Gallery AOP

Die Segoed van Maria en Martha James

Joachim Schönfeldt
Die Segoed van Maria en Martha James, Lacquer on engraved plywood ,

SEE LISTING Tunisia, Afghanistan, Italy, Rwanda, Nigeria, Thailand, Algeria, Iraq, Mali, Greece, India, Kenya, Burma, Somalia, Korea, Kyrgyz Republic

Marcus Neustetter
Tunisia, Afghanistan, Italy, Rwanda, Nigeria, Thailand, Algeria, Iraq, Mali, Greece, India, Kenya, Burma, Somalia, Korea, Kyrgyz Republic, Ink on canvas , 180 x 160 cm

SEE LISTING Deterministic Chaos Drawing

Neil le Roux
Deterministic Chaos Drawing, Ink on paper ,

SEE LISTING Execution of Maximillian.

Johannes Phokela
Execution of Maximillian. , Oil sketch. ,

SEE LISTING Wolf at the door (installation detail)

Fiona Pole
Wolf at the door (installation detail), Etching ,


44 Stanley Avenue, Brammfontein Werf


Hours: Tue-Fri 10am-5pm, Sat 10am-3pm


Joachim Schönfeldt at Gallery AOP

Joachim Schönfeldt  shows 'Die Segoed van Maria en Martha James (The Sayings of Maria and Martha James)' at Gallery AOP.

Joachim Schönfeldt was born in Pretoria. He completed his schooling in Namibia where his family relocated to when he was three weeks old. After graduating from the University of the Witwatersrand in the early 1980s, he worked for Meneghelli Holdings as an advisor, curator and researcher in traditional African art. He became a full-time artist in 1988. In 1989 he worked and lived in Italy before settling in Johannesburg the following year, writing criticism for a local daily and curating exhibitions.

Schonfeldt has exhibited in New York, San Francisco and Massachusetts in the USA and in Vancouver, Canada. He has also exhibited extensively in Europe: Paris, Berlin, Rotterdam, Lisbon, Porto, Glasgow, Turin, Umea, Sierre, Graz, Salzburg and Copenhagen. He represented South Africa at the Venice Biennale and at the Sao Paulo Biennale and participated in both Johannesburg Biennales (1995 and 1997). In 2008 he participated in the Gwangju Biennale.

He has worked with curators such as Okwui Enwezor (director of Documenta xi), Jean-Hubert Martin (past director of the Venice Biennale), Peter Weibel (past director of the Steirischer Herbst in Graz, Austria), Lauri Firstenberg (independent curator in New York), Joao Fernandes (curator at the Seralves Foundation in Porto, Portugal), Julia Charlton (Wits Art Galleries), Lioba Reddeker (Basis Wien) and Rory Bester (independent curator, Johannesburg).

05 February 2015 - 28 February 2015

Marcus Neustetter at Gallery AOP

The trajectory from Neustetter’s interest in the aerial perspective and his artworks exploring the digital Google Earth trace, the hand-made mark has become a natural extension through his drawings. Conceptually his shift has also been to start looking at the meaning of the marks representing the aerial view. What do they stand for, what do they define?

The artworks on the exhibition Defining Lines, attempt to imbue the mark with the kind of real world impact that a line on a territorial map has.

Abstracting and isolating the line is as much about the escape of the realities of borders of separation and zones of conflict as it is about contemplating the line itself and the spaces it creates. What the line divides and what the spaces are that it separates is only presented to the viewer through the titles of works like Wall I and II, No-mans-land, and the series of country names of places of conflict.

20 September 2014 - 18 October 2014

Neil le Roux at Gallery AOP

Artists seldom invert their own practice whereas Neil le Roux has done exactly that. His 'Deterministic Chaos Drawings' - a veritable contradiction in terms - are made up of seemingly random, inorganic repetitive marks/lines, but are in effect highly calculated and structured. Recently, however, he has generated 'Deterministic Concept Objects': the drawings are repeated (literally redrawn), and then cut and folded into their geometric three-dimensional sculptural counterparts.   

21 June 2014 - 19 July 2014

Johannes Phokela at Gallery AOP

Johannes Phokela has made a second version of Edouard Manet’s famous historical painting, The Execution of Maximilian (1867), of which Manet himself made four copies. Phokela painted his first version, 'The Lord Works in Mysterious Ways', in 2002, copying the scale and subject matter fairly accurately from the Manet version in the National Gallery, London. Phokela, however, altered and added to the original, effectively producing a postmodern comment on the Manet painting. Phokela’s second, and most recent version, an oil sketch, follows a similar trend, but on a much smaller scale, and in a markedly different medium.
Phokela’s oil sketch of the Execution of Maximilian challenges notions of the ‘completeness’ of a painting. It is a dossier of ideas, suggesting the underlying structure of the original painting more than anything else. His oil sketch thus serves as cartoon in both senses of the word: a design for a larger enterprise, such as a tapestry, or a comic, if not futile version of an incident.

19 April 2014 - 10 May 2014

Fiona Pole at Gallery AOP

Primarily a printmaker, Fiona Pole has over a number of years managed to capture the attention of the art world with her very personal, yet universal subject-matter and her subtly unconventional approach to the printmaking process. Simplified forms are presented in often complex spatial relationships that are echoed in the seeming ease with which she applies various traditional printmaking techniques. The ones appearing most frequently are the dress, the suit case, the bicycle, and the airplane.  They are very personal symbols in her work. Not only do these form an objective correlative for the feelings Pole wants to suggest, but they also form a network of images to interpret and understand the conceptual nature of her work. 

In her new body of work, Pole has added a whole new suite of symbols. They are, among others, the fox, the wolf and the bear. Pole has drawn extensively on literary works for inspiration when she made these. Chiefly, are the French fairy tales with which she became very familiar, reading them to her two children when she and her family still lived in Paris. No fewer that fifteen of the new etchings have as their subject matter, these tales. The wolf appears in many other works as well. 'Children in South Africa', she maintains, 'do not really know wolves, but they hear about them in fairy tales. So, the wolf has become a veritable bogey man for them.' This inexplicable fear of the unknown is one of the many new strands Pole explores in her work. Interpreting the work, one is reminded of Claude Levy Strauss, who once said that animals are not only good to eat; they are good to thinkwith. And that is the strength in Pole’s new work: she provides the viewer with a new vocabulary, with new metaphors with which to think about her art.

Saturday 8 February at 11:00  Fiona Pole will do a walkabout, which will include a printing demonstration at the atelier, her studio at 44 Stanley. Because of limited space, booking is essential

Workshop for children  During the exhibition, a special interactive space will be available for children. Fiona Pole will conduct a workshop with children on Saturday 15 February at 10:00. All children welcome

01 February 2014 - 22 February 2014