Group Fax | July 25 

Interested invitees and friends gathered at serialworks to produce drawings and texts to introduce into the small, live global fax network created between 14h00 and 17h00 EST (20h00 and 23h00 CAT). Additional hubs at Kadist Art Foundation, Paris; Platform Garanti, Istanbul and Museo de Arte Carrillo Gil, Mexico City participated in the event.

Presented in partnership with Independent Curators International and The Drawing Centre (NYC) in response to the exhibition FAX  at The Drawing Centre, curated by Joao Ribas (April 17 – July 23, 2009).

Project documentation

Drinks with Bili | September 11

An informal gathering for visiting artist Bili Bidjocka, prior to the opening of his Goodman Gallery show FICTION #1: The Autobiography without Form of Bernardo Soares. To mark the occasion, Gimberg/Nerf presented a reconsidered fragment of their project One More Day to Regret/Escape to Robben Island (2008 – ongoing).

Dada South? Exploring Dada legacies in South African art 1960 to the present

Iziko South African National Gallery | December 12, 2009 - February 28, 2010

Curated by Roger van Wyk and Kathryn Smith with Lerato Bereng

 
Dada South? presents a collision of artistic strategies and forms that reflects the impact of the Dada movement on South African art practice. The exhibition presents both original Dada artworks and works conceived and enacted in the spirit of Dada, which seek to question the conventions, values and function of art in a troubled society.
 
For the first time in South Africa, historical Dada works and publications by Marcel Duchamp, George Grosz, Raoul Hausmann, John Heartfield, Hannah Höch, Man Ray, Hans Richter and Sophie Täuber-Arp are assembled for exhibition alongside works and objects by South African artists including Jane Alexander, Walter Battiss, Willem Boshoff, Candice Breitz, Kendell Geers, Neil Goedhals, Wopko Jensma, Robin Rhode and Lucas Seage.

The juxtaposition offers two important opportunities: to reconsider the significance of non-western cultures in Dada practice; and to consider an alternative history of resistance in a culture of isolation and repression in South Africa - one that is strongly related to ‘resistance art’, but which deviates into forms that are less didactic, and more eclectic and experimental.
 
In bringing together these lesser-known histories, Dada South? encourages new vocabularies for South African art.