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Assume Relaxed Position

by Johnny Mahala / 23.04.2014

Opposite the renovated Athenaeum building on the corner of Belmont Terrace and Bird Street in Central Port Elizabeth, one can buy a rock of crack cocaine within 20 meters of the criminal law court, in full view of the police and prostitutes negotiating on the corner, and the attorney’s offices overlooking the transaction.

These are precisely the kind of events and characters that appear in the paintings of ex-fashion photographer Marc Pradervand, whose exhibition ‘Assume Relaxed Position’ is now showing at The Athenaeum in Port Elizabeth.

The 12 large paintings that successfully dominate the high ceilinged atrium-like gallery are not the usual visual fare that pleases conservative Port Elizabethan eyes. But on opening night, a large, convivial and mostly un-shocked gathering took to this twist on Afro Art Brut like herring to vinegar.

When Mandela Dies White Wisdom (WRONG AGAIN!)
When Mandela Dies – White Wisdom (WRONG AGAIN!)

I almost agree with Rian Malan’s opinion that “Pradervand is ruder than Brett Murray and funnier too.” Pradervand’s work owes an enormous debt to Walter Battiss in terms of his flat silkscreen-like palette and figures corrupted from San rock art sources, but his work has nothing of the po-faced satire and fine execution of the latterly smooth Murray.

Wearing his inspiration and influences on his sleeve, Pradervand paints with no real concern for technique. That’s good in the sense that it liberates him from kowtowing to the art snob’s penchant for “technical excellence” and cuts straight to the mini-dramas played out in signs, symbols and badly drawn big-bollocked boys and perky-breasted girl ciphers treading his boards.

Southern Politician
Southern Politician

The directness/rawness is both fun and grotesque at the same time. In Muthi Man, a central lampshade and bulb borrowed from Guernica illuminates the horribly twisted mutilated torso of a female figure with red hair. Stage right, a rainbird rock art figure skulks away towards the wings whilst a man-hyena below makes off with the amputated arm in its mouth. Disturbing stuff. And if it wasn’t executed in this naive style it would repulse without pause for reflection.

Muthi Man
Muthi Man

The entire composition is embraced by two fabulous arms (crab claws/vulture-beaked preacher’s heads) that toy with negative space, force-feeding the drama directly into your eyes.

Elsewhere, the most obvious link to Pradervand’s former life as a professional photographer manifests in The Cocaine Sniffer. This is Pradervand ripping off Catherine who borrowed from Battiss who pilfered from Matisse. Visualise Tretchikoff’s Green Lady stepping out the frame into 2014 wearing spiked patent leather heels spreading her buttocks for the tikolosh of the poppy field. You follow my drift?

The Cocaine Sniffer
The Cocaine Sniffer

Confessional overtones are scarce. Most of the paintings are opinion pieces examining the exploitation of Africa by Europe and China not forgetting looting from within by our own predatory political elite. Pradervand makes images that are easy to consume, but not elementary to decode. His approach is both frank and cynical, yet there is a comedic element that charms you into lingering a while longer.

One might, for example, tally the six blind swallows capering around the head of the pink capitalist devil (inserting its penis into somewhere roughly between Tunis and Cairo) and recognise that here are Pradervand’s references to Shaka’s use of the term “swallows” to refer to the land-grabbing Cape colonists. Jump-cut to today and think AngloGold Ashanti, SABMiller, FirstRand, Massmart, Bidvest and Vodaphone. Pliny’s well-known Latin phrase is adapted to read “Ex Africa semper aliquid novi facincris” – an explicit caption for the obvious.

Ex-Africa...
Ex Africa…

There are other terrific devices on show. My tip of the day would be “The TV Evangelist” a very interesting painting using softer colours reminding me of Mxolisi Dolla Sapeta’s work. Indeed, the painting is signed in a manner that doffs the cap to this active, (criminally underrated) New Brighton painter recently back from residencies in the USA.

The prices are refreshingly sober and I have no doubt that, should he continue to show the same spirit, possibly tweaking his technical side to become either slicker (or cruder), then this satirical de Buffet of Riebeeck East will be turning up in the pages of respected international art and illustration journals pretty soon.

Suck my Glok
Suck My Glok

*Assume Relaxed Position is currently showing at The Athenaeum in Port Elizabeth and closes on 25 April 2014.

*Follow Marc Pradervand on Facebook.

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RESPONSES (11)
  1. heppy says:

    naaisch

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  2. PE CAT says:

    POWER TO PRADERVAND

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  3. RSA says:

    Brilliant!!!

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  4. Tweezie says:

    Oh my Freaky Henry, what an awesome article

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  5. Andrew Dillon says:

    Awesome work Marc. Keep it up!! !!

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  6. Majorgoodvibes says:

    It’s not crude, or crass. It’s just real, and Pradervand is bold about it.

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  7. boy says:

    i thought this “Pradervand” was only a rumour- very impressed now

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  8. Tim Hopwood says:

    A brilliant piece. Well written and insightful, it decodes the work very accurately. Paradervand has something vital to say, and you got it all spot-on. Nice one, Nic. Very impressed.

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  9. Anton Calitz says:

    I’m thinking Marc took the exhibition title “assume relaxed position” from a line in the Rodriguez song “crucify your mind”. Exactly like Marcs paintings, the song is a soft melody, quietly containing a full frontal attack on the hypocrytical pose of a distinctly female subject. The bridge solo in the song is played on French horn, softly and forlorn, much like the phallic bits in many places of Marcs paintings which bring you to earth. Unlike the Rodriguez song however, Marcs paintings are always with a humourous twist, always an explosion.

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  10. Mohlomi says:

    When i grow up,i want to be able to write like this.

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  11. Johnny Mahala says:

    Dear Editor
    The minor amendments to my article (published above) include the typographical/ grammatical error “who’s” instead of “whose” in the fifth (5th) line of your copy. It’s an easy blunder to make, but a blunder nonetheless. Please amend it if you have the time. The feedback on the show has been terrific. Many thanks for publishing the piece. As a side issue, readers might be interested to know that the conservative art advertising and auction house promotional magazine “Art Times” found the material too strong for their palate and declined to print. This makes a splendid case for the utter necessity of platforms like MAHALA. On a closing note, the spelling and proof reading at Art Times is atrocious. In a recent issue, I discovered 14 literals. That’s an insult to their advertisers whose cash keeps the presses rolling. Not every creative person is linguistically impaired. And art criticism should after all, be properly sub-edited due to the often rigorous language it contains. Sincerely, J. Mahala.

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