Monday November 26
Working hard this week to finish up The Last Supper Revisited which must be crated and air-freighted to Washington, where I will go in early January to install the piece in the National Museum for African Art. The main problem has been adjusting for the difference in voltage between here and the US - this is a piece which depends heavily on lighting.
Wednesday November 28
Brett Murray's opening at the Bell-Roberts Art Gallery. Brett is expanding on the theme he first tackled in The Heroes, in which a series of Marlboro men type silhouettes ride furiously and repetitiously towards the camera as the swelling music leads to yet another title - "the Muslim", "the Christian", and so on. Fabricated in steel and perspex, wall pieces further debunk the myth of the Hero.
Saturday December 1
The 16 artists on 'Homeport', the Public Eye-curated show opening the following Saturday, have to have their work up today for a photo shoot. The locations of the work are dotted around the V&A Waterfront, and visitors will find their way from one to another by means of a map. I am to photograph everything with my trusty Sony Mavica. We will draw up the catalogue this weekend, go to repro on Monday, print on Tuesday, and by the time opening day rolls around, the catalogues will be ready for handing out. On top of taking the pix, I have to write the catalogue essay.
Sunday December 2
Two more trips to the Waterfront to photograph pieces which weren't finished yesterday. A session at graphic designer Bernard Milner's to see what he and Brett Murray have done on the catalogue so far. Looking good.
Monday December 3
The crates arrive in the studio for the work to be packed for Washington. I'm not happy with them at all - not sturdy enough. Send them all back to be reinforced. Public Eye committee meeting. Brett has a paste-up of the catalogue. I read through my essay, and realise I have got the website address wrong. Nightmare! Why didn't I check! Can it be stripped out and the correct version pasted in before the plates are made? Thank heavens, yes. Printing will start tomorrow.
Tuesday December 4
Time to start on the website for 'Homeport'. FUR, who do the Artthrob site, will design it. This too has to be ready to go live on Saturday at http://www.cell.nl/homeport/
Wednesday December 5
By lunchtime, the re-made crates for Washington are back, and all the work can now be wrapped and removed from my studio. I won't know myself with all the space which has suddenly become available. As the truck disappears down Francis Street, I am smiling and waving. A months-long task is over - or at least until I go to Washington to set the piece up there.
Friday December 7
Antoinette te Paske arrives in Cape Town from Rotterdam. A founder member of Cell, the curatorial team who conceptualised 'Homeport', she has come for the opening the following day. The catalogue is done. Every artist's piece - except for that of Alan Alborough, who requested a blank space to represent his contribution - appears in full colour, with a statement; there are three catalogue essays, and some bits and pieces giving context to the harbour. It will be distributed free. Cheap paper, so the colour could be better, but the newspaper quality is part of it. Each of the six cities involved in the project - Havana, Rotterdam, Djakarta, Mumbai, Shanghai and Cape Town - have made a catalogue to the same tabloid size and standard, and several hundred sets will be made of all six catalogues bound together.
Saturday December 8
The opening of 'Homeport'. We have hired a marquee for the day, erected on the dockside next to the SAS Somerset, on which Warrick Sony's sound piece is playing. Opening time is 2pm, there will be a Navy band playing in the marquee all afternoon, there is a bar, there is a water ferry to take visitors around from art location to art location, there is a port captain on hand giving an air of authenticity, and all we can hope is that the art crowd will come, and any other visitors to the harbour will join in.
It's really hot today, thank goodness we have the marquee. Everything runs more or less smoothly, except that nearby restaurants start complaining about the sound piece by James Webb, mounted on the clocktower, and wires to the loudspeaker are cut.
About 800 people take the ferry ride round the art spots.