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Gerhard Marx
Gallery News for Gerhard Marx
Gerhard Marx and William Kentridge at the Centre for the Less Good Idea
Vehicle, a performance conceived by Gerhard Marx – in collaboration with Shane Cooper, Kyle Shepherd and Toast Coetzer – forms part of the Centre for the Less Good Idea's Season 4 performances curated by Jane Taylor (17 – 20 October). As part of the same season, William Kentridge performs his version of Kurt Schwitters's seminal 1932 sound poem, Ursonate, which makes its South African debut after showing at Performa 17 in New York last year.
World On Its Hind Legs at Goodman Gallery Johannesburg
Art Week Joburg will see the unveiling of the installation of World on its Hind Legs at Goodman Gallery Johannesburg. This monumental sculptural work was born out of a long collaboration between William Kentridge and Gerhard Marx, and is based on Kentridge's drawings for an Italian newspaper in which he addressed the Italian invasion of Abyssinia (now Ethiopia) in 1935. The work depicts a world that is both powerful – suggested by the bold stride and the steel structure of the work – and fragile; on the verge of disintegration, but held together by its own volition; fleeing its fate and at the same time, striding towards its destiny. World on its Hind Legs will be unveiled at Goodman Gallery Johannesburg on Tuesday 8 September 2015.
Gerhard Marx headlines in Potch
Gerhard Marx was the 2014 invited Festival Artist at Aardklop in Potchefstroom from 6 – 11 October. The festival fine arts programme included his solo exhibition The Garden at Night at the NWU Hoofgalery on the NorthWest University Campus. The exhibition included new sculpture, and works with inlaid organic material on canvas, as well as new print editions and earlier works from the Garden Carpet series. Marx is also featured on Exact Imagination: 300 years of botanically inspired art in South Africa at the Standard Bank Gallery in Johannesburg. Goodman Gallery artists Willem Boshoff and Walter Oltmann also feature on this exhibition, curated by Cyril Coetzee, which is on show until 6 December.
Various artists at the South African Pavilion at Venice Biennale
Works by David Koloane, Gerhard Marx, Maja Marx, Philip Miller, Sam Nhlengethwa, Sue Williamson & Nelisiwe Xaba are featured on the South African Pavilion at the 55th la Biennale di Venezia. Curated by Brenton Maart, the exhibition is titled Imaginary Fact: Contemporary South African Art and the Archive. The exhibition is presented by the National Arts Festival and funded by the Department of Arts & Culture. The 55th la Biennale di Venezia will take place from 1 June to 24 November 2013.
More news
Transparent Territories
The Transparent Territory series reconfigures the flat rectangular depictions of landmass and territory that maps are, into mineral–like geometric constructions. In these 'drawings', folds, facets and overlays construct spatial illusions and a sense of depth and interiority within the two dimensional map. Constructed from fragments of decommissioned and discarded terrestrial maps, the series takes inspiration from early depictions of perspectival illusion, notably Giotto's clustering of architectural forms and representations that depict a literal, spatial inhabitation of the world; particularly the image of the cave (St Jerome in his cave), where there is a sense of burrowing into, or finding shelter within the earth. The transparent territories series similarly digs into the flatness of geographic depiction through an act of 'cartographic mining'. By creating visual constructions in which maps intersect and fold over each other like sheets of glass, a sense of cartographic vertigo is created. Despite the literal depiction of territory, a sense of groundlessness pervades these drawings as the solidity of geographic surface is ruptured into a transparent palimpsest of geography and historical time that contradicts and undermines the assumed authority, singular viewpoint and individuated voice of the two dimensional map.
Calligraphy and Cartography
Calligraphy for Cartography focuses on the calligraphic 'flourish'. The flourish; as something of a formalised scribble, is essentially a non-textual, decorative element that functions around the edges of text. It functions to serve aesthetic and emotional impulses that operate apart from literal, textual meaning. In Islamic, Japanese and Western Calligraphic traditions, the particularities of the strokes (thin up-stroke, thick down-stroke), and the swerves of the line, serves to make the 'hand' and thus the 'presence' of the calligrapher present. Marx uses lines from road maps to construct his own flourishes. He carefully 'undoes' these maps, using his scalpel to sculpt his own. By carefully selecting the thickness and quality of the map's line that he cuts from its original context, he reassembles these fragments to construct a 'drawn map' that negates the objective, functionality of the cartographer's line, in favour of the calligrapher's hand.
Depths in Feet
'When an echo bounces off a wall, the ephemerality of a sound is reflected off the solidity and geometry of a physical environment, a voice physically meets context, defining the space between sender and surroundings. 'Sounding', the practice of using sound to measure depth in a body of water, utilises the echo, by bouncing sound off against the seabed and 'catching' it, as it returns to the sender. The water is measured without physically entering it, yet the unit of calibration used to define the depths in water necessarily involves the body – measured in feet or fathom, nomenclature plunges the body into the depths, even if only symbolically. The body is implied even where the body cannot go. '
- Gerhard Marx, from Depths In Feet, published by Gerhard Marx and Goodman Gallery to accompany the exhibition A Geometry of Echoes 2015
Depths in Feet is an ongoing series of collaged drawings, produced from 2015, in which areas depicting masses of water and ocean is collected from a broad variety of maps. The depiction of water on most geographical maps is a contradiction in terms. As a fluid, ephemeral entity, water refuses mark making and a certainty of form. It is essentially the un-map-able that exists within the map itself. Once excised from its geological context, the shards of ocean carry only the semiotic coloration, the faint blues and dirty greens that mark the depths that they signify.
The Depths in Feet series reassembles these fragments with a focus on the borders of the maps from which the fragments were taken. The cartographic borders are reassembled into two-dimensional 'drawings' that explore and subvert a variety of visual strategies employed to construct the illusion of perspective, spatiality and dimension. The illusion of volumes and interiors suggested through the pictorial constructions (or drawings) resists the inherent flatness of the maps that they are. The works are constructed to contain a friction between cartographic flatness and pictorial illusion, between the fact of their object-ness and the fiction that they facilitate.
The Garden Carpet series
A Garden Carpet for Johannesburg is a work in which plant material, mostly roots are used to draw text-less road maps of parts of Johannesburg. When representing the map without text (street names, suburbs and so forth), only the warp and weft remains; the grids and networks which join disparate places and sites, the structure that shapes both the landscape in which we live and the way we move about and live within that space. Ultimately it is the structure that also shapes our relation to the world and to others.
The act and art of gardening is primarily concerned with a physical engagement and structuring of the natural world. In as much as it concerns a direct engagement with the matter of the world, it is just as concerned with the boundary, with separating the garden from its exterior as it creates microcosmic, controlled, utopias. Johannesburg is a city that proliferates high walls and private gardens. It obsessively separates the private from the public. It is a growing conglomerate of garden paradises that radically attempts to sever itself from the so-called 'third landscape'; those areas left to nature, left due to oversight or neglect.
The Garden Carpet is an early form of landscape depiction. Persian Garden Carpets (dating from the 16th century or perhaps even earlier) were made with direct reference to the astonishing Islamic garden traditions, depicting the formal fourfold garden layout as seen from an aerial viewpoint and often including idyllic scenes with fruit trees, birds and flowers. Through these tapestries, an image of an earthly utopia could be brought into the living space, and this lush symbolic garden could act as a portable paradise during tumultuous or nomadic times.
The technique in which A Garden Carpet for Johannesburg was 'drawn' is one that was developed with reference to the manner in which plants are preserved in herbariums. In this case plant material is collected from interstitial spaces around Johannesburg. Wisps of plant is selected for their particular "line quality", and is then embedded in an acrylic and glue ground, after which it is sanded to reveal the wooden interior of the plant material. The organic line-work created in this manner stands in strong contrast to the crisp, certainty inherent of the line work of the city planner and urban cartographer. The visionary clarity of the map is lost to a physical, worn, materiality that speaks more to the romantic aesthetic of the ruin than the idealism of the traditional garden carpet or road map. A Garden Carpet for Johannesburg is a threadbare map; it is a representation of a city in which the idyllic and the wilderness co-exist.
– Gerhard Marx, 2012
Solo exhibitions
Gerhard Marx / Ecstatic Archive / 2019
Goodman Gallery Johannesburg
26 January – 9 March 2019
Ecstatic Archive presents new work from Gerhard Marx's ongoing series of disorienting maps which investigate in the words of writer Alexandra Dodd, 'the formal and fictive possibilities of perspective'.
The title of the exhibition refers to a series of archives Marx has been working with over the past two years. The archives came from two main sources. The first was a collection of decommissioned geographic, geological and political maps from the past two centuries, which were saved from being pulped. While the other archive was of a more personal nature, comprising outdated maps donated by individuals burdened by a nostalgic attachment to these documents, but unsure what to do with them. Rupturing the flatness of these maps, Marx has reworked the material with the dedicated rigor of a cartographer charting ever more imaginative territories. The geometrically complex drawings produced by these efforts are best read with the assistance of a navigational device. One such compass can be found in the form of a catalogue essay written by Professor Edgar Pieterse.
'At the existential core of the nation state (and the modern idea of a community of nation states) is the power to define boundaries: who is in, who is out; who is legitimate, who is not; who can be seen and who must remain invisible. The boundaries are socialised through cartographical practices of map-making,' writes Pieterse, offering a socio-historical context to Marx's area of inquiry.
Over time then maps take on an authoritative quality. This legitimacy in turn reflects our confidence in the structures that undergird society. But what happens when our faith in these systems wane?
In such uncertain times there is a need to accept what we can't control. This inability to fully discern where we may be heading requires a certain level of fortitude – a task, argues Pieterse, uniquely suited to Marx's meditative drawings.
'Marx's drawings are about courting a form of madness – nurturing vaguely understood compulsions,' he writes. This effort requires Marx to give himself 'over to a demonic compulsion to cut into the (old) world and restage it as a fractal offering with endless potentialities.' By reckoning with the past in this manner Marx's drawings open up the space for possible alternative futures.
'The physical world haunts these maps and there is always this sense that by altering the map one can affect reality, which really means by shifting the way you look, one can affect what is seen,' says Marx. By reconfiguring these fragments into complex and often self-contradictory geometries, Marx's drawings make evident 'the tropes used to describe and understand the effects of Globalism and Contemporary Urbanism on our increasingly deterritorialised spatio-temporal world'. Marx achieves this by referring to these discourses through a distinct visual language of 'rescalings', 'folds', 'collapses', 'spills', 'entanglements', growths', 'knots' and 'agglomerations'. As a result of this process, Marx adds, 'what was far comes near, the here is there, the distant is intimate, the solid dissolves and the bordered leaks. Everything can be present all the time, but everything is migrant, layered, and dense.'
In Ecstatic Archive Marx replaces the original scientific purpose of maps with a discursive one. Through this work, writes Pieterse, Marx 'exposes the map as fetish… render[ing] traditional cartographic representation as inherently strange and arbitrary' resulting in 'maps of allusion instead of maps of authority… [which] occupy a hinge position between contested pasts and uncertain digital futures.'
Gerhard Marx / Transparent Territories / 2017
Goodman Gallery Johannesburg
Viewing Room
31 August – 4 October 2017
In this dizzying series of maps for groundlessness, Gerhard Marx continues his investigations into the formal and fictive possibilities of perspective. Rupturing the flat surface of the map, he removes the illusion of solid ground and replaces it with a hovering, vertigo-inducing sense of uncertainty. The shape and notion of 'the frame' recurs in several mise-en-abyme sequences across the works. Stacked in recurring configurations, its rectangular form has been bent into a series of optical riddles or Escherian landscapes.
When Marx cuts into the map it is a violation – an act of violence against the institutions and processes of global modernity through which the world was filtered to him. That violence is present in the energy of dispersion, ruination and collapse that ripples through the fragmented surfaces of these works. But the story does not end there. Deconstruction is offset by the meditative, embodied practice of reconstitution. In constructing his drawings from the 'found lines' of decommissioned and discarded maps, Marx displaces the scientific authority of cartography with the subjective impulse of calligraphy.
The works in this series are random amalgamations of fragments of Africa and Europe, and in piecing them together he conflates space and historical time into 'migrant maps'. Directly referencing the makeshift, hybridised vessels we've witnessed people resorting to in the current migration crises of Europe, several works have a raft-like look about them – temporary, floating, drifting between land(s) and territories. Hovering against a plane of deep opaque blackness, Marx's reconstructed rafts/crafts transmit a sense of disorientation that is simultaneously disquieting and liberating. There is that vertiginous sci-fi sense of being cut loose from the mother ship to float indefinitely through all space and time, but also an ecstatic sense of possibility in being released from the grip of inherited systems of knowledge, measurement, power and control.
– Alexandra Dodd
Gerhard Marx / A Geometry of Echoes / 2015
Goodman Gallery Cape Town
17 December 2015 – 27 January 2016
A Geometry of Echoes is a line that Gaston Bachelard uses to explain how inhabited space does not necessarily ascribe to the dimensions of physical architecture, and therefore can 'transcend geometric space'. A similar logic is at work in South African land surveyor, Henry Fourcade's invention of photogrammetry ; a method in which stereoscopic photography is used to open a third, dimensional space as a means to define topography. When, in 1904 Fourcade used photographs to draw his remarkably accurate topographical map of Devil's Peak, he was accessing the heights and depths of the mountain, but not by climbing it – he was accessing it through the flat surfaces of photography.
When an echo bounces off a wall, the ephemerality of a sound is reflected off the solidity and geometry of a physical environment, a voice physically meets context, defining the space between sender and surroundings. 'Sounding', the practice of using sound to measure depth in a body of water, utilizes the echo, by bouncing sound off against the seabed and 'catching' it, as it returns to the sender. The water is measured without physically entering it, yet the unit of calibration used to define the depths in water necessarily involves the body – measured in feet or fathom, nomenclature plunges the body into the depths even if only symbolically. The body is implied even where the body cannot go.
Depths in Feet is a series of 20 'drawings', constructed entirely from map fragments. The alluring print-blues of areas that depict only expanses of ocean were physically excised from a broad collection of World Atlases. Marx's interest in the presence of water on terrestrial maps lies with the fact that water, as fluid substance that essentially refuses mark making, is an antithesis of the marked and mapped terrain. In a sense, that which cannot be mapped is contained within the map itself. Marx uses these blue shards and physically reassembles them, using the map's printed frame to create two-dimensional collaged drawings that explores conventions used to construct the illusion of depth, of volume and of three-dimensional space.
In the same manner that the sender of sound (when 'sounding') is positioned to become the receiver of the echo, the visual construction of perspectival space necessarily suggests and positions the body of a viewer. As a counterpoint to the defined vanishing point, the viewer is the receiver or locus of the perspectival lines that radiate out from this point. Any visual illusion of volume or depth implies an essentially stable viewer, poised at an implied threshold and positioned in relation to a particular horizon. This series of essentially abstracted constructions explores the potential for interiority within the flat surface of the map. These are literally 'groundless' maps, in which the illusion of depth and volume wrestles with the flatness of the map as object. The continued shift in spatial propositions across this series is intended to leave the viewer 'at sea' as it were – on unstable ground, as a renewed relationship to an implied horizon line is continually renegotiated around the axis of shifting volumes.
Overlap Axis (CT 1926) continues Marx's investigation into the visual correlation between the physical landscape and the built environment, by engaging with the historic traditions of stone masonry, mosaic arts and the aerial views of urban landscapes. The focus of this new sculptural work is on one of the earliest official South African aerial surveys done of Cape Town in 1926. Marx utilizes the overlap between two images from this archive. By turning the overlap into an axis, the aerial photographs interlock to create a self-supporting, three-dimensional structure. Inasmuch as there is a hint that, when viewed, the two overlapping images might stereographically merge into three-dimensional space, the pairing of the two successive images opens a narrative element and a sense of time passing, of one moment lapsing into the next.
Cape Town inner city grows within the tight parameters of its geographical location. In rendering the aerial view of the city within the languages of mosaic traditions, the tight geometric tiling of urbanity directly translates into regulated, 'Roman' tesserae organization, which lapses into 'Palladiana', (randomly organized tiling) where the built environment borders ocean or mountain. Rendering these temporal images in stone creates a rich contrast between the elusive, disembodied nature of the aerial photographs depicted and the immediacy and physical tactility of the sculptural surface, as the work negotiates the relationship between surface and place, distance and stone.
In other sculptures and drawings, Marx uses the idea of the 'hybrid view' (familiar to users of digital mapping applications) to combine sets of information into what he refers to as 'Language Objects'. In these works the object fuses with the language and nomenclature that 'surrounds' that object. The 'object in language' is a landscape shrouded in geospatial information – it is a hybrid object, fused with the indicator lines that link it to its own nomenclature.
A series of drawings entitled Calligraphy for Cartography focuses on the calligraphic 'flourish'. Marx draws inspiration from the scribbles made by his children, both engaged in the process of learning to write and draw. Their proliferation of scribbles and sketches marks the process of their 'coming into language', of mark making becoming formalized as legible text. The fact that in some way text can be entered, opens at least a thought of the possibility that it can, in some manner, or some point, be undone. The flourish, as something of a formalized scribble, is essentially a non-textual, decorative element that functions around the edges of text. It functions to serve aesthetic impulses that operate apart from literal, textual meaning. What attracts Marx to this tradition is the manner in which the particularities of the strokes (thin up-stroke, thick down-stroke), and the swerves of the line, serves to make the 'presence' (and personality) of the calligrapher present – to flourish as it were. Marx uses lines from road maps to construct his own flourishes. He carefully 'undoes' these maps, using his scalpel to sculpt his own. By carefully selecting the thickness and quality of the map's line that he cuts from its original context, he reassembles these fragments to construct a 'drawn map' that negates the objective functionality of the cartographer's line in favour of the calligrapher's hand.
Gerhard Marx / Lessons in Looking Down / 2013
Gerhard Marx's solo exhibition at Goodman Gallery Johannesburg – Lessons in Looking Down – takes its name from a chapter in Jules Verne's book A Journey to the Center of the Earth. In the book, two geologists discover a potential route into the centre of the Earth, and prepare for their decent by taking 'lessons in looking down'. They visit Copenhagen in order to climb the corkscrew spire of the Church Of Our Saviour, which has steps that spiral on the outside of the spire, offering extensive views of the city. Five days are spent on the tower, looking down from that height until they can do so without being frightened, without their heads 'swimming'.
Geology, like drawing, is an exploration largely bound to the surface. Verne describes a rehearsal in which the geologists attempt to overcome the fear of falling by staring down onto the surface of the earth. Even as they stare themselves out at the vastness of their vista, they are also imagining themselves as piercing the crust, as entering the map. Instead of reading the earth's surface as a boundary, they anticipate the depths of what might lie below.
Marx's Lessons in Looking Down explores representations of the structures that the bare eye cannot see. He focuses on the structures that hold or shape the fluid aspects of existence; the ribcage that holds the soft, near shapeless interior of the body, the city structure that funnels and facilitates the flows of lives lived together. Marx literally brings the informational abstractions of aerial views, maps, and anatomical illustrations into his physical world by using plant material from his immediate environment as medium. The techniques that Marx develops to do this are at once practical, poetic and conceptual strategies by which he draws the world with the world. His works are labour intensive reconstructions that rely on fragments to construct intimate immensities, works that meticulously scratch at the surface to reveal an ecstatic vastness beneath.
Garden Carpet: Johannesburg is a series of six canvasses, which together depict a road map of central Johannesburg as represented in standard map books. Marx fragments and redraws this map over the six canvasses using wispy bits of plant material and roots, replacing the decisive graphic style of maps with a wavering organic density in a manner that is evocative of weaving. The maps are without text, lacking the sense of orientation that street names, the names of suburbs and other information gives the 'reader'. When representing the map without text only the warp and weft remains; the grids and networks that cohere disparate places and sites. These are the structures that shape the landscape in which we live, the way we live within that space, and ultimately also moulds our relation to others, giving form to our lives together.
In Vertical Aerial: Johannesburg (Square) an aerial view of central Johannesburg is carefully rendered in stone. Mosaic is employed to striking photographic effect as each tessera comes to depict an element in the densely built environment of the inner city. The mosaic tradition speaks directly to the modular logic in which a city tiles the surface across which it grows. InVertical Aerial: Johannesburg (Square) a single diagonal fold runs vertically through the mosaic and disrupts the flatness of the aerial view. With its sides leaning forward or receding at ominous angles as it hinges around the diagonal fold, the structure has been carefully engineered to let the sculpture stand independently, but looks precarious like it might collapse at any moment. This sculptural and structural dimension adds significantly to a sense of Johannesburg as a space that constantly negotiates the relationship between development and collapse, between thriving metropolis and ruin.
Gerhard Marx / Cumulus / 2011
This January, in his first exhibition with the Goodman Gallery, Gerhard Marx presents new works that are born out of his own self-designed processes, which involve skillful manipulation of materials collected as part of an engagement with the artist's physical urban context. As a Cumulus cloud constantly verges on collapse, Marx's subjects border between form and formlessness, always rich in associative and connotative density. Dried plants, seamlessly embedded into paper, become a twisted composition of skeletons. Abandoned garden refuse is delicately grafted into a ribcage and then cast in monumental bronze. Fragments of a South African atlas are fashioned into the elaborate structures of discarded plants and weeds. A gathering of black plastic rulers form a cloud on the verge of saturation, right before the Cumulus ruptures and it starts to rain.
"Most of my works," explains Marx, "are incremental accumulations of small things… I am interested in forms that border on formlessness – unstable, shifting, growing, permeable forms." Titled Cumulus, the exhibition's namesake is in this light highly symbolic for Marx. When the Cumulus cloud was named, along with other basic cloud forms in the early 1800s, Marx says, "suddenly these allusive shapes were determined, fixed by name and description." The cloud's shifting nature – its aggregatious build-up, coupled with a constant threat of collapse and ultimately, its transformations – becomes a central allegory within a body of diverse work. Marx elaborates on this by saying that "beauty relies on a determined sense of form, but the sublime inevitably involves formlessness."
The form or formlessness that his works take always begins with a process – usually a highly intricate one – that Marx devises over time. "I tend to develop a technology every time," he says, explaining that the etymology of the word technology comes from the Greek tekhnē, which also means to reveal. "You develop a technology and it reveals something." Through these processes that Marx refers to as "evocations rather than determinations", he works with an object that is either intrinsically or associatively indexical. Each object or material used "denies its own physicality or presence by pointing at something else, in the manner in which a map incessantly points at the territory, or in which remains imply a lost whole."
In a new series eponymous with the title of the show, Marx uses dried plant matter as his medium, using it to draw parts of the human skeleton. "The relation between the parts are in disarray," writes Marx, "collapsed into palimpsest, drawing reference to the composition of skeletons when excavated from archaeological sites." In the sculptural work, entitled Scion (upon scion), Marx uses discarded plant matter from the streets of Johannesburg – scavenging on the curatorial compost of the gardener – in order to graft from selected parts of branches a ribcage that is finally cast in bronze. "In this manner," he says, "the matter expelled from various gardens finds its way back into the body."
Marx shifts from using plant matter to denote the body, to using man-made products to represent natural structures, all the while intimating human physicality. Hortus Siccus (for Luca Ghini) is an ongoing project whereby Marx sets out to create a Herbarium from the wilderness inherent to, or created by the urban landscape. In this project, Marx collects weeds from the edges of roads – instead of pressing the weeds, a Herbarium is created by drawing or mapping the plant specimens using fragments from a hybrid collection of road maps and atlases. Marx has used a similar process in order to map a discarded rose bush in Hortus Siccus: Bush. "Roses have been cultivated by humans for over 5000 years," he explains. "This intimacy is embodied in the histories of grafting, selection and pruning evident in the plant's structure." In his Weather series black plastic rulers are layered onto each other to create a dense, self-referential system that alludes to the image of a cloudburst. Despite the ruler's seeming objectivity, Marx explains, "it is a tool that measures the world in relation to the human body… The forearm, the thumb, the hand, the distance between fingers, the foot, and of course the footstep have all played a part in the development of the standardised measurements. The calibrated, objectified abstraction that the ruler brings to the experience of space is radically negated by the fact that it relies on a particular intimacy to function: the ruler cannot measure without touch."
In each of these multifaceted works, the gaze of the viewer is central. "The viewer seeks to read a cohesion between fragments; to read gesture, to read relation," explains Marx. The works swivel on the ambiguities of the bounding line, the boundary fence and periphery – a fragile skin that coheres through distinction, but is always in touch with context, threatened by trespassers, risking cohesion to collapse, lured into integration and even disintegration.
Cumulus is Gerhard Marx's fifth solo exhibition, and his works are featured in public and private collections. Marx is well known in the cultural world for shifting across disciplines, regularly working in theatre, film and public sculpture. Recent theatre productions include REwind: A Cantata for Voice, Tape and Testimony (directed by Marx, interactive film by Marx and Maja Marx, composed by Philip Miller), performed at the Royal Festival Hall, London, The Market Theatre, Johannesburg and the '62 Center, Williams College, Massachusetts. Other productions include They Say (winner, Bravo Award: Most Memorable Moment) and the multiple award-winning Tshepang (scenography by Marx). The film And There in the Dust, animated by Marx and co-directed with Lara Foot Newton, has been screened at more than thirty-five international film festivals, and has won several awards, notably Best Animated Film and Best International Short Film (Bird's Eye Festival, London), Best Short Film (Latin, African and Asian Film Festival, Milan) and three Golden Horn awards (South African Film Awards). Marx has collaborated on public sculpture projects to create The Fire Walker (Queen Elizabeth Bridge, Johannesburg), in collaboration with William Kentridge, and Paper Pigeons (Pigeon Square, Johannesburg), with Maja Marx. He is a fellow of the Sundance Film Institute, and the Ampersand Foundation.
Group exhibitions
Summer Show / 2016
Goodman Gallery Cape Town
15 December 2016 – 14 January 2017
Lisa Brice / Kudzanai Chiurai / David Goldblatt / Alfredo Jaar / Samson Kambalu / Kendell Geers / William Kentridge / Liza Lou / Gerald Machona / Gerhard Marx / Shirin Neshat / Walter Oltmann / The Brother Moves On / Jessica Webster
For its end-of-year Summer Show, Goodman Gallery Cape Town has gathered together a selection of important pieces from both new and existing bodies of work by its artists. Taken as a whole, the show presents a textured and vibrant series of engagements with the artists' social and political environments through photography, sculpture, drawing, prints and video. The exhibition serves an as opportunity to show works not yet seen in Cape Town, and to introduce visitors to artists newly represented by the gallery.
Despite its title, David Golblatt's A family picnic in the north-west. 15 August 2009 focuses on a macro view of the landscape and structures in which this human scene is taking place. The photograph illustrates Goldblatt's change in narrative style since shifting to working in colour. As writer Christoph Danelzik-Brüggemann says in the book Intersections: "In parallel with a continued emphasis on striking human situations, in landscapes he developed a visual language that accorded more meaning to space than to time. The formats became larger and a plethora of extremely precisely recorded details (blades of grass, stones, person) combined to form tableaux which the viewer's eye can explore at leisure. As an overall picture emerges from these details, the viewer becomes aware that the image tells of our times, of the people who live in this land, and of the forces that shape it."
Walter Oltmann's Bristle Disguise uses woven alumnium and razor wire to reference local craft traditions. Covered in spikes that recall both the elaborate dress often used in ritualised African dance and the pulsating energy radiated in the activity, his bodysuit merges craft and art. Oltmann has researched and written extensively on the use of wire in African material culture in South Africa and is deeply interested in the influence of these traditions in contemporary South African art. "In my sculptures I use images of natural phenomena (human, plant and animal) and play with the idea of mutation, hybrids and reconfiguring the familiar. Through dramatically enlarging and/or transposing features of one to the other, I play with the paradox between vulnerability and the monstrous. Using the language of craft, my artworks are always a product of labour and time," he says.
In 2005, American artist Liza Lou first travelled to South Africa to initiate an art project with Zulu beadworkers. Starting with 12 women from the surrounding townships of KwaZulu-Natal, Lou's project has flourished and has now grown to a collective of over 25 artisans. Her commitment to this community of Zulu women and to exploring the process and testing the limits of her chosen material has led to a minimal, contemplative practice in which the material has become the subject. Untitled #13 is a prime example of the end result; a formal object that, through subtle imperfections, bears witness to the manual labour and personal investment at stake.
Country of my skull was one of the installations included on The Brother Moves On's solo exhibition, Hlabelela, at Goodman Gallery Johannesburg. The exhibition questioned each member's personal histories, cultural background and beliefs as a means of unsettling the idea of a homogenised black experience and its acceptance by white art institutions and discourse. The performances, installations and videos explored the complex identity of black youthful opposition but also questioned whether these contemporary traditions can exist within the established traditions of art institutions and art discourse.
Lisa Brice's Well Worn 5 was part of a body of work that featured a cast of female protagonists engaged in autobiographical acts of looking and being looked at. Grooming, making up, stripping down, dressing up within the confines of domestic, private or veiled interiors, they range from depictions of adoration and loathing, to defiance and reinvention. The mirror reflection reoccurs as a central motif, simultaneously functioning as an alter-ego and an imagined audience beyond the private, as well as a formal device within the painting.
In Life Magazine, April 19, 1968, Alfredo Jaar deconstructs a renowned photograph of Martin Luther King's funeral that provides a stark visual essay on the racial prejudices that lead to King's assassination. The work typifies Jaar's interest in the politics of images: their effect on modern society "bombarded by thousands of images without warning, without mercy, containing messages of consumption crafted by marketing and communications experts". He directs the viewer to the parts of the visual experience that they may not have considered in their reckoning of who has power, who does not, and why.
Samson Kambalu's Nyau Cinema consists of site-specific performances captured on and made in conversation with the medium of film. Born in Malawi and now based in London, Kambalu regards his work as a form of playful dissent that fuses the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the Protestant tradition of inquiry, criticism and dissent. "In my tribe, the Chewa, excess time and resources are not sold; instead it is squandered in 'useless' activities such as the arts, funerals, initiations etc. – all led by Nyau masks," he says. "The role of the Nyau mask is thus to orchestrate the giving of gifts," which in a capitalist culture, he explains, would be considered the squandering of surplus time and wealth. He invokes the concept of "Gule Wamkulu" (literally the "Great Play"), a ritual masked dance performed by the Chewa, which he describes as "really the creation of 'Situations', where a gift can be given without incurring a debt".
Gerhard Marx's Transparent Territory series consists of drawings that have been constructed from the fragments of decommissioned and discarded terrestrial maps. The focus in these works is on the act of taking the flat, rectangular depictions of landmass and territory (which maps are intended to be), and reconfiguring them into mineral-like geometric constructions in which folds, facets and overlays construct spatial illusions along with a sense of depth and interiority within the flatness of the map. The series takes inspiration from early depictions of perspectival illusion, most notably Giotto's clustering of architectural structures. The works also burrow into the flatness of geographic depiction through an act of 'cartographic mining', in which the solidity of the earth's surface is ruptured into a transparent palimpsest of geography and historical time that undermines the authority and singular viewpoint of the two-dimensional map.
Kudzanai Chiurai's Genesis [Je n'isi isi] CI and Genesis [Je n'isi isi] XI, from his photographic series of the same name, recount the stories of the men who ventured with Livingstone into unexplored territories in central Africa. They included other Europeans who sought similar adventures and the porters and guides who bore the weight of their supplies as well as slaves freed from Arab slave traders. It re-imagines Livingstone's journey with the guiding principles that Christianity and commerce were inseparable.
Drawing is at the heart of William Kentridge's artistic practice, forming the basis for works in other media, particularly film. South Africa's preeminent contemporary artist, Kentridge has earned international acclaim for his layered and complex work, which includes operas, theatre productions and films incorporating his own sculpture and drawings as well as collaborations with dancers and composers. Waiting for the Fire, a large-scale drawing in Indian ink, illustrates his facility as a draughtsman, clearly evident in the animated charcoal drawings that first brought him to the world's attention.
In the series Our House Is On Fire, originally made as a special commission for the Rauschenberg Foundation, Shirin Neshat was inspired by time she spent in Egypt in the aftermath of the revolution in 2011. In close-up portraits and details of hands and feet, meticulously inscribed with the words of poets of the Iranian revolution, Neshat tells a story of loss and mourning particular to her subjects and simultaneously universal.
In Untitled (Influx I) Gerald Machona has collaborated with Mozambican choreographer Guiamba to create a performance-based installation that seeks to transform migratory objects and garments. A Zimbabwean now living in South Africa, Machona's work has dealt repeatedly with the theme of migration. Crucial to this artwork is an attempt to disrupt the 55-minute hour scheme used by Cape Town garment factories, where an assembly line of seamstresses was governed by a clock that would run 55 minutes of production and 5 minutes of recess every hour. Rather than rely on a clock to keep time and a metronome to indicate tempo, the artists have drawn rhythm from a sewing machine to stitch together the dance and installation.
Every year Jessica Webster dedicates some time to working as roughly and freely as possible with ink and bleach on paper. "By now I have amassed a huge stack of A3 works, but I see this set of earlier pieces as some of the most successful." Using ink and paper allows the artist "to get back in touch with some of the fundamentals of my practice: this is the relationship between the two-dimensional surface and the imaginary spaces that composition orders," she says. Inks 1-15 references Sol Le Witt's series of drawings Variations of Incomplete Open Cubes (1974). "While Le Witt's work is interpreted as symbolising the purely visual metaphors of rationality and the Enlightenment subject, my painted copies evoke the more fragile and unstable aspects of geometry. Using Le Witt's series as readymade references me to focus on how the bare minimum of painterly strokes can create conflict between the sense of depth caused by geometrical perspective and the fluidity and gesturality of hand-painted lines. In some of the works I continue this investigation with other objects, provoking the imaginary sites upon which geometry and order comes to be projected."
In Context: Where We Are
Goodman Gallery Cape Town
29 October – 7 December 2016
Kudzanai Chiurai • Nolan Oswald Dennis • Gabrielle Goliath • Haroon Gunn-Salie • Kiluanji Kia Henda • David Koloane • Moshekwa Langa • Gerhard Marx • Tracey Rose • Thabiso Sekgala • Jeremy Wafer
Goodman Gallery Cape Town's group show Where We Are is a partner exhibition to Africans in America at Goodman Gallery Johannesburg and the Johannesburg Art Gallery. Where We Are offers a counter conversation to Africans in America, which explores the shifts in perspective that are occurring among a new generation of artists from Africa and the Americas as they transverse between the two. The Cape Town exhibition presents work by African artists within Africa – many of whom are still based in their country of origin – as opposed to working in the context of the diaspora.
The artists' practice has either been rooted in or constantly drawn back to their places of origin – whether circumstantially or deliberately. Place is an inherent locus of the exhibition observable in a multitude of expressions, including map-making, borders, urban landscapes, migration and monuments.
Where We Are is a precursor to a larger exhibition that will take place in New York in 2017. It serves as a series of questions, interrogating history, geography and memory, both personal and collective. The artists examine the systems of place that define the daily lives and recent histories of people across the continent and find them wanting, resulting in many attempts at re-imagining. In the proposal of ideals and alternatives, the status quo is indicted and the past held accountable, as we attempt to understand where we are, how we got here and how to move forward.
Housed in an edifice of large wooden shipping crates, Angolan artist Kiluanji Kia Henda's video installation Concrete Affection – Zopo Lady references the mass exodus of Luanda's inhabitants after Angola's independence from Portugal's colonial rule in 1975. The cityscape becomes a vivid fabric of motion and colour in an expansive drawing by David Koloane, for whom the city of Johannesburg is a muse.
Gabrielle Goliath's chilling audio installation, Roulette, points to a defining feature of South Africa – the ever-present threat of violence. A stream of amplified static is punctured by a point-blank recording of a gunshot once every six hours (the damaging effects of which the participant is warned about before listening) – bringing to life femicide statistics showing that every six hours a woman in South Africa is killed by an intimate or ex-intimate partner, one of the highest rates in the world. Rather than confront the violence head-on, two photographs by the late Thabiso Sekgala look beneath the surface at the devastation in the mining towns of Rustenburg and nearby Marikana.
Drenched in red, Haroon Gunn-Salie's sculptures of dismembered hands cast from public statues of Captain Carl von Brandis, Johannesburg's first magistrate, and Portuguese explorer Bartolomeu Dias are a powerful indictment of colonialist expansion. Zimbabwean artist Kudzanai Chiurai engages in a similar re-contextualisation of colonial imagery in his Genesis series, which takes as a departure point stone reliefs commemorating the expeditions of David Livingstone and counters them by imagining an Africa reconnected with its rich traditional past. Tracey Rose also subverts historical assumptions of whiteness by recasting the role of the messiah as a challenge to canonical religious iconography.
The ideas of land and memory are central to Nolan Oswald Dennis' triptych, which contains extracts from Wikipedia entries for the term "Azania" and points to the limits of and Western bias still so prevalent in human encyclopedic knowledge.
Jeremy Wafer explores the arbitrariness of the physical barriers and boundaries that define country, specifically the demarcation between Mozambique and South Africa. Similarly, Gerhard Marx deconstructs the borders defined in mapping to question notions of territory and the place of the human in the abstracted aerial view.
The abstraction of the landscape is taken to its end point in Moshekwa Langa's work, an expressive evocation of distance and horizon offering a personal perspective on migration, loss of place and the bittersweet experience of return.
The exhibition includes a video programme hosted in Goodman Gallery Cape Town's new street-level video room on Sir Lowry Road, echoing the thematic content of Where We Are with a focus on the individual as an anchor to place.
New Revolutions: Goodman Gallery at 50
Goodman Gallery Johannesburg
4 June – 6 August 2016
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery's history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery's history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery's ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
The Artists
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world's most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery's programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery's transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
Editions / 2013
This March, Goodman Gallery Cape presents a group exhibition of work in a wide range of media. Titled Editions, the show brings together photographs, sculpture, video/multimedia works, lithographs, linocuts and photogravures by a variety of South African and international artists, with the common thread that each work forms part of an edition.
Kudzanai Chiurai shows a new film from his Conflict Resolution series, last seen at Documenta 13 in Kassel, Germany, as well as a new photograph from the same body of work. New prints by Gerhard Marx and Walter Oltmann find them engaging with etching, lithography and woodblock printing in new and exciting ways.
Alfredo Jaar's photographs of Serra Pelada, an opencast gold mine dug by human hands in Brazil, are shown as color transparencies mounted in lightboxes, and sit in uneasy relation to Liza Lou's Gather Forty, a sculpture made from gold-plated beads threaded and bound in a sheaf.
The exhibition also includes new prints by Clive van den Berg and Diane Victor; photographs from Candice Breitz' recent Extra!, last seen at the Iziko South African National Gallery, and David Goldblatt's characteristically quiet colour landscapes; and a portfolio of photolithography by Moshekwa Langa.
Also on show is the full series of Robert Hodgins' experimental Officers and Gents, to coincide with the Wits Art Museum's exhibition of his print archive; a selection of lithographs from Sam Nhlengethwa's recent Conversations series; Mikhael Subotzky's Don't even think of it, a film made from a series of still photographs shot by the artist in 2004; and a set of 7 photogravures by William Kentridge titled Zeno Writing II.
Advance/...Notice / 2012
Goodman Gallery Johannesburg welcomes you to 2012 with Advance/… Notice, an exhibition of new works by a dynamic group of contemporary artists from around the world. As we advance into a new calendar year, this exhibition gives notice of innovations from some of our artists who are already familiar to you, and of our new ventures into an intellectual exchange with artists with whom we are excited to work for the first time. This show will also give audiences a preview of what is to come, as many of the featured artists have solo shows planned for 2012 at Goodman Gallery spaces and other prestigious South African institutions.
Advance/… Notice introduces newly perfected techniques or processes for some of our well-known artists, such as platinum photographic prints by David Goldblatt, and a completely new turn of direction and field of interest for African American artist Hank Willis Thomas, who first exhibited with us on In Context in 2010, as well as for Sigalit Landau, the acclaimed Israeli artist we co-hosted at last year's Venice Biennale. These international savants are joined by South African artists such as Hasan and Husain Essop, Moshekwa Langa, Mikhael Subotzky, Sue Williamson, William Kentridge, Rosenclaire, and Frances Goodman revealing either brand new works, or works not yet seen in Johannesburg. Also featured are works by Kendell Geers, whose retrospective exhibition will open at IZIKO South African National Gallery in late March 2012.
Our first show of the year seems an apt time to introduce the novel and the unexpected in the work of a number of artists and to also welcome prominent figures including Liza Lou, a world-renowned American now living and working in KwaZulu Natal; South African Candice Breitz, now resident in Berlin; Chilean-born New Yorker Alfredo Jaar; London-based Iranian Reza Aramesh, as well as Carla Busuttil – a young South African artist based in Berlin who is well-established in the United Kingdom, but has never before exhibited in her home country.
Liza Lou presents a work titled Gather Forty, one of a series of forty individual sculptures made from gold-plated beads that have been expertly threaded onto four hundred individual pieces of stainless steel wire and bound in a sheaf – continuing the shift of the beadwork medium from craft to conceptual art. Alfredo Jaar, internationally recognised artist, filmmaker and architect, celebrated for the public interventions he has created all over the world, shows From Time to Time, a panel of nine Time magazine covers focusing on Africa that either feature animals or malnourished Africans – revealing how the rest of the world often encapsulates its second largest continent. Breitz, who opens a major survey of her work titled Extra! at the Standard Bank Gallery this February, presents The Character, a video installation filmed in Mumbai that seeks to understand the role and influence of child characters in mainstream Indian cinema through interviews with a group of young moviegoers. In Action 78, Aramesh uses familiar scenes from news footage of the first Gulf War to restage, re-present and destabilise any easy readings of the conflicts we think we understand. Oil paintings by Busuttil offer a sinisterly-executed perusal of the exploitation of power and cruelty.
We are also very pleased to present for the first time the work of Nelisiwe Xaba, who will be presenting an interactive dance and video collaboration with Mocke J van Veuren at Goodman Gallery Projects in February. The crossover into visual art is exciting new territory for this renowned performer/dancer.
Goodman Gallery hopes you will join us to be inspired, challenged and excited by this exhibition and its promise of advances in the visual arts of South Africa. We trust you will find the exhibition gives notice of an innovative and exciting programme for 2012 in Johannesburg and Cape Town.
Summer Show / 2012
Goodman Gallery Cape presents Summer Show – opening on 15 December and running until 14 January. The exhibition has been designed as a review, focusing on new and recent work by South Africans artists either represented by or associated with the gallery. Important works from series produced by the artists over the past year are showcased, and the show also features a selection of works recently shown at the gallery's Johannesburg spaces.
The exhibition includes prints from Siemon Allen's Records series, in which the artist explores images of South Africa through the collection and archiving of music records from the beginning of the 20th Century to the present day. Photography is strongly represented, with works from Jodi Bieber's vibrant, urban-denizen take in her Soweto series, in marked contrast with David Goldblatt's large-scale colour prints of rural South Africa. Mikhael Subotzky (who recently won the 2012 Standard Bank Young Artist Award for Visual Art) and Patrick Waterhouse show recent work from their ongoing collaboration on the Ponte City project.
A text piece by Stuart Bird is shown in anticipation of his upcoming solo show in January, Gerhard Marx presents exquisitely detailed and artisanally worked surfaces in his new works, continuing his preoccupation with notions of mapping, place and nature, and Walter Oltmann shows a powerful new addition in aluminium wire to his series of insect suit sculptures.
Paintings by Moshekwa Langa, Lisa Brice and Clive van den Berg explore abstraction and gesture in different ways; all three have produced significant bodies of new works which were well received during 2011. Minnette Vari's uncanny brush and ink drawings of the goddess/crone Baubo sit in awkward dialogue with Kendell Geers' La Sainte Vierge.
This exhibition affords a fascinating look at the output of some of South Africa's major artists, and will also showcase from our Johannesburg spaces works not yet shown in Cape Town, including Kudzanai Chiurai's Revelations, a series of photographic tableaux exploring politics and power in Africa, new wood sculptures by Willem Boshoff, and a selection of drawings, linocut graphics and sculpture by William Kentridge.
Winter Show / Joburg / 2010
This winter the Goodman Gallery will relaunch its Parkwood space, which has been extensively reconsidered, both physically and conceptually. This launch will be initiated with a group exhibition simply titled Winter Show, featuring a range of luminary-status local and international artists. The show will not only present recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, but will also reveal a shift in the Gallery's approach, showcasing work from around the Continent and beyond that is both explicitly and implicitly concerned with synergies and tensions between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer and Hank Willis Thomas, are not only being showcased by the Goodman Gallery, but are now officially represented by us.
The Winter Show will act as a confluence of the Goodman Gallery's top represented artists, as well as artists participating in In Context – a series of exhibitions and interventions currently taking place at Arts on Main and other venues in Johannesburg. Artists such as Jenny Holzer, Amer, Willis Thomas, Bili Bidjocka, Willem Boshoff and Kara Walker will participate in both shows, with the Winter Show presenting some of their more recent work. While In Context manifests an intimate and often candid exploration of the dynamics of the African continent, the Winter Show will offer a broader conceptual platform, covering many aspects of South African, African and global landscapes and conditions.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, intricately considering the question of 'who has the right to represent whom?' Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. In Context magnifies these issues, while the Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include two of Walker's 2009 films – which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – presenting the artist's signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements. Jenny Holzer's Purple Red Curve (2005) transmits a coalescence of master narratives through a curved electronic LED sign. Jeremy Wafer will create a site-specific wall drawing in the Goodman Gallery specifically for the show. Kentridge will present a series of new drawings produced this year as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx. A large scale, steel version of this work will be launched at the Apartheid Museum on 8 July 2010 as part of In Context. The Winter Show will also feature an ongoing screening of all of the Goodman Gallery's top art films by leading artists such as Kentridge and Vári.
The Goodman Gallery in Parkwood has undergone numerous physical transformations and now boasts a new showroom and a space dedicated to photographic works. We are in the process of establishing an art library accessible to the visiting public and will offer a range of educational art talks and events during the Winter Show.
With Goodman Gallery firmly established as a prestigious, world-class contemporary art institution, the Winter Show will reveal how the Gallery – beyond representing artists of the highest caliber – is dedicated to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced locally and abroad.
The Marks We Make / 2010
Ryan Arenson | Walter Battiss | Deborah Bell | Justin Brett | Lisa Brice | Adam Broomberg & Oliver Chanarin | Adam Broomberg | Kudzanai Chiurai | Marlene Dumas | Claire Gavronsky | Robert Hodgins | William Kentridge | David Koloane | Moshekwa Langa | Alexandra Makhlouf | Brett Murray | Sam Nhlengethwa | Walter Oltmann | Jonah Sack | Kathryn Smith | Jaco Spies | Clive Van Den Berg | Diane Victor | Jeremy Wafer | Sue Williamson
For many artists, drawing forms part of a larger process – a loose way of visualizing an artwork before committing to it in a more permanent medium. But the act of drawing itself remains one of the oldest and most eloquent forms of artistic expression. Goodman Gallery Cape is proud to present a group exhibition of drawings entitled 'The Marks We Make', exploring notions of mark-making as assertions of ownership and expressions of violence, memory and play.
Drawing usually refers to pencil marks on paper. In this exhibition we approach the term more loosely, featuring a range of media to question what constitutes a drawing and what gives it power. Works will include photographs from the Red House series by Adam Broomberg and Oliver Chanarin, depicting the marks left behind by prisoners of Saddam Hussein in Iraq; wire and sculptural elements by Walter Oltmann and William Kentridge; installations by Jeremy Wafer, Jonah Sack and Justin Brett, as well as more traditional pencil, oil and charcoal drawings by Sue Williamson, Lisa Brice and Sam Nhlengethwa.
'The Marks We Make' brings together South African artists to explore the ways in which marks shape our environments and inform our perspectives. Bodies are circumscribed, silenced or marginalized by the invasive marks of violence. But these marks can also be used to express an identity, stake out a position or form communities. Territory is claimed, land contested, and ownership asserted through the use of marks, both physical and symbolic. The exhibition seeks to interrogate the ways in which these marks act to create the contingent, political spaces within which we form ourselves, and the role they play in shaping our personal and cultural memories.
Gerhard Marx (b. South Africa, 1976) develops his projects through an engagement with pre-existent conventions and practices. This process entails careful acts of dissection and rearrangement, which allow Marx to engage the poetic potential and philosophical assumptions of his chosen material, developing original drawing, sculptural and performative languages. Marx completed his undergraduate degree at the Michaelis School of Fine Art, UCT and received his MA (Fine Art) (Cum Laude) from Wits School of Art, Johannesburg.
Ecstatic Archive is Marx's sixth solo project with the Goodman Gallery. Marx's work is shown regularly at international art fairs, held in numerous public and private art collections and was included on the South African pavilion at the 2013 Venice Biennale. Marx has been involved in the making of numerous public sculptures, including The World On Its Hind Legs, a collaboration with William Kentridge (Beverley Hills, LA), Vertical Aerial: JHB, (the Old Ford, Constitution Hill, Johannesburg), The Fire Walker, in collaboration with William Kentridge (Queen Elizabeth Bridge, Johannesburg) and Paper Pigeon, in collaboration with Maja Marx (Pigeon Square, Johannesburg). In 2018 Marx participated in the third season at the Centre for the Less Good Idea with his project Vehicle, in collaboration with musicians Shane Cooper and Kyle Shepherd. Vehicle is scheduled to form part of the Holland Festival in June 2019.
He has extensive experience in theatre, as a scenographer, director, filmmaker and playmaker, including REwind: A Cantata for Voice, Tape and Testimony (directed by Marx, interactive film by Gerhard Marx and Maja Marx, composed by Philip Miller), performed at the Royal Festival Hall, Southbank, London (2010), the Market Theatre, Johannesburg (2008) and the 62'Centre, William College, Massachusetts (2007).
Marx is a fellow of the Sundance Film Institute, the Annenberg Fund and of the Ampersand Foundation.
Solo Exhibitions
2019 Ecstatic Archive, Goodman Gallery, Johannesburg, South Africa
2017 Transparent Territories, Goodman Gallery, Johannesburg, South Africa
2015 A Geometry of Echoes. Goodman Gallery, Cape Town, South Africa
2014 The Garden at Night. Colver Aardklop National Arts Festival, Potchefstroom, South Africa
2013 Lessons In Looking Down, Goodman Gallery, Johannesburg, South Africa
2011 The Viewing Room, Goodman Gallery, Johannesburg, South Africa
2010 Cumulus, Goodman Gallery Cape, Cape Town, South Africa
2007 photo-, Warren Siebrits Modern and Contemporary, Johannesburg, South Africa
2005 Gerhard Marx, Warren Siebrits Modern and Contemporary, Johannesburg, South Africa
2003 New Works, Outlet, Pretoria, South Africa
2000 Drawing and Animation, Open Window Gallery, Pretoria, South Africa
1999 You are here, Civic Gallery, Johannesburg, South Africa
Group Exhibitions
2018 Vechile in collaboration with Shane Cooper and Kyle Shepherd. Performed at 'The Centre for the Less Good Idea', Maboneng, Johannesburg as part of the Season 4 programme curated by Prof Jane Taylor.
2016 Where We Are, Goodman Gallery, Cape Town, South Africa
2016 New Revolutions: Goodman Gallery at 50 , Goodman Gallery, Johannesburg, South Africa
2015 Skelet, de armatuur van het lichaam in de hedendaagse beeldhoukunst, Museum Beelden aan Zee, The Hague, Netherlands
2014 Between Subject and Object, Michaelis Galleries UCT, Cape Town
2014 300 Years of Botanical Art, Standard Bank Gallery, Johannesburg
2014 Sitting to Selfie, Standard Bank Gallery, Johannesburg
2013 My Joburg, La Maison Rouge, Paris, France
2013 Imaginary Fact: Contemporary South African Art and the Archive , South African Pavilion, 55th la Biennale di Venezia, Venice, Italy
2011 The Underground, the Surface and the Edges, Michaelis Galleries, Cape Town, South Africa
2011 Life of Bone, Origins Centre, Johannesburg, South Africa
2006 Figuring Faith Curated by Fiona Rankin Smith, Standard Bank Art Gallery, Johannesburg, South Africa
2006 Figuring Faith, Grahamstown National Arts Festival, South Africa
2004 Ten Years of Democracy, Klein Karoo National Arts Festival, Oudsthoorn, South Africa
Teaching, Lectureships and Workshop
2004–2007 Lecturer, Wits School of Art, University of the Witwatersrand
2001–2003 Lecturer, School of Art, Pretoria Technikon (currently known as Tswane University of Technology)
Awards and Merits
Theatre Awards
2009 Naledi Award, Best Set Design (REwind; A Cantata for Voice, Tape and Testimony, directed by Gerhard Marx)
2008 Bravo Award; Most Memorable Moment, Aardklop National Arts Festival (They Say, written and directed by Gerhard Marx)
2005 Naledi Award, Best Set Design (The Tempest, directed by Malcolm Purkey)
2004 Naledi Award, Best Set Design (Tshepang, directed by Lara Foot Newton)
Academic Record and Residencies
2009 Cinema du Monde Pavillion fellow, Cannes Film Festival, by invitation of the French Institute.
2008 Sundance Institute Fellowship: Sundance Film Directors' Laboratory, Utah, USA
2008 Annenberg Film Fellowship 2008
2007 Sundance Institute Fellowship, Sundance Screen Writers' Laboratory, Utah, USA
2004 Ampersand Fellowship, New York
South African Foundation for Contemporary Art
Renee and Robert Drake Art Collection
Wits Art Museum
Johannesburg Art Gallery
Absa Bank
Sasol Art Collection
21C Collection, Kentucky
Spier Collection
Public Art
2017 The World on its Hind Legs, Beverley Hills, Los Angeles (in collaboration with William Kentridge)
2015 Vertical Aerial: Johannesburg, installed at the Old Fort, Constitution Hill, Johannesburg
2013 Vertical Aerial: Johannesburg, commissioned by Spier Architectural Arts for the Johannesburg Art Fair
2013 90 Grayston, facade of 90 Grayston building, Sandton, Johannesburg, with GLH Architects
2010 The World on its Hind Legs, Nedbank Campus, Sandton (in collaboration with William Kentridge)
2009 The Fire Walker, Queen Elizabeth Bridge, Johannesburg (in collaboration with William Kentridge)
2009 Paper Pigeon, Pigeon Square, Newtown, Johannesburg (in collaboration with Maja Marx)
Selected Articles and Reviews
2013 Brent Meersman, An Imperfect Past and Its Impact on the Present, Mail & Guardian, Johannesburg, South Africa
2013 Chris Thurman, Marx's Maps Connect the Sky to Subterranean in Unexpected Ways, Business Day Live, South Africa
2011 GavinYounge, Cumulus Review, Design Magazine, Number 19
2011 Leora Maltz-Leca, Cumulus, Artforum, South Africa
2011 Renee Holleman, Cumulus, Artthrob, South Africa
2011 Bettie Lambrecth
2015 Depths in Feet
2005 Gerhard Marx, catalogue (published by Warren Siebrits Modern and Contemporary Art)
Download CV
Press for Gerhard Marx
Gerhard Marx / IOL Tonight / South Africa / 17 September 2014Understanding the world through tactile art by Diane de Beer (56.8 KB)
Gerhard Marx / Business Day Live / South Africa / 12 December 2013Marx's Maps connect the sky to Subterranean in unexpected ways by Chris Thurman (418.7 KB)
South Africa's exhibition at the Venice Biennale / Mail & Guardian / Johannesburg / April 19-25 2013An imperfect past and its impact on the present by Brent Meersman (306.3 KB)
Gerhard Marx / Art South Africa / Johannesburg / January 2011Cumulus | Art South Africa (53.3 KB)
Gerhard Marx / Artforum.com / January 2011Cumulus | Artforum by Leora Maltz-Leca (121.6 KB)
Gerhard Marx / Artthrob / South Africa / February 2011Cumulus | Renee Holleman | ArtThrob (346.9 KB)
Gerhard Marx / Die Burger / South Africa / 27 January 2011Cumulus | Die Burger by Bettie Lambrecht (39.3 KB)
Gerhard Marx / Design Magazine / 19 June 2011Cumulus review by Gavin Younge (44 KB)


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Copper Coated Alampata Ganesha | PC 8505
The Remover of Obstacles sits quiet and contented in a solemn pose in this elegant statue....
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Elegant Copper Gopuram Hamered Kalasam | PC 18904
Kalasam when used in ceremonial welcoming functions, is called the poornakumbham. It is on...
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Exquisite Copper Ganesha Plate | PC 19074
Something as simple as a food plate, can become exquisite and exotic with the designs engr...
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Plain Copper Chombu | PC 19017
The chomb, used by traditional south Indians comes in various designs, sizes and even shap...
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Shiny Copper Polished Gopuram Kalasam | PC 18905
Kalasams used in Hindu prayer rituals signify an inverted pot, to accompany offerings made...
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Small Unique Plain Copper Chombu | PC 19019
Traditional south Indian households, have always used copper vessels in their kitchens. It...
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Traditional Copper Panchapatiram With Udrani | PC 18950
Pooja rituals in the Hindu culture have a number of mantras associated with water. This co...
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Unique And Colourful Brass Flower Urli Stand | PC 18968
Be it for a utility, or a prayer item or even a d ...
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Unique Copper Chombu Ashtalakshmi | PC 19016
A chomb is a traditional south Indian kitchen vessel, that is mainly used to drink from or...
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Unique Copper Padam Plate | PC 19075
Plates have been used in special pooja rituals and even while paying respect to elders. Th...
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Uniquely Shaped Plain Copper Chombu | PC 19018
This is yet another simple and plain copper chomb, that has a unique shape and design. Own...
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Showing 1 to 11 of 11 (1 Pages)

subset: commoncrawl


text:
Home | Contact
Palau Aggressor II Boat Report
Nov. 15-22, 2015
Capt/Photo Pro: Scott
2nd Capt.: Casey
Chef: Dan
Stewardess: Editha
Divemaster/Skiff Driver: Joe
Divemaster/Video Pro: Ernan
Engineer: Jun
Assistant Engineer: Shabush
After a late night arrival we welcomed a group of 14 guests from China. Due to this early late arrival time we got a later than usual start in regards to briefings and dive times. Come Monday morning we began our diving on the Helmet Wreck and made sure all guest became properly adjusted in regards to weights and all other dive equipment. This WWII sub-chaser is fairly shallow and since it is well within the lagoon there wasn't any current. During the dive the group observed the many depth charges, bow gun, sake bottles and lots of fish life. For our 2nd dive we ventured to Big Drop Off and had a great wall dive with lots of sea fans, colorful soft corals, bigeyed squirrel fish and soldierfish hiding in the nooks and crannies of the wall and squirreling fusiliers. The 3rd and final dive of the day was at German Channel which was highlighted by four feeding manta rays, two which had a wing span of over ten feet. In addition there we observed two large jacks feeding on a ball of fusiliers.
On Tuesday the 17th we began our diving at the usual time and started out at Blue Corner where we had a light current and the usual marinelife this site is famous for, such as grey and white tip sharks, napoleon wrasses, schooling pyramid butterfly fish feeding in the water column and a wide variety of other tropical fish. For the 2nd dive of the day we opted for Turtle Cove which had excellent conditions and sunlight. The group entered the cavern there from the top of the reef and exited between 70-80 feet. We then swam along the wall enjoying the abundance of soft corals and sea fans and spotted 3 turtles, one at a cleaning station. This wall is home to a great number of fish and there are plenty of under hangs and holes for them to hang out in. As the dive progressed the group ascended to the plateau and we saw schooling barracuda. Dive 3 was at New Dropoff and the current was mild and outgoing. Here we observed three sharks, several pairs of butterfly fish, a school of blue striped snappers and barracuda along with lots of colorful soft corals and sea fan. In the shallows we found a number of palenose triggerfish about to begin nesting. Dive 4 had us at Ngedbus Corner where we encountered a strong head current about 10 minutes into the dive. Based on that, we switched directions and dove with the wall to our left. This allowed us to float along the edge of the wall and see two turtles, many fusiliers, wrasses, butterfly fish and pristine corals, both hard and soft. Toward the end of the dive we came upon a passing marble sting ray which was close to 5 feet across. For the final dive of the day we did a night dive at Turtle Cove. As always, this is a very good night dive and extremely colorful. The tubastrea corals were in full bloom and made a beautiful backdrop to observe the many fish that were either sleeping or out hunting for the night. As the night dive progressed, we came upon a number of basket stars feeding in the mild current and a lot of shrimp poking their heads out of the many crevices found along this wall.
Wednesday was spent at Pelelliu Island where we did the first dive at Pelelliu Corner. This dive has all the makings of an action packed experience and today it did not disappoint. Highlights included over 50 sharks, 5 turtles, schools of humphead parrotfish spawning, jacks hunting, barracuda and many schooling fish squiring in the water column. It was the kind of dive that no matter where you looked you saw something of interest. West Wall was our 2nd dive on this day. Starting in the shallows the group swam along this steep wall and saw lots of schooling fish such as the black and yellow tail snappers, butterfly fish of various species and humphead parrot fish. This site is encrusted with yellow soft corals and made for a great wall dive. Dive 3 was at Orange Beach which is an expansive hard coral garden which has some of the largest table corals found anywhere in the pacific. It also has some WWII ammunition, a large anchor chain and other WWII artifacts. On our dive we had a mild current which had the group drifting amongst the large mounds of coral growth where we saw crocodile fish, 5 green sea turtles, schooling bigeye solderfish, one large humphead parrot fish and a five foot sting ray resting one of the few sand patches found here. Barricks Point is where we went for the 4th dive of the day. Highlights from that dive included several turtles, five grey reef sharks, three moray eels and one giant clam. After diner the majority of the group went to Ngmelis Wall for the night dive where they experienced a mild current that allowed them to gently drift along this very colorful wall and observe shrimps, crabs, sleeping parrot fish and several hunting jacks and other night feeders.
Thursday had us back at German Channel for the 1st dive of the day. The group dropped in just as the tide began to come in and had an excellent dive. Highlights included a sting ray, two sleeping turtles, schooling parrot fish and one large manta ray. Dive 2 was at Blue Corner. Though we had little to no current, the sharks were plentiful and the group hooked in at about 60 feet to also see schooling bigeye jacks, great barracuda, pyramid butterflyfish, feeding parrot fish and many other colorful reef fish swimming close by. Blue Holes was our 4th dive on this day and as always, it was an excellent dive that included a lot of variable marinelife. Highlights were three large napoleon wrasses, one pygmy seahorse on a sea fan, one disco clam in the cavern and dolphins playing around the skiff as the divers returned to the Palau Aggressor II. The next dive was at Barnums Wall where the soft corals are colorful and prolific. These make a great backdrop for the schooling snappers and squirrel fish. We also saw several turtles, white tip reef sharks, mating tritons triggerfish and a few lionfish.
For Friday we ran to Ulong Island and did our 1st dive at Ulong Channel. This is a "hook in" dive where we saw a good number of grey reef sharks patrolling the mouth of the channel along with barracuda and schooling jacks. After about 25 minutes we all unhooked and drifted down the channel where the marine life is quite prolific. Lots of species of tropical fish were observed along with two giant clams. Dive 2 was at Siaes Corner which is a sheer wall that has a plateau at around 60-70 feet. Here the group swam alon g the wall and saw several sharks, turtles and a large manta ray. We also observed colorful soft corals and sea fans along with active reef fish activity. Dive 3 was at Sandy Paradise which was more of small fish and critter dive. The first part of it was spent in a small area where we saw garden eels, 2 scorpion leaf fish, one octopus, a mantas shrimp and some shrimp on the sea cucumbers. The rest of the dive was spent drifting with the current amongst the pristine hard coral garden. Dive 4 had us at Ulong Coral Garden where the highlights included grey and white tip sharks, schooling jacks, big eyes squirrelfish, filter feeding tuna and humphead parrot fish.
For Saturday we got an early start to Jellyfish Lake and enjoyed the solitude of having the whole lake to ourselves and the millions of jellyfish who inhabit this unique habitat. The final dive was at Chandelier Cave which as always was a great way to wrap up a fabulous week of diving. We would like to thank all the guest from this week and hope to see you again soon.


text:
Cardinals wide receiver Larry Fitzgerald got to witness a lot of poor quarterback play in Arizona over the last few years, although the struggles of the guys throwing the ball never caused Fitzgerald to boil over the way we've seen from other wideouts in the past.
Fitzgerald's been honest about the experience of playing with those guys, though. He called the 2012 season the most frustrating of his career and admitted during an appearance on Sirius XM NFL Radio Tuesday that he's spent time thinking about what might have been with better quarterback play since Kurt Warner retired. He also told Booger McFarland and Ross Tucker that he thinks the Cardinals have solved the problem by acquiring Carson Palmer.
"Now we have a guy that's been proved, he threw for 4,000 yards in Oakland last year. He can make all the throws, he's capable of running this offense and us being able to compete in the NFC West," Fitzgerald said. "I'm fortunate to be in the position I'm in now. Now it's up to me to go out and make plays when I get the opportunities."
Fitzgerald and Palmer have spent a lot of time working together this offseason in hopes of making the transition as smooth as possible, although any offensive success will require better play from the offensive line to make sure they have time to hook up down the field. Should they get it, the Cardinals offense should be much improved in 2013 and that's a necessity for any hopes of contention in the NFC this season.


text:
The Australasian Law Teachers Association offer three Awards which are conferred at the ALTA Annual Conference.
In keeping with its mission to promote excellence in research, including the scholarship of teaching and learning, and to support early career academics, three annual awards are offered for for papers presented at the Annual Conference of the Australasian Law Teachers Association (ALTA).
Awards are presented in following categories:
Best Overall Conference Paper
Best Early Career Academic Conference Paper
Best Legal Education Conference Paper
Please see the Author Awards Criteria and the Submission Sheet for further information. The Selection Committee judge each paper on the following criteria:
Details on 2018 submissions will be published closer to the Conference.
Congratulations to the winners of the 2017 Best Conference Paper Awards. This year's winners were announced at the ALTA 2017 Conference hosted by the Victoria University of Wellington. Submissions were invited across three categories with each author taking home $500 in prize money. And the winners are:
Daniel Goldsworthy - 'Socrates and Smartphones: Why the future of legal education must be legal philosophy'
Well done to our winners! Thank you also to everyone who submitted a paper. Keep your eyes peeled for other opportunities to showcase your research on these pages.
Overall best conference paper
Best early career academic conference paper
Best legal education conference paper


text:
Anyways... I've been thinking about doing an "ask me anything" post (like Ginny & Fran did) where y'all ask me questions about anything and I'll answer (pretty self explanatory right? haha). What do y'all think? Would anyone even have any questions for me?
March 4, 2015
sweatshirt dress: cold winter vs. warm winter
Anyways... I've been thinking about doing an "ask me anything" post (like Ginny & Fran did) where y'all ask me questions about anything and I'll answer (pretty self explanatory right? haha). What do y'all think? Would anyone even have any questions for me?
10 comments:
That dress is gorgeous, and I love both of the ways you styled it! So versatile and comfy.ReplyDelete
Gosh, that dress is gorgeous both ways!! A perfect neutral for infinite outfit possibilities. I would totally ask you questions!! Those posts are so fun. I would do the same if people asked enough questions. It's fun to get to know bloggers a little more with random questions and topics you may not think to discuss otherwise.ReplyDelete
I love both of these looks! Yes, do an ask me anything post! I'd like to know your five closet staples, favorite accessory type (and why), I know you did the Disney job, but can't remember if you went to college...sorry, if so what for?ReplyDelete
I would ask some questions! And read your responses :) I'm curious how you decide what to pay full price for/not thrift. Also, how do you do your hair like the cold weather photos? My hair is nearing your length, and I'm wondering if you have a system. One last thing: I looove those boots. It's something about the gold zipper that just seals the deal for me.ReplyDelete
I also wore this dress yesterday. I bought it on clearance from Target for $12. It looks longer on me and I just hemmed it this weekend and hoping to get more wear out of it :)ReplyDelete
Very versatile basic dress. Here is how I wore mine
So so cute!! This dress is adorable on you in any season!! It looks great with that burgundy blazer!ReplyDelete
Sincerely, Sara
Love the dress, it is a great colour and it looks so versatile. I imagine the possibilities are endless.ReplyDelete
I love that grey color on you and that dress. I also love that you chose grey because it's is a nice neutral when black gets played out. I would love if you'd do an ask me anything section. I have a lot of questions to ask you, such as, "How do you find such great deals?"ReplyDelete
haha We definitely have the bipolar weather right now too. Last week we were in the negatives and next week we are going to be in the 50s. So crazy!ReplyDelete
What a great dress. I love the Winter combo with the patterns and layers!ReplyDelete
♥ perfectly Priya


text:
I wrote this Howto because I didn't found much documentation when I
tried to get my USB mouse and my Touchpad to work fine together with
XFree on my laptop (DELL Latitude C800). So I hope this page will help
you in case you meet the same problem :)
This Howto was written for the Debian Linux distribution, because packages management and dependencies is easy and commonplace through the APT command. It doesn't mean that the configuration won't work with another Linux distribution, since packages to install should be the same, but some configuration files may be located in another directories of your filesystem.
cd /usr/src/linuxCheck the following items are checked (* or M).
make menuconfig
|Device Drivers
|- <*> Support for USB
- <*> EHCI HCD or OHCI HCD or UHCI HCD (given the USB Bus of your computer, mine is UHCI HCD)
- <*> USB Human Interface Device (full HID) support
- [*] HID input layer support
|Input device support
| --- Mouse interface
- (1024) Horizontal screen resolution
- (768) Vertical screen resolution
- <M> Event interface
- [*] Mice
- <*> PS/2 mouse
make bzImageReconfigure /etc/lilo.conf if needed.
make modules modules_install
cp arch/i386/boot/bzImage /where_you_store_your_kernel/your_new_kernel
liloNext time you bootstrap, your USB mouse driver should be running.
....The first device is the primary device (corepointer), and the second one the alternate device (SendCoreEvents => true).
#PS2 mouse
Section "InputDevice"
Identifier "PS2 Mouse"
Driver "mouse"
Option "CorePointer"
Option "Device" "/dev/psaux"
Option "Protocol" "PS/2"
Option "Emulate3Buttons" "true"
Option "ZAxisMapping" "4 5"
#USB mouse
Section "InputDevice"
Identifier "USB Mouse"
Driver "mouse"
Option "SendCoreEvents" "true"
Option "Device" "/dev/input/mice"
Option "Protocol" "ImPS/2"
Option "Emulate3Buttons" "true"
Option "ZAxisMapping" "4 5"
Section "ServerLayout"
InputDevice "PS2 Mouse"
InputDevice "USB Mouse"


text:
CCTV checked after dispute at Sikh cultural centre:
Up to 200 people went in the building in Dudley on Saturday angry that meat and alcohol was being served, which they feel is against the religion.
It is understood they were there for five hours until managers agreed to ban the supply of meat and alcohol.
A man arrested on suspicion of violent disorder was released on police bail.
Police said "significant damage" was caused to the centre.


text:
I was just going to write a post about why I decided my life was heading in a terrible direction that I needed to fix, but instead I decided to make an easy html choose-your-own-adventure game. That way you can choose for me and see exactly why I needed to change. It needs to be downloaded, so I'll leave that trust-based decision up to you!
https://www.dropbox.com/s/c55rcirkxa0aut8/adventure.zip *This doesn't work right this second, I'm trying to fgix it!
It's very short, so the download is tiny and it won't take long to go through it. Plus it would be loads more interesting than explaining everything here where I get all wordy.
Did you do it? Was it cool? Or was it mostly just depressing? Either way I'm going to assume you went through it and be mildly hurt if you didn't!
As you can see I made some really shitty decisions every day about my health. This was a normal day too. Sometimes we would go to the park and play tennis or go see a movie, but everything is so spread out where we live it was so much easier and cost a lot less money to just stay home. That's also why we ate really crappy all the time.
We'd always get more food than we needed because making a trip to the grocery store meant a 25 minute drive. It wasn't something we could just do every day. Instead we would load up on things that could keep for at least a month, hopefully longer, and then not go shopping again for a month. Vegetables and fruit obviously don't keep for that long very well, so we never got any.
I was hungry every day at work and felt shitty going to bed and waking up. I gained about ten pounds over two years, which really isn't that much but is a lot more than I wanted to gain. I wanted to take control of things before it got too far, so I did.
I've stopped pop cold turkey. I knew this was the biggest problem I had. I hate water, so I knew not drinking the stuff was going to be pretty difficult. I loaded up on those Mio drink enhancers, as well as some made by Kool-aid, and it made things a lot easier. I also have a Sodamaker which gives me a constant supply of fizzy water. I like to mix it with 100% fruit juice and I can almost pretend pop never existed.
We've switched from entirely frozen dinners to no frozen dinners. I'm not sure how long we'll be able to eat only cooked food, considering how little time we have, but it's been going well for about a week now. We've also switched to organic groceries for most of our stuff. My mom, a nutritionist, suggested this to me. I decided why not. I like being ethical when I can, and supposedly the organic stuff is better for you anyways.
We've mostly been eating certain fish and a lot of rice for the past few days. We got some cherries and grapes and some of those frozen vegetables that we usually steam. We also got a recumbent bicycle that I've been using religiously. It's made me feel a lot better, and I'm starting to have an easier time falling asleep. I still toss and turn, and usually wake up a few times in the night, but the fatigue from the workouts is definitely helping.
Overall I've been feeling a lot better about myself, and I want to work even harder to feel even better. When I called my mom for some advice she asked why I wanted to go on a diet, and sounded a little worried when she did. I think she was worried I was having body issues and was trying to console me. While I wasn't having body issues at the time, I realized if I kept up my lifestyle it wouldn't be too long before I began to. Mostly I just wanted to stop stuffing my body with grease and sugar.
I'm currently not eating processed sweets or fried food of any kind, but I know that's not something I can keep up forever. You don't want to diet that you hate the entire time you're doing it then put on all the weight you lost as soon as it's over; you want a diet that you can do for the rest of your life. So I plan on allowing myself to eat sweets and pop in moderation after I see some good results, but maybe I'll like how I feel so much I won't want to eat any.
EDIT: I'm having some trouble with dropbox executing my HTML properly, so right now it doesn't work! Hopefully it doesn't take me as long as I think it's going to for me to fix it.


text:
Jenny's poem at Ladies4Golf Christmas game 2010
(held at Alresford in snowy and icy conditions!)
There was a young lady named Claire with passion she wanted to share
So she took out an ad saying "Girls don't be sad, Come on take up golf if you dare"
There came forward an intrepid bunch. Fed up of being ladies who lunch
They all bought some clubs, left their friends in the pubs and found golf was a truly great punch
With determined and infinite flair Claire nurtured her fledglings with care.
She took us to Spain More experience to gain.
And soon we were talking on Air. Ladies4Golf grew apace.
Claire set up new targets to chase.
She even asked men but then thought again - we had enough hazards to face!
More travels and weekends away. New venues and courses to play
With Claire as our guide We played golf with pride And that's why we'll all here today
And now with the temperatures freezing We thank Claire with very good reason For Friendships we've made
And the fun golf we've played. Here's to you Claire – have a great festive season.
Written by Jenny Little, Christmas 2010
If you're thinking of a new hobby for 2011 then come and try golf. Friendly golf lessons available - email Claire at email@example.com


text:
This Beautiful multi colored indoor/outdoor striped pillow in shades blue, turquoise, teal, and white. A great way to accent your outdoor space with a pop of color. It is fade resistant to direct sun exposure and stain / water resistant, perfect for your outdoor porch, patio, swing or couch, and indoors in sunny rooms
Fabric Designer - Sunbrella
Fabric Name - Dolce
Color Name - Oasis
Fabric Color - Colors include shades blue, turquoise, teal, and white
Brand new Handmade with Sunbrella Outdoor fabric decorative throw pillows stuffed with high quality polyester & sewn closed
Handmade with Sunbrella Outdoor fabric
Fabrics with large pattern repeats may vary compared to image shown.
Sizes measured seam to seam prior to stuffing
We take our pictures outside in natural sunlight to get the best representation of each color. Some colors may appear differently due to monitor resolution, dye lots, lighting and other factors out of our control.
These pillows are made to order and require 5 business days processing BEFORE they are shipped.
Sunbrella fabric meets and exceeds durability expectations with many remarkable features; 15,000 Double Rubs, UV resistant, mildew resistant, breathable and air-dries very quickly, fade resistant, stain resistant and has minimal shrinkage or stretching. Sunbrella is medium weight and perfect for toss pillows, chair pads, cushions, tabletop, tote bags, slipcovers and upholstery. To maintain the life of the fabric bring indoors when not in use. *Fabric Care; brush off loose dirt, wash with a mild soap and lukewarm water solution, rinse thoroughly, allow to air dry. *Spot Clean; blot the excess stain residue, mix mild soap and lukewarm water and remove the stain with a sponge or soft bristle brush. Be sure to rinse thoroughly to remove all soap residues and then allow the fabric to air-dry. Machine drying is not necessary. DO NOT dry clean Sunbrella fabrics
Sunbrella Dolce Oasis Horizontal Stripe Outdoor Lumbar Pillow
- Designer: Sunbrella
- Product Code: Sunbrella Dolce Oasis Lumbar Pillow
- Availability: Custom Made to Order
- $25.99
Available Options
Coordinating Pillows
Tags: sunbrella pilloq, sunbrella pillows, turquoise, pillow, teal pillow, blue pillow, outdoor pillow, stripe pillow