It was a cold and stormy Monday afternoon. Our car couldnt drive in so our boots scampered through the puddles towards the entrance, we couldn’t exactly stop and examine the building from outside. However upon finding cover and looking around i noticed the walls ahead of me and the sheer scale of everything, from the grand shopping area to the height of the ceiling. The higher a ceiling is, the fancier a place is (or is trying to be). Fact. So I guess you could say my first impression (and impression throughout) was the sheer grandeur of the building itself. It feels as if the nature of the building is the real sculpture to be shown off.
Walking into what appeared to be the Contemporary Gallery Space I wandered around looking at works, Igshaan and a lot of international artists from other parts of the world (Liza Lou etc). I was struggling a little to understand a coherent meaning. I sat down on a fancy long glass bench. I voiced my struggles to Guy. He pointed above me. Above me Norval had placed the title of the show and a very decorated text explaining the relevance of each work within the show. I actually found it rather useful, though I did not particularly connect with the concept of the show. It also gladly explained who was in charge of curating etc. I was also very happy to see someone leading a tour around. I would have joined but I felt as though Id be looked down upon by the wrinkled white raisins taking the tour and letting out the occasional “ah I see.”
I was quite perplexed by Norval, even from the day I saw the sign on the construction site. A well-funded art museum? With international works? In Tokai? Why? I was and remain confused, though I have an opinion that may be unpopular. The Norval foundation is well funded by numerous companies, trusts and individuals. Ranging from NWS (A commercial quantity surveying company) to Stonehage Fleming (A family wealth managing company). This can all be seen in the sheer affluence of the foundation. I hath ne’er sharted in a fancier toilet. I found myself unsurprised by the visitors, constituting mostly of wealthy rich elderly white women from the surrounding neighborhoods, estates and so fourth. To a certain extent i know that the building does have influence (maybe not the extent it boasts as a “lifeline for the future of art in South Africa”) but it boasts accessibility that i cannot see possible. The tours around Norval can cost up to R1000 per head and entrance is R140 (though I will commend it for the free entrance Mondys till 5). This is also matched with the location as its situated in suburban central in a fairly wealthy area. I believe Norval serves more as an accessory to itself and its surrounding area. I found myself walking through the building feeling as if the art was an excuse for the building. As if the art was the foundation and the art was the building. Its grand, but not good.
SPECTRALITY, SORCERY AND THE SPIRIT
The ‘point’ of this show, in terms of the works and how it has been curated is to call fourth and speak to a spirituality that has remained always. It speaks to an African spirituality, one that has remained, through hardships and Western influence. It calls fourth the spirit, the magic and the mysticism that never faded away.
The two works above I chose as they are both painterly works I enjoy.
Trevor Mahkoba, They were Deeply in Love, 2002 (Oil on Board).
Gladys Mgudlandlu, Suburb (with Table Mountain), 1964 (Gouache on paper)
In terms of formal aspects. These works differ greatly, in terms of medium we can see how. Trevors work is very flat, with strongly defined colour figures. Opposing this Gladys’ work is layered with very gestural brushstrokes that collide to create areas of colour and varying textures (this probaby explains why she used Gouache as it dries faster than Oil).
Trevors work seems comical, showing to skeletons on fire making love. Titled ‘They were Deeply in love.’ It could speak to how they are both incinerated but both so in love they are dedicated to sticking the act through. it could also refer to if it Heterosexual skeletons the love they feel in the act is deep. The title could also refer to the two pigeons kissing in the corner, as apposed to the two lovemaking skeletons.
Gladys’ painting depicts a scumbled neighborhood under the blanket of Table Mountain. It shows a suburb she herself could never see in person as it was made in the times of Pre-democratic South Africa.
I love Trevor’s work for the comical ambiguity of it. The style of painting doesnt tickle my fancy but the imagery and title do. I see it as successful.
I love Gladys’ work for the subject matter and formal qualities, it appeals to a manner of painting I connect with and i see it as successful. One could also argue that both works are successful as they now hang on the wall of an affluent art institution.
Downstairs in Norval is a hall filled with colourful and elaborate pieces from varying artists around the world. They all share a common theme that they speak to a aspect of making not forgotten. The works deal with ‘every little piece’ as they all refer to in these modern times how one (and these artists) create with now lesser seen mediums such as beads, fabrics and so on.
Liza Lou, Axis Defeat, 2007-8 (Beads)
This work is constructed of 1000s of small beads constructing the image of an elaborate Persian rug that degenerates as ones eyes move down the frame.
This work speaks to the lack of recognition women receive who creates elaborate and labour intensive work. These luxury items exist for the affluent and those who consume them do not look past the object itself to those who create them. As you see through the item it seems to distort hideously.
I love this work for its aesthetic and conceptual qualities. I see its depiction as extremely successful as its ability to attach concept to visual is seamless.
I associate this work as painterly as its appearance seems fluid in its visual aspect. The colours run and flow, mimicking the qualities of paint.
The show was curated curiously. It had all types of mediums and i believe that this is why separate works were spaced a fair distance apart (10m or so). You cannot stand in the room and see all the works around you, for me this took away a lot from the show. Each piece was constructed from tiny small interconnected items. I wish this show mirrored that in its curation.
I feel as though it could have contributed to the idea of the show if there were more pieces or if the pieces were close together. The varying mediums did go towards the concept but beyond that. Better could have been done.
pixelskylines
jbbartram-illu
2087
dededos
origamiaround
kianamaiart
dailybridgerton
izzy806