Candice Berman Gallery was established in 2013 as a contemporary art space showcasing artists of emerging, mid-career and established calibre. This year they will present the work of Kimberley Gundle at the FNB JoburgArtFair 2016, with a simultaneous exhibition of the artist's work running at the gallery space in Johannesburg.
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.
Alexandra Karakashian's recent solo exhibition 'GROUND,' held at SMAC Gallery in Cape Town until the 10th September 2016, is part of the artist's expaning oeuvre of work. ART AFRICA caught up with Alexandra to find out more about this work, and her inclusion as part of SMAC gallery's stand at the FNB JoburgArtFair 2016.
ART AFRICA met up with abstract artist Vladimir Zagorov following the opening of his exhibition 'Yellow Movement' at Graham's Fine Art Gallery in Johannesburg last week. During this interview Zagorov talks about the reflective capabilities of abstraction, light, and the universal.
Salon91 is a Cape Town-based gallery and art consultation service, showcasing works by emerging and established contemporary artists of all disciplines. Rather than showcasing a variety of artists at this year's FNB JoburgArtFair, Salon91 have instead opted to showcase the work of Andrzej Urbanski, who believes all creative work begins in the abstract.
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.
SMAC Gallery will be exhibiting a wide selection of artwork by a variety of artists at this year's FNB JoburgArtFair. ART AFRICA caught up with two of these artists, Masimba Hwati and Gareth Nyandoro, to discuss the work on show.
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.
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."
Galerie NOKO features works by various artists offereing diffused social, cultural or traditional views on contemporary culture. ART AFRICA caught up with artist and Galerie NOKO director Usen Obot and the dynamic Johan Bloom, to discuss their various practices and the work that will be on show at the FNB JoburgArtFair 2016.
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.
“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.
Kampala Biennale 2016 Artist-in-Residence Isaac Kariuki on Safaricom, zine culture, autonomy, pop music and toxic masculinity.
Kampala Biennale Artist-in-Residence Charity Atukunda speaks to ART AFRICA about artistic practice in Uganda; the role of formal training, digital advancements and the realities of producing art whilst working a full-time job.
Kampala Biennale 2016 Artist-in-Residence Wolf von Kries talks to ART AFRICA about his practice, his identification with this year's theme, 'Seven Hills,' and the importance of recognising cultural perspective when working abroad.
Kampala Biennale 2016 Artist-in-Residence Immaculate Mali speaks to ART AFRICA about her experience of growing up in Kampala, her residency with 32° East | Ugandan Arts Trust, and the importance of workshops, such as AtWork, which helped to further her artistic vocabulary, leading to the body of work Safe Here, which will be conducted as part of a residency for the Kampala Biennale 2016, 'Seven Hills.'
Daudi Karungi is an artist, publisher, gallerist and Director of the Kampala Art Biennale. As a founding member of the Kampala Arts Trust and one of the city's leading voices, ART AFRICA asks for his insights into the Biennale and questions the importance of such events within the growing community of arts practitioners in Uganda.
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.'
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.
ART AFRICA sat down with Michelle Aucamp and Lindi Jansen van Rensburg, to speak about their upcoming exhibition ‘Gnossienne’ at the Jan Royce Gallery, Cape Town which takes place from 1st September - 1st October 2016.
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.
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.
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.
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?
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.