At Large

Four friends, each with a passion for mid-century Scandinavian design, launched Space for Life in February with a container load of pieces collected from travels to Denmark. “Within the first month I had sold 70% of the container, and that was just from people passing by,” says co-owner and manager Stefan Frylinck.

He attributes the success of the furniture to its inherent quality and personality, something increasingly hard to find in contemporary showrooms.

The airy showroom on Cape Town’s Foreshore contains exquisitely crafted chairs, tables, desks and more from the 1950s and ’60s. Many pieces have been reupholstered with gorgeous South African-flavoured fabrics from Pretoria’s Design Team.

“The whole philosophy is to use what we import to create opportunity for local artists and crafters,” says Frylinck. With the work of Cape-based artists being displayed on a two-month rotational basis “the idea for the space is to use it as a multipurpose venue to promote products and people so it’s not just a furniture and show room gallery – it’s a venue”.

Space for Life, Shop 4 The Spearhead, 42 Hans Strijdom Avenue, Foreshore, Cape Town, +27 21 801 6069

BY ALEXANDER MATTHEWS

Matthew Copeland comes across all rakish and debonair but looks can be deceiving. Winemaker at Vondeling since 2007, one of his hobbies is restoring old furniture. “Lovely to watch something seemingly worthless come back to life,” he says. Watching a live rock or blues band is also a favourite pastime and he singles out restaurant Bertie’s Moorings in  Gordon’s Bay  as a favourite Sunday jaunt. He lives in a cottage on the rambling Voor Paardeberg property with his girlfriend Yolandi Nell, his two charpés  and her miniature Doberman Pinscher. “Pet hate? Miniature Doberman Pinschers – they think they’re dogs.”

Vondeling is owned by Anthony “Chocolate Finger” Ward of Armajaro Holdings, one of the largest cocoa commodity traders. What’s he like as a personality and how directly is he involved in the running of the farm?

Anthony is cheerful and relaxed on the farm. He spends a lot of time making sure he gets to know everyone and understand what they do. He chooses his staff carefully then puts a lot of trust in them. Ultimately, however, he has a vision of excellence for Vondeling.

 The Voor Paardeberg is attracting attention for its Chenin-driven white blends and you make two cracking examples in the form of Babiana and Petit Blanc. What makes them such a strong point of the area?

Chenin Blanc often makes for wines which are broad in structure and fruit driven but we have deep granite soil and this gives lift and minerality to our wines. Essentially it neatens up the wines and gives them greater length and finesse.

The Voor Paardeberg is still relatively unknown. Why should it not be overlooked?

Unknown only by name. These farms are some of the oldest in the Boland, and traditionally the grapes have gone to co-operative cellars, but finally they’re being produced by passionate operators who recognise their individuality. The area is off the beaten track and as such unspoilt and pristine. 

What’s been the highlight of your career so far?

Coming third in this year’s Voor Paardeberg  versus Simonsberg potjiekos cook-off.

What has been your most memorable wine experience? Falling off a press and snapping my collar bone in 2004… something I wish I could forget.

You enjoy hiking. Favourite trail?
The Amatola Trail in the Eastern Cape, which is five days long. To leave your everyday worries behind and really immerse yourself in something takes time. You cover hugely diverse terrain: damp forest with towering trees gives way to steep mountains, fresh streams and raging waterfalls. Some days can be tough and others gentle but the scenery is always magnificent.
 

According to Graham Beck winemaker Erika Obermeyer, the Chalkboard label is the opportunity “to make the best wine possible without too much concern for marketing considerations”.  Essentially, Chalkboard wines are special lots that would normally be incorporated into the producer’s bigger volume bottlings.

The Series Number 3 Cabernet Sauvignon comes from grapes grown on Graham Beck’s vineyard in the Firgrove area of Stellenbosch and the resulting batch of wine was “too beautiful to blend away”, says Obermeyer. She notes a “refreshing mint” character to the wine although to my mind that’s over-stating it: there is indeed a slight herbal edge to it, but what really impresses is the intense dark fruit and a general austerity so typical of good Cab. The wine spent 22 months in 100% new French oak and total production was a mere 200 twelve-bottle cases.

Price: R130 per bottle. To order, call 021 874 1258 or send an email.

Curator, artist, aesthete, visionary and teacher, Ricky Burnett certainly gives credence to the saying “those who can, do.”

His CV is impressive:  “He was one of the founding members of the legendary Art Foundation with Bill Ainslie over three decades ago and it was here that such luminary talents as William Kentridge, David Koloane, Pat Mautloa, Helen Sebidi, Diana Hyslop and others, were nurtured.

“Ricky went on in 1985 to curate Tributaries, the exhibition which changed the way the South African art establishment viewed art (versus craft), a retrospective exhibition of the visionary, Jack Hlungwane, and then he opened Newtown Galleries with Mary Slack – a space that encapsulated their artistic vision at the dawn of democracy.”

From there, he had a stint in the US, teaching art and concurrently earning his Masters in Fine Art.  He immersed himself once again in South Africa’s art world upon his return.  In September, his latest project, HORSE: Multiple Views of a Singular Beast, a watershed exhibition featuring 60 South African artists, established and emerging, opened at the Everard Read and Circa galleries.

Recently, while strolling through the exhibition, he talked to us about curators, collectors and corporations.

What is South African art?

I don’t think there’s such a thing as South African art.   I’ve never thought that there was in the sense that there’s a look or a feel or a style.  I think the extraordinary thing is just how different everybody is.  But as a collective thing, it holds its own in the international art market, and we can be proud of that.

Who are the emerging artists to look out for?

I don’t believe I can give a definite answer for that.   I think that there is an enormous amount of really interesting and really intelligent people making art in this country.  For the size of the population, I think it’s a privilege to be in an environment where there are so many keen, alert and interested people. 

Can I name a future Dumas or a future Kentridge?  I categorically refuse to do it. 

Let’s put it this way.  If you had R5000, whose work would you spend it on?

I think I would like to buy a Claudia Schneider painting.

R15,000?

You know, I’m not good at prices or marketplace stuff.

What about if sky’s the limit?

If sky’s the limit and I owned a house with a big garden, I’d have an Angus Taylor rammed earth sculpture.  I would have a big Penny Siopis painting…  I think I need to sit down and plot my way through to give you a really intelligent answer to that question, to be honest, because really, what you’re asking me is, “If shy’s the limit, how would I concoct my little expressions of love and affection and beauty.  I think I’d just have them all scattered around my house and garden!

For a lot of the larger scale pieces in HORSE, do you see them being bought by private individuals?

A lot of the pieces would befit an institution, yes, but sadly, many of our art institutions are not equipped with budgets to acquire such works of art. 

Outside of South Africa, are there any artists you admire, living or dead?

Cy Twombly.  He’s contemporary but he died recently.  I try to make art myself, and a lot of the time one admires those artists who come close to the things one would aspire to.  I also love Sean Scully and the late Lucien Freud, who in time will be considered one of the great masters of our era. 

What next?

Mark (Read) and I are concocting another project that will blow away, hopefully, everything else we’ve done thus far.  My own fantasy as a curator – which I will never get to do because it’s far too crazy, really – would be to find 10 or 15 or so of the artists one most admires in the world, and ask them for their smallest works that they most admire.  In other words, what is the smallest, most private and beautiful thing they’ve ever done…

As an artist?

To find a way of making something beautiful.  It’s as simple as that.  The truth is, even at 60-odd years, I still don’t know what that is.

BY BAMBINA OLIVARES WISE | PHOTOGRAPHY BRETT RUBIN

For Rens Rademeyer, style is based on incomparable craftsmanship. As the GM of Bentley South Africa, he anticipates that anyone who purchases a Bentley wants a luxurious supercar that is comfortable enough to drive every day. Bentley, which was founded in 1919 by Walter Owen Bentley, was built as a race car, but driven on the roads by the British elite.

Rademeyer describes the car as “everything a car should be in terms of performance and style”. Taking inspiration from the R Type Continental, the modern Bentleys are built by British craftsmen whose expertise has been passed down through many generations. This maintains the classic style with an advanced modern build. Furthermore, because everything inside a Bentley is bespoke, buyers know that they are sure to receive the ultimate experience for their investment.

For Rademeyer, it is important that Bentley SA provides the utmost service. “Bentley is the pinnacle of a handcrafted automobile and we like to maintain the sense of distinctiveness that comes with owning one.”

Suit, shirt and shoes by Paul Smith: Like a Bentley, Paul Smith clothing (0114471074) is classically British. I am always drawn to brands that strive to create the best products without compromising on quality. We have a great relationship with Paul Smith and when a Bentley is purchased from us, it comes with a gift from the brand.

Watch by Breitling for Bentley: The relationship between Bentley and Breitling started when Bentley won the Le Mans race in 2003. Since then the brand has furnished the clocks in all Bentley Continentals. The one I wear today is a limited edition Breitling for Bentley GMT Midnight Carbon.

Cufflinks, bespoke: With every outfit, I add something that represents Bentley. These cufflinks were a bespoke gift from Bentley.

RADEMEYER RECOMMENDS:

Style tip: It is not what you wear, it’s how you wear it. Clothes must be fit for purpose.

Favourite restaurant: In Johannesburg, it’s Wombles (0118802570) for outstanding food and service. Internationally the sushi at Nobu in Beijing is the best I have ever tasted.

Ultimate luxury? A glass of Louis XIII Cognac and a full day spa treatment at the Saxon (0112926000).

Favourite fragrance? I have a variety of new fragrances but I always go back to the original Joop for Men.

Favourite destination? The language, history and culture of Rome are particularly resonant with me because I am half Italian.

Style icons? Tom Ford oozes masculine confidence. 

BY CHIPO MAPONDERA | PHOTOGRAPH ANTONIO DEL HOYO

We spotted this gorgeous fire engine red Anglepoise at Loom, the new menswear store in Parkhurst, a few days ago. Elegant, sleek and sturdy, this desk lamp is a British design icon (the original 1227 model came out in 1935), and has spawned a host of imitators. We’re sure you’ll agree, however, that nothing beats the real deal.

For more on Loom, check out the upcoming October issue of WANTED.

PHOTOGRAPH BY ADRIAAN LOUW

Loom, Shop 22, Corner 4th Avenue & 10th Street, Parkhurst, Johannesburg, 011 447 4330

In the 1930s the Italian government banned the manufacture of carnelian white heart trade beads on account of their gold content. All gold resources, even the tiny particles contained within these beads, were to be fuelled into the struggling economy. An unlikely outcome of this act was that the aesthetic of Zulu beadwork in the Msinga region was profoundly altered.

It is important to point out here that although these beads were manufactured in Venice, their colour was dictated by the history of African trade and the demands of the African consumer. The red glow of glass, which covers the white substructure — both literally and figuratively the “white heart” of the bead — is meant to resemble the carnelian stone, an important token of trade in Africa for thousands of years before these were introduced in the late 18th century.

Rather as the strict form of the sonnet compelled Shakespeare to genius, so Zulu beadworkers had to create designs within the fixed range of colours sent to them from Europe. This helped to stabilise local colour conventions. Before the ’30s, the beads featured here were the only red beads in Zulu beadwork. Red is one of the four primary colours in Zulu beadwork, and so the rest of the bead colour palette was constructed in reference to this hue.

Take it away and everything changes. A bright red substitute was soon found, but a butterfly effect of change in local colours ensued and this paved the way for the introduction of the bright yellow iphuzi bead, which replaced the pale yellow incombo, formerly the happy companion to the carnelian white heart.

With the new beads came new meanings and mythologies, and thus they had to be worn in slightly different ways and for different occasions. For instance, the word iphuzi, which translates as bright yellow, is derived from the name of a particular pumpkin: iphusi. A ripe and full field of amaphusi was a common metaphor for wealth, and in particular it implied the ability to pay ilobola, or bride wealth. Thus, to wear bright yellow in the language of beads might express something along the lines of: “Hurry up with the ilobola, I want to get married.” So beadwork after the 1930s began to get brighter, and trading stores in the Msinga area were left with large quantities of unsalable incombo beads. The whole lot had to be dumped and the traders might have cursed Mussolini for having unwittingly altered local fashion.

BY JAMES GREEN | PHOTOGRAPHY JEANNE-CLAIRE BISCHOFF

For a string of Venetian carnelian white heart trade beads, expect to pay R2000-R3000. www.africanstrings.com.

South African wines showed they can age as gracefully as their more famous counterparts at the country’s leading auction of fine and rare bottlings, when a new record price of R11,333 per bottle was achieved.

I was invited invited to taste through some of the wines under the hammer at the 37^th Nederburg wine auction in Paarl over the weekend, including the 1948 Monis Collectors Port bought for R68,000 (case of six bottles) by Nigerian businessman Obi Josephat Ndibe – a new record for the event.

There had been concern that the economic downturn would result in a quiet auction this year. But with buyers from as far afield as India, the UK and growing demand from African countries such as Namibia, Angola and Nigeria, the event raised R6,1 million – up 8% from the R5.7 million fetched last year with about 19% less cases on offer. The average price for a 12-bottle case increased by 30% to R1,985.

The euphoric spending was matched by the glamour and extravagant fashions of the event, held in the buildings and perfectly manicured lawns of the Nederburg wine estate.

Having tasted some of the older vintages from legendary regions such as Burgundy, Bordeaux and Champagne, I was impressed by how well some of the mature wines on sale had aged – a great sign for the future of fine South African wine.

The prices paid for these old, rare bottles demonstrated a growing appreciation of top-end South African wine. The biggest price increases were in the red wines, for example with a 1961 Chateau Libertas fetching R6,666 per bottle, and the top price for a dry white going to De Wetshof Finesse Chardonnay 2003 at R633 a bottle.

Other highlights of the auction were a 1974 Rustenberg Cabernet Sauvignon. The charity sale of the day, in aid of Goedgedacht Trust, the Pebbles Project Trust and the Anna Foundation, raised R183,100 with star wines including a 10-year vertical of the 2000-2009 vintages of Eben Sadie’s renowned Columella. The highest price in the charity auction was for a single bottle of échezeaux-1966 from Burgundy and bought by Obi Ndibe for R31,000.

Here were some of my personal favourites among the auction wines:

KWV 1930 Muscadel

This fortified wine smells salty, like the sea, with aromas of walnuts, leather and prunes. It’s still amazingly fresh after all these years.

Nederburg 2001 Noble Late Harvest Riesling

This dessert wine has lovely mouth-watering flavours of grapefruit, orange rind and basil. It’s still zesty, not at all cloying.

Nederburg Eminence 1991

Made of muscat grapes, this pudding wine is full of clean, fruity flavours. There is a note of toffee on the nose and in the mouth, clementines and freshly-made marmalade.

Zonnebloem Pinotage 1998

A perfumed nose, with notes of truffle, strawberries and new leather. Light, zesty, feminine, delicious!

BY CLAIRE HU

Braamfontein’s Neighbourgoods Market is the freshest place to hang on Saturdays. Part of the rapidly developing Juta Street precinct in Braamfontein, the entrance to the two cleverly appointed floors of an old office block parking garage are found off a pedestrianised  side alley – one of many beautiful reclaimed spaces in the area.

Bringing with them their extensive knowledge of all things artisanal, Capetonians Justin Rhodes and Cameron Munro - from the Neighbourgoods Market at Cape Town’s Old Biscuit Mill, designer deli-dinner Superette, and Whatiftheworld Gallery -  have created the perfect mix for an inner city market.

You’ll not only find freshly made goodies to nibble on but with the stunning vistas of the surrounding neighbourhood and architecture, you really feel part of the city experience. You’ll find everything from mouthwatering olives by Chrisna’s Olives, uber delicious, freshly-baked muffins and other homebaked treats from Cocola.j and some of the tastiest mozzarella we’ve ever enjoyed, from Buffalo Ridge Mozzarella. The Neighbourgoods team are part of the wave of urban renewal sweeping this part of Braamies, largely initiated by groups such as  South Point who are also responsible for Lamunu Hotel. At seriously cheap rates and sporting vibrant colours and an impressive array of artwork, we would recommend a Friday night here if you want to catch all the early market action the next morning. 

Neighbourgoods Market, 73 Juta Street, Braamfontein. 082 370 4075

Exquisite new timepieces from Swatch Group brands Breguet, Omega, Longines, Tissot, Rado, Tiffany & Co were cleverly presented in a mini-Basel-style showing at TurbineHall on Thursday night. Among the performers, graffiti artists and food bars, new movements and diamond encrusted casings, it was, however, new pieces from Swatch - the brand that built the company, but also saved the entire industry a few decades ago - that brought a smile to our dials.  We love the graphic “Kidrobot for Swatch” collection and on-trend “Full-Blooded” skull-faced range. Affordable enough to start an impressive collection, the fashion forward brand is still delivering great wrist action 25 years on.

Visit Kidrobot and  Full-Blooded for more info.

Lindiwe Sangweni-Siddo, general manager and founding partner of the Soweto Hotel in Kliptown, trained in Switzerland and has worked for Hyatt and Southern Sun, but returned to SA to launch her vision for a high-quality hotel in Soweto.

“One of my personal visions was to start a company with a typical African flavour — a place where we could begin to define South African hospitality,” she says.

The hotel initially opened as a Holiday Inn in 2007 as part of the Freedom Square development, before converting to its current concept which features 48 rooms including two presidential suites, the Jazz Maniacs restaurant which has live jazz every month, conference rooms and a bar.

Like wine retailer Mangciphu, Sangweni-Siddo acknowledges the hotel opened before its time, but that “is the price of being a trail-blazer” and she fully expects Freedom Square to take off as a tourist and business destination.

The hotel is located in Kliptown, which, despite being one of the most impoverished parts of Soweto, has a rich cultural history. The Walter Sisulu Square of Dedication opened in 2005 and encompasses modernist architecture, a multi-purpose building containing art galleries, shops and a convention centre, a museum telling the story of the defiance campaign and a bustling marketplace.

It was built on the site of the June 26 1955 gathering of thousands on a dusty football field to adopt the Freedom Charter, which offered an alternative vision to Apartheid and is a cornerstone of this country’s Constitution.

Over a delicious lunch at the hotel, where we sampled typical township fish and chips, chicken curry served with homemade chakalaka and T-bone steak, Sangweni-Siddo explains how, as a BASA member, the hotel seeks to encourage Kliptown artists and tradespeople.

“We employ local tradespeople and the aim is to turn Kliptown into an art tourism destination. We have launched the Kliptown Artists Impact project, which we hope to develop into a competition, to encourage young artists.

“I believe art is already part of the township way of life and we want to reflect that here at the hotel. Just look at how people living in shacks make art deco wall displays using labels from tins of pilchards — that’s Soweto chic.”

The township vibe is reflected in the fashionable Afro-retro style of the rooms which feature pillows made to resemble maize sacks as well as photographs of Mandela and modern wooden carvings.

Sangweni-Siddo believes Freedom Square has the potential to become a popular destination for business conferences, with all the rich diversity of culture on the hotel’s doorstep. She has started offering bike tours from the hotel giving visitors the chance to “engage with the common person rather than look in through a window.”

BY CLAIRE HU | PHOTOGRAPH BY GARETH JACOBS

September is always an exciting time of the year. Spring brings with it a positive air, a sense of renewal.

There is inspiring new talent aplenty on the local contemporary art scene and in the first of our annual YAA lists we are throwing our weight behind the fresh creatives causing a stir and those who soon will be. We enlisted the help of 11 highly respected, independent curatorial voices to assist in our search. Their lists of emerging artists were comprehensive and the task of choosing only 10 to showcase was extremely tough, and by no means represents the finite Top 10. All were worthy of praise, but the individuals who made the final list received our unanimous nod. We present these bright stars and theirwork to you in the magazine, and in the Pommery and Business Day Wanted Lounge at the 2011 FNB Joburg Art Fair (September 23-25).

We also decided to throw our weight behind our own motoring awards. Assisted by our motoring editor Alex Parker, we think our selection is not only the hottest but is likely to amuse some and may even heat things up in the industry.

With all the lovely classics and head-turning new models, and the rising temperatures we were inspired to take a little road trip into the country with our fashion story, Taking the Long Road. We’re sure it will get you lusting for the great outdoors.

BY GARY COTTERELL