Subject to Change at SANG
By Kim Gurney
Four curators have pooled their expertise to bring together works from the South African National Gallery's permanent collection that speak broadly about the process of change. 'Subject to Change' is most readily viewed through the lens of South Africa's political transformation but it could also lend itself to an interesting analysis of the shifts in the gallery's acquisitions policy over the years.
A number of artworks could be shoe-horned into such an open-ended theme, but the curators have done a good task of selecting a diverse range from across decades, artists and media to explore it.
Emma Bedford, the SANG's curator of contemporary painting and sculpture, told exhibition visitors that artists had been emboldened by shifts in society to explore more personal subject matter that was closed to them in the past. This thread is certainly evident.
The exhibition is set out in three gallery spaces in a reverse chronological order, starting with newer work. The show-stealer for visual impact is Antoinette Murdoch's te kort skiet. This wedding dress, created out of tape measures woven onto a wire armature of the artist�s dimensions, commands the entire room in its frozen ghostly wedding march.
te kort skiet is a comment on how women are expected to conform not only to certain physical measurements but also to other norms. The work also speaks about personal expectations and ideals and the fear of not meeting them. This is familiar territory for Murdoch. Her 2002 exhibition, 'Eksie-Perfeksie', dealt with similar issues, and included a paper doll work by the same name.
In contrast, Nicholas Hlobo and Mgcineni 'Pro' Sobopha both deal with issues around masculinity. Hlobo uses feminine lace and beads on the traditional initiation blanket, while Sobopha draws imagery onto a similar blanket with a soldering iron, alluding to the possibility of mutilation during circumcision. A heavy black line at the top of Sobopha's blanket indicates the subject is still not up for discussion and perhaps hints at the need for change.
The same could be said of Diane Victor's Corporate Em-brace II. It is a powerful work of embossed paper and charcoal that strongly questions the power structures of society yet with an ambiguity that retains a viewer�s attention.
The middle gallery space includes an intriguing mix of old and new: Brett Kebble award-winner Philip Rhikotso, Hylton Nel and Bitterkomix co-creators Anton Kannemeyer and Conrad Botes are exhibited alongside Dumile Feni, Thamsanqa ka Mnele and Noria Mabasa.
Next door, the tone is more political and hard-hitting. Jane Alexander's Butcher Boys and Willie Bester's mixed media The Soldier share space with works like Paul Stopforth's The Interrogators, Manfred Zylla's Businessand Stanley Pinker's Players in the Game.
Photography is also represented, ranging from a meditative series by Santu Mofokeng to provocative images of sexuality by Zanele Muholi. Pam Warne, the curator of photography and new media, told exhibition visitors that Muholi's intention was not to alienate but to promote the understanding of choices outside of the mainstream. Comfort depicts two women embracing � one is the victim of a hate crime.
There is a fascinating series by Drum photographer Ernest Cole and work by Ranjath Kally. Coincidentally, their former colleague, Peter Magubane, holds a solo exhibition in the neighbouring room entitled 'Madiba: Man of Destiny'.
Opens: March 19
Closes: August 28
Iziko South African National Gallery
Government Avenue, Company Gardens
Tel: (021) 467 4671
www.museums.org.za/iziko
Hours: Tuesday-Sunday 10am - 5pm
