Currently on show until 10 July 2018
A concept of relative simplicity, the group exhibition nano- 1.2 invited artists to zoom in, scale down, shrink, condense, encapsulate and compact; submitting works no larger than 20 x 20 cm. The exhibition is an opportunity to play with scale, to explore what effects it has for both artist and viewer, and what new parameters it may set for the curator and the gallery space.
Richard Mudariki’s painting The Model is included in Centennial: A Century of South African Art from the Sanlam Art Collection 1918 – 2018. The exhibition will be on view at the Sanlam Art Gallery until 24 August when an edited version will move to the Sanlam Art Lounge, at 11 Alice Lane, Sandton Johannesburg where it will be on view from 5 Septmber 2018 until 15 December 2018. Please click here to watch a short video about selected works in the exhibition.
The artist will also welcome international students from Yale University and the Australian National University into his studio on July 2 as part of the Social Justice course initiated by the University of Cape Town.
Well known publisher and printmaker Mark Attwood has, since the early 1990’s collaborated with numerous emerging and well known South African and international artists on limited edition prints and artist book projects. In 1992 the first artist book entitled GIF 1 was launched with contributions by five artists. GIF 4 was recently published and includes work by twenty six artists from around the world. Barnard is proud to announce that a mezzotint by artist Robyn Penn is included in this edition. Editions from all the GIF projects have, to date been acquired by The Smithsonian Institute in Washington.
VOLTA14 Basel 11-16 June 2018
Barnard is pleased to present a solo exhibition in the form of a nine-panel painting installation entitled Nemora, by emerging South African painter Jaco van Schalkwyk, known for his painterly prowess and carefully curated projects.
Join us on Saturday 26 May 2018 at 11 am for the launch of MJ Lourens’ Views on Entropy publication. The limited edition (100 copies) and signed publication includes an insightful dual language text by award winning writer, poet and curator Johan Myburg. The artist will be present and will give a walkabout of his current exhibition. Entrance is free and all are welcome.
Barnard is pleased to welcome Tom Cullberg into its stable of artists.
The paintings of Swedish born South African artist Tom Cullberg are at once familiar and foreign, pensive and playful. Charting territories between seemingly tangible and intangible worlds, the artist presents us with collections of represented objects that explore both fictitious story telling as well as real or recorded histories. These signifiers or symbols, appearing as though from dreams, hover or float over abstract grounds that, like the mechanics of memory appear in a state of flux. With humour and wit his paintings consider processes of association and recognition in the reading of both private and public narratives.
A graduate of the Michaelis School of Fine Art at the University of Cape Town, Cullberg has gone on to present sixteen solo projects in four different countries and his work has been included in curated exhibitions at various prestigious institutions and museums including amongst others Kulturhuset, Stockholm; Goteborgs Konst Museum, Gothenburg; the Johannesburg Art Gallery, Johannesburg and IZIKO South African National Gallery, Cape Town. The artist’s work can be found in the collection of the Swedish Parliament as well as a number of corporate collections including SASOL, Spier and Hollard in South Africa and Nandos in the UK.
Barnard will present the artist’s solo exhibition Finding New Life in an Old Form opening on 21 August 2018.
A concept of relative simplicity, nano- 1.2 invited artists to zoom in, scale down, shrink, condense, encapsulate and compact; submitting works no larger than 20 x 20 cm. The exhibition is an opportunity to play with scale, to explore what effects it has for both artist and viewer, and what new parameters it may set for the curator and the gallery space.
Smaller works immediately require and create a greater intimacy with the viewer, compelling us to come closer, look closer, stay longer. While large, expansive works keep us at a distance, smaller works activate interiority and introspection. They require a sharper focus, a keener gaze, a lingering attention. Playing into our fascination with the miniature, small works conjure whimsy, a sense of the magical, a playfulness. But profundity need not be reserved only for the grandiose, and by requiring an economy of expression from the artist, smaller works are also often surprisingly affecting and impactful.
Please join us for the opening reception on Tuesday 5 June at 18:30
Currently on show until 29 May 2018
Entropy, a thermodynamic concept, can be most simply defined as a measure of disorder, used to explain transfers of energy and processes of time by registering the passage from order to disorder within a given system. Being an invisible entity, the title Views on Entropy sets up an interesting contradiction. Enclosed within this title is Lourens’ on going desire to capture the hidden and the liminal, forces out of sight, even as he faithfully records and meticulously depicts the apprehensible world in his signature photorealism. The title likewise signals a process of reflection, of observation, and consideration – a process that Lourens continually engages with in a reiteration of spatial motifs. The artist’s return to similar scenes and variables – sky, cloud, dusk, industria – might be read as a mantra, a meditative practice, perhaps even an obsession. Just as with meditation, each reiteration of the practice initiates expansion, a widening of understanding.
As with his previous exhibition, Proximity by Proxy, presented by Barnard in 2016, Lourens is fundamentally concerned with the relationship between land and subject, and the degrees of separation between them. He continuously examines the dynamics of psychological imprinting on and within landscapes, a process that remains deeply personal to the artist. Land, memory and subjectivity remain inextricably intertwined, representing a relationship that is never without tension and unease. As his career progresses and his practice evolves, Lourens captures ever more subtleties within this relationship, this calibration of subject, landscape, sky and light. And yet, in choosing entropy as a guiding concept, Lourens signals that the outcome of this prolonged investigation is not order but disorder. What is sought for in this career long conversation with the dynamics of space is not stabilization but a destabilization of truth, a multiplication of nuance rather than a reach for authority.
Read Melvyn Minnaar’s review here.