Kendell Geers’s new show is about security, violence and pornography. Matthew Krouse and Shaun de Waal ask him some tough questions
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/ 15 November 2002
It was the week the DaimlerChrysler Award came to town. One felt a sense of comfort in the continuity of it. But that’s the thing about corporate involvement in the arts in South Africa. Just when the public feels most secure in the positive face of private-sector promotion, the tide turns. Big companies change their funding strategies, initiatives are abandoned and accolades once bestowed upon artists in company names are rendered meaningless.
Artist Steven Cohen and partner Elu are known for their grotesque performances that confront everything from coprophilia to religious identity, write Robyn Sassen and Matthew Krouse.
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/ 14 November 2001
Despite media stirring, this year’s awards at Sun City ran without fault or controversy, writes Matthew Krouse.
Review: Surviving the Lens: Photographic Studies of South and East African People, 1870-1920 by Michael Stevenson and Michael Graham-Stewart (Fernwood)
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/ 27 September 2001
The patterns displayed by history – and the resonances of its symbols – are those we give to it, writes Matthew Krouse.
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/ 27 October 1995
Next month’s Second OutStanding South African Gay and Lesbian Film Festival will kick off with Bar Girls, directed by Lauran Hoffman, and Stonewall, directed by Nigel Finch, shown along with John Young’s Parallel Lives, winner of the 1995 award for best gay men’s film at both the San Francisco and Los Angeles Lesbian and Gay […]