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halletclarke

Going for a Wrong? Hell, it don’t matter

Mario Pissarra, 31 October 2014

One of the functions traditionally performed by auction houses is the authentification of works of art. Art historians usually stop short of selling themselves as connoisseurs, but in the auction business the sales person claiming the mantle of expert is essential to establish authority, and secure ‘value’. So, along with formal attire we have special protocols and language that includes exotic (French) terms like “provenance”, which translates into something not unlike the pedigree certificate you can expect from the Miniature Doberman Society.

In the art-world the status of the auction houses is just one floor below God’s Loft, the directors of these institutions occupy the same elevated level as the canonizing cardinals of the Vatican. However, while these mercenaries of the art market promiscuously purchase the participation of professors to prop them up, it is really their ability to break sales records that confers ‘greatness’ – Irma Stern becomes South Africa’s most important artist not because she is so startlingly brilliant but because she has the most exclusive client base. It becomes commonplace that at every auction, hitherto obscure items are declared to be “major” works of art. A dodgy Irma Stern seascape is major, perhaps because most South African seascapes are the works of ‘amateurs’, and a bowl of flowers by her that looks like a wishful Van Gogh is major, because they say so.

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The Death of OPINION? (OPINION pt 5)

Mario Pissarra, 3 February 2014

Note: This was originally posted on ASAI Connect on 30 January 2014 They burst upon the scene with gusto, launching missiles at Iziko Mausoleums of Excellence, and then they disappeared… What happened to the terrorists calling themselves OPINION (Our Public Institutions Need Intervention Or Not)?

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Deviant Museums Plan Secession (OPINION pt. 4)

Mario Pissarra, 3 February 2014

Note: This was originally posted on ASAI Connect on 10 January 2014.

Following rumours of endemic discontent within the Iziko Consortium of Excellence, the cultural terrorists calling themselves OPINION (Our Public Institutions Need Intervention Or Not) paid a clandestine visit… to the Iziko West Coast Fossil Park. There they were shocked to discover an Iziko site without its sacred logo.

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OPINION Strikes Again! (OPINION pt 3)

Mario Pissarra, 3 February 2014

Note: This was originally posted on ASAI Connect on 19 December 2013

Babel O. Piziko, contemporary spokesperson for OPINION (Our Public Institutions Need Intervention Or Not), has released a third set of multiple-choice questions designed to test public knowledge and perceptions of Iziko Museums of Somewhere or Other.

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OPINION: The Return of (OPINION pt 2)

Mario Pissarra, 3 February 2014

Note: this was originally posted on ASAI connect on 12 December 2013

RESPONSE FROM IZIKO = Azikho (literal translation from isiXhosa: “there is nothing”)

However, a dubious body calling itself the Indifferent Atrocity, apparently the shadowy executive of the Zippo Consortium of Amusement claimed that Iziko (literal translation from isiXhosa “a hearth”) was in mourning for the loss of a brand even greater than itself, and besides, it did not talk to terrorists, even if they were cultural.

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Our Public Institutions Need Intervention or Not (OPINION pt 1)

Mario Pissarra, 3 February 2014

Note: this was originally posted on ASAI Connect on 5 December 2013

Desperate terrorists have hacked their way into ASAI’s facebook page, where they have released a weapon of crass distraction code-named OPINION. According to the Ministry of Counter-Intelligence in the Newly Independent Bantustan of the Mind, OPINION apparently translates “Our Public Institutions Need Intervention Or Not”.

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South Africa in Black & White

Mario Pissarra, 30 January 2014

Note: originally published as editorial to Third Text Africa vol 2 no. 3m 2010

When, in 1989, Albie Sachs presented his paper “Preparing Ourselves for Freedom”, he was addressing two audiences. In immediate terms, he was addressing his comrades in the ANC, in anticipation of a transfer of power and the concomitant shift from resistance to governance. But he was also speaking to a much broader audience, much of which was not present at the ANC seminar in Lusaka, namely the nascent, democratic South Africa.

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Re/framed 2

Mario Pissarra, 30 January 2014

Note: originally published as editorial to Third Text Africa vol 2 no. 2, 2010

Any day now one expects the proclamation that ‘contemporary African art’ is dead. After all, its been rumoured for some time, but it seems that no-one will listen until someone with an ego bigger than a continent says so.

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Dis/locating Africa/s, or How Championing a Cause Lost a Continent

Mario Pissarra, 30 January 2014

Note: originally published as editorial for Third Text Africa vol 2 no. 1, 2010

Few could argue that it has been critically important to unsettle dominant notions of Africa. When Africa was widely reduced to a stereotype of backwardness, to an unchanging land without history and differentiation, it was imperative to challenge and counter this image by presenting imaginative and inspiring alternatives. In the main this was done by casting off the boundaries of continent and by turning the binary between the West and Africa inside out.

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