Posts Tagged ‘William Kentridge’




22 March  19 April 2014





Surfacing is a group exhibition which allows for an exploration of the transient space between destruction and (re)construction. The exhibition aims to bring to light the fragments and residues that remain after destruction, and linger beneath a new form. In the preface to the 1961 edition of Frantz Fanon’s The Wretched of the Earth, Jean-Paul Sartre writes “violence is man re-creating himself.” Although Sartre speaks of violence as a necessity for overthrowing colonial power, “no gentleness can efface the marks of violence; only violence itself can destroy them.” This exhibition understands Sartre’s notion to address culpability, selfhood and violence and trauma involved in the process of becoming, scrutinizing and (re)creating.

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invites you to the opening of the exhibition entitled


A Selection of Films by South African Artists


Wednesday 7 March 2012


18:30 for 19:00


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


0115592556 | gallery@uj.ac.za | 0115592099

The exhibition ends 28 March 2012.


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

SABC Art Collection


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.

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Still from Vox Populi/ Vox Dei (Credit: Hans Wilshcut)

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)

Assistant curator: Jacob Lebeko
Assistant-curator, Unisa art gallery
University of South Africa
Contact: +27 12 4296255

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.

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