Barnard is pleased to announce its participation in AKAA at Carreu du Temple showcasing a presentation of new paintings by Ryan Hewett, Alexia Vogel, Jaco van Schalkwyk, Sarah Biggs, MJ Lourens, Ndikhumbule Ngqinambi, Robyn Penn, Katherine Spindler and photographs by Lien Botha and Alastair Whitton.
Barnard looks forward to welcoming and connecting with you to Booth C3.
Alexia Vogel has recently been featured in Talent Watch magazine, enabling readers to learn more about her artistic practice that includes explorations into nostalgia, fantasy and wanderlust. Furthermore we are delighted to announce that Alexia will be attending her first artist’s residency in May 2018 in St Émilion in the Nouvelle-Aquitine region of south-western France. St Émilion is also a United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage site. The residency occurs in association with the Southern African Foundation for Contemporary Art (SAFFCA). Whilst participating in this residency, Vogel will be collaborating with post-graduate students.
Since 2013 Barnard Publishing has been active within the galleries’ parameters and to date has editioned 7 books. This initiative aims to further explore and support the work and careers of the gallery’s stable of artists through the medium of the book. These limited edition (100 copies only) and signed publications are an extension of the collaboration between gallery and artist and provide relevance and criticality to emerging and established practitioners alike. To date publications by Lien Botha, Ryan Hewett, Alexia Vogel and Sarah Biggs have been added to the collection of the Thomas J Watson Library at the Metropolitan Museum of Art in New York as well as the University of Cape Town (UCT) special collection amongst others.
Barnard has just launched its most recent publication, Katherine Spindler TO HOLD TIME. This new book features essays by Dominique Edwards and Nina Liebenberg with an introduction by Charis de Kock. It is now available at the gallery.
Jaco van Schalkwyk is currently the artist-in-residence at Künstlerhaus Meinersen in Nedersachsen, Germany. The residency runs until the 7 December 2017. During this residency van Schalkwyk will be creating a small exhibition of new works as well as a presentation of his work from South Africa.
Further to this from the 2 – 6 November van Schalkwyk will be participating in an ongoing workshop dealing with the thematic, “Trauma and Transformation” at the Sylt Foundation on the Island of Sylt, located off the coast of Germany. He will be working with a host of international artists from Cambodia, Chile, Myanmar and Germany. The results of this workshop will be curated into a group exhibition shown in Yangon and Phnom Penh in 2018.
2017 marks the first year that Barnard will be participating in the Parisian Art Fair entitled, Also Known As Africa (AKAA). This fair will be taking place from 10 – 12 November at Carreu du Temple, Paris, France. The Gallery’s presentation will focus on the exploration and investigation of paint and the treatment of the photographic medium within a South African context. New paintings by Alexia Vogel, Jaco van Schalkwyk, Sarah Biggs, MJ Lourens, Robyn Penn, Katherine Spindler and Ryan Hewett will be on show as well as photographs by Alastair Whitton and Lien Botha. Find us at Booth C3.
For more information regarding AKAA please click here.
Barnard Gallery Publishing is pleased to present its eighth title Katherine Spindler: TO HOLD TIME. Please join us and the artist on Saturday 21 October 2017 between 10 am and 12 noon for the launch of this signed and limited edition publication as well as to view her third solo exhibition TO HOLD TIME which closes on Tuesday 24 October 2017.
Barnard Gallery Publishing is an initiative aiming to further explore, support and promote the work and careers of the gallery’s stable of artists through the medium of the book. These publications are not catalogues of an exhibition, nor are they monographs; rather they are an extension or expression of the artist’s output in a different form i.e similar to that of an ‘artist’s book’. These signed and limited edition publications are both ‘book’ and ‘art object’ and are by nature ‘collectibles’.
Virginia MacKenny’s exhibition At Sand’s Edge comprises oil and watercolour paintings that re-examine the tradition of landscape painting in a time of environmental duress and socio-political uncertainty.
At Sand’s Edge hopes to bring to mind a more intimate view, one that acknowledges both our alienation from, and connection to, our environment and its creatures.
In the popular imagination thoughts of sand may conjure up images of children’s sandboxes or seaside beach holidays, however such times of carefree innocence may be at an end. Sand’s material instability embodies precariousness. Its elemental characteristics have recently been posited as a possible fifth state of matter given that sand exists somewhere between a liquid and a solid. The more ominous implications of indeterminacy, the difficulties of coming up with solutions to species extinction concomitant with social justice, are central on a planet experiencing the vagaries of rapid climate change.
At Sand’s Edge references landscapes of the Cape and the red sandscapes of the Kalahari, and was prompted by the artist’s increased awareness of the particular vulnerability of biological hotspots in the Western Cape. The current drought in the western Cape has produced an increased threat of desertification and pressure on resources. At Sand’s Edge was produced during the time of student protests and academic institution closures and, in its making, embodies many of the anxieties of our day. In these restless and unpredictable times of societal and planetary disruption MacKenny explores the historical acculturation of, and domination over, the natural world. In a landscape populated with domestic, wild, heraldic and mythological creatures the image of the dog, humankind’s longstanding companion, stands witness as the certitude of progress is replaced by an eroding edge in an uncertain light.
At Sand’s Edge opens on Thursday 31 October at 18:30. All are welcome.
Barnard recently welcomed two senior school art classes to view Jaco van Schalkwyk’s past solo exhibition entitled -arium. Here are some reflections from this exhibition experience:
The visit to the Barnard Gallery was an enlightening experience as it gave the Grade 10 and 11 Reddam Art students an opportunity to see a merger between traditional modes of painting as well as an overall conceptual mode of working. Van Schalkwyk’s work has a conceptual element which was evident throughout the exhibition, especially in terms of the use of enclosures that you walk into which were perhaps a means of furthering the notion of “cabinets of display”. The way that the exhibition was curated seemed to reinforce the overall theme. The Reddam Art students also particularly enjoyed and appreciated the skilled technique which was evident in the paintings.
5 – 8 October 2017
Somerset House, South Wing, Strand, London
Barnard Gallery is pleased to announce its participation in 1:54 Contemporary African Art Fair (5-8 October) at Somerset House showcasing a solo presentation of paintings by Ndikhumbule Ngqinambi.
This presentation marks the first time the artist’s work will be presented to a United Kingdom (UK) audience. This simple fact has formed the narrative of the works presented here. Ngqinambi envisions this meeting as a theatrical event unfolding in pictorial space. The paintings collected here consider the consequences of the artist’s work encountering a new context, and imagine the cast of pictorial figures as real people arriving in a place vastly different to the one they call home.
Symbols which have come to characterise the artist’s work in recent years remain present in this new collection. These include the box structure, a symbol of restriction and containment; the flag, signalling questions of nationhood and power; the running figure, who embodies an urgency both to escape and to arrive; and vast, illuminated skies which lend the artist’s images a romantic gravitas while alluding to his own strong sense of spirituality.
Ngqinambi’s genre of painting alludes to experiences of movement, migration and transportation be it the artwork itself or the article of transportation. Ngqinambi seeks to instil the importance and glory of contemporary South African art through the timeless medium of paint. Conceptually Ngqinambi’s figures are being shipped and released into a new world where they begin to explore the newfound British landscape. This metaphor is significant to stories of migration and trade. Furthermore boxes allude to notions of thought control, restrictions by art institutions, visa stipulations and curatorial regimes. It is an expression for the constant yearning for freedom of thought and the limitless expansion of imagination. Alternatively boxes can allude to feelings of suffocation and restrictions that stifle the creative process.
The repetition of these symbols in a new context allows both for intriguing images as well as a continuation of the artist’s long held interest in relations of power. With the complex history between the United Kingdom and South Africa in mind, as well as the challenges around national identity both countries currently face, these images take on a new relevance and impact. Thus, this collection of work is essentially a narrative of encounter – on personal, interpersonal and global stages.