Today is the last day to catch Incognito at MContemporary gallery, so I thought it will be a good day to share some installation views form the exhibition with you, especially for those of you who cannot make it to Australia:
“Once we’re alone in Cognito,
We’ll remove all of our clothes very fast,
But though we be naked as jaybirds,
At no time will we take off our masks”
This time next week my solo exhibition in conjunction with Marieke Krugers exhibition opens at Lizamore & Associates gallery….
TAUTE AND KRUGER INTERROGATES IDENTITY CONSTRUCTION, THE SUBLIME AND THE ‘OTHER’ AT LIZAMORE IN OCTOBER
Come Hell or High Water by Hannalie Taute unfolds around an exploration of the ocean as a metaphor for identity. Taute masterfully intertwines the notion of identity construction with other conceptual threads, often resulting in shrewd commentary on society and popular culture. This exhibition consists of Taute’s well-known work in rubber and thread. She uses recycled inner tubes with embroidery thread with the aim to make the medium of the piece interact with the subject matter in a way that forces the viewer to deeply engage and question the artwork. To enforce this interaction with the viewer, the titles of Taute’s works are ambiguous; they all refer to idioms about water (especially the ocean) that initiates a game with the viewer through a play of words, that hints to the social commentary each word interrogates. Taute’s Come Hell or High Water takes the viewer on a visual journey through the artist thoughts presented as metaphorical narratives about the ocean and water.
Marieke Kruger exhibition; Carceral Space II: Anticipating the sublime is centered around Kruger’s large-scale charcoal portraits that deals with experiences of the sublime. Through this body of work, the artist explores the transformative power of suggestion and the ways through which a certain presence can be contained and result in an experience of the sublime. The central focus of this body of work is the portrayal of the self and the other – in this case, prison inmates with whom Kruger interacts. Kruger explores the self and the other’s relationship to space – thereby creating a means through which the sublime in these drawings can be explored and subsequently have a transformative effect on the self and the other. “My suggestive portrait drawings, in essence, function as transformative psychological and spiritual self-objects which would, in certain areas, almost become abstract landscapes in which case the drawing trace itself would start functioning as an autonomous means of communication” Kruger explains.
Thursday, 05 October 2017 | 18:00
Join us for a glass of wine and to meet the artists.
Walkabout with the artists
Thursday, 05 October 2017 | 17:00
I hope to see you there!
P.S I am not on Facebook, but if you are, then you are welcome to check out the event here:
The common name for the plant Pachypodium namaquanum is “Half-mens” in Afrikaans, loosely translated it means: “Half-human”. I like that a lot.
Half-mens (Pachypodium namaquanum) 920 x 550 mm 2017 Cotton thread and rubber
My in-laws have one of these plants at their home in the Klein Karoo, but I must admit that I’ve never seen it blossom. I was very surprised to find images on the internet of “Half-mense” in bloom.
and of course I cannot resist the urge to quote Mr Tom Robbins once again:
“We’re destined to be clandestine,
Incognito is our very last hope.
I’ll meet you where the sun don’t shine,
With a fake I.D and some dope”
my show Incognito runs until the 10th of October at MContemporary gallery.
Waiting for Van Hunks 2017 Embroidery on rubber 45 x 58 cm
This piece was inspired by Table Mountain which is often covered by a so-called “table cloth” of cloud. Legend attributes this phenomenon to a smoking contest between the Devil and a Dutch pirate called Van Hunks.
This piece will be hanging out at the Museum Rijswijk for the Rijswijk Textile Biennale, which opened to the public yesterday until September 2017
In the image above Van Hunks is hanging close to a work by South African artist Tamar Mason, whose work is also included in the Biennale.
It is a first for me to see my work displayed in a Vitrine like this. I kind of like the idea. It reminds me of a time during my childhood, when I encountered hundreds of porcelain figures in a glass case at my aunts home.
A big thank you to Doroth’e Swinkels for sending me the images.