In WYE, an immersive three-screen film installation, Mikhael Subotzky treads the tumultuous terrain of the “white male psyche”.
When three fictional protagonists travel between England, South Africa and Australia, their projections onto these landscapes mirror colonial mindsets in the historicised past, the vexed present, and an imagined post- corporeal future.
According to Subotzky: “The white South African man carries the mark of the colonial explorer whose ‘superior’ relationship to ‘foreign’ lands sticks stubbornly to their projected and internalised positioning in the contemporary body politic."
An unsettling and beautiful piece, WYE tackles white guilt with demanding complexity. While, on one screen, we inhabit the intrinsically arrogant mindset of a 19th-century British settler on his arrival to the Eastern Cape, on another we follow a 21st-century South African man who walks a Port Elizabeth beach seeking a ‘blank canvas’ free of crime and ‘politics’ before emigrating to Australia. on the third screen we enter the white male body itself, which has become ‘colonised’ in the name of a futuristic form of psycho-anthropology.
An established and distinguished international contemporary art gallery, the Goodman Gallery creates space for dialogue and social political engagement with a concentration on freedom of expression.
163 Jan Smuts Avenue, Parkwood
David Krut Projects
Lorenzo Nassimbeni (Drawing activation)
6 – 8PM
Join us at our new exhibition and projects space where will be hosting, showing, sharing, creating and demonstrating. Our preview opening is a temporary interactive exhibition on Thursday 2 March by artist and architect Lorenzo Nassimbeni. The artist will take part in a drawing activation throughout the course of the evening. This event is the first of several to set the scene for his upcoming show at DKP in early 2018.
David Krut Projects is an alternative arts institution that promotes contemporary culture in a collaborative environment through a printmaking workshop, gallery projects and specialised bookstores.
142A Jan Smuts Avenue
"A Place to Call Their Own" by Raymond Dakoua
119 Jan Smuts Avenue Rosebank
Dragontree | Studio | Gallery
EPA photographer, Kim Ludbrook talk on his images from covering Tour de France as he follows Chris Froome on the back of a motorbike. start at 7pm, prints on sale
138 Jan Smuts Avenue, 1st Floor, Unit 5 (Above Gallery 2)
"Periphery" A photographic exhibition by Tim Hopwood
'PERIPHERY' is a photographic exhibition by Tim Hopwood in collaboration (peripherally) with Mikhael Subotzky's solo, 'WYE' which is on at the Goodman this month. The exhibition draws work fromTim's vast archive, exploring the Eastern Cape's complex social, political and anthropological landscapes.
Priest is a hybrid and experimental exhibition space engendering a wide array of independent and fringe artistic and curatorial activities.
Shop 1, Chester Court, 142 Jan Smuts Ave, Rosebank
Art It Is
With spirit and passion Art It Is remains determined to provide a platform for new artists to launch their careers by showcasing their work alongside the more established Artists in the industry.
11 Chester Road Parkwood
Currently on show in Gallery 2 is a varied collection of artists works, including Gideon Appah, Themba Khumalo and Jenny Stadler. The works range in variety from prints, drawings and paintings to sculptures.
Gallery2 looks to mediate between formalist ideals and the theoretical artistic discourse of contemporary art. We promote a re-appreciation of the aesthetic and return to art signifying discourses.
140 Jan Smuts Avenue Parkwood
138 Jan Smuts
138 Jan Smuts is in amongst the hub of activity, with Gallery 2, Dragontree and new and exciting pop-up stores in the courtyard and entrance, including the best sneaker shop around.
An architectural change to the Rosebank Art Strip, 138 Jan Smuts houses creative and design agencies, a leading contemporary art gallery, and arguably the best sneaker shop on the continent.
138 Jan Smuts Avenue Rosebank
6Black Sounds | Goya in Africa | by Angel Haro
The Quinta Del Sordo (Deaf Man’s Villa) was the home that Goya retreated to and lived and worked in from 1820 to 1823, after a prolonged illness that left him deaf. It is here that Goya created his final frescos, which today are referred as the Black Paintings, these images are filled with horrifying scenes that speak to the emotional state of mind that had become dark and very emotional as well as pessimistic.
In 1874, after the move of Goya to France, Emile Derlanger, new proprietor of "Deaf Man’s Villa", ordered French photographer Jean Laurent to photograph murals that adorn the diverse stays of the building. These photographs, were used as guide for transferring the mural to cloth and its later restoration. The procedure of separation used by Mtz. Cubells was strappo, an aggressive technique that damages the painting and that requires an intervention later, and this is the reason why the pieces that we see in El Prado, are not exactly those that Goya painted. Nevertheless the photographs of Laurent are the unique unquestionable witness of how they were in fact those paintings: its gestures, its atmosphere and even its deterioration.
These original glass boards that are now conserved in the Institute of Patrimony and Culture in Madrid, are the same images that the artist Angel Haro has had access to, on the basis of a previous research done by the artist on The Black Paintings. The original photographs are serving as a departure point for this work, analysing the gesture and the physical pulse of the paintings that beat in the original glass boards.
The Black Paintings of Francisco de Goya, as well as their series of engravings “The Disasters of War” represented a political challenge when becoming contemporary cultural patrimony, they constitute a shout that is not silenced easily. Being born from the isolation of the painter in its villa of the outskirts of Madrid, they are tied to personal and political circumstances that are found in Goya. Its madness is the madness of its world and its society, and that only thanks to the fact that the artist was in the limits of itself, could portray the horror that it surrounded him when shaping ‘su propio’ terror.
Goya in Africa is a metaphorical expresion on the connection, Angel Haro, sees on Goya’s influence in African art. African artists, specially during the XX century and today, have developed a critical and profound awareness on daily events, often tragic, with all the complexity of the socio political development of the continent. A great part of African artists as well as most of photo journalism is impregnated of Goya’s vision.
The prestigious Fine Art printing studio at Res Gallery one of Johannesburg’s contributors of some of the best contemporary African artists, are the ones that will be producing the series of prints. The collection consists of six pieces intervened by Angel Haro.
Res Gallery specialises in digital art, from limited edition prints to interactive installations, and mixed media artworks, as well as operating as a digital/photographic print studio.
Unit 4, 142 Jan Smuts Avenue, Parkwood
Bolton Road Collection
Right across the road from Goodman Gallery, Bolton Road Collection is a great new restaurant and bar - the perfect spot to start or end your First Thursdays.
Cnr Bolton and Jan Smuts
Peter Eastman "Coldstream" (Opening)
Winter has the lowest rainfall.
When I arrive at the river, descending steeply from the forest into the narrow creek, it is barely flowing.
The trees that make up this forest – Stinkwoods, Wild Pear, Ironwoods and Yellowwood – have tiny leaves. The light catching these small leaves creates a unique light, a fine dusting of millions of points reflected.
There is no green light, only grey.
In the studio, mixing grey: Lemon yellow, Prussian blue, Van dyke brown. Cool grey, Warm grey. Transparent scarlet lakes. Cadmium orange and red.
Immediacy and reflection,
Attention and immersion,
A seeming contradiction, this shaded place is where I paint light.
The pools are still and cold. Walking through the water, waist deep, the ripples are smooth undulations. They stretch, distort and tear. A veneer. Broken reality.
- Peter Eastman
SMAC Gallery is pleased to present Coldstream, Peter Eastman’s eighth solo exhibition and his third with SMAC Gallery. The exhibition comprises of a series of new oil on aluminium paintings, depicting Eastman’s characteristically pensive and atmospheric forest-scapes.
Eastman’s practice can be described as a form of contemporary impressionism, characterised by similar qualities like small but visible brush strokes, broad compositions and unusual visual angles. Drawn from the Knysna forest region near Plettenberg Bay, where the artist’s family retreat is located, the emphasis of these woodland scenes is on an accurate depiction of light and its changing qualities, rather than dutifully referencing the location.
Emollient and meditative, Coldstream features a selection of works where Eastman's focus on the shifting qualities of light and reflection has expanded. By depicting movement, he highlights these elements as a crucial part of human perception and experience. The palette is reduced to two colours – one dark, evoking shade, and one light, picking out the “millions of points” of sunlight dancing across the foliage, falling in pinpoints on the branches, rocks and water. Eastman’s skilful chiaroscuro interpretation of light is almost xerographic, yet remains both painterly and expressive.
Coldstream presents a selection of quiet compositions, poised somewhere between figurative and abstract, and suffused with opaque moods and dreamlike memory. The exhibition will be on show at SMAC Gallery in Johannesburg until 1 April 2017. For more information, please see the SMAC website: www.smacgallery.com
Specialising in modern and contemporary art, SMAC Gallery has exhibition spaces in Cape Town, Stellenbosch and Johannesburg.
First Floor, The Trumpet building 19 Keyes Avenue Rosebank
Again Again by Brett Murray
Join us at CIRCA on the 2nd of March 2017 for the opening of Brett Murray'ssolo exhibition Again Again.
CIRCA Gallery, standing alongside the Everard Read headquarters, is situated on the corner of the Keyes Art Mile and is concerned with exhibiting highly important contemporary works of art.
2 Jellicoe Avenue, Rosebank
Again Again by Brett Murray
Join us at Everard Read on the 2nd of March 2017 for the opening of Brett Murray'ssolo exhibition Again Again.
Everard Read is Africa’s oldest commercial art gallery. Everard Read has since its inception been associated with pre-eminent artists working in Southern Africa.
6 Jellicoe Avenue Rosebank
Keyes Art Mile
The opening of the TRUMPET in Rosebank, Johannesburg, marked the first exciting step in the transformation of Keyes Avenue into an open fusion of art and architecture – where art, design, life, leisure, fun, friends and work form one seamless experience. This is the vision of Keyes Art Mile – a neighbourhood with art at its heart.
Comparable to a village ‘high street,’ Keyes Art Mile is evolving to include a series of galleries and exhibition spaces showcasing local and international art and design. Residences, cafés, coffee-on-the-go, artisan eateries and a boutique butchery, as well as vibrant shops and spaces new to the Johannesburg scene, complete the experience.
Together with paved streets lined by rows of indigenous trees and plentiful parking facilities, the precinct breathes new life into and builds on the existing heritage of the avenue, home to the the 100-year old Everard Read, CIRCA Gallery and Speke, and the historic St Theresa’s School and catholic church.
On each first Thursday of every month, Keyes Art Mile comes to life in the form of a buzzing street party. Friends and family gather together to groove to vinyl sets of seventies soul and funk, indulge at the pop-up gin bar or the wide-ranging array of food trucks, all while soaking in the atmosphere of art and design.
Three globally respected galleries have opened exhibition spaces in Johannesburg – SMAC, What If The World and Southern Guild – bringing a selection of South Africa’s world-class artists and designers to Johannesburg to showcase their talents.
Expanding on this artful experience, Anatomy Design, Missibaba and Okapi sit comfortably beside the timeless modern masters of international design; Kartell, Moroso and Cassina, as well as FLOS Lighting’s unique blend of clean design and technology, while Shelflife ups the cool factor in its fast-flying limited edition sneaker store.
Adding culinary cafe culture to the street front, Milk Bar and BGR’s ‘best burger in town’ stands alongside the new concept butchery by acclaimed chef David Higgs. A majestic triple volume atrium leads visitors to the second floor where the MESH Club creates “common ground for uncommon people”. This curated, member-based community provides a workspace and platform for entrepreneurs, business minds, artists, professionals and young creatives to connect, network and collaborate in inspiring new ways, surrounded by state-of- the-art technology and a beautifully designed environment.
Crowning the TRUMPET with a breathtaking view over Johannesburg that steals the show, is David Higgs’ much-anticipated restaurant – Marble – a 200-seat masterpiece that brings the performance of live-fire culinary methods to the city.
TRUMPET - the first building in this exciting precinct - is a modern mixed-use design by Pierre Swanepoel from StudioMAS. TRUMPET continues the bold architectural journey that was started with the award winning CIRCA building next door on the corner of Keyes Avenue and Jellicoe Avenue.
Patrick Geddes might have imagined a place in the city like Keyes Art Mile, when he said, “A city is more than a place in space, it is a drama in time.” It’s a simple but powerful description of the vision for Keyes Art Mile – a place of inspiration and pure wonder that will instil in people a feeling of local pride, becoming a creative place to connect and to share.
Keyes Art Mile represents a new approach to living – a place built to inspire and encourage creative living and generosity of design in a highly connected world in the heart of Johannesburg.
WHATIFTHEWORLD is pleased to present “We Must Not Be Looking”, a new series of photographic work by Nigerian artist Lakin Ogunbanwo. In this body of work Ogunbanwo proposes an irreverent reflection on the populist language of race and identity in South Africa.
Whilst on an artist residency in Cape Town in 2015, Ogunbanwo was struck by how people self-identified by the colour of their skin: black, white, but even more strikingly as “coloured” a term usually considered derogatory elsewhere in the world.
Using his position as an outsider, unfamiliar with the racialised identities of South African society, he exploited this naivety in a spontaneous yet ultimately satirical reimagining of race by creating images that are a literal translation of the term Coloured.
By using wearable skins that stand in for hued complexion, Ogunbanwo’s new work becomes a sartorial interpretation of notions of mixed-ness as implied by the colloquial language of identity in South Africa.
The variations in design of Ogunbanwo’s wearable skins are also reminiscent of his connection with the fashion world. His engagement with fashion has been one of the hallmarks of his creative identity and photographic language.
Born in Lagos, Nigeria in 1987 Lakin Ogunbanwo studied Law at Babcock University, Nigeria and Buckingham University, England before beginning work as a fashion photographer in 2012. His work has been featured in the Times New York, ID online, British GQ and Riposte Magazine. Solo exhibitions include: Are We Good Enough (2015) and New Work (2014) at WHATIFTHEWORLD, and Portraits by Lakin Ogunbanwo (2013) at Rooke & Van Wyk Gallery in Johannesburg. Recent group exhibitions include Nataal, at Red Hook Labs Brooklyn New York, Dey Your Lane! at BOZAAR, Lagos Photo Festival 2016 and Art x, Lagos Nigeria.
WHATIFTHEWORLD & Southern Guild is a collaborative partnership of contemporary art and design - a local manifestation of a global movement toward blurring the line between the two disciplines.