JUNE | JULY 2021

ARTTIMES.CO.ZA
193 Gallery (Paris) • 313 Art Project (Paris, Seoul) • Galería 451 (Oviedo)* • Galerie 8+4 – Paris (Paris) •
A&R Fleury (Paris)* • A2Z Art Gallery (Paris, Hong Kong) • Galerie AB (Paris)* • Martine Aboucaya
(Paris)* • AD Galerie (Montpellier) • Afikaris (Paris) • Galería Albarrán Bourdais (Madrid) • Galerie Almine 
Rech (Paris, Brussels, London, New York, Shanghai)* • Alzueta Gallery (Barcelona) • Galerie Andres 
Thalmann (Zurich)* • Galerie Art : Concept (Paris)* • Art to Be Gallery (Lille) • Galerie Ariane C-Y (Paris) • 
Galerie Arts d’Australie – Stéphane Jacob (Paris) • Galerie Cédric Bacqueville (Lille) • Helene Bailly 
Gallery (Paris)* • Galerie Ange Basso (Paris) • La Balsa Arte (Bogota)* • Galerie Laurence Bernard
(Geneva)* • Galerie Anne-Sarah Bénichou (Paris)* • Galerie Berès (Paris)* • Galerie Claude Bernard 
(Paris) • Galerie Bert (Paris) • Galerie Berthéas (Saint-Étienne, Vichy, Paris)* • Galerie Bessières Art 
Contemporain (Chatou) • Galerie Françoise Besson (Lyon)* • Galerie Binome (Paris) • Bogéna Galerie 
(Saint-Paul-de-Vence) • Galerie Bernard Bouche (Paris)* • Galerie Boulakia (Paris/London)* • Galerie 
Capazza (Nançay) • Galerie Jean-François Cazeau (Paris) • Galerie Chauvy (Paris) • Galerie Chevalier 
(Paris)* • Galleria Continua (San Gimignano, Beijing, Boissy les Chatel, La Havane, Rome, São Paulo, 
Paris)* • Galeria Cortina (Barcelona)* • Christopher Cutts Gallery (Toronto) • Danysz (Paris, Shanghai, 
London)* • Galerie Derouillon (Paris)* • Dilecta (Paris) • Ditesheim & Maffei Fine Art (Neuchâtel)* • 
Galería Marc Domènech (Barcelona) • Galerie Eric Dupont (Paris) • Galerie Dutko (Paris) • galerie frank 
elbaz (Paris)* • Espace Meyer Zafra (Paris)* • Galerie Valérie Eymeric (Lyon) • Galerie Les Filles Du 
Calvaire (Paris)* • Galerie Claire Gastaud (Clermont-Ferrand, Paris) • Galerie Louis Gendre (Paris, 
Chamalières) • Galerie Alain Gutharc (Paris) • H Gallery (Paris) • Galerie Ernst Hilger (Vienna) • Huberty 
& Breyne Gallery (Brussels, Paris) • Galerie Intervalle (Paris) • Galerie Italienne (Paris) • Galerie Jean
Fournier (Paris)* • Galerie Jeanne Bucher Jaeger (Paris) • Gallery Joeun (Seoul)* • Kamel Mennour 
(Paris, London)* • Ketabi Projects (Paris)* • Galerie kreo (Paris)* • Galerie La Forest Divonne (Paris, 

List of the 2021 exhibitors / *first time participants or returning galleries at Art Paris 2021
Brussels) • Galerie Lahumière (Paris) • Galerie La Ligne (Zurich)* • Galeria de las misiones (Montevideo)* • 
Galerie Le Feuvre & Roze (Paris)* • Galeria Le Guern (Warsaw)* • Galerie Lara Vincy (Paris) • Alexis 
Lartigue Fine Art (Paris) • Galerie Jean-Marc Lelouch (Paris) • Galerie Lelong & Co (Paris, New York)* • 
Galerie Françoise Livinec (Paris, Huelgoat)* • Galerie Loft (Paris) • Loevenbruck (Paris)* • Magnin-A 
(Paris)* • Maruani Mercier Gallery (Brussels)* • Galerie Martel (Paris)* • Massimo De Carlo (Milano, 
London, Hong Kong, Paris)* • Galeria Mayoral (Barcelona, Paris)* • Galerie Marguerite Millin (Paris) •
Galerie Minsky (Paris)* • Galerie Mitterrand (Paris)* • Galerie Modulab (Metz) • Galerie Frédéric Moisan 
(Paris) • Galerie Lélia Mordoch (Paris, Miami) • Galerie Najuma – Fabrice Miliani (Marseille) • Galerie 
Nathalie Obadia (Paris, Brussels) • Opera Gallery (Paris) • Galerie Pact (Paris)* • Galerie Paris-Beijing 
(Paris) • Perrotin (Hong Kong, New York, Paris, Seoul, Tokyo) • Pigment Gallery (Barcelona) • Galerie 
Provost-Hacker (Lille) • Galerie Rabouan Moussion (Paris) • Raibaudi Wang Gallery (Paris) • Rebecca 
Hossack Art Gallery (London)* • Red Zone Arts (Frankfurt am Main) • Galerie Richard (Paris, New York) • 
Galerie Thaddaeus Ropac (London, Paris, Salzbourg)* • J.-P. Ritsch-Fisch Galerie (Strasbourg) • Galerie 
Sator (Paris, Romainville)* • Galerie Scene Ouverte (Paris) • Galerie Alex Schlesinger (Zurich)* • School 
Gallery/Olivier Castaing (Paris) • Galerie Lara Sebdon (Paris) • Sit Down Galerie (Paris)* • Galerie Slotine 
(Paris) • Galerie Véronique Smagghe (Paris) • Michel Soskine Inc. (Madrid, New York)* • Stems Gallery 
(Brussels)* • Galerie Taménaga (Paris, Tokyo, Osaka) • Galerie Tanit (Munich, Beirut)* • Galerie Suzanne 
Tarasieve (Paris)* • Templon (Paris, Brussels) • Galerie Traits Noirs (Paris) • Galerie Patrice Trigano 
(Paris) • Un-Spaced (Paris) • Galerie Univer/Colette Colla (Paris) • Galerie Vazieux (Paris) • Galerie 
Anne de Villepoix (Paris)* • Galerie Wagner (Le Touquet Paris-Plage, Paris) • Galerie Olivier Waltman 
(Paris, Miami) • Galerie Esther Woerdehoff (Paris)* • Galerie XII (Paris, Los Angeles, Shanghai) • Galerie 
Younique (Lima, Paris) • Yvon Lambert (Paris) • Galerie Géraldine Zberro (Paris).
 
Promises:  31 Project (Paris) • Double V Gallery (Marseille) • Hors-Cadre (Paris)* • La Galería Rebelde 
(Guatemala, Los Angeles)* • Le Cabinet d’Ulysse (Marseille)* • Galerie Marguo (Paris)* • Galerie Pauline 
Pavec (Paris) • Galerie Véronique Rieffel (Paris, Abidjan) • Septieme Gallery (Paris)
 09—12
Sept.
2021
Cape Town Auction
8, 9 & 10 June 2021
Fine, Decorative & African Art, Books &
Maps, Furniture, Silverware, Fine Jewellery,
Watches, Collectables & Wine

Public viewing:
Preview all the lots on auction the week before
at our Cape Town Showroom,
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3 - 6 June | 10 - 5pm

Preview, register and bid on www.swelco.co.za

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Andrzej Urbanski | A046/34/31/18, from the 2018 FREQUENCY 3 series | R70 000 - R100 000
06 W W W. A R T T I M E S . C O . Z A
 Art Times June/July 2021 Edition

CONTENTS
Cover: Christiaan Conradie,
In The Old House, Mary, Oil on canvas, 131A Gallery

10. M.O.L. - LANDSCAPE

Ashraf Jamal Column

18. POP GOES THE FAMILY MAN

- The artist known simply as FRINGE
By Matthew Krouse

26. HUSSEIN SALIM: FINDING EDEN

By Ashraf Jamal

34. JOHN KRAMER - Sultan Of

Small-Town Aesthetics
By Lin Sampson

40. ODYSSEY
A long and adventurous pilgrimage

48. SITE, MATERIALITY AND RITUAL;

CONSTRUCTIVELY ENGAGING WITH DEATH
AND LOSS.
A solo-exhibition by Adelheid von Maltitz

52. RESTONE MAAMBO’S REMEMBER

THE DIVINE MOTHER
The intimacy of the spirit that resides within us all

56. PRINCE ALBERT OPEN STUDIOS

A brief taste of what you may encounter…

66. THE ART OF INNOVATION

Entries now open for Sasol New Signatures 2021

72. ONCE WE WERE HEROES

The North West province ArtbankSA
programme launch.

76. Business Art

Fine Art Auction highlights

110. ARTGO
Exhibition Highlights

Lien Botha, The Loss at Sea, 2019, Digital photographic

construction on, Hahnemühle photo rag paper, 42 x 59 cm
Editors Note

T here seems to be no telling what new technical breakthrough

will come from this Pandemic, after the latest crazy thing to
arrive after social media, Instagram, big tech, Tik-Tok and NFT’s has
SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

started at the Basel Hong Kong Art Fair with the use of holograms to
promote your Artfair stand.
CONTACT ART TIMES
Holograms are just perfect to be able to have your gallery or Tel: +27 21 300 5888
corporate art beamed from one side of the world to another without 109 Sir Lowry Road,
the worry of packaging or quarantines. It seems in this is the age of
inversion, what used to be considered bad is now seems good. What Woodstock, Cape Town
used to be science fiction is now fast becoming a reality, for the few
who can afford it. In years to come, like smartphones, everyone will PUBLISHER
have a hologram and move on from an antique smartphone.
Gabriel Clark-Brown
What seems to be at stake is the control of relevancy. Whose editor@arttimes.co.za
history, whose sculptures, whose values to consider? - or heaven
forbid “cancel”. Another irony is that technology is both bringing
us together, but also driving us apart through seemingly over- ART DIRECTOR
exposure of the human condition and desensitising us through a Brendan Body
bombardment of sensation, and to lesser extent boredom.

I guess what I am saying is that maybe there is no more right or ADVERTISING

wrong in ones hologram world and that we have an enormous & MARKETING
amount of stuff, experiences, years of watching other lives and
Eugene Fisher
producers. But just how much can we can say is our own and being
original is debatable. What do we consider our own creation and sales@arttimes.co.za
making of a creative world? Maybe this is the next artist’s domain,
the ability to transfer real emotion and originality inside themselves
and to be able to have a stop in your tracks. Perhaps one day pixels
DIGITAL MEDIA
will replace paint, and a created cyber world with a smattering of AI & EXHIBITION LISTINGS
will be more welcoming than reality. But for now, it’s good to enjoy Jan Croft
the age we are living, and the artist’s pursuit of the human condition,
beauty, and love. subs@arttimes.co.za

We are going out for annual a short break – and this edition is ARTGO CONTENT
a merger of June and July editions. We will be back with lots of
exciting Art Show coverage with ArtGo for the August edition. info@artgo.co.za

Take Care and Keep Warm.

Rights: the Art Times magazine
Gabriel Clark-Brown reserves the right to reject any material
that could be found offensive by its
readers. Opinions and views expressed
in the sa art times do not necessarily
represent the official viewpoint of the
editor, staff or publisher, while inclusion
of advertising features does not imply
the newspaper’s endorsement of any
business, product or service. Copyright
of the enclosed material in this
publication is reserved.

Errata: Hermanus FynArts - would like

to apologise for omitting the name
of Karin Lijnes from the list of artists
who are exhibiting at Sculpture on the
Cliffs - 2020. Her work, Freedom Tree
comprises of a large steel mobile of five
ceramic bird forms.

@ARTTIMES.CO.ZA

08 W W W. A R T T I M E S . C O . Z A
M.O.L 20

LANDSCAPE
Ashraf Jamal

‘Landscape’ enters the English vocabulary

in the sixteenth century. Crudely, it’s a
shorthand for visual depictions of the
countryside. ‘A landscape is picturesque’,
writes J.M. Coetzee, ‘when it composes
itself, or is composed by the viewer,
in receding plains’, in other words, a
landscape is never neutral, it is always
constructed.

This past month, landscape, or the land, has

preoccupied me. At the Javett Art Centre in
Pretoria I saw Willem Boshoff’s astonishing
retrospective which, to my mind, confirmed
his pole position as one of the greatest living
South African artists. At the Rupert Museum
in Stellenbosch, I saw the ‘Johannesburg
Station Panels’ by the late yet still great J.H.
Pierneef. While at the Barnard Gallery in
Cape Town I stopped in to see Lien Botha’s
retake of the South African landscape in
her solo show, ‘Lost in Translation’. The
mediums vary from mixed media to oils to
digitally constructed photography, but what
prevailed in each of these body’s of work
was a singular preoccupation with the land –
South Africa as a psycho-geography, a home
for the embattled and conflicted imagination,
because, of course, landscape is not only
a matter of artifice because it is an aesthetic
construction, but also because, in the charged
colonial and postcolonial context, it persists as
a proprietorial horror story. Who owns the land?
Who has been deprived of it? Who has the right
of occupation? who, in brief, can dream their
place within it without impunity?

In 1913 the Natives Land Act effectively

assigned 90% of the land to a white minority.
A century has past, yet still we find ourselves
dealing with a catastrophic inequity. In his
excoriating novel, Home is Nowhere, M.J.
Mngadi describes the unabated misery which
afflicts a homeless black family. As Mngadi
bracingly tells us, ‘if you’re constantly on the
road and in and out of rented rooms, you end up
like a car tyre that wears out and gets dumped
thanklessly’. In an unblinkingly brutal account of

10 W W W. A R T T I M E S . C O . Z A
Willem Boshoff (Detail)
a destroyed family, we absorb the devastating
consequences of landlessness – the existential
grief and threat of homelessness. Mngadi
does not only lay the blame on the doorstep
of colonial and apartheid rule, but also at the
doorstep of our present government, which, he
says, has further ‘splintered the backbone of
black people’s lives in this country’.

In South Africa, one cannot think about

landscape without thinking about landlessness.
Moving from panel to panel at the Rupert
Museum, one thing is blazingly evident – the
absence of people, whether black or white. It
is not that Pierneef’s vision is dehumanised,
but that it will not accept the fact that earth
and sky is not a metaphysical composite
alone. True, there are pointed depictions of
industrial occupation, and yet, these visions, of
an excavated quarry, say, carries none of the
existential freightage one finds in the works
by William Kentridge who, contra Pierneef,
is acutely aware of the human cost and toll
generated by mining. In Pierneef’s undoubtedly
exquisite renditions of the South African
landscape, something Edenic and untouched
predominantly prevails, as though what we
are looking at exists in some frozen, eternal,
unsullied point and place.

Pierneef, of course, has a right to his vision. To

blame him for his idealised vision is churlish.
To his great credit, he was able to invent a
unique optic which fused Impressionism with
a flattened modular interpretation of earth
and sky. The tonal pallor, which suggests an
extractive and draining sun, further amplifies
the uniqueness of his style, for doubtless,
it is style – a peculiarly formal bent – which
overrides all socio-political critique. As the
great maestro, who fought long and hard for his
eventual stature, tells us of the South African
landscape, ‘to be blind to its beauty is crass,
but to be swallowed up by it seems equally
foolish’. Which is why he chooses to see the
land and sky at a calculated and controlling
distance, why its beauty is affectively chilling yet
inviting all the same. His is a matte dispassion,
as repressive as it is embracing.

At the Javett Art Centre in Pretoria, a vary

different dialogue occurred. Stepping into a
vast emporium, presented by a consummate
creative expression spanning decades, I lost
my ability to breathe, so much so that I had
to race to the bathroom, rip off my mask, and
douse myself with cold water.
JH Pierneef (1886-1957), Johannesburg Station Panel – Mont-
Aux-Sources, 1929-32, Oil on canvas, 145 x 153.5cm, Courtesy
of the TRANSNET Foundation Collection

12
Willem Boshoff, OH Cliffshain

14 W W W. A R T T I M E S . C O . Z A
The root of the problem was Boshoff’s
mastery. Not only was his use of mixed media
astonishing, so was his uncanny ability to fuse
wildly discrepant material. Its was materiality
that thrust itself to the fore, an acute grasp
of the tangibility of place – this country. No
other South African artist, to my mind, has a
more acute grasp of the palpability of place.
That Boshoff achieves this sensation, while
eschewing representation – what a place
looks like – is breathtakingly acute. One
work, comprising earth and intersecting
clippers-scissors-shears – will suffice. The
scale is monumental, the impact equally so.
It is not the consoling formal suturing of a
Pierneef painting that one experiences, but
the physical and psychic cutting-up of the
deceptively seamless lay of land. And yet,
despite this jagged and ragged dismembering
affect, one cannot ignore the works visual
eloquence, because Boshoff, too, is a great
formalist, one who realises that no creative
impact is sustainable without a singular grasp
of aesthetics.
It is because no landscape is ever experienced
neutrally, because we assume a stake in
everything we see and create, that the South
African story assumes its psychic depth and
complexity. If artists matter, it is because
of their ability to touch us where it counts.
Pierneef’s seeming dispassion is the root
of his feeling. By reconstructing what he
sees, giving form to the formless – the ever-
morphing nature of earth and sky and light
– he not only gifted us with his own singular
signature, he also provided us with the room
and guidance we require to see what it is
he saw. Travelling through the Karoo I came
across his odd koppies with their tall conical
hats and gasped with delight. We stopped the
car and stepped out. In an instant I felt utterly
consoled, becalmed, at home in a strange and
wondrous landscape.
But of course, no one in South Africa is ever
wholly consoled. The land is unconsoling
too. This is Boshoff’s point. There remains
what John Barrell calls the ‘dark side of the
landscape’. And as William Burchell opined,
travelling through the Western Cape between
1811 and 1813, the region, in his view,
lacked vegetal variety, it was ‘a desolate
wild and singular landscape’. ‘In Africa
we look in vain for those mellow tints with
which the sun dyes the forests of England’.
Burchell is entitled to feeling homesick,
but at the expense of an entire continent?
16 W W W. A R T T I M E S . C O . Z A
If landscape, as an aesthetic, teaches us
anything, it is the importance of context
and proportion – that all apprehension is
necessarily subjective.
A few days ago, I stopped to see Lien Botha’s
show at the Barnard, titled ‘Lost in Translation’.
Her digitally constructed photographs were,
to me at least, representations of nondescript
swathes and swatches of land. There was
nothing classical about the arrangement and
perspective, no easily parsed distant horizon,
middle ground, or eye-catching ‘dark coulisse
on the side shadowing the foreground’, which,
for J.M. Coetzee, allows for the ‘picturesque’.
Instead, the effect of Botha’s photographs was
monotonic, peculiarly flattening. Digitally inked
into the dour grey planes were figures from a
children’s school textbook. Her rationale?
That hers is a reflection on the ‘static content
… fifty years after the event’. In short, hers
is a retrospective and nostalgic enterprise.
However, ‘in search of a past/present
continuum’, Botha cannot ignore that her
take on a ‘comic-style genre’ also references
‘current issues such as the notion of “home” in
a fragile social and natural environment’.
Botha is right – one cannot. The formal
elegance of her works, like that which one
finds in a Pierneef or Boshoff artwork, cannot
escape what lies beneath – an existential
dread. In Age of Iron J.M. Coetzee speaks
of the untold dead that lie beneath the
surface of the earth. No apprehension of
South Africa’s exquisite physical beauty is
sustainable without the acknowledgement
of guilt, betrayal, or venal greed. Landscape
is an aesthetic and a historical phenomenon.
We understand our place within it only once
we have sought ‘a past/present continuum’.
As W.J.T. Mitchell notes in Landscape
and Power, ‘Landscape is itself a physical
and multisensory medium (earth, stone,
vegetation, water, sky, sound and silence,
light and darkness’. To wholly embrace the
land we occupy, this country, and the artists
who express its story on our behalf, we
need both the ‘sound and silence, light and
darkness’. That said, and that being true, I
must say that in the spirit of a greater well-
being – something we desperately require – I
must also repeat Pierneef’s words regarding
our South African landscape, ‘to be blind to
its beauty is crass, but to be swallowed up by
it seems equally foolish’.
Lien Botha, A boat comes in, 2019, Digital photographic construction on, Hahnemühle photo rag paper, 42 x 59 cm

Lien Botha, The long Goodbye, 2018, Digital photographic construction on, Hahnemühle photo rag paper, 42 x 59 cm
POP GOES THE
FAMILY MAN
By Matthew Krouse
www.daville.co.za

T he artist known simply as FRINGE

completed a year-long rollout of prints
in May. He released a print a month –
twelve in total – in his conceptual Facsimile
series that reflected with pop iconography
on family values, isolation and art practice
in the time of the Covid pandemic.

The irony of using the age-old fax as a

springboard for making messages to humanity
opened a universe of possibility. What does an
anonymous, cult figure like FRINGE have to say,
in a time of lockdown, about a life-experienced
in confinement? Perhaps, through his eyes we
can learn something, given that he spends all of
his time creating in total isolation anyway.

The fried eggs, Warholesque bananas and

sprayed hearts, that adorn the Facsimile series,
illustrate the texts’ overriding conclusion that
family values, artistic pursuits and individualistic
loves are the keys to a happy marriage – with
oneself.

In the five years that Fringe has been

practicing under his pseudonym he has seen a
remarkable rise in fortune and reputation. Three
sold-out solo exhibitions later, at the Daville
Baillie Gallery in Lorentzville Johannesburg, he
is exhibited in Europe with galleries in Berlin,
Paris and London. His ironic pop pastiches
seem to defy locality.

Taking his universal appeal into new mediums,

this year FRINGE released an editioned series
of sculptures that appear to mourn the passing
of time in the life of a child.

Gutinke Meine (My Sweetest Darling), created

in bronze and polyurethane, is softness
made solid. The metaphorical essence of the
work monumentalises the joyful moments of
childhood, epitomised in the fantasy of animals
as companions and friends.

Mickey Escher, 100cm x 100cm,

oil on canvas, 2020

18
Faded Love II, 100cm x 100cm, oil and spray on canvas, 2020

I Alone, 100cm x 100cm, oil and charcoal on canvas, 2021

20 W W W. A R T T I M E S . C O . Z A
I LOVE, 100cm x 100cm, oil on canvas, 2021
The Valley Calls, 100cm x 100cm, oil and spray on canvas. Opposite Page: Girl No More, 150cm x 120cm, oil and charcoal on canvas, 2021

FRINGE: THE VERY DEFINITION DON’T BLINK

April 2017 September 2018

In his first solo exhibition, titled The Very
Definition, FRINGE was introduced as a graffiti-
inspired visual artist portraying the world’s
most recognisable figures and figureheads
with a playful makeover.
Celebrating the irreverent spirit of Pop Art, he
created mixed media works paying tribute to
music and movie stars, historical heroes and
logos, bringing the city walls into the gallery
space.
The exhibited works fell into three broad
themes: love, hope and fear.
FRINGE’s second exhibition at the Daville
Baillie Gallery, of mixed media works,
contained an extension of his joyful, yet
irreverent, iconography. Again, his anonymity
allowed him to navigate the pop world of
familiar characters, brands and slogans
without being weighed down by the distraction
of a real persona.
The artist’s motivation was to encourage the
realisation that the fast pace of progress,
technological and creative, is inevitable. His
statement claimed, ‘We can never slow our
pace. If we start we cannot stop. The only way
to take it in is to look through the rear view
mirror, while we drive on by.‘

W W W. A R T T I M E S . C O . Z A 23
Come Along, 100cm x 100cm, oil on canvas
NO SERIOUSLY
March 2020
For his third solo exhibition, the paintings,
sculptures and prints created by FRINGE took
as their beginning point the ubiquitous popular
culture of a now-globalised world. The title of
the exhibition, NO SERIOUSLY, provided a
clue to the artist’s outlook: an exploration of
the tension between high art and commercial
popularity.
His new works extended his major
preoccupations: fame and fortune, and
conspicuous consumption. He also paid some
attention to the underdogs, the great losers of
comic culture: Charlie Brown, the Simpsons and
Alfred E Neuman.
24 W W W. A R T T I M E S . C O . Z A
The next frontier for FRINGE will be an
engagement with his anonymity. As his work
appreciates in value, and his audience grows,
the challenge of making art in total isolation
becomes apparent.
We wish we could say, ‘watch this space,’ but
we cannot. Because we don’t know if FRINGE
will ever appear.
FRINGE is represented by the Daville Baillie
Gallery, Victoria Yards, 16 Viljoen Street,
Lorentzville, Johannesburg.
Email: info@daville.co.za Phone: 082 412 9210
website: www.daville.co.za
SAL ON N I N ETY O NE P R E S E NT S

SITAARA STODEL. SO MANY WOODEN FLOORS, 2021. FOUND PHOTOGRAPHS ON LINEN.

To Whom It May Concern

A group exhibition | 10.07 - 14.08.2021

WWW.SALON91.CO.ZA
HUSSEIN SALIM:
FINDING EDEN
Ashraf Jamal
www.eclecticacontemporary.co.za

A s Clare Patrick succinctly phrases it,

Hussein Salim’s paintings ‘leave just
enough clues to catalyse thinking rather
than explicitly demonstrate an idea’.
The artist’s delicate balancing act between
figuration and abstraction is refreshing.
His decision, in part, stems from the artist’s
Islamic inheritance and its wariness of the
graven image, but it is also indebted to
a conception of painting as an intuitive
and affective dialogue with the world. As
Patrick puts it, Salim catalyses the human
story. One enters the artist’s world, its
thicket, and, therein, finds one’s own way.
His is art in the most liberatory sense – he
does not tell us what to think or feel, he
refuses to trap us in dogma, rather, Salim
invites us into a phenomenological world
in which art assumes its now neglected
purpose, as a dreaming tool.

Salim’s new exhibition at Eclectica is titled

‘Finding Eden’. The title of an earlier showing
with the gallery, ‘The Three Abstractions: love,
time and death’ is as capacious. Salim asks
us to engage with the big questions, be they
metaphysical, theological, or achingly human.
His approach, however, is tender always. This
is because Salim’s paintings are evocations,
glimmerings, as if seen through clouded glass
– misty, ephemeral, utterly seductive. His latest
offering, ‘Finding Eden’, once again conjures
a quest, in this case for some imagined, or
real, point of human origin. Whether one is a
believer, or non-believer, is beside the point,
what matters is the adventure, with or without
a divining rod. Reason or Faith are not the
only answers to life, there is also inscrutable
mystery, conditions intuited that refuse to
‘explicitly demonstrate an idea’.

Untitled 2, 2020, acrylic on canvas, 120 x 120 cm

26
28 W W W. A R T T I M E S . C O . Z A
‘I had this weird thought the other day, but
I don’t know if it’s true’, a dear friend and
painter recently remarked, ‘I thought maybe
painting crudely is almost more real than
painting realistically … it’s more real for the
viewer. It becomes more psychological’.
I agree. And Salim demonstrates this intuition
cannily. His paintings are events expressed
upon and within a subtly shifting ground,
they are aqueous, heady, but also strangely
calming. Nothing jars, even though his world
vision seems suspended. I get the impression
that Salim hovers before a canvas, touches it,
rubs out a form, in some avid desire to capture
its aura. If he is in search of the Edenic, it is
because he is drawn to the penumbral allure of
the mythic. Notwithstanding the dark history
of the Sudanese civil war he survived, or the
continued disjunctive relationship of the black
body in a peculiarly Western world – the African
diaspora – Salim refuses to amplify despair.
Instead, his gloaming African vision reminds
us that wonder too persists, that beauty lies in
our grasp, and that sublimity – which refuses
all bondage – remains the greater grail.

It is a paradox, and a rare one at that, which

Salim enshrines – his paintings are beautiful
and sublime, easy on the eye yet enigmatic.
And, given the psychological fatigue we are
all experiencing right now, a boon. As Matisse
famously remarked, ‘I dream of … an art of
balance, of purity and serenity … something
like a good armchair which provides relaxation
from physical fatigue’. This is also Salim’s
vocation. ‘Finding Eden’ is akin to finding one’s
private ballast in a quaking world. It is not
only the artist’s colour palette which consoles
us, but also his compositions, their design
and delicate movement. Nothing is abrasive,
nothing hurts the eye and mind. Instead, the
impact of his paintings is therapeutic.

In their modern classic, Art as Therapy, John

Armstrong and Alain de Botton remind us
that art’s true mission is ‘the promotion of a
sensory understanding of what matters most
in life’. ‘Art has a crucial role to play in creating
and keeping images of the lessons of love at
the front of our minds’. That ‘A great artist
knows how to draw our attention to the most
tender, inspiring and enigmatic aspects of
the world’. This, surely, is also Salim’s wager.

Untitled I,2020,acrylic on paper,120 x 150 cm

Previous Spread: Profusion, 2020, acrylic on canvas, 120 x 150 cm
Above: Untitled II, 2020,acrylic on paper, 120 x 150 cm
This does not merely mean that he is a feel-
good artist, but that he is equally able to
harness sorrow. One needs both darkness and
light. Moreover, one needs to ‘balance’ the
two in a vision that is ultimately engendering,
because, only then, can art become ‘a
dignified echo’ of the pain or dread we feel.
It is a curious fact that at the very historical
moment when the black body is palpably
enshrined in the Western canon, when the
African diaspora assumes centre stage in the
Western world’s art economy – brokered by
dealerships, integrated in museums, avidly
bought by collectors – that we also have
the emergence of NFT’s, non-fungible art. In
other words, we have a heightened interest
in ontology – blackness as a critical presence
in the art world – and the rise of digitised
ephemera, or, the Idea of Art, rather than the
thing in-and-of-itself. This, for me, suggests
a counter-intuitive desire to short a black art
market, or, more benignly, or cynically, the
continued ability of capitalism to absorb all
contradiction. As for the fate of the black body
in art? Is it merely the new in-thing, a fad, or
something of great existential significance?
32
I raise these questions because they help me
to understand how Salim operates differently.
By absorbing figuration and abstraction, the
tangible and intangible, he reminds us that
both dimensions are vital. We are not the sum
of what we objectively see, we are also the
sum of all that cannot be seen and known.
If his art is profoundly significant today, it is
because it squares a modern art tradition
and contemporaneity. A Matisse for our time,
Salim tells us, through gestures, that life is
unsustainable unless we give credence to the
unknown and unknowable. If his bodies seem
to float, hover between worlds, it is because
they are transitional, ever-moving. As for the
colours, the mark-making more generally?
These are implicitly atomic. His is as much
a colour field as it is a psychological one.
While his paintings console us, they never
explain our feelings away. Before a painting by
Hussein Salim, we are in the midst of our own
restless lives.
Find Eclectica Contemporary at 56 Church
street, Cape Town.
W W W. A R T T I M E S . C O . Z A
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JOHN KRAMER
Sultan Of Small-Town Aesthetics
By Lin Sampson
www.princealbertgallery.co.za

K ramer has, like his paintings, a pleasant

innocence and true humbleness.

“I am a painter,” he says. “I have always

been fascinated by painting. It is a wonderful
thing and you never get tired of it.”

He rues the fact that at university (Michaelis)

he was not taught more about paint, about
colour, about its magic qualities, its ability
to transform. How it can add fizz and vigour
and visual staccato and emotional texture
and a Catherine wheel of fugitive colours.

“At university we were just given a large bit of

paper and told to get on with it. Sometimes
the lecturer would make a comment like,
‘needs to be more sensitive, more shade’.
But we were taught nothing about paint.

“I like to paint. I give the process a lot of

thought. There is always some- thing that is
new that I can focus on.”

In his studio above his house in the Gardens

are tubes of half squeezed paint, cadmium
red, cerulean blue, lamp black. The names
crackle.

Over the years Kramer has marshalled

these paints like a sergeant major, bossed
them about, learnt their ancestry, held
power over them to help produce what is
both a valuable historical record that also
reverberates at an emotional level.

“When I left university, I knew I wanted to
paint but I had no idea what to paint. I was
still learning about paint. I tried hard edge,
pop, realism. Good- ness knows what.
None of them were me.
Then I remembered our art lecturer, Neville
Dubow, said ‘You must stop be- ing
influenced from overseas, look in your own
backyard.’
Corner Cafe, Beaufort West, oil on board, 500mm x 800mm
My own backyard was Worcester, and I
would go back there and wander around.
You get to know the town you were born
in. The Van Vuuren Milk Bar, banana splits
in frosted glasses, the old cinema with
its Art Deco out- lines. The Good Hope
Cafe, typical Greek, with techno colour
pictures of mixed grills and milk shakes.
The Cumberland, the Masonic.

34 W W W. A R T T I M E S . C O . Z A
One day I was sitting in my studio, looking
at photos and thinking what is the real
South Africa? Is it red hot pokers? Old
Dutch Houses? I picked up one of these
photographs. It was a building with a
corrugated roof. Just an ordinary Cape
building but it had that particular quality of
heat, a blue gum tree, so I made a painting
of it. It was designed in a way that it had
a black border round it, so it was like you
stuck a photograph into an album, I did
three or four of them. I got a great response.
These buildings really became something to
hang my painting on. They were my quarry.”
He paints small corner cafes, superettes,
barber shops, picking out monikers like
Algemene Handelaars, Uitkyk Cafe and
Gen Dealer.
Osman’s Corner Store, Greyton, framed oil on board, 530mm x 830mm

36 W W W. A R T T I M E S . C O . Z A
Heinie’s Kafee, Napier, framed oil on board, 340mm x 550mm
He uses colour mixes that look like
tumbleweed and old toadstools, spiced
with aero blues and saturated reds and
yellows.
“The object is not simply to copy the
photographs but to explore the inher- ent
qualities; the nature of tone and colour in
photos and how this could be manipulated
in paint.”
He captures the high Karoo skies and the
washed Cape light.
He occupies a dangerous turf that without a
profound technique and acute intelligence
could easily spill into the picturesque.
Instead, his paintings of ordinary buildings
speak most of abandonment, a country
in gritty turmoil surrounded by the flaky,
elemental nature of the environment with its
flinty unforgiving turf and high skies.
A South African exile from the Karoo who
lives in London says, “I just have to look at
one of his paintings, to burst into tears.”
38 W W W. A R T T I M E S . C O . Z A
They have an eery quality, ghostlike and
spectral that is enduring, empha- sised
by Kramer’s ability to paint the soft light,
streaming across the latticed penumbra of
the Karoo.
The Karoo evades capture, sneaky and
cunning, it dances and tumbles be- yond
the human hand, its stories of tragedy and
beauty are tumulus and evasive.
But Kramer has shadowed this land with his
acute eye and paint brush and with a foxy
alertness has managed to get under its skin
with true under- standing.
Artist John Kramer will be exhibiting new
paintings entitled “Streetscape” in the
Prince Albert Art Gallery, 55 Church Street.
The exhibition opens Friday 18 June
at 18:00.
www.princealbertgallery.co.za
ODYSSEY
Eclectica Contemporary
www.eclecticacontemporary.co.za
O ur journey begins in North Africa. Here
artists often work in contexts charged
with multiple of constraints. They can easily
find themselves in war zones and regions
fraught with conflict. These Geographical
discords give rise to deeper inner conflicts
like a crossroads of tradition or political
censorship. As a result North African Artists
either have to work in exile or exhibit in
foreign countries.
The title Odyssey refers to a long and
adventurous pilgrimage home after war, as the
ancient Homeric Poem narrates. Our visual
excursion begins in Magnetic North where the
first documented history in Africa uproots and
extends to Southern counterparts. Odyssey
explores dislocation, nostalgia and a Romantic
longing for past homelands, traditions and
fading memories. It resembles an attempt to
conjure up the past, document their memories
and histories of the motherland.
40 W W W. A R T T I M E S . C O . Z A
Egyptian artists of the twentieth century
have embraced and rejected European
styles with an underlying quest for freedom
that sets them apart from their European
counterparts. Inspired by a variety of forms,
symbols and ideas, Morocco has always
been a melting pot of cultures, represented
in sacred scripture and ancient hieroglyphics.
Their history and identity is often linked to nature
and territory. Odyssey seeks a spiritual route,
rather than material representation. Artwork
can be distinguished by the mystical quality
of their sculptures, paintings and drawings
of their own respective fields. The symbols
of prehistoric writing and engraving evokes
a feeling of deja vu, while dreamlike imagery
reflects their mystic practices. Use of symbols
to celebrate life can be seen in collective use
of plants, fruits, trees and adjacent symbols,
while bright colors celebrate the cycle of life
transcending historical timelines.
Our journey through Africa has highlighted
how culture, politics and history of a country
influences the psychological mindset of its
inhabitants. These influences determine how
we perceive the world, ourselves and others.
Our aim is to underline the uniqueness and
find the common thread that unites the voices
of African artist. As creators our perceptions,
awareness and imagination of the above often
translates in our work, as Hussein Salim states:
“I paint for the recognition of the imaginative,
the recognition of others and the recognition
the humane.
Odyssey begins at in the front space of the
gallery and extends to the back where the
works at Eclectica Contemporary will be
rotating artists from the African diaspora
continuously throughout the exhibition.
Left: Ibrahim-Khatab, Untitled-(I), 2020, mixed media on board,
120 x 120 cm. Opposite Page: Mohamed Rabie, Untitled, 2020,
Mixed media on canvas,150 x 100 cm
Ibrahim Khatab
Ibrahim Khatab was born in Cairo 1984, works
as a co-teacher at Cairo University. He works
across the mediums of painting, video art and
installation. Khatab has been practicing since
his youth - when he was 12 years old, he
created billboards on cloths and walls that were
put up in the streets of Cairo. This experience
at the beginning of his practice continues to
influence his work and ignited his passion for
the Arabic calligraphy which can consistently
be seen reflected in his works. Since 2007, his
work has been presented frequently in group
shows and solo exhibitions.
He has garnered notable recognition locally,
exhibiting across various art centres and
galleries in Cairo, but has seen impressive
exposure abroad, having exhibited widely
- from Sweden to Cape Town to Oman.
He has regularly participated in the annual
Youth Salon, Cairo, and has also led many
workshops in Visual Arts Center, Oman; Fine
Arts Association, Doha; and Sharjah Children
Biennial (2013). He has been awarded various
prizes for his work and in 2018, obtained his
PhD from Cairo University. Khatab is currently
resident in Cairo, Egypt and represented by
Eclectica Contemporary in Southern Africa.
Hussain Salim
As a result of a tumultuous political and
economical period in Sudan, which also
brought about disputes of its historical context,
Hussein Salim spent a number of years
as a refugee in various countries including
Egypt and South Africa. Following his artistic
training in Khartoum University, he attained his
Master’s degree in art at the University of Kwa-
Zulu Natal, Pietermaritzburg. He has exhibited
extensively overseas along with acclaimed
local galleries, such as Johans Borman and
Bonisa Private Gallery. It was during this time
that Salim and his family embarked on both an
emotional and awakening return back to his
homeland, Sudan.
Inspired by its diversity and diasporic,
multicultural communal structure, his body
of work celebrates this through extensive
layering of symbols, rich colours and vivid
forms. Following the example of graciousness,
humility and resilience of the Sudanese,
Salim has worked closely with NGO’s such
as African Angels and Buccaneers Outreach
program, whom focus on the sustenance
and uplifting of children and schools in
42 W W W. A R T T I M E S . C O . Z A
marginalized communities with proceeds of
his artwork sales being donated to various
outreach schemes.
Mimouni El Houssaine
Mimouni El Houssaine lives and teaches fine
art in Montpellier although he travels constantly
between the two Mediterranean shores of
Morocco and Europe. These constant coming
and goings are reflected on his canvases in
a game of symbols, spattered written texts
and horizons in perspective. Mimouni’s work
weaves the intricate dialect of yearning for
other shores, spurned on by the desire to
leave, to return or simply of dreaming of being
in a different place. He explains, “yearning for
the other shore, is a translation of my thoughts
of returning to my country, going back to my
roots. It also symbolizes a return to the light,
so very unique to Africa”.
In his works, the many crossings are
represented by means of recurring symbols
such as canoes, bundles of sticks or ladders
reaching for the sky. Painting, collage, materials
and text are combined in a score etched in the
heart of one for whom the quest for the invisible
seems more irrepressible than ever. Each curve
is a meditation, the slightest trace a search
towards an elevated state of mind susceptible
of reaching the sky. Taking inspiration from his
travels, but also from music, Tuareg sounds,
Flamenco and Sufi music, Mimouni’s work
is layered with lyrical symbolisms. Timeless
landscapes, graphic writing and splashes of
colour are open to imagination, peppered with
forms and shapes that verge between drawing
and speech. The works hold no human figure,
but the features of humanity are delicately
outlined in every detail.
Kamal Al-Feki
Artist Kamal Al-Feki was born in 1984,
earned a Bachelor Degree in fine arts 2006
Sculpture Department field,fine art college,
Helwan University with honors. He has been
an active member of the Syndicate of Fine
Artists in Cairo, joined the (academia d’Egitto)
in Rome, Italy (2016) and participated in many
exhibitions and international cultural figures
inside Egypt and abroad from 2007 to now.
El Feki’s sculptures is an attempt to capture
the familiar yet foreign concept of waiting. The
artist evokes the viewer to become content
with the uncomfortable pause that his weighted
figures narrate in their ageless suspension.
Hussein Salim, Communal, 2020, acrylic on canvas, 120 x 150 cm

Kamal El-Feki , Untitled I , 2020 , Bronze , 47 x 23 x 19 cm Mimouni El Houssaïne, 65 x 50 cm

Mohamed Rabie, (Detail) Untitled, 2020, Mixed media on canvas,150 x 100 cm
The sculptures presents the futile, yet
adventurous journey of becoming and the
perpetuating cycles of human desire that
accompany that role. Kamal’s Sculptures
illustrates human life cycles as a concrete
plexus of events and desires. They draw us into
a state of stillness, anticipation and entraps
the viewer in a dormant state of reflection.
Mohamed Rabie
Mohamed Rabie is an artist deeply engaged in
and interested with the identity and symbolisms
of his home town Minya in Egypt. He was born
in Minya in 1986 and went on to study at Cairo’s
Faculty of Fine Arts and is now also a member
of the Fine Arts Association and the General
Federation of Arab Archeologists. As such, his
interest and passion for the arts goes beyond his
multilayered canvases, while also contributing to
and informing his creativity as he works.
44 W W W. A R T T I M E S . C O . Z A
His painting practice borrows from different
eras and cultures present within his rich
heritage and grapples with questionings of
historical entanglements and contemporary
geographic dynamics. Looking at the theme
of ‘Egyptian heritage’ his work includes a
querying of graphic texts and visual languages,
translating them into a contemporary context.
Using broad brushstrokes and large swathes
of colour across the picture plane, Rabie
offers fragmentary clues from history, and
re-articulates them within the gestures of
his work. This results in a strange sense
of familiarity and recognition within each
painting, as though recalling a forgotten story
and familiar narrative.
SITE, MATERIALITY AND RITUAL;
CONSTRUCTIVELY ENGAGING WITH
DEATH AND LOSS.
A solo-exhibition by Adelheid von Maltitz
Oliewenhuis Art Museum, 13 May - 20 June 2021

Cleansing/Entombing, 2021, Site-specific earth from Poland and Germany, cremated bone ash, ash,
nail clippings, breastmilk, hair, lint, resin and Plexiglas, 850mm X 4450mm X 201mm

46 W W W. A R T T I M E S . C O . Z A
O liewenhuis Art Museum is proud to
host a solo-exhibition by Bloemfontein
based artist, Adelheid von Maltitz from
13 May to 20 June 2021. Adelheid is the
current Academic Head of the Department
of Fine Arts at the University of the Free
State. She completed her Bachelor’s degree
in Fine Arts in 2005, her Masters in Fine
Arts in 2009 and is currently studying
towards her PhD in Fine Arts at the same
institution. She has participated in several
local and international exhibitions and in
2014 was awarded the ‘runner up’ prize in
Sasol New Signatures.

For Adelheid making sculpture and installation

art involves processes that allow her to think
and work through personal anxieties regarding
trauma or loss and death. Her interest in how her
own art-making processes are comparable to
conventional historical, as well as contemporary
rituals which engage with death and loss. This
interest was sparked when she observed
(what looked to her like) a mother and sister
continually, over months, rebuild and maintain
a roadside shrine that she passed regularly
on her daily commute. By initially examining
the nature of roadside shrines in relation to
her own art-making processes, she realized
that the roadside shrine and the mourning
rituals associated with it could be perceived
as an investigative device that teases out
questions relating to her own studio research.
She was struck by the similarities in the ways
in which death and loss may be engaged with
constructively and in a healing manner, in art.
The similarities that emerged are related to
aspects of site, materiality and ritual. She was
stimulated to examine art-making concerned
with trauma and loss and with memorialisation
and mourning practices, according to these
three categories in historical and contemporary
examples in order to illuminate her research
questions.
(R)evisit, rebu(I)ld, re(P)eat, 2013, Site-specific earth, ash and resin, 2540mm X 3800mm 135mm

Installation image, 2021, Oliewenhuis Art Museum

W W W. A R T T I M E S . C O . Z A 49
Installation image, 2021, Oliewenhuis Art Museum
Adelheid considers most of the materials
she uses in her artworks as site-specific,
either directly collected from a site of trauma
and loss or attempting to reference that site.
These site-specific materials include earth,
cremated bones, hair, nail clippings, breast
milk and lint. The use of resin and Plexiglas is
primarily to support these materials, and they
also contribute meanings through their own
material characteristics. She explains that
she thinks of these site-specific materials as
imbued with meaning and that she imagines
the materials she uses, for example earth
from Nazi concentration camps in Poland (the
country where her grandfather was born and
fled from during WWII) to have “witnessed”
that trauma and loss. She further developed
this imaginative thinking by means of particular
processes when either re-working collected
materials or creating new meaningfully imbued
materials. These processes become ritual-like
due to the structure she imposes on the way
she collects and re-works the materials into
her artworks. The ritualised actions of, for
example, repetitive procedures of scattering,
sprinkling, burning, pouring and grinding, and
her working in specific places or at specific
times, are all evocative. Moreover, there
repetitive, place –or time-specific actions are
50
enlivened by personal imaginative processes.
For Adelheid, even though she can imagine
her way into something terrible like her own
death or a family member’s death, her artwork,
in all its various facets, allows her to engage
with those thoughts and feelings and to
some extent imagine a way out of it again.
Her art making helps her be less paralysed
and overcome, while it does not smooth over
or hide realities. This ability to integrate the
awareness of the certainty of death with the
lush consciousness of continuation of life is
after all what makes humans exceptional.
Oliewenhuis Art Museum is located at 16 Harry
Smith Street, Bloemfontein. Entrance is free
and secure parking is available for visitors and
for buses. A ramp at the entrance of the main
entrance provides access for wheel chairs,
while a lift provides access to the Permanent
Collection display areas on the first floor. For
more information on Oliewenhuis Art Museum
please contact the Museum at 051 011 0525
(ext 200) or oliewen@nasmus.co.za. Stay up
to date by following Oliewenhuis Art Museum
on Facebook, Instagram and Twitter for all
upcoming exhibitions and events.
W W W. A R T T I M E S . C O . Z A
RESTONE MAAMBO’S
REMEMBER THE DIVINE MOTHER
Melrose Gallery (Johannesburg), 17 June to 16 July
www.themelrosegallery.co.za
Confidence I, 2020 Collage and pastel on canvas 110 x 130 cm
Opposite Page: Confidence II, 2020 Collage and pastel on Canvas
150 x 100 cm
R
estone Maambo navigates his ancestry
and experiences with ‘Kusololwa
Amumuni’, the call from the ancestors
to become a sangoma or spiritual healer,
through his artistic practice.
Traditional healers are considered to be
the safeguards of tradition and culture and
despite his decision to follow his passion for
art rather than to become a spiritual healer,
this is something that he takes very seriously.
Perhaps it is the innate spirituality that the
elders recognised in Maambo at an early age
that gives his paintings their unique almost
meditative and healing quality that captivates
the viewer. Maambo was brought up by his
mother and his respect and appreciation of
femininity and womanhood stems from this
positive relationship and features strongly
in his works. He often paints woman in what
appears to be a spiritual meditative state
and the viewer feels touched to have been
included into what is a very intimate and
personal moment.
52
‘Remember the Divine Mother’, Maambo’s
much anticipated solo exhibition, continues
to explore and celebrate his close relationship
with his mother, who has sadly passed, and his
respect for woman in general.
In this exhibition, Maambo creates a space
that does not isolate but rather highlights the
intimacy of the spirit that resides within us all,
not by confronting us with an image but by
calling us to listen from within. Therefore, the
gaze does not build a theory or language but
rather a song or a spirit through the body of a
woman, the ‘divine mother’ who Maambo calls
upon us to remember.
Maambo uses spirituality as his source in
which the bodies that come to the forefront
exist within the mapping of the landscapes
that become the artworks. They all exist
within a spiritual experience of self and are
personified through their experience of the
other being that which they encounter in the
physical world. As a metaphor this would be
described as holding an emotionally protective
space, co-constructed, especially evocative of
the relationship between psychoanalysis and
maternal care.
In his artworks he explores symbols and subject
matter from everyday life, and images inspired
from the Old Testament which interact with the
sacred traditions and ceremonies of his ancestors
creating an inimitable artistic interpretation of his
life in Zambia and what lies beyond it.
His paintings are created using acrylic impasto
paint, varnish layering, collage and mixed media
which are often applied to large canvases.
‘Remember the Divine Mother’ runs from 17
June to 16 July 2021 at The Melrose Gallery
(Johannesburg) and on a viewing room on
www.themelrosegallery.com This exhibition is
the perfect precursor to our exciting Woman’s
Month programme in August.
W W W. A R T T I M E S . C O . Z A
RONALD MUCHATUTA’S
KURARAMA
Melrose Gallery (Cape Town), 4 June to 25 July
www.themelrosegallery.co.za

The Introspect, 2020, mixed media on canvas, 100 x 150 cm

Opposite Page: Yellow, 2020, mixed media on canvas, 150 x 100 cm

W e are pleased to present Ronald

Muchatuta’s solo ‘Kurarama’ at The
Melrose Gallery (Cape Town) from 4 June
to 25 July 2021. This follows on from its
well-received run at The Melrose Gallery
(Johannesburg) and Muchatuta’s recent
nomination to represent Zimbabwe at the
Venice Biennale in 2022.
Muchatuta created this new body of works
during the shutdown in South Africa. The
impact of the pandemic on the global
community and the way in which it forced
mankind to slow down, to take a breath
and to consider what is most important
in our lives has had a marked effect on
Muchatuta’s life and this body of work
in particular.
“‘Kurarama’ means ‘to survive’ and it is through
survival that we find beauty in life and death.
“The Ying-yang philosophy reflects on how the
end of life in one dimension can be seen as a
fresh start in another. The circle of life. The
burning of the veldt before new vegetation
sprouts - The land needs to breath, We need to
breath. This body of work crosses points of our
existence. The mark of existence comes in the
forms of legacy, spirituality, youth, beauty, and
cultural conditioning.
“Green, Orange, Brown. A smile a kiss. Joint
shoes. A spectacle with sighting and vision.
Shapes - forms within foresight. The Joy of
Chaos. Happiness riding with thrill. Oh how I
missed you colour “, Ronald Muchatuta

W W W. A R T T I M E S . C O . Z A 55
PRINCE ALBERT OPEN STUDIOS
17-20 June 2021
www.princealbertopenstudios.co.za
Botanical artist Sally Arnold at work (Photo Samantha Reinders)
Opposite Page: Acrylic painting by Elcado Blom
S ince its outset in 2017, Prince Albert
Open Studios has been attracting an
array of art lovers to the picturesque Karoo
village, Prince Albert. The magnetism
of this event owes a lot to the diversity
of creatives that are part of its artistic
community. Here is a brief taste of what
you may encounter…
One can visit the studios of artists painting in
both acrylics and oils – Sonja Fourie, Mariana
Botha, Kevin de Klerk, Deidre Maree, Cobus
van Bosch (who also creates fine hand-
crafted knives), John O’Sullivan, Erika van
Zyl, and Diane Johnson-Ackerman, who is
also a printmaker, specialising in etching
and linocuts. Also not to be missed is the
studio of botanical fine artist and designer
Sally Arnold, whose meticulous botanical
drawings and paintings are elegant and
sophisticated. Newcomer to Prince Albert
is Anna Stone, who does resonant portraits
and still-life in charcoal, conté, oils, and
pastel-painting. Her work can be seen at the
Prince Albert Gallery. Also showing there
is Mary Anne Botha, who leans towards
abstract art, in mixed media incorporating
photography and collage. Next door to the
Gallery is the studio of Rebecca Haysom,
who incorporates collage, painting and
paper maché in her narrative pieces.
56
At ‘Karoo Souk’, one can witness specialised
and ancient crafts – hand-forged metalwork
by artist-blacksmith Kashief Booley, and
hand-spinning and hand-weaving of high
quality mohair rugs at Karoo Looms. While
visiting the functional, there is Pat Hyland,
who makes creative lighting with a steampunk
edge out of repurposed fittings and old car
parts. Another fine craftsperson is Turid
Bergstedt, whose meticulous, hand-crafted
kaleidoscopes of varying sizes and designs
describe beauty arising from geometry. Then
there is jewellery designer Di van der Riet
Steyn, whose line ‘Karoo Blues’ incorporates
found pottery shards set in pure silver into
wearable art. On the topic of the found, avid
collector Collette Hurt creates pieces from
found objects, her signature work being Bull
and Gemsbok horns made from rust.
The variety doesn’t end here! There is
ceramicist Sue Savage’s light and friendly
studio, a space where she teaches classes,
and creates and shows her pots. She works
entirely by hand-building – pinching, coiling,
and slabbing. Another experience not to
be missed is that of Heleen de Haas on
Aswater Farm. Considering her farm as her
canvas, one can experience her letter art and
calligraphy in her studio, land art installations,
hand-carved letters on stones, a word
labyrinth, and letter art used in interior décor!
Heleen will be doing guided ‘tours’ daily at
10am and 2pm, and there will be a pop up
tearoom!
There are two galleries to visit – the Prince
Albert Gallery, which shows a variety of
South African artists, specialising in painting,
sculpture, printmaking and ceramics, and
who also represent local Prince Albert
artists; and Watershed Gallery, known for its
collection of JP Meyer’s work, and Jürgen
Schadeberg prints. It is also home to the
studio of Kevin de Klerk, who is currently
W W W. A R T T I M E S . C O . Z A
Prince Albert in the Distance, by photographer Louis Botha.

Africa - Home, (mixed media acrylic on canvas) by Di Smith

Prince Albert Mountains, (Embroidery) by Renee Calitz

58 W W W. A R T T I M E S . C O . Z A
Portrait by Photographer Samantha Reinders
Untitled, (oil on canvas) by Cobus van Bosch
working on transforming a series of Karoo
oil drum bins into works of art that can be
seen around town – a means of spreading
awareness of the significant work of local
NGOs. Also to be visited is The Barn Artist
Residency, which in June will be hosting
resident artist Barend Paul Barnard.
Some of the artists will be showing focussed
‘themes’ and new bodies of work for June’s
Open Studios. Multidisciplinary artist Di
Smith is shares her ‘Karoo Landscapes’: an
expression of her emotions and impressions
experienced through her love of adventuring
in the area. Multimedia artist Sue Hoppe
will be showing her newest body of work –
a series of encaustics called ‘Celebrating
Karooness’, through which she hopes to
put across the essence of her love for the
Karoo and her new life here. Photographer
Louis Botha will also be showing his love for
the Karoo – expressed through images of
“roads less travelled, unspoilt landscapes,
little dorpies, special people and stories”
– his exploration of the Karoo captures an
experience of stillness, quiet, open spaces,
and simplicity, of slowing down and seeing.
Renée Calitz will be showing her new work,
60
experimenting with fibre and textile art.
Through mixed media and the ‘slow’ process
of embroidery she explores the theme of
pausing to really ‘see’.
Photojournalist Samantha Reinders will be
exhibiting portraits taken in Ethiopia. She
has a flair for making her Open Studios
experiences interactive, and will be serving
Ethiopian coffee and popcorn (a combination
enjoyed there!), as well as a portrait studio set
up for visitors who want their portrait taken
in the same style as those on exhibit. Prince
Albert Community Trust will be holding an
exhibition at the POP Centre, featuring four
young, up-and-coming artists: Elcado Blom,
who is being mentored in acrylics by Louis
Jansen van Vuuren and Mary Anne Botha;
photographers Selwynw Maans and Nathan
Maans, who are both doing an internship
with photographer Louis Botha; and Jeffrey
Armoed who does wire work.
Studios will be open daily from 10am-
4pm, 17-20 June 2021. For more info, visit
www.princealbertopenstudios.co.za
W W W. A R T T I M E S . C O . Z A
THE ART OF INNOVATION
Entries now open for Sasol New Signatures 2021
www.sasolsignatures.co.za
Patrick Rulore Winner 2019.
J ohannesburg, South Africa - Entries are
now officially open for the annual Sasol
New Signatures Art Competition 2021.
Being the longest-running competition
of its kind in South Africa, Sasol New
Signatures has become a platform
for unknown artists to break into the
mainstream art stage. Sasol has sponsored
this important art competition for over 30
years and has launched the careers of many
household names in art currently working
in South Africa and globally.  The ongoing sponsorship of this competition
Said Chairperson Sasol New Signatures, Pfunzo
Sidogi: “The Sasol New Signatures Art Competition is
not just another art competition – it is an enabler for
emerging artists to not only expand the possibilities
of art but also to inspire innovation and change.”
This annual competition is open to all South
African artists over 18 years who have not yet
held a solo exhibition. Artists who have held a
solo exhibition for academic purposes (a Master’s
degree exhibition) are allowed to enter. Artists can
submit up to 2 artworks in all artistic mediums,
62 W W W. A R T T I M E S . C O . Z A
including photography, performance art, video and
installations.
“With the advent of Covid-19, there is a greater
need for innovators and creators to shape the world
anew and inspire change,” said Sidogi. “Taking
on this challenge, the 2021 Sasol New Signatures
Art Competition has created a space for eligible
emerging artists to imagine, transgress, transcend,
disrupt, and innovate through their creativity,” he
added.  
demonstrates Sasol’s commitment to discovering
new artistic talent and promoting them to the art-
loving public, said said Nozipho Mbatha, Senior
Manager: Group Brand and Sponsorships at Sasol.
“The art of innovation is one of Sasol’s hallmarks,
and the foundation upon which the business was
built. It is who we are and have committed to being.
For this reason, Sasol is proud to be a key sponsor,
together with Association of Arts Pretoria, of this
important initiative that seeks to encourage South
Africa’s creativity and contribute to our national
heritage,” said Mbatha.
Cecilia Maartens-van Vuuren Merit winner 2019

Above: Luyanda Zindela - runner up 2019

Lebohang Kganye winner 2017. Opposite Page: Cecillia Maartens-van Vuuren Merit Winner 2019

Sasol New Signatures is not only about art but
also education.
Since 2001, the competition has hosted information
sessions for potential entrants. These detailed
sessions to give entrants much needed technical
information regarding format, size, media and
layout of entered works as well as valuable advice
regarding the presentation of competition standard
work.  This year, due to COVID-19, the Information
Session will be hosted online on the 7th June 2021
through numerous virtual platforms. All necessary
information will can be found on our website.
Contemporary, innovative and emerging artists
with winning aspirations are invited to submit
their artworks at one of several collection
points around the country between Tuesday, 7
September and Wednesday, 8 September 2021,
from 10h00 and 16h00.  www.sasolsignatures.co.za  Or contact: Nandi
The winner of the Sasol New Signatures Art
Competition will be announced on Wednesday,
10 November 2021. The winner will receive R100
000 and a solo exhibition at next year’s exhibition.
The winning works will also be displayed at the
Pretoria Art Museum from Thursday ,11 November
2021 to Sunday 9 January 2022., The runner up will
receive R25 000 and the five merit award winners
will each walk away with R10 000.   
The 2019 Sasol New Signatures winner, Patrick
Rulore, will hold his first solo exhibition within the
official Sasol New Signatures 2021 exhibition.  The
exhibition is titled “Life in Darkness”.  Rulore said
of his work: “I am fascinated by the human figure,
and in my paintings, I attempt to capture some of
the complexity of the body and the enigmatic power
which human beings possess.  This series explores
human connection against the black drop of an
ephemeral world of light and shadow. Working on
a large scale is crucial to my creative process”. 
For more information on competition, Information
Sessions and drop off points:
Hilliard from the Association of Arts Pretoria on
012 346 3100, 083 288 5117
Email: artspta@mweb.co.za

W W W. A R T T I M E S . C O . Z A 65
Two new competition partners help blaze
the way forward for Free State artists
www.newbreedart.co.za
The winner of the 2019 New Breed Art Competition were, from left to right, Bokang Nkejane (Merit Award), Miné Kleynhans (Merit Award), Neo Theku
(Overall Winner), Bongani Tshabalala (Public Choice Award) and Kay Fourie (Runner-up). The competition did not take place in 2020 due to Covid.
T he Art Bank of South Africa and the
Free State Art Collective have come
on board as the latest partners to the
New Breed Art Competition, so-doing
significantly increasing the national
exposure and career advancement the
competition holds for Free State artists.
Now in its fifth year, the New Breed Art
Competition is presented by Phatshoane
Henney Attorneys, in association with
Oliewenhuis Art Museum, as it has been
since its inception in 2016. With ArtbankSA
and the FSAC now joining forces with this
one-of-a-kind visual arts competition aimed
at uncovering new and emerging Free State
artists, this platform for showcasing local art
is put on an exciting new trajectory.
“Because Phatshoane Henney Attorneys is
committed to promoting emerging new breed
artists, we are thrilled to welcome ArtbankSA
and the Free State Art Collective on board
as official competition partners to further
66
leverage the growth and development of Free
State art and artists. Each entity is influential
in own right in not only the Free State but
also the national art arena, and through
their linking up with the competition’s vision
of discovering new local talent, the benefit
for artists in entering, exhibiting during, as
well as winning the competition, is greater
than ever,” says Magdel Louw, Competition
Coordinator and Marketing and PR Manager
at Phatshoane Henney Attorneys.
As a national programme of the Department
of Sports, Arts and Culture, the Art Bank
of South Africa is tasked with purchasing
art from emerging South African artists.
As competition partner, the Art Bank will
be intimately involved in the competition
providing artists selected to participate in
the New Breed Art Competition Exhibition a
valuable opportunity to gain exposure with
this important national programme, as well
as attend a skills development workshop
conducted by the ArtbankSA.
W W W. A R T T I M E S . C O . Z A
“ArtbankSA continuously seeks out
associates. Our vision of a prosperous
visual art sector through the development of
young contemporary South African Artists
is what Phatshoane Henney Attorneys
seeks to achieve through its New Breed
Art Competition. When the engagements
between our two organisations started, we
did not hesitate to associate ourselves with
this initiative. The symbiotic ethos of both our
organisations continuously pave a way to a
prosperous and self-sustaining future for our
sector,” remarks Nathi Gumede, acting project
manager of ArtbankSA.
In addition, artists selected to participate in
the New Breed Art Competition Exhibition
at Oliewenhuis Art Museum, including
the final winners, automatically qualify for
consideration and possible inclusion in the
exclusive Free State Art Collective, founded
and headed up by Karen Brusch
The FSAC’s main purpose is to develop and
support the careers of all member artists
and to raise awareness of talent in the Free
State, thereby developing a more visible
national presence. The Collective also aims
to mentor emerging artists and to provide
a network of information and opportunity.
Furthermore, the FSAC initiates workshops
offered by professionals, providing further
skills and conceptual development training,
with the intention of keeping Free State
artists connected to national trends and new
innovations in art production and practice.
“Entering a competition such as the New
Breed Art Competition and being chosen as a
finalist, is an invaluable opportunity for growth.
All artists who are serious about their careers
enter competitions. It is a way of cultivating
your art practice, being acknowledged as an
artist and gaining visibility,” comments Brusch.
Digital art can now also be entered
At the recent virtual launch of the 2021
New Breed Art Competition, Louw further
announced the inclusion of digital/video art
as exciting new medium that can now also
be entered. This is in addition to the wide
variety of other media allowed for entry such
as photography, sculpture, textiles, paintings,
drawings and even graphic art – which
promises to introduce a variety of fresh and
exciting entrants to the 2021 competition.
She strongly encouraged Free State artists
to enter works in a diversity of mediums,
with the important condition that all entered
works must have been completed between
1 January 2020 and 13 September 2021.
“We find ourselves in a historic time in our lives,
and art is the ideal medium for commentary
and communication to allow the viewer
to engage with the wide variety of historic
events that dominated the past year. These
events set forth unique experiences, changes
and consequences – and we encourage all
entrants this year to take the opportunity to
reflect on this in their works,” said Louw.
“Consider where we have been, where we are
now or where we are going, or what we all –
or you yourself – have went through. There is
such a multitude of aspects to reflect on: be
it trauma or growth, perhaps enlightenment
or enrichment, or even looking at the insights
or advances that has resulted from this past
historic year. Precisely for this reason we
encourage fresh, new art and a new way of
looking at things - and also portraying this
through your art.”
Entries take place from 13 to 19 September
2021 at Oliewenhuis Art Musuem, with the
artists selected for the Competition Exhibition
at Oliewenhuis Art Museum to be notified by
29 September. The Competition Exhibition
will stretch from 5 October to 14 November.
The final winners are to be announced on 4
November 2021.
“This year’s new competition partnerships hold
especial value to all entrants in that it allows
for the possible opening of very important
doors to opportunity. We look forward in
great anticipation to the talent that’s bound to
come forth from the Free State art arena once
entries to the competition open later this year,”
Louw concludes.
Entry forms are available at www.newbreedart.
co.za, Phatshoane Henney Attorneys at
35 Markgraaff Street and Oliewenhuis Art
Museum in Bloemfontein.
For more information, contact Louw at
magdel@phinc.co.za or (051) 400 4085.
THE FOURTH INDUSTRIAL
REVOLUTION EXHIBITION
NWU Art Collection, 15 May -15 June
Curated by Amohelang Mohajane
Phillip Boucomse, Silo by die Meule
T his exhibition is a response to an
invitation from the International Council
of Museums (ICOM)  to commemorate 
International Museum day which is celebrated
on the 18th May 2021. The NWU Gallery
as part of the International committee for
University museums and collections (UMAC).
The COVID-19 crisis has swept the whole
world abruptly, affecting every aspect of our
lives, from the interactions with our loved
ones, to the way we perceive our homes and
cities, to our work and its organisations.
With the cultural sector being among the
most affected the NWU Gallery saw this as
an opportunity to showcase some works
68 W W W. A R T T I M E S . C O . Z A
Philemon Hlungwani, Hihanya hi matimba
Colombe Ashborn, Lüderitz
that explore the four chosen topics around
the main theme. The theme for 2021 is “The
Future of Museums: Recover and Reimagine”,
these topics are Digital transformation
(focus: education), Social relevance and
sustainability, Climate action, New Business
models.
This invitation was open to museums, their
professionals, and communities to create,
imagine and share new practices of (co-)
creation of value, new business models for
cultural institutions and innovative solutions
for the social, economic and environmental
challenges of the present. This is an effort to
raise awareness of the fact that Museums are
an important means of cultural exchange. 
Katlego Tlabela, Generational knowledge
With this Hybrid event we are leaning
towards an increased focus on digitisation
and the creation of new forms of cultural
experience and dissemination. We have
also taken this time to collaborate with our
immediate communities as this is a pivotal
moment for our society, and we called
on local museums to embrace it and lead
the change. The time is now to rethink
our relationship with the communities we
serve, to experiment with new and hybrid
models of cultural fruition and to strongly
reaffirm the essential value of museums for
the construction of a just and sustainable
future. We must advocate for the creative
potential of culture as a driver for recovery
and innovation in the post-COVID era.
This exhibition showcases the NWU Art
Collection with an inclusion of New acquisitions
to our collection from 2019, some of the
participating artists include Phoka Nyokong,
Katlego Tlabela, Jonel Scholtz and some
more earlier works Lindeka Qampi, Philimon
Hlongwane, Jean Lampen, Louisemarie
Combrink, amongst many others.
We would like to extend a heartfelt gratitude
to our partners JB Marks Municipality and the
Potchefstroom Museum, Goetz Fleischack
Museum, President Pretorius Museum, Totius
House Museum, Archives in Potchefstroom & the
Matlosana Municipality and Klerksdorp Museum.
PIM PAM PUM
NWU Art Gallery, 15 May 2021 until 15 June 2021

I n the hot or cold, depending on the season,

dusty environs of Pomfret, isolated from
the rest of the South African sub-continent
and away from home, the children of the 32
battalion played games and sang songs like
children do. Closed off and isolated in the
shadow of the war, the children learned to
play and played to learn.

Much has been written about the potential of

games for important skill development and
children’s ability to distinguish between reality
and make believe. In that time of innocence, full
of the joy and purity of spirit, they internalised
what their fathers did and were; truly terrifying
men who were instruments of war and were
destined to die or remain refugees. Keeping
score of kills and suspicious of everyone the
Above and Below: Anabu Anabu. Opposite Page: Street Scenes
men in effect lived through events in which they
defied death. The games the children played
shows how the military and by extension,
the war shaped the social education of the
children which made the games the learning
tools and possible recruitment manipulations
and subsequently shaped their reality; they too
were destined to be refugees forever.

Pim Pam Pum reminds one of the fairgrounds

shooting gallery where we blast away and see
how many remain standing and we win a prize
if we ensure none remain standing. There is
much latent violence imbued in a seemingly
childish song and play making. The lyrics:
each bullet kills one
up there on the pylon  the strategic placement of games and songs
there is a glass of poison
who drank and died?...
with luck, with luck who is free is you
is your father a player
how many goals has he scored?
are insidious and create an environment where
the children learn to be ready and armed to
defend themselves. The backdrop of this
exhibition is the fragmented psyche brought
on by life in the shadow of the border war
and living with the terrible ones. The need to
move on from an imperfect and lost childhood
underpins Pim Pam Pum.  - Fadzai Veronica Muchemwa
Seemingly excavating this lost childhood,
Pim Pam Pum explores the fictive potential of
looking at the past to heal the future. Through
that Helena played with her friends as a child,
this exhibition explores the subliminal images
and narratives within which her own identity
was moulded. The context and speculative
scenarios illuminate the act of ‘forgiveness’
and ‘haunting’ and represent the vehicles
through which to construct meaning and a
possible reality. The Potchefstroom iteration
becomes the transgression of space and time
to explore the need for personal attachment,
for emotional stability and for permanency
in a world where this might not be possible.

70 W W W. A R T T I M E S . C O . Z A
ONCE WE WERE HEROES
NWU Art Gallery, 23 June 2021 until 05 August 2021
O nce we were heroes attempts to respond
to the lingering uncertainty brought
about by the COVID 19 pandemic. The
world appears to be on standby. References
have been made to a new normal, alluding
to a future that is unknown.
What is known are the challenges that the
whole world is currently grappling with. The
loss of human life, loss of jobs, and - most
importantly - the question, when will all this
end? The art sector in South Africa is no
different. Artists face an uncertain future.
Online exhibitions have become a norm.
This has changed the artistic practice as we
know it. Historically, viewers needed to be
intimate with the artwork to fully appreciate
it. The artist’s skill, textures and materiality all
created the viewer experience. Some of these
elements are not easily experienced through
the digital mode. With the advantages that
online exhibitions bring, such as the ability to
reach greater numbers of audiences owing to
the internet, the nagging question remains: is
the new normal a forever normal?
In recognising the complexities of the
times, once we were heroes attempts to
acknowledge and celebrate the artists who
have persevered and continued to produce
artworks without the certainty of what will
become of their produce, as the old normal
would have “given” them. The exhibition title is
a play on words on what would become of the
South African creative sector and its heroes,
the artists in the new normal.
The exhibition forms part of the North West
province ArtbankSA programme launch. The
exhibition will feature artworks from such
artists as Daniel Tladi, Poloko Madikong,
Nicola Holgate, Phoka Nyokong, Kali Van
Der Merwe, Lebohang Motaung, Dimakatso
Mathopa, Franz Phooko, Thalente Khomo,
Mothobi Mefani, Themba Khumalo, Collen
72 W W W. A R T T I M E S . C O . Z A
Maswanganyi, Tshegofatso Nkhumeleng,
Cassian Robberze and Lindo Zwane to
mention but a few.
The Art Bank of South Africa is a national
programme of the Department of Sport, Arts
and Culture as part of the Mzansi Golden
Economy (MGE) strategy implementation.
ArtbankSA is hosted by the National Museum
Bloemfontein, an agency of the Department
of Sports, Arts and Culture. Its vision is
to promote, foster and stimulate a vibrant
market for the collection of South African
contemporary visual art.
ArtbankSA will achieve this through curating
a definitive collection of contemporary
South African visual art, promoting financial
sustainability for the artists. This will be done
through the leasing and selling of artworks,
nurturing emerging South African artists by
expanding the market for their work and
providing skills development opportunities and
fostering an appreciation for contemporary
art by making art accessible to the broader
public in their workplaces, shared spaces and
homes.
The collection offers the public a window
of opportunity to assist the ArtbankSA
in achieving these targets. Through the
exhibitions that it curates, ArtbankSA seeks
to receive feedback from the different sectors
of society, but most importantly to use the
platform to communicate its work and the
available opportunities for young South African
contemporary Artists in its work. Please join
us in celebrating this milestone.
For more information, please contact NWU Art
Gallery Curator, Ms Amohelang Mojahane
Tel: (018) 299 4341
email: amohelang.mohajane@nwu.ac.za
Daniel Tladi, Life in Khuma II

Phoka Nyokon, Something we know

AGILITY IS THE NEW BLACK!
NWU Gallery, Potchestroom, 23 June until 05 August 2021
A Soldier’s Dreams, 2021, Mixed Media on canvas
AGILITY IS THE NEW BLACK! is a
collaborative multi-disciplinary exhibition
featuring mother and son-Thina Minya &
Themba Minya. The dynamic duo is having
their first major institutional show at NWU
Gallery. Each artist is reflecting on form,
without bowing to societal nuances to define
their practice. With this in mind, the exhibition
presents and highlights a refreshing, unique
take on abstract themes of race, sexuality,
identity politics , social struggle, feminism and
the self. With many of the new works created
in isolation, they are brought together in this
show as a visual conversation to represent
the universal human experience.
74
Agility is the new black! is the new body of
works -20 in total- produced during the global
pandemic. Agility is the new black! explores
notions of feminism, identity, race and social
struggle, seen in the works of Thina Minya
& Themba Minya. Thina’s minimalist, semi-
abstract works are loaded with provocative
perspectives that play with visual narratives
and challenge cultural norms, gender norms,
identity and stereotypes. Similarly, Themba’s
works break down the multifaceted nature of
identity and social struggle.
W W W. A R T T I M E S . C O . Z A
My Skin is not the Problem, 2021, Oil and Enamel on Board Power Heels, 2021, Mixed Media on canvas

Fragmented, 2021, Mixed Media on canvas

Auction News
THE FACES OF THE STEPHAN WELZ & CO.
JUNE PREMIER AUCTION
www.swelco.co.za

T he Stephan Welz & Co. Premier Live

Auction will be commencing on the
8th June 2021, running for three days and
includes two art sessions. The sale offers
a diverse collection of pieces and is sure to
interest local and international collectors
alike. The staff at Stephan Welz have been
paying careful attention to our recent results,
attempting to predict and identify trends in
the market in order to present works to our
collectors that reflect the current market and
offer the best opportunity for investment.
The resurgence of portraiture has been
at the forefront of recent art trends and is
appropriately reflected in the selection of
works on the upcoming June Cape Town
Auction. This includes increased interest in
historical Continental portraits, as well as an
increase in portraits being created by living
contemporary artists. (June CT) Lot 259, Continental School (18th/19th Century)
PORTRAIT OF A BOY WITH LACE COLLAR, pastel on paper,
R3 000—R5 000. Opposite Page: (June CT) Lot 420, Lionel Smit
Lucian Freud frames the importance of (South African 1982) PORTRAIT IN PROFILE, oil on canvas,
portraiture by stating ‘I think a great portrait R220 000—R320 000
has to do with the way it is approached ... it
is to do with the feeling of individuality, and
the intensity of the regard and the focus on with a rosey-pink complexion, which indicates
the specific’.  Historically, portraits were the good health. The boy is wearing a large lace
only way to record someone’s appearance. collar and silk cap, which could be indicative
However, portraits have long since been more of some special occasion or event— perhaps
than just a form of documentation, but have a christening— which this portrait was painted
been vehicles to demonstrate authenticity and to commemorate. The luxurious fabrics and
denote messages about the sitter. The process textures of the boy’s garments also indicate
of creating a portrait not only reveals qualities an impression of luxury and family wealth, as
of the sitter, but more importantly, reveals the clothing was a significant indicator of class
artist through the sitter. and stature within society at the time. The boy
is also depicted with a certain seriousness,
Flourishing in Renaissance Italy, commissioned both in posture and expression, perhaps
portraits dominate a large portion of art highlighting the family’s entrenchment of
history, with entire museums and galleries exemplary obedience, morals and discipline.
dedicated to the genre. While these historical
portraits are seemingly simple depictions Similarly to most genres, portraiture radically
of a person, the choices made by the artist, transformed with the advent of modern art in
including what clothing they wear, where the late 19th Century. While commissioned
they are found and what they are holding, are portraits became less and less common in
conscious storytelling choices. In Portrait of modern painting, artists chose to represent
a Boy with Lace Collar (Lot 259), the chubby- people that held some significance in their
cheeked young boy is depicted in soft pastel lives. Picasso’s portrait of Benedetta Banco

W W W. A R T T I M E S . C O . Z A 77
(June CT) Lot 449, After Pablo Picasso (Spanish 1881 - 1973) MADAME RICARDO CANALS, 1905 from the BARCELONA SUITE, a proof
before letters outside of the edition of 60, signed ‘Picasso’ in pencil in the margin, publisher’s dry stamp on the lower left corner of the
print, offset lithograph, R50 000— R80 000

78 W W W. A R T T I M E S . C O . Z A
(July JHB) François Krige (South Africa 1913 – 1994), BOY IN BLUE, oil on board, R100 000 – R150 00
(Madame Ricardo Canals, Lot 449) was
painted in 1905, having just abandoned his
Blue Period in 1904, and on the cup of his Rose
Period. Madame Canals appears striking,
strong and intense, adorned in black mantilla,
with a face of pastel shades and otherwise
muted tones. She is a beautiful but peculiar
work to be produced by the artist at this time
in his oeuvre. He selects to use elements that
are particularly Spanish, as if a nod to his good
experiences in Barcelona.
Picasso’s portrait of Benedetta indicates a
shift in the approach to portraiture during
modernist movements, and works like this
would perhaps inform the reimagining of
portraiture in contemporary art in the years
to come. While many feel that portraiture
in a contemporary context does not meet
the need for context and symbolism,
contemporary portraiture has been adapted
to meet these demands and is more than just
representational. In a world ruled by social
(July JHB) Marlene Dumas (South Africa 1953 – ), FACELESS, lithograph, R40 000 – R60 000. Opposite Page: (July JHB) Maggie Laubser
(South Africa 1886 – 1973), PORTRAIT OF A MAN WITH WHITE MOUSTACHE, oil on paper on hardboard, R250 000 – R350 000

80 W W W. A R T T I M E S . C O . Z A
(July JHB) Hennie Niemann Jnr (South Africa 1972 - ), SUNDAY AFTERNOON, oil on canvas, R100 000 – R150 000
media, representations are all around us, and it
may seem as though the individual has become
less relevant in mass society. However, perhaps
it is just the opposite. Contemporary portraiture
sees depictions of a person through the eyes
of an artist, with a more honest approach, and
an attempt to show the otherwise invisible
qualities of the sitter. Lionel Smit represents
his subjects through his use of shades from
throughout the colour spectrum to depict tone,
depth and his sitter’s mood. Portrait in Yellow
(Lot 419) consists almost entirely of yellow
shades, with the rare streak of blue and grey
increasing intensity and managing to portray
a ghostlike countenance in this unusual hue.
The Portrait in Profile (Lot 420) is almost entirely,
and unusually for the artist, devoid of colour.
Rendered in charcoals, Smit has achieved a
somewhat pensive mood in his subject.
82 W W W. A R T T I M E S . C O . Z A
The resurgence of contemporary and
historical approaches to portraiture is further
highlighted by the works on our upcoming
Johannesburg Premier Online Auction, taking
place in July. Works by Marlene Dumas
and Anton Smit present an ironic and more
three-dimensional form of portraiture, while
Maggie Laubser, Francois Krige and Hennie
Niemann Jnr capture their subjects in brilliant
hues and dynamic brushstrokes. The Cape
Town Premier Auction is live and open for
registration, but keep an eye on our social
media pages and website for the launch of this
exciting Johannesburg collection.
For any enquiries contact us on 021 794 6461
or email info@swelco.co.za or whatsapp us
on +27 72 145 6715
 5th Avenue Auctioneers
Next Auction - Sat 29th & Sun 30th May

Ephraim Ngatane Adriaan Boshoff

Irma Stern J.H. Pierneef

Preview: Thurs: 27th 9am - 5pm
Fri: 28th 9am - 5pm
Sat: 29th 10am - 1pm
Live online only ~ Check our website for a full catalogue

5thAveAuctions.co.za 011 781 2040 stuart@5aa.co.za

404 Jan Smuts Ave, Craighall Park, Sandton
Auction News
STRAUSS & CO
Rare botanical art and new
contemporary paintings among
highlights of Strauss & Co’s
June sale
www.straussart.co.za

S trauss & Co’s forthcoming June sale of

modern, post-war and contemporary
art, decorative arts and wine includes an
impressive line up of paintings from two
important corporate collections, one offering
a unique overview of Cape winemaking
and its traditions, the other gathering
an important grouping of South African
women botanical artists. Due to commence
on Monday, 31 May, the timed online-only
sale includes a substantial offering of art,
including important photos and ceramics, as
well as a themed wine session that focuses on
Stellenbosch’s best producers. The online sale
concludes on Monday, 7 June 2021 at 8pm.

Strauss & Co is very fortunate to be offering an

important single-owner collection of botanical
paintings and prints by some of the most
significant South African women botanical
artists, including Thalia Lincoln, Auriol Batten,
Barbara Jeppe and Gill Condy, who was the
resident artist at the South African Biodiversity
Institute in Pretoria from 1982 until her recent
retirement. The selection of botanical art has
been de-accessioned from a major financial
institution’s corporate collection as part of a
strategic repositioning towards contemporary
art and will be offered in a dedicated session.

A particular highlight of the botanical art session

is the 11 original watercolours by Ellaphie Ward-
Hillhorst produced for the 1994 monograph on
the aloe-like genus Gasteria written by Ernst van
Jaarsveld, an internationally recognized expert
in the field of succulents. This collaboration
between botanist and artist was a significant
milestone in botanical publishing in South
Africa at the time. Other notable lots include
Auriol Batten’s striking Scadoxus puniceus,
commonly known as the paintbrush lily
(estimate R3 000 - 5 000), and three beautifully
rendered depictions of irises by Barbara Jeppe
(estimate R 3 000 – 5000 each).
Sam Nhlengethwa, Woman with Basket, collage on paper,
46 x 46cm, R 30 000 - 50 000

84
 John Newdigate, Birds in Foliage, porcelain with underglaze pigments diameter: 37,5cm, R 15 000 - 20 000
Opposite Page: Auriol Batten, Scadoxus puniceus, watercolour and pencil on paper 27 by 20,5cm, R 3 000 - 5 000

Following on from the successful April sale of
a tranche of works de-accessioned from the
KWV Collection – highlights of which included
Cecil Skotnes’ hand-carved and incised
panel piece The Origin of Wine/The Epic of
Gilgamesh, sold for R910 400 – Strauss &
Co is pleased to offer a further consignment
of works from this collection of post-war
paintings rooted in the Cape region, its
landscapes, people and industries.
The KWV Collection includes Carl Büchner’s
Red Interior (estimate R35 000 - 50 000),
one of two oils by this romantic humanist
and student of Maurice van Essche. Fifteen
drawings and watercolours by François Krige
variously depict winemaking operations, such
as ploughing and picking, as well as Cape
landscapes. Other artists represented in this
consignment include David Botha, Herbert
Coetzee, Llewellyn Davies, Pranas Domsaitis,
Zakkie Eloff, Amos Langdown, Kobus Louw,
Alexander Rose-Innes, Edward Roworth and
Gordon Vorster.
Reviewing the art offering in the forthcoming
sale, Wilhelm van Rensburg, head curator
and senior art specialist at Strauss & Co, has
identified a number of pieces by contemporary
artists worthy of consideration by collectors.
They include Sam Nhlengethwa’s 2005 collage
on paper, Woman with Basket (estimate R30
000 – 50 000), and five recent watercolours
by Colbert Mashile. Painted in 2020, the
watercolours (estimate R5 000 – 8000 each)
feature a vibrant palette and represent a new
departure from Mashile’s earlier initiation
subject matter – three fine examples dated
circa 2007-08 are also included in this sale
(estimate R15 000 – 24 000 each).

86 W W W. A R T T I M E S . C O . Z A
Hennie Niemann Jnr (South Africa 1972 - ), Sunday Afternoon, oil on canvas, R100 000 – R150 000

88 W W W. A R T T I M E S . C O . Z A
Johannesburg-based Samson Mnisi’s 2013
work, Abstract Composition in Red (estimate
R30 000 – 50 000), presents a quirky combination
of abstract expressionism and traditional
African scarification marks. Durban-born Louis
Maqhubela, now aged 82 and living in London,
is an important figure in the early development
of an indigenous abstraction, and is represented
in the sale by Abstract Composition with Birds
(estimate R5 000 – 7 000), a chalk pastel and
charcoal work from 1968. Strauss & Co is
delighted to offer four hardwood sculptures
by Michael Zondi made circa 1978-82. They
include Two Figures (estimate R8 000 – 12 000
each), an elongated figure work in the style of
Zondi’s Calabash (1963), first shown at the 1966
Venice Biennale.

Santu Mofokeng’s Paul Dintshi and Child:

Sunday at a Shebeen (estimate R20 000 – 30 000)
leads the photography selection. This important
portrait was taken at Vaalrand Farm, Bloemhof,
circa 1988, during Mofokeng’s association with
the African Studies Institute at Wits University.
Other contemporary photographers featured in
this sale are Jane Alexander, Pieter Hugo and
David Lurie.

Strauss & Co’s focus on modern and

contemporary ceramics continues with a
selection of works by celebrated makers Juliet
Armstrong, John Newdigate, Hyme Rabinowitz,
Clementina van der Walt and the collective
at Rorke’s Drift. Newdigate’s Birds in Foliage
(estimate R15 000 – 20 000) is a large porcelain
dish decorated with his characteristic bird
designs. Armstrong’s Ingcayi (estimate R15 000
– 20 000) is a very fragile porcelain depiction
of a ceremonial cowhide pregnancy apron that
includes gold leaf detailing.

Juliet Armstrong, Ingcayi (Pregnancy Apron), mixed media and

bone china with gold leaf 45 by 49 by 5cm, R 15 000 - 20 000
(Detail) Walter Battiss, Liza, silkscreen on paper 61 by 48,5cm, R 12 000 - 16 000
Walter Battiss is a stalwart of Strauss & Co
auctions and is represented in the forthcoming
sale by delightful works connected to his Fook
Island period. They include a bronze Fook
coin (estimate R5 000 – 7 000) and two Fook
T-shirts (estimate R2 000 – 3 000). The sale
also includes a number of Battiss screenprints,
notable among them Liza (estimate R12 000 –
16 000). A number of Battiss associates and
collaborators are also represented. They include
Carl Büchner (Harlequin Boy, estimate R8 000
– 12 000), Norman Catherine (two posters,
estimate R3 000 – 5 000 each), Braam Kruger
(two lots of artist and model drawings, estimate
R3 000 – 4 000 each) and Rupert Shephard
(Landscape, estimate R6 000 – 8 000).
“Büchner taught with Battiss at the Pretoria
Art Centre for a decade, until 1954, and
Shephard was a good friend of Battiss in the
90
1950s,” says Wilhelm van Rensburg. “Battiss
and Shephard often exchanged works, like
artists often do. Kruger, a maverick artist and
culinary chef later in life, befriended Battiss as
a young man in the 1970s, and like Battiss,
was a compulsive drawer.”
Also worth noting in the sale is a selection of
lots by Wolf Kibel, Charles Gassner, Judith
Mason and Fred Page, all handled by legendary
Cape Town dealer Joe Wolpe. They include
Mason’s 1966 charcoal and pencil drawing
Caryatid (estimate R7 000 – 9 000). Strauss &
Co’s June sale will be held exclusively online
and commences on Monday, 31 May, and
concludes on Monday, 7 June 2021 at 8pm.
BROWSE > BID > BUY: www.straussart.co.za
W W W. A R T T I M E S . C O . Z A
Art News
HOW WE PROVED A REMBRANDT
PAINTING OWNED BY THE UNIVERSITY
OF PRETORIA WAS A FAKE
First Published on www.theconversation.com
T he paintings of Dutch master Rembrandt
van Rijn are displayed in prestigious art
galleries in capital cities around the world.
One – a small oil painting on a wood panel
depicting the profile of an old man in a hat and
cloak – made its way to South Africa in the late
1950s. It was part of an extensive collection
belonging to a Dutch businessman, JA van
Tilburg, who emigrated to the country. In 1976
the work was donated to the University of
Pretoria.
For decades, the work was attributed to
Rembrandt, the world famous artist from
the Dutch Golden Age of painting (1588-
1672). After all, it had a good provenance.
Provenance is the study of the history of an
object after its creation. Typically in the case
of a painting it would be the history of the
ownership of the artwork.
The painting was documented as being part
of the Warneck Collection, an important
private art collection in Paris, as described
in the book by Cornelis Hofstede de Groot.
But provenance research carried out in the
Netherlands in 2015-2016 showed that
the painting’s provenance to the Warneck
Collection was in fact incorrect.
We work for University of Pretoria Museums
and an academic unit called Tangible Heritage
Conservation, the only one of its kind in sub-
Saharan Africa. Here, over the last three years,
we have developed analytical techniques to
study the materiality of artworks and objects
– all relevant information related to the work’s
physical existence, including its history and
conservation.
92 W W W. A R T T I M E S . C O . Z A
In an effort to get to the bottom of the origins
of this particular Rembrandt we started to do
provenance research and then started to learn
the techniques used in studying the works of
Rembrandt on a technical level. In a research
paper we concluded that the work previously
accepted as a Rembrandt was indeed not by
the artist.
The search
We could trace the painting back through 14
buyers and sellers by researching auction
catalogues at the RKD (Netherlands Institute
for Art History). The painting could be tracked
all the way to 1899, when it was described as
“surely authentic” by De Groot.
Several factors made us believe the painting
might be original. Distinctive marks on the
back of the frame, mention of an invoice in
Rembrandt’s handwriting accompanying the
painting at the 1889 auction, as well as expert
reviews suggested that it could indeed be a
Rembrandt, or at least from his studio. (It was
commonplace for a master to have apprentices
work in his studio and on his paintings.) There
were even references to chemical analyses of
the painting in 1941 by one of the time’s most
eminent and earliest technical art analysis
scientists, AM de Wild.
But, to determine whether the painting was in
fact by Rembrandt, provenance research was
not enough. It needed to be complemented by
an art historical connoisseurship, which looks
at a stylistic review. Are things like the style,
colours and composition of the painting typical
of the artist’s work? It needed to be backed
up by physical evidence through technical art
analysis.
Technical art analysis is not widely available “The attribution and age
in South Africa and there were challenges
in taking the painting to Europe to be of these works when
authenticated. The solution was to start donated or purchased are
developing local expertise. This included
learning to use and understand techniques simply believed, due to
such as X-ray fluorescence, ultraviolet light and the lack of expertise in art
infrared photography to inspect the painting.
authentication and the cost
Using cutting edge technology we searched of sending them to Europe
for fresh evidence about the painting’s
authenticity. to be authenticated.”
The evidence
Authentication requires multiple steps to
ensure all aspects of the painting point to
the creator of the work. Photographs taken
was sufficient in the case of this small painting
under ultraviolet light investigated possible
but the technology is the same as that used
retouching and restoration. Infrared imaging
at the Rijksmuseum in Amsterdam in their
techniques looked for any under-drawings
Rembrandt Operation Night Watch project.
or compositional changes. X-rays identified
structural components of how the panel was
Although the scanning picked up the same
secured in its cradle – and the presence of a
elements consistent with Rembrandt’s palette,
lead-based underground to prepare the panel,
these were in minimal quantities compared to
as well as lead white in the paint.
what was expected and has been identified
in other Rembrandt paintings around the
The wood panel was examined using
world. Lead white should have been used in
dendrochronology, a method to date wood
the preparatory ground layers and in the white
down to the year that the tree was cut down,
paint, but only minimal quantities were present.
in this case in the 1640s. An analysis of the
individual pigments in the painting was also
Zinc white was also present. This is problematic
done using a handheld X-ray fluorescence
as it was only introduced as a pigment in 1834.
spectrometer.
In addition barium sulphate was found in large
quantities. But mining of barium sulphate was
All the results suggested that the correct
only possible from the 1850s onwards.
elements were present in the painting,
specifically lead, to place it in the 1600s, the
The outcome
time of Rembrandt.
Thus, a creation date is only possible after 1850
when barium sulphate was introduced. This
But then the opportunity arose to bring in an
painting in the collection was thus made 200
X-ray fluorescence scanner, which combines
years after Rembrandt. It remains unattributed.
X-ray fluorescence sampling with scanning
technology. This can help determine the
Several collections in South Africa contain old
elemental composition of materials. The
master paintings like this one. The attribution
scanner allowed us to map the entire surface
and age of these works when donated or
of the artwork, instead of relying solely on
purchased are simply believed, due to the lack
a handful of small areas to identify and
of expertise in art authentication and the cost
characterise certain pigments – as was done
of sending them to Europe to be authenticated.
using the handheld spectrometer. Now data
Proving that these works are not what they
could be analysed in layers, allowing for layers
seem is likely to become more common.
to be selected or removed from the digital map
in order to look at the elemental distribution
over the entire surface. A desktop scanner

94 W W W. A R T T I M E S . C O . Z A
Art News
LAW
The E.U. Rules Against Banksy in His Trademark Fight With a
Greeting Card Company, Citing His Own Statement That
‘Copyright Is For Losers’
I t doesn’t appear to be a cheeky prank or a
practical joke this time. The “Cancellation
Division” of the European Union Intellectual
Property Office (EUIPO) just issued a decision
declaring a trademark owned by street artist
Banksy invalid.
Further, an attorney says the mysterious street
artist and his attorneys are themselves to
blame. The  “real nail in the coffin,” attorney
Aaron Wood told the World Trademark Review
in announcing the news on May 19, was the
“public comments of Banksy and his lawyer.”
Wood represents a greeting card company
known as Full Colour Black Limited, a specialty
retailer of street art greeting cards, that went
head to head with Banksy over its use of
Banksy’s Laugh Now. One of the artist’s most
famous images, the work shows a monkey
wearing a sandwich board. Some versions of
the image bear the inscription “laugh now but
one day we’ll be in charge.”
The company officially charged with issuing
certificates of authenticity for Banksy, known
as Pest Control, first filed an EU trademark
claim for the monkey sign artwork in late
96 W W W. A R T T I M E S . C O . Z A
2018. A year later, in November 2019, Full
Colour Black fought back, and applied for
cancellation of the trademark, arguing that
it was filed in bad faith and that it was non-
distinctive.
It was here that Banksy’s own MO came back
to haunt him.
Full Colour Black claimed that the art is a
work of graffiti sprayed in a public place—
and EUIPO agreed. “It was free to be
photographed by the general public and has
been disseminated widely,” the ruling states.
“Banksy permitted parties to disseminate
his work and even provided high-resolution
versions of his work on his website and invited
the public to download them and produce
their own items.” 
Furthermore, in his 2007 book Wall and Piece,
Banksy had said that “copyright is for losers.”
The ruling notes that the street artist explicitly
stated that the public is morally and legally
free to reproduce, amend, and otherwise use
any copyright works forced upon them by
third parties.
The artist has known for years that his works
are widely photographed and reproduced by a
range of third parties without there being any
commercial connection between these parties
and Banksy, the EU office found.
Another factor that played into the ruling was
the fact that Banksy’s true identity remains
a mystery. “It is also noted that as Banksy
has chosen to be anonymous and cannot
be identified this would hinder him from
being able to protect this piece of art under
copyright laws without identifying himself,
while identifying himself would take away from
the secretive persona which propels his fame
and success,” the ruling states.
The ruling noted the connection between
Banksy and Pest Control, but said “the
evidence is not exhaustive in this regard
as the identity of Banksy cannot be legally
determined.”
Banksy might be in for more bad news in the
weeks and months ahead. Similar trademark
applications—including for another famous
image, Flower Bomber—are pending. Wood
said in total, there are five more cases before
the EUIPO and he anticipates four of them
being decided within the next month or so in
the same way as this latest decision.  say a finding that Banksy is a fraudster will not
And the issues are not limited to the artist’s
EU trademarks. Many of the applications filed
by Pest Control Office around the world are
based on registered rights within the European
Union, so the EUIPO finding will have knock-
on effects.
“I believe the decision sounds the death knell
for his trademark portfolio—at least in the
European Union—and it raises the spectre of
cases in other countries,” Wood told the World
Trademark Review. “In the United States, for
example, you have to make a declaration of
your intent to use a mark and the effect of
fraud is substantially more important. I dare
go down well.”
Art News
HOLOGRAMS TO BEAM OVERSEAS
GALLERISTS INTO ART BASEL HONG
KONG FOR VIP CLIENT MEETINGS
S ome exhibitors at Asia’s biggest annual
art fair have found a novel way of meeting
clients without braving Hong Kong’s two-
week quarantine rule for arrivals
Sales at the scaled down affair and other events
this week will be watched for confirmation the
top end of the global art market is holding up
amid the pandemic
Art Basel Hong Kong, which opens its doors
on Wednesday, will transport some overseas
gallerists directly into the Wan Chai Convention
and Exhibition Centre, venue for the annual
fair, via a groundbreaking, quarantine-dodging
method: holography.
98 W W W. A R T T I M E S . C O . Z A
The 2021 edition of Asia’s largest art fair
features 104 galleries, about half the usual
number; 50 per cent of them are operating
satellite booths for which overseas exhibitors
have sent over artworks but no staff. On
Wednesday, when the fair opens to VIPs,
some of these will conduct private “hologram
viewing sessions” on site, with people such
as Emi Eu from the non-profit Singapore Tyler
Print Institute (STPI) “beamed in” to present
highlights from her booth.
The return of Art Basel, which was cancelled
in 2020, is partly down to the Hong Kong
government’s eagerness to promote a
business-as-usual vibe as the number of new
Covid-19 cases in the city dwindles. The art
fair will be held at the same time as local fair
Art Central and Christie’s Spring auctions at
the Convention Centre, with all rent covered
by the government’s “Anti-epidemic Fund”.
Hong Kong’s exhibitions industry has been
devastated by the coronavirus pandemic;
visitors from China and overseas have not
been able to enter since spring 2020 unless
they have a work permit and are willing to put
up with strict quarantine requirements.
With Hong Kong having relaxed social
distancing restrictions this year, commercial
galleries and auctions have reopened to the
public. Lots worth HK$3.85 billion went under
the hammer at auctioneer Sotheby’s spring
sales in the convention centre last month,
the second highest total on record for the
company’s auction series in Asia.
Visitors at Art Basel Hong Kong in 2019.
Tickets for this year’s fair are sold out. About
half the usual number of exhibitors will have
booths at the event. Photo: James Wendlinger
Sales in Hong Kong this week are likely to
confirm the strength at the top end of the
international art market as the pandemic
continues to make the rich richer and the poor
poorer.
Art Basel Hong Kong is held at the Hong
Kong Convention and Exhibition Centre from
May 19 – 23. All public tickets have sold out.
Winners of the Post Magazine competition for
Art Basel Vernissage tickets will be informed
by email before May 20.
Art News
‘IT’S IMPOSSIBLE TO COMPARE 2019 AND 2021;
IT’S A COMPLETELY DIFFERENT WORLD’: WHAT
HAS SOLD AT ART BASEL IN HONG KONG
First Published on the artnewspaper.com bylisa Movius 21st May 2021
A radically altered but still lively Art
Basel in Hong Kong (ABHK) kicked
off on Wednesday (until 23 May), with
VIP visitors reaching full Covid capacity,
limited to 75% of regular visitors, on the
opening day. Turnout was bolstered by
the Buddha’s Birthday holiday in the city.
“Hong Kong is a small city, and [the Covid
era] has the benefit that collectors are here,
and not traveling like many would be in
usual times,” says Henrietta Tsui-Leung,
the co-founder of Hong Kong-based gallery
Ora-Ora, showing six artists including Mai
Miyake and Peng Jian at the fair.
100 W W W. A R T T I M E S . C O . Z A
“It’s nothing like normal, [but] what’s important
is to have the core people there,” Art Basel’s
global director Marc Spiegler says, speaking
by phone from Switzerland. “We can’t have
the same numbers at the opening, so it’s not
crowded compared with last time, in order
to stay within the [Covid] controls. It’s just
that people are now not used to being in big
crowds.”
Hong Kong can now boast zero community
transmissions of Covid-19, but protective
measures remain in place, including 21-day
quarantines for the few people permitted
to enter the territory. Besides the crowd
controls and mask mandate; the checking of
Hong Kong’s contact tracing app; the lack
of congregations above four people; a much
grumbled about ban on vendors’ eating at the
Hong Kong Convention and Exhibition Centre;
and the whittled down size (104 galleries
compared with 2019’s 242), the absence of
an international presence was the greatest
transformation. Over half of the participants
from overseas were operating “satellite” or
“ghost booths”, run by temporary staff hired
by the fair, due to the difficulty of getting into
Hong Kong.
“It’s impossible to compare 2019 and 2021,
it’s a completely different world. We’re happy
about the numbers of galleries and people
that came, and the sales both online and
in-person,” Spiegler says. “Fundamentally,
galleries feel that they are selling well, which is
important. This is the first step, in exploring the
hybrid model, and bringing back the cultural
vibrancy of Hong Kong.”
Big galleries are reporting plenty of the usual
hefty sales, such as Joan Mitchell’s 1962 12
Hawks at 3 O’Clock at Lévy Gorvy gallery,
which sold for around $19.5m. The gallery
also sold works by Pat Steir, Tu Hongtao and
Michael Lau on the opening day. Hauser &
Wirth sold George Condo’s Blues in A Flat
(2021) for $1.75m and Haunted by Demons
(2020) for $800,000, as well as Rashid
Johnson’s Untitled Broken Crowd (2021) for
$595,000 to Shanghai’s Long Museum. Seoul-
based Kukje gallery sold Le Ufan’s Dialogue
(2020) for “in the range of $400,000-$450,000”
and Park Seo-Bo’s Ecriture No. 970428 for “in
the range of $250,000-$280,000”.
Hong Kong-based galleries are likewise
ebullient at the focus put on the city’s art
scene this year, including a poster campaign
for the fair shot by the local artist Stanley
Wong (aka Anothermountainman) of 26 art
world figures including gallerists Tsui-Leung,
Anthony Tao and Amanda Hon, writer Vivienne
Chow, and artists Yuk King Tan and Andrew
Luk. Luk’s installation, in a focal spot of the fair
floor, sold to Adrian Cheng’s K11 Foundation
via de Sarthe Gallery, says its director Willem
Molesworth, who also sold a work by the
mainland collective Double Fly Art Center for
$18,000. Another local gallery, Blindspot, saw
works by Sarah Lai, Trevor Yeung and Sin Wai
Kin (fka Victoria Sin) sell for between $5,000-
$30,000, plus Lam Tung Pang’s Meaningless
No.12 (2020) for $60,000-$70,000.
“We were not censored [this year], and we’ve
never been censored [in Hong Kong]”
- Marc Spiegler, Art Basel’s Global Director
ABHK this year shares the convention centre
with the Art Central fair (20-23 May) as well as
a section for Fine Art Asia fair, which included
an ABHK pop-up in its 2020 edition last
November. Art Central highlights include Chan
102 W W W. A R T T I M E S . C O . Z A
Wai Lap’s project The Lonesome Changing
Room, exploring nostalgia and identity by
recalling Hong Kong’s iconic public swimming
pools. “Art Central is fun and energetic, both
young and old,” Tsui-Leung says. “People
have been researching quickly. I sold to some
collectors in their 20s, and I can’t say they
are knowledgeable but they are abreast of
trends—like NFTs, good figurative art and bad
figurative art,” she adds
Mainland gallerists with “ghost booths” in
Hong Kong gave mixed reports: those able to
get at least one regular staff member to Hong
Kong claim to be doing brisk sales, while
those entirely reliant on temporary staff aptly
describe business as ghostly.
A Good Read
OXFORD COLLEGE WILL NOT REMOVE CONTROVERSIAL
STATUE OF BRITISH IMPERIALIST CECIL RHODES
Independent commission recommends contextualising the sculpture instead
First Published on the artnewspaper.com by Gareth Harris 20th May 2021
O riel College says it has no plans to
“begin the legal process for relocation”
of the statue of British imperialist Cecil
Rhodes following a report by an independent
commission which recommended that the
college should “now invest in understanding
and contextualisation of its relationship with
Rhodes”.
The commission, chaired by Carole Souter,
was set up last year to assess the fate of
the contentious sculpture by Henry Alfred
Pegram which stands on the façade of the
Oxford University college. According to the
commission report, “in respect of the future of
the Rhodes statue, a majority of commission
members supported the expressed wish of the
governing body to remove it”.
The lengthy list of recommendations put
forward by the commission include agreeing
a plan for “improving educational equality,
diversity and inclusion within the college”.
Crucially, it stresses that “if the statue and
plaque are moved they could be relocated
inside the college to a less prominent position”.
However, it has rowed back on making any
firm recommendations regarding removing the
sculpture.
Oriel’s governing body says in a statement that
it has “carefully considered the regulatory and
financial challenges, including the expected
time frame for removal, which could run into
years with no certainty of outcome, together
with the total cost of removal”.
Instead, “it is determined to focus its
time and resources on delivering the
report’s recommendations around the
contextualisation of the college’s relationship
with Rhodes,” and has agreed to establish a
task force to consider the recommendations
contained in the report.
104 W W W. A R T T I M E S . C O . Z A
It plans, for instance, to “commission a
virtual exhibition to provide an arena for
contextualisation and explanation of the
Rhodes legacy”. It will also fundraise for
scholarships to support students from
Southern Africa and “provide additional
training for academic and non-academic staff
in race awareness”.
Neil Mendoza, the provost of Oriel College,
says in a statement: “We understand this
nuanced conclusion will be disappointing to
some, but we are now focused on the delivery
of practical actions aimed at improving
outreach and the day-to-day experience of
BME students. We are looking forward to
working with Oxford City Council on a range
of options for contextualisation.”
However last June, the governing body voted
in favour of removing the statue of Rhodes
(the college launched the independent
commission into the “key issues “ surrounding
the contentious work at the same time). The
governing body said in a statement that they
“expressed their wish to remove the statue
of Cecil Rhodes and the King Edward Street
Plaque [commemorating where Rhodes lived
in 1881]. This is what they intend to convey to
the independent commission of inquiry.”
Dan Hicks, a curator at the Pitt Rivers Museum
and professor of contemporary archaeology
at the University of Oxford, says that “the
terms of reference of Oriel’s independent
commission of Inquiry did not include making
the decision about the removal of the two
monuments… the next question is about the
technical process and timetable of applying
for Listed Building Consent.”
He adds: “Many will wish to hear more about
what the college describes as the ‘complex
challenges and costs’ associated with this
Cecil Rhodes statue at Oriel College, High Street Oxford
next step. Some may also call for the written
submissions received by the Commission
to be placed in the public domain, and to
receive reassurance that there has not been
any interference in this democratic process by
politicians.”
The historian David Olusoga tells The Art
Newspaper that all of the interventions
announced by Oriel are welcome. “The legacy
of Rhodes needs to be contextualised and
details of what he did in Southern Africa,
rather than merely what he said, need to be
examined publicly. But the college could have
done this at any time,” he adds.
“The lack of contextualisation of Rhodes,
like the diversity and inclusion failures of the
collage and the university could have been
addressed years ago. This decision is part
of a mindset that presents the addressing of
modern-day inequalities as an alternative to
addressing the fact that we live in a nation
studded with memorials that celebrate the
lives of men who committed terrible crimes,”
says Olusoga
Campaigners from the Rhodes Must Fall
group—inspired by the toppling of the Edward
Colston statue in Bristol last year by Black
Lives Matter demonstrators—say that the 19th-
century politician and diamond mining magnate
represents white supremacy and supported
apartheid-style measures in South Africa.
But the Save our Statues campaign group,
described as a “coalition formed to protect
Great Britain’s cultural heritage”, said on Twitter
said it “would fight [any decision to remove the
Rhodes statue] every step of the way”.
A Good Read
THIEVES STEAL ROSARY BEADS CARRIED BY
MARY QUEEN OF SCOTS TO HER EXECUTION
First Published on the artnewspaper.com bylisa Movius 21st May 2021
A set of gold rosary beads clutched
by Mary Queen of Scots during her
execution in 1587 was among a number of
treasures stolen from Arundel Castle in
West Sussex.
Staff were alerted when thieves tripped an
alarm in the medieval castle at 10:30pm on
Friday. When police arrived on the scene they
found around £1m worth of artefacts stolen
from display cases in an area usually open to
the public. Items taken include 16th-century
coronation cups given by Mary to the Earl
Marshal and gold and silver objects.
Police are examining a 4x4 saloon car which
was found abandoned and on fire in nearby
Barlavington.
106 W W W. A R T T I M E S . C O . Z A
A spokesman for Arundel Castle Trustees said:
“The stolen items have significant monetary
value, but as unique artefacts of the Duke
of Norfolk’s collection have immeasurably
greater and priceless historical importance.”
Arundel Castle, ancestral home to the Dukes
of Norfolk, had only opened its doors to the
public on Tuesday after closing for five months
during England’s national lockdown. Of the
rosary beads, West Sussex police said in a
statement: “It has little intrinsic value as metal,
but as a piece of the Howard family history
and the nation’s heritage it is irreplaceable.”
Mary was beheaded at Fotheringay Castle in
Northamptonshire for her complicity in a plot
to murder her cousin Queen Elizabeth I.
ARTFLIX
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95

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Adelheid_Art Times 2_set up for print with bleed

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