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Chest: a botanical ecology

Illness and disease affect us all. The treatment of these conditions however, has been vast and varied, depending on the historical periods and the cultural context in and during which they are practiced. Situated in the rock art gallery, where healing power is expressed in San paintings, this mobile set of cabinets explores a rich complex of healing practices through the display of a medicine chest which was donated to the university of Cape Town in 1978. This chest belonged to a British dentist, who practiced in Cape Town from 1904, and who bought the chest for a hunting trip he undertook in 1913 to (then) Northern Rhodesia. The idea of the chest then gives rise to a variety of forms of healing: from instruments used to exorcise evil spirits and children's letters written to celebrate a heart transplant; to medicinal flowers bought at the Adderley Street flower market. The exhibition aims to visualise and materialise illness and its treatment from historical, cultural and disciplinary perspectives. Drawing on well-established historical and contemporary connections between the disciplines of Botany, Medicine and Pharmacology, the exhibits also suggest latent links which are at times political, at times whimsical.
A translated rock

In 2012, while exploring possible curatorial opportunities for the Honours in Curatorship students, I met with Sven Ouzman, a curator in the archeology department at Iziko, to chat about possible opportunities pertaining to this collection. I took him the newly designed course prospectus, to peruse. He flipped through it and when he got to the second last page, he paused. ‘Do you know the story behind this image’, he asked. I told him I didn’t… He pointed at the rock in the bottom right hand corner and started his story. Apparently this rock was not part of the SAN Rock art collection at all. It belonged to an archeologist who worked at the museum for close to twenty years. When she first started at the museum, her partner, now husband (and also an archeologist) also worked there with her. They were still in the beginning of their relationship and he was, to use older terminology, still courting her. One of the gifts he gave her during this period, was a rock he drew that mimicked San rock paintings, probably ones that would pertain to love in some way or other. She kept this in her office and, when she finally left the museum and had to empty her belongings, forgot to pack the rock as well. Exit archeologist, enter the lady who tidied the office before the new occupant moved in. On finding the rock she assumed it was part of the collection and returned it to the store room where it was assimilated into the bona fide rock art collection. I don’t know in how many exhibitions it subsequently appeared, but in 2010 it appeared up in Pippa Skotnes’s exhibition 'Made in translation' – an exhibition that fittingly explored ways in which translations from the landscape have been made and in so doing, placed images of rock art in the context of other forms of translation.
Buttons

A display of a collection of pins, buckles and buttons excavated from the washing pools used by slaves on Table Mountain. Taken from their dusty boxes in storage they are currently exhibited as part of Skotnes's 'Division of the World' (Department of Archaeology).
Division of the World

"Undergraduate students regularly engage in discussions around certain displays as part of their teaching programme (N. Zachariou, personal communication, 27 May 2020), and the installation is also used to introduce visitors (exchange students and school children, for example) or students from other UCT departments (architecture students taking the archaeology module) to the department and the discipline (J. Parkington, personal communication, 20 June 2020). It has even been described as a ‘super curriculum’ (or as ‘several super curriculums’) for how it visualises what archaeology does on both an empirical and procedural level (J. Parkington, personal communication, 20 June 2020)" (Liebenberg 2021: 210).
Etching from 'Sound from the Thinking Strings'

"Skotnes’s own visual interpretation of the history and cosmology of the |xam formed the last component of this interdisciplinary endeavour and constituted a visual component that drew together the various strands of disciplinary interpretations and presented a perspective on the |xam life she felt ‘was missing from the other interpretations’ (Skotnes 1991: 30). In these images she drew freely on San mythology, accounts of |xam life recorded by Lucy Lloyd, historical and archaeological research and images from rock paintings in a landscape setting. She writes in her preface that these etchings were direct attempts at ‘inverting the museum dioramas’ in the ethnographic halls close to the exhibition and which, through their display of the San’s body casts, rendered them closer to specimens of biology than as members of a highly developed culture (Skotnes 1991: 52). By creating images that combined shamanistic rituals, entoptic spirals, plants, hunting bags, bows and arrows, snakes, eland-shaped rainclouds, colonists, musical instruments, shelters and therianthropic shapes, Skotnes eclipsed the static narratives of the dioramas and the object labels in the exhibition, placing them in a context in which their metaphysical qualities were celebrated more than their physical qualities. These prints stood in striking contrast to the other exhibits, which framed the San as physical types, and they challenged viewers to confront the reality that the San had a rich history and cultural and social life" (Liebenberg 2021: 157).
Sound from the Thinking Strings (installation detail)

"Skotnes had a longstanding relationship with the museum, which started when she was still a student at the Michaelis School of Fine Art. Davison remembers that Skotnes would visit the taxidermy section of the South African museum to draw bones. As an anthropologist, Davison admits to finding Skotnes’s way of looking at things stimulating – an individual way of looking at objects that made her look at them differently, even though she was already very familiar with these materials. Davison recalls a visit to the ethnographic stores during which she showed Skotnes the San skin bags, carefully conserved in their drawers and laid out on acid-free paper. Skotnes admired not only their aesthetic qualities but related the stories she had been studying in the Bleek and Lloyd archive to them – stories that shifted their status from anthropological museum objects to powerful animate objects in San spiritual and social life (P. Davison, personal communication, 28 January 2021). Skotnes remembers that she asked staff whether they knew what was inside the bags and was shocked when nobody could remember looking in them. She was allowed to look inside one and found a claw, which they thought must be a leopard’s (P. Skotnes, personal communication, 9 May 2021)" (Liebenberg 2021: 2015).
Miscast (installation detail)

Instruments from the Kirby collection displayed as part of the 'Miscast' exhibition.
Miscast (Lane reflects)

"Where viewers had to walk over a floor of vinyl tiles printed with photocopied newspaper articles and photographs of the San, Lane reflected on another archaeological parallel: ‘just as the texts and images on the floor represent the debris of a particular history, so too do the artefacts strewn across the surface of a site’ (Lane 1996: 7). Yet in trying to define sites and their history, archaeologists feel ‘they can tread on the debris of their own or others’ ancestors with equanimity, colonizing that space for themselves’ (Lane 1996: 7)" (Liebenberg 2021: 172 - 174).
Miscast (installation detail)

"In juxtaposing instruments that are still being used (such as the scalpel and the camera) with ones that are not (the Von Luschan skin colour chart and the anthropometric measuring rods), Skotnes set up an opportunity for science to reflect on its past and on the activities and objects of its present, enabling a mode of self-reflexivity that is not a standard part of its day-to-day practices. Through curatorship, she exposed disciplinary practitioners to naturalisations and blind spots within their fields and sensitised them to these previously occluded characteristics" (Liebenberg 2021: 172).
Stone tools

"By positioning artefacts to emphasise their labelling (stones are positioned to reveal the details written on them), including seemingly familiar objects and expanding and shrinking timelines, the installation [Division of the World] draws attention to the framing devices, tools and methods of the department’s insiders" (Liebenberg 2021: 207).
Curiosity CLXXV

Hiddingh Hall during the construction of the installation of Curiosity CLXXV.
Hiddingh Hall

Hiddingh Hall prior to the installation of Curiosity CLXXV.
Miscast (instruments of measurement)

"Along with the guides that regulated practices and protocols to stabilise and standardise an individual’s response to unfamiliar and disorienting sights (Kennedy 2013: 42), the gender, class and ethnicity of the observer were also of importance , as was the use of ‘ever more sophisticated instruments and calculations designed to minimize the intrusion of subjectivity into the reporting of information’ (Driver 2001: 55). By regulating who was doing the viewing, stipulating what should be viewed and how and supplying tools to measure these observations, scientific institutions promoted an authoritative ‘way of seeing’ in the field that differentiated the scientific view from that of the ordinary traveller (Driver 2001: 49)" (Liebenberg 2021: 109).
Miscast (taxonomies)

An extract from an email from archaeologist and former head of African Studies, Prof Nick Shepherd (Jan 21, 2021, 11:33 AM): "Disciplinary practices and regimes of care constitute a kind of bureaucratization or governmentality of elapsed time and its material remains and human relationships, placing these remains and relationships under a kind of administration. We think of the elaborate structure of regional typologies and chronologies, the immense work of correctly assigning artefacts and sites to these imagined categories, and the vast institutional apparatus that supports these endeavors – all of which constitute archaeology as a formidable disciplinary enterprise. In the face of this enterprise, the 'many worlds' of local claims to the past have little chance of success."
Unconquerable Spirit: George Stow and the landscapes of the San

In 2008, the exhibition 'Unconquerable Spirit: George Stow and the landscapes of the San' opened at the Iziko Museum of South Africa. Curated by Pippa Skotnes, the exhibition featured the work of a relatively unknown figure in 19th century South African history. George William Stow was a British born, South African geologist, ethnologist, poet, historian, artist, cartographer, and writer who was responsible for a creating large collection of watercolours and drawings that documented the rock art he found in the caves and shelters of South Africa. The exhibition brought together a vast range of materials representing Stow’s life and the period in which it was produced – from his drawings and paintings; his letters, documents, and poems; to his maps, and field diaries. The display shows one map in particular which is kept as part of the National Library of South Africa collections, and was drawn by Stow during the period he was conducting geological surveys of the country surrounding the diamond fields of Kimberley, down to the junction of the Orange and Vaal rivers and beyond. It shows amongst other things, the diamondiferous deposits of the Vaal river during the late 19th century and, as part of this section of the exhibition which focused on Stow the geologist, Skotnes displayed it alongside relevant disciplinary materials she sourced from the Department of Geological Sciences, University of Cape Town.
175 chalk-board dusters

For the exhibition, 'Curiosity CLXXV', the curators took an old duster from each teaching venue and replaced it with a new one.
Holes

The landscape of the Karoo and the Northern Cape – the land of the |xam – is rich with holes in the ground. Below the surface of the earth burrowing animals navigate their way through the roots of grasses and shrubs, small trees and creepers. Holes are made and inhabited by scorpions and spiders, mice and shrews, suricats and mongooses. One of the most energetic of burrowers is the anteater whose holes, in places, transform the landscape. Anteaters are such active diggers and their holes so numerous that abandoned burrows are quickly occupied by bat-eared foxes, hyenas, hares, civets, bats, jackals, owls and porcupines (Skotnes 2010: 26)