Katherine Spindler’s artistic process is essentially one guided by intuition before and above concept. As such, it is difficult, and perhaps inappropriate, to attempt to describe an overarching impetus for this new collection of work, entitled TO HOLD TIME. The very title indicates an impossible act, which is nevertheless ubiquitously attempted, in the ways we continually endeavour to contain and explain time, to endow it with meaning and parameters, to master it, direct it.
Spindler’s consideration of time is one played out on a personal, empathetic and phenomenological scale rather than one concerned with objective or scientific measuring. Time becomes a question of our ways of being, of understanding, of navigating. The artist looks to how we navigate life through gesture, ritual, routine and rhythm. Fragmentary gestures are made monumental, while monuments – such as Spindler’s reoccurring lighthouse – are rendered fragmentary and diaphanous.
The relationship and interaction between fragment and whole is thus core to this body of work. It is especially evident in the large scale assemblages which re-enact a mechanism essential to Spindler’s practice – a meditative act of collecting, arranging and rearranging images, texts and objects in a constant engagement with the ways in which meaning can be framed, reframed, and disordered. This relationship between fragment and whole in turn contains within it tensions between knowledge and instinct, containment and release, empathy and scrutiny. It is through quiet intuition that Spindler navigates these tensions, and it is through this same intuition that the viewer should seek to be guided through the works collected here.
The exhibition runs until the 24th October 2017.
We are pleased to announce that Alastair Whitton has been included in the international and multidisciplinary publication, Revolve:R. This publication seeks to transmit ideas through various forms of communication that includes postal service and printed matter. Each Revolver:R project and bookwork consists of six rounds, referring to this form of communication as ‘Revolves’.
In this second edition, poets were invited to write poems in response to the collective artworks of each Revolve. These six poems were then forwarded to filmmakers who were invited to produce short films in response to each poem. A composer also wrote a score for the project.
Revolve:R aims to support artists through the publication and exhibition of their work. With a strong focus on collaborative practice, the project facilitates communication between national and international arts communities, transcending geographic and linguistic boundaries, and is intended as a vehicle for new and responsive artistic dialogues and interactions.
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, Jaco van Schalkwyk -arium. This new book features essays by Professor Karen von Veh, Ashraf Jamal and Johan Myburg. It is now available at the gallery. To order please contact firstname.lastname@example.org.
Richard Mudariki is one of South Africa’s rising stars in the contemporary art world. This retrospective exhibition draws from private and corporate collections, presenting a unique opportunity to assess the development of Mudariki’s practice over time and to view new paintings produced exclusively for this exhibition.
Representative of a growing impetus towards figuration and social comment in South African painting his works have been collected in South Africa and are slowly attracting attention in the United States of America (USA), the United Kingdom (UK) and Europe.
On the subject of his art, critic and art historian Lloyd Pollack elaborates, “Mudariki’s art is issue-driven: it addresses the violation of animal and human rights, corporate greed, gender stereotyping, censorship and sexual violence. The mise-en-scene proves so visually arresting that any specific political message becomes subsumed in a spectacular breughelesque pageant of infamy and transgression.”
Mudariki takes on the issues we are confronted with on a daily basis in the media and presents these reinterpretations in beautifully crafted narrative paintings which despite their sometimes grim contents provide one with the opportunity to ponder yet delight in his ability to render this subject matter in an aesthetically engaging style and approach.
On Saturday 30 September 2017 at 11:00 Richard Mudariki and Stefan Hundt will be conducting a walkabout. of the exhibition. This will also be taking place at Sanlam Art Gallery. Members of the South African National Gallery (SANG) will pay R100, non-members will pay R120 and students will pay R50. Refreshments will be provided.
ABSA L’Atelier has been supporting artists in South Africa since 1986 and is run in collaboration with the South African National Association for the Visual Arts (SANAVA). This competition is open to artists from the ages of 21 to 35. Furthermore ABSA L’Atelier is now open to artists in South Africa, Botswana, Zambia, Ghana, Kenya, Uganda, Tanzania, Mozambique, Mauritius or Seychelles.
This year’s edition of the ABSA L’Atelier Art Competition commissioned Jaco van Schalkwyk to create the respective awards. For this project Jaco van Schalkwyk collaborated with designer and manufacturer Sebastian Rivett Carnac.
Barnard Gallery will be participating in the 2017 FNB Johannesburg Art Fair (8 – 10 September at the Sandton Convention Centre) where we will be showcasing a unique display of contemporary still life paintings by Alex Emsley. Find us at Booth C07.
Fascinated by the technical aspects of painting, Alex Emsley (b.1973) devotes his practice to a rigorous and methodical observation of the procedures employed by painters for centuries in the creation of convincing illusions. A dimension of painting he feels has become somewhat overlooked in contemporary practices, Emsley revisits these empirical techniques and approaches within the tradition of the still life or vanitas painting. Simple arrangements of objects – ranging from luxurious floral bouquets to jars of candy and toy cars – depicted in rigorous detail, become pretexts for a quasi-scientific engagement with paint and its various applications. Colour, surface and light become paramount, allowing the artist and viewer a welcome retreat to the senses and return to the enduring satisfaction and wonder of mimesis.
Jaco van Schalkwyk’s ever-evolving exploration of the photorealist technique may be seen to indicate a preoccupation with illusionism – a constant attempt to seamlessly capture reality in paint, to achieve perfection in surface, to master the representation of space and light. But this painterly hyperrealism points to an investigation which functions beyond illusionism, one fascinated with and attuned to the processes of representation itself. In –arium, van Schalkwyk’s fourth solo exhibition with Barnard Gallery, this consideration of the modes and constructions of representation finds its most complex and multi-faceted expression yet. Through the use of various media – painting, sculpture, installation, assemblage and film – van Schalkwyk considers questions of representation both in the artistic endeavour and in the everyday ways we construct and mediate realities around ourselves, our environment and our encounters with the Other.
Central to –arium is van Schalkwyk’s contemporary play on the concept of the cabinet of curiosities. The cabinet of curiosities or Wunderkammer as it emerged in Renaissance Europe, a predecessor of our modern practices of collecting and cataloguing, aimed to create a microcosm of the world in its presentation of a vast array of collected objects and specimens from foreign cultures and locales. In –arium, van Schalkwyk seeks to recreate and restage this practice – and the questions of voyeurism, power, fetishization and objectification implied within it – through the lens of our contemporary modes of engagement with the other and the exotic.
In addition to the artist’s four solo shows with Barnard Gallery selected group exhibitions include Violent Memories (Ahla Thit Gallery, Yangon, 2017); Fluid: Perspectives in Paint (Barnard Gallery, Cape Town, 2017); Future/Present (Barnard Gallery, 2016); Twenty: Art in the Time of Democracy (Pretoria Art Museum & University of Johannesburg, 2015); 6th Beijing Biennale, China (2015) and 20: Contemporary Art from South Africa (Turchin Centre, Appalachian State University, USA, 2014).
you leave me with this.
We are pleased to announce that Alexia Vogel is currently participating in a group exhibition at No End. Contemporary Art Space running from the 24 August – 16 September 2017.
This group exhibition featuring Anastasia Pather, Anthony Morton, Wim Legrand, Mia Chaplin, Heidi Fourie, Jeanne Hoffman, Olivié Keck, Matthew Hazell and Paul Senyol.
We are pleased to announce that MJ Lourens will be participating in a group mixed media exhibition around the theme of drought entitled Droogte – Drought – Imbalela – Isomiso – Komelelo – Dyandza Gomelelo – Komello Somiso Khuru.
The exhibition opens this Friday 25 August at the Artvark Gallery in Kalk Bay, Cape Town and closes on Sunday 8 October 2017.
Drought and extreme weather is considered a climate change pattern in this new planetary epoch we now call the Anthropocene. This term officially came into use to describe the current geological age in August 2016.
The scale and far-reaching consequences of the current drought in Cape Town can at times be difficult to imagine. This exhibition explores how art can be a tool to explore some of the complexities of these new planetary realities such as drought. With work from over 35 artists this exhibition will have a particularly South African approach.
A concept of relative simplicity, nano- 1.1 invited artists to zoom in, scale down, shrink, condense, encapsulate and compact; submitting works no larger than 20 x 20 cm. 108 works were included in the final curated display showcasing a diversity of styles and subject matters implicit to the burgeoning and vibrant Cape Town art scene. The exhibition runs until the 15 August 2017.