Jabulani Dhlamini

Goodman Gallery Johannesburg Viewing Room
2 June – 14 July 2018

‘I wanted to collect the ambience of the event within me, then to pick up my camera while continuing to listen to the atmosphere – post-funeral, but not post-mourning’ – Jabulani Dhlamini

On 14 April 2018 Jabulani Dhlamini attended Winnie Madikizela-Mandela’s funeral at the Orlando Stadium in Soweto. He absorbed the charged atmosphere but left his camera untouched in his bag. When the crowds dispersed, the Johannesburg rain was heavy – a sign, Dhlamini thought, of the prevailing spiritual presence of ‘Mama Winnie’, invoking the phrase ‘upahla luwile’ (when you lose a mother the roof of the home has fallen in).

In this photographic series, titled iQhawekazi, Dhlamini journeys from the official site of the funeral to informal memorial gatherings in Soweto. While pointing his camera at symbolic expressions of mourning and memory, Dhlamini observed that ‘in the township, where stories are told on the walls. Winnie is missing’. He critiques this void in Taba Dimahlong in which Steve Biko’s face appears behind a rainy window, graffitied onto a shop exterior – out of focus and at the margins of the image – in an effort to shift the eye to the blank space on the wall ‘where the Mother of the nation belongs’ (Dhlamini).

This moving series recently featured in the Financial Times ‘Millennials’ edition, naming Dhlamini ‘one of the best young photographic talents around the world’. He was one of nine photographers featured in the edition and the only photographer from the African continent.

This exhibition marks the first display of the iQhawekazi series. Work by Dhlamini recently featured on the Five Photographers, A Tribute to David Goldblatt group exhibition at the Gerard Sekoto Gallery at the French Institute. Dhlamini studied at the Vaal University of Technology. He majored in documentary photography at the Market Photo Workshop in Johannesburg and he was the recipient of the Edward Ruiz Mentorship 2011/12. His work focuses on his upbringing, as well as the way he views contemporary South Africa.

Goodman Gallery Cape Town
10 March – 6 April 2016

In Recapture, Jabulani Dhlamini utilises the medium of photography to explore and question how South Africa’s traumatic and violent past permeates the consciousness of its people. The series, the first since the artist’s breakout exhibition uMama in 2012, documents the town of Sharpeville, ruminating on the process of recovery and memorial in post-apartheid South Africa. Born in 1983, the artist considers himself to be bound not only by his past but by a history of violence. The artist recalls the moments leading up to South Africa’s first democratic elections – “I knew that something important was happening, makeshift posters and pictures of Mandela were posted all over the streets, but at the time I didn’t realise that the man in the pictures was the soon-to-be leader of a new South Africa – I didn’t realise the implications of what this was.”

Growing up during the height of the anti-apartheid struggle, Biko, Hani and Subokwe were names the artist heard constantly. Not realising the context of these overheard conversations, the young Dhlamini believed these to be distant relatives. Although he later realised the true nature of what he had heard, the idea that the leaders of the struggle were part of a close family bond rather than celebrated heroes and part of the collective consciousness of his community never really left him. Speaking about these early memories Dhlamini states “I think a lot of us feel this way, even with what we know now, we can’t help feeling that the history is much closer to us. I think that’s why children often appear in my work – I am interested in what past they will inherit.”

The decision to photograph the town and its people came from the artist’s need to engage physically with a place that looms so large in the country’s past. “I needed to visit the actual location, to place myself in that landscape. I needed to see, and not imagine, the wall they hid behind, the street where the first shots were fired.” It is these locations, produced as tableaux, that form the first part of the exhibition.

In the three years it took to produce the Sharpeville series, Dhlamini conducted interviews with members of the community. It was during these interviews that he realised how victims constructed informal memorials to the massacre. Tea cups held at the time the first shot was heard, boots which were worn at the massacre, and clothing belonging to the deceased are kept in the houses of victims as personal objects of remembrance. Again we encounter the role of individual processes of mourning and understanding which so fascinates the artist.

In Objects, photographs of personal items which signify the massacre to their owners are placed in a grid next to texts which outline their context. Deliberately blurring the narrative, the writing slips between the subject and interlocutor so that rather than provide a concrete context the texts serve to heighten the ambiguity of history.

For Dhlamini the feeling of uncertainty which the works evoke creates a juxtaposition between lived experience and inherited memory.

Goodman Gallery Cape Town is pleased to present a solo exhibition by Jabulani Dhlamini. In 2011 Dhlamini was awarded the annual Edward Ruiz mentorship, which helps promising young photographers develop a substantial body of work under the mentorship of a professional photographer. Under the guidance of Jodi Bieber, Dhlamini’s project culminated in the exhibition of uMama at the Market Photo Workshop Gallery, now seen in Cape Town for the first time.

In uMama, Dhlamini pays tribute to mothers, and explores the particular challenges faced by women raising children on their own in South African townships. In intimate portraits of these single mothers and their homes, Dhlamini raises a range of questions about the roles women are expected to play, and how the act mothering is framed and perceived in contemporary South African society. And in portraits of young men raised by single mothers, the artist self-reflexively considers what it means to become a man in a house without a father.

Jabulani Dhlamini was born in Warden, Free State in 1983. He received a National Diploma in Photography from the Vaal University of Technology in 2009. He is the recipient of numerous awards in photography, including 2 Profoto Awards in 2008 and 2009, a Fujifilm Southern Africa Photographic Award in 2009 and the Edward Ruiz Mentorship for 2011-2012. He held his first solo exhibition in 2012 at the Market Photo Workshop Gallery. He lives and works in Johannesburg.

Goodman Gallery Johannesburg
4 June – 6 August 2016

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.

The Artists

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.