Claimed by the artist on Instagram, the mural outside London Zoo showed a gorilla lifting the shutter to free birds and a seal, with some animals staring out from the inside.

It is the latest in Banksy’s series populating the British capital with animals, starting with a goat revealed last week Monday, followed by two elephants the next day and then monkeys, a wolf, pelicans, a cat, piranhas and a rhinoceros in subsequent days.

Banksy’s identity is publicly unknown

The frequency of artworks is unusual for Banksy – whose identity is publicly unknown – and who usually spaces out his pieces over months, leaving fans speculating about the meaning of the different animals and awaiting a “big” reveal.

The latest mural was “an absolute shock and surprise to all of us here at London Zoo”, Karl Penman, commercial operations manager at the zoo said.

“If it is the full stop, what a great full stop to end on,” Penman told AFP.

The BBC reported the that piece was the last in the series.

“You can see the watchful eyes, which to me look a little bit uncertain about whether they want to be free,” said doctor Sharmela Darne about the eyes of animals staring from behind the shutter in the latest artwork.

“But the seal’s clearly going away and so are the birds flying free… so maybe it’s about freedom and being unsure about freedom,” Darne told AFP.

For many, the animal safari has added some positivity to their week, as the country reeled following the death of three girls in a stabbing and ensuing violent riots.

Speaking in front of two pelicans painted over a fish shop in Walthamstow, northeast London, Peter McCarthy said it had been “very nice to have it in this particular week”.

“Very nice that he’s been around the country when there’s been such trouble. Doing these wonderful things.”

Removed

For others, the choice of animals has meaning, with some finding the goat similar to a Palestinian mountain gazelle and others pointing out the artist’s previous work on the climate crisis.

Three of the artworks have already been removed or stolen, and the rhino revealed on Monday was defaced the same day.

A satellite dish painted with the wolf was stolen within hours of being claimed by Banksy, with the cat on a billboard removed by contractors and a police box painted with swimming piranhas removed by the local authority to ensure it was “properly protected”.

Speaking in front of the cat on Saturday before it was removed, dentist Mitul Patel said he wished “people would leave his work alone so that other people could enjoy it as well”.

Locals and tourists alike have been enjoying the artworks that are still up.

Taking a brief pause from his job, construction worker Owen said the three monkeys in east London’s Shoreditch area were “very exciting” and a “big talking point”.

Kevin Mazur, a photographer visiting from the US, said he had been “running around photographing all” the artworks, and was “bummed” about having to return to New York.

Retiree Don Gould lives around the corner from the goat in southwest London’s Kew Green, and saw the artwork after it was revealed online last week.

“It’s very good excuse for a stroll on the green and a pint, isn’t it?”

By Garrin Lambley © Agence France-Presse

BANKSY AND HIS LATEST WORK

On August 12, 2024, the elusive street artist unveiled his eighth piece, according to People.

It featured a rhinoceros perched atop a silver Nissan. The Rhino has a traffic cone on its hood.

This playful yet poignant work of art has appeared on the side of a building on Westmoor Street in southeast London.

BANKSY AND THE RHINO MURAL

The new rhino mural is the latest addition to Banksy’s series, which has been delighting Londoners since 5 August.

The artist’s previous works include a goat perched on a pillar, a piranha on a blue City of London police box, and a pair of elephants painted on a building wall.

BANKSY’S WIT AND SOCIAL COMMENTARY

Each piece has added a unique twist to the urban landscape. It reflects Banksy’s characteristic wit and social commentary.

The rhino mural, in particular, has been met with enthusiastic praise, according to Sky News.

One admirer commented, “Love it. What a clever piece of work.” Another noted, “They just get better.”

ANIMAL CHARITIES

The International Rhino Foundation joined in the celebration, calling the new mural their favourite.

“We may be biased,” the Foundation admitted, “but this is definitely our favourite Banksy.”

Animal charities, such as Helping Rhinos, have also expressed their admiration.

“So clever! Definitely our favourite, but that’s probably not surprising,” they remarked.

THE ART SERIES

The inclusion of the traffic cone adds a humorous touch, mimicking the wild animal’s horn.

The mural’s appearance follows a series of recent unveilings by Banksy, according to The Guardian.

Prior to the rhino, he painted a striking piece of a piranha on a City of London police box.

The local government is reportedly exploring ways to preserve this piece. This acknowledges its cultural and artistic value.

THE MYSTERY OF THE ART

Banksy’s second artwork in this series featured two elephants with their trunks touching, creating a touching tableau.

The artist has been sharing images of his new works daily on Instagram. This has sparked speculation about their meanings and the total number of pieces in this series.

Banksy’s choice to withhold details and captions adds to the mystery and allure surrounding his art.

BLENDING HUMOUR

As Londoners eagerly anticipate the next instalment, the city remains abuzz with excitement over Banksy’s latest creations.

His ability to blend humour, social commentary, and artistic flair keeps fans guessing and engaged.

Each new piece not only enhances the urban landscape but also invites viewers to ponder deeper messages behind the seemingly whimsical depictions.

INFLUENCE AND CREATIVITY

In a city where art frequently blurs the lines between public and private space, Banksy’s new rhino mural is a testament to the artist’s ongoing influence and creativity.

With each new work, he continues to challenge, entertain, and inspire, solidifying his place as one of the most intriguing and celebrated figures in contemporary art.

HOW DO YOU THINK BANKSY’S ART COMPARES TO OTHER STREET ARTISTS?

Let us know by clicking on the comment tab below this article or by emailing info@thesouthafrican.com or sending a WhatsApp to 060 011 021 1.

You can also follow @TheSAnews on X and The South African on Facebook for the latest news.

The animal-themed collection has sparked speculation about their message. Are they criticism of England’s far-right riots or possibly support for Palestinians? Perhaps they reference global warming or even the Olympics?

Banksy’s identity remains unknown

As usual, the enigmatic artist gave no explanation when he claimed them on Instagram. What is unusual is how quickly they have appeared – usually Banksy’s works are spaced several months apart.

On Monday, a depiction of a goat precariously perched on top of a wall with rocks tumbling down appeared in Richmond, southwest London.

“I think it’s actually a mountain gazelle from Palestine. So I think that work has to do with Palestine,” Daniel Lloyd-Morgan, a 60-year-old artist told AFP.

Then on Tuesday two elephant silhouettes with their trunks stretched towards each other appeared in Chelsea, southwest London.

On Wednesday, the black silhouette of three monkeys appeared on the side of a railway bridge as if they were swinging.

“Banksy is trying to get us to think and reflect about the ecological crisis that really threatens humanity,” university professor Fawaz Gerges told AFP as he admired the latest work.

“His focus seems to be on animals, on trees, on oceans and it’s an overarching theme of his in the past few months,” he added.

The artworks have appeared at a time when England is gripped by violent far-right, anti-immigrant protests over the murder of three girls. Demonstrators have targeted hotels housing asylum seekers.

Banksy, whose identity is unknown, has repeatedly shown sympathy for the plight of refugees.

At the Glastonbury music festival last month the artist launched an inflatable boat over crowds depicting dummy migrants wearing life vests.

By Garrin Lambley © Agence France-Presse

She was 72.

Nando’s took to social media to write: “Thank you for lighting up our screens, our homes and our lives. Love, the Babies #RIPConnieChiume”

DID YOU KNOW

Nando’s is a South African multinational fast casual chain that specialises in Portuguese flame-grilled peri-peri style chicken.

It was founded in Rosettenville in Johannesburg in 1987 by Portugal-born Fernando Duarte and South Africa-born Robert Brozin.

Upon visiting a Portuguese-Mozambican takeaway named Chickenland and trying the chicken with peri peri, the pair bought the restaurant for about R80 000.

They renamed the restaurant Nando’s after Fernando’s first-born son.

Nando’s operates over 1 200 outlets in 30 countries.

Their logo depicts the Rooster of Barcelos, one of Portugal’s most common symbols.

Gayton McKenzie pays tribute

Meanwhile, Minister of Sport, Arts and Culture Gayton McKenzie extended his condolences to the family, friends and fans of Chiume. 

“Her passing at age 72 marks a profound loss for the South African nation and the world of arts and culture. Chiume’s matchless talents and dedication to her craft have left an indelible mark on the hearts of many,” said the department on Tuesday.

Born in Welkom, South Africa, Connie Chiume’s journey was one of resilience and brilliance. Her early years were spent in Welkom before she completed her matric in the Eastern Cape and graduated with a degree in teaching in 1976. 

After a few years of teaching, she pursued her passion for travel and moved to Greece. Chiume began her illustrious acting career with roles in Porgy and Bess, Ipi Ntombi and Little Shop of Horrors. 

Upon returning to South Africa, she captivated audiences with her performance as Thembi in the 1989 series Inkom’ Edla Yodwa and the 1990 film Warriors from Hell. 

Her talent was recognised with a Best Actress award at the South African Film and Television Awards (SAFTAs) in 2000. 

Connie Chiume charmed viewers in soap opera Rhythm City

From 2007 to 2015, Connie gained prominence through her role as Stella Moloi in the SABC1 drama series Zone 14, earning her another SAFTA. She also received the Best Supporting Actress in a Drama award at the third SAFTAs. 

In 2015, she charmed viewers in the soap opera Rhythm City as Mamokete Khuse. 

Chiume’s talent transcended borders when she played the Mining Tribe Elder in Black Panther in 2018.

In 2020, she continued to shine in the drama series Gomora and appeared in the film Black Is King. 

Living Legend award

She was also a recipient of the Living Legend award at the department’s inaugural Cultural and Creative Industry Awards (CCIAs) that took place on the 30th of March 2024. 

Upon learning of the news of Chiume’s passing, McKenzie said: “Her performances brought joy, inspiration, and a sense of pride to countless South Africans. She was more than an actress; she was a beacon of strength, resilience and grace. Mam’ Connie’s contribution to the arts not only entertained. She inspired, educated and uplifted communities throughout our country. 

“As we mourn her passing, we also celebrate her life and legacy. May her memory continue to inspire future generations of artists. My thoughts and prayers are with her family during this difficult time. May they find comfort in the outpouring of love and support from all those who cherished her.”

“Her passing at age 72 marks a profound loss for the South African nation and the world of arts and culture. Chiume’s matchless talents and dedication to her craft have left an indelible mark on the hearts of many,” said the department on Tuesday.

Born in Welkom, South Africa, Connie Chiume’s journey was one of resilience and brilliance. Her early years were spent in Welkom before she completed her matric in the Eastern Cape and graduated with a degree in teaching in 1976. 

After a few years of teaching, she pursued her passion for travel and moved to Greece. Chiume began her illustrious acting career with roles in Porgy and Bess, Ipi Ntombi and Little Shop of Horrors. 

Upon returning to South Africa, she captivated audiences with her performance as Thembi in the 1989 series Inkom’ Edla Yodwa and the 1990 film Warriors from Hell. 

Her talent was recognised with a Best Actress award at the South African Film and Television Awards (SAFTAs) in 2000. 

Connie Chiume charmed viewers in soap opera Rhythm City

From 2007 to 2015, Connie gained prominence through her role as Stella Moloi in the SABC1 drama series Zone 14, earning her another SAFTA. She also received the Best Supporting Actress in a Drama award at the third SAFTAs. 

In 2015, she charmed viewers in the soap opera Rhythm City as Mamokete Khuse. 

Chiume’s talent transcended borders when she played the Mining Tribe Elder in Black Panther in 2018.

In 2020, she continued to shine in the drama series Gomora and appeared in the film Black Is King. 

Living Legend award

She was also a recipient of the Living Legend award at the department’s inaugural Cultural and Creative Industry Awards (CCIAs) that took place on the 30th of March 2024. 

Upon learning of the news of Chiume’s passing, McKenzie said: “Her performances brought joy, inspiration, and a sense of pride to countless South Africans. She was more than an actress; she was a beacon of strength, resilience and grace. Mam’ Connie’s contribution to the arts not only entertained. She inspired, educated and uplifted communities throughout our country. 

“As we mourn her passing, we also celebrate her life and legacy. May her memory continue to inspire future generations of artists. My thoughts and prayers are with her family during this difficult time. May they find comfort in the outpouring of love and support from all those who cherished her.”

This show marks a new technological dimension to his work

Peter Mammes, an ultra-contemporary South African artist who now lives and works in London, will unveil his latest offering, titled “The Last Hope”, which is an exploration of a new series of techniques he calls ‘industrially hand-made’. Mammes is exhibiting with Lizamore and Associates, a Johannesburg-based gallery run by renowned curator and gallerist Teresa Lizamore, who is a significant player in the local South African arts scene.
In this exhibition, Mammes has blended cutting-edge technology with traditional techniques, pioneering a new medium that utilises rubber to infuse his drawings with a sculptural and tactile aspect. The result is a collection of rubber drawings that feel like relics from a forgotten future, akin to enigmatic hieroglyphics, or ancient inscriptions.

Innovative show to be held in Rosebank

The exhibition will take place at the Fire Station in Rosebank, a modern space built next to the actual fire station (still in use), making it a very unique and quirky space. Mammes has been working with Lizamore for many years, and she has showcased his work at the Johannesburg Art Fair, Cape Town Art Fair, and numerous group exhibitions across South Africa.

Show born of a residency in the Amazon

Part of this exhibition was conceived during Mammes’ recent artist residency in the Amazon, where he witnessed the devastating impact of human activities on the environment. His observations resonate with the same issues that are prevalent in South Africa and across the world. His art, a juxtaposition of children or human figures in artificial attire against the natural beauty of animals and birds, serves as a reminder of our role and place in this world.

Mammes is on a quest, in his own words, “to rediscover the magic of drawing, to channel the spirit of our ancestors and the people who call out from the grave.” His art prompts us to ponder our place with the animals and nature, questioning our desire for a world harmonious with nature, and hinting at the catastrophic consequences if we fail to enact significant changes.

Opening night – August 1st (runs until 19th September)

The Last Hope” promises to be a feast for the senses. His innovative masterful approach to his craft and poignant exploration of pressing existential and environmental themes make this exhibition a must-see event. The exhibition is set to open on the 1st of August and will run until the 19th of September at the Fire Station in Rosebank in partnership with Lizamore and Associates.

For guestlist and more details:
www.patterndiscord.com

For more about the artist:
https://lizamore.co.za/peter-mammes

All these collectable modernist artists, many now receiving overdue international recognition, are represented in the catalogues for Strauss & Co’s two-part Day and Evening auction of modern and contemporary art in Johannesburg on Tuesday, 28 May 2024.

Leading the 85-lot catalogue for the premier Evening Sale, which commences at 19:00, is Irma Stern’s paradisiacal 1930 portrait of a seated young woman, Cape Girl with Fruit (estimate on request).

Made during a period of frequent travel across Southern Africa and regular exhibiting in Europe, this important, large-scale work records the early beginnings of Stern’s celebrated and sensual mature style. 

Paradise also looms large as theme in Alexis Preller’s sun-drenched beach scene, Fisherman Mending Nets, Beau Vallon (estimate R3-4 million / $162 780 – 217 040), from his important visit to the Seychelles in 1949.

Preller, who is currently the subject of a career retrospective at Norval Foundation in Cape Town, has two works in the evening session.

Irma Stern has five paintings on auction

Stern has five, including Still Life with Amaryllis (estimate R5 – 7 million / $271 455 – $380 040), which was painted during a pause in her epic run representing South Africa at four editions of the Venice Biennale (in 1950, 52, 54 and 58).

“More than a decade ago, The New York Times wrote that South African avant-garde painting of the 20th century had not loomed large in the international public imagination, which was perhaps true of affairs at the turn of this century but definitely does not apply today,” says Dr Alastair Meredith, Head of Department of Fine Art, Strauss & Co.

“South African modernists have in the last few years received growing recognition in international exhibitions and publications. The 2024 Venice Biennale, which features nearly a dozen of the country’s best modernists, including George Pemba, Gerard Sekoto and Irma Stern, marks a further step in the international rehabilitation of our historical artists.”

The Evening Sale offers a representative survey of South African art, from its early beginnings with painters like Frans Oerder and Pieter Wenning, through the emergence of the black modernist canon with figures like Pemba and Sekoto, up to the vibrant present day.

There are two high-value William Kentridge drawings: Preparing the Flute (estimate on request), related to his celebrated 2005 production of Mozart’s The Magic Flute, and a WW1 battle scene (estimate on request) from his 2002 stop-animation film Zeno Writing.

As always, painting features strongly in both the online Day Sale and the live-virtual Evening Sale, with notable works by Walter Battiss, Peter Clarke, Robert Hodgins, Maggie Laubser, Nelson Makamo and John Meyer.

The estimate for Vladimir Tretchikoff’s striking Chrysanthemums in a Vase (estimate R1.2 – R1.6 million / $65 090 – $86 785) reflects his evergreen status at auction.

George Pemba and Gerard Sekoto, who are currently enjoying premier billing at the Venice Biennale, have three and five works apiece in the Evening Sale.

Pemba’s 1989 portrait, Author and Artist (estimate R200 000 – R300 000 / $10 865 – $16 300), depicts author Alan Paton.

Sekoto’s works are dated 1960 to 1975, and include Mother and Child (estimate R400 000 – R600 000 / $21 730 – $32 595) from 1971. 

Sculpture is not overlooked.

The evening session includes an important Nisini foundry casting of Anton van Wouw’s bronze Slegte Nuus (estimate R3 – R4 million / $162 780 – $217 040).

Contemporary sculptor Dylan Lewis has three works in the Evening Sale.

The online-only Day Sale is especially strong on sculpture and includes bronzes by Deborah Bell, Andries Botha, Guy du Toit and Herman van Nazareth. 

Goat Girls (estimate R150 000 – R200 000 / $8 150 – $10 865) is a collaborative work by Diane Victor and Ruhan Janse van Vuuren from their Scapegoat Series.

The catalogue also includes painted wood pieces by Norman Catherine and an early work by Gerhard Marx.

EXHIBITION VIEWING TIMES

Weekdays from 09:00 to 16:00

Weekend (25/26 May) from 09:00 to 16:00

Venue: Strauss & Co, 89 Central Street, Houghton, Johannesburg   

Art Day Sale: E-CATALOGUE

Evening Sale:  E-CATALOGUE

Both Sotheby’s and rival auction house Christie’s launched their spring season on Monday.

Though the global art market softened last year, strong sales in London and Paris have sparked optimism for 2024.

Claude Monet’s “Meules a Giverny,” which the French impressionist painted in 1893, went for $34.8 million after a bidding war.

Art auction sales worldwide fell in 2023

Meanwhile, British-Mexican artist Leonora Carrington broke her own auction record when her “Les Distractions de Dagobert” sold for $28.5 million.

The new record places Carrington among the top five most valuable women artists at auction, Sotheby’s said – and among the top four surrealist artists, “overtaking Max Ernst and Salvador Dali.”

Christie’s, meanwhile, sold some $115 million in contemporary art the prior evening, including a Jean-Michel Basquiat painting for $32 million.

At the Phillips auction house, Basquiat’s “Untitled (ELMAR)” sold for $46.5 million.

Amid the war in Ukraine and its fallout – which has led to a drop in Russian buyers – art auction sales worldwide fell to $14.9 billion last year, compared with $16 billion in 2022.

By Garrin Lambley © Agence France-Presse

This production is set to have its world premiere at the Riverside Studios in London. Kai, a London-based actor, has graced numerous stages with standout performances in productions like Athol Fugard’s “Master Harold… and the Boys” and “The Curious Incident of the Dog in the Night-Time,” for which he clinched a Naledi Award for Best Actor. Kai has also gained international acclaim through his roles in films and series such as “Moffie,” “Professionals” alongside Brendon Fraser, “Eraser”, “Vagrant Queen”, and “Desert Rose”.

Celebrated as one of the best new up-and-comers at the Venice Film Festival by The Guardian UK, and described as ‘mesmerising’ and ‘magnetic’ by The Hollywood Reporter, Kai continues to captivate audiences with his dynamic performances.

We spoke to Kai about his experiences transitioning this story from screen to stage and the profound insights he brings to his role in “Moffie”.

Transitioning Moffie from screen to stage

What was your initial encounter with the novel “Moffie” like?

When I first started preparing for the film which was produced in 2019, I picked the book up for research, but I quickly realised that the screenplay and the novel are very different, so I decided to just focus on the screenplay. Only recently, since the conceptualization of the stage adaptation, have I been able to really delve into the novel. It’s heartbreaking, difficult, revealing and somehow incredibly full of hope.

How do you feel about adapting “Moffie” from film to stage? Are there any challenges for you as an actor reprising a role you first did on screen?

Well, there are no challenges with this adaptation as the play is based on the novel rather than the film. That being said, being slightly older, revisiting similar themes and trying to figure out how to make this story vital for the stage is always a challenge, but, after I read Philip Rademeyer’s script, all my worries faded away. Philip has created something very lean and muscular and it’s an exciting challenge to rise to it and do justice to the text he has given us.

How has your South African heritage shaped your portrayal of the character in both film and theatre?

I am one of the ‘Rainbow Nation’ children. I was born just before the first democratic elections in SA in 1994 and I grew up mostly in a free South Africa. The world I have grown up in is vastly different from that of my parents. I would be remiss not to acknowledge that my forebears were part of a system that fought against the reality that I grew up in. A system that systematically oppressed people of colour. Telling this story, a story of a white South African who, whether willingly or not, fought for Apartheid is always a complicated ask. But, at the same time, it is a huge privilege to be given the opportunity to delve into my heritage warts and all. I guess my first question was always, why didn’t they or this character consciously object – this becomes a vital question because it challenges me as an ‘almost born free’ to really try and understand this specific time in South African history.

How has your relationship with director Greg Karvellas evolved in adapting “Moffie” to the stage?

Greg has been amazing, I know that he and Philip worked together tirelessly to get the script to what it is now. We have talked a lot about what this play means and what we want to say with it. Greg is no stranger to this material, and his keen eye and gentle guidance have been there to shepherd me through my preparation. Let’s not forget that the man is also producing the play, and so I appreciate his ability to wear many different hats with grace.

How does preparing for a one-man show differ from preparing for a film with a full cast?

I had already been a stage actor for many years before doing the film. In a lot of ways, live performance is my comfort zone. That being said, a one-person show is a massive undertaking, and it can be scary at times. But, if we can get it right (and with this amazing team I think it’s more than possible) it will be something really special.

What new insights do you aim to explore in the stage version of “Moffie”?

We are telling a story about a young white conscript in Apartheid South Africa. The parallels between the South African apartheid state and the genocide that is currently being perpetuated in Palestine are too numerous. I want to explore the white settler colonialism mentality/psyche. I want to explore and decorticate the “need” for guilt and victimization that white settler colonialists have leaned into throughout history. I want to portray a story that may resonate with audiences recollecting past events while finding parallels with current ones.

Why should audiences see “Moffie” live on stage, and what makes this adaptation essential?

It’s a play about love, loss, hope and in a way a cry for acceptance. I think it’s an incredibly moving piece and to be able to put it on at the Riverside Studios is such a privilege. We are working our asses off to bring you something challenging yet playful and I do hope you come and see it.

“Moffie” opens at the Riverside Studios on 5 June and will run until 30 June.

Tickets are priced at £25 for general admission and £19.50 for concessions. 

Tickets can be booked directly through the Riverside Studios website.

It means to make up, to make amends, or to bring something to closure. People reconcile after crimes – and it’s essential to the healing and rehabilitation processes that follow prison sentences.

But what about reconciliation and fallen artists?

Die Antwoord’s Waddy Jones and Yolandi Visser have made up, according to their documentary. It’s a similar story compared to other disgraced artists.

Reconciling is a powerful thing – but why doesn’t it seem to count for abuse victims too?

Here’s why reconciling doesn’t fix fallen artists, and makes art seem less good.

Reconcilliation what it means

Reconciliation means making amends.

It means putting away differences, and moving on. It’s part of the Correctional process, which puts criminals and victims in the same room – do you both forgive one another?

Unfortunately, claiming that you’ve ‘made up’ can be a one-sided argument.

Sometimes ‘reconciling’ is used as a clever public relations stunt, while other times an apology is genuine.

The problem?

It can be very difficult to tell.

Why ‘reconciliation’ doesn’t fix fallen artists

Musician R. Kelly will be remembered for his charge sheet, and not his music. Rapper 2Pac faced rape charges, though remains a popular musician and inspirational figure. Waddy Jones is back to making pretty music – but is this good or bad?

Where do you think fans should draw their line?

‘Fallen artists’ have fallen for their crimes.

Is their music still good?

Some artists seem almost untouchable. Other artist have soared above bad publicity. Does it depend on public perception, the goodness of their art, or the truth behind their apology?

Reconciliation and acceptance

Moving on is beneficial, says SACAP, for replacing animosity with acceptance.

It’s an important part of human psychology. It lets victims move forward, and criminals rehabilitate.

However: what if it’s a one-sided deal?

Victims should have a platform to voice their thoughts

Without this, reconciling is a one-sided deal and only the offenders move on and keep selling their art.

A feature asks, ‘What do we do with the art of bad people?’

It’s not just the art that matters, but the person(s) who made it.

Sure, Eugene Terre’Blanche was an average poet – but does he deserve accolades, or to be ignored until the end of time for his crimes and racism? Adolf Hitler could paint, but who wants to remember that when his crimes are so horrifying?

More about this story

Tell us your thoughts on this story. Send an email to: info@thesouthafrican.com. We love hearing from our readers, and we love hearing from you!

READ MORE ARTICLES BY FRANCOIS JANSEN (ALEX J COYNE)

The South African website was present at the ceremony.

Star of the evening, which was sponsored by Heineken Beverages, was Die fel omstrede kroon van Edward II en Gaveston, a drama by Belgian playwright and novelist Tom Lanoye. 

Nominated in nine categories, it walked away with awards in three.

These were for Best Director – Marthinus Basson, Best Lighting Design – Nicolaas de Jongh, and Best Costume Design – also Marthinus Basson. 

Veteran South African actress Sandra Prinsloo, honoured in 2022 with the Fleur du Cap Lifetime Achievement Award, won the award for Best Performance by a Lead Actress for her role as Anna in Die moeder. A US Woordfees production, it also took home the coveted Best Production Award.

The award for Best Performance by a Lead Actor went to Brent Palmer for his portrayal of George Megalos in his play King George.

Rodgers and Hammerstein’s legendary musical The Sound of Music, brought to South African stages by Pieter Toerien Productions and Cape Town Opera, triumphed with Brittany Smith’s interpretation of Maria, winning her the Best Performance by a Lead Actress in a Musical or Music Theatre Show award, and William Berger as Max earning him the award for Best Performance by a Supporting Actor in the same category. 

Puccini’s powerful opera Tosca made a clean sweep with Lukhanyo Moyake and Nobulumko Mngxekeza garnering awards for the Best Performances in the Male and Female categories in an Opera, respectively.

The Promise – On Stage by Damon Galgut also clinched two awards: Best Set Design by Joshua Lindberg and Best Sound Design, Original Music, Soundscape or Live Performance by Charl-Johan Lingenfelder.

The University of Stellenbosch’s Angelique Viaan Filter took the Most Promising Student Award.

As has become custom over the years, the Fleur du Cap Theatre Awards’ judging panel announced the winners of the three special awards ahead of the gala ceremony.

They were Professor Angelo Gobbato, recipient of this year’s Lifetime Achievement Award for his enormous impact on South African opera extended over many decades; Gregory Vuyani Maqoma, who received the Encore Award for his contribution to theatre exemplified in his product of Exit/Exist; and the Rainbow Arts Organisation of Delft, Cape Town, that landed the Innovation in Theatre Award for its impact on youth development.  

Gregory Vuyani Maqoma. Image: Supplied

Winners of the 59th Fleur du Cap Theatre Awards

MOST PROMISING STUDENT

Angelique Viaan Filter | University of Stellenbosch

BEST NEW SOUTH AFRICAN SCRIPT

Tiisetso Mashifane wa Noni | Delela

BEST NEW DIRECTOR

Amée Lekas | African Gothic | Drama

BEST THEATRE PRODUCTION FOR CHILDREN AND YOUNG PEOPLE

The King of Broken Things | Theatresmiths

BEST PERFORMANCE BY AN ENSEMBLE

Oedipus at Colonus #aftersophocles | Buhle T Stefane, Azola Mkhabile, Mihlali Bele, Lindokuhle Melaphi, Thabo Mkenene, Kuhle Myathaza, Nosiphiwo Ndabeni, Siphenathi Siqwayi, Wendy Mrali, Moluphi Lepeli and Sipho Kalako

BEST PERFORMANCE IN A REVUE, CABARET OR SOLO SHOW

Marlo Minnaar | Die halwe huis | Bumper Jansen

BEST PERFORMANCE BY A SUPPORTING ACTOR IN A MUSICAL OR MUSIC THEATRE SHOW

William Berger | The Sound of Music | Max Detweiler

BEST PERFORMANCE BY A SUPPORTING ACTRESS IN A MUSICAL OR MUSIC THEATRE SHOW

Tankiso Mamabolo | Ziyana | Mother

BEST PERFORMANCE BY A LEAD ACTOR IN A MUSICAL OR MUSIC THEATRE SHOW

Stuart Brown | We Will Rock You | Galileo

BEST PERFORMANCE BY A LEAD ACTRESS IN A MUSICAL OR MUSIC THEATRE SHOW

Brittany Smith | The Sound of Music | Maria Rainer

BEST PUPPETRY DESIGN

Luyanda Nogodlwana | Maxeke: This work is not for yourselves | Drama

BEST LIGHTING DESIGN

Nicolaas de Jongh | Die fel omstrede kroon van Edward II en Gaveston | Drama

BEST SET DESIGN

Joshua Lindberg | The Promise – On Stage | Drama

BEST COSTUME DESIGN

Marthinus Basson | Die fel omstrede kroon van Edward II en Gaveston | Drama

BEST SOUND DESIGN, ORIGINAL MUSIC, SOUNDSCAPE OR LIVE PERFORMANCE

Charl-Johan Lingenfelder | The Promise – On Stage | Sound design and original score

BEST PERFORMANCE IN AN OPERA – MALE

Lukhanyo Moyake | Tosca | Mario Cavaradossi

BEST PERFORMANCE IN AN OPERA – FEMALE

Nobulumko Mngxekeza | Tosca | Floria Tosca

BEST PERFORMANCE BY A SUPPORTING ACTOR IN A PLAY

Mark Elderkin | A Midsummer Night’s Dream | Bottom

BEST PERFORMANCE BY A SUPPORTING ACTRESS IN A PLAY

Jennifer Steyn | The Beauty Queen of Leenane | Mag Folan

BEST PERFORMANCE BY A LEAD ACTOR IN A PLAY

Brent Palmer | King George | George Megalos

BEST PERFORMANCE BY A LEAD ACTRESS IN A PLAY

Sandra Prinsloo | Die moeder | Anna

BEST DIRECTOR

Marthinus Basson | Die fel omstrede kroon van Edward II en Gaveston | Drama

BEST PRODUCTION

Die moeder | US Woordfees | Drama

The panel of judges

Africa Melane (chair), Dr Beverley Brommert, Hadley Tituss, Dr Lwando Scott, Mariana Malan, Marina Griebenow, Naudé van der Merwe, Nkgopoleng Moloi, Roxy Marosa, Tracey Saunders and Dr Wayne Muller. Sive Gubangxa served on the subpanel for the Best Student Award.

Although a total figure of sale for some of the world’s most sought-after artworks could not be given, organisers of The European Fine Art Fair (TEFAF) said that sales ran up to “tens-of-millions of euros”.

“It’s impossible to tally the total sales as many are not made public,” TEFAF organiser Noepy Testa said.

“But we have had record sales, running into tens-of-millions of euros,” she told AFP.

Top ticket items for sale this year included a rare early Van Gogh, painted when the artist was living in southern Netherlands around 1884, and a multi-million-euro work by abstract art pioneer Wassily Kandinsky.

The US-based gallery selling the Vincent van Gogh, titled “Tete de paysanne a la coiffe blanche” confirmed a buyer, with Dutch media saying the asking price of $4.9 million was reached.

Kandinsky’s 1910 “Murnau mit Kirche II” was put up for sale by art dealer Robert Landau, who bought the work last year for $45 million at auction at Sotheby’s.

It was not known whether a new buyer had been found, but Landau at the fair told AFP that the painting was recently valued at “€100 million”.

Close to 50 000 visitors flocked to the Dutch art fair

Other big ticket names also fetched top prices.

A work on paper by Pablo Picasso called “Femme au tablier” sold for almost €2 million, while a painting by Dutch-French artist Kees van Dongen titled “Femme au Chapeau” sold for a “seven-figure sum to a private European collector”.

But it was not just paintings fetching top prices.

A 17th-century Safavid mirror was sold to the Aga Khan Foundation in Toronto for around €200 000, organisers said.

A Delftware porcelain work previously owned by British fashion photographer Cecil Beaton fetched around €300 000.

Over the eight-day fair, close to 50 000 visitors flocked to view artwork presented by 270 exhibitors from 22 countries, the organisers said.

By Garrin Lambley © Agence France-Presse

From Saturday until March 14, visitors at The European Art Fair, better known as TEFAF, will be able to marvel at a treasure trove of paintings, sculptures and jewellery – all up for sale – in the southern Dutch city of Maastricht.

Among the many pieces up for grabs, which include famous names like Manet, Rubens and Rodin, the undisputed stars of the show are two paintings: Van Gogh’s “Tete de paysanne a la coiffe blanche” and Kandinsky’s “Murnau mit Kirche II”.

Also known as “Head of an Old Peasant Woman with a White Cap”, Van Gogh’s early work, painted around 1884 has been put up for sale by M.S. Rau, one of the largest and best known galleries in the United States, based in New Orleans.

“Van Gogh is such an incredibly timeless artist,” said the gallery’s vice president of acquisitions Rebecca Rau.

“There is bound to be a lot of interest” from buyers, she told AFP.

Vincent van Gogh made the painting while living with his parents in the southern Dutch town of Nuenen the year before he painted his other famous work from the period, the 1885 “The Potato Eaters.”

M.S. Rau’s president Bill Rau told AFP the asking price for the painting – which goes on sale on Thursday – was $4.9 million.

“We knew that this would be a star at the fair,” Rau said.

“But we had no idea how excited people would get just walking by.”

Record Wassily Kandinsky

Painted in 1910, Kandinsky’s “Murnau with Church 2” was sold by Sotheby’s in London last year for a record $45 million.

A colourful vision of the German village of Murnau with its church spire stretched like the peaks of the Bavarian Alps, heralded the Russian master’s move towards abstraction.

The oil work once adorned the dining room of the Jewish couple Johanna Margarethe Stern and Siegbert Stern, founders of a textile company.

At the heart of Berlin’s cultural life in the 1920s, counting Thomas Mann, Franz Kafka and Albert Einstein in their circle, they built up a collection of around 100 paintings and drawings.

Siegbert Stern died of natural causes in 1935.

His wife fled to the Netherlands but died in Auschwitz in May 1944 after being captured by the Nazis.

“Murnau Mit Kirche II” was identified only a decade ago in a museum in the Dutch city of Eindhoven, where it had been since 1951.

It was returned in 2022 to the heirs of the Sterns, whose 13 survivors shared the proceeds of the sale.

It was bought on auction from Sotheby’s last year by art dealer Robert Landau, the New York Times reported last month.

Landau told the paper he invested around $50 million dollars in the painting, which was the most expensive Kandinsky ever sold.

The asking price at TEFAF was not disclosed.

“I can’t put a value on it. We won’t know the price until it happens,” Landau told The New York Times.

But both paintings may not be seen by the public for the foreseeable future, should they land in the hands of a buyer for a private collection.

But said Rebecca Rau: “The way I feel about most of the masterpieces, many of which are in this building at the moment, is eventually they will likely end up in a museum.”

By Garrin Lambley © Agence France-Presse

PROUDLY SA | Cape Town hosts retrospective of iconic South African artist Esther Mahlangu

TRENDING: Basic INFO: March 2024 SASSA Old-Age Grants

Unveiled at Freize Los Angeles, the BMW i5 Flow Nostokana fuses all the creativity of the 88-year old Ndebele artist with the latest tech from Munich, reports CAR Magazine UK.

BMW I5 FLOW NOSTOKANA

“The Art Car honours the history of the BMW’s global cultural engagement. It combines art and design through progressive technology and shows that technology itself can be art,” said Adrian van Hooydonk, head of BMW Group Design.

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Pictured up top, the BMW i5 Flow Nostokana riffs off Mahlangu’s last BMW Art Car, the famous 1991 525i. Back then it was the first designed by a woman and African artist. Now the i5 has been updated to stay relevant in the digital 21^st century.

COLOUR-CHANGE TECHNOLOGY

To give the BMW i5 Flow Nostokana its unique colour-change effect, it uses large areas of film that change colour. These change depending on the voltage applied. There are strips across the roof, bonnet, rear section and on either side. However, look closely and there are in fact 1 349 separate pieces in total. These all work together to bring Mahlangu’s work to life. This i5 literally is a moving piece art.

NEXT READ: MUST pensioners reapply for SASSA Old-Age Grants April 2024?

What do you think of BMW honouring one of our great South African artists? Be sure to share your thoughts with our audience in the comments section below. And don’t forget to follow us @TheSANews on X and The South African on Facebook for the latest updates.

CLICK HERE TO READ MORE ARTICLES FROM RAY LEATHERN

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The exhibition follows the 88-year-old painter and mural artist’s unusual trajectory from rural South Africa to global acclaim. After Cape Town, it will be taken on an international tour.

Despite having no formal art training, Mahlangu earned an international reputation with works referencing her Ndebele heritage and using skills passed down for generations.

“It’s in my genes to paint Ndebele,” the artist, wearing traditional, brightly coloured blue, yellow and brown garments and jewellery – and white sneakers – told AFP in an interview.

Mahlangu learnt the art of Ndebele design as a child from her mother and grandmother.

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With just a chicken feather, she first painted mud huts and chipboards before moving on to luxury cars, vodka bottles, skateboards and footwear as her intricate patterns became huge commercial hits.

“The Ndebele art is within me, I was born with it. It is important for me, I don’t pretend to love it, I love it,” she said.

Retrospective features a short film and over 100 works

The retrospective, which opened at the Iziko South African National Gallery on Sunday, features pictures, a short film and more than 100 contemporary works.

Among them is Esther Mahlangu’s iconic BMW Artcar – a sedan she painted with her trademark colourful geometric shapes in the 1990s as part of a collaboration with the German carmaker.

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Yet the artist said she was hard-pressed to pick her best work.

“I love everything I have painted, everything! I have no favourite,” she said.

Mahlangu’s first big international break came in 1989, when she was 54.

Her ornately decorated house had caught the eye of French researchers who invited her to the Pompidou Centre.

However, South Africa was not quick to recognise Mahlangu’s talent – she gained international prominence at a time when the art scene in her home country was focused on contemporary styles.

“The retrospective pays homage to Dr. Mahlangu’s unique approach to art, which intersects African culture with modernity and the contemporary, symbolising pride, self-determination and innovation,” said curator Nontobeko Ntombela.

After Cape Town the exhibition will move to Johannesburg’s Gauteng province before departing for the United States and beyond.

By Garrin Lambley © Agence France-Presse

SUBMIT | How big is your hole? Send us your pictures!

ALSO READ | Steep hike in price to see Mona Lisa in Paris’ Louvre museum

The two women on Sunday flung pumpkin soup at the bullet-proof glass protecting da Vinci’s most famous painting at the Louvre art museum, demanding the right to “healthy and sustainable food.”

A group called Riposte Alimentaire (“Food counterattack”) claimed responsibility for the stunt.

The two activists were arrested and temporarily placed in police custody.

SUBMIT | How big is your hole? Send us your pictures!

The public prosecutor’s office said that the activists were accused of illegally entering the secure area around the painting, an offence carrying a maximum fine of €1 500.

The two activists were to be brought before prosecutors on Monday afternoon with a view to making a “citizen’s contribution” rather than facing a trial, the public prosecutor’s office said.

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Under the French system, making such a donation to a victim’s association is an alternative to prosecution. The amount is determined by prosecutors up to a maximum of €3 000.

The Louvre museum said the painting had not suffered any damage, adding that the women had hidden the pumpkin soup in a thermos flask.

The painting, which has been kept behind bulletproof glass since 2005, has been repeatedly attacked. In 2022, the masterpiece was targeted with a cream pie.

By Garrin Lambley © Agence France-Presse

MUST READ | Cape Town’s Art Museum takes bold steps to reassert African identity

SUBMIT | How big is your hole? Send us your pictures!

The jump from €17 is the first price change in seven years at the world’s most visited museum, which welcomed around 8.9 million people last year.

The hike did little to put off the dozens queueing outside on a chilly Monday morning to see the museum’s treasures, which famously include the Mona Lisa by Leonardo da Vinci.

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Having already spent more than $5 000 for return flights from Australia for her and her daughter, Janelle Manders, 59, said the extra €5 was not going to change their plans.

“I’d be ready to pay twice the price,” she told AFP.

“It’s a pretty rare opportunity for us and I know it’s expensive to keep this kind of institution running,” she added, saying she was particularly keen to see the ancient Greek sculpture known as the Venus de Milo.

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Others were less convinced.

“I find that a bit much for a cultural site,” said Andrea, 70, an Italian theatre worker.

The Louvre says the increase is necessary to cover rising energy costs – their bill rose 88 percent between 2021 and 2022 – and plans to extend opening hours.

The museum is quick to point out that 40 percent of visitors qualify for free tickets, including under-25s, the low-paid and unemployed, disabled people, teachers and journalists.

MUST READ | Cape Town’s Art Museum takes bold steps to reassert African identity

Other prices are also rising in the French capital for the Olympics, most notably metro tickets, which will nearly double during the Games in July and August.

France managed to evade some of the high inflation experienced around the world in the wake of the Covid-19 pandemic and Russia’s invasion of Ukraine, although it still saw prices rise 4.9 percent and 5.2 percent in 2021 and 2022 respectively.

By Garrin Lambley © Agence France-Presse

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The installation, a traffic stop sign covered with three aircraft resembling military drones, emerged at an intersection in the Peckham neighbourhood on Friday morning.

Less than an hour after Banksy confirmed it was his latest work – posting a photo of it on social media – witnesses filmed it being removed by a man with bolt cutters, with the help of another man.

Images and video posted on social media showed one of them running off with the sign under his arm.

London’s Metropolitan Police Service initially said it had not been informed of an alleged crime.

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But Southwark Council, which is responsible for local services – including street signage – said late on Friday that it wanted the sign back and had reported the incident to police.

By Saturday evening, police said a man had been arrested and remained in custody.

“This incident is currently being investigated by officers,” a spokesman for the London force added, without giving further details of the individual detained.

“We are aware of footage being shared which shows the sign being removed.

“Anyone who may have information about the incident or the whereabouts of the sign is asked to call police.”

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In a statement on Friday, councillor Jasmine Ali, deputy leader of Southwark Council, hit out at the unauthorised removal.

“It should not have been removed and we’d like it back so everyone in the community can enjoy Banksy’s brilliant work,” she said.

“We have reported the removal of our sign to the police to help get it back.”

By Garrin Lambley © Agence France-Presse

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The installation, a traffic stop sign covered with three aircraft resembling military drones, was erected at an intersection in Peckham, south London, on Friday morning.

An image was posted to Banksy’s social media just after midday.

But shortly afterwards bystanders filmed two men taking it down, one of them running off with the sign under his arm.

Images and video of the removal were posted on social media.

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“We said, ‘what are you doing?’ but no one really knew what to do, we sort of just watched it happen,” one 26-year-old local, named Alex, told Britain’s Press Association (PA).

“We were all a bit bemused… He ripped it off and ran across the road and ran away.

PA said it understood that Banksy was not behind the removal.

London’s Metropolitan police said they had not received any reports in relation to the incident.

WATCH | Kruger National Park ranger posts video of HIPPO eating grass

Southwark Council, the local authority responsible for services there – including street signage – did not respond to a request for comment.

It not the first time the famously enigmatic artist’s works have been removed shortly after appearing.

A mural depicting a 1950s-style housewife with a swollen eye and a missing tooth seemingly shoving her male partner into a real chest freezer briefly appeared in Margate, southeast England, before being promptly removed by local officials.

It reemerged in September in the foyer of “The Art of Banksy” exhibition in central London, where it can be viewed for free.

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The exhibition features other famous Banksy pieces, including “Girl With Balloon”, “Flower Thrower” and “Rude Copper” as well as focusing on his other recent works addressing the conflicts in the Middle East and Ukraine.

Meanwhile, a rare nugget of information about the elusive global art phenomenon emerged last month in an unearthed 2003 BBC interview, in which he revealed his first name as “Robbie”.

By Garrin Lambley © Agence France-Presse

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A spokesperson for the Hawks, Colonel Katlego Mogale, said the following on the R24-million SA State Theatre fraud. “It’s alleged that two employees from South African State Theatre siphoned money for their own personal gain, flouting supply-chain processes. They allegedly utilised letter heads of existing companies but changed banking details to those of their relatives, resulting in the total amount stolen of R24 million,” Mogale said.

R24-MILLION SA STATE THEATRE FRAUD

The suspects accused of R24-million SA State Theatre fraud will appear before in a Pretoria Special Commercial Crimes Court today (Wednesday 13 December 2023). The accused face charges of fraud, theft and money laundering. This comes in the wake of ongoing battles with the City of Tshwane over unpaid bills.

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While the investigation is still to run its course, a big question remains. Is there any government-run or state-owned enterprise that’s not overrun with corruption? I guess we can add the South African State Theatre to that list, too.

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We recently reported how bailouts for state-owned enterprises (SOEs) like Eskom, Transnet, South African Airways and the South African Post Office have exceeded R240 billion. And yet South African taxpayers have zero to show for it. Not even the arts is exempt from such misuse of public money.

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What do you think of the alleged R24-million SA State Theatre fraud? Be sure to share your thoughts with our audience in the comments section below. And don’t forget to follow us @TheSANews on X and The South African on Facebook for the latest updates.

CLICK HERE TO READ MORE ARTICLES FROM RAY LEATHERN

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In the interview, one of the few known to exist with the global art phenomenon, he is asked if his name “Robert Banks”, to which he replies: “It’s Robbie.”

His identity has long been the source of speculation, with some claiming his name was Robin or Robert Banks.

Banksy talks about his distinctive stencilling style in the interview, a podcast bonus part of a series called “The Banksy Story”.

“It’s quick… I want to get it done and dusted,” he is heard to say of his work.

The artist was in his 20s at the time, and was promoting the opening of his “Turf War” show in east London.

MUST READ | Johannesburg Auction Week (6-8 November): Paintings by Pierneef, Preller, Sekoto & Stern to be sold

The series also contains a 2005 interview the artist purportedly gave with US broadcaster National Public Radio (NPR).

In it, the host asks: “We assume that you are who you say you are, but how can we be sure?” The interviewee responds: “Oh, you have no guarantee of that at all.”

Banksy, known to hail from Bristol in southwest England, boasts an A-list client list and has sold his works for tens of millions of pounds at auction since achieving notoriety in the early 2000s.

By Garrin Lambley © Agence France-Presse

MUST SEE | Cape Town’s Art Museum takes bold steps to reassert African identity

Under the ambitious Cameroonian-born curator, the museum in the city’s port district has built its identity around Pan-Africanism, showcasing the work of artists from the continent and its diaspora.

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Kouoh

“Africa is for me an idea that goes beyond borders. It’s a history that goes beyond borders,” Kouoh told AFP, cutting an elegant figure in a white dress topped by long green braids.

“Americans don’t like to hear this but I always tell them that America is another African country.”

A country is an aggregation of cultural expressions and influences, she said, adding that using these parameters Brazil, Cuba and Haiti could also be considered part of the African continent.

“That’s how I look at them,” she said, with a serious smile.

More than 40 million people in the United States, or about 12 percent of the population, are African American, while more than half of Brazil’s about 200 million people are of African descent.

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“The African diasporic influence in the US is undeniable. That’s why I like to talk about black geographies, more than African diasporas. Where black culture, black bodies, black people have influenced society,” she said.

Energetic and with bright, lively eyes, 56-year-old Kouoh grew up between Douala in her native Cameroon and Zurich in Switzerland.

After setting up a cutting-edge art centre in Dakar, Senegal, she took over the MOCAA — housed in an old grain silo that has been renovated with square windows evoking a beehive of glass and concrete — four years ago.

Having inherited a “broken” and “dysfunctional” institution, she set out to give it new meaning.

‘Own the space’

Focusing on Pan-Africanism was a “no brainer” and “necessary” since, even decades after the end of colonialism, the narrative around the continent was largely still “defined by others”, Kouoh said.

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“SEEKERS, SEERS, SOOTHSAYERS,” an exhibition currently on show explores the spiritual and supernatural through photo and video projections on the walls as well as textile installations.

“There is a strong need to bring other stories to the table and not as a means of correcting,” she said.

“I have no interest in correcting, I don’t own and don’t internalise the wrong story. But own the space.”

MOCAA is now recognised worldwide for its approach and is sought after for collaborations by major New York and European institutions.

Its recent exhibition “When We See Us”, which presents a century of African figurative painting, is soon due to leave Cape Town to be shown in the Swiss city of Basel.

Kouoh said she initially focused on group exhibitions, displaying the works of several artists on a specific subject but has since moved towards single artist shows.

“When you conceptualise a group show, you hope that you create a symphony but most of the time you create a cacophony because there are too many voices,” she said, speaking from the building’s panoramic elevator which offers a bird’s-eye view of the imposing entrance hall.

“With the solo show, you have a real symphony. Of experience and of universe.”

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Going forward, Kouoh said she wants to pursue three priorities: showcasing emerging talents, underrated practices and female artists.

“I am not an activist about it. I am just decidedly and very forcefully promoting African women artists,” she said.

© Agence France-Presse

Among the many highlights are three rare landscapes by Moses Tladi, (the first black artist to exhibit in the South African National Gallery) plus, intensive artist focuses on William Kentridge and J.H. Pierneef and an important textile work from 2008 by Billie Zangewa.

MODERN & CONTEMPORARY ART – EVENING SALE

Notable pieces:
Children at Play, Eastwood, Pretoria – Gerard Sekoto (estimate R2.8 – 3.2 million / $148 700 – 169 950)
1960 gouache by Peter Clarke depicting a black competitive cyclist (estimate R300 000 – 400 000 – $15 930 – 21 245).
Rocky Outcrop – Moses Tladi. (estimate R100 000 – 150 000/ $5 367 – 8 051).
Rustenburg Kloof – JH Pierneef (estimate R3 – 4 million / $159 430 – 265 717).

Strauss & Co presents collectors with fresh-to-market paintings, many unseen in decades, by Maggie Laubser, Alexis Preller, Irma Stern and Gerard Sekoto. Bronzes by acclaimed mid-century sculptors Ezrom Legae and Sydney Kumalo lead a strong presentation of influential Amadlozi Group artists, including works by Cecil Skotnes and Edoardo Villa. Five sought-after Kentridge bronzes, four of them derived from his 2016 series Shadow Figure, lead a superb presentation of contemporary art by Marlene Dumas, Georgina Gratrix and Athi-Patra Ruga.

“Johannesburg Auction Week offers fabulous variety, from rare modernist oils and bronzes to contemporary prints, paintings and textiles by artists with significant museum and institutional interest,” says Dr. Alastair Meredith, Head of Sale, Strauss & Co.
Moses Tladi was one of the earliest black landscape painters working in a western tradition, and was also the first black artist to formally exhibit a picture in the Iziko South African National Gallery in 1931. In a sale with a strong component of modernist landscapes by established figures like Gwelo Goodman, Maggie Laubser, J.H. Pierneef and Pieter Wenning, it is fantastic to open our marquee summer sale with a trio of exemplary pictures by the enigmatic and for too long overlooked painter Moses Tladi. His work is essential in the story of landscape painting in South Africa. Scenes of natural splendour also compelled Gerard Bhengu, who is represented in the sale by a brilliant watercolour.
“Strauss & Co has played an important role in maintaining benchmark prices for J.H. Pierneef. For Johannesburg Auction Week, we have gathered one of the finest presentations of Pierneef landscapes to appear at market in recent years. The consignment is led by a monumental portrayal of Rustenburg Kloof (estimate R3 – 4 million / $159 430 – 265 717), an enduring Pierneef subject.

Date and Link: 7 November at 7pm

DEFINING IMPRESSIONS: A SELECTION OF PRINTS FROM SOUTH AFRICAN STUDIOS

Notable pieces:
Carlton Centre Games Arcade – William Kentridge (estimate R50 000 – 70 0000 – $ 2 657 – 3 720).
Iris II (In Clamp) – William Kentridge (estimate R750 000 – 850 000 / $ 39 858 – 45 172).
Hope in the Green Leaves – William Kentridge (estimate R600 000 – 800 000 / $ 31 886 – 42 515).

Johannesburg Auction Week commences on Monday, 6 November 2023 with Defining Impressions: A Selection of Prints from South African Studios. The 80 lots on offer are chiefly linked to six studios: The Artists’ Press, Artist Proof Studio, The Caversham Press, David Krut Workshop, Legate Lithography Editions (LL Editions) and Jillian Ross Print. Alongside prints by Willem Boshoff, Phillemon Hlungwani, Robert Hodgins, Themba Khumalo, Blessing Ngobeni, Nelson Makamo, Lady Skollie and Diane Victor, there is a substantial presentation of works on paper by William Kentridge.

An innovative and prolific print-maker, William Kentridge has shown an unswerving commitment to print since the mid-1970s. Strauss & Co is honoured to present three rare etchings from his 1978 series Carlton Centre Games Arcade (estimate R50 000 – 70 0000 / $ 2 657 – 3 720) in a single lot. The small prints were executed by Kentridge at his mentor Bill Ainslie’s studio in Saxonwold, Johannesburg. Important Kentridge prints on offer in this sale include Iris II (In Clamp) from 2005 (estimate R750 000 – 850 000 / $ 39 858 – 45 172) and the 2013 linocut Hope in the Green Leaves (estimate R600 000 – 800 000 / $ 31 886 – 42 515).

Date and Link: Monday 6 November at 7pm

MODERN AND CONTEMPORARY ART – DAY SALE

Notable pieces:
Victoria Cobokana with Her Children – David Goldblatt (estimate R200 000 – 300 000/ $ 10 734 – 16 101).
Landscape with Cliffs – Moses Tladi. (estimate R8 000 – 12 000/ $429 – 644)

Johannesburg Auction Week concludes on Wednesday, 8 November 2023 with the Day Sale of Modern and Contemporary Art – a timed-online sale of 82 lots. Highlights include a mixed-media collage by Blessing Ngobeni and important photos by David Goldblatt and Tracey Rose. The sale extends on the landscape theme of the preceding Evening Sale. There is a pencil drawing by Moses Tladi and paintings by, among others, Gregoire Boonzaier, Pranas Domsaitis, Judith Mason, Erich Mayer, Walter Meyer, Clive van den Berg, J.E.A. Volschenk and Pieter Wenning.

Date and Link. 8 November – Timed Online sale commencing at 2pm

For more info: www.straussart.co.za

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But did you know that Casper also has a few hidden talents?

The performance artist also paints, mixing art exhibitions with his performances over the country.

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Here’s more about the controversial comedian’s lively art career.

Who is de Vries?

De Vries was born in June 1964. and made his first impacts on the South African comedy scene as a drama student back in the eighties. After early shows like Au, he would move on to become one of the country’s most beloved (and simultaneously hated) comedy artists.

His early starring roles were in some of Leon Schuster movies, such as Sweet ‘n Short where he played a sleazy sports announcer.

Casper’s own shows include Snaaks Genoeg (Funny Enough) in 2004, to Gaan Groot (Go Big) in 2010. The funny-man is also known for The Casper Rasper Show, and Cas Oppie Kassie airing on ShowMax.

His Facebook page announced that he also, through performances, paints.

Art by Casper de Vries

Casper is well-known for being a comedian, and if you know him a little better than you will also know that he’s an animal lover. Sometimes, his animals have even accompanied him on tour!

ALSO READ: Comedy: Laugh with these LOCAL comedies!

With work exhibited via Alice Art Gallery, he brings together art with his love of animals. Some, though not all, of his paintings feature dogs in different poses and situations.

Every work of art is individually signed, and united with their new owner.

He hasn’t stopped performing just yet. New shows are announced often, with his next tour taking his comedy to the Cape.

Watch: Casper does ‘The Learning Channel’

Some of his best work has been as a South African skit comedian, mocking everything (and everyone) popular in the country.

ALSO READ: African art: Southern African artists making a global impact

Do you remember The Learning Channel and teacher William Smith?

Watch one of de Vries’ most famous skits as he does his personal comedic take on the famous Learning Channel with William:

READ MORE ARTICLES BY ALEX COYNE

ALSO READ: Blessing Ngobeni: Standard Bank Young Artist award winner

Q: Tell us a little about how you got into art. 

B: For me I’ve been through something of a hard history. I was once incarcerated. Through being in that space, I started to look at what I could do to push my life forward. I used to draw other inmates; to design birthday cards to give to their families outside. I was asked to do a few portraits. I also started going to the library to read books. The first book that encouraged me so much was a book by Gerard Sekoto. When I looked at his work, I was like, imagine my work too in a book! I started to understand, to see if I could push harder and I started to sketch more. I think this was the beginning of a new life.
I used to do more realistic work than what you see today. I joined projects and then I took over, as a teacher who was facilitating this project. I started entering competitions and I was encouraged by the correctional service project, where they were encouraging inmates to do something. 

So, through that I was happy to find myself. I look back today and say: ‘Wow, I travelled these milestones and today, the thorns that I used to walk through are now flat ground I can walk through with my bare feet’.

Q: How has your art evolved over time? 

B: When I came out from prison, in 2006, I had a collection of some of my work consigned to a gallery here in the city. Then this gallery gave me a call and told me my work had been stolen. The result of this blow was that I made no work from then until 2009. I did not do anything. I did not paint, I did nothing.

In 2010, I resumed, that’s when the birth of the teardrops in my work and the beginning of collage, which started as just one single piece of paper as I did not have material. I would collect material from the streets, scrap boards, scrap papers and started once more pushing myself, encouraging myself.
I would look at the drip going down slowly, and fall in love with them; little knowing that it was me crying inside, and now was the moment to release it out!

I then found out I was a winner of the Reynold Kassero Award. Before I knew that I was a winner, I had dreamed of being in Newtown, in a shower, a rain of gold. Everything I touched in that dream was gold. That was the beginning of a great change in my life. It lead to getting the residency, galleries, media and attention on many other platforms. It was very exciting.

Q: What is your art about and why is it important?

B: I think art is the foundation of almost everything that we see. I think without art, we won’t be human. There are so many discoveries made in the art world that are important to our society, our world and what is it that we need to change.
So, the main advantage of art is that the person that uses his skills, his creative process can question the status quo of the world, of country, of society.
That’s how my art has evolved. If you look at my work from the beginning to now, I’ve moved in many different mediums.  I’ve also done performances, because I’m expressing what I see, what I feel inside. And I don’t want to say I do it just for people. I’d say I do it for my personal healing; I need to heal from the past.

Q: How has your life changed since becoming Standard Bank Young Artist?

B: I think through the Standard Bank Young Artist project, the partnership that we had so far has changed how I think, how I view the world, how I see things. I have begun to understand that there are people who really care out there. 

Q: What’s the next big thing for you?

B: I have large projects coming: Angola for a residence; I have a show in Berlin; a show at Miami Basel; I have a solo booth in Frieze, New York, next year February. I have a solo show in LA next year. And then of course the Standard Bank Exhibition is traveling to different parts of the country. Then I have two shows also with the gallery that I work with, Everard Read. And I have other projects through curators that went to my exhibition. I have so much I’m looking forward to.
I will continue to challenge myself and not be reluctant and not be part of dependent generation and say:
‘Oh, because I got these awards, I got that, then I’m done’.
No. I want this. It will assist me to grow and to build my own space in this world. 

Q: What do you think is the best way to support young up-and-coming artists in South Africa?

B: It’s through sharing for me; the spirit of sharing. That is what is lost right now in our current generation; older people, they used to share everything, but now we don’t have that. So I think through sharing is supporting those that are in need of things, in need of growth. So I would say let’s share whatever we have, let’s stop being greedy.

Q: Any final message for the youth?

B: I think anything I want to add is to say to the young people out there: ‘It’s not the end of the world you know?’ Through travel, you discover yourself, you discover opportunity. I encourage the youth to look at themselves. It’s possible, we can do it. Let’s team up and let’s work together. Let’s share ideas; the growth is out there. Let’s encourage each other to travel and mingle, you know in Africa you need to mingle, in Europe they mingle, Africans we can’t mingle. So please, that’s from me, Blessing Ngobeni!

WATCH THIS INTERVIEW HERE:

ALSO READ: SONGS: These are the 3 most popular tracks in SA right now!

Here are four great local tracks to keep you grooving for the rest of the week.

Isibusiso: Kabza De Small

Watch the Video

The latest release from the King of Amapiano has amassed 5.8k views in just one month.

ALSO READ: South African music in FIVE great documentaries

Listeners might already be familiar with Kabza through songs like Hello. Born in 1992, Kabelo Motha has been entertaining us with his amapiano beats for years – and he has 1.7 million monthy listeners according to his Spotify account!

The latest track’s title according to WordHippo means “blessing” in isiZulu.

Overcoated: Jean Morrison

Watch the Video

Jean Morrison was first spotted by Farryl Purkiss, and debuted his first E.P. in Kwazulu-Natal. His song Cardboard Skies reached number 18 on the US iTunes chart in 2015, and since then he’s brought back the band for a comeback with the latest song.

Overcoated has been live on his channel for one month, bringing back the guitar solo.

Endless: Nasty C

Watch the Video

Nasty C is one of the country’s latest rap sensations, only releasing his debut Bad Hair in 2016. He’s become famous on the hip-hop scene, so famous that Big Zulu even included a diss to the artist in his track 150 Bars!

Endless was released just one month ago. The video has already topped more than 1 million hits!              

ALSO READ: Moon songs? Music about the moon

Is his talent as Endless as the song suggests?

Let’s see if he’s still rapping at age fifty, like Eminem.

I’ll Be There: DJ Sbu

Watch the Video

DJ Sbu was born in 1977, studying sound engineering and electrical engineering as a beginning to his career. After a brief break from making music, he’s brought his beats back to our speakers with the song I’ll Be There.

ALSO READ: Hip-hop music reaches its 50th anniversary in August

Since its release, it has already topped the latest local radio charts as reported by The South African website.

It’s a pretty great track for a comeback!

READ MORE ARTICLES BY ALEX COYNE

Ready for some fiction and fear done the South African way?

Here are some of the best horror flicks to see for this years’ scarefest.

Parable

Watch the Trailer

Parable is a uniquely South African horror tale.

ALSO READ: Killers: The most notorious South African criminals

It tells the story of Esther, a young girl forced into gay-conversion therapy. Unfortunately, her “therapy sessions” soon lead the Reverend to discover a case of demonic possession.

The movie might be farfetched, but it’s everything you’d want from The Exorcist if it happened on local soil.

Pinky Pinky

Watch the Trailer

If you’re South African of a certain age, you might have grown up with the story of Pinky Pinky. Better known as the ghost that hides in toilets, it is said to steal naughty children in the dark.

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If that sounds like something you don’t want to think about at night, you’d be right. That’s why it’s made one of the most interesting horror movies you’ll ever see.

You might want to leave lights on for this one.

Mamtsotsi Bird

Watch the Trailer

The Mamtsotsi bird is based on the legend of a bird that can be summoned by witchcraft. In return, you will get one wish for your troubles – but be very careful what you wish for.

This excellent short horror movie is directed by Jo Horn.

What happens if you wish someone to death, but with serious consequences?

ALSO READ: Haunted or NOT? Go here to see SA’s ghosts!

It’s more than enough to make sure this October sticks in your mind for a while.

Die Ontwaking (The Awakening)

Watch the Trailer

Die Ontwaking (The Awakening) is a 2016 horror movie.

ALSO READ: Witchcraft in SA: Is gogo bewitched…or ill?

This great film tells the story of Abel Lotz, a serial killer obsessed with collecting skin. Morbid and fantastic, this flick stars actor Gys de Villiers in one of his most unsettling roles.

Do they ever catch old Abel?

You’ll have to watch the film on Showmax to know for sure.

READ MORE ARTICLES BY ALEX COYNE

Standard Bank not only prides itself as a leading financial institution in Africa, but also has a long legacy of supporting the visual arts through its gallery.

Boasting a history of over three decades of displaying visual arts, an exhibition at the Standard Bank Gallery forms part of the prestigious prize for the annual Standard Bank Young Artist Award Winner for Visual Arts.

Following his award in 2020, Ntsumi Ya Vutomi is Blessing Ngobeni’s first exhibition at the Standard Bank Gallery.

As a young boy, growing up in an unstable environment, the course of Blessing Ngobeni’s life seemed bleak and likely to be struck by the misfortune of a lack of guidance at a critical time in his life.

One could argue that his trajectory into art was therefore not accidental, but rather indicative of the kind of transformative power art would have in his life.

Yet also in making him an interlocutor – a witness if you like – who shows the effects of a troubled, chaotic world that is often unkind to its most vulnerable.

Art is therefore not only a means of making sense of the world for Ngobeni but also an instrument for depicting his place in an anxious and agitated society still dealing with the traumas of the past.

Blessing Ngobeni’s venture into installation art

Recently, Ngobeni has ventured into installation art and expanded his repertoire with the use of found objects and material, video, and animation work.

While the work remains large scale in terms of size and figuration, the intricacy of adding new material, such as fabric and small found objects, has created a new layer of processing and understanding the work, making palpable the complexity of a mix of ideas and thoughts he presents to make sense of the world.

Central to Ngobeni’s imagery is the dominance of a figure on the picture plane, a characteristic that gives the work its caricature and confrontational quality.

This further accentuates its uniformity and consistent standard.

The figures in Ngobeni’s work however, are by no means neutral.

They consist of other images that come from historical references, newspapers, magazine cuttings and other forms of print.

They are caricatures of the characters they represent and appear compromised by the truths of the tragedies carried by the history they depict.

Therefore, Ntsumi Ya Vutomi is an exhibition that not only extends the different facets of Ngobeni’s practice but also brings them together as elements of artistic expression and a language that is bold and distinctive.

It includes an acknowledgement of the participants of the Blessing Ngobeni Art Award (BNAP), a prize, which he started in 2016.

The award, is not only a testament to his generosity in his pursuit to give back but also provides financial support, mentorship and a platform for a young up-and-coming artist to exhibit their work.

Establishing such an award is not only visionary but also beneficial for the broader sustainability of the visual arts landscape in widening the network for younger artists to enter the market.

It gives Standard Bank Gallery great pleasure to host this exhibition as part of its Young Artist Award programme for the year.

This forms part of an extensive line of exhibitions that have not only shaped the space through exerting a positive creative impulse, but also becoming part of its prestigious heritage of exhibitions for future generations.

Dr Same Mdluli
Curator and Manager, Standard Bank Gallery

ALSO READ: National Arts Festival: Q&A with award winner Blessing Ngobeni

South Africa has no lack of great comedy movies if you’re looking for something to watch with the friends or family. Don’t choose just anything to fill up your playlist – that might be close to two hours you’re never going to get back!

Instead of playing the guessing game, here are some great local comedies that are worth more than just a few laughs.

Local is lekker!

Here’s what to watch, and why it’s great.

Taktiek (2023)

Taktiek (Tactic) is a new South African series from kykNET promising to have you in stitches.

Starring some of South Africa’s most familiar faces like Deon Lotz and Marion Holm, the comedy is set in a small town – and most of the situations revolve around the local security company.

ALSO READ: Watch trailer: SA’s first contemporary Western series ‘Outlaws’

Most South Africans will find something to giggle at in this new great sitcom, which kicked off on 2 October this year.

Nothing for Mahala (2013)

Nothing for Mahala is a South African comedy movie starring Thapelo Mokoena and Marius Weyers.

The story follows Ace, a businessman who can only be descibed as down on his luck. When he runs into the older Hendrik, he tries to change his luck… Or tries to try his luck, more like it!

ALSO READ: Haunted or NOT? Go here to see SA’s ghosts!

Unique and proudly local!

The movie was made in cooperation with Heartlines, who also created the successful movie Hopeville.

Spud (2010)

Spud is a heartwarming coming-of-age story, starring Troye Sivan and John Cleese.

If you’ve ever been to a boarding school and have memories left over from your time, some of the crazy antics in the movie should appeal to you!

ALSO READ: ‘African talent’: National Film & TV Awards unveils nominees

It’s more than just slapstick giggles, but humour with a heart!

If you’ve read the book or seen the film, you might still remember how he got his haunting nickname of Spud.

Keeping Up with the Kandasamys (2017)

Keeping Up with the Kandasamys is a South African film that was the highest-earning local film for 2017.

The comedy stars Jailoshini Naidoo, Maeshni Naicker, Madhushan Singh, and Mishqah Parthiephal.

South African families can be a lot of things at once, from neurotic to overbearing – and sometimes caring turns into chaos!

ALSO READ: South African HORROR movies to see this October

Filmed in Kwazulu-Natal and delivered with a local spice, Keeping up with the Kandasamys is absolutely unforgettable local comedy!

READ MORE ARTICLES BY ALEX J COYNE

The goodness in bad will never die
The bad in goodness dormantly lies
Everything bad is good it means
Or do i need to hate even the good deeds? ?

The impureness of purity is always quoted
The pureness of impurity is never noted
Kill the killer take his life, ought to be punished for his crime
it's the end of a criminal they say
But it's also the death of a daughters' hero
Just see her pray

The strong protective hands she'll miss
Her dad's hug, his mere presence is all she wishes
Her hero had a darker side
She knows not, she accepts not and she cares not
Bursting within her is what none can answer
'Everything bad is good it means
or do i need to hate even the good deeds? ? '

The love for his son was not fake
Yes, the devilish eyes dreamt of his son's bright future
Not like him... becoming a butcher
Those blooded hands pat on his sons' back
His holding the son's bicycle to ride on track
But none will ever happen again
His father's life back- the son wishes only if he could bargain
And bursting within him is what none can answer
'Everything bad is good it means
or do i need to hate even the good deeds? ? '

A smile rips apart her face
As today his teary mother does bake his favourite cake
For it's the death of the bad in her good son
Celebrating with the tears of sorrow, a joy;
The end of the evil son she never gave birth to
Her heart is numb for a vital part
of her heart will today be hung
For her entire life she so much wanted to kill the bad in him
And today she just has one thing to ask which none can answer-
'Everything bad is good it means
or do i need to hate even the good deeds? ? '

By Aastha Uppal

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And sometimes I am sorry when the grass
Is growing over the stones in quiet hollows
And the cocksfoot leans across the rutted cart-pass
That I am not the voice of country fellows
Who now are standing by some headland talking
Of turnips and potatoes or young corn
Of turf banks stripped for victory.
Here Peace is still hawking
His coloured combs and scarves and beads of horn.

Upon a headland by a whinny hedge
A hare sits looking down a leaf-lapped furrow
There's an old plough upside-down on a weedy ridge
And someone is shouldering home a saddle-harrow.
Out of that childhood country what fools climb
To fight with tyrants Love and Life and Time?

By Patrick Kavanagh

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Someone ate the baby it's rather sad to say
Someone ate the baby so she won't be out to play
We'll never hear her whiney cry or have to feel if she is dry
We'll never hear her asking why why why someone ate the baby
Someone ate the baby it's absolutely clear
Someone ate the baby cause the baby isn't here
We'll give away her toys and clothes we'll never have to wipe her nose
Dad says that's the way it goes someone ate the baby
Someone ate the baby what a frightful thing to eat
Someone ate the baby though she wasn't very sweet
It was a heartless thing to do the policemen haven't got a clue
I simply can't imagine who would go and (burp) eat the baby

By Shel Silverstein

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Perfect love cast out fear,
Love is in the eyes of a dear friend,
Love is found transformed in the air,
True love has no boundaries to end.
Love is in every moment we pause,
Love leaves an imprint in our heart,
Love covers distance and show the cause,
Love is a world full of charming delight.
This is love in tears and blazing laughter,
Love shines radiantly on our faces,
Love struggles and overcomes despair,
Love is the sweetest emotions our lips can taste.
Love is icy winter and lazy summer days,
This is love when we celebrate in great victory parade,
Love is in the photograph of a million memories,
Love is nations treasures hid in peaceful shade.
Love is forgiving your enemies instead of hate,
Love is the first appearance of a new born child,
This love is precious, and far too costly to waste,
Let us share this unique gift we all have inside.

By Gerry Legister

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Baby sweet, baby mine,
King of Kings, so sublime,
Born for us on Christmas Day,
Master of all that you’ll survey.

Baby dear, baby fine,
Lord of Lords, so divine,
Your birth we celebrate, and share
Our lives with you, as we say your prayer.

Baby loved, baby shine,
God, Creator, we are thine,
Be our Father, dwell within
Our souls, and let our praise begin.

By Ernestine Northover

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I’m in heaven with you,
Spirited away on a burning sphere,
Inside of me are the new
Imprints of this adventure.

You came like a dream from above,
Then the world I knew change suddenly,
And the things you love,
I will take with me into eternity.

The presence of love joy and peace,
Each emotion with its own truth,
Holding intimacy in close embrace,
Feels like the splendor of new birth.

You are here sharing the breath,
And consciousness of my being,
Transported on a paradise wreath,
Into divinity of angelic realm.

I’m in heaven where my soul is alive,
This earthly feeling never existed before,
With countless reasons I do believe,
We were meant to be with each other.

By Gerry Legister

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Summer is the fun time when get go swimming
Summer when I was born and took care of
Summer when July 4 comes around
every year
Summer is when you can lay out in sun
Summer is best time at night see
stars out
Summer when all families and friends
go to park with their kids
Summer is good time take animals
for a walk
Summer is good time of the season
plant flowers and stuff
Summer when I meet good friends online
that lives another state then we do
Summer is when I meet good guy to
talk to about anything I want and he lists
to me
Summer is when my birthday comes around
Summer when my mom birthday comes around
Summer is day I went swimming with my best friend
this year
Summer is when Amber birthday is
Summer is time of the year have cook out with friends
and your family.
Summer is good time year to have good time and swimming
and party and just have fun with everyone

By Kristina Riggs

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Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow-
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.

I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand-
How few! yet how they creep
Through my fingers to the deep,
While I weep- while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?

By Edgar Allan Poe

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ALSO READ: Die Antwoord investigated by social welfare over child abuse allegations

While the band and its members have stayed almost quiet on social media themselves, a post from September 2023 breaks the silence.

Here’s what Visser had to say about the accusations against Brand.

About Die Antwoord’s Yolandi Visser

Die Antwoord is a controversial South African band started in 2008.

Before this, members of Die Antwoord were part of MaxNormal.TV and The Constructus Corporation.

The song ‘Enter the Ninja’ soon went viral, becoming one of YouTube’s most watched music videos.

ALSO READ: Die Antwoord: Where are they a year after ‘child abuse’ claims?

South African rappers like Isaac Mutant were featured on their first album $O$ in 2009.

While being known as proponents of “zef-style”, a South African-born style that Ninja has described as “poor but [you’re] fancy”, the band remains controversial for their lyrics and alleged treatment of music industry colleagues.

ALSO READ: Die Antwoord: Inside the controversial duo’s rise to fame [watch]

The band also appeared as fictional versions of themselves in the film Chappie.

In 2022, accusations were brought against the band by their adopted son Tokkie du Preez, according to The South African website. The accusations were soon denied by the band and their agent.

Yo-Landi, also known as Anri du Toit, has changed her Facebook profile’s name to Fafo Snuffling.

Fafo is an acronym that stands for: ‘F-around-and-find-out.’ Snuffling is a reference to her previous persona, Anica the Snuffling.

Fafo Snuffling: ‘Same Cult’

While the Snuffling page has had most of its posts removed by the administrator, new posts have been appearing on the page – which follows the official page for Die Antwoord.

ALSO READ: ‘No hate in our hearts’: Die Antwoord finally responds to child abuse claims

A post made on 18 September, 2023 posted a photograph of Russell Brand with the following caption:

‘Russel [sic] Brand. Ninja. Same cult.’

No other context is given for the reference to Watkin Tudor Jones (Ninja) and Russell Brand’s names appearing together.

A new album?

A small, recent edit on the Wikipedia page for Watkin Tudor Jones (Ninja/Waddy) from Die Antwoord appears under their listed albums.

According to Wikipedia, there’s an album “To Be Announced” for 2023.

No other public announcements have been made so far.

READ MORE ARTICLES BY ALEX COYNE

5 years of Vogue balls

That’s why I’m thrilled to see Vogue culture thriving in Johannesburg. There aren’t a lot of safe spaces for LGBTIQ+ individuals, so to have this culturally impactful initiative still going strong five years into the game is dazzling. Vogue Nights Jozi hosted its Winter Ball this past weekend, and it was fierce!

ALSO READ: Another 2.9 magnitude earthquake reported in Johannesburg

“We did it again. Thank you, guys for making it to 5 years with me & @vnj_ball. There are no words. Thank you to the amazing team who have become family and everyone else who has helped us build this community – from brands, industry & entertainment friends, to every single person who has pulled up. Let’s rock for another 5. Inshallah. Merci, L” wrote founder @lelowhatsgood on Instagram

A safe space for queer individuals

From the first ball, Vogue Nights Jozi has always maintained its vision of empowering queer DJs, artists, and performers. The DJ lineup included Pride Dj, Lotion, and Nkly x Pona. Those brave enough to make their play for a trophy competed in the following categories: face, runway, afro dance, performance, and sex siren.

ALSO READ: Big wins: DJ Sbu on MoFaya being official sponsor of Miss SA

“The culture of BALL & DOLLS. @vnj_ball year 5 Winter Ball. It was a BALL” wrote award-winning LGBTIQ+ activist, entrepreneur, and make-up artist @tumipowerhouse

VNJ never disappoints

It is worth mentioning that the Winter Ball gave the people what they wanted and more. The proof is in all the adoration. Here is what the people had to say about their experience at Vogue Nights.

“It was my first time attending and I was not disappointed!!! So much fun, thank you.” Wrote @maqhawemabona

“It was EPIC,” said @_paul_williamz

“Ate down as usual” commented @kemisowessie

ALSO READ: Proof Lyle Foster will always be an Orlando Pirates fan

Let’s vogue more in the future

Vogue culture is growing in South Africa, and it’s all thanks to Vogue Nights Jozi. And with how things are currently going, this feels like just the beginning of something that will continue to be a part of South African queer culture for years. The category is longevity my darling! (https://store.spaceylon.com)

CLICK HERE TO READ MORE ARTICLES BY LUH TSELE

The presentation of this previously unseen iteration of Preller’s iconic Adam portraits is a momentous discovery and a valuable addition to the artist’s documented body of work. It forms an integral part of Preller’s significant series of Adamic-themed pieces from the late 1960s and early 1970s, encompassing different versions and interpretations of the subject.

Originally, the painting belonged to a well-known Johannesburg-based medical doctor, who presumably acquired it directly from the artist. In the mid-1980s, the artwork was acquired from the doctor’s estate by an art collector from Pretoria and it has remained within the family’s private collection, concealed from public view, since that time. 

ALSO READ: How to sell my art

Captivating Adam

This captivating Adam in gold is closely related to other notable works including IconBarbare (Adam), exhibited in Preller’s highly acclaimed retrospective exhibition at the Pretoria Art Museum in 1972. Another important and similar Adam-themed work includes the large-scale and electrifying Adam showcased at the São Paulo Biennale in 1973, which Aspire Art sold for slightly over R 9.1 million in 2018.

Exquisitely rendered in oil and adorned with gold leaf, this portrayal of “the first man” exudes an archaic quality, akin to that of a divine being. Its presence is both powerful and commanding. The intricately delineated facial features, reminiscent of ancient Babylonian art, capture an introspective and contemplative essence. The eyes, in contrasting colours, draw inspiration from classical sculpture, while the upper chest’s structure alludes directly to the idealized body type found in ancient Greek kouros figures.

Alexis Preller

Alexis Preller is highly respected as one of Africa’s most renowned and revered modern artists. Within this context, the historical significance of Adam is undeniable. It represents an incredible and intellectually stimulating portrait, reflecting the artist’s profound exploration of mythology, spirituality, and the human form and condition. It serves as a testament to Preller’s technical mastery and his ability to convey intricate and profound ideas through his art.

Conclusion

This remarkable painting will take center stage as the highlight of Aspire Art’s upcoming live auction of 20th Century and Contemporary Art, scheduled for June 7^th at 6pm in Johannesburg. The painting will be available for public viewing at Aspire Art’s showroom in Johannesburg from June 2nd to June 7^th, presenting a unique opportunity for art enthusiasts to appreciate the splendour and depth of Adam first-hand.

Any queries can be sent directly to marelize@aspireart.net. View the full auction and register to bid at, www.aspireart.net.

ALSO READ: Art auctions hit record in 2022 despite economic gloom

OPENSTUDIOS JOHANNESBURG

Last year Johannesburg’s edition of OpenStudios welcomed over 2000 visitors, giving them access to over 100 working artists in their natural work environments.

The annual edition of the event takes place again this weekend but it promises to be bigger and better than last year’s event. There are even more artists and art spaces for art lovers to engage with at this year’s event.

WEEKEND OF ARTISTIC CELEBRATION

Selected studios in and around the city will participate in OpenStudios.Joburg, which will take place on Saturday 27 May and Sunday 28 May.  

A shuttle bus service will connect the different studios, enabling patrons to travel safely between the different venues, without needing to drive their own vehicles into the inner city. This service will operate between the various spaces, from 10.30 until 16.00.

Tickets for Saturday and Sunday are still available at R 55 per ticket.   

SUPPORTING SA ARTS

Nando’s is one of the supporters of OpenStudios.Joburg. The promotion of Southern African artistic talents is something that Nando’s is passionate about.

The company proudly showcases South Africa’s artistic, musical, and design talents in its stores and marketing initiatives. Nando’s has embraced five distinct artist development programs since it started investing in art in 2001.

“Our programs have consistently funded more than 350 artists, and our work is on display at 1200 restaurants across 24 countries.  We have more than 21,000 works of art in our collection, making us the greatest private collector of contemporary South African art in the world.” Says Kirsty Niehaus, Nando’s Marketing Manager: Creativity Portfolio, per the Metrosmag.

ALSO READ: The Playground: Joburg’s hottest new Saturday rooftop market

PROGRAMME DETAILS :

Saturday 27 May from 10:30-16:00
Bag Factory Artists’ Studios

Transwerke Studios in the Constitution Hill Precinct
Play Braamfontein
Lilian Road Studios
The Rand Club & Bridge Books
RMB Latitudes Art Fair

Sunday 28 May from 10:30-16:00
August House

Asisebenze Art Atelier
Ellis House
Living Artist Emporium
Victoria Yards
RMB Latitudes Art Fair

For more information about the event, visit www.openstudios.joburg

ALSO READ: When Somizi turns into a Beyonce on TikTok [watch]

It seemed that Jojo had taken a break from one of her passion, drawing. Indeed, she is a talent few can match, as shown by how she successfully reproduced Nonku Williams perfectly.

Indeed, it’s a mix of emotions among the Housewives as they tend to show highly different versions of their relationships. A few weeks ago, Jojo Robinson smashed a class in Nonku Williams’s face as she fell out with others on vacation. Soon she called her husband, who drove to take her home as the plan failed.

ALSO READ: ‘Like father like daughter’: Shona Ferguson’s daughter Alicia’s top class dance moves [watch]

Today, Jojo Robinson draws a beautiful portrait of Nonku Williams, showing how much she loves and appreciates her. Indeed, this is a mystery, and their love seemed unending.

JOJO ROBINSON DRAWS A NONKU WILLIAMS PORTRAIT

Indeed, it’s tough to imagine why Jojo chose Nonku for her portrait. Indeed, she must be trying hard to express how much she is fond of her in a way she is talented.

Upon sharing Nonku Williams’s portrait on her Instagram, Jojo Robinson penned an emotional message describing her feelings. She said it’s been a while since she did her art, and she used Nonku in her grand comeback.

ALSO READ: Cassper Nyovest and Big Zulu shake hands ahead of their boxing match [watch]

In her caption, she expressed how much of a friend she has made in Nunku Williams. She also claimed that that portrait is the work she has ever done with such levels of joy. This must have meant a lot to Nonku to have someone appreciate you to this level. This is really what working together means when people become such close friends. Here is what Jojo said of her portrait:

So after a long time I finally decided to start with my art again.. I finally feel like I’m at peace.. i started it off with a portrait of my @nonku_williams 💜 she asked me to draw her when she found out I’m an artist.. Drawing nonks was one of my favourite pieces to ever make , while doing it I was reminded of what a special friend I’ve made and how lucky I am to have her in my life.. The strength and loyalty she showed me will forever be appreciated 💚 she is a very special person and I can’t wait to bring this piece to her later in the week. I’m naming this “How to be Brave” because that’s what she makes me feel.

Since boo has also decided to build me an art studio in our current renovation I’ll be able to get back into what I love to do in full swing soon.. 💙

Watch Jojo Robinson’s Nonku Williams portrait.

View this post on Instagram

A post shared by JoJo Robinson (@mrs.jojo.robinson)

WHAT WORKING ON THE REAL HOUSEWIVES OF DURBAN MEANS?

Indeed, this is a tricky question to answer in a one size fits all scenario. Some housewives like Sorisha Naidoo and Nonku Williams seemed so happy being part of the show. However, this is different with some supporting mates like Sane Bhengu and others.

ALSO READ: ‘I’m money driven’: The Real Housewives of Durban star left after salary woes

Sane penned a message a few days ago as she left the reality show citing many problems. She said she had stress and could not carry on. She started with salary and then came to mental issues.

Indeed, that’s a bad sign for The Real Housewives of Durban. However, Seeing what Jojo Robinson did changes the whole situation.

CLICK HERE TO READ MORE ARTICLES BY DAVID MUTENGWA

The rumour about Lil Nas X

So it’s pretty shocking to most of us when we hear rumours of him not being gay. In case you missed it, model Woah Vicky recently accused Lil Nas X of faking being gay to gain popularity and make more money.

She claimed that she has friends that went to high school with Nas X, and according to them, he was never gay.

The truth is heterosexual people will never fully comprehend how difficult it is for gay individuals to accept and step into their truth. High school is one of the hardest spaces to deal with as LGBTIQ+ people. From as early as primary school we face bullying, discrimination, and stigmatisation, not only from our peers but from authority figures as well.

Coming out is a personal choice

So what if Lil Nas X presented himself as straight during his schooling career? Most gay people I know had to do the same thing to protect themselves from being outcasts and turned into objects of ridicule.

And let’s not forget that coming out is a personal choice. A choice that is dependent on you and where you are in your journey of self-discovery.

Vicky’s claim that Nas is pretending to be gay to be more famous is hilarious. There are many brilliant queer musicians out there that are still struggling to make ends meet because their music is not selling, and not because it’s not good enough but because they are LGBTIQ+.

Myth or not but the popular opinion is that record labels would rather a gay man start his career misleading people into thinking that he is straight to sell more records and appeal to a wider audience.

Lil Nas X the clap-back king

Lil Nas X is very outspoken, and that’s one of the things his fans love about him. Although sometimes his comments get him into hot water, most of the time he is leading the charge as a groundbreaking LGBTIQ+ icon. So, it’s fitting that he responded with a spicy clap-back that reads, “Who gives af what ja rule thinks at a time like this.”

What I can never and will never understand is why is Jesus’s name always dragged into these prejudiced agendas? Honestly, the man preached about love, and you are out here embroiling him in your homophobia. Leave him out of your mess, please!

CLICK HERE TO READ MORE ARTICLES BY LUH TSELE

The 79-year-old artist has become so renowned that in art circles his brand of work is a kind of art movement with its own name, Elism. His work is influenced by – and in turn influences – Nigeria’s famed Nsukka school of artists who draw inspiration from the uli art style, derived from the mural paintings of the Igbo people. Nsukka is the city where I live and make art and where I have taught Anatsui’s work to students for years – as he once taught me.

His best known works are large scale sculptures in the form of drapes, wall hangings and installations made from flattened, repurposed aluminium bottle caps that are sewn into tapestries, making them dazzle and shimmer in a mixture of hues and colours. The tactile quality gives it part of its sculptural relief. The colours and shapes also resonate with the Kente cloth motifs that are native to Anatsui’s Ewe people.

His 2019 retrospective exhibition in Germany, Triumphant Scale, firmly established him as a leading global voice. It was co-curated by the late Okwui Enwezor, who is famed for bringing African art into the western mainstream.

In truth, Anatsui’s work has evolved steadily over time and it can take many forms. Compartmentalising it does not do justice to it. He has helped establish African art as a global force. But, as I also discuss here, he is much more than just an artist. El Anatsui is also a humanitarian, a teacher and a philanthropist.

ALSO READ: Poem of the day: The Invitation

HIS LIFE

Anatsui is from Anyako, in the Volta region of Ghana. He identifies as Ewe, an ethnic group that extends up to Togo. His creative genes are probably inherited from his father, a craftsman. The last born of 32 children, he grew up with his uncle, a priest.

After completing his education in sculpture and art at Kwame Nkrumah University in Kumasi, Ghana, he worked as an art lecturer in Ghana for several years before moving to Nigeria.

One cannot discuss Anatsui without mentioning Nsukka, a university town in Enugu State, south-eastern Nigeria. The University of Nigeria, the first indigenous university in the country, is located here and Anatsui today serves as emeritus professor in the faculty where I also teach.

He was 31 when he arrived in Nsukka 45 years ago and talks about that day with excitement, mentioning iconic cultural figures like activist musician Fela Kuti as one of the reasons he was attracted to Nigeria and decided to stay. Anatsui is honoured as Ikedire of Ihe-Nsukka kingdom, a chieftaincy title bestowed on him by the local community that points to the impact he has had here.

ALSO READ: Poem of the day: I’m Busy

I first encountered Anatsui as an undergraduate in basic drawing class. In his class you realised that once you can draw a bold line then you can do great art. He could find the lone confident stroke embedded in a sea of others.

Anatsui was a member of the Aka group of artists who were popular in eastern Nigeria in the 1980s and 1990s. But he always looked to conquer the global art scene. He never subscribed to attaching artists to a particular continent.

After years of work as a lecturer and artist he built himself homes in Nsukka and in Tema, Ghana. It was only in 2018 that he felt he could buy himself a new car – in Nigeria most civil servants can only afford used cars. The large studio he built also points to years of consistent hard work.

Less known facts about Anatsui are that he eats a plant-based diet, is a masterful chess player and a sports enthusiast who plays squash. He is also better known in Nigeria as a philanthropist and a teacher than just an artist of global standing. One of the examples of his philanthropy is how, from 2017 till 2021, he gave young artists an all-expenses-paid trip to Senegal to attend the Dak’Art bienniale.

ALSO READ: Poem of the day: My One-Eyed Love

HIS WORK

Anatsui was creating three-dimensional works long before his famed bottle cap tapestries. His earliest works were made from wooden trays found in markets in Anyako. In Nsukka in the 1970s he created ceramic pieces from clay and manganese. In the 1980s he worked with concrete and terrazzo to produce sculptural works, some still found on the Nsukka campus. His hardwood works became popular and his influence expanded.

This creative restlessness to find materials from his environment led to the collecting of aluminium bottle caps that sat in bags for months before becoming art materials. The bottle caps suited a new art form, distinct from painting and sculpture.

Today Anatsui works in different media. He recently experimented with prints, the metaverse and augmented reality but still employs tropical hardwood works alongside bottle cap pieces.

In a time of climate crisis, Anatsui’s work has become increasingly relevant through his sustainable sourcing of materials and his repurposing of found objects often discarded as waste.

No doubt his Tate installation in October will reflect his greater body of work: fluid, malleable, polymorphous, flexible and mesmerisingly colourful … the shimmer, size and materials speaking to freedom, mobility, decolonialism and environmental responsibility.

ALSO READ: From shack to stage: Dunoon playwright scoops awards

HIS INFLUENCE

The Elism trend focuses on use of materials that are locally available, frugal and minimalist. However, the work is also an expression of humanist concepts – emanating from human activities in relation to the work and its environment.

While the scale of his bottle cap works speaks quietly to the magnitude of global consumption, it also presents aesthetic beauty rooted in ancient cultural forms. In his extraordinary career Anatsui has, in the process, helped bring African art to the world stage.

Article by: Amuche Nnabueze. Lecturer in Art and researcher, University of Nigeria

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Click here to read more articles by The Conversation.

A play about anti-apartheid activist Onkgopotse Tiro has catapulted a Dunoon playwright from his informal settlement shack to the bright lights of the Baxter Theatre, with Joburg theatres beckoning.

“Tiro’s Toughloop Testimony”, a play written by 37-year-old Ayanda ka Nobakabona was the big winner at this year’s Zabalaza Theatre Festival at the Baxter Theatre, scooping awards for Best Script, Best Actor, and the Finest of the Festival award, shared with Oorwinnings Reis and Lamentations.

The festival, held from 24 to 31 March, showcased 37 productions.

ALSO READ: Minister acted outside his powers by scrapping the ZEP system

Ka Nobakabona lives in a two-room shack in Dunoon’s Zwelitsha informal settlement. He has no electricity or running water.

“I wrote the script after intense research. I read a lot,” said Ka Nobakabona.

He said the play is based on a speech Tiro delivered at the University of the North in 1972. Tiro was killed in exile in Botswana.

“The play zooms into his life, from a young age growing up, student politics and eventually his sudden death,” said Ka Nobakabona.

“We’re giving our history life by telling our stories again and again in a unique way.”

He plans to work on the play further

ALSO READ: Former Social Justice Coalition Manager Klaas appears in court

He plans to work on the play further and to take it “to all the festivals that exist out there”. We hope, if we get funds, to take it to Joburg. Joburgers will relate to the story because the story is based in the former Transvaal.”

For Ka Nobakabona, art is education. “In as much as art entertains, the main objective is to educate. Yes, you have people who do art just for entertainment, for commercial purposes, but years later that art is dead. But when you shift into education you get a chance to impact on someone’s life.”

Ka Nobakabona also performed in his own play, and “Tiro’s Toughloop Testimony” was directed by Mfundo Zono, who has 17 years of experience in the performing arts.

ALSO READ: Bester’s partner and alleged co-conspirator appear in court

Zono said he found Ka Nobakabona’s script “thought-provoking”, with “writing that challenges the way we think of education.”

“We all know about Biko and others, but we never heard of Tiro.”

“Tiro’s Toughloop Testimony “is 55 minutes, but Ka Nobakabona says he will develop the script, adding about 20 minutes.

With support from the Baxter Theatre, the full-length version will go into rehearsals and be performed, along with the other two Finest of the Festival award winners, at the Baxter Theatre toward the end of the year.

CLICK HERE TO READ MORE ARTICLES BY GROUND UP

Stern was one of the most important artists that South Africa has ever had, examples of her work may be found in significant South African embassies around Europe, and in a museum that has been established in her name in Cape Town.

The artwork ‘Children Reading the Koran’ dates back to 1939 when she visited Zanzibar.

ALSO REA: Senegalese portrait by Irma Stern invigorates Strauss & Co’s April sale

Strauss & Co. released a statement confirming the sale of the celebrated modern painter’s artwork ‘Children Reading the Koran’ for R22.3 million.

Irma Stern’s legacy truly lives upon her work

“It is an outstanding price for an African modernist at auction and underscores Strauss & Co’s place as a custodian of value for important modernists like Irma Stern,” says Frank Kilbourn, Chairperson, Strauss & Co.

He added that this was one of the strongest sales they have experienced in a while which was made possible by the high quality of their offering. “Reputable South African painters were in high demand during the wholesale, with fierce bidding taking place for significant pieces by Freida Lock, Hugo Naudé, J. H. Pierneef, Alexis Preller, Vladimir Tretchikoff, and Pieter Wenning. Without a question, South Africa continues to be the best market for trading works by the nation’s top modernists,” he said.

“I was very encouraged by the consistently animated bidding in our new salesroom,” says Bina Genovese, Managing Executive, Strauss & Co, who knocked down the winning bid for Stern’s Children Reading the Koran.

CLICK HERE TO READ MORE ARTICLES BY KAMVA BENA

Yet, despite his fame today, Vincent van Gogh allegedly made only one documented sale of a painting during his lifetime. This was The Red Vineyard, produced near Arles in Provence in the autumn of 1888.

The enlightened buyer was Belgian painter Anna Boch, whose brother was a close friend of the artist. She spotted the vibrant landscape at the 1890 exhibition of the avant-garde group Les XX, of which she was a member.

ALSO READ: Record-breaking Vermeer show opens in Amsterdam

The price was 400 francs, the equivalent of around US$2000 (£1649) today, and would have seemed like a huge windfall to the struggling Van Gogh. If it were sold at auction today, the same painting could expect to fetch upwards of a hundred million US dollars.

Van Gogh dreamed of achieving posthumous fame and it was not long after he took his own life in July 1890 that the market for his pictures began to develop.

Boch went on to buy a second painting, Peach Blossom in the Crau, in 1891. In the same year Vincent’s art dealer brother Theo died of syphilis. Van Gogh had given a handful of works to the artists’ colour merchant Père Tanguy in Paris, but it was Theo’s widow, Jo van Gogh Bonger, who would inherit the bulk of his vast oeuvre, making her the main source of his paintings.

As a result, she controlled the market for Van Gogh in Paris, Berlin, London and, eventually, New York.

ALSO READ: Five things to know about Vermeer

EUROPE’S ART MARKET DISCOVERS VAN GOGH

In 1901 the French poet Julien Leclercq, with Van Gogh Bonger’s assistance, organised the first Van Gogh retrospective at the Bernheim-Jeune gallery in Paris. The event brought Van Gogh to the attention of the German dealer Paul Cassirer, who went on to create a market for Vincent’s work in Berlin, supported by the influential art historian Julius Meier-Graefe.

By 1914 it was estimated that as many as 120 pictures by Van Gogh were in German collections and his work quickly increased in value.

In Britain, meanwhile, the art dealer with the closest links to Van Gogh was Alexander Reid. In 1887 Reid worked alongside Theo at the firm of Boussod & Valadon in Paris and briefly shared an apartment with both Van Gogh brothers.

However, despite his close physical resemblance to the artist (two portraits of Reid by Van Gogh, now in Glasgow and Oklahoma, were originally catalogued as self-portraits), it was not until the early 1920s that he began to exhibit and sell his pictures to rich industrialists in Glasgow and London. Among the most significant was the Scottish collector Elizabeth Workman, the wife of a successful ship owner.

The most important early collector of Van Gogh’s work was another enlightened woman, Helene Kröller-Müller, who – although German by birth – was based in Rotterdam in the Netherlands.

Advised by the Dutch painter and critic Henk Bremmer, she bought her first work by Van Gogh in 1908. Supported by her industrialist husband Anton (who was initially sceptical of her new-found passion), she went on to acquire no fewer than 91 paintings and over 180 works on paper.

Along with Cassirer, Bremmer helped to push up the price of Van Gogh’s work. As a result, fakes began to appear in various galleries and exhibitions. The most famous forgery case was that of the dancer-turned-art dealer Otto Wacker, who was brought to trial in Berlin in 1932.

ALSO READ: Vermeer shines at ‘once in history’ Amsterdam show

VAN GOGH’S ART MARKET GOES GLOBAL

As the market for Van Gogh’s pictures increased, the importance of establishing the authorship of a painting or drawing became even more crucial.

In the 1980s, with the advent of the Japanese craze for Van Gogh, his work began to fetch world records at auction. In 1987 there was huge public debate around the authenticity of the Sunflowers acquired by the Yasuda Marine Insurance company in 1987 for US$39.9 million.

Three years later the Japanese businessman Ryoei Saito paid the record price of US$82.5 million for the Portrait of Doctor Gachet. Most recently this record was smashed in November 2022, when a Van Gogh landscape of Arles from Microsoft co-founder Paul Allen’s collection sold for US$117 million to an anonymous bidder.

Today the Van Gogh Museum has the last word when it comes to authenticating the artist’s work. The Yasuda Sunflowers are now believed to be authentic, based on the picture’s provenance, which can be traced back to Jo van Gogh Bonger.

ALSO READ: Banksy unveils new ‘Valentine’s Day Mascara’ artwork

A more recent “discovery” of a portfolio of Van Gogh drawings in 2016, however, has not yet been accepted as genuine. But what is it about Van Gogh’s work that remains so compelling to prospective buyers, over 130 years after his death?

Today, as we are encouraged to focus on mental health, his work seems to have more relevance than ever. Whatever the reason, and despite the scorn that he endured during his lifetime, the market continues to be seduced – like Boch all those years ago – not only by his tragic personal story, but also by his artistic genius.

Article by: Frances Fowle. Personal Chair of Nineteenth-Century Art, History of Art, The University of Edinburgh

This article is republished from The Conversation under a Creative Commons license. Read the original article.

Click here to read more articles by The Conversation.

A CELEBRATION OF PUBLIC ART IN THE HEART OF CAPE TOWN

The Company’s Gardens in the heart of the CBD will host this year’s festival and will be the starting point of the Public Art Route, which visitors can do as a guided tour or with a self-guided map.

“We have an iconic landmark as our base and a greater number of artworks on show than ever before. The public can look forward to garden sculptures and even augmented reality works in addition to the large-scale murals that have characterised previous years. What’s more, it’s entirely free to attend,” said IPAF co-founder Alexandre Tilmans.

READ: Cape Town joins the ‘longest human chain’ in the world

MSAKI TO EXHIBIT WORK AT IPAF

South African singer-songwriter Msaki is expected to unveil a visual exhibition on IPAF’s opening day. The SAMA award-winning singer intends to take a music hiatus and focus more on her visual art.

“IPAF really is a celebration of art in its many forms, and I’m proud to be a part of the festivities before I take my music hiatus, returning to the contemporary art side of myself,” she said.

As part of the festivities, expert panels, masterclasses, exhibitions, and outdoor art classes will be held. The nearby Labia Theatre in Orange Street will also host film screenings.

READ: The Labia Theatre in Cape Town named one of the ‘most beautiful cinemas in the world‘

The City of Cape Town has supported IPAF since its inception in 2017. MayCo Member for Safety and Security JP Smith said partnering with the festival is an opportunity to provide platforms for artists and beautify the City’s public spaces with “breathtaking” murals.

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Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.

By ROBERT FROST

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The multi-million-selling girl group – which consists of Geri Halliwell, Mel B, Victoria Beckham, Melanie C, and Emma Bunton – met the then-Prince Charles several times during their heyday in the 1990s and while they have not performed as a five-piece since the closing ceremony of the London Olympics in 2012, royal organisers are said to be “super keen” to bag the whole band for a performance at the upcoming coronation celebrations in May.

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A source told The Sun newspaper’s Fabulous magazine: “Royal organisers are super keen to secure Britain’s biggest girl band and the Spice Girls are seriously pondering a return to the stage as a five-piece for such a historical event. Certainly, the reality is that the Coronation is as special as The Olympics – a one-off celebration and unique performance.”

At the height of their careers, the ‘Wannabe’ hitmakers met the then-Prince Charles, and Mel B and Geri famously broke royal protocol by kissing him on the cheek and patting his bottom while also telling him he was “very sexy”.

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Following her shock departure from the group in 1998, Geri – who was also known as Ginger Spice – performed ‘Happy Birthday To You’ to the then-heir to the throne at his 50th birthday party.

Spice Girls Mel B teased a new project was coming

The insider went on to explain that there is a “sense” that the reunion could happen for an event this “significant” – which has not taken place in Britain since the coronation of Queen Elizabeth in 1953 – and claimed that group members Melanie C and Mel B are the ones “trying to make it happen.”

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The claims come just days after ‘I Want You Back’ hitmaker Mel teased that a new project was on the horizon for the band – who last reunited for a stadium tour in 2019 without Victoria – but was unable to say exactly what it was.

She said: “I can’t tell you exactly, but there’s going to be something that is going to be announced pretty soon. I am probably going to get told off. It is a project that we’re very excited about. It will be all five of us.”

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