Subscribe To Newsletter


  • consign-generic-980x200
  • Art-Africa-Website-Banner-980-w-px-X-200-H-px-2
  • L22 ANZEIGE AFRICA 980x200px
  • JUNE Website

FNB JoburgArtFair 2016: CIRCA/Everard Read

on .

Established in 1913, Everard Read Gallery has played a large role in the national and international growth of artistic practice from South Africa. In 2009 they developed a new space dedicated to contemporary South African art, CIRCA, a now iconic building within the Johannesburg landscape. This feature provides an insider's glimpse into the work of three prominent artists exhibiting at the Everard Read and CIRCA gallery's stand - Lyndi Sales, Rina Stutzer, and Pauline Gutter - all of whom have concurrent exhibitions running in Johannesburg during the month of September 2016. 

Does Your Collection include any National Heritage Works?

on .

There has been an increase recently in the export of South African art and objects of value. Stephan Welz & Co. regularly deal with queries regarding the relocation of art works. All art and objects of national and cultural interest are considered as National Estate and falls under the National Heritage Resources act #25 of 1999. In order for collectors to fully understand the regulations surrounding the export of artwork, Stephan Welz & Co. have put together a few pointers to guide you through this process.

FNB JoburgArtFair 2016: An interview with curator Lucy MacGarry

on .

In these pages Lucy MacGarry shares her vision for the ninth edition of the FNB JoburgArtFair, taking place between the 9th - 11th September at the Sandton Convention Centre in Johannesburg. This interview forms the backdrop for a series of interviews conducted with artists and gallerists present at this year's fair, highlighting some of the key focus points and giving some insight into the work on show.

FNB JoburgArtFair: Aida Muluneh | East Africa Focus: Presented by David Krut Projects

on .

Born in Ethiopia in 1974, Muluneh has lived in Yemen, the UK, Cyprus, Canada and the United States. Muluneh is also the founder and director of Addis Foto Fest, as well as FanaWogi, a yearly open-call for contemporary supporting contemporary artists in Ethiopia. As part of this year's FNB JoburgArtFair's East Africa Focus. Aida Muluneh's project consists of a selection of images from her latest series of photographic works entitled 'the world is 9.' It comes from an expression that Muluneh's grandmother repeated, in which she stated "the world is 9, it is never complete and never perfect." 

Sanaa Gateja: FNB JoburgArtFair East Africa Focus | Presented by Afriart

on .

As one of Uganda's most universally acclaimed artists, Sanaa Gateja has, over the years, earned the nicknamed 'The Bead King,' a title derived from his process of making beads from recycled paper which he uses to create various designs and compositions. Presented by Afriart gallery (Kampala) as part of the FNB JoburgArtFair's special focus on East Africa, Gateja's work ethic and preference for recycled materials suite the global consciousness which highly regard the environment and its preservation. Gateja's artwork could be described as mixed-media experimental abstract art. ART AFRICA spoke to the artist about his latest body of work PATHS, which explores aspects of African history as a journey, encorporating a variety of elements from Barack Obama's presedential campaign posters to bark cloth. 

AtWork: From Dak'Art to Addis Ababa

on .

It’s important to create that new generation that will build the future we are all longing for. Now is the time for the new revolution in Africa. And the only weapon for this revolution is the brains we have, our ability of thinking.” – Simon Njami

A prominent intellectual, art critic and curator, Simon Njami together with an Italian non-profit foundation lettera27 are hoping to inspire a new generation of thinkers around Africa through AtWork, an educational format that uses the creative process to stimulate critical thinking among its students. Led by renowned artist-mentors, students participate in three to ve day collective workshops to explore a certain theme through which they make personal and cross-cultural connections. 

'Seven Hills:' Kampala Art Biennale 2016 Curator Élise Atangana on this year's theme

on .

Established by the Kampala Arts Trust in 2014, the Kampala Art Biennale has proved an important platform for exchange and growth within the local context of Kampala and beyond. The Biennale seeks to address issues of inclusion faced by artists on the continent, whilst channeling a healthy conversation around the complexities of day-to-day life within the ever-growing city of Kampala. Élise Atangana, the Artistic Director for this year's edition, speaks about the curatorial framework for this edition, entitled 'Seven Hills.'

'Jumping the Ditch:' A review of Henri Matisse's 'Rhythm and Meaning' at the Standard Bank Gallery

on .

French modern master Henri Matisse’s (1869-1954) exhibition ‘Rhythm and Meaning’ opened its doors to the public on the 13th July 2016 at the Standard Bank Gallery in Johannesburg. Co-curated by Patrice Deparpe and Professor Federico Freschi, and held in collaboration with the Embassy of France in South Africa, the French Institute and the Musée Matisse in Le Cateau Cambrésis (France), the exhibition comprises of drawings, paintings, collages and prints, and is the first wide-ranging exhibition of Matisse’s work to be held in South Africa.

'A Grand Way To Fall:' Ndikhumbule Ngqinambi's 'Window Part II' at Barnard Gallery, Cape Town By Ashraf Jamal

on .

A window is an aperture, a screen; connecting, dividing. The history of illusion in painting is connected with the idea of the framed window. Here the Barnard Gallery has noted the importance of Leon Battista Albertus’ 1435 study, De Pictura, and the shaping influence of the Quattrocento System central to Renaissance painting in which the Eye – yours and mine – is kept at the centre of the picture plane and allowed to become the allpowerful surveyor of the world. That Eye is also the Ego, which in the 18th century spirited the birth of individualism.

'I Invented Myself:' Walter Battiss at the Wits Art Museum, Johannesburg

on .

Upon walking into the exhibition, you are welcomed by a collection of landscape paintings and a curiosity in rock art, a quirky installation of work conceived in response to censorship and an intimate curating of wood cut prints at the basement of the Wits Art Museum. Amongst other artworks, pamphlets, catalogues, photographs and memorabilia, the installation forms part of Walter Battiss’ retrospective exhibition: ‘I Invented Myself ’ curated by Warren Siebrits of the Jack Ginsberg Collection. 

'1994:' Pieter Hugo at the Stevenson Gallery, Cape Town

on .

A lithe figure reclines in a gold, sequined cocktail dress that reaches to her knees. But for her dress, the girl is androgynous. She is positioned like Manet’s Olympia on a bank of loam. The wet ground around her is the same brown as her skin. I am mesmerised by the roots, worming their way through the soil beneath her form. She meets your gaze with a fashionista’s rueful scowl while creepers, with tendrils and heartshaped-leaves, infiltrate the frame.

‘Being and Becoming: Complexities of the African Identity’ at UNISA Art Gallery, Pretoria

on .

Is it not slightly self-defeating for African curators to foreground the identity of the artists as the central curatorial thrust for an exhibition of art from the continent? This mirrors the manner in which African art is promoted on global stages, with the provenance of the art or the geographical origins of the artists almost always framing their work. Conceived by !Kauru in association with the Black Collectors Forum, 'Being and Becoming: Complexities of the African Identity' took place at the UNISA Art Gallery in Pretoria, South Africa, and mimics this trend, while trying to usurp and take 'ownership' of how African identity is advanced. It seems that for as long as African art is advanced on European or American platforms (and by auction houses) as a discrete category, or worse, a genre of contemporary art, perhaps African artists will remain locked into a dialogue around their identity. Or have we turned a corner, allowing for this theme to be explored in new ways?

'Met Ander Oë,' Larita Engelbrecht at EBONY Curated: 01 September - 29 October 2016

on .

Born in Bloemfontein, South Africa in 1986, Larita Engelbrecht has been involved in academia for most of her life. In 2009 she received a BA in Fine Arts from the University of Stellenbosch, followed by an MA in Visual Art three years later. In addition to her work as a visual artist, Engelbrecht is now a senior lecturer at Cape Town Creative Academy. This proximity to knowledge, or more accurately, the systems and processes that have come to define and transpose knowledge, forms the basis for her latest body of work ‘Met Ander Oë,’ which will be exhibited at EBONY Curated in Cape Town from the 1st September until the 29th October.


Cape Town // 17 Shelley Road