Billie’s back at Afronova
We couldn’t get enough of her moving and finely detailed delicate tapesteries last time round, we’re delighted to see that Billie Zangewa is back at the quaint Afronova gallery in Newtown with a new showing of her talent till the 13th December… it’s the perfect opportunity to combine a visit to the When life Happens Festival and the Afronova Gallery in the wonderful Newtown precinct… finish it off with dinner at one of the MANY restaurants in the ‘hood. For more info on Billie, read our interview with her in May last year here. GO GO GO. Based in London and traveling extensively, Billie Zangewa has been feeding on her experiences and brings a whole new bag of stories revealing her appetite for life and awareness of the world. More than ever, in her new silk tapestries, Billie comes out as a triumphant African woman, conscious of her roots and fully in touch with her environment. Her intimate universes meet the public realm in daring and original silk tapestries with strong narratives and presence. The cut silk collage and cotton embroidery offer a rich medium with precious textures and sensitive palettes, feminine but never quaint nor decorative. Stitch by Stitch Solo exhibition by Billie Zangewa from 18:00 to 20:00 Exhibition runs until Saturday 13 December Gallery Hours Tuesday to Friday : 13 :00 to 19 :00 Saturday 13 :00 to 17 :00 Contact afronova@tiscali.co.za www.afronova.com +27 (0) 83 726 59 06 The gallery is just across the Market Theatre entrance Safe parking corner Miriam Makeba and Gwigwi Mrwebi St – Newtown Po box 3205 – Parklands 2121 – Johannesburg – South...
Connor Cullinan at Obert Contemporary
We do our best to post cultural, entertainment and artistic events that bring vibrancy and value to your free time. Quality. So believe us when we say, lovers of art, get to the Obert Contemporary in the next two weeks for…..: connor cullinan: carne vale. 14-30 august 2008. obert contemporary is pleased to present ‘carne vale’ by connor cullinan from 14-30 august 2008. michael smith, the managing editor of artthrob, has written the following review of cullinan’s latest exhibition: ‘making a painting is usually less like building up a whole from a series of base units as much as it is about throwing everything you know and everything you’ve seen at a surface: layering, praying, falling apart and then layering some more. connor cullinan’s works quietly challenge this impulse. their evolution seems almost sculptural, in that the final image is achieved exactly through a process of unit-based construction, with lines, diamond shapes, rectangles and elements of pattern. the systematic process the works require for their production engenders a contemplative reading of their aesthetics and ideas. they ask the viewer for time and consideration rather than a gut response. in fact, the trope of ‘system’ underscores all of cullinan’s images: their grids, matrices and repetitions reverberate with a sense of some sort of metaphysical pattern or design. yet frequently the images rendered within these systems pull against them, and in a cautionary tone seem to speculate about how far from this order humanity has strayed. cullinan frequently works from media images, newspaper and magazine pictures. these operate as starting points for his exploration of ideas that fit into his conceptual framework. this is true of all ten of the paintings in the show ‘Carne Vale’. the show’s content addresses this notion of ‘carne vale’, an italian phrase for ‘farewell to flesh’. in contemporary english the phrase has morphed into ‘carnival’, but cullinan’s works refer to its designation as a pre-lenten festival during which indulgence is tolerated in preparation for lent’s asceticism. he works with the idea that the current social climate of excess and self-indulgence is a signal of future limitations on these things, as if humanity is playing out an ancient cycle of feast and famine on a grand scale. his formal approach thus seems entirely appropriate for this conceptual terrain, eschewing as it does painterly excess and surplus gestures. possession is a case in point: the picture of a man with arms raised, crying out, is composed of a series of jagged striations which recall a disturbed bridget riley canvas. yet even in this, the show’s most immediately emotive image, violence is muted by methodical construction. in ‘host’,...
Represent Insists: William Kentridge
We know it’s been open about 11 days already, but we like picking up the momentum halfway through… SO Representer’s – we’re Insisting that you make the effort to get to this. People all over the world would LOVE to be able to pop into a Kentridge exhibition on their home way from work – think of it as a gift, one of our most iconic, respected and honoured artists, William Kentridge, gives you the free prize – a look at his recent work for mahala!!! Now don’t even consider looking this gift horse in the mouth – just point your car towards Jan Smuts Avenue and GO GO GO! William Kentridge I What Will Come 10 November – 14 December 2007 http://www.goodman-gallery.com/ Gallery hours: Tuesday – Friday 09h30 to 17h30; Saturday 09h30 to 16h00. An exhibition of recent work by William Kentridge opens on November 10th 2007, at the Goodman Gallery. This exhibition, entitled What Will Come takes its title from the Ghanaian proverb ‘What will come has already come’. Kentridge is renowned for his animated films, drawn and animated using trademark multiple erasure technique, in which he explores the nature of human emotion and memories, and deals with the quest for cultural identity, ingrained history and politics of South Africa, intensely dedicating himself to issues of sight in his work*. Through a series of new drawings, prints, and stereoscopic images that form the basis of What Will Come, Kentridge continues to explore the medium of sight, reflecting his continued concern with optics and the construction of seeing. The exhibition is centered around an eight minute anamorphic film, entitled What will come. This filmic anamorphosis in which images, drawn and animated by Kentridge, assume their proper form only when reflected in a mirrored cylinder positioned at the projection’s centre. This film draws on the idea of the picture puzzle that originated in the sixteenth century. Kentridge translates this play with perception that operates distorted images that can only be deciphered from a certain angle in his film. The technique of cylindrical mirror anamorphosis Kentridge employs is based on a further level of perception. It is not enough to change one’s point of view but a cylindrical mirror is essential to decode the picture, with a certain radius that reflects the distorted image, causing it to ‘straighten’ optically. The production of these images relies on Kentridge’s profound knowledge of mathematical rules and optical foundations*. A number of anamorphic drawings from the film will also be shown, mirrored in cylinders. Other work concerned with optics and the construction of seeing, includes series of stereoscopic photogravures that take on three dimensions as one looks...
Catch Nikki Swanepoel @ UJ
Summer’s here so get out of the house and get some quality art appreciation into the mix! We’re giving you a bumper edition of arty exhibits to catch – so go on and support our artists! And if you can afford it, invest in some! Catch Nikki Swanepoel’s installation titled “Cattle as Cultural Markers in South Africa” at UJ’s art faculty as part of her M-Tech Fine Art degree fulfillment. Some of you may have caught her “Nguni Vessels” exhibit in 06, she carries on the cattle theme in fine style. An installation of sixty ceramic cattle heads by Nikki Swanepoel Opening at 11h00 on 17 November, and exhibited until 22 November 2007 (10.00 –16.00 daily) at the University of Johannesburg’s Faculty of Art, Design and Architecture campus, Bunting Road, Cottesloe/Auckland Park. The work is a partial fulfilment of the requirements for the degree, Magister Technologiae: Fine Art at the University of...
Let’s Get Interrupted at Intermission
If you still haven’t ventured up Bree st to absorb the mind-blowing 360′ jozi views from the “Intermission” venue on the 18th floor of the Lister building – here is your chance – celebrate one of our budding artists Anthea Moys as she completes her Masters in Fine Arts and exhibits her work… this Saturday! Anthea Moys – ‘Interruption’ – to be opened by Prof. Penny Siopis… and other surprises. In fulfillment of Master’s in Fine Arts – Saturday 10 November 2007, for one night only! 6:30 for 7pm Intermission: 195 Jeppe Street, Lister Medical Building, 18th Floor Safe parking via entrance Bree Street (turn right at big blue parking sign after crossing Kruis Street) Map: http://www.intermission.co.za/ Cash bar Info:...
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