To subscribe or unsubscribe from this newsletter, please send an email stating your request to tagnews@gmail.com.

     

                   February.March

                              in review

TAG is a professional visual artists’ newsletter providing a global platform to the artists in residency at Greatmore Studios, Cape Town and those within the network of Triangle Art Trust. As a compliment to a regularly updated web site, www.greatmoreart.org TAG provides artists withrelevant  updates about the studios, artists work and opportunities in the arts arena both locally in Cape Town, on the continent and abroad. 

EDITOR'S LETTER

• Greatmore Studios gets to grips with the loss of fellow artist & friend, Madi Phala … (read more)

OUR NEWS .NEW & NEXT @ GREATMORE STUDIOS 

• Greatmore Studios hosts a team of teachers and art practitioners from Devon …(read more)
• A view from Greatmore The South African Art Times features a profile on the studios…(read more)
• The tale of a Gauteng based artist, Rudolph Tshie TAG welcomes a new visiting artist…(read more)
• Behind the scenes: ZIG ZAG WANDERER, a work in progress …(read more)
• The British Council sponsors an urban mural at Greatmore Studios … (read more)
• Greatmore Studios makes final preparations for the launch of the mentoring month …(read more)
• Resident artist Ndikhumbule Ngqinambi spreads his wings westward …(read more)
• 'Longing and Belonging’: Ivor Sias exhibits at Greatmore Studios …(read more)

ARRIVALS AND DEPARTURES @ GREATMORE STUDIOS

• Farewell Wonder TAG bades good-bye to resident artist Wonder Marthinus …(read more)
• Troubled landscapes TAG catches up with Bangikhaya Maqoqa, the artist in an orange jumpsuit …(read more)
• Between us: There’s something about Celina ...(read more)
  

IN THE LOOP…BEYOND GREATMORE

• Life drawing at Orange Street Studios …(read more)
• Renegotiating community arts in Cape Town …(read more)
• Woodstock, arguably the new artistic hub …(read more)
• X-Cape takes center stage TAG looks at the development of exhibitions for X-Cape …(read more)
• Garth Erasmus exhibits new work at Look Out Hill, Khayelitsha … (read more)

EXPERIENCE IT
OPPORTUNITIES IN RESIDENCY, COMPETITIONS & EXHBITION OPPORTUNITIES

• Call for applications for Shatana International Artist Workshop, Jordan …(read more)
• The African Biennale 2008 calls for applications …(read more)
• SASOL NEW Signatures art competition invites artists to submit work … (read more)
• NEW LANDSCAPES 2007 calls for applications … (read more)
• Call for applications for the post of researcher at the Jan van Eyck Academie … (read more)

RESOURCES

• Visit www.asai.co.za  for a critical response to contemporary art on the continent …(read more)

DIARISE IT

• On the calendar. Looking forward to the month ahead TAG looks at exhibitions and workshops scheduled for the coming month…(read more)

#EDITOR’S LETTER

Greatmore Studios gets to grips with the loss of fellow artist & friend, Madi Phala

It is with profound sadness that the artists at Greatmore Studios and Thupelo Cape Town mourn the sudden loss of a friend and artist extraordinaire, Madi Phala. Madi’s genius was in his vibrant art practice that incorporated design and themes of music. Rigorously exploring a unique theme of the Herdbooyz,Iziko South African National Art Gallery. I can remember personally the whole process of interviews that Madi went through for the job. I had never seen such enthusiasm merged with profound humility during this process. I would always chime after him ‘Madi you are the man of the moment-there is a magic in you that demands the job!’ He was a man serious about mentorship, and we were thrilled when he shared with us at the studios that he had been temporarily offered the post. The opportunity allowed him to connect again with young minds, inspiring a new generation of artists to a higher level of visual literacy. In all our numerous rich conversations that were a fine blend of talk on fashion and the art scene in Cape Town, Madi would emphasise the need to work towards leveraging the success of fellow artists, encouraging each other to move towards a greater level of professionalism and excellence in the arts arena. He never ceased to display this in his own life. Although the wound his sudden death brought us is still raw, I think we can confidently say he was a man who gave the world his best A truly beautiful and a unique soul, it has truly been a privilege to work through Madi’s studio, sorting out his work –it has allowed me to connect with his life in a very intimate way.  His warmth and charisma is so evident in the choice and arrangement of images on his studio walls. He had a high regard for his daily work and the frantic scribbles in numerous textured journals speak of an active mind. The playful, experimental side of his character is strongly felt in his collages fusing foil, sand and magazine cut outs. that served as a tribute to the mysterious world of the ancestors, Madi’s magic lay in his ability to capture complex emotions in a richly colourful and energetic way. His concepts remained clear and his complexities clean. Madi was a man who truly embodied the spirit of Greatmore Studios and Thupelo workshops-teach by example. He lived for his art and thoroughly enjoyed mentoring young artists. Recently he was posted to the position of education officer at the

Madi you had such a beautiful sophisticated mind, your ways of seeing were so unique and varied. You have truly inspired me to live out my life fully and to always push the boundaries in my own practice, to commit to stay professional, and to keep a healthy momentum in my work wherever possible. The magic of Madi lives on through a legacy of work he leaves behind. To a regal African lion King, may your soul find peace.  Thank you for keeping us smiling.

 On behalf of all the artists at Greatmore Studios, I would like to thank all our patrons, donors, fellow artists and friends of the studios for all the sincere and thoughtful messages of condolence we received. It was well appreciated. Madi was one to attract people of all works of life to himself, and his memorial held on 8 March 2007 at the studios was evidence of this. Madi was quickly becoming an icon of inspiration to all generations of artists, and he remained a celebrity in death as he was in his life. For his memorial luminaries like Peter Clark converged to share thoughtful poetry whilst a friend from Springs and numerous gallery owners and community art leaders also came to mourn his sudden death against a backdrop of rich jazz tones. Special thanks go out to Velile Soha who organised a musical tribute in Madi’s honor on Sunday 11 March 2007 at Gugu S’Thebe in Langa.

Madi Phala participated in the first Thupelo workshops from 1985-1992. He had two solo exhibitions at the AVA gallery and his work is in private collections of De Beers in London, the French Embassy in South Africa, Renault South Africa and the Minister of Arts and Culture, Pallo Jordan. Last year Madi completed a sculpture in commemoration of the sinking of the S.S Mendi in 1917, a project commissioned by The Sunday Times. It was only recently in February that he made a debut at the Design Indaba, exhibiting several of his most recent pieces. At the time of his death Madi was a resident artist at Greatmore Studios and held the portfolio of education officer at the Iziko South African National Gallery .Madi was tragically killed outside his home in Langa, Cape Town in an act of crime. He is survived by six children, and was laid to rest at his home town in Springs, Gauteng in a befitting funeral amongst a pool of family and friends.

 
Please be encouraged to post your messages of condolence on www.asai.co.za thanks to Mario Pissarra .Through this site, artists the world over have been able to find a contact point to grieve by articulating their feelings towards the late Madi. An online retrospective of Madi Phala’s work may follow in the next few months so please keep posted to our website for further details

In this month’s offering TAG celebrates the life of Madi with an issue that is as energetic and vibrant as the man we came to know. May you be inspired by the tenacity of artists at the studios to keep rising in their professions even when life offers up its fair share of showers. So from the desk at Greatmore Studios it’s a happy and meaningful holiday and enjoy the read.

Tambudzai La Verne Sibanda, Editor in Chief 

 We always welcome your contributions to the content of this newsletter. Please e-mail us your comments at tagnews@gmail.com

 
[Back to the top]

OUR NEWS .NEW & NEXT @ GREATMORE STUDIOS 

#Greatmore Studios hosts a team of teachers and art practitioners from Devon

In a quiet evening at the studios on 22 February 2007, a team of teachers from Devon lead by Martin Philips were introduced to a pool of working artists. After two short DVD presentations of work by committee members, Jill Trappler and Lionel Davis, the delegation accompanied by artists from Greatmore Studios proceeded to Frangipani’s for a delightful wholesome meal courtesy of the Devon team. Committee member Garth Erasmus took the stage and briefly gave a rich history of his art practice, tracing his concerns to his need to reconnect with his Khoisan heritage. Lionel Davis also spoke vehemently about how the scars of apartheid and his experiences as a political prisoner on Robben Island were a great source of his dealings in his work. It was truly an insightful evening, revealing that although South Africa has long celebrated a decade of democracy, the contradictions and complexities in the country are still very real. As South Africa is forced to leave the past and embrace a new future, it is evident that much healing is still needed for the deeply scarred psyche of her people; it is this process of healing, that is so personal and assumes many forms, shapes and colours in any art practice. The teachers from Devon arrived in South Africa with an objective to receive hands on experience of South African cultures to incorporate them in their primary and secondary school curricula. Martin Phillips, who led the team, has worked in the past, inviting artists from the studios such as Garth Erasmus to conduct fine art and music workshops in some of the local schools in the Devon area. Several members of the Devon team are currently working on compiling a database of video footage profiling several South Africa artists as a tool to expand the visual vocabulary of their students.

[Back to the top]

#A view from Greatmore

Greatmore Studios celebrates the charm of a community of artists working in Woodstock in a recent article in the ‘South African Art Times’ entitled There’s only one Greatmore Arts Studio on earth- and to many its Heaven. Apologies are made to our readers for a print error that saw one image duplicated twice. Under the section, A tribute To Madi Phala the image of an artist showcasing his work is in fact Xolelani Pat Matshikiza, a former visiting artist at Greatmore Studios who was greatly influenced by the late Madi Phala.

[Back to the top]

 
#The tale of a Gauteng based artist, Rudolph Tshie

Rudolph Tshie is a local artist from Shishangu, Pretoria who is currently serving a three month residency at Greatmore Studios. TAG caught up with him at the start of his residency to mine some of his thoughts on art making.

TAG: When did your passion for the art stem from?

Rudolph Tshie: My love for the arts began at daycare at around the age of five! It was at that age that we were introduced to elementary art making, and it really took to my liking. During primary school, art always was my favorite subject; I enjoyed drawing and painting and later went to the Fuba College for three years where we were encouraged to work in all media. Fuba was an art school for mature students that drew a multiracial gathering of artists. Although David Koloane (one of the directors of the Bag Factory in Johannesburg) was instrumental in teaching at Fuba, during the time of my enrollment, he was engaged in running a gallery.

 At Fuba I was exposed to photography and loved it. It quickly became a priority for me. I began to combine my passion for painting with photography. I would capture a particular landscape I liked using the camera, and then make a detailed painting from the image I had photographed. This has evolved to become my main method of working.

TAG: What has been some of your greatest influences?
R.T.: My mother has always been so influential in my practice. Images of other artists in books have also influenced my technique. I am intrigued by the work ethic of my grandmother’s generation.  I did a residency at Thapong in Botswana (an initiative that is part of the Triangle Arts Trust) in 2002, and that was a great experience. I was fascinated by the Bushmen art, the simplicity of the art is very much in contrast to the detail in my work.
TAG: What are your main concerns in your work?
R.T.: I express myself through realism. I am interested in the work ethic of labourers on open landscapes.
TAG: What are you expecting during your time at Greatmore Studios?
R.T.: I am hoping to upgrade the mood and style of my work. I want to break out from my methods and become more spontaneous.

 From the team at TAG we would like to welcome Rudolph and hope the interaction with other artists in the space helps him to push the envelop in terms of his art practice.

 [Back to the top]

#Behind the scenes: ZIG ZAG Wanderer, a work in progress.

A three month residency at Greatmore Studios seeks to provide a rigorous exchange of ideas and creative challenge for all its visiting artists. On Saturday 24th March, from 11h00 to 14h00 members of the public are invited to view an exhibition entitled Zig Zag Wanderer which will showcase works in progress by visiting artists Nomthunzi Mashalaba (South Africa), Paul Hendrikse (The Netherlands) and Rudolph Tshie (South Africa)

*Zig Zag Wanderer (1967) was the name of a song created by 70’s avant garde artist Captain Beefheart, whose bizarre, irregular, earthy rhythms and eclectic mix of styles were revolutionary at the time.

Two artists made the following comments about their preparation for the forthcoming exhibition.

“I am happy with how my paintings have emerged…from now until the actual opening of the exhibition, I still have a few technical things to resolve.”

 Rudolph Tshie, South Africa

 
“I have drifted off from my initial start somehow. I have given myself a longer timeline for the development of my work. For the exhibition I will present a sound piece. I have currently finished the preparations for the piece, but still have to make some small decisions about the presentation of the work. The process is going well. I am curious how it will all emerge. Although I have everything on paper it will naturally take on a different form when I record it. I am not afraid of the outcome!”

 My full body of work will come to a head close to October of his year and I am looking to exhibit the completed piece at the Cape Africa Platform. My work fits in strongly into a South African context, dealing with shifted identities and the complexities of language. I have used the poet Ingrid Jonker because of my interest in Dutch ex-colonies. It will be a rather critical piece because the poet herself was a controversial figure. Although the piece will be in Afrikaans it is not directed at a solely Afrikaans audience”

Paul Hendrikse, the Netherlands

 Paul’s residency has been kindly sponsored by the Mondriaan Foundation and the Royal Netherlands Embassy of South Africa.

 Next month TAG will look at outreach projects of our visiting artists, looking at the impact their art is having in the greater community.

 [Back to the top]

Greatmore Studios this March sees the beginnings of an urban mural on St James Street Woodstock, on one of the walls belonging to Greatmore Studios. The mural is being co-coordinated by Nigerian artist Polly Alakija. Polly is working along side three young artists who are serving as apprentices to the project, in turn receiving mentorship in a lost tradition of mural painting in South Africa. Funded by the British Council, the mural hopes to speak of a diverse background of people in Woodstock who daily converge to share experiences, ideas and techniques

 “We are on track... The mural hopes to be a space which offers people an opportunity to question and re-affirm their identities. The image will provide an ideal opportunity to show the community the creative process ongoing inside the old brick walls of Greatmore Studios. I strongly feel it must be a positive and accessible image.  Working with some apprentices, my aim is that they will be motivated and inspired to push this powerful medium further.  …We got some kids around from the community last Saturday to take some poses for the mural-hopefully they will feature some where on the wall…perhaps their handprints as well. It is truly an amazing feeling to be working on the street.”
Polly Alakija

 
“I am having fun. I know I am in the right place! I like the process of taking something as raw and bland as a white wall and transforming it into something that inspires and unites artists with the community.”
Bianca McCallum, an emerging contemporary abstract artist volunteering for the mural.

 “I have been able to see and work with new artists; it has also been an opportunity to market myself as a young artist in the Cape Town art scene. It is a privilege to experience different approaches to art making from different people, and well just make friends!”
Khanyisa Ndonga is an artist who has recently relocated from the Eastern Cape.

 The completion of the mural will coincide with the launch of an exhibition by our artists enrolled in the Mentoring Month in April.

 [Back to the top]

 #Greatmore Studios makes final preparations for the launch of the mentoring month

TAG welcomes to the studios this month British born artist Rebecca Glover. Boasting both English and Irish heritage Rebecca comes to the studios for six months to invest her energies and time in the creative culture of our community art project.

 When TAG asked why she found herself at the studios, Rebecca replied,

 “Greatmore just seemed like the perfect place to follow my art practice. I have recently hosted my first solo exhibition in the UK as a means of fundraising for this trip. I am a young artist whose work is largely inspired by my experiences. I enjoy finding expression in abstract figurative work, capturing moments of freedom through the human figure. It is an incredibly vulnerable position to take. In the past I have worked in sculpture, drawings both in ink, pencil and various other media. I have done some printmaking but drawing seems to be my main point of entry into any work.

 Having been in South Africa for such a  short time I can only say that I am still trying to grasp the fascinating mix of cultures .I am interested in how art can be used to resolve contradictions evident in the country’s communities, as well as bringing people together .I believe in the power of art to do this in a significant, meaningful way. I hope that during my time here I will push my art to another level, and be challenged to overcome current limitations to my work. I come to the studios, open to new cultures and influences.”

 As an artist who will be enrolled in the mentoring month, Rebecca will also serve as a coordinator to the project.

 “I am quite excited about taking up the roll of internal coordinator for the mentoring project. Residencies I believe are such important spaces to keep you open to new developments and can prevent you from getting stuck and introverted in your own work.  I hope to try and inspire others to just get down and work! I will also provide a short basic computer course during the month”.

 
Our mentoring month kicks off in April, and seeks to break the stereotype of the isolated artist by providing an environment for rigorous interaction of ideas and techniques. The one month long residency will inspire a strong work ethic in the artists, encouraging them to take art professionally and seriously. Artists enrolled in the programme will share studios to foster greater interaction. Workshops held intermittently throughout the month will equip artists with basic computer skills, in depth critiques of their work in progress by committee members, and critical writing skills as well as help them develop strong business acumen. There are several landmines that characterise a vibrant art practice, and the artists at Greatmore Studios are committed to providing the young artists with a relevant introduction into a mature, professional art arena that while not romantic, is achievable with much hard work and dedication.

 [Back to the top]

Special kudos go to Ndikhumbule Ngqinambi, a resident artist at Greatmore Studios, who will be participating in an exhibition entitled The Beacon in Whitehaven, Cumbria, organised by the Cumbria Institute for the Arts( CIA) in north west England, early April. The exhibition will serve as a commemoration of the bicentenary of the Abolition of Slavery Act of 1807. Ndikhumbule will travel with artist, Lonwabo Kilani, who was previously resident at Greatmore in 2002.The work on exhibition  explores the cross-cultural interconnections that contribute to the formulation of identity and contemporary issues around migrants and asylum seekers such as racism and social exclusion. The two South African artists will exhibit with six local English artists whilst also hosting small workshops and talk for children and visitors to the exhibition.

 Ndikhumbule’s trip has been kindly sponsored by the Association of Visual Arts (AVA)

'Longing and Belonging' is the focus of Ivor Sias' exhibition of mixed media paintings. Drawing on his previous experiences in exile, he asks: does one have to belong to any particular culture or group in order to feel at home? The emotional, socio-political and psychosexual states of exile all cohere here, in expressive layers of painting, pigment, colour and collage. Ivor’s exhibition begins on March 24 and closes on April 26.

ARRIVALS AND DEPARTURES @ GREATMORE STUDIOS

#Farewell Wonder

TAG would like to extend our greatest wishes to Wonder Marthinus who will be leaving the studios at the end of this month for a six month working visit to Germany. In our April issue of ,TAG will feature an exclusive interview with Wonder about his experiences at the Studios in the past years and the direction his art practice is taking.

[Back to the top]

#Troubled landscapes

TAG caught up with new resident artist Bangikhaya Maqoqa sitting comfortably painting in his studio, and took the time to talk about the twists and turns of life and how it informs his painting.

TAG: What has brought you into the art arena?
Bangikhaya Maqoqa: I have always had a strong sense of creativity since I was young. My mother was a dressmaker and from observing her, I taught myself how to make my own clothes and do the relevant adjustments to existing garments by the age of 13.
TAG: What is you background and how does it inform your work?
B.M.: I originate from a rural homestead in the Transkei in the Eastern Cape. I never had any formal training in the arts, and for many years found work cleaning and waitering .In 2000 when the economy was looking up I went back to school and completed my matric. Following that I enrolled at the Community Art project after being referred by my cousin Thobisa. It was during this course that we were taught how to be disciplined as artists.
TAG: What are some of your main concerns in your work?
B.M.: I had a very erratic childhood. I have a special calling to be a Sangoma that brought a lot of illness and other setbacks in my life. I have however prevailed and survived it .Although my work does not directly address this struggle, my work does capture my interests in the culture of my people. I incorporate several images of cows, and water features in my work, because of their reference to religious African ceremonies. Images of dogs also make direct references to the world and presence of ancestors.
TAG: Describe the type of work that characterises your oeuvre.
B.M.: Initially I started my career doing a lot of portraits on commission. I have worked on a few murals in Cape Town with artists such as Ndikhumbhule Ngqinambi who is also resident at the studios. I find though that portraits do not tell the full narrative. I love landscapes. I was born where the nature was all there was, where the birds sang, and people held on to traditional African practices; story telling has always been a very strong part of our culture. I have recently worked in photography at the Arts Media Access Centre (AMAC).
TAG: Where do you see your art developing in the next couple of years?
B.M.: I am still trying to find my voice. I want to start working with different medium and regain my childlike passion to draw, with no compromise, the things that most concern me. I am a blend of many talents- I enjoy football, guitar, I write poetry and even compose my own songs. I need to actively make sense of all this, converge all my interests into something tangible. I admire Ndikhumbule and Lungwabo; these are two artists who came from a similar background as me. We all were not born with a silver spoon in our mouths, however, through life’s set backs, they have risen and are making their mark on the art world.

Bangikhaya is currently looking for a post to teach art to young students part-time. For further details contact 083 877 4832

 [Back to the top]

 
 #Between us: There’s something about Celina.                                                           

This month sees assistant art administrator Celina Ferreira taking a bow after three rich years of service at the office at Greatmore Studios. In a revealing interview, TAG uncovers the passion for people and cultural exchange occurring at Greatmore Studios.

TAG: Tell us a little about your journey working at Greatmore studios
Celina Ferreira: I was originally born in Woodstock and I am a first generation South African to Portuguese parents from Madeira. I moved across the road in 2004 when I moved down from Johannesburg and would often look out my gate to see different personalities in and out of the Studios. I was an intrigued onlooker- but never had the courage to come in and see what was happening. An opportunity opened up in the middle of that year and I began to work part time doing the accounts. Things just grew from there. I do a bit of everything now, accounts, report writing, reception work as well as assisting the administrator where possible. Since my time here I have learnt so many skills like being able to use Photoshop and work with various printed matter. I never stop learning, that’s what keeps me interested. Everyday I’m eager to see what needs to be done next.
TAG: Working in a space with so any artists, how do you navigate many different personalities?
C.F.: I have really learnt to take the time to understand every individual. Each artist comes with a different personality and their different ways. There are the sensitive types with whom one must make every attempt to connect with in a sensitive manner. You learn to interpret the smiles in their eyes and just meet people where they are at. Others are more selective and reserved and demand more personal space. Everyone has something special they contribute to the studios. It’s really so amazing!
TAG: You have not walked alone at the studios in an administrative capacity. Tell me about your working relationship with André Barnard.
C.F.: I admire his administrative capacities. He has a personality that makes you want to do better, that challenges the impossible. André likes to try and let you accomplish things on your own. He wants people to grow. We all know that nothing comes easily; he has always inspired me to live beyond my limitations .He is very paternal and also has a strong maternal side to his character. He has inspired me to be a better mother and working woman. He has a strong work ethic, and that is driven by his passion for the studios. The studios at Greatmore have really grown in the last couple of years. When André and I came in to work at the studios we were like two babies crawling. We have grown up with the artists here.
TAG: And the committee members what memories will you leave of them?
C.F.:Oh I have very personal memories. When I think of Garth (Erasmus), I think about his music and how he lets out a piece of his soul every time he plays his saxophone and shares his tunes with the public-he is not much of a talker, but the strength of  his feelings are felt so strongly in his work and music. Uncle Lionel is such a brilliant story teller. I can listen for hours to the same story, every time he retells his story about the development of his life in the arts, tears well up in my eyes. He touches the inner soul. Aunty Jill is the mother of all mothers. Her drive is exemplary, and her determination allows her to make her dreams come true. And finally there is Velile- although he is so softly spoken, he has such a quiet and rich soul-he just belongs in the space.
TAG: Walk us through some of your fondest memories at the studios.
C.F.: There are so many…Everyday is different, every moment so special. I love when the young children come into the studios, so confident to be part of the space. They are often more confident than some of the adults. It I so enjoyable to see them leave with a sense of purpose as the artists in residency teach them to learn to use their hands creatively.
TAG: What is the role of art in you life.
C.F.: Well I used to do art at high school and actually did it for my matric. I initially enrolled in an architecture programme for one year at the Cape Draft Training Centre. Art is very much a part of my world. My children have through workshops with resident artists like the late Madi Phala been inspired to start drawing. My eldest has a sketch book that he regularly works in.
TAG: You seemed to have acquired quite a collection of art work from past and present artists. Tell us about it.
C.F.: I am so proud of my collection! Some work I bought from the artists –they are images that I just loved and others have been gifts. I am taking a piece of everyone with me, to remember them by. Each work of art captures the personality of each artist; they are worth more than photographs to me. I value the time and effort invested in each work.
TAG: Where is Ms. Ferreira headed to?
C.F.: I am off to Johannesburg with my three sons and we will be reunited with some of our family up there. I will try my level best to go to exhibitions of artists exhibiting in Johannesburg when I can. I want to maintain the connection as small a thread as it may be .It is really important to me.
TAG: As you leave what are your wishes for the artists at Greatmore Studios?
C.F.: I am wishing the best of the best. I want to see it grow. I want to come back in two years and see it blossoming. When I came here three years ago things were a little shaky on an administrative level. Over the years Greatmore Studios has seen so many changes as we have developed a good relationship with the Woodstock Improvement District (WID) and tried to draw the community into the work happening within the studios.

All God’s Children have traveling shoes  Maya Angelou.

To Celina Ferreira, on behalf of the artists at Greatmore Studios, we would like to honor you for the outstanding service you have made to us all over the past three years. We are wishing you the very best of success in this new season of your life.

 [Back to the top]

 

IN THE LOOP...BEYOND GREATMORE STUDIOS

#Life drawing at Orange Street Studios

Greatmore Studios’ committee member, Jill Trappler, invites keen individuals to participate in the second term of life drawing classes at the Orange Street Studios from 16 April to 29 June 2007. The classes will include live models. For more information please contact Jill Trappler on trappler@telkomsa.net or phone on 021 422 1865 or 082 55 88 11 5

#Renegotiating community arts in Cape Town

TAG has an exclusive interview with Greatmore Studio’s committee member and famed artist, Lionel Davis about plans to resurrect the Community Arts Project (CAP), Robben island, and his art practice.

 
TAG: Tell us how art making has evolved into your chosen profession?
Lionel Davis: As a child I loved drawing .Once I got to school, there was no encouragement. During my imprisonment from 1964 to 1971 at Robben Island I did not have the chance to pursue my artwork, so when I was released I took the first opportunity to educate myself artistically. I was under house arrest following my release and that left me traumatised. I still feel the effects of the trauma today. Through my art forms I began to expose the effects of my trauma. In mid 1977 out of curiosity I joined the work happening at Community Arts project and there began my formal art education. I worked as an administrator there and it was important place because I was surrounded with other artists I could interact with, and who could ask me questions that stimulated the development of my work .In the 80’s I went to Rorke’s Drift and enrolled in classes there were I learnt the intricacies of printmaking. I then returned to CAP for two years. In 1991 I enrolled at the University Of Cape Town Michaelis School Of Art. Upon obtaining my degree, I worked with CAP in collaboration with The National Gallery of South Africa teaching in areas such as Nyanga, Langa Gugulethu and Khaylitsha. The classes eventually moved to Mannenburg where I worked until 1997.I was only working on a part time capacity, and there was no security in it, so when I was offered the post of a full-time tour guide at Robben Island I was happy to accept.
TAG: There is talk that CAP is going to experience a new lease of life in the near future, can you expand on this?
L.D.: Well, The Community Art Project no longer exists, however a team of artists including Roderick Sauls, Sipho Hlati , Ayesha and myself among others,  are looking to renegotiate the existing space at St. Phillips Church and form a collaborative experience there, working with printmaking again. The name of this new gathering of minds is still under consideration. Our aim is that it will not be an exclusive network of artist but will see new talents from the community being incorporated. We have a responsibility as established artists to work to uplift the community.
TAG: As an artist, what do you see as your main areas of concern in your work?
L.D.: I will follow my artwork and see where it takes me. I have had a lot of exposure in a public arena; I also want to be exposed as an artist. My concerns are wide-about culture diversty, idenity, and politics.  I love the flowers and the bees…I so not see myself as a one dimensional artist.
TAG: You were one of the artists who were present at the inception of the Thupelo workshops in the 80’s. And your vision for Greatmore Studios in the near future?
L.D.: I want to see greater profiling of Greatmore Studios, to see its status enhanced, and for it to grow from strength to strength .I hope we can also expand our premises and invite more artists in. I would love to be a part of this initiative for as long as I possibly can.

Lionel Davis is a charismatic man with a hearty laugh. He has for a number of years lived on Robben Island, where he has been a fulltime tour guide at the Robben Island Museum. Towards the end of March, Lionel Davis will take retirement and move to Muizenburg to put greater focus on his art practice.

 [Back to the top]

 #Woodstock, arguably the new artistic hub

Long known as a cultural melting pot, Woodstock’s increased multiculturalism has ignited a new energy, and is quickly becoming the hub of the art scene in Cape Town, luring many new art galleries and artists into its sphere. Greatmore studios will like to extend a special welcome to two galleries that have recently opened in the Woodstock, that is:

What if the World Gallery (www.whatiftheworld.com) at the Old Biscuit Mill,

and the Goodman Gallery situated corner of  Sir Lowry Road and Nelson Road,  that launches its first exhibition on 22 March 2007 featuring the work of two famed artists from the Bag Factory ( a sister organization of Greatmore Studios in Fordsburg, Johannesburg) Sam Nhlengethwa and Kagiso Pat Mautloa among others.

 Although each space has a unique ethos, they each contribute something to the energy and upliftment of the arts in community. We look forward to strengthening our partnerships in the future years.

 [Back to the top]

 #X-Cape takes center stage

 TransCape, Cape 07? Although most artists have honestly been left guessing as to the clear direction of this ‘non-biennial’, one thing that does appear clear and on schedule is the existence of X- Cape. Originally positioned as a series of fringe exhibitions along side Transcape, X –Cape will now take center stage and see Cape Town blossoming with exhibitions all over the city. Be they conceptual performances or tradition exhibitions the vast, array of work on offer is sure to intrigue, provoke and challenge any viewer.

 On the March 24, 2007 The Woodstock Art Route will incorporate four venues in the following order, the Goodman Gallery, Greatmore Studios, What If the World Gallery at the Old Biscuit Mill and the Salt Project Room. Interested participants are asked to meet at the Cape offices at 10h30 or join the loop at any point from 11h00 to 14h30. For more information, please contact the X-Cape coordinator on 021 448 3064 or email xcape@capeafrica.org.

 [Back to the top]

 #Garth Erasmus exhibits new work at Look Out Hill, Khayeltisha

Committee member, Garth Erasmus exhibits a sound piece in an exhibition entitled Recenter on 24Macrh until the 15 April, 2007 at Look out Hill, Mew Way in Khayeltisha. For more details contact number: 0729911278

 [Back to the top]

 
EXPERIENCE IT
OPPORTUNITIES IN RESIDENCY, COMPETITIONS & EXHBITION OPPORTUNITIES

#Call for applications for Shatana International Artist Workshop, Jordan

 Shatana International Artist Workshop, an initiative that falls under the Triangle Arts Trust, is inviting applications for its two week residency program in the historical village of Shatana, Jordan from the 7 July until the 21 July 2007.The workshop is process oriented, and supports experimentation in all media, especially targeted at emerging to mid career artists in all fields; (painting, drawing, sculpture (or 2D and 3D work), installation, video, performance and sound). Selected artists will be provided with full lodging and food, working space, local transportation and a small material stipend. Travel expenses to Jordan may also be awarded. Interested applicants must send their personal information, name, age, nationality, contact details (address, email and telephone number) , a motivational letter (maximum 200 words), a curriculum vitae, and ten digital images accompanied by an inventory of the images including titles, dates, dimensions, media and a brief caption describing the work to shatanaworkshop@gmail.com . Deadline for submissions is 13 April 2007. For more information visit http://www.makanhouse.net/shatana .

 [Back to the top]

 #The African Biennale 2008 calls for applications

 Avant Car Guard is inviting professional contemporary African visual artists to a submit applications for a biennale to be held in 2008. For further details about application requirements, please email info@avantcarguard.com or visit www.avantcarguard.com for more information.

 [Back to the top]

#SASOL NEW Signatures art competition invites artists to submit work

Sasol New Signatures, an initiative by Sasol to promote arts in the nation, is calling artists, 18 years and older who have not yet held a solo exhibition to submit work for consideration. Workshops will be held nationally to assist artists in understanding the competition, the judging process and provide advice on conceptualisation, display and presentation of works. Attendance is free of charge and to reserve a place, bookings can be made through Nandi Hilliard on 012 346 3100.  For further details on application forms visit www.sasolsignatures.co.za . Deadline for entries is 6 June 2007.

 [Back to the top]

#NEW LANDSCAPES 2007 calls for applications

The Artrom Gallery is calling for landscape painters to submit their applications for entry into a competition entitled New Landscapes. For more information please visit www.artromgallery.com  or email infor@artromgallery.com. The winners will be featured in a special on-line exhibition which opens on April 25 2007.Deadline for entries is March 25, 2007.

 [Back to the top]

#Call for applications for the post of researcher at the Jan van Eyck Academie

The Jan van Eyck Academie is an institute for research and production in the fields of fine art, design and theory. Artists, designers and theoreticians are invited to submit research and production proposals to become a researcher at the institution. Candidates can either apply with a topic of their own or for a project formulated by the institute itself. The academic year runs from 1 January to 31 December. Research candidates can apply for a one-year or two-year research period starting annually on 1 January. It is also possible to apply to do research for a different period and with a different starting date. For more information about the application procedure please visit http://www.janvaneyck.nl/_devices/frames_applications.html. Deadline for submissions is 13 April 2007.

[Back to the top]

 
#RESOURCES

<!--[if !supportLists]-->V    Visit www.asai.co.za an excellent resource dedicated to the development of a critical discourse on the visual arts in Africa. ASAI is also committed to providing
new possibilities for artists in Africa to exhibit and sell their works.

      [Back to the top]

DIARISE IT

#On the calendar. Looking forward to the month ahead.

March-April 2007

 24 March    Greatmore Studios presents Zig Zag Wanderer the first in a series of collaborative exhibition by three visiting artists at the studios. The exhibition                       will present performances that seek to challenge notions of identity as well as interrogate complex issues of culture and the dynamics of language.                    The poignant work will also include a display of more traditional landscape paintings rendered in acrylics and pastel. The exhibition opens at 11am.
  2 April       Mentoring Month commences
14 April       Scheduled launch of an urban mural on St. James Street coordinated by Nigerian artist Polly Alakija and kindly sponsored by the British Council.                        This event will coincide with the official closing of Zig Zag Wanderer, and a small exhibition of work by artists enrolled in the mentoring month.

[Back to the top]