The KANNAs, which annually rewards creative excellence at the Klein Karoo Nasionale Kunstefees, announced their 2017 winners at a ceremony held at Media24 in Cape Town on Monday, 15 May 2017.
Each winner of this year’s KANNA award received a trophy commissioned by artist Danélle Janse van Rensburg and a cash prize. A total prize money of R160,000 was awarded, sponsored by Media24, ATKV, NATi, Arts Unlimited, ABSA, Huisgenoot, SARIE, Castle Lager and Ton and Anet Vosloo.
Broeigrond is a multidisciplinary exhibition, inspired by the Karoo landscape, geology, infrared photographic process and cosmology. Broeigrond, which De Jager translates into ‘ground which is fertile for breeding’, was accepted on the main program as it spoke to the KKNK’s visual art curatorial theme, “Greed and Fear”.
Here De Jager envisages fertile landscape with an energy potential, at the cusp of its revelation; these serve as an incubator for our fear, greed, potential regrets and imagined future.
“When we think about regret, it lives in the past tense, but the subtitle Fertile Ground for Golden Regrets speaks to hoarding feelings of angst for the future” says De Jager. “But how do we predict the future? In our imaginations, so with this exhibition I begin to imagine a future.”
Beginning as a photographic process of experimentation, infrared photography serves to investigate the characteristics of the landscape and found flora. These flora represent the biota of a specific landscape, period and people. These are then re-interrogated in her studio as she translated these into the paintings and multimedia lightboxes, time-lapse films, orbs and copper electroplated flora encompassing Broeigrond. Through this experimental artistic process, De Jager fictionalizes the landscape, collapsing and expanding time.
Die Kannas, wat jaarliks kreatiewe uitnemendheid by die KKNK beloon, is Maandagaand (15 Mei) by Nasdak @ Media24 in Kaapstad oorhandig. Elke wenner het ’n Kanna-beeldjie deur Danélle Janse van Rensburg en ’n kontantprys ontvang. Totale prysgeld van R160,000 is uitgedeel, geborg deur Media24, die ATKV, NATi, Kunste Onbeperk, Absa, Huisgenoot, SARIE, Castle Lager en Ton en Anet Vosloo.
Mareli Stolp, voorsitter van dié jaar se Kannapaneel, het opgemerk dat een ding vir die paneel seker is: “Die kunste staan sterk in ons land. Oudtshoorn het oorgeloop van teater- en musiekproduksies uit die boonste rakke, voor volgepakte sale. Dit was ’n enorme voorreg om uitvoerende werk van sulke hoë gehalte te beleef en elke KKNK-deelnemer het ons dank en respek – met óf sonder prys. Baie geluk aan al die teatermakers,” sê Stolp.
Buite Land, ’n debuut uit die pen van Neil Coppen, is met twee Kannas bekroon: as beste debuutwerk en Kopano Maroga as beste manlike byspeler.
Drie nuwe Kannas is vanjaar ingestel. Buhle Ngaba se The Swang Song is die eerste wenner van die Kanna vir beste Uitkampteater-aanbieding, Retief Scholtz se komedie-drama Dop, het die Kanna vir beste nuutgeskrewe teks ontvang en die nie-verbale Uitkampteaterstuk vir kinders, In die woud, is met die Kanna vir beste kinderteater-aanbieding bekroon. Nóg ’n eerste vir die Kannas, is dat laasgenoemde kategorie deur kinders van verskillende ouderdomme beoordeel is.
Ngaba is verder bekroon as beste opkomende kunstenaar vir haar teks en spel in The Swan Song.
Gideon Lombard se spel in die eenman debuutdrama Die reuk van appels, het aan hom die Kanna vir beste akteur besorg. Dié produksie het ook ’n spesiale prys vir beste produksiebemarking ontvang, geborg deur die KKNK se bemarkingsvennoot, Lumico.
Sandra Prinsloo het die Kanna vir beste byspeler: vroulik ingepalm vir haar rol in Chris Barnard se Pa maak vir my ’n vlieër pa, onder regie van Albert Maritz.
Die hip-hop opelugmusiekproduksie, Rymklets van Oos tot Wes, is aangewys as beste musiekproduksie en Ronél de Jager se visuele kunsuitstalling Broeigrond: Fertile Ground for Golden Regrets is met die Kanna vir beste visuele kunsuitstalling huis toe.
Debuutproduksies het vanjaar die voortou geneem met benoemings vir die KKNK se Kannas vir 2017.
Reza de Wet se Asem en Tertius Kapp se Liewer is elk ses keer benoem.
Liewer is ’n aanspraakmaker in die kategorieë beste teateraanbieding, debuutwerk, nuutgeskrewe teks (Kapp) en regie (Jaco Bouwer). Anna-Mart van der Merwe en Tarryn Wyngaard is ook onderskeidelik benoem as beste aktrise vir hul spel in Liewer.
Asem is benoem vir beste teateraanbieding, debuutwerk en regie (Marthinus Basson), met Antoinette Kellermann as beste aktrise Edwin van der Walt en Tinarie van Wyk Loots onderskeidelik as beste manlike en vroulike byspeler.
Kort op hul hakke is skrywerregisseur Neil Coppen se Buite Land en Retief Scholtz se Dop, wat elk in vyf kategorieë benoem is. Buiten vir beste teateraanbieding en debuutwerk kom Buite Land ook in aanmerking vir nuutgeskrewe teks (Coppen) en beste manlike en vroulike byspeler (onderskeidelik Kopano Maroga en Elize Cawood). Dop is benoem vir beste teateraanbieding, nuutgeskrewe teks (Scholtz), regie (Sylvaine Strike), akteur (André Odendaal) en manlike byspeler (Wilhelm van der Walt).
Twee debuutkomedies, die vertaalde Die koninkryk van die diere en Klara Maas se hart is gebreek, ensomeer: Die vloeistof-trilogie, het duidelik die lagspiere behoorlik gekielie deur elk erken te word met vier benoemings, insluitend beste debuutwerk. (Wessel Pretorius se “kort” Klara Maas het verlede jaar as Uitkampteaterstuk ’n Kanna as debuutwerk gewen.)
Basson het met Die koninkryk van die diere sy slag as komedieregisseur gewys, terwyl Dawid Minnaar en Joanie Combrinck vir hul onderskeie rolle as die maraboe en die muskeljaatkat as manlike en vroulike byspeler benoem is. Klara Maas het ook vir Pretorius ’n benoeming vir beste nuutgeskrewe teks én akteur en vir David Viviers as beste manlike byspeler in die sak gebring...
I'm incredibly excited to invite you to my second solo exhibition Broeigrond: Fertile Ground for Golden Regrets. The exhibition process has taken me on an incredible journey, exploring marvellous new mediums and processes.
It is my hopes that this exhibition will travel to Johannesburg in late 2017 with further dates and details to be confirmed.
Follow the exhibition progress at #broeigrond @roneldejagerart @kknk2017
We're at the end of yet another year, 2016 that is, and it has certainly taught me to filter out the noise around and with this quietening and stillness I realised that I too have become quiet in my interactions with all of you.
Now that I ponder on the year which has passed I realised 2016 held quite an important message for me which I would like to share with you: It is liberating to drop the fantasy of there being a more perfect world, somehow, somewhere, and instead accept that we need to engage with the world as it is. It is our world, it is messy, but it is fertile ground for awakening...
‘Ek probeer oomblikke van stilte, van beweging, oorgang en verandering in my skilderye registreer’
Hoewel Ronél de Jager haar nie tot een medium laat beperk nie – sy werk ook gemaklik in installasiekuns, fotografie en video – is dit haar skilderwerk wat fassineer, juis vanweë haar multidissiplinêre benadering tot skilder.
Soos wat camera obscura, later stilfotografie en nog later die rolprentkamera ’n onuitwisbare invloed op skilderwerk gehad het, so raak ’n mens die afgelope paar dekades van die invloed van video en digitale media bewus. Afgesien van die bewegende beeld is dit die vermoë om te kan “pause” eerder as om te “stop”, om te kan “fast forward” en bowenal om in stadige beweging pieksel vir pieksel te kan betrag, wat in skilderwerk neerslag vind.
De Jager benut dié tegniese moontlikhede in haar skilderye, maar benader skilder boonop met die oog en hart van ’n installasiekunstenaar.
In 2014 en 2015 het sy met drie uitstallings, of eerder een uitstalling met drie manifestasies, bewys gelewer van dié vernuf waaroor sy beskik. In A.M. (After Midnight), Prelude, die eerste van die drie, het De Jager in Room, ’n klein galery in Braamfontein, 14 klein skilderye vertoon tesame met lig- en video-projeksies bo-op en bo-oor die skilderye.
Geheel verdonker en met ’n klankbaan van murmelende klaviermusiek het sy die kyker se aandag op die beelde teen die oorkantste muur gedwing. Die onderwerpe van die skilderytjies wissel van ’n skerf pomelo, ’n kerktoring en ’n opwaartse blik op ’n plafon met ’n dakwaaier (Staring at the Ceiling, Again) na bowenal skadu’s teen ’n muur. Bo-op dié gestolde skadu’s het sy ’n video met bewegende skadu’s, in dieselfde tint en tonaliteit, geprojekteer.
In die tweede aflewering, A.M. (Interlude), wat sy ook in 2014 op die Turbine Art Fair in Johannesburg vertoon het, het De Jager haar kykers se blik weer bepaal deur hulle na ’n spiraal-projeksie van skadu’s teen die plafon te laat opkyk. Dis duidelik dat sy nie net “wys” nie, maar ook aanduidings gee oor hoe ’n mens moet kyk. Wat jy gou besef, is wat belangrik vir haar siening van kuns is.
Article by Adriaan Roets, The Citizen, 5 May 2016
The Absa Art Gallery is a bit of an anomaly. It’s not he first gallery to take advantage of its prime positioning in the heart of Johannesburg to pioneer art yet it has been consistent in bringing booming voices from established and up-and-coming artists to the city.
It's easy to claim that the financial banking of Absa and the gallery's prime position in the Barclay’s Towers in Marshalltown helps entice the art community to show up here. But the gallery doesn't follow the same principles as other galleries. It is only open during business hours from Monday to Friday, so it doesn’t rely on the Arts on Main crowd on weekends for support.
It’s the quintessential home of the Barclays L’Atelier competition, one of Africa’s most prestigious art competitions. It gives young visual artists between the age of 21 and 35 an opportunity to develop their talents abroad.
That dedication is the reason the gallery has an important role in the art world – and its latest exhibition again brings together visual artists countrywide to the city.
Art Lovers who couldn’t make it to this year’s KKNK festival in Oudsthoorn can catch some of the best art from the festival. Empty Space An Overview of KKNK 2016, opens on Sunday. The exhibition features work from Absa Gallery’s 2016 KKNK exhibition and pieces from other KKNK curated exhibitions.
The theme for the visual arts at KKNK 2016 was Blank Spaces: the poetry of the unfinished or the beginning of the new. “The design brief explored the idea of blank spaces: the we embrace the concept that there is more space than can be seen; that there are void spaces; or, as it were, that there is a vaster horizon,” says Stephan Erasmus, curator of the Absa Gallery’s Empty Spaces exhibit. “The brief also embraced the idea of opportunities created through these spaces. Blank spaces allow for the new; fresh start.”
'Finding the black hole' featured in the April/May Issue 2016
Elle Decoration is the world's best selling homes magazine and they decided to include the work "Finding the black hole. 2015. Oil on board, 42 x 63 cm" in the Inspiration section since scientists has recently discovered evidence of black holes in the atmosphere.
"How do you identify artists who are going to make it big, before their works become unaffordable?
No matter how expertly you approach this subject, attempting to read the future remains guesswork at best.
Many promising young artists, with all the characteristics of star performers, have quietly fallen. And others have dominated the world of art to such an extent that their works became unaffordable from day one.
The best answer to this question is probably: with great circumspection and a touch of emotion. This mixture gives you no guarantees, but it could kick-start your collection.
Maybe buying art is not all that different from buying a car. You know what you like before you begin making sums and comparing models. You inevitably read up on design and performance, you invariably visit dealerships on a number of occasions.
The 30th edition of the prestigious Barclays L’Atelier art competition was launched by an elaborately staged ruse at Strauss & Co. Fine Art Auctions where Stephan Welz and a team of ‘professionals’ portended to unveil the future of fine art: an automated art-making machine. The reaction amongst the art media crowd slowly changed from amazement to disbelief and then to down-right hostility at the prospects that this idea posed, before the campaign for this year’s L’Atelier was unveiled: Art doesn’t need technology to survive. Art needs people. Art needs artists. Art Needs You.
“The campaign reminds us how fundamentally important being human is to art,” says Dr. Paul Bayliss, Absa Art and Museum Curator. “Yes, machines can do almost everything, but the creative process relies on something that can never be replicated by technology: being human. Art is emotive, it is intuitive and its soul is intrinsically connected to the soul of its human creator. The L’Atelier art competition campaign this year is themed ‘Art Needs You’. We hope that this message will resonate with young visual artists who are passionate about their role in creating evocative works of art.”
Review by Chris Thurman, Business Day, 12 February
Ronel de Jager’s After Midnight series explores the play of light and shadow in a thought-provoking multimedia exhibition, writes Chris Thurman.
"...One of the common symptoms used to diagnose autism in children is "a preoccupation with unusual things, for example being fascinated with patterns of light or shadow". This fascination, it occurred to me while walking through Ronel de Jager’s A.M. (After Midnight), should not be denigrated as unhealthy but should be celebrated as a source of creativity and contemplation.
De Jager’s exhibition (Lizamore & Associates, 155 Jan Smuts Avenue, until February 28) is the third in a three-part series through which she has experimented with different combinations of light and shade in paintings on canvas, video installation and prints: the branches of trees waving against a half-lit sky, stretches of water shimmering and fading into the dark silhouette of land, morning skies that are by turns grey and opaque or white and translucent..."
Lizamore & Associates presents their first exhibition for 2015, A.M. (After Midnight) by Ronél de Jager on Thursday 5 February 2015. A.M. (After Midnight) is the final exhibition in a three-part debut solo project for De Jager.
This ongoing exhibition consisted of A Prelude, exhibited at Room Gallery & Projects in June 2014, An Interlude, exhibited at the Turbine Art Fair 2014 and A.M. (After Midnight). Artist and art writer, Karin Preller, will open the exhibition.
This three-fold project explores the transformative power inherent in the constant, shifting presence of cast shadows and filtered light. Across this evolving body of work, the recording and capturing of light acts as a register of moments of silence, movement, flux, transition and metamorphosis.
As the works develop over time and across location, images might trigger recollections of the experiences, images and spaces gone before. In this way, De Jager’s artworks, like the traces of light from which they evolve, become fragments of a greater whole – chance encounters that either resonate and linger, or are seen and forgotten.
The Cape Town Art Fair was a parade of fine art, abstract art, art literature, street art, sculptures and installations. This well organised and excellently curated art fair allowed visitors to experience works from Harare, Lagos, Nairobi, Budapest, Johannesburg, Millan and a flurry more including a stand representing the local art students at Michaelis School of Fine Art.
Art allows you an unfiltered and poignant view into another person’s mind.
The Cape Town Art Fair brought together some of the most talented & interesting minds in the world. Their thoughts and views as versatile as their mediums, causing every turn to lead to an unexpected feeling or a trip into an unimagined world.
DEKAT-TV word aangebied en vervaardig deur dieselfde span wat vir DEKAT-tydskrif se voortreflike gehalte verantwoordelik is – ’n handelsnaam wat al 29 jaar lank met uitnemendheid vereenselwig word. Elzilda Becker, uitgewer van DEKAT-tydskrif, is die uitvoerende vervaardiger en Melanie Tait, eindredakteur van DEKAT-tydskrif, die vervaardiger.
Wees deel van ons reise, kuns kyk, tafels dek, kos maak en wyn proe saam met kenners. Met Chris Chameleon as ankeraanbieder en veldaanbieders: Gerard Scholtz, Aleit Swanepoel, Greta Pietersen, Chantel Dartnall, Rolanda Marais en Jacques du Preez. Elzilda Becker, uitgewer van DEKAT-tydskrif, is die uitvoerende vervaardiger en Melanie Tait, eindredakteur van DEKAT-tydskrif, die vervaardiger.
Kom kuier saam – Sondae, 18:30 op kykNET.
Herhalings: Maandae om 13:30, Dinsdae om 09:30, Woensdae om 11:30 en 01:30, Donderdae om 16:30.
Halfway through 2014 - and with two of the three stages of A.M After Midnight successfully completed - I pause to look back on the past few breathtaking (and sometimes heart stopping) months, look forward to what is to come and acknowledge the people who continue to support and assist me in my endeavours, both personal and artistic. There is hardly a difference between the two!
Ronél de Jager is a visual artist who experiences life through what the eye sees and words cannot express, crossing the mediums of painting, video and public art.
Of her inspiration she says: “I knew the creative path was not going to be an easy one, and I learned to avoid people who did not understand or appreciate my true self. The despondency experienced in many of my interactions with others has been one of the driving forces behind my creative dedication.” We find out more…
An Interlude is the second installment of Ronel de Jager’s three-part debut solo exhibition After Midnight and unfolds in the darkened basement of Turbine Hall.
By means of a specialised rotating camera mount (created in collaboration with cinematographer Thomas Pretorius), a video projection, capturing the circular motion of a ‘sky view scene’, is projected onto a layer of luminous material overhead. A soft echoing soundtrack enhances a simultaneous sense of immersion and isolation, as the viewer is drawn upward toward an endless sky.
Developing over time and across locations, each installment of After Midnight unveils elements that recalls and resonates with previous exhibition/s. An interlude follows on the sense of transience, movement and flux evoked in A Prelude, becoming a ‘pause moment’ for reflection, solitude and silence; both exhibitions culminating in the final episode scheduled for February 2015.
Review by Chris Thurman, Business Day, 19 June 2014
"...This artistic device — this trick of light and shade — was on my mind as I walked to see Ronél de Jager’s After Midnight: A Prelude (at ROOM Gallery in Braamfontein until July 5). De Jager’s exhibition, the first in a series of three, is billed as "part of an ongoing project exploring the transformative power inherent in the constant, shifting presence of cast shadows and filtered light". But what a difference in the exercise of that power.
If the SAB advert is a manifestation of the disingenuous and the callous, of the largely meaningless noise of consumerism, De Jager’s work is exactly the opposite.
Visitors are encouraged — indeed, instructed — to sit in a darkened room, to pause and reflect as a series of panels light up on the wall. The cadence of their appearance, slow and then rapid and then slow again, matches the rhythm of a delicate piano piece (composed as accompaniment by Marelize Koch)."
Review by Genevieve Veira, Saturday Citizen, 28 June 2014
The world passes us by in an instant, with little time to experience a moment and recognise the many emotions that leaves their impressions on us.
Inspired by the memory of her late brother, artist Ronél de Jager captures a personal moment of silence in a series of ongoing projects titled "A.M."- (After Midnight). De Jager's approach is captivating giving her work the edge over many more traditional projects in the same genre.
Visitors are instructed to sit on a bench in a darkend room as several painted canvases light up one after the other. Each image is accentuated with the matching rhythm of a beautiful piano piece (composed in collaboration with Marelize Koch). The light gives attention to each moment separately, creating beautiful flashes of scenes ranging from the corridors of a hospital ward to the movement of leaves blowing in the wind. These are brought to life with multi-media video footage that overlays the frames. The contrasting media used play a fundamental role in the narrative, capturing the elusiveness of our experiences and our memory thereof.
Part two of this exhibition will be mounted at the Turbine Hall in Newtown from July 17-20, with part three arriving at Lizamore & Associates gallery in Parkwood in 2015.
Article by Khanyisile Ngcobo, Joburg City Buzz, June 2014
Inspired by the memory of her late brother, Ronél de Jager’s solo exhibition is set to enthral at Room Gallery. The exhibition, titled After Midnight, will open on 5 June and run until 6 July, and brings the concept of ‘shadows’ to life using technology and art.
De Jager explained that the concept of exploring ‘shadows’ came in the wake of her late brother’s illness, when she started observing the shadows on her bedroom walls.
“The reflection of light through windows and trees has always been a kind of gateway of wonder for me,” she explained.
She added that what began as experimentation with shadows, evolved into a greater awareness of the subject with the end-result being her capturing and translating this into painted images.
RSG RADIO INTERVIEW: A PRELUDE
Listen to the podcast of the interview with Christelle Webb-Joubert from RSG KUNS where De Jager speaks about her personal experience and meaning behind the A.M. (After Midnight): A Prelude exhibition. This exhibition is on until 5 July 2014 at ROOM Gallery in Braamfontein, Johannesburg.
The interview was recorded for the Afrikaans Radio station "Radio Sonder Grense" (RSG) and broadcast in the Afrikaans language.
After much anticipation, Ronél gets ready to reveal what she's been working on since 2012.
After Midnight, forms part of her larger ongoing project exploring the transformative power inherent in the constant, shifting presence of cast shadows and filtered light.
This multi-media, multi-spatial exhibition unfolds in three parts, spanning a series of divergent spaces. As each new element of the project is unveiled, its previous incarnations exist in memory.
De Jager’s practice utilizes diverse mediums ranging from Painting, Video and Multi media installations, to depict her perspective on light, shadows, movement, time and the nature of the transcendental, ephemeral and intangible. The mediums and contexts in which the work is displayed play a fundamental role in the narrative thus echoing her aim to capture an ever-evolving moment and/slice of time
As we chased around town to find the last 500 murky coloured African prayer beads, a team of 8 are back at Usha Seejarim’s studio preparing 180 stings of 2 metres long. The 2m x 2m work was completed within 4 long days in July earlier this year. We were told that the work needed to be completed urgently as it was commissioned by an “important corporate” for Mandela Day and suspiciously around the same time when Mandela’s health was “critical but stable”.
Attention to detail was imperative, as one wrong sized bead could through the whole picture out of place. It was a spirited time as the African radio stations entertained us while beading the intricate work. But only when we assembled all the beaded strings next to each other, could we embrace the outcome of Madiba’s generous smile. Even though I didn’t know the significant importance of this work back then, I can proudly say that I’m part of Madiba’s legacy of bringing South Africans together.
'NEW VOICES II' Curated by De Jager
An exhibition of aspiring artists exploring the fleeting encounters of their creativity, fragility of life and the inexorable movement of time.
Artists participating are: Steven Bosch, Heidi Fourie, Rebecca Haysom, Claire Jorgensen, Vivien Kohler, Nina Liebenberg, Isabel Mertz, Tshepo Mosopa, Ross Passmoor & Talita Swarts.