Following the resounding success of the PPC Imaginarium Awards 2015/16 - where a total of forty-seven regional finalists were selected to exhibit (compared to the previous year’s tally of twenty-one finalists), the official Call to Entry for the third edition of the awards is now live. Un-established artists and designers stand a chance to change their careers through financial support, recognition, mentorship and guidance by entering the PPC Imaginarium Awards 2016/17.
On the 18th of January, Nigerian artist Jelili Atiku gave a performance dealing with domestic terrorism and abuses by the rich and powerful. Four days later he was arrested by armed officers; denied information and a phone-call and held until the following morning when he’d be charged in court. Five months later, the artist, as well as poet Adeola Goloba and five others regained their freedom as the Ejigbo Magistrate Court struck out all criminal charges instituted against them by the Nigerian Police.
Last month, Mary-Jane Darroll (former Curator of the Standard Bank Gallery and Corporate Collection) and Ruarc Peffers (recent Senior Art Specialist and auctioneer at Strauss & Co.) introduced their new auctioneering firm, Aspire Art Auctions, to the South African market. They are now pleased to introduce their partners; Emma Bedford and Jacqui Carney. This powerhouse of art specialists collectively offers in excess of eighty years’ experience in the art industry, and through Aspire Art Auctions intend to focus on the promotion of fine arts, both locally and abroad.
Dressed in black with glasses set before her eyes, Lerato Shadi is sitting on a four legged chair – body tranquil, legs crossed – her fingers moving and weaving from what looks like a red woolen ball – transforming it into what appears to be a red carpet. Lerato means ‘Love’ and no doubt she is using the colour red as a metaphor that drives her exhibition theme. ‘Noka Ya Bokamoso’ is a Tswana saying for ‘River Of The Future.’ This exhibition, curated by Joan Legalamitlwa, is effervescence of the live performance – and includes other mediums such as video installations and drawings.
At the turn of the twentieth century, the Greek poet Constantine P. Cavafy was living in Alexandria, Egypt – then under British rule – when he penned a poem titled Waiting for the Barbarians (written in 1898, published in 1904). The poem’s subject is seemingly antiquarian – it invokes the edgling democracies of ancient Greece and Rome – but its political import was as relevant to Cavafy’s time as it is today. It tells of a despondent government that refuses to make progress, paralysed by anticipation of a fabled Barbarian invasion, which never happens. Cavafy muses on the causes and consequences of political inaction as well as the tendency for communities to self-define only in relation to a perceived ‘Other.’ “Now what’s going to happen to us without barbarians?” the narrator pleads, “Those people were a kind of solution.”
Over a year has passed since the Rhodes Must Fall (#RhodesMustFall) movement was incepted into the national psyche. Such has been the power of this student-led movement that it has come to define the very nature of contemporary political, socio-economic and cultural struggle.
With a fresh pool of young African artists significantly raising previous benchmarks, the adjudicators of this year's Barclay's L'Atelier competition have announced the winners in one of the most strongly contested editions of the annual contemporary art competition to-date.
Cape Town-based artist Paul Senyol has been working tirelessly on his latest body of work, which will be on show at the Turbine Art Fair (Johannesburg) between the 14th - 17th July. Inspired by colour, form, the built and natural environment, and Peter Doig, this series of paintings reflect his love for the medium, the creative process, and his plans for the future.
Held at the AVA Gallery in Cape Town, Janet Ranson's current exhibition, '_REALITY CHECK_' provides a sensory and intimate portrait of the artist's relation to the world-at-large. "Rescued natural debris, from South Africa's Karoo shrubs to Korean seaweed, are returned to the Long Gallery at the AVA as objects of interest, beauty and complexity," writes Cape Town-based artist Rose Gelderblom-Waddilove.
Inspired by urban architecture, Hugh Byrne’s latest body of work (which will be on show at the Turbine Art Fair (Johannesburg) from 14th - 17th July) uses painting and sculpture to elicit a sensory response to the subliminal effects of our built environment. “Through my art, I try to interpret and present observations of my surroundings, of things many people would consider to be mundane,” says Byrne, “but the point is not for viewers to be able to visualise the same cityscape or architectural elements that inspired me… If my art elicits some kind of emotional response, then I feel I have been successful.”
Myth, memory, folklore, history – all potent territories of intersection between truth and untruth. Can they be teased apart? Should they be? Is mythological-realism the ultimate love letter to the hybrid nature of our modern lives, constantly twisting and shape-shifting nebulously, on and on? The work of artist ruby onyinyechi amanze climbs directly into these spaces of ambiguity and revels in the freedom to play indefinitely, with form, character and place. ART AFRICA spoke to amanze about her practice, her personal myth making and what it means to her to be an ‘African’ artist today.
There has been a lot of talk recently about the representation of African artists abroad. In this interview we spoke to Californian artist Tahiti Pehrson about his recent two person exhibition 'Paths' at Salon91 in Cape Town (where his work was exhibited alongside the work of Andrzej Urbanski), as well as the body of work that he produced for the Turbine Art Fair, Johannesburg.
Strauss & Co have announced important appointments to its Board and team of art specialists, bolstering the legacy of founding managing director, Stephan Welz, who passed away at the end of last year.
Kilmany Jo-Liversage has got quite a line-up of significant shows this year, from the Johannesburg Art Fair to the Moniker Art Fair in London. These events come off the back of two simultaneous solo exhibitions entitled 'Orda716,' to be held at Lizamore and Associates (Johannesburg) from 30th June and at Worldart (Cape Town) from the 7th July. ART AFRICA spoke to the artist about her new body of work.
These days, reading art press is a perilous exercise for the fact seeker. Given that most (if not all) popular publishing platforms rely on advertising or non-reader driven funding, fact is often coloured by obligations to those who hold the money. Moreover, in an industry where perception has a far higher impact on price and market making, good PR is everything. With so much money at stake, the easiest path to securing a chorus of approval is via the channels and players who acknowledge the importance of these structures, not only in general but also in the context of their own practice.
Is it past and future or, perhaps, continuous present? Former events influence our today and shape our tomorrow. This fluidity of temporal perspectives results in the phenomenon whereby the reflection of real events has an impact on the potential future. The future is thus always imaginary, since we can never fully define and predict our destiny. What is less obvious, however, is that the past itself is just as unknown as the future. Therefore, imagination, as well as the fertile mixture of real and fictitious, can be an important element not only in our expectation of the future but in our understanding of the past too.
Meet Vortex, Inc. Homebrewed in Lagos, Nigeria, this creative content and entertainment company is changing the face of African comic production. Through Vortex, African culture finds unique expression predominantly through the iconic visual language of the comic book. Galvanising the continent by exporting African stories made by African creators to a broader audience, Vortex publishes stories that are abundantly spiced with the distinct flavour of the Motherland.
Guttural, instinctive mark-making tempered with controlled, aerial-view renditions of figures in motion, constitute a powerful series of paintings, installation and media work by artist Lonwabo Kilani in ‘Rope, Dope and Hope’ at the AVA Gallery in Cape Town.
Abrie Fourie spoke to Robin Rhode prior to the opening of his solo exhibition, 'The Moon is Asleep,' which opened at the SCAD Museum of Art in Savannah, Georgia. Fourie spoke to the multidisciplinary artist about his influences and practice, and particularly his interest in subverting the very act of drawing.
“Art to me is an anecdote of the spirit, and the only means of making concrete the purpose of its varied quickness and stillness.” - Mark Rothko
There’s something incredibly captivating about Mathias Chirombo’s work. Standing up close to his large scale painting Death of the Mermaid III (2013), I am struck by an overwhelming sense of silence. This world – deep, pulsating, blue – stretches out around me, pulling me in. Spellbound, I take a step back, curious as to how I got here. Interestingly, it is the work and words of Mark Rothko that I am inclined to fall back on.
A physical frequency can be felt walking into Ebony G. Patterson’s on-site installation ‘...when they grow up…’ at the Studio Museum in Harlem. Maybe this feeling is a result of the hot pink, plush carpeting or the two hundred patterned, fabric covered balloons hanging from the roof? It could also be the sudden wave of nostalgia upon entering a room scattered with familiar childhood objects. On closer inspection, the static sensation might have to do with the carefully placed human subjects: blown-up photographs of black children within a brightly coloured collage.