To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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‘May your choices reflect your hopes, not your fears’
The Nelson Mandela statue in Pretoria epitomises the early, but yet to be fulfilled, promise of an all-embracing prosperous ‘Rainbow Nation’
THE REDEEMER: Nelson Mandela statue in Pretoria
[Haruba-bad/Creative Commons]
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
NELSON MANDELA died eight years ago on December 5 2013. This statue of him was unveiled on December 16 — the official Day of Reconciliation — thus ending the 10-day-long period of mourning.
The nine-metre-high bronze figure is the tallest figurative statue of Nelson Mandela and weighs approximately 3.5 tonnes. Its outstretched arms span eight metres and are uncannily reminiscent of Paul Landowski’s 1930 art deco Christ the Redeemer overlooking Rio de Janeiro from the Corcovado mountain peak.
The statue, which emanates warmth, humanity and welcome, was cast in 147 separate pieces at four different foundries before being assembled in Cape Town.
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