…………………………………………………………………………………..………………………………….. BY BILLY SUTER
ABSTRACT paintings primarily concerned with colour, scale, texture and form are at the heart of Trajectory, a new exhibition by Jennifer Morrison that opens in the main and mezzanine sections at Durban’s KZNSA Gallery in Brand Road, Glenwood, on Tuesday, June 13,
Running until July 2, the exhibition by the UK-based artist shows that although she has lived in London for more than two decades, the colours of South Africa have never left her – and remain a central influence in her work.
Morrision is interested in weighing accident against deliberation, precision and control against playfulness and abandon. Whether it is a plant or clouds, or smudges on a wall, these can all serve as inspiration for her, and act as a starting point for a painting.
The large works of the exhibition explore the medium of oil paint and seek to rely on the intuition of the artist in the making of the works and on the person who views them, says a gallery spokesman.
The experience of making the works is based on unconscious filters, values, past experience and knowledge, the spokesman adds.
“The paintings raise the issue of the viewer’s expectation of paintings, the need of some to see it perform as a narrative space within which the image and meaning can unfold. Finding meaning is not a primary concern for the artist. The visual impact and experience is paramount. Her paintings are devoid of content or narrative which precludes any single meaning or view,” the spokesman explains.
Morrison wants the viewing of her paintings to be a rich experiential encounter. For the artist, painting is about exploring the invented object in front of her. The formal qualities of abstract painting are significant not in themselves but as part of a work’s expressive message.
“Morrison is interested in the literalness of painting, of comprehending a work in a literal and experiential sense. She sees it as a kind of honesty. It is also about having faith in not knowing, in being confounded, in doubt.
“Abstract art accepts the permanent uncertainties and pluralities that come with its territory. With painting, as with other things, you’re always losing possibilities by the choices you make. Morrison feels this to be a very exciting thing.”
BILLY SUTER reports that abstract paintings primarily concerned with colour, scale, texture and form are at the heart of “Trajectory”, a new Durban exhibition by Jennifer Morrison. … More Morrison’s colourful trajectory
BY BILLY SUTER
TWO new exhibitions open in Durban on Tuesday, May 23, and run until June 11, at the KZNSA Gallery at 166 Bulwer Road, Glenwood – one of them, in the main gallery, celebrating ceramic works.
Title Elevating the Functional, this exhibition by members of the Ceramic Association of South Africa (CSA), established some 50 years or so ago, celebrates the beauty of things made by hand.
The KZNSA’s other exhibition, in the Mezzanine Gallery, is titled Our Africa Dreams and features solo work by Derrick Nxumalo, a self-trained artist with an adventurous and determined approach to his technique and subject matter.
Elevating the Functional focuses on clay as an expressive material. From the belly of a bowl to the gestural marks of an abstract sculptural piece, there is something of interest for those who wish to surround themselves with beauty. The material transforms from a lump of dirt into a myriad forms.
“This exhibition celebrates the beauty of the handmade over the machine-made and brings artistic merit to functional items. Work on show – mugs, plates, bowls and platters – become a blend of fine art and functionality,” says a gallery spokesman.
Collectors looking to source the work of well-established ceramic artists will find pieces by Lindsay Scott, Astrid Dahl, Trayci Tompkins, Corrie Hook, Jo-Anne Kuter, Phumlani Nyawo, Frank Nythunya, Carla du Cruz, Carol Hayward Fell, Garth Hoets, Louise Jennings, Lynette Morris-Hale and many other artists.
Work on show includes beautiful utilitarian objects and sculptural art pieces.
“Lisa Ringwood, based in Cape Town, is this year’s invited artist and her work brings another dimension to the exhibition,” adds the spokesman.
“Lisa works from her studio in Kommetjie, where she uses hand building, pinching and slab moulding as building techniques, and graffito, coloured slips, oxides and under-glaze colours to decorate her work.
“She draws inspiration from daily life and nature, painting local birds, fynbos, trees and blossoms. Each piece speaks of an unhurried observation and care, and can trace its organic connection back to the earth from which it was made.
“She achieves this without subscribing to symmetry or commercial uniformity, giving each piece a unique personality. There is an essence of domestic nostalgia captured in her work – a sense of daily life spilling over into her craft – art and life merging into each other, being inspired by one another, along with the joy of creating something functional.”
Nxumalo, in his Our Africa Dreams exhibition, shows he has developed a unique style, using his imagination and experience.. and has come up with work of intricate and intriguing quality.
Hus work is based on acute observation, often omitting the physical human presence. It is nevertheless a testimony to an extensive human existence and interaction with the environment.
The omission of the human presence often presents a surreal effect, with fine architectural details deployed with an absorbing understanding of perspective and colour in its purest form.
KZNSA Gallery hours are 9am to 5pm Tuesdays to Fridays, 9am to 4pm on Saturdays, and 10am to 4pm on Sundays and public holidays. It is closed on Mondays. The phone number is 031 277 1705.
BILLY SUTER reports on ceramics and paintings pulling the focus in two new exhibitions opening on Tuesday, May 23, at Durban’s KZNSA Gallery in Bulwer Road, Glenwood. … More Elevating the functional…
…………………………………………………………………………………….…………………….. BY BILLY SUTER
TWO-DIMENSIONAL art works commenting on the way today’s digital new-media condition superimposes itself onto the technologies of previous generations pull the focus in a two-part exhibition running until May 25 at artSpace Durban, 3 Millar Road, off Umgeni Road, Durban.
It is themed I Believe – We Become and falls under the umbrella title Notion, featuring works by Nicholas Crooks.
It shares the exhibition space with works by Miranda Crooks who, under the title Nature, presents art works focusing in plant forms.
Says Nicholas: “Communication has changed, due to the introduction of digital ripples through society. We need to be reminded that those of us from the ’60s, and before, grew up without television sets, calculators, computers, cellphones, laptops, World Wide Web, Twitter, e-mails, Facebook, WhatsApp and the rest of new-media technology.
“This chasm between analogue and digital remains a challenge, where the ideals and structures of the past are being challenged and replaced by a fuzzy logic of living and of life. Where engaging in the process is more important than finding ‘the answer’.”
In his latest works, Nicholas says, he has grappled with an understanding of the digital generation from his “shadow baby-boomer perspective”.
“I would see the perpetuation of posting ‘selfies’ as egocentric, self-obsessed and narcissistic, but from explanations gained in conversation with millennials, showing or sharing is sociocentric, consensus-seeking, egalitarian and humanitarian. Millennials see themselves ‘of service to one another’.”
“New technologies change society, and adjusting to the introduction of new technologies is what the (humankind) techoanthropological does.
“New media superimpose themselves on technologies of the past. The Stone Age replaced the Iron Age, for instance.
“What is different, however, is that new technologies are now being introduced so rapidly that they are inter-generational. The actions of a generation are the reflection of the technology of the day.
“With rapidly changing technologies, all people from older technological pasts are having to accept and embrace new technologies during their lifetime.
“It’s a bit like having to trade in something that still sort of works for a so-called better model. It’s not that the old does not wor,k it is the adjustment to the new that enables contact between generations.
“The old idea of the self needs to change to the new media for a synthesis to emerge. Although the digital has arrived and some of its affects are reality, we are living in a transitional phase. Until a new technology arrives to replace the digital we will not have a clear perspective of it.”
Discussing her contribution, Nature, Miranda Crooks says that much like a cat gets excited by a flutter of wings, she is thrilled by an intrinsic, primal hunter-gatherer desire to visually immerse herself in plant forms.
“The lines and shapes of plants are both exciting and captivating and I can only think that, like the smell of soil, this visual engagement produces endorphins that make us happy,” she explains.
Her work is part of a series of double-exposure botanicals.
Next up at artSpace Durban will be Signs of Usage, a solo exhibition by Terence King. This runs from June 10 to 29.
BILLY SUTER reports on a varied new Durban art exhibition, “Notion and Nature”, featuring varied works. It runs until May 25 at artSpace Durban, Miller Road, off Umgeni Road … More Notion, Nature and Crooks
……………………………………………………………………………………………………………………………………… BY BILLY SUTER
ART that both appeals to the eye and provides much food for thought is at the heart of a new exhibition, Beauty and its Beasts, that runs from Friday (March 31) until May 28 at the Durban Art Gallery in the City Hall.
The display has been designed to stimulate contemplation about women, and raise questions about the way we create, perpetuate or allow gender stereotypes, explains publicist Illa Thompson.
The collections of the Durban Art Gallery have been excavated to unearth works that speak directly to the evolution of the female stereotype – and works on show examine how the stereotype was created and how artists have either perpetuated the phenomenon or subverted it.
The works on view were selected primarily from the collections of the Durban Art Gallery and, where gaps were identified, works have been borrowed from other collections.
“The viewer will be guided by the wall text identifying themes, and it is here the voices of the collaborators bring resonance and add strata to the selections,” says Thompson.
Works borrowed from other art collections include Mary Sibande’s Cry Havoc and Zanele Muholi’s Condoms & Feet – contemporary pieces that sit provocatively alongside Hubert von Herkomer’s Queen Victoria.
“What’s in a stereotype? It’s a label to enhance or reduce an ego, and rarely one’s own choice. Some stereotypes are flattering but more often they are used to insult or belittle,”says the Durban Art Gallery’s Jenny Stretton, curator of the exhibition.
“Stereotype is a notionbased on prejudice rather than fact, which by repetition and with time, becomes fixed in people’s minds.
“The famous art collective ‘Guerilla Girls’ describes a stereotype as: ‘a box, usually too small that a girl gets jammed into, and an archetype as a pedestal usually too high that a girl gets lifted onto’.
“Stereotypes are born in utero. From the time a child is born it is gender-coded through clothing and the colours assigned to the objects around it.
“As a girl grows she will encounter stereotypes at every stage of her life. Stereotypes are born in popular culture and have a strong connection to language and graphic design.
“The media, TV, Facebook, magazines, internet, music and newspapers are the most influential practitioners of stereotyping and wield enormous power over this projection.”
The exhibition is curated by Stretton in collaboration with Jessica Bothma, Carol Brown, Nindya Bucktowar, Zinhle Khumalo, Sinethemba Ngubane, Osmosisliza, Fran Saunders and Swany.
Works have been loaned from Campbell Collections, University of KwaZulu-Natal; Everard Read Circa Cape Town; GalleryMomo, Cape Town; Tatham Art Gallery, Pietermaritzburg; and the Uinsa Permanent Collection, Pretoria.
Durban art Gallery hours are from 8.30am to 4pm Mondays to Saturdays, and from 11am to 4pm on Sundays.
School groups are most welcome to use this exhibition as a visual tool for debate around issues of gender, prejudice and stereotypes– special educational guided walkabouts can be arranged on request.
For further details contact Stretton at 031 311 2264 or 031 332 7286.
BILLY SUTER reports on an interesting new Durban art exhibition designed to stimulate contemplation about women, and raise questions about gender stereotypes. … More Spotlight on the female stereotype
………………………………………………………………………………………………………………. BY BILLY SUTER
SOMETHING different and quite intriguing has been lined up for viewing at Durban’s KZNSA Gallery, overlooking Bulwer Park in Glenwood, from March 21.
It is Five Degrees of Realism, an exhibition that has five artists showing art that reflects on the work of one or more of the other exhibiting artists.
Running until April 9, the exhibition features artists who are a part of an ongoing peer-mentoring and discussion group.
The artists’ work is related, in the first instance, by the orthodoxy and immediacy of communicating via marks on a canvas, says a gallery spokesman.
Interaction between a painting’s nominal appearance and its experience by the participating viewer is, further, a key concern linking the painters’ work. The works, although founded chiefly on observation, depart to differing degrees from the specifics of the source so as to amplify the interpretive options of the subject.
A guiding motivation in assembling this exhibition is that new connections might be made, evident through the juxtaposition of the works. To this end, each of the artists intends exhibiting a work which reflects on the work of one or more of the other exhibiting artists.
Among those exhibiting is Louise Hall, for whom, according to a press release, “the process and medium of drawing is central, where gestural quality is achieved though calligraphic linear and overlaid mark-making”.
The human figure and anthropomorphic forms are abiding in Louise’s genre. In her process of drawing from observation, memory and imagination, and in exploring ideas of transition, adaption and impermanence, these images have evolved towards a more abstract and ambiguous treatment.
These forms are at once solid and fluid; static and pulsating; and allude to both physical and metaphysical states of being, says the press release.
Vibrant gestural quality is apparent in all her art work, spanning painting, drawing and print making.
In 2013, as one of the first candidates in South Africa, Louise completed a practice-led PhD at the Centre for Visual Art (CVA), University of KwaZulu-Natal (UKZN), where she currently works.
Terence King, who is also exhibiting, obtained an MAFA from the University of the Witwatersrand. His work attempts to locate those features of the physical world which, while founded on direct study, refer more generally to the way in which any given section of the environment reflects its histories of alteration, possession and intervention.
How places are given meaning and how this meaning might be governed by our own experience of place, is a part of the larger subject matter.
Individual paintings will tend to draw on a combination of detailed, identifiable elements and loosely layered and excavated passages of paint to convey both the unruliness of the environment and its containment through the geometry of occupation.
Through layered and excavated paint, Terry uses familiar moments in the built and natural environments to reflect on the associative histories of places, says the press release.
He is formerly professor in Art History and Fine Art at the University of KwaZulu-Natal. Prior to this, he taught at the Universities of the Witwatersrand and South Africa, and the then-Natal Technikon.
Also showing work is Heather Gourlay-Conyngham, whose paintings have always depicted people.
Currently, she is concentrating on stripping the figure and its context to their bare essentials. This simplification extends to her use of subdued colours, with white predominating, which suggests a reduced palette.
She uses these devices not only to conjure the illusion of apparently white objects and people, but also to probe the allegorical roles they assume, says the press release.
It is her desire to instil in her paintings an innate energy in an understated manner.
After acquiring a BAFA. from the University of Natal in 1978 and an HED from the University of South Africa in 1980, she combined art teaching and painting before becoming a full-time painter in 2012.
In addition to having three solo exhibitions since then, Heather won the first Sanlam Portrait Award in 2013.
Confrontation, transgression and humour are the central dialogue in the work of another exhibitor, Terri Broll, who holds both a Master’s Degree in Fine Art and a Master’s Degree in Clinical Psychology.
These two trajectories closely inform the process of her art-making as well as the final images of her work which may be seen as varying degrees of abstracted figuration.
The press release explains that Terri’s work attempts to simulate in the relationship between the artwork and the viewer, the work of the unconscious which characterises the therapeutic relationship.
Her preferred medium is oil and wax, the latter giving the work an ambiguous texture. The final image of each work is the product of a process where the initial subject is continually lost and found in the intuitive connection between artist and canvas.
Another who is represented on the exhibition, Ian Calder, recently retired from the Centre for Visual Art at the University of KwaZulu-Natal in Pietermaritzburg, where, as associate professor, he taught ceramics, drawing and art history since 1982.
These academic disciplines inform the conceptual strands of his creative productions, both in image-making and object-making, in which his principal themes of personal memory, iconic local motifs, environmental- and topographical-features of KwaZulu-Natal are closely interwoven.
His recent watercolour paintings and drawings express the tensions he feels between palpable natural objects or vistas and their envisioned symbolic meanings as designated markers of fragile memories and remembered personal histories, says the oppress release.
The KZNSA Gallery, which also features a gift shop and small restaurant/coffee shop, is closed on Mondays, but open from 9am to 5pm every Tuesday to Friday.
It is open from 9am to 4pm on Saturdays. On Sundays and public holidays the gallery hours are 10am to 3pm.
BILLY SUTER reports on something different and quite intriguing being lined up for viewing at Durban’s KZNSA Gallery, overlooking Bulwer Park in Glenwood, from March 21. … More Five degrees of realism….
……………………………………………………………………………………………….…………………….. BY BILLY SUTER
AS A young boy, artist Jannie van Heerden would often join his father to visit the former home of Olive Schreiner, the author of the classic novel, The Story of an African Farm.
Jannie grew up in Cradock in the Eastern Cape, where Schreiner lived as a teenager, alongside her elder brother and sister, and where she later worked as a tutor on the farms Gannahoek and Klein Gannahoek.
In 1921 she was buried on the mountain Buffelskop, just outside Cradock.
Jannie recalls that he often visited the Schreiner House, then derelict, and that he and his dad once ascended Buffelskop to look at Schreiner’s grave.
The legend remained with him and he channelled those memories in 2013 with an exhibition at Durban’s KZNSA Gallery in Glenwood, which he has now revisited.
In the past few years, Van Heerden admits, he felt he had not done Schreiner justice, so he now presents Olive Schreiner Revisited, a solo exhibition to be seen at the KZNSA Gallery until March 30.
The gallery points out that Olive Schreiner was born at the Wittenberg mission station in 1855. Her first encounter with Cradock was in 1867 when, as a teenager, she lived with her elder brother and sister in Cross Street (now part of the National English Literary Museum).
She returned later to serve as a tutor on farms in the district,where the landscape and its people left a deep impression upon her, and influenced her famous novel, originally published under the pseudonym Ralph Iron, as women were not allowed to publish at that time.
Her other best-known works are Thoughts On South Africa and Women And Labour, long considered as a bible of the women’s movement.
Schreiner was deeply involved in politics and was a fighter for all the oppressed peoples of South Africa. She was totally opposed to Rhodes and British imperialism.
In 1894, she married Cron, eight years her junior, and they settled on the farm Krantzplaats, in the Cradock district.
She insisted that he took her name and he was known as Cronwright Schreiner. During this time they ascended the mountain Buffelskop, with its breathtaking view across the valley. Olive decided that this was where she wanted to be buried and acquired the plot.
Olive was excessively asthmatic, soon had to leave the damp riverbeds of Krantzplatts and spent a lifetime searching for a suitable climate for her health – first Hanover, then Kimberley, Johannesburg and eventually Matjiesfontein.
Her firstborn child lived for only nine hours and after that she had three miscarriages.
Olive and Cron eventually drifted apart and she left for Europe and England in 1914. She already knew many influential people there- including Havelock Ellis and Eleanor Marx, both of whom influenced her outlook on life.
Olive returned to Cape Town in 1920. She died in 1921 and was buried in the family crypt. According to her wishes Cron had her body exhumed and buried in 1921 on Buffelskop.
The re-internment on Buffelskop was a very dramatic event. Eight carriers spent two days carrying her coffin, plus those of her dead child and her dog, Nita, up the hill.
The undertaker built a dome-shaped sarcophagus on the pinnacle to take the coffins, and, according to Olive’s wishes, no religious ceremony was allowed.
As Cron finished his eulogy, an eagle soared across the sky, to paraphrase the The Story Of An African Farm: “the dark-plumed bird uttered its deep low cry: Immortality”.
BILLY SUTER reports on a Durban exhibition that revisits works which artist Jannie van Heerden created in memory of Olive Schreiner, author of ‘The Story of an African Farm”. … More Jannie and memories of Schreiner
……………………………………………………………………………………………………………………… BY BILLY SUTER
IZOLDA van der Merwe is an artist inspired by everyday objects, situations and people. Growing up in rural South Africa, she was mesmerised by the beauty of the ordinary and still is today.
The things we take for granted, a view as you drive, a person walking down the street. There is a sincerity in her day-to-day life that is portrayed in her paintings, a whimsical movement captured through colour and pattern.
That’s the word from Karen Bradtke of Durban’s Artspace Durban gallery, located in a warehouse at 3 Millar Road, off Umgeni Road, where works by Van der Merwe are being showcased until March 2 in an exhibition titled I See in Colour
Working in mixed-media, Izolda’s art has been pushing the limits of different application processes. This has opened up a world of possibilities in executing technique/creating art, pushing those boundaries in growing her style of art, explains Bradtke.
I See In Colour, she continues, looks at Izolda’s world and the influence nature has on her life. Being an avid gardener and collector of aloes and succulents, the geometric patterns and symmetry of the plant structures has fascinated her.
There is a sense of order in their construction, which resonates with finding order in everyday life.
Great influences in her work are Hung Liu, a Chinese-born American contemporary artist, and US painter Michael Carso. Their use of pattern and movement has added to the freedom of expanding her technique and breathing life into the canvas.
Being aware of a “traditional” landscape or portrait style of painting has allowed her to transform that visualisation/surrealism of her mind into a visible reality for the viewer.
The gallery phone number is 031 312 0793. Gallery hours are from 10am to 4pm every Monday to Friday, and 10am to 1pm on Saturdays. The gallery is closed on Sundays and public holidays.
There is said to be a sincerity in her day-to-day life that is portrayed in Izolda van der Merwe’s paintings, a whimsical movement captured through colour and pattern. BILLY SUTER reports … More Finding beauty in the ordinary
BY BILLY SUTER
A TOTAL of 109 varied art works in multiple mediums – including painting, ceramics, metal work, drawing, photography and woodcarving – were entered for this year’s KZNSA Members’ Exhibition, on view until February 5 at Durban’s KZNSA Gallery, 166 Bulwer Road, Glenwood.
The KwaZulu-Natal Society of Art’s members’ exhibition has launched the year’s annual calendar for more than 40 years and is testament to the energy and talent members bring to the organisation.
Each KZNSA member was permitted to submit one piece and all submissions were eligible for the Joan Emmanuel Family Trophy and a share of the R20 000 prize money.
Four prizes are awarded: first, second and third places as selected by a panel of independent judges, plus the KZNSA Special Commendation, awarded by the KZNSA Exhibition Sub-Committee.
The 2017 judges were Ndabo Langa, Greg Jacobson and Raksha Gobardan.
The theme this year was Character, and members from teens to 80-year-olds responded to the challenge.
The trophy and prizes are donated by the Emmanuel Family in honour of the late artist, Joan Emmanuel.
First prize and the Joan Emanuel floating trophy went to Sharon Bischoff for a pencil and media piece titled Faka Imaski Ekusweni. he second prize was awarded to Sarah Kieswetter for her mixed-media work with found objects, titled The New Old. hird prize went to Sthenjwa Luthuli for a supawood cut block, titled Physical Expression.
The KZNSA Commendation (as judged by KZNSA exhibition committee) was awarded to Dennis Woest for an oil on canvas, a work titled Reminiscing (Self Portrait).
The gallery is closed on Mondays but open from 9am to 5pm every Tuesday to Friday, and from 9am to 4pm on Saturdays. On Sundays and public holidays it is open from 10am to 3pm. For any further information phone 031 277 1705.
A total of 109 art works in multiple mediums were entered for this year’s KZNSA Members’ Exhibition, on view until February 5 at Durban’s KZNSA Gallery. BILLY SUTER reports … More Mixed bag of works with character
………………………………………………………………………………………………………………………. BY BILLY SUTER
FOLLOWING months of refurbishment, the Durban Art Gallery (DAG) reopened to the public on December 11, with a new exhibition throughout all gallery spaces.
Running until February 19, it is titled Beyond Binaries, and is a curated exhibition featuring work by 26 artists, explains publicist Illa Thompson.
“The exhibition aims to spark discussion on the current climate of polarisation and intolerance, and the increasing trend towards fixed, essentialised identities.
“Beyond Binaries features works with video, photography, paintings, drawings, sculpture, ceramics, wire and mixed media works on show.
“South African born artists are complemented by their peers born in African countries as well as artists born in India, China and Germany. The exhibition has been curated by Qala!, a fledgling curatorial collective comprising Mario Pissarra, Robin Moodley and Russel Hlongwane, three Durban-born cultural workers.”
Several exhibits address critical questions concerning race, gender, national identity and heritage, says Thompson. The relationship of people to the natural environment provides another sub-theme that is prominently featured. Several exhibits bring binaries into vivid focus, whilst others attempt to transcend these to create or suggest hybrid, fluid or emerging notions of identity.
“KwaZulu-Natal province is well represented by a healthy mix of acclaimed and emerging talents: Cedric Nunn (photography), Sfiso ka Mkame, Mthobisi Maphumulo, Mhlonishwa Chiliza, Eugene Hlophe (drawings), Paul Sibisi and Nicole Pletts (paintings), Thembi Nala and Sbonelo Tau Luthuli (pottery), Hlengiwe Dube (wirework), and Kristin NG-Yang (photography and mixed media).
“Bulawayo and Libreville, sister cities to Durban, are represented by Nonhlanhla Mathe (painting) and Nathalie Anguezomo Mba Bikoro (video). The exhibition also features Namibian photographer Julia Hango as well as work by African nationals living in South Africa, namely Lizette Chirrime (Mozambique), Robert Machiri (Zimbabwe), and Zemba Luzamba (DRC).”
Also exhibiting are Ayesha Price, Donovan Ward, Garth Erasmus, Jeannette Unite, Jill Joubert, Manfred Zylla, Meghna Singh, Nomusa Makhubu and Thania Petersen
The artists were selected following a process where 54 artists identified by a curatorial panel were invited to propose works on the theme of the exhibition.
Beyond Binaries was originally commissioned by the City of eThekwini for the recent Essence Festival Durban, where it was exhibited at the International Convention Centre under the banner of ARTiculate Africa.
DAG is open seven days a week: Monday to Saturday from 8.30am until 3.45pm, and Sundays from 11am until 3.45pm. Entry is free and all are welcome! For more info, contact the Gallery on 031 311 2264 / 9 or Jabu.Mngwengwe@durban.gov.za (weekdays). DAG is on the second floor of the magnificent Durban City Hall building; enter opposite the Playhouse in the heart of the city of Durban.
A Durban exhibition offers works with video, photography, paintings, drawings, sculpture, ceramics, wire and mixed media. BILLY SUTER reports … More 26 artists for Beyond Binaries