Saturday, November 25, 2006

look who i found, At LOLAS

lolas is a spot that many frequent, even Carol, Storm And Giovanni
oh, if u in da streets of cape town get a copy of the BIG issue( its only 12 RANDS), there is a spread of us on da island...

The force of images The power of words

im a visual creature and this is what i captured for the first week, it was really
awesome to interact with some of the headz that make art history.

Thursday, November 23, 2006

DAY 4: curating the pink sausages

Curating Empowerment and Access: New Audiences and Market

Eddie Chambers, an accomplished curator and academic, was not ‘made in Britain’ [or so he claims], his early curatorial career however found it fertile soil for exhibitions that debated the state of blackness, and that mostly from a British perspective.
The piece of Eddie Chambers' curatorial work that stands out from his early career was the first exhibition he curated at the age of 19, 'Black an' done' which focused on bold, strong, urban, rough work about the difficulties of being 'Black British' in the late seventies. He pointed out that at the time this was an abrupt shift in direction for art practice in Britain.

'No More Little White Lies' curated by Chambers in Cardiff Wales was an exhibition held in solidarity with the anti-apartheid movement in South Africa. A poignant work by Keith Piper called ‘As Certain as Sunrise’ captured the spirit of the eventual triumph of the resistance to apartheid in South Africa and featured the reworking of a Peter Magubane image of the Soweto riots in 1976.

Eddie Chambers started his career in a state of black consciousness that made him want to shout it off the rooftops, declaring a state of blackness that needed to be confronted, problematised and most importantly contested. The exhibitions, artist and work showcased reflected this standpoint.

An incredibly powerful work, ‘Soweto Guernica’, done by one of Chambers’ frequent artists that he has worked with. It is a painting that draws on the equivalence of the Spanish civil war with Apartheid.

Another artist that Chambers has worked with more than once is Sonja Boyce. Here, a movement can be sensed from an attack on ‘blackness’ to a direct challenge to that state of being British.

When he works with artists he strives for a normality that can take place in regular places, have regular coverage and be attended by regular folk. This normality has been consistently withheld from the artists with whom he works.
Eddie prefers working independently as a curator, maintaining that when one works alone one can bring something new to the table and question the mainstream obsession with sameness.

Quote of the hour: “I don’t know if I’ve spelled this out … if I haven’t I’ll spell it out…” Eddie Chambers
Another Quote of the hour: “ordinary artist having ordinary normal exhibitions in art galleries” Eddie Chambers

Monna Mokoena (tall, black & not so silent):
Monna, one of the first black owners of an Art Gallery in South Africa. Owner of MOMO Gallery. Previously worked at the Everard Read gallery.

A quote he offered us, "The addition of successive parts to a frame at a certain point produces a bicycle." G.W.F Hegel (1770-1831)

Mokoena's presentation dealt with the arts, the artist, corporate funding and the public.
He shared with us his experiences and challenges with starting his gallery such as the architectural design needed to create a gallery space that it is accessible to people.

Mokoena works on corporate and public art projects within the city together with artists such as the new Johannesburg Stock Exchange, Cell C, & Sunday Times Heritage project. He highlighted the challenges of implementing projects in the public ie. dealing with city procedures, public safety & social responsibility. He suggests that one should arm oneself with these important procedures when dealing in with public spaces before embarking on projects such as these.

Nonto Ntombela:
Ntombela is the Curator of the Durban University of Technology Gallery in Durban.
She discussed two projects that she was involved in namely, the Edinburgh Art Festival in Scotland and the Trevor Makhoba Memorial Exhibition/Competition.
She discussed the challenges experienced and questioned how we can overcome them as curators. Mainly issues of copyright and finding structures to work within.
She raised the issue of building new audiences and the different strategies that can be implemented.

Thivynnaidoo Perumal Naiken:
Naiken is an artist, teacher, arts curator and the director of the National Gallery in Mauritius.

According to Naiken curating is about helping fellow artists and there is "no set of rules"
His talk was about the issue of taking art out of gallery buildings into public spaces.
He discussed the Open Air contemporary art Exhibition on the beaches of Mauritius. This project involved working with local artists in Mauritius. Artworks were displayed as they would be in the normal museum or art gallery set-up. This also touched on the issue of building new audiences by taking art to the public.
The Exhibition attracted Mauritians as well as tourists and most importantly this involved using the city as a canvas.

Naiken's motivation is inspired by the need to demystify the meaning of art to members of the public.

Christopher du Preez
Du Preez is the curator of the Red Location Museum in Port Elizabeth.
His presentation started with how he curated his first exhibition based on years of research connected to the South End Museum.
His presentation explored the difficulties surrounding the Red Location Museum. He highlighted the relationship between the architecture vs the contents/artifacts and the users requirements of the building and the importance in considering this combination appropiately. This is a very important factor in how museums communicate with the public in the message they are trying to convey about the history of our country. "Content is displaced in favour of architecture."

General standpoint [abridged to the point of touch and go] Panel discussion of today’s participants:

Monna: has a positive take on a viable growing market for art in Africa. Suggests a strategy to capture an audience that becomes brand loyal. Monna’s take on the gallery space is that it should provide a psychological openness, a reprieve from the paranoia of Jozi crime and security, rather a comfort and openness that makes engaging the public more possible. Joseph: clearly there is money

Tivy: there are different markets for different things. It’s less about ‘new’ audiences but making the work, space and environment more open to people, outdoors and open on Saturdays and Sundays.

Nonto: representivity in galleries needs to engage new audiences, and new marketing strategies, such as television to engage them. Nonto suggest marrying audiences that would be open to the suggestion of visiting a gallery space for example introducing art spaces to those who support poetry events.

Christopher: I don’t want people to get the wrong idea…once the space is there you can make it work.

Eddie said he wishes only people interested in art would visit art galleries…the tourists should be sent to Trafalgar square to feed the pigeons. Eddie reckons that attempts to develop additional audiences are important but cannot be done in isolation. Audiences cannot be brought to an unchanged system: “graft a live limb into a dead body” Britain has a culture of indulging people who have a sense of entitlement, and of promoting a sense of ‘normalcy’ that is white, homogenous and singular. Quote of the hour: ‘we often don’t want to own up to the fact that visual art is a highly elitist thing, and that perhaps trying to engage the mass market audience isn’t a really viable thing’ - Storm van Rensburg

Project presentations by emergent curators:

Cindy Poole:
Poole is interested in extending traditional ideas of curatorship. Propose the concept of curator as collaborator. VOORTREKKER 4 is the collective with which she willl be working. The project she proposed is the "jou ma se koeksister" examining the history of the koeksister on Voortreker Road, the differences in the koeksister as a narrative of the diverse cultural heritage of the road.

Ernett Nkwana:
Nkwana's presentation dealt with his experience in the FNB Craft Now Curator Learnship program. This equipped him with the skills to implement a successful exhibition project from beginning to end. His exhibition idea is called "Young Rhino's" and deals with issues of xenophobia.

Motseokae Thibeletsa:
Thibeletsa talks about the difficulty of working in the arts in the Free State Province. He talks about the fact that the arts administrators and curators are not doing enough to promote the visual artists there. He mentions that the visual arts are not properly represented and funded, at the Annual Mangaung Cultural Art Festival (MACUFE).
Proposed project- annual exhibition programme for young artists that will feature a schools competition. The aim is to encourage young artists to persue art as a career.
This was posted by Amos Letsoalo, Cindy Poole and Yvette Dunn

pink sausage exhibition -was a sellout by the rabbits

Wednesday, November 22, 2006


Joseph Gaylard of VANSA introduced the first speaker of the day Giovanni Carmine, reading out a brief summary of his biography.

Giovanni started with a commentary on some of the pitfalls attched to organising and sustaining exhibitions/projects in Europe.

He says ''I don't believe in curatorial schools. I believe in learning by doing process''.

He goes on to speak about his past and current projects, one of his major curatorial projects dealing with 'camouflage' and its implications to the position of the Swiss government during the Nazi era. Giving context to this theme, Giovanni describes Switzerland as an important platform for military action during the Cold War. The most important aspects of military action (such as bunkers, military tanks e.t.c) were situated in the mountains. It was a place where Swiss people could escape to in the face of Nazi invasion. This was a sort of propaganda which gave the Swiss people a source of escape from the enemy (in this case the Nazi's).

There are estimated to be about 40, 000 bunkers spread through the mountains in the area of the Rhine Valley. Two important things changed the thinking in cold war and the second which was quite important to Swiss politics, related to the Nazi war and Swiss relations with Nazi Germany at the time. Despite the fact that they had jewish money in Swiss banks, there were still business being interacted between Germany and Switzerland. These issues touched on nutrality, identity and so on in relation to the Cold War. Giovanni's concept was to have a huge land art project, dealing with the landscape on the one hand and these 'fake' bunkers on the other. Inside the bunker there's a museum set up by a group of people who lived through the cold War era.

''This part of Switzerland was particularly fortified because they were expecting the Nazi's to invade from the rhine Valley''.

The show took place in that particular area and it took one and a half hours to navigate from one space to the other. There were a number of difficulties encountered, such as the problem of bringing infrastructure to a place where it was predominantly natural vegetation, which was also about an hours drive from the city. Instead of having the exhibition over the period of a week, we decided to squat it for one weekend.

''People could come and receive a map which showed them the walking path''.

''We used the first bunker for the show and a 12 volt battery to power electricity''.

''We also had give-away posters showing the bombing in the pacific''.

''This project was reduced in a way. The first idea was to fill the bunkers up with concrete. Since this was not possible, my friend and one of the exhibiting artists, Christoph, chose to use an iconographic symbol of toothpaste and teeth''.

Street lights were used to signify that the area was still under construction. There were two persons 'hanging' around during the exhibition who were installations. They were covered in leaves and moved from one location to another. On top of the bunkers there were also trees as well as some vegetation growing. Visitors were given torches and left alone to 'explore' the space. They had no idea what they would find inside the bunker. One of them had an art work from Boyce, which dealt with the defence of art as a military strategy.

An illustration by Christoph Bucher, a Swiss artist, was derived from a picture of a 'fake' tank in Kosovo, which gave the impression that it was a 'real' tank. Seen from the NASA satellite it looked authentic and they would bomb it. The last bunker was close to a restaurant so there was electricity. The ceiling in red is a painting by Olivier Mosere. He painted the ceiling with anti-rusting paint. It was a kind of conceptual idea of painting. Another artist did a performance inside a cage where he was acting like a monkey. He then projected the image. Downstairs there was another video work done by monica Bombiccini. All works were produced for thi sparticular project. Bombiccini made a three dimensional animated movie inside the bunker, that was a semi-erotic movie about two soldiers.

The third bunker was an installation by two artists. One from Milan and the other from Britain. There were sound installations inside the bushes, of the sounds of the river and birds. It is a work about camouflage and nature. The last work is an installation by Norma Jean. She wanted to make the bunker 'disappear'. It was a bit difficult to achieve this, we had to wait a year for nature to effect this 'disappearance'. The bunker was covered first by snow in the winter then by grass.

''I really like to work at different times with the same artist, because you build up an intellectual as well as a deeper relationship''.

''My second curatorial project was commissioned by a museum in Switzerkand - helmhaus Zurich - the Museum of Modern Art. It was a complex show, in three parts about the body. It was titled NORMA JEAN BODY PROXY. Norma Jean was the 'alias' Marilyn Monroe used. Norma Jean in this context is a name used for artists who are in a way 'prospected' for projects based on their areas of specialisation. It does not refer to one particular artist but to a collective group of artists.

Of this particular show Giovanni says ''we were working on a show about bodies that would not exhibit any bodies''.

It was decided that we would use the blue liquid used in hospitals as a representation of the body as aesthetic. What we wanted was for visitors to feel that the body which was exposed was their own body. A lot of articles, films and information about the body were collected. It was also decided that the space within which the exhibition would take place should be in form of the 'white cube' because museums and curators always talk about the cube but it never really exists. The space was very clinical, every surface was covered in white. At the entrance to the room there was a nurse explaining the concept to visitors. A sensor was also given, with which the 'guest' could navigate through the space.

''The basic idea of this installation was to put the heart outside the body''.

We encountered some difficulties with regards to the sensor placed against the visitors heart and the sound of the beating heart magnified over large speakers. We did'nt take into consideration how the vibrations from the speakers could make the ceiling cave in when turned up.

One of the displays was a cheese made from human milk. To achieve this we had to find the best 'cheese maker'.

''To produce this cheese you need so much love but we know this is not always true. We know how cows are trteated''.

The next room was equally white and clinical. On a table in the room was 135 pieces of 'daily' contact lenses, collected over a period of one year. At the other end of the room is a work titled 'To Die For', which is a jewelry set done in pyrex and synthetic glass filled up with sulfuric acid. The implication was that if the jewelry broke, you would be badly injured or die. Pyrex and synthetic glass are the only substances that resist sulfuric acid.

''We chose objects that were sleek, thin and lit up by special lighting with a lot of space around it''.

''The show in New york was more about energy''

There were some significant displays at the New York exhibition, such as the diomona sofa from the Don Giovanni film 'Fellini'. It was made of pheromones. Whever a visitor sat down on it, pheromones would 'glue' to their clothing. The other piece was the RPN- a motorbike- designed and built by a group of mechanics and artists. The installation was regarded as the 'object of desire', and whenever a visitor got close to it the sound would come on loudly and aggressively, depending on the proxomity of the visitor to the motorcycle.

The last installation was a light, and the space used was the museum in Freiburg which was a former Nazxi swimming pool. The light reacted to sounds around it. If a visitor screamed really loudly the lights would flash brightly.

The last project by Giovanni, in the kunsthalle, emanated from the project ''Operation Ex-Voto''. ''We wanted to dismantle the little chapel in a small town called Vita and transfer it to Baghdad but the people of this little town revolted''. The Biennale organisers for the United Emirates knew about this project and wanted us to do it there but it was not possible.

''We decided to work on the propaganda strategies that the Americans and British are using, mostly Americans''.

Giovanni ended his talk by leaving us with words from a slogan from the American army psychological propaganda strategies;

''Capture their minds and their minds and their hearts and souls would follow''.

He says, ''I also think this slogan would work for the arts''.


''I think there's a strategy in curation''.

Andrew states that he was part of a group of young people that collectively started the 'Gallery Puta' (Gallery of prostitutes). This group constituted of artists who had experienced numerous rejections, and decided to do something about it. Their first exhibition was held at Green point (where you can pick up sex workers I'm told). We had a 'dirty' exhibition and invited all sorts of important people.

This first exhibition was titled 'Contra Mundi' (against the world) and was held at the Association of the Visual Arts (AVA). The exhibition showed a group of young artists who have been outside the mainstream. The show was opened by Brett Kebble. Some of the artists featured in that exhibition have become quite 'popular' in their own rights in the present day.

Printtttt in 2005 was the second exhibition. A print-making exhibition, which was impromptu and happened due to a cancellation at the AVA. It had to be planned within a period of two weeks.

The last exhibition which grew out of the cancelled Trans-Cape Biennale, held at a previously booked venue for that event. The venue had been booked for a month, instead of cancelling, Andrew decided to go ahead with a mini-biennale.

''There's something serious about the work that I do. It's either done on a shoe string budget or no budget at all''.

One of my major curatorial projects was FLIP, an exhibition I worked on for six years and which took place at the Michealis Gallery. The Michaelis is one of South Africas oldest galleries. Opened in 1913, by a dutch magnate. He had works from old Dutch masters. His thinking was that this sort of exhibition would show the similarities between Dutch and Afrikaners, and act as a 'unifier' between the two groups.

''I decided that this would be a good curatorial and heritage exercise''.

Andrew thought it would be interesting to show the back of the paintings instead of the front, as the back had more historical details about the work than the painting itself. For instance the cost of arms painted on the back of the painting. The exhibition got a huge amount of press attention.

''I did'nt think it would be such a shock. It triggered a nerve''.

FLIP was according to Andrew, ''merely a curatorial gesture which requires the visitor to tour around the works''. It was also meant to highlight the ways in which people take art for granted, and bring it to their attention.

''Curating should not only be about creating access. It is also about taking access away''.

Andrew sees himself more as a theorist than an artist.


''I've done many things. people ask me what I do and I call myself an Independant Cultural Producer''.

''I am driven by my convictions that the world has to be a better place''.

COMMUNITY ARTS PROJECT: I actually did a BA in law, Speech and Drama. I also did a course in Cultural Studies at University of Cape Town, the second best of its kind. The first beimg offered in Birmingham in the United Kingdom. The course was very grounded, situated in the anti-apartheid struggle. Media representation e.t.c. one of the places looked at was cape Town.

''As a Durbanite I was very fascinated by Cape Town''.

I came to Cape Town in 1994, it was'nt quite clear what was going to happen. It was in that context that I entered into the community Arts project. It had over fifteen years of community service.

''It was also a majorly important time of thinking about what kind of country we wanted. It was very fresh, very forward thinking''.

That was how I got involved in CAP. I am grateful to Mario Pissara for that and also for leaving CAP. I came to Robbem island after CAP.

''It was a very interesting time to be on Robben Island''.

On Robben Island I started an artists outreach programme. We started a project producing works about and on Robben Island. There were musicians, poets, animators, all sorts of creative people. It was wonderful.

My first co-curatorship was on the ISINTU project. Which i co-curated with Tumelo Maseko. At the time I had no real curatorial experience. We got together a group of artists on Robben Island, we had a very rich dialogue. The exhibition took place at the National Gallery.

''It was a rich time for a lot of as on many levels''.

At the time Zayd left Robben Island he was very angry with the changes that were taking place. he says; ''I have a lot of issues with Robben Island. I was very interested in effecting institutional change on many levels. I was very angry with the changes in the museum, which I perceived as moving away from cultural and artistic considerations to a more managerial approach to culture''.

ISINTU was the first all-black curated and all-blck show in 1999 at the National Gallery.

After leaving Robben Island I started my own organisation like the Trinity Session. It was called 'One' because I was the only member. I questioned why in the face of the various changes that have happened in South Africa, why is it that black people are still struggling to be heard, to be recognised in different sectors. BLAC emerged out of some of these questions.

''What is BLAC about, it is simply a space for discussion, for black cultural workers to meet and discuss. It became a therapeutic space. Through the space people met other people of colour, musicians, artists and so on''.

We knew we had to start doing things. The idea of ''Returning the Gaze'' was to return the gaze against power, institutional systems in Cape Town. It was a major exhibition and we used spaces in the city (out door spaces). We got four billboards in carefully thought out strategic places. The pieces involved postcards.

''I also believe in building relationships with artists. Zen is one of the artists I've had a long dialogue with''.

There were a lot of challenges, it was a time when black issues were not spoken about. It was two years before black empowerment became a popular word.

''These things are never an end in themselves, they can still spark debate and discussion''.

''That's what I like about exhibitions, it gives people the opportunity to talk''.


''My first proper curatorial project. One of the questions was where do I fit into this whole thing. These issues of race, power, identity and a whole other set of issues. I decided that I was not going to be like the Trinity Sessions. I did'nt want to be commercial at all. sade Gallery, National Art gallery and the Johannesburg Art Gallery were the venues for the exhibition. The show looked at South/East, Asian/Indian connections/heritage. looking at hidden histories, participating artists of Asian descent, presented works ranging from photographic images, and performances to web casts.

''My interest in space has always been big''.

Zayd's newest project focuses on border-crossings. Looking at and thinking about curating the city in terms of borders.

''The struggle to get people to cross lines or borders is a very interesting concept to me''.

In the last two years I have been looking at what it means for people to cross borders. it is a project that is still in its planning stages. I have found ways of integrating this into the CAP project for now. I want to look at how one reclaims cultural resources. I am using the KUMAR (an indian cultural tradition) project to look at a whole range of of issues such as etnicity, institutional change, cultural identity, power and diversity.


ANDREW: ''Curatorship is a growth industry. The term Curator has a certain sexiness, authority, power. if this profession is a growth industry, it is open to charlatans. It is easy to produce very badly curated exhibitions. The art of curatorship is based on research and the identification of what you are trying to discover''.

ZAYD: ''I think there is a very fine line between a charlatan and a shaman. The kind of commitment you have to a project is reflective of what you do. Anybody has the potential to be a shaman and a charlatan depending on which way you go''.

GIOVANNI: ''The idea of responsibility is really important to what we do. We have to be awrae that we have agrave responsibility to the artists, the artwork and artists. We also have the responsibility to ensure that what we curate is responsibly presented. One has to be aware of the sorts of messages that are being sent. It is a fantastic job because it requires the amalgamation of a whole range of different skills.

Day 2 - Curator's Workshop 21/11/2006

Curators... the rough guide.

The overarching theme for the day was the curatorial challenges and opportunities presented by the numerous heritage institutions in South Africa.

Bisi Silva, critic and curator based in Lagos, Nigeria is on the editorial board of n.paradoxa magazine and Position magazine. Her career began in England studying and focusing on African Caribbean and Asian artists. She worked with the Eastern Art Board on an exhibition called ‘The Body’. In 1993 she undertook a course in curatorship at the Royal College, United Kingdom which culminated in a show at the Studio Gallery in Harlem. Silva has worked with artists and curators such as Fred Wilson, David Hammon, Farah Bajull, Pominda Howe, Amanda Francis, Cara Walker, Leonardo Drew, and on a project on Cuban photography.

She recently relocated to Lagos, Nigeria and now focuses on art in a traditional African context with great emphasis on archival research to explore African historical themes like the trans-Saharan trade route. Silva is involved in pioneering work towards a stronger intra-African network of artists and curators and brought important perspectives on working abroad as an African curator and on the challenges of her work in Lagos.

Brett Pyper based at the Heritage Studies Programme at the Wits School of Arts supervising a master’s course. He is interested in exploring more effective ways of using sound in museum installations and creating curatorial pointers in audio exhibitions. Pyper investigates the curatorial intentions of contemporary jazz musicians in referencing earlier performers through quotes and allusions to as well as those of pop musicians creating songs which reference traditional roots.

He highlighted the fact that people creating categories in the market such as World Music were performing a type of curatorial exercise. Examples of the presentation of traditional African elements in the music of Miriam Makeba and Harry Belafonte in the 1970’s were cited as exercises in a form of curatorship.

Pyper is currently researching jazz 'stokvels' in South Africa and the sartorial displays and dance performance spectacles of contemporary American jazz culture. He is especially interested in the soundscapes created by Steven Feld called ‘Voices of the Rain Forest’ exploring the local sound world and sonic density in the Bosavi region of Papua New Guinea. Pyper’s advice to emerging curators was that their intentions should be subtle and imperceptible to an audience.

N’Gone Fall, a Senegalese curator based in Paris and Dakar was inspired by her contact as a young person with the Laboratoir Agit Art scene in 1970’s Dakar. She started her career working as a general assistant to the editors of Revue Noire which exposed her to aspects of art, creativity and culture from all over Africa. Her feeling is that the West needs to acknowledge Africa’s contribution to modernism.

Fall has pioneered web-based curating with a group of artists in her native Senegal and has successfully engaged corporate sponsorship for this project. She challenges and encourages emerging curators to write and document their ideas and keep the work of artist in Africa alive and accessible through archiving it for future generations.

A hard hitting and stimulating panel discussion covering contemporary art versus heritage curating led to some sobering comments about several recent new museum projects involving rushed installations of socially and politically complex exhibitions.

Five emerging curators made presentations of exciting future projects to be developed in the coming days in this workshop.

As the team assigned to document today’s proceedings, we would like to thank all the speakers.

Monday, November 20, 2006

Day 1 - Monday

Arrived!! In better spirits after supper!! Way better spirit (without the spirit)! Here are our comments for the day:

We all arrived from different parts of the country and world, ended up at the Nelson Mandela Robben Island Gateway Museum for the first part of our workshop. This was headed by a panel of experts and title: Institutions, Publics and Beyond: - Curatorial Practices Moving On, chaired by Zayd Minty.

Panel members:

Clive Kellner:
Art, Culture and Politics: Can a distinction be drawn between them in an African context? Taking his audience through independent and institutional curatorial practices from starting out on his own to the kinds of exhibitions now being held at the Johannesburg Art Gallery under his direction.

Emma Bedford:
The trials and tribulations of trying to set up funding for a much needed curatorial mentorship programme from the Department of Arts and Culture has created much debate. Some group members felt that this particular presentation cuts deeper than the surface and should perhaps have been prefaced and introduced. Even so, a very interesting topic.

Eddie Chambers:
Equitable archives. The importance of archiving and a network of them as opposed to one centralised one. Total social inclusion. The critical importance of curating, the process of inserting oneself into history.

N'gone Fall:
Archives, archives, archives!! The importance of documentation in African countries. The importance of building networks and using those networks to share solutions to particulars problems. Questioning and challenging contemporary issues. The flexibility of African curators compared to their European counterparts.

Khwezi Gule:
Ventriliquism - relating the stories of others. The scramble for Africa. The South African trend of fore-grounding everything in politics. South Africa on the bandwagon looking at European and American experts in the art field of curating and not looking at Africa.

Monna Mokoena:
Branding, brand loyalty, the custodians of brands in quite a hostile environment. He prefered to use the practical example of corporate, institutional and art in public spaces.

Thank you Storm for getting us here, even if soaking wet and cold!

Team 1: Sarie Potter, Angela de Jesus, Fatima Maal

Sunday, November 19, 2006


I am excited to be spending this time on the Island, an interesting choice of venue for the intended activities.

My personal view is that I hope to be able to swim every single day as well as learn some great curatorial style tips and other tricks at this VANSA workshop.

One can never take too much care in presenting oneself to a group in this way or in presenting artefacts or art to an audience eventually. The big thing for me is that there will be enough salt water around to swill my mind in. Or is it to swill around in my mind? Nevermind.

Looking forward


Heads first

to blog may be a new experience, which sounds to the unititiated among us (myslef included - like a bad case of constipation), however we may have to wait for the real thing of initimidating physical meetings to establish content, but i do think this a most fabulous oportunity these next 10 days to throw ourselves into an uninhbited space of learning. So i look forward to it, put your best foets forwARD.