BY THE WAY

17.08 – 15.09.2018

A solo exhibition by Kirsten Sims

Introducing one of a kind ceramics with the solo exhibition of original work.

 

ARTWORKS:

PAINTINGS

 

CERAMICS

 

 

INSTALLATION VIEWS

 

FNB JOBURG ART FAIR 2018

06 – 09.09.2018

Salon Ninety One participating in the 11th annual FNB Joburg Art Fair. Visit us at Booth C02.

 

ARTWORKS:

 

HEIDI FOURIE

 

KATRIN COETZER

 

KIRSTEN BEETS

 

KIRSTEN SIMS

 

Triptych

 

 

 

LINSEY LEVENDALL

 

PAUL SENYOL

DREAMLAND

04.07 – 04.08.2018

A solo exhibition by Kirsten Beets

“I am a big fan of daydreaming. I try to let my imagination run wild. Where else can you be completely free but in your own mind?” – Kirsten Beets, 2018

Dreamland is Kirsten Beets’ fourth solo exhibition at Salon Ninety One. Her ongoing investigation into human relationships with spaces of leisure imaginatively comments on the distancing between people and the wildness of the natural world. She playfully depicts tigers and deer in images of parks and topiaries and inserts a wry humour into her scenes of swimmers and sunbathers on flat picture planes of blue, pink and green.

Throughout her series, Beets delights in constructing safe moments of viewing and dreaming. The works are characterised by the overall feeling of a summer lethargy, which she uses to enable the sense of ‘dreamy versions of a real place.’ What Beets seems to suggest by way of her imaginative Dreamland is the possibility that a taming of place, plant and species in human leisure spaces has done little to suppress the wildness in human nature. It is in the daydreams of the artist that we are able to entertain this idea.

Included for the first time on exhibition are watercolour monotypes and ceramic sculptures. Prescribed by a playful and loose approach to the medium these works further the narrative of dreamland by being moments of intuitive creation that mirror the act of surrendering to dreaming. Her monotypes succeed in disrupting the photorealism of her oil paintings with a dream-like use of a Technicolor palette and loose marks. Her ceramic works populate the gallery like the imaginative elements in her paintings. While the majority of her oil paintings continue to play with the figure verses ground relationship, her watercolour monotypes realise a hazy sense of a reality seen through a sleep-laden memory of place.

Dreamland surprises and delights the viewer with imaginative interjections into ordinary life making the everyday a little more remarkable. Beets’ choice of subjects, medium and use of colour provokes a playful comment on spaces of leisure and an amusing look at the assumption of tameness within contemporary society.

 

ARTWORKS:

ORIGINALS

 

MONOTYPES

 

CERAMICS


 

INSTALLATION VIEWS


 

BEHIND THE SCENES | KIRSTEN BEETS IN HER STUDIO

 

 

 


 

ARTICLES RELATED TO THIS EXHIBIT:

 

ART TIMES |  June Edition 2018. P40 – 47

 

“In Conversation KIRSTEN BEETS Dreamland”

VIEW PDF

 

TURBINE ART FAIR 2018

12.07 – 15.07.2018

Booth Number GH13 | Turbine Hall | Johannesburg

Salon Ninety One is a Cape Town based gallery, presenting works by emerging and established contemporary artists of all disciplines, passionate about developing a new brand of local talent. The gallery specializes in accessible contemporary South African Art, Design and illustration. Founded during 2008 by Monique du Preez, (Married name, Foord), curator and director to the space and its highly energized exhibition program. The gallery presented a selection of contemporary work ranging from painting, textile, print, drawing, and to a smaller degree photography and sculpture, with a special emphasis on collaborative projects and bridging the traditional divide between disciplines. Salon91 offered international and local collectors, as well as first-time buyers unique investment opportunities into the emerging South African art market.

Salon Ninety One exhibited at the Turbine Art Fair at the Turbine Hall in Johannesburg, South Africa, for the fifth consecutive year. Visitors to the gallery’s booth did enjoy works by their regular Salon Ninety One TAF favourites such as Amber Moir, Andrew Sutherland, Black Koki, Bruce Mackay, Cathy Layzell, Georgina Berens, Kirsten Beets, Kirsten Sims, Mareli Esterhuizen, Paul Senyol, Heidi Fourie, and Zarah Cassim, to mention only a few, as well as exciting newcomers to the fair, including Chloe Townsend, Berry Meyer, Katrine Claassens, Lili Probart, Matthew Prins, NEBNIKRO, Renée Rossouw, Sarah Pratt, Tara Deacon & more. Expect to see collage, painting, photography, ceramics, monotypes, reverse glass works, and drawings, executed in a rich winter’s palette, articulated with cool midnight hues, and bursts of warm jewel colours. The space did feature large and medium sized works by the various exhibiting artists, as well as two group projects, including a collection of diminutive works.


 

INSTALLATION PREVIEW IN TURBINE #3 |  ‘SHEATHED’ by JENNA BARBE


 

ARTWORKS:

 

ADELE VAN HEERDEN

 

AMBER MOIR

 

ANDREW SUTHERLAND

 

BERRY MEYER

 

BLACK KOKI

 

BRUCE MACKAY

 

CATHERINE HOLTZHAUSEN

 

CATHY LAYZELL

 

CHLOE TOWNSEND

 

GEORGINA BERENS

 

HEIDI FOURIE

 

JACO HAASBROEK

 

JEANNE HOFFMAN

 

JESSICA BOSWORTH SMITH

 

KATRINE CLAASSENS

 

KIRSTEN BEETS

 

KIRSTEN SIMS

 

LILI PROBART

 

LINSEY LEVENDALL

 

MARELI ESTERHUIZEN

 

MARIA VAN ROOYEN

…to follow

 

MATTHEW PRINS

 

NEBNIKRO

 

PAUL SENYOL

 

 

RENEE ROSSOUW

 

SARAH PRATT

 

TARA DEACON

 

ZARAH CASSIM

ENDLESS

23.05 – 30.06.2018

An exploration of transience, process, and surface

Group exhibition featuring Georgina Berens, Amber Moir, Natasha Norman and Gabrielle Raaff.

 

“Amber Moir, Natasha Norman and Gabrielle Raaff have each visited Japan, while Georgina Berens spent some time in Finland. Quite clearly their experiences in these places have left an indelible mark on all of their practices.

While Japan and Finland are worlds apart, there is some commonality. In many ways, the two represent respectively the eastern- and northernmost reaches of human settlement. In these extremes, as much by necessity as by practice, human culture is closely bound by and deeply immersed in the elements and seasons, in their states and cycles.

Amongst all four of these artists is insistence on the transitory over the permanent, and on process over result. And there is a shared concern with surface, even where imagery comes to the fore, in all of their work. Importantly, there is also something intangible, elusive, something that resists a definitive conclusion in all of the results. This, I would contend, represents in part each artist’s response to the above-mentioned environments.”

[Excerpt from an introductory essay written by Paul Edmunds, May 2018]

 

For any enquiries or catalogue requests, please contact the gallery on 021-424-6930.

 

ARTWORKS:

 

AMBER MOIR

 

GABRIELLE RAAFF

 

GEORGINA BERENS

 

NATASHA NORMAN

 

 

INSTALLATION VIEWS

 


 

LINKS RELATED TO THIS EXHIBITION:


‘ENDLESS’: A Review

 


 

 

WARMBLOODED

11.04 – 19.05.2018

A homage in drawing, painting and collage to David Attenborough at 91

A solo exhibition by Katrin Coetzer

With warmth and charm the British broadcaster and naturalist introduced generations to the wonders of the natural world. This collection of images is a visual response of gratitude to his work and the mystery and richness he has given us access to via the TV screen. Attenborough has laid bare the extraordinariness of our planet and continues to do so with great whispered enthusiasm. His fascination precedes our own and this makes him a most compelling muse.

In this deeply uncomfortable extended moment in which it seems humanity is surely headed for ecological armageddon it should follow that our perception of the natural world as an unlimited untouched wilderness must change and be replaced with an understanding that acknowledges its vulnerability and our critical role in it. The natural world as subject matter takes on new meaning in the modern context. The predictable nostalgia and romanticism of landscape imagery now too represents the idea of creeping loss.

 

ARTWORKS:


 

ARTICLES RELATED TO THIS EXHIBITION:

 

DIE BURGER | 9 MAY 2018

'Delikate werk 'n priemende blik op ekologie', Die Burger, 09 Mei, p6
‘Delikate werk ‘n priemende blik op ekologie’, Die Burger, 09 Mei, p6

 


 

UNMAPPED

28.02 – 07.04.2108

A sole exhibition by Andrew Sutherland

Nothing on the surface of the earth is unmapped. The remotest parts of our planet now boast permanent residences or tourist groups. To truly find the contemporary unmapped, one needs both imagination and narrative in the face of adventure. Delving into his extensive archive of National Geographic and nature books found at second-hand markets Andrew Sutherland charts a subtle journey of artistic exploration into colour and pictorial space. The range of works in this his 4th solo exhibition at Salon 91 read, in part, like a latitude chart of environments ranging from deserts to icier Polar Regions. The works enact an imaginary dwarfing of the single figure bearing witness to the scene, inviting the viewer to clasp the dream of untouched land with a sprinkling of active imagination.

The historical idea of the explorer is someone who visits a place with little or no human presence; this was usually associated with remote spaces. Today’s adventurers have to seek the possibly less remote but more unpopular places to enact a remembrance of self-dependence as the Antarctic and Mount Everest become ever more popular with adventure tourists. The yearning for a solitary confrontation with the majestic natural reveals the ironic truth that one has to be a little bit alone to feel truly connected.

It’s a curiously exciting time to be alive. Progress on interplanetary travel has recently taken a leap forward with Elon Musk’s Teslar now on it’s way to Mars. The Internet and social media enable us to be constantly in communication with one another and yet we feel more alone than ever before. Andrew Sutherland’s exhibition approaches all these contradictory feelings, providing micro-narratives within the colour shifts and foliage of his canvases that suggest the deepest impulses behind our technology and progress may be the simple yearning to confront our humanity in the spaces of the unmapped.

 

ARTWORKS:

 

INSTALLATION VIEWS:

MIGRATION

24.01 – 24.02.2018

A solo exhibition by Sarah Pratt

Sarah Pratt’s collection of puffins and flamingos, herons and hot air balloons, wild dogs and horses appear as if conjured from a poem. Now that they are in gouache on paper they look about them a little bemused. “Here?” they seem to say, gazing at the viewer with the inscrutable expression of their ilk.

Migration is a whimsical look at animals in diaspora. This is not the first time that Pratt has employed the animal in her works, but her employment of them remains vested in the juxtaposition of the unexpected, and the absurdity and humour of dreams. Levi Strauss has noted that animals are good to think with. Throughout her exhibitions Pratt’s animals have met in curious spaces such as the foreign locales in Away or the sinister cocoon of The Dark Forest. Her works communicate the musings of the artist’s own personal struggles with space and place, and humanity’s tenuous link with the natural world.

In Migration not all of Pratt’s animals are necessarily migrating themselves. Some stand on the backs of other animals in order to witness the mass exodus outside of the picture plane. Some view this movement with confusion, or anxious vulnerability, others are merely interested in the activity. In treatment and form, Pratt’s animals remind one of the creatures that populate wallpapers of the eighteenth century: decorative inhabitants of the two-dimensional illusion of an ‘other’ space. Colonialism’s fascination with the natural world that lead eighteenth century Enlightenment scholars to insist on classificatory systems has consistently placed the puffin and the flamingo in the same space of the Natural History Museum. Preserved by the taxidermist and contained within the glass cases of this museum we are left with similar juxtapositions of the absurd. Hunting as a sport has had a similar way of bringing together the macabre trophies of, for instance: goose, fowl and pigeon. This was translated through time into the curious porcelain wild ducks on the walls of our Grandmother’s home. Pratt plays off these historical pursuits in a contemporarily waggish way, proposing a possible new world order of bemused harmony between duck and wild dog, Hornbill and Dachshund.

As viewers we are free to muse on the encounters of birds, mammals, plants and other flying things in the ‘nowhere’ place of the picture plane. In spaces described by decorative foliage or a pink sunrise or sunset, Pratt’s encounter of species delicately reflects an uncertain universe.

 

ARTWORKS: