Blomqvist / Kunsthandel / Samtid & Moderne / Jantjes, Gavin - A South African Colouring Book 1974/75

Objektnummer: 43374-1
Katalognummer: 28
Avsluttet 19.03.2019

Gavin Jantjes

Cape Town 1948

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English description


"A South African Colouring Book" 1974/75

Serigrafi og mixed media, 60 x 45 cm, 17/20 + 3 AP
11 signerte ark med omslagsmappe

Gavin Jantjes studerte kunst i Cape Town til 1969, og flyttet til Hamburg i 1970 hvor han fortsatte kunststudiene. I 1973 fikk han politisk asyl i Tyskland, og ble en ledende figur i kampen mot apartheid regimet. "A South African Colouring Book" er laget som en fargeleggingsbok for barn hvor hvert blad har en tittel som på en sarkastisk måte alluderer til undertrykkelsen og rasismen under apartheid. Bildene ble raskt sensurert i Sør-Afrika og Jantjes måtte forbli i eksil. Han jobbet for FNs høykommissær for flyktninger, og i forskjellige kunst-institusjoner i England, før han i 1998 ble kunstnerisk leder på Henie Onstad Kunstsenter. Ved Nasjonalmuseet har han jobbet med internasjonal samtidskunst, nå arbeider han som kunstner og bytter på å bo i Cape Town og England.

UTSTILT (Utvalg)
London, ICA, 1976; Henie Onstad Kunstsenter, 1976; Kassel, Documenta 6: 1977;Stockholm, Kulturhuset, 1978; Gøteborg Museum, 1978; Berlin, Kunstnerhaus Bethanien, 1979; Paris, Fondation Nationale des Arts Graphiques et Plastiques, 1983; Konsthall Lund, 1983; New York City, New York, United Nations Headquarters, 1987; London, Hayward Gallery, 1991; Cape Town, Houses of Parliament, Inauguration of First Democratic government, 1994; Berlin, Martin Gropius-Bau, 2001; New York, PS1 Contemporary Art Centre MOMA, 2002; Washington DC, Washington, Smithsonian Museum of African Art, 2007; Cape Town, South African National Gallery, 2009; Oslo, The Nobel Peace Center, 2009; Barcelona, Museu Picasso, 2012; New York, Centre for Photography, 2013; Stockholm, Bonniers Konsthall, Images of War, 2017; London, South London Gallery, 2017; London, Camberwell School of Art, 2018
Gavin Jantjes, Maria Pissarra (eds.), Visual Century: South African Art in Context 1907-2007, Johannesburg, 2010; Carlos Capelan, Gavin Jantjes, The Complexities of Exile - Self-Marginalisation, Exclusion & Inclusion, Art Africa, 30 June 2017, illustrated in colour; Allison Young, Visualising Apartheid abroad: Gavin Jantjes's Screenprints of the 1970s, Art Journal, Winter 2017, illustrated in colour p. 15.
"When I began my studies at the Hamburg Art Academy in West Germany, in 1970, I was amazed to discover that my fellow German students, who were politically active in the anti-Vietnam war protests, knew little about South Africa and apartheid. South Africa’s apartheid government was given free rein to propagate its rule as a benevolent system of control on the influence of Communism. In West German popular consciousness, apartheid South Africa was a friend and business partner.
In the German media there was little sympathy for the self-determination of African people and most mainland European broadcasters presented very few facts about what apartheid meant to the majority of South Africans. When curious young Europeans asked about my home, I often recognised the same ignorance about apartheid in their questions, as the white South Africans, who had not made that daring step across the dividing line into a black South African township. The issues of race and identity within national cultures as postulated by W.E.B. Du Bois and Franz Fanon had not yet penetrated the almost impervious rhetoric of the Marxists, Marxist-Leninist and Maoist student groups of the day, not to mention the conservatives.
Against this background I decided to follow Bertold Brecht’s idea of art as an instrument of political struggle and make a work that could be understood as a tool for knowledge about South African apartheid politics. I also wanted to make this work using the new and popular technologies of photographic silkscreen printing invented for mass production. Most importantly it allowed photographic images to be integrated into a work of art. Photography in those days represented the real. It was seen as indisputable fact.
My research for 'A South African Colouring Book' took me to the offices of the African National Congress (ANC) and the International Defence and Aid Fund (IDAF) in London. Their archives provided some visual and textual material. Many photographs came from Er

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400 000 - 600 000 NOK
42 372 - 63 558 EUR
36 778 - 55 166 GBP
47 344 - 71 016 USD

Tilslag 250000


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