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 5>

CONTENTS
SPOTLIGHT

16 > Removing the masks of racism, prejudice and

stereotypes.

38 > The making of 1910-2010: From Pierneef to

Gugulective

56 > SPace: Currencies in contemporary African art

68 > Of consumption and consequence

78 > Mthethwa’s lens bares the colourful truth of his

subjects

96 > Arnaldo Pomodoro and Edoardo Villa:

A sculptural dialogue

104 > A view from the South

6>

114 > Atelier 1731: Disintegration of visual memory

COLLECTIONS

124 > Everard Read leaps into the future with CIRCA on
Jellicoe

134 > Standard Bank Gallery’s commitment to cultural

heritage

146 > UNISA Art Gallery

153 > Arts at the North-West University

POP

162 > Art in motion: The Dwelling Lab

174 > World Premiere of Jeff Koons’ BMW Art Car

 7>

189 > South African film wins at Tribeca

192 > Life, Above All: SA film a hit at Cannes

196 > SA’s ‘zef’ trio thrash music scene

PATRONS

205 > Investing in the rebirth of Braamfontein

215 > Sanlam Private Investments is committed to

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 9>

CREDITS
PUBLISHER > ADMINISTRATION & ACCOUNTS >
Cameron Bramley Claudia Madurai & Michelle Swart
cameron@designmagazine.co.za
CREATIVE DIRECTOR >
EDITOR > Jacques Lange
Jacques Lange
jacquesL@iafrica.com DESIGN & LAYOUT >
Bluprint Design
CONTRIBUTORS >
Janine Erasmus, Bev Hermanson, Riason Naidoo, Cover image by Anri Theron

Nosimilo Ramela, Nicky Rehbock, Stacey Rowan,

Suné Stassen, Nosimilo Ramela PUBLISHED BY >
DESIGN>INFORMATION

SALES TEAM > Tel: +27(0) 82 882 8124

Geri Adolphe, Rachel Harper, Chene Madzvamuse, Fax: +27 (0) 86 678 8448

Jeff Malan www.designmagazine.co.za

© 2010 DESIGN>INFORMATION
PRODUCTION ASSISTANT >
ISSN 1814-7240
Charl Lamprecht

DESIGN>ART is produced by DESIGN>INFORMATION. No material may be reproduced in part or whole without the
express permission of the publisher. No responsibility will be accepted for unsolicited material. The publisher accepts no
liability of whatsoever nature arising out of or in connection with the contents of this publication. The publisher does not
give any warranty as to the completeness or accuracy of its contents. The views and opinions expressed in DESIGN>ART
are not necessarily those of the publisher, its endorsers, sponsors or contributors.
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PUBLISHER’S NOTE
Publishing DESIGN>ART is an idea that has been a
brewing in my mind for many years. Puzzled by the
artificial barriers that often separate the design
and art industries, we introduced art and craft into
the editorial content of our stable of design publi-
cations in 2008. Yet, I felt that this was not good
enough because it still did not put art and design
on an equal footing. And so the DESIGN>ART idea
kept on brewing … slowly.
As with most things, I needed an exceptional reason
or profound experience to make DESIGN>ART a real-
ity. My profound experience came on a Monday in
the latter months of 2009 at the Johannesburg Art
Gallery (JAG) when Antoinette Murdoch, the director
and chief curator, walked me through the amazing
collection of time-chilled art. I was fired-up by her
passion to pull wonders out of the City’s cash-
wrapped priorities to fix the ailing building, restore
the invaluable collection and implement new projects
that would give joy and intellectual stimulation to
the new demographic of art lovers that that live
around JAG.
That fateful day was a turning point. DESIGN>ART
was born with a roar in its throat, sounding out
those who fear the run-down Joubert Park precinct
where JAG is located, which for some is heaven and
home.
13 >
DESIGN> has since become a befitting media partner
of JAG and we have collaboratively developed a solid
and inclusive strategy that promotes JAG’s activities
and rejuvenation programmes through our online
resources as it celebrates its centenary of collecting
art in 2010 and the centenary of the landmark build-
ing designed by Edwin Lutyens in 2011. And so JAG
no longer has any borders and all people, paupers,
pompous and the passionate are welcome. Where
else in Joburg could we walk amongst an art collec-
tion that is that old, worth a billion Rand, housed in
such a humble, humming and vibrant place? Perhaps
the Tate. Mmm.
But, DESIGN>ART is not just about JAG. It’s about
promoting art and its close relationship to design
from all over South Africa, the African continent
and the world. This launch edition, spanning 21 arti-
cles and more than 231 pages, is merely a glimpse
of what we are planning for the future. I thank all
who have contributed and supported our efforts in
launching this insightful and eloquently designed
launch edition. Art this way >
Cameron Bramley
Publisher

EDITOR’S
FOREWORD
FOREWORD
This launch edition of DESIGN>ART has been a
work of passion for the publishing team and we have
been working on it for the past nine months. During
this time we grappled with many questions: Does
the arts community need yet another magazine and
how will it be different from others in the market-
place? How do we satisfy the requirements of the
current readers of the DESIGN> stable of publica-
tions who expressed a specific need for more editorial
featuring the fine arts? How do we bridge the tradi-
tional gaps between design and art? More important-
ly, to whom and how should we pitch the editorial
angles and writing style to satisfy the unique require-
ments of our diverse readership?
Our response: Listen to our current readers. Let the art
speak for itself. Allow contributing writers to use the
tone that they are most comfortable with. Don’t get
bogged down by conventions set by other publica-
tions – we are not interested in competing with others.
Make art life and make it live.
And so, DESIGN>ART became a reality. The 21 articles
in this edition are structured to cover four areas:
Spotlight, Collections, Pop and Patrons.
Spotlight features current seminal exhibitions in-
cluding Without Masks: Contemporary Afro-Cuban
15 >
Art , 1 910-2010: From Pierneef to Gugulective ,
SPace: Currencies in Contemporary African Art and
eight others. We also look how the Everard Read
Gallery recently expanded its facilities to accom-
modate the requirements of the 21st century.
Under the Collections theme, we focus on three
South African collections: Standard Bank, UNISA
and North-West University.
Our Pop section focuses on popular culture. In this
section we address automotive art, film and music.
The highlight is surely the feature on Die And-
woord, which poses confronting questions related
to stereotypical cultural categorisation and the
emergence of the ‘Zef-movement’.
In the Patrons section we acknowledge companies
that support the arts in a big way. These companies
– of which four are featured – are not directly involved
in the arts, yet they commit substantial portions of
their CSR budgets to benefit cultural development.
We wish you a great read. >
Jacques Lange
Editor
16 >
In May 1994, Nelson Mandela, in
his historic inauguration speech as
president stated: “We enter into
a covenant that we shall build a
society in which all South Africans,
both black and white, will be able
to walk tall, without any fear in their
hearts, assured of their inalienable
right to human dignity – a rainbow
nation at peace with itself and the
world.”
Juan Carlos Alom, Sin Palabras (Without words), 2008. Digital laminated on PVC .
By Stacey Rowan
It’s been 16 years since the end of
apartheid yet, many sceptics still
speculate about how long it would
take South Africa to achieve the
metaphoric ideals that Mandela
so profoundly summarised. With
racism and stereotypes prevailing
in the minds of many, there are still
a myriad of difficulties that need to
be addressed. Failure to discuss
and educate people about these
17 >
18 >
matters, pretending that they do not exist,
and sweeping matters under the carpet,
will result in the perpetuation of prejudice,
othering and prohibiting the actualisation
of the country’s rainbow ideals.
Making its international debut at the Jo-
hannesburg Art Gallery (JAG), the Without
Masks: Contemporary Afro-Cuban Art exhi-
bition aims to address some of these so-
cietal disjoints by removing the artificial
masks that often hide constructive debates.
The exhibition explores two main themes
that link the histories and cultures of Cuba
and Africa. Firstly, it removes the mask on
the ongoing issue of race within contempo-
rary Cuban society and secondly, it removes
the mask on African religious beliefs and
practices which thrive in Cuba today, having
been brought to the island by African slaves.
Without Masks: Contemporary Afro-Cuban
Art, running from May to August, was ini-
tiated in late 2007. The exhibition is the
flagship of an engaging and jam-packed
programme of shows that JAG is staging
during the next two months in celebration
of the world converging in South Africa
for the 2010 FIFA World Cup. Considering
that it is the first time that the World Cup
is being held on African soil, the Without
Masks exhibition’s themes of prejudice,
racial stereotypes, racial discrimination
and racism are very relevant. By selecting
Without Masks as its flagship show, JAG
made a brave choice and broke ranks with
many other local cultural institutions and
galleries who opted to focus on more pop-
ular curatorial themes such as soccer.
DESIGN>ART secured an inclusive inter-
view with the renowned Cuban poet, art
critic and curator, Orlando Hernández, and
Antoinette Murdoch, director of JAG.
Hernández believes, as the title denotes,
that this exhibition is about removing our
masks, showing our faces and discussing
issues that are clearly existent in our society,
but that are silenced or insufficiently dis-
seminated.
Without Masks includes artworks that
reflect controversial and conflicting aspects
of the Cuban national reality – a supposedly
egalitarian society – that has been silenced
or ignored for a long time. Problems related
to race, stereotypes and religion continue
to affect the black and mulatto population
of Cuba even to this day and indirectly affect
the country’s society and culture. The same
can be said about South Africans, and
Africans alike.
The exhibition, which aims to show how
Cuba’s art landscape is influenced by its
African heritage, also strives to fulfill its
moral and political obligations to facilitate
reflection, mediation and discussion of
the problems related to issues that per-
petuate othering. The purpose of the ex-
hibition is to create a broader understand-
ing whilst making a concerted contribution
to finding future solutions to address
these very issues.
“With this exhibition, it was important for
the viewers of the artworks to engage
with the message that the colour of skin is
Armando Mariño, Reason, undated. Oil on canvas. Douglas Pérez, Güiro (Gourd), 2007. Oil on Canvas. 70 x 50 cm.
19 >
20 >
 Yoan Capote, El Beso (The Kiss), 1999.
Installation. Bronze with different patina,
Jose Bedia, Kindembo Sarabanda Malongo Yaya Arriba perfume essence and sponge.
21 >

Ntoto, 2009. Acrylic on canvas. 182 x 464 cm. 7.5 x 4 x 4.5 cm (each piece).
22 >

less important than the colour of cul-
ture. In life, nothing should be related
to a skin colour. From my point of view,
you can be a white woman who does
things or make things that places or
contextualises you in the framework
of Afro-Cuban culture. No matter what
race or skin colour you are, you can
TOP: Belkis Ayón Manso, Perfidia (Perfidy), 1998. Collography on heavy paper. 200 x 2520 cm (7 sheets of 100 x 70 cm each).
be in the Afro-Cuban culture,” says
Hernández.
Not only did South Africans, and Afri-
BOTTOM RIGHT: Rubén Rodriguez Martinez, Cortar los Paños, 2005. Oil and charcoal on paper. 70 x 100 cm.
cans, especially the black population,
experience the wrath of the apart-
heid era, but other countries like Cuba
also suffered under racial segregation
and racial discrimination. “Racism
during the apartheid era was the most
BOTTOM LEFT: Rubén Rodriguez Martinez, Mantos, 2002. Lithograph. 70 x 100 cm.
shocking situation in South Africa.
Racism still exists today in South Afri-
ca and in Cuba. There is a stereotype
implanted in the minds of people that
black people have big buttocks and
just play on drums. People do not
realise that they are still perceiving
the black population as a stereotype.
The theme of the artworks [included
in Without Masks] is not about eth-
nicity, it’s about politics. There is a
relationship, a commonality, between
South Africa and Cuba in terms of
shared politics and racial issues,”
says Hernández.
With the themes being of a controver-
sial nature, it should not to be assumed
that the exhibition focuses on black
23 >
African empowerment. Hernández
explains: “Funnily enough, many of
the artworks in the exhibition were
created by white people. The artworks
do not represent, nor are they a rep-
resentation of a ‘black movement’.
It’s about everyone, blacks and whites,
being a part of the Afro-Cuban culture.
With people, it’s about a closeness,”
adds Hernández.
These themes have also been broad-
ened to encompass other unusual
aspects such as the artistic represen-
tation of the political-military presence
of Cuba in wars in Africa, the incorpo-
ration of new African figures and ritual
traditions in our religious practices.
Not only do the themes connect Cuba
with South Africa, but there are other
distinct commonalities between these
two places that are evident in the
works on display. “The artworks ad-
dress themes of racism, religion and
the Angolan war, among others. South
Africans and Cuban soldiers fought
side by side in the Angolan war. It is
something that the people of South
Africa and the people of Cuba have
in common,” says Murdoch.
Supported and financed by South
African-born businessman and art
collector, Chris von Christierson, the
exhibition was created from the idea
that a collection of Cuban art would
24 >

show the traces of Africa in Cuba’s
culture. We cannot understand Cubans
without taking into account their
African roots and influences. African-
based religious systems and rites
have had a profound impact on Cuban
music, linguistics, art and literature.
The works shown in Without Masks
all demonstrate some distinct inter-
section of the Cuban experience with
African cultural beliefs.
The 26 contemporary Afro-Cuban
artists represented in the exhibition
reveal the diversity of Cuba’s culture,
whilst they each capture their own
point of view that reflect their own
rich experiences. The artists come from
various generations and movements
Roberto Diago Durruthy, Carmen III, 2009. Mixed media on canvas. 200 x 150 cm.
expressing the widespread landscape
of Afro-Cuban art. “Our interest when
selecting the artworks, focused be-
yond the aesthetic, favouring the
originality and profoundness of the
discourse of sociological, historical,
anthropological, religious, ethical
and political nature contained in the
works,” says Hernández. With only
three female artists presented, the
exhibition is male dominated. The
80 artworks in total, created between
1980 and 2009, showcase an array of
styles and media including drawing,
painting, printmaking, photography,
mixed-media, sculpture and video.
“Another aspect of the artworks is
that they represent a concept of a
25 >
nation. The exhibition had to be cre-
ated with an understanding of the
overall message: the idea of building
a nation or a national culture. When
people accept other people, it’s these
little matters that build a certain kind
of nation.” According to Hernández,
“it’s about counting everyone in a
nation.”
“The artworks shown in this exhibi-
tion provoke reflection on the matters
of stereotyping, racism and prejudice.
They teach people and help them to
discover different aspects of the sub-
ject matter. Some of the artworks
are more direct than others in their
teachings. In addition, I feel that art
is not only about having a high-level
cultural engagement for the elite
only, but it’s about having all types
of cultural exchanges available for
everyone. In this exhibition I tried to
break the ‘false’ limits between one
kind of art and another and I tried to
break the limits between different
levels of culture like popular culture
and high-level culture,” explains
Hernández. Whether internationally
well-known or practically unknown,
some of the artists included in the
exhibition are highly educated, whilst
others are self-taught. The artists all
have different backgrounds and come
from different generations, resulting
in a vibrant and multi-dimensional
representation of the exhibition’s
themes.
26 >
The collection, according to Hernández,
can be considered as a ‘work in progress’
in the sense that in the future it may also
include works of more artists from differ-
ent generations who either currently or
previously focused on the theme. “The
collection will still grow in the future as
the concept of the collection grows,” adds
Hernández.
“The Johannesburg Art Gallery is the per-
fect venue for launching this travelling
exhibition because the patron of the col-
lection, Chris von Christierson, who now
lives in the UK, was born in Johannesburg.
It’s often difficult to find a venue that can
accommodate such a large exhibition, so
we were happy to bring the exhibition to
JAG at a time when the world’s eyes are
focused on Africa,” says Hernández.
“All of our current exhibitions come from,
and have, different angles. Between the
four shows that the Gallery is presenting
during this soccer season, the Without
Masks exhibition is a representation of
issues that we as South Africans, and Af-
ricans, need to address. It is specifically
relevant because it is the first time that
Africa is hosting the FIFA World Cup and
we hope that large numbers of foreign
tourists will come and view the exhibi-
tion and engage with the messages that
it addresses,” says Murdoch.
To facilitate active engagement, JAG de-
veloped a multi-dimensional education
program for Without Masks that consists
of debates, panel discussions, walkabouts,
seminars, workshops and an interactive
publication that guides the experiences
of young visitors in an entertaining and
informative manner.
Apart from the Without Masks exhibition,
the Johannesburg Art Gallery is running
several other exhibitions to coincide with
the FIFA World Cup.
I am not me, the horse is not mine, by
William Kentridge, is an eight-projection
installation that takes the short story,
The Nose, written by Nikolai Gogolin
1837, as the basis for looking at the formal
inventiveness of the different strains of
Russian modernism. This work, one of
the exhibitions running at JAG, will be
showcased for the first time in Johannes-
burg from 2 May to the 1 August.
Another exhibition that will be running at
the gallery from June to August is Borders,
an exhibition of selected works from the
Barmako Photographic Biennale 2009.
This exhibition explores the natural and
artificial lines traced across the earth.
Kader Attia, Jodi Bieber, Zanele Muholi,
Riason Naidoo and Dinkies Sithole are
some of the artists featured.
Deep play, running from the 6 June to 4
September, by the acclaimed German film-
maker, Harun Farocki, makes use of football
as a metaphor for life. This ‘laboratory of
football’ exhibits the most advanced
Pedro Alvarez, In the Reign of the Freedom of Necessity, 2003.
Serigraph on paper with touches of direct painting by the artist. Ibrahim Miranda, Proyecto Cubrecamas (Bedcovers Project),
108 x 79,5 cm. 1997 - 1998. 134 x 149 cm.
27 >
 28 >

Marta María Pérez Bravo, Jura (Oath), 1999. Photograph. 100 x 80 cm.

RIGHT: Alexis Esquivel, Árbol Genealógico (Genealogical tree), 2008. Acrylic on RIGHT: Santiago Rodríguez Olazábal, Oro Baba, 2002. Acrylic,
canvas. 195 x 145,5 cm. collage, horsetail and fish. 200 x 180 cm.
 29 >

technology in the production and presen-

tation of moving images.

Over and above these temporary exhibi-

tions, JAG is also showing a small selec-
tion of its most valuable works drawn
from its permanent collection.

INSIGHTS ON JAG

Located on the corner of Klein and King

George Streets in Joubert Park, in the
buzzing central business district of Jo-
hannesburg, JAG is one of the biggest
galleries in Africa and home to some of
the most prized artworks in the world.
The gallery comprises 15 exhibition
halls and sculpture gardens. It houses
a collection of more than 9 000 artworks
(one the largest collections on the Con-
tinent), including 17th century Dutch
and Flemish paintings, 18th and 19th
century British and European art, 19th
century South African works, and a
large collection of 20th century and
contemporary works by local and inter-
national artists. These include works by
Salvador Dali, Alexander Calder, Pablo
Picasso, James Rosenquist, Donald Judd,
Andy Warhol, George Pemba, Gerard
Sekoto, William Kentridge and Diane
Victor, to name just a few. Additionally,
the JAG collection includes a print cabinet
containing more than 3 000 works span-
ning from the 15th century to the present,
including works by Albrecht Dürer,
Rembrandt Van Rijn (43 original etchings),
30 >

Honoré Daumier, Francisco Goya y
Lucientes, James Whistler and Henri
de Toulouse-Lautrec.
Reflecting on the current positioning
of JAG, Murdoch says that apart from
presenting professional exhibitions,
the vision of JAG is to locate its activi-
ties within the area of Joubert Park
and its immediate surroundings.
“In the past, the Gallery has never really
been in touch with its surroundings
and it’s ever-evolving demographics.
For a long time, JAG catered mainly to
the needs of the ‘cultural elite’, most
of whom are white and economically
privileged. Currently, we are seeing a
new demographic emerging which con-
sist of younger black people from the
René Peña, Untitled, 2007. Digital print laminated on PVC. 133 x 100 cm.
working class visiting JAG on a regular
basis. For many of them, JAG has become
is a haven of tranquility and intellec-
tual stimulation situated in an area that
can be described as hectic and constant-
ly changing. As a result, we are explor-
ing new ways to accommodate the
expectations of both the new and
younger visitors, as well as those of the
long-standing patrons. Many of the tra-
ditional patrons believe that the Joubert
Park area has become run-down and
unsafe to visit which is an issue that
we have been addressing through our
revised programmes and operational
priorities,” says Murdoch.
31 >
Another challenge that that JAG is cur-
rently facing is that a big part of the
building (a listed historical monument)
requires urgent restoration. “Finding
finances to restore the building and to
maintain it is difficult. Our lack of funding
is extremely challenging. Even though
we receive core funding from the City of
Johannesburg to maintain our core ac-
tivities, there is a continual quest for
finding additional funding to maintain
the facility as a world-class cultural insti-
tution. Keeping up with high museum
standards and making sure that the valu-
able artworks that JAG holds are well-kept
costs an enormous amount of money,
and therefore we constantly have to
engage in fundraising activities.”
The limited financial support that JAG
receives from the municipal government
is obviously due to the City government’s
prioritisation of social developmental
requirements such as housing, health
care and education. Yet, there seems
to be lack of political foresight to also
consider substantial investment in cul-
tural development and heritage preser-
vation. “If people wanted to learn more
about their cultural heritage and wanted
to understand it more, they would be
more open to donating sponsorships
and helping the Gallery to achieve its
goals and objectives,” adds Murdoch.
Education itself and within exhibitions is
an integral component of JAG’s activities
and its institutional vision. The JAG
 33 >

team perceives the Gallery as a learn-

ing environment in which curiosity,
discovery and contemplation are
encouraged. JAG aims to provide
all visitors with inspiring and em-
powering experiences through
tours, exhibitions and educational
programmes. “Cultural education
is very important to us. It is important
to teach people that they can come
to the Gallery and enjoy what we Kader Attia, Rochers Carrés, 2009. © courtesy Kader Attia et
galerie Christian Nagel (Berlin & Cologne).
have on offer on many levels. Citi-
zens of Johannesburg, even though
they are living near the Gallery or
have access to it, often don’t both-
er to visit JAG and therefore they
miss out on what we can offer
them. There is an urgent need to
create a culture of art appreciation
in the city, a need to teach our
young people to have a love for
galleries and art, and specifically a Harun Farocki, Deep Play at DHC ART Montreal. © Richard-Max
Tremblay.
need to foster a love for the Johan-
nesburg Art Gallery.” <

William Kentridge, I am not me, the horse is not mine, 2008. Video
stills from installation.
38 >
 39 >

By Riason Naidoo
40 >
The South African National Gallery’s initial schedule
for 2010 was looking like those of many other art
and cultural institutions: it was about football. We
also received numerous requests to show foreign
artists and exhibitions. With a store of a few thousand
artworks, we cleared the schedule and decided to
use the opportunity of the World Cup to turn the fo-
cus in on ourselves; that is to give visitors to the
National Gallery, both foreign and local, a reflection
of our own art stories.
With a modest budget, made available by revising the
annual budget, we set about conceptualising the
show late last year. The exhibition should acknowl-
edge some important artists and developments in
local art history such as the early articulations of
a modern art movement, DRUM magazine, Polly
Street, Rorkes Drift, Resistance Art under apartheid,
and the rise of South Africa’s energetic contemporary
art scene, the subject of much recent attention
abroad.
The exhibition should also be nationally repre-
sentative, acknowledging works by artists beyond
the Cape, recognising privileged racial access to
art education and training opportunities, and
highlighting different aesthetic value systems.
With this in mind (and with limited time available) Joe
Dolby – curator of works on paper – and I, travelled
 41 >

around the country visiting collections at the begin- LEFT: Avant Car Guard, The Poor Man’s Picasso, 2009.
ning of February. We visited the big municipal collec- Acrylic on canvas. Private Collection.

tions as well as university, corporate, and some sig-

nificant private collections. We also looked to the
main commercial galleries in Cape Town and Johan-
nesburg for oversights in our contemporary col-
lection.
CENTRE: Cyril Coetzee (1959 –), Ship of Fools, 1994. Oil on
canvas. Durban Art Gallery.
RIGHT: Dorothy Kay (1886-1964), Annie Mavata, 1956. Oil
on Board. Pretoria Art Museum.

We scheduled the three major exhibitions, occupying

the 12 gallery rooms, to all close at the end of Feb-
ruary. The gallery closed its doors from 1 March
to 15 April; allowing for the simultaneous de-
installation of all shows, arrival and unpacking of
loans, re-painting of the whole gallery, and the
curation of this extensive exhibition occupying
42 >
 43 >

LEFT: Vedant Nanackchand (1955 –), The Purple Shall Govern, 1991. Screenprint. Iziko South African National Gallery.

RIGHT: View of the 1910-2010: From Pierneef to Gugulective exhibition showing the juxtaposition of narratives. Momberg’s
Maquette for the Gandhi Memorial Statue is featured in the foreground with Pierneef’s Union Buildings behind it.
44 >
LEFT: Maggie Laubser (1886 – 1973), Portrait of a Woman
in a Pink Blouse, 1936. Oil on cardboard. Sanlam Art
Collection.
CENTRE: Duke Ketye (1943 –) The Plight of Soweto
Platforms. Pastel and Charcoal on paper. Johannesburg
Art Gallery.
RIGHT: Simon Mnguni (1885 - 1956), Portrait of a
Zulu Induna. Watercolour and black ink on paper. The
Campbell Smith Collection.
the whole gallery – the first time, I’m told, the whole
gallery has been used for one show – chronologically
and thematically integrating the loans and the
permanent collection.
As we know, art does not exist in isolation so the
intention was to simultaneously reflect on important
moments as well as attitudes of different eras.
Tretchikoff’s figure of the Herb Seller (1948) – the
first time a Tretchikoff has been shown at the National
Gallery – is set against a brick wall plastered with
United Party and National Party election posters.
The emergence of black photographers in DRUM
magazine in the 1950s, documenting first hand

experiences in their communities around the country,
allow for more complex revelations in the representa-
tion of black people than the ethnographic and ‘ob-
jective’, ‘scientific’ studies of the early 20th century.
This is reflected in the humiliating treatment of black
prisoners for trivial offences at the Old Fort prison
in Johannesburg, captured by Bob Gosani (1954),
to GR Naidoo’s festive depiction of a dancing couple
in the musical Mkhumbane in Durban (1960).
Harold Rubin, Gerard Sekoto, Gavin Jantjes and
Harold Strachan offer very different takes on the
Sharpeville massacre; as do the reflections of Colin
Richards, Tyronne Appollis, Paul Stopforth and Derek
Bauer on Steve Biko’s murder.
45 >
Archival posters from the Community Arts Project
(CAP), housed the University of Western Cape, pro-
vide context to the activism of the violent 1980s
prior to Mandela’s release. Photography also plays
a very important documentary role at this time as
illustrated by the range from the Afrapix collective.
Jackson Nkumanda’s charming work entitled The
Presidential Inauguration (1994) and Progress
Matubaku’s Something for Growth (1995) share
the same room as Joe Ratcliff’s Vlakplaas (1999)
and works by key artists such as Penny Siopis, Clive
Van den Berg, Johannes Segogela and Noria Mabasa.
While the intention of the show is to also showcase
prominent artists and some iconic works of art in
46 >
the permanent collection, such as Jane Alexander’s
Butcher Boys (1985/86) and Ronald Harrison’s
controversial work for its time entitled Black Christ
(1962), a work for which he was arrested and tortured
– depicting Albert Luthuli as the Christ figure on
the cross and Hendrik Verwoed as a soldier – many
of the loans are intended to open a window on some
less known artists and pieces. Moses Tladi’s No.1
Crown Mines, was most likely the first time a
black artist exhibited at the National Gallery in a
group show in 1930, the same year the gallery
opened. Jabulani Ntuli’s minutely detailed pencil
drawings from the 1940s, offers remarkable in-
sight into Zulu traditional life and customs of the
period. And Lucas Sithole’s evocative sculpture
entitled Waiting too Long (undated) hauntingly
echoes the pathos of the era.
Recognising the perils of nationalism, and its mani-
festations, the idea was to also be critical of South
Africa in the now. I am reminded of the graffiti paint-
ed on a wall on the corner of Hunter and Cavendish
streets in Yeoville, Johannesburg. It quotes from
Nelson Mandela’s 1994 inauguration speech, “Never,
never and never again shall it be that this beautiful
land will again experience the oppression of one
by another.” Fourteen years later, the xenophobic
attacks left many bodies in its wake and thousands
mentally scarred. With this in mind, a selection
from the exhibition US was included – curated by
 47 >

Bettina Malcomess and Simon Njami – featuring LEFT: Helmut Starcke (1935 –), Clio, the Muse of History,
a handful of mainly young South African artists, 2001. Acrylic. Iziko South African National Gallery.

including Gugulective, commenting on the issue

CENTRE: Derek Bauer (1955 –), Steve Biko – In
and bringing the making of art in this country full Memoriam, 1987. Pen and ink. Iziko South African
circle. National Gallery.

RIGHT: Durant Sihlali (1935 –), Peace Wall, 1993. Oil on

At the same time this opportunity to focus on local
canvas. BHP Billiton.
art also coincides with a new vision for the National
Gallery, one that aims to be more inclusive in the
audiences we appeal to, more critical in the selec-
tion of our exhibitions and in the work that we
acquire, more diverse in the composition and views
of the people that make up our committees, and
more representative of a multicultural society in
Africa.
48 >
 49 >

TOP LEFT: View of the 1910-2010: From Pierneef to Gugulective

exhibition showing iconic South African sculptures by Anton van
Wouw in the foreground.

TOP RIGHT: Zanele Muholi, Katlego Moshiloane and Nosipho

Lavuta, ext 2, Lakeside, Johannesburg, 2007. Lamda Print. Michael
Stevenson Gallery.

LEFT: Moses Tladi (1897-1959), No.1 Crown Mines, c.1930. Oil on

canvas board. Private collection.

RIGHT: View of the 1910-2010: From Pierneef to Gugulective

exhibition showing Ronald Harrison’s controversial work for its time,
entitled Black Christ (1962).
50 >
LEFT: Enos Makhubedu (1938 –), African
Herder, 1974. Oil on board. The Campbell
Smith Collection.
RIGHT: Lucas Sithole 91931 – 1994), Bitch
with puppies. Oil and enamel paint on
board. The Campbell Smith Collection.
Part of this challenge of how to broaden our audi-
ences and invite communities to take ownership
of the National Gallery also relates to our pro-
gramming: the exhibitions and artworks that we
show. Portrait of Ali Bhai (c.1950s) by Ebrahim
Badsha and later works by Faiza Galdhari and
Chris Ledochowski speak of, and to, the local
Muslim communities. The Sun and the Moon (2007),
by First People Pomegranate Quilters from the
[Nieu] Bethesda Community Arts Centre in the Karoo,
strikes up a conversation with Young Women’s
Initiation (1996), a work by San artist Dada
Coex’ae Qgam, and Walter Battiss’s work Beautiful
Bitch Suzie (c.1972). Photographs by Santu Mofokeng
and Guy Tillim, an astonishingly overt painting by

Trevor Makhoba and a video piece by Churchill
Madikida open up dialogue on Xhosa and Zulu
initiations, acknowledging indigenous rites and
practices.
There is also no one clear narrative of history. So
juxtapositions, multiple layers and narratives,
and visual connections are the threads of the ex-
hibition. In the introductory room for example, we
have Robert Goodman’s Cape Town City Hall (1917),
Frans Oerder’s Ladies in the Garden (c. 1900) and
Pierneef’s Union Buildings (1938) adjacent to An-
ton Momberg’s Maquette for the Gandhi Memorial
Statue (1992), Willie Bester’s 1913 Land Act (1995)
and superb watercolour portraits by Gerard Bhengu
51 >
and Simon Mnguni. At the same time well known
artists like Gavin Younge and Sue Williamson
share limited hanging space with fairly obscure
names like Richard Baholo and Vedant Nanack-
chand. Geometric abstract patterns in Ndebele
beadworks and Zulu earplugs gossip with Kevin
Atkinson’s large abstract, White African Land-
scape (1982). Deborah Bell’s Lover’s in the Cinema
(1985) evocatively articulates a universal theme,
something that we can all identify with. Zanele
Maholi and Pierre Fouche express homosexual
desires with works that are visually echoed by
Tracey Rose’s iconic work, The Kiss (2001).
52 >

Works by Brett Murray (Xhosa, 2002) and Sthembiso
Sibisi (Going Home, 2005) use humour to poign-
antly reflect on the local condition. Stuart Bird’s
tongue-in-cheek Zuma Biscuits (2007) encapsu-
lates the moment preceding the 2008 national
elections, a time of internal power struggles in the
ruling party.
For local art groupies, Ed Young’s Bruce Gordon
[Torino] (2005) may have special significance recall-
ing the conceptual piece from 2003, where a bar
owner (a found object) was purchased by the Nation-
al Gallery and the acquisition number tattooed on
the artwork (or bar owner’s arm). This particular
piece on exhibition is the suit made for the artwork,
which it (he) wore when it was loaned to the Triennale
in Torino. The artwork recalls three weeks of non-stop
parties, alcohol and meeting lots of women.
Of course no art show is ever complete without
audience engagement and the critics’ responses.
Miles Keylock in Cape Town described it as an ex-
hibition built “on relationships, on contrasts and
on ‘coming together, elaborating that its ‘nothing
short of a revolution”. In what may have been a
response to Keylock’s piece, the Art Times head-
lined its front cover with Lloyd Pollock’s review a
little more than a week later entitled “SANG’s repu-
tation trashed for 2010 show” exposing great divides
in Cape Town’s art circles, between the estab-
lished and emerging voices, between the old and
the new and providing a wonderful opportunity
for attention and debate.
Maybe you should check it out for yourself. <

ABOUT THE AUTHOR:

Riason Naidoo is
curator of the exhibition
1910-2010: From Pierneef
to Gugulective and the
newly appointed director
of the South African
National Gallery.
 art makes a difference
Art breaks rules. It surprises, engages and provokes debate. It makes us think for
ourselves. This is what makes art so special, and it’s why we can’t live without it.
That’s why we’re proud of our role in supporting artists through the Sasol New
cross colours 16584

Signatures Collection.
56 >

Mary Sibande, The Reign, 2010.

Mixed media installation. Dimensions variable.
 57 >

By Stacey Rowan

Alluding to and embodying two notions, space and pace, the

SPace: Currencies in contemporary African art exhibition

signifies sites or contexts and tempos or energies that

are part of our societal make-up. Space is wherein ideas

are negotiated and meaning produced through various

human activities and social practices, while pace refers

to speed, the rate at which change or advancement of

such activities and practices takes place in society. Cur-

rencies refer not only to movement fluidity or rhythm but

also to currency of an economic nature.

58 >

SPace: Currencies in contemporary African art, held

at the Museum Africa in Newtown from May to July, is
hosted by the City of Johannesburg, with support from
Operations 2010 offices and the Directorate for Arts,
Culture and Heritage. The exhibition, is one of the many
cultural events held during the month-long FIFA
World Cup, creates a setting where soccer, culture and
the barriers between different groups of people are
explored on various levels.

“Coinciding with the soccer event, the exhibition creates

a wider audience comprising South African and inter-
national art audiences and a wider soccer fan audience,”
says Melissa Mboweni, curator.

“Art should be promoted and should form part of our

world. This is an important opportunity to showcase
African contemporary art to a massive global audience.
SPace shows the City of Johannesburg’s vision. It has
been an amasingly fun journey. This exhibition is some-
thing very special,” says Craig Mark, project director
of SPace.
David Koloane, Flashlights, 2010.
Mixed media on paper. 105 x 107 cm.
The curators, Thembinkosi Goniwe and Melissa Mbo-
Photograph by John Hodgkiss.
weni, acknowledge that while the cultural interactions
and interventions alluded to in the exhibition title C

are not new to Africa as many dialogues have taken

place in and about the continent. It is their hope that
this exhibition provides the visiting audience with
new opportunities to dialogue with art, and to appre-
ciate and reflect on social issues and human experi-
ences that are irreducible to ideology and instruments
of bondage and misery. The artworks shown in SPace
 59 >

TOP: Gugulective, sisNtuthu, 2009.

Performance.

CENTRE: Abdul Razaq Awofeso, The Lost Tribe,

2010. Installation. Dimensions variable.
Photograph by John Hodgkiss.

BOTTOM: Billie Zangewa, Troyeville Sundays,

2006. Silk tapestry. 61 x 51 cm.
60 >

also provide moments for engaging with profound human qualities such
as intimacy, beauty and pleasure.

One of the themes represented in the exhibition is play. Just as an art-

ist’s attitude play within his or her artwork, so do the players play in the
sporting game of soccer. “In this exhibition, soccer meets culture in a
sense that the play theme in the artworks is replicated within the play
actions in the game of soccer,” says Mboweni.

Other themes revealed in the exhibition are movement and migration –

the movement from one African city to another African city. “The differ-
ent artworks represent the different cultures within the city and the tran-
sitional movement from one cultural city to another. These cities are
transitional places with constant changes. There is a constant change of
intensity between different cities,” explains Mboweni.

In order to create a narrative-like flow throughout the gallery, the team

had to consider the physical space for the set up of the artwork. The
floor levels, the in-between floor levels and the floor plans all had to be
taken into consideration to create this story-like flow. “The exhibition
seeks to create a narrative, a story. It is about finding your way through
this space at a view.”

Getting the gallery to where it is now in terms of function and appear-

ance, required the construction of new walls, the installation of dry wall-
ing and new lighting, in order to create darker and lighter spaces. “Set-
ting up the gallery was a manic period. We sometimes felt we did not
have enough time, and sometimes artworks would just arrive. However,
we did have our calm moments when everything was set up and lit up.
At those moments we knew we were onto something,” says Mboweni.

To accompany the exhibition, respected writers have written essays, poems

and articles dealing with issues about Africa and the curatorial concept,
 61 >

TOP LEFT: Peterson Kamwathi Waweru, Untitled (ECK), 2008 – 2009. Charcoal and pastel on paper. 150 x 240 cm.

TOP RIGHT: Godfried Donkor, Red Madonna with rainbow, 2010. Oil and gold leaf on canvas. 153 x 210 cm.

BOTTOM LEFT: Willem Boshoff, Auxesis, 2009. Plastic ornaments and symbols, glass, wood. 197 x 120 cm.

BOTTOM RIGHT: Avant Car Guard, Resistance Art in South Africa, 2009. Enamel paint, industrial foam, epoxy, bought objects.
62 >

forming a rich, informative and interesting catalogue. The catalogue

includes texts by Simon Njami, Abebe Zegeye, Elvira Dyangani Osse,
Bogani Madondo, Bettina Malcomess, Jimmy Ogonga, and Raphael
Chikukwa.

The exhibition seeks to reflect the ideas, experiences and practices

of the contemporary African artists it showcases, revealing the creative
and intellectual ways in which they engage and reflect on a variety of
personal, social, cultural and political matters. Participating artists
come from various parts of African and include Berni Searle, Willem
Boshoff, Gabrielle Goliath, Mary Sibande, Alison Kearnery, Zen Marie,
Nandipha Mntambo, David Koloane, Berry Bickle, Godfried Donkor,
Barthelemy Toguo, James Muriuki, Arlene Wandera, Nathalie Bikoro,
Miriam Syowia Kyambi, Kudzanai Chiurai, Imad Mansour, Hassan
Echair, Abdul Razaq Awofeso. Mary Sibande, Elias Sime, Dominique
Zinkpe, Peterson Kamwathi Waweru, Steven Bandoma, Billie
Zangewa.
LEFT: Gabrielle Goliath, Bouquet III, 2007. Archival print. Triptych; 26 x 130 cm each.
63 >

RIGHT: El Hassan Echair, Untitled, 2008. Installation, iron, wood, charred stones on layer of salt. Dimensions variable.
 64 >

RIGHT: Kudzanai Chiurai, The Minister of Enterprise, 2009. From the series Dying to be Men. Ultrachrome ink on photo fibre paper. 150 x 100 cm.

FAR RIGHT: With white walls, and bright lighting, the gallery has a clean contemporary feel to it.
 65 >

Included in the exhibition are pieces from the series Dying to be men
by 29 year-old Joburger, Kudzanai Chiurai. Having started painting at
the age of 11, he went on to obtain a BA in Fine Arts from the Univer-
sity of Pretoria and at the young age, his artworks have been shown
locally and internationally.

“It’s great to be a part of this exhibition and it was nice to be invited

to participate with a lot of other interesting artists. When I heard about
the SPace exhibition and the way they used the words ‘space’ and
‘pace’ in the title I knew that my work is linked to the exhibition’s
meaning,” says Chiurai.

He explains that Dying to be men is a contemporary photography series

which mocks and ridicules public figures. In the eight extraordinary
artworks shown in this exhibition, each piece depicts a man wearing
 66 >

TOP RIGHT: Miriam Syowia Kyambi, Phase III: Release, video still, 2007-2009. From WoMen, Fraulein, Damsel & Me. Video projection. 8 min 02 sec.

BOTTOM RIGHT: Nandipha Mntambo, Sengifikile, 2009. Bronze.

FAR RIGHT: Steve Bandoma, Tribute, 2009. Installation, ropes, plastic roses, rubbers plunger and balloons. Dimensions variable.
 67 >

over-the-top attire and sporting exaggerated facial expres-

sions. Each image is a representation of a political figure,
each with a masculine and powerful undertone. “The im-
ages are done in a very theatrical way. Some of the images
hold true to reality, they can be seen as reality. Some
people really do see our political figures in this way. The
artworks are futuristic in themselves. One of the images
depicts a teacher with a gun. Will this not be the case in the
future where teachers will need to carry guns because of
the violence in schools?”

Some of the artists in the exhibition that Chiurai admires

include Abdul Razaq Awofeso, who presented an instal-
lation, The Lost Tribe 2010, and Mary Sibande, who pre-
sented a mixed media installation, The Reign 2010.

“The SPace: Currencies in contemporary African art exhi-

bition is of a continental class and has a world class brand.
Audiences will see parts of art they would have never
expected to see. Hopefully the news of the exhibition
will travel, just as our ambition for this event has,” con-
cludes Mboweni. <
68 >
 69 >

In June, acclaimed South African artist, Robert Slingsby,

exhibited an evocative body of work titled CC – Unlimited
power, at the UCT Irma Stern Museum, in Cape Town.

Two years in the making, it deals with the current and pro-
vocative subject of environmental or ‘green’ consciousness.
This powerful exhibition communicates its point readily.
Using the motor vehicle and bones – representing our carbon
fuelled economy – as icons and painted on massive canvases,
the point is driven home predominantly in the colour red.

Artist’s statement

“Cubic Capacity Credit Crunch Climate Change Christ Consciousness

Credit Card Conspicuous Consumption Carbon Credit Coca Cola
Closed Circuit Cellular Communication Communist China Catholic
Church Child Care Country Club Conscription Campaign Concentra-
tion Camp Cosmic Calamity Colonial Conquest Convicted Criminal
Crime Control Central Control Critical Care Classified Content Cor-
porate Corruption Crack Cocaine Cash Commodity Cloud Cover
Collision Course Computer Crash Carbon Copy Currency Converter
Closed Corporation Company Costs Competition Commission
Calorie Counter, etc.”

“CC – Unlimited power is my response to the credit crunch. It con-

stitutes two years of work and a refinement of how I view the causal
factors. It was through this process that I identified most to have c.c.
as an abbreviation. In conjunction with the cc footprint, characteristic

FAR LEFT: Slingsby conducting a walkabout at the Irma Stern Museum.

Featured is the sculpture, Car-bon(e), 2010. Forged mild steel & stainless steel.

LEFT: Apathy of entitlement, 2010. Acrylic on canvas. 149 x 170 cm.

70 >

Conspicuous consumption, 2009. Acrylic on canvas and crushed glass. 300 x 167 cm.

Blind rage at Rooiwal. Acrylic on canvas.


of and underlying all my art, is my passion
for the Richtersveld, its ancient rock art & the
remnants of a genus of humanity that live
there; the fundamental inspiration in my work
for over thirty years,” explains Slingsby.
“I chose to use the motorcar as a powerful
metaphor for the 20th century. It represents
democracy, the open road and freedom whilst
its consequences entail devastating effects
on the earths’ ecosystems, its species and
marginalised people through the consump-
tion of carbon based fossil fuels. This relation-
ship is represented by the Car-bon(e) whilst
the marginalised community of the Richters-
veld demonstrate the impact in a narrative
manner. Concurrently, drawing from the sche-
matic and geometric rock engravings of the
Richtersveld, I have woven this linear abstrac-
tion into the paintings, using objects familiar
and particular to the region.”
“Historically, cathedrals have adorned our
skylines as manifestations of great architec-
ture. This has [recently] been replaced by the
soccer stadium. It is through this observation
that I painted the Green Point stadium, titled
Conspicuous consumption as a representa-
tive of the unlimited power of FIFA and soccer,
thus further representing the cc’s shaping our
lives. The significance of these stadiums on
land which continues to experience the mar-
ginalisation of its most ancient people is
the juxtaposition between car/carbon and
church/stadium.”
71 >
Understanding Slingsby
“To understand Robert Slingsby’s exhibi-
tion CC – Unlimited power one does not have
to traverse the desolately beautiful spaces
of the Richtersveld in the Northern Cape.
But being there certainly illuminates and
elucidates the pulling power of the place
where the ancient Nama rock engravings or
petroglyphs provide an indelible reminder
of a once united, spiritually anointed com-
munity. Today, throughout the Richters-
veld, the polarities of ruin and renewal are
present in equal force,” says acclaimed art
critic and author, Hazel Friedman.
Friedman did however take a journey to the
Richtersveld. She says: “I have journeyed to
this parched earth with Slingsby, on one of
his scores of pilgrimages to the jagged lunar-
like landscape that lures him like a ‘rusted
blade to magnetite’. and which serves as
the chief source of his inspiration. The
Garies Orange River snaking through the
Richtersveld and into the pyramidal moun-
tains of Namibia is Slingsby’s River Jordan,
his site of baptism and spiritual crossing. It
is a space where earth, sky and spirit align.
And its kloofs serve as Slingsby’s dictionary,
the rocks as his syntax, while the geometric
signs and symbols engraved into their skins
have become the personal alphabet of his
visual dialect. For over thirty years he has
made it his mission to record and transcribe
the shamanistic markings of the ancient
72 >

TOP: Mechanical factor, 2008. Acrylic on canvas. 210 x 170 cm.

ABOVE: CC Back fire. Acrylic on canvas. 205 x 167 cm.

Nama community who still inhabit this region.”
“The Southern African tradition of ancient art-
making – whether on cave walls or rocks – has pro-
vided us with a legacy that should be cherished, a
legacy driven as much by an empathy and interac-
tion with the spirit world as with the desire to
manifest and make, literally, their mark,” says
Slingsby.
“A profound humanism informs Slingsby’s work.
He remains committed to the welfare of the prog-
eny of the ancient rock engravers who still inhabit
the region, most of them in abject poverty. The legacy
Slingby wishes to impart is to preserve and celebrate
an ancient art form in danger of extinction, as well
as to assist a community marginalised by the greed
of the multinational gem industry and the vagaries
of apartheid racial politics – the residue of which
remain in the Richetersveld, ” says Friedman.
Drawing on these inspirations Slingsby addresses
critical issues that face all citizens of the world today.
Friedman says: “As a South African artist Slingsby
feels an overwhelming responsibility to understand
the geography, history and alchemy that informs
not only the art of the petroglyphs but all aspects
of Nama culture – both material and spiritual. To
Slingsby, magic still resides in the misshapen
sometimes makeshift relics of this ancient com-
munity.”
Slinsby says: “I have needed to take these discarded
masterpieces, to document them, sleep next to them
and revisit their shamanistic sites.”
In the process, Slingsby has acquired an intimate
and extensive knowledge of the petroglyphs’ geomet-
ric markings. Since the 1980s he has obsessively
73 >
incorporated them into his iconography in an effort
to uphold their alchemic properties, pay homage to
their makers and advocate for the restoration of
these ancestral lands into the hands of the Nama,
whose forefathers the Khoisan first inhabited this
part of the world.
”CC – Unlimited power follows this quest,” says
Friedman. “The derivations of the exhibition title
are numerous and unavoidably current within the
lexicon of a world recession, global warming and
the ubiquitous presence of economics-speak: credit
crunch, closed corporations, climate change, carbon
copy, conspicuous consumption; continuity check,
credit card, cubic capacity, critical condition...the
list continues.”
“And indeed Slingsby’s iconography, although
rooted in the petroglyphs produced by the ancient
Nama, is utterly contemporary in its literal and semio-
logical referencing. CC – Unlimited power, like his
previous exhibitions, evokes the sense both of an
archaeological and burial site, where the residue
– bones, stones and skeletons – of an ancient com-
munity are constantly being unearthed. Simulta-
neously it serves as the locus for a convergence
between the past present and future. The past is
evoked through Slingsby’s arduous documentation
of the Richtersveld’s neglected history in works
such as Blind Rage at Rooiwal; the present through
the grandiosity of 2010 soccer stadiums, as evoked
through Conspicuous Consumption; and the future
through his depiction of carbon footprint-free
modes of transport and alternative energy sources
in Give a dog a bone.”
”CC – Unlimited power is a huge show in scale
and ambition, rendered in his characteristically
74 >

Butter side up, 2008. Acrylic on canvas. 200 x 120 cm.

In ten minutes, 2008. Acrylic on canvas. 200 x 120 cm.

 75 >

Give a dog a bone, 2009. Acrylic on canvas. 205 x 167 cm.

psychedelic palette with meticulous detail to minutia.

And it speaks as eloquently of a planet irreparably
compromised by gluttonous consumption, as it does
about an ancient community displaced and dissipat-
ed by multinational avarice and political indiffer-
ence,” concludes Friedman. <

Sources: Artist’s statement by Robert Slingsby and the exhibi-

tion catalogue, Of consumption and consequence by Hazel
Friedman.

The Midas touch, part of the Official Art Poster Edition 2010
FIFA World Cup South Africa™. 70 x 100 cm.
78 >

ABOVE: Zwelethu Mthethwa, Untitled (from the Sugar Cane Series), 2003. Chromogenic print.
TOP RIGHT: Zwelethu Mthethwa, Untitled (from the Interiors Series), 1995 – 2005. Chromogenic print.
 79 >

By Suné Stassen

Storytelling is part of the African psyche and

mode of existence. In this article we get a glimpse
into the life and extraordinary work of acclaimed
South African socio-historical photographer and
fine artist of note, Zwelethu Mthethwa. His work
has received critical international acclaim and
his fine art portraiture is of substantial socio-
historical value.
80 >
Having had a pretty normal childhood – spend-
ing his early life in KwaZulu Natal – Zwelethu
Mthethwa started going to the movies every
Saturday from the age of six. He recollects:
“When I grew up, we didn’t have real cinemas.
We had a hall. Our neighbour had a projector
and he was the projectionist. The hall had very
high windows and my dad had a very high lad-
der, so the neighbour would borrow the ladder
from my dad every Saturday to block the win-
dows so that light didn’t pour into the room.
Zwelethu Mthethwa, Untitled (from the Interiors Series), 1995 – 2005. Chromogenic print.
Because of that I could go in and out for free,
so that’s how it started.”
This was about the same time that he also de-
veloped a fascination with comic books and
illustration. Already projecting the characteris-
tics of a young entrepreneur with an intense
intrigue into the world of photography, he
bought himself a Kodak Instamatic camera at
the age of 12 and started taking portraits of
people in the neighbourhood. He would later

sell these to the sitters for extra pocket money.
At age 15, he was given a Yashica medium-format
camera, which further fueled his desire to take
more and more pictures.
He always aspired to study Fine Arts at the Uni-
versity of Cape Town (UCT) but the realities of
South Africa in the 70s and 80s provided him
with limited opportunities. With the apartheid
system in full force, Mthethwa needed special
permission to attend UCT.
81 >
In 1987, he was awarded a Fulbright Scholarship
and was fortunate to expand on his education
while attending the Rochester Institute of Tech-
nology in the United States where he obtained
a Masters in Imaging Arts.
After his participation in the second Johannes-
burg Biennale, curated by Okwui Enwezor, he
was invited to partake in many more biennales,
which firmly introduced Mthethwa to the world
stage.
82 >
CONTEXT
Enwezor writes in his prologue of the mono-
graph, Zwelethu Mthethwa (published by the
Aperture Foundation, New York, 2010), that
“South Africa’s often-told story is always framed
by the experience of apartheid.” Mthethwa ex-
plains that “traces of apartheid are still surfacing
in my work simply because democracy is a com-
plex process with no definite endpoint, the real
meaning of which is continually being negoti-
ated between the past, the present and the
future. It’s impossible to eradicate the deep-
seated imbalances of the past within such a
short space of time…our first democratic election
was only in 1994.”
Mthethwa gives us an interesting take on the
history of South African photography, espe-
cially if one takes black and white photography
and places it in the midst of apartheid where
black people were the washed out subjects of
their own dompas (permit/ID document).
Mthethwa explains, “…the photographs were

highly underexposed and they used strong
flash bulbs that deleted all the details that we
[blacks] have on our faces. You were just left
with the nose, eyes and the mouth. And most
of the eyes would be shut because of the
strong light. So, those pictures were ethno-
graphic in a sense because it was the only
record that you had. You had to have a permit
or ‘dompas’ to exist in a specific zone. This was
your passport to the city, nothing more. For
most, this was the only photo they would ever
see of themselves and that was the nature of
83 >
black and white photography during the 70s
and 80s.”
Mthethwa believes that documentary photog-
raphy at this time failed to give the subjects –
specifically blacks – any kind of voice and hu-
manity. Early photojournalists mostly used
black and white photography as their preferred
medium. They often depicted their sitters with-
in the context of poverty and such photographs
were frequently used for propaganda.
FAR LEFT: Zwelethu Mthethwa,
Untitled (from the Coal Miners
Series), 2008. Chromogenic print.
LEFT: Zwelethu Mthethwa, Untitled
(from the Sugar Cane Series), 2003.
Chromogenic print.
84 >

In hindsight, Mthethwa made a conscious decision
to focus on colour photography as his preferred
medium. He says, “It is so easy to make poverty
beautiful. It is so easy to idealise things.”
In certain situations black and white photogra-
phy exaggerates the reality of an impoverished
background. In anthropology this is traditionally
the preferred medium which obviously also de-
nies the sitter being placed in a modern context.
Mthethwa believes that through the introduc-
tion of colour, one can justify the now and give
the subject matter worth within a contemporary
context. For him, colour photography also adds
a different aesthetic language because it pro-
vides a tactile quality and an emotional com-
plexity.
Another aspect that characterises Mthethwa’s
work is scale. The typical format for documen-
tary photography is 8x10 inches, yet he is
known for his large-format photographs, some
of which are about 6x4 feet and this poses a
new challenge to the viewer. It is impossible to

ABOVE: Zwelethu Mthethwa, Untitled (from the Common

Ground Series), 2008. Chromogenic print.

RIGHT: Zwelethu Mthethwa, Untitled (from the Interiors

Series), 1995 – 2005. Chromogenic print.
 85 >

ignore the gaze of a subject at such a scale and

Mthethwa therefore ensures that his subjects
transform into more than just passive images.
They become more interactive experiences
with a definite two-way conversation between
subject and viewer. The scale emphasises inti-
mate details that cannot otherwise be ob-
served in a book, for instance. On this large
scale the image has to be mounted on a wall,
which results in the viewer being physically
pulled into the picture plane, moving backwards
and forwards while engaging with the image.
86 >
ENGAGEMENT
Mthethwa always first asks permission before
engaging in conversation with prospective sitters.
He gives them the opportunity to suggest how
they would like to be presented, which could in-
clude their dress, the setting and backdrop and
even the pose. In some cases they choose their
church uniforms while others choose their
‘Sunday best’. Some even ask Mthethwa to return
a bit later so that they can have time to wash up
before the photographs are taken. This is a very
engaging way to include the sitter in the crea-
tive process and, at the same time, give them
a voice.
One can thus suggest that Mthethwa’s work
empowers his subjects and gives them a sense
of ownership over their own images. He fur-
thermore enhances their relationship through
handing them countless photographs so that
they can see how they are depicted. This develops
a strong collaborative bond and trust between
the subject and the photographer, resulting in

the photographs portraying the sitter’s humility
and story more than that of the photographer’s
interpretation.
Looking closely at Mthethwa’s photographic
projects over the years, the settings become
important semiotic references. He would
choose locations that portray a vast variety of
informal settings and follow the same process
of engagement with stakeholders as he would
engage with sitters. For instance, for the series
he did of mineworkers, he first approached the
LEFT: Zwelethu Mthethwa, Untitled (from the
Churches Series), 2006. Chromogenic print.
ABOVE: Zwelethu Mthethwa, Untitled
(from the Interiors Series), 1995 – 2005.
Chromogenic print.
87 >
mining companies to ask permission to photo-
graph their staff. Once he had been given permis-
sion, the relationship building became more of
a reality because he wasn’t invading their pri-
vate space and was always accompanied by a
mining representative. It was therefore seen as
a more ‘official act’. With the series focusing on
sugar cane labourers set in the rolling hills of
KwaZulu-Natal, Mthethwa first met with the farm
owners to explain his intentions before com-
mencing with the project. Then the usual process
with the individuals unfolded.
88 >

PORTRAYING POVERTY against the backdrop of the rolling hills of

Much of Mthethwa’s work focuses on the eco-
nomically less-privileged echelons of society
such as migrant labourers and the poor living
in rural and informal urban settlements. On the
point of ‘beautifying poverty’, Bronwyn Law-
Viljoen’s review of Mthethwa’s 2004 exhibition,
Sugar Cane Series at Jack Shainman in New
York, provides an interesting look at the way
that he negotiates these kinds of issues. “With
this series Mthethwa interrupts work quite lit-
erally, taking up time. These men are caught in
their working garb, between lines of sugarcane,
northern KwaZulu Natal. They had no time to
negotiate appointments or to dress up for pho-
tographs.”
“But Mthethwa tells me, this series also had
very little to do with the dignity of the working
class. Here is an interruption that is both spa-
tial and conceptual, acquiesced to the photog-
rapher who has seen the barrier of cane
against the landscape, and the man whose
glowering expression cuts off any sentimental
attachment to the natural environment,” says
Law-Viljoen.

ABOVE: Zwelethu Mthethwa, Untitled (from the Quartz Miners Series), 2008. Chromogenic print.

RIGHT: Zwelethu Mthethwa, Untitled (from the Sugar Cane Series), 2003. Chromogenic print.
 89 >

With the chosen title, Interrupting Mythologies,

Mthethwa never shows us the sugarcane men
at work. He purposely put a halt to the swing
of the machete, almost to suggest a break in
history and the mythologies of these rolling
hills and harsh realities of the sugarcane fields.
During the process Mthethwa was surprised to
find that being a ‘black photographer’, and be-
ing from the same background of KwaZulu-Natal,
did not put him on an equal playing field, and
the men quickly made their class and econom-
ic differences evident, which quickly shifted
the political and social grounds of the issues.
90 >

NEW WORK: Is it our goal …? and
other related issues
In his most recent exhibition, Is it our goal …?
and other related issues at CIRCA on Jellicoe,
Johannesburg, which ran 3 to 30 Jun 2010,
Mthethwa not only exhibited photographs but
also a captivating collection of intimate pastel
drawings.
In her preamble to the exhibition’s catalogues,
Alexandra Dodd quotes Chinua Achebe, a long-
time supporter of Mthethwa’s work: “The great
thing about being human is our ability to face
adversity down by refusing to be defined by it,
refusing to be no more than its agent or its vic-
tims ... I could have dwelt on the harsh humili-
ations of colonial rule or the more dramatic
protests against it. But I am also fascinated by
that middle ground … where the human spirit
resists an abridgment of its humanity.”
Achebe’s statement contextualises this exhibi-
tion by highlighting the acknowledgement that
the artist takes the middle ground in engaging
with complex socio-economic issues and the
periphery of society by not idealising these –
he remains objective rather than becoming a

RIGHT: Zwelethu Mthethwa,

The Family’s prized
possession, 2009. Pastel on
cotton paper. 107 x 210 cm.

FAR RIGHT: Zwelethu

Mthethwa, Begging for
more, 2010. Pastel on cotton
paper. 107 x 156 cm.

commentator. And that is exactly the essence
of Mthethwa’s impressive oeuvre: he documents
rather than critiques. His work provides an
honest reflection of reality, which leaves view-
ers to interpret at their own peril and context,
and the artist only being a mediator, rather
than a dictator of interpretation.
Dodd writes in the exhibition’s catalogue that
as a young boy growing up in Umlazi on the
undulating hilly outskirts of Durban, Mthethwa
remembers: “guys coming from the hostels
into the township. They looked very different;
more traditional and rural…And they sang
91 >
songs which were weird to me; traditional
songs I wasn’t really familiar with. They danced
differently, they spoke a different dialect and
they always travelled in a group, so the dogs
would bark when they passed by, creating a
spectacle. As kids we were drawn to that noise,
so we’d go there and check them out. Even as
a kid, I was attracted to that idea of ‘us and
them’. It’s the same thing with the culture at
the outskirts of the city today.” He continues:
“People come looking for jobs mainly, but city
people always look at them with suspicion and
say they’re different to us.” Mthethwa remains
drawn to outsider communities, fascinated by
92 >

the dissonance between people’s damning pre-

conceptions and the realities of life within these
communities.

“The assumption about people who live in in-

formal settlements is that they are dirty, that
there’s a large criminal element there, but
when you get there, you find that people don’t
match up to your initial suspicions. Once you
step inside, their houses look spectacular –
they might be poor, but that doesn’t mean that
they are not house-proud. I try to focus on the
elements that are positive. It’s about looking at
poverty very carefully and trying to avoid mak-
ing sweeping statements.”

Dodd continues: “As an African documenting
the world in which he is intensely absorbed,
Mthethwa’s images are not about disorder,
plague, collapse, war or desperation. Never ig-
noring the landscape and environment, he
documents domestic life and the harsh reali-
ties of labour, keying into the rhythms of mod-
ern South African life and the lives of those in
our neighbouring states connected to this coun-
try via the currents of labour and migrancy that
flow across our increasingly fluid borders. His
images of families, relationships and people in-
teracting with their environments document
both urban and rural realities, capturing a range
of different aspects of life in South Africa.”
93 >
“His work addresses the economic and political
realities of present-day South Africa in a manner
that does not conceal the hardships of working-
class life, but also infuses one with a sense of
the almost zany hopefulness of a new nation in
a phase of rapid growth and metamorphosis. In
this sense, his works militate against what cura-
tor Okwui Enwezor refers to as ‘Afropessimism’,
grappling instead with the compelling imme-
diacies of post-apartheid life in South Africa.”
FAR LEFT: Zwelethu Mthethwa,
MaDlamini out bound to the Meat
Market, 2010. Pastel on cotton
paper. 107 x 150 cm.
TOP LEFT: Zwelethu Mthethwa, The
Couple in the Next Room, 2009.
Pastel on cotton paper. 107 x 150 cm.
LEFT: Zwelethu Mthethwa, Born
Free, 2010. Pastel on cotton paper.
107 x 155 cm.
94 >

FINAL WORDS

Contemplating on contemporary photography

in South Africa Mthethwa says: “The onus is
on artists to be honest and to do their research
thoroughly. To do the right thing would be to
be sensitive and understand the context that
our communities have developed from. This, I
believe, is the case with any country in the
world.” He concludes: “I see a fascinating rela-
tionship between Africa and the West, with
similarities in terms of how new communities
are formed and the relationship between the
rural and the urban. Out of this, there are many
stories that still need to be told to the world.” <

Zwelethu Mthethwa, Red Wall, 2009. Pastel on cotton paper. 108 x 180 cm.
 Art Books and Exhibition Catalogues
Design and Production

083 777 5865 portfolio: www.kevinshenton.com

Atelier Titia Ballot

Drawings and hand printed etchings on archival paper

Hermanus, South Africa

e-mail: tibal@icon.co.za
mobile: 0828502053
96 >

By Stacey Rowan
 97 >

Art, as a vehicle for the expression of emotions, senses and ideas,

seeks to not only evoke discussion and debate, but also dialogue
– dialogue between artworks and dialogue between artworks and
viewers. At the Arnaldo Pomodoro & Edoardo Villa: A sculptural
Dialogue exhibition, a dialogue initially develops on a surface
level as a result of the many stylistic similarities and parallels
which can be drawn between Pomodoro and Villa’s work, but the
dialogue intensifies as the subtext is revealed and a ‘confrontation’
occurs when viewers approach the substantive core underlying
these powerful and imposing structures.

The NIROX Foundation in association with the Embassy of Italy

and the SMAC Gallery presents this sculptural dialogue, which runs
from 5 June to 31 July 2010 at the NIROX Sculpture Park in the Cradle
of Humankind World Heritage Site, Gauteng. “Arnaldo Pomodoro
and Edoardo Villa are two of Italy and South Africa’s most impor-
tant living sculptors. The opportunity to showcase a limited selec-
tion of major sculptures by these artists on the occasion of the
2010 World Cup in South Africa is significant,” says Baylon Sandri,
curator.

Both Italian born artists represent an era of Modernist and abstract

sculpture, symbolic of rapid Post-War industrialisation. The sculp-
tures of Pomodoro can be seen all over Milan and the same ap-
plies to Villa and his artworks in Johannesburg. “Their imposing
steel and bronze sculptures have, unintentionally, become monu-
ments to capitalism and industry, generally and within their current
home towns. Ironically, the appropriation of their art as a physical
manifestation of the industrial-capitalist ideal, contradicts the
philosophy underpinning the work of both artists.”

84-year-old Arnaldo Pomodoro is known for his large bronze

spheres (or spheres within spheres), treated and polished to have
a distinctly gold appearance. “These globes are cracked-open or
98 >

dissected to reveal a complex inner core or layers upon layers of

cores. Pomodoro’s sculptures draw on Spatialist theories, where
the artwork reveals real concepts of space and time. Therefore,
despite its large physical weight and presence, the work is not
constrained by the vessel in which it is contained – it is a gateway
to worlds within worlds, to space and time. Pomodoro’s spheres
are smooth, polished and perfect on the exterior, but beneath we
find a myriad of shapes and machine-like components, inter-
twined and inter-dependent cogs, gears and toothed pulleys
which grind, pound and wrench. The metaphorical significance of
these sculptures can be analysed ad infinitum, but one aspect of
these works should be glaringly apparent, namely: Pomodoro’s
undisguised and scathing criticism of greed, capitalism, industri-
alisation, mechanisation and exploitation of the planet, among
other issues.”

In Memory of JF Kennedy (1963-1964), a large sculpture on view

at NIROX, was inspired by the trauma experienced first hand by
Pomodoro, by the assassination of John F. Kennedy. This historic
moment represents a violent tremor and an abrupt end to the elevated
ideals and aspirations of his generation. Doppia Porta (1979) is
another well-known work on view at NIROX. “It is a door with two
sides standing in an open area representing portals to unseen
space or dimensions, or in this context – as double-sided barriers
to free space. These are two major and historically important
sculptures, which were specifically selected by Arnaldo Pomodoro
for this occasion,” says Sandri. With this exhibition being the first
time that Pomodoro has ever exhibited in South Africa, this occa-
sion is a rare opportunity for locals and international visitors alike,
to view his masterpieces.

Born in Italy and trained as a sculptor, 94-year-old Villa came to

South Africa as a prisoner of war and has remained in his adopted
country, where he still lives and works. According to Sandri, Villa’s
arguably most important sculpture was produced in 1978, entitled
 99 >

Edoardo Villa, Untitled, 1990. Bronze. 116cm.

100 >

Arnaldo Pomodoro, Untitled (left) and In Memory of JFK (right), 1963-64, Bronze.
 101 >

The Confrontation. “This large public sculpture marked a con-

scious stylistic change from the use of smooth, rounded, tubular
shapes to an aggressive, jagged, coarse, rusted vertical assembly
of figures. Here, Villa addressed head-on the anguish and tension
which had become pervasive in South Africa during the late
1970s, with the exemplification by the Soweto riots of 1978. Villa’s
Confrontation demonstrates how the raw material of steel can ex-
press deep-seated angst and distress and convey profound social
and political messages. The medium becomes integral to the mes-
sage, enhancing it and giving it dimension. Herein lies the impact
of the sculptures by both artists, where the viewer is confronted
by the raw power of emotion and meaning contained in these un-
compromising, immovable vessels,” says Sandri.

Pomodoro, through his previous regular visits to South Africa, has

developed a genuine affinity with the country. Sandri continues:
“He recognises South Africa’s role as an example of change and
tolerance and therefore wishes to ‘leave his mark’ on South Afri-
can soil, having considered this an important part of his legacy
and philosophy. He chose his artworks for this occasion due to
their universality but also their specific historical and political
connection to the upheaval in the USA during the 1960s civil
rights era and therefore their relevance and connection to South
Africa. Pomodoro was introduced to the works of Villa, where he
became fascinated by his story and his art. He had no hesitation
to the idea of placing his work in conversation with that of Edoar-
do Villa and appreciated the complexities that such a dialogue
would explore and unveil.”

In 1964, Villa was exposed to the work of Pomodoro. The exact

extent of Pomodoro’s influence, if any, on Villa, is difficult to gauge
but during the late 50s and early 60s, Villa made a considerable
effort to travel to Europe and counted numerous sculptors of this
era, including Pomodoro, as having made an impact on him.
102 >

“The use of metal as primary media in the construction of their art

cannot be over-emphasised. Pomodoro’s highly reflective pol-
ished bronze surfaces have the appearance of gold. Villa’s choice
of steel and bronze is not coincidental, but as a direct conse-
quence of the abundant mineral and industrial resources of his
adopted country. South Africa’s economic strength and develop-
ment is driven by its rich mineral wealth. Mining is the lifeblood
of the country and Johannesburg is the ‘City of Gold’. The origin
of the source material is an integral element in the process of
both artists and the impact of their sculptures inevitably depends
and draws on the sheer weight and strength of the material used,”
explains Sandri.

The exhibition is located in the perfect setting: The Cradle of Hu-

mankind literally becomes a crib where these transformed,
moulded steel and metal creations are returned to Mother Earth,
to Africa – their origin. According to Sandri, the artists’ hard, cold
and uncompromising symbols of the urban, concrete and steel
environment, which man has created on the back of extracting the
natural and mineral riches contained deep within the earth’s core,
are transfixed, transplanted and displaced. They are returned to
a place which represents the origins of our species.

Being strongly influenced by Modernism, Abstraction and other

Post-War movements, Villa spent his entire artistic career living
and working in Africa. The strong African spirit contained in Villa’s
work is undeniable. It is an intangible which makes his art so fas-
cinating. This intangible energy enhances the ‘confrontation’ be-
tween Villa and Pomodoro.

“In this relatively small and limited exhibition of a carefully se-

lected body of work, we are literally overwhelmed by the genius
of two great masters. The conversation engages on so many levels,
that numerous visits will not suffice,” concludes Sandri. <
 104 >

Views of the Everard Read Gallery’s A View from the South exhibition.
 105 >

Foreigners often view African through the tainted By Stacey Rowan

lenses of its colonial past, poverty, underdevelop-
ment, civil strife, corruption, famine, disease and
things negative. Yet, in June-July 2010 South Africa
had an exceptional opportunity to change interna-
tional perceptions when the country hosted the
FIFA World Cup. In a grand display of contradiction,
the country not only hosted one of the best ever
organised World Cup events, but also utilised the
opportunity to showcase the rich diversity and
depth of creative talent that the continent has
produced.

One such showcase was the A View from the

South exhibition, which ran from 3 to 30 June at
the Everard Read Gallery in Johannesburg. A View
from the South contextualised the African experi-
ence through South African eyes. It was through
106 >

these home-grown artist’s views of their South,

that pessimistic international lenses and obscure
outlooks were changed to view South Africa and
Africa as it truly is today.

According to Gina Mollé, curator, the chosen exhibi-

tion title, A View from the South, “…simply indicates
the various artists’ outlooks on South Africa.”

The exhibition boasted a collection of the finest

South African art spanning many generations, old
and contemporary, and a mixture of sculptures,
paintings and prints. Some of the artists included
old masters such as J.H. Pierneef, Anton van Wouw,
Gegoire Boonzaire and contemporary artists such
as John Meyer, Neil Rodger, Walter Meyer, Simon
Stone, Leigh Voigt and Vusi Khumalo, among oth-
ers. A common thread that bonded the exhibition’s
theme was the artists’ deep connections with South
Africa and the African soil, through which they dis-
played their unique stories and symbolic meanings.
FAR LEFT: Gregoire Johannes Boonzaier (1909–2005), Street Scene with Figures. Oil on canvas, 78 x 98 cm.
CENTRE: Edoardo Villa (1915–), The Friends (Standing Figure XIII Yellow, Standing Figure XII Blue). Steel and paint, 238 x 50 x 55 cm.
CENTRE: Neil Rodger (1941–), Yokohama Rooster. Oil on canvas, 90 x 90 cm.
RIGHT: Angus Taylor (1970–), Being, Thinking, 2010. Cast bronze and Belfast granite. 250 x 180 x 40 cm.
RIGHT: Bruce Backhouse (1950–), Imaginary Karoo No 3. Oil on canvas. 76 x 76 cm.
107 >
LEFT: Anton van Wouw (1862–1945), The Bushman Hunter, 1902. Italian cast. 49 cm (height).
108 >

LEFT: Velaphi Mzimba (1959–), Nomphumelelo, 2010. Acrylic on canvas. 125 x 125 cm.
CENTRE: Keith Joubert (1948–), Bicornis. Oil on canvas. 43 x 63 cm.
CENTRE: Beezy Bailey (1962–), Clowns going to Church. Oil on canvas. 170 x 90 cm.
RIGHT: Brian Bradshaw (1923–), Burnt Mountain, Namib. Oil on canvas. 90 x 150 cm.
RIGHT: Vusi Khumalo (1951–) Emkhumbane, 2007/2008, Mixed media on board. 200 x 210 cm,
109 >
110 >

Contemplating on her favourite artworks in the

exhibition, Mollé says: “There are so many pieces
that I just absolutely love. If I really had to choose,
I would be severely torn between the Angus Taylor
sculptures and the Phillimon Hlungwane etchings.
I would also never say no to a top Pierneef.”

Much of the exhibition’s artworks portray the mes-

sage that South African art is alive with talent today.
“There are artists doing incredible and interesting
things. Even though the contemporary art scene
is so exciting, we also exhibit some historical
work to represent what the art in this country has
evolved from,” said Mollé. Another aspect that
characterised this collection was its significance.
According to Mollé, the curators selected artists
whom they thought were important to showcase
and signify the variety of different work that has
emerged in South Africa over the years. “We truly
attempted to give an overall impression of what
has been done in South Africa, and what is in the
process of happening now.”

Looking closely at the different artworks included

in the exhibition, it is evident that no one particular
theme dominanted the collection. The South African
context in which the pieces were embedded, to-
gether with the individual African stories that they
tell, became more important than their themed
references.
LEFT: Neil Rodger (1941–), Seated woman looking at the sea. Oil on canvas. 90 x 90 cm.
LEFT: Sipho Ndlovu (1968–), Pulling Slash II. Oil on canvas, 78 x 118 cm.
RIGHT: Phillimon Hlungwane (1975–), Kuverenga Himatimba Swahakerisa II, 2009. Etching 2/20. 88 x 121 cm.
RIGHT: Simon Stone (1952–), Leeu Gamka. Oil on canvas. 117 x 92 cm.
111 >
112 >

“There is no central theme aside from the fact

that all the artists are South African. There are a
variety of different artworks which show the diver-
sity and multiplicity of styles, themes and mediums
in which South Africans work” said Mollé.

The Everard Read Gallery took an innovative ap-

proach to its education program for the exhibition
and Mollé says that “We have sent invitations for
the exhibition to many schools and we usually get
a very enthusiastic response yielding troops of
art classes marching through with great fever.
The response to this exhibition was overwhelm-
John Meyer (1942–)
ing and we saw hoards of local and international Voices on The Wind (detail), 2009
visitors attending.” < Mixed media on canvas, 170 x 230 cm
114 >

“The forgotten never simply disappears but eternally returns to haunt the present and disrupt presence.” – Mark

LEFT: Francois Jonker, Cains Conquest.

RIGHT: Carla Crafford, Combo A$.
 115 >

k C Taylor, Disfiguring: Art, architecture, religion. 1992.

116 >
On two different occasions in 2009, art-
ists Carla Crafford and Francois Jonker had
the opportunity to travel to Paris for two-
month-long sojourns at the Cité Interna-
tionale des Arts. Both stayed at what is
known as Atelier 1731. Their experiences
resulted in a collaborative exhibition titled
Atelier 1731, which is running at the UP
Visual Arts Incubator based at the Van
Wouw House, Pretoria.
The Cité Internationale des Arts is intend-
ed to provide a sojourn of limited duration
to professional artists who wish to develop
their artistic skills in France. The site,
located at 18 rue de l’Hôtel de Ville, in-
cludes 270 atelier apartments in the
heart of the Marais district, which is a
dynamic quarter of the city swarming with
art galleries and a favourite destination
for Parisians and foreign visitors. Since its
opening in 1965, the Cité Internationale
des Arts has accommodated more than
18 000 artists from all over the world.
In the early 1980s, the South African Nation-
al Association for the Visual Arts (SANAVA)
acquired three atelier apartments. These
assets are held in trust in terms of an
Occupational Rights Agreement by the
SANAVA Cité des Arts Trust, valid until
22 March 2060. According to SANAVA,
the apartments create golden opportu-
nities for those who had already shown
proof of their artistic merit to spend
some time in Paris, to enrich their lives
while living and working in a world me-
tropolis, known for its cultural richness,
and to experience the cultures of, and inter-
act with artists from all over the world.
With the Atelier 1731 exhibition, Crafford
and Jonker share with viewers the mem-
ories of their individual sojourns, con-
sidering also what preceded and ensued
from their diverse and common experi-
ences. Crafford and Jonker come from very
different generations: Crafford completed
her Fine Arts studies more than 30 years
ago while Jonker graduated in 2009.
Crafford works mostly with photography
and particularly with other artists and
visual re-interpretations of their artwork
as her inspiration. While photographs are
often considered as visual documents of
places, people and objects of a particular
time, Crafford prefers to see photographs
as artworks in their own right.
For a long time she has been grappling
with the question: Is this or that picture
an example of ‘visual documentation’ or
are they ‘artworks’ in their own right?
She ponders that the difference cannot
always be determined with clarity, but in
her own work, she relies primarily on the
intention of the artist/photographer. It
thus becomes a two-way collaboration.
Crafford says: “What is clear though, is
that any sighted person has personal
TOP LEFT: Carla Crafford, Dubbel Diane Kleur.
BOTTOM LEFT: Carla Crafford, Victor Kleur.
TOP RIGHT: Carla Crafford, Artist’s work and tools.
BOTTOM RIGHT: Carla Crafford, For the sake of art.
117 >
LEFT: Carla Crafford, Cité Danse.
TOP RIGHT: Carla Crafford, Mystére dans les jardins de Versailes.
118 >

CENTRE RIGHT: Carla Crafford, Curt Vosges.

BOTTOM RIGHT: Carla Crafford, Cité Neighbors.

visual memories. Yet, those memories
fade with time – almost as if the mind
itself interferes with them, to become a
pollutant of our ‘seen recollections’. So,
one’s visual memory disintegrates, mak-
ing it difficult to recall events and appear-
ances. More often than not, photographs
are looked at as aide-mémoires: Those
images that make us travel back a little,
so that we can better recall what we may
have forgotten.”
“Similarly clear is that no person other
than the photographer will have the same
reaction to an image as the photographer
had when the scene had been captured in
the first instance; then perhaps re-worked
and shown in a specific collection or cir-
cumstance. Still, for any artist to put work
on exhibition, one assumes that the artist
wishes to make his or her recollection
known to some extent.”
“Whereas it is possible to photograph
one’s head, pointing the camera to one’s
mind to photograph a memory or mental
image is out of the question. The camera’s
functions are limited to what is visible
– it cannot think, feel or make any judge-
ment. On the other hand, it is almost im-
possible to give shape or substance to a
mental image – especially one that does
not exist in the otherwise visible world. In
fact, should one imagine a previously
unseen image, then set up that scene to
be photographed, the mental image will
119 >
no longer be recallable once a tangible
photograph exists,” explains Crafford.
“After 30 of years of practicing my art I
am less concerned about the purity of
technique and more interested in the
aesthetics of the end result. Therefore I
‘cheat’ a lot.” With ‘cheating’, Crafford
alludes to her various techniques of ma-
nipulating images in her photographic
darkroom as well as recomposing im-
ages in collages as shown in the Atelier
1731 exhibition.
DESIGN>ART interviewed Crafford one
day before the opening of the exhibition
when she was still calmly working on
some of the artworks. This was not a
last-minute rush to complete works for
the opening, but rather part of the theme
and process that brought about Atelier
1731.
This exhibition is an installation of mem-
ories and therefore a work in progress. The
theme and space required her to continue
the story of how Atelier 1731 influenced her
life and artistic work and it was there-
fore natural for Crafford to add a few
current thoughts.
Jonker’s contribution to Atelier 1731
consists of two distinct parts. Firstly he
exhibits works from Testaments and
monuments, a body of works produced
in 2009 after his return from the Cité des
120 >

Arts International. The second compo-

nent (which actually precedes the first)
is a series of prints from his personal
diaries. These diaries, comprising mostly
of images, give viewer an introduction
to Jonker’s thought and work processes.

He works with digital media and physi-

cal performance. He completed his BA
(Visual Communications) in 2008 and
a BA (Fine Arts) in 2009, which allows him
to cross the barriers of art and design.

Jonker delves into the subject of history

with the Testaments and monuments
series. These works aim to function as
re-writings of his personal cultural his-
tory as a white Afrikaner raised within
a Calvinistic heritage.

The works are also inspired by Michel

Foucault’s interpretation of history. For
Foucault, history proves to be much
more than a stable point of origin from
which one emerges. On the contrary,
history seems to supersede its function
of describing the past, by always already
actively inscribing the present. History
thus becomes a process of archaeology
in which one digs into the fabric of his-
tory with the aid of contemporary tools
– yet those tools are always already a
result of – or testament to – history.

Jonker also quotes R. Bubner who says

ject attempts to identify. Yet, that surface

Francois Jonker, Testaments and Monuments, 2009.

 121 >

Francois Jonker, Cains Conquest, 2009.

122 >

Francois Jonker, Still

Waiting.

Still Waiting,
Installation view.
 123 >

proves alienating even though it is pro-

jected by the subject itself, guided by
his/her own present ideological frame-
work.

This sense of alienation, as well as the

feeling of loss and even guilt, becomes
central to how Jonker ‘re-writes’ history
in an attempt to uncover his cultural sub-
jectivity through the performance, docu-
mentation and editing of his history. <

COLLECTIONS
South African art (particularly that of the Eastern Cape),
British art, international printmaking, Oriental art
(including Indian miniatures and Chinese textiles).

EXHIBITIONS
Showcasing artworks from the permanent collections,
supplemented by an active programme of temporary
exhibitions.

EDUCATION AND OTHER SERVICES

Guided tours, lectures, films, workshops, research
library, souvenir shop.

1 Park Drive, Port Elizabeth, 6001, South Africa

Telephone: +27 (0)41 5062000
Fax: +27 (0)41 5863234
E-mail: artmuseum@mandelametro.gov.za
Website: www.artmuseum.co.za
124 >

Everard Read
leaps into
the future
with Circa on
Jellicoe
By Bev Hermanson

It’s a Saturday morning and the residents of

Rosebank, one of Johannesburg’s elite northern
suburbs, are flocking to the art precinct on the
corner of Jellicoe and Jan Smuts Avenues to enjoy
a coffee, browse through the book store and view
the artworks on display. This is the vision of Mark
Read of the Everard Read Gallery, whose brief to
Pierre Swanepoel of StudioMAS architecture &
urban design was to create a multifunctional
space on what once was a narrow parking lot.
125 >
126 >

The Circa building

commands the corner
while the Everard Read
Gallery forms a demure
backdrop. A walkway
connects the Circa
building with the fire
escape.
 127 >

The Everard Read Gallery, Southern Africa’s most famous

commercial art gallery was established in the young
mining town of Johannesburg in 1912. Over the years
the gallery has grown in size and sophistication with
the emergence of Johannesburg as Africa’s business
and financial capital.

Everard Read has become synonymous with the finest

art emanating from Southern Africa. Many of this region’s
most celebrated painters, print-makers and sculptors,
both traditional artists of the past and emerging talent,
exhibit with Everard Read. The gallery has also be-
come the agent for eminent artists from elsewhere in
the world.

In 1980, the Read family chose to relocate the gallery

from downtown Johannesburg to Jellicoe Avenue in
Rosebank, where a domestic residence was converted
into a flowing, bright viewing space for various artworks
and artifacts. Then in the later 80s, the Reads purchased
the property facing Jan Smuts Avenue, across the road
from the gallery. For the next 15 years the land was
utilised as parking for the gallery, however, during this
interval, the seed was sown to do something more
meaningful with the site. Mark Read set about finding
an architect that could share his vision and eventually
settled on the award winning practice of StudioMAS.
He briefed Pierre Swanepoel, the senior partner, to
come up with a concept that would become a dynamic
multi-functional building that would complement the
existing gallery.

“It was very challenging to conceptualise a building that

would take best advantage of what was essentially a
128 >

The concrete stairs

which encircles the
central structure.
 129 >

long narrow utility area. We came up with a triple storey building

that is an elliptical shape, transparent, yet self-contained,” says
Swanepoel. Known as Circa, which means ‘thereabouts’ or ‘ap-
proximately at that time’, the new building occupies the north
western corner of the Rosebank precinct. It is within walking
distance of the various malls, the Rosebank craft market, banks
and the many hotels and restaurants in the district. With the
building of a Gautrain station in the suburb, it is expected that
this area will become a vibrant node and an attractive destina-
tion for visitors and residents of Gauteng to frequent.

“Mark had initially wanted to extend the gallery across the street,
but as the project unfolded he decided to leave the existing
gallery as it was, merely paving the road between the two sites
to create more of an ‘art in the street’ atmosphere,” Swanepoel
continues. “The new building is a very theatrical space that has
been split into three levels with a circular staircase that ascends
around the perimeter. It’s a place where people can meet and
interact in a highly inspirational environment.”

“It was extremely difficult to piece the building together to

achieve the elliptical shape,” says Swanepoel. Much of the
structure had to be constructed virtually ‘by hand’ to achieve
the uniformity desired. The central structure is made from con-
crete, which is encircled by gradually sloping concrete stairs. To
ensure a level of privacy, this was then clad with aluminium fins
that allow natural light to filter in during the day and artificial
light to splash on to the surrounding pavement area at night.
“The fins resemble the structures used for a Zulu kraal, shield-
ing the interiors from the bright African sun.”

The structure was conceptualised to become an integral part of

the public spaces with a coffee shop and book store that will spill
out on to the paving. The streetscape lends itself to the showing
130 >

The top level lounge,

known as the Darwin
Room, designed by
Christine Read.
 131 >

of large sculptures and two large glass sliding doors

are the perfect answer to the need for security, while
offering transparency and a feeling of openness to the
space.

The ingenuity of the design has given this landmark a

triple storey structure with a top level lounge and
deck that takes in 270 degree views clear across to
Northcliff Hill. The lounge, designed by Christine Read,
and adjoining kitchen area is large enough to cater
comfortably for gatherings of 50 or so people and the
west facing deck is perfect for sundowners. The first
floor, covering around 177m2 is a multipurpose exhibi-
tion space with seven movable screens that can be
dropped through the floor to the level below should the
need arise for more exhibition space on the ground
floor.

Named Speke, after John Speke, the pioneer who sought

the source of the Nile, this ground floor space is ideal
for displaying treasures of contemporary art and arte-
facts, all things passionately collected by Mark and
Christine from Africa and around the world. The top
level, known as the Darwin Room, is linked to a fire
escape via a walkway. This metal structure will even-
tually be covered by a vertical garden, allowing visi-
tors the experience of descending through a green
world of foliage, should they wish to do so.

In addition to displays of artworks and crafts, Circa will

be used for a variety of cultural events that will en-
courage gallery supporters to rethink the definitions
132 >

of art and other cultural pursuits. “One can say that Circa is a
small building with a big attitude,” says Swanepoel. “One that
is inspired by a new world economy, where commercial gain is
tempered by a concern for urban and natural environments.” <

The top level

deck that takes in
270 degree views
clear across to
Northcliff Hill.

Circa’s
multipurpose
exhibition space.
 We are delighted to announce
that Everard Read is now officially
Deborah Bell’s
primary dealer

Deborah Bell (1957–) Inflame 2008 and 2009 mixed media on paper 116 x 156 cm

CIRCA on Jellicoe will be hosting an exhibition of her latest work in November 2010

6 Jellicoe Avenue, Rosebank, Johannesburg

Tel: + 27 11 788 4805 Fax: + 27 11 788 5914 Email: gallery@everard.co.za www.everard-read.co.za
134 >
 135 >

Standard Bank’s long-term, sustained support and promotion of the arts role has been
extensive and wide-ranging, and has enhanced its image as a South African institution
that nurtures cultural development.

Makonde, Lipiko (Helmet Mask), undated. Wood, pigment, hair. 22 x 24 x 17 cm.

Mozambique. Standard Bank Collection of African Art, Wits Art Museum.
136 >

THE STANDARD BANK GALLERY

The Standard Bank Gallery is an exciting and sophisti-

cated exhibition space situated in the heart of down-
town Johannesburg. Opened in 1990 and extensively
refurbished in 2004, it is recognised as a world-class
facility, one of the few non-commercial public venues
for major exhibitions, and it has earned a reputation
as one of the country’s foremost fine art venues.

The Standard Bank Gallery has made its mark on Johan-

nesburg – and the national art scene – with its skilful
mix of highly relevant exhibitions. Shows such as Alexis
Preller: Africa, the sun and shadows in 2009, Judith
Mason: A Prospect of Icons in 2008, Willem Boshoff:
Word Forms and Language Shapes in 2007, Karel Nel:
Lost Light also in 2007, Gerard Sekoto: From the Paris
Studio in 2006, Irma Stern: Expressions of a Journey in
2003 and Johannes Phokela: I like my neighbours in
2009 have created opportunities to reassess and re-
view the work of established South African artists.
Exhibitions such as Santu Mofokeng: Invoice in 2006
and Skin to Skin in 2008 have given viewers a unique
insight into the artists’ reflections on South African
society. Exhibitions by award-winning Standard Bank
Young Artists, Nontsikelelo Veleko: Wonderland in
2009, Pieter Hugo: Messina/Musina in 2008 and
Churchill Madikida: Like Father Like Son? in 2007 have
demonstrated Standard Bank’s commitment to nurtur-
ing up-and-coming young artists, while Picasso and
Africa in 2006 and the Magical Universe of Joan MirÛ
in 2002 brought the work of international luminaries
 137 >

The Standard Bank Gallery, established in 1990, is a

world-class, non-commercial exhibition space
situated in the heart of downtown Johannesburg.
138 >

Marlene Dumas interacting with the press at
the media preview for Intimate Relations at
the Standard Bank Gallery, Johannesburg.
Marlene Dumas, Fog of war, 1996.
Ink on paper. 45 x 35 cm.
Standard Bank Corporate Collection).
139 >
to South Africa. Furthermore, the groundbreaking exhi-
bition, Marlene Dumas: Intimate Relations, was widely
celebrated in 2007 as a ‘homecoming’ exhibition, the
first solo show of this internationally acclaimed artist
in the land of her birth.
The Standard Bank Gallery serves a fundamental edu-
cational role in the Standard Bank Group’s operational
strategy as a leading supporter of the arts. In addition
the hosting of seminal exhibitions, the Standard Bank
Gallery produces publications, educational materials,
regular talks by resident artists, guided tours and
workshops for all ages. Furthermore, the gallery regu-
larly hosts lunch-hour concerts and recitals for Stand-
ard Bank staff and the general public, which play a
critical role in facilitating the continued development
and protection of South African culture.
STANDARD BANK YOUNG
ARTIST AWARDS
Last year, 2009, marked the 25th anniversary of the
Standard Bank Young Artist Awards. Established by
the National Arts Festival (NAF) in 1981 and taken over
by Standard Bank in 1984, these awards, in the disci-
plines of Dance, Visual Art, Drama, Film, Music and
Jazz, are granted to young South Africans who have
demonstrated exceptional ability in their field, but
have not yet achieved national exposure and acclaim.
One vital aspect of the award, which makes it different
from others in the country, is that Standard Bank,
where possible, endeavours to provide visual artists
140 >

with a platform after winning the award. In the Visual

Arts, winning artists are supported through a spon-
sored travelling exhibition to all the main centres in
the country. Launched on the main programme at the
NAF, this exhibition affords them national exposure.
The bank also purchases an artwork from this exhibi-
tion for the Standard Bank Corporate Art Collection
which is on display at its corporate head office and
other provincial offices around the country.

In sponsoring, unearthing and contributing to the de-

velopment of young artists over the past 25 years,
Standard Bank has made an enormous contribution
to South Africa’s cultural wealth. Not only has it nurtured
creative talent and propelled the careers of artists, it
has also created role models for other aspiring artists
and forged a rich cultural legacy.

THE STANDARD BANK AFRICAN

ART COLLECTION

The Standard Bank African Art Collection, developed

in partnership with the University of the Witwatersrand,
Johannesburg, demonstrates Standard Bank’s long-
standing commitment to the conservation of African
cultural heritage. Established in 1978 with the aim of
acquiring, maintaining, preserving and exhibiting a col-
lection of African art forms, the collection is a unique
collaboration between business and academe.

This collection is of historical significance for the in-

sight it offers into development in Africa’s culture. It
 141 >

LEFT TO RIGHT:

Karel Nel, Stele, 2004. Red ochre with

sprayed pigment on bonded fibre fabric.
220 x 50 cm.

Karel Nel, On Earth, 2004. Yellow, red and

brown ochre with sprayed pigment on bonded
fibre fabric. 220 x 50 cm.

Tsonga-Shangane, South Africa, Nhunguvana

(Medicine gourd). Wood, beads, basket, metal,
string 18 x 15.5 x 15.5 cm. Standard Bank
African Art Collection (Wits Art Museum).

BOTTOM:

Judith Mason, She-wolf, 1965. Oil on hard-

board. Iziko South African National Gallery.
142 >

Churchill Madikida,
Virus 5, 2005. Lambda
print. 72 x 99 cm.
Standard Bank
Corporate Collection.

Pieter Hugo, Pieter and

Maryna Vermeulen with
Timana Phosiwa.
Musina, South Africa,
2006. C-print.
 143 >

includes pieces from all over Africa, but an emphasis

on local art has helped to stem the flow of valuable
artworks out of the country. The collection includes
wood figurines, drums, masks, clothing and ritual ob-
jects as well as specialist areas such as beadwork,
textiles and valuable ceramic pieces.

In its 30+ years of existence, the African Art Collection

has been widely used as an important research and
teaching resource, providing actual examples of ob-
jects for students of Art History, Fine Art and a range
of interdisciplinary subjects to study. As such, it is not
only a major cultural resource which attempts to ad-
dress some of the imbalances of cultural conservation
in South Africa, it is also a major teaching resource, a
stimulus for further research, an inspiration for aspir-
ing artists and a legacy for the nation.

THE STANDARD BANK CORPORATE

ART COLLECTION

Formed over the last four decades, the Standard Bank

Corporate Art Collection is a testament to the vision of
its creators and the changes in attitudes by which it
has been shaped: shifts in corporate culture, the visu-
al art sector and the broader South African social and
historical context.

One of the oldest and most comprehensive of the

South African corporate collections, it consists of more
than 1000 works of art, housed mainly in the Standard
Bank Centre and the Standard Bank Global Leadership
Nontsikelelo Veleko, Screamblacklips, 2006.
Pigment print on cotton rag paper. 40 x 30cm.
Goodman Gallery Cape.
144 >
TOP: Irma Stern, Gardenias, 1940. Oil on
canvas. 60 x 49 cm. Standard Bank
Corporate Collection.
ABOVE: Alexis Preller, Still life with gourds,
1953. Mixed media. 61 x 47 cm. Standard
Bank Corporate Collection.
Centre in Johannesburg. Components can also be
found in other venues, such as Standard Bank offices
in Port Elizabeth, Cape Town, Pretoria, London and
New York. There is a strong pictorial focus in the col-
lection, which includes artworks in diverse media by
over 250 different South African artists. Significant
artworks of local subjects by non-South African art-
ists, such as the pioneer explorers during the colonial
years, are also included. The collection spans more
than 250 years, dating from 1755 to the present, with
the majority of the works being from the last 50 years.
The recently launched Signature Pieces, a catalogue
edited by Julia Charlton of the Wits Arts Galleries,
gives an insight into the collection, reflecting its
growth and development. The high quality images
provide readers with a sense of the scope of the col-
lection, and the essays by specialists on particular
aspects of the art offer additional insight. A chapter is
also dedicated to the artists’ voices, and 12 invited art-
ists discuss an aspect of their works in the collection,
offering valuable perspectives on their sources,
thought processes, methods or intentions. Contribu-
tions have been made by Willem Boshoff, Alan Crump,
Bronwen Findlay, Robert Hodgins, Churchill Madikida,
Colbert Mashile, Kagiso Pat Mautloa, Karel Nel, Sam
Nhlengethwa, Doreen Southwood, Minnette Vári and
Andrew Verster.
STANDARD BANK – LEAVING A LEGACY
FOR THE FUTURE
Standard Bank’s sponsorship of the arts goes beyond
marketing, demonstrating the institution’s commit-
ment to the development, promotion and conserva-
tion of South African arts, culture and heritage; its
lasting legacy is a gift to the nation. <
 145 >

Johannes Phokela, The bean

feast, undated. Oil on canvas.
168 x 198 cm. Standard Bank
Corporate Collection.

Importers and distributors of an extensive range of Artists consumables.

i.e. canvas, brushes, oil and acrylic paints, copic markers and pads.

2 Pryce Rosser Str, City Deep info@xpressgraphx.co.za Tel: 011 334 2004
Prolecon, Johannesburg www.xpressgraphx.co.za Fax: 011 334 1970
146 >
 147 >

The Unisa Art Gallery is the contemporary gallery

of the University of South Africa featuring estab-
lished and emerging South African and African art-
ists working in different media including painting,
ceramics, photography, multi-media and sculp-
ture. The Art Gallery is situated in Pretoria, at the
University of South Africa Main Campus, Theo Van
Wijk Building, B-Block, 5th Floor.

Prof. Karin Skawran established the Unisa art col-

lection in 1961. The Unisa Art Gallery was accom-
modated in the former Unisa Library in 1988 with
the appointment of the first art curator. Since then
the gallery has grown to be one of the most sig-
nificant exhibition spaces in South Africa and is
privileged to be in possession of a hugely relevant
collection of predominantly contemporary South
African art.

This year marks a very significant point in the de-

velopment of the Unisa Art Gallery, as the Unisa
permanent art collection is moving into its first
state of the art exhibition space and storage facil-
ity. These facilities can be found at the entrance of
the Unisa main campus in Pretoria.

Gerard Sekoto, Four figures at a table. Oil on board.

148 >
LEFT TO RIGHT:
Nandipha Mntambo, LeLive Lami, 2006.
Cow hide, cow tails, waxed chord,
polyester resin & fiberglass.
Alexis Preller, Still life, 1946. Oil on board.
Cecil Skotnes, Untitled – 13/100, 1972. Woodcut.
Maud Sumner, The garden party. Oil on canvas.
Maggie Laubser, Landscape with pink house.
Oil on board.
Judith Mason, PANEL 2 (Triptych) Sandwich Board
Man. Oil on canvas.
With its new curator, Bongani Mkhonza, the Unisa
Art Gallery and the permanent collection will be
moving into the new art gallery space which
claims to be the biggest in Pretoria. The Unisa Art
Gallery as a valuable cultural asset, aims at na-
tional and international relevance by promoting
the culturally diverse manifestations of the visual
arts. Within the spirit of academic excellence and
cultural relevance, the Unisa Art Gallery strives to
collect, document and conserve primarily South
African art.
Exhibitions expose and focus on diverse and rel-
evant aspects in the arts. These include regular
exhibitions of the Unisa Art Collection, as well as

exhibitions curated by the Unisa Art Gallery con-
sidering current research of historical, cultural
and educational value, as well as significant travel-
ling exhibitions curated by other institutions.
Student exhibitions, community outreach exhibi-
tions and international exhibitions also provide
the opportunity for endless creative and intellec-
tual stimulation. Opening events, presentations
and walkabouts are arranged in order to engage
with exhibitions and to provide a platform for in-
teraction.
The Unisa Art Gallery is one of the most significant
exhibition spaces in South Africa. The collection
encapsulates the richness of our social fabric and
149 >
the creative potential of South African artists.
Unisa’s permanent collection acquisition team
has consistently been collecting historical and
contemporary artists that are pushing the bound-
aries of creativity in South Africa. In terms of his-
torical artists, the collection boasts artists like
Cecil Skotnes, Durant Sihlali, Maud Sumner, Gerarld
Sekoto, Alexis Preller and Maggie Laubser.
It is crucial not to portray these historical artists
and their contribution in a cosmos perception but
to bring to light their interrelationships as workers,
parents, educators and human beings. If you trace
their histories most of these artists (through their
careers) have crossed paths; worked together or
even creatively influencing one another. Examples
150 >
include Cecil Skotnes, who made a remarkable
contribution to the art history of South Africa be-
tween the 50s and the 60s when he worked as a
Cultural Officer at the Johannesburg City Council’s
Polly Street. Polly Street offered adult education
for black people at that time. Durant Sihlali, one of
the students at Polly Street, was taught by Sko-
tnes and was amongst the artists that started the
trend called ‘township art’.
Maud Sumner was born in Johannesburg of British
immigrant parents from Warwickshire. She was
educated at home and later attended Roedean
High School for Girls in Johannesburg where she
took art lessons from A.E. Gyngell, the curator of
the Johannesburg Art Gallery in 1913. Sumner’s
later work departed from the late-Impressionist
style of the Nabi movement and became more in-
tellectual.
Gerald Sekoto befriended artists Alexis Preller,
with whom he exchanged a lot of ideas and Preller
taught Sekoto to work in oil. Within a short time
Sekoto started exhibiting his work and had built
up a reputation in the Johannesburg art scene.
However, Sekoto was unhappy in the racial and
claustrophobic work environment in Johannes-
burg. In 1942 he decided to leave Johannesburg
for District Six in Cape Town before he went abroad
in exile.
The contemporary collection includes works by
artists such as Lawrence Lemaoana, Nandipha
Mntambo, Lyndi Sales, Gwen Miller, Steven Cohen
and many more. <
 151 >

LEFT TO RIGHT:

Lawrence Lemaoana, Players of colour, 2006. Fabric.

Gwen Miller, Earth Skin, 2000.

Vilene, wax, oil paint, charcoal, plastic hair.

Steven Cohen, Let the voice of the youth be heard, 1993.

Hand Painted Chair.

Contact the gallery:

Curator: Bongani Mkhonza, Tel: (012) 429 6255,

Email: Mkhonbw@unisa.ac.za

Administrator: Magda Botha, Tel: (012) 429 6823,

Email: ukun1@unisa.ac.za

7378

Restoration.
Our investment
in the future.
Celebrating 100 years of art and culture
with the Johannesburg Art Gallery.

City Property transforms inner city buildings

and creates sophisticated, modern and
cosmopolitan living and retail spaces. Attention
to every detail, from security to finishes,
ensure that those who live and work in City
Property buildings enjoy the best that
South Africa’s cities have to offer.

Head Office: CPA House, 101 Du Toit Street, Pretoria P.O. Box 15, Pretoria 0001 Tel: 012 319 8811 Fax: 012 319 8812 Website: www.cityproperty.co.za E-mail: propworld@cityprop.co.za
 153 >

The North-West University (NWU) is a multi-campus

university with a footprint spanning two prov-
inces. The Mafikeng and Potchefstroom Cam-
puses are situated in the North-West province
and the Vaal Triangle Campus is in Gauteng. The
NWU came into being on 1 January 2004 through
the merger of two universities with very different
histories, personalities and cultures – the Potch-
efstroom University for Christian Higher Educa-
tion and the University of the North-West. The
staff and students of the Sebokeng Campus of
the former Vista University were also incorpo-
rated, adding further to the richness of the new
institution’s heritage.

Today, the NWU is recognised as one of the best-

managed and most innovative universities in
South Africa. As conveyed in its pay-off line, ‘In-
novation through diversity’, the institution con-
tinues to celebrate and encourage multiculturalism,
multilingualism and multinationalism.

Support of the arts forms part of the balanced

approach of the NWU, realised through involve-
ment in various initiatives. National arts projects
are part of the social calendar and cultural
groups span choir, dance and drama. On the aca-
demic side, the Graphic Design course has been
Creativity Centre exhibition
154 >
named as one of the best in the country. Partici-
pation in – and celebration of – creative excel-
lence in all forms, is at the heart of the NWU.
THE NORTH-WEST UNIVERSITY
ART COLLECTION
The NWU boasts an extensive art collection that
began in 1972 when some of the 66 artists that
participated in the institution’s first exhibition
donated works. Over the years the collection ex-
panded in an environment that nurtured devel-
opment of the arts. It currently consists of three,
previously separated, collections: those of the
old PUK, POK and the Ferdinand-Postma Library,
with the addition of works acquired more recently
by the Institutional Office. Works by Maggie Laubser,
Bettie Cilliers-Barnard, Judith Mason, George
Boys, Robert Hodgins, JH Pierneef and Christo
Coetzee are revered, with an appreciation for
both contemporary artists and the old masters.
Two galleries at the Potchefstroom Campus regu-
larly exhibit South African art and provide differ-
ent but equally worthwhile experiences. The
Main Gallery, with its large exhibition space and
storage facilities, is often the hub of the local art
scene, enjoying an evening out at a new exhibi-
tion or a contemplative retreat during the work-
ing day. The newer venue at the NWU Botanical
Garden provides a unique setting in which to en-
joy a combined visual feast of nature and art.
Having adopted the modified C1 building in
Potchefstroom, formally known as the old POK
library, the Institutional Office now houses con-
temporary works by Peter Eastman, Philemon
Hlungwani, Stompie Selibe, Hanneke Benade,
Sam Nhlengethwa, Claudette Schreuders and
Diane Victor, amongst others. Completion of the
interior design of the Institutional Office forms
part of the brand roll-out for 2010 and the art is
offset by contemporary furniture and the restful
presence of some greenery. Typographic design,
signage and finishing touches will aim to supple-
ment the existing environmental design and will
hopefully provide an interesting and productive
atmosphere for those working in or visiting the
building.
In 2009, sculptor Marco Cianfanelli was commis-
sioned to produce a work for the Institutional Of-
fice, inspired by the NWU’s vision and values. As
a result, an innovative spirit is reflected in the
theme, ‘unity through diversity’. The sculpture is
also a manifestation of actual geographic data of
the North West province and the Vaal Triangle in
Gauteng, which translates into the 76 steel
sculpture profiles, of which the relief echoes the
topography of the region. These profiles exhibit
words pertinent to the NWU culture, in a multilin-
gual celebration of Afrikaans, English and Set-
swana. The arrangement of the sculpture profiles
is suggestive of embrace and connectivity, creat-
ing a form that is iconic yet not monolithic.
The restored bronze statue of Totius, the name
signifying the pen-name of Jakob Daniël du Toit,
is an icon of profound importance to the NWU’s
community, past and present. The statue has
found a proud new home on the Potchefstroom
campus after receiving approval in 2009 from the
Town Council. Approval was granted for the well-
known writer and poet’s statue to receive a place
of honour in the intended Writers’ Garden, which
forms part of the campus’ initiative to honour the
great writers and poets of North West, including
Sol Plaatje and Herman Charles Bosman. The
first of the Potchefstroom poets to be honoured
LEFT: Philemon Hlungwani. Etching.

BOTTOM LEFT: Peter Eastman, City.

BOTTOM RIGHT: Claudette Schreuders, Public Figure.

155 >
 156 >

Design projects by 4th year. Graphic Design students.

RIGHT: Sophia Strydom, MK Bruce Lee poster.

BOTTOM LEFT: Emaria Gouws, MOT Gutenburg poster.

BOTTOM RIGHT: Sophia Strydom, MK Bruce Lee poster.


was TT Cloete, where his poems were recited ear-
lier this year during a special occasion in the
NWU Botanical Garden. Copper plates bearing
extracts from his poems were then unveiled in
the garden. Work on Sol Plaatje’s statue by Jo
Roos is also progressing and will soon find its
special place in the Writers’ Garden.
THE RENDEZVOUS ART PROJECT
The NWU has been involved in the Rendezvous
art project since its inception in 2007. Initiated to
develop links between business, educational in-
stitutions and the arts, this non-profit organisa-
tion supports community projects and artist de-
velopment on various levels.
The first project was Rendezvous Focus Sculpture,
which raised funds for some grade 12 students
from Alexandra, enabling their application for
tertiary education. The following project, Ren-
dezvous Focus Wearable Art, raised funds for a
bursary at the NWU in the faculty of humanities.
The current project, Rendezvous Focus Original
Lithography, consists of a series of travelling ex-
hibitions at various venues throughout South
Africa. This project aims to forge cultural links
between South Africa and France through exhibi-
tions. The French component of these exhibitions
is a collection of lithographic prints from the At-
eliers Pons in Paris and South African artists
working in the medium of lithography. The
project will give eight South African artists the
opportunity to travel to Paris and to be part of a
workshop on lithography at the Atelier Pons.
157 >
THE AARDKLOP NATIONAL
ARTS FESTIVAL
The NWU is one of the main sponsor’s of the
Aardklop National Art Festival, which seeks to
create the opportunity for upcoming talent to
perform with established artists. The NWU plays
host to some of the exhibitions on the visual arts
program.
Over the past 12 years, the festival has highlight-
ed nationally and internationally renowned art-
ists through the Festival Artist programme at the
NWU’s Main Gallery. Past guest artists include
Kevin Brand, Deborah Bell, Judith Mason-Attwood,
Berni Searle, Louis van Rensburg, Jan van der
Merwe, Robert Hodgins, Marco Cianfanelli, Willem
Boshoff, Nicholas Hlobo, Diane Victor and Conrad
Botes. In 2010, the festival artist is Angus Taylor.
The Botanical Garden Gallery exhibits artists that
focus on environmental work or environmentally-
conscious works, such as Strijdom van der Mer-
we’s works in 2009.
The Creative Quotient Festival (CQ-Fest) is held
annually in conjunction with Aardklop and the
Graphic Design subject group. It showcases the
best of the advertising and design industries and
includes the Cannes Lions and The Loerie Award
road shows as well as student work from various
design education institutions.
158 >
ARTÉMA
Artéma, the first institute of its kind in South Af-
rica, is the Institute for Arts Management and
Development at NWU, Potchefstroom campus.
The Institute was established in December 2003
and focuses on the empowerment and training of
people involved on the management and organi-
sation of the arts environment and related disci-
plines. It serves the arts in collaboration with as
many role players as possible by training manag-
ers and administrators in the arts through a vari-
ety of university-accredited courses. It conducts
practical research within the arts environment
and presents development projects in the field of
arts management on all levels. Additionally, a
state-of-art recording studio was also launched
in recent years, making facilities available to tal-
ented musicians.
THE CREATIVITY CENTRE
The mission of the Creativity Centre is to make
creativity part of people’s daily lives. Since its in-
ception in 2000, the Centre has been offering
certificate short courses in graphic design, web
design, computer software, photography, drama,
creative entertaining, painting and drawing
which are registered at the Institutional Commit-
tee of Academic Standards.
NWU-PUK ARTS
NWU-Puk Arts is housed in the oldest building on
the Potchefstroom Campus, which is a National
Monument. The essence is to foster a healthy arts
and culture presence on campus and deals mainly
with the non-academic aspects of the arts. As a
result, the department partners with the Student
Council’s Culture division. Student concert groups
form part of the stable of Puk Arts, providing won-
derful opportunity for expression.
FACILITIES
The NWU offers students, staff and the public
with a wide range of facilities that supports cul-
tural development and arts appreciation. Per-
formances and concerts of all kind take place at
the Sanlam Auditorium or the Cachet ‘Kleinteater’.
Practice sessions, rehearsels, courses, adminis-
trative actitivies and smaller events are staged at
various other venues, including the historic Totius
hall, the Heimat hall, Uitspan building, Education
Sciences hall, offices, amongst others. For mass
gatherings, the Amphitheatre, now sporting a
roof, suffices, and the Conservatorium, known for
its excellent acoustics, is used for music recitals.
ACTIVITIES
The NWU also houses two national arts head-
offices, namely Kuesta (choir festival and sere-
nade comptetition) and Jeunesses Musicales
South Africa (a branch of the international body
that promotes music in the youth market). These
organisations focus on the development of talent
through support and exposure to new opportuni-
ties by hosting national and international artists
and groups which provides opportunities for
cross-cultural influences, inspiration and collab-
oration.
Other arts and culture groups that form part of
NWU activities include the internationally re-
nowned Puk Choir; Boulevard Harmonists, a
Design projects by 4th year. Graphic Design students.

RIGHT: Emaria Gouws, Self promotion SOR, letterhead.

BOTTOM: Clarice Bezuidenhout, MK Bruce Lee.

159 >
 160 >

Design projects by 4th year. Graphic Design students.

TOP: Jaco Burger, typography design.

BOTTOM: Jaco Burger typography design poster.

 161 >

capella ensemble encompassing classical, popular CULTURAL ACTIVITIES

and folk music; Puk Serenaders, promoting different ACROSS THE NWU
traditional African arts and culture through music,
dance and vibrant rhythm; Thalia Drama Society, The Mafikeng Campus has distinguished itself in
responsible for annual pieces and an assortment of music, choral and multicultural drama, with the
cultural offerings, including the popular inter-hostel campus choir winning first place for three consecutive
campus theatre competition; Buzzin Brass Ensemble years in the regional championships of the Telkom/
offering instrumental music for any occasion; NWU- Old Mutual choral championships.
Puk Symphony Orchestra, playing three to four con-
certs annually; Divaco, Cape culture expressed in
The Potchefstroom Campus hosts the renowned
theatre, dance and music, and Disfunctional Beat,
NWU-PUK Choir and the Boulevard Harmonists, the
a dance group presenting a variety of ballet, free-
latter having won an international Christmas Choir
style, hip-hop and breakdancing.
competition in Prague. The Campus also boasts the
Buzzin’ Brass Ensemble, the Thalia Drama Society,
Annual offerings in partnership with the Student and the NWU-PUK Serenaders who took third place
Council’s Culture division include the Alumni-Cam- in the Old Mutual National Choir Championship and
pus Talent Festival, First Years’ Concerts, Serenade a special award at the ATKV Competition. In addition,
Inter-Hostel Competition, Fine Art on Canvass, Inter- this campus won the national debate competition
hostel Theatre Competition, and participation in the for universities, also presented by the ATKV, for the
National Serenade-and Debating Competitions. fourth consecutive year. Marshell Lombard, a talent-
ed artist and music student of the of the NWU, was
chosen as a member of the World Youth Choir in
GRAPHIC DESIGN AT NWU
May 2010. Corporate Writer for Corporate Affairs
and Relations at the Institutional Office, Nelia
The South African Communication Design Council
Engelbrecht, was awarded the prestigious Scheep-
(think) named the North-West University as the top
ers Prize for Youth Literature for her Afrikaans chil-
Graphic Design educational institution for 2009, at
dren’s book, Pandora se boks.
the Thinkahead Awards. The NWU’s Graphic Design
department has annually rated in the top 5 since
The Vaal Triangle Campus’ Riverine Toast Master
2006, and now offers a multimedia elective within
Chapter participates in public speaking events and
the BA Graphic Design degree.
assists learners from secondary schools in the area
to improve their public speaking skills. Other culture
Students and staff have scooped numerous awards
endeavours include the campus choir participating
in recent years, including ‘outstanding visual artists’
in various competitions and the campus establish-
at the 2010 Woordfees, SABS Design Institute De-
ing a campus radio station and a brass band. <
sign Achievers Awards finalists, South African Post
Office Philatelist Federation Stamp Competition,
Goldpack (Institute for Packaging South Africa) fi-
nalists and merits, Pendoring gold and silver, Inter-
national Society for Typographic Design membership
and a Sappi Ideas that Matter grant.
C R E AT E Y O U R F U T U R E

The Faculty of the Arts at the Tshwane University of Technology is home to an

array of programmes in design, visual and performing arts. It is designed to support
the creative process – a process of making, doing, thinking and problem-solving.

The Faculty of the Arts offers you 15 internationally

recognised programmes to choose from:

Dance • Drama • Fashion Design & Technology • Fine & Applied Arts • Film & TV
Production • Graphic Design • Interior Design • Jewellery Design & Manufacture
Musical Theatre • Music • Multimedia (arts-based) • Performing Arts Technology
(Entertainment Technology) • Photography • Textile Design & Technology • Vocal Art

For more information Call: 012 382 6175 or E-mail: artsinfo@tut.ac.za

www.tut.ac.za

Live your life. Create your destiny.

 163 >

One of the main attractions at the Salone Internazionale

del Mobile 2010, which took place in Milan in April,
was the unveiling of the spectacular installation,
The Dwelling Lab, by star designers Patricia Urquiola
and Giulio Ridolfo, featuring the new BMW 5 Series
Gran Turismo.
164 >

Blending their creative and technological expertise, the German

carmaker and the Danish textile manufacturer commissioned a
unique sculpture based on BMW’s innovative new car concept, the
BMW 5 Series Gran Turismo. BMW and Kvadrat chose their long-
time favorites designers, Patricia Urquiola and Giulio Ridolfo to ex-
ecute their brief. Urquiola is an internationally acclaimed Spanish
designer and architect and creator of sensual and compelling fur-
niture, while Ridolfo is a distinguished Italian designer and colour
expert with en enviable background in fashion and accessories. The
four-party team also opted to partner with illumination company,
Flos, who developed a bespoke OLED solution for the soft-lit fea-
tures that Urquiola’s concept required.

The BMW 5 Series Gran Turismo, designed by the team of BMW

Group Design Director, Adrian van Hooydonk, broke with conven-
tions and explored a new vernacular, bringing together elements
that are part sedan, part SAV, part coupé for the exterior design,
while at the same time creating a visionary interior that is as luxuri-
ous as it is modern and functional. Urquiola and Ridolfo translated
these concepts into a design sculpture whose most daring ele-
ments include huge cone-like structures that seem to be growing
out of the car’s body, drawing the viewer inward just as they reveal
the usually sealed-off interior to the outside gaze.

REFINED BEAUTY AND

CUTTING-EDGE TECHNOLOGY

The idea for this groundbreaking installation was born when van
Hooydonk, who has long been an admirer and close follower of the
Kvadrat collections, met Kvadrat CEO, Anders Byriel, at a fair and
suggested a collaborative project. The Danish company known for
its innovative curtain and upholstery fabrics was thrilled at the
chance to enter new terrain by developing materials suited to the
requirements of a car. Working on a car – the structured space of
mobility – was also a debut for Urquiola who approached the com-
mission with excitement and curiosity.

Urquiola, saw the car interior of the BMW 5 Series Gran Turismo as
a unique opportunity to experiment with soft edges and colours,
 165 >

Model of The Dwelling Lab by Patricia Urquiola.

166 >

Urquiola created a special child seat for the

BMW 5 Series Gran Turismo.
 167 >

whilst at the same time creating an atmospheric space inside the

car, infused with the dominance of the textiles and the interaction
between the various materials. The final result includes an array of in-
novative products and interior details in various hues and materials.

Describing her inspiration for the design, Urquiola says: “Usually

we perceive cars from the outside, and then the inside follows.
However, our direct interaction is with the inside. It is the core that
protects and comforts us, the space in direct contact with our bod-
ies and our functions and needs in the process of travelling. I inves-
tigated this interface and tried to understand the possible evolu-
tion as a softer, dwelling experience.”

CHALLENGING BOUNDARIES

For van Hooydonk, this project was an equally stimulating experi-

ence. “BMW contributed expertise in automotive design and con-
struction. Patricia Urquiola approached this project from a different
perspective and with a different perception. With her openness and
creative vigour in finding innovative solutions, she allows people to
see the car in a totally different way. And above all, underscores the
emotional connection that people have to this very technical object
that is a car.” He says that The Dwelling Lab “creates a daring shift
in perspectives which challenges boundaries. The philosophy and
character of the BMW 5 Series Gran Turismo were ideally interpret-
ed in this unique design installation.”

“The BMW 5 Series Gran Turismo was designed from the inside out,
and The Dwelling Lab allows you, for the first time in history, to see
the interior of the car before you see the exterior. It highlights the
growing importance of a car’s interior. Design is focusing ever more
closely to people with their needs and desires; it is an expression
of modern understanding of well-being – to be comforted and pam-
pered in style.”

Kvadrat as that textile partner in the project had similar experienc-

es. The company actively engages in art and design projects that
push the boundaries of textiles and its unique uses and The Dwell-
ing Lab is the latest in a series of projects which illustrates how
168 >

The Dwelling Lab by Patricia Urquiola and Giulio Ridolfo.

169 >
170 >

textiles can be used in innovative ways interior car design. Byriel,

CEO of Kvadrat says: “Given the amount of time that most drivers
spend in their cars, comfort, individuality and function are impor-
tant. Currently, people think automatically about leather when they
buy an expensive car. With this collaboration we want to show that
by using high quality textiles you can create a very exclusive but
also warm and personal interior, which is more in line with the at-
mosphere that people create in their homes.”

THE FINE ART OF TRAVELLING

Patricia Urquiola is one of the few women to have established her

firm in an area largely dominated by men. Magazines such as Wall-
paper, ELLE Déco and the German magazines Häuser and H.O.M.E
voted her as Designer of the Year and among the Best Designers of
the Decade. She is known for her furniture designs such as the
couch Antibody and for the chairs reminiscent of handbags called
Smock. Together with Kvadrat she developed a lush, skin-coloured
fabric with a special soft finish and a complex quilt-like stitched
pattern for the interior of the BMW 5 Series Gran Turismo. With the
combined efforts of the specialists in BMW´s design department,
Urquiola created inspired solutions dedicated to the art of traveling
that dress the inside of the car in enticing elegance, extending even
to the dashboard.

As a mother of two, Urquiola also has a sharp eye for design that
excels not only in wit but equally in functionality: she created a
special child seat for the BMW 5 Series Gran Turismo and designed
holders for baby bottles that are a part of the array of compart-
ments and fittings on the backs of the two front seats.

In collaboration with Flos, one of the leading manufacturers in de-

sign light known for its innovation and creativity, Urquiola devel-
oped an exclusive light concept including soft-lit features and Mi-
cro-Chasen, a mini version of her acclaimed Chasen Lamp which
she designed for Flos in 2009. Piero Gandini, President and CEO of
Flos say that “The Micro-Chasen is perfect for reading and makes
this experience more alluring and emotional.”
 171 >

Details of the BMW 5 Series Gran Turismo by Patricia Urquiola and Giulio Ridolfo.
172 >

DARING AND DYNAMIC STATEMENT

The spectacular ‘entrance’ to the BMW 5 Series Gran Turismo by

Urquiola is an ensemble of cone-like elements which Urquiola calls
‘diamonds’.

Giulio Ridolfo created the colour concept for these geometrical

structures –frames with stretched fabric by Kvadrat –. They seem to
grow out of the car’s body like huge loudspeakers, beckoning on-
lookers to come closer and peer inside. A daring and dynamic state-
ment that for Urquiola and Ridolfo demonstrates how mathematics,
geometry and engineering can produce beautiful, balanced design.
The result is a dynamic statement introducing unconventional no-
tions about the worlds of inside and outside.

For Ridolfo, colour is more than a ‘colourful’ selection – neither ran-

dom nor simply decoration – but, rather, a form of applied art that
helps relate the act of perceiving to an object as a whole. After he has
selected a tone he usually begins by examining many similar shades
until he has narrowed it down to only one – a complicated process
which allows Ridolfo to include what he calls “the vibrations of other
colours”. The Dwelling Lab was a novel and challenging experience,
as he needed to focus on fabric and tones that would be adequate
and expressive for the larger dimensions of a car.

Ridolfo says: “To enhance the spirit of the BMW 5 Series Gran Turismo,
we have integrated several unexpected details and accessories to
create sensory experiences and a mood of leisure and gentle sur-
prise. Textile is the fundamental material: the geometrical cones are
coated with 700 meters of Kvadrat’s Max in an specially designed
colour, and the car’s interior is upholstered with various other
Kvadrat fabrics.”

For BMW and Kvadrat, this design collaboration is a premiere. How-

ever, both have a tradition in supporting design and art projects that
explore the boundaries between creativity and technology. This vi-
sionary concept and the process of realising this challenge are of key
importance to both premium manufacturers. Like Patricia Urquiola,
they share a belief in viable aesthetics that allows customers to ex-
perience luxury and functionality in a forward-looking manner. <
173 >
174 >
 175 >

WORLD
PREMIERE
OF JEFF
KOONS’
BMW ART
CAR
At the premiere of the 17th BMW Art Car
Jeff Koons unveiled and signed his car in
front of 300 international VIP guests on 1
June at the Centre Pompidou. It is the
same place where Roy Lichtenstein, back
in 1977, first presented and signed his
BMW Art Car.
176 >

In the spirit of Calder, Stella, Lichtenstein,

Warhol and many others, BMW announced this
year that the 17th Art Car, created by Jeff Koons,
will race where the first rolling pieces of art by
legendary artists raced – at the 24 hours of Le
Mans in France on 12-13 June 2010. Koons’ canvas
is a BMW M3 GT2, which was homologated to
compete at this year’s running of the world’s
most famous endurance race.

THE DESIGN PROCESS

As part of his creative process, the artist collected

images of racecars, related graphics, vibrant
colors, speed and explosions. The resulting art-
work featuring bright colours conceived by Koons
is evocative of power, motion and bursting energy.
Its silver interior along with the powerful exterior
design, the Art Car will impart a dynamic appear-
ance even when it’s standing still.

“These race cars are like life, they are powerful

and there is a lot of energy,” said Koons. “You
can participate with it, add to it and let yourself
transcend with its energy. There is a lot of power
under that hood and I want to let my ideas tran-
scend with the car – it’s really to connect with
that power”.

Koons has been in an intense collaboration

with BMW’s team in Munich for months – melding
his skill with sophisticated BMW engineering
– to ensure that the 17th BMW Art Car will be
race-ready for the 24 Hours of Le Mans.

Travelling back and forth to Germany many

times since the February, Koons has worked
177 >
178 >

with the BMW engineering and design teams to
conduct in-depth explorations of materials and
application options that will prove crucial to
optimising both the aesthetic and aerodynamic
attributes of the racecar. Working with actual
3-D computer-aided design models of the BMW
M3 GT2, Koons could simulate the application
of the graphic to the car’s surfaces and evaluate
it from all angles.
Koons even donned a helmet and joined BMW’s
US Le Mans Series race team for testing in Sebring,
Florida, on 23 February where he was able to
experience the M3 GT2 at race speed to further
inspire his design. As Koons describes it, he
witnessed “the raw unfiltered performance” of
the M3 GT2 from the seat of a historic BMW M1
racecar. Koons also drove a BMW M3 Coupe on
the circuit to further the dynamic exercise.
Under Koons’ direct guidance and supervision,
his BMW Art Car was produced with assistance
of a team of BMW engineers and designers at
Schmid Design in Germany. The challenge for
creating this latest BMW Art Car focused on uti-
lising a light material and a design that would not
interfere with the racecar’s aerodynamics and
weight. Timing was also an issue, as there was
only a two-month window between the first design
sketches and the Paris world premiere. There-
fore the team opted for digital printing on car
wrapping vinyl covered by a double clear coat-
ing to enhance the colour of Koons’ design. To
apply hundreds of dynamic lines of Koons’ design
onto the car, CAD designs were translated from
3D into 2D for the printing process and then
179 >
painstakingly applied to the entire car as well
as onto individual spare parts.
Koons’ design incorporates many bright contrast-
ing colors to communicate the aesthetics of
power. The concept design was transformed
into hard-edged lines of color. Graphics of debris
were added to the rear sides and back of the
car to simulate the power of the car. Furthermore,
two graphic rings on the rear of the car represent
supersonic acceleration.
KOONS AND BMW
Koons’ collaboration with BMW began in 2003,
when he expressed his desire to create a BMW
Art Car. His relationship with BMW started more
than two decades ago when he drove a BMW while
residing in Munich, home to the BMW Group head-
quarters. Koons is known for his heartfelt appre-
ciation of cars. Earlier this year he was even recog-
nised by music icon Bono of U2 as one of the
ideal artists to design a car that would make
the world fall in love with automobiles again.
Koons’ creative process for the BMW Art Car
mirrors techniques, some borrowed from trans-
portation design and development, which he
regularly employs for his artistic production.
For example, in the creation of his signature
monumental sculptures, his studio uses 3-D
CAD models to evaluate the surfaces, assem-
bles them via methods found in bike chop
shops, and paints them in a manner based on
sophisticated automotive painting techniques.
180 >
THE BMW M3 GT2
Derived from the BMW M3 high-performance
sports car, the BMW M3 GT2 boasts a 4.0-liter
V8 engine with a maximum output of 500 bhp,
an upgraded chassis, racing-caliber brakes and
extensive use of lightweight materials. Able to
reach 100 mph in 3.4 seconds, the BMW M3
GT2 is rapidly emerging as a real first year con-
tender at this year’s event.
For the comeback at 24 Le Mans, BMW Motor-
sport is supported by numerous partners such
as Castrol, Crowne Plaza, Dunlop, Randstad,
Sympatex, LuK, H&R, BBS and NGK for the race
on the Circuit de la Sarthe.
BMW ART CARS
Since 1975, artists from around the world have
turned BMW automobiles into art signifying a
particular period through the Art Car program.
In 2007, the latest installment was revealed
with Olafur Eliasson’s Your mobile expecta-
tions: BMW H2R project.
Many of the cars designed by the likes of
Warhol, Lichtenstein, Stella, Rauschenberg,
Hockney and Holzer have been exhibited in re-
nowned museums throughout the world in-
cluding the Louvre, the Guggenheim Museums
and the Shanghai Art Museum. They have been
displayed at the BMW Museum in Munich, be-
tween 2006 and 2010 and many went on a
world tour throughout Asia, Russia, Africa, In-
dia, the United States and Mexico.
The Koons car number, 79, pays tribute to the
1979 Andy Warhol car. The Warhol car was as-
signed the number 76, a homage to the 1976
Frank Stella car, both of which raced at Le
Mans.
“Ever since it was created back in 1977, the
Alexander Calder’s Art Car, 1975, BMW 3.0 CSL.
Centre Pompidou has acted as an interface and
a platform of exchange between creative art
and society, striving to expose the larger public
to the art of our time in the firm belief that art
can foster a more innovative and flexible soci-
ety,” said Alain Seban, president of the Centre
Pompidou. “For this reason the Centre Pompi-
dou is glad to join BMW’s project which, I trust,
can go a long way in bringing together creation
and society by inviting the great artists of our
time – from Roy Lichtenstein in 1977 to Jeff
Koons today – to challenge the most mythical
object of our era, the car, through a unique
creation.”
The home of all BMW Art Cars is the BMW Mu-
Roy Lichtenstein’s Art Car, 1977, BMW 320i Group 5 Renn version.
seum in Munich. Starting in September, Koons’
17th BMW Art Car will be presented there to-
gether with some of its predecessors.
With over 100 major projects worldwide, BMW
Group cultural programs have been an integral
part of the company’s contributions to society
for almost 40 years. Besides contemporary art,
architecture and design, classical music and
jazz are key components of this engagement.
181 >
182 >
TOP LEFT: Andy Warhol’s Art Car, 1979, BMW M1 Group 4 racing version
BOTTOM LEFT: Ernst Fuchs’ Art Car, 1982, BMW 635 CSi
TOP RIGHT: Robert Rauschenberg’s Art Car, 1986, BMW 635 CSi
BOTTOM RIGHT: Ken Done’s Art Car, 1989, BMW M3 Group A Renn version
183 >
LEFT: Matazo Kayama’s Art Car, 1990, BMW 535i
184 >

TOP RIGHT: Michael Jagamara Nelson’s Art Car, 1989, BMW M3 Group A Renn version
BOTTOM RIGHT: Esther Mahlangu’s Art Car, 1991, BMW 525i
185 >
 186 >

Jenny Holzer’s Art Car, 1999, BMW V12 LMR, Marquette A.R. Penck’s Art Car, 1991, BMW Z1 César Manrique’s Art Car, 1990, BMW 730i
 Music
Dance
Drama
Design
Visual Art

PO
PO Box
BOX91
91 Lady
LADYGrey
GREY9755 * TEL
9755 * 051
TEL603 0046 *0046
051-603 Fax 051 603 0480
* FAX 051-603 04
By Nosimilo Ramela
189 >
190 >

New York’s prestigious Tribeca Film Festival has named the

South African film Father Christmas Doesn’t Come Here its
best narrative short film in an indigenous language. Fund-
ed by the National Film and Video Foundation (NFVF) the
film was chosen from 47 finalists as one of the Indigenous
Language short film contest winners.

The film was written by South African screenwriters Bongi

Ndaba and Sibongile Nkosana, and directed by Bhekumu-
zi Sibiya. This is Sibiya’s first short feature film, and he re-
ceived great praise for his work.

“The director consistently foregoes sentimentality in fa-

vour of subtle debunking of myths based on culture. His
frames are urgently alive with telling details. This film an-
nounces a persuasive and deep human directorial vision,
one rich with authenticity and insight,” read a statement
by the judges.

The panel of judges who selected the film included Brooke

Shields, whose most recent film is Lipstick Jungle, Justin
Bartha from the movie Hangover, Peter Facinelli, who stars
in the Twilight movies, and Jack Dorsey, creator and chair-
person of the social site, Twitter. They described the film as
being exceptional and touching. “It is a film of resilience
and hope. It is an assured, original, and profoundly moving
film, which perfectly executes its aims and is buoyed by a
remarkable performance by its lead actor.”

In 2009, the film won an award at the Tri-Continental Film

Festival and it has also been included in the South African
Line-Up event for the Cannes Film Festival this year.

View a trailer at:

http://www.youtube.com/watch? v=feBHND LKjxw
 191 >

The film looks at the life of a naive teenage black girl who
writes to Father Christmas, requesting long straight hair as
her Christmas gift. She has low self-esteem and hopes the
hair will help her gain more confidence. Her hopes are
shattered when a pessimistic man from her neighbour-
hood tells her that Father Christmas is not real. However,
her grandmother is there to help her through her uncer-
tainty, and teaches her to love herself.

“I think this film hits home to all young black girls all over
the world,’” said Mpho Setati, a film student at Afda film
school in Johannesburg. “This is a great South Africa film
that showcases the talent of our country, and the world is
taking notice and rewarding our talent.”

The Tribeca Film Festival was held in Manhattan, New York,

from 21 April to 2 May. Currently in its ninth year, it was
launched by well-known Hollywood actor Robert de Niro,
film producer Jane Rosenthal and real estate investor Craig
Hatkoff in 2002. The trio were motivated to start the festival
after the attacks on the World Trade Center in 2001. “We
hoped to use the festival to spur the economic and cultural
revitalisation of the lower Manhattan district and to help
filmmakers reach the broadest possible audience while pro-
moting New York City as a major filmmaking center,” they said
in a statement.

Republished courtesy of mediaclubsouthafrica.com

The award for winning Best Narrative Short Film was R38
336 (US$5 000) in cash, film stock donated by Kodak, and
an art award, A Box of Smile, 1967/89, by Yoko Ono. <

w&feature =player_embedded
192 >

By Janine Erasmus

South African production Life, Above All was the
talk of the 2010 Cannes Festival after receiving a
10-minute standing ovation at its world premiere
there on 18 May. The film delivers a powerful mes-
sage about the country’s HIV/Aids burden from the
perspective of a young girl whose family is deeply
affected by it.
In fact, only three African films have ever taken hon-
ours in this section – Morocco’s A thousand months
which took the Prix Le Premier Regard or First Glance
Prize in 2003; Moolaadé from Senegal, which scooped
the big prize in 2004; and Burkina Faso’s Delwende,
which took the Prix de l’Espoir or Prize of Hope in
2005.

The movie is competing in Cannes’s Un Certain Regard Life, Above All is the only South African film showing
(translated as ‘a certain outlook’) section for world as part of the official selection this year. It received its
cinema. This has been a part of the festival’s official second and third screenings on 19 and 20 May.
selection since 1978, and takes place at the De-
bussy Auditorium. With a lot of Cannes’ attention going to the forthcom-
ing Winnie Mandela movie, unjustly in the opinion
Introduced two decades after the section’s inclusion of some as it stars American actors, it is hoped that
in the festival, the top prize is the Prix Un Certain the increasingly popular local drama will wrench
Regard, which rewards innovative young talent with back some of the focus onto the real South African
invaluable exposure and financial assistance for distri- film industry.
bution in France. The prize, worth €30 000 (R293 000),
has never been won by a South African film.

SOUTH AFRICAN TALENT
Life, Above All, based on best-selling Canadian au-
thor Allan Stratton’s young adult novel Chanda’s
Secret, is about a 16-year-old girl dealing with HIV/
Aids and the accompanying stigma. The subject is
particularly poignant in light of South Africa’s huge
HIV/Aids burden, which has cost the lives of hun-
dreds of thousands and has left countless children
orphaned.
The screenplay was adapted by award-winning
playwright and screenwriter Dennis Foon (The
Longlight Legacy trilogy, Little Criminals). The film is
marketed in France as Le Secret de Chanda.
Stratton has since written a standalone sequel ti-
tled Chanda’s Wars, which focuses on the humani-
tarian issue of child soldiers in Africa.
193 >
Life, Above All is a South Africa-German collabora-
tion, directed by Cape Town-born Oliver Schmitz,
the son of German immigrants. Schmitz is no stranger
to Cannes, with two of his earlier films, Mapantsula
(1988) and Hijack Stories (2000), making it to the
prestigious competition. The former film was banned
in South Africa at the time, but Cannes was eager to
view it.
Schmitz was humble about his achievement. “It is
the fourth time I am in selection in Cannes but you
don’t get blasé about it because it’s the cream of
what’s happening every year in the film world,” he
said.
His previous works have featured the talents of well-
known South African entertainers such as Rapulana
Seiphemo, the late Dolly Rathebe, Darlington
Michaels, Robert Whitehead, and Tumisho Masha.
194 >
However, this time it was the young first-time ac-
tress Khomotso Manyaka who stole the show with
her portrayal of Chanda. Manyaka’s performance
has caused a sensation and has been described as
“commanding” (ScreenDaily), “stellar” (Times Live),
and “stunning” (film distributor Bavaria Interna-
tional).
The cast is entirely South African and includes Lerato
Mvelase (Chanda’s mother Lillian), Harriet Manamela
(the neighbour Mrs Tafa), and Keaobaka Makanyane
(Chanda’s friend Esther).
Accompanying Schmitz to Cannes were South African
Minister of Arts and Culture Lulu Xingwana, National
Film and Video Foundation CEO Eddie Mbalo, the
film’s co-producer Grieg Buckle, and cast members
Mvelase and Manamela, as well as young Manyaka.
Renowned film critic Roger Ebert gave the film two
thumbs up, noting in his Cannes blog that it was
warmly received by the notoriously difficult Cannes
audience, who are not known for holding back their
favour – or displeasure. Ebert added that even the
renowned Jean-Luc Godard, whose latest offering
Film: Socialisme showed before Life, After All, man-
aged only a trickle of applause.
The lengthy ovation bestowed on Life, Above All is
a sure sign of approval – “At Cannes, audience satis-
faction can be measured by the length of ovations,”
blogged LA Times journalist, Steven Zeitchik.
“The film is about deep human emotions, evoked with
sympathy and love,” wrote Ebert in his glowing review.
A MODERN SOUTH AFRICA
Life, Above All is set in the community of Elandsdoorn,
near Johannesburg. In the book, the action takes
place in the fictional town of Bonang, somewhere in
Southern Africa. Lead actress Manyake is from the
real town of Groblersdal, which is located in the
Sekhukhune district of Limpopo province.

View the trailer at http://www.festival-cannes.fr/en/mediaPlayer/10599.html
The film’s central character, 12-year-old Chanda, is
first seen as she makes preparations for the burial
of her baby sister Sara, who has died. Her grief-
stricken mother takes ill and her stepfather is drink-
ing heavily, although nobody talks openly to Chan-
da about these problems. The child is left with no
choice but to take over the care of her two younger
siblings.
Rumours begin to spread through the close-knit
community that the baby died because her mother
and father have HIV/Aids – which nobody wants to
acknowledge – and the family is shunned. Chanda’s
mother flees the village and the young girl looks for
answers but finds none. She courageously decides
to tackle the situation head-on, leaving her home
and school to seek her mother, challenge the gos-
sip, find healing in truth, and restore her family’s
name.
The film paints a tragic picture of the devastating
effect that HIV/Aids has had on many families in
South Africa, particularly because of the Thabo
195 >
Mbeki government’s inexplicable denial of the link
between HIV and Aids, and the delay in rolling out
antiretroviral treatment.
Children, whose parents have died of HIV/Aids, are
often left to look after the younger ones in the fam-
ily, trying to survive through any means they can
find. In the film, Chanda’s best friend Esther, for in-
stance, sells herself into prostitution to earn money
for herself and her siblings, becoming infected in
the process.
However, with President Jacob Zuma’s new HIV/
AIDS action plan, announced on World Aids Day and
brought into effect in April, the situation in South
Africa is looking somewhat brighter. Patients will
receive more extensive treatment, and all pregnant
HIV-positive women will receive anti-retrovirals at
14 weeks. Zuma also urged South Africans to get
tested for HIV, and to live responsibly. <
Republished courtesy of mediaclubsouthafrica.com
196 >

By Nicky Rehbock. With catchy and crude beats, pre-

pubescent bodies, gold teeth, tattoos and mean-looking
mullets, hilarious trio, Die Antwoord, have become
one of South Africa’s hottest – and most unlikely – exports,
landing a deal with a major US label that represents
superstars like Eminem and Lady Gaga.
 197 >

Images from The Secret Chamber featuring Die Antwoord members Ninja and Yo-Landi along with Leon Botha
 198 >
And all this since February 2010, when the group
emerged from relative obscurity with a series of
YouTube videos and their debut album, $O$, posted
as a free download on their official website.
Within days it went viral and the unexpected
swarm of hits, amounting to more than a terabyte
of data, crashed the group’s server, forcing them
to switch their hosting to the major US-based
blog site Boing Boing.
A quick look at YouTube today, four months on,
shows that their Enter the Ninja video has
amassed 5.1-million hits, while Zef Side has
2.2-million views, which clearly attests to Die Ant-
woord’s cult-like global following. Their curious
name is Afrikaans for ‘the answer’.
‘Zef’ refers to the group’s X-factor, which seems
to simultaneously embody white Afrikaner work-
ing-class trashiness and, according to them, “the
ultimate style.”
Photographs by Sean Metelerkamp.
South African newspaper Beeld says the term
comes from an old make of car, the Ford Zephyr,
which small-town folk here would pimp up with
modified engines and bulging tyres, to rip through
deserted streets during late-night dicing ses-
sions. Disapproving neighbours called these
rough types ‘real zefs’.
Koos Kombuis, one of the country’s best-known
alternative Afrikaans musicians and authors, said
earlier this year that ‘zef’ is a word from his child-
hood, and means ‘common’. But, “these days it’s
not necessarily negative. I like being common. It’s
like wearing high heels with a tracksuit. Being
truly zef takes guts.”
INTERNATIONAL HIT
And guts are certainly what Die Antwoord had in
March and April, when they made their first two over-
seas trips. They began with a mini tour of Europe

and the US, and then returned to North America
to perform at the prestigious Coachella music fes-
tival in California, with a crowd rumoured to be as
large as 85 000. Joining a line-up that included
world-famous Jay-Z, Beyonce and Gorillaz, the
South Africans sent shock-waves through the audi-
ence and earned instant praise from well-known
celebrities and respected publications.
Burlesque star Dita von Teese wrote on Twitter
that the South Africans were among “the best of
Coachella”, and later the New York Times com-
mented that Die Antwoord “fully lived up to its
reputation”.
The LA Times was also taken by the “deliciously
trashy” trio, reporting that the “suspected nov-
elty act proved they had an overwhelming mag-
netism and a ferocious, deadly serious lyrical
flow.”
199 >
LOOKING FOR ANSWERS
But who exactly are Die Antwoord, and why has
their particular brand of music and brutal image
created such a stir? The group call themselves a
“fresh, futuristik rap-rave crew from the dark
depths of Africa” (sic). Its members are concep-
tual artist Watkin Tudor Jones, who performs as
the roughed-up gangster ‘Ninja’ alongside slinky
blonde soprano Yolandi Visser, aka ‘Yo-landi
Vi$$er’, and a rather quiet, portly chap known
only as ‘DJ Hi-Tek’.
By opting for cleverly crafted, cryptic media inter-
views, the trio maintain an air of bizarre intrigue.
It’s never quite clear whether they are indeed the
portrayed bunch of poor, low-life pals from run-
down suburbia, or a slick assembly of manufac-
tured personas created to thrill and shock audi-
ences who’ve grown weary of conventional music
genres. Either way, it works.
 200 >
Writers following the craze have their own opin-
ions about the group’s strategy:
“Well, let’s just say that there’s a whole lot more
method to their darkly surreal live shows than
such seeming slapstick might suggest,” reviewer
Miles Keylock writes in the Mail & Guardian On-
line.
US-based music guide Pitchfork goes a bit deeper
in its offbeat analysis Who the hell are Die Ant-
woord?, calling the outfit “Jones’ latest identity-
skewing art project, which, on the surface, is just
the most recent in a never-ending line of ‘did ya
see that?!’ blog-hopping music memes”.
But, “considering the mix of absurdity, genuine
talent and impressive production values, you
can’t help but think: are these guys for real?”
Pitchfork’s Ryan Dombal writes.
Photographs by Sean Metelerkamp.
GANGLAND TIES
The group’s heavy use of slang and irreverent lyr-
ics emanate from the culture of the Western
Cape’s coloured people, who were forced to settle
on the dusty plains outside Cape Town during the
apartheid years, so authorities could too make
space for more white families within the city.
Most communities on the so-called Cape Flats are
descended from slaves brought to the country
from east and central Africa, the Khoisan who lived
in the region at the time of colonisation in the
1800s, and other indigenous African, and white
people. This complex racial mixing – combined
with a legacy of cross-over culture, displacement
and oppression – still haunt the area today, and
crime, drug abuse and gangsterism are rife.
But there are also likeable things that stem from
this notorious place, like a highly expressive and

often-impersonated dialect – a mix of mainly Eng-
lish and Afrikaans that’s often very funny if you get
the gist – and a thriving hybrid of hip-hop music
from groups like Brasse van die Kaap and Kallitz.
It’s this that Die Antwoord has picked up on and,
perhaps, parodied to blow the minds – and ears
– of fans.
SO BAD, IT’S GOOD
For those who may not immediately appreciate or
understand the group’s skilful fusion, Richard
Poplak, of Canadian publication The Walrus, of-
fers an artful description of zef rap: “an ungodly
potpourri of top-40 hip-hop, chintz house, rave
music, DIY beat-making and bad techno.” In other
words, a combination so wacky and disturbing
you can’t help but be drawn in by it.
201 >
Jones’s bad-ass alter-ego, Ninja – who has metallic
incisors, heavy gold neck chains and a patchwork
of prison-gang tattoos – is also straight out of the
Cape Flats. In fact, “this is where Ninja spent
years, mining for meaning among the violence,
the misery, the strong familial bonds – developing
not just a style, but an entire persona”, Poplak
writes.
Jones has been compared to Eminem in this regard,
posing as a “white-boy rapper who successfully
appropriated the energy and anger of the black
ghetto”, editor Kevin Bloom comments in The Daily
Maverick.
But Die Antwoord themselves put it best in their
$O$ album intro, implying they embrace even
more than just “zef-ness” and Cape Flats street
cred: “I represent South African culture. In this
place, you get a lot of different things … Blacks.
Whites. Coloureds. English. Afrikaans. Xhosa.
202 >

Zulu. Watookal,” says Ninja. “I’m like all these dif-

ferent people, f****d into one person.” Yo-landi
chips in, in her little voice: “Whateva, man.”

Poplak believes this makes Ninja “the ultimate

South African”. The idea is “thrillingly, gloriously
radical”, and an essential step towards racial co-
hesion in South Africa, he writes.

Well, we’ll never quite know whether Die Antwoord

are actually out to unite an entire nation – or simply
cause a bit of controversy and entertaining hype
along the way – as they’ll probably never tell us,
but that’s okay. Their rise to fame has been a gritty
and fascinating study, and has carved out new,
brave arenas of performance and expression. Let’s
hope there’s a lot more to follow ... <

View Die Andwoord’s website at

www.dieantwoord.com

Photographs by Sean Metelerkamp.

This article is republished courtesy of

mediaclubsouthafrica.com.
 A night out without music is like a business
without profit.

Make sure your business has a music licence!!!

At SAMRO we understand the value of music in

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please contact us on 011 712 8000 or email
customerservices@samro.org.za

Visit us on www.samro.org.za
 205 >

South Point was established in 2003 to meet the

growing need for student accommodation in South
Africa. “When we entered the property business
we found the majority of students were unable to
find a place in the university residences and were
forced to live in poorly maintained and expensive
accommodation – hardly conducive to promoting
a successful study environment. We therefore sought
to focus our efforts on providing a differentiated
offering to the student market, with an emphasis
on safety, cleanliness and affordability.”

What began as a vision to aid communities of as-

piring professionals in achieving their study goals
has resulted in so much more. Instead of simply
providing safe precincts for students, the begin-
nings of an urban renewal are evident, particularly
in Braamfontein, Johannesburg.

Surrounded by the University of the Witwatersrand,

the University of Johannesburg, the Labour Court,
major corporates, icons of history including Consti-
tution Hill and The Nelson Mandela Bridge, theatres,
local businesses and eateries, a student village
has emerged. With it, a rebirth for the Braamfontein
area.

Braamfontein, spring by the brambles, began its

life in 1853 as a rather large farm covering Park-
town, Melville, Greenside, Roosevelt Park and
Northcliff. By 1889, the farm had been sub-divided
several times and Braamfontein officially became
recognised as an ‘official extension of Johannes-
burg proper’.
206 >
According to GA Leyds’ History of Johannes-
burg, the area along Smit and Wolmarans
streets became known as Wanderers’ View,
looking out across the Wanderers Ground
with its plentiful trees. But, by the 1950’s the
rich had moved over the hill to the sunnier
slopes of Parktown and the middle class to
Hillbrow, Yeoville and Bellevue.
What remained was a “low income white work-
ing class area. Braamfontein was then an area
of semi-detached cottages, small flats, cheap
hotels and canteens,” says Keith Beavon,
Johannesburg, the Making and the Shaping
of the City. Leyds stated that the up market
houses “ended their existence, which had
started so full of hope and promise as second
rate lodging houses, but is now being re-
placed with blocks of flats”.
Then in the 1950’s, two things happened
that would see the beginning of change for
Braamfontein: the relocation of the City
Council from the CBD to Braamfontein Hill
and the rezoning of land in Braamfontein to
commercial rights – welcoming the likes
then of Eskom, Shell, SAB, and today, Liberty,
South Point, JD Group and Sappi, among
others. The area has blossomed as a home
to a successful corporate culture, students,
upmarket restaurants, sought after flats
along the northern ridge and thriving local
retail.
Sadly in the 1990’s, the general decline in
the CBD resulted in the neighbouring areas
declining alongside the CBD. The Northern
suburbs became favoured for business with
some core business relocating along with
Johannesburg Stock Exchange. Braamfontein
alleyways became dark, dirty, polluted and
home to crime. The University of the Witwa-
tersrand closed its doors to the surrounding
Braamfontein area and became almost self
contained, dealing a significant blow to the
already struggling retail and restaurant
business in Braamfontein.
Then, in the early 2000s we saw the initiation
of the Braamfontein Regeneration Initiative
– with the objective to “re-establish Braam-
fontein as an area that is well managed,
vibrant, physically attractive and well-lit with
a growing evening economy” driven by the
University, the City Council and the private
sector.
Today Braamfontein is flourishing and a new
energy abounds. The streets are filled with
students, the formally dressed Labour Court
participants headed to lunch in one of the
many restaurants and street cafes emitting
glorious aromas of curries, biryanis and sa-
moosas. The streets are sunny, almost in de-
fiance of the area’s history, and everywhere
you look buildings are being torn down, re-
built and renovated. Alleyways have opened
up, widened and removed altogether, whilst
piazzas are created and urban greening is in
progress. Entertainment venues are making
their appearance too. Local businesses such
as Fatima’s, R. Janas, Mzithos and the famous
Narina Trogon are being revitalised and
Braamfontein is re-emerging as a colourful
 207 >

South Point’s contributions to the rejuvenation of Braamfontein.

208 >
vibrant student village, business centre, cul-
tural district and seat of learning.
Much of this is thanks to South Point, who,
with their visionary approach seven years
ago, have been core to the rejuvenation of
Braamfontein. Beginning with student ac-
commodation, to assist the plethora of stu-
dents unable to find safe, clean and well-
priced abodes, the business has naturally
extended to professional accommodation,
penthouses, a smart hotel, student bars,
cafes, an exclusive cocktail bar and a piaz-
za, all at the very heart of Braamfontein.
Auckland House, ONE Biccard and Skyline
penthouses have opened the doors for
young professionals who want a taste of
city living, furnished and safe, and more im-
portantly the start of a community living in
Braamfontein. With over 700 apartments
for young professionals living and working
in Braamfontein, the impact on local busi-
ness could be phenomenal. Streets are no
longer deserted as a nightlife naturally be-
gins to flourish and with that, increased
economic activity.
Randlords, at South Point Towers, is a devel-
opment that is situated on the 20th floor of
South Point Towers. An extraordinarily
beautiful rooftop bar has been created for
the city’s well-heeled. A sandstone and
glass construction creates an architecturally
beautiful shell with 360 degree panoramic
views of the city. Open till late and serving
an exotic array of tapas; shellfish, caviar,
fois gras and beautifully designed cocktails
one hopes that this might be the start and
continuation of a vibrant night life in Braam-
fontein – perhaps even persuading some of
the Northerners south to experience Braam-
fontein.
The S Bar and #1 Bar contribute to the variety
of nightlife on offer, with what are typically
‘student joints’. The S Bar, a prime example
of pop-up retail, is positioned in a rugged
shell of brick and concrete. The bar could be
dismantled overnight and replaced with
something new and fresh, accommodating
the fickle nature of our trendy populace.
Constructed using recycled materials, the
interior is intriguing, industrial and bound
to become a dedicated student haunt.
South Point’s latest venture, or adventure,
is the Hotel Lamunu. Lamunu, the Zulu word
for orange, is a smart hotel offering value-
for-money accommodation. There are no
frills or fuss, only the necessities of modern
hotel living. Spilling out onto The Grove, the
newest Piazza on the block, the Hotel Lamunu
is everything a Braamfontein hotel should
be – down to earth, great value and your
ticket to Braamfontein by night.
No self respecting urban development would
be complete without a coffee bar and a SP
Café which brings great coffee to Braamfon-
tein, and hopefully another reason to gather
in the village.
 209 >

Randlords, a rooftop bar, is a development that is

situated on the 20th floor of South Point Towers.
210 >

Views of Hotel Lamunu.

 211 >

It really does seem that all the ingredients

are in place for a true urban rejuvenation
and a transformation of Braamfontein, with
its good residential accommodation, stu-
dents, businessmen, academics, the Labour
Court, eateries, theatres, open areas to
gather, beginnings of retail, all which are
very accessible by foot. Braamfontein, with
amentieis not being more than a ten-minute
walk away, is linked easily to the CBD and
has easy access to highways. In addition,
the Gautrain and Rea Vaya station are on its
doorstep. The great divide between the cor-
porate north and dilapidated south has de-
creased and the future for Braamies is look-
ing good.

South Point’s building refurbishment pro-

gramme which is currently underway hopes
to increase capacity from 8 500 student
beds in 2010 to 20 000 in 2013, in the major
centres of Braamfontein, Pretoria, Bloem-
fontein, Durban, Port Elizabeth and Cape
Town. Nationally, there are currently 40
buildings for student accommodation.

South Point is a majority black-owned com-

pany, with Lereko Metier Capital Growth Fund
being a 67% shareholder in the company.
LMCGF was formed by its principals Popo
Molefe, Valli Moosa, Thierry Dalais, Anthony
Interior views of Hotel Lamunu.
Hewat, Paul Botha and Lulu Gwagwa, who
have all had successful careers in business,
private equity fund management, community
leadership, politics and public service. <
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Structural Design of the Year
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Judges this year include:

Arata Isozaki
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journey visit www.worldarchitecturefestival.com Quote BLUPAF
 Expert judging
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Includes
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journey visit www.worldarchitecturefestival.com Quote BLUPAF
214 >
 215 >

Sanlam Private Investments (SPI), one of the

fastest growing businesses within the Sanlam
Group, has forged a very close relationship with
art and investment in art during recent years.
216 >
Taking the Sanlam Art Collection
around the country
As part of its ten-year anniversary last year, SPI
participated in a road trip where 83 pieces of the
Sanlam Art Collection were taken around the country.
The event also marked the celebration of a decade
of curatorship by Stefan Hundt, who is responsible
for the Sanlam Art Collection. As the only corporate
art collection exhibited broadly in public art galleries
last year, the exhibition offered South Africans the
opportunity to view this truly representative and
important collection.
For more than 40 years, the Sanlam Group has active-
ly engaged in corporate art collecting and continues
to do so passionately. It currently owns a collection
of about 2 000 pieces, including an eclectic mix of
past and present, which is valued in the region of
R120-million.
Daniël Kriel, CEO of SPI, says that the Sanlam
board took a decision to begin collecting art at a time
when the employer played a pivotal, long-term
role in a person’s life. “In the sixties, companies
were more than just places of work, they were also
social entities which were closely involved in family
life. Sanlam showed movies every Friday night, hosted
Christmas parties and had numerous sporting
teams. It was a natural progression, then to also
invest in art – a cultural investment aimed at bring-
ing joy to employees and beautifying offices. In
addition, the investment in the culture of South
Africa also strongly drove the decision to collect.”
Kriel says that the group has remained deeply
committed to investing in art because it is a pow-
erful tool to develop links between the corporate
and cultural world, build brand awareness and
raise company pride among employees. “Art is a
wonderful way of engaging with both our clients
and employees. We hope that it can play an impor-
tant role in stimulating interest in South Africa’s
cultural and artistic history and can raise curiosity
to follow the continuously changing art landscape
in our diverse country.”
He adds that, as with all investments made by
Sanlam, each art purchase is a business decision
which is taken extremely seriously. “Each must be-
come a valuable and appreciating asset for the group.”

Stephan Welz, Director of Strauss & Co, on the
right, with two of the many art lovers that
attended the opening event of the Sanlam Art
Collection exhibition at the iArt Gallery in Cape
Town on 26 February 2009. Welz delivered the
opening address. The event was sponsored by
Sanlam Private Investments.
Elana Brundyn, Curator of the iArt Gallery in
Cape Town, welcoming guests at the opening
event of the Sanlam Art Collection exhibition at
the iArt Gallery in Cape Town on 26 February
2009. The event was sponsored by Sanlam
Private Investments.
217 >
Stefan Hundt, Sanlam Art Collection curator, says the
collection strategy has not changed significantly
since inception. “We have always aimed to build a
‘representative’ collection which reflects the art from
all sectors of society from the late nineteenth century
until now.
The collection is guided by the principle of collecting
exceptional and meaningful images from career artists
of status who are committed to art in South Africa.
“We acquire more than one piece from each artist, so
that a picture of their career can be told,” says Hundt.
“No other strict rules govern our choices. The collection
comprises contemporary and classic pieces including
photographs, sculptures and paintings. The thread
which binds them together is the significance of each
image we select. It should clearly reflect the integrity
with which the artist has pursued his or her concept
and the degree to which they engage the eye and the
mind of the viewer.”
A public gallery at Sanlam’s Bellville headquarters is
open to the public permanently.
218 >
INNOVATION AWARDS 2009
As part of their ten-year birthday last year, SPI
awarded South African students who demonstrate
exceptional innovation, a quality that SPI consid-
ers central to their business. The winning students
were those that challenged the status quo within
their fields of study by producing truly unique ide-
as, thoughts and concepts which are practical and
add value.
The purpose of the awards was to promote and
encourage innovation within areas of study which
are of particular interest to their clients – high-net-
worth individuals with an appreciation of rarity,
beauty and the finer things in life. For this reason,
students eligible to enter were pursuing studies in
art, jewellery design, wine-making, architecture,
culinary arts, music, fashion design, interior de-
sign, photography, outreach programme. SPI
elected to run the awards exclusively among insti-
tutions, which their research had identified as be-
ing among the top in their respective areas of spe-
cialisation.
The campaign ran from 1 March to 31 July 2009 and
the winner in each category received a cash prize
of R10 000 at an awards ceremony that was held in
Cape Town in October 2009.
TO THE NEXT LEVEL
Their involvement in art and art investment and
the positive response from their clients and other
stakeholders to these initiatives has prompted SPI
to take their relationship with art to the next level.
In this regard, the business has incorporated an
art theme into the design of its new offices in Stel-
lenbosch with pieces from the Sanlam Art Collec-
tion that will be on permanent display. All of these
works of art are from artists from in and around
Stellenbosch.
SPI is also planning some further initiatives to ce-
ment their relationship with the fine art commu-
nity, some of which will be launched later this year.
ABOUT SANLAM PRIVATE
INVESTMENTS (SPI)
Part of the Sanlam Investment Group, SPI is a private
client portfolio management and stock broking
business, serving high net worth individuals, char-
itable trusts and smaller institutions. With some
R50 billion of assets under management, it is the
second largest South African private investment
manager, with branches in Cape Town, Stellen-
bosch, Durban, George, Knysna, Johannesburg,
Sandton and Pretoria. <
For more information, visit www.spi.sanlam.com

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PricewaterhouseCoopers provides industry-
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Building trust matters deeply to all stake-
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Leadership is one of our three core values; to
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A TEAM TAILORED TO OUR
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A strong and durable reputation is among the
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231 >