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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.
Livingstone

A small wooden chip from the same object collection as the medicine chest balanced on top of one of the bottles from the chest. "The treatment, the Livingstone rouser, was formulated by Dr Livingstone, who, after an attack of malaria in 1853, patented this mixture of quinine and purgatives (calomel, rhubarb and jalop) mixed with opium (Barrett & Giordani 2017: 1655–1666). The chip balanced on its lid is said to be from the almond tree under which he proposed to Mary Moffat in 1844. The juxtaposition of these two objects, one representing the quantifiable and the other the poetic, draws the viewer to consider the conflation of these two realms" (Liebenberg 2021: 273).
A 'Jungle'

"A ‘jungle’ consisted of a selection of pathological specimens from the Pathology Learning Centre that had been affected by typhoid fever, ascaris adult worms, yellow fever, amoebic ulcerations, tuberculosis and malaria. The diseases that afflicted these specimens were regarded as ‘tropical’. As described in Chapter One, BWC used the jungle as a significant terrain that called for a medicine chest to combat pathogens: ‘Whether you were valiantly saving your compatriot in war, traversing a dark African jungle, navigating one of the world’s first flying machines, exploring the most desolate place on earth, ascending the highest mountain in the world, or simply enjoying the windswept British coast, the chest would be there, ready for any ailment’ (Johnson 2008b: 255). BWC promoted their chests as the ideal antidote for a tropical landscape ‘at once full of potential wealth for imperial Britain, but simultaneously rife with disease’ (Johnson 2008b: 258) and claimed that the tropical colonies were ‘by far the most dangerous regions for travellers’ (BWC 1934: 8). It was here that ‘desolating ailments’ were encountered, all ‘particularly fatal to the so-called white man who originates in temperate climates’ (BWC 1934: 8). I adapted the colour of the images of afflicted intestines, livers, stomachs and brains and used them as material to construct a dense jungle that referenced this aspect of the medicine chest’s history. Printed on separate glass sections that fit into the cabinet at spaced intervals to create an illusion of depth and three-dimensionality, the work draws on the cross-sectional display technique used in many anatomy museums worldwide, in projects such as the Visible Human Project (1995) and that the artist Damien Hirst references in his works . Creating a visual link between the UCT specimens and the history of these diseases surfaces the occluded racial undertones of these understandings" (Liebenberg 2021: 267).
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).
Hoard

"The chest was featured in a work titled 'Hoard', for which Bloch sculpted in clay the objects in the UCT collection as well as ones from the 11th century Mapungubwe collection (housed at the University of Pretoria). She painted these sculpted objects gold and presented them in museum display cases, drawing attention to the arbitrary nature of objects’ value and to the possibility that historically loaded items can be accidentally overlooked and misevaluated (Bloch in Honigman 2014: online)" (Liebenberg 2021: 82 - 84).
A teeth mould guide

"The large quantity of papers in the BC666 collection pertaining to dental matters – which includes ‘legal and financial papers of the dental practice, papers of the various dental societies to which Walter belonged from 1905 to 1934’ and letters on various dental matters, as well as a large section devoted to correspondence, memoranda and notes on the Medical, Dental and Pharmacy Act of 1928 – shows he was ‘very active in dental politics’ (Hart & Lydall 1981: 1). As an 'office-bearing member of the Dental Society of the Cape Province, and a member of the South African Dental Association, he was the key figure in formulating and presenting the dentists’ case against unqualified dental mechanics in the proposed new medical bill, which was passed in 1928 as the Medical, Dental and Pharmacy Act' (Hart & Lydall 1981: 1). This act was considered a milestone in the development of organised medical, dental and pharmaceutical practices in South Africa, establishing a single set of regulations for these professions across the country (Ryan 1986: 149–151). It was also, however, one of a series of laws passed in South Africa that have regulated indigenous medical practices since the 19th century. Legislation passed in 1862 prevented sangomas from practicing (Paarl in Bishop 2010: 14), and the 1928 act barred inyangas from practicing in all parts of the country except Natal, where they could continue to practice if granted a license (Flint in Bishop 2010: 14–15). The act also banned the indigenous use of ‘European’ methods of diagnosis and treatment, for example forbidding the use of stethoscopes by inyangas (Bishop 2010: 16)" (Liebenberg 2021: 53 - 55).
Silver Particle / Bronze (After Henry Moore).

"In Simon Starling’s work, inanimate objects are activated in various ways, especially when their political or economic history is revealed or when their materiality becomes an embodiment of something discovered during his research. His work enables and celebrates diverse interpretations of objects in many instances, as Greenblatt (1991) notes when referring to artistic and curatorial activity, deflecting attention away from the object onto the systems that gave rise to it in the first place. Starling conducts a close inspection of his objects, usually following a web of connections across the globe and across history, which in many of his works lead him back to the starting point; a vintage photograph of a Henry Moore sculpture leads to the production of a bronze sculpture based on the shape of a single enlarged silver particle that makes up the photograph and which, when converted into a sculpture, resembles the biomorphic shapes that served as inspiration for the Moore sculpture in the original vintage photograph ('Silver particle/bronze (after Henry Moore)', 2008). The machinations of its history somehow lost in the image when seen in the museum archive come back into play through the translations and reconstructions encountered in the detour and are materialised in the exhibition format" (Liebenberg 2021: 26 - 28).
Dogs in the Heart of Cape Town

The guided tour of the museum, which commemorates the first heart transplant performed by Chris Barnard in 1967, starts with a representation of the car accident that provided the heart for the transplant, through to the animal lab where Barnard conducted experiments with over 50 dogs to perfect the technique of heart transplantation. From there one can tour a model of Denise Darvall's bedroom and Christiaan Barnard's office before seeing a recreation of the surgery in the actual operating theaters where it occurred.
Terra Nova

Robert Falcon Scott’s Terra Nova expedition reached the South Pole on 17 January 1912 — 23 days too late. Inside a small tent supported by a single bamboo flying a Norwegian flag, was a record of the five who had been the first to reach the pole: Roald Amundsen, the leader, and his team - Olav Olavson Bjaaland, Hilmer Hanssen, Sverre H. Hassel and Oscar Wisting. On 19 January, they began their 1,300 kilometre journey home, Scott writing: “I’m afraid the return journey is going to be dreadfully tiring and monotonous” (Scott 1914: 548).
Fish

A showcase of fish found in the Artic regions.
A beating heart

"Dear Doctor Barnard I am an 11 year old girl, and I have a problem: I went fishing today; when we came back, my parents cleaned the fish, and after they took out the insides, they found a heart of a fish beating, but the fish was dead and cut up. It was still beating for about 1/2 an hour. Can you explain that? I am very interested in biology, and so is everyone else in my family. Sincerely Yours, Lillian Levy P.S. I know you are a very busy man, but, if you have enough time, please try to answer. THANK YOU! P.P.S. If a doctor says you're dead and they take out your heart but it is still beating, are you dead or alive?" Transcribed letter from the Heart of Cape Town Museum
Condensation Cube

"One of Hans Haacke’s earlier works. While over time the artist developed a critique of art as an institution and system, these early works focus on art in the sense of process and physical system. Interested in biology, ecology and cybernetics, in the mid-sixties Haacke was influenced by the ideas of Ludwig von Bertalanffy, especially those outlined in his General System Theory of 1968. For the Austrian biologist and philosopher, a living organism is an open system that continuously changes depending on its dialogue or interaction with the environment. Haacke’s early works, such as Condensation Cube, transpose this concept to the realm of art" (MACBA 2021).
Kimberley Mine

A detail from the wallpaper used outside the Cape Town Diamond Museum in the V&A Waterfront.
Kimberlite

A display outside the Cape Town Diamond Museum in the V&A Waterfront
Pompei casts
Chip of wood from an almond tree

Said to be a chip from the tree under which David Livingstone is said to have proposed to Mary Moffat 1884. Wood chip was donated by R.F. Immelman who purchased it from Kimberley museum.
Four bruises

Poster designed by film director, Mike Mills. His 2010 movie, 'Beginners', is structured as a series of interconnected flashbacks. Following the death of his father, Hal, from cancer, Oliver reflects on their relationship during the last five years, since the death of his mother.
Chapunga - The day Rhodes fell

The character Msezane is portraying depicts the statue of the Zimbabwe bird that was wrongfully appropriated from Great Zimbabwe by the British colonialist Cecil Rhodes. It currently sits in his Groote Schuur estate.
Heart of Cape Town Museum

Christiaan Barnard did forty-eight trial transplants with dogs before he undertook such an operation with a human being.
SP-368 Biomedical Results of Apollo

Electrocardiograph signal received at Mission Control during various periods of the Apollo 11 mission
Avoided Object

Photographs of the sky above the Imperial War Museum taken with the camera that belonged to Hoess, commandant of Auschwitz