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Posts Tagged ‘Zanele Muholi’

Mine
– Abrie Fourie (kurator)
UJ-galery, Johannesburg

Die titel vir dié versameling kortflieks deur Suid-Afrikaanse kunstenaars ontleen Abrie Fourie aan die gelyknamige 1991-animasiefliek van William Kentridge.

Dié fliek is deel van Nine Draw­ings for Projection (gemaak tussen 1989 en 2003) waarin die verhaal vertel word van Soho Eckstein as sakeman (en in Mine as myneienaar).

In dié flieks word verskeie aspekte van myn of mine ontgin: die diepgroefmyn waaruit Eckstein sy rykdom buit; die toeëiening van dit waarop die hande gelê kan word; maar ook die woordspel met “ondermyn”.

Myn as aanduiding van posisionering en identiteit kom uiteraard ter sprake en dit is dalk dié gedagte wat deursyfer in die werke van die 18 ander kunstenaars.

Benewens Kentridge is daar die werk van Bridget Baker, Dineo Seshee Bopape, Doris Bloom, Jacques Coetzer, Teboho Edkins, Simon Gush en Dorothee Kreutzfeldt, Donna Kukama, Michael MacGarry, Nandipha Mntambo, Zanele Muholi, Cedric Nunn, Robin Rhode, Berni Searle, Lerato Shadi, Penny Siopis, Gregg Smith, Johan Thom en Minnette Vári.

Vári se Alien spook jare later (en nog net so sterk soos in 1998 toe dit gemaak is) met vreemdelingskap en vervreemding.

As sy toe aspekte soos vrees, begeerte, besit, verlies en ’n bewussyn van die self teen die agtergrond van ’n onderdrukkende regime verbeeld het, is haar Alien nou allermins vreemd.

Fourie se samestelling van die uitstalling – wat ook vertoon is in Bayreuth, Duitsland, en Dubai, Verenigde Arabiese Emirate – is besonder behendig gedoen. In stede van oorhel na die swaarmoedige sluit hy op speelse wyse ook die anargistiese werk in van Rhode en die melancholiese Temporary Rebellion (2008) van Coetzer.

Dié dokumentasie van ’n openbare performance op die N1 vergestalt iets van die individu se insulêre bestaan buite die hoofstroom.

Neffens die bedrywige oggendverkeer op die snelweg sit ’n tromspeler en speel sy hart uit.

Fourie se uitstalling verg dat ’n mens tyd moet bestee, meer as wat die gemiddelde besoeker aan ’n galery wel doen.

In die konteks van die uitstalling tree die onderlinge werke met elkander in gesprek en kry die individuele werke ’n aanvullende betekenis.

Wat ’n sinryke aanbieding.

– Johan Myburg

This article originally appeared here: http://www.beeld.com/Vermaak/Nuus/Mine-die-werk-van-knap-kurator-20120321

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…Opening Borders/Opening Objects facilitates a break with the standardized form of engagement with the artist, conceived of and valued primarily as producers and typically represented by their artistic output. Through their relationship with objects circulating in different, yet connected, cultural networks and markets, the exhibition invokes and complicates perceived binaries such as producer/consumer, high/low, real/imagined and local/global, as well of notions of truth, authenticity, and value.

http://uwo.ca/visarts/research/grad2011/Online%20Exhibition_html/opening%20borders%20opening%20objects.html

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

Photographic still  from ‘Vox Populis Vox Dei’

PRESS RELEASE: ‘DYSTOPIA’

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.

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