[03.12.06] Pierre Fouché at Bell-Roberts
The private significance of the transient moment caught in a snapshot is transformed by Pierre Fouché through painstaking and idiosyncratic means into a playful suspension between revealing and concealing. Fabian Saptouw reviews 'The Distance Between Us' at Bell-Roberts Contemporary.
[03.12.06] 'Women: Photography and New Media: Imaging the Self and Body through Portraiture' at the JAG
Recently, two independent critics, Brenden Gray and Landi Raubenheimer, expressed interest in contributing to Artthrob. Gauteng editor Michael Smith decided with them, in order to broaden the focus given to any single show, to all review the same exhibition, in the hope that three interpretations of a given show would be superior to that evoked by a single, monolithic position.
Here, all three tackle 'Women: Photography and New Media: Imaging the Self and Body through Portraiture' at the JAG. Michael Smith feels that the curatorial brief was too loose and the show is best viewed as a survey of work produced by women in new media and photography over the last 12 years. Brenden Gray takes issue with the curatorial boxing of participating artists, suggesting that many women artists today 'have agency in choosing the gender positions from which they work'. Landi Raubenheimer is uncertain of where the show places itself in relation to feminism and what in fact it says about 'portraiture'.
[03.12.06] Churchill Madikida at the Durban Art Gallery
Churchill Madikida's Standard Bank Young Artist exhibition, 'Like Father Like Son', finds the artist investigating his own upbringing, interviewing his family members, including, ultimately, his estranged biological father. Francesca Verga reviews.
[03.12.06] Nontobeko Ntombela and Bronwen Vaughan-Evans at the KZNSA
Themba Shibase reviews 'Negotiated Spaces' by Nontobeko Ntombela and Bronwen Vaughan-Evans, where he finds it more useful to look at what the artists have in common that what distinguishes them. Shibase explores how the two position themselves in society and what bearing this has on an interpretation of their work.
[03.12.06] Report on the Inauguration of the Trienal de Luanda
Curator at the Museum for African Art, New York Laurie Ann Farrell reports on the inauguration of the Trienal de Luanda, in particular Paul D. Miller's (aka DJ Spooky) performance of New York is Now.