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.
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).
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.
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.
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.
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.