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THE SOUTH AFRICAN www.arttimes.co.za • May 2008 • Issue 5 Vol 3 • Subscription RSA R180 p.a • May Print & Distrib. 7 000 copies • RSA Free. Available in Namibia & Zimbabwe (Detail) Zander Blom, Untitled, Bathroom, 2.01 a.m., Wednesday, 23 May 2007, 805 x 559 mm, Ultrachrome ink on 100% Cotton Rag. (Courtesy of Whatiftheworld / Gallery)TRANSCRIPT
THE SOUTH AFRICAN
www.arttimes.co.za • May 2008 • Issue 5 Vol 3 • Subscription RSA R180 p.a • May Print & Distrib. 7 000 copies • RSA Free. Available in Namibia & Zimbabwe
ART TIMES
(Detail) Zander Blom, Untitled, Bathroom, 2.01 a.m., Wednesday, 23 May 2007, 805 x 559 mm, Ultrachrome ink on 100% Cotton Rag. (Courtesy of Whatiftheworld / Gallery)
Page 2 South African Art Times. May 2008
The South African
Art Times May 2008 www.arttimes.co.za
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By Sylvie Groschatau-PhilipsApril 7th, 2008
“I am writing at this time of uncer-tainty in our beautiful country and city, but the drive to determine our future and identity is, if anything, strengthened by our circum-stances”. Manuel Bagorro, HIFA Founder & Artistic director
The Harare International Festival of the Arts opened up in Zimbabwe on the 29th of April 2008 with “the presidential poll result on the way” (Sunday Mail, Harare). The Gardens and the National gallery were invested to the full and varied to create an arborescence of determination, to show, to com-municate, interact and inform.
The 9th edition of HIFA encom-passed five main disciplines: music, theatre, fine arts, dance and spoken word. HIFA represents an enormous work in common from the artists, organizers, staff, funders to the audience, eager and hungry to hear, partake and share the dance for the seven days of this ceremony of deter-mination that showed a profound significance and demonstrated that the Zimbabwean artists are thinking beyond the exotic and the usual in favour of a true and valid contemporary response and social comment.
The festival showcased the best of Zimbabwean performances and fine arts while staging and exhibiting African and international performances.
Opening in such a context was a challenge and a statement both by local artists such as Chiwoniso Maraire and Oliver Mtukudzi, the African Voice, a Zimbabwe’s première all female, a capella quin-tet, African icons such as Dobet
Gnahore, one of a new generation of African artists who are rewriting the rules about embracing musical tradition with a multi-faceted ap-proach to music, song, dance, per-cussion and the theatre, “defiantly diverse, musically and linguisti-cally”, Herbert Kinobe who, in his early twenties, is an acclaimed Ugandan master of the Kora, les Amazones de Guinée, Canaman, 3MA, Nathalie Natiembe, the Brazilian singer André Abujamra, Freshly Ground, Brett Bailey and Voyage Ensemble from South Africa all carried voices, created a world of determination at a high level of thinking.
“We are near the end, what are we looking for? We are special-ists in self-destruction, emptiness, indifference and yet everything is based on hope” (Augusto Cuvillas, Mozambique). “Truth in translation” engaged on the Truth and Reconciliation process and proposed work-shops around the play where the audience was encouraged to express opinions, Sangano “the Meeting” by theTumbuka Dance company, Loupe as a part of the HIFA-DIRECT project, “The two leaders I know” by Daves Guzha, Curry Tales by Rani Moorthy, “Settlement” by the Belgian Dance Company SOIT where the per-formances were the culmination of a process of construction and sharing, La Voix, HIVOS Spoken Word programme, Kalanga, where the spirit of the Kalanga flourishes with resounding energy, every show was a solid declaration of life, determination and self worth.
The HIFA-LUTIN was published in different colour daily and distrib-uted to the audience with critics and reviews on the exhibitions, performances and workshops with the full programme of the day. Staff
and security participated actively to the performance. The festival offers employment and accredita-tion, training, references and most importantly, a sense of inclusion and involvement in the event.
Heard from the audience and around: “It is the determination of audiences that come to HIFA in such numbers who show why the world holds Zimbabwe and her people in such high regard and for whom all the trials and torments are worth the effort”.
“the Festival offers some form of consolation for the discouraged, inspiration for the frustrated and healing for a community that comes together in literal and meta-phorical harmony, determined to foster a sense of unity, belonging and optimism against all odds”
Power in the Voice encouraged young creative thinkers and performers to develop their skills in spoken word, performance, rap, storytelling, as well as street art, creative writing, competitions, col-laborations, workshops, exhibitions and talks.
The YOUTH scene on the Green where hip hop dancing com-petitions and workshops were proposed daily was always vibrant and determined to action. “It is a celebration of young and older people finding their voices and expressing themselves” *
The National Gallery presented works by Shona master stone sculptors Graham Rugow and Liberty Tshuma. The vast high ceil-ing groundfloor space displayed works by emerging local artists such as Viriginia Chihota and Admire Kamudzengerere. Most of these artists worked with recuper-ated material from around the
gallery such as stones and gravels for Semina Mpofud sculpture “Determination” to clay and bricks in Gareth Nyandoro’s “Misoropam Wechete” an installation built on site. The large overlooking mezza
nine presented works by renown Brazilian photograph Salvador Negroamor, Art on Purpose and the Voyage Ensemble “Mapping cultural echoes” a body map and suitcase ensemble together with Daniel Glaser and Magdalena Kunz as guest artists. From Blank to Zimbabwe, their “Talking Heads” have created echoes, response and awe. The new media instal-lation remained a hot spot for the duration of the show.
Workshops and Art Therapy, guided visits, Fashion shows, Opera, Mbira Koto Vibrations to Ikebana enlivened and made use of the Artworks on display around the gallery. The place was never still: the eagerness of the public to see and share, their criticality and overwhelming curiosity really made a celebration of the journey-ing together of both visual art and people that is not defined by borders and differences but by a broader understanding of a shared African visual imagery.
“The visual art show was by far the most consequent and eclectic show of the visual arts to date” Manuel Bagorro, HIFA Founder & Artistic director.
“The audience was refreshing. Their response and contributions made the exhibition alive with relevance”.
Admire Kamudzengerere “Cornered” with the Mbira Koto Vibrations performing.
The Global Quarter Craft and
Design Market showcased its iden-tities in a Circular display of tents around the Gardens together with the outdoor stages, the Green, and delies spread throughout the event to tempt tastes, ears and buds.
The festival opened with a cer-emony led by Mbira Dzenharira, an evening of chidzimba, mhem-berwa and makwiringwindo and Dreamland by Brett Bailey where a king from a far far away land is determined to play his own music only. Dreamland was mounted in Zimbabwe making use of art and drama therapists who engaged with individuals locally on the state of dream and nightmares.
The artists and organizers share a strong belief in the power of cul-ture to promote social transforma-tion and ensured that the Festival is reaching out to the broadest possible audience.
Unicef, Pro Helvetia, Africalia, the Swiss, Norwegian, Italian, Portuguese, French, Nether-lands, German, Japanese and Indonesian embassies and the British council, actively engaged in making the festival a success, with many local and international banks and corporates feeling empowered by the challenging personality of HIFA.
“As Zimbabweans, we speak of challenges and difficulties… such insignificant words to describe the determined effort it has taken to bring this tremendous celebration of Zimbabwean resilience to frui-tion” Maria Wilson HIFA executive director.
On the 6th of May, the day after the festival closed, new bank notes were issued of Z$ 250 000 000 and Z$ 100 000 000.
The Harare International Festival of the Arts (HIFA) 2008 - The Art of Determination
South African Art Times. May 2008 Page 3
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‘Trapped in History’
By Sylvie Groschatau-PhilipsApril 7th, 2008
“I am writing at this time of uncer-tainty in our beautiful country and city, but the drive to determine our future and identity is, if anything, strengthened by our circum-stances”. Manuel Bagorro, HIFA Founder & Artistic director
The Harare International Festival of the Arts opened up in Zimbabwe on the 29th of April 2008 with “the presidential poll result on the way” (Sunday Mail, Harare). The Gardens and the National gallery were invested to the full and varied to create an arborescence of determination, to show, to com-municate, interact and inform.
The 9th edition of HIFA encom-passed five main disciplines: music, theatre, fine arts, dance and spoken word. HIFA represents an enormous work in common from the artists, organizers, staff, funders to the audience, eager and hungry to hear, partake and share the dance for the seven days of this ceremony of deter-mination that showed a profound significance and demonstrated that the Zimbabwean artists are thinking beyond the exotic and the usual in favour of a true and valid contemporary response and social comment.
The festival showcased the best of Zimbabwean performances and fine arts while staging and exhibiting African and international performances.
Opening in such a context was a challenge and a statement both by local artists such as Chiwoniso Maraire and Oliver Mtukudzi, the African Voice, a Zimbabwe’s première all female, a capella quin-tet, African icons such as Dobet
Gnahore, one of a new generation of African artists who are rewriting the rules about embracing musical tradition with a multi-faceted ap-proach to music, song, dance, per-cussion and the theatre, “defiantly diverse, musically and linguisti-cally”, Herbert Kinobe who, in his early twenties, is an acclaimed Ugandan master of the Kora, les Amazones de Guinée, Canaman, 3MA, Nathalie Natiembe, the Brazilian singer André Abujamra, Freshly Ground, Brett Bailey and Voyage Ensemble from South Africa all carried voices, created a world of determination at a high level of thinking.
“We are near the end, what are we looking for? We are special-ists in self-destruction, emptiness, indifference and yet everything is based on hope” (Augusto Cuvillas, Mozambique). “Truth in translation” engaged on the Truth and Reconciliation process and proposed work-shops around the play where the audience was encouraged to express opinions, Sangano “the Meeting” by theTumbuka Dance company, Loupe as a part of the HIFA-DIRECT project, “The two leaders I know” by Daves Guzha, Curry Tales by Rani Moorthy, “Settlement” by the Belgian Dance Company SOIT where the per-formances were the culmination of a process of construction and sharing, La Voix, HIVOS Spoken Word programme, Kalanga, where the spirit of the Kalanga flourishes with resounding energy, every show was a solid declaration of life, determination and self worth.
The HIFA-LUTIN was published in different colour daily and distrib-uted to the audience with critics and reviews on the exhibitions, performances and workshops with the full programme of the day. Staff
and security participated actively to the performance. The festival offers employment and accredita-tion, training, references and most importantly, a sense of inclusion and involvement in the event.
Heard from the audience and around: “It is the determination of audiences that come to HIFA in such numbers who show why the world holds Zimbabwe and her people in such high regard and for whom all the trials and torments are worth the effort”.
“the Festival offers some form of consolation for the discouraged, inspiration for the frustrated and healing for a community that comes together in literal and meta-phorical harmony, determined to foster a sense of unity, belonging and optimism against all odds”
Power in the Voice encouraged young creative thinkers and performers to develop their skills in spoken word, performance, rap, storytelling, as well as street art, creative writing, competitions, col-laborations, workshops, exhibitions and talks.
The YOUTH scene on the Green where hip hop dancing com-petitions and workshops were proposed daily was always vibrant and determined to action. “It is a celebration of young and older people finding their voices and expressing themselves” *
The National Gallery presented works by Shona master stone sculptors Graham Rugow and Liberty Tshuma. The vast high ceil-ing groundfloor space displayed works by emerging local artists such as Viriginia Chihota and Admire Kamudzengerere. Most of these artists worked with recuper-ated material from around the
gallery such as stones and gravels for Semina Mpofud sculpture “Determination” to clay and bricks in Gareth Nyandoro’s “Misoropam Wechete” an installation built on site. The large overlooking mezza
nine presented works by renown Brazilian photograph Salvador Negroamor, Art on Purpose and the Voyage Ensemble “Mapping cultural echoes” a body map and suitcase ensemble together with Daniel Glaser and Magdalena Kunz as guest artists. From Blank to Zimbabwe, their “Talking Heads” have created echoes, response and awe. The new media instal-lation remained a hot spot for the duration of the show.
Workshops and Art Therapy, guided visits, Fashion shows, Opera, Mbira Koto Vibrations to Ikebana enlivened and made use of the Artworks on display around the gallery. The place was never still: the eagerness of the public to see and share, their criticality and overwhelming curiosity really made a celebration of the journey-ing together of both visual art and people that is not defined by borders and differences but by a broader understanding of a shared African visual imagery.
“The visual art show was by far the most consequent and eclectic show of the visual arts to date” Manuel Bagorro, HIFA Founder & Artistic director.
“The audience was refreshing. Their response and contributions made the exhibition alive with relevance”.
Admire Kamudzengerere “Cornered” with the Mbira Koto Vibrations performing.
The Global Quarter Craft and
Design Market showcased its iden-tities in a Circular display of tents around the Gardens together with the outdoor stages, the Green, and delies spread throughout the event to tempt tastes, ears and buds.
The festival opened with a cer-emony led by Mbira Dzenharira, an evening of chidzimba, mhem-berwa and makwiringwindo and Dreamland by Brett Bailey where a king from a far far away land is determined to play his own music only. Dreamland was mounted in Zimbabwe making use of art and drama therapists who engaged with individuals locally on the state of dream and nightmares.
The artists and organizers share a strong belief in the power of cul-ture to promote social transforma-tion and ensured that the Festival is reaching out to the broadest possible audience.
Unicef, Pro Helvetia, Africalia, the Swiss, Norwegian, Italian, Portuguese, French, Nether-lands, German, Japanese and Indonesian embassies and the British council, actively engaged in making the festival a success, with many local and international banks and corporates feeling empowered by the challenging personality of HIFA.
“As Zimbabweans, we speak of challenges and difficulties… such insignificant words to describe the determined effort it has taken to bring this tremendous celebration of Zimbabwean resilience to frui-tion” Maria Wilson HIFA executive director.
On the 6th of May, the day after the festival closed, new bank notes were issued of Z$ 250 000 000 and Z$ 100 000 000.
During the 9 days of our stay $20 were worth (in bank notes of 10 to 50 million) from up to Z$ 85 000 000, Z$ 97 0000000 till Z$ 100 000 000.
A beer can be 350 million down to 150 million locally.
The Sunday Mail costs a Z$ 100 million.
Everyone is multi billionaire every-day. You count your money fast ($ or £ exchange at different rates by the day and the accommoda-tor)
Determined participation, dedica-tion, active healing, research, re-membrance workshops, networks and exchange, collectively spreadthe quality innovative spirit that ensures the continuing success and growth of the contemporary art scene in Zimbabwe in spite of the political economic and social hardship that people face.
It is an honour to partake.
Last comments on Sunday 5th: 9:00 am at the press conference HIFATIGUE “with many seeds planted” and during the closing performance by Oliver Mtukuzi, Louis Mhlanga, Steve Dyer and Judith Sephuma HIFAMILY !
“We feel that the Zimbabwean art scene is a space to watch. In the lead up to the 10th anniversary of HIFA, this continent and beyond will be guaranteed a relevant and vital art event that strives to promote a strong African capital for many years to come”.
Heeten Bhagat, Curator of the National Gallery of Zimbabwe
Mazvita HIFA !
The Harare International Festival of the Arts (HIFA) 2008 - The Art of Determination
Performance at the National Gallery, Harare
A crowd at HIFA
Work from the Global Quarter Body Map Workshop
Page 4 South African Art Times. May 2008
Patrick Burnett
The Bell-Roberts Contemporary has announced its imminent move from central Cape Town to premises in Woodstock.The move will see the gallery join-ing the Goodman Gallery in Wood-stock, while another contemporary gallery, the Michael Stevenson Gallery, is also in the process of moving to the suburb.
Bell-Roberts Contemporary owner Suzette Bell-Roberts said the move was motivated by the lease ending at their current Bree Street residence and the need to find premises that could accommodate the three arms of their contem-porary art, design and publishing business.
She said the criteria for finding new premises had been high ceilings, beautiful flooring and “voluminous space”. Bell-Roberts said the existing Bree Street premises had beautiful beams and a historical feel and context, but that this also imposed
on the art works. The new gallery would enable exhibitions on a “big scale”, allowing artists space for greater experimentation.
With regards the move of other galleries to Woodstock, she said it made “a lot of sense” for the galleries to be together.
“Woodstock is also becoming the creative hub of the city and borders on the east end of the city, so it is not that much further to drive,” she said.
The new gallery, situated in Fair-weather House in Woodstock, is scheduled for opening on 18 June. The opening exhibition has yet to be finalised.
Emerging and established artists have been hosted by the gallery for the last six years.
It’s publishing wing has produced books on contemporary visual arts and culture with titles on art, design and architecture. -- WCN
Bell-Roberts joins the art rush to Woodstock
Patrick Burnett
Art festivals reach broad audi-ences, give artistic experience, enhance participation and a sense of cultural belonging, play a role in education and reach the youth, thus playing a key role in turning a multicultural society into an intercultural society. So reads a declaration signed by 130 delegates from 27 countries at the end of April at a four-day event held in Turkey. The delegates represented 60 art festivals from around the world. Held by the European Festival As-sociation, the theme of the event was “Festivals in a Globalizing World - Challenges of international cultural cooperation” and involved a discussion on the challenges, opportunities and obstacles of international cooperation in the festival world. Increased collaboration between festivals globally holds possibili-
ties for South African artists, while South Africa’s small but vibrant festival circuit carries lessons for the rest of the world.Karen Jeynes, Western Cape general secretary of the Perform-ing Arts Network of South Africa, who attended the meeting, and made a presentation about South African art, said festivals in Europe tended to focus on specific genres, while events in South Africa like the National Arts Festival were multi-disciplinary.Along with this there was a move away from classical arts and a recognition of the need to reach younger audiences and diversify – something music festivals in South Africa, which were more in-clusive and did not have as many genre barriers – were already doing, she said.In another experience-sharing area, Jeynes said many countries in Europe, who had previously seen art funded by governments,
were seeing their funding cut back and were starting to have to look for corporate funding, whereas this had been happening in South Africa for some time.“That is part of the reason why they are being forced to look at younger audiences and be com-mercially viable,” she said.Jeynes said future collaboration as a result of the meeting would be of benefit to South Africa because
information sharing would enableartists to be aware of what was required by European festivals. Beyond that, Jeynes said there had been a lot of interest in Africa and South Africa, with a move away from seeing South African art as one dimensional and a growing recognition that the country rep-resented the full spectrum of arts - from traditional crafts through to animation. -- WCN
Global collaboration set to boost festival circuitThe European Festival Association hosted the “Festivals in a Globalizing World - Challenges of international cultural cooperation”
Fairweather House, home to The Goodman Gallery, and now alsoThe Bell Roberts Contemporary
GG_ArtTimes_260x395_250408 4/24/08 11:56 AM Page 1 C M Y CM MY CY CMY K
www.grahamsfineartgallery.co.za
Laubser, Maria Magdalena (Maggie) (1886 - 1973) ‘Portrait of a Woman with a Blue Head Scarf’. Oil on board, 50.4 x 45.8 cm. Signed "M Laubser" (lower/left)
Shop 46, Broadacres LifestyleCentre, Cnr. Cedar & ValleyRoads, Broadacres, Fourways.Graham Britz 083 605 5000Sarah Keys 084 568 5639Gallery 011 465 9192
THE OPENING OF AN EXHIBITIONOF SOUTH AFRICAN MASTERSFROM 1853 ONWARDS,ON 29 MAY 2008 AT 7PM
THE MODERN PALIMPSEST:ENVISIONING SOUTHAFRICAN MODERNITY
The exhibition will be opened by Dr Federico Freschi, Senior Lecturer: Division of Visual Arts, Universityof the Witwatersrand. The exhibition will conclude on 29 August 2008. RSVP: Brad on 011 465 9192.
Page 6 South African Art Times. May 2008 South African Art Times. May 2008
The Hollard Gallery Hall Evening programme, hosted by Hollard and Artinsure happened this month , which included a variety of contemporary and classic works on show and used four experts to explain to the guests what is happening in the South African art world at present. Guests included private and corporate collectors, members of the finance word, art consultants, artists, gallerists, new comers to the art world who are potential stakeholders. Included above are Paul Myson (auctioneer and valuer), Jeanetta Blignaut (Curator Hollard Art Collection), Lee-Ann Dobrescu (Hollard Insurance Partners), Gordon Massie (Artinsure)
(Full image) Zander Blom, Untitled, Bathroom, 2.01 a.m., Wednesday, 23 May 2007, 805 x 559 mm, Ultrachrome ink on 100% Cotton Rag (Courtesy of Whatiftheworld / Gallery)
Work from Guy Tillim’s up coming show at The Michael Stevenson Gallery entitled: Lubumbashi City Hall, DR Congo, 2007 (Photo) - opening 10 July 2008. For more information see www.michaelstevenson.com
Jean Brundrit - The Exchange! (Photograph) from her exhibition entitled: A Lesbian Story at the AVA Gallery until 09 May 2008
AROUNDTHESHOWS
Bronwen Vaughan-Evans, one of the works from : Home Is Where the Heart is. Mixed media paintingOpening Thursday 12 June @ Gallery Momo
South African Art Times. May 2008 South African Art Times. May 2008 Page 7
We represent these artists:Ben CoutouvidisAlice GoldinWendy RosselliLyn SmutsPhillipa AllenHardy BothaTheo P. VorsterJudy WoodbourneDavid RidingCecil Skotnes and others.
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Jean Brundrit - The Exchange! (Photograph) from her exhibition entitled: A Lesbian Story at the AVA Gallery until 09 May 2008
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www.thephilipharpergalleries.co.za We specialise in South African Art, both Old Masters and select Contemporary Artists, catering for both corporate and private clients
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Pieter van der Westhuizen (1931-) Young Boy, Pastel (465 x 325 mm)