Archive: Issue No. 87, November 2004

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05.11.04 Wild Collaborations at Art on Paper
05.11.04 SABC Collection at JAG
05.11.04 Landscape Now at RAU
05.11.04 Pam Guhrs-Carr at the Jo'burg Zoo
05.11.04 Mary Holland in Escombe Road
05.11.04 Post Pop at MojaModern
05.11.04 First at Artspace
05.11.04 Tracey Rose at Goodman
05.11.04 Jeremy Wafer at Goodman
05.11.04 Toni Ballenden and Richard Forbes at Gordart
05.11.04 Conciliation at JAG
05.11.04 Nathaniel Stern at JAG
05.11.04 Jeannette Unite at Gallery @ 157
05.11.04 Dorothee Kreutzfeldt at David Krut Arts Resource
05.11.04 David Lurie at
05.11.04 Nadia Taljaard at JAG
05.11.04 Negotiated Identities at JAG
05.11.04 Mike Feldman at Bensusan
05.11.04 Stefanus Rademeyer at Warren Siebrits
05.11.04 Usha Seejarim at Momo
05.11.04 Oppitafel 111 at Artspace
05.11.04 Blom and Waldeck at Art.Co.Za
05.11.04 Photo Encounters at Market Cultural Precinct
05.11.04 Zhané Warren at Constitution Hill
05.11.04 Recent works at Upstairs @ Bamboo
05.11.04 Oupa Nkosi at Photo.ZA
05.11.04 Young Vaal Photographers at Photo.ZA

03.10.04 Ani(male) at Art Space
03.10.04 Michael Meyersfeld at


05.11.04 Asha Zero at Outlet
05.11.04 Artists of the Academy of Fine Art at the State Theatre

01.05.04 Group Portrait: SA Family Stories at National Cultural History Museum


Claudette Schreuders

Claudette Schreuders
The Couple, 2004
Lithograph, 380 X 280 mm

Espoir Kennedy

Espoir Kennedy
Mandela, 2004
Lithograph, 490 X 380mm

Wild Collaborations at Art on Paper

An exhibition of new prints from The Artists' Press celebrating two years of printing on the 'fringes of the bush', in the Heidel Valley, outside of White River in Mpumalanga, showcases prints by artists including Eric Avery, Kim Berman, Elza Botha, Lettie Gardiner, Erika Hibbert, Robert Hodgins, Thami Jali, Espoir Kennedy, Frank Ledimo, Dumisani Mabaso, Colbert Mashile, Selby Msimang, Sam Nhlengethwa, Tony Nkotsi, Joachim Schönfeldt, Fiona Pole, Claudette Schreuders, Kathryn Smith and Paul Stopforth.

'Two years ago The Artists' Press moved into a new beautiful custom built workshop on a farm in Mpumalanga' comments Mark Atwood, of The Artists' Press. 'We were anxious about moving from the busy inner city Bag Factory and wondered whether we would grow grass between our toes and end up lost in the domain of The Big Five. So much for the quiet country life! The studio has been busier than ever and being able to have bosberaads at the Cybele Forest Lodge has allowed us to focus on collaboration, excellence and printing like we have never done before.

'The work varies as much as the artists who have worked with us do. Kathryn Smith's mix of DVD, internet, lithography and photogravure stand in contrast to Kim Berman's burning veld, which yet again is in contrast to the quiet reflection of Thami Jali's chine colle lithographs. Espoir Kennedy's images of African popular culture icons stand in contrast to Robert Hodgins treatment of his 'archetypes'. Claudette Schreuders and Colbert Mashile deal with the analysis of their personal lives in two very different ways. Using the same medium they show how versatile lithography is through their masterly manipulation of their images and material'.

Opens: October 30
Closes: November 18

Tracey Rose

Tracey Rose
Regina Coeli, 2002

SABC Collection at JAG

The South African Broadcasting Corporation (SABC) has been acquiring art works informally for more than half a century. Following the restructuring of the corporation in 1994, the art collection was formalised under a curator and funds were allocated for the acquisition of works representative of South Africa's new democracy. During the past 10 years, a primary concern has been to acquire work by black artists and other artists previously under-represented in the collection. Selected work is regularly displayed at the SABC in public and office spaces. Approximately 180 works will be shown in this exhibition, entitled 'Making Waves'.

The work on show ranges from that of William Timlin and Gerard Bhengu made in the 1920s to that by Santu Mofokeng and Robert Hodgins acquired at their recent solo exhibitions.

Approximately 100 artists are represented. The floor space is divided into eight thematic spaces as indicated in the catalogue to the exhibition. These in part reflect a concern to show work in a range of media from drawing (Julian Motau and Diane Victor), prints (Dan Rakgoathe, Malcolm Payne, Kendell Geers) and painting (Irma Stern, George Pemba, Robert Hodgins, Zwelethu Mthethwa) to sculpture (Ezrom Legae, Peter Schütz), video (Konrad Welz), mixed media (Sam Nhlengethwa, David Koloane) and photographs (Jo Ractliffe, Ken Oosterbroek) amongst others.

Cheryl Gage

Cheryl Gage
Hanging Trees
Oil on wood

Landscape Now at RAU

The South African landscape has changed considerably over the past 100 years and so has the way contemporary artists perceive it. 'Landscape Now' is a curated exhibition reflecting on these changes. Artists represented include Strijdom van der Merwe, Adriaan van Zyl, Daniel Maseko, Retha Buitendach, Gustav Vermeulen, Michelle Nigrini, Jeremy Wafer, Braam van Wyk, Ingrid Winterbach, Stephen Inggs, Jenny Crooks, Diek Grobler, Robert Brooks and Hillary Graham.

Opens: November 3
Closes: November 17


Pam Guhrs-Carr

Pam Guhrs-Carr at the Jo'burg Zoo

For one day only, Pam Guhrs-Carr will be exhibiting paintings and drawings at the Old Elephant House at the Johannesburg Zoo.

Guhrs-Carr was born in Malawi and raised in Zambia, in one of Africa's prolific wildlife areas, the Luangwa Valley. Her upbringing in this beautiful wilderness has informed her work on multiple levels. She focuses on the history, indigenous cultures and bio-diversity of the landscape in her work. In addition, her interest in the art of local women's initiation ceremonies and male masking societies led to Guhrs-Carr conducting formal research for her MFA under Karel Nel, at the University of the Witwatersrand.

Her work challenges hackneyed perceptions of animals in Africa. From western visions of animals in zoos and game reserves, to local perceptions of animals as intrinsically linked to ancestors, she revisions the metaphors that bind humans and animals. The slave and ivory traders that once used the Luangwa Valley as a route to Zanzibar and the East populate her paintings along with owls, hyenas and gazing tourists. Spirit, transformation and secrecy entwine with notions of animal as commodity.

Guhrs-Carr's work is represented in collections internationally, she has exhibited with the Everard Read Gallery in Johannesburg, and her work has been auctioned by Christie's in London. Part of the proceeds of this exhibition will be donated to the Friends of the Johannesburg Zoo.

Open: 3 - 8.30pm, November 12

Entrance is free.

Mary Holland in Escombe Road

'Helderfontein' by Mary Holland comprises paintings that resonate with the landscape traditions of 19th century Romanticism, most notably the work of Joseph Turner and Caspar David Friedrich. Holland's work suggests a studied ambiguity that invites both the intellectual and emotional participation of the viewer. Her landscapes are particularly compelling in their evocation of places that are strange and familiar, known and unknown. In engaging each image, the viewer's subjectivities, emotions and memories are simultaneously triggered by and mapped onto landscapes which refuse to provide interpretive closure.

Opens: October 30
Closes: November 7

Post Pop at MojaModern

Pop art is associated with western art history in the 1950s and 1960s. Artists including Andy Warhol, Robert Rauschenberg and Roy Lichtenstein highlighted an aesthetic that reflected the consumer culture that began to dominate the modern western lifestyle during that period.

In MojaModern's new exhibition, entitled 'Post Pop', a selection of contemporary South African and African artists, designers and illustrators have contributed their vision of popular art in a post colonial, post modernist paradigm. This exhibition hopes to highlight an aesthetic which represents a unique local contribution to the pop genre.

The work curated for this show is diverse, linked by the common thread of a current African interpretation of commodification. Artists represented include Mark Kannemeyer, Brett Murray, Garth Walker, Hylton Nel and Wayne Barker.

Billing itself as a trendy New York-style gallery in Johannesburg's premier arts, design and antiques belt, MojaModern offers contemporary art by established and upcoming SA artists, at affordable prices.

Opens: October 28
Closes: November 11

First at Artspace

Damelin-Eden College Grade 12 Graphic Art students present 'First' - the first professional show of these learners' final school works.

The idea for the show was mooted when the learners' teacher/examiner felt that the high quality of the works should not go unnoticed. In the past, viewing of these works was exclusive to the students and teacher.

The works are exhibited to forge public awareness of the standard of work at matric level at this school, and also provide inspiration to future students wanting to pursue the subject. It will also help the students to market their talents and boost confidence in their capability to produce art and further their art careers. The exhibition will be opened by Dez Laubscher, Managing Director of the Design Center in Greenside.

Opens: November 9
Closes: November 11

Tracey Rose

Tracey Rose
Lucie's Fur Version1:1:1 - Adam and Yves, 2003
Lambda photograph, edition of 8. 82 x 82 cm

Tracey Rose

Tracey Rose
Lucie's Fur Version 1:1:1 - Mme Oeuf, 2003
Lambda photograph, edition of 8. 100 x 220 cm

Tracey Rose at Goodman

A solo exhibition by Tracey Rose entitled 'The Thieving Fuck and the Intagalactic Lay' focuses on the construction of identity within a broadly South African framework. Rose comments: 'Historically, when it comes to Christianity and oppression and coloured folk in [South Africa] can't believe a word of what anyone is saying. Everyone's constructing who came first, who did what, who's suit their own agendas...".

Comprising her mixed media installation Lucie's Fur Version 1:1:1, the exhibition further develops Rose's exploration of the female South African gaze with a new series of iris prints, site-specific wall paper and a new film titled The Wailers. In Lucie's Fur, Rose investigates Christianity and Khoi-San story-telling while subversively revisiting the myths surrounding the origin of humans.

Rose's artistic practice focuses on enacting fictional personas, which play symbolic roles in her work. By subversively portraying biblical figures, for example, Rose confronts myths of Christianity and the dualism between homosexuality and Shamanism. Through the characters in Lucie's Fur, Rose enacts her feminist sensibilities by using her body, and in some cases other people's bodies, as a site for role playing, expiation and catharsis.

The Wailers, a silent 16 mm film transferred to DVD, constructs a 'dream opera' where young South African boys clothed in traditional Hassidic attire play a game of underwater basketball.

Opens: October 16
Closes: November 13


Jeremy Wafer
Maputaland, 2004
Aerial photographic print, diameter 2 meters

Jeremy Wafer at Goodman

Jeremy Wafer's work over the past few years has been characterised by 'lean lines and an engagement with geometric abstraction, the grid, repetition and cataloguing', a minimalist sensibility rooted in the material and social terrain of South Africa. The works on this exhibition focus particularly on his interest in land and territory, the land as a physical space and as a place bearing the marks and traces of human use and ownership.

At the centre of the gallery Plain, a horizontal disc of hard dry red earth, 3m in diameter, will be suspended at knee height. Above the disc at about eye level a number of suspended glass vials will drip water very slowly onto the surface of the dry earth forming small irregular eroded craters.

On the back wall of the gallery, seen across the surface of the plain, a large circular image derived from an aerial photograph of the desert landscape of the Northern Cape will be hung. This is part of a series of works in which Wafer has been investigating the idea of 'remoteness', and how we can imagine and represent space and place.

Accompanying these two large works and continuing the theme of land and the ways in which we make and mark space as place will be a series of smaller circular wall mounted sculptures similar in style to the large earth plain, a group of works based on land surveyors' measuring staffs and a set of photographs of the name boards of railway sidings on the line between Johannesburg and Mafikeng.

Opens: November 20
Closes: December 15

Toni-Ann Ballenden and Richard Forbes at Gordart

Sculptures and drawings with stitching and prints entitled 'Tac Toc', by Toni-Ann Ballenden and Richard Forbes are currently being shown at Gordart.

Opens: October 23
Closes: November 19

Conciliation at JAG

Johannesburg Art Gallery's Ten Years of Democracy project 'Negotiate' focuses on work by young artists countrywide. It offers four self-contained exhibitions: 'Intercession', 'Intervention', 'Arbitration' and 'Conciliation', and comprises mixed media and performed artworks and installations throughout the gallery space.

The project as a whole investigates notions of 'negotiation' within the framework of the Democracy Celebrations. It foregrounds a new generation of artists speaking from a position informed by the experience of 10 years of democracy, and not as influenced by the living memories of apartheid.

The fourth part of this exhibition focuses on 'Conciliation', bringing the project to its conclusion, at the end of November.

Opens: November 6
Closes: November 30


Nathaniel Stern

Nathaniel Stern at JAG

Johannesburg-based new media artist and lecturer Nathaniel Stern holds his first solo exhibition, entitled 'the storytellers: works from the non-aggressive narrative', in association with Gallery Momo, at the Johannesburg Art Gallery.

Exploring issues of identity, multiplicity and performance in the new South Africa and at large, the exhibition comprises works ranging from large-scale interactive and video installations, to digital video poetry, experimental pinhole photography, abstracted face map images and more.

For a number of years, Stern has been working with the 'non-aggressive narrative' (NAN), a body of multimedia work that proposes the 'continuation of a story which is just unfolding'. Rather than one-dimensional characters, and a cause and effect plot, the NAN creates encounters between an ambiguous 'I' and a potential 'You'; it implies an original story that may or may not have occurred. This is the first show of several works from the NAN, some produced as early as 1999, others only completed in October 2004.

The exhibition will be opened by Jena MacCarthy and audience members are invited to add to a collage in motion, contributing to the art work. Stern was one of the award winners at this year's Brett Kebble Awards.

Opens: October 30
Closes: December 13


Jeannette Unite

Jeannette Unite at Gallery @ 157

Jeannette Unite is a Cape Town-based artist. Working with architects and designers on corporate and residential commissions locally and internationally, she has been making films since 1999 and has work housed in several private and corporate collections both international and local. Corporate sponsors include Swiss:Re, Vodacom, Old Mutual and Clifford Chance.

Unite will be exhibiting glass pieces from her series 'Earthscars: A Visual Mining Exploration'. Dubbed as Glass Earth Works, these works comprise a fusion between mined glass minerals and other substances, manifesting in extraordinary abstract work that addresses issues both personal and industrial.

Opens: November 20
Closes: December 18

Dorothee Kreutzfeldt

Dorothee Kreutzfeldt

Dorothee Kreutzfeldt at David Krut Arts Resource

A series of prints by Dorothee Kreutzfeldt that began their life in a workshop with New York master printer Randy Hemminghaus at the David Krut Print Workshop (DKW) in February this year, will be shown at David Krut Arts Resource.

Hemminghaus has brought his expertise to several collaborations at DKAR over the past two years, having worked with a number of local artists. For Kreutzfeldt, this provided an opportunity to explore the medium and possibilities of printmaking while working on themes and imagery that have dominated her painting and public work of late, specifically her collaborations with signwriters in central Johannesburg.

Kreutzfeldt describes her prints as 'notes, sketches and variations' that sit between romantic confessions and recordings of street graphics. 'They want to talk to the land, to the city, to the wall, to the beloved...'

The mission of DKAR is to encourage a greater awareness of contemporary South African arts, culture and heritage through collaborations in publishing writing and the creation of art.

Opens: November 13
Closes: December 18


David Lurie

David Lurie at

'Cape Town Fringe: Manenberg Ave Is Where It's Happening' by David Lurie is to be published by Double Storey Books in December this year. It will be pre-empted with an exhibition of 40 black and white photographs at PhotoZA.

Lurie comments, 'My work in Manenberg actually began at the end of 2001, as part of a follow-up to 'Life in the Liberated Zone' (1995). I wound up spending about six months over the next one-and-a-half years, hanging out, photographing in and around Manenberg Avenue. I was welcomed, entertained, amused. I was also frightened, bewildered, often disoriented, incredulous. The day to day harshness, the brutal lack of any privacy, attitudes to jail as well as to life and death threatened everything I'd been brought up to believe in. (I grew up only 20 minutes away, by car, from Manenberg.) At least 12 people I'd been photographing died violently or were seriously injured during that period. And it will probably get worse before it gets any better.'

Lurie was born in Cape Town in 1951 and is currently based in London. He has been the recipient of many photographic awards including most recently the 'World Understanding Award' at the 61st Annual 'Pictures of the Year International' Competition in March 2004 for this same body of work.

Opens: November 11
Closes: December 4

Nadia Taljaard

Nadia Taljaard
The Growing
Oil on Board, 120x120cm

Nadia Taljaard at JAG

'The Child Within' is a solo exhibition by Gauteng-based artist Nadia Taljaard. It comprises a series of introspective works that will lead the viewer to that place of remembering the inner joy and/or pain of being a child, in diverse circumstances, and includes reflections on children branded in various ways, revealing the inherent absolute purity and innocence of a child under any circumstances. The collection is meant to bring the child we are to the attention of the adult we try to be.

Born in 1980, Nadia studied art at the Central Johannesburg College of Education and earned her Diploma in 2003, after which she completed two advanced courses and participated in several exhibits by invitation. She is currently studying toward a diploma in Youth In Development at Unisa.

Opens: October 17
Closes: November 15


Negotiated Identities

Negotiated Identities at JAG

'Negotiated Identities: Black Bodies' is a curated exhibition commenting on the role of black identity in the development of local art. Represented artists include Peter Clarke, Ernest Cole, Bongi Dhlomo, Kay Hassan, Jackson Hlungwani, David Koloane, Gladys Mgudlandlu, Lolo Veleko, and many more, as well as a selection of objects from the Traditional Southern African Collection of the JAG, African Cinema, and literary material.

Opens: October 24
Closes: January 2


Mike Feldman

Mike Feldman at Bensusan

A retrospective exhibition of 45 years of photographing South Africa, by Mike Feldman, will be opened by Louis Yudelman.

Opens: November 7
Closes: January 15


Stefanus Rademeyer

Stefanus Rademeyer at Warren Siebrits

'Surface Depth' is the first solo exhibition by Johannesburg-based sculptor Stefanus Rademeyer, consisting of four monolithic rectangular wooden sculptures and three wall-mounted light boxes.

Conceptually, the seven works created for this exhibition explore the physical possibilities of creating surface depth, or conversely, giving depth to surface. The four wooden sculptures act as a progression, with each sequentially becoming more complex and intricate. These sculptures comprise thousands of modular wooden units, hand cut by the artist to achieve the degree of visual accuracy necessary.

The three wall-mounted light boxes explore the potential of creating the illusion of three-dimensional space, on a two-dimensional surface. This is achieved through the use of lights and mirrors.

Rademeyer won the Volkskas Atelier award in 2001. A fully illustrated catalogue has been produced by the gallery to accompany the exhibition.

Opens: November 4
Closes: December 10

Usha Seejarim

Usha Seejarim
Bicycle, 2004
Mosquito netting, 24x32cm

Usha Seejarim at Momo

An exhibition of works in mixed media, entitled 'In Place' by Usha Seejarim, is on show at Gallery Momo. Seejarim is a previous winner of the MTN New Contemporaries, a finalist in the FNB Vita Awards and last year showed at the Walker Art Center on 'How Latitudes become Forms'.

Opens: October 21
Closes: November 15

Marchand van Tonder

Marchand van Tonder
Sterling silver handmade teaspoon

Oppitafel 111 at Artspace

After 'Oppitafel 1' and 'Oppitafel 11', which were positively received, Artspace offers the third sequel. Invited participating artists include Marco Cianfianelli, Ian Redelinghuys, Chris Diedericks and Anthony Shapiro (Ant), Susan Wolf, Alison Kearney, Colbert Mashile, Diek Grobler, Eugene Hön, Ian Waldeck, Nirupa Singh, Marchand van Tonder, Eric Duplan, Frikkie Eksteen, Annelise Bowker-Marais, Pat Mautloa and Toni Ballenden.

The works all form part of our democracy celebrations and year-end festivities and any medium is permitted. 'Oppitafel' means on the table, and refers to anything relating to a table for wining and dining, or whatever else one would wish to use a table for!

Opens: November 13
Closes: December 11


Image Caption


Image Caption

Blom and Waldeck at Art.Co.Za

'...etc. (part 2)' is the follow-up to a two-person exhibition held in February 2004, by Zander Blom and Marcel Waldeck. It is the second part of the project, taking place at the soon-to-be-closed-down ArtCoZa Gallery in Parkhurst.

Blom and Waldeck present work that deals with the organisation and consumption of information received via the tangled channels of mass media. Blom's work comprises ink drawings and multimedia, while Waldeck uses installations.

Johannesburg resident Blom has been curating, organising and exhibiting on group shows in and around Johannesburg and Tshwane for the past two years. He is also a freelance designer and illustrator. Amongst other things, he is working towards a solo exhibition for October 2005 in Johannesburg and is co-curating a group project at The Premises for February 2005.

Waldeck is currently enrolled for a BA Fine Arts degree at Wits University. He has been involved in numerous group shows, projects and initiatives, including an exchange collaboration at The Bag Factory in Braamfontein.

Opens: October 23
Closes: November 6

Photo Encounters at Market Cultural Precinct

The Pan Africa Photo Encounters week takes place at MuseumAfrica, Johannesburg Art Gallery and other venues in the Newtown Cultural Precinct. There is a programme of lectures, discussions, presentations and screenings. Lecturers include Lori Waselchuk, Sean O'Toole, Herbert Mabuza, Debbie Yazbek, Simon Njami and Peter Mackenzie.

Opens: November 8
Closes: November 13


Zhané Warren

Zhané Warren at Constitution Hill

A piece by Zhané Warren will be performed live at the Old Fort, Constitution Hill. It is entitled '...dit begin by die voete'.

November 23, 24, 27
Entrance is free


Oupa Nkosi

Oupa Nkosi at Photo.ZA

A photographic exhibition about historical Kliptown, to the south of Johannesburg, by Oupa Nkosi. The exhibition will be opened by Bob Nameng.

Opens: November 11
Closes: December 4


Image Caption

Young Vaal Photographers at Photo.ZA

The Vaal University of Technology sits on the edge of the Vaal, just close enough to the hub of South African Photography, but just far enough to have its own identity. Together, works on show here showcase young talent that will influence South African and international vision in the near future.

Opens: November 11
Closes: December 4

Judy Woodborne

Judy Woodborne
Blindman's Buff
19x14.5cm, oil on etched copper plate

Recent works at Upstairs @ Bamboo

Carol Lee Fine Art presents an exhibition of recent works by Jaco Roux, Sonja Britz, Lionel Smit, Jaco Benade, Nora Newton, Jan Neethling, Judy Woodborne, Lize Muller, Helena Hugo, James Durno, Sarah Balla, Rudolph Vosser, Rose McCulloch and Retha Buitendach.

Opens: November 6
Closes: November 14





Ani(male) at Art Space

Ani(male) is an exciting all male (along with one honorary female) exhibition, showcasing work from some of South Africa's top artists. This exhibition came about as a result of many of South Africa's art awards in 2003 being awarded to women, so, a number of artists decided to create a show celebrating the male energy in art. The show centres around each artist's interpretation of the word 'Ani(male)'.

Taking part are Willem Boshoff, Jonathan Comerford, Chris Diedericks, Frank Ledimo, Ian Marley, Dikgwele Molete, John Moore, André Naudé, Guilio Tambellini and Diane Victor (honorary).

Opens: October 10
Closes: November 6

Michael Meyersfeld

Michael Meyersfeld

Michael Meyersfeld at

An exhibition of new work by Michael Meyersfeld promises to be interesting and controversial. Meyersfeld, always master of the subliminal, is at his edgy best.

There are no surface values in this collection of diverse images. Meyersfeld challenges the viewer to look beyond the image, to examine the subtle inference, exploring the sense that has been evoked. There's a sense of isolation, an oblique loneliness, a tight interplay of conflicting messages.

Opens: October 10
Closes: November 6



Asha Zero

Asha Zero at Outlet

An exhibition by Asha Zero, entitled 'Winner in Hawaii' is on show at Outlet. Opens: October 13
Closes: November 16

Artists of the Academy of Fine Art at the State Theatre

The Second Annual Artists of the Academy of Fine Art Exhibition, under the direction of Ernst de Jong, showcases recent works by professional artists belonging to the academy, as well as works by de Jong himself. In total, 69 works will be on show.

The works featured in this year's exhibition will, once again, demonstrate the importance of style, elegance and technical skill which is emphasised by the Academy training, without dampening originality or curtailing imagination. Visitors to the exhibition will see highly individual artists' works expressive of their personal influences and vision.

De Jong comments: 'Fine art is no longer the prerogative of the wealthy and aristocratic, and quality art is an investment in quality living for anyone'.

He believes that the tradition of art academies of times past where practicing painters received ongoing training and mentoring by the accomplished master of the day, is still an important experience in the growth of a painter. Teaching is based on two fundamental principles, namely dynamic aesthetics and a thorough understanding of traditional materials and techniques.

Opens: October 4
Closes: November 5

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:


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.


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.


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.


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.


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.


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.


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.


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