Gallery News for Jeremy Wafer
Hasan and Husain Essop, Jeremy Wafer and Kagiso Pat Mautloa on Next Generation
Works by Hasan and Husain Essop, Jeremy Wafer and Kagiso Pat Mautloa form part of Next Generation, an exhibition of 20 South African ex-artists-in-residence at the Thami Mnyele Foundation in Amsterdam.
The exhibition opens Saturday 2 June 2012 at the Pulchri Studio in the Hague.
Goodman Gallery Cape Town
9 March – 15 April 2017
Acclaimed for an artistic practice that engages both materialist and conceptual thinking, Jeremy Wafer’s work is often visually situated in the field of abstraction and formalism, yet his concerns are coupled to his social-political, geographical and cultural context. In his exhibition Index, Jeremy Wafer’s sculptural installation is the principal medium in which the notions and implications of location, boundaries, and constructed borders are investigated.
Through a lens both personal and political, he offers revisions and reworkings of elements from previous bodies of work, which allows them to gain new meaning and different understandings through their relational context.
Reworkings of constituents seen throughout his career were also presented in Wafer’s 2013 exhibition Survey at Wits Art Museum. The artist believed that this looking back, which he undertook in the studies towards his doctorate, created a space for thinking about his personal geography and the mental architecture of his life, from childhood to practicing fine art. He says of this reflection: “It seems to me I have had only a handful of good ideas in my lifetime and I came to understand that what I do is to constantly try to improve on my expression of these ideas. Come to think of it, perhaps this is really what all artists do”. However, this exhibition Index will bring these familiar constituents into new focus as being rescripted in ways that advance complete engagement with the issues that extend outwards from this personal and geographic centre.
Much of the artist’s work deals with the imprint of human architecture and its boundaries, divisions and separations. He speaks of these from a South African perspective as evidence of the racial separation of apartheid, the dawning awareness of class divisions, and of physical barriers born of the need for security and the desire for possession of physical space. He writes: “I like the term embodied, material minimalism, which highlights the central role of material and the specificity of substance. As a student in the early ‘70s I was looking at artists such as Smithson, Beuys, and Hesse… There was an interest in breaking away from pure formalism to an engagement with the psychical and physical processes in the actualisation of art and also reflecting personal and social concerns and critique.”
In this body of work, the artist references familiar elements – corrugated iron, and the archetypal house – with new materials, sulphur being the most significant addition. Sulphur, which is paradoxically somewhat toxic and naturally healing, is used in this context for its vivid colour, pungency, and acridity. The sulphur is accumulated onto a square pillar, which is another reference to the built environment which Wafer uses to consider and explore the concept of physical and personal space.
Corrugated iron, which is used as a fundamental resource for building shelters, is often dismantled and moved around, and offers us an opportunity to consider the ephemerality, or fragility, of a person’s place in the world. The specificity of location is explored in a photographic documentation of territory in Sao Paulo, Brazil, through which the Tropic of Capricorn runs. The archetypal house, in this exhibition, is wooden, charred, and deliberately rammed into a corner. This structure, presented in a destablised manner, is considered in a revised context in relation to the other works on show.. The overall installation suggests both the vulnerability and constructed nature of personal locations.
Born in Durban in 1953, Jeremy Wafer grew up in Nkwalini, Zululand and studied at the University of Natal, Pietermaritzburg (B.A.F.A. 1979). In 1980 he completed his B.A. Honours in Art History, followed by a Masters in Fine Art in 1987 at the University of Witwatersrand. Although Wafer is generally considered a sculptor, he does not limit himself to any particular medium and easily moves between three-dimensional and two-dimensional work, simultaneously developing site-specific large-scale wall drawings and installations which have become distinctive to his practice. Wafer says of his new work that it “picks up, in varying degrees, on older beginnings and some older work, but locates these in an ongoing conversation.”
Jeremy Wafer is a Professor of Fine Art in the School of Arts of the University of the Witwatersrand, Johannesburg, Frequently featured in exhibitions in South Africa and abroad, Wafer’s work is included in the permanent collections of the National Museum of African Art at the Smithsonian Institution in Washington DC, Iziko South African National Gallery, Johannesburg Art Gallery, Durban Art Gallery, Wits Art Museum, the Standard Bank Collection, and in many other prominent museum and corporate collections. Wafer was featured in the South African pavilion of the 56th Venice Biennale in 2015. His work also featured on Views of Africa at the Smithsonian National Air and Space Museum in conjunction with Earth Matters in 2013.
When Jeremy Wafer won the Sasol Wax Art Award in 2006 for his installation Geography, Clive Kellner called the piece a powerful confrontation that demanded that viewers use “their personal history in understanding the work, thereby allowing the artist to engage with his audience in decoding the installation”. In his new exhibition at Goodman Gallery titled Strata, Wafer continues to explore the physical and psychic processes involved in the actualisation of art. Concerned equally with material as form as with the potential for political and personal evocations in material, Wafer identifies his practice as post-minimalist. Rather than attempting to create works that are devoid of reference outside of themselves and their formal make-up, material and form are used as a way of inducing feeling and evoking a political and personal narrative. Wafer’s interest in the relationship between memory and location manifests in sculptures, drawings and photographs, which exist as instigators of remembrance and narrative, where “significance lies in between the works rather than in them”.
Jeremy Wafer was born in Durban in 1953 and studied at the University of Natal, Pietermaritzburg (B.A.F.A.1979) and at the University of the Witwatersrand (B.A. Hons. in Art History 1980 and M.A. Fine Art 1987). He was appointed Associate Professor at the School of Arts of the University of the Witwatersrand, Johannesburg from 2004 where he has held the positions of Head of the Department of Fine Art and History of Art. He has exhibited regularly in South Africa and abroad. His work is represented in the National Museum of African Art, Smithsonian Institute, Washington DC, the South African National Gallery, the Johannesburg Art Gallery and in many other museum, private and corporate collections. His retrospective show Survey, was exhibited at the Wits Museum of Art in Johannesburg in 2013.
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 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.
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.
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.
Goodman Gallery Cape Town
20 January – 28 February 2015
CURATED BY CAROLYN H. DRAKE, ASSISTED BY RENATO SILVA AND LARA KOSEFF
IGSHAAN ADAMS | MARCELO CIDADE | KUDZANAI CHIURAI | KENDELL GEERS | DAVID GOLDBLATT | SONIA GOMES | HAROON GUNN-SALIE | WILLIAM KENTRIDGE | MOSHEKWA LANGA | TURIYA MAGADLELA | THIAGO MARTINS DE MELO | CILDO MEIRELES | PAULO NAZARETH | NUNO RAMOS | ARIEL REICHMAN | ROSÂNGELA RENNÓ | MIKHAEL SUBOTZKY & PATRICK WATERHOUSE | JEREMY WAFER
Exploring the connections and disconnections between Africa and South America from an artistic perspective is the subject of South-South – a new, ongoing initiative launching at Goodman Gallery Cape Town in January. The project borrows its title from Brazil’s foreign policy aimed at reinforcing integration between major powers of the developing world. Emerging from this contemporary environment of integration trends, South-South confronts the complex notion of a connected “geopolitical south” through contemporary art.
To kick-start this annual event Goodman Gallery invited curator Carolyn H. Drake for the first exhibition – The Poetry In Between: South-South. The show brings together a cross-section of intergenerational artists from southern Africa and Brazil. Through existing and newly commissioned works, the exhibition discusses the multifarious issues that connect these two regions within the discourse of the geopolitical south, by addressing universal questions through a southern lens. The point of departure of the exhibition is rooted in poetic manifestations as a way to understand the addressed issues as open ended and varied in meaning.
A core consideration within The Poetry In Between: South-South is to explore the elements that compose the intricate path of our existence – a topic that is more about condition than place, more about subtext than context. Artists reflect on poetic elements of the everyday, in which personal narratives feed into collective histories through utterances and gestures of otherwise unspoken, unrecorded moments, all originating in a global south. The Poetry In Between: South-South ultimately traverses the development of a supposed identity of the South that is being reconsidered within contemporary visual art. Or, in the words of art historian Felipe Scovino: “Brazil’s visual arts sees the postmodern subject not as something or someone whose identity is unified and stable, but rather as something fragmented and […] comprising multiple identities that may at times be contradictory or unresolved.” Cultural theorist, Kwame Anthony Appiah discerns a similar development in South Africa, namely that “the South African identity is a work in progress. Its meaning will repose in an archive that remains to be written.” While Africa and Brazil have a long history often centrally linked to slavery, more recently South Africa and Brazil have grown to share many other connections, as young democracies with a similar political and cultural ethos and a comparable economic and urban fabric. Inescapable factors that occur within these connections include overlapping extremes such as the combination of underdevelopment and overdevelopment within one economic system and the ever-present inequality between marginalised and well-off communities. If we look within the subtext of the clear contrasts and schizophrenic characteristics that mark these southern territories, we might find a new sense of what connects these places. It is the space in between the extremes that this exhibition aims to evoke.
Within this framework, artists from both countries reveal similar approaches. The works of Igshaan Adams, Nuno Ramos, Turiya Magadlela, Sonia Gomes, Haroon Gunn-Salie and Ariel Reichman transform domestic and everyday elements into poetic moments, evoking an existence that is both joined and separated. Others urge us to think about how to position ourselves within a larger urban context, such as Marcelo Cidade, Kendell Geers and Mikhael Subotzky. Moshekwa Langa and Paulo Nazareth employ found materials in order to rewrite collective histories of identity based on the personal experiences from their travels. Capturing or retelling histories that have either not been recorded – or in the minds of many do not exist – manifests in the work of Kudzanai Chiurai, Thiago Martins de Melo, Rosângela Rennó and David Goldblatt’s In Boksburg series. Having followed a slightly longer path, Ramos, Rennó and Goldblatt as well as two of the most renowned artists from either region, Cildo Meireles and William Kentridge, carry the weight of (art) history and yet remain fresh, timely and relevant in their work. They challenge existing systems and structures by creating new ones out of materials that are embedded with a multitude of meanings and references that are often cryptic and ambivalent yet resonant.
The exhibition will be accompanied by a publication that incorporates a catalogue of the show as well as a critical reader edited by Clare Butcher and Carolyn H. Drake, entitled A Heteronymous Reader. The reader is inspired by the poet Fernando Pessoa’s approach to writing, which he developed in South Africa and Portugal in the first half of the 20th century and will include short, existing and newly commissioned texts by artists, writers and poets. Specific texts in the reader are generously supported by the Goethe-Institut.
Goodman Gallery Cape Town presents Structures, a group exhibition bringing together works by Adam Broomberg and Oliver Chanarin, Carlos Garaicoa, David Goldblatt, Mikhael Subotzky and Jeremy Wafer. The exhibition is concerned with structures both monumental and mundane, and aims to examine the ways in which they inform the environments we inhabit, and what they suggest about the underlying systems that give rise to them.
David Goldblatt’s series South Africa: The Structure of Things Then deals in part with the architectural landscape of Apartheid South Africa and the relationship between the governing ideology of the time and its physical manifestations across the country. Mikhael Subotzky’s ongoing Security series is in some ways a contemporary response, documenting the surveillance cameras, security huts and electrified fences of the modern suburban landscape, and examining the links between poverty, race, crime and the effects of a legacy of discriminatory spatial planning.
Bertolt Brecht’s War Primer is a book of what Brecht called ‘photo-epigrams’: newspaper and magazine clippings of images of the Second World War, each captioned with a 4-line poem. In Poor Monuments, Adam Broomberg and Oliver Chanarin juxtapose pages from Brecht’s original book with images of modern conflicts (in particular the so-called War on Terror) to look at the changing (and sometimes unchanging) narrative of war, and the systems responsible for crafting and disseminating it.
Cuban-born Carlos Garacioa’s Para transformer la palabra política en hechos, finalmente II (To transform political speech into facts, finally) takes as its subject the city as a site for collective memory and imagination, while a new floor sculpture by Jeremy Wafer contemplates abstract and physical notions of space, and the degree to which a space is produced by the structures it contains.
This winter the Goodman Gallery will relaunch its Parkwood space, which has been extensively reconsidered, both physically and conceptually. This launch will be initiated with a group exhibition simply titled Winter Show, featuring a range of luminary-status local and international artists. The show will not only present recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, but will also reveal a shift in the Gallery’s approach, showcasing work from around the Continent and beyond that is both explicitly and implicitly concerned with synergies and tensions between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer and Hank Willis Thomas, are not only being showcased by the Goodman Gallery, but are now officially represented by us.
The Winter Show will act as a confluence of the Goodman Gallery’s top represented artists, as well as artists participating in In Context – a series of exhibitions and interventions currently taking place at Arts on Main and other venues in Johannesburg. Artists such as Jenny Holzer, Amer, Willis Thomas, Bili Bidjocka, Willem Boshoff and Kara Walker will participate in both shows, with the Winter Show presenting some of their more recent work. While In Context manifests an intimate and often candid exploration of the dynamics of the African continent, the Winter Show will offer a broader conceptual platform, covering many aspects of South African, African and global landscapes and conditions.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, intricately considering the question of ‘who has the right to represent whom?’ Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. In Context magnifies these issues, while the Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include two of Walker’s 2009 films – which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – presenting the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements. Jenny Holzer’s Purple Red Curve (2005) transmits a coalescence of master narratives through a curved electronic LED sign. Jeremy Wafer will create a site-specific wall drawing in the Goodman Gallery specifically for the show. Kentridge will present a series of new drawings produced this year as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx. A large scale, steel version of this work will be launched at the Apartheid Museum on 8 July 2010 as part of In Context. The Winter Show will also feature an ongoing screening of all of the Goodman Gallery’s top art films by leading artists such as Kentridge and Vári.
The Goodman Gallery in Parkwood has undergone numerous physical transformations and now boasts a new showroom and a space dedicated to photographic works. We are in the process of establishing an art library accessible to the visiting public and will offer a range of educational art talks and events during the Winter Show.
With Goodman Gallery firmly established as a prestigious, world-class contemporary art institution, the Winter Show will reveal how the Gallery – beyond representing artists of the highest caliber – is dedicated to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced locally and abroad.
Ryan Arenson | Walter Battiss | Deborah Bell | Justin Brett | Lisa Brice | Adam Broomberg & Oliver Chanarin | Adam Broomberg | Kudzanai Chiurai | Marlene Dumas | Claire Gavronsky | Robert Hodgins | William Kentridge | David Koloane | Moshekwa Langa | Alexandra Makhlouf | Brett Murray | Sam Nhlengethwa | Walter Oltmann | Jonah Sack | Kathryn Smith | Jaco Spies | Clive Van Den Berg | Diane Victor | Jeremy Wafer | Sue Williamson
For many artists, drawing forms part of a larger process – a loose way of visualizing an artwork before committing to it in a more permanent medium. But the act of drawing itself remains one of the oldest and most eloquent forms of artistic expression. Goodman Gallery Cape is proud to present a group exhibition of drawings entitled ‘The Marks We Make’, exploring notions of mark-making as assertions of ownership and expressions of violence, memory and play.
Drawing usually refers to pencil marks on paper. In this exhibition we approach the term more loosely, featuring a range of media to question what constitutes a drawing and what gives it power. Works will include photographs from the Red House series by Adam Broomberg and Oliver Chanarin, depicting the marks left behind by prisoners of Saddam Hussein in Iraq; wire and sculptural elements by Walter Oltmann and William Kentridge; installations by Jeremy Wafer, Jonah Sack and Justin Brett, as well as more traditional pencil, oil and charcoal drawings by Sue Williamson, Lisa Brice and Sam Nhlengethwa.
‘The Marks We Make’ brings together South African artists to explore the ways in which marks shape our environments and inform our perspectives. Bodies are circumscribed, silenced or marginalized by the invasive marks of violence. But these marks can also be used to express an identity, stake out a position or form communities. Territory is claimed, land contested, and ownership asserted through the use of marks, both physical and symbolic. The exhibition seeks to interrogate the ways in which these marks act to create the contingent, political spaces within which we form ourselves, and the role they play in shaping our personal and cultural memories.
Born in Durban, South Africa in 1953. Lives and works in Johannesburg, South Africa
Jeremy Wafer was born in Durban in 1953, grew up in Nkwalini, Zululand, and studied at the University of Natal, Pietermaritzburg (B.A.F.A.1979) and at the University of the Witwatersrand (B.A. Hons. in Art History 1980 and M.A. Fine Art 1987). He has taught since 1982 in the Fine Art Departments of the Technikon Natal and the Technikon Witwatersrand before being appointed Associate Professor in the School of Arts of the University of the Witwatersrand, Johannesburg from 2004 where he is currently Head of the Department of Fine Art and History of Art. He has exhibited regularly in South Africa and abroad. His work is represented in the National Museum of African Art, Smithsonian Institute, Washington DC, the South African National Gallery, the Johannesburg Art Gallery and in many other museum, private and corporate collections.
“While my work has come from a deep involvement in a South African context I am continually interested in exploring issues that extend outwards from this personal and geographic centre. My work could be seen as traversing a South-North axis in which the global languages of contemporary art are intersected with the particularities of a local geography and history. I have been particularly interested in exploring, in the context of the South and its relation to the North, common issues of colonial legacies, the tensions between centres and margins, the layering of indigenous and settler cultures, and the effects of a shifting world economy on cultural practice. My work has since 1994 engaged with a practice which integrates and responds to aspects of African sculpture in the context of a broadly post minimalist sculptural idiom.”
2014 Strata, Goodman Gallery, Johannesburg, South Africa
2013 Survey , Wits Art Museum, Johannesburg, South Africa
2009 Structure, KZNSA and Durban Art Gallery, Durban, South Africa
2009 Paradise, Goodman Gallery, Johannesburg, South Africa
2007 Jeremy Wafer – Recent Work, Goodman Gallery, Cape Town, South Africa
2006 Geography, Sasol Art Awards Winner, Sasol Gallery Johannesburg and Aardklop Festival, Potchefstroom, South Africa
2005 Tropic, Square Space Gallery, RMIT, Melbourne, Australia
2004 Measure, Goodman Gallery, Johannesburg, South Africa
2003 Artfirst Gallery, London, UK
2002 FNB Vita Art Awards, Goodman Gallery, Johannesburg, South Africa
2002 Survey, Sasol Museum, University of Stellenbosch, Cape Town, South Africa
2002 Survey, Durban Art Museum, Durban, South Africa
2001 Jeremy Wafer Goodman Gallery, Johannesburg, South Africa
2000 Jeremy Wafer Artfirst Gallery, London, UK
1999 Jeremy Wafer The Thami Mnyele Foundation, Amsterdam, The Netherlands
1998 Jeremy Wafer Goodman Gallery, Johannesburg, South Africa
1996 Cheltenham College of Art, Cheltenham, UK
1993 Jeremy Wafer Goodman Gallery, Johannesburg, South Africa
2016 In Context: Where We Are, Goodman Gallery, Cape Town, South Africa
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Johannesburg, South Africa
2015 Edge of Silence, Goodman Gallery, Cape Town, South Africa
2015 South African Pavilion at 56th Venice Biennale, What remains is tomorrow, Venice, Italy
2009 Sources: Contemporary Sculpture in the Landscape, NIROX Foundation, Johannesburg, South Africa
2009 2nd Joburg Art Fair, Johannesburg, South Africa (Goodman Gallery booth)
2008 1st Joburg Art Fair, Johannesburg, South Africa (Goodman Gallery booth)
2008 Spier Contemporary, Cape Town, South Africa
2008 Johannesburg Art Gallery, Johannesburg, South Africa
2007 Spier Contemporary, Spier, Cape Town, South Africa,
2007 Bank Gallery, Durban, South Africa
2006 Body of Evidence, The National Museum of African Art, Washington DC, USA
2006 Group exhibition: Brande International Artists Workshop, Brande, Denmark
2006 Sasol Art Awards (1st prize winner), Sasol Gallery Johannesburg and Aardklop Festival, Potchefstroom, South Africa
2005 In the Making: Material and Process, Michael Stevenson Contemporary, Cape Town, South Africa
2004 Tangentia, international site specific art project in Cato Manor, Durban, South Africa
2004 The Brett Kebble Art Awards (Merit Award), Cape Town, South Africa
2004 Insights, National Museum of African Art, Washington DC, USA
2003 Topographies, joint exhibition with Sandile Zulu, Michael Stevenson Contemporary, Cape Town, South Africa
2002 FNB Vita Art Awards (Finalist) Goodman Gallery, Johannesburg, South Africa
2001 Open Circuit, NSA gallery, Durban, South Africa
2000 Xoe 2 site specific, Nieu Bethesda and Grahamstown Festival, South Africa
Suitcase, NSA Gallery, Durban, South Africa
2000 A.R.E.A, Reykjavik Art Museum, Iceland
2000 Outpost, Association of Arts Gallery, Pretoria, South Africa
2000 Unplugged 5, Market Gallery, Johannesburg, South Africa
1999 blank – architecture, apartheid and after, Netherlands Institute of Architecture, Rotterdam, Netherlands (travelling in Europe and South Africa)
1998 30 S 30 E, Lipschitz Gallery, Cape Town, South Africa
1997 Unplugged 2, Market Gallery, Johannesburg, South Africa
1997 Jeremy Wafer, Bronwen Findlay NSA Gallery, Durban, South Africa
1997 Printmaking in a Transforming South Africa, Grahamstown Festival, Grahamstown, South Africa
1997 Photosynthesis: Contemporary South African Photography, Grahamstown Festival,Grahamstown, South Africa
1997 The Johannesburg Biennale, Newtown Cultural Precinct, Johannesburg, South Africa
1997 The New Delhi Triennale, New Delhi, India
1996 Earth and Everything, Arnolfini, Bristol, UK (travelling UK)
1996 Ground Swell, Mermaid Theatre, London, UK
1996 Hitchhiker, Generator Art Space, Johannesburg, South Africa
1995 Edwards, Munyai, Wafer, Newtown Gallery, Johannesburg, South Africa
1995 Barry, Allen, Wafer, Market Gallery, Johannesburg, South Africa
1995 Natal Artists, Thompson Gallery, Johannesburg, South Africa
1995 Vita Awards, Johannesburg Art Gallery, South Africa
1995 Panoramas of Passage, (travelling) Meridian Foundation, Washington, USA
1994 Contemporary Art from South Africa, Galarie d’Esplanade, Paris, France
1994 Places of Power, Newtown Gallery, Johannesburg, South Africa
1994 Images of Metal, Grahamstown Festival (touring), South Africa
1994 Vita Awards, Johannesburg Art Gallery, Johannesburg, South Africa
1993 Critics Choice, ICA Gallery, Johannesburg, South Africa
1991 Il Sud del Mondo, Galleria Civica del Arte, Masala, Italy
1991 The Cape Triennale, South African National Gallery, Cape Town, South Africa
1989 Volkskas Awards Exhibition (Merit Award), South African Association of Arts Gallery, Pretoria, South Africa
1987 The Standard Bank National Drawing Competition, Grahamstown Festival, South Africa
2004 – present Associate Professor, Wits School of Arts, University of the Witwatersrand, Johannesburg, South Africa
2002-2003 Department of Fine Art, Technikon Witwatersrand, Johannesburg South Africa
1983-2002 Department of Fine Art, Technikon Natal, Durban, South Africa
1996 Department of Fine Art, Cheltenham and Gloucester College of Higher Education,Cheltenham, UK
2008 Invitation to International Artists Workshop, Manaus and Sao Paulo, Brazil
1997 South African representative on the New Delhi Triennale, New Delhi, India
International Artists’ Workshop, Garhi Studios, New Delhi, India
2007 The Sasol Wax Art Award, Johannesburg, South Africa
1989 The Volkskas Bank Merit Award, South Africa
1987 The Standard Bank National Drawing Prize, South Africa
Academic Record and Residencies
2008 Fellowship at the Ampersand Foundation, New York, USA
2006 Brande International Artist’s Workshop, Denmark
2005 RMIT University, Melbourne, Australia as part of the South Project
2001 Fellowship at the Civitella Ranieri Centre, Umbria, Italy
1999 Thami Mnyeli Foundation, Amsterdam, The Netherlands
1990 Cité des Arts, Paris, France
1987 M.A. Fine Art, University of the Witwatersrand, Johannesburg, South Africa
1980 B.A. (Honours) History of Art, University of the Witwatersrand, Johannesburg,
1979 B.A. Fine Art , University of Natal, Pietermaritzburg, South Africa
The Museum of African Art, Smithsonian Institute, Washington, America
The Library of Congress, Washington, USA
Iziko South African National Gallery, Cape Town, South Africa
Johannesburg Art Gallery, Johannesburg, South Africa
Durban Art Gallery, Durban, South Africa
Pretoria Art Museum, Pretoria, South Africa
Tatham Art Gallery, Pietermaritzburg, South Africa
University of the Witwatersrand Collection, Johannesburg, South Africa
Natal Technikon Collection, Durban, South Africa
MTN Collection, Johannesburg, South Africa
BHP-Billiton Collection, Johannesburg, South Africa
Didata Collection, Johannesburg, South Africa
BoE Collection, Cape Town, South Africa
2009 Sculpture for the One and Only Hotel, Cape Town, South Africa
2009 Sculpture for the International Convention Centre, Durban, South Africa
2009 Sculpture for the new football stadium, Durban, South Africa
2004 Sculpture for the Arrabella Estate, Knysna, South Africa
2003 Sculpture for the Arrabella Sheraton Hotel, Cape Town, South Africa
2001 Design of a memorial wall for the Gugu Dlamini Park, Durban, South Africa
2000 Sculpture, Metal and Glass for the Dorothy Nyembe Community Centre, Cato Crest, Durban, South Africa
1999 – 2001 Metal gates and Glass for the Diakonia Centre, Durban, South Africa
1997 Sculpture and Glass for the Poynton Chapel, Koinonia, Botha’s Hill, South Africa in collaboration with Sarkin and Jain Architects
2003 Edmonds, P. Jeremy Wafer and Sandile Zulu, www.artthrob.co.za, August
2002 Edmonds, P. Jeremy Wafer at the Sasol Art Museum, www.artthrob.co.za, November
2000 Smith, K, Life Sciences: Jeremy Wafer, www.artthrob.co.za, November
1996 Enwezor, O, FNB Vita Art Now, Frieze, Issue 30, September, p. 84
2004 Perryer, S (ed) 10 years, 100 Artists: Art in a Democratic South Africa. Bell-Roberts Publishing in association with Stuik Publishers, Cape Town, South Africa.
2003 Stevenson, M and Rosholt, A, Moving in Time and Space: Shifts between abstraction and representation in post war South African Art, Michael Stevenson, Cape Town, South Africa.
2001 Frost, L, Jeremy Wafer, Taxi-003, David Krut Publishing, Johannesburg, South Africa.
1997 Geers, K (ed). Contemporary South Africa Art. The Gencor Collection, Johannesburg, South Africa.
1997 Hobbs, P. and Rankin, E, Printmaking in a transforming South Africa. David Phillip, Cape Town, South Africa.
1996 Williamson, S.and Jamal, A, the future present in Phillip, D. Art in South Africa: the future present Cape Town, South Africa.
1994 Rankin, E, Images of Metal Johannesburg, Wits University Press, Johannesburg South Africa.
1994 Jounnais, J-Y, Un Art Contemporain d’Afrique du Sud Paris, Editions Plume, Paris, France.
1991 Strano, C, Il Sud del Mondo: l’altra atre contemporanea Milan, Mazzota, Italy.
1990 Williamson, S, Resistance Art in South Africa, David Phillip Publishers and Catholic Institute for International Relations, Cape Town, South Africa.
2004 The Brett Kebble Art Awards, Barret L, Marulelo, Cape Town, South Africa
2002 Tumuli: Conversations with Jeremy Wafer, Jeremy Wafer: Survey, Sasol Art Museum, University of Stellenbsch, Stellenbosch, South afrcia
2002 The Scheme of Things, FNB Vita Art Prize, Goodman Gallery Editions, Johannesburg, South Africa
1997 Trade Routes: History and Geography, 2nd Johannesburg Biennale, 1997, Johannesburg, South Africa
Press for Jeremy Wafer
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)