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Truth Games tells the stories of some of the most high-profile cases of the TRC. With the victim on the left and the perpetrator on the right, viewers are invited to move the text slats with phrases out of the testimonies of both. This reveals the often hidden, complex and shifting nature of the evidence.

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Sue Williamson, Truth Games: Family of Guguletu Seven - Why were you smiling - Capt. John Sterrenberg (1998), Colour laser prints, wood, metal, plastic, Perspex, 80 x 120 x 6 cm. Image courtesy of the artist and the Goodman Gallery.

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Sue Williamson, Truth Games: Linpho Hani ‘No Remorse’ Gail Derby-Lewis (1998), Colour laser prints, wood, metal, plastic, Perspex, 80 x 120 x 6 cm. Image courtesy of the artist and the Goodman Gallery.

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Sue Williamson, Truth Games: Melanie Magmoed - brother shot - Dolf Vermeulen (1998), Colour laser prints, wood, metal, plastic, Perspex, 80 x 120 x 6 cm. Image courtesy of the artist and the Goodman Gallery.

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No More Fairy Tales was presented in partnership with the project Trauma, Memory and Representations of the Past: Transforming Scholarship in the Humanities and the Arts, funded by The Andrew W. Mellon Foundation and led by Prof Pumla Gobodo-Madikizela. A public conversation was facilitated by the project.

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Student Exhibition

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Curated by the 3rd year students, the annual student

exhibition

showcases

the

best

artworks of 1st, 2nd and 3rd year students from the Department of Fine Arts, UFS.

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“It is this kind of freedom which is necessary for creative souls to express themselves without political, social, religious, institutional or any other ideological interference. Without this freedom there cannot be great art and great art is often the conscience of society.� Jaco Spies

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Igshaan Adams When Dust Settles 6 March – 5 April 2019 Standard Bank Young Artist 2018

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When Dust Settles is a large immersive installation of sculpture, textiles and used vinyl panels (“tapyt”) that layers the walls and floors of the gallery. The exhibition explores iconographies and objects of material culture central to the shaping of the artist’s identity as a gay, Muslim man and his upbringing in a ‘Cape Coloured’ community in the 80s.

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The vinyl was sourced from various sections of the Cape Flats. It is embedded with memory and can be interpreted as a record into the lives of its users.

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Igshaan Adams uses garden fencing and white cotton thread in his sculptures to reference his grandmother’s garden. Although abstract, the sculptural forms have an anthropomorphic quality - figures or creatures that sit between the real and imagined. They symbolized barriers from the inner and outer violence of everyday life experienced by Adams as a young homosexual man growing up in the 80s in South Africa.

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“You carry the scars, but no-one can see them. They are in our memories, and our bodies, but they remain unseen. The only scars that are left are sometimes small traces. Marks on the floors, walls, furniture, where violence happened … They are witnesses to good things too … the pains, the sorrows, and joys. These vinyl floors witness peoples’ lives. Someone lived their life on it; people were there.” Igshaan Adams

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Vessel 14 May – 20 June 2014

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An exhibition of ceramic works by Andile Dyalvani, Clive Sithole, Dina Grobler, Slyvester Mqeku, Toni Pretorius & Helena de Waal.

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“Clay for me is magical. If you learn its simple rules, it will serve you well, obeying your slightest touch, giving tangible

expressions

to

your thoughts, reflecting whatever you put upon it. When you pass it through the fire, the clay vessel will hold the impressions of your fingers forever!� Dina Grobler

Dina Grobler, Vessel of expectation I (2013), Earthenware, 15 x 26 x 15 cm.

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Clive Sithole, The Nguni kraal (2014), Terracotta clay hand built, burnished and carbonized, 40 x 30 x 30 cm

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“A vessel is the enduring symbol that is expressed as a vehicle for carrying all life and thoughts. The inside of a vessel can be filled with poignancy but most of the time we assume we already know what is supposed to be in the inside.� Helena de Waal

Helena de Waal, Inner voyage of thoughts (2014), Earthenware, 17.5 x 9.5. 17.5 cm

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Sylvester Mqeku, The secret lives of earth, air, fire and water, White earthenware cast in sand (earthcast), copper oxide, rutile and pewter glaze, 15 x 15 x 15 cm & 23 x 15 x 12 cm

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Toni Pretorius, Sweet-Wreathe for Juliet (2013), Porcelain, earthenware and glass, 77 x 18.5 x 77 cm

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“The influences of my surroundings have sentiment for the interests of my creative future.� Andile Dyalvani

Andile Dyalvani, Vessel (2014), Stoneware, 30 x 17 x 30 cm.

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Toni Pretorius, Peek-a-peeps (2013), Porcelain, Various sizes.

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Helena de Waal, Leaves and a flower (2013), Earthenware, 45 x 17 x 17 cm.

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Andile Dyalvani, Scarified open vessel (2014), Stoneware, 18 x 30 x 20 cm.

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Helena de Waal, The bloom (2014), Earthenware, 13 x 13 x 12.7 cm.

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Sylvester Mqeku, Of earth, water, fire and air (2014), Earthcast white earthenware, cobalt oxide & pewter glaze, 19 x 10 x 15 cm.

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Helena de Waal, Blue vessels for flowers l – Vll (2014), Earthenware, Various sizes.

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Dina Grobler, Driftwood between cultures I (2014), Raku, terracotta, porcelain & driftwood, 7 x 22 x 22 cm.

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Toni Pretorius, Small floral ukhambas (2014), Porcelain, Various sizes.

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Dina Grobler, Returning the favour II (2014), Porcelain and terracotta mixed with sea salt, sand and mud, 60 x 20 x 18 cm

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Pauline Gutter Purgatorium 9 March – 1 April 2016

Photograph by Frikkie Kapp

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A large scaled-up version of a spiked plastic nose ring that is used for the weaning of calves announces

the

exhibition,

Purgatorium’s

governing theme. The distress of purgatory is here understood in an earth-bound weaning context of stress and suffering. The paintings and the prints in the exhibition disseminate the tenor of the weaning metaphor of struggle for survival into the farming domains of the land, its creatures and its people. Dirk van den Berg

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Pauline Gutter, Purgatorium (2015), Resin, spray paint, stryrofoam, aluminium and centrifuge, 140 x 180 x 50 cm. Image courtesy of the artist.

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Pauline Gutter, The Hard Way I (2015), Charcoal on fabriano. 145 x 90 cm. Image courtesy of the artist and Absa Art Collection.

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Pauline Gutter, Succession (2015), Oil on flax linen, 215 x 168 cm. Image courtesy of the artist.

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“The impressive yet vulnerable bulls depicted in uncomfortable positions are a metaphor for the voiceless and powerless generation of food producers in their daily struggle for survival.� Pauline Gutter

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Pauline Gutter, Ahead (2015), One colour lithograph, 54 x 33 cm. Image courtesy of the artist.

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Pauline Gutter, Self-perfected (2015), Charcoal on fabriano. 88 x 70 cm. Image courtesy of the artist.

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Pauline Gutter, Shadow Barrier series (2015), Oil on canvas, Various sizes. Images courtesy of the artist.

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Pauline Gutter, Beast of Burden (2015), Oil on flax linen, 164 x 234 cm. Image courtesy of the artist.

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Pauline Gutter, Strait (2015), Oil on canvas, 122 x 92 cm. Image courtesy of the artist.

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“I think that Gutter might be proposing that we need to go through an uncomfortable weaning of our own. Her work is deeply challenging to the viewer both optically and psychologically. We need to leave the comfortable realm of seeing art as ‘easy’ and rise up to the challenge …” Andrew Lamprecht

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Blowing in the Wind curated by Carol Brown 13 - 31 July 2015

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The year 2015 begun with a series of international tragedies that reminded us that intolerance, fanaticism and violence still pervade our world. Not enough has changed from the 1960s when the idea that a more peaceful and tolerant society was possible took hold of the world. The lyrics of “Blowin’ in the Wind” by Bob Dylan say it all. The curatorial intention of this exhibition is to revisit these lyrics in the light of a half century since. Carol Brown

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Bongani Khanyile, Nasty partition, 2013, Concrete, steel, raku, wire, plastic and nails. Image courtesy of the artist.

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Fran Saunders, Threnody for the women of Marikana (2015), Woven crochet and steel armature. Image courtesy of the artist.

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Mthobisi Maphumulo, Voices at Marikana (2014), Oil pastel on brown paper. Image courtesy of the artist.

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Abrie Fourie, Tree, Pretoria, South Africa (2002), Lambda print on aluminium. Image courtesy of Oliewenhuis Art Museum.

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Jeannette Unite, Law & Ore: Smelter (2014), Mine detritus, pyrites, gold mine dust, road paint glass beads, Karoo sand, Kalahari sand, iron fines from Sishen in the Northern Cape, titanium dioxide, calcium, lead chromate, iron oxide, graphite, copper shavings, copper phosphate, Titanium and platinum slag in a polymer acrylic emulsion. Image courtesy of the artist.

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Several of the works on the exhibition deal with environmental and human exploitation issues including those surrounding the cornerstone of our country’s material wealth – the mining industry.

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Mary Wafer, Crowd I & II (2015), Painting on canvas. Images courtesy of the artist.

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Siobhan O’Reagain, Circle of Life (2014), Porcelain bone china and light box. Image courtesy of the artist.

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Vulindlela Nyoni, Murmuration (2014), Linocut on cotton, three colour layers, handcut Lino birds, individually inked. Image courtesy of the artist.

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The fragile banner installation by Vulindlela Nyoni depicting a murmuration of swallows is an ambiguous reminder of the power of solidarity, where a critical mass can alter the course of history, as we have seen with events such as the Arab Spring. It is also the affirmation of the importance of the individual in the crowd and alludes to immigration and issues of xenophobia against those seeking a different world.

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David Goldblatt Structures of Dominion and Democracy 13 July – 7 August 2015

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This exhibition is dedicated to the series “Structures�, one of the major bodies of works by David Goldblatt.

For over three decades

Goldblatt travelled South Africa photographing sites and structures weighted with historical narrative: monuments, private, religious and secular, that reveal something about the people who built them.

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These sites allow us a glimpse into the everyday. Each place is a repository, a landscape containing an epic story that has involved whole communities: the experience sometimes told through the memorialising of remarkable individuals.

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David Goldblatt, Marikana, North-West Province, 11 May 2014, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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On August 16 2012 South African Police shot striking mineworkers of the Lonmin platinum mines, killing 34 and wounding 78 within a radius of 350 metres of this koppie, where the men used to meet. Seventeen of the men, seeking shelter among boulders from police fire, were shot with seemingly lethal intent, some with their hands up in surrender, none was given medical assistance for his wounds. Beyond is the Lonmin smelter, which stood idle during the strike. Marikana, NorthWest Province. 11 May 2014.

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David Goldblatt, Headquarters of Volkskas Bank, Pretoria, 25 April 1982, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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Monuments to the Republic of South Africa (left), the late prime minister, J G Strijdom (right), and the headquarters of Volkskas Bank, Pretoria. 25 April 1982. In the early 1970s Pretoria’s old Market Square was given over to an opera house and to these structures symbolic of the Afrikaner struggle for national domination. Four “fiery horses” representing the four provinces, celebrated the fifth anniversary of the Republic declared under apartheid’s architect, HF Verwoerd in 1961. A 3.6 metre head commemorated the late JG Strijdom, “Lion of the North”, former prime minister and militant protagonist of Afrikaner domination. The remainder of the site was designated for commercial use and put out to tender. The only bid was from Volkskas, the “people’s bank” founded in 1934 to mobilise Afrikaner capital and break the monopoly of the “English banks”. At about 3 a.m. on 31 May 2001, the 40th anniversary of the Republic, the Strijdom head fell through the floor on which it stood, into a parking garage below and was shattered. Two homeless people sleeping nearby were slightly injured. There was no evidence of sabotage.

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David Goldblatt, When this is his, we will still be here. First National Bank, the professional people who care, 19 February 1989, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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When this is his, we will still be here. First National Bank, the professional people who care This was part of a campaign intended to recapture conservative Afrikaner business which the bank had lost as a result of its alleged financial support for an advert celebrating the 75th anniversary of the ANC. Sannieshof, Transvaal. 19 February 1989.

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David Goldblatt, Memorial to Nokuthula Simelane, Bethal, 14 February 2014, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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Memorial to Nokuthula Simelane, who became a courier for the ANC. Trapped by the Security Police in 1983, she was severely tortured, then murdered and disappeared. The sculpture is by Rohan Janse van Vuuren, Bethal. 14 February 2014. For some 32 years her family have tried to discover where her remains were buried or destroyed. Hers is one of many cases in which the ANC government appear to have hindered prosecution of known murderers in the Security Police. (See “Sunday Times� May 24 2015) Corne van Tonder vandalised the sculpture, was fined R15000 and ordered to pay R214000 for its repair.

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David Goldblatt, John Vorster Square, now Johannesburg Central Police Station, March 2012, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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A sculpture by Kagiso Pat Mautloa dedicated to the eight who died and the many others who were abused and tortured while in the hands of the Security Police, here, in John Vorster Square, now Johannesburg Central Police Station. March 2012.

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David Goldblatt, Wall of Names at Freedom Park and the Voortrekker Monument, Pretoria, 11 February 2014, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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The Wall of Names at Freedom Park and the Voortrekker Monument, Pretoria. 11 February 2014.

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David Goldblatt, The dethronement of Cecil John Rhodes at the University of Cape Town, 9 April 2015, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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The dethronement of Cecil John Rhodes at the University of Cape Town. On March 9 2015, Chumane Maxwele, a student of the university, threw human excrement over the statue of Cecil John Rhodes, which had “sat” undisturbed at the centre of the university’s upper campus for some 80 years. Later Maxwele spoke of having to pass “this brutal, racist, imperialist” every day and of the discomfort black students felt within the Eurocentric structure of UCT. The event greatly intensified the debate about transformation in many areas of the university’s life and policies. By a vote of 181 to one with three abstentions, the university’s senate voted to remove the statue, which was done on April 9. There followed several copycat incidents in which sculptures in different parts of the country had paint, not excrement, thrown over them.

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David Goldblatt, Frances Baard, militant trade unionist and leader of the ANC Women’s League, sculpted by Anton Momberg. Kimberley, 5 February 2013, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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Frances Baard, militant trade unionist and leader of the ANC Women’s League, sculpted by Anton Momberg. Kimberley, 5 February 2013. Born in 1909 (some say 1901) she was a teacher, domestic worker and factory worker. She helped draw up the Freedom Charter, was one of the leaders of the Women’s march against Pass Laws to the Union Buildings in 1956, and went on trial for treason with Nelson Mandela and others in 1956. She was arrested in 1960, again in 1963 when she was held in solitary confinement for 12 months, and again in 1964 when she went to prison for five years for her ANC activities. After release in 1969 she was banished for two years. She died at Mabopane in 1997.

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David Goldblatt, “Afskeid” – Farewell – 11 October 1899”, Women’s Monument, Bloemfontein, 26 December 1990, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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“Afskeid” – Farewell – 11 October 1899” a Boer leaves his wife and child to join his commando at the outbreak of the South African War (18991902), Bloemfontein. 26 December 1990. In the background is the Women’s Monument in commemoration of the women and children who died in that conflict. Danie de Jager sculpted Afskeid, Anton van Wouw, the Women’s Monument.

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David Goldblatt, Unity is power: Let us be united, is a carving in wild fig by Noria Mabasa, on the campus of the University of the Free State, Bloemfontein, 14 March 2013, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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Unity is power: Let us be united, is a carving in wild fig by Noria Mabasa, on the campus of the University of the Free State, Bloemfontein. 14 March 2013 This is one of a number of works commissioned by the university after some Afrikaner men students were alleged to have urinated into the food of some Black workers. It is hoped that this “Sculpture-on-Campus” project would “promote greater understanding, respect and appreciation of cultural differences” among staff and students, and that it would instil a sense of belonging within them.

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David Goldblatt, Duncan Village, 21 October 2013, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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East Bank Location became Duncan Village when Governor-General Sir Patick Duncan inaugurated a housing scheme there on September 21 1941, and unveiled this namepillar. 21 October 2013. “There was an impressive demonstration of enthusiasm and loyalty by the large Native gathering.” In his address Duncan said, ‘...Municipalities in many parts of the country are doing a great deal for the Native people, and the Government is doing all it can to help the municipalities. But the Natives can also do much to maintain satisfactory standards in their locations. ...the unsatisfactory conditions in town locations were in a large measure due to their being overcrowded by the influx of Natives who were surplus to the labour requirements of the towns...The towns can employ only a limited number, and when that number is exceeded, not only does the rate of wages drop but the workless Natives become dependent upon those in employment...Conditions of overcrowding and unemployment bring many social evils...You can do much to alleviate the position by discouraging this drift from the country of Natives other than those who come to the town to take up definite employment...’ ” Daily Dispatch 25 September 1941.

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David Goldblatt, The grave of Sarah Bartmann, near her birthplace, Hankey, Eastern Cape, 17 October 2013, Vintage silver gelatin print. Image courtesy of the Goodman Gallery.

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The grave of Sarah Bartmann, near her birthplace. Hankey, Eastern Cape. 17 October 2013. Little is factually known about her life and death. She is said to have been a Khoi woman born in about 1789, possessed of the protruding buttocks and elongated labia said to have been found among Khoi women. She was taken to England in about 1810 and for four years was exhibited as a curiosity in Britain, whether voluntarily or under duress is not certain. She refused to display her genitals. In 1814 she was taken to France where, again, she became an exhibit. After her death in 1815 her skeleton, preserved brain and genitals became museum exhibits in France until 1974 when they were withdrawn and a cast was shown. Eventually, at the request of Nelson Mandela her remains were returned to South Africa and buried here in 2002. A two-metre high steel picket fence encloses her grave. In 2015 a stone, next to the grave, bearing her story was defaced with paint.

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“From time to time over the years, I have photographed South African structures … In the belief that in what we build we express much about what we value, I have looked at South African structures as expressions and declarations of values. They speak of our ethos.” Photograph by Warren van Rensburg

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In memory of David Goldblatt

29 November 1930 – 25 June 2018

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#PauseRecallRelook To all the artists, curators and partners we have been privileged to work with, thank you for your commitment and generosity in making every exhibition so vibrant. To every staff member, student, supporter and art lover who walked in the door – it is only through you that the work we do finds meaning. We look forward in sharing more with you ‌ Angela de Jesus | UFS Art Curator

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Johannes Stegmann Art Gallery: Sasol Library, University of the Free State, 205 Nelson Mandela Drive +27 (0)51 401 2706 • artgallery@ufs.ac.za

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