With a world-class museum that is the largest public art area open on the continent for more than a century, annual art fairs in Johannesburg and Cape Town and lively gallery scenes that have continued to grow over the decade ensuing, South Africa has the center of art and design of the continent. Compared to art capitals such as Dakar, Senegal or Lagos, Nigeria, where West African artists had a much larger presence thanks to Europe’s proximity, and as a result of the global boycott of the South African economy and culture due to apartheid that ended in 1994, the country had to catch up. Since then, its market has had more professionals, with a growing number of advertising galleries being more visual at foreign art and design fairs, and local and global museums and creditors are gaining more and more South African art and design.
The 2017 opening of the 9,500 square metre, nine-story Zeitz Museum of Contemporary Art (MOCAA) in Cape Town has attracted foreign attention and strengthened the country’s prestige as a focal point for artists. Commissioned as a component of a public/private partnership between VA Waterfront and German art entrepreneur and collector Jochen Zeitz, the world’s largest museum of fresh African art designed through the famous British architect Thomas Heatherwick, who dug the galleries and the central atrium of the historic grain silo. . Monumental structure His exhibition Five Bhobh – Painting at the End of an Era explores new performances in Zimbabwe, featuring artists such as Richard Mudariki, Charles Bhebe, Gareth Nyandoro, Portia Zvavahera and Duncan Wylie, and the museum has access to Zeitz’s extensive non-public art collection. Playing an essential role for Africans to tell their own stories, its goal is to push the African attitude towards the forefront of the global artistic community.
The Art Joburg ETF in Johannesburg supports the artistic landscape in Africa, the continent’s largest exhibition of fresh African art. For its 13th edition this year from September 4th to 23rd, the art fair will be completely online due to the Covid-19 pandemic. The growing number of artists and the diversity of the public reflect the strong state of the arts in Africa, as the fair has helped replace the belief that galleries are white, elitist and discriminatory, and now rich blacks are among the sponsoring class. basically from bankers, mining magnates, winery owners and business leaders. “South Africa’s art scene is flourishing and developing,” says show director Mandla Sibeko. “The South African collectors’ base is becoming increasingly shrewd and every year we see new creditors emerge. The secondary market is very healthy and we have noticed that several artists succeed in sales records. South African art galleries are also being developed, and as acquisitions of foreign museums are made from their stables, new local creditors are encouraged to create more considered collections.
Southern Guild, the continent’s most prominent collection design gallery founded in 2008 through Trevyn and Julian McGowan based in Cape Town’s Silo District, has played a key role in supporting world-class limited edition design and local manufacturing and giving the South African design a voice. Array Defends creatives like Gregor Jenkin, who works in flat and comfortable laminated metal that superbly cuts and welds with laser (the first designer he took from Design Miami) or Justine Mahoney, which mixes naive iconography and pop culture with disorders. such as circumcision and child warriors, and whose bronze sculptures are acquired through some of the world’s greatest collectors. After representing South Africa with the Southern Guild at the first London Design Biennial 2016, Porky Hefer adopts and preserves classic indigenous strategies and crafts that are concentrated in hand rather than mass production. Johannesburg-based Dokter and Misses examines a new street culture and discusses what it means to be a young South African. David Krynauw, known for his Haywire lamp with 360-degree arms, has developed a patented strategy for assembling very fine wood to create structural structures, treeman Adam Birch manufactures furniture from the fork of fallen trees and the Xandre Kriel bureaucracy, curved and curved minimalist pieces. thick metal Trevyn McGowan says: “Everyone has their own point of view, their own fascination: there is no overlap. There is a playful side, immediacy and brutality, but with an absolutely different execution. It’s his very non-public story. The pieces are all handmade, there is this energy, but it is subtle at the same time, so you have a duality. And there’s also a lot of humor and ultimate fantasy.”
In terms of art galleries, there is Stevenson with spaces in Cape Town and Johannesburg, which represents some of the most avant-garde fresh artists on the African continent, adding the foreign names Zanele Muholi and Nandipha Mntambo, which are displayed in a provocative and inspiring way. . Blank Projects works with young artists from the region, while SMAC represents emerging south African and mid-career artists and established foreign artists, with large-scale exhibitions and ancient projects that reassess the history of South African art. The Goodman Gallery, arguably South Africa’s most successful personal art space, plays an important role in supporting foreign collaborations in the country and in presenting art that enriches the discussion of fresh colonial legacies and geopolitics, with artists such as Kendell Geers and David Goldblatt.
Private projects have also emerged such as the Rupert Museum and the Museum of the New Church, created through South African art creditors Anton and Huberte Rupert and Piet Viljoen, and the transformation of art and design scenes in South Africa will continue to take place through personal sector companies such as BMW have partnered with Art Joburg ETF , Zeitz MOCAA and Southern Guild. Dr Thomas Girst, head of cultural engagement at BMW Group, said: “We need to be at the forefront of art and design. We’ve been worried about the arts for almost five decades, long enough to have a substantive discussion that’s actually a conversation.
I’ve been a luxury lifestyle editor and editor for 14 years, which means I met today’s motion creators and went on stage to practice master craftsmen in
I’ve been a luxury publisher for 14 years, which means I met today’s engines and agitators and went backstage to see master craftsmen in paintings that create everything from Cartier watches and Moynat handbags to Rolls-Royce and Riva cars. Yates I rubbed shoulders with the biggest names in luxury, celebrated with celebrities and frequented the most exciting artists and designers of our generation, while watching the emerging stars of art, design, architecture, watchmaking and jewelry. For the sake of journalism, I have interviewed people like Monica Bellucci, Lenny Kravitz, Ralph Lauren, Giorgio Armani, David Adjaye, Frank Gehry, Shigeru Ban, Karim Rashid, Marc Newson, David LaChapelle and Yue Minjun, sharing my concepts with readers of Robb Report, T Magazine, Artinfo.com, International Watch, The Peak, Asia Tatler, Prestige, Surface, Watch Journal, Manifesto, Art , among other things. I have the ultimate productive task in the world.