Ashleigh Harvey: Water,
Wine and Milk

Michelle Sank: The Emerging
Self

Tim Hopwood: Last

Use navigation (march/ april 2002) to see exhibitions

Catalogues are on sale. Please contact Claire or Kim on (021) 4222625 or send an email

Introduction from the catalogue:
The Cape Town Month of Photography (MoP), although only in its second iteration, has become a local institution. MoP is currently the core visual arts component of the Cape Town Festival but as of 2004, MoP will take up position as a stand-alone festival becoming the recognised southern African photographic biennial.

While the promotion of South and southern African photography is our primary function, we also aim to invite as many international photographers to join us in Cape Town as is possible. These photographers are an essential and enriching aspect of our event. This years invited artist is Pentti Sammallahti, the world renowned Finnish photographer. You will note in these exhibitions that there is something for everyone. This is a reflection of our curatorial eclecticism which dictates that all photographic genres, all photo-works of quality and interest, be they by amateurs or seasoned professionals, will find a place on MoP.

Our vision is to see the development of a vibrant photographic culture in southern Africa and if MoP can help to create an environment wherein our photographers receive the support and recognition they deserve, then we're half way there. MoP is put together on a shoe-string budget and with the notable exception of this beautiful catalogue, all participating photographers have taken part at their own expense. In the face of such overwhelming support, we like to think that MoP is here to stay. Curating an event such as this is normally the preserve of an august and respected member of the arts establishment.

In stark contrast our curators this year are two young South African photography graduates from the Michaelis School of Fine Art. Both in their early twenties, Kim Stern and Claire Breukel have laboured day and night for months to bring you these exhibitions and they have done South African photography proud. I would also like to thank Ashleigh Harvey - one of our undergraduate UCT students who came to assist for a week - saw that we were never going to make it - and stayed on for two months to keep us out of the mire. -If you read the credits page, you will see that the author's function ranged from fundraising to conceptualising the festival to designing the catalogue. Having to fill such diverse portfolios simultaneously is not in MoP's interest, butt this is entirely a function of our operating budget. We cannot afford a proper design team or a professional fundraiser, and until such time as we do, the author's efforts will have to suffice.

Aside from providing a visual record of MoP this catalogue also contains two articles and a bibliography. Andrew Lamprecht provides a philosophical excursion through the notion of the photographer-in-action in his irreverant article 'Click'. Lamprecht exposes the assumptions that exist in seeing photographers as either 'outside' their subject or 'part of the action'that they are recording.

A different approach is taken by Svea Josephy in her detailed chronicle and analysis of post-Apartheid photography. This article serves to frame MoP within a critical and even historical context. Both essays, in very different ways, will provide valuable material for thought and serve to intellectually locate MoP.

Elsewhere in the catalogue, photographer Guy Tillim provides an enlightening insight into the life of a documentary photographer through his Sierra Leone diary. This catalogue is also furnished with a substantial bibliography listing most of the significant research published on South African photography as well as a large amount of primary materials. While the bibliography is not exhaustive it will hopefully serve both scholars wishing to explore the area as well as general readers who are looking for a 'way in' to the subject.

We thank everyone who has contributed to the Cape Town Month of Photography. We look forward to the time when we can run MoP professionally, with functional operating budgets, PR campaigns and financial support for all participating photographers. What Kim, Claire, Ashleigh and I offer you here is a labour of love.

Geoff Grundlingh
Director
South African Centre for Photography

Foreword by Ambassador of European Union

The European Union is delighted to be once again supporting the Cape Town Month of Photography. We started our sponsorship with the first edition of a continental photographic event in Cape Town. Since then, the Cape Town Month of Photograph

It has won tremendous support from photographers who recognize its potential to promote their work, the region and its cultural identity. World wide, the medium of photography has become a favoured medium of expression for creative artists which transcends language barriers while transmitting powerful social messages and expressing cultural perceptions. In school education programmes, photography has become an incredibly versatile medium of instruction which brings together elements such as communication skills, science, maths, life skills and art, yet remains both accessible and participatory.

Photography allows Africa's collective memory to be captured. It expresses Africa's challenges and celebrates the unique character of this continent. We therefore congratulate the 100 + South African contributors, and all the other contributors coming from Africa, Asia, Europe and elsewhere, hoping that the Cape Town Month of Photography has now become a regular and central feature on the Southern African cultural calendar.

Michael Lake , Ambassador and Head of the European
Commission Delegation in South Africa