Gallery News for Gerald Machona
Haroon Gunn-Salie and Gerald Machona on The Art of Disruptions at Iziko SANG
The Art of Disruptions marks milestones in the history of South Africa: the 60th anniversary of the 1956 Women’s March to Pretoria against pass laws, the declaration of District Six as a whites-only area in 1966, the 40th anniversary of the 1976 youth protests and the 1986 declaration of a state of emergency. The exhibition highlights strategies artists have employed in the current milieu to deal with and comment on the various issues that plague our society; issues like racism, sexism, homophobia, inequality and privilege, migration and environmental degradation. Artists included are Gerald Machona and Haroon Gunn-Salie. At the Iziko South African National Gallery until 23 October.
Kudzanai Chiurai and Gerald Machona in Kampala
The international exhibition KABBO KA MUWALA – The Girl’s Basket: Migration and Mobility in Contemporary Art in Southern and Eastern Africa opens on on 14 April at Makerere Art Gallery in Kampala, Uganda. The exhibition is a collaboration with the National Gallery of Zimbabwe, the Städtische Galerie Bremen and the University of Oldenburg (both in Germany) and will showcase works by contemporary artists from various countries including Kudzanai Chiurai and Gerald Machona. The exhibition seeks to present a multitude of contemporary migration processes seen primarily through the eyes of artists from Southern and Eastern Africa.
Gerald Machona at Sydney Biennale
Gerald Machona is included in the 20th Biennale of Sydney exhibition from 18 March until 5 June. Titled The future is already here – it’s just not evenly distributed, this year’s Biennale is inspired by a comment by leading science-fiction author William Gibson, and also serves as a framework for artistic investigation. The first part of the title speaks to the fact that the exhibition is about the now; but more than that, it suggests that perhaps we have already surpassed our own ideas about the future. The second part reminds us that access to information, the internet and other more basic resources is by no means universal.
Kudzanai Chiurai and Gerald Machona in Zimbabwe
The exhibition Kabbo ka Muwala, featuring the work of Gerald Machona and Kudzanai Chiurai, is a collaboration between Carl von University Oldenburg, National Gallery of Zimbabwe in Harare, Makerere University in Kampala, and Städtische Galerie Bremen. The exhibition presents works by 20 artists reflecting on narratives of migration, and was conceived as an itinerant project taking place in Zimbabwe, Uganda and Germany, artistically exploring perspectives on the multitude of migration processes in and from southern and eastern Africa primarily through the eyes of artists from these regions. The exhibition runs at the National Gallery of Zimbabwe, Harare until 4 April and then tours to the Makerere Art Gallery in Kampala the Städtische Galerie Bremen in Germany.
In a show that negotiates the condition of xenophobia within Africa through the cultural aesthetic of Afrofuturism, Gerald Machona presents Vabvakure (People from Far Away) at Goodman Gallery Johannesburg. Vabvakure is a Shona word used to describe a “foreigner” and within the show Machona explores feelings of estrangement associated with the experience of “foreignness” while living in South Africa. This series of works developed as a response to the what Machona calls “the Afrophobic nature” of the xenophobic violence experienced in South Africa in 2008, and attempts to playfully disrupt the negative misconceptions of African expatriates and immigrants living in the country. Through the media of sculpture, film and photography, Machona binds magic realism with non-Western discourse in order to both examine contemporary predicaments on the continent and interrogate events of the past.
“Central to this body of work is my use of various decommissioned currencies as an aesthetic
material,” explains Machona, “in an attempt to link historic and contemporary trends of African diasporic migration on the continent. Most recently, the migration of Zimbabwean nationals into neighbouring SADC countries and abroad, following the country’s political and economic collapse. While South Africa hosts the largest population of these Zimbabwean nationals living in the diaspora, in May of 2008 they were amongst the foreign nationals persecuted by the xenophobic attacks. It was reported that people were targeted through a process of profiling that assumed authentic South Africans are lighter in complexion or fluent in an indigenous language; this resulted in 21 of the 62 casualties being local citizens. Such beliefs have complicated who is considered an ‘insider’ and ‘outsider’ in South African society. Pitting ‘native’ against ‘alien’ and perpetuating an exclusive sense of belonging that is reminiscent of apartheid doctrine. There is a growing need in the post-colony to deconstruct these notions of individual and collective identity, since ‘nations’, ‘nationalisms’ and ‘citizenry’ are no longer defined solely through indigeneity or autochthony.”
Machona asserts that forms of cultural mediation such as visual and performance art can offer insights into social trauma and potentially resist intolerance and violence associated with xenophobia. He believes that one such meditative tool is “Nyau”, a masked masquerade originating in Malawi, which Machona subtly references in much of his work. “Scholarly studies have described the masquerade as a potentially subversive form of performance that was used by the Chewa people while living as ‘foreigners’ in Zimbabwe and other diasporas,” He explains. “They used it to challenge xenophobia and negative stereotypes associated with their identity as foreigners to Zimbabwean society. Adding a contemporary layer to this negotiation of imposed ‘strangeness’, I created characters that perform specific occupations typical of African immigrants in South Africa today. Each performer was titled with the Shona prefix ‘Ndiri’, meaning ‘I am’. For example, Ndiri barber, Ndiri barman, or Ndiri cross border trader. For each character I constructed a mask using decommissioned Zimbabwean dollars, which referenced the Nyau masquerade. This lead to a new character Ndiri Afronaut that performs in an astronaut’s suit meticulously stitched out of decommissioned Zimbabwean dollars. Each performance in this space suit was captured using video and is presented in this exhibition as a short film.”
Vabvakure ultimately recalls Julia Kristeva’s explanation that “Strangely, the foreigner lives within us: he is the hidden face of our identity… By recognising him within ourselves; we are spared detesting him in himself…The foreigner comes in when the conscious of my difference arises, and he disappears when we all acknowledge ourselves as foreigners.”
Goodman Gallery Cape Town
15 December 2016 – 14 January 2017
Lisa Brice / Kudzanai Chiurai / David Goldblatt / Alfredo Jaar / Samson Kambalu / Kendell Geers / William Kentridge / Liza Lou / Gerald Machona / Gerhard Marx / Shirin Neshat / Walter Oltmann / The Brother Moves On / Jessica Webster
For its end-of-year Summer Show, Goodman Gallery Cape Town has gathered together a selection of important pieces from both new and existing bodies of work by its artists. Taken as a whole, the show presents a textured and vibrant series of engagements with the artists’ social and political environments through photography, sculpture, drawing, prints and video. The exhibition serves an as opportunity to show works not yet seen in Cape Town, and to introduce visitors to artists newly represented by the gallery.
Despite its title, David Golblatt’s A family picnic in the north-west. 15 August 2009 focuses on a macro view of the landscape and structures in which this human scene is taking place. The photograph illustrates Goldblatt’s change in narrative style since shifting to working in colour. As writer Christoph Danelzik-Brüggemann says in the book Intersections: “In parallel with a continued emphasis on striking human situations, in landscapes he developed a visual language that accorded more meaning to space than to time. The formats became larger and a plethora of extremely precisely recorded details (blades of grass, stones, person) combined to form tableaux which the viewer’s eye can explore at leisure. As an overall picture emerges from these details, the viewer becomes aware that the image tells of our times, of the people who live in this land, and of the forces that shape it.”
Walter Oltmann’s Bristle Disguise uses woven alumnium and razor wire to reference local craft traditions. Covered in spikes that recall both the elaborate dress often used in ritualised African dance and the pulsating energy radiated in the activity, his bodysuit merges craft and art. Oltmann has researched and written extensively on the use of wire in African material culture in South Africa and is deeply interested in the influence of these traditions in contemporary South African art. “In my sculptures I use images of natural phenomena (human, plant and animal) and play with the idea of mutation, hybrids and reconfiguring the familiar. Through dramatically enlarging and/or transposing features of one to the other, I play with the paradox between vulnerability and the monstrous. Using the language of craft, my artworks are always a product of labour and time,” he says.
In 2005, American artist Liza Lou first travelled to South Africa to initiate an art project with Zulu beadworkers. Starting with 12 women from the surrounding townships of KwaZulu-Natal, Lou’s project has flourished and has now grown to a collective of over 25 artisans. Her commitment to this community of Zulu women and to exploring the process and testing the limits of her chosen material has led to a minimal, contemplative practice in which the material has become the subject. Untitled #13 is a prime example of the end result; a formal object that, through subtle imperfections, bears witness to the manual labour and personal investment at stake.
Country of my skull was one of the installations included on The Brother Moves On’s solo exhibition, Hlabelela, at Goodman Gallery Johannesburg. The exhibition questioned each member’s personal histories, cultural background and beliefs as a means of unsettling the idea of a homogenised black experience and its acceptance by white art institutions and discourse. The performances, installations and videos explored the complex identity of black youthful opposition but also questioned whether these contemporary traditions can exist within the established traditions of art institutions and art discourse.
Lisa Brice’s Well Worn 5 was part of a body of work that featured a cast of female protagonists engaged in autobiographical acts of looking and being looked at. Grooming, making up, stripping down, dressing up within the confines of domestic, private or veiled interiors, they range from depictions of adoration and loathing, to defiance and reinvention. The mirror reflection reoccurs as a central motif, simultaneously functioning as an alter-ego and an imagined audience beyond the private, as well as a formal device within the painting.
In Life Magazine, April 19, 1968, Alfredo Jaar deconstructs a renowned photograph of Martin Luther King’s funeral that provides a stark visual essay on the racial prejudices that lead to King’s assassination. The work typifies Jaar’s interest in the politics of images: their effect on modern society ”bombarded by thousands of images without warning, without mercy, containing messages of consumption crafted by marketing and communications experts”. He directs the viewer to the parts of the visual experience that they may not have considered in their reckoning of who has power, who does not, and why.
Samson Kambalu’s Nyau Cinema consists of site-specific performances captured on and made in conversation with the medium of film. Born in Malawi and now based in London, Kambalu regards his work as a form of playful dissent that fuses the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the Protestant tradition of inquiry, criticism and dissent. “In my tribe, the Chewa, excess time and resources are not sold; instead it is squandered in ‘useless’ activities such as the arts, funerals, initiations etc. – all led by Nyau masks,” he says. “The role of the Nyau mask is thus to orchestrate the giving of gifts,” which in a capitalist culture, he explains, would be considered the squandering of surplus time and wealth. He invokes the concept of “Gule Wamkulu” (literally the “Great Play”), a ritual masked dance performed by the Chewa, which he describes as “really the creation of ‘Situations’, where a gift can be given without incurring a debt”.
Gerhard Marx’s Transparent Territory series consists of drawings that have been constructed from the fragments of decommissioned and discarded terrestrial maps. The focus in these works is on the act of taking the flat, rectangular depictions of landmass and territory (which maps are intended to be), and reconfiguring them into mineral-like geometric constructions in which folds, facets and overlays construct spatial illusions along with a sense of depth and interiority within the flatness of the map. The series takes inspiration from early depictions of perspectival illusion, most notably Giotto’s clustering of architectural structures. The works also burrow into the flatness of geographic depiction through an act of ‘cartographic mining’, in which the solidity of the earth’s surface is ruptured into a transparent palimpsest of geography and historical time that undermines the authority and singular viewpoint of the two-dimensional map.
Kudzanai Chiurai’s Genesis [Je n’isi isi] CI and Genesis [Je n’isi isi] XI, from his photographic series of the same name, recount the stories of the men who ventured with Livingstone into unexplored territories in central Africa. They included other Europeans who sought similar adventures and the porters and guides who bore the weight of their supplies as well as slaves freed from Arab slave traders. It re-imagines Livingstone’s journey with the guiding principles that Christianity and commerce were inseparable.
Drawing is at the heart of William Kentridge’s artistic practice, forming the basis for works in other media, particularly film. South Africa’s preeminent contemporary artist, Kentridge has earned international acclaim for his layered and complex work, which includes operas, theatre productions and films incorporating his own sculpture and drawings as well as collaborations with dancers and composers. Waiting for the Fire, a large-scale drawing in Indian ink, illustrates his facility as a draughtsman, clearly evident in the animated charcoal drawings that first brought him to the world’s attention.
In the series Our House Is On Fire, originally made as a special commission for the Rauschenberg Foundation, Shirin Neshat was inspired by time she spent in Egypt in the aftermath of the revolution in 2011. In close-up portraits and details of hands and feet, meticulously inscribed with the words of poets of the Iranian revolution, Neshat tells a story of loss and mourning particular to her subjects and simultaneously universal.
In Untitled (Influx I) Gerald Machona has collaborated with Mozambican choreographer Guiamba to create a performance-based installation that seeks to transform migratory objects and garments. A Zimbabwean now living in South Africa, Machona’s work has dealt repeatedly with the theme of migration. Crucial to this artwork is an attempt to disrupt the 55-minute hour scheme used by Cape Town garment factories, where an assembly line of seamstresses was governed by a clock that would run 55 minutes of production and 5 minutes of recess every hour. Rather than rely on a clock to keep time and a metronome to indicate tempo, the artists have drawn rhythm from a sewing machine to stitch together the dance and installation.
Every year Jessica Webster dedicates some time to working as roughly and freely as possible with ink and bleach on paper. “By now I have amassed a huge stack of A3 works, but I see this set of earlier pieces as some of the most successful.” Using ink and paper allows the artist “to get back in touch with some of the fundamentals of my practice: this is the relationship between the two-dimensional surface and the imaginary spaces that composition orders,” she says. Inks 1-15 references Sol Le Witt’s series of drawings Variations of Incomplete Open Cubes (1974). “While Le Witt’s work is interpreted as symbolising the purely visual metaphors of rationality and the Enlightenment subject, my painted copies evoke the more fragile and unstable aspects of geometry. Using Le Witt’s series as readymade references me to focus on how the bare minimum of painterly strokes can create conflict between the sense of depth caused by geometrical perspective and the fluidity and gesturality of hand-painted lines. In some of the works I continue this investigation with other objects, provoking the imaginary sites upon which geometry and order comes to be projected.”
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.
NINA CHANEL ABNEY | DERRICK ADAMS | SADIE BARNETTE | ZOE BUCKMAN | BETHANY COLLINS | NOLAN OSWALD DENNIS | OMAR VICTOR DIOP | TITUS KAPHAR | KILUANJI KIA HENDA | YASHUA KLOS | GERALD MACHONA | TOYIN OJIH ODUTOLA | EBONY G PATTERSON | ADAM PENDLETON | JODY PAULSEN | TABITA REZAIRE | JACOLBY SATTERWHITE | SHINIQUE SMITH
In keeping with our mission to investigate critical moments in the interconnected histories of global black life, Goodman Gallery is pleased to present To Be Young, Gifted, and Black the next edition of the ongoing series Working Title, an exhibition curated by one of our most thoughtful and provocative artists, Hank Willis Thomas.
Taking inspiration from Nina Simone’s iconic song To Be Young, Gifted, and Black (1969), written in memory of playwright Lorraine Hansberry, the author of Raisin in the Sun (1959) who died in 1964 at the age of 34, To Be Young, Gifted, and Black is about our moment, looking back at theirs. What lies between their Civil Rights and our #BlackLivesMatter? All over the world we cry out ever more fervently that our lives matter, even as evidence mounts supposedly to the contrary. However, we ourselves have never been in doubt of this truth, as Simone’s powerful words attest. She shares other great truths, singing that When you’re young, gifted, and black / Your soul’s intact, and, To be young, gifted, and black / Is where it’s at.
To Simone, these affirmations—these unique gifts—of soul and belonging, gained because of one’s race, age, and abilities, not in spite of, are fact. So too, to the artists in To Be Young, Gifted, and Black. Speaking both to the spirit of the song and of our times, they highlight the timeless matter-of-factness of Simone’s words, as well as a conscious contemporary need to hear, feel, and state her assertion boldly and loudly, unapologetically and with gusto.
Hank Willis Thomas is a conceptual artist working with themes related to identity, history and popular culture. He received his BFA from New York University’s Tisch School of the Arts and his MFA in photography, along with an MA in visual criticism, from California College of the Arts (CCA) in San Francisco.
Thomas has acted as a visiting professor at the MFA programs at Maryland Institute College of Art and has lectured at Yale University, Princeton University and the Musee du Quai Branly in Paris. His work has been featured in several publications including 25 under 25: Up-and-Coming American Photographers (CDS, 2003), as well as his monograph Pitch Blackness (Aperture, 2008). He received a new media fellowship through the Tribeca Film Institute and was a 2011 fellow at the W.E.B. DuBois Institute at Harvard University. He has exhibited in galleries and museums throughout the U.S. and abroad and his work is in numerous collections including the Whitney Museum of American Art, The Brooklyn Museum and Museum of Modern Art. His collaborative projects have been featured at the Sundance Film Festival and installed publicly at the Oakland International Airport.
Goodman Gallery Cape Town
23 July – 29 August
Broomberg & Chanarin / Carla Busuttil / Nolan Oswald Dennis / mounir fatmi / Kendell Geers / David Goldblatt / Haroon Gunn-Salie / Alfredo Jaar / William Kentridge / Kapwani Kiwanga / Liza Lou / Gerald Machona / Lorna Simpson / Mikhael Subotzky / Hank Willis Thomas / Jeremy Wafer
Edge of Silence is a group show featuring artwork by some of Goodman Gallery’s leading contemporary artists.
The title is taken from a light box with transparency created by Alfredo Jaar that illuminates the words ‘OTHER PEOPLE THINK’, a quote from the youthful writings of John Cage in which Cage “affirms silence as an opportunity to learn what other people think.” Jaar’s light box follows this practice with a kind of silence opens up a space for listening by disrupting our thoughts and perceptions, inviting us to step outside ourselves.
Sleeping, a recurring motif in Kentridge’s work, is used as a metaphor for a state of self-imposed blissful ignorance in which the outside world may be forgotten as the sleeper closes herself off into her internal world. This notion, coupled with the fragility and transparency of glass, evokes a dangerous situation leading to a painful, if not actually destructive, moment of awakening and recognition in Kentridge’s series of prints Sleeping on Glass.
Liza Lou’s Untitled bead canvases emphasize repetition, formal perfection, and materiality, but thrives on the tension between silent beauty and the presence of traces of bodily residue in the beaded strips that establishes many of the social themes, such as uncelebrated women’s work, that underpin her work.
Works on exhibition reference cultural moments and artistic practice that is at times interrogative, celebratory, or a means of bearing witness. Yet in all instances they complicate and remediate so as to bring about a new framework for understanding or experiencing that which exists already.
Artists include Adam Broomberg and Oliver Chanarin, Carla Busuttil, Nolan Oswald Dennis, Mounir Fatmi, Kendell Geers, David Goldblatt, Haroon Gunn-Salie, Kapwani Kiwanga, Liza Lou, Gerald Machona, Lorna Simpson, Mikhael Subotzky, Hank Willis Thomas, and Jeremy Wafer.
The launch of the [Working Title] 2013 catalogue will happen at The Goodman Gallery Johannesburg on 25 November, timed to coincide with the closing day [Working Title] 2014 at Goodman Gallery Cape Town.
The [Working Title] series is focused on developing work that can go beyond the run of the exhibition, and it is important that the catalogue exist in a similar way. The texts aim to extend the questions and subversions the artists provoke as opposed to just explaining and describing the works on show.
Some texts take the form of conversations – Raimi Gbadamosi and Gerald Machona discuss the role of art in representing tragedy and violence while Haroon Gunn-Salie, Simon Castets and Hans-Ulrich Obrist discuss the role of intervention and activism in Gunn-Salie’s practice.
Other contributions like Jessica Webster’s short stories, the co–authored essay by The Brother Moves On and the Frown’s manifesto of worship – are texts which exist as self referential semi fiction.
Kalia Brooks, Adjunct Professor in Photography at the Tisch School of the Arts, explores themes of control and compassion in Tegan Bristow’s interactive video work Coming and going but never leaving. Bristow herself reviews the use of digital and online media in Cuss Group’s work Untitled (Johannesburg screen saver) arguing that medium is definitive in representing the state of South Africa’s socio-political climate. In his analysis of Vinatge Cru, anthropologist and director of the LGBT rights programme at human rights watch, Graeme Reid investigates the centrality of performance to queer visibility in South Africa. Adreinne Edwards, associate curator at Performa New York writes on Nelisiwe Xaba and Mocke van Vueren’s work Uncles and Angels, understanding the work as an experimental meditation on ritual, the feminine, technology. Working Title exists as a space where relationships between the Goodman Gallery and artists, creatives and writers can be incubated.
The catalogue launch will happen alongside an exhibition which showcases works, performances and collaborations which have happened post [Working Title] 2013. Haroon Gunn-Salie, Jessica Webster and Johan Thom – all of whom have solo exhibitions next year with the Goodman Gallery – will exhibit works which are in preparation for their respective exhibitions or which have happened in association with the Goodman Gallery.
Gerald Machona, who was awarded the [Working Title] award in 2013 will exhibit a new series of ‘dictators’ headgear’ made from his trademark medium of decommissioned currency. A film made by The Brother Moves On, which focuses on the collaborative performances done since 2013 will be screened at the gallery.
The [Working Title] exhibitions are part of an initiative by the Goodman Gallery aimed at supporting young artists, curators, independent projects and major installations and performances.
[Working Title] 2014 is currently on show at The Goodman Gallery Cape Town and focuses on artists based outside of Cape Town – Johannesburg, Nigeria, Benin, France, the United Kingdom, and the United States – but whose work raises universal questions about place, justice, and individual action and responsibility, questions that resonate with a particular urgency in Cape Town in 2014.
The Goodman Gallery is proud to announce that Bogosi Sekhukhuni is this year’s recipient of the [Working Title] Prize. The [Working Title] Prize is awarded every year to an artist who has participated on the [Working Title] exhibition. The award is aimed at recognising and supporting young artists and assisting them in developing their work. The substantial prize is not confined to any one specific exhibition, and the artists may use the money awarded to further their careers in any way they deem fit. Last year’s winner was Gerald Machona, who used the prize in the realisation of his solo exhibition Vabvakure (People from Far Away), this year. Bogosi Sekhukhuni works with drawing, installation and video, and is engaged in works which allow for an exploration of the role online forums and technology play in “reimagining our identity”. His work has been shown on Hans-Ulrich Obrist and Simon Castets’ co-curated exhibition 89plus, and this year he participated in a residency at the Google Cultural Institute in Paris.
Goodman Gallery is pleased to present a group exhibition to end the calendar year, review some of the most significant works produced in 2013 and not yet seen in Cape Town, unveil new chapters in some ongoing projects, and to look forward to exhibitions coming up in 2014.
The exhibition features work by some of South Africa’s most important artists covering the full spectrum of contemporary artistic practice, and also serves as a chance to introduce a Cape Town audience to some of the exciting young artists the gallery has begun working with over the past year.
The exhibition will feature a new flip-book film by William Kentridge titled Second-Hand Reading, with music by South African composer Neo Muyanga. In the film, which premiered to great acclaim in New York in September, the pages of a 1914 edition of Cassel’s Cyclopedia of Mechanics, marked by the artist with charcoal, chalk and pencil, are flipped at twelve pages per second to create a characteristic and remarkable animation.
Kudzanai Chiurai will show the film Moyo – as well as a new photographic print from the project – in which the artist gently engages with notions of memory, mourning and loss. Moyo is the third film in a series that includes Creation and Iyeza, which formed part of his exhibition at dOCUMENTA in 2012.
In a series of photographs titled SABC Minimal Candice Breitz explores the studios and stages behind the scenes at the South African Broadcasting Corporation, an institution that, despite its radical transformation over the past 20 years, remains indelibly marked by its own role in the country’s political and social history.
Gerald Machona anticipates his upcoming solo exhibition in Johannesburg with The Edelweiss, a delicate sculpture of Switzerland’s national flower, made with decommissioned currency and suspended under a glass dome, that speaks powerfully of the impact that seemingly abstract economic policies have on our daily lives.
Haroon Gunn-Salie’s Turn the Other Way, originally installed in a demolished house in District Six, asks viewers to consider their own role in the devastation of the neighborhood that began in the 1960s, and the ongoing conflicts over the land on which it once stood. In transposing the installation to a gallery space on the edge of the district the work’s message is changed and complicated further.
In Land of Black Gold IV, recently shown on the exhibition Kaboom! Comics in Art at the Museum fur Moderne Kunst in Bremen, Siemon Allen strategically cuts up, splices and erases original Tintin comic strips by Hergé to create a large single panel that raises questions about language, cultural perspective and the contingent nature of narrative.
The exhibition also includes large-scale sculptural work by Kendell Geers, Sigalit Landau, Stuart Bird and Walter Oltmann, new and recent photographic work by Mikhael Subotzky, Adam Broomberg & Oliver Chanarin, Alfredo Jaar, David Goldblatt and Sue Williamson, and paintings by Moshekwa Langa, Clive van den Berg and Vusi Beauchamp.
Exhibition opening Saturday 14 December at 10h00
Goodman Gallery Cape Town will remain open throughout the holiday season, except on public holidays. The gallery will also be open on Monday 23 December and Monday 30 December.
Vusi Beauchamp / Jaco Bouwer / Tegan Bristow / The Brother Moves On / Cuss Group / The Frown & Vintage Cru / Haroon Gunn-Salie in collaboration with Dereleen James / Murray Kruger / Gerald Machona / Misheck Masamvu / Tiffany Mentoor / Thenjiwe Nkosi / Johan Thom / MJ Turpin / Jessica Webster / Nelisiwe Xaba & Mocke van Veuren
In July this year Goodman Gallery Johannesburg will present the group exhibition [Working Title] 2013. This is the second installment of the annual group exhibition of the same name, the first of which premiered at Goodman Gallery Cape Town in 2012 and was curated by Federico Freschi. The [Working Title] exhibitions are part of a new initiative by the Goodman Gallery aimed at supporting young artists, curators, independent projects and major installations and performances.
In the past Goodman Gallery has collaborated with independent curators such as Simon Njami and Bettina Malcomess, who curated the US exhibition, part of which was shown at Goodman Gallery Projects at Arts on Main in 2009. In 2010 independent curator and academic Nontobeko Ntombela curated the exhibition Layers at Goodman Gallery Projects as part of her ongoing research into the creative strategies of women artists, in particular those that aim to contextualise socio-political issues. In 2011 Goodman Gallery curators Tony East and Claire van Blerck produced The Night Show, a 3-part exhibition staged at Goodman Gallery Cape Town, which sought to destabilise the notion of the white cube and to engage with contemporary art practice on its own terms, courting the spontaneous and embracing the ephemeral.
Previous projects also include the site specific street performance Cut / Cute by Joel Andrianomearisoa, which premiered in Johannesburg as part of SA Fashion Week, and Nelisiwe Xaba and Mocke van Veuren’s performance Uncles and Angels, which was presented at Goodman Gallery Projects as part of the Dance Umbrella.
Goodman Gallery continues to collaborate with academics and theorists, and has hosted lectures by Jane Taylor, Federico Freschi and Alfredo Jaar – whose lecture coincided with his 2012 exhibition at the Goodman Gallery Gold in the Morning – and panel discussions with David Goldblatt, Ivan Vladislavic and Marlene van Niekerk.
While Goodman Gallery Projects closed at Arts on Main in 2012, the [Working Title] exhibition series exists as a resolution to the Goodman Gallery’s continued interest in independent and collaborative projects and allows for the continuation of previous projects and relationships, as well as the introduction of new artists, theorists and creatives into the Goodman Gallery. Each year the [Working Title] exhibition will have a new curator, either from the Goodman Gallery or through collaboration with an invited external curator.
This year’s [Working Title] is curated by Emma Laurence and includes artists who are pushing the limits of the contemporary South African art scene and who have produced work that is at the cutting edge of current art production. The exhibition is concerned with works that are born out of dynamic and independent practice. Included in the exhibition are artists who work across disciplines and who bring into the perceived elite gallery space sub-cultural aesthetics and standpoints.
The show incorporates artists working in various and perhaps unconventional media such as 3-D cinema, interactive gaming, short stories and punk inspired performance, as well as artists who begin to interrogate modes of representation and viewing in painting and photography. During the run of the show, a series of scheduled events will take place as part of [Working Title] and will include an off-site project by Cuss Group called Video Party, a performance after the opening by The Frown and The Brother Moves On and an opening address and lecture by distinguished theorist Achille Mbembe, who will speak on “The Postcolony Revisited”. Professor Mbembe’s lecture is co-sponsored by WISER (Wits Institute for Economic Research).
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.
Text by Katrin Lewinsky
The art exhibition Basic Reality is not a curated exhibition. As the artistic
positions existed prior to the invitation, it is the artists’ present context that
relates to this exhibition. The exhibiting group of South African artists provide
examples of contemporary art mainly produced in South Africa between
2010-2011. The exhibition exists alongside current creative processes and
contributes to their development within a public interface. It is at the same
time to be seen as a medium in itself, created and completed by the artists.
This exhibition is unique and can’t be repeated. Goodman Gallery takes the
position of a commercial production partner offering the artists advice and
In this sense Basic Reality is a conceptual exhibition. It is formulating a liberal
progress of reference for contemporary art. It contains a neutral perspective
towards the possibilities of exchange between the media art and public in
order to relate to and establish processes of reality.
In the following conceptual text a theory on reality is introduced as part of a
greater philosophical discourse and as a consideration for statements on
contemporary art, like this exhibition. For the interest of relating to the artists
and the exhibited artwork outside of the theoretical concept on reality, selfreferential
artistic statements form a main component of this exhibition.
Theoretical text as a philosophical background and basis of discussion
The world can be seen as completely catalogued and analysed and then,
almost as compensation, artificially regenerated as if this were the reality. And
it is by these artificial strategies that we, all being specimen of ethnology,
here, in a metropolis, in all forms of society, try to live with representations of
reality. This common state assumes that none of our societies know how to
manage their social self, their power, their reality.
In this sense, the real that we experience is not reality. A basis for the
development of various structures: a growth of the true, of the lived
understanding for anthropological structures such as religion, technology,
language etc. There is a utopian culture that is conditional to human
awareness of, for example, a return of the metaphorical without object and
substance; of creations of idealistic models such as melancholy, of myths of
origin and signs of reality; of truth, objectivity and established authenticity.
Furthermore, a frantic production of the real and the referential exists, greater
than and similar to the madness of material production. We create visible
continua, visible myths of origin as existential evidence for the ultimate belief.
We correlate to productions of systems, commodities, of political economy
and of over-production. This is the restitution of the real that society has
developed to remove itself from. This is a hyperreality.
This hyperreality implicates an anti-form to every principle and objective.
And thus also to an interesting current principle in our society: the code of
capital. Capital is a challenge to society. It was capital that was the first to
feed, throughout history, on the destruction of every referential, of every
human goal, which crushed every ideal separation of the good and the truth
and their counterparts in order to establish a radical law of equivalence and
exchange, its law of power. It was the first to practice abstraction, severance,
deterritorialisation, etc. If capital has generated reality, its reality principle
exterminates the use of value, of real equivalence, of production and wealth.
In this system another evaluating strategy is simultaneously manifested:
power. This capacity shall be mentioned here as for a certain period it has the
disposition to assemble only signs of an affinity and the figure of a collective
demand for its signs. Those signs are equivalent to a setting, which is not a
principle, and more substantially not an ideology, as ideology does not relate
to reality or power, only to its infidelity.
Reality is evident in modes of power, as it is real in anything that is situational.
While ideology aims to restore the objective process, especially those of
common standards, this causes pretentious problems with restoring the truth
beneath a setting. This dynamic leads to the reason why power is so in
agreement with ideological discourses, for these are all discourses of truth
that always establish a good and avant-garde quality.
Art, and contemporary art in this context, of the matter of reality and its
structures of acceptance, manipulation and anticipation in our society, has
the power to create realities. In the existing scenarios art is closer to reality
than any other form of artificial production. Art inherently expresses critical
conditions, abstraction and redemption of the status quo. As a creative selfreferential
system it is not dependant on any form of power, reality, hyper
structure and capital, on any existential and ethnological conditions. Art has
thus by its immanent reduced artificial conditions, have the ability to settle the
basic conditions of the society to participate and create reality. Every art
exhibition is an opportunity to experience the visualised expressions of this
EXHIBITION (PART ONE): 31 MARCH – 13 APRIL
EXHIBITION (PART TWO) & THE NIGHT SHOW EVENT: WEDNESDAY 13 APRIL AT 18H00
EXHIBITION (PART THREE): 14 APRIL – 30 APRIL
STUART BIRD | NASTASHA BURATOVICH | IAN GROSE | GUGULECTIVE | MATTHEW KING | ROSE KOTZE | GERALD MACHONA | KYLE MORLAND | MUSA NXUMALO | JODY PAULSEN | MONIQUE PELSER | JEANNIE ROUX | SIYA | SAFIA STODAL | LINDA STUPART | ZACH TALJAARD | HUGH UPSHER
The night is traditionally considered a temporal condition, or a time of obscurity. A shedding space where defined personas, highly regulated by the brilliant contrast of daylight and its custodians, give way to concealed and ambiguous forms. This shedding is also manifested in the buildings and structures of the city as the sun goes down. This April, Goodman Gallery Cape is proud to present a group exhibition staged in three parts that aims to explore some of the themes introduced by the night, as well as to re-imagine gallery space, stripped of its daytime persona.
The first stage of the show is an exhibition opening on the evening of the 31st March and running to the 13th April. This exhibition will present the night as anticipatory. Sweat and teenage desire mix with quiet anxiety, the threat of violence suggested by shadows, and the possibility of escaping into the world of cinema beckons – a welcome anaesthetic to lurking crises.
In its second incarnation taking place on the evening of the 13th April, The Night Show will exist as a happening; an event that forms the fulcrum around which the exhibition’s more concrete manifestations revolve. This section of the show aims to be a frenetic event-night that showcases site-specific, installation-oriented, time-based and performative works. A particular focus is given to the re-presentation of underutilised spaces such as storage and balcony areas, parking spaces and rooftops, as potential spaces for artworks.
In response to this event, from the 14th April the original exhibition will be reconfigured as a retrospective interrogation of work shown thus far. This stage of the exhibition focuses on traces of what was, what wasn’t and what could still be. The grey, early hours of the morning after the night before will focus more on documentation, quieter imagery and contemplative themes. The haze of the event will linger like the whine of last night’s music in tired ears.
Gerald Machona is a Zimbabwean born Visual artist pursuing a (MFA) Masters Degree in Fine Art in Sculpture from Rhodes University and holds a Bachelors degree in Fine art from the University of Cape Town, which he completed at the Michaelis School of fine arts in 2009-2010.
In 2013 Machona featured in Mail and Guardian’s 200 Young South African’s supplemental and was selected by Business Day and the Johannesburg Art Fair in 2011 as one of the top ten young African artists practicing in South Africa. Machona works with sculpture, performance, new media, photography and Film, and the most notable aspect of his work is his innovative use of currency—particularly decommissioned Zimbabwean dollars—as an aesthetic material.
Machona’s current work engages with issues of migration, social interaction and xenophobia in South Africa, and explores the creative limits of visual art production through the use of decommissioned currency as a key medium. He has participated in group exhibitions such as Making way at the Standard Bank Art Gallery, Johannesburg (2013), The Night Show, Goodman Gallery, Cape Town (2011); The Geography of Somewhere, Stevenson Gallery in Johannesburg (2011); and US II, Iziko South African National Gallery, Cape Town, South Africa (2010). Machona is also a recipient of a Mellon scholarship and is a member of the Visual and Performing Arts of Africa research group at Rhodes University.
2016 Art Basel 47, Basel, Switzerland
2014 Vabvakure (People From Far Away), Goodman Gallery, Johannesburg, South Africa
2016 The Art of Disruptions, Iziko South African National Gallery, Cape Town, South Africa
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Cape Town, South Africa
2016 Biennial of Sydney, Sydney, Australia
2016 Kabbo Ka Muwala: Migration and Mobillity in Contemporary Art in Southern and Eastern Africa, National Gallery of Zimbabwe, Harare, Zimbabwe
2016 Kabbo Ka Muwala: Migration and Mobillity in Contemporary Art in Southern and Eastern Africa, Makerere Art Gallery, Kampala, Uganda
2016 Kabbo Ka Muwala: Migration and Mobillity in Contemporary Art in Southern and Eastern Africa, Städtische Galerie, Bremen, Germany
2015 Edge of Silence, Goodman Gallery, Cape Town, South Africa
2015 South African Pavilion at 56th Venice Biennale, What remains is tomorrow, South Africa
2014 Pop Goes the Revolution, New Church, Cape Town, South Africa
2014 C16, Goodman Gallery, Cape Town, South Africa
2013 Sommerakademie Performance, Zentrum Paul Klee, Bern, Switzerland
2013 St Moritz Art Masters Performance, Mercedes Benz Art Lounge, St Moritz, Switzerland
2013 Working Title, Goodman Gallery, Johannesburg, South Africa
2013 The beautyful ones, Nolan Judin Gallery, Berlin, Germany
2013 ‘Vabvakure’, (People from far away) (MFA show), Guy Butler Theatre, Grahamstown, South Africa
2013 Making Way, Standard Bank Gallery, Johannesburg, South Africa
2012 Making Way, Grahamstown National Arts Festival, Grahamstown, South Africa
2012 Working Title, Goodman Gallery, Cape Town, South Africa
2011 Geography of Somewhere, Stevenson Gallery, Johannesburg, South Africa
2011 The Night Show, Goodman Gallery, Cape Town, South Africa
2010 Refugee day exhibition, Cape Creative Centre, Cape Town, South Africa
2010 Mobile Cinema, Grahamstown National Arts Festival, Grahamstown, South Africa
2010 Us, Iziko South African National Gallery, Cape Town, South Africa
2010 African Artists Showcase, Artscape, Cape Town, South Africa
2010 Mari Yebepa (Paper money), Association for Visual Arts, Cape Town, South Africa
2009 Michaelis Graduate Show 2009, Michaelis School of Arts, UCT, Cape Town, South Africa
2007 Easy Access, University of Cape Town Baxter residence, Cape Town, South Africa
2007 The inchoate, idiosyncratic descent into nihilism, Michaelis Gallery, Cape Town, South Africa
2013 Mail & Guardian 200 Young South Africans (YSA)
2011 Mellon Foundation Scholarship
2011 Business day & FNB Johannesburg Art Fair’s top ten Young African Artists (YAA)
2011 Cultural Award, Drosty Hall (Rhodes University)
2013 Rhodes University, Master of Fine art (Sculpture)
2009 University of Cape Town, Bachelor of Fine Art ( New media)
2004 Midlands Christian college, Advanced Level (Art, Geography)
2014 Devalued, Goodman Gallery, Cape Town Art Fair
Press for Gerald Machona
(No) Where to Go From Here / Espace / #111(No) Where to Go From Here by Bernard Schutze (9.2 MB)
Young Gifted and Black / Business Day BDLive / October 2015Gifted young artists explore blackness by Chris Thurman (46.5 KB)
Stormy Waters Notes from a superexhibition / Mail and Guardian / South Africa / 24 May 2015stormy Waters notes from a superexhibition By Linda Stupart (4.8 MB)
Machona Gerald / Mail and Guardian / South Africa / 20 May 2015Venice Biennale: View from the ground By Jeremy Kruper (2.3 MB)
South African Pavilion at 56th Venice Biennale: Artists Announced / Art South Africa / South Africa / 17 April 2015South African Pavilion at 56th Venice Biennale: Artists Announced By Art South Africa (1.1 MB)
Machona Gerald / Mail and Guardian / South Africa / April 30 - May 7 2015SA Trips again on the steps of the Venice Biennale By Stefanie Jason (7.2 MB)
Machona Gerald / City Press / South Africa / 16 April 2015Venice art line-up finally announced By Garreth Van Niekerk (182.4 KB)
Machona Gerald / The Culture Trip / South Africa / 16 March 201510 Southern African Artworks Fusing Art and Science Fiction By Tim Leibbrandt (841.2 KB)
Machona Gerald / Art South Africa / South Africa / December 2014Siobhan Keam Interrogates the Frieze and 1:54 Contemporary African Art Fairs By Siobhan Keam (277.8 KB)
Machona Gerald / Weltkunst / Germany / 1 December 2014Aufbruchszeichen by Susanne Schreiber (867.2 KB)
Machona Gerald / Mail and Guardian / South Africa / 11 November 2014Artists in the firing line test the limits of freedom of expression by Stefanie Jason (775.9 KB)
Machona Gerald / Fisheye Magazine / France / 5 September 2014L'afro-futurisme by Camille Moulonguet (345.8 KB)
Machona Gerald / Mail and Guardian / South Africa / 27 August 2014Gerald Machona and the price of society's issues by Jessica Hunkin (606.9 KB)
Machona Gerald / Between 10 and 5 / South Africa / 20 August 2014FNB Joburg Art Fair: Gerald Machona Experiencing Foreignness by Hunkin Jessica (674.9 KB)
Machona Gerald / The Sunday Independent / South Africa / 22 June 2014Foreign Visitors Gerald Machona Meditates on alienation in his latest exhibition by Mary Corrigall (302.9 KB)
Machona Gerald / Financial Mail / South Africa / 19 June 2014Vabvakure (People From Far Away) by Matthew Partridge (224.1 KB)
Machona Gerald / House & Leisure / South Africa / April 201425 South African Artists you Should Know by Graham Wood (619.6 KB)
Machona Gerald / Frieze Magazine / London / May 2013Bodies of Evidence by Sean O'Toole (182.7 KB)