Little Brother, Big Brother
by Joost Bosland
On November 18, Thabo Mbeki went to visit the cast of the musical 'The Lion King' at the Fortis Circustheater near The Hague. During breakfast, the cast performed 'The Circle of Life.'
Why was the musical important enough for a presidential visit? Is it because of the two dozen South African cast members? Probably not. The musical is produced by Joop van den Ende, co-founder of media house Endemol (think Big Brother). The executive director of the South African branch (think Isidingo), is no one less than Moeletsi Mbeki, little brother of.
Why do I tell you this story? Am I going to criticise your president for spending too much time abroad? For letting family affairs influence his schedule? Not at all. I am telling you about Mbeki's visit because of what he must have seen.
An exhibition of contemporary SA art runs alongside 'The Lion King,' in the foyer. One thing is clear: Money can't buy you love, but it sure as hell can buy you art. The exhibition, called 'The ID of South African Artists,' has been the topic of some musings in the SA artworld, but no one seemed to know exactly what was going on. To find out, I went to have a look.
Usually the art is only available during performances (for people with tickets to see the musical), but my status as a member of the international press opened the doors of the theatre complex on a rainy Thursday morning. That afternoon, I went to a press preview of 'Out of Africa: Dutch Primitivism in the 20th Century' at the Cobra Museum of Modern Art in Amstelveen. Perhaps I shouldn't have. The exhibition was in style and intent a copy of the notorious 1984 'Primitivism' show at the MoMA, though with a focus on Dutch painters.
That 'Primitivism' is not acknowledged as a source of inspiration in the catalogue is intellectually dishonest. Worse is that the curator, Dr. Ronald A.R. Kerkhoven, is apparently unaware of the vast body of relentless criticism of the original exhibition. The only possible explanation is that he has not read 20 years worth of literature in the field of African art. Perhaps Kerkhoven is still living in the 1980s?
Many of the African sculptures on the show were produced in the 20th century, one as recent as 1977. Yet, Dr. Kerkhoven described the interaction between African art and the Dutch expressionists to me as 'a hand-shake between prehistory and the avant-garde.' And, oh yes, he referred to objects used in African religions as 'abracadabra-stuff.'
I don't want to reiterate why such an approach is racist, at best. Other people have written about 1984, and it suffices to say that all their arguments apply equally to 'Out of Africa.' Contrary to my plan, I have decided not to write a review of the show.
It doesn't deserve one.
What does deserve a review is Mads Damsbo's 'UNSETTLED: 8 South African photographers.' Some weeks ago I found myself in Copenhagen, where the photography exhibition is currently showing. Through the harshest climatic conditions, I found my way to the Royal Library. And I must say, it worth the trip.
Still in Copenhagen, I ran into Snowwhite by Berni Searle. It was part of 'Dwellan', an exhibition of video work at the Charlottenborg Exhibition Hall. Frustratingly, it was one of the worst installed pieces of the entire exhibition. It felt like running into a mutilated old acquaintance.
The work's two tracks were out of sync, and the projections were trapezoidal due to space constraints. That many of the video works on display were qualitatively far worse, but stood out because of meticulous set-ups, only added to my sense of frustration.
From next month onwards, this column will be based in New York. As I have tried to do this month in Europe, I will unremittingly search for Azania in the City. Expect in my first American edition at least a visit to Kentridge solo at the Met. I will not be able to sustain this column alone, however. Listings are incomplete, and New York big. For any tips on SA in NY, please email me.
Speaking of email, I got a report from Vienna, where the exhibition 'Africa Screams' is currently on display at the Kunsthalle, featuring Conrad Botes, Jane Alexander and Candice Breitz. Apparently it is not as bad as its theme, 'the evil in African art,' suggests. Drop by, if you can.
For now, bye from old, cold Europe. Next time you read me, I'll be in the heart of the evil empire.
