The city was flourishing last week. With the anticipation of the 10th Investec Cape Town Art Fair that kicked off on Thursday, 16th February, and officially to the public on Friday, it was a stark contrast to the heaviness of last year, in which we had just begun to emerge from the pandemic this time last year. Then, with only a finely dosed sense of normalcy returning, and the possibility of large-scale events like the art fair being able to showcase, the works of 2022 were deeply interrogative of our world. This is somewhat of the duty of the artist; to reflect, deeply and searchingly, on the state of consciousness as it arises through them. This year, I was fortunate enough to attend the preview of the fair before 6pm on Thursday; and found myself totally enamoured by the mood of moment; we seem to all be feeling, from artists, to collectors, curators, writers and so on – a varying sense of hope, or surrender, despite the ongoing and embattling scarification of being a human on this planet right now. With 88 contributors divided among galleries from Cape Town and Johannesburg, up to Accra and Dakar, and up to Milan and Berlin (and then some) : there was colour, texture, impeccable techniques on display – humour – sex – intimacy – self-inquiry – and the reflection of continual decolonial practices among many African artists, turning to joy and creative vivacity as the reservoir for expressing and liberating Blackness. This, in addition to the myriad of diverse viewpoints, showcase the continent as a deeply enriched source of creative genius.
As the largest contemporary art fair in Africa – the annual event is an intrinsic anchor for the burgeoning and accelerating creative landscape on the continent, and beyond. Hosted by Investec and produced by Fiera Milano Exhibitions Africa (global leaders in exhibition management), the 10th edition felt like the light at the end of a dark tunnel. It is spaces like this that contribute to our city and country’s notoriety on the world stage, and simply for that – it’s worth adding to your calendar every year.
From the ALT section: Reservoir, Dale Lawrence, Lockdown Monotypes, 2020-21, Monotype on paper. Untitled, Marsi van de Heuvel, Sunday Best.
From the MAIN section: 99 Loop Gallery, Heidi Fourie, gedaanteverwisseling, metamorphosis, 2022. 99 Loop Gallery, Zarah Cassim, Nice Views, 2020. Kaleab Abate, The in between 3, 2022, Mixed Media on Paper, 60x42cm,
Courtesy of Afriart Gallery. Christopher Moller Gallery ,Tony Gum, Ama Mpondomise. Everard Read, Gerhard Marx, terraterraterra, RECONFIGURED MAP FRAGMENTS
ON PU GROUND ON BOARD, 120 x 210 cm. Goodman Gallery, Yinka Shonibare CBE, Fabric Bronze (Red, Yellow, Blue),
2022, Bronze hand-painted with Dutch wax pattern, 95.5 x 98 x 78 cm.
99 Loop Gallery, Qhamanande Maswana, Studio image 4. Anna Laudel, Daniele Sigalot, Orange, 2022 Oil pastel and acrylic
varnish on aluminum 150h x 150w cm. ARTCO, Stephan Gladieu, Cigarette Pack Man. SMAC Gallery, Mary Sibande, I put a spell on me, 2009. Archival
Digital Print, 120 x 79 cm, HR. THIS IS NOT A WHITE CUBE Art Gallery, Nicole Rafiki, Past is Present,
Present is Future (2022), Glicée print on Fine Art Baryta paper (ed).
From the PAST/MODERN section:
Riaan Bolt, Jesse Dlamini, Dingaan's Kraal.
From the TOMORROWS TODAY section: BKhz Gallery, Talia Ramkilawan, I Miss You,
Wool and Cloth on Hessian, 87 x 61 x 4.4cm, Photographed by Paris Brummer.
Art Fair images by photographer Stephanie Veldman.Written by: Holly Beaton
