For the past three years Pitika Ntuli has been working on Azibuyele Emasisweni (Return to the Source), his first exhibition to comprise only of works sculpted in bone.
The 77-year-old artist spoke to ART AFRICA in an all-encompassing conversation that touched on his origins as an artist, his favourite materials and the state of contemporary art in South Africa today
I think my story is special. I have the role to break boundaries and connect more people, especially here in Nigeria.
Adejoke Tugbiyele (b.1977, New York, USA) is an award-winning, queer, black artist. Her work often comments on human rights issues around the world, and her own identity as a queer woman of Nigerian descent. She currently lives in Brooklyn, New York where she continues to make artwork and engage in advocacy projects.
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.
Thinking and writing about Dr Esther Mahlangu’s work may finally catch up with the quality of her 75-year long contribution to the modern art of painting. Dr Mahlangu’s image and success as a promoter of the arts and heritage of painting as practised by her people and community, Amandebele has often trumped critical appraisal of her work as a painter. This is in part because she has never failed to or seemed to mind submitting to the demands of the industry of appearing. In fact, she has always stood out as quietly in charge of her own agency in the glare of it all. This has led to her spectacle as an elderly African woman in an exotic dress being foregrounded above her individual ideas as an artist. Her art is too often handled in this language of curios and commercially adopted traditional cultural artefacts.
While artists outside the formal training environment, most often, carry the burden of proving their worth by rendering portraitures in realism form, Edozie Anedu differs. Apart from daring to go into their primitivism and highly stylised representational art, Anedu injects quite a depth of critical thematic contents into his strokes. Quietly, his works on canvas and mixed media of discarded materials were shown in a solo titled, Mistakes I Chose to Keep, a few weeks ago, at a workstation space on Kofo Abayomi Street, Victoria Island, Lagos.
At the same time that contemporary African art is packaged up with the glitz and glamour of Cape Town Art Fair and sparkly new museums like Zetiz MOCAA and the Norval Foundation, something very different is being inaugurated just outside the city limits. The Stellenbosch Triennale, an ambitious, multi-layered, multi-disciplinary exhibition across several locations around the small city. Funding from a sum of individual investors and businesses in Stellenbosch allows it to be free and open to the public. There is a film festival, a performance art festival, an interactive online educational platform for young learners, a talks programme, and musical interventions throughout the city... Click to continue reading
RMH commissioned sculptor Ndabuko Ntuli to create an artwork referencing its lion and key motif in his own way.
Professor Sandra Klopper discusses Willie Bester's Poverty Driven (2002).
Gideon Appah’s Love Letters, a series of figurative paintings, brings the artist’s memory and personal history into the gallery space. Using his family’s photography album as a memory jogger, Appah’s paintings retain the expressive pose that is associated with the Ghanaian studio photograph and its baggage of myth-making.
The artist's 50th solo exhibition, 'In Search of a New King', is a call for our country to heal
Zimbabwe-born contemporary artist Ronald Muchatuta, who specialises in drawing, painting and mosaic, relocated to SA in 2007 to pursue a new future and now lives in Cape Town.
ECONOMIC and emotional instability, the disunity among Africans and the loss of sense of self are some of the symptoms of a colonial babalaas that most black people suffer from today in Africa. Artists Ronald Muchatuta and Patrick Bongoy are addressing this monkey on the back of Africans in their exhibition, Feso A Thorn In The Flesh. Translated from Shona, Feso is a clandestine African plant which reveals itself through unexpected pain when stepping on it.
MELROSE ARCH – The Quantum People statue is unveiled in celebration of Steve Biko’s life. Crowds gathered at Melrose Arch to watch as acclaimed South African sculptor and poet Pitika Ntuli unveiled his 19-ton Quantum People sculpture made out of granite and metal chains inspired by the African Union’s Agenda for 2063.
Meet the Ghanaian Talent Heating Up Africa's Contemporary Art Scene As interest in contemporary African art balloons, Gideon Appah's absorbing, atmospheric work has helped put Accra’s art scene on the map.
– We want to fly but we need a Moroka An emboldened Ronald Muchatuta has crafted the largest single work he has ever put together. The ambitious mixed media artwork which is rendered in oil pastel, acrylic, mosaic and collage consists of sixty square panels of 50cm x 50cm each. The entire work covers three metres in height and five metres in length.
The launch of Ndabuko Ntuli’s solo exhibition at The Melrose Gallery, Johannesburg on 17 May 2018 was nothing short of mind blowing. The entire exhibition only features works created using trash (no not men) by crafting conceptually driven pieces using materials such as plastic, tin, bone, wood and other discarded materials in truly spectacular style.
The Ghanaian artist recently showed "Memoirs Through Pokua's Window" at the New York edition of 1-54.
Memoirs through Pokua's Window is a new series of works by Gideon Appah in response to his upbringing within an extended Ghanaian family. He recalls his grandparents, aunts, and uncles who are characterized by strong family bonds, religious activities, and folklore.
Aza was born 13 June 1980 in Kinshasha (Democratic Republic of Congo). She currently lives and works in Doula/ Cameroon. She is a talented visual artist who works in different genre including painting, sculpture, installations and video.
Denis Mubiru’s work explores the complex yet practical Kampala mini bus taxis, better known locally as ‘kamunye’. He uses playful, abstract, naïve paintings and imagery to retell the interesting and exciting dramas that unfold within the taxi; petty arguments, flirting and wolokoso (local gossip) that reflect on the society of Kampala and Uganda at large.
Denis Mubiru’s work explores the complex yet practical Kampala mini bus taxis, better known locally as “Kamunye”.
The African Art Centre in Durban asks some serious questions about African identity this month. The theme for 2017 is 'OR Tambo: Building a Better Africa and a Better World'.
Can war be beautiful? It was undoubtedly an art of sublime elegance for the Zulu nation in the 19th century, when they used some of the most precise military manoeuvres ever planned to massacre an entire British army.
Dennis Mubiru is as a visual artist of raw, naive expressionist style that uses poetry, drawing, painting, text and image, abstraction figuration and raw colours. He carefully uses social commentary in his paintings as a springboard to deeper truths about an individual.
Exhibit also reflects on the sigificance of the uprising for the present day
We recently spoke with Ronald Muchatuta, an artist and Zimbawean living in South Africa. We spoke on the social inequalities and history of South Africa and about those that have come into the country in the midst of these issues already not only underlying, but very much bubbling on the surface. It seems with all its anger and fight to reclaim the land, South Africa especially with its poorest inhabitants have shown hostility to those coming to the country in search of refuge.
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.
Ronald Muchatuta, a Cape Town-based contemporary artist has created a collection of paintings titled The African Immigration Series, which deals with the issues of immigration and xenophobia; a familiar topic to the Zimbabwean-born artist.
Ronald Muchatuta, a Zimbabwean-born contemporary artist currently residing in Cape Town, has been invited to exhibit one of his latest series of paintings titled The Owners of the Lake at the African Art Fair 2015 in Paris from Thursday, 15 October to Sunday, 18 October.
A RARE opportunity is on offer at the Artisan Gallery in Durban’s Florida Road as an exhibition of works from internationally renowned artist Carl Roberts is on display.
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.
IN 2001, Clint Strydom – whose art, up until that point, had consisted primarily of charcoal drawings and a short, unsatisfying foray into graphic design (it was “too restrictive”) – photographed a set of cutlery for the menu of the restaurant that he and his wife owned and operated on the KwaZulu-Natal South Coast at the time.
The ritual and mystical visions of Percy Konqobe and Sfiso Ka Mkame work well together in the Goodman space: both Konqobe's bronze sculptures and Ka Mkame's oil-stick-on-paper works just restrain a sense of darkness beneath their accomplished surfaces.