Archive: Issue No. 79, March 2004

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03.03.04 Amaler-Raviv, Yudelman and Mthethwa in Norway
03.03.04 Minnette Vari in Switzerland
03.03.04 Marlene Dumas at Museum for Actual Art, Ghent
15.02.04 'Africa Comics' in Brussels
15.02.04 Two country video exhibition in Toulouse, France
Aryan Kaganof's 'SMS' at the Illuseum in Amsterdam
16.01.04 Santu Mofokeng's 'Rethiking Landscape' in France
16.01.04 David Goldblatt at the Photographers gallery in London


03.03.04 William Kentridge at New Museum of Contemporary Art, New York
03.03.04 William Kentridge at Marian Goodman in New York
15.02.04 Candice Breitz in New York
03.02.04 South African photographers explore city and country, in New York
16.01.04 Sipho Hlati, Velile Soha and Ernestine White in Chicago
16.01.04 'A Decade of Democracy: Witnessing South Africa', in Boston


Arlene Amaler-Raviv & Dale Yudelman

Arlene Amaler-Raviv & Dale Yudelman
Zambia, 2003
2.0 x 1.0 metres
Ink and oil on Pongee clothe
From the exhibition 'Live Stock'

Amaler-Raviv, Yudelman and Mthethwa in Norway

Arlene Amaler-Raviv and Dale Yudelman's collaboration 'Live Stock', recently shown at the 8th Havana Biennial in Cuba, has been selected along with Zwelethu Mthethwa's work to be shown at the Henie Onstad Kunstenter in Oslo, Norway.

'Postcards from Cuba - A Selection from the 8th Havana Biennial' is curated by Selene Wendt, and presents a selection from the 8th Havana Biennial. The exhibition includes an international mix of artists working in a variety of mediums.

The venue, Henie Onstad kunstenter was established in 1968 by the famous ice skater Sonja Henie and her husband Niels Onstad. With a collection of modern and contemporary art at its core, the gallery's emphasis is on presenting changing exhibitions of international and contemporary art. Artists who have recently shown at Henie Onstad include: Marlene Dumas, Yinka Shonibare, Olu Oguibe and Maria Magdalena Campos-Pons, amongst others.

Opens: February 6
Closes: May 2

Minnette Vari

Minnette Vari
Riverrun, 2004
Video still

Minnette Vari

Minnette Vari
REM, 2001
Video still

Minnette Vari in Switzerland

Minnette Vari has her first monographic museum show in Lucerne, Switzerland.

Curated by Susanne Neubauer and funded by a generous grant by the Art Club Lucerne, the show opened at the Museum of Art, Lucerne. The exhibition features eight of video and video-based works, including a large installation of the two-channel piece The Calling (2003) with 'found' stone sculptures loaned from the Historical Museum of Lucerne; an installation of the four-channel work Chimera (the white edition) (2001); a large outdoor projection of REM (2001) which can be seen 'floating' every night below the vast ceiling that juts out from the building. A catalogue accompanies the exhibition.

Shown for the first time is Vari's brand new two-channel video work entitled Riverrun (2004), which looms like a double spectre, filling the entire volume of a 6,5 meter tall room. It features two video as well as two stereo audio components of different durations, which run out of synch, so the viewing experience is somewhat liquid and never quite repeats in the same way. Riverrun is as seamless a loop as is James Joyce's Finnegans Wake (of which the first word, of course, is "riverrun").

Many of the work's conceptual concerns can be traced in the sentence that links the end of that book back to its beginning, namely "A way a lone a last a loved a long the (...) riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodious vicus of recirculation back to Howth Castle and Environs". This last reference to a place often doubles as the initials of the book's protagonist, but is also used by Joyce to mean here comes everybody.

The piece is essentially a meditation on the courses that we cut in our lifetimes, like water does into earth; sometimes resulting in flood and at other times a dry riverbed. It also contains biographical references and cryptic messages to family members no longer in this world.

"Riverrun", explains the artist, "runs a course set in a loop journey that I made by car to places of personal significance, a loop of footage that serves as the route or backdrop against which many smaller visual encounters take place. The 'journeying' footage runs backwards, creating a strange vertigo: to me a way of communicating that, although the world gears us into thinking of life and progress as rising and forward-moving, like all things we are constantly drawn back into the earth; we fail and fall in big ways and small, and are re-absorbed into something primordial."

The artist will present a talk at the museum on April 28.

Opens: February 7
Closes: May 9

Ed Young

Ed Young
Damn, those bitches represent, 2003
Video still

Marlene Dumas and Ed Young at Museum for Actual Art, Ghent

'Grasduinen 1' is the pilot of a series of exhibitions organised by the City Museum for Actual Art (S.M.A.K.) in Ghent, in collaboration with the coastal village of Bredene.

Former Walker Art Center curator Cis Bierinckx dug around in the S.M.A.K. collection and added privately and artist-owned work to it. The project aims also to commission and introduce artists who have not yet shown in Belgium for the show. Bierinckx has commissioned the Croatian artist Milijana Babic, until recently resident in Durban, to create a new work in situ, while Capetonian Ed Young will present a performance at the opening.

The exhibition looks at art as a seducer but at the same time as a disturbing agent that forces the viewer to take a position. In this way the viewer becomes a participant rather than a consumer. Other artists on the show include Vito Acconci (USA), Lawrence Weiner (USA), Steven Blum (Switzerland), Wim Delvoye (Belgium), Noritoshi Hirakawa (Japan), Marlene Dumas (SA/Netherlands) and Maria May Post (Netherlands).

Opens: April 3

Lorcan White

Lorcan White
Didascalia Wrestle
Invitation image

'Africa Comics' in Brussels

Curated by Africa e Mediterraneo, 'Africa Comics' is an exhibition of drawings, paintings and comic books from all over Africa. Over recent years comic book genre has become increasingly popular in Europe as an art form, and the show, with includes such artists as Conrad Botes and Lorcan White, comes to Brussles from Italy.

Opens: February 11
Closes: March 20

Zen Marie

Zen Marie
My First Shoot
Video still

Two-country video exhibition in Toulouse, France

'Exchange view on.../ Échange vues sur...' is the title of a video exhibition curated by Cape Town-based Ed Young, and France's Sophie Solnychkine. The exhibition will be held and opened simultaneously in Cape Town and Toulouse, France. The format is based on an exchange of short video pieces by young South African and French artists.

The artists include Sandra Vanbremeersch (France), Daniel Halter (South Africa), Cameron Platter (South Africa), Michaël Fournier (France), Ashleigh Mclean (South Africa), Andrew Lamprecht (South Africa), Frédéric Nakache (France), Mark Antonello (South Africa), Zen Marie (South Africa), Sylvain Fogato (France), Jean Meeran (South Africa), Laetitia Bourget (France), Alex Learmont (South Africa), Matt Hindley (South Africa), Sophie Solnychkine (France), Teboho Edkins (South Africa), Emma Coleman (South Africa), Ed Young (South Africa) and pleix (France).

'Exchange view on.../ Échange vues sur...' acknowledge the co-operation of Malcolm Payne (South Africa), Arlette Malié (France) and EDV (France).

For further information, contact Ed Young at

Opens: March 3, at 6pm
Closes: March 8

Aryan Kaganof

Aryan Kaganof
Invitation image

Aryan Kaganof's 'SMS' at the Illuseum in Amsterdam

Aryan Kaganof's collaborative exhibition with Dick Tuinder SMS (Sanctuary Mental Space) gets an extended Amsterdam run after having opened at the end of December 2003.

Kaganof forms his own identity in a composition consisting of work by the artists Nicola Deane (South Africa), Alexandra Kallos (Greece), Philipp Virus (Germany), Catherine Henegan (South Africa), Milijana Babic (Croatia/South Africa) and the Illuseum (Netherlands). Dick Tuinder meanwhile composes himself using six alter egos' he has invented for himself, including the mascot of the show, the irrepressible Sally De Winter.

Henk Oosterling, Professor of Philosophy at Erasmus University, Rotterdam has this to say: "Kaganof weaves as a common theme throughout 'SMS', the political issue of the moment. What role do identities play in a world, which in spite of its self-confessed humanism, is still bursting with violence? Can the irrepressible need for identity regulate excessive violence? How much identity can we tolerate in a globalised world? He [Kaganof] recognises that� identity has become merely a surface effect� that the secret of identity does not lie in the inner self of individuals, nor even in the shared territory of History, but in the mediatisation (sic) itself. If we try through the media to catch a glimpse of the inner Self lurking underneath, we miss this superficial insight: Identity is as flat as a digital code on an interface".

Kaganof's multi-part identities are further fragmented when Catherine Henegan chooses in her representation to also co-opt other artists to collaborate with her in her 5x7 meter space. She herself will show a video projection of The Island, shot on an island between two lanes of traffic on Jan Smuts Ave in Rosebank, and depicting a child playing on the sand in a sea of traffic. In addition Henegan has invited Jimmy Wordsworth Rage (a visual artist/poet/ performer), Sagi Groner (video and sound artist), Valentijn Kortekaas (sound artist), Frederico Bonelli and TeZ (of Sub Multimedia Re_Search Laboratory) and Aryan Kaganof (himself) to collaborate with her over the duration of the 'SMS' exhibition.

For Henegan this work will no longer be a search for identity but rather the manifestation of one through a collective photosynthesis of the energies combined. These artists have all been previous collaborators whose artistic practice and diversity have all made a large impact and had an influence on the form and content of her own work.

If you want to get a further glimpse of the exhibition you can check out the photos on the web catalogue of the exhibition at and

Opens: December 19, 2003
Closes: March 15

Santu Mofokeng

Santu Mofokeng
WC, en route to Skeleton Coast, Namibia, 2000

Santu Mofokeng's 'Rethiking Landscape in France

Santu Mofokeng's work is largely unconcerned with expectations as to what 'black' art ought to be. Rather, the Johannesburg-based photographer has set about interrogating the politics of identity and the representation of history in his own highly idiomatic style.

Mofokeng's photographs gain their impetus from animating the ordinary drama of black life. At times sparse and austere, yet again vibrant with an understated energy, his works are clearly absorbed in their own quietude. Whether it is a lyrical snapshot taken from a moving car, as with one of his Documenta XI pieces, or a documentary study of black churchgoers travelling to Johannesburg by train, Mofokeng's photographs often manage to capture the nothingness of time in between - the ordinary moments that shape black identities.

For some time now he has been taking peculiar photographs that are notionally concerned with the landscape. As with his other work, there is a distinctive poetic at play in his beautiful images of (often) arid environments.

Opens: January 16
Closes: March 21

Robert Adams

Robert Adams
Colorado Springs, Colorado, 1968

David Goldblatt

David Goldblatt
New shack under construction, Lenasia,1990

David Goldblatt at the Photographers gallery in London

David Goldblatt, along with fellow photographers Robert Adams (USA), Peter Fraser (UK) and Joel Sternfeld (USA), has been shortlisted for the prestigious 2004 Citigroup Photography Prize.

From a list of over 80 nominations, the Jury has selected four finalists whose work, they say, has made a significant contribution to the medium of photography in the past year. One can only wonder at this wording given that in Goldblatt's case, the juror's elected to highlight his late 1980s study of the transported of KwaNdebele. To their credit, the jurors did acknowledge that, "over the last 30 years Robert Adams, Peter Fraser, David Goldblatt and Joel Sternfeld have made important bodies of work that have been a major influence on generations of photographers who came to prominence in the 1980s and 1990s.

Now in its eighth year, the Prize has become one of the most prestigious international arts awards. Past winners of this �20,000 Prize include Richard Billingham, Andreas Gursky, Boris Mikhailov and Rineke Dijkstra. Roger Ballen, another South African-based photographer, was shortlisted two years ago.

This exhibition profiles the work of all four finalists and presages the announcement of the overall winner in late March.

Opens: January 29
Closes: March 28


William Kentridge

William Kentridge

William Kentridge at New Museum of Contemporary Art, New York

'Point of View: An Anthology of the Moving Image' is an innovative commissioning and publishing project featuring new works by eleven leading artists representing different generations and different cultural perspectives: Francis Alys, David Claerbout, Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac Julien, William Kentridge, Paul McCarthy, Pipilotti Rist and Anri Sala.

'Point of View', produced by Bick Productions (Ilene Kurtz Kretzschmar and Caroline Bourgeois) and the New Museum of Contemporary Art, was conceived to make accessible the work of some of the most important artists working in video, film and digital imagery today. Produced as a publication in an unlimited number, 'Point of View' is the first commercially available anthology of the moving image, serving as a point of entry to these new works, and as an ongoing resource for museums, universities and art schools around the world.

The Anthology consists of a boxed set of eleven DVD's, each containing a newly-commissioned work; an in-depth interview with the artist conducted by either Dan Cameron, senior curator at the New Museum of Contemporary Art, curator Hans Ulrich Obrist of the Musee d'Art Moderne de la Ville de Paris, or Richard Meyer, Associate Professor, Department of Art History, University of Southern California; an image library of the artist's previous work; and biographical material. The initial print run is 1500 and will be available through the New Museum store and website.

William Kentridge's contribution is titled Automatic Writing (2003), and consists "hauntingly beautiful" series of animated black and white drawings brings viewers into the artist's unconscious.

The New Museum of Contemporary Art, founded in 1977, is the only museum in New York City dedicated exclusively to contemporary art and shows the best art from around the world. Over the last five years, the Museum has exhibited artists from Argentina, Brazil, Bulgaria, Cameroon, China, Chile, Colombia, Cuba, Germany, Poland, Spain, South Africa, Turkey, the United Kingdom among others. The Museum has also mounted ambitious surveys of important but under-recognized artists such as Ana Mendieta, William Kentridge, David Wojnorowicz, and Paul McCarthy. The Museum's Zenith Media Lounge, launched in November 2000, is the only museum space in New York City devoted to presenting new media art.

In Spring 2006, the New Museum will open a new home at 235 Bowery at Prince Street. This 60,000 square foot facility, designed by the Tokyo-based firm Sejima + Nishizawa/SANAA, will greatly expand the Museum's exhibitions and programs, and will be the first art museum constructed in Downtown New York's modern history.

Opens: February 27
Closes: April 11

William Kentridge

William Kentridge

William Kentridge at Marian Goodman in New York

William Kentridge returns to Marian Goodman with a show titled 'Tide Table'. This is the third time he will show at this prestigious gallery since exhibiting there in 2000, in late 2002 he showed his Documenta XI work 'Zeno Writing'.

For a review of his 2000 show, follow this link: 12_88/67872939/p1/article.jhtml

Since 1977, the Marian Goodman Gallery has played an important role in introducing European artists to American audiences and helping to establish a vital dialogue among artists and institutions working internationally. The gallery's 2002/03 program included exhibitions by Jeff Wall, Gabriel Orozco, Tacita Dean, and Giuseppe Penone.

Opens: March 4
Closes: April 10

Candice Breitz

Candice Breitz
14 channel video installation
Installation view

Candice Breitz

Candice Breitz

Candice Breitz in New York

Former Wits graduate, Candice Breitz is rapidly making a name for herself internationally, so much so that when Francesca von Habsburg unveiled her formative contemporary art collection last year, in the Croatian city of Dubrovnik, she included Breitz amongst her hand-picked list.

An artist who utilises video with fluent ease, and sometimes to achingly beautiful effect, Breitz has been singled out as an important talent in a recent book listing the world's 100 most important artistic talents. Her show at Sonnabend, New York, consist of a 14-channel video installation entitled 'Becoming'. In this new work, Breitz continues her investigation into the messages conveyed by the body language of actors. Dressed in a simple white shirt, eliminating colour and thus stripping the scene to its essence, the artist mimics the actions of female stars in key scenes from their movies.

Opens: February 14
Closes: March 20

South African photographers explore city and country, in New York

Drawing together proponents of competing photographic genres, 'City & Country' explores the natural landscape and the metropolis as sites of memory, mutation, signification, and projection.

Stephen Hobbs's captures skyscrapers as mirages that are as transient and unstable as the nature of the inner city, and of Being itself. Jo Ractliffe's Vlakplaas is a bland landscape that belies its function as an execution ground and testifies to the silence of sites. Minnette V�ri's videographs present the "radiant city" as a precipice in which she performs as an exile in utopia.

Among the documentary photographers included, Brent Stirton captures performances in diametrically opposed cultural and physical settings. Jürgen Schadeberg and Brenton Maart examine black urban areas in South Africa, where both commerce and community contrast with Western environments. Graeme Williams and Paul Weinberg evoke social tensions implicit in relatively empty spaces. Similarly, the landscape photography of Kevin James, Thinus Matthee, and Alain Proust continues the tradition of landscape as metaphor and as site of projection.

Opens: February 3
Closes: March 27


Sipho Hlati, Velile Soha and Ernestine White in Chicago

'Memorias de un Mexicano: Homage to Francisco Mora' is an exhibition that unifies the contemporary print works of African-American, Chicano, Mexican and South African print makers. The exhibition serves as a tribute to the late Mexican printmaker and painter, Francisco Mora (1922-2002) who was a member of the famed Taller Grafica Popular, a printmakers collaborative based in Mexico City.

The exhibit title, 'Memorias de un Mexicano' (which means memories of the Mexican), was the title of a series of prints produced by Francisco Mora. This series of prints pays homage to the Mexican labourer. South Africa is represented by Sipho Hlati, Velile Soha and Ernestine White. The latter artist has a BFA degree from State University of New York (Albany New York) and is attending Michaelis School of Fine Art at the University of Cape Town for her MFA degree in printmaking. White concentrates on aluminium plate lithography and participated in Tamarind's Master Printer program where White was certified as a Tamarind Master Printer.

Hlati meanwhile is a visual arts practitioner living and working in Cape Town. His training is diverse: in 2000-01, he studied at Michaelis, in 1998 he served a residency at Robben Island, and between 1987-89, he trained at the Community Arts Project, in Cape Town. He has exhibited in a number of group exhibitions in South Africa and abroad.

Soha studied visual art at the Rorke's Drift Art School, from 1981-83, and has also worked and lectured at the Nyanga Art Centre, in Cape Town. Of his work Soha states: "I am a realistic artist, mixing colours in order to use them as naturally as possible. I express myself mostly through township and rural scenes, like homelands. My aim is to show how my people live their lives".

Jesus Macarena-Avila, who served a residency with the Robert Blackburn's Printmaking Workshop in New York City, was recently a resident at Cape Town's Greatmore Studios. This fact explains the large number of local artists on this subterranean exhibition, and underlines the importance of grass roots exchange.

Opens: February 20
Closes: March 26

'A Decade of Democracy: Witnessing South Africa', in Boston

Taking their cue as the tenth year of our fledgling democracy, curators Sophia Ainslie, Thembinkosi Goniwe and Tumelo Mosaka present a show that bravely showcases the work of a diverse cluster of emerging contemporary South African artists. According to the curators, "the 20 young artists featured critically reflect on how identity used to be defined by the binary black and white opposition under apartheid. They also explore the new multidimensional identities that are possible today, and probe their limits and contradictions".

Reading through the list of participants there are a number of surprises, but whatever ones personal reservations the choice is welcome given the almost hegemonic power young(ish) artists like Candice Breitz, Kendell Geers, Moshekwa Langa and Zwelethu Mthethwa seem have abroad. Taking that favoured theme for unearthing truths about South African art practice, the show examines ways how identity has been defined through the use of more personal modes of expression.

Artists Thando Mama and Rudzani Nemasetoni, for instance, reflect differently on how the state defined identity. In Nemasetoni case, the artist uses images from his family's Pass Books, while Mama uses his own body as a site for the recovery of meaning and power associated with the black subject. On the other hand, artists such as Nkosinathi Khanyile, Mthunzi Ndimande, and Nirupa Sing explore influences of African heritage in modern culture. Through their use of natural materials and implementation of traditional skills such as grass weaving, they recover and celebrate an African heritage that is marginalized and threatened by modern society.

'A Decade of Democracy: Witnessing South Africa' articulates the variety of strategies that South African artists use to connect their living history with its past. The framework is to allow for the works to create a conversation that explores the impact of apartheid witnessing the complexities and multitude of issues that South Africa is confronting today. The exhibition will act as a catalyst to generate discussion around the progress and change that has occurred over the last decade transforming a society struggling to reconcile its past legacy. It presents a transient moment in South African history portraying how emerging artists negotiate between what was, what is, and what is to come.

The full list of participating artists is: Bongi Bengu, Pitso Chinzima, Matthew Hindley, Nicholas Hlobo, Fanie Jason, Alison Kearney, Nkosinathi Khanyile, Jeanott M. M. Laderia, Fritha Langerman, Brenton Maart, Thando Mama, Colbert Mashile, Pauline Mazibuko, Mthunzi Ndimande, Rudzani Nemasetoni, Christian Nerf, Charles Nkosi, Roderick Kevin Sauls, Nirupa Sing and Nontsikele Lolo Veleko.

Sipho Mdanda is assistant curator on the project.

Opens: April 2, at 6:30pm