Bag Factory Artists' Studios

Tel/Fax +27 11 834 9181
Email: bagfactory@acenet.co.za

News Bytes

1. Bag Factory Residents Exhibition and Walkabout

2. Thapong workshop Pat Mautloa

3. About Art Workshops

4. Tracey Rose returns from Goldsmiths

5. Joachim Schonfeldt: Documentary Stills at Art on Paper 

6. DESIREALITIES @ l’oeil en cascade, Montreuil.

7. More Bag Factory Artists Abroad

Opportunities

1. CALL FOR APPLICATIONS: Thupelo Cape Town

2. 2008 Master Artists-in-Residence Program at ACA

3. Full-time position at e-flux in New York

4. CAPE’s Curator’s Development Programme: CALL FOR APPLICATIONS:

5. Call for applications to participate in Dwayer’s International exhibition for digital arts Egypt

6. Call for facilitators for visual arts workshop

October 2007

This month we feature two guest written articles.  The first is an interview by Johan Thom with David Koloane about the German South African Symposium which Koloane attended earlier this year. The second is the musings of Koloane himself on the occasion of the launch of Triangle Network Manual in China.

Next newsletter, at the close of this year, we will feature an overview of the Bag Factory’s About Art programme, the various successful workshops that have been run and the new editions to our network who have been brought in, in this programme’s first year.

Don’t forget to check our blog for regular news and opportunity updates:

http://bagfactoryart.blogspot.com/

Rat Western

Newsletter Editor

rat@bagfactoryart.org.za

Features

1. The German South African Symposium: Interview with David Koloane by Johan Thom. 

David Koloane is arguably one of South Africa’s foremost cultural practitioners. A founding member of the Fordsburg Artists Studios (commonly known as ‘The Bag Factory’) in Johannesburg, he is an internationally renowned artist, curator and critic. Currently Koloane is involved with the German South African Symposium, a body whose main aim is the furthering of cultural cooperation and exchange between the Federal Republic of Germany and the Republic of South Africa. Recently Koloane and various representatives from the South African National Gallery, the Northern Flagship Institution, the Pretoria Art Museum, the German Foreign Office and the Bochum Museum in Germany, met in Stellenbosch in order to select two promising, young South Africans to co-curate with German counterparts, a travelling international exhibition. In brief, the city of Bochum is the cultural capital of Europe in 2010 and wish to celebrate through a series of events including a travelling German/South African art exhibition beginning at the Bochum Museum, and later moving to various venues in South Africa. Quite fortuitously this coincides with the hosting of the Soccer World cup in South Africa in 2010. After much debate it was decided that Nontombeko Ntombela and Rachel Montshiwa will represent South Africa in this venture. In what follows David Koloane answers some questions regarding the selection process, its criteria and the projects’ outcomes. 

JT: Firstly, for those of us who are not familiar with it, could you elaborate a little on the origins and the goals of the German South African Symposium?

DK: The German South African Symposium was conceived in 2005 by Dr Ralph Seippel and Bodo Schaff (the then German Cultural Attaché who has since unfortunately been deployed in Latin America). Dr Ralph Seippel is the German gallerist who initiated the Daimler Chrysler Awards and recently opened up a branch of the Seippel Gallery in Johannesburg. The connection with the Bochum Museum in Germany was inspired by the ‘New Identities’ exhibition, a major survey of South African art and culture that was hosted there in 2004 and later that same year at the Pretoria Art Museum. Broadly speaking the The German South African Symposium seeks to develop and expand upon cultural co-operation between South Africa and Germany.

JT: I think the selection of South African representatives Nontombeko Ntombela and Rachel Montshiwa quite interesting. Both individuals hail from so-called ‘marginalised’ areas in terms of the dynamics of the contemporary South African art world (Durban and Pretoria respectively). Does this reflect anything particular to the goals of the Symposium or the projects’ selection criteria?  

DK: It was for me an interesting choice as nobody on the panel had the faintest idea as to what the selection process would yield. You will also notice that the various representatives came from different geographical areas in the country and provided names from which a consensus was eventually reached. So no, it does not reflect anything particular to the project, except where it concerns our focus on finding the best possible candidates.

JT: What specific traits were the selection panel looking for in selecting possible candidates?  

DK: The criteria, which was unanimously accepted by all the delegation members, was that potential candidates had to display passion, self-initiative, hunger for curatorial experience and a fair amount of self-acquired knowledge of the contemporary art scene both locally and abroad. The candidates’ aspirations and vitality had to be sustainable, not short-lived or opportunistic. Writing skills were also essential to enable candidates to elucidate exhibition concepts and artists profiles with ease.  

JT: It is always a mammoth task to curate a travelling international exhibition. Is part of the plan to throw these young curators into the ‘deep-end’ or is the project geared towards developing skills within a professional, practical environment? If so, what support structures are in place in order to help facilitate the process?

DK: The exhibition will not be a large-scale event in the order of a biennale for example, but rather of manageable scale - maximising the possibility for curatorial exploration and growth. There will be proficient support structures in place in both Germany and South Africa. However, it is important to caution against the support structures not ultimately compromising the candidates’ potential and innovative ability at any level of the process.

Throwing candidates unto the ‘deep-end’ might work in certain instances or emergencies but its not always an appropriate method of nurturing potential. With instructive and constructive guidance from the National Gallery in Cape Town, the Bag Factory in Johannesburg with its variety of artists from different countries, the Luthuli Museum in Kwazulu Natal and finally the Pretoria Art Museum and the National Cultural History Museum in Pretoria at a local level, the candidates will not be at a loss for support.  

JT: How will the project develop from here? For example, when is the German South African Symposium due to meet again?

DK: As you mentioned earlier, the city of Bochum is the cultural capital of Europe in 2010. The launch of this exhibition will coincide with this event before travelling to South Africa. The exhibition preparations should therefore be finalized by 2009 (before which candidates will travel to all the host venues, participate in a variety of activities such as studio & museum visits and ultimately select participating artists)

The next symposium workshop will be convened in South Africa in March 2008. At this point there will be progress reports form the South African and German components as well as additional institutions that have pledged support for the project. 

JT: On a more personal note, you are often called upon to select young curators, writers and artists for inclusion in a variety of art-related projects. Apart from being a full time practicing artist, how do you view your role in the contemporary South African art world? 

DK: I feel honoured to have been bestowed with various forms of responsibility within the visual arts over the years. Looking back at my few years of teaching I would like to reiterate how dire the situation was during the FUBA era for black South African artists. So it comes naturally for me to extend a helping hand to younger, emerging artists today. I was assisted by a variety of people in the creative sphere (including Bill Ainslee, Louis Maqhubela & Fikile Magodlela), so I have to do likewise.

JT: Is there perhaps something like a ‘personal dream’ you still harbour for the South African art world?

Yes. I would like to witness the development of an institution that has an open teaching policy based on the Rijksakademie in Amsterdam but with a contemporary African emphasis in terms of subject matter and imagery. It should have a rotating panel of practicing artists who teach by example.

2. THE LAUNCH OF THE TRIANGLE NETWORK MANUAL by David Koloane

The launch of the Triangle network manual publication was a culmination of a thirty year journey which started in Johannesburg in 1985 and ended in Beijing in 2007.

It has been an enchanted journey of dreams, chance and fancy.

At one stage I found myself floating over the New Delhi skies amidst a cacophony of religious chimes and the intermingling aroma of incense and spices.

At times I woke up to the chant of drums of a socialist collective farm village in Murewa Zimbabwe or the relentless heat of a dusty Mahalapye siesta in Botswana.

In Maputo flashes of gunfire lit up the night sky notwithstanding that there was no celebration of any kind but a raging battle in the outskirts.

The journey is of course far from over but merely starting a new cycle of new destinations.

Being in Beijing experiencing and witnessing what appears to be a new order left me convinced that there was an unfolding of a new vision.

A perennial and by now predictable question directed at the project had always been:

How do the workshops operate and to whom are they accountable?

What type of artists are legible?

How is the programme funded and by whom?

To whom is it accountable?

Some of these questions come from potential funders who are used to dealing with conventional organizations with hierarchical structures and not a makeshift outfit often without a base.

The initiation of the studio/residency component has however ensured more stability to those projects which have transcended the workshop phase.

As I related the history of the Bag factory at the launch of the publication I suddenly realized the subversive role artistic practice played during the apartheid era and how by deliberately misinterpreting legislation some statutes could be by passed.

As per instance the significance or insignificance of grey areas in a colour obsessed rule of law where colour was at the very heart of government policy.

There were Black areas which were often deemed no go areas for civilized people.

White areas were the epitome of civilization resided and well Grey areas would sort themselves out with time.

Incidentally the major Grey area in the city has become the diamond of the city and is now dubbed the cultural precinct despite the fact that numerous cultural groups have also been booted out without any recourse in the process.

The Triangle network publication has been long coming in order to clear various conspiracy theories which surfaced in the eighties when the Black African artists who participated in the Thupelo workshop programme were accused of blindly emulating the American abstract expressionist school and were probably funded by the CIA and hopefully numerous other such bedtime yarns will be laid to rest.

News Bytes

 Bag Factory Residents Exhibition and Walkabout

The Bag Factory's latest Residency Artist's Exhibition featuring Ricky Burnett , Chike Chinazom and Anannias Dago opened on the 17th of September.  The artists exhibited painting, collage and photography.  Images from the show can be seen on the blog as well as the artists' pages. The exhibition was followed by an artists' walkabout on Wednesday the 19th. Both events were well attended.

Thapong workshop Pat Mautloa. http://www.artshost.org/thapong/

Pat Mautloa has returned this past week from a two week long workshop at Thapong in Botswana.  The workshop was attended by many people from all over the African continent and Diaspora including Zambia, Senegal and Mozambique.  The workshop also attracted a few European artists.

Mautloa met up with Senegalese artist Soly Cissé who was part of Africa Remix which was recently exhibited at Johannesburg Art Gallery.  He also met Richard Decon the 1987 winner of the Turner Prize.  The workshop was organised in conjunction with the Gabarone Arts Festival and each night an artist led discussion interrogated the varying and similar challenges effecting contemporary artistic practice in their regions of origin.

About Art Workshops

The About Art programme is currently planning a provincial workshop that will see 12 artists from outside the major city centres of South Africa in residence at the Bag Factory for the period of two weeks.

Other successful workshops that will wrap up the first year of the About Art programme include the last in a series of workshops in print-making by Stompie Selebi and a Business in Art workshop by Jill Waterman.

A full overview of the About Art programme’s first year will included in the next newsletter.

Tracey Rose returns from Goldsmiths

Resident artist Tracey Rose has recently returned to the Bag Factory after a year away at Goldsmiths Department of Art, at the University of London where she was completing her MA in Fine Art. http://www.gold.ac.uk/visual-arts/exhibitions/mfa2007/pages/tr/01.html

Athi Patra Ruga who was renting her studio in her absence has left for an extended tour in Europe.  More on his adventures there can be read on his Iqons http://www.iqons.com/athi-patra and MySpace www.myspace.com/athipatra pages. 

Joachim Schonfeldt: Documentary Stills at Art on Paper 

Joachim Schonfeldt recently exhibition of paintings on wooden panels, entitled Documentary Stills opened on the 8 September 2007.  The show was exhibited at the Art on Paper Gallery in Milpark (Johannesburg).  Images from the show can be viewed at Art on Paper's website: http://www.artonpaper.co.za/

Exhibition closed 29 September 2007.

DESIREALITIES @ l’oeil en cascade, Montreuil.

DESIREALITIES, an exhibition which focuses on the construction or reconstruction of realities and experiences in the work of a select group of South African artists opened in France at the end of last month.

The exhibition features Bag Factory artists Sam Nhlengethwa, Tracey Rose and Andrew Tshabangu.

Other featured artists include: Roger Ballen, Lien Botha, Moshekwa Langa, Thando Mama, Zwelethu Mhtethwa, Penny Siopis and Lolo Veleko.

Exhibition closes 4 Nov

For more info please email:

oeilencascade@gmail.com 

More Bag Factory Artists Abroad

Andrew Tshabangu has been particularliy busy in the last month.  He is exhibiting not only at DESIREALITIES in Montreuil but also at Un/Fair Trade: The Art of Justice in Austria along side fellow South African Ismail Farouk (http://www.neuegalerie.at/07/trade/cover_e.html), HEREFORD Photography Festival in London where he will also speak at a conference with Stan Engelbrecht, Pieter Hugo and John Fleetwood from the Market Photo Workshop. (http://www.photofest.org/2007/index.htm), as well Reality Check: Contemporary Art Photography from South Africa in  Bochum, Germany where his fellow exhibitors include Bridget Baker, Lien Botha, Jean Brundrit, David Goldblatt, Pieter Hugo, Santu Mofokeng, Zanele Muholi, Jo Ractliffe, Mikhael Subotzky, Guy Tillim and Lolo Veleko. www.bochum.de/museum

Tshabangu returns at the end of October to conduct a photographic workshop with visiting London based photographer Joy Gregory.

Tracey Rose is also exhibiting both at DESIREALITIES in Montreuil as well as APARTHEID: The South African Mirror which opened at the Centre de Cultura Contemporània de Barcelona at the end of last month and runs until January 2008

http://www.cccb.org 

Opportunities: 

CALL FOR APPLICATIONS: Thupelo Cape Town

Thupelo Cape Town would like to INVITE YOU TO APPLY FOR THE NEXT INTERNATIONAL WORKSHOP to BE HELD in Cape Town from Saturday the 1st of December 2007 with an open day exhibition of work in progress on Saturday the 15th of December.

Venue: Cape Town

Workshop Dates: 1 December 2007 - 15 December 2007

Deadline for applications: 17 October 2007

2008 Master Artists-in-Residence Program at ACA

ATLANTIC CENTER FOR THE ARTS
2008 MASTER ARTISTS-IN-RESIDENCE PROGRAM
http://www.atlanticcenterforthearts.org

Residency #127
FEBRUARY 18 - MARCH 19 (Application Deadline: October 19, 2007)
Rachel Harrison, visual artist
Augusta Read Thomas, composer
Chase Twichell, poet

Residency #128
APRIL 14 - MAY 4 (Application Deadline: January 18, 2008)
Mark Dion, visual artist
David Lang, composer
Susan Marshall, choreographer

Residency #129
MAY 19 - JUNE 8 (Application Deadline: February 8, 2008)
Tony Hoagland, poet
George Lewis, composer
Rob Pruitt, visual artist

Residency #130
AUGUST 4 – 24 (Application Deadline: March 14, 2008)
DIGITAL ARTS RESIDENCY
Carsten Nicolai, digital media artist
John F. Simon, digital media artist
Camille Utterback, interactive installation artist

Residency #131
OCTOBER 13 - NOVEMBER 2 (Application Deadline: May 23, 2008)
WRITERS' RESIDENCY
Jo Ann Beard, author/memoirist
Eamon Grennan, poet
Jayne Anne Phillips, novelist

For more information on how to apply, please telephone (386) 427-6975 or (800) 393-6975 (domestic US only) or visit http://www.atlanticcenterforthearts.org or email us at program@atlanticcenterforthearts.org

* All applications must be postmarked by the application deadline date.

* Atlantic Center for the Arts is pleased to announce, through the generous support of the Joan Mitchell Foundation, all painters and sculptors accepted into the Master Artists-in-Residence programs who demonstrate need will be recommended to receive full financial aid to attend the residency program. Artists from other disciplines may apply to ACA's Financial Aid program.

Full-time position at e-flux in New York

e-flux is looking to hire a smart, self-motivated individual to join their team in New York City. The job entails running the office's day to day operations, as well as maintaining and developing its online ventures. Our ideal candidate must have strong communication skills, a background in arts administration and arts writing/editing, fluency in English, and a high degree of experience/knowledge of international art institutions. This position is utterly essential to the success of every aspect of e-flux's projects and programs, and they would love to find someone who can grow with the organization, and someone with whom the organization will grow.

Preliminary interviews will be conducted in the coming week. Please send your resume and cover letter to liz@e-flux.com to be considered, with a note about your availability for interviews. We are looking for someone available to begin working in mid-November. Salary commensurate with experience.

CAPE’s Curator’s Development Programme: CALL FOR APPLICATIONS:

Applications for CAPE’s Curator’s Development Programme are now open.

The Programme commences on 15 January 2008 and runs for a period of 18 months, culminating in the CAPE 09 exhibition (May-June 2009). Applicants are requested to be available throughout this period.

The closing date for applications is 9 November 2007.

APPLICATION REQUIREMENTS:

- An updated and detailed CV
- A letter expressing why you should be considered for this programme
- Not more than 500 words on your outlook of contemporary African artistic production
- Proof of South African residency and/or citizenship
- Details of 3 contactable referees (with their letters of reference)
Please Note: any supporting documentation should be marked as such

Applications can be emailed to Gabi Ngcobo (Head of Research) at
gabi@capeafrica.org or addressed to
Curators Development Programme
Cape Africa Platform
PO Box 15806
Vlaeberg 8018

For more info email gabi@capeafrica.org or call 082 743 2306 (office hours)
No applications will be accepted after the closing date.
Successful applicants will be notified in December 2007.

Call for young visual artists to participate in Robben Island Museum workshop

Robben Island Museum is hosting a 5 day workshop for young, up-and-coming artists from disadvantaged communities at Guga S'Thebe.

Applicants are invited to submit:
- A one page motivational letter, outlining your own project ideas for the next year
- CV
- Portfolio with photographs of at least 10 artworks (painting, sculpture, drawing, print work)

Application deadline: October 18, 2007

Submit to:
Exhibitions Unit Manager
Lekgetho James Makola
Nelson Mandela Gateway to Robben Island
PO Box 51806
V & A Waterfront
8002

Email: jamesm@robben-island.org.za
Tel: 083 647 9773
www.robben-island.org.za 

Call for applications to participate in Dwayer’s International exhibition for digital arts Egypt

Hosted by the Dwayer Group for arts and Dialogue of Cultures in collaboration with Atelier of Alexandria Assembly of Artists and Writers, this international exhibition which will take place from 20march to 31March 2008 invites all artists from all countries around the world to participate in this festival aimed at converging a high caliber of work from artists working in a digital medium. Interested artists are asked to submit printed copies of their executed works by the digital printing techniques accompanied by an updated CV and a complete application form obtainable on www.dwayer.org to both digitalarts@dwayer.org and info@atelieralex.com .

The deadline for applications is 30 November 2007.

Call for facilitators for visual arts workshop

The Robben Island Museum is starting the bilateral visual arts project 'ABAZOBI' with a Norwegian partner organisation, focusing on the following art forms: painting, drawing, print work and sculpture. The project is targeted specifically at young, upcoming artists from the disadvantaged communities in and around Cape Town.

They are seeking two experienced South African artists to facilitate a five day selection workshop and participate in the short-listing and selection of candidates.

Responsibilities:
October 22, 2007: Short-listing of applications: 10 young artists will be selected, based on portfolios and letters of motivation. The facilitators will take part in the short-listing together with representatives from the Robben Island Museum and VANSA.

November 5 to 9, 2007: Facilitation of selection workshop: the workshop is an opportunity for 10 participants to workshop their individual projects. The facilitators will provide guidance and know-how about the South African art scene and art as a business in its own right.

November 10, 2007: Final adjudication: based on the selection workshop, two artists will be selected to travel to Norway. The facilitators will take part in the final adjudication together with representatives from the Robben Island Museum and VANSA.

Requirements:
Several years of experience in the art field in South Africa
Experience in conducting art workshops
Insight into the dynamics of art as a business and how to sustain yourself professionally as an artist
Proven experience in writing project proposals

Remuneration:
ZAR 12 000 gross per person

If you are interested, please get in touch with Pernille Stallemo before October 15, 2007:
Email: pernilles@robben-island.org.za
Tel: 078 389 3010

Our Regional Partners’ Website Addresses

Thapong – Botswana
www.artshost.org/thapong

Kuona Trust - Kenya
www.artshost.org/kuonatrust

Tulipamwe Workshop - Namibia
www.artshost.org/tulipamwe

Aftershave Workshop - Nigeria
www.aftershaveworkshop.org

Bag Factory - South Africa (JHB)
www.bagfactoryart.org.za

Greatmore Studios -South Africa (CT)
www.greatmoreart.org

Rafiki Art Trust - Tanzania
www.artshost.org/rafiki

Ngoma Workshop- Uganda
www.artshost.org/ngoma

Insaka Workshop - Zambia
www.artshost.org/insaka

Rockston Studios - Zambia
www.rockstonart.org

Surprise Art Centre - Zimbabwe
www.surpriseartcentre.org

Batapata Workshop - Zimbabwe
www.artshost.org/batapata

Wasla Workshop - Egypt
www.artshost.org/wasla

pArtage Workshop - Mauritius
www.artshost.org/partage

Sansa Workshop - Ghana
www.artshost.org/sansa

Funding provided by:

The Ford Foundation, The Royal Netherlands Embassy, The W.K. Kellogg Foundation, The National Lottery Development Trust Fund, The National Arts Council, The Arts and Culture Trust of the President and Robert Loder.