Curated by Ann-Marie Tully and Jennifer Kopping
University of Johannesburg Gallery (
In his 1978 article, ‘Restitutions of the truth in pointing [pointure]’ Jacques Derrida explores his prevailing discursive theme of the inside and the outside of a text in relation to Heidegger’s Origin of the Work of Art, a philosophical exploration of etymological themes of presence in application to Vincent Van Gogh’s painting, Oude Schòenen (Old Shoes) (Payne 1993:220-221). ‘Restitutions’ operates through a set of metaphors: Pointure is a key metaphor relating to printing in terms of the “small iron blade with a point, used to fix the page to be printed on to the tympan”, as well as the “the hole which it makes in the paper” (Payne 1993:228). Derrida (cited in Payne 1993:228) also links the practice of shoemaking with the term Pointure, referring to the stitching-together of the shoe. In his characteristic way of remarkable connections, Derrida ties this term to the act of reading paintings and in-so-doing mobilises a trinity of sub-metaphors: the word lace is the first of these, referring to the lacing of a shoe − Michael Payne (citing Derrida 1993:229) notes that language punctures the canvas, less like a knife and more in the manner of lacing a shoe. Derrida’s ‘Restitutions’ does not miss a further understanding in the word lace. The French word for lace is le lacet, which can also mean trap or snare (Payne 1993: 229). In this sense Van Gogh’s empty shoes with open laces represent an empty trap, a vacuum of presence to delve into – where only ghosts can be found. Ghost is then the last metaphor in ‘Restitutions’. Notions of dispossession, melancholia, unrequited desire, loss, longing and absence spring from this textual ectoplasm.
This exhibition draw together established and emerging contemporary South African artists, whose artworks express thematically and in their inherent material and creation, notions relating to pointure (lace, trap and ghost). The curators undertake to create visibility for an expansive and under explored area of art practice in
but not limited to media involved with stitching, suturing, puncturing,
printing and weaving; and to do so in a manner that situates this work within
the discourse of contemporary art and cultural theory. South
Prominent and emerging artists featured on the show include:
Paul Boulitreau; Celia De Villiers; Christiaan Diedericks; Suzanne Erasmus (du Preez); Stephan Erasmus; Leora Farber; Gordon Froud; Jeanette Gilks; Sue Pam-Grant; Diek Grobler; Kim Gurney; Mike Hyam; the Keiskamma Project; Jennifer Kopping; Michelle Legg; Kim Lieberman; Kai Lossgott; Amita Makan; Gerhard Marx; Tamar Mason; Rosemarie Marriott; Jurgen Meekel; Musha Neluheni; Gina Niederhummer; Walter Oltmann; Sarel Petrus; Richard Penn; Landi Raubenheimer; Andrea Rolfes; Claire Rousell; Sally Rumball; Saran Sunder; John Shirley; Ann-Marie Tully; Yda Walt; Gavin Younge.
The Pointure exhibition is also accompanied by a colloquium in August 2012 of the same name (hosted by the Visual Identities in Art and Design Research Centre at the University of Johannesburg) with keynote presentations from Bracha Ettinger, Jane Taylor and Meredith Jones.
Payne, M. 1993. Reading paintings. Reading Theory: An introduction to Lacan, Derrida and Kristeva.
Blackwell, pp. 212-233. Oxford
Some Installation Views:
|Crating and artwork by Claire Rousell|
|Pointure installation view - artworks visible L-R: Ida Walt, Andrea Rolfes, Amita Makan, Ann-Marie Tully, Sue Pam Grant, Chris Diedericks, Sarel Petrus|
|Pointure installation view|
|Pointure installation view - artworks L-R: Andrea Rolfes, Ann-Marie Tully|
|Pointure installation view - artworks visible L-R: Sue Pam Grant, Chris Diedericks, Sarel Petrus, Diek Grobler & Marinda Du Toit, Jennifer Kopping|
|Pointure installation view: Jennifer Kopping|
|Pointure installation view - artworks visible L-R: Nicole Diffenthal, Diek Grobler & Marinda Du Toit, Amita Makan, Mike Hyam, Kim Lieberman, Jeanette Gilks|
|Pointure installation view - artworks visible L-R: Diek Grobler & Marinda Du Toit, Amita Makan, Mike Hyam|
|Pointure installation view - artworks visible L-R: Nicole Diffenthal, Sarel Petrus, Kim Lieberman, Jeanette Gilks, Gavin Younge, Kai Lossgott, Celia de Villiers, Landi Raubenheimer, Stephan Erasmus, Gavin Younge, Moira Macmurray|
|Pointure installation view: Tamar Mason|
|Pointure installation view: Kim Gurney|
|Pointure installation view - artworks visible L-R: Paul Boulitreau, Kim Guerny, Tamar Mason, Jurgen Meekel, Walter Oltmann; Gavin Younge (both floor pieces)|
|Pointure installation view - artworks visible L-R: Gavin Younge (foreground), Stephan Erasmus, Anitra Nettleton, Celia de Villiers (floor installation)|
|Pointure installation view - artworks visible L-R: Moira Macmurray (sampler collection), Anitra Nettleton, Mike Hyam|
|Pointure installation view - Mike Hyam, Celia de Villiers, Leora Farber, Keiskamma project|
|Pointure installation view: Landi Raubenheimer|
|Pointure installation view: Celia de Villiers|
|Pointure installation view: Mike Hyam|
Pointure installation view - artworks visible L-R: Musha Neluheni, Richard Penn, Gerhard Marx, Rosemarie Marriott, Gavin Younge (floor)
|Pointure installation view: Rosemarie Marriott|
|Pointure installation view - artworks visible L-R: Suzanne Erasmus (nee Dupreez), Gordon Froud, Rosemarie Marriott|
|Pointure installation view: Gordon Froud|
|Pointure installation view: Suzanne Erasmus (nee Dupreez)|
|Pointure installation view - artworks visible L-R: Kim Gurney, Jeanette Gilks, Jonna Slappendel, Nicole Diffenthal, Claire Rousell, Chris Diedericks|
|Pointure installation view: Chris Diedericks|
|Pointure installation view: Nicole Diffenthal|
|Pointure installation view: John Shirley (above), Sally Rumball (below)|
|Pointure detail: John Shirley|
Pointure installation view: Chris Diedericks and Michelle Legg
Celia de Villiers. Bridal Fetish. Wood,
perspex, hand and machine embroidered
textiles. W 570mm x H 950 mm x D 570 mm.
Reproduction courtesy of the artist.
Christiaan Diedericks, Dead Man Walking, 2011.
Coloured pencil, watercolour, metal leaf and stitching
on 350gsm Canson paper. Image size: 200 mm x
600 mm; framed: 480 mm x 860 mm. Reproduction
courtesy of the artist.
Gavin Younge, Zebra Skin, 2012. 464 white shoe
brushes (bristles partially removed and replaced
with the bristles of 300 black shoe brushes).
Height of each brush: 45 mm x 2 200 mm x
1 800 mm. Reproduced courtesy of the
Gordon Froud, Jozi boy (After Murillo),
2012. Found tapestry, wool and
perspex box. 250 mm x 400 mm
x 50mm. Reproduction courtesy of
Jeanette Gilks, Keeping in Touch, 2010. Mixed media.
300 mm x 200 mm variable. Photographed by
Harry Lock. Reproduction courtesy of the artist.
Kai Lossgott, charming plus perfect (american vogue
october 2010), 2012. Layered laser-cut magazine
covers, photograph, production still from 'piquant',
video for shopping mall intervention. Size variable.
Reproduction courtesy of the artist
Kim Lieberman, The Incredible Chain of Events,
2007-2008 5767-5768. Handmade lace, bronze figures.
1 090 mm x 1 000 mm x 1 000 mm. Reproduction
courtesy of the artist.
Rosemarie Marriott, Boetekleed [‘haircloth’],
2012. Animal hair and Impala skin.
680 mm x 560 mm x 170 mm.
Reproduction courtesy of the artist.