The Empty Chair

This installation is just one of those wow things that just make me think about how much bigger ones work can become. Made in 2003 this sculpture uses the humble wooden household chair with incredible symbolism. Salcedo wedged thousands of chairs into the space between two buildings. Taken separately each chair suggests an absent owner - like in "Van Gogh Chair" and Gauguin's Chair by Vincent Van Gogh's addressed his relationship to Paul Gauguin in a painting featuring a solitary chair. In its intirety it speack about callousl or monumental loss.

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The empty chair is a fascination I've had for sometime now. There is something visually enticing about it's unhomely-ness, here the chair lives beyond its functionality. It stands in place of someone, an "absent presents" or an "abandoned presents" if I may. There is something metaphorically beautiful and universal about the image and the idea of an empty chair. It could be the type of chair, which is also quit key in the discussion because an empty plastic chair would not evoke any relative feelings of the "absent present” as would an old wooden chair. The oldness then evokes a sense of nostalgia. Although this was never the initial interest in my chair series (below posts); I guess it was interesting how people wanted to know "whose chair was that" and I igure that I should probable go back to the idea of the chair to do some justice to my on going lust for the enigmatic four legged wonder. naf said

Henrique Oliveira is the Don!

There are a very few artist that make me want to explode and this man is one of them!!

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THUPELO WORKSHOP 2008

"LAYERS"

LAYERS

A CONVERSATION BETWEEN TWO ARTISTS AND A CURATOR ABOUT THE SAME AND NEW IDEAS OVER AND OVER AGAIN WITH AN AIM TO CREATE NEW MEANINGS

FEATURING WORK BY YVETTE DUNN AND NOTHANDO MKHIZE CURATED BY NONTOBEKO NTOMBELA

OPENING AT GOODMAN GALLERY PROJECT SPACE, ARTS ON MAIN JOHANNESBURG SATURDAY 30 OCTOBER AT 12H00 CLOSES 16 DECEMBER 2010

Layers, a new exhibition by young curator Nontobeko Ntombela, launches at the Goodman Gallery Project Space at Arts on Main in inner city Johannesburg this October. The exhibition continues the overall vision of the Project Space, which is to offer a platform for young artists who have begun to garner interest, but need an established space and institution to further expand on their output. Every year guest curators are invited to use the Project Space as an opportunity to bring new, fresh and singular work to the public’s attention. Layers follows on from Us (2009); a show of work by younger as well as established local and international artists curated by Simon Njami and Bettina Malcomess.

Layers is the first part of an ongoing research project by Ntombela based on creative strategies used by artists – women artists in particular –that aim to contextualise socio- political issues. Yvette Dunn and Nothando Mkhize are the first selected artists to participate in this series of curated exhibitions. The curatorial framework of Layers, Ntombela explains, is centred on the aesthetic and procedural artistic strategies that both Dunn and Mkhize employ. Indicated in title of the exhibition, both of the artists' concerns foreground the process of layering, coating, and depositing in ways that connect their works aesthetically. Yet both artists operate very differently in the framing of their concepts.

Dunn uses the strategy of self-insertion and autobiography as an exploration of the issue of identity in a way that becomes performative. Working with the notion of the changing definition of identity, Dunn's take on the subject no longer implies a representation of any particular group but that of an individual. In Dunn's video work, titled Painted portrait, she paints her face in an arduous attempt to colour 'herself' creating a new form of identity. "I enjoy reinterpreting racial labels through the paint palette and camera," Dunn explains. “For example I am labelled 'Coloured'; I play with this word, stripping it, [lamenting] it, celebrating it and re-inventing it until it has multiple definitions and experiences [that depart] from racial connotations."

Mkhize, on the other hand, uses self-insertions in a different way. She uses found objects to reconstruct new meaning, re-presenting traces and tensions that the urban landscape offers through ready-made collages. "My work stems from a fascination with found objects as visual texture in the urban context, specifically the city of Johannesburg," Mkhize says. "The recurring concept is the urban environment as a space of constant tensions and contested opportunities particularly in the aftermaths of apartheid. The escalating tensions between different people, histories, languages, cultural identities and commodities have become part of a post apartheid urban discourse."