implicit art

Nice issue of artthrob this month (feeling homesick). I’m not even going to get into it with Cape ’07 (formerly TransCape, and now it’s DEFINITELY “not a biennale” in South Africa), but some other great stuff to report…

First, a little self-promo, Michael Smith engages with my work at Art on Paper. A snippet:

The work proves, if any proof were needed, that Stern’s performative interests expand to include ‘performing’ a relationship to history, a quietly anarchic deconstruction of the creative person’s position in relation to history. This work, and much of the rest on show, reveal that Stern’s is a position of productive paradox, of signalling his debt to the historical archive of creativity yet resisting the impulse to politely replicate its terms.

It’s a very engaged and generous reading – an artist couldn’t ask for more from a critic. Thanks, Michael. Read more.

Minette Vari – a great video artist with Gothic stylings – also gets a nice review for her Goodman show. And, this side, fellow South African grad student in Ireland does this month’s ArtDiary. A bit closer to my heart – given my time in Joburg, and my initiating (with Bronwyn Lace and Simon Gush) of SAartsEmerging last year – Michael also responds to Rat Western in the feedback section (a fair and funny and well-informed response all considered, tho he does leave out that his review of Brendan Grey’s work is also a review of a friend he seems to work with frequently; please note that I do not think this a problem at all, but he might have done himself more service had he addressed that, given the first point he makes about insularity) and he also gives Dave Andrew and Rat a space for more discussion.

Emma Bedford, former curator at SANG (South African National Gallery, Cape Town) and Director of the new Cape-based Goodman Gallery (also a small article on that – if you didn’t know, we love Storm, her co-director), is the ArtBio this month. Also some interesting listings, including a Cape anti-avant-garde show curated by Kathryn Smith.

The biggest news, from where I stand, is the announcement of a Spier Exhibition replacement for the old Brett Kebble Art Awards. I think they’d be a little upset by the comparison, but it has the same chief curator, and is, like the Kebbles, the only large-scale exhibition in SA that offers both emerging and established artists any equipment they might need to see their visions through. HOWEVER, as several added bonuses, they are also giving fees to their artists, they are open to more interesting interdisciplinarity (shown by their selection of Jay Pather as co-curator), and they are committed to at least six years of the exhibition. I should also stress how much I appreciate that altho it is also a competition, the main focus is on the exhibition itself, more like the Whitney Biennial, I gather. Spier is building a museum on their wine farm to house the exhibition, which is just plain smart: they will have it permanently, so won’t have to pay heaps for rental, and they already have one of the most interesting art collections in South Africa, so why not have some place to house it the rest of the year?

update: Almost forgot! The most outstanding bonus of Spier vs Kebble is that there’s no Brett Kebble! That guy, despite his later committment to the arts, was a mining mogul with fraud allegations and questionable intentions (and a great PR firm). Spier, on the other hand, just makes nice wine, good money, and has always been committed to the arts. We like that.