Syndrome 1st July at Whatiftheworld

Tuesday, June 30, 2009

The Last Stand

Monday, June 29, 2009




I went on a field trip to Simonstown recently to experience the train ride by sea and go pet the Just Nuisance statue (since, as far as I was aware, there’s not much else to do in Simonstown). While there, however, I found two things: One which made me very happy (well sad, but in a “wow, art that makes me feel sad about something” kind of way) and the other which just made me feel kind of nauseous.

Firstly, I encountered my new favourite public sculpture: Lying next to the sea, at the harbour (just under the Just Nuisance sculpture) is a beached whale. She is tragic and beautiful and covered in barnacles. And made out of painted foam. Though I understand that it may seem odd for me to be extolling the virtues of what is essentially a wildlife sculpture probably aimed at tourists in a small town at the end of a train line, I can’t help feeling that when considered outside of this rather insidious context it is a very moving piece, particularly after the recent whale mass-suicide in Cape Town. Basically, a chance encounter with an inexplicably dead whale next to the sea in quiet town is quite special.

Then we went to the fascist toy museum. The main feature of said fascist toy museum (or ftm for short) is its giant display case of a Nazi tableau. Not unlike a Jake and Dinos Chapman work, it features a horde of Hitlers (as well as his cronies) and ‘lots of shiny Gestapo. There is a very small and faded disclaimer in the back of the case that quotes Churchill’s mantra about being doomed to repeat history we forget. While this is all very well, of course, the toys in this tableaux are actually new, without any inherent historic value, nor any curatorial intervention that may suggest the problematics of playing with them. In fact, they are for sale, with the ftm proudly stating that they are South Africa’s only authorized dealer of these specific toys. Well done.

Wondering further into the ftm; there also seemed to be a lot of displays that really should have disclaimers… Certainly there was a general theme: the British (and occasionally the Boers) killing black people. Everywhere. A good example is pictured above. And this is the history we’re still holding on to?

The last stand indeed.

P.S if you are interested in the weird and nefarious history of Simonstown, come see Sloon’s Battle of Simonstown piece. At his and Charles’s exhibition. Which opens on Wednesday. Whatiftheworld. 6pm.




The King Is Dead. Long Live The King.

Friday, June 26, 2009

Michael Jackson is dead. About 2 hours ago, he died from a heart attack. It feels like something has ended.

Michael Jackson was a great symbol for the late 20th Century: Tragic Childhood, International impact, sad and depraved adulthood. Our culture will be forever marked by him.

Whose Worlds? Wayne Barker in Venice

Thursday, June 25, 2009

Click on the image for a legible version of this image, spotted recently in Venice.

Thanks, Storm!

Syndrome 1st July at Whatiftheworld

Tuesday, June 23, 2009

"Where is ArtHeat?" I hear people cry.
Don't worry we haven't gone away. We're just working on a show. Furiously. Please come if you can:A syndrome is a pattern of several recognizable features, signs, symptoms, phenomena or characteristics that often occur together, so that the presence of one feature suggests the presence of the others.

1st July at Whatiftheworld.

Wednesday, June 17, 2009


I hear many people asking: "Where is ArtThrob?" Having asked an insider it turns out that ArtThrob is undergoing a long overdue redesign, and will be up as soon as the kinks are worked out. So, watch this space.

Cape Town Book Fair

Saturday, June 13, 2009


The Cape Town Book Fair is now on at the CTICC till the end of Tuesday. Though there is much to interest art lovers, there is very little art on show.

Undoubtedly the most art-focussed stall is that of the doyenne of art publishers in the country, the ever-affable David Krut. At stall F3 David Krut Publishing not only offers a full range of their excellent publications, including (hot off the press) the new Helen Sebidi Taxi book but also a selection of top quality international Contemporary art publications. Don't miss the stall if you go to the Fair.

Another art-related area is a gallery of David Lurie photographs. David has, until quite recently been flying 'under the radar' in South Africa, being far better known overseas than here but since his landmark show at Joao Ferreira a year or so back all that has changed and he is now getting serious attention. He is perhaps one of the most suitable artists to be showing at a book fair, given the fact that he, along with David Goldblatt, has made the genre of the South African photographic coffee table book so much his own.

Generally, the focus this year seems very political, with a lot of talks dealing with big African and South African issues - we've already been to talks about Freedom of Information in South Africa andSouth Africa as a new kind of imperial economic power within Africa. The former was particularly interesting, with a discussion between Richard Calland, Piers Pigou and Yasmin Sooka about the new book, Paper Wars, which deals with issues of (mostly the lack of) freedom of information in South Africa - ranging from records of the TRC to plans for housing and water, to the country's history of nuclear weaponry. Yay.

I also went to the launch of an historical (though seemingly pretty trashy) novel about Hatshepsut, the woman pharoah who declared herself king of the kingdoms of Egypt around 1500BC. An awesome woman.

These talks take place throughout the next few days, and are free once you're into the bookfair (R50 or R25 with a Fanatics card). Hours are: 10 - 18:00 Sat - Monday and 10:00 - 16:00 on Tuesday (which is a public holiday).

by Linda Stupart and Andrew Lamprecht.

The Torment of St Anthony

Wednesday, June 10, 2009

And in other painting news, Michelangelo's first painting has been officially attributed to him:

Michelangelo's First Painting, a special exhibition beginning June 16 at The Metropolitan Museum of Art, will present The Torment of Saint Anthony, the first known painting by Michelangelo Buonarroti (Florence 1475- Rome 1564), believed to have been created when he was 12 or 13 years old. Recently acquired by the Kimbell Art Museum, the painting has undergone conservation and technical examination at the Metropolitan Museum. Michelangelo's First Painting will run through September 7, after which the panel will return to the Kimbell Art Museum for display as part of its permanent collection. Today, many people think of Michelangelo as a sculptor, but he received his early training as a painter, in the workshop of Domenico Ghirlandaio (1449-1494), a leading master in Florence. It was only in about 1490, following this apprenticeship, that he learned to carve marble. Michelangelo's biographers – Giorgio Vasari (1511- 1574) and Ascanio Condivi (1525-1574) – tell us that, aside from some drawings, his first work was a painted copy after a well-known engraving by Martin Schongauer (1448-1491) showing Saint Anthony tormented by demons. To give his monsters greater veracity, Michelangelo went to the fish market to study the colors and scales of the fish. Made about 1487-88 under the guidance of his friend and fellow pupil Francesco Granacci, Michelangelo's painting was much admired – it was even said to have incited Ghirlandaio's envy. Keith Christiansen, the Jayne Wrightsman Curator of European Paintings at the Metropolitan Museum, who analyzed The Torment of Saint Anthony and organized this exhibition, concludes: "The case for this panel being the one described by Condivi is exceptionally strong . . . and given what we know, the burden of proof that it is NOT the picture described by Condivi is with those who would deny it." Michelangelo's First Painting will showcase recent technical examinations and scholarly analyses that identify it as the painting described by Michelangelo's biographers. Though it has been known to scholars since the 1830s, when it was purchased in Pisa by a French sculptor, it has not always received proper attention. Accumulations of discolored varnish and disfiguring overpaints had obscured the qualities of the picture's masterful execution and remarkable color palette. A careful cleaning, carried out by Michael Gallagher, the Metropolitan Museum's Conservator in Charge of Paintings Conservation, transformed the painting, while infrared reflectography revealed how the artist modified and elaborated on Schongauer's composition. In addition to The Torment of Saint Anthony, this small, focused exhibition will include works from the Metropolitan Museum's collection such as Madonna and Child and Triptych with the Crucifixion by Francesco Granacci (1469-1543); and Portrait of Michelangelo by Daniele da Volterra (1509-1566), a faithful follower of the master. Also on view will be a facsimile of the aforementioned Schongauer engraving, Saint Anthony Tormented by Demons. The Torment of Saint Anthony is the first painting by Michelangelo Buonarroti to enter an American collection, and one of only four known easel paintings generally believed to be by him. The others are the Doni Tondo in Florence's Uffizi Gallery and two unfinished paintings in London's National Gallery, The Manchester Madonna and The Entombment.

The reason that this is being posted here is because the image is so unbelievably cool:

Thanks to Andrew L for the tip off.

Play William Off, Keyboard Cat

Tuesday, June 09, 2009


In honor of satire today.

Avant Car Guard's New Paintings Are Funny

The Centre vs. Periphery Ultimate Cage Fight pictured above.
From what I can piece together form the Brodie/Stevenson website, Avant Car Guard's new show was much bolder on the painting front, a little less circular in scope (a tiny bit) and a little funnier than the recent show at Whatiftheworld. Pulling out the big guns for the big guns.

Syndrome 1st July at Whatiftheworld

Monday, June 01, 2009

A syndrome is a pattern of several recognizable features, signs, symptoms, phenomena or characteristics that often occur together, so that the presence of one feature suggests the presence of the others.

The title points to a nexus of related concerns for both Maggs and Sloon: conspiracism, terror, the projection of identity, iconography of power and acceleration manifest in popular, media and Internet culture. Rather than being a mere reflection of these concerns, Syndrome is instead fueled by their materialisations in everyday life, in history and in media narratives.

While there exists a commonality of concerns, both Maggs and Sloon employ different strategies, means and modes of production. The bodies of work are connected by the dialogues they suggest more than they are by their relative aspects.

Tension and Cleanliness

Walking along the beach front yesterday, I passed Graaf's pool. It was freezing and rainy and this sad old structure, rich in history and dirt crouched there, with that dignity that old ruins have. I realised I hadn't yet put pen to paper regarding Justin Brett's show, which focussed largely on Graaf's Pool as a structure and it's implicit and explicit histories (Graaf's Pool was for many years a homosexual cruising spot as well as a site of geological disturbance). It's a bit late now... the show is over, but I did want to make one or two points.

1. It's been a while since I have seen such a convincing use of space and sculpture to communicate a message. The tension between the seen and unseen was loudly and beautifully said. Rifts, violence, supression, revelation these words come to mind



2. It seemed there was a further tension between neatness and messiness. A messy history was represented by clean architectural sculpture. Desire was represented by clean boys. Clean boys were obscured by messy surface. Tension is good, it's like plot. However, I felt in the end there was a certain cleansing of desire; no willies, no pubic hair. Idealisation can be a way of building myths, but it also can also easily be cold and turn sex which is something messy and visceral into something academic. Objectification, the gaze, these words come to mind.


3. There was a certain awareness of this dillemma, the boys were constantly erased and scratched out. They were also practically sold out. Because they were still beautiful. So, another tension.


4. I liked the sculptural elements which spoke. I liked the low lighting, the grey walls and the re-use of the AVA. I wasn't as sure about the drawings/paintings which mumbled elegantly. But as a whole, one of the most succesful and intense shows this year, and probably for a while.


5. I found this hot picture of the artist as a young man on Facebook.

Brain STORM!!!!

Friday, May 29, 2009

The following message arrived from VANSA Westerncape. I think it is exciting to possibly have a say in what is to come for the city. I'm definitely going to go:

We have been awarded a really exciting tender from the City: to develop a Visual Arts Strategy for the City for 2010 and we'd love your input please!

Choose to attend one of the TWO Brain STORM!!!! Sessions at our office at 8 Spin Street, AND we'll look after you with lekker refreshments and the feel good factor of inputting into some mighty fine projects for the next year.
We will also be looking to offer some interested and available Brain STORM!!!! Attendees (and VANSAWESTERNCAPE Members) some ad-hoc EMPLOYMENT IN DEVELOPING THE DOCUMENT.

MONDAY 1 JUNE 10 AM - 12
WEDNESDAY 3 JUNE 2PM - 4

PLEASE LET SISANDA KNOW WHICH SESSION YOU CAN MAKE sisanda@vansa.co.za

The Tropics: Discussion

Worth checking out.

The Travels of Bad


Hard... fast... bad!!! No illusion-destroying interruptions!!! Go forth! Find the cure of primitive juice!!! The damn exotic art elixir!!! Save the rotting core of the universe... AWESOME!!! (From The Travels of Bad Prologue)

So, I was one of about ten people to go to Zander Blom’s exhibition opening at Whatiftheworld/Gallery last night. This is something I still really don’t get: Unless Capetonians are really so soluble that winter means they never leave the house after dark, The Travels of Bad (with its combination of rock star hot and well-placed satire) seems exactly the sort of thing people LIKE to go see. Plus there was loads of free Vitamin Water (I am now convinced that there is something really evil and addictive about this stuff. Just remember: Like with any drug, the first hit is free, but soon you’re going to be shelling out R16 a bottle just to get your fix.)

The Travels of Bad takes its starting point from the same set as Drain of Progress, deconstructing Modernism in the artist’s living room. This model of literal arm-chair tourism is particularly apt for Zander’s new exhibition, where the artist presents himself as singular rock star genius, selling guitars and drum-kits bestowed with value largely through his touch, as well as t-shirts, posters, plectrums and his elevator-music metal album. Establishing himself as a contemporary artistic hero through his merchandise, Blom then uses his prints and texts to criticise exactly this kind of frontier heroism that allowed Modern (and still allows contemporary) artists to rape, pillage and exoticise everyone and everything outside of the Western centre; establishing the colonial gaze, which sweeps with an abusive white-male caress over Everybody Else.

Seen through the fragmented diary of a contemporary coloniser (the rock star on tour, the college kids on a far off island, the eternal polluting party bus), The Travels of Bad is like reading Tintin in the Congo as written by Hunter S. Thompson while sitting in a Pieter Hugo exhibition. On Acid. That said, it’s easy to see how the bright colours, cute tigers, irreverent ramblings and drum-kits might distract the viewer from the real intelligence and integrity of the exhibition. Certainly, on first glance, one might even dismiss the show as a bad second album: Cute, but not quite as good as the Drain of Progress. One, however, would be wrong. Just a quick look at titles like: The Decision: Fuck Europe and the Disease of Civilisation (the first image), Encounter on the Road: The Savage Death Master and the Performing Six Legged Albino Crocodile and the final, tragic, epic death picture, Death by Syphilis x Mosquito Bytes x Tuberculosis x Broken, Mutilated Infected Leg x Savage Booze x Stupidity suggest a biting satire, well-considered criticism and wry humour that make this a really smart, as well as an obviously sexy show.

Awesome.

Lost Lost Orchid

Wednesday, May 27, 2009

I'm sure we are all aware of the Lost Orchid scandal. In short, a Tretchikoff original sold at the Brett Kebble auction for a groundbreaking 2.6 million. Then, experts, including Tretchikoff's daughter have claimed that it is a fake citing inconsistencies in the paint work from known images of the work and an uncharacteristic dash through the f's in the signature. Read more here and here.

The whole issue brings up some really interesting questions. Such as has the endless cheap reproductions of the work increased the value of the original? (I think yes, a contemporary take on this is releasing things free online increases the value of collectors editions, think Radiohead In Rainbows. Or in terms of illegal free distribution the words of Cory Doctorow seem important "I really feel like my problem isn’t piracy, it’s obscurity.") Obviously the hammer price substantiates this. But when you take a knock-off, does it lose it's value entirely? Why do we place so much value in the original?

What is perhaps more pertinent though is if this is a fake where is the original? And from that, if Tretchikoff is selling for these record prices, where is the research and scholarship? Why don't we know? Is the Lost Orchid, ironically, lost? Is it not high time that we really start to revise South African art history according to what is relevant now (and not just Tretchikoff)? I say show me the revisionist art history.

PS. I think Lost Orchid is one of the most understatedly sexy pictures. It's got a very beautiful latent narrative. Like a glitter ball in an empty room (a fine example of which you can see at AVA currently: The party after the party by Jonathan Garnham.)

Some Work

Tuesday, May 26, 2009


Ed Young does some work over at his Diary.

ah ha.

Tuesday, May 19, 2009

From the Goodman Cape Visitors Book:


(Click on image for larger version)

Hot Links

Thursday, June 25, 2009

Goodbye Doctor Brown









An obituary for photographer Crispian Plunkett. Rest in peace.

Friday, June 19, 2009

A View From The Tropics
Sean O'Toole writes an interesting piece about the silence this show received in South Africa

Monday, June 15, 2009

Friday, June 12, 2009

Making Worlds: Biennale Degree Zero

Tim Burton Gets MoMA show

The Golden Girls and The Occult
Pure pop psychocryptoanalytical bliss

The difference between newspaper and blog criticism


The Times Top 200 Artists of the 20th Century
First Woman at #19. First Black Man at #37. First artist not from Europe/America (sort of)#124. African artists? I got bored looking. Digital democracy my ass.

American Family Finds Themselves Pasted to a Shop Front in Prague


Maybe You Shouldn't Buy That
An ode to Capitalism. Closely related to foodporn.

Wednesday, June 10, 2009

That's Not a Tretchikoff
A good piece about the 'Lost Orchid Scandal'
Quote:
"For many years he was denigrated by critics"
Shell Pays Out $15.5 Million in a Landmark Human Rights Case
Shell settles a lawsuit that alleged their complicity in the death of activist Ken Saro-Wiwa.
Zina Saro-Wiwa, Ken's daughter, an artist and film maker is currently showing at Michael Stevenson

Bad News From The Past
via Boing Boing

Things Magazine
An online journal of objects.
Thanks again, Andrew.

Tuesday, June 9, 2009

Adrian Searle on Venice

Look at Me
An amazing collection of abandoned photographs
via @GreatDismal

I Cook, Therefore I Am

Friday, May 29, 2009

Man-Friday
Dave Southwood rocks with these amazing old pictures. And a really sad story.

Updated: The URL was broken. Try again now.

Thursday, May 28, 2009

Monday, May 25, 2009

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