March 2014 - The South African Art Times
Boshoff wys, gesels oor sy kuns
Oudtshoorn. – Een van Suid-Afrika se voorste konseptuele kunstenaars, Willem Boshoff, bring in die gedaante van ’n druïde sy eiesoortige werk en prosesse na die Klein Karoo Nasionale Kunstefees (KKNK) hier.
Die abstrakte konsep van die kunstenaar en druïde as een wese is kenmerkend in die werk van Boshoff, en sinoniem met hom as persoon.
Willem Boshoff Foto: DEON RAATH
Boshoff, as die “Big Druid”, woon en werk in sy “cubicle”, ’n spesiaal ingerigte ruimte wat toegerus is met sy beddegoed, klere, houtwerk-gereedskap, ou stoor- en uitstal­kabinette, kieries en verskeie items en voorwerpe uit sy ­persoonlike versamelings.
In dié ruimte word ook ’n reeks nuwe werke uitgestal wat konseptueel klem lê op Boshoff se verbintenis met die natuur, asook tale. Dit wys ook op sy veelsydigheid om te werk met ’n verskeidenheid van materiale, wat wissel van hout, graniet, handgemaakte papier en sand tot gevonde voorwerpe.
Die “Big Druid” sal gedurende die fees teenwoordig wees in sy “cubicle”, waar hy sal werk aan sy kuns, woorde­boeke, filosofiese strategieë, tekste en fotografiese dokumentasie. Hy sal ook besoekers ontvang, rondleidings gee en ­gesprekke hou rondom sy kunswerke, wat dit beteken om ’n druïde te wees, asook sy persoonlike siening van die wêreld en die lewe in die ­algemeen.
Geskeduleerde “Druid”-wandelinge sal elke dag plaasvind van 09:00 af. Besoek sal gebring word aan vervalle ­geboue, vuil en verstote nedersettings, ou begraafplase, agter­strate, ou winkels en ­nywerheidsgebiede.
Die “Big Druid” se doel is om plekke en aspekte op en rondom Oudtshoorn, wat ­ander sal huiwer om te verken of te beskou, te ondersoek. Die publiek is welkom om die ­wandelinge by te woon en die “Big Druid” op hierdie stap­togte te vergesel.
Boshoff, bekend vir sy konseptuele kunswerke en installasies, se leefstyl was nog altyd soortgelyk aan dié van ’n ­druïde – spartaans, nadenkend en eerbiedig toegewy aan die studie van die natuur, die kunste en die heelal.
Lees hierdie en ander interesante kuns stukke op: http://www.dieburger.com/vermaak/2014-03-30-boshoff-wys-gesels-oor-sy-kuns
Historic Marrakech bids to become an artistic hotspot
BBC News | Sylvia Smith:
Earlier this month the Marrakech Biennale drew a sizeable crowd to its opening in the magnificent remains of the 16th Century Badi Palace, Morocco’s most popular tourist destination.
Max Boutfathal’s Madonna 207, outside the Badi Palace
With France’s former Culture Minister Jack Lang in attendance, there was a sense the international contemporary art event had reached a significant turning point.
Marrakech Biennale 5 was a moment to take stock, and for executive vice-president Amine Kabbaj the key to its future success lies partly in the city’s location.
“We lie on a crossroads between the Western world, the Islamic world and the African world,” he said.
“We are a modern society that values its traditional culture, but we are also evolving rapidly.”
Amine Kabbaj says Marrakech is at a cultural crossroads
During the 10 years of the Marrakech Biennale, this hip and chic North African city has seen the opening of a film school, a large museum of photography and visual arts and numerous galleries. A private museum of contemporary African art is also under construction.
Within a matter of years the art infrastructure of this medium-sized city is likely to challenge some of the continent’s largest.
Simon Njami, a leading African contemporary art curator, feels the current Marrakech Biennale should be viewed as the first.
“The previous editions were mere rehearsals,” he says. “This is a big step forward. The start of something different.”
Marrakech is already attracting a quarter of all visitors to Morocco.
According to Amine Boughaleb, of the Moroccan Tourist Office, that number is rising. “We expect well over three million visitors to Marrakech this year,” he says.
“It has enormous potential to develop yet further. Its popularity will be underpinned by further cultural offerings.”
Until now the African art market has focused on Nigeria and South Africa, with their large number of artists, investors, curators and philanthropists.
But, although Marrakech has a far smaller scene, this former hippy city is now enjoying significant investment by the private sector, creating a smaller version of the Gulf “starchitect” building boom – a sort of miniature Qatar or Abu Dhabi.
The new contemporary art museum to be created by Morocco’s Fondation Alliances organisation, which supports economic, social and cultural development, is based on the collection of its president, Alami Lazraq.
His collection includes more than 1,000 pieces of art from around the continent.
“The aim is to promote social cohesion, and to showcase African contemporary art in Africa,” says Mr Lazraq.
“The museum will be situated between three golf courses and next to a working-class neighbourhood.
Increasingly, up-market developments on the outskirts of Marrakech have added to its affluent population, a transient, well-heeled crowd who take galleries and museums as a given. Looking at and investing in art is part of their cultural experience.
Touria El Glaoui, daughter of one of Morocco’s best known painters and founder of London’s 1:54 Contemporary African Art Fair, says that Marrakech is the right place for these developments.
“My father is from Marrakech and art is part of life here,” she says. “When all the infrastructure is in place this city will be even more amazing.”
Art curator Simon Njami says: “History is in the making now, and it looks as if Marrakech is taking up the challenge.”
Attempts in other parts of the continent to create museums have not been met with success. London-based Nigerian artist Yinka Shonibare bemoans the lack of political will to create a national museum of contemporary art in Lagos.
‘Ourselves to blame’
“Even suggesting it made me almost feel like a colonialist,” he says. “It was as if I was telling Africans what they needed. It is something that should develop organically.”
The mooted museum would have been designed by noted African architect David Adjaye.
Morocco’s art philanthropists are choosing to use their collections like museums, for the public to enjoy.
Sharing their works with the people brings public-relations benefits and is perhaps, as, Simon Njami suggests, a process of cultural re-appropriation.
“The ancient art of Africa is displayed all over the world and we cannot see it on the continent. We can blame colonisation for that.
“But if, in a century, no actual art can be found in African museums, there will be only ourselves to blame,” he says.
“History is in the making now. and it looks as if Marrakech is taking up the challenge.”
Read this and other interesting art-icles via source: http://www.bbc.com/news/business-26739854
Kunstenaarsruimtes onder loep op KKNK
Drie feeskunstenaars wys nog tot Sondag in Oudtshoorn meer as net hul werk – ook hul ateljeeruimtes.
Besoekers kry vanjaar op die Klein Karoo Nasionale Kunstefees ook ’n blik op ’n gerekonstrueerde weergawe van die werkplekke, werkbenadering en praxis van ­Willem Boshoff, Gordon Froud en Louis Jansen van Vuuren.
Gordon Froud. Prent: Kunstenaar
“Die kunstenaarsateljee is nie ’n generiese werkruimte nie, maar ’n verlenging van die kunstenaar se denke, emosies en interaksie,” het Sandra Hanekom, dié fees se kurator van die visuele kunste, onlangs aan Beeld gesê.
Boshoff se uitstalling heet Big Druid in his Cubicle, Froud s’n A Retrospective of Exhibitions I Never Had en Jansen van Vuuren s’nOogwink: ’n Kunstenaarsblik.
Benewens die feit dat Boshoff beskryf word as ’n konseptuele kunstenaar, kom “druïde” ál meer na vore in takserings van dié presiese kunstenaar.
Só is hy genoem toe hy in 2009 deelgeneem het aan die Basel-kunsskou in Switserland en hy as “druïde” vir die duur van die skou in ’n klein vertrek in die uitstalruim geleef en geslaap het. Iets van dié uitstalling, ook genoem Big Druid in his Cubicle, het in 2010 gestalte gekry toe Boshoff ’n maand in die Nirox-galery in Arts on Main, Johannesburg, gewoon het. Einde verlede jaar is dié uitstalling in die Smac-galery in Kaapstad herhaal.
Waarskynlik is dit dié kunstenaar-in-sy-ateljee wat Hanekom op die spoor gekry het om dié gesprek uit te brei en Froud en Jansen van Vuuren te betrek.
Wat Froud gaan vat en wat hy gaan los, kan net interessant wees. Gevonde voorwerpe het vir dié veelsydige kunstenaar die bekoring wat blink goed vir ’n kraai het.
Die verskil is dat Froud nie net versamel nie, maar voortdurend aanpas, interpreteer, herwin en nuwe modulasies tot stand bring.
Sy bydrae tot die groepuitstalling Tension Torsion: 20 ­Years On – tot 17 April in die Ithuba-galery in Braamfontein, Johannesburg – spreek hiervan, maar ook van sy kuratoriale ervaring.
Vir dié uitstalling gebruik hy tamaai afdrukke van kunswerke op PVC wat hy styf gespan het, onder meer Ya­khal’inkomo (“Kreet van ’n swart man”), die werk van Ayanda Mabulu wat opslae gemaak het op verlede jaar se Joburg Art Fair, en Yiull Damaso se eietydse interpretasie van Rembrandt se Die anatomie-les waarmee hy in 2010 aandag getrek het. Aan die hand van dié werke belig Froud die onderliggende spanning wat (steeds) bestaan tussen kuns en die owerheid.
Jansen van Vuuren woon al sedert 2000 op die Franse platteland, maar stal gereeld in die Kaap uit.
Vroeër die maand het Blink/Oog(wink), ’n uitstalling van onlangse werke, in Stellenbosch begin.
Sy KKNK-aanbod bestaan uit ’n versameling onlangse portrette, ’n uitstalling van werk van nege kunstenaars met Jansen van Vuuren as die kurator, en ’n herskepping van sy werkruimte.
Die KKNK duur tot 5 April.
Lees hierdie en ander interesante kuns stukke op: http://www.beeld.com/vermaak/2014-03-30-kunstenaarsruimtes-onder-loep-op-kknk
South Africa: Santam and Unicef Spotlight Children’s Rights Through Art
allAfrica | Biz-Community:
This year marks the 25th anniversary of the Convention on the Rights of the Child (CRC). The CRC is an international treaty that close to 193 countries are guided by in order to meet the basic human rights of children. South Africa is one of these signatories and works very closely with the United Nations Children’s Fund (UNICEF) to adhere to its obligations towards meeting children’s rights.
As part of efforts to mark this anniversary and to highlight the continued global significance of the CRC, a number of initiatives are being undertaken worldwide by UNICEF and other organisations that are involved with children’s rights issues.
Short-term insurer Santam has partnered with UNICEF South Africa this year with its long-standing and flagship corporate social investment (CSI) initiative entitled the Santam Child Art Project. Promoting love of art among children, the project is one of the oldest and most popular CSI programmes in the country.
The project hosts an annual national art competition and the theme for this year is ‘Children’s Rights’. Santam encourages schools from across South Africa to enter as the winning artworks will be featured in the 2015 edition of Santam’s prestigious calendar which will be distributed to a large network that includes Santam clients and UNICEF South Africa stakeholders.
“We are excited about the partnership with UNICEF to put the spotlight on children’s rights. It will be important to see how learners interpret this complex and essential theme through their artwork this year. Art enhances a child’s ability to interact with, and interpret the world around them. It has the ability to cross cultural and linguistic barriers, and in South Africa it gives us the tools to be able to find and speak to each other,” said Tersia Mdunge, CSI manager at Santam.
“We believe that teaching art is not necessarily about training future artists, it is about giving young people the self-esteem and creative thinking abilities to better deal with South Africa’s socio-economic challenges,” concluded Mdunge.
Since its inception in 1963 more than 80,500 children have participated in the Santam Child Art project. The programme has evolved into a multifaceted national project which includes initiatives such as informal art classes, Santam’s own annual art calendar and the training of creative art teachers (Grade 4 – 6) nationally. Last year’s Child Art competition drew 4,773 entries from 221 schools.
Read this and other interesting art-icles via source: http://allafrica.com/stories/201403210752.html
Image source: http://www.childrensrights.ie/childrens-rights-ireland/un-convention-rights-child
A different 50 shades of grey are revealed at the Art Eye Gallery
I’ve been more cynical than most about the Oscar Pistorius trial — specifically, about the frenzied coverage of the trial by that vague entity we call “the media”. But I have to admit that South Africa’s journalists have done an impressive job thus far.
Think again: Grey is not dull, it provides nuance: a Diane Victor linocut. Picture: ART EYE GALLERY
Sure, there is the chicken-and-egg question of whether news platforms are just responding to an existing public obsession, or have in fact helped to grow what seems an insatiable appetite. But setting this aside — it confuses rather than clarifies to use words like “sensationalism” — there is a substantial journalistic achievement in balancing detailed coverage of the case with other, bigger, more important stories.
These stories have nothing to do with the death of Reeva Steenkamp: new treatments for HIV, pre-election political developments, energy crises. Yet many of them are directly related: domestic violence and femicide, access to and transparency in the justice system, gun culture and police inefficacy, the implicit racialisation of crime. This trial has shone a spotlight on issues of national concern.
So it’s not just a voyeuristic impulse that drives our collective fascination with each twist and turn, with every piece of new evidence or tense cross-examination. Despite the high stakes, or maybe because of them, the devil is in the detail (as in every court case). Although it is critical to the legal proceedings, there is something absurd about the close revisiting of the mundane and the banal — particularly when defence advocate Barry Roux, now famous for his courteously pedantic bullying, is trying to discredit the testimony of state witnesses.
When did Reeva eat her last meal? Had Oscar cheated on an ex-girlfriend? Did he tell a security guard, after the shooting, that things were “fine” or just “okay”? There is a thin line between drama and bathos, and this trial keeps crossing from one side to the other.
That is the nature of the courtroom. It is the judge’s job, after all, to distil the truth: to see things in black and white. There is no room for grey areas, for ambiguity, for doubt — even “reasonable doubt”. That’s all very well as the basis for legal adjudication. The problem is that, if we’re honest, our every perception of the world around us is somewhere on the spectrum of grey.
Visually, grey is considered dull and monochromatic; symbolically, however, grey is rich and varied. Shades of grey are an artist’s friends. More’s the pity that the phrase has been ruined by EL James and her oh-so-naughty novel … or has it? The good folk at Art Eye Gallery in The Design Quarter, Fourways, don’t think so.
50 “Shades” of Grey (on until 22 March) is a group show, partly a commission — “Our brief was short: be brave and push the boat out!” — and partly an opportunity to bring works out of the storeroom and onto the gallery’s walls. The Art Eye stable includes some recognisable names, both current practitioners and artists past, including Diane Victor, Mbongeni Buthelezi, Braam Kruger, Eduardo Villa and Wopko Jensma. But some of the most interesting pieces displayed are from less well-known creators.
The exhibition’s title and broad concept have two chief consequences, one aesthetic and the other thematic. There are the greys of gouache, photographic prints, linocuts and various other media (including Victor’s haunting “smoke drawings”).
But the shadow of Christian Grey also lurks in many of the images, with their troubling combination of eroticism and cruelty, attraction and antagonism. Unsurprisingly, then, most of the works in 50 “Shades” are portraits, loosely defined: the body is on display in all its vulnerability, desire, fear and longing.
In Margo Shopf’s paintings, for instance, male figures are both lascivious and coercive. Luke Batha and Jenny Reyneke’s female subjects are marked by smudges of red — the colour of amour, but also of blood. Carol Hamman’s sculpture, The Priest and the Prostitute, depicts its protagonists in a tragicomic shouting match.
Here we are uncomfortably close to the story of love gone wrong that is being told and retold in the high court in Pretoria.
When intimacy meets brutality, very little is black and white.
Read this and other interesting art-icles via source: http://www.bdlive.co.za/life/entertainment/2014/03/13/a-different-50-shades-of-grey-are-revealed-at-the-art-eye-gallery?crmid=crm2
Edinburgh gives SA artists exciting ‘shop window’
Business Day Live | Christina Kennedy:
Grammy-winning traditional music sensations Ladysmith Black Mambazo, provocative artist Brett Bailey and the internationally decorated Handspring Puppet Company will take pride of place at the 2014 Edinburgh International Festival, as part of the SA-UK Seasons of arts and culture.
Two of Handspring’s puppets with Jude Sandy and Prentice Onayemi during a performance of WarHorse. Photo by Paul Kolnik
The SA-UK Seasons in 2014 and 2015 are the sequel to the highly successful SA-France Seasons that took place in 2012 and 2013, showcasing the creative capacity of the participating countries in a series of performances, activities, collaborations and events.
The aim, as Arts and Culture Minister Paul Mashatile pointed out at the launch of the SA-UK Seasons in Johannesburg on Tuesday, is to create sustainable job opportunities and to foster goodwill, mutual understanding and “people-to-people” relations between nations.
This bilateral initiative, supported by the Department of Arts and Culture and the British Council in South Africa, comprises collaborative projects, a South African Season in the UK, and the British Council’s Connect ZA project in South Africa, as well as independently funded projects.
The cherry on the cake is that to commemorate its 20 years of democracy, South Africa will present a season of work in August in Edinburgh, at the world’s most prestigious arts festival — and will also have a strong cultural presence at July’s Commonwealth Games in Glasgow.
Cape Town’s celebrated Handspring Puppet Company — which won Tony and Olivier awards for its puppetry design for the National Theatre’s War Horse production — will present Jane Taylor’s multimedia work, Ubu and the Truth Commission, directed by William Kentridge and starring Dawid Minnaar and Busi Zokufa.
The festival will also see the world premiere of Inala. This potent cross-cultural collaboration will feature the isicathamiya vocal harmonies of Ladysmith Black Mambazo (who will also perform a separate, one-off concert), as well as dancers from the Royal Ballet and Rambert (including South African-born dancers Dane Hurst and Mbulelo Ndabeni).
Exhibit B, created by Bailey and his Third World Bunfight company, is a moving site-specific “performance exhibition” featuring live installations: black performers explore racism and colonialism by drawing on the “human zoos” and ethnographic displays of old.
At Tuesday’s launch, Edinburgh International Festival director Sir Jonathan Mills said that the eight festivals across Edinburgh in August would provide a vital “shop window” opportunity for South African artists, exposing them to about 2,000 media and 5,000 international producers and promoters.
South African artists will also take part in the Edinburgh Art Festival (Thembinkosi Goniwe’s exhibition with works by Kay Hassan, Kemang Wa Lehulere and Mary Sibande), the Edinburgh Jazz and Blues Festival, the Edinburgh International Book Festival and the Edinburgh International Film Festival. And this year, South African gumboot dancers will take centre stage at the world-famous Royal Edinburgh Military Tattoo.
Mandela Day will be celebrated in Glasgow and the multidisciplinary Afrovibes festival will tour various UK cities, with more partnerships on the cards with other venues and arts festivals.
Highlights of the British programme in South Africa include the Royal Court New Writing Programme, the Young Creative Entrepreneur Awards, developing designers through the Maker Library Network, collaborative arts projects in public spaces, bringing Alfred Hitchcock’s early silent films to life in Durban with a live score, and hosting open-air screenings by young British filmmakers on the city’s beaches.
Read this and other interesting art-icles via source: http://www.bdlive.co.za/life/entertainment/2014/03/27/edinburgh-gives-sa-artists-exciting-shop-window
Image source: http://www.playbill.com/news/article/150885-Katie-Holmes-Daniel-Radcliffe-Jonathan-Groff-Cheyenne-Jackson-Will-Be-Drama-Desk-Presenters
Design Annotator: Yield street art, Four Corners, and love for cities
MarkLives.com | Uno de Waal:
Annotator we’ve got: A piece of street artwork made up of 100 yield signs | An interview with the creative director of Spier Architectural Arts | Some brilliant new work by Wesley van Eeden | Cape Town Love, an app which celebrates the Mother City | GoldRush, a film depicting Josh Hayman’s weekend in Jozi | An interview with Four Corners director Ian Gabriel and BTS videos | A recap of our XooXity Hack and the winning installation | The 2014 Loerie Awards campaign by McCann | A new TVC for Standard Bank in which children’s toys come to life
r1 ‘Yield’ — a street art piece in Braamfontein (image above)
Street artist r1 produces urban interventions to transform city spaces and create new visual alternatives. His latest piece, ‘Yield’, is based on the common yield street sign. Installed in Braamfontein, Johannesburg, the artwork consists of a street pole set into the sidewalk. A hundred yield signs take over the wall behind it.
The aim of the project is to use street art to uplift and improve the city’s alleyways.
Read more about ‘Yield’ and watch a video on the piece here.
My Day Job: Liani van der Westhuizen of Spier Architectural Arts
Liani van der Westhuizen is the creative director at Spier Architectural Arts, where she oversees the various studios, artists and designers in curating and producing site-specific and large-scale art interventions, and she directs every step of the creative and construction process.
Most of this magic happens at Union House, a majestic old warehouse building which now hosts Spier Architectural Arts.
Read our interview with Van der Westhuizen here.
New work by Wesley van Eeden
Wesley van Eeden is an artist, illustrator, graphic designer and painter, and his portfolio matches his boundless talent. He is part of the RVCA Artist Network Programme, his work decorates walls across South Africa, and he just released two brand new prints.
Find out what inspires his momentum, and enter to win one of Van Eeden’s exclusive new prints!
Cape Town Love, an app celebrating the Mother City
Megan and Mike Gilger are a married couple who have a design studio called Wild Measure and run a blog called The Fresh Exchange. Towards the end of last year, they paid a visit to Cape Town.
Much to our delight, they found themselves inspired, so much so that during their stay they built an app called Cape Town Love in collaboration with the folks at Over — in only 24 hours.
Read about the Cape Town Love app.
GoldRush | A weekend in Jozi by Josh Hayman
Cape Town-based videographer Josh Hayman has a talent for capturing the essence of a city or situation, which we witnessed in his video of a bi-coastal trip to Los Angeles and New York City and, more recently, in his video Spirit of a Nation, made at the Madiba memorial concert at the Cape Town Stadium.
This year he put his tourist cap on again and took it upon himself to make a trip north to Johannesburg for a weekend.
The video, GoldRush, shows the sights that met him in the City Of Gold. GoldRush from Josh Hayman on Vimeo. Watch video via article source.
An interview with Four Corners director Ian Gabriel
Directed by Ian Gabriel, Four Corners is a multi-thread crime drama centred on the gang culture which is rife in the Cape Flats. With references to the four corners of a chess board and a prison cell, the film tells the story of how the lives of Farakhan, Leila, Tito and Gasant come to converge around a young chess prodigy, Ricardo.
In our interview with him, Gabriel gives us some further insight into the creation of Four Corners, as well as the meaning it holds for both him and the people of the Cape Flats community.
Inside the Four Corners
Ahead of its release in South African cinemas on 28 March, we’ve been given an up close and personal look at the making of Ian Gabriel’s film, ‘Four Corners‘.
‘Inside the Four Corners’ is a series of three short films — The First Corner, The Second Corner and The Third Corner — which were directed and filmed by Karien Cherry.
Watch above video via article source. Watch The Second Corner and The Third Corner by clicking here.
A recap of the XooXity Hackathon, and the winner announced!
On Saturday, 15 March 2014, we teamed up with the folks at Hellocomputer to host a XooXity Hackathon, calling on tech-heads and creatives alike to join forces in conceptualising an interactive, light-inspired installation.
Chosen out of seven teams, the winners came up with ‘Inpulse’ — a light installation made up of aware neuron-like light ‘Strings’, which become animated through the liveliness or joy of the person/people standing below them.
Here are some snapshots from the event, and more details about the winning installation ‘Inpulse’.
The 2014 Loerie Awards campaign | Create. Affect.
Entries to the 2014 Loerie Awards officially opened this week and with the announcement came the first phase of Create. Affect., this year’s Loeries campaign by McCann.
Each year the honour (daunting task) goes to a different advertising agency and what they do with the brief is always much-anticipated and hotly debated.
See the campaign images and read what McCann has to say.
The latest Standard Bank ad by TBWA\Hunt\Lascaris and Egg Films takes us back to childhood through a young girl’s trip to a Standard Bank ATM with her father.
A normally uneventful trip to an ATM is anything but that for a girl whose imagination is still flourishing: on her way there, the girl sees an assortment of characters and toys come alive in the cityscape, from a small pink creature in a manhole to an enormous blue giant in between two buildings.
Watch video via article source. Find out more about the TVC and credits by clicking here.
Read this and other interesting art-icles via source: http://www.marklives.com/2014/03/design-annotator-yield-street-art-four-corners-mother-city-love/#.UzO9_vmSyZN
Ten African artists to look out for
The Guardian | Guardian African Network | Lilian Diarra:
With the contemporary art scene on the continent flourishing, The Culture Trip suggests some of the people worth watching.
Nastio Mosquito’s Desabafo de um Qualquer Angolano. (watch video via source)
Via Afritorial as featured in The Culture Trip
Read this and other interesting art-icles via source: http://www.theguardian.com/world/2014/mar/26/ten-african-artists-to-look-out-for
Hermanus FynArts in Junie gehou
Kaapstad. – Bekende visuele kunstenaars soos Dylan Lewis, Strijdom van der Merwe en Jaco Sieberhagen tel onder die trekpleisters by die tweede Hermanus FynArts, ’n fees van visuele kuns en musiek wat van 6 tot 16 Junie op dié dorp gehou word.
Beeldende kuns, musiek, letterkunde, bekroonde wyne en vyfster-kos is op die spyskaart. Tentoonstellings van keramiek, skilderye, beeldhouwerk, glaswerk en juweliersware sal in hotelle en in spesiale lokale in die dorp en in proelokale en op wynplase aan die wynroete te sien wees. Ander kunstenaars wie se werk gesien kan word, sluit in Joshua Miles, Leon Muller , Lorna Reade en Niel Jonker.
Keramiek deur kunstenaars van Ardmore, Ann Marais, Rae Goosen , John Bauer, Hennie Meyer en talle ander sal ook vertoon word.
Voorts sal daar voorlesings en gesprekke, uitvoerings en soirées, werksessies en demonstrasies asook ’n wynroete-pendeldiens na en van wynplase wees.
Die aanbod van musiek en uitvoerende kunste sluit in die dirigent Richard Cock en ’n koor van 80 lede, die orkes Camerata Tinta Barocca, Bovim Ballet, James Grace (klassieke kitaarspeler), die Universiteit van Kaapstad se operastudente saam met prof. Kamal Khan en Angelo Gobbato, die Kaapse Filharmoniese Jeugorkes en die Cape Town Tango Ensemble.
Sanlam se spesiale tentoonstelling van sy indrukwekkende kunsversameling in die Ou Sinagoge is ’n hoogtepunt van verskeie tentoonstellings, waaronder ’n unieke groeptentoonstelling deur genooide beeldhouers, sowel as een deur Wes-Kaapse keramiekkunstenaars.
Sprekers en aanbieders van kursusse en werksessies sluit in Christopher Hope (skrywer), Melvyn Minnaar (wynkenner en kunsresensent), Fred Scott (kenner van hedendaagse kuns en direkteur van Stephan Welz), Anton Harber (Caxton-professor in mediastudie aan Wits), Niki Daly (skrywer en illustreerder van kinderboeke), Garth Stroebel (SA sjef), Rodney Trudgeon (Fine Music Radio) en Alayne Reesberg (uitvoerende hoof van Kaapstad die Ontwerphoofstad).
Hermanus FynArts mik nie net na die bevordering van toerisme en die ontwikkeling van kuns nie, maar hoop om op lang termyn genoeg geld in te samel vir ’n trustfonds om ’n kunsskool in die Overberg te vestig. Die Overstrand-munisipaliteit ondersteun dié strewe en het onderneem om te help om ’n geskikte perseel vir só ’n skool te identifiseer.
• Kaartjies vir die fees is van vroeg April by Webtickets en Hermanus-toerisme beskikbaar.
Die feesprogram is by ​http://www.hermanusfynarts.co.za.
Lees hierdie en ander interesante kuns stukke op: http://www.dieburger.com/vermaak/2014-03-25-hermanus-fynarts-in-junie-gehou