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.
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.