Between 10 and 5 The South African creative showcase Wed, 22 Oct 2014 20:16:40 +0000 en-US hourly 1 Shepard Fairey in Johannesburg for Hennessy’s ‘Very Special World Tour’ Wed, 22 Oct 2014 13:00:53 +0000

World renowned street artist Shepard Fairey created a mural of Nelson Mandela in Johannesburg as part of Hennessy's 'Very Special World Tour'.

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World renowned street artist Shepard Fairey was recently invited to design his own Hennessy Very Special Limited Edition bottle. The collaboration between the artist and the brand stemmed from their shared values: the never ending quest for excellence, the love of true craftsmanship, the passion for tradition and innovation.


Taking the concept of collaboration even further, Hennessy celebrated the launch of Fairey’s Limited Edition design with a “Very Special World Tour”. As part of this, Fairey visited Johannesburg where he created a mural in Braamfontein, hosted a bottle signing and attended the Hennessy launch event at Arts on Main in Maboneng.


Fairey’s mural of Nelson Mandela (one of his personal heroes) forms part of The Purple Shall Govern  – an international multi-platform project commemorating the 25th anniversary of the Purple Rain Protests which took place on 2 September 1989. On that day, a police water canon with purple dye was turned on thousands of Mass Democratic Movement supporters who poured into the city of Cape Town in an attempt to march on South Africa’s parliament. The 8m mural created by Fairey in commemoration can be seen from Juta Street. 


The short film (above) documenting the Johannesburg leg of Fairey’s journey was created by Gavin Elder and the pictures below are by Derek Smith.


Shepard Fairey Mural in Braamfontein (1)

Shepard Fairey Mural in Braamfontein (3)

Shepard Fairey Mural in Braamfontein (5)

Shepard Fairey Mural in Braamfontein (4)


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Spanning Over 100 Metres, ‘Resistance’ is a World Record Artwork by Ralph Ziman Wed, 22 Oct 2014 12:00:33 +0000

  Resistance, a giant wheat paste spanning more than 100 metres, is a world record artwork by South African artist and filmmaker Ralph Ziman.   The public art installation makes a powerful social statement on the arms trade – which […]

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Resistance by Ralph Ziman


Resistance, a giant wheat paste spanning more than 100 metres, is a world record artwork by South African artist and filmmaker Ralph Ziman.


The public art installation makes a powerful social statement on the arms trade – which naturally continues the theme of his previous body of work, Ghosts. As a starting point for this, Ziman had six Zimbabwean artists use traditional African beads and wire to manufacture several hundred beaded AK-47s; replicas of an iconic weapon which has come to be revered and grossly fetishized in Africa. Once completed, the beaded guns were the subject of a photo shoot in downtown Johannesburg, resulting in a series of images that are vivid, unsettling, and strangely beautiful. Ghosts highlights the reality that most of this trade is targeted in the direction of Africa, subsequently fuelling and sustaining conflict across the continent.


Read an interview with Ziman about the multimedia project Ghosts.


The title of his latest work, Resistance, is inspired by War Resisters International – an anti-war organisation founded in the wake of the First World War. War Resisters has been in existence for almost a century and has branches all over the world. The logo has always been a rifle, broken in half by a pair of hands. “When creating Resistance,” Ziman says, “I wanted to update the logo. The gun is now an AK 47, the most destructive weapon in the history of mankind – in fact, it has killed more people than the atom bomb and HIV Aids combined. The gun is wrapped in a combination of world currencies symbolizing the international arms trade which not only pedals in death, but also impoverished fledgling economies around the world by diverting money that could be used for health care and education. 25% of the world’s corruption is routed in the international arms trade, making it the largest organized crime syndicate in the world.”




Resistance was installed from 6-10 October, and has been applied to the ground of the grand parade where it is strategically situated between The Cape Castle and City Hall (each with their own historical relevance). Born through collaboration, the project was made possible with the partnerships of The African Arts Institute, Ubuntu Academy and Invisible Sun. MUTI Films and WetINK formed the production team for the series of videos below:






Find the Resistance Project on Facebook for more information and the latest news.


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Featured: SMITH Art Gallery In The Making Wed, 22 Oct 2014 11:00:38 +0000

We chat to the co-founders of SMITH, the new contemporary art gallery that's under construction at 56 Church Street.

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The historical building at 56 Church Street is busy being carefully renovated and restored to its former glory to become the home of new contemporary art gallery on the block, SMITH. The gallery is co-foundered by Amy Ellenbogen, who will curate the space, and Candace Marshall-Smith, and will specialise in new works by a broad range of established and emerging artists. In keeping with its unassuming name, SMITH aims to make art ever-more accessible to art lovers and collectors. We chatted to Amy and Candace ahead of the early February 2015 opening to find out more about SMITH.



How did the idea for SMITH initially come about?


Candace is a qualified chartered accountant but has always wanted to do something that would combine her financial skills with her love for art. She realized that running a gallery was a great marriage of those skills and approached Amy to come on board as co-founder and most importantly curator. Amy was excited at the opportunity and together they conceptualized SMITH.



Please tell us briefly about the name, identity, and renovations/restorations of the space that have gone into making SMITH…


The name SMITH is undistinguished and ambivalent which gives the gallery a faceless appearance, a clean slate and a starting point. It allows the content to reveal itself. As our designer Gabrielle Guy said: ‘SMITH is a personality-less name, like Jones. A non-name. A default. Something that anything can attach itself to. Something that has no connotations, presumptions or baggage. It can apply to anything, any artist, any concept and any exhibition.’


Also, a ‘smith’ is a maker of things and lends itself to the creative process. Lastly SMITH is comprised of five letters, these five letters are a key to the five elements to art description – artist name, title of work, medium, dimension and year of work.


Regarding the space, initially we were looking for a space to rent, which was proving difficult. We then came across the building at 56 Church Street, which was about to go up for auction, and realized that this would be the perfect space to house the concept we had in mind for SMITH.


The renovation has been a long and considered process and we feel fortunate to have been able to work with Gawie and Gwen Fagan who acted as heritage consultants and Alexander McGee and Reanne Urbain who are the principal architects. The space is 230 years old so restoring it to house SMITH is a way of returning the space to the public in its true glory.




Can you each please tell us a little about your respective background, how you ended up here, and what you each feel you contribute to SMITH…


Amy studied Art History at Stellenbosch, then went on to work in various creative avenues from fashion to decor in magazines. Her history of art background allowed for a solid foundation to be created for her love of art and design and has meant that she is constantly dipping into this knowledge.  She is passionate about curating art and particularly African art.


Candace studied at Stellenbosch and Cape Town University and qualified as a chartered accountant. She worked in the financial services industry in the US, UK and South Africa before realizing that life had a different path in store for her. She moved on to become a photographer and then the co-founder of SMITH.



The first part of your manifesto states: “Disregard convention in favour of something brave, joyous and timeless.” What does this mean in practice?


In practice this means that we want SMITH to be a space that allows for artists and buyers to have a long reaching and memorable experience through art. We want artists to take chances in their work and buyers to take chances in their buying, and by doing so, receive great satisfaction and joy. We want to create a gallery that enriches the South African art landscape.



How does the building and location influence the gallery’s ethos?


Hugely. SMITH sits in the oldest part of Cape Town. We are honoring this old building by exposing heritage artefacts and placing them alongside contemporary art and architecture. Working with Reanne Urbain and Alex McGee has been a very enriching experience in that they have taken every detail into account from a heritage perspective but have allowed Candace and I to create a very contemporary space in which to show work. The building is on its way to being sensational.




What’s more important, exhibition attendance or sales?


Both are very important. At the end of the day this is a business and sales are vital to the existence of the gallery but also to the artists’ well being. Exhibition attendance is often key to sales but as international buyers move in on the African art scene, sales to foreigners living abroad are becoming more common and these buyers wont necessarily attend an exhibition in person.


We are in the business of helping both new and established collectors to grow their collections and by doing this we are able to develop and nurture artists and there is no set formula for doing this.


Another point to mention is that the rise of numerous art fairs both locally and internationally means that the traditional gallery ‘shop’ is no longer the only exhibition space for an art dealer. Fairs are becoming integral to the industry and how it operates.



What market will SMITH be aimed at?


Part of the SMITH ethos is to be approachable. We welcome all buyers and hope to eliminate some of the pretense that is so often found in the industry.



What is your approach to collecting, and what sort of collectors do you hope to attract?


Collecting art should be controlled and purposeful buying. What makes a good collector is the ability to sift through vast amounts of available works and information and identify the ones that portray the most talent and will ultimately yield the best return on capital. One cannot just focus on one piece at a time but instead should realize that the whole collection is greater than the sum of the parts.


Some ways to focus a collection are to collect by medium, by region or by art practice. It is important to stay educated so that you are able to recognize value and educate your eye. In doing this what you like will not only be a function of what you think is appealing to the eye but also what you have identified as valuable and what fills a gap in your collection. It is also important to adjust your taste over time so that your collection reflects the passage of time.


Collecting by region is a wonderful way to deepen your knowledge about where you live and your culture. Personal preference is important in a collection otherwise all collections would be the same and at SMITH we aim to guide collectors in starting or maintaining their collections that also reflect their own tastes and are ultimately unique.



Will you sign on a stable of artists to represent, or work on a project/exhibition basis? Please tell us a little about the artists you have already got onboard…


We will assess our relationship with artists individually but will definitely be looking to sign up some artists in the long term. We are currently working with Mia Chaplin, Dale Lawrence, Elsabe Milandri, Nic Eppel, Marsi van de Heuvel, Dani Bischoff, Grace Cross and Kurt Pio. They will be taking part in selected group and solo shows during the course of next year.


Danielle Bischoff

Danielle Bischoff

Elsabe Milandri

Elsabe Milandri

Mia Chaplin

Mia Chaplin

Dale Lawrence

Dale Lawrence

Kurt Pio

Kurt Pio

Marsi van se Heuvel

Marsi van de Heuvel

Nic Eppel

Nic Eppel

Julia Merrett

Julia Merrett

Grace Corss

Grace Cross


What do you look for in artists that you work with?


This is not an easy question to answer as there are no rules or guidelines when curating such illusory matter and what makes one artist thrive doesn’t always apply to other artists. What is important is that the artist has a deep ingrained love for what they do. An artist needs to be so in love with their practice as the nature of being an artist is truly hard.



What’s in store for the opening exhibition?


We will be opening SMITH with a solo show by Kurt Pio. Kurt is an established artist who is highly skilled in his painting but also has a witty understanding of Cape Town life; we are excited to develop this body of work with him. We don’t want to give away too much but this show will encompass a range of mediums and will allow for the SMITH gallery space to be shown in all its glory and for all it is going to offer in years to come.



Anything else you’d like to add…


The contemporary African art market is in an exciting space and we encourage buying art from home, this will only enable the market to grow and help to develop Africa as a leading player. Buy art.

Keep up to date on the renovations and other news via the SMITH Facebook page. 



Co-founders, Amy and Candace


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Oude Meester | Advice for Young Masters #InspireMastery Wed, 22 Oct 2014 10:00:16 +0000

This November Oude Meester is bringing the star of their latest TV commercial, Idris Elba, back to South Africa to meet with a lucky few young masters to discuss the idea of 'mastery' and offer the lessons he has learned along the way to success. On that note, we decided to compile a collection of advice for masters in the making.

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This November Oude Meester is bringing the star of their latest TV commercial, Idris Elba, back to South Africa for The Oude Meester Tour. Together with South African actor Siyabonga Radebe (District 9), Elba will be visiting Cape Town, Durban and Johannesburg to meet with a lucky few young masters to share his journey and inspirations, discuss the idea of ‘mastery’ and offer the lessons he has learned along the way to success.


On that note, we decided to compile a collection of advice for masters in the making shared right here on 10and5 in previous interviews with inspiring South African artists, designers and entrepreneurs. In the spirit of forever learning, here are some quotes to inspire:


On perfecting your craft:


“I grew up drawing. My schoolbooks were full of drawings of whatever I was interested in at the time. I don’t know why I did it, but I used to painstakingly draw logos at a young age, like the Bad Boy logo and the Nike swoosh, until I got it right, trying to work out where the lines belong on the page. I did this throughout whether I was trying to draw the ideal wave or perfect a cartoon character. I realize now that that early sense of iteration is part of my natural process today. I often just draw the same thing over and over again until I feel it’s right for the final execution.” – Graphic Designer, Matt Kay


“At the moment I am coming to realise how quality, superior concept and a good work ethic informs a sense of balance” – Artist, Athi-Patra Ruga


Athi-Patra Ruga

Athi-Patra Ruga


“Stay teachable. The minute you think you’ve got it is when you’ve lost it.” – Tattoo Artist, Richard Phipson


“Having started a company we know how to make 5cents look like R500. That’s the one thing we do differently. When you do a job the budget should never be an excuse, you’re only as good as your last job so if you’re going to take something on you should do it to the best of your capabilities. So what do I bring? I bring production value” – Director, Mpho Twala


“Patience and acceptance. Everything takes time, and nothing is the way you think it will be. Be in it for the long haul.” – Entreprenuer, Jens Herf


On mentorship:


“I believe it’s something that every aspiring photographer should do, it not only speeds up the learning process but exposes you to different techniques as well as being able to “get your foot in the door”. Being an assistant is not all glamorous but the hard work is humbling and teaches one etiquette.” – Photographer, Caroline Mackintosh


“Working for Rankin was a huge challenge simply because of the amount of work he produces. Being his 2nd assistant and studio manager comes with a lot of responsibility. Rankin wears many hats from photographer to publisher; he shoots the largest advertising campaigns on the planet and manages to squeeze a 400 page bi-annual magazine in between those, all while flying to New York and Los Angeles almost every month. The knowledge and experience I gained is indispensable…Working on that level teaches you the hierarchy of this industry, it teaches you what my friend and I have dubbed ‘setiquette’: your on-set etiquette. It’s helped me streamline my own sets to run on an international level. It’s also helped me perform under immense pressure and solve problems at a rapid pace.” – Photographer, Darren Gwynn


“I worked as an editor for about six years. This is where I cut my teeth and learned to tell a story. I have always been producing my own mini-documentaries on the side, though, but never had the guts to take the leap to directing because I knew it’s a very difficult career path financially and it’s super competitive. But that burning desire to tell my own stories and initiate projects just did not go away. One day, I woke up and the penny just dropped – I had to take the leap. I had no romantic illusions of my change in career trajectory and knew I needed to earn my stripes, and get some solid mentorship from the best. I then did a three-year stint in creative research, with my last two years at Bouffant and Picture Tree. This was an invaluable time of expanding my knowledge and understanding of what it takes to be a good director and getting a bird’s eye view of the industry.” – Director, Wim Steytler


Wim Steytler

Wim Steytler


“The best way to learn is from experience, if not from yourself then from those that know…” – Anthea Poulos, The Bread


“People ask if I want to mentor, I don’t think that I can mentor. I don’t make the young guys that come in here do my research. I treat them as my equals as much as I can because the only way that you will learn is if someone gives you something on your plate so that you can make your mistakes but also at the same time we eat off the same plate. So we do mentor but its in working together. Sometimes I let them direct a small scene. They’ll do it a particular way then I’ll show them my way and in between they’ll find how they want to work.” – Director, Mpho Twala


“Working with Pieter Hugo was amazing. I learned how to be professional, learned how to take criticism constructively, learned not to be too attached to my work and most important is that hard work always pays off.” – Photographer, Sipho Gongxeka


On taking risks:


“I’ve left my life open to experiences instead of trying to normalise my life or condemn my curiosities. I think that’s a really important thing to aspire to as an artist.” – Director, Sibs Shongwe-La Mer


“Trust yourself and your artistic choices. Value your vision and unique articulation of beauty.” – Accessories Designer, Katherine-Mary Pichulik





“It’s better to be ambitious and fail than play it safe.” – Writer, Lauren Beukes


“I like nothing more than surprising myself – being able to step out of my body and say ‘Is this really happening?!’ and then grapple to get back home changed but safe.” – Documentary Photographer, Damien Schumann


“Anyone who is afraid of taking risks.” – Fashion Designer, Tzvi Karp on who follows trends.


On making mistakes:


“I prefer to keep on drawing and use the “mistakes” as part of the outcome.” – Artist, Ello





“I think it’s important to assume that there is always room for feedback, improvement and learning.” – Strategist/Baker, Dinika Govender


“One thing I have learnt this year is that good unexpected mistakes rarely happen so I prepare for everything and cover myself on all bases. The more you prepare the luckier you get so to speak.” – Photographer, Travys Owen


On rising above challenges:


“There is a certain fear of uncertainty – unknown unknowns – and even self doubt that comes with starting a business, but it’s a space that can break you or make you bulletproof because of the constant challenges that you need to create solutions for. You start to worry less about trivial fears; there’s a new level of enlightenment that you experience being a business starter.” – Digital Entrepreneur, Mike Sharman


“The biggest mountain to conquer is self doubt. It’s important to know exactly what you want (aesthetically) from a story and then it’s important (if you don’t succeed) to forgive yourself for being fallible.” – Stylist, Gabrielle Kannemeyer


Gabrielle Kannemeyer

Gabrielle Kannemeyer


“I think the main obstacle or struggle over the years has been to find balance. Balance between life and work, balance between money and art, balance between expectations and delivery, balance between self-marketing and integrity. I also think the struggle for any creative person is writer’s block. There are good times and bad and you have to roll through the bad to find the good again.” – Photographer, Ross Garrett


“For us, there’s no backward- so we try by all means to tire ourselves with what we do while also enjoying ourselves, and the balance works- living off what we want and are good at, and we can’t imagine doing anything else! Know what you want and follow through. When you put it down on paper, after proclaiming to the powers of will, that the business of what you love doing is what you want to do- work at it with an urgency, never let it slip away into the hole of “I-once-started-but-never-did”. If this happens, you will have sweaty hands when trying to pull the dream back out the hole.” – Imiso Ceramics



Go to to sign up for the Blue Door Society and stand a chance to spend time learning more with Idris Elba and Siya Radebe.


Click here to view the embedded video.


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An Interview with Dookoom Director Dane Dodds Wed, 22 Oct 2014 07:00:30 +0000

Hip hop group Dookoom have had their say in relation to the uproar surrounding their track “Larney, Jou Poes”. Dane Dodds, however, newcomer and director of the controversial music video for the song, has an interesting perspective to share especially since he grew up on a farm in the Western Cape. We asked him more.

The post An Interview with Dookoom Director Dane Dodds appeared first on Between 10 and 5.


Dookoom video


Dookoom. A word that relates to a bad or bewitched thing, or outcast. Or, the most talked about hip hop group right now due to the recent media frenzy around their track “Larney, Jou Poes” which speaks of an unsettling relationship between farmers and farm workers. Rapper Isaac Mutant and the rest of his five member team have had their say in relation to the critical uproar. Dane Dodds, however, newcomer and director of the controversial music video for the song, has an interesting perspective to share especially since he grew up on a farm in the Western Cape. His interests lie in generating discussion and telling unexpected stories. We asked him more.


As the director of Dookoom’s music video, what was your vision for the piece?

I wanted the video to do justice to the Dookoom aesthetic and give my interpretation of that. And then I was hoping for it to get some attention because of the difficult topic at hand. Basically to get people talking about the elephant in the room.


Could you explain some of your thoughts behind the creative direction, the use of black and white for example?

A fundamental part of my idea was to play with time. I tried to implement symbolism from the past, but also use new symbols like the tractor rims and some more current stuff that are more in line with where Isaac Mutant is coming from. Some of the symbols are serious, while others are almost satirical. I chose the black and white style to make the viewer question if this was a present issue or one of the past.  I tried to use all of these things to create a video that was about the past and the present, as well as about the real and the surreal, fantasy and fear.


Did you anticipate it to cause such a stir? Was this your intention? If so, why?

I believe everybody wants their work to be seen and discussed, so in a way, yes. The song is very political, so I knew I was dealing with some controversial material and I thought there would be a reaction. That being said, I didn’t know exactly how much this would be discussed. Some clever people have written interesting things and it has gotten a lot of people talking about something that we usually don’t talk very much about. And that was what I was hoping for.


What are your thoughts on the way the media is interpreting the video? Some have even gone as far as calling it hate speech.

As said before, I’m pleased with some of the reactions and discussions that the video and the song have brought about. Others I am of course less happy about. For example, the claim that the song and video is hate speech, which I would call a misinterpretation. It does show, however, that there is a lot of fear and anger out there that we need to deal with and talk about. If a music video can make people express such strong and very different opinions, I think it says something about our society.


Click here to view the embedded video.

Director: Dane Dodds
Producer: Niklas Berning


In an interview with City Press, Isaac Mutant says that the burning of their logo onto the land in the video is because they want to reclaim land “from the corporate world, capitalism”. How do you view the message?

Isaac Mutant is a strong character and an incredible thinker. And where he is from and where he spends a lot of his time, there are many people who are struggling and haven’t benefited much from the new South Africa. So I understand where he is coming from. But I am neither Isaac, nor a politician.


Did you know Dookoom before agreeing to direct their video? What are the members like to work with?

I was recommended to Dookoom by Fly on the Wall, so that’s how I met them. Shooting the music video with Dookoom and being out there with so many people from such different backgrounds, who were all working together, was truly great and something I will never forget. And for a gangster rapper, Isaac is surprisingly good at driving a tractor.


You’re a newcomer on the scene, where do your interests lie?

As I like to say, my goal is to shoot a feature film on the moon, if that gives you an idea. For now I work with different ways of telling stories and translating feelings and stories into a format that hopefully can take people to new places. In my new company, Sirius Tales, we are a few guys who all agree that the medium matters less than the story we want to tell. So I guess my interest lies in telling interesting stories.


What other work have you done? How does it relate to Dookoom’s video?

Aside from raising baby ostriches, I have more or less been working with film and images my whole life. I have been taking every opportunity to be on film sets and do a lot of smaller jobs along the way for festivals, companies, my own projects and so on. But this is my first music video, which concludes my time as a resident artist at Fly on the Wall. With my friends at Sirius Tales, we’re working on a few different things right now. One of them will likely reconnect me to the diverse group of people I have gotten to know while making this video.


How has your journey as a filmmaker progressed?

I have been very lucky to be around talented people that I have learned a lot from in the last couple of years. And I have been equally lucky to get to go to some pretty strange places as well. This winter for example, I was living with a group of reindeer herders North of the Arctic circle. I definitely didn’t see that coming. So I’m growing and finding inspiration and learning every day. I hope to continue that journey. With this video and my new company, this feels like a new chapter and the beginning of something exiting.


If there’s one thing you’d want readers to know, either about you, Dookoom, or their video, what would it be?

It’s far harder to put earrings on pigs than you would think.


Dookoom videoDookoom videoDookoom video


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Update: New Work by Skullboy | A bit more grown up, but still sharp as ever Tue, 21 Oct 2014 12:00:59 +0000

A Durban local through and through, Skullboy currently spends his days working as a senior designer at Modern Museum while remaining consistently active as an artist, illustrator and curator in the low-brow art exhibition scene.

The post Update: New Work by Skullboy | A bit more grown up, but still sharp as ever appeared first on Between 10 and 5.




It’s been a while since we last caught up with things in the (predominantly black, white, gold and grey) world of Skullboy. A Durban local through and through, he currently spends his days working as a senior designer at Modern Museum while remaining consistently active as an artist, illustrator and curator in the low-brow art exhibition scene. Most recently, Skullboy has been collaborating Mathew Kieser of Sol-Sol to co-edit and art direct a soon-to-be-launched zine called FRIENDS. Here, we chat to him about his creative journey and approach, and we take a look at some of the fantastic things he’s been creating of late.


Growing up, was there ever any indication that you’d be doing what you are now?


I think I was in Grade 3 or 4 when I first saw Richard Hart’s painting for a Lizard surf ad (the human/lizard hybrid surfer illustration). It clicked right then that this was what I wanted to do for the rest of time. I didn’t know what ‘this’ was actually called back then (I even thought it was called ‘marketing’ at one point) but I always knew I would do something creative.


When did you realise that a career in the creative industry was something you wanted to pursue? And now, although there are overlaps between the two, do you identify more with the title of ‘artist’ or ‘graphic designer’?


I knew very early on I wanted to do something creative but wasn’t sure about fine art or graphic design. I went with the latter for employment reasons but it was a choice that I’ve never regretted.


Feeling insecure about my title as a designer, I worked for a lot of years towards being considered an artist and then, as I got older, I worked really hard to be considered a legitimate designer. I worked a LOT, ha. Nowadays, I’m less concerned with titles. At the end of the day I’m a fucking hard worker who makes not design, not art, but WORK. The outcomes define whether something is considered art or design, but for me the process of arriving at each of those is the same.


Tell us a bit about your process. What sort of balance do you strike (or endeavour to strike) between spontaneity and routine?


“I’m routinely spontaneous” would have been an amazing (faux-intelligent twat) pull-quote. I don’t necessarily have specific pockets of time that I set aside to work but I am working constantly. Sometimes more in a day, sometimes less, but I’m engaging with projects or project-related admin every day. So I guess it’s spontaneous as in I work when I can…which doesn’t sound as fun and frivolous as the word suggests, haha.




You choose to work with a very limited colour palette of black, white and sometimes gold. Why is this?


I work exclusively in black, white, gold and more recently, grey. Colour is just so complicated. I’d like to think my work is very concept-driven so if I have a thought – whether it’s abstract or coherent – I want to communicate it as quickly and powerfully as possible. Maybe that’s the designer in me? I’m pretty sure it won’t match your couch.


In terms of aesthetics as well as subject matter, how has your work developed or changed since you first started out?


I’ve been working hard over the past couple of years to develop my work, so it has changed quite a lot. Because I’m working almost every day, that progression is just natural I guess. My earlier subject matter focused on youth and night culture, which I still think is a key theme to a lot of my current work, but the voice has grown up a bit (I hope).


Born and based in Durban, how does your environment influence and inform you?


Apart from the visual and cultural cluster-fuck that is Durban, Durban taught me drive. Our scene is growing and developing but if you still want something to happen, you gotta make it happen on your own. Too few galleries, too few buyers, not enough money – these lil fuckers force you to get pretty creative when trying to achieve anything.


What sorts of things could a typical day for you entail?


I am currently a senior designer at Modern Museum so usually my day starts with sleeping/emails/smoking-while-looking-out-of-windows before I’m off to work for the day. Then it’s back home to throw dinner together and work on personal projects, peppered by the occasional after-work drink, indoor football game or skate session.




You’ve been working with Mathew Kieser on a men’s magazine called FRIENDS. How did this project come about?


Mat and I have been friends for a long time and were hanging out flipping through a couple brand-zines. We started talking about how so many of our homies were keeping busy and doing cool work so we decided to document it. I think we both really just wanted to make something cool – something we’d like to read without 30 ads and an article on how to get better abs. So we’re co-editors in this endeavor, with Sol-Sol handling distribution and myself the art direction.


We’re well into 2014 now – what have been some of the highlights of the year for you, so far?


It’s been a quick, brutal fucking year I tell you. The Space summer campaign I worked on at Modern Museum; painting the 8 Morrison murals; the completely desperate, incoherent affair that was the Wyatt wedding; proudly launching FRIENDS on; discovering Odd Future.


And finally, what’s next?


Keep having fun at Modern Museum, totally fucking up the internet when FRIENDS drops and making more (and better) art for my gallerist at Baang+Burne.


For regular updates, find Skullboy on tumblr and Twitter.


Mathew and Louis are running an Indiegogo campaign to raise funds for the first 1000 copies of FRIENDS. Go here for more info and to donate, if you’d like to!









Skullboy_10and55_by roger jardine




Skullboy_10and511 by Curated by_Collective





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Oude Meester | Local Creatives on the International Stage #InspireMastery Tue, 21 Oct 2014 11:00:01 +0000

Ahead of The Oude Meester Tour here are a few SA creatives whose brilliant work is being noticed abroad, and rightfully so. Here’s to mastering your craft!

The post Oude Meester | Local Creatives on the International Stage #InspireMastery appeared first on Between 10 and 5.


In November this year Oude Meester is bringing Idris Elba, the star of their latest TV commercial, back to South Africa for The Oude Meester Tour. As he travels through Cape Town, Durban and Johannesburg together with South African actor Siyabonga Radebe (District 9), Elba will meet a few young masters to share some of his own journey so far and the lessons he’s learned along the way, and to discuss the idea of ‘mastery’.


With that in mind we were inspired to highlight a few of the South African creatives in the fields of art, design, music, film and fashion whose work is being noticed (and loved!) abroad, and rightfully so. Here’s to mastering your craft:


Spoek Mathambo and Lebogang Rasethaba



Nthato Mokgata, better known as Spoek Mathambo (or the self-proclaimed “prince of township tech” if you’d prefer), is a producer/singer/rapper and the lead member of electro outfit Fantasma. He got together with filmmaker and director Lebogang Rasethaba – who is currently represented by Egg Films – to co-direct a feature length documentary exploring the past, present and future of the electronic music scene and its multiple sub-genres in South Africa. Spoek and Lebogang had a simple mission: to meet up with some of their heroes, colleagues, competititors and co-conspirators…an ever-potent gang of electronic music pioneers sculpting The Future Sound of Mzansi. Met with high praise, the film has recently screened at the Durban International Film Festival, The Bioscope in Maboneng and the Stratford Picturehouse in London with upcoming screenings in Edinburgh and Glasgow.




Read an interview with Lebogang about Future sound of Mzansi.



Athi-Patra Ruga




Athi-Patra Ruga is a performance artist who uses the mediums of video, textiles and animation to create a world where cultural identity is no longer determined by geographical origins, ancestry or biological disposition. He is mostly known for The Future White Woman of Azania, an ongoing performance series first conceieved in 2010, which revolves around a character that lives in the centre of 250 balloons. Also notable is his work in large scale tapestries, through which he showcases marginalized experiences through mythical characters that are at once identifiable and strange. Athi’s bold exploration of the border-zones between fashion, performance and contemporary art recently caught the attention of Louis Vuitton – the luxury brand have comissioned him to create an 4×4 metre tapestry that will go on display at their flagship Champs-Elysées store in Paris and, to coincide with this, his work will be exhibited at the Espace Culturel Louis Vuitton.





Read an interview with Athi.



Laduma Ngxokolo




Born in Port Elizabeth, Laduma Ngxokolo studied textile design and technology at NMMU and went on to establish his own knitwear brand MAXHOSA by Laduma in early 2011. His mandate is to maintain his heritage and so, heavily influenced by aspects of the Xhosa culture, Laduma’s designs reflect the structure and precision of the patterns found in traditional African beadwork. Laduma presented his first women’s line at Mercedes-Benz Fashion Week this year, as part of his latest collection titled Buyele’mbo. Laduma has just showcased his work in Berlin, London, New York, Paris and most recently, Oslo.





Read an interview with Laduma.



Jordan Metcalf 




Growing up Jordan Metcalf dreamt of becoming a scientist, writer, programmer, musician, psychologist, architect – the list goes on – before deciding on a career as a graphic designer, illustrator and artist. He currently runs his studio out of a shared space in The Woodstock Exchange where his time is spent divided between doing commercial jobs for local and international clients (he’s represented by Handsome Frank in the UK) and making design based artworks. Visually, Jordan is inspired by the intersection of the man-made world and the environment – the contrast of the geometric lines and curves of architecture and typography and industrial design, with the organic controlled chaos of nature. By adding organic softness and depth to precise geometry he endeavours to bring some of these contrasts into his own work, which predominantly falls within the realm of custom lettering and typography.


life Scientist



Read an interview with Jordan.



Mack Magagane 




Twenty-three year old Soweto-born, Johannesburg-based photographer Mack Magagane is one to watch. Since completing his studies at the Market Photo Workshop, his work has been shown in solo and group exhibitions locally and abroad and this year, he completed a residency at the Centre Photographique d’Ile-de-France (CPIF) in Paris. The intensive, three month long residency program resulted in Somewhere Between Here – his fourth complete body of work to date. The series of photographs features individuals with whom Mack formed personal relationships during his stay in Paris, and the identity of ‘place’ comes into play as he draws on the sense of nostalgia that comes with being in a foreign space, all the while longing for and making reference to his home in Johannesburg.





Read an interview with Mack.



Sibs Shongwe-La Mer 



Without growing up in a ‘particularly creative’ environment, the artistic output of 22 year old Sibs Shongwe-La Mer has come to include photography, film and music. By the age of 18 he was working full time in the South African film and television industry. A year later, he began his directorial career in the production of short films and music videos, and in 2013 he produced a low-fi version of his film Territorial Pissings independently – the same year that he founded The Whitman Independent as a youth art retailer, filmhouse, gallery and publisher. This month, Sibs wrapped up shooting a reworked version of Territorial Pissings as a feature length film, together with Urucu Media and producer Elias Ribeiro.





Read an interview with Sibs.



Jana + Koos




Jana Hamman and Koos Groenewald, collectively known as Jana + Koos, are a concept design duo who specialize in building brands and creating experiences. They’ve also been known to dabble in the art world and in June this year, with the golden city as their inspiration, they presented a collection of work titled City of Gold Diggers at the Open Gallery Space in New York City. The exhibition formed part of Foreign Neighbors – an initiative headed by Nader Rajab which aims to create closer creative neighbourhoods. Jana + Koos regard Johannesburg as a “jumble of contradictions, and as a city which is still trying to figure itself out.” It is this flux that influences them daily, and forms the root of most of their personal projects. The works created for the exhibition range from a photograph of chicken feet sporting gold rings, to a banana painted gold and covered with glitter – all of which communicate their (perhaps unrequited) love for the city of Johannesburg.





Read an interview with Jana + Koos.



Sindiso Khumalo




SINDISO KHUMALO is the self-titled womenswear brand of, you guessed it, Sindiso Khumalo – a South African-born, London-based textile and fashion designer. The brand encompasses bold, graphic prints with a sophisticated, minimalist construction. Sindiso first studied architecture at UCT before transitioning into the fashion industry. The woman she designs for has “an attitude about clothing and how she puts things together in her life. She could be really young, or very mautre, but she still shares a similar sensibility with the brand.” In September this year, SINDISO KHUMALO took part in the Africa Utopia Festival at the Southbank, London.





Read an interview with Sindiso.



Matt Kay



FREE (Agency: OCD | Original Champions of Design)


Matt Kay is a Durban-raised and New York-based graphic designer. Currently plying his trade in the East Village of Manhattan at design agency Original Champions of Design, he’s also an alumni of acclaimed local design agency Disturbance. Matt is drawn to the stategy and thought processes that great branding and identity achieves and he endeavours to communicate in a simple, pragmatic way. On a continuous quest for creative inspiration, he has spent the last 2 years of his career growing his portfolio and experiencing the famed creative culture of the Big Apple.



EAST | EVIL (Design: Matt Kay)


HARLEM EAT UP! (Agency: OCD | Original Champions of Design)


Read an interview with Matt.



Terence Neale



Terence Neale developed an appreciation for street culture by watching skate videos on VHS tapes and loitering about in city parks – an aesthetic now prevalent in his style of directing. Represented by Egg Films locally and RSA Films internationally, Terence has been directing spots sincce 2007 and his talent is to employ both visual and narrative storytelling in his work. In 2012, a creative collaboration with Die Antwoord marked his successful initiation into the terrain of music video direction. His latest video for their track Baby’s on Fire garnered instant world-wide attention – clocking in with over 25 million views to date. Topping this at over 30 million views is his music video for Skrillex’s Ragga Bomb shot in a post-apocalyptic Johannesburg and Alexandra, which won him three Golds and a Bronze at the 2014 Loerie Awards. It’s no surprise that he’s now been ranked the #1 director in the country.





Kristin-Lee Moolman




Kristin-lee Moolman is a South African-born photographer and filmmaker who also works under the name of Lee Moami. Her work is luxe with a quirky undertone, and her character-driven images blend technical complexity with creative spontaneity. With features in local and international publications, Kristin-lee’s (very impressive) client list is spread far and wide which has her spending her time between Johannesburg, London, Paris and New York. At the moment, she’s working on a portrait collaboration with Art Comes First and she’s also shooting a series of intimate portraits as a personal project.






Yannick Ilunga (aka Petite Noir)




Local musician Yannick Ilunga, aka Petite Noir, has already collaborated with big names in the industry, headlined at international music festivals and established his own genre of music (Noirwave) – all before turning 23. He was born in Brussels to a Congolese father and Angolan mother, though he grew up in Cape Town. A few years ago Yannick formed part of the African electro-pop band Popskarr and he co-founded The Drone Society, a collective of local creatives doing interesting work here and abroad. Apart from making a considerable dent in the music scene locally, he’s performed in the US, Asia and Europe (where he also recorded) this year.




Read an interview with Yannick.



Go to to sign up for the Blue Door Society and stand a chance to spend time learning more with Idris Elba and Siya Radebe.



Thumbnail image by


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The ‘Geskulled’ Theory | A Visual Study by Christi du Toit Tue, 21 Oct 2014 10:00:48 +0000

The 'Geskulled' Theory is a personal, visual study by Christi du Toit which illustrates the principles of the Gestalt Theory using the theme of skulls.

The post The ‘Geskulled’ Theory | A Visual Study by Christi du Toit appeared first on Between 10 and 5.


Cover by Christi du Toit


Ever thought you’d see the Gestalt Theory conveyed using illustrations of skulls? Neither did we, so we were (pleasantly) surprised when we happened upon a project by Cape Town based illustrator and graphic designer Christi du Toit called The ‘Geskulled’ Theory, which does just that.


To back up a bit for those of us who aren’t schooled in theories of psychology, the Gestalt Theory is a psychological study which shows that visual stimuli is processed by our minds through its graphic characteristics and appearances. The study was founded by Max Wertheimer in the 1920s but was later elaborated on, most notably by Wolfgang Kohler and Kurt Koffka. Many ‘laws’ were born as a result including: similarity, continuity, closure, proximity, figure and ground, and symmetry and order. These are now known as the principles of the Gestalt Theory, and they are used in most areas of design – particularly prominent in user interface design.






Christi created The ‘Geskulled’ Theory in the form of a booklet as a personal study of this theory, specifically applied to the medium of illustration. “I wanted to portray how such a disciplined design system can be applied to as alternative as skulls,” he says. “Though a skull could represent themes as dark as death and mortality, I find it almost satirical to stylise them in a cartoonish fashion, creating much more light-hearted visuals. Skulls are also a prominent object used by many of the artists that I look up to and I saw it fit to honour their influence on my work in this way. I used as little visual reference as possible to illustrate the principles the way that I personally understand them.” You’ll find each principle below, along with Christi’s thoughts on the illustrations he created to convey them.




Similarity by Christi du Toit


The principle of ‘similarity’ states that objects that have homogeneous appearances are automatically grouped by our minds in the form of a single visual element or idea. The intensity of this connection is drastically amplified the more similar the individual objects are to one another. This effect can be achieved through a combination or individual aspects of the shape, size, colour, value or texture that the element carries.




“I created 9 illustrations, using inverted colours for every other skull. I found similarity to be quite successful as a definite pattern emerges from the arrangement. It was strange to me that the darker skulls caught my attention first, considering darker colours generally tend to fall to the background. My assumption as to why this occurs is that they carry more visual weight, and there is a higher contrast between the dark and the white background.”




Continuity by Christi du Toit


The principle of ‘continuity’ states that they eye will follow a continuous line or path, even if it is made up of separate elements. This shows that we process overly complicated information in a way that is easier for us to understand or make sense of. Continuity can be used to create paths that do not actually exist, which can help carry the viewers’ attention to an area within a composition, or can add visual play to increase appeal.




“I chose to illustrate an invisible arrow being shot through the composition to see if it would still be visually legible. I found this to work particularly well with the illustration. I’ve also decided that this is, without a doubt, my personal favourite principle in the series, and will definitely be more apparent in my artwork in the future.”




Closure by Christi du Toit


The principle of ‘closure’ states that our minds have a tendency to see closed figures, and do not necessarily need a full image or object for us to be able to recognise it. Closure can be used to make elements more visually appealing by allowing the viewer to see and connect the missing pieces of the broken elements.




“I have seen this principle used effectively in the past, but it has come to my attention that an object needs to have a distinctive shape for ‘closure’ to have its maximum impact. My attempt was fairly successful, but I can see it becoming frustrating to apply this principle to very simple objects. The level of ambiguity will increase as the level of detail in the object decreases.”




Proximity by Christi du Toit


The principle of ‘proximity’ states that objects will have a tendency to be grouped by the distance between them. Objects nearer to one another will be more likely to be visually grouped together than objects that are further apart from one another. As with the principle of similarity, the level of perceptual grouping can be increased through characteristics such as shape, size, colour, texture, etc.




“Personally, I don’t feel as if I’ve used this principle as effectively as I could have. My attempts to deconstruct the illustration to show that the way they are arranged changes the way we read them was plausible at most, and I find that this principle might be used better in other areas of design, or perhaps with a different graphic style.”


Figure and Ground


Figure & Ground by Christi du Toit


The principle of ‘figure and ground’ states that the human eye will attempt to separate objects from their backgrounds or surroundings to attempt to create a clearer image. This principle is primarily executed through witty used of positive and negative space, to effectively create multiple images within a composition that feed off of one another.




“It was difficult to decide on what to illustrate for this principle, and I ended up using smoke that shows obvious elements of a skull in the negative space around it. This principle is very effective, and I can definitely see it being used for concepts with double meanings. I feel like my illustration gets the basic idea across but the principle has a lot more potential and, if enough time is spent on the planning of the graphic, great conceptual visuals can be created.”


Symmetry and Order


Symmetry by Christi du Toit


The principle of ‘symmetry and order’ states that symmetrical designs will remove the disorder that causes confusion, and will allow graphic elements to be seen as a single, balance image. Symmetry will thus create order and allow the viewer to effortlessly interpret objects the way they are intended to be portrayed.




“This principle is difficult to portray using illustrations of skulls, and possibly has more potential when simpler shapes are being used. There is definitely an interesting visual that emerges, but I find it to be too abstract to make sense with the theme that it used.”



For more from Christi, find him on Behance, Facebook, Instagram and Twitter.


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South African Letterpress Artist’s Almanac 2015 Tue, 21 Oct 2014 09:00:48 +0000

The 2015 edition of the beautiful Essie Letterpress Artist's Almanac has just been released featuring an eclectic selection of artists to take you through the year ahead.

The post South African Letterpress Artist’s Almanac 2015 appeared first on Between 10 and 5.




Essie Letterpress is a design and print studio run by Ben and Vanessa Grib; two people in love with colour, pattern and texture. Each year they produce a showcase of some of the best South African illustration talent in a beautiful letterpress calendar which has become something we eagerly look forward to seeing. The 2015 edition of their Artist’s Almanac has just been released featuring an eclectic selection of artists to take you through the year ahead. The brief was to illustrate a month of the year according to what that time of year means to each artist. The results range from a cityscape to an important moment in history, and include ample inspiration from the seasons of the Southern Hemisphere.


The featured artists include Mieke van der Merwe, Inus Pretorius, Jaco Haasbroek, Elise Wessels, Ben Johnston, Robyn Mitchell, Dylan Jones, Pearly Yon, Ian Jepson, Pola Maneli and Isaac Kosmides. The cover was created by design studio Radio.


Purchase the calendar online, visit or read our interview with Ben Grib here to learn more about him.


Mieke van der Merwe

Mieke van der Merwe

Mieke van der Merwe

Mieke van der Merwe

Inus Pretorius

Inus Pretorius

Inus Pretorius

Inus Pretorius

Jaco Haasbroek

Jaco Haasbroek

Jaco Haasbroek

Jaco Haasbroek

Elise Wessels

Elise Wessels

Elise Wessels

Elise Wessels

Ben Johnston

Ben Johnston

Ben Johnston

Ben Johnston

Robyn Mitchell

Robyn Mitchell

Robyn Mitchell

Robyn Mitchell

Dylan Jones

Dylan Jones

Dylan Jones

Dylan Jones

Johan de Lange

Johan de Lange

Johan de Lange

Johan de Lange

Pearly Yon

Pearly Yon

Pearly Yon

Pearly Yon

Ian Jepson

Ian Jepson

Ian Jepson

Ian Jepson

Pola Maneli

Pola Maneli

Pola Maneli

Pola Maneli

Isaac Kosmides

Isaac Kosmides

Isaac Kosmides

Isaac Kosmides


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Openings This Week: CT | A Digital Design Tournament, A Gallery in the Gardens and a Secret Festival Tue, 21 Oct 2014 07:25:40 +0000

Looking for exciting creative events this week? There's a digital design tournament, a pop-up gallery, a secret festival and 5 other must-see openings.

The post Openings This Week: CT | A Digital Design Tournament, A Gallery in the Gardens and a Secret Festival appeared first on Between 10 and 5.


If you’re looking for interesting exhibition openings or creative events this week, you’re in for a treat. There’s a digital design tournament taking place at Friends of Design, Red Bull is hosting a pop-up gallery in the Company’s Gardens to showcase world-class doodles, there’s a secret food festival taking place at Spier and more. Here are the details:


Tuesday, 21 October


Glimpse, a photography exhibition by Alistair Whitton is opening at the Barnard Gallery.




Barnard Gallery, in conjunction with MOP6: Cape Town Photography, Film & New Media Biennale presents Glimpse, a solo exhibition of photographs by artist Alastair Whitton. Drawing on cultural sources including literature, history, art and the Bible, Whitton is known for conceptually engaging work that is essentially concerned with the ways in which we recognise, recall and navigate the world around us.


55 Main Street, Newlands.



Thursday, 23 October


Object Relations, an exhibition of essays and images edited and photographed by Stephen Inggs is opening at UCT.


Object Relations


Following his retrospective exhibition, Index, which focused on the visual representation of overlooked material objects and places, as emblems of transience and history, Professor Stephen Inggs invited academic staff from the University of Cape Town to explore ideas about the meaning of objects in their lives. There is a potency that lies in these associations and traces. From a hockey whistle, Prince Pro tennis racket, leather satchel and faded letter, to a tattered Teddy Bear and 2 x 5 cm cylinder of “plastic scintillator”, these objects have provided each academic with inspiration, solace and remembrance. In celebrating the agency of objects, photographs from Professor Stephen Inggs’ collection will be combined with a new series of sensitive object portraits of staff members. The opening will coincide with the launch of a book compiled from these photographs and each academic’s written ode to their object.


Centre for African Studies Gallery, Harry Oppenheimer Institute Building, UCT Upper Campus, Rondebosch, Cape Town from 10am.



The Emergence of Man by André Stead is opening at The Christopher Moller Art Gallery.


The Emergence of Man by André Stead


The emergence of man has brought about a profound change in the evolutionary development of planet earth. The oldest recorded abstract art dates back 72000 years and all though it is a far cry from our modern perspective, it is this ability to assimilate abstract thought that has set the human race apart from any other species and given us the ability to acquire immense technical knowledge. Collectively as a species, we hold great power to either nurture or devastate, create or destroy. As individuals we possess infinite potential and it is our combined efforts that make up the collective human presence.

Every single person is special in their own particular way with a unique perspective of the world, adding to the immense diversity of human culture and expression. Every person is worth a closer look to further understanding the nature of humanity, for it is in the essence of human nature that one finds compassion and love. We all have our own unique perspective and identity, but as a species we are all essentially the same. There are certain essential, somewhat primal instincts that drive each and every one of us. At a subconscious level our desire to find a mate or our fear of death may control the decisions we make on a daily basis, but ultimately, our greatest desire is to be loved before we inevitably surrender our mortality to both time and space.


7 Kloofnek Road, Gardens, Cape Town.



Levels Brand Week 2014 is taking place in Cape Town.


Levels Brand Week 2014


An extravaganza of retail, fashion events, workshops and parties where audiences will get the opportunity to interact with some of the country’s most dynamic and influential brands and designers: Boaston Society Store, PUMA, 2Bop, Butan, Galxboy, Fixin’ Diaries, Happy Socks, Starter, Flexfit and more.


Weekend itinerary:

Friday 24 October | Casey Veggies Meet and Greet and Peas and Carrots International Pop up Opening reception at Boaston Society Lifestyle Space, 55 Long Street, Cape Town (weekend pass ticket holders and invites)

Saturday 25 October | Brand Marketplace at Side Street Studios, 48 Albert Road, Woodstock (free entry to all, venue is next to Woodstock Exchange) and the official Levels After Party at The Assembly (tickets available at Boaston Society, Quicket and Webtickets)

Sunday 26 October | Levels x Food Jams (weekend pass ticket holders and invites only)


See the website for more information and to book tickets.



Friday, 24 October


The Red Bull Doodle Art Global Gallery is opening in the Company’s Garden.


The Red Bull Doodle Art Global Gallery


Red Bull launched a global Doodle Art project which challenged student artists to put pen to paper and create their best doodle. Aligned with World Design Capital 2014, Red Bull Doodle Art was implemented to provide young artists with an international platform to showcase their work. This weekend the finalists’ work, which was chosen by the public, will be showcased in a pop-up exhibition in the Company’s Gardens.


From 24 – 26 October, 10am – 6pm.


Read more about the project or visit the website for more information.



The annual Spier Secret Festival conference and market is taking place.


The Spier Secret Festival


A two-day event where local and international experts will reveal the latest trends and inspiration in food and wine at the conference on Friday, followed by a market which showcases the full range of Spier’s wines and hosts some of the region’s best small producers, bakers, street food vendors, food trucks and restaurants.


Visit the website to see the programme and to book tickets.



The Live on Stage Digital Design Tournament is taking place at Friends of Design.


Live on Stage Digital Design Tournament


The Live on Stage Digital Design Tournament is a live on-stage battle format where emerging designers, freelancers and professionals compete and flex their skills on stage before a live audience as their computers display their project on large screens for the audience to view the battle process. Competition rounds are 20-30 minutes with 3 designers per heat, each fast and furious. It’s a dance of visual artistry accompanied by DJ music, bar and an MC host, spurring the action.


Friends of Design Academy of Digital Arts at 186 Bree Street from 5:30pm – 10:30pm.


See the Facebook event page for more information.



Saturday, 25 October


Mu’s Wolf Problem, an illustrated children’s book by Maria Lebedeva is being released at David Krut Projects Cape Town.


Mu’s Wolf Problem


Mu is home alone – and afraid to be all by herself. What’s more she can hear scratching and sighing! Whatever can it be? Is it a wolf perhaps? What can she do? Will Mu’s mom get home in time?


Montebello Design Centre, 31 Newlands Avenue from 11am.



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