Saturday, December 18

‘If money were no object, which one would you choose?’ Blank project director Jonathan Garnham and I were walking around Dorothee Kreutzveldt’s opening of “The Imminent Inauguration of the Fifth Corner’. Kreutzveldt’s edgy brushwork reflects the fast changing often makeshift street landscape of downtown Johannesburg. ‘Hard to choose’, I respond. ‘And it’s not just a question of money. It’s wall space.’ ‘I sometimes think I should buy an old house in the Karoo with big rooms just to hang work I like’, says Jonathan.

Dorothee Kreutzveldt’s painting Two Men on a Bench photographed in downtown Johannesburg

For such a pleasurable imagined house – and for those who do have real available wall space - there was lots to choose from on the shows opening in the last two weeks. At Joao Ferreira’s, Kate Gottgens’ “merry hell and the dreambody’ presented family photos reworked into haunting paintings of a somewhat fearful childhood world.

Kate Gottgens and Andrew Putter at Joao Ferreira

The end of year graduate show at Michaelis looked better than ever – clearly, the appointment of a full time curator for the Michaelis Gallery, Nadja Daehnke, has added to the highly professional look of the show, which snakes through the entire complex. And the students themselves raised R200 000 to pay for their catalogue. Jared Ginsburg walked away with the Michaelis prize.

On the Michaelis show: Rose Kotze Staying at a Friend (Club Bliss, Claremont) | 2010 (detail)

And finally, ‘Category Error’ opened at the AVA on Monday night, an invigorating group show with artists Josie Grindrod, Joanne Block, Lynne Lomofsky, Mandy Darling, Jane Solomon, Leora Lewis, Jann Cheifitz and Philip Miller, with an exhibition of prints upstairs from Warren Editions. Large scale monoprints included work from Michael Taylor Sanell Aggenbach and Georgina Gratrix.

Thursday, December 2, 2010

You know Christmas is coming in Cape Town when cartoonist Jonathan Shapiro aka Zapiro launches his annual collection of hit-them-where-it-hurts-most cartoons. ‘Them’ being South Africa’s politicians, who continue to supply Zapiro with a never ending source of outrageous material. A New York academic told me recently that no American cartoonist would ever dare to pen a cartoon in which the president was unbuckling his pants to rape a supine Justice, but Zapiro did just that in September 2008. And shrugged off the multi million rand defamation suit Jacob Zuma brought against him.

Zapiro’s controversial Mail & Guardian cartoon

This year’s collected cartoon book, published by Jacana Media, is called Do You Know Who I Am? And if you don’t know who is saying that, you’d better buy the book.

Over the last decade, the cartoon characters have also evolved into puppets, stars of a satirical news programme featuring such well known characters as Julius Malema, Zuma, Nelson Mandela, Archbishop Tutu and Helen Zille, The programme is called zanews. It’s hilarious. But don’t look for it on SABC. They refuse to screen it. You can view it only on the internet at www.zanews.co.za. Or on DVD -– a great idea in a country where the internet is so slow.

Jacob Zuma and Helen Zille on zanews.co.za

In his speech , Shapiro told the story of his nervousness at whether Tutu would like the puppet of himself, with his hooked nose and jutting chin greatly exaggerated. He needn’t have worried. Recently, Tutu phoned Shapiro to ask if the puppet could stand in for him at an event he was invited to, but could not attend.

Nelson Mandela, Archbishop Tutu and Jonathan Shapiro

Monday, November 21, 2010

I am always surprised when traveling to discover how many international art world people are aware of ArtThrob, but I didn’t know we were exhibiting internationally as an entity as well. In a corner of London recently, writer Sean O’Toole came across the work below and emailed me a pic.

Spotted on a London exhibition

Never one to back off from tackling the politically incorrect, Brett Murray opened his most recent show, ‘Hail to the Thief’ at the Goodman Cape on Saturday. Apparently a leading parliamentarian expressed his extreme displeasure early in the day at Murray’s very direct punches to the jugular. Words like ‘right wing’ and ‘conservative’ were bandied about.

Brett Murray Cash is King, 2010 Silkscreen 100 x 70cm

The enormous crests and insignia which are part of the show are gorgeous by any reckoning, and are hand cut from steel, their intricate foliage covered with gold and silver leaf.

Goodman Gallery director Liza Essers.

Many of the works depend upon their titles to deliver the coup de grace, A perspex and silver leaf drawing of two men on a podium, one grasping a dollar sign, and gazing soulfully upwards is entitled Hold my hand, I’m a stranger in paradise. As one of Murray’s text works promises, there is NEVER A DULL MOMENT.

Clare van Zyl, Brett Murray and Warrick Sony at the opening.

Thursday, November 11, 2010

Excluded during his lifetime from the walls of the South African National Gallery, Vladimir Tretchikoff’s work (he died in 2006 at the age of 92) will receive a full scale retrospective early next year. Cleverly billing the planned show, ‘Tretchikoff: The People’s Painter’ (to sidestep the nickname the artist hated, ‘the king of kitsch’), curator Andrew Lamprecht and SANG director Riason Naidoo launched a fundraising initiative for the show at an event at the Old Townhouse last Thursday. Would-be donors are asked to pledge R50 000 to bring home from the USA Tretchi’s The Chinese Girl, and so on, in a descending range of donations down to the, dare we call them, poinsettia potboilers.

Tretchikoff’s The Chinese Girl

On Saturday, US, the Simon Njami/Bettina Malcomess curated show finished its run at the SANG with an energetic programme of talks and performances. On a screen next to the panelists, messages sent by Bridget Baker from London instructed the audience to nod its head, three times, and repeat the action four times, and a bit later, to turn round and face the artworks. If the audience hardly reacted to these instructions, it could have been that the discussion from panelists Lamprecht, Njami, Malcomess and Jay Pather was so riveting we couldn’t take our eyes from their faces. Or perhaps audiences just don’t like sing along style instructions. But nice idea, Bridget. Donna Kukama had more success with her audience with her furious referee style performance in the quad.

Donna Kukama referees her art audience at the SANG

Marlene Dumas was in Stellenbosch this week for the opening of ‘Mother Nature’ at the Sasol Art Museum, exuding her usual wonderfully warm and earthy vibe. Dinner afterwards was at Lafayette.

Marlene Dumas and Penny Siopis after the opening of ‘Mother Nature’

Wednesday, November 3, 2010

I had an amazing week last week, finally going somewhere I have wanted to go for ages: up to Mpumulanga to spend a week in the White River studio of The Artist’s Press, under the direction of Mark Attwood. The setting is gorgeous, and totally different from Cape Town: a ridiculously lush subtropical garden filled with birds like lilac breasted rollers and paradise flycatchers.

Tamar Mason, Sheila Flynn, Mark Attwood, Colbert Mashile, Fred Clark and Josie Grindrod round the lunch table at The Artist’s Press

In the spacious studio. there are three Tamarind master printers on hand – Mark himself and Leshoko and Syneth - to facilitate the messy business of printing. Mark runs monoprint workshops from time to time, limited to five or six artists, and this was one of those.

The print studio

I trained as a printmaker, and after years of working in installation, video or photography, it is great to get back to the immediate satisfaction of painting an image on a surface, (in this case, a sheet of polycarbonate) placing it on the bed of the press, with a piece of paper face down, sending it through, then peeling back the paper to see what is there. Polycarbonate is an unsympathetic surface to work on, and the effects can be splashy, but as with all concentrated workshops, one seems to progress much faster than in one’s home studio, where email and the phone are constant interruptions.

An experimental monoprint portrait

I came back to Cape Town dying to make more prints.

Friday, October 22, 2010

I suppose so many shows open towards the end of the month because pay
day is just around the corner and hope springs eternal in the breasts of the
galleries.

On Monday, photographer Tracey Derrick was one of three artists opening atthe AVA. “One in Nine – my Year as a Statistic’ is the documentation of her
experience in fighting breast cancer. Her weapons against the disease were
wigs, hats, and finally a triumphant tattoo on her body where her breast once
was.

Tracey Derrick

Across the street at Worldart, Ayanda Mabulu was showing his barbed
paintings of satirical social commentary on ‘Un-mute my tongue’.

Ayanda Mabulu

On Tuesday, the Michaelis Gallery was packed for the opening of Andrew Putter’s year long project as a Gipco fellow with his ‘Sketch Assembly’. Working with 30 ‘apprentices’ he unpicked and reconstituted the genre of Dutch paintings known as “Merry Company’ in order to revisit history and
impart to the group the nature of constructing a series of artworks. The documentation of the process is exhibited in the minutest detail.

Opening crowd at ‘Sketch Asembly’

"Sketch Assembly" - it’s in the detail

On Thursday, the Goodman Gallery launched an upbeat magazine-style catalogue by Kudzanai Chirui, entitled Black President . Works on paper by Kudzi lined the walls, – and in the darkened gallery space Chimurenga editor Ntone Edjabe was the dj

Andy and Claire Baronowski with Odidi at the Goodman

And down at the Michael Stevenson, it’s aluta continua as Jo Ractliffe exhibits her extraordinary black and white photographs, taken on a series of arduous journeys to the interior of Angola, evoking the war torn landscape in images of beauty and forlorn desolation.

Also in the space, Simon Gush is showing an elegant and eloquent four screen video entitled 4 for Four: A speculative montage for David Oistrakh and Sergei Prokofiev and Claire van Blerk and Kyle Morland surpise by
constructing an elevator in the side gallery.

Emma Bedford and Jo Ractliffe

That was the week that was.

Wednesday, October 13

In 1986, a year in which the end of apartheid was not yet in sight but the impetus of resisting the state was in full swing and somewhat fashionable, a shop called So Modern in Rockey Street, Yeoville, Johannesburg’s vibrant crossover suburb, invited me to design two ‘politically aware’ T-shirts for them.

For the first, I used a photograph which had appeared in a British newspaper of Nelson and Winnie Mandela on their wedding day, with some text. For the second, I made a colourful ‘rainbow-pull’ design incorporating the clauses of the Freedom Charter (unbanned in 1984, but still widely considered subversive). The trendy So Modern reacted with horror to both my designs, saying that to sell either of them would result in jail for all concerned.

So I and my partner at that time, Bruce Gordon, started to print and distribute the T-shirts ourselves, and uncounted hundreds were sold.

Wanted: a Freedom Charter T-shirt

Now the Museum of Modern Art in New York has asked for one of the Freedom Charter T-shirts for their collection of ephemeral material, to be displayed in a vitrine to support an exhibition of South African prints to open next March. But I no longer have one.

Does anyone still have a Freedom Charter T-shirt tucked away somewhere they would be prepared to donate/sell? If so, please email me at suewill@iafrica.com

Friday, October 8

I was in Berlin when New York artist Hank Willis Thomas’ show ‘All Things Being Equal’ opened at the Goodman Cape, and so I missed his walkabout, and it was only this week, as the exhibition draws to a close that I made it over there. I’m so glad I did. In spite of its incendiary themes of racism, the work is cool, very considered, and witty, and I will write more about it soon.

Hank Willis Thomas
All Things Being Equal 2010
Polished aluminium
104 x 194 cm

Several of the works were manufactured here through the Goodman Gallery – like the key phrase which is also the title of the show All Things Being Equal. This highly desirable piece is cast in gleaming aluminium, and hand finished to the same immaculate degree of perfection one expects to find in a luxury Italian car. Kendell Geers stated recently that it is now possible to fabricate artworks in South Africa which are the equal of anywhere else in the world, and Thomas’ exhibition definitely proves this point.

Art in America

I received an email this morning with advance PDFs of a four page feature in which South African Art Now is reviewed alongside Okwui Enwezor and Chika Okeke-Agula’s Contemporary African Art since 1985 to appear soon in Art in America. So exciting! Look out for the issue with this cover.

Tuesday, September 28, 2010

View from the Churchhaven cottage

How beautiful is it to be tapping out this blog gazing out over the turquoise waters of a lagoon, the sun warming my legs and binoculars at my right hand to focus more clearly on a long pink drift of flamingoes wading on the other side. A little stripey mouse has just run right in front of me, but must not be allowed to enter the cottage as other members of his/her family have already chewed chunks out of a sheet, a sarong and a crocheted bedspread this weekend. I am at Churchhaven, 90 minutes up the west coast from Cape Town, and will post some pix when I get back to town tomorrow. If I can tear myself away.

Friday, September 17, 2010

O.K. So no more travelling for a while.

I got back into my apartment after the long flight back from London via Dubai at 6.30 p.m. on the Saturday before last, and by 7.30 p.m. I was in the Africa Café, having dinner with Emma Bedford, Johnnetta Cole, director of the Museum of African Art in Washington and chief curator Chris Kreamer. Powerhouse Johnnetta had also flown in that day and was actually leaving again the next – her trip had been cut short by an invitation for Tuesday from Michelle Obama, but today she and Chris have had a tour of the SANG ‘Pierneef to Gugulective’ show with Riaison Naidoo. An excellent way to get an overview of South African art.

Mary Sibande and Mustafa Maluka at the SANG

It’s a week of curators. On Thursday it’s dinner with Colin Richards, Penny Siopis, Rory Bester and Okwui Enwezor. Okwui is making a start on a new show of South African photography for the New York Institute of Contemporary Photography. I tell Okwui I have recently refused an invitation from Performa to be on a panel with him in New York in October because I won’t be there then.

“Why don’t you participate by Skype?’ he says. ‘I recently delivered a whole lecture at the Tate Modern by Skype’. Trying to answer questions from a well informed New York audience while staring at a screen? The idea is totally unnerving.

Saturday is the 9th anninversary of 9/11, and at Kathryn Smith’s serialworks, forensic artist William Scarbrough is opening a new show, entitled 'The Forgotten'. A faded newspaper column tells the story of a terrorist attack which demolished two gas towers in Brooklyn earlier on that fateful day … television news footage of the time tells the story of this event which soon became overshadowed by the attack on the Twin Towers.

William Scarbrough’s ‘The Forgotten’ (video detail)

‘The Forgotten’ (installation detail)

There are eerie photographs of the reconstructed photographs of the dead. Scarbrough’s presentation is masterly.

Definitely worth the trip up the four flights of stairs to serialworks.

Friday, September 10

Berlin … an amazing city. It has a real energy, but also a looseness, a laidback feeling. Berliners don’t like to look they are trying too hard.
The line that came up in the workshop as the one which best expresses what it really means to live in Berlin, is, IT’S A BIT SUSPICIOUS IF YOU HAVE TOO MUCH MONEY. It feels right, but it’s a very long sentence to photograph.

The first attempt at the shoot is on the steps of the tower on Alexanderplatz. But the light is not good. And there are other problems.

A test shot on the Alexamderplatz

The rest of the week is spent looking for a better location.

One night I visit Berlin-based Candice Breitz, in her studio, and she interrupts her marathon editing of her twins project long enough to head out for a supper of Chinese dumplings at her local.

Candice Breitz

On my last day in Berlin, we shoot again, on the steps of the Reichstag.
The rain stops just in time, and everyone shows up for the shoot. The only problem is … the security police, who half way through the shoot, object to us holding up letters.

After intense negotiation, they allow us to continue. Except that we may not hold the letters up. We may, however, stand there empty handed. Pretending we are holding letters up. It’s going to be interesting working this one out …

Box lunch with Lisa Brice in the Tate Modern members room.

So it’s on to London. It’s great to catch up with Lisa Brice again, and the Alice Neel portrait show at the Whitechapel is fantastic. So is the Francis Alys, at the Tate Modern. And the sun doesn’t stop shining.

Francis Alys’ rubber mat installation at the Tate Modern

Thursday, August 19

Art writer Sean O’ Toole and I take the night train from Bern to Berlin. When the train seems to have reached rocket speed, Sean takes a photograph of a screen showing we have hit 250 km an hour.

Friday, August 20

I am in Berlin to give a talk at the Daimler Gallery, where curator Christian Ganzenberg is presenting Ampersand, current performative and contemporary art from South Africa juxtaposed with work from the Daimler Collection. My own piece from 1990, For Thirty Years Next to his Heart starts off the show, together with a section of Willem Boshoff’s classic Blind Alphabet and from there the visitor moves on to view new work from such artists as Robin Rhode, Nicholas Hlobo and Nandipha Mntambo, along with their European counterparts.

Under the auspices of the gallery, I will also do a Berlin version of my Other Voices, Other Cities series, in which I run a workshop with a group of local residents to try to establish what it is exactly about living in that city which is unique, and not quite like any other.

Christian, photographer Abrie Fourie and I breakfast together at one of the charming pavement cafes in Prenzlauer Berg to discuss the planning of the project. The workshop will be tomorrow. So today Abrie and I will cycle around Berlin looking for possible locations for the shoot, at which some days after the workshop, participants will hold up letters spelling out the message they have decided on.

El Anatsui’s hanging at the Alte Neuegalerie

The location will depend on the message, but I need to look around for possibilities first. En route around the city, we pass El Anatsui’s extraordinary hanging, which is cladding the columns of the Alte Neuegalerie as part of the Berlin wide ‘Who Knows Tomorrow’ series of exhibitions by African artists.

A possible location shot

Or should we risk the participants being run down by a tram? Abrie Fourie is the man in this shot.

By the way, I am lucky enough to be staying in a most gorgeous apartment, so spacious, with high, high ceilings and a red couch in the kitchen backing a long table, opposite the very contemporary stove and gleaming stainless steel kitchen equipment.

A beautiful kitchen

As I entered the apartment for the first time, in the early hours of Friday morning, I was seized with an immediate urge to invite friends known and unknown to dinner, to sit on the couch and talk to me over wine, while I, of course, would be cooking something delicious for us all to share.

Monday, August 23

Last week, I visited the unique Hotel Everland for the last time.
The creation of Swiss artist friends Sabina Lang and Daniel Baumann, this moveable hotel for two will leave its position on the roof of their studio in Burgdorf and cross the Atlantic to become part of the collection of a Kentucky art museum.

The Hotel Everland

Staying in Everland with its retro curves and its calm aqueous toned interior in which one’s thoughts seem free to float undisturbed will be just a memory.

Inside Everland

The occasion was the annual Paul Klee Sommerakademie in Bern, which offers 12 emerging artists the opportunity to participate in a 10 day workshop with a leading curator – this year, the international critic and writer, Jan Verwoert. The theme of his workshop was ‘When your lips are my ears, our bodies become radios’, and for the period of the workshop the fellows, including Cape Town Gugulective member Kemang Wa Lehulere, had to produce a daily radio programme and a poster. But that is only one aspect of the workshop – other lectures, debates, intense discussions, immerse the fellows in considerations of what art is, or could be. Or should be.

Jan Verwoert

At the conclusion of the workshop, the nominators, from all over the world, are invited to review the procedures, and this year, attend the launch of a book produced by last year’s fellows, including Bettina Malcomess. Meeting up again with one’s fellow nominators like the American writer Steven Madoff and the director of the Bern Kunsthalle, Phillipe Pirotte, becomes a pleasant summer ritual. Phillipe tells me Moshekwa Langa is scheduled for a major show at the Kunsthalle in the coming months.

The River Aare

A highlight last year was very physical – a plunge into the swiftly flowing Aare River which runs through Bern, its opaque icy green reflecting its glacial source, but this year, it’s just too cold to contemplate a swim.

Saturday, August 14, 2010

Yesterday was a day of sad and shocking news. Artist Mark Hipper has died. at the too young age of 50. His body was found in his home in Grahamstown by a friend who had gone round to see why he had missed a meeting. Apparently a few days before he had told his new gallerist Heidi Erdmann that he was not feeling well. It is believed his death resulted from diabetic complications.

Only three weeks ago I stood with Mark and Heidi and Manfred Zilla in Erdmann Contemporary in Cape Town, looking at the work of the past 20 years, sheets and sheets of paper covered in charcoal drawings of figures, most clearly executed at high speed, a technique which can be disastrous if the hand holding the charcoal is not that of a master.

In a review of his work at the Joao Ferreira Gallery in 2003, I wrote:

‘'Disquieting' is a word that could be used to describe almost all of Mark Hipper's work. Or liminal. Nothing in his work is quite what it seems, and there is much which resists an exact interpretation. A viewing audience is constantly being engaged in a disturbing dialogue, one which is heightened by the way the artist suddenly switches from one medium to another, from an apparently straightforward charcoal drawing to a suggestive watercolour to a carved body mask to this new installation. It is a dialogue in which it is worth engaging.’

Mark Hipper, The Inquisitors (2002) Painted jacaranda, Installation view João Ferreira Gallery

The retrospective of his work planned to take place in September when the Erdmann Gallery reopens will still go forward, though now with an elegiac undertone.

Mark Hipper, rest in peace.

Wednesday, August 4

Dineo Seshee Bopape is back from a two year stint in New York where she completed her MFA in new media at Columbia and has set up her installation ‘The eclipse will not be visible to the naked eye’ at the Michael Stevenson. It opened last Thursday.

What IS visible to the naked eye is a dense assemblage of rotating mirrors, lino-like wallpaper, lace curtains and flowers, flowers in vases, videos and photographs … nature has been subjected to the Bopape sense of exuberance and colour and brought inside. At the same time, there is also a disquieting sense, as In the red roses in the first scene of the classic David Lynch movie, Blue Velvet, that all is not as it seems ….

Dineo Seshee Bopape

Across the street at Blank Projects, Swiss artist Kerim Seiler has done what might seem to be the opposite, though working from a very different point of view. Carrying with them brightly coloured neon tubes and wooden stakes, Seiler and his collaborator Gregor Metzger moved out of the gallery, making their ‘Nomadic Structures’ sculptures in places from urban to deep in the wilds, introducing the fluorescent colours of the city into nature.

Kerim Seiler

The week finished with an invitation to high tea at the Mount Nelson. Could anything be more colonial sounding than that? Finger sized cucumber and egg mayonnaise sandwiches, little choux pastry tubes filled with smoked salmon, warm scones with apricot jam and clotted cream, and a rich Black Forest cake. Yum. My host was Steven Dubin, in town to promote his book, ‘Mounting Queen Vicforia: Museum transformation in a democratic South Africa, and after tea we listened to Nigerian writer Wole Soyinka.

Wole Soyinka

Said Soyinka, in a response to a question about how young writers should be addressing social issues like poverty: ‘Please don’t freeze out the age-old existential concerns of literature in favour of immediate concerns like AIDS and child soldiers’.

A response which applies equally to the visual arts.

Tuesday July 27 2010

What mortifications of the flesh artists will go through to make art! Belinda Blignaut’s ‘Stealing the Words’ installation on the windows of the YoungBlackman Gallery required the artist to chew 10 000 pieces of bubblegum to make enough bubbles which in their weirdly detumescent state pinkly coat the windows of the gallery. Only by leaching the bubblegum in hot water first to draw out some of the nauseatingly sugary flavour could the artist complete her project.

Belinda Blignaut at the opening of ‘Stealing the Words’.

Anti xenophobia stickers are popping up all over town. The next meeting of the Artists Action Group against Xenophobia takes place on Saturday, August 7 in the Oliver Tambo Centre in Khayelitsha from 11 am to 2 p.m. It’s really easy to get there – just take the Mew Way exit from the N2 and you’re right there. Email organizer Suzy Bell at HYPERLINK "mailto:bellsuzy@gmail.com" bellsuzy@gmail.com for more details of the workshop.


Seen on an ad at the airport

This past weekend, 20 years of figure drawings strewn across the floor of Erdmann Contemporary gave viewers a mini retrospective of Mark Hipper’s graphic work. Many of the vigorous charcoals were done in life drawing sessions, but there were a number of the late great Robert Hodgins, naked but still robust, brought back to life by Hipper’s swift and always assured line.

Mark Hipper takes a closer look at past drawings at Erdmann Contemporary

‘Mounting Queen Victoria’ is the title of Steven Dubin’s book on the transformation of museums in South Africa, and whether museums are still relevant –or not - will be the subject of a Book Fair panel on Sunday afternoon at 2 for 2.30 at Iziko South African National Gallery. I will be part of the panel, together with Riason Naidoo of the SANG, Andrew Lamprecht, Pippa Skotnes and the author himself.

Friday, July 16

In a week when the World Cup final ended a month of celebration, a time in which all South Africans seemed to have discovered – again – how much they really liked each other, Dan Halter’s exhibition ‘Double Entry’ opened at Whatiftheworld …..


Halter’s entry visa

The title of the show refers to the artist’s visa to enter once more the country of his birth, and and focuses on the cruel situation in which Zimbabweans trying to leave the country find themselves.

Performance poet Suzy Bell flashes her Goodbye Mugabe T shirt in front of Halter’s Beitbridge Space Invader video.

And then this week, as if to bring us all down to cold reality now that the World Cup is over, there were fresh outbreaks of xenophobic violence all over the Western Cape, with Somali shop owners being chased from the shops, beaten up, and their shops looted.

So please take note that on this Saturday, July 17, there will be an anti-xenophobia creative workshop from 11 a.m. to 2 p.m. in the Oliver Tambo Centre in Khayelitsha. And if anyone needs directions to get there, phone
Suzy at 076 375 5675. For more info, email Suzy at bellsuzy@gmail.com Also, on Sunday, there will be a march from a 12 noon meeting at St George’s Cathedral.

Suzy Bell’s graffiti

We have to do everything we can to creatively bring about a change in consciousness, to make all feel welcome in our midst.