Posts by Matthew Partridge

Pieter Hugo: Flat Noodle Soup Talk
Tymon Smith

Thus are we drawn into Hugo’s distinctive, contemplative and quietly human series of photos which combine still-life, group shots, portraits and a few nudes to thread a complex journey through the cracks that have been thrown up between China’s history and its rapid embrace of modernity.

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The Parliament of Bodies: Some Thoughts
Thuli Gamedze

I felt that these were the moments to grab, in which the connections- sexual, economic, cultural and political- could be made between current anti-immigration fueled hyper-nationalism, and the history of global colonialism including slavery, and the continued exploitation of the global south. As Kilombo stated, we need not look for new information, but rather opportunities to weave together a widely contextualised understanding of what we have to see as a global crisis.

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Something from Nothing
Matthew Partridge

Immortalised by William Shakespeare’s King Lear, the phrase “nothing will come of nothing” has been on the minds of philosophers for centuries. Its trendy latin equivalent, nihil fit ex nihilo (or just ex nihilo if you’re into the whole brevity thing) speaks of the cosmological debate that goes all the way back to the origins of the universe, and is sometimes used to argue weighty topics like existence and the possibility of a omnipresent being that some like to call God.

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Questions of Scale
Anne Historical

These proximities and distances are at times difficult to reconcile, bringing into view the incommensurable economies of the image. I own two of Abongile’s drawings; I am not his only collector. I wonder what the work would perform if placed inside one of the exhibition spaces. Would this disrupt the fragile economy in which it already exists?

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Barend de Wet
Sean O’Toole

After pulling up my handbrake, I asked De Wet about his fascination with colour. Why? What is its yield? He looked at me through his Gene Hackman glasses. It is the material in its truest form, he said, passenger door ajar. It is paint as paint, nothing else. It just is. No complications. He slipped out my car, and was gone.

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The Big Hole: Negative Space at WHATIFTHEWORLD
Roxy Kawitzky

No land can stand unoccupied. And occupation is at the discretion of those in power. Even if that occupation requires spaces to be forcibly empty; like acres of unused lawn, or the underside of highways, or park benches with polls which prevent people from stretching out. All space is contested.

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Late Stage Capitalism Luxe
M Thesen Law

The glib, jaded self-reflexivity present in Paulsen’s language is essentially the same as that which might crop up on one’s Instagram feed daily. It is a language that has been developed in the crucible of the internet and social media, with the capability of conveying complex ideas through the film of an assumed shared cultural understanding.

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If You Have Stage Fright, it Never Goes Away
Anna Stielau

Jared Ginsburg’s Interludes plays with that stuff and the limits it describes. The title of the show holds two meanings in concert, referencing an intermission between acts but also a smaller secondary action taking place during that period. In Ginsburg’s terms, an interlude is a pregnant sort of pause…it’s waiting for something to happen while also holding that something at bay.

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Editorial
Matthew Partridge

This past weekend the South African art world had the tragic news of the untimely passing of Barend de Wet. We first met in 2008 at Studio 2666 in Commercial Street, just behind parliament in Cape Town. Barefoot and dressed in a skimpy bathrobe, he was demonstrating his mad yo-yo skills. He was very good – a world champion.

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