Archive: Issue No. 94, June 2005

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Sue Williamson

Sue Williamson
Better Lives: Francois Bangurambona, 2003
Pigment inks on archival cotton paper. 144 X 112 cm
Photo credit: Michael Buckley

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Marina Abramovic

Marina Abramovic (b. 1946, Yugoslavia)
Spirit Cooking, 2005
Performance Installation
Photo: Abrie Fourie

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Bonita Alice

Bonita Alice
Heaven
Found objects and paint

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CAPE REVIEWS

   [03.06.05] Sue Williamson at João Ferreira
Ruth Sacks reviews Sue Williamson's exhibition 'Hotels and Better Lives' at the João Ferreira Gallery.

   [03.06.05] Berni Searle at the Michael Stevenson
Berni Searle's latest show, 'About to Forget' evokes an appealing contrast between the technologies used to produce the work and its ancient looking results as she explores memory and loss. Kim Gurney is impressed while conceding that the work borders on repetitious.

   [03.06.05] Egon Tania at João Ferreira
Sculptor Egon Tania brings acute observational skills to the João Ferreira Gallery with his figurative wood carving installation called 'Circle' that captures fleeting moments of diverse interaction. Kim Gurney reviews.

GAUTENG REVIEWS

   [03.06.05] Marina Abramovic and Paolo Canevari
Marina Abramovic and Paolo Canevari visit the Johhanesburg Art Gallery. Kathryn Smith reviews.

   [03.06.05] Paul Molete at Art on Paper
Both drawn to and repelled by the exhibition of new linocuts by Dikwele Paul Molete, Robyn Sassen remains unambivalent about the artist's ability.

   [03.06.05] A three part exhibition by Paul Cooper and Brenden Gray at Gordart
Paul Cooper and Brenden Gray's three part exhibition presents the two artists' very different sensibilities in interesting juxtaposition. Robyn Sassen was particularly heartened by their literary overtures.

   [03.06.05] Terry Kurgan: Photographs 1924 - 2005
Tracy Murinik reviews Terry Kurgan's exhibition at the Goodman Gallery.

KZN REVIEWS

   [03.06.05] Bonita Alice at the NSA
Bonita Alice's 'Promised Land' alludes to an imaginary land of fulfilment and explores our desire for rootedness in a series of installations and drawings. Camilla Copley reviews.


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