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SCULPTURE PARK

Moataz Nasr — 'Sunboat' (2019)
NIROX Sculpture Park is 30ha of cultivated lawns, arbors, fields, waterways, and wetlands, on the banks of the Blaauwbankspruit River adjoining the Kkatlhamphi Private Nature Reserve — a 1000ha wilderness of hills, valleys, riverine forests, caves, and highveld grasslands, populated with diverse local game and birdlife.

 
The Park hosts more than 50 permanent and long-term installations by artists from across the globe; and at least one annual large scale curated exhibition of new and temporary installations and performances, in collaboration with NIROX’ wide circle of global partners and curatorial affiliations.
RECENT ADDITIONS
RECENT ADDITIONS

EXTERIOR II, 2023

 

Wood

156 x 94 x 62 cm

Exterior II (2023) was installed shortly after the opening of Serge Alain Nitegeka's exhibition Structural Response IV (2023–24) in NIROX's Covered Space. The artwork was produced while in residence, in the Villa-Legodi Centre for Sculpture's Workshop. Exposed to the elements, it will eventually begin to shows signs of weathering. To learn more about Nitegeka's practice, click on the button below.

SERGE ALAIN NITEGEKA

FUTURE. FABLES

VIBHA GALHOTRA, 2024

Constructed from reclaimed rubble and steel, this architectonic sculpture explores themes of resilience, ecology, and shared histories. Driven by the ongoing interaction between humans and their environment, Vibha’s practice combines rigorous research with intuitive creativity to examine the social, economic, and political consequences of human actions on the planet. 

Drawing from diverse fields such as fine arts, ecology, economics, science, spirituality, and political activism, her work offers a poetic visual reflection on environmental shifts and the cultural, societal, and geographic transformations shaping the world today. Set along the serene banks of the Blaauwbankspruit River, adjacent to the Kkatlhamphi Private Nature Reserve, Future Fables invites visitors to reflect on its compelling narrative within a tranquil natural setting.

IMG_5984-1_edited.jpg
LNG-TERM

EXTERIOR II, 2023

 

Wood

156 x 94 x 62 cm

Exterior II (2023) was installed shortly after the opening of Serge Alain Nitegeka's exhibition Structural Response IV (2023–24) in NIROX's Covered Space. The artwork was produced while in residence, in the Villa-Legodi Centre for Sculpture's Workshop. Exposed to the elements, it will eventually begin to shows signs of weathering. To learn more about Nitegeka's practice, click on the button below.

SERGE ALAIN NITEGEKA

JOHAN THOM, 2024

Dwell is a large replica of a red building brick, such is commonly used for the construction of homes, shelters, and buildings in South Africa. In the exhibition it functions as a conceptual and formal foil to Will You still be mine#1 (Del Mar). Also made to the weight of the artist, it is a deceptively complex minimalist gesture in which the body is shown to be a contested, uneasy home — at once a space of ‘dwelling’ (of knowing and being) whilst also forming part of the skewed spatio-political and economic organisation of the contemporary South African landscape.

The surface of the sculpture is finished in the Yakisugi style, the traditional Japanese system practiced over many millennia of slightly charring the surface of the wood without combusting the whole piece to prevent insect attack, rot and weathering.

In its final form Dwell exists in two forms: An edition of 6 clay bricks produced with the assistance of Map South Africa (Richmond) and as a large-scale photograph showing the permanent installation of the brick in the landscape of the Cradle of Humankind at the Nirox Sculpture Park upon the completion of the exhibition (as shown here).

DWELL

LNG-TERM

EXTERIOR II, 2023

 

Wood

156 x 94 x 62 cm

Exterior II (2023) was installed shortly after the opening of Serge Alain Nitegeka's exhibition Structural Response IV (2023–24) in NIROX's Covered Space. The artwork was produced while in residence, in the Villa-Legodi Centre for Sculpture's Workshop. Exposed to the elements, it will eventually begin to shows signs of weathering. To learn more about Nitegeka's practice, click on the button below.

SERGE ALAIN NITEGEKA

JONATHAN FREEMANTLE, 2024

 

Charred Poplar, Steel Rod
240 x 45 x 45 cm

A totem (from Ojibwe: ᑑᑌᒼ or ᑑᑌᒻ doodem) is a spirit being, sacred object, or symbol that serves as an emblem of a group of people, such as a family, clan, lineage, or tribe. Carved from a single poplar tree that was felled at Nirox, this totem evokes the ancient concept of the ‘Eternal Flame’. I intended for this sculpture to resemble a figure twisting and reaching upwards; an antannae of sorts, simultaneously ready to transmit and receive. I see this totem as an embodiment of the lightening that strikes the hills of the Cradle of Humankind all summer long. 

The surface of the sculpture is finished in the Yakisugi style, the traditional Japanese system practiced over many millennia of slightly charring the surface of the wood without combusting the whole piece to prevent insect attack, rot and weathering.

FIRE TOTEM - FOREVER BURNING

LNG-TERM

Sergiy Petlyuk, 2024

 

 MetaL, Glass

The notion of ‘home’, Sergiy goes on to say, is profoundly important in shaping an individual’s worldview, particularly during formative years. It serves as a bastion of security, grounding one’s sense of identity within the family and wider society. The loss of home, whether tangible or metaphorical, catalyses irreversible changes in one’s life trajectory. This project is a tribute to those who grapple with the upheaval of losing their home and the struggle to regain it. It’s also a poignant tribute to the countless Ukrainian children who were kidnapped and torn from their homes and country in the turmoil of the Ukrainian-Russian war, as well as those innocents in other parts of the world — Gaza, Sudan, the Democratic Republic of Congo, amongst others — whose lives have been upended by war.

IN SEARCH OF A LOST HOME

LONG-TERM
PAST
PAST
Videos from previous exhibitions in the park.
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© 2024 NIROX Foundation

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