Monday, 18 May 2015
Re-imagining gender stereotypes:
by swany and Bernice Stott
25 May – 13 June 2915
Durban artists swany and Bernice Stott re-imagine the Jungian feminine and masculine archetypes in a joint exhibition, Anima-Animus, which opens at the artSPACE durban on 25 May and runs until 13 June.
Archetypes are definite motifs that can be found everywhere in the myths and fairy tales of world literature. “They impress, influence and fascinate us,” considers Stott. CG Jung also describes the archetypes as “unconscious, pre-existed form that seems to be part of the inherited structure of the psyche,”
Inspired by the art of Dorothy Iannone the artists explore gender and soul and give form to archaic ideas derived from the collective “fantasies, dreams, deliria and delusions” (ref Jung)
Bernice Stott’s art-making reflects her intrigue with the female body in contemporary South Africa. She has worked across disciplines in the media of painting, photography, sculpture, installation and performance art. Her associated activities have included curatorship of exhibitions and community art projects. Nationally she has exhibited in several centres and her most recent exhibition was Liquid Light at artSPACE durban (2014). She has a Masters Degree in Fine Arts and an Honours Degree in Drama and has taught in both the Fine Arts and the Drama Departments of Durban University of Technology. From 1988-2013 she was employed as a visiting lecturer and examiner in the department of Drama and Performance Studies at the University of KwaZulu-Natal.
swany is a Durban-based artist who, while always retaining the characteristics of performance art in his pieces, works across disciplines. With his work, because it often deals with gender issues, he uses embroidery and stitching to deconstruct certain societal perceptions. He has exhibited at the KZNSA Gallery, artSPACE durban, the Collective and the Durban Art Gallery. He most recently exhibited in the group exhibition, G1K1 (2014), at artSPACE durban, and the artSPACE durban and Natal Arts Trust sponsored group exhibition, looking FOR ward: our lives in 2034 (2014), at the Durban Art Gallery. The artist has an honours degree in visual arts from UNISA and is currently studying for his masters in visual arts. He is employed as the KZN arts mentor lecturer for UNISA (part-time) as well as a designer in the clothing industry (full-time).
Text by Illa Thompson of Publicity Matters
Photo Credits for Bernice Stott: Andrew Griffin Photographer email@example.com
This is a group exhibition by artists who have produced works that are embroidered, machine-stitched, hand-stitched, whatever but based on drawings by their ‘favourite’ artist, or even just of one of their drawings that they love. Other media may be incorporated into the works just as long as the main focus is using thread.
Each work is accompanied by a statement with an image of the inspirational source.
The participating artists are:
Anthea Martin, Heather Pattenden, Jetteke de Vries, Jenny Retief, Joan Martin,
Julie Mayo, Lara Mellon, Leonie Malherbe, Louise Jennings, Pamela Benporath, Siobhan O’Reagain, swany and Karen Bradtke.
Thursday, 7 May 2015
Wednesday, 6 May 2015
Walkabout by the artist of his exhibition "Pre-code Forecast 1931"
on Saturday, 16 May at 11a.m.
All are welcome and it is free.
Wednesday, 29 April 2015
Pre-code Forecast 1931 is an engaging new exhibition of paintings, photography and film by Durban queer artist Andreas Chasomeris. The title encapsulates the major themes that Chasomeris has been exploring in relation to History, Censorship and Cinema. The date of 1931 is significant because this period of time was fascinating as the Great Depression (1929-1935) was being felt around the world, Cinema in both Europe and specifically Hollywood was embracing the progressive nature of society, however the stark realities of the era gave rise to what is now considered Pre-code Hollywood (1930-1934), technological innovation of sound (1927) heralded a new dawn of talking pictures and films like Josef von Sternberg The Blue Angel (1929) and Shanghai Express (1931); Reinhold Schünzel’s Viktor und Viktoria (1933). These films are but a few of the examples that became evidence later by the Production code of the fear of the screen in corrupting and destroying the public, these films were labelled as Vice pictures and by 1934 with the Catholic League of Decency promised to eradicate any disgusting, immoral and vice ridden representations off the screens.
Chasomeris personal response from a critical evaluation based on the past documented histories and the present lived experience of being a queer artist in post-Apartheid South African context.
As an educator with a passion for film, art and history, he firmly believes in order to understand the possibility that our potential future holds is deeply entrenched in the narratives of the past.
The exhibition includes influences of Art Deco, Marlene Dietrich, Weimar Republic, Jean Harlow, Busby Berkeley musical numbers, Cole Porter and a touch of Agatha Christie.