chroma

27 NOVEMBER 2014 – 17 JANUARY 2015

The blood of sensibility is blue.

I consecrate myself

To find its most perfect expression.

— Derek Jarman

Chroma takes its title from a book of musings on colour by filmmaker Derek

Jarman. Written just before his death in 1994, when his vision was failing, the book

draws from art history, philosophy, science, medicine and literature, alongside

Jarman’s acute observations of his own life, to reflect the extraordinary multiplicity

of ways in which colour is experienced and comprehended by the human eye and

mind. The exhibition sets out to explore colour from diverse perspectives, and

various quotations cited here are extracted from his text.*

Learning that colour is a fiction of light is one of the

primary shocks of growing up.

— Tacita Dean, ‘The Magic Hour’

Science declares colour to be an expression of vibration and wavelength:

what we see is determined by the spectrum of light that an object absorbs or

reflects, as perceived by the human mind and eye. Colour as we experience it

is a phenomenon of perception, as colour itself does not have a physical and

tangible materiality. This seeming paradox ensures that colour is grist for the

philosopher’s mill, prompting metaphysical questions about the nature of both

physical reality and the construct of mind. Yet, because colour can only be

perceived through the prism of mind, it is simultaneously, and inextricably,

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poetic and psychological; rarely do we speak about colour without invoking

the realms of emotion and of meaning.

Red. Prime colour. Red of my childhood. Blue and green were

always there in the sky and woodland unnoticed. Red first shouted

at me from a bed of pelargoniums in the courtyard of Villa Zuassa.

I was four. This red had no boundary, was not contained. These red

flowers stretched to the horizon.

— Derek Jarman

The symbolism and metaphorical significance of colour has been contemplated

since the dawn of artistic expression; however, in Western art history colour only

become a subject in itself early in the 20th century. Malevich’s Black Square,

painted a century ago, in 1915, is perhaps the most radical manifestation of a shift

that allowed more conceptual and abstract notions, including those of colour, to

become part of the subjectivity of art. The scientific approach to the aesthetics of

colour was arguably most carefully articulated in the work of Josef Albers, whose

series of paintings of chromatic interactions started in 1949 and who published his

theoretical treatise, The Interaction of Colour, in 1963, arguing that the perception

of colour is governed by an internal and deceptive logic.

If one says ‘red’ (the name of a colour) and there are fifty people

listening it can be expected there will be fifty reds in their minds,

and one can be sure that all these reds will be different.

— Josef Albers

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At the time of these aesthetic debates about colour and subject in the 1950s

and 60s, South Africa was dominated by apartheid, which limited conceptual

considerations of colour as subject: racial classification brought the focus to issues

of black and white, literary and figuratively. It is interesting that in the 1990s the

analogy of the rainbow, with its spectrum of colours, has been widely used to heal

the fractures in this society, and in recent years the shifts that have taken place

have allowed more spacious considerations of the experience of colour in art. This

exhibition presents both works that see colour as their primary leitmotif and others

that, often with new strategies, reflect on the politics of colour in recent years.

The exhibition opens with works whose imagery exists at the edges of our

perceptions of colour, exemplified by a watercolour of swirling dark blues by

Moshekwa Langa inscribed ‘During the hours of darkness’. In three large-scale oil

paintings of night scenes by Deborah Poynton, darkness almost enfolds the viewer,

who must strain to see colour and subject. By contrast, Bruno Boudjelal’s Paysage

du Depart photographs were made using lengthy exposures to light to create

eerie white landscapes that almost disappear, invoking Ludwig Wittgenstein’s

rhetorical question in his Remarks on Colour: ‘Isn’t white that which does away

with darkness?’ These images were taken in Algeria, where the Harragas – those

who ‘burn their immigration papers’ – depart for European shores; the series

started by mistake with over-exposures ‘on a winter day full of white light’, giving

Boudjelal the inspiration to create images that evoke the longing and sadness of

these uncertain journeys. In Pieter Hugo’s infra-red photographic portraits, taken

from beyond the spectrum of human perception, anonymous sleepers remind us

that surveillance has its own aesthetic of desaturated grays and grainy muteness.

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As Jarman observed: ‘Red adapts the eye for the dark. Infra-red.’

In an installation of videos by Samson Kambalu, sepia is the hue of time passed.

In the performances selected for this exhibition, his short and usually singular

actions also play with our perceptions and the construct we understand as colour.

His installation is seen alongside groups of small Polaroids by Kemang Wa Lehulere

where grainy images of the artist and elements of his installations constellate as

blurred and liminal figments of associations and memory.

The luminosity of blues and whites is experienced through the work of Nicholas

Hlobo, Edson Chagas and Wim Botha, recalling Cézanne’s observation that ‘Blue

gives other colours their vibration’. The tonality of white is usually overlooked by

the eye, even though all whites are not the same: whiteness may be innocent or

it may have a cooled intensity. The delicate stitch-work of Hlobo’s white ribbon

drawings on white paper is discernable only in relief as the forms strain towards

dissolution. In Chagas’ photographic series Found Not Taken whiteness sits close

to lightness, and thus to sky with its blue stain. The grey and blue fields on which

discarded objects sit speak of the life of objects, and how they are consumed by

space. In a large installation of Botha’s blue and white watercolours and paintings,

his blue hues make white appear even more luminous, especially in relation to the

shimmering white of a marble bust that anchors the constellation. In Daniel Naudé’s

new photographs of Australian bowerbird sites of courtship, he records how the

male birds collect and sort myriad mostly blue and white objects by colour into

spectacular, formally acute displays as part of their courtship, a reminder of the

primacy of colour in the survival of life on earth.

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Central to the exhibition is Jarman’s Blue (1993). This is the final film made by the

artist before his death from AIDS-related complications, when his vision became

shadowed by a blue veil. In this work Jarman uses an unwavering, dense blue colour

field as a vibrant backdrop against which to meditate on his life and imminent

death. In his words:

Blue protects white from innocence

Blue drags black with it

Blue is darkness made visible

Dineo Seshee Bopape’s entrance wall painting and her slide show recalling the

television test pattern introduce the range of the colour spectrum, which is

explored fully in the large back gallery. Meschac Gaba’s sculpture Vernissage,

from his Colours of Cotonou series, offers viewers the opportunity to have their

nails painted in bright hues selected from bottles of nail varnish. Also in this

space is a new sculpture from Zander Blom’s Modern Painting series comprising

artifacts from his studio; here hundreds of empty paint tubes are aestheticized

and abstracted in a deep, square cardboard box. In new paintings, Blom, for whom

colour is fundamental to his marks and spatial planes on the raw canvas that he

characteristically uses, continues on his trajectory of reimagining the history of

modernism since the black square of Malevich. Recent images by Viviane Sassen

of reflected and refracted planes of coloured glass photographed in the Namibian

desert recall the acute abstraction of the Russian Supremacists, perplexing the

mind and eye with their intense abstraction of sky and sand and angular coloured

planes. The seriality of colour is to be seen in Moshekwa Langa’s triptych I Am So

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Sorry in which pulsating expanses of red, green and blue lend subtly yet sharply

differing tones to the words of the title. The large canvases of Nigerian-born

Odili Donald Odita with their shard-like forms are acute, angular meditations on

the interplay of colours and the associative and emotive responses their subtle

interactions evoke in us.

In a different idiom, the Ghanaian painter Atta Kwami plays with the colour and

forms that are distinctive of Ghanaian architecture and African strip-woven

textiles, especially those of the Ewe and Asante. He creates grids of colour

that are rhythmic structures vibrating with the tones of jazz and the timbre of

Ghanaian music (Koo Nimo) in their plays of improvisation, reinterpretation and

variation. The work of the little-known Mozambique painter Estevão Mucavele

is a meditation on colour and process. He paints the patterns that make up

his landscapes, and then repeatedly scraps away and overpaints the different

elements with varying colours to build up a luminous surface. In the words of

renowned poet and painter Malangatana, he paints ‘with no compromises – he

neither respects nor is aware of habitual norms. Academicisms have no place in

his life [...] he makes art of that which meets his eye, with no other concern

than to recount what he sees.’

In the final galleries the focus is on works that continue to activate debates

around the politics of representation and the political significance of colour.

Perhaps the most iconic images from South Africa’s years of transition and

debates around identity are Berni Searle’s Colour Me series in which she

covered her face with spices, and this series is to be seen along new works by

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Mawande Ka Zenzile whose paintings incorporate natural pigment and earth as he

literally seeks to ground contested imagery around colonialism and hegemonies

of power. In two photomontages by Jane Alexander, produced after 10 years

of democracy, two sculpted ‘Harbingers’ cross two locations in Cape Town,

one depicted through a reflection on a passing car window, each with an arc of

rainbow. As with all her photomontage, the image is intended to elaborate on the

role of the original sculpted figure, with references made through the elements

included in the images read together as a form of commentary on the time.

Penny Siopis’ memorable Pinky Pinky series from around 2002 used stories of a

mythical ghost-like creature to create images of disembodied beings; their parts

are all separate in each painting, in varying hues of pink, flesh and red. These

paintings convey the formlessness of this strange being through the inclusion

of just an eye, lashes, lips or a mouth, in fields of singular colours. Nandipha

Mntambo’s recent paintings continue her fascination with the representations

of hump-like forms, and in these paintings, the rich impasto black surfaces are

often heightened by the inclusion of strands of cow-hair tails. Her reduced palette

is accentuated with occasional shards of light and colour coming through the

undulating abstract forms which resonate with rich associations of man,

nature and landscape.

In the abstractions of Serge Alain Nitegeka black has a density and weight always

in opposition to the sharp inflation of white, and his ‘black subject’ appears

within a body that is both formal and political. The works of Walid Raad explore

the psychological impact of the conflicts that have ravaged Lebanon over

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All quotes are from Derek Jarman’s Chroma: A Book of Colour (The Overlook Press, Woodstock, New York, 1995), with the exception of Tacita Dean, published in Colour – Documents of Contemporary Art, edited by David Batchelor (Whitechapel, London, and MIT Press, Cambridge, Massachusetts, 2007)

four decades; in Appendix XVII: Plates 22-257 colour itself is counted amongst

the victims of warfare; brutalized into submission, the essence of some colours

diminishes, while others die off. In Simon Gush’s Red, the artist considers the strike

actions and debates at the Mercedes Benz plant in East London, South Africa, in

1990 when the workers manufactured a red car as a gift for Nelson Mandela. Gush

presents four wall-mounted Mercedes doors, painted in different reds, along with

a black-and-white documentary of the events. The various shades of red prompt

us to ask ‘which red is the truest?’ Memory and mythology grind down action and

context, and colour is central to the re-telling of the tale.

Vermilion is a red with a feeling of sharpness, like glowing steel

which can be cooled by water. Vermilion is quenched by blue, for it

can support no mixture with a cold colour. The glow of red is within

itself. For this reason it is a colour more beloved than yellow.

— Wassily Kandinsky, ‘Concerning the Spiritual in Art’

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MOSHEKWA LANGA

‘during the hours of darkness’2000Mixed media on paper100 x 140cm

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DEBORAH POYNTON

Scene with a Dog2014Oil on canvas230 x 150cm

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Scene with a Rainbow2014Oil on canvas230 x 150cmDetail overleaf

Scene with Falling Leaves2014Oil on canvas230 x 150cm

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BRUNO BOUDJELAL

Paysage du Depart 1, 2, 3, 4, 5, 7, 8, 11, 122012-13Archival ink on cotton rag paper 60 x 90cm eachEditions of 4

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PIETER HUGO

The Journey2014Archival pigment ink on Baryta Fibre paper3 panels, 176 x 138cm eachEdition of 3 + 2AP

I am 40 000 feet above the Atlantic ocean – mid-air, between Johannesburg and Atlanta. It is a 16-hour flight.

I cannot sleep. It seems as if everybody else in economy class is in some deep, troubled somnambulist state. Most have masks over their eyes and are shielded from any luminous intrusion.

I go for a walk to stretch my legs. Nine hours of flying left. I have almost reached the halfway mark of my journey. Will the second half go faster? Unlikely.

I am bored. I take my pocket camera with me. There is an infrared function on the camera. I make a few portraits of some of the sleeping passengers. Because the camera is photographing the infrared spectrum, no flash is needed. The subjects don’t know I am photographing them.

I go back to my seat and review the pictures. They remind me of the images that came from Iraq during the US invasion. They remind me of what soldiers see through their night vision goggles. It occurs to me that the pictures of the first invasion of the Iraq War changed the way we see the world. Previously I associated infrared photography with wildlife pictures, leopards caught feeding at night. Now I associate them with conflict. I start pondering the strange relationship photography has with surveillance and the military industrial complex.

What time is it? Is it South African time? Is it US time? On the aerial map on my in-flight entertainment system there seems to be no land beneath us. No islands. No human presence. Who governs this space between where a journey begins and ends, this limbo between departing and arriving?

I think of Walker Evans’ subway portraits and it occurs to me that the world is a very different place now to when he made those pictures. Our notion of public and private has drastically shifted. I wonder if anyone accused him of voyeurism in 1938. I wonder how the people I photograph will feel about these pictures. In this age we demand that celebrity be placed within the public gaze but have a conflicting ethos for our own representations.

I once read that a Londoner was caught on CCTV an average of 300 times a day. We are constantly being photographed without being aware of it.

If these image serve as a warning that we are almost always under surveillance, being watched, I feel they have a reason to exist, to be seen and debated, even though they may make the sitters – and myself – uncomfortable.

I look at my watch. Only eight hours and 17 minutes left till Atlanta.

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SAMSON KAMBALU

Amistad2014Digital video, colourDuration 57 secEdition of 1 + 1AP

Cowboy Asleep2014Digital video, colourDuration 33 secEdition of 1 + 1AP

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Dancer in the Woods2014Digital video, colourDuration 34 secEdition of 1 + 1AP

Dinosaurs are Birds2014Digital video, colourDuration 39 secEdition of 1 + 1AP

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Installation view with Cowboy Asleep, Dinosaurs are Birds, Amistad, The Blues Came Along, Runner

KEMANG WA LEHULERE

The World of Nat Nakasa (Sketch 1)2013Set of 5 Polaroid photographs10.7 x 8.9cm each

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WIM BOTHA

Private Violence of Equilibrium2014Installation including:Untitled (Nebula 5 with Bywoner)2014Carrara marble70 x 40 x 30cm

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Private Violence of Equilibrium2014Installation with:

A Thousand Things Part 1912014Painted wood83 x 82 x 90cm

Untitled (Nebula 5 with Bywoner)2014Carrara marble70 x 40 x 30cm

Cloud Studies2014Oil on linenVarious dimensions

NICHOLAS HLOBO

Isinikezelo2014Ribbon on Fabriano paper150 x 246cmDetail overleaf

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Ndinik’isandla2014Ribbon on Fabriano paper66 x 101cm

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Thabatheka2014Ribbon on Fabriano paper101 x 66cm

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EDSON CHAGAS

Found Not Taken, London2013C-print80 x 120cmEdition of 3 + 2AP

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Found Not Taken, Luanda2013C-print80 x 120cmEdition of 3 + 2AP

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Found Not Taken, London2014C-print80 x 120cmEdition of 3 + 2AP

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ESTEVÃO MUCAVELE

Untitled2014Oil on canvas79 x 87cm

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DANIEL NAUDÉ

Satin Bower 4. Queen Mary Falls, Queensland, Australia, 2014

All archival pigment ink prints75 x 100cm Editions of 4 + 2AP

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Great Bower 2. Mareeba, Queensland, Australia, 2014

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Satin Bower 1. Bunya Mountains, Queensland, Australia, 2014

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Satin Bower 2. Lamington National Park, Queensland, Australia, 2014

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Great Bower 1. Yungaburra, Queensland, Australia, 2014

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DEREK JARMAN

Blue199335mm (tape) HD fileDuration 79 minCourtesy of Basilisk Communication Ltd

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WALID RAAD

Scratching on things I could disavow: A History of Modern and Contemporary Arab Art, Part 1, Section 271: Appendix XVIII Plates 063-257, 2012Set B of 3l platesArchival inkjet prints, framed54.3 x 42cm eachEdition of 7 + 2AP

Courtesy of the artist and Galerie Sfeir-Semler, Hamburg

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SIMON GUSH

Red (Mandela car)2014Mercedes 500SE car doorsInstallation dimensions variable

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Red2014HD video, stereo soundDuration 1 hour 21 min 49 secIn collaboration with James Cairns

Edition of 3 + 1AP

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DINEO SESHEE BOPAPE

video still: the distressing part is being caught up in the voice of the heroine2013Wall paintingDimensions variable

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“callibration//1.the fable; 2. the fatal image, 3. we hold these truths to be true (g.o.)”2014Slide projection, 15 slidesInstallation view

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MESCHAC GABA

Vernissage2009/2014Wood, nail varnish, nail accessories, found objectsInstallation view

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ZANDER BLOM

Modern Painting 8 (Paint Tubes)2014Mixed media85 x 116 x 126cm

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1.690 Untitled2014Oil on linen198 x 164cm

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VIVIANE SASSEN

Red Vlei2014C-print150 x 150cmEdition of 5 + 2AP

With the support of Matthijs de Wilde and Nederlands Fotomuseum

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OppositeYellow Vlei2014C-print150 x 140cmEdition of 5 + 2AP

From left to rightAxiom G03Axiom G02Axiom GB02All 2014, C-prints45 x 30cmEditions of 5 + 2AP

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From left to rightAxiom MAxiom B01Axiom BB01All 2014, C-prints45 x 30cmEditions of 5 + 2AP

OppositeGreen Vlei2014C-print150 x 140cmEdition of 5 + 2AP

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From left to rightAxiom GB01Axiom G01Axiom R02Axiom R01Axiom RB01All 2014, C-prints45 x 30cmEditions of 5 + 2AP

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MOSHEKWA LANGA

‘I am so sorry’2001TriptychMixed media on paper100 x 140cm each

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ATTA KWAMI

Roxana2013Acrylic on linen78.9 x 58.4cm

Beacon2014Acrylic on linen122 x 122cmCourtesy of Nicolas Krupp Contemporary Art, Basel

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ODILI DONALD ODITA

Tomorrow World2013Oil on canvas228.5 x 279.5cmDetail overleaf

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Accelerator2014Oil on canvas127 x 152.5cm

PENNY SIOPIS

Pinky Pinky: Mask2003-4Oil and found objects on canvas51 x 61cm

Overleaf, from left to right:

Pinky Pinky: Jewel2004Oil and found objects on canvas13 x 18cm

Pinky Pinky: Pale2004Oil and found objects on canvas61 x 45.5cm

Pinky Pinky: Red Eye2005Oil and found objects on canvas50 x 61cm

Pinky Pinky: Lips2003Oil and found objects on canvas20 x 25cm

Pinky Pinky: Nose2005Oil and found objects on canvas22.5 x 30.5cm

Pinky Pinky: Tongue2005Oil and found objects on canvas40.5 x 50.5cm

Pinky Pinky: Lash2003Oil and found objects on canvas20 x 25cm

Pinky Pinky: Blinky2002Oil and found objects on canvas50.5 x 40.5cm

Pinky Pinky: Pimple2002Oil and found objects on canvas18 x 13cm

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BERNI SEARLE

Colour Me series1998Handprinted colour photographsSet of 4, 42 x 50cm each

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MAWANDE KA ZENZILE

The Mythology of the Rape2014Cow dung, earth, buttons and oil on canvas151 x 180cm

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Untitled2014DiptychCow dung, earth and oil on canvas90 x 90cm each

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Amehlo akaphakelani2014Cow dung and oil on canvas60 x 60cm

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Homage to the MagicianPerformance, 27 November 2014Sound (I Put a Spell on You by Screamin’ Jay Hawkins)

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JANE ALEXANDER

Dig it All yummy, 2004Archival pigment ink on cotton rag paper45 x 40cmEdition of 15

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Harbinger with rainbow, 2004Archival pigment ink on cotton rag paper45 x 54.5cmEdition of 15

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NANDIPHA MNTAMBO

Enfold-me I 2014Oil and cow hair on canvas200 x 174.5cm

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SERGE ALAIN NITEGEKA

Tunnel IX: Studio Study I2014Paint on wood123 x 244 x 8cm

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ARTIST BIOGRAPHIES

JANE ALEXANDER (born 1959 in

Johannesburg; lives in Cape Town)

participated in the 10th Gwangju

Biennale, Burning Down the House,

in 2014. She is included in the

travelling exhibition The Divine

Comedy (Museum für Moderne Kunst,

Frankfurt, and SCAD Museum of Art,

Savannah, Georgia).

ZANDER BLOM (born 1982 in

Pretoria; lives in Cape Town) was the

winner of the third Jean-François Prat

Prize for contemporary art, Paris,

in 2014.

DINEO SESHEE BOPAPE (born 1981

in Polokwane; lives in Johannesburg)

was included in Ruffnek Constructivists

at the Institute of Contemporary

Art, University of Pennsylvania,

Philadelphia, and The Lightning Speed

of the Present at Boston University

College of Fine Arts, Boston, in 2014.

WIM BOTHA (born 1974 in Pretoria;

lives in Cape Town) had solo

exhibitions at the National Arts

Festival, Grahamstown, in 2014, and

at Kunstraum Innsbruck, Austria, in

2013. He is included in the travelling

exhibition The Divine Comedy, and

showed on Imaginary Fact, the South

African Pavilion at the 55th Venice

Biennale in 2013.

BRUNO BOUDJELAL was born 1961

in Montreuil; lives near Paris. His series

Les Paysages du Départ was included

on Artists Engaged? Maybe at the

Calouste Gulbenkian Foundation,

Lisbon, in 2014.

EDSON CHAGAS (born 1977 in

Luanda; lives there) exhibited his

series Found Not Taken at the Angolan

Pavilion at the 55th Venice Biennale in

2013, winning the Golden Lion for Best

National Participation.

MESCHAC GABA was born

1961 in Cotonou; lives there and

in Rotterdam. His Museum of

Contemporary African Art was

acquired by and exhibited at Tate

Modern, London, in 2013; seven

rooms of the Museum were shown

at the Deutsche Bank KunstHalle,

Berlin, in 2014.

SIMON GUSH was born 1981

in Pietermaritzburg; lives in

Johannesburg. His Red (Mandela car)

showed as part of his solo exhibition

at the Goethe-Institut, Johannesburg,

in 2014. He has a solo show at Galerie

Jette Rudolph in January 2015.

NICHOLAS HLOBO (born 1975 in

Cape Town; lives in Johannesburg)

has work on view at the Centre

Pompidou, Paris, as part of A History

(Art, Architecture and Design from

the 80s to Now) and on Tate Modern’s

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Energy and Process, a thematic view

of works from the collection. He is

included in the travelling exhibition

The Divine Comedy.

PIETER HUGO was born 1976 in

Johannesburg; lives in Cape Town.

His Kin series is on view at Fundació

Foto Colectania in Barcelona (until 10

December), and travels to Fondation

Henri Cartier-Bresson, Paris, in

January 2015. His survey exhibition,

This Must Be the Place, is currently

at Centro Atlántico De Arte Moderno,

Las Palmas. He is included on

Prospect.3: Notes for Now (P.3), the

New Orleans Biennial (2014).

DEREK JARMAN was born 1942

in Middlesex, England, and died in

1994. Blue, his 12th and final feature

film, won awards for Best New

British Feature at the Edinburgh Film

Festival (1993) and an honourable

mention at the Stockholm Film

Festival (1994) for ‘an inspiration

that takes matters of life and death

beyond film form’.

SAMSON KAMBALU (born 1975 in

Malawi; lives in London) is currently

completing a PhD in Fine Art, looking

at the general economy in Meschac

Gaba’s Museum of Contemporary

African Art, at Chelsea College of Art,

London. In 2014 his work was included

on the Dakar Biennale.

MAWANDE KA ZENZILE (born 1986

in Lady Frere; lives in Cape Town)

was the recipient of the 11th Tollman

Award for the Visual Arts in 2014, and

an artist-in-residence at Nafasi Art

Space in Dar es Salaam, Tanzania,

in June/July.

ATTA KWAMI (born 1956 in Accra;

lives in Kumasi and Loughborough)

exhibited commissioned works at the

Liverpool World Museum in 2014, and

is the author of Kumasi Realism 1951-

2007: An African Modernism (2013).

MOSHEKWA LANGA (born 1975 in

Bakenberg; lives in Amsterdam) had

solo exhibitions at the ifa (Institut für

Auslandsbeziehungen) galleries in

Stuttgart and Berlin in 2014, and at the

Krannert Art Museum , University of

Illinois, in 2013.

NANDIPHA MNTAMBO (born 1982

in Swaziland; lives in Johannesburg)

has work on the travelling

exhibition The Divine Comedy and

on Performance Now, curated by

RoseLee Goldberg, at Queensland

University of Technology Art Gallery,

Brisbane, Australia.

ESTEVÃO MUCAVELE (born 1941

in Manjacaze; lives in Maputo) had

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his first exhibition in Cape Town in

1969. He returned to Mozambique

in 1976 after the country achieved

independence. A survey exhibition

took place at the country’s National

Art Museum in 1990.

DANIEL NAUDÉ (born 1984 in Cape

Town; lives there) presented his

series Sightings of the Sacred: Cattle

in India, Uganda and Madagascar

at Stevenson, Cape Town, in 2014.

He was included on Apartheid and

After at Huis Marseille Museum for

Photography (2014).

SERGE ALAIN NITEGEKA

(born 1983 in Burundi; lives in

Johannesburg) has his first New York

solo exhibition, Morphings in BLACK,

at Marianne Boesky East (until 21

December), following his third solo at

Stevenson, Johannesburg, Into the

BLACK (2014).

ODILI DONALD ODITA (born

1966 in Enugu, Nigeria; lives

in Philadelphia) is included on

Represent: 200 Years of African

American Art at Philadelphia

Museum of Art, opening January

2015. His work appears in the recent

Phaidon publications Defining

Contemporary Art: 25 Years in 200

Pivotal Artworks and Vitamin P2.

DEBORAH POYNTON was born

1970 in Durban; lives in Cape Town.

A survey of 25 years of her painting,

titled Model for a World, showed

at The New Church Museum, Cape

Town, in 2014. A monograph on

her paintings was published by

Stevenson in 2013.

WALID RAAD (born 1967 in

Chbanieh, Lebanon; lives in New York)

had solo shows at Carré d’Art, Musée

d’art contemporain, Nîmes, France;

and the University of Contemporary

Art, Amherst, USA, in 2014. His

Scratching on Things I Could Disavow:

A History of Art in the Arab World

showed at Sfeir-Semler Gallery,

Beirut, in 2012/3 and T-B A21,

Vienna, in 2011.

VIVIANE SASSEN was born 1972 in

Amsterdam; lives there. Her exhibition

In and Out of Fashion, which debuted

at Huis Marseille in 2012, travels to

Fotomuseum Winterthur in December

2014. She was included on The

Encyclopedic Palace, 55th Venice

Biennale, in 2013.

BERNI SEARLE (born 1964 in Cape

Town; lives there) was the recipient of

a Rockefeller Creative Arts Fellowship

in 2014. She was included on Public

Intimacy: Art and Social Life in South

Africa at the Yerba Buena Center for

the Arts, San Francisco (2014).

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PENNY SIOPIS was born 1953 in

Vryburg; lives in Cape Town. Her

retrospective exhibition, Time and

Again, opens at the Iziko South

African National Gallery in Cape

Town on 17 December. The survey is

accompanied by a major monograph

edited by Gerrit Olivier and published

by Wits University Press.

KEMANG WA LEHULERE (born

1984 in Cape Town; lives there) is

the Standard Bank Young Artist for

Visual Art 2015, with a solo exhibition

opening at the National Arts Festival

in July 2015. Wa Lehulere won the

first International Tiberius Art Award

Dresden in 2014.

CAPE TOWNBuchanan Building160 Sir Lowry RoadWoodstock 7925PO Box 616Green Point 8051T +27 (0)21 462 1500F +27 (0)21 462 1501

JOHANNESBURG62 Juta StreetBraamfontein 2001Postnet Suite 281Private Bag x9Melville 2109T +27 (0)11 403 1055/1908F +27 (0)86 275 1918

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e-catalogue 2Version 10 December 2014

© 2014 for works: the artists

Front cover Walid Raad, Scratching on things I could disavow: A History of Modern and Contemporary Arab Art_Part I_Chapter 1_Section 271: Appendix XVIII_Plate 224_A History of an Invitation II, 2012 (detail), archival inkjet print, 54 x 42cm

Opposite Walid Raad, Scratching on things I could disavow: A History of Modern and Contemporary Arab Art_Part I_Chapter 1_Section 271: Appendix XVIII_Plate 223_A History of an Invitation I, 2012 (detail), archival inkjet print, 54 x 42cm

Design Gabrielle GuyInstallation photography Mario Todeschini

chroma

Documents

perception of colour

interaction of colour

aesthetics of colour

prime colour

western art history

human mind

red flowers

construct of mind