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Current Exhibitions

Thicket garden detail by David Bellamy with the assistance of Nicola Postlethwaite Artist’s Textiles

17 November to 8 December 2018

Artist’s Textiles is a two part exhibition, launching the Museum of Making and Tomorrow (MOMAT), both curated by artist, environmentalist and textile designer, David Bellamy.

MOMAT will be introduced by Professor Carolyn Hamilton of the Centre for Curating the Archive, UCT


  • Saturday 24 November at 11am
  • Saturday 1 December at 11am
  • Wednesday 5 December at 11am

Part one: Group Show

In the large gallery including work by

  • Sanell Aggenbach
  • Joanne Bloch
  • Jessica Dorrington
  • Ruan Hoffmann
  • Zayaan Khan
  • Louise Kaye
  • The Keiskamma Project
  • Cebo Mvubu
  • Heath Nash
  • Greg Stock
  • Karen Suskin

Artists based in South Africa and Europe show their process in creating a textile (functionality) based on an artwork (non-functionality). The origin points are diverse and exciting, some examples being:

Zayaan Khan, a seed librarian, uses ferments as her starting point to create weaves.

Greg Stock’s drawing machine produces patterns on cloth, responding to data sent from scientists at drinking water dams, enabling us to visualise our relationship with water availability.

Ruan Hoffmann will present new ceramic paintings that will be reinterpreted as silkscreened cloth.
,p>Cebo Mvubu and Jessica Dorrington are both professional embroiderers, one urban, one rural.

Part two: ‘A set from a film that has not yet been made’

Secondly, an installation in the smaller gallery arranges textile based works , furniture and clothing, manufactured by David Bellamy’s artisanal textile studio as 'a set from film that has not yet been made'. Traditional fine art means of making- ie, stencilling, painting and linoleum printing are used to produce the textiles

In this arrangement, glimpsed in a future that we hope is under construction, the role of objects has changed, and art and design are collapsed together. We sit on and wear paintings.

Brendon Edwards, a sculptor, will produce furniture elements made from scrap yard metal- nothing new is added to the world.

MOMAT is established in order to incorporate within objects, both environmentally (and thus human-socially) central problems and their resolutions, sidestepping arguing and polemics. and the futility of pointing out these problems (but leaving their resolution to persons unknown)

For example, textiles made of linen, printed using labour intensive methods, using low toxicity water soluble inks, can embody impact solutions in terms of : water cost, landfill, biodegradability, Volatile Organic Compound production, toxicity issues, worker health, unemployment, etc

The possibility of using their own purchasing-power by supporting design orientated towards rescuing a collapsing world, while at the same time enjoying the joie de vivre, that art can carry, is raised for visitors


David Lurie


From 27 October to 10 November 2018

Opening Saturday 27 October at 11h00
Opening address by Ashraf Jamal (author, art critic, cultural commentator) will be the guest speaker at the exhibition opening.

Walkabout at Irma Stern Museum on Saturday 3 November at 11am

The Cradle of Humankind - listed by UNESCO as a World Heritage Site in 1999 - opens windows onto many pasts: onto the origins and evolution of humanity, but also, perhaps less well known and appreciated, marks and bears witness to many of the key phases of more recent South African history.

The Cradle region is the scene of numerous epic battles: ancient conflicts as well as those between the many African chiefdoms that settled or tried to settle in the interior, during the period sometimes called the difaqane; between African chiefdoms and Boer pioneers, and between Boers and Britons, as well as several Afrikaner rebellions. The Cradle provides a lens through which to view and comprehend a series of absolutely pivotal and formative moments of South African history. It offers a privileged vantage point to understand what it means to be human and what it meant and currently means to be South African.

But how to capture this perspective in landscape photographs in this achingly beautiful region? How to excavate below our conventional sight level to recover the veins of myth and memory that lie beneath a surface that conceals more than it reveals, given the extreme limitations of the medium? To look and discover what eludes cursory recognition and appreciation, to try and discern the outline of an old landscape “protruding above the surface of the commonplace of contemporary life” (Simon Schama).

It was an opportunity to explore and immerse myself in the region, its myths and its history, uncover the spirit of the place and even enquire into the nature and possibilities of landscape photography itself.

David Lurie, April 2018

'The balance Lurie achieves in this collection, between the aestheticized emptiness of a landscape viewed as ahistorical and yet still charged with significance, and one fundamentally underpinned and marked with history's traces, with a small and a capital H, is elegantly achieved.'

James Sey (from Landscape as History & Mystery)

Daylight Ghosts will be shown at The Melrose Gallery after The Irma Stern Museum: private viewing on the 22nd November; public opening: 23rd November.

30cm x 25cm Hardcover, 72 pages, 28 colour plates, 1 B/W
Published by Hatje Cantz Verlag, Germany
ISBN 978-3-7757-4464-5

The book will be available at the exhibition. Launch Offer R650

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