Coming soon – the third iteration of -nano.
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 (framing inclusive). 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.
Barnard acknowledges and would like to thank Spier for its continued support of contemporary South African art and is pleased to announce the recent acquisition of Katherine Spindler’s Hold on, let go II – the painting will form part of the permanent Spier Arts Collection.
Please join us for the opening reception on Tuesday 24 April at 18:30
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. Lourens remains fundamentally concerned with the relationship between land and subject, and the degrees of separation between them. Land, memory and subjectivity remain inextricably intertwined, representing a relationship which 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. This new body of work represents an increasingly abstracted practice as well as an extension into film media and sculptural canvases. Lourens is thus able to further extend his complication and confusion of surface, while still maintaining the emotional charge and evocative stillness which has always characterised his virtuosic scenes.
Currently on show is Point and Line by Hugh Byrne in collaboration with Ebony Curated. The title of the artist’s most recent body of work indicates a primary thrust which has extended across the artist’s career and practice – a reduction to the most basic visual forms and an investigation of the visual problem solving the relationship between these forms calls for. And yet “reduction” is perhaps a misleading word to use. As the paintings in this show display, these essential formal elements allow, in the tensions and harmonies between them, for layers of complexity to be built and experimented with. Byrne’s practice is as such a visual repartee between form, line and colour, a subtle dance and play in the search of balance and harmony. The exhibition runs until 17th April 2018.
Barnard is pleased to announce the recent acquisition of Richard Mudariki’s painting Economy of Scale by IZIKO South African National Gallery for their permanent collection. A highlight of Barnard’s booth at this year’s Investec Cape Town Art Fair in February, this work was also the gallery’s feature image in the art fair catalogue. In 2017, following the artist’s early career retrospective at Sanlam in Johannesburg and Cape Town, his painting The Model was purchased by Sanlam for their corporate art collection.
Barnard invites artists to submit works for nano 1.2.
A concept of relative simplicity, nano- 1.2 invites artists for the third time to zoom in, scale down, shrink, condense, encapsulate and compact submitting works no larger than 20 x 20 cm (framing inclusive).
Please send images of up to three artworks by the 7th of May to email@example.com
The selection process will be concluded by the 14th of May and selected artists will be notified.
Barnard in collaboration with Ebony Curated is pleased to present Point and Line by Hugh Byrne. The title of the artist’s most recent body of work succinctly indicates a primary thrust which has extended across the artist’s career and practice – a reduction to the most basic visual forms and an investigation of the visual problem solving the relationship between these forms calls for. Despite their apparent simplicity, these essential formal elements allow for layers of complexity to be built and experimented with. Byrne’s practice is as such a visual repartee between form, line, space and colour, a subtle dance and play in the search of balance and harmony. Byrne aligns himself with the tradition established by artists within the De Stijl and Bauhaus movement in maintaining a highly subjective, emotional engagement with these elements, which might mistakenly be relegated to the realm of impersonal, objective abstraction. While attending to essential visual elements, Byrne’s practice nevertheless embodies a strong emphasis on materiality and sculptural forms. Indeed, Byrne’s visual practice is thoroughly embedded in and directed by a continuous engagement with urban space, architecture and the lived experience of the city. This engagement results in complex understandings of space and dynamism, evident in this new body of work which displays a foray into more organic shapes, variations of tone and fluidities of line and form.
Barnard is pleased to present a new publication ‘Virginia MacKenny: At Sand’s Edge’ featuring essays by P.R. Anderson, Pippa Skotnes and Virginia MacKenny. This book recently launched at the Cape Town Art Fair, is now available from the gallery.
Since 2013 Barnard Publishing has been active within the galleries’ parameters and to date has editioned 9 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, Sarah Biggs, Jaco van Schalkwyk and Katherine Spindler have been added to the special library collections of the Thomas J Watson Library at the Metropolitan Museum of Art in New York, the University of Cape Town (UCT); Pratt Institute, New York and the Museum of Modern Art (MoMA), New York.
To purchase Barnard publications please email: firstname.lastname@example.org
Lien Botha and MJ Lourens will both be participating in the exhibition Kennis at the Stellenbosch Woordfees from Friday 2 – Sunday 11 March 2018.
In the early 1970s Human & Rousseau published the first full-colour encyclopaedia in Afrikaans: entitled, Kennis. With its bright colours, attractive illustrations and interesting perspectives, it became a source of knowledge, information and (now clearly one-sided) history. Although some information is now incorrect or out-dated, this encyclopaedia opened doors to new worlds, to science and foreign ideas by giving the youth an opportunity to be curious, to enjoy research and to be visually stimulated. One could argue that this yearning for knowledge, information and “truth” created a generation that loved reading and learning.
The aim of Kennis is to retell the stories of history; correct historic or scientific mistakes; comment on historic facts or situations; update information to reflect current views; review political ideologies; use old topics as metaphors for current views; comment on the current education system; compare facts and logic; or simply be inspired by the page or topic.
Kennis will be taking place at Gallery University Stellenbosch (Old Lutheran Church) located on the corner of Dorp and Bird Street, Stellenbosch.
The exhibition opens on Wednesday 28 February 2018 and closes on Friday 30 March 2018.
The first in what will be an ongoing series of different projects by guest curators, ‘New Romantics’ curated by well-known writer and critic Mary Corrigall explores the thematics of romanticism through the lens of contemporary emerging artists based in Cape Town and Johannesburg. The exhibition opened on January 30 and will close on March 06.