Monday, April 14, 2008


Outlet is an ulterior spacial initiative, focusing primarily on alternative artistic practices; a project room of sorts that allows artists, designers and the like to explore their more experimental tendencies. The space is situated inside a seemingly innocuous, proverbially indiscreet, projector room, outside the old painting hall of Tshwane University of Technology arts faculty. This project room is the brainchild of South African conceptualist, and recent Spier contemporary winner, Abrie Fourie.

Outlet opened in 2003 and has had a prolific history, sporting the exploits of artists such as Gerhard Marx, Dorothee Kreutzfeldt, Sean Slemon, Johan Thom, Sue Williamson and Marcus Neustetter. Many of the SAartsEmerging artists have also exhibited in this space, such as Bronwyn Lace, Simon Gush, Nathaniel Stern, Colleen Alborough, and Shane de Lange.

Abrie has recently moved to Germany and passed over the reigns of the Outlet gallery to Ingozi Disco co-founder and fellow SAartsEmerging member Shane de Lange. The first show to be hosted by Outlet this year will be "Marvelous World"; an installation of works by Guy du Toit, Richard John Forbes, Sarel Petrus, and Paul Cooper. Marvelous World opens on April 19th at 14:00.

Monday, March 24, 2008


Opening Wednesday 26th March 6pm-8pm
Closing Saturday 12th April

Young street artists from various disciplines have been given the opportunity to work, explore and exhibit their ideas for “immoderate public art”. Their intention was to stay away from the more traditional public art ideals; the type of work that would be funded and encouraged in the real world of judging panels and politics. The public art has not been made, the visualizations are being exhibited: sketches of process, studies and plans. The gallery has become an environment to experiment and collaborate; a place where contemporary street culture, traditional artistic practice and “pie-in-the-sky” ideals overlap and coalesce.
Curated by Leigh-Anne Niehaus and Murray Turpin.

Participating Artists:
Black Koki and 351073
Kenny Sonono
Phillemon Hlungwani
Rhett Martyn
Satta Collective

With graffiti intervention by Rasty.
Supported by Art Bank Jobrug and Red Bull

The Premises at the Johannesburg Civic Theatre
Loveday Street, Braamfontein, Johannesburg, South Africa
Gallery Hours -
Tuesday - Saturday
10h00 - 17h00

Monday, March 10, 2008

PUSHPLAY>> Exhibition of Emerging Video Art @ The Bag Factory

The Bag Factory and present


Opens: 12 March 2008 @ 6 for 6:30
Closes: 14 March

10 Mahlathini St, Fordsburg, Johannesburg

a selection of video art by up-and-coming South African artists. The exhibition, to be opened on 12 March 2008, runs in conjunction with the Johannesburg Art Fair to be launched on the 13March 2008. is a collaborative web platform which promotes the work of South African artists though feature reviews, exhibition advertisements and other news links following the career paths of its associated artists. has an open call for applications to join the website.

The Bag Factory welcomes 'Push Play' as part of its exhibition programme which aims to further the needs of the local Johannesburg art scene.

'Push Play' is's fourth physical manifestation having exhibited previously in Johannesburg, Cape Town and most recently in February as part of the fringe of the Rotterdam Art Fair.

Line up includes: Lester Adams, Nina Barnett, Shane de Lange, Anthea Moys, Anthea Pokroy, Rat Western, Dean Henning and Rike Sitas and a live performance by MTKIDU and Ismail Farouk.

Rat Western

10 Mahlathini St Fordsburg: Map

Friday, January 11, 2008

Lester Adams

“What I am trying to do is tell a story. My work often tries to access situations and circumstance by way of the material itself. A rewriting of a biological imperative and history.” Lester Adams

Adams is compelled by stories, the stranger and more mysterious the better. Biological anomalies, destinies written by DNA, the factual and the fictitious, all knitted together in a sensitive and sophisticated aesthetic.

Adams has “discovered” creatures, circumstances and legends that he draws from historical, geographical and biological research. His love of these oddities likens him to an explorer, a rogue discoverer of rare information that is available to everyone, but sought by few.

His work stems from this detailed inventory of stories, linked to each other by a sense of a utopian/dystopian binary. To look at a work in its final form, there is little indication of the intense narrative and conflict it symbolizes. Adams creates pristine and immaculate icons that evolve from a voracious study of the abnormal and the unfortunate. He calls this process “a baroque distillation”, a method that both concentrates the essence of his stories and their particularities, and pays homage to their dramatic and indulgent elements.

The stripping away of a narrative into a singular and signifying entity is a daring and sometimes contradictory action. The meaning and value that lies in the story may be lost to the viewer, though the art object may be attractive and compelling. This attraction and mysterious concealment creates a conflicted response. One is drawn to Adam’s work because of its cleanly constructed and authentic form, and distanced by the hidden significance of the clearly symbolic objects. He enjoys and encourages this push-pull dynamic. It mirrors his own relationship to his narrative subjects.

Adams speaks of his works as signposts - indicators of the tragic, the obscure and the fatal that lie beneath the surface of saturated perfection. This twisted relationship suggests the essential faults and oddities present in life are accentuated and heightened as flawlessness is sought. Searching for this extreme might manifest in excessive breeding of a species for their unique quality with aberrant side effects, or the hunting to extinction of an elusive animal for its legendary features. In each case, there is an obsession with the control of beauty that has captivated humans for centuries. Adams expresses this dynamic through his own obsession with the unnatural, dystopic entities and stories that arise in these circumstances.

This notion of significant objects is seen clearly in Sins of the Father’s. This minimal, cleanly executed work indicates the binaries of perfection and fault, without giving away its tragic narrative. The focus of this work is a cloudlike shape of Karakul fur, a material that is harvested from lamb fetuses. Though there is no surrounding text or information, the vivid tangibility of the material and its ethereal presentation give a sense of the weight and moral implication held in this article.

There is always an immaculate finish and essential truth-to-materials present in Adam’s work. He will not settle for a merely convincing representation of the object he is memorializing. In his creative process, he sources the genuine article from his chosen narrative, adding another layer to the investigative method he has wholeheartedly adopted. This enhances the importance and authenticity of the work, and conveys the message of the truth in the legendary. The acquirement of these objects, animals or materials, often comes at the cost of the article’s life, or involves accessing industries that are usually avoided for their unsavory nature. Adams speaks of sourcing these materials as both thrilling and traumatic – it is as if he must go through a ritual of a compelling and upsetting nature to incite this reaction from his audience.

This need for the genuine object indicates another aspect of Adam’s process, the creation of the relic. His works indicate the idea of fragments, precious pieces of a sacred entity that are venerated and memorialized. This relic-like quality places them in a fine balance, between the mysterious and legendary, and the brutally real.

Deep Roller has an air of the divine, the untouchable. Tumbler pigeons, frozen mid-fall, are placed sequence-like above one another. Their stagnant poses indicate the falling stages of a bird bred to tumble in this way, with the ultimate consequence of fatality. The immaculate beauty of the birds, their mysterious origin, and the undeniable truth of their authenticity all contribute to the aura of a relic they exude.

Adam's latest work is currently on the Impossible Monsters show at David Brodie's new gallery Art Extra. For more information go to

Written by: Nina Barnett

Tuesday, November 6, 2007


Anthea Moys


to be opened by Prof. Penny Siopis... and other surprises

In fulfillment of Master's in Fine Arts

Saturday 10 November 2007, for one night only!

6:30 for 7pm

Intermission: 195 Jeppe Street, Lister Medical Building, 18th Floor

Safe parking via entrance Bree Street (turn right at big blue parking sign after crossing Kruis Street)

Cash bar

Bring binoculars if you own them.