SURFACING
OPENING AT GOODMAN GALLERY CAPE TOWN
SATURDAY 22 MARCH AT 11H00
22 March – 19 April 2014
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Posted in News, tagged ALFREDO JAAR, CANDICE BREITZ | KUDZANAI CHIURAI | MOUNIR FATMI, GOODMAN GALLERY Cape Town, HAROON GUNN-SALIE, Johan Thom, Kendell Geers, LIZA LOU, MIKHAEL SUBOTZKY, William Kentridge on March 13, 2014|
OPENING AT GOODMAN GALLERY CAPE TOWN
22 March – 19 April 2014
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Posted in News, tagged Berni Searle, Bridget Baker, Cedric Nunn, Dineo Seshee Bopape, Donna Kukama, Doris Bloom, Gregg Smith, Jacques Coetzer, Johan Thom, Lerato Shadi, Michael McGarry, Minette Vari, Nandipha Mnthambo. Zanele Muholi, Penny Siopis, Robin Rhode, Simon Gush & Dorothee Kreutzfeldt, Teboho Edkins, William Kentridge on March 6, 2012|
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.
Posted in News, tagged Abrie Fourie, Berni Searle, Bridget Baker, Cedric Nunn, Dineo Seshee Bopape, Donna Kukama, Doris Bloom, Dorothee Kreutzfelt, DUCTAC, Gregg Smith, Jaques Coetzer, Johan Thom, Lerato Shadi, Michael McCarry, Minette Vari, Nandipha Mntambo, Penny Siopis, Robin Rhode, Simon Gush, Teboho Edkins, William Kentridge, Zanele Muholi on December 21, 2011|
Posted in News, tagged Berni Searle, James Webb, Jeremy Wafer, Johan Thom, Marcus Neustetter, Nandipha Mntambo, SABC Art Collection, Scape: Video component for COP17, Stefanus Rademeyer, Stephen Hobbs, Tracey Rose, Vaughn Sadie, William Kentridge on December 8, 2011|
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.
Posted in News, tagged Anthea Moys, Berni Searle, Die Antwoord, Gerhard Marx, Johan Thom, Leora Farber, Marcus Neustetter, Maya Marx, Michealis Gallery, Steven Cohen, Steven Hobbs, William Kentridge, Zen Marie on June 8, 2011|
Posted in News, tagged Brett Murray, Contemporary Art, Daniel Halter, Diane Victor, Dineo Bopape, Guy du Toit, Jan van der Merwe, Johan Thom, Performance art, Senzeni Marasela, South African Artists, Steven Cohen, Thando Mama, William Kentridge on May 31, 2010|
Posted in News, tagged Adelle van Zyl, Brett Murray, Celia de Villiers, Christiaan Diedericks, Christiaan Hattingh, Churchill Madikida, Claire Gavronsky, Collen Maswanganyi, Dale Yudelman, Daniel Halter, Diane Victor, Dineo Bopape, Dystopia, Elfriede Dreyer, Frikkie Eksteen, Guy du Toit, Gwenneth Miller, Hans Wilshcut, Iaan Bekker, Jan van der Merwe, Jenna Burchell, Johan Thom, Kai Lossgott, Karlien de Villiers, Kudzanai Chiurai, Lawrence Lemaoana, Minnette Vári, Moshekwa Langa, Nicholas Hlobo, Pieter Swanepoel, Rose Shakinovsky, Steven Cohen, Thando Mama, Vox Populis Vox Dei, William Kentridge, Zanele Muholi on March 13, 2009|
Photographic still from ‘Vox Populis Vox Dei’
Dates & venues:
May 23 – June 30, 2009: Unisa Art Gallery, Pretoria
October 8 – November 15, 2009: Museum Africa, Johannesburg
June 10 – August 8, 2010: Oliewenhuis Art Museum, Mangaung
October 17 – November 21, 2010: Jan Colle Galerij, Ghent
Curator: Elfriede Dreyer
Associate professor, Department of Visual Arts
University of Pretoria
Contact: +27 832712342 (mobile)
elfriede.dreyer@up.ac.za
Assistant curator: Jacob Lebeko
Assistant-curator, Unisa art gallery
University of South Africa
Contact: +27 12 4296255
lebekj@unisa.ac.za
Participating artists: Adelle van Zyl; Brett Murray; Celia de Villiers; Christiaan Diedericks; Christiaan Hattingh; Churchill Madikida; Collen Maswanganyi; Dale Yudelman; Daniel Halter; Diane Victor; Dineo Bopape; Elfriede Dreyer; Frikkie Eksteen; Guy du Toit & Iaan Bekker; Gwenneth Miller; Jenna Burchell; Jan van der Merwe; Johan Thom; Kai Lossgott; Karlien de Villiers; Kudzanai Chiurai; Lawrence Lemaoana; Minnette Vári; Moshekwa Langa; Nicholas Hlobo; Pieter Swanepoel; Steven Cohen; Thando Mama; William Kentridge, Claire Gavronsky & Rose Shakinovsky; Zanele Muholi
Art often serves an observational, analytical and interpretational purpose. Both art’s mimetic function and its imaginative aspect provide powerful means by which any society can introspect, investigate and visualise itself as a capsule of the socio-cultural and political status quo.
Within the geographical boundaries of Southern Africa, Dystopia explores the relationship of contemporary art production to society and ideology, and aims to unmask articulations of dystopia within this cultural framework. A main curatorial intention with the exhibition is to express the view that the dystopian artworks included in this exhibition and the cultural criticism articulated therein seem to have responded to an air of crisis that has been pervading contemporary thinking for several decades now.
In principle, dystopian texts express world views that postulate end-of-utopia, utopia-gone-wrong and even anti-utopia, and entail responses to and a critique of utopia. In the dystopian genre the imagination is tweaked as a critical instrument set on deconstructing existing or potential ills, injustices and hypocrisies in society, mainly brought on by utopian ideologies and legacies. In dystopian texts — whether real or fictive; visual or literary — stories are told about, for instance, societies and places where the impact of the ideological blueprint of globalisation has created diasporic cultures and nomad identities; about unjust utopian political ideas that create social restriction, impaired mobility, repression or oppression; or about postutopian space and loss of religious belief and direction. It might recount posthuman conditions as a result of the dominating influence of the technological utopianism, evident in dysfunctional cyberrelationships and telematic influences leading to rampant violence, threat to self, insensitivity and indifference to critical socio-cultural problems.
Broadly speaking, Dystopia deals with the following themes: political utopia-gone-wrong; teleology and apocalypse; dystopian contestations of gender, race and culture; spatiality and boundaries as postideological zones; the postindustrial city; and technodystopia. The artworks that have been selected for the exhibition function as palimpsests where dystopian maps have been superimposed over utopia, but also as utopian constructions where dystopian realities have been absorbed, negated and transcended in order to generate a new utopian synthesis.
A significant metatext in the conceptual architecture of the exhibition is the role and use of various kinds of technologies from low-tech to high-tech digital tools in the production of the artworks. The objective here is to come closer to an understanding of the way in which culture produces itself and attributes meaning to that self-production. The appropriated technologies reflect social processes, histories and conditions in South Africa and as such provide a kind of technological “barometer” for, for instance, rural village settings, inner city diasporic communities and consumer environments.
The exhibition consists of a combination of recently and newly produced work of South African artists, both emerging and internationally acclaimed, as well as selected artworks from the University of South Africa’s art collection.
A comprehensive catalogue and an educational programme accompany the exhibition. There will be walkabouts on Friday, May 29, and Friday, June 19, at 13h00. A panel discussion will take place in the Unisa Art Gallery on Saturday, May 30, from 10h00 to 13h00.
Dystopia is primarily funded by the National Research Foundation of South Africa under the Key International Science Capacity (KISC) Initiative, as well as by Unisa.