Die Standardbank-kunsgalery in Johannesburg open vandag ‘n tentoonstelling van die bekende Afrikaner-kunstenaar Jacobus Hendrik Pierneef, wat loop tot 10 September vanjaar. Dit geskied te midde van ‘n “getransformeerde” en marxistiese kunsw\u00eareld in Suid-Afrika wat slegs revolusion\u00eare, linkse of swart kuns as “waardevol” sien. Omdat Afrikaners vanuit die marxistiese oogpunt van Joe Slovo, Ruth First, Jeremy Cronin en Blade Nzimande as “wit setlaars” beskou word, word skilderye, argitektuur of ander kunswerke deur Afrikaners insgelyks as verdag en nutteloos beskou.<\/p>\n
Hoewel die Standardbank-kunsgalery onder kuratorskap van Wilhelm van Rensburg die moedige stap neem om Pierneef se skilderye vir die eerste keer in jare sedert die 1994-revolusie ten toon te stel, word Pierneef se werke nietemin deur ander werke gerelativeer, wat dit moet “ondermyn”. Op die galery se webblad<\/a>, lees mens:<\/p>\n The work of Jacob Hendrik Pierneef (1886-1957) was a dominant presence in South African art for much of the twentieth century. His works were displayed in public spaces, his paintings were prized commodities in the art market and he was studied by school pupils and art historians alike. Pierneef’s landscapes have been appropriated, parodied and subverted by other artists since the 1980s; he has been associated (whether fairly or not) with the apartheid state and with Afrikaner nationalism. Even though private collectors pay huge sums for “a Pierneef” at auction, his work has become largely neglected by scholars and institutions in the arts sector. Wilhelm van Rensburg suggests that “public awareness of the art of J.H. Pierneef has never been at such a low point in South Africa”.<\/p>\n J.H. Pierneef: A Space for Landscape brings together a wealth of paintings and prints, from numerous collections, to create the first major Pierneef exhibition in many years. It also includes a selection of works by artists who have responded to and undermined<\/strong> Pierneef’s iconic status.<\/p>\n Van Rensburg seeks to challenge the assumption that Pierneef was merely an artistic stooge of the projects of colonialism and Afrikaner nationalism. Adopting a biographical or a formalist approach to the work reveals other aspects of Pierneef: an outsider and an experimenter, an opponent of empire who was nonetheless international in his outlook. His influences were wide and varied, and his style shifted “under the broad rubric of modernism” from “somber and realistic” to impressionist, abstract and “quasi-geometric”. As we discuss other icons of South Africa’s past, the time is ripe to revisit the work of J.H. Pierneef.<\/p><\/blockquote>\n In sy aankondiging van die tentoonstelling, stel die marxistiese dagblad Beeld<\/em>\u00a0die perspektief van Slovo en die Kommunistiese Pary\u00a0deur te s\u00ea dat Pierneef sondig deur landskapskilderye te skilder en daardeur implisiet “‘n geskiedenis\u00a0van gewelddadige verowering en verskuiwing en die kwessie van grondeienaarskap\u00a0[ignoreer]…” Sulke argumente was volop in die voormalige Sowjetunie waar kunstenaars ook na gelang van hul lojaliteit teenoor die Kommunistiese Party en die werkersklas beoordeel is. Beeld<\/em> suggereer ook dat Pierneef se skilderye as “apartgheidskuns” aangeval behoort te word of soos die Rhodes-standbeeld met ontlasting bestrooi behoort te word:<\/p>\n “Di\u00e9 tema van ikonoklasme is veral tydig gegewe die hernieude debat in die land oor beelde, simbole en figure uit die land se bestrede verlede.<\/p>\n Pierneef se werk, waarvan sommige in opdrag van die Unieregering geskep is en waarvan baie deur die apartheidstaat geko\u00f6pteer is, is al gekritiseer vir die romantiese of nostalgiese voorstelling van die landskap waarin \u2019n geskiedenis van gewelddadige verowering en verskuiwing en die kwessie van grondeienaarskap ge\u00efgnoreer word.<\/p>\n Indien Pierneef nie vaspenbaar is ten opsigte van style nie, is dit dalk ook waar van die historiese kontekste waarin die werk geskep en ontvang.”<\/p><\/blockquote>\n Volgens die marxistiese kunskritiek moet elke kunswerk volgens die “klasseposisie van die kunstenaar” en “historiese konteks waarin die werk geskep en ontvang word” beoordeel word, ‘n beginsel wat Beeld<\/em> klakkeloos napraat.<\/p>\n Pierneef was lid van ‘n driemanskap van Afrikaanse kunstenaars en argitekte wat reeds in die dae van die ZAR begin het om ‘n eg inheemse Afrikaanse en moderne styl te bepleit. Die ander twee was Gerard Moerdijk, argitek van die Voortrekkermonument, en Gordon Leith wat ‘n hele aantal openbare en private geboue, hoofsaaklik in Johannesburg, ontwerp het. Van Leith se geboue wat volgens wet nasionale gedenkwaardighede is, word tans deur die ANC in die middestad van Johannesburg gesloop.<\/p>\n Onder invloed van die marxistiese revolusie word die bydrae van Afrikaanse kunstenaars, argitekte en skrywers tot die land se kunsskat nie meer erken nie en moet dit “ikonoklasties” vernietig of “ondermyn” word, soos wat die rooi mondstuk Beeld<\/em> inderdaad bepleit.<\/p>\n Sodra PRAAG die Pierneef-tentoonstelling besoek het, sal ons meer daaroor berig. Benewens weeksdae, is die galery ook op Saterdae tussen 9:00 en 12:30 oop. Daar is veilige onderdakparkering beskikbaar.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Die Standardbank-kunsgalery in Johannesburg open vandag ‘n tentoonstelling van die bekende Afrikaner-kunstenaar Jacobus Hendrik Pierneef, wat loop tot 10 September vanjaar. Dit geskied te midde van ‘n “getransformeerde” en marxistiese kunsw\u00eareld in Suid-Afrika wat slegs revolusion\u00eare, linkse of swart kuns as “waardevol” sien. Omdat Afrikaners vanuit die marxistiese oogpunt van Joe Slovo, Ruth First, Jeremy … Continue reading “Standardbank-galery waag met Pierneef-tentoonstelling in marxistiese kunsklimaat”<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":32862,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-32859","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-s27-vermaak"],"_links":{"self":[{"href":"https:\/\/praag.co.za\/index.php?rest_route=\/wp\/v2\/posts\/32859","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/praag.co.za\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/praag.co.za\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/praag.co.za\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/praag.co.za\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=32859"}],"version-history":[{"count":0,"href":"https:\/\/praag.co.za\/index.php?rest_route=\/wp\/v2\/posts\/32859\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/praag.co.za\/index.php?rest_route=\/wp\/v2\/media\/32862"}],"wp:attachment":[{"href":"https:\/\/praag.co.za\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=32859"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/praag.co.za\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=32859"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/praag.co.za\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=32859"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}