Gallery News for Gabrielle Goliath
Gabrielle Goliath earns GIPCA Fellowship
Performance and multimedia artist Gabrielle Goliath was awarded a GIPCA fellowship for the Public, Interdisciplinary and Live Art programme at UCT, in February. The award is given by the Gordon Institute for the Performing and Creative Arts and is intended to lead towards a PHD qualification over a period of three years.
Goodman Gallery Cape Town
2 June 2016
In Gabrielle Goliath’s performance piece Stumbling Block, a blanketed performer is situated at the main entrance of the gallery to complicate access. The artist considers the piece a perimeter intervention that throws the privileged remove of the exhibition space into question. The performance took place at the opening of the exhibition New Revolutions at Goodman Gallery Cape Town.
Goodman Gallery Cape Town
15 – 24 October 2015
The performance piece that is Elegy epitomizes the deeply poetic work of Gabrielle Goliath, whose practice has over a number of years addressed situations of violence perpetrated against women. The South African-born artist is becoming known for her evocative political installations and performances.
Originating in lengthy research processes, Goliath’s photographs, installations, and performances critically negotiate the complexities of gender-based violence in South Africa. Her style has a poetic quality, punctuated by unsettling visceral elements. Rather than sensationalising the violence itself, her concern is primarily with memorializing the individuals victimised by acts of brutal and sexualised violence. This she accomplishes with powerful metaphors for essentially inexpressible experiences, evoking in a confluence of forms a sense of loss and horror.
A commemorative gesture, Elegy calls together a group of female vocal performers, who collectively enact a ritual of mourning. Durational and physically taxing, the performance sustains a kind of sung cry – evoking, in a symbolic sense, the ‘presence’ of an absent individual. Responding to situations of extreme violence perpetrated against women in South Africa, Elegy recalls the identity of individuals whose subjectivities have been fundamentally violated – and who, as such, are all too easily consigned to a generic, all-encompassing victimhood.
Nineteen years old and studying toward a degree in journalism at the Midrand Graduate Institute, Ipeleng Christine Moholane was first reported missing on May 16th, 2015. On May 25th she was found murdered, lying in an open veld in Tembisa. Identifying the body, her father Isaac Moholane recalls: “I can’t tell you the pain and grief it brought me to see her lifeless body in that manner. She was naked, raped, legs bound… Someone had strangled her so brutally with the intention to make sure she died”.
Enacted in commemoration of Ipeleng, Elegy performances will be scheduled throughout the week of the 15th – 24th October 2015, at Goodman Gallery Cape Town. Between performances the space will function as an installation, with an accompanying video projection. Intended as an ongoing performance project, future iterations of Elegy will be staged in various locations and contexts – with each realised in memory of a specific individual.
Goliath has an MAFA and BAFA from the University of the Witwatersrand in Johannesburg. She has held four solo exhibitions in Johannesburg, at the Goodman Gallery, Nirox at Arts on Main, Circa and Gallery Momo. She has exhibited extensively on local group exhibitions, including “Alterating Conditions: performing performance art in South Africa” at Goethe on Main & the Bag Factory, “Transformations: Women’s Art from the late 19 Century” at the Johannesburg Art Gallery and “Space” at Museum Africa. Internationally, her work has featured on the Dak’Art Biennale, “Photoville”, the Tierney Fellowship Exhibit in New York in 2012, “Between the Lines” at the Former Tagesspiegel Building in Berlin in 2013, and most recently at the Jewish Museum in New York. She is a recipient of the Tierney Fellowship Award, the Brait Everard Read Award 2007 and the Wits Martienssen Prize. Her work is represented in the collections of the Iziko South African National Gallery and the Johannesburg Art Gallery, as well as in various academic, private and corporate collections.
For our opening show in 2014, Goodman Gallery will present Faces of War by Gabrielle Goliath – her first solo show with the gallery.
In contrast to the public and often mediated nature of war, domestic violence, as a scenario of conflict affecting the everyday experience of thousands of men, women and children in South Africa, is confined by definition to the environment of the home – is deemed ‘a private affair’, happening behind closed doors. On account of this ‘sanctum of the home’, as well as the stigma and fear of reprisal associated with any sort of disclosure, the victims as well as perpetrators of this conflict are to a large extent ‘faceless’.
In a series of twelve oversized and strategically altered photographic portraits, Gabrielle Goliath presents a cross-section of ‘everyday South Africans’ as Faces of People who may or may not be Victims or Perpetrators of Domestic Violence. Casting her subjects in a shadow of doubt – each one a potential victim or perpetrator – Goliath invites the viewer to question the unsettling anonymity or ‘facelessness’ of this conflict.
Five women bravely disclose their own experience of domestic violence in the cycle of video portraits that is Personal Accounts. Again, however, the portrait is strategically effected. In a violent but demonstrative act of censorship, Goliath extracts the words from these personal accounts, problematically muting the dialogue.
In Faces of War, Gabrielle Goliath’s provocative manipulation of the portrait seeks to visualise the unseen and ‘faceless’ nature of domestic violence, and to articulate something of its silences.
Gabrielle Goliath was born in Kimberley, South Africa, in 1983. She has an MAFA and BAFA from the University of the Witwatersrand in Johannesburg. She has held three solo exhibitions in Johannesburg at Nirox at Arts on Main, Circa and Gallery Momo. Goliath has exhibited extensively on local group exhibitions including Alterating Conditions: performing performance art in South Africa at Goethe on Main & the Bag Factory, Transformations: Women’s Art from the late 19 Century at the Johannesburg Art Gallery and SPace at Museum Africa. Internationally, her work featured on the Dak’Art Biennale and Photoville, the Tierney Fellowship Exhibit in New York in 2012 and Between the Lines at the Former Tagesspiegel Building in Berlin in 2013. She is a recipient of the Tierney Fellowship Award, the Brait Everard Read Award 2007 and the Wits Martienssen Prize. Her work is represented in the collections of the Iziko South African National Gallery and the Johannesburg Art Gallery, as well as in various academic, private and corporate collections.
Goodman Gallery Cape Town
29 October – 7 December 2016
Kudzanai Chiurai • Nolan Oswald Dennis • Gabrielle Goliath • Haroon Gunn-Salie • Kiluanji Kia Henda • David Koloane • Moshekwa Langa • Gerhard Marx • Tracey Rose • Thabiso Sekgala • Jeremy Wafer
Goodman Gallery Cape Town’s group show Where We Are is a partner exhibition to Africans in America at Goodman Gallery Johannesburg and the Johannesburg Art Gallery. Where We Are offers a counter conversation to Africans in America, which explores the shifts in perspective that are occurring among a new generation of artists from Africa and the Americas as they transverse between the two. The Cape Town exhibition presents work by African artists within Africa – many of whom are still based in their country of origin – as opposed to working in the context of the diaspora.
The artists’ practice has either been rooted in or constantly drawn back to their places of origin – whether circumstantially or deliberately. Place is an inherent locus of the exhibition observable in a multitude of expressions, including map-making, borders, urban landscapes, migration and monuments.
Where We Are is a precursor to a larger exhibition that will take place in New York in 2017. It serves as a series of questions, interrogating history, geography and memory, both personal and collective. The artists examine the systems of place that define the daily lives and recent histories of people across the continent and find them wanting, resulting in many attempts at re-imagining. In the proposal of ideals and alternatives, the status quo is indicted and the past held accountable, as we attempt to understand where we are, how we got here and how to move forward.
Housed in an edifice of large wooden shipping crates, Angolan artist Kiluanji Kia Henda’s video installation Concrete Affection – Zopo Lady references the mass exodus of Luanda’s inhabitants after Angola’s independence from Portugal’s colonial rule in 1975. The cityscape becomes a vivid fabric of motion and colour in an expansive drawing by David Koloane, for whom the city of Johannesburg is a muse.
Gabrielle Goliath’s chilling audio installation, Roulette, points to a defining feature of South Africa – the ever-present threat of violence. A stream of amplified static is punctured by a point-blank recording of a gunshot once every six hours (the damaging effects of which the participant is warned about before listening) – bringing to life femicide statistics showing that every six hours a woman in South Africa is killed by an intimate or ex-intimate partner, one of the highest rates in the world. Rather than confront the violence head-on, two photographs by the late Thabiso Sekgala look beneath the surface at the devastation in the mining towns of Rustenburg and nearby Marikana.
Drenched in red, Haroon Gunn-Salie’s sculptures of dismembered hands cast from public statues of Captain Carl von Brandis, Johannesburg’s first magistrate, and Portuguese explorer Bartolomeu Dias are a powerful indictment of colonialist expansion. Zimbabwean artist Kudzanai Chiurai engages in a similar re-contextualisation of colonial imagery in his Genesis series, which takes as a departure point stone reliefs commemorating the expeditions of David Livingstone and counters them by imagining an Africa reconnected with its rich traditional past. Tracey Rose also subverts historical assumptions of whiteness by recasting the role of the messiah as a challenge to canonical religious iconography.
The ideas of land and memory are central to Nolan Oswald Dennis’ triptych, which contains extracts from Wikipedia entries for the term “Azania” and points to the limits of and Western bias still so prevalent in human encyclopedic knowledge.
Jeremy Wafer explores the arbitrariness of the physical barriers and boundaries that define country, specifically the demarcation between Mozambique and South Africa. Similarly, Gerhard Marx deconstructs the borders defined in mapping to question notions of territory and the place of the human in the abstracted aerial view.
The abstraction of the landscape is taken to its end point in Moshekwa Langa’s work, an expressive evocation of distance and horizon offering a personal perspective on migration, loss of place and the bittersweet experience of return.
The exhibition includes a video programme hosted in Goodman Gallery Cape Town’s new street-level video room on Sir Lowry Road, echoing the thematic content of Where We Are with a focus on the individual as an anchor to place.
Goodman Gallery Cape Town
2 June – 20 July
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery’s history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery’s history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery’s ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world’s most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery’s programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery’s transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
RESHMA CHHIBA / GABRIELLE GOLIATH / MURRAY KRUGER / GERALD MACHONA / KYLE MORLAND / MONIQUE PELSER / THABISO SEKGALA
Goodman Gallery Cape presents [Working Title] – a group exhibition of young artists working in South Africa, brought together in a way that allows multiple and perhaps surprising dialogues to emerge, and foregrounding questions of authorship, authority and notions of the relational.
Reshma Chhiba’s Kundalini Shakti and Linga-yoni – a slashed canvas and an unsettlingly organic sculpture, both informed by the artist’s ongoing interest in the Hindu goddess Kali as an embodiment of unbridled feminine creativity – act as a complement and counterpoint to the cool, Apollonian rationalism of Kyle Morland’s Double-Ended Saddle Cut, a suspended sculpture of welded steel. Both are also concerned, in different ways, with the act and effects of making. Murray Kruger, too, plays with concepts of creativity and authorship in his recreation of, and extrapolation from, Walter Battiss’ 1973 performance piece Open tent for contemplating the cosmic origins of art, while at the same time raising questions about the nature of the artwork, its evolution over time, and the ways in which its audiences are implicated in its inscription into history.
Gerald Machona’s origami-based installation Bling Bling: Blood diamonds are a girl’s best friend, a cynical comment on the abuses of power in postcolonial African politics, resonates with Monique Pelser’s Conversations with my Father, a searingly intimate attempt, in an installation and set of photographs, to understand her father’s death and life in the larger context of the dark and complex history of the South African police. A solemn photographic installation by Gabrielle Goliath titled Berenice 10-28 speaks poignantly of personal issues of loss and grief, while uncompromisingly confronting questions of violence and abuse in South African society.
Thabiso Sekgala’s photographs of the workers and inhabitants of a housing estate in Ghent are a refreshing and original take on the questions of identity that inform so much contemporary South African practice, and a provocative inversion of the usual dynamics of ‘othering’, while his stark images of domestic objects, at once intimate and abject, are a compelling reflection on contemporary urban life.
[Working Title] is a showcase of young artists whose work, while ranging in media and crossing disciplines, shares an uncommon and original approach to contemporary practice.
Gabrielle Goliath was born in Kimberley, South Africa, in 1983. She has an MAFA and BAFA from the University of the Witwatersrand in Johannesburg. She has held three solo exhibitions in Johannesburg at Nirox at Arts on Main, Circa and Gallery Momo.
Goliath has exhibited extensively on local group exhibitions including Alterating Conditions: performing performance art in South Africa at Goethe on Main & the Bag Factory, Transformations: Women’s Art from the late 19 Century at the Johannesburg Art Gallery and SPace at Museum Africa. Internationally, her work featured on the Dak’Art Biennale and Photoville, the Tierney Fellowship Exhibit in New York in 2012 and Between the Lines at the Former Tagesspiegel Building in Berlin in 2013. She is a recipient of the Tierney Fellowship Award, the Brait Everard Read Award 2007 and the Wits Martienssen Prize. Her work is represented in the collections of the Iziko South African National Gallery and the Johannesburg Art Gallery, as well as in various academic, private and corporate collections.
2014 Faces of War, Goodman Gallery, Johannesburg, South Africa
2011 Murder on 7th, Nirox at Arts on Main, Johannesburg, South Africa
2010 Berenice ,Circa, Johannesburg, South Africa
2009 Murder on 7th, Gallery Momo, Johannesburg, South Africa
2016 In Context: Where We Are, Goodman Gallery, Cape Town, South Africa
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Cape Town, South Africa
2014 Language Games, Cape Town Art Fair, Cape Town, South Africa
2013 Between the Lines, Former Tagesspiegel Building (Between the Lines, Symposium North), Berlin, Germany
2012 Rewind: Dathini Mzayiya & Gabrielle Goliath, Centre for African Studies, UCT, Cape Town, South Africa
2012 A Shot to the Arse, The Michaelis Galleries, Cape Town, South Africa
2012 Working Title, Goodman Gallery, Cape Town, South Africa
2012 Photoville, Tierney Fellowship Exhibit, New York, USA
2012 Dak’Art, Biennale of Contemporary African Art: Contemporary Creation and Social Dynamics, Senegal
2011 Alternating Conditions: Performing Performance Art in South Africa, Goethe on Main and Bag Factory Artists’ Studios, Johannesburg, South Africa
2011 Tierney Fellowship Award, Tierney Foundation, New York
2010 Brait Everard Read Award, Circa, Johannesburg
2007 Art’s Alive, Johannesburg
2007 Wits Martienssen Show, Wits School of Arts, Johannesburg
2011 MAFA (with distinction), University of the Witwatersrand, Johannesburg
2007 BAFA, University of the Witwatersrand, Johannesburg
2003 Diploma Fashion Design, Technikon of the Witwatersrand, Johannesburg
2012 South Africa, Goethe on Main & The Bag Factory, Johannesburg
2011 Transformations: Women’s Art from the late 19 Century – 2010, Johannesburg Art Gallery, Johannesburg
2010 Blissful Disturbance – WITS Masters and Fine Art Students, Michaelis Galleries, Cape Town
2010 Unshape, Maker, Johannesburg
2010 SPace, Museum Africa, Johannesburg
2010 US ,South Africa National Gallery, Cape Town
2009 Art that comes towards you, Spring Art Tour, VANSA, Johannesburg
2009 Domestic, Goethe Institute Arts on Main, Johannesburg
2009 Sasol New Signatures, Pretoria Art Museum, Pretoria
2008 Four Tales, Gallery MOMO, Johannesburg
2007 Art’s Alive JHB City Exhibition, Johannesburg
2007 Lost and Found, Market Photo Workshop, Johannesburg
Personal Accounts (Christolene), from video cycle Personal Accountslink
Press for Gabrielle Goliath
Goliath Gabrielle / Artthrob / South Africa / 23 - 15 January 2014A Review of Faces of War, Gabrielle Goliath at Goodman Gallery by Nicola Kritzinger (1.9 MB)
Goliath Gabrielle / Business Day Live / South Africa / 30 January 2014Goliath's Faces Show Suffering of War that Touches us All by Chris Thurman (777.1 KB)
Goliath Gabrielle / Mail & Guardian / Johannesburg / 24 - 30 January 2014Abuse: A Goliath Undertaking by Zodwa Kumalo - Valentine ()
Goliath Gabrielle / Design Art / South Africa / Issuu No. 2 December 2010Scene Too Much Gabrielle Goliath by Bettina Malcomess (1.2 MB)