STELLENBOSCH, South Africa — For tourists, this prim colonial town is the gateway to a spectacular mountain region dotted with wine estates. To most South Africans, however, it is the redoubt of the Afrikaner elite, a Calvinist town whose university trained the framers of apartheid and where banking billionaires roost today. In a land that is sharply unequal despite 26 years of democracy, money and whiteness feel especially concentrated here.
May introduced the theme by posing a multifaceted question to the audience and panellists: What does the ideal future of fashion look like?Erica De Greef, the co-director of the African Fashion Research Institute (AFRI), kicked off the panel by sharing a story about the world-famous South African designer, Thebe Magugu. When Magugu was still a design student at Lisof, he wrote an essay evaluating Africa’s contribution to global fashion. His essay was awarded a 100% mark, an almost unheard of achievement in his Design Theory class, according to De Greef who was the lecturer at the time. Eight years later, Magugu was showcasing at Paris Fashion Week, exporting his African design aesthetic and perceptive sensibility to the world.
There is still a lot to do in the gender gap in the art world. With “31: Women” Daimler Contemporary in Berlin shows only artists from their collection. During the Second World War, Marcel Duchamp and Peggy Guggenheim often discussed women in art. In 1943, the question of whether these would still be subject to the roles of lovers or muses led to lengthy discussions and an exhibition in which the two exclusively showed artists. With “Exhibition by 31 Women ”,Guggenheim and Duchamp wanted to contradict the tendencies of surrealism, in which women were considered inspiration, but received little recognition as an independent artist. Clink to Read More Feature image: "Cycles and Cyclones" by Nnenna Okore and the "Musician" by Adejoke Tugbiyele Photo: Hans-Georg Gau
When it comes to Philiswa Lila’s exhibition Skin, Bone, Fire, a virtual experience is not quite the same as being in a room with the art
DR. ESTHER MAHLANGU. (PHOTO:GETTY IMAGES/GALLO IMAGES) Cape Town - Acclaimed artist, Dr Esther Mahlangu topped the trends list on Twitter on Wednesday evening after becoming the first South African to have her artwork displayed on a customised Rolls Royce Phantom.
The Stellenbosch Triennale, brainchild of the Stellenbosch Outdoor Sculpture Trust, takes place from February 11 to April 30, 2020 in a location renowned for its halls of academia and historical vineyards. The upcoming international showcase, extraordinary in terms of international reach and extent of art on show, will place creativity in critical dialogue with the society that fosters and exhibits it... Click to continue reading
JOBURG – The Department of Sports, Arts and Culture honours sculptor Noria Mabasa with a launch of a book about her journey.
South African artist Esther Mahlangu, poses at her home in Mabhoko Village, Siyabuswa, Mpumalanga on March 6, 2017. Image: AFP PHOTO / GULSHAN KHAN (Photo credit should read GULSHAN KHAN/AFP/Getty Images) To mark national Women’s Month, a book that celebrates the life of legendary South African visual artists Noria Mabasa and Esther Mahlangu will be launched on Thursday. The launch, a concept of the department of arts & culture, is scheduled to take place at Constitution Hill under the theme 25 Years of Democracy – Growing South Africa Together for Women’s Emancipation...Click to continue reading
Mthatha-born fine artist Philiswa Lila is to spend three months at a top French studio after winning the Gerard Sekoto Award recently. Lila won the award for her imaginative sculpture, Self-Titled. The 30-year-old described her creation as part of a series of other sculptures. The award is given annually to a talented emerging artist from South Africa through the Absa L’Atelier Art competition. It is supported by the French Institute of South Africa, the French embassy in South Africa and the Alliance Française network of South Africa... Click to continue reading
The Brooklyn Museum in New York has announced that it has added works by ninety-six female artists to its collection. The pieces were acquired in conjunction with the institution’s recent series of programming celebrating women. “A Year of Yes: Reimagining Feminism at the Brooklyn Museum” marked the tenth anniversary of the Elizabeth A. Sackler Center for Feminist Art.
Artist and traditional healer, Ndabuko Ntuli, has a solo exhibition opening at The Melrose Gallery in Johannesburg from next week, 18th May.
One of the special projects featured in the 2016 edition of 1:54 Contemporary African Art Fair in London was a group exhibition commissioned by Nando’s – an international restaurant chain famed for its Afro-Portuguese cuisine – in collaboration with Yellowwoods Art. Nando’s patronage of contemporary African art, through its close partnership with Cape Town based Yellowwoods Art, both enables the development of artists and the curation of Nando’s own art collection. Through Yellowwoods Art, Nando’s have amassed one of the biggest collections of contemporary Southern African art in the world with over 7,300 original works exhibited in their UK restaurants.
Spirituality is what fuels the work of Zimbabwean-born artist Ronald Muchatuta. The soft-spoken artist has been working in Cape Town since moving here in 2007, but it has not been easy. Working independently as an artist and being from Zimbabwe have meant life often is a struggle, but recently the 31-year-old has been finding opportunities in various galleries around Cape Town. It is clear from speaking to Muchatuta that he reflects deeply and philosophically upon all the work he creates.
Fresh off exhibiting at the African Art Fair 2015 in Paris and the United Nations’ Milano Expo, Ronald Muchatuta is now working on his latest body of work which is inspired by the theme of African migration and more specifically the recent xenophobic attacks that transpired in South Africa earlier this year The Cape Town-based, Zimbabwean-born contemporary artist has created a collection of paintings titled The African Immigration Series which deals with the issues of immigration and xenophobia.
At the entrance to the Constitutional Court of South Africa stands a sculpture of a large man yoked to a cart. His burden is a human one: a man and woman who themselves are seated on the back of a fourth figure kneeling on the cart. At first glance, the sculpture resonates with the history of servitude that marked the dehumanizing institution of apartheid. On closer reflection, the sculpture reveals a more complex message.
This text represent a typed version of a recording documenting Philiswa Lila’s thoughts around the recent art making workshops presented to a group of autistic adults housed at Lethabo Le Khutso, culminating in an exhibition at the Pretoria Art Museum (02 November – 26 November). Great care has been taken to translate the recording verbatim from audio to text. Herein the reader will gather Mme Lila’s ideas around transference of skills as far as visual art is concerned as well as the impact that artists from Lethabo Le Khutso has had on her as a practicing artist. It is also hoped that the reader will come to appreciate the fact that the writing tries to center around the interviewee; so the questions were constructed with economy to provoke undiluted calculated responses. Lastly the text is inclusive of verbal interruptions to retain nuances and mood as the interaction between the interviewer and interviewee develops. Welcome to interparadox, in search of an artist.