Archive: Issue No. 81, May 2004

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JOHANNESBURG

01.05.04 William Kentridge at Community Centre on Glenhove
01.05.04 Given Matubela at Michaelis Art Library
01.05.04 Robyn Orlin at Market Laboratory
01.05.04 Jo Ractliffe and Sean O'Toole at PhotoZA
01.05.04 Diana Kortbeek at Momo
01.05.04 Marcus Neustetter and Nathaniel Stern at Artspace
01.05.04 Jürgen Schadeberg at Kliptown
01.05.04 Sted//Place at JAG
01.05.04 Conrad Botes at JAG
01.05.04 CICI at JAG Precinct
01.05.04 Berni Searle and Jill Trappler, Bongi Dhlomo Mautloa and Gail Behrmann at Standard Bank Gallery
01.05.04 Experimental Music and Poetry at Gordart
01.05.04 Anton Kannemeyer at Art on Paper
01.05.04 X at Warren Siebrits
01.05.04 Franci Cronjé at The Premises
01.04.04 HIV(E) at Franchise
01.04.04 Ranjith Kally at the Goodman Gallery
01.04.04 Thea Soggott at Gallery Momo
01.04.04 Wendy Anziska at Zuva Gallery
01.04.04 Sean O'Toole at PhotoZA

PRETORIA

01.05.04 Group Portrait: SA Family Stories at National Cultural History Museum
01.05.04 Anton Karstel at Pretoria Art Museum
01.05.04 Daimler Chrysler Collection at Pretoria Art Museum

JOHANNESBURG

William Kentridge

William Kentridge


William Kentridge at the Community Centre on Glenhove

"Dreams and Shadows: An Illuminating Darkness" is the title William Kentridge has give to this talk about his work.

Opening: May 11, 7.45pm



Given Matubela at Michaelis Art Library
Given Matubela, a young artist just out of art school, shows his monumental paintings. The Michaelis Art Library regularly displays the work of emerging artists who make use of the library to develop their skills.

Visit this exciting library with 50,000 books and journals covering all aspects of art, design, architecture and crafts. The library recently won the MEC award for best library in Gauteng.

Opens: April 1
Closes: May 30


Robyn Orlin

Robyn Orlin


Robyn Orlin at Market Laboratory

With a dozen creations and 20 years of experience, Robyn Orlin, a committed yet non-dogmatic choreographer, is denouncing the devastating effects of AIDS in South Africa, "which is affecting a whole generation and impacting first on the lives of young women of between 16 and 30 years old". Despite the seriousness of the subject, We must eat our suckers with their wrappers on, created in March 2001 in Johannesburg, is a comedy rich in "sexually transmissible" allusions, an energetic and ironic play involving 15 young South African performers.

Co-produced by Théâtre de la Ville, City Theatre and Dance Group and the Market Theatre Laboratory, the work is the result of a process that occurred during Orlin's teaching at the Market Theatre Laboratory over a period of two years. "The students and myself were continuously being confronted both personally and within the community by the ramifications of HIV. So we decided to start trying to understand what was happening. We tried to remove the political, which was impossible, but more importantly we tried to understand how our community could allow people to die of a sickness and lose all their dignity at the same time. We realised that it need not be like this and went about our way trying to express just that. We did it with humour, with pathos and, we hope, with a deeper understanding of what the word 'stigma' means. Illness should never become a luxury and we sometimes need to remember and remind others of such a notion", Orlin explains.

The work has been produced with assistance from IFAS, The French Embassy in South Africa, AFAA and the Market Theatre Laboratory.

Opening: May 4, 6pm
Closing: May 7


David Goldblatt

David Goldblatt


Jo Ractliffe and Sean O'Toole at PhotoZA

Sean O'Toole and Jo Ractliffe will commence this discussion by looking at the issue of language and discourse as it applies to contemporary photography. They will look at particular and topical issues related to contemporary South African photography, including the 'apparent' stand-off between tradition and modernity, as well as the ideologies underpinning the marketplace.

May 4 and 20



Diana Kortbeek at Momo
The show features sculptures and paintings by Diana Kortbeek, a Dutch-born internationally renowned artist exhibiting for the first time in South Africa.

Says the press release, "True artists are capable of showing us where we as human beings are heading; Diana Kortbeek has this gift. Her sculptures and paintings reflect our future, one of improved social balance born out of the voluntary working together of people who are both self-assured and of equal value. Her works have enormous influence on people, gently guiding them to use their emotions and therefore enrich their future lives."

Opens: May 20
Closes: June 3


Marcus Neustetter and Nathaniel Stern


Marcus Neustetter and Nathaniel Stern at Artspace

'The GetAway Experimen' comprises new media artists Marcus Neustetter and Nathaniel Stern exploring off-screen re-presentations of data, images and human communication. The Physically Digital and Digitally Physical meet at the interface of irony and texture. The show comprises artworks from Stern's serial faces and Neustetter's digital frottage, as well as new, site-specific collaborations between the two.

Opens: 5.30pm, May 16
Closes: June 5
Artists' Talks: May 22, contact the gallery for more info


Jürgen Schadeberg

Jürgen Schadeberg


Jürgen Schadeberg at Kliptown

The JDA in association with Jürgen Schadeberg and the Kliptown snappers, David Blom, Thomas Chauke, Makgotso Gulube and Thobile Mvobo, proudly present an exhibition of 90 photographs which document the people and lifestyle of Kliptown today. On this occasion, they say, "We honour Kliptown as the birthplace of our new Constitution, we celebrate its 101st birthday and we look forward to the renaissance of this historic heritage site."

Opens: April 3
Closes: May 15


Sted//Place


Sted//Place at JAG

Sted//Place is curated by Doris Bloom, formerly a South African artist, now resident in Denmark, and includes three South African artists (Karel Nel, Kendell Geers, Willem Boshoff) and three Danish artists (Torben Christensen, Claus Carstensen and Marco Evaristti), along with Doris Bloom herself.

The exhibition includes works ranging from socio-political commentaries and conceptualist statements to formalist compositions. The organisers wrote:

"With the exhibition title 'Place', the idea is to bring together seven artists living and working in and out of Denmark and South Africa in order to explore the nature of memory and place as revealed in its visual expression. To relate oneself to place is to relate to oneself. It is to decipher memory through layers of experiential ascents to the conscious level. However, one need not consider place, exclusively in geographic terms.

'The backgrounds of the seven artists are just as different as the tendencies to which they each are oriented. Within this field of contrasting tensions lie the exhibition's dynamic and its potential. The exhibition will thus focus on how external circumstances and places affect people. Place locates life through the traces it leaves in the individual as experiences and memories. To explore place in a visual expression is also an investigation in time and space. A place can be considered as a field where the personal is connected with culture, nature, tradition, politics, or with other areas all according to the viewpoint.'

The exhibition was a great success in 2003 when it was shown at two of the best galleries in Copenhagen. It was linked with residencies and workshop opportunities for the three South African Artists. In Denmark, 'Sted' also enjoyed extensive television and newspaper coverage. One well-attended newspaper conference was also held at the Politiken newspaper conference facilities in the centre of Copenhagen.

The exhibition includes a catalogue with sections on each artist and essays by prominent academics.

Opens: 6pm, April 28
Closes: June 29


Conrad Botes

Conrad Botes


Conrad Botes at JAG

Conrad Botes, aka Konradski of Bitterkomix fame, presents a solo exhibition at the JAG. Located in the foyer that usually showcases the gallery's Impressionist collection, Botes is exhibiting his new glass paintings. Botes' career is going from strength to strength lately having shown frequently in Europe in recent years and having enjoyed his first solo outing in New York last year.

See Sue Williamson's artbio feature on Conrad Botes

An exhibition catalogue will be launched at a separate function, at 6pm, May 6.

Opens: April 17
Closes: July 18



CICI at JAG Precinct

The Creative Inner City Initiative presents Ziyakhipha, performances, art entertainment, poetry and exhibition.

May 2, 11am


Berni Searle

Berni Searle


Berni Searle and Jill Trappler, Bongi Dhlomo Mautloa and Gail Behrmann at the Standard Bank Gallery

Standard Bank Young Artist for 2003, Berni Searle, presents her exhibition in the upstairs Gallery. Searle has become an increasingly noted entity both locally and internationally over the last few years. She has exhibited in the USA, Netherlands, Ireland, Germany and Spain.

Striking, almost iconic images of a piercing gaze redirected and aesthetically pristine, but subtly disarming works have come to be associated with her production. Searle engages actively with the possibilities of the diverse media in which she works, and within a conceptual sphere that is intricately integrated.

Her Standard Bank Young Artist 2003 exhibition is entitled 'Float', and includes recent commissions, the video installations A Matter of Time and Home and Away respectively, as well as one of Searle's earlier seminal video installations Snow White (2001). The exhibition also includes related two-dimensional works. An extensive 72-page full colour catalogue will accompany the exhibition.

In 2000 Searle was a finalist for the FNB Vita Art Prize as well as the Daimler-Chrysler Award for South African Contemporary Art, the nominations for which were based on these works. Searle has also received awards at the Cairo Biennale (1998) and the Dakar Biennale (2000), and her works are to be found in local and international collections, including the highly regarded BHP Billiton Collection, the South African National Gallery Permanent Collection and the Smithsonian National Museum of African Art, amongst others.

In the downstairs space, 'Time, Memory and Desire' consists of abstract paintings and drawings by Jill Trappler, Bongi Dhlomo Mautloa and Gail Behrmann. Their works have been made to be exhibited together, their common bond being a commitment to making art in diverse media and exploring themselves and life around them.

Trappler, Dhlomo Mautloa and Behrmann met at Bill Ainslie's studio more than 20 years ago. They came from different backgrounds, different experiences, different age groups and different opportunities. The common bond was their gender, the fact that each artist wanted to make art and all three faced challenges and turning points in their lives.

Trappler spent the 1980s in the Cape, teaching in outreach programmes, using art and her unique knowledge to establish programmes for underprivileged people. Dhlomo Mautloa remained in Alexandra where she started the Alex Art Centre and continued working on her fine woodcuts depicting circumstances of oppression. Behrmann went to the Detainee Parent Support Committee and the alternative media. Trappler now teaches workshop residency programmes, Dhlomo Mautloa curates and promotes South African artists, and Behrmann works as a film and television archive researcher, involved in documentaries and museum installations.

Opens: May 18
Closes: June 19



Experimental Music and Poetry at Gordart

'A Night Of Experimental Music and Poetry' features the 111 Ensemble, with four- horned turntable by Michael Matthews playing "Fiddling while Everything Burns", an aleatoric piece, the 111 Ensemble with Allan Kolski Horwitz, playing four poems for voice, electronics and one-stringed electro-cello. Alongside this, James de Villiers on computer electronics and one-stringed electro-cello with percussion section attached and Allan Kolski Horwitz on vocals and dramatic presence perform 'Threnody for Iraq'. The programme also includes Chris Wood performing his own compositions in live electronics, and 'Don't come too late my husband is a baker', a free improvisation work with Albert Sapsford, Dimitri Voudouris and Chris Wood.

May 1, 6pm


Anton Kannemeyer

Anton Kannemeyer
Detail from cover of Journal No.8


Anton Kannemeyer at Art on Paper

'Gathering Evidence', is an exhibition of original artwork and prints by artist, academic, co-editor and -founder of Bitterkomix, Anton Kannemeyer (Joe Dog). He will also exhibit drawings and for the first time, sketchbooks and journals.

Not primarily intended for public viewing, these journals and sketchbooks are by nature autobiographical and a shockingly direct and intimate response to Kannemeyer's universe. Much of the work presents both image and text, focusing on Kannemeyer's literary influences that eventually turn into line. The journals and sketchbooks offer a fascinating insight into the artist's working method and the visual iconography shows a far less controlled line than is evident in the finished work. Also in evidence is Kannemeyer's obsessive self-portraiture which is often juxtaposed with compromising situations, accentuating the dark humour so prominent in Bitterkomix.

Kannemeyer is taking stock (in his own words) "�of my past, my futile and ridiculous identity as (Afrikaans-speaking) white male, and my morbid fear of turning into my father. All this activity results in the accumulation of evidence, hence the title of the exhibition, blatantly stolen from my favourite author, Thomas Bernhard."

Kannemeyer's exhibition at Art on Paper forms part of Comics Brew, an international festival of comic art that will be held in southern Africa from May 2004 to March 2005. Undoubtedly the foremost exponent of comic strip drawing in South Africa, Kannemeyer acts as the festival co-ordinator. The festival is an initiative to showcase, develop and establish comic strip drawing in southern Africa. The potential of the medium as an educational tool as well as entertainment has been realised in most European countries, the USA and Japan.

Back issues and other publications of Bitterkomix will be on sale.

Opens: May 4
Closes: May 20


Franci Cronjé

Franci Cronjé
from 'About Guilt'


Franci Cronjé at The Premises

Franci Cronjé's video work 'Power Paradox' evolved from an art performance event. During this event, nine prominent male members of society agreed to eat ten dishes, each exquisitely prepared by master chefs. Each male was assigned a female to feed him. However, the dishes were not always what each individual might have chosen. Thus what should have been a meal fit for a king, became an event that strangely mixed pleasure and revulsion - physical, mental, and sexual. Every action and reaction of the eaters was duly recorded and exhibited for the delectation of a voyeuristic audience.

Commenting on the work, Cronjé says: �In this piece I explore the power dynamics that prevail between males and females, dynamics that begin at birth and that are influenced by various societal modes such as religion, and social and family status. It shows how women equip themselves to cope with the seemingly overpowering presence and strength of men, and how they create concealed modes of authority within the socially accepted structures that are visible on the surface.

�But any such power comes at a price. Whenever women try to obtain for themselves a place in society, they become victims of guilt. There is no way to escape one�s upbringing. A woman's enculturation conditions her whole life, permeates all her thinking, and influences all her hopes for liberation.

"In this exhibition, I investigate the concepts of guilt, collective propriety, and those elements in my personal societal milieu that create complexities and the various forms of obligation that exist in personal relationships."

Franci Cronjé has been a photographer since 1980. She worked on a full time basis for the SABC and Technikon Pretoria. Over a number of years, she has also freelanced for a number of publications, and also worked as a television filmmaker, producing and directing inserts for 50/50, Ecovision, Grab, and Let's Go. In 1997, she enrolled for a BA Fine arts degree at the University of Pretoria, and completed it in 2000. She is currently studying for a Master's Degree in Fine Art under Jo Ractliffe of Wits University, with a dissertation entitled 'The problems regarding New Media in South African Public Collections', to be completed in May 2004.

Opens: May 8
Closes: May 29


X

Invitation image


X at Warren Siebrits

'X' commemorates and celebrates the 10th anniversary of the first democratic elections held in South Africa on April 27, 1994, an event which was viewed by the world as a miracle of social and political transformation.

This exhibition was curated by selecting ten works by ten South African artists. Five works reflect aspects of our recent history from 1988 to the present and the other five provide a historical counterpoint to this by examining the plight of artists working under difficult social, political and economic conditions during the 1950s and 1960s.

Artists represented include Gerard Sekoto (1913-1993), Albert Adams (b. 1930), Harold Rubin (b. 1931), Ephraim Ngatane (1938-1971), Julian Motau (1948-1968), Keith Dietrich (b. 1950), Pat Mautloa (b. 1952), William Kentridge (b. 1955), Willie Bester (b. 1956) and Moshekwa Langa (b. 1975).

A fully illustrated, limited edition catalogue documenting the exhibition and providing context to each work will be available.

Opens: 6.30pm, April 27
Closes: June 12



HIV(E) at Franchise

PULSE, the artist run initiative founded by Durban based visual artist Greg Streak in 2000, is linked to RAIN, an international network of artist run initiatives. The PULSE project for 2004 is titled HIV(E). The word hive has as one of its definitions, to separate off from a larger industry, creativity and the sweetening of collective efforts. Of course, contained in the word HIVE is the acronym HIV or human immunodeficiency virus that causes Aids.

Streak was interested in producing a project that looked to engage the issue of social conscience coupled with artistic integrity in a way that both are adequately addressed and inter-related. The project does not engage AIDS per se, but rather acts as a metaphor for nurturing and giving - a counter-foil to the art worlds appetite for wanting and taking.

In reality the project manifests itself in direct functional contributions to 'Gozololo' an HIV/AIDS centre for children in Kwamashu, a township north-east of Durban. The artists' interventions at Gozololo both facilitate directly the upliftment of the centre and/or the children, as well as carrying the idiosyncratic stamp of the artists themselves. Sofia Garcia Vieyra (Argentina), Jose Ferreira (UK/ SA), Jena McCarthy (South Africa), Paul Edmunds (South Africa), Ade Darmawan (Indonesia) and Greg Streak (South Africa) are the contributing artists who worked to realise the various contributions. The interventions at Gozololo are complimented by equivalent works for exhibition at franchise in April.

HIV(E) will be supplemented with a documentary film of the project and a publication that will reflect on the interventions made at Gozololo as well as the works made for the gallery context. The publication will also contain numerous essays relating to the project outline and contributors will engage some of the real issues surrounding the HIV / AIDS virus; this an attempt to provide people with an idea of the complexity of what is involved in the HIV/ Aids debate on a local as well as global level. A limited edition (30) portfolio of six lithographic prints will form part of the exhibition. These prints were produced during the project at Stepping Stone Printers, with master printmaker Greg Hayes.

Opens: April 7, at 6pm

SEE REVIEWS    SEE REVIEWS


Ranjith Kally

Ranjith Kally
Granny gives a bath, 1974
Gelatin Silver print
40x30cm


Ranjith Kally at the Goodman Gallery

"While rummaging through the wares at a jumble sale in Isipingo, I happened upon a small Kodak Postcard camera which I bought for six pence� I was consumed by my newly found interest in photography and spent almost all my free time pursuing the art form," Kally commented in an article in The Leader, February 1996.

He was 21 when he made this important purchase and one of the first pictures that he took with it is one of his most endearing images: it shows his mother draped in a lightly coloured sari, sifting through lentils on an old newspaper on the floor of their home. Born in 1925 in Isipingo, Durban, Kally worked in a shoe factory for 15 years before he could commence a lifetime career as a professional photographer.

During his employ at the shoe factory, Kally supplemented his income by photographing social events for The Leader newspaper on weekends. "I remember doing my first enlargement in a makeshift darkroom in Plowright Lane, not far from The Leader's offices in Pine Street, Durban. We got underway at 8pm and at 4am we were cursing as the sun began rising, jeopardising our print � In the early days we had to envisage a whole host of diverse criteria before pressing the shutter. But modern photography has taken the 'sting' out of photography...".

In 1952, Kally won third prize in an international competition held in Japan. He quit work at the shoe factory to join Golden City Post and Drum, with whom he worked from 1956-1965 and again from 1968-1985. It was in these years that Kally produced some of his most brilliant and insightful pictures working alongside the famous Drum bureau-chief for Durban, the late G.R. Naidoo.

These years saw him photograph the likes of Monty Naicker and former President Nelson Mandela at the Treason Trial, the mixed glamour couple of the fifties: Miriam Makeba and Sonny Pillay; Oliver Tambo in Lesotho; Alan Paton and Sushila Ghandi in a quiet moment together; Chief Albert Luthuli under house arrest and receiving news on winning the Nobel Peace Prize. He also managed to capture some of Durban's most notorious gangsters from the Crimson League and Salot gangs.

In 1967, Kally was selected for membership to the Royal Photographic Society, London. His work has been included in exhibitions such as 'In/sight: African Photographers, 1940 to the Present' (curated by Okwui Enwezor, Octavia Zaya et al. - Guggenheim Museum, New York, 1996), 'Margins to Mainstream: Lost South African Photographers' (shown at the Grahamstown Festival in 1994 and the Midlands Art Centre in Birmingham, England, 1995) and in numerous books and catalogues, including Sof'town Blues (1994), From Canefields to Freedom: A documentary on Indian South African Life (2000) and Fatima Meer's Portrait of Indian South Africans (1969), to name but a few.

While the exhibition features many of Kally's images of the fifties along with photos of that famous jazz club, the Goodwill Lounge in Grey Street, Durban, owned by the colourful "Pumpy" Naidoo, these are contrasted by the sensitive private black and white portraits of life in Tin Town, the Indian shanty town (formerly on the banks on the Umgeni River, Durban) and the spiritual calmness of early morning bathers along the river Ganges in Varnasi, India.

The two pictures selected for the Guggenheim show of 1996 that challenge the racial stereotypes of the fifties are also on show. The one depicts two older working class white men drinking in a Kato Manor shebeen while the other immortalises former stunt motorcycle rider Tommy Pillay and his wife, riding the "Wall of Death".

The exhibition looks at the highlights of Kally's work and spans a period of roughly 40 years. Kally has the uncanny ability of capturing people, famous or anonymous, in their most relaxed moments, making the photographer himself invisible, and in so doing is able to create very sensitive inner emotive portraits.

While Kally's works have been caught by the occasional international curator and included in the odd show, this will be his first solo exhibition in a career spanning 58 years. Kally was a neglected photographer denied exposure by living in the wrong place in the wrong era, and this exhibition seeks to redress that. Kally currently works as a freelance photographer in Durban, and will be 79 this year. The show was initiated and is curated by artist/ curator Riason Naidoo who has been working with Kally over the last six years.

Opens: April 22
Closes: May 12

SEE REVIEWS    SEE REVIEWS



Thea Soggott at Gallery Momo

In a thought-provoking exhibition, Thea Soggott shows virtuosity in her use of earth and water as a medium to present and interpret the many faces of Eve. One of South Africa's leading artists, Soggott exhibits too seldom for those who collect her paintings, so this solo exhibition will be a thrilling experience for those who have followed her career, and a rare journey for those who will have the opportunity to view it for the first time.

Opens: April 22
Closes: May 17

SEE REVIEWS    SEE REVIEWS



Wendy Anziska at Zuva Gallery

Michael Obert, owner of Zuva Gallery, describes Wendy Anziska as "the gallery's biggest artist to date". This is Anziska's first one-person exhibition in South Africa in nearly a decade, after acclaimed shows in Bonn, London and Paris.

Opens: April 22
Closes: May 9

SEE REVIEWS    SEE REVIEWS



Sean O'Toole at PhotoZA

Sean O'Toole, editor in chief of Artthrob, will speak on critical writing at PhotoZA. The session will be more of a dialogue session than a public lecture. Hosted in conjunction with Jo Ractliffe, the talk will look at the issue of language and discourse as it applies to contemporary photography. From here the talk will move along to look at particular and topical issues related to contemporary South African photography, including the 'apparent' stand-off between tradition and modernity, as well as the ideologies underpinning the markerplace.

Sean O'Toole is an independent journalist and editor based in Johannesburg. He has written for a wide range of titles, including the Mail & Guardian, ThisDay, Sunday Times, Colors, Dazed & Confused, Blueprint and BBC Focus on Africa. He has worked on numerous assignments with a list of established and emerging photographers, including Nadav Kander, Adam Broomberg and Oliver Chanarin, Dave Southwood, Patricia Driscol, Pieter Hugo and Marc Shoul. In 2001/ 2, he was a contributing editor to the specialist photography title Exit (UK), which was twice awarded best use of photography by a retail magazine.

Date: 6.30pm, April 20

PRETORIA

The Plaatje Family

David Goldblatt
The Plaatje Family, 2002
Popo Molefe, Tsholo Molefe, Bo�tumelo 'Tumi' Plaatje
Color photograph

The Manuel Family

David Goldblatt
The Manuel Family, 2002
Zubeida Mauritz, Gavin Mauritz, Kobera 'Koebie' Manuel, Sharifa Adams, Ebrahiem Manuel
Color photograph

The Juggernath Family

David Goldblatt
The Juggernath Family, 2002
Ishwar Ramkissoon, Jayanthie 'Janey' Juggernath, Yuri Ramkissoon, Nikita Ramkissoon
Color photograph

The Galada Family

David Goldblatt
The Galada Family, 2001
Elliot Gcinumzi Galada, Cynthia Nontobeko Galada, Nonzima 'Elsie' Ncinana, Sisonke Galada, Nomakaya Galada, Bongile Galada, Nosisa Galada
Color photograph


Group Portrait: SA Family Stories at National Cultural History Museum

On March 31, Deputy Minister of Arts, Culture, Science and Technology, Ms Buyelwa Sonjica and Netherlands Ambassador for Cultural Cooperation Jan Hoekema opened Group Portrait,South African Family Stories Exhibition, giving some indication of how important the event is. The exhibition describes contemporary South Africa through the lifestories of nine South African families. It was curated by Faber the Royal Tropical Institute in Amsterdam and drew huge audiences in Holland last year.

South African Family Stories deals with the history of the South African society in the last century. It does so in a special, unusual way. Instead of providing an overview of a complex history of a complex society, the exhibition takes the micro-approach. It tells the story of the country through the lives of nine real families, with different social, cultural, economical and geographical backgrounds. Their stories will be followed, from the end of the 19th century, up until present day.

The exhibition follows each family through successive generations. One or two members in each generation will lead the public through the ups and downs of their families, related to South African history. A teenager, who also expresses ideas about the future, will represent the last generation. So in each family a string of main characters is formed, drawing nine twisted lines through history.

It is a big challenge to transfer this human, personal way of history writing, into an authentic and exciting three-dimensional exhibition. This task has been undertaken by a large group of South African professionals. Around each family a separate team has been formed, consisting of a writer/researcher, an artist, a photographer and a designer. In some cases a filmmaker has been added.

This multi-disciplinary approach should establish an intense, emotional interaction between the people whose lives are portrayed and the visitors to the exhibition. Nine photographers and 11 artists produced work on commission, based on the nine family stories, in co-operation with the family members themselves, and the other team members. The photographers and artists together form an interesting representation of the South African art world, with several renowned names, but also relatively young and promising artists.

The researchers were involved in collecting personal artefacts, historical photographs and documents.

The theme of the exhibition is especially attractive because of the many educational possibilities for a wide variety of people. Imbali has developed educational material to be used for secondary school children at different levels. The material can be used in relation to different subjects as Social Skills, Art and Culture, History. Educational value lies in the understanding of historical processes, the importance of family relations, insight into issues of identity, living in a multi-cultural society, the value of art and culture in understanding and coping with life. The nine families have such different backgrounds that identification is always possible.

Together with the exhibition, Kwela Books in Cape Town and KIT Publishing Amsterdam published a book: "Group Portrait". It is richly illustrated with more than 200 images of the photographs and art works from the exhibition, as well as historical material. The book is available at all major bookstores.

The families that are featured in the exhibition include:
Plaatje

Central figure is Solomon Tshekisho Plaatje (1875-1932), author, interpreter, journalist, and politician closely linked to the founding of the ANC.

Sol Plaatje was born in a Christian Tswana-speaking family, near the mission post in Pniel, on the banks of the Vaal River. Later in life he reconstructed his ancestry, based on oral knowledge. The list goes back to the 14th century.

Solomon was an extremely bright student at the mission school. He learned to speak fluent English, German, later Afrikaans and more. In 1894 he went to Kimberley, obtaining the Cape civil service certificate in seven months. Proceeding to Mafeking he became a court interpreter and magistrate's clerk. In 1889 he married Elizabeth M'belle, an Mfengu schoolmistress. During the Anglo-Boer war he stayed in Mafeking during a long siege by Boer-troops. He kept a diary during the siege, a unique document by any standard.

In 1904 he became the editor of the first Tswana-English weekly, Koranta ea Bechuana, eight years later he went to Kimberley and established the newspaper Tsala ea Batho. In 1912 he became politically active, as general correspondence secretary of the ANC. Strongly opposing the Native Land Bill, he travelled with a delegation to England, in later years also to Canada and the USA to get support for their activities. Apart from his political work he was a remarkable man in many ways. He wrote several books, translated Shakespeare into Tswana and wrote the first black South African novel. He apparently was also a good singer. There is a recording of Sol Plaatje singing Nkosi Sikelele iAfrica in 1928!

A prominent descendant is Tumi Plaatje-Molefe; she is the great-granddaughter of Sol's brother Simon (in the Tswana sense of family, a direct descendant) and is married to Popo Molefe, prime minister of the Northwest Province. Her father Johannes Plaatje died in March 2001 and was buried in the western cemetery in Kimberley where Sol is buried too. Her daughter Tsholo is ten years old and the last in line. The family lives in Mafeking again.

Nunn

Coloured family of mixed European-Zulu descent. The central figure is Cedric Nunn, a photographer. He has one daughter of 16, Kathy, who is also interested in photography.

One of Cedric's great grandfathers was John Dunn, a legendary and colourful 19th century tradesman of English descent, living on the east coast, a one-time friend of Zulu King Cetswayo, but who later fought against him. He wrote a diary, which was published in the 1880s. As a recognised and important Zulu-chief, he owned substantial land. Many Dunn descendants are involved now in land-ownership disputes.

Two other great grandfathers were English military men, Nunn and Nicholson, who were likewise involved in the Anglo-Zulu wars. The fourth was Piet Louw, an Afrikaner Boer. All of them married several Zulu wives, John Dunn the impressive number of 48!

One of Cedric's grandmothers (the daughter of Nicholson) is 100 years old and lives isolated on a small old farm in Kwazulu Natal. There is a marriage picture of her from 1916. Cedric remembers one Zulu grandmother who died when he was 5 years old.

Cedric's father passed away two years ago; his mother is still alive, also living in a little village in KwaZulu natal. She owns a suitcase full of pictures, which is opened occasionally, a source of an endless number of stories.

Cedric went through the colour classification of the Apartheid Regime when he was young. He was as the only child of the family classified as 'Cape coloured' (although he was never near the Cape) the rest of the family was classified as 'other coloured'. When he met a friend who was a photographer he had found his great passion. He became an activist-photographer and went to Johannesburg where he still lives. He has been photographing his family in KwaZulu Natal since the early eighties. The mother of his daughter Kathy was white, which means he could not claim fatherhood when she was born: it would prove an illegal act! Kathy went always to mixed schools in Johannesburg, has a black boyfriend (of whom her coloured family in Kwazulu Natal does not approve!) and likes the black American music and lifestyle.

Rathebe

Central figure is Dolly Rathebe (b. 1928). Her paternal grandparents lived on a farm in Rustenburg; the parents of her mother lived on a farm in Randfontein. They had 12 children; one of them was Dolly's mother. Dolly does not remember much about her grandparents, but visits their graves every year at Easter, and talks to them, as the ancestors are important to her.

Dolly was born on the farm in Randfontein but moved to Sophiatown with her parents when she was a small girl. She was an only child. Her mother used to sing, also in small groups. Dolly grew up to become a well-known singer and actress and sex symbol. She performed in films as African Jim and The magic garden and was the first cover girl of DrumMagazine and Zonk. Drum photographers as J�rgen Schadeberg and Bob Gosani made series about her. She worked many years in the revue African Jazz & Variety. She had a child in 1954, and married in 1956. She then moved to Port Elizabeth with her husband, who was a Xhosa, and had two more children. As she felt very restricted in her possibilities, she divorced and went back to Johannesburg where she came to live in Meadowlands, in Soweto, as Sophiatown had been razed to the ground by that time.

Her career halted and she moved to Cape Town. She changed her name to Smith, so that she could live in a coloured designated area. It was there that she became acquainted with the shebeen business. She bought a piece of land in Mabupane, a township near Pretoria in 1970. Ten years later her house was ready. For a long time she ran a shebeen there, but within the last few years she stopped the hectic life connected to it. Today she still performs, as a singer but also in film and on television.

She has three children, two daughters and a son, five grandchildren and one great-grandchild. Her eldest daughter Zola, is married and has two children. She lives in Eldorado, a formerly coloured township in Johannesburg. The daughter of her son Smilo, Matanki, now eleven years old, is Dolly's favourite grandchild, and the only one who has inherited the singing talent of her grandmother.

Steyn

The Dutch roots of the family go back to Douwe Gerbens (Gerbrand) who probably arrived in the Cape in 1669 from Leeuwarden. He is better known as Douwe Gerbrandts Steyn, was a mason, and died in 1700. He married in 1685 to Maria Lozee van de Caap, a slave woman of unknown origin. They had a daughter.

Maria had already a son called Jacobus. Maybe Douwe Gerbens was the father, maybe not. But Jacob took the name Steyn, and became the forefather of many present Steyns in South Africa. Maria Lozee was the ancestor of two South African presidents, Martinus Steyn and Paul Kruger. A part of the Steyn family moved to Swellendam in the 1750s. Martinus's grandfather, who was a wheelwright, moved to Orange Free State.

Martinus Steyn was born in 1857, the fourth of 11 children. He grew up at the farm Zuurfontein at the Modder River, 13 miles north of Bloemfontein. He went to school at Grey College in Bloemfontein, and farmed, thereafter. In 1877 he departed for the Netherlands, where he enrolled at the Gymnasium in Deventer. In 1879 he left for London to study law. After being admitted as an advocate in Cape Town, he left for Bloemfontein, built up a practice and married Rachel Isabella (Tibbie) Fraser, a clergyman's daughter from Philippolos.

Martinus Theunis ran for president in 1895 and was elected in 1896 as State President of the Orange Free State. Directly he started to cement ties with the ZAR (Kruger), and tried to mediate between Kruger and Milner, Cape Governor and High Commissioner in South Africa since 1897, but to no avail. In 1899 war broke out: the second Anglo Boer War. Steyn fought until the end for independence, but became seriously ill. After the peace treaty was signed, the Steyns left for Europe for treatment, stayed in many places, returned to South Africa in 1905, and settled on the farm. Martinus was not very active after that time, but played a role as adviser. His sympathies lay with Herzog and De Wet who left the SA Party in 1913 and founded the National Party in 1914.

Partly as result of the internal clashes in Afrikaner ranks he collapsed and died in 1916 and was buried at the foot of the Woman's Monument in Bloemfontein. His wife Tibbie lived until 1955. Two plays were produced about her life and the letters she exchanged with Emily Hobson.

The family farm 'Onze Rust' near Bloemfontein since 1897 is still in the hands of members of the Steyn family. Mrs. Yvonne Steyn lives there, the widow of Martinus Theunis, "judge Steyn", grandson of the President, together with one daughter and the family of her youngest son, called Colin Steyn.

Her second daughter and her eldest son Martinus Theunis Steyn live in Cape Town. Martinus Theunis is married, has two daughters and a son. One daughter, Martine, is 17 years old and reflects occasionally on the question whether her future will be in South Africa or elsewhere.

Manuel

In September 1999 Ebrahiem Manuel, born in Simon's Town, now living in Grassy Park, was welcomed by members of his family in a small village, Pemangong, on the island of Sumbawa in Indonesia. He is a seventh generation grandson of Deo Koasa, a leader from that community, who was captured by the Dutch in 1788 and brought to the Cape as a slave. His son Ismail Dea Malela became the first imam of Simon's Town.

Ebrahiem is a sailor. He started his historical quest by spiritual guidance, he claims. He used his father's documents, the old Muslim graveyard at Seaforth, documents in archives and museums and an old kitaab (religious book), which is handed down in the family.

Ebrahiem's father worked in fish factories, as many people in Simon's Town worked in relation to the harbour and fishing industries. Ebrahiem's mother was an Irish nurse, who lived in Plettenburg Bay before her marriage. For her marriage she had to convert to the Islam faith.

Ebrahiem's parents are no longer alive, but there is still a sister of his father, Hadji Koebra, who is 82 and lives in Oceanview, the township where the non-white population of Simonstown was resettled. She is very bright and lively and loves to tell stories. One of the stories in the family is about her father (Ebrahiem's grandfather) Hadji Bakaar Manuel who went on a pilgrimage to Mecca with his wife in 1903. The trip took seven months. They first went to London, and then through the Suez Canal to Mecca. He kept a diary, which still is in the possession of the family.

Ebrahiem is not married and has no children, but has three brothers and three sisters. Two brothers have two children each, and one brother has four wives and 20 children. The sisters have 12 children between them. One of Ebrahiem's nephews is Gavin Mauritz, who lives in Grassy Park with his parents and siblings. He plans to study Information Technology, earns money at Pick and Pay, and plays pool with his friends.

Le Fleur

In the late 18th century a community of people with (partly) Khoisan background, developed around a mission post of the London Missionary Society. The people were named Griqua; on the instigation of a missionary the settlement was renamed Griquastad. The first leader or chief was Adam Kok I (1710-1795) who lived on lower Orange River and Namaqualand. A part of the group moved out later and founded a city named Philippolis. Later still there was another massive migration of the Griquas to the east; they founded Eastern Griqua-land, the capital was named after the first leader, Kokstad.

After the first leader Adam Kok I, the chieftaincy was taken over by his son Cornelis Kok II (died in 1820s) and then his grandson (Adam Kok II, first Kaptyn of Philippolos, d. 1835) and Adam III, Kaptyn of Philippolos and Kokstad, but there the line stopped. Through a complicated relation Andrew Abraham Stockenstrom Le Fleur, aka the old prophet followed up the line. He was involved in the Griqualand East Rebellion of 1897, sentenced to gaol, spent five years in prison, and was released. He spent several years in and around Cape Town, and a short time in Johannesburg during which time he founded the Griqua Independent Church and ran a newspaper, The Griqua and Coloured People's Opinion. During World War I he returned to Kokstad, and persuaded a considerable number of Griquas from there to trek with him to the Western Cape, to found a new community. This failed, but eventually he arrived at Kranshoek, near Plettenbrug Bay. The majority of his followers were rural people of Khoi descent, very many from Namaqualand.

Andrew Abraham Stockenstrom Le Fleur died in 1941, and was succeeded by his son Abraham Andrew Le Fleur, until 1951. For two years there was a caretaker for the position, then the new leader was installed, Andrew Abraham Stockenstrom Le Fleur the Second, who is still in function but old and sick.

In 1969 a split occurred in the family and the Griqua movement. A younger brother of the Chief broke away and formed his own Griqua National Congress. They still exist side by side. The factual leader and spokesman of the original group is Cecil Le Fleur.

For many years the Griquas of Kranshoek were a fairly exclusive group, stressing their partial whiteness. In the last ten years, in contrast, they have come to stress their Khoisanness and have become leading figures in the Khoisan revival movement currently on the go, and are causing great headaches for the government which does not know how to deal with them, as they claim to be traditional rulers. Cecil Le Fleur is also involved in the international Indigenous People's Movement, and is in that capacity often spokesperson for Africa.

Andrew Le Fleur is the brother of the leader of the other group. He is a magistrate, and lives with his wife and three children in Worcester. His youngest daughter Audrey is 12, very bright, and interested in politics.

Galada

Cynthia Galada lives with her husband and four children in the township of Lwandle, in the Cape flats near Cape Town. Her husband Elliot was injured in a bus-accident and has no work at the moment. Cynthia works at the local childcare, which she founded.

The story of Cynthia's family is basically the story of migrant labourers, travelling from impoverished rural areas in the Eastern Cape to the city, looking for work and prospects, still keeping contact with family back home, building up a life in the township.

Cynthia ran away from home when she was 17 (ca. 1983) to avoid the marriage that her parents had arranged for her. She jumped in a river, nearly drowned, but survived and escaped to Cape Town. She first burned the letters she received from her parents, but later made peace with them. She found work as a waitress, had a child. She married her husband in 1987 and had three more children.

Every year in December, for the Christmas holiday, the family travels back to the place of birth, Barkley East. Cynthia's parents still live there, together with her grandmother. Cynthia did well for herself within the limited possibilities and could buy a small house for her parents, in the formerly all-white town, where they are the only black people now. In the countryside there is the plaas of the white Boer, where Cynthia grew up, a small hut between the mountains. The trip to Barkley East is a trip back into time, back to the memories of childhood, the stories of the family that stayed behind, the stories connected to it, some good, some bad.

This is not a family with a wealth of written documents or photographs, but what there is very meaningful: like the Dompas of Cynthia's father, a document that comprises his working career during apartheid. And there are surprisingly quite a lot of objects, kept in trunks, beautiful old beadwork, and farm equipment. And the real history is told and lived, and relived, especially through the yearly visit.

In the presentation, the annual December visit will play an important role. We have recorded this trip back home, back to childhood, back to parents and grandparents, by a photographer and a videographer.

On the other side, there is present day township life, with the living conditions, the bareness of the location, but also the social life (church, youth), the music (Cynthia sings in a choir), and Xhosa customs in an urban setting. Xhosa tradition is strong in the family as well: Cynthia's grandmother is an amagqirha, a spiritual healer, and Cynthia has inherited the power. She uses her spiritual side especially in the Methodist church, of which she is an important member. Her eldest daughter is Nomakaya, fourteen years old. She is at the moment at the Hottentot Holland High school, a formerly white school. She finds it hard to cope with her role in the shifting society.

Juggernath

Family of Indian descent. Dhani Jiawon (1864-1928) from Faizabad in North India came in 1889 to Durban to work on the sugar cane plantation of William Campbell. After a year he married Sundari, a widow and devoted Hindu, who had come to South Africa from a place near Poona. After the five year indentured period, they settled in Verulam where they lived until 1911 as farmers. Their six children were born there, the eldest was Juggernath. In 1911 the family moved to settle on Acutt's Estate in Inanda, near Gandhi's settlement. Juggernath married Surjee in 1910 and continued to live with his parents. Two children were born to them, Balbadur and Sookrani. Later nine more followed.

In 1914, the extended family moved once again, to Merebank, and in 1923, to a piece of land in (nowadays) Duranta Road. Juggernath was a deeply religious man, and also involved in promoting educational possibilities of the Indian community.

The joint family system came to an end with the marriage of Balbhadur (1913-1989) to Harbasi (1919-1989), in 1936.

Balbhadur and Harbasi had nine children, all of them ended up in education. The youngest ones were Spider and Janey. They were both activists, involved in several operations in the struggle. Spider is the only one who stayed in politics, running for election as a local councillor for the ANC in 2000. Janey is disappointed in what the change brought.

Janey married Ishwar and has two daughters, Nikita (16) and Yuri (21). Her older brother Sundjit still lives in the old family house. Janey is a teacher in a primary school and active member of SATU, the South African Teachers' Union. She teaches Grade 2 has a class of ca. 50 kids, half of them black, half of them of Indian background.

The Juggernath family is a closely-knit. They all see each other regularly; have special days in the year for family outings, meet in the summer every Friday at Bay of Plenty, a place at the beach.

There is a special but different relation of the family members to India and South Africa and aspects of Indian religion and culture, from an outward condemnation of backward traditions to respectful embracement. Balbhadur and Harbasi visited India in 1972-73. In contrast Janey visited only Cuba, in 2000, a trip that made a deep impression. Nickie and Yuri are much more sympathetic to Indian traditions and culture again.

Many details of the family have already been described; the family published a brochure on the family history with much information and photographs. There are some heirlooms too with beautiful stories.

Mthethwa

Zonkezizwe Mthethwa, better known by his nickname khekhekhe, born in 1919, is a well-known traditional healer or sangoma living in the area of Ngudwini. He receives his patients and trains some of his children but also others in the profession of sangoma.

Khekhekhe stems of a long line of Mthethwas, a prominent Zulu family, and claims to be a descendant of Dingiswayo, Shaka's mentor. It was in this region that Shaka was trained as a young man. The area is close to the Tugela River, which forms the boundary between Natal and Zulu-land.

Quite central among the houses of his compound is the burial ground where a few of Khekhekhe's forefathers are buried. He himself is also the official history keeper of the Mthethewas and the presence of the ancestors is very important in that respect. Every year on 23 February there is a special ritual where Khekhekhe pays respect to the ancestors and recites their names.

Khekhekhe claims to have had 14 wives, of whom seven are still alive. Among these seven wives are three pairs of sisters. He also claims to have close to a hundred children, which says a lot about his status and income as a widely known healer. Most children and grandchildren are living close by, in houses on the compound.

The family participates also in other worlds. The family owns a driving school and a bus company. Some of the family members left for the city.

One of them is Mfanawezulu, his eldest son, born in 1951, who works as a bus driver in Durban. Mfanawezulu married two wives, but divorced one of them. The remaining wife lives in Ngudwini, which Khekhekhe considers his home, with most of his 27 children. Mfanawezulu bought a house in Inanda, a township near Durban, because he needed to be closer to his job. He lives there with six of his sons. His third son, Qondokuhle, is a gifted guitar-player. He is doing grade 11 in an ex-Indian school in Phoenix, a former Indian settlement founded by Gandhi. He is keen to be educated but also values strongly the traditions that are kept up high by his grandfather.

Opens: March 31
Closes: December 2004

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Daimler-Chrysler Collection at Pretoria Art Museum

The DaimlerChrysler Art Collection is one of the most significant corporate collections of modern art in the world. The collection started out as more than just visual furniture for the group and represents an important spectrum of major 20th century art developments and pictorial ideas, right up to the present day.

The common feature of the artists who are included here is their artistically motivated interest in an dialogue between fine art, functional product design, architecture and graphic design, after the Bauhaus. The DaimlerChrysler Collection is still committed to this exploratory artistic thinking, thinking that is always directed at people, their imaginations and their ability to innovate.

The company's worldwide presence shows up in the collection's increased mobility, but also in the form of increasing exploration of international art positions. These follow the collection's abstract and minimalist basic orientation. The company's connections with the United States of America, Japan and South Africa make their mark on the DaimlerChrysler Collection's profile and activities.

Opens: March 20
Closes: June 27



Anton Karstel at Pretoria Art Museum

'108314N' is an installation project by Anton Karstel. Of the show, Karstel says, "Conceptual art aims to raise questions about the nature of art, and to see the art object as a unique object. The artwork can be seen as essentially the map of a thought process. It is not about forms or materials, but about ideas and meanings. Because the work does not take a traditional form, it demands a more active response from the viewer. In the last resort you will have to decide what you believe, it is the response of you, the viewer, that defines the work."

Opens: April 12
Closes: June 27

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