The world is in a not so rad economic situation. Even P Diddy has traded the use of his private jet for commercial airlines to stave off the creditors. If an art fair exists primarily to rake it in, one can only assume that this situation is not a good thing. The general assumption regarding the Joburg Art Fair seems to be that galleries display appropriately “dumbed down” or “safe” bodies of work in order to ensure a saleable run. Despite an inspiring line-up of artists represented at the fair, we can’t ignore the fact that the South African art world might still be in its teething stage when compared to the more influential (and affluential) international players, with the fair predominately a place to sell to an audience unused to the complexities of contemporary art, and to sell not only art, but ideas of South Africa and the continent.

Exotic Africa is definitely a prolific trend at this year’s art fair. Everywhere you look you are met by photographs of the Pieter Hugo, Mikhael Subotzky ilk – small black baby with fuck written on her head, scary black Nollywood Beelzebub looking guys (you get the gist). Athi Patra-Ruga has, however, represented the African body in a far more refreshing way. In Rooi Kombers (After Irma Stern 1946) he has created a tapestry based on an Irma Stern (notorious for her exploitation of the exotic). He has also included a video piece entitled Oh Pale Galilean, You Have Conquered. I spoke to him just before I left and this is what he has to say about his work in the context of the Art Fair.


Could you tell me a bit about the works you are sending up to Joburg?
This year at the fair I have decided to show two craftworks in the form of tapestries entitled
- ...oh great galalee[sic]/you have conquered.
-...bitch please.
The works are an extension of the Pixelated Arcadia series I have been working on since 2006, and they serve as a prologue to the final body of craftworks to be exhibited at my third solo, Mr Floating Signifier and the Deadboyz, taking place at the whatiftheworld/gallery in Cape Town. The same gallery will be hosting the work at the fair.


What do you feel the role of the Art Fair is? Do you feel that it helps or hinders the progress of South African art?
My concern really rests in the production of the work and solely so. With regards to art fairs though, I feel that for my production I need to be in a position to execute the work, and art fairs offer the consumer and in turn the artist/producer the position to comment on whatever.

Is there a specific reason you have chosen to present a video piece rather than do a performance? When examining the Art Fair in the context of a commercial entity, do you think a video piece could be a more conservative, saleable option?
Honey,c in my experience in this short space of time, I know one truth... it is mofo hard to sell video art. This leaves one with the thing of "yeah let me use it like a promo…like a music video is…maybe." The video piece takes the form of a performance in my works and it is logistically sound as it can travel. It could be seen as a contradiction in terms that a medium like video , which intimidates the buyer (or rather the local buyer),clearly, is actually conservative as it still maintains progress and penetration as a goal. It also serves to commodify my performances. The process of live performance involves Budget and it would be good to see a performance program in the next fair.


With so much riding on the success of the Art Fair, do you feel that organisers have opted for “safer” or more saleable options regarding the set-up of the event? With Jane Alexander as the featured artist, do you feel that this Art Fair is perhaps keeping within the parameters of tried and tested formulae?
Sorry is this a political question? If so please refer me, Balenciaga.