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Art Camp will be from Wednesday 30 May to Tuesday 5 June 2018

Participating artists 2018

Sonya Rademeyer

The entry point to my mark making lies in my everyday experience. These marks I interpret as imaginary traces that reflect the fragility of both human and environmental interconnectedness. Although I constantly see traces around me, the experience of absorbing these traces is not so much a visual experience as it is a physical process. Seeing is more a cyclical slippage between the reception of absorbing external traces and the inner resonance I feel inside my body.

This cyclical mode of seeing is a relational way of looking at the world known as embodied empathy. Directly connected to having been an ICU nurse for many years, embodied empathy enables me to continuously capture miniscule details and to read beyond the obvious visible surface. In exploring the traces of sound and movement in my work, I move beyond the surface area as I allow my body to become the transducer of my experience. I view the automatic, gestural output of my work as a direct reflection of the embodied simulation of empathy taking place.

I visualize traces in order to understand human fragility on a larger, social scale. If fragility is shared collectively, can it connect us?







Marcelino Manhula

Marcelino Manhula was born in Maputo, Mozambique.
He has a master degree in mosaic art from Spier Arts Academy and a diploma in textile design at Visual Art School Maputo.
He lives and works as a mosaic artist in Cape Town doing large scale mosaic work as well as small works which are exhibited nationally and internationally.


Any human form for me is a self reflection as a living being on a psychological and a spiritual level. I want to create a female figure as the female element plays such a big role in the circle of life. Nature also has this process of the circle of life, rebuilding itself and caring for itself. The Tankwa seems to be quite lifeless but this female quality of rebuilding itself is there and I want to make it visible as a moment of stillness and stability. Nature and the female figure as a symbol for nature form a single continuum.







Maia Lehr-Sacks

Maia Lehr-Sacks was born in Johannesburg in 1996. She is currently studying Fine Arts at the University of Stellenbosch. For the installation at Tankwa Artscape she will collaborate with two colleague students, Marguerite Neethling and Elyle Borcherds, see below

In November 2013 she exhibited artworks including linocuts, drawings and artists books on a group exhibition by the students of Robyn Penn at The David Krut Gallery in Parkwood, Johannesburg. In September 2014 she exhibited paper works in the 2014 JJC Youth Art exhibition at the VEGA school of brand leadership. In June 2015 she exhibited a number of paper sculptures on Black and White contemporary at The Kim Sacks Gallery, Johannesburg. These sculptures have been exhibited and sold there on an on-going basis since the exhibition. Many of these sculptures are in private collections in South Africa, the United States of America, England, and Holland etc.
As an artist I have always been enthralled by processes of making and constructing. I work predominantly with paper, fabric and metal to create various sculptural pieces. I love meditative and repetitive processes within artmaking and often find inspiration from patterns and tessellations. I am currently especially fascinated and inspired with the idea of being able to use straight lines to make curves based on string patterns I was taught to make as a child, of ratios, parabolas and Fibonacci and exploring these ideas while using traditional origami techniques to create spiralling sculptural pieces. I love to play with using flat 2D surfaces and creating 3D forms from them. Deconstructing and reconstructing, making many multiples to combine into one object, tearing up and reforming. I always like to make without too much direction letting the artwork form itself; embracing spontaneity, chance and mistakes.





Elyle Borcherds

Elyle grew up in the rural areas of Limpopo on a farm far away from any town of other human settlements. He feels a significant connection to the pure untouched landscapes as this is how the world was introduced to him in his early years. He now finds it exceptionally frustrating to see mankind cluttering the landscape especially due to the lack of consideration for the impact of any kind to the environment and spirit of a place. He is therefor highly interested in geographical, geological and evolutionary history.
He did sculpting, drawing and jewellery short courses at Ruth Prowse and UCT. At the University of Stellenbosch he did Jewellery design for a year due to his unending interest in metals, however he is just as interested in blacksmith work, which in a way is large scale jewellery with more full body physical input.

Above all else, Elyle is inspired by nature more than by any other man made element or product. Through growing up where nature is dominant he learnt a great deal of respect and found clarity and peacefulness there. His art stems from these majestic moments where nature takes its course and the wonders that happen on the way. He is drawn to and interested in large sculptures as the end result dominates the space it is placed in. This returns the attention of the viewer to his or her surrounding and the space wherein they and it are places together.











Marguerite Neethling

I am studying at the University of Stellenbosch as a 3rd year Fine Arts student and am the printmaking assistant for the department. In 2017 I interned at the Hermanus FynArts festival where we functioned as gallery assistants, tour guides and where I assisted in setting up the Goldblatt exhibition. I will be doing so again this year.

I find great pleasure and admiration for what is visually around me, and how these visual elements interact with everything else surrounding it. Be it sound, movement, texture or the absence of any of those. I have a tendency to want to zoom in really closely and magnify that which I see or experience there. Bringing to life the smaller, easily overlooked details of life. For, without sounding too ‘green’, the Earth and what’s around it are by far the greatest artworks be it structurally, biologically or from any other perspective. I have a drive to make and build and create and I find that as an artist I take that which I see, for we all look at the same objects and happenings, and recreate it in the manner that I appreciate it and experience it to try and generate a deeper sense of understanding and gratefulness within any viewer.











Ivan Douwes

Since 2012 Ivan has created and collaborated on many artworks for AfrikaBurn. He works in traditional art forms in a variety of mediums as well as music, using instruments and many technologies such as mechanics, electronics and computing.

As the world sheds it’s seasonal skins, I find beauty and meaning in
the relics left by man and nature’s progression across the earth.
Piecing them together I weave stories and meanings that tend toward
restorative narratives using poetic symbolism. When I create, the planet responds in many subtle and surprising ways. This infuses me with endless inspired textures and forms that wrap, morph and un-fold into being. The magic in that moment is what makes me tick.















Kim Goodwin

Kim studied art at the Natal Technikon in the mid eighties. His interest turned, very early on in his artistic career, towards representing architectural shapes and spaces in the form of sculpture using many different mediums, including natural materials and particularly black wattle.
Since 2013 he has built architectural artworks woven from black wattle for AfrikaBurn, Splashy Fen and for private commissions.
The San Temple he built 2016 at AfrikaBurn is still standing and is, together with Simon Max Bannister’s Oryx the first sculpture which forms part of Tankwa Artscape.













Quentin Green

Quentin has a BA in Fine Art from UCT.
This unique opportunity provides the moment to connect with artists questing for space, time and materials to create and honour the forces and place, which birthed us. We are a collective and from this shared time will arise a unique Tankwa Artscape culture.

The minimal evidence of human intervention and the ancient historical/archaeological dialogue in the Tankwa Karoo inform current relationships with that particular landscape. There I find contemplation, inspiration, meditation and union with mother earth.

My intervention will germinate from the landscape. I am preparing some tools and materials, yet going with an open heart to commune in the landscapes of mind and earth.











Leli Hoch

Leli is a site-specific land artist. In all her art she deals with the idea of Cosmos as a complete, orderly, harmonious system versus Chaos as the inherent unpredictability in the behavior of a complex system.
She aims to see and express, with material found on site, what a certain place means, what it is trying to tell us. A land-artwork or nature-artwork, in her mind, gathers attention and highlights the relationship between a man-made intervention and the surrounding landscape, both as an artistic endeavor and as a commentary on the disturbed interaction between Homo Sapiens and Planet Earth.

She sometimes creates ad hoc, spontaneously, unplanned with focus on process but more often works on conceptual projects for longer periods. She employs the lightest possible footprint using collected materials, earth pigments, leaves, bark, ashes, as well as making paint with simple means.

When I am in the Tankwa my process of seeing, of observing, of perceiving changes, has to change.
My normal perception is too entangled and mired in everyday life and stress, only when I step aside and start looking with an empty mind can I see the fullness of the landscape.
By stepping aside from my entangled mind I make a conscious effort to open myself up for the beauty and the vastness of the landscape.
This I want to make visible at Tankwa Artscape Art Camp.





More information on concept and setting here. information_for_artists.pdf
Application form: application_tankwa_artscape_residency.pdf

Setting

Stonehenge Private Reserve is located in the heart of the Tankwa Karoo, 130km from Ceres and 100km from Calvinia, bordering the Tankwa National Park on two sides. Stonehenge offers accommodation for tourists in cabins and Safari tents at the Tankwa Tented Camp. Each year, in the last week of April, the AfrikaBurn festival takes place on Stonehenge.

The owners of Stonehenge Private Reserve decided to develop a sculpture/installation trail, Tankwa Artscape, as part of the nature reserve to add permanent artworks by national and international artists to the many ephemeral artworks created at AfrikaBurn.

Concept

Permanent land art installations (kinetic, static, sound etc) at Tankwa Artscape enter into a dialogue with the Tankwa Karoo landscape. Themes of shelter versus open space, nourishment versus scarcity and protection versus vulnerability start to define what is naturally happening in that landscape. The fauna, flora, geology and history of the Tankwa and its people will further inform artistic concepts.

Although our focus is on creating a space for permanent installations, additional ephemeral land art / nature art works and performances are welcome!

The Art Camp

The Art Camp will take place yearly for 7-10 days between mid May to mid June. During this residency national and international artists will create and place their artworks. We encourage collaboration and cooperation, with artists supporting each other when wanted or needed. It will be a time to meet, converse, work, relax and have fun.

The Art Camp consists of a large Bedouin tent in the middle of nowhere under which small individual tents are pitched. There is communal space for cooking and relaxing, the Bedouin tent providing shade and shelter from heat, wind, dust storms and rain. While food is provided, cooking is a communal effort shared by all participants.
Water is scarce in this environment, so drinking water will be brought in.

Not too far away there is a basic hot shower and, even more importantly, a Bar at Tankwa Tented Camp, the Onverklaar Bar (cash bar).

The camp has no cellphone reception and no internet connection.

Who can apply

Site specific land artists and installation/performance artists.
We encourage collaborative projects.
Calls will be sent out in time via social media and database.
To add your email to our database contact us

Decision making panel:

Leli Hoch, curator of Tankwa Artscape, land artist, Stanford, WC
Kim Goodwin, land artist, Goodwin Foundry, Howick KZN
Niel Jonker, sculptor and painter, Baardskeerdersbos, WC
Simon Max Bannister, sculptor and land artist, Cape Town
JP de Villiers, Stonehenge Private Reserve, NC




































Image Jaco Uys
Image Jaco Uys

Image Jaco Uys
Image Jaco Uys

Image Leli Hoch
Image Leli Hoch