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Curated by Kisito Assangni

29 April 2012
7-10pm

ARENA 1 GALLERY
3026 Airport Avenue
Santa Monica – Los Angeles
CA 90405 USA

In collaboration with Manipulated Image

Including
Jude Anogwih | Younes Baba-Ali | Saidou Dicko | Ndoye Douts | Kokou Ekouagou | Mohamed El Baz | Samba Fall | Nicene Kossentini | Kai Lossgott | Michele Magema | Nathalie Mba Bikoro | Johan Thom | Saliou Traoré | Guy Woueté | Ezra Wube


Project [SFIP] is a multi-national exhibition process and a platform for critical thinking, researching and presenting African video art.

The technocultural revolution has democratised cultural and artistic practice through everyday access to new media.  At the same time, the pervasive presence of technology in our lives has raised questions around privacy, surveillance and ownership, the dominance of Western media in globalisation, as well as the privilege of access in the developed world.  The [SFIP] network is dedicated to the diffusion of new experiences worldwide through film and video.  It is unfortunate that contemporary African art remains largely associated with sculpture and painting.  Much work remains to be done in adequately researching the creative energy of the continent, especially within the last decade.

This exhibition presents a selection of African video art that stands beyond the clichés that remain associated with the dark continent and the postcolonial image. It seeks to bring viewers closer to idiosyncratic readings of African video art and its thematic concerns which are largely ignored. ‘Still Fighting Ignorance & Intellectual Perfidy’ contextualises African video art within a larger cultural framework.

Reflecting an age of inter-cultural migration, [SFIP] presents African video artists who live in Africa, Europe and USA whilst providing a meeting point for knowledge and interest in the relationship between self and society.  Most works address issues of alterity, identity, tolerance and social relationships as artists reflexively consider their sense of place and belonging in an increasingly interconnected world.

From experimental video to short film, this show focuses on aesthetic and methodological perspectives of fighting ignorance and intellectual perfidy in contemporary African art.  The project tells Africa’s story by African new media artists as seen through the lens of the relation between tradition and modernity.

UNIVERSITY OF JOHANNESBURG ART GALLERY

invites you to the opening of the exhibition entitled

Mine:

A Selection of Films by South African Artists

Date:

Wednesday 7 March 2012

Time:

18:30 for 19:00

Venue:

UJ Art Gallery

Kingsway Campus,  Corner of Kingsway Avenue and University Road Auckland Park

Bridget Baker, Dineo Seshee Bopape, Doris Bloom, Jacques Coetzer, Teboho Edkins, Simon Gush & Dorothee Kreutzfeldt, William Kentridge, Donna Kukama, Michael McGarry, Nandipha Mnthambo. Zanele Muholi, Cedric Nunn, Robin Rhode, Berni Searle, Lerato Shadi, Penny Siopis, Gregg Smith, Johan Thom, Minette Vari

UJ Arts and Culture presents an exhibition entitled Mine at the UJ Art Gallery during March 2012.  This exhibition, with a selection of nineteen films by prominent South African artists, addresses not only the concept of deep level mining, but also that of personal ownership and  the countless ways in which the self is identified and positioned.

The diverse works chosen by Berlin based curator Abrie Fourie for this show all have a common denominator: the artists make references to themselves in their work – either in person, as actor, model, observer, interviewer or instigator.

Furthermore, some of the artists such as Johan Thom, Bridget Baker, Robin Rhode, Teboho Edkins, Doris Bloom and Gregg Smith presently live in European capitals, while South African based artists enjoy an increased presence in the global art world.   Their various approaches are thus colored by local and diasporal perceptions, but they all nonetheless seek answers pertaining to aspects of identity from a perspective on South African concerns.

Capitalist exploitation, colonialism, the social, political and cultural realities of the country, history and memories are addressed by artists such as William Kentridge (nine of his videos produced between 1989 and 2003 will be on show and we get to meet Soho Eckstein again), Penny Siopis (Obscure White Messenger:2010) and Bridget Baker (Steglitz House: 2009 – 2010), while Minette Vári, for instance,  in her production (Alien:1998), positions herself in the cultural archive of the new South Africa during the period 1994 to 1998.

The film and video productions with their often experimental styles are described by Anna Schrade from the University of Bayreuth as seeking “… to represent the experience of living between two or more cultural regimes of knowledge and explore the myriad ways in which we identify and position ourselves in a world where “mining the self” is imperative for the formulation of new and alternative identities, histories and discourse” (2011).

Fourie, who conceptualized this exhibition, is an artist, photographer, curator and art facilitator.

This exhibition was first shown at the University of Bayreuth in Germany last year, and at the Dubai Community Theatre and Arts Centre in the United Arab Emirates earlier this year.

A booklet providing more insight into each of the works will be available at the exhibition.

Discussion and walkabout:

Saturday 17 March 2012 at 11:00.

Gallery hours:

Mondays to Fridays:  09:00 – 18:00

Saturdays: 09:00 – 13:00

Closed on Sundays and Public Holidays

Contact:

0115592556 | gallery@uj.ac.za | 0115592099

The exhibition ends 28 March 2012.

 

Date: 20 February 2012 – 12:00pm – 25 February 2012 – 5:00pm
Venue/Location: Exhibition: Slade Research Centre 20-25 February; conference: Cruciform 25 February

You are invited to the following event (exhibition and conference) organised by the Slade School of Fine Art PhD programme:

MAKING SPACE:

Exploring creative and research processes through dialogue, curation and exhibition.

Investigating their intersection with psychoanalysis through conference.

An event examining artistic process, organized by the Slade PhD programme.

 

The exhibition is free and open to the public from

20th to 25th February 2012, 12noon to 5pm

Slade Research Centre, Woburn Square, London WC1H 0AB

Private View 6.00 – 8.30pm, Wednesday 22nd February 2012

Opening address: Professor Juliet Mitchell

 

The conference will be held on

Saturday 25th February 2012, 9am to 5pm

Venue: Cruciform Lecture Theatre 1, Gower Street, London WC1E 6BT

The conference is free to attend but booking is essential.

For booking and information https://makingspace.eventbrite.co.uk/

Press enquiries: please contact makingspaceinfo@gmail.com

Click here to find out more!

From the viewer’s perspective, video installations can be a tricky medium to wrap your head around. The content is often obscure and indecipherable, and it’s all to easy too walk away feeling more than a little confused. However, if you’re armed with some background knowledge on the artist and their intentions, video installations can be a rewarding and fascinating art form.

One such exhibition, entitled ‘Mine’ (showing at Ductac’s Gallery of Light), presents video installations of 17 South African artists (including well-known notables William Kentbridge and Robin Rhode), in which they comment on personal ownership. Each artist also appears in his or her film. To help you understand the pieces, we asked five of the artists. to give us an insight into their work.

Johan Thom
Title of installation
‘Terms of Endearment’.

Length of film
Three minutes 49 seconds.

Describe your video installation.
In short, it’s a work in which I wanted to express something about the relationship between domesticity, art and the subconscious. For most of my career my home has also been my studio. There’s something interesting about the way in which art is simultaneously very personal and social, domestic and public.

What message are you trying to convey?
I think we ought to carefully examine the myriad ways in which ideas about dirt and cleanliness figure so prominently in the way we structure and understand the meaning of our lives.

Where do you appear in the film?
I appear made up in ‘skullface’, as a delirious character that seems to celebrate the material messiness of life even from beyond the grave.

Who inspires you?
The ingenuity of ordinary people.

Do you have a favourite filmmaker?
I love film generally, and three names come to mind immediately: Steve McQueen, Bill Viola and Werner Herzog.

What makes you proud to be South African?
We are a hybrid, multicultural nation.

…….

Also read Robin Rhode, Bridget Baker, Lerato Shadi and Jacques Coetzer’s pieces in the Time Out by clicking on this link:  South African video art.

Still from 'Terms of endearment' (2007) by Johan Thom

SABC Art Collection

VIDEO PROGRAMME WITH PUBLIC VIEWING SITES AROUND THE CITY

A looped programme of video artworks by Berni Searle, Vaughn Sadie, Nandipha Mntambo, Tracey Rose, William Kentridge, Stephen Hobbs, Marcus Neustetter, Jeremy Wafer, Stefanus Rademeyer, Johan Thom and James Webb will be screened in the convention centre in Durban from 5pm until late daily.

The same video programme will be screened at the The Green Hub, Blue Lagoon, uMgeni River Mouth, Durban from 27 November to 11 December daily.

Ontsnapping van menssyn

In Julie 1975 poog die Nederlandse kunstenaar Bas Jan Ader om die Atlantiese Oseaan van Amerika alleen te kruis.

Ader vaar die water in met ’n seilboot wat 12,5 vt (3,86 m) lank is – die kleinste boot waarmee die tog ooit aangedurf is.

Vir Ader vorm hierdie amper bomenslike taak deel van ’n kunswerk met die semi-magiese titel In Search of the Miraculous.

Ses maande later word die boot op die kus van Ierland gevind. Die houtstruktuur dobber halfgesink soos ’n skelet in die stil water. Van Ader is daar geen teken nie.

Daar is natuurlik altyd hoop. Miskien, soos Koos Kombuis sou sê, is “Bas Jan nie dood nie; hy’s net uitge-pass ”.

Nou en dan is daar opnuut bewerings dat Ader êrens in die wêreld ’n anonieme bestaan voer.

Myns insiens is spanning die groter tema in Ader se oeuvre. Kunskenners beweer sy werk ondersoek die idee van gravitasie.

Maar wat is gravitasie anders as ’n soort spanning tussen vorms? In Broken Fall (Organic), 1971, hang Ader met sy arms aan die tak van ’n boom totdat hy uiteindelik noodgedwonge laat gaan en in ’n watergrag plons.
Nou is hy hier; nou is hy weg.

So dan ook met die idee van ontsnapping.

Hoe kan ’n mens die bekende beperkings van menswees ontsnap? Of hoe sal ’n kunstenaar dan die bitsige onbenullighede van die kunswêreld kan fnuik en ontduik? In hierdie droom is ons mos almal iemand anders, met ’n ander, meer genoegsame lewe. (“As ek tog net kon reïnkarneer as ’n miljardêr!”)

Natuurlik is die romanse sterk hier. Ader as Vincent van Gogh? Nog een wat drome kon droom in kleure wat die res van ons nooit eens van geweet het nie.

Dinge is nooit so maklik nie. Telkens is die verhouding tussen drome en die realiteit; kuns en die samelewing meer kompleks as dit. Soos ’n seil wat amper dom-astrant bly uitsteek bo die water ten spyte daarvan dat die boot lankal gesink het.

Snaaks hoe die dinge uitwerk. Vir my is Ader nou meer aanwesig as wat hy was voordat hy verdwyn het, op soek na ’n wonderwerk.


’n Snit uit Bas Jan Ader se 16?mm-rolprent ­Broken Fall (Organic), 1971, 1 minuut 44sek.

This article originally appeared in Die Beeld

Johan Thom (2011)

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