Gallery News for Lisa Brice
Lisa Brice on Making & Unmaking, Camden
Work by Lisa Brice features on Making and Unmaking, curated by Duro Olowu from 19 June to 18 September 2016 at the Camden Art Centre, London. Olowu is a celebrated fashion designer and curator whose unique combinations of patterns, colours and textures reveal his early influences living between Nigeria and Europe, and extensive travel around the world. His exhibition brings together works by more than 60 international and UK-based artists working in diverse media, placing antique West African textiles and Bauhaus tapestries amongst contemporary works and new commissions. Artists featured range from Louise Bourgeois to Lisa Brice Isaac Julien, Yinka Shonibare MBE and Malick Sidibé.
Lisa Brice at gallery French Rivera
A solo exhibition of new paintings by Lisa Brice opens at gallery French Riviera in Bethnal Green, London on September 19. Titled Cut Your Coat, this will be Brice’s first solo exhibition in London. Born in Cape Town, in 1968, Brice divided her working life between South Africa, Trinidad and the UK for over a decade before settling in London in 2010, where she is currently based. Her work is included in Vitamin P2, the publisher Phaidon’s anthology on painting, 2011. She has been invited to contribute to the upcoming Frieze Masters 2014 Artists on Artists feature. The gallery, started by artists Samuel Levack and Jennifer Lewandowski offers a platform to artists who are currently without representation in the UK.
Lisa Brice In Sweden
Work by Lisa Brice features on the exhibition Puppet Show at Gävle Konstcentrum, Kultur & Fritid Gävle, Sweden, which opened 14 June 2014. “The power of puppets lies in their potential for performative as well as sculptural articulation, as constructed selves and bodies,” explain the curators. “Unlike humans who require an internal capacity for voice, language, movement and intention, puppets channel external forces in order to form presence, speech, and authorship”. The exhibition was curated by Céline Condorelli and Tom Bloor from Eastside Projects in Birmingham and runs until 28 September 2014.
Lisa Brice in London
Lisa Brice has work featured on What we did the following year, organised by Christabel Stewart, at the Ritter Zamet Galerie in London. The show also features work by Darren Bader, Julie Myers, Artie Vierkant, and Amy Yao. The exhibition runs from 14 December 2013 to 8 February, 2014.
Lisa Brice’s new body of work features a cast of female protagonists, engaged/absorbed 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 are involved in self scrutiny, awareness, consciousness, affirmation, adoration, promotion, loathing, deprecation, defence, defiance, protection, reinvention, presentation. The mirror reflection reoccurs as a central property, simultaneously functioning as an alter ego and an imagined audience beyond the private, as well as formal device within the painting.
Brice incorporates re-imagined art historical references as well as those from popular culture, and digital media, where the hand held mirror is frequently replaced by a camera or more specifically a Smartphone, capable of producing a digital portrait of a mirror image with an unprecedented capability for dissemination and extreme narcissism. It’s a confusing state of affairs and in turn the paintings aim to disorientate the viewer in their own act of looking. Reflecting these repetitive rituals, the relentless recording of self and the multiplicity of media images, Brice incorporates offset printing techniques on a variety of surfaces in the paintings, allowing for several versions of the same motif. These smaller figure studies function as proposals for possible inclusion in larger works. Like a train of thought, they reveal the development of ideas and narratives as they evolved in her studio practice, devoid of hierarchy. Brice imagines the central exhibition space as a stage; where the paintings are simultaneously props, back drops, screens and performers in their own right, allowing for layered meaning, with the mirror as the main player.
Lisa Brice was born in 1968 in Cape Town, South Africa; she currently lives and works in London. Brice majored in painting at Michaelis UCT, her early work included constructed artworks combining found objects, or domestic materials such as linoleum, with steel to make wall artworks, installations and sculptural pieces. In last decade she returned to painting, her work negotiates with authority the difficult terrain between spontaneous drawing and figure painting. She uses various painting and off set printing techniques on a variety of surfaces from canvas to tracing paper, which often leads to repetition of a similar motifs or figure’s in her work, sometimes biographical, at other times referencing art history.
In 2006 Brice had her first solo exhibition of paintings at Goodman Gallery Johannesburg titled Night Vision in which the artist reflected on the uncertainties of childhood. In 2009 a solo show titled More Wood for The fire was presented at Goodman Gallery Johannesburg; here the work dealt with Brice’s relationship with the island of Trinidad. In 2011 her work was included in the Vitamin P2 publication, Phaidon’s major anthology of international painting In 2012 Brice presented a solo exhibition titled Throwing the Floor at Goodman Gallery Cape, Cape Town. Her first solo exhibition in London took place in September last year at the French Riviera Gallery, and a continuation of a new series which features a cast of female figures/protagonists, engaged in acts of looking and being looked at, will be exhibited at the Goodman Gallery Johannesburg in April 2015.
Goodman Gallery Cape is proud to present an exhibition of new paintings by Lisa Brice, produced over the course of the last two years in London and featured in Vitamin P2, Phaidon’s recently published anthology of painting. The paintings explore the possibilities and properties of vivid colour, how it is optically perceived, and the effects of the afterimage created by red-green vision in particular.
In her text on Brice’s work in Vitamin P2, Coline Millard notes: “Just as [Brice’s] painting hovers between figuration and abstraction, her figures occupy the limbo between the living and the dead. Brice’s work is all liminality.” While the liminality referred to by Millard in the Trinidad works of 2009 alludes to an inherent mysticism, the sense of liminality in this new body of paintings shifts to suggest a state of disorientation, delirium and suspended time through a heightened use of colour and reduced form.
Lisa Brice was born in Cape Town in 1968, and lives and works in London and Trinidad. Having worked in a variety of media, she has concentrated on painting for the last nine years. She has exhibited widely in South Africa and abroad, and her work is represented in major collections both public and private. Throwing the Floor is Brice’s first solo exhibition in Cape Town since 2007; she last presented work at Goodman Gallery Johannesburg in 2009. An extensive monograph of her paintings will be published later this year.
Lisa Brice’s exhibition More Wood for the Fire shows the artist’s most recent body of work, which deals with her ongoing relationship with the island of Trinidad, where she has worked extensively since 1999 in workshops, residencies and group shows. Brice looks at the physical, and psychological landscape of Trinidad, and questions her connection to the island.
The work was conceived and partly produced in Grand Rivière, a small village on the north coast where the artist has recently acquired land with the intention of building a studio. This landscape allows Brice to access ideas around her growing awareness of nature and its impact on local architecture, and becomes a space within which the artist can reconcile her own history with her present position. This is perhaps most evident in the work Studio Jungle, which was inspired by photographs taken in 1968 (the year Brice was born). A photograph of the École des Beaux-Arts by Bruno Barbery had particular relevance for Brice, as it reminded her of Michaelis School of Fine Art in the 1980s, a time in South Africa when art was often used as a tool for political protest. The connection she felt with the image, and its correspondence to her own history, whilst in sharp contrast to her rural studio at that time, reminded her of the proliferation of hand painted signs found in both the urban and rural landscape of Trinidad, used to relay information, whether of a political or celebratory nature. Brice juxtaposes these related yet contrasting realities by incorporating both the landscape and the cityscape of Trinidad into the image. In Jungle Studio the studio has become a jungle, and the posters have become ‘trini posters’ – a prevailing reference throughout the body of work.
Brice also uses the landscape as a way of accessing many of the issues present in her previous work: gender, violence and identity. A few of the figure studies come from a 1968 issue of Playboy magazine, but the figures have been painted in jungle-inspired settings and moods. Colour has been used in a symbolic way; the female figures, for example, are often rendered in pinks and olive greens, which are the colours of the plants used to establish the boundaries between properties in Trinidad. In this way, Brice alludes not only to the complexity of gender relations in Trinidad specifically, but also to the role of women in society in general.
Thus the exhibition straddles her experience of both the socio-political issues surrounding Trinidad and of her own South African history and identity, and presents an intriguing dialogue of this internal debate.
Lisa Brice ‘Night Vision’
Now living and working in London and Trinidad, one of South Africa’s internationally acclaimed artists, Lisa Brice, will have first solo show here at the Goodman Gallery since 2000. ‘Night Vision’ is a new series of paintings and drawings which opens on Saturday 21st January 2006 at midday.
Brice, known for her iconographic installations on the issue of criminal violence and the disruption of domestic life, is now turning to a more personal examination of her past. Her earlier work has been shown on biennales, art fairs and museum shows across the world, and is part of such public collections as the South African National Gallery in Cape Town, the Johannesburg Art Gallery and the Billiton collection.
From early childhood, film provided an escape for Brice. As an artist working in Trinidad, she became a regular at the weekly gatherings of the Studiofilmclub (SFC) run by artists, Peter Doig and Che Lovelace. Night vision photographs taken by Brice during the screenings were used to illustrate and record the atmosphere of the SFC nights in a catalogue printed by Walter Koenig, for an exhibition of Doig’s painted SFC posters at the Museum Ludwig, Cologne and the Kunsthalle, Zurich, 2005
The new work, on canvas, board and paper, range from postcard size pieces to large scale paintings, installed in ways which recall the story boards used in television and film production. Brice investigates such diverse subjects as airline/death row meals (as featured in 10 Years 100 Artists) and the fears that manifest and take form in childhood to become emotional baggage in adulthood.
Whilst drawing on her usual accumulation of imagery from media sources, the work is also informed by the hundreds of night vision photographs that Brice has taken over the last few years, during her exploration and new found fascination with the medium of photography. The almost monochromatic greenish palette of the night vision mode on video cameras suggests, apart from the eeriness of the desaturated colour, a sense of intrigue and an invasion of privacy.
This investigation reveals the variety of forms fear takes on, like a shape shifter, forms often found in folk law, religion, film, children’s stories, politics as well as in our personal mythologies… the work is intended to suggest a struggle in which hope and magic have the possibility of prevailing.
For further information please contact us on (Tel) 011 788 1113, (Fax) 011 788 9887, Email:email@example.com or browse our website: www.goodman-gallery.com
Gallery hours: Tuesday – Friday 9h30 to 17h30; Saturday 9h30 to 16h00.
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.
Surfacing is a group exhibition which allows for an exploration of the transient space between destruction and (re)construction. The exhibition aims to bring to light the fragments and residues that remain after destruction, and linger beneath a new form. In the preface to the 1961 edition of Frantz Fanon’s The Wretched of the Earth, Jean-Paul Sartre writes “violence is man re-creating himself”. Although Sartre speaks of violence as a necessity for overthrowing colonial power, “no gentleness can efface the marks of violence; only violence itself can destroy them.” This exhibition understands Sartre’s notion to address culpability, selfhood and violence and trauma involved in the process of becoming, scrutinizing and (re)creating.
Liza Lou’s Dirty White (2011-14) is a painting woven entirely out of glass beads. Over a period of months, Lou and her studio assistants from eight different townships in KwaZulu-Natal wove white A4 sheets out of identical white beads. The resulting painting tells the story of its own making: pock marks, streaks, ruptures and dirt are imbedded in a kind of code that speaks of the blood, sweat and tears of everyday life. For Lou, it is precisely in the moments of imperfection that beauty emerges – quoting from Leonard Cohen’s Anthem (1992), Lou explains “there’s a crack in everything, that’s where the light gets in.”
Kendell Geers’ sculpture Country Of My Skull is made from a cannibal trophy from New Caledonia; an artifact that by
its very nature is politicised and stands as a reference to violence and terror. The work’s title is taken from Antjie Krog’s literary account of the South African Truth and Reconciliation Commission – and expresses the artist’s constant battle between the paradoxical distancing of himself from a prejudiced and vicious heritage and the acknowledgement that he can never be entirely removed from it. In WaitingWantingWastingWorking Kendell Geers has produced a generic bed made from polished steel and razor mesh. For Geers the industrial phenomenon of razor mesh production – based on separation and othering, is a metaphor for the predicament of South Africa during Apartheid – as well as a metaphor for the artist who was born into the apartheid regime and struggled to understand the violence he was born out of and simultaneously born into. WaitingWantingWastingWorking has been made to be beautiful and monumental, while at the same time maintaining the original violence which has so informed Geers’ production throughout his career.
One million points of light by Alfredo Jaar was shot off the coast of Angola, in Luanda. It was taken while standing, facing the ocean directly towards Brazil, in memory of the 14 million slaves sent from Angola to Brazil. Jaar’s photograph is inviting in its beauty and physicality; the way in which the image has been photographed and Jaar’s decision to use a lightbox to display the photograph means that surface of the image becomes almost tangible. It appears as if the light hitting the water becomes a layer that could be peeled back like skin, revealing the deep suffering to which the artist alludes.
In an abridged version of the large installation I was looking back, Mikhael Subotzky investigates the practice and mechanics of looking in relation to the history of South Africa, the history of photographic devices, and his own history as an artist. A number of the works on show have been smashed by the artist, creating a tension between document and object. The shattered surfaces become both unsettling and poignant, both concealing and recreating the image that lies beneath it.
mounir fatmi’s 3D rendered film Sleep Al Naim shows the writer Salman Rushdie sleeping peacefully, his bare chest heaving and falling to the rhythm of his breathing. The film borrows its imagery from Andy Warhol’s minimalist pop experimental film Sleep. Sleep Al Naim suggests the ambivalence of a physical abandonment, quiet and calm. Given the now notorious threats to Rushdie’s life, the film alludes to potential physical threat – and the viewer perhaps feels unease at watching Rushdie in a state of such vulnerability. This unease occurs against the alienation between the viewer and what is happening inside “Rushdie’s” mind – the ambivalence of quiet exists in these moments – when the torments of the mind exist in the unconscious.
William Kentridge’s 2007 body of work What Will Come is both a reflection on the way in which images are perceived and constructed by the human eye and a political statement about the violence and repercussions of colonialism. The works explore the Italian invasion of Ethiopia (at the time Abyssinia) in 1935-1936, drawing a connection between fascism and colonialism. Kentridge describes the works as “involving seeing twice. Seeing the image in one form and then reconstructing the image either in a mirror, or another optical device.” What Kentridge does then, is to deconstruct an image and ask for the viewer to reconstruct it using a series of optical devices. The drawings become fragments and remnants – with the full image existing only in the transient space of each viewer’s eye – and by extension mind. In evoking Italian amnesia about its colonial past, and the need for the re-evaluation of its violent heritage, Kentridge explores the duality of selfhood trauma involved in re-evaluating the self.
In Candice Breitz’s new video installation Treatment, the artist brings an original soundtrack to three key scenes from director David Cronenberg’s seminal film The Brood. In focusing on the family trauma at the heart of The Brood, Breitz pays tribute to Cronenberg’s ability to draw audiences into psychological identification with his characters, suggestively adding the voices of her own family to a palimpsest that already folds Cronenberg’s family narrative into that of the fictional family in The Brood. Staging an analogy between cinematic role-play and therapeutic role-play, The Brood and Treatment share – with their directors – a deep-seated interest in the formative nature of family relationships, a serious investment in the analytical potential of the moving image, and an absolute conviction in the potential of fiction to delve beneath the surface of things.
Haroon Gunn-Salie’s installation titled Amongst Men considers the figure of Imam Abdullah Haron, and the intersecting histories of Islam and the resistance to colonialism and apartheid in South Africa. The installation conceptually recreates Imam Haron’s funeral, which was attended by over 40 000 people after he was murdered by Apartheid police in 1969, by suspending a series of cast kufiya. It is accompanied by a haunting sound element: a recording of a poem written and read by James Matthews, which questions “Was he a patriot or terrorist?” – a reflection on the Imam’s legacy of resistance in contrast to his treatment at the hands of the Apartheid government.
Johan Thom’s work Recital (lend me your ears) consists of three prayer bead necklaces each fashioned from wooden beads, music strings and fifty individually engraved razorblades. Like a real set of prayer beads, the object is made to be handled as part of a highly personal, meditative reflection. The work exists as a silent symphony playing out in the mind of the viewer, and is constructed from the artist’s personal history as an immigrant from Europe. Thom states “this symphony has as much to do with my family, religion, as with war and the discovery of gold in Southern Africa in 1886. But more sinister meanings are present here: The appearance of sharp blades on the necklace serve to remind of the actual collection of ears as trophies by soldiers during the colonial wars in Africa. Instead of a crucifix each prayer bead terminates in another object associated with the larger history by and through which my identity is constructed.” As with Kentridge’s film, where the complete image exists only in the mind of the viewer, Thom’s violent heritage is replayed in the mind of each viewer who interacts with the components of the artist’s inherited history.
In The English Garden, Kudzanai Chiurai investigates Zimbabwe’s violent history as well as the way in which Africa is imagined in the west. Chiurai questions the “contemporary African condition” by juxtaposing the past and the present of a continent in the constant grip of violent civil wars. The painted body emerges from Chiurai’s landscapes as an ambivalent site, of simultaneous oppression and agency, as it negotiates the limits of action and freedom. It is precisely those moments of oppression and agency – destruction and reconstruction – that Chiurai explores, and that his characters simultaneously lament and cherish.
Goodman Gallery Cape presents Summer Show – opening on 15 December and running until 14 January. The exhibition has been designed as a review, focusing on new and recent work by South Africans artists either represented by or associated with the gallery. Important works from series produced by the artists over the past year are showcased, and the show also features a selection of works recently shown at the gallery’s Johannesburg spaces.
The exhibition includes prints from Siemon Allen‘s Records series, in which the artist explores images of South Africa through the collection and archiving of music records from the beginning of the 20th Century to the present day. Photography is strongly represented, with works from Jodi Bieber’s vibrant, urban-denizen take in her Soweto series, in marked contrast with David Goldblatt’s large-scale colour prints of rural South Africa. Mikhael Subotzky (who recently won the 2012 Standard Bank Young Artist Award for Visual Art) and Patrick Waterhouse show recent work from their ongoing collaboration on the Ponte City project.
A text piece by Stuart Bird is shown in anticipation of his upcoming solo show in January, Gerhard Marx presents exquisitely detailed and artisanally worked surfaces in his new works, continuing his preoccupation with notions of mapping, place and nature, and Walter Oltmann shows a powerful new addition in aluminium wire to his series of insect suit sculptures.
Paintings by Moshekwa Langa, Lisa Brice and Clive van den Berg explore abstraction and gesture in different ways; all three have produced significant bodies of new works which were well received during 2011. Minnette Vari‘s uncanny brush and ink drawings of the goddess/crone Baubo sit in awkward dialogue with Kendell Geers’ La Sainte Vierge.
This exhibition affords a fascinating look at the output of some of South Africa’s major artists, and will also showcase from our Johannesburg spaces works not yet shown in Cape Town, including Kudzanai Chiurai’s Revelations, a series of photographic tableaux exploring politics and power in Africa, new wood sculptures by Willem Boshoff, and a selection of drawings, linocut graphics and sculpture by William Kentridge.
Lisa Brice | Kudzanai Chiurai | Soly Cissé | Tom Cullberg | Claire Gavronsky | Robert Hodgins | David Koloane | Moshekwa Langa | Minnette Vári
There is an element of uncertainty inherent in the medium of paint – it is a fluid material that allows for various modes of expression, and as such is an ideal starting point for an examination of notions of nebulousness and accident.
Goodman Gallery Cape presents Open End, a group exhibition of paintings by both emerging and established artists that speaks to the element of uncertainty in artistic production and expression, and illustrates a process that seeks to arrive at meaning through search.
In an environment where so much emphasis is placed on work that is conceptually pre-determined, where the work is crafted around and invested with a deliberate and established message or meaning, the show aims to create a space for paintings produced without a clear conceptual starting point, focusing on the wrestle or the hunt for meaning rather than the expression of a packaged and determined project.
It is a simultaneously dangerous and powerful position to work from, unstable and vulnerable on the one hand, but filled with the potential of new and unexplored ideas, of work that is discursive and receptive to chance on the other. The title Open End refers not only to the absence of resolution, but to the very manner in which the work is approached: an embracing of uncertainty – or, to paraphrase Francis Bacon, a courting of accidents – in the search for meaning.
The exhibition will feature new works by Lisa Brice and David Koloane, and a painting created in situ by Kudzanai Chiurai. Tom Cullberg will show a series of abstract, perhaps metaphysical paintings dealing with the tensions that exist between the rational and the chaotic. Two anamorphic landscape-like paintings by Minnette Vári – first seen earlier this year as part of her solo show Parallax at Goodman Gallery Johannesburg – as well as several typically humorous and confrontational works by Moshekwa Langa will be included. Dakar-based artist Soly Cissé will show nine small monochrome paintings deftly straddling the figurative and the abstract, Claire Gavronsky will show an oil painting addressing notions of memory and loss, and several works by the incomparable Robert Hodgins illustrate the flex and the power of the medium.
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.
Lisa Brice was born in 1968 in Cape Town, South Africa; she currently lives and works in London.
Brice majored in painting at Michaelis UCT, her early work included constructed artworks combining found objects, or domestic materials such as linoleum, with steel to make wall artworks, installations and sculptural pieces. In the last decade she returned to painting, her work negotiates with authority the difficult terrain between spontaneous drawing and figure painting. She uses various painting and off set printing techniques on a variety of surfaces from canvas to tracing paper, which often leads to repetition of a similar motifs or figure’s in her work, sometimes biographical, at other times referencing art history.
In 2006 Brice had her first solo exhibition of paintings at Goodman Gallery Johannesburg titled Night Vision in which the artist reflected on the uncertainties of childhood. In 2009 a solo show titled More Wood for The fire was presented at Goodman Gallery Johannesburg; here the work dealt with Brice’s relationship with the island of Trinidad. In 2011 her work was included in the Vitamin P2 publication, Phaidon’s major anthology of international painting. In 2012 Brice presented a solo exhibition titled Throwing the Floor at Goodman Gallery Cape, Cape Town.
Her first solo exhibition in London took place in September last year at the French Riviera Gallery, and a continuation of a new series which features a cast of female figures/protagonists, engaged in acts of looking and being looked at, will be exhibited at the Goodman Gallery Johannesburg in April 2015.
2015 Well Worn, Goodman Gallery, Johannesburg, South Africa
2014 Cut Your Coat, Gallery French Rivera, London, UK
2012 Throwing the Floor, Goodman Gallery, Cape Town, South Africa
2009 More Wood For The Fire, Goodman Gallery, Johannesburg, South Africa
2007 Base One Two Three, Goodman Gallery Cape, Cape Town, South Africa
2006 Night Vision, Goodman Gallery, Johannesburg, South Africa
2003 Lisa Brice, Camouflage, Brussels, Belgium
2000 Work in Transit, Goodman Gallery, Johannesburg, South Africa
1999 Lisa Brice, Hanel Gallery, Cape Town, South Africa ( monograph launch)
1999 Lisa Brice, Gallery Frank Hanel, Germany (monograph launch)
1998 In The Eyes, Hanel Gallery, Cape Town, South Africa
1997 Staying Alive, Hanel Gallery, Cape Town, South Africa
1997 Staying Alive, Gallery Frank Hanel, Frankfurt, Germany
1997 Life, Goodman Gallery, Johannesburg, South Africa
1997 Art Frankfurt’97, Gallery Frank Hanel, Germany
1995 Power Tools, Gallery Frank Hanel, Frankfurt, Germany
1994 You Strike the Woman You Strike the Rock, Stargarder 18, Gallery Frank Hanel, Berlin, Germany
1994 Plastic makes Perfect, Gallery Frank Hanel, Frankfurt, Germany
1993 Sex Kittens, Gallery Frank Hanel, Frankfurt, Germany
2017 La Diablesse, Tramps space, London, UK
2016 Home Truths: Domestic Interior in South African Collections, South African National Gallery, Curated by Michael Godby Cape Town, SA
2016 Making & Unmaking, Camden Art Centre, Camden, London, UK
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Cape Town, South Africa
2014 Puppet Show, Gävle Konstcentrum, Kultur & Fritid Gävle, Sweden (curators Tom Bloor and Céline Condorelli)
2014 Puppet Show, Grundy Art Gallery, Blackpool, UK (curators Tom Bloor and Celine Condorelli)
2013 – 2014 What we did the following year, Ritter Zamet Galerie, London, UK
2013 Lullaby, McCabe Fine Art, Stockholm, Sweden
2013 Art44Basel, Goodman Gallery Booth, Basel, Switzerland
2013 Frieze London, Goodman Gallery Booth, London, UK
2013 FIAC, Goodman Gallery Booth, Paris, France
2013 Copy Shop: The Suit, Cape Town, South Africa
2012 FIAC, Goodman Gallery Booth, Paris, France
2011 Photomonth Festival, curated by Adam Broomberg, Oliver Chanarin and Francesca Astenasi, Krakow, Poland
2011 Beguiling: The Self and Subject, curated by Kirsty Cockerill, Irma Stern Museum, Cape Town, South Africa
2010 Self-Consciousness, VeneKlasen/Werner, co-curated by artist Peter Doig and writer Hilton Als, Berlin, Germany
2010 Open End, Goodman Gallery, Cape Town, South Africa
2010 The Marks We Make, Goodman Gallery, Cape Town, South Africa
2010 1910 to 2010: From Pierneef to Gugulective, South African National Gallery, Cape Town, South Africa
2010 BIP2010 (Out of) Contrll, Musée d’Art Moderne et d’Art Contemporain, Leige, Belgium
2010 Winter Show, Goodman Gallery, Johannesburg, South Africa
2009 Legacies of the Landscape, Michaelis Gallery, Cape Town, South Africa
2008 Art Basel, Goodman Gallery, Basel, Switzerland
2007 Art Basel, Goodman Gallery, Basel, Switzerland
2007 Lift Off Two, Goodman Gallery Cape, Cape Town, South Africa
2006 Iselp (Institut supérieur pour l’étude du langage plastique), Brussels, Belgium*
2005 Next Flag, The African Sniper Project, Migros Museum, Zurich, Switzerland*
2004 A Decade of Democracy, curated by Emma Bedford, Iziko South African National Gallery, Cape Town, South Africa *
2004 X, Stephen Lawrence Gallery, University of Greenwich, London, UK
2004 Les Afriques, curated by Laurent Jacob, Lille, France
2003 Away From Home, Wexner Center for the Arts Columbus, Ohio, USA
2003 Intersections, South African Art from the BHP Billiton Collection, RMIT University Melbourne, Australia
2003 Bootleg, Curated by Craig Burnett, Sarah Craine Jones, Pernila Holmes, Pablo Lafuenta, Tom Norton and Catherine Patha, Spittafields Market, London, UK
2003 Resident: Works on Paper, CCA7, curated by Peter Doig and Charlotte Elias, Port of Spain, Trinidad
2003 New Strategies, curated David Brodie, Johannesburg Art Gallery, Johannesburg, South Africa
2003 Picnic, curated by Andrew Lamprecht, Bell-Roberts Gallery, Cape Town, South Africa
2003 Free Nelson Mandela, curated by Sean O’Toole, Klein Karoo National Art Festival, Oudtshoorn, SA
2002 DAK’ART, Dakar Biennale, Dakar, Senegal
2002 Paradise, exhibition and collaborative billboard project with Adele Todd, CCA7, Port of Spain, Trinidad
2001 Young Generations in Transition, China, Germany, Britain, He Xiangning Art Gallery, Shenzhen, China
2001 Supermarketed, curated by Chris Mew, Victoria and Albert Museum, London, UK
2000 Archive, Quatier Contemporary Art Space, The Hague, Holland, Netherlands
2000 Secure the Future, traveling exhibition curated by Marilyn Martin for the International AIDS Conference, South Africa and USA
2000 Havana Biennale, Havana, Cuba
1999 Art Frankfurt, Galerie Frank Hanel, Germany
1999 Art Basel, Galerie Frank Hanel, Switzerland
1998 Triennale deer Kleinplastik, curated by Wener Mayer, Stadtisthe Gallery, Goppingen, Germany
1998 FNB Vita Awards, Sandton Civic Gallery, Johannesburg, South Africa
1998 The Body, City, and Society, Saint Gilies, Brussels
1997 Smokkel, 2nd Johannesburg Biennale Fringe, Johannesburg, South Africa
1997 Unplugged, group show, Rembrandt Gallery, Johannesburg, South Africa
1997 Art Frankfurt, Galerie Frank Hanel, Germany
1997 30 Minutes, Robben Island Visitors Block, Cape Town, South Africa
1997 Life, Goodman Gallery, Johannesburg, South Africa
1997 End of the Millennium, South African Festival, Nantes, France
1997 Art Cologne, Galerie Frank Hanel, Germany
1996 Hanel Gallery Opening Exhibition, Cape Town, South Africa
1996 Art Frankfurt, Frankfurt Messe, Gallery Frank Hanel, Germany
1996 Vita Art Now, Johannesburg Art Gallery, Johannesburg, South Africa
1996 Colours, opened by Nelson Mandela, Haus der Kulturen der Welt, Berlin, Germany
1996 Groundswell, Mermaid Theatre Gallery, London, UK
1996 Don’t Mess with Mr Inbetween, curated by Ruth Rosengarten, Culturgest, Lisbon, Portugal
1996 Art Cologne, Gallery Frank Hanel, Germany
1996 3 × 10, Hanel Gallery, Cape Town, South Africa
1995 Scurvy – Secret Seven, Newtown Gallery, Johannesburg, South Africa
1995 Art Cologne, Gallery Frank Hanel, Germany
1995 Springtime in Chile_, curated by Wayne Barker, Museum of Contemporary Art, Satniago, Chile
1995 B_Young South African Exhibition, Gallery Frank Hanel, Frankfurt, Germany
1995 The Laager, curated by Wayne Barker, Johannesburg, South Africa
1994 Art Cologne, Gallery Frank Hanel, Germany
1994 Three-person show, Gallery Goetz, curated by Jean Kampf, Basel, Switzerland
1994 Art Basel, Gallery Frank Hanel, Basel, Switzerland
1994 Junge Kunst International, Overbeck, Gessellschaft, Lubeck, Germany
1994 Election X, curated by Malcolm Payne, SAAA, Cape Town, South Africa
1994 Art Frankfurt, Gallery Frank Hanel, Frankfurt, Germany
1993 AIDS Show, SAAA, Cape Town, South Africa
1993 Volkskas Atelier Awards, nationwide exhibition, South Africa
1993 Art Frankfurt Gallery Frank Hanel, Messe Frankfurt, Germany
1993 V_Art Basel_, Gallery Frank Hanel, Basel, Switzerland
1993 Multicultural, Gallery Frank Hanel, Frankfurt, Germany
1992 Three-person Show, Irma Stern Museum, Cape Town, South Africa
1992 Three-person Show, Gallery Frank Hanel, Frankfurt, Germany
1992 Staff Exhibition, University Gallery, Stellenbosch, South Africa
1992 Sculpture Exhibition, University Gallery, Stellenbosch, South Africa
1992 Grosse Dusseldorfer Kunstaustelling, Dusseldorfer, Germany
1991 Cape Triennial, nationwide exhibition, South Africa
1990 Poster Exhibition, Baxter Gallery, Cape Town South Africa
1990 Poster Exhibition, Michaelis School of Fine Art Exhibition, Michaelis Gallery, UCT, Cape Town, South Africa
1989 Mail Art from South Africa – a view from the inside, Soho 20 Gallery, New York, USA
1989 Visual Arts Exhibition, Uluntu Center, Guguletu and Center for African Studies, UCT, South Africa
1988 Artists for Human Rights, Expo Exhibition Center, Durban, South Africa
2009 Assisting Peter Doig in Port of Spain, Trinidad, with 11x 5 meter painting for “Peter Doig and Stephen Hough”, A Collaboration at Westminster Cathedral, London
2005 3-month residency, CCA7 (Caribbean Contemporary Arts), Port of Spain, Trinidad
2005 Invitation to assist with Peter Doig’s etching edition with Fritz Margull of Drukatelier, Berlin, and Peter Doig, Port of Spain, Trinidad
2002-3 Three month Residency and Collaborative billboard project with Adele Todd, CCA7, Port of Spain, Trinidad
2001 Daniel Birnbaum Lecture invitation and studio visits, Staedel-Schule, Frankfurt, Germany
2000 Exhibition and Lecture Program, Chong Quing Fine Art Academy, Kuen min ‘River Club’ and Chengdu Gallery, Sichuan Province, China
2000 Residency, Greatmore Studios, Cape Town, South Africa
2000 CCA7 Residency, with Peter Doig, Chris Ofili and Andy Miller, Port of Spain, Trinidad
1999 Big River Workshop, CCA Grand Riviere and Port of Spain, Trinidad
1998 3-month residency, Gasworks, London, UK
1993 Studio residency, Galerie Frank Hanel, Frankfurt, Germany
1992-1995 Printmaking Lecturer, University of Stellenbosch, Cape Town, South Africa
1988-1991 Studio Assistant to Sue Williamson, Graphic Workshop and Foundation School of Art – printmaking
1987-1990 BAFA (Distinction for Major in Painting), Michaelis School of Fine Art, University of Cape Town, South Africa
2004 – 2007 CCA7 Residency, Port of Spain and Grand Rivier. Trinidad (annual residencies of 2 -3 months)
2001 – 2002 CCA7 Residency, Port of Spain and Grand Rivier. Trinidad (December ï¿½ February)
2000 Greatmore Studios, Cape Town (January – May)
Residency Port of Spain and Grand Rivier, Trinidad (June ï¿½ July)
1999 Based in London
1998 Residency at The Gasworks, London, U.K. (July – September)
1993 Studio residency Frankfurt (June – August)
1990 Graduated from Michaelis School of Fine Art, UCT with BAFA, majoring in Painting (with distinction)
1988 – 1991 Studio Assistant to Sue Williamson, Graphic Workshop and Foundation School of Art – printmaking
1992 – 1995 Employed as Printmaking Lecturer at the University of Stellenbosch
Smithsonian National Museum of African Art, Washington DC, USA
BHP Billiton (formerly Gencor) Collection, Johannesburg, South Africa
SABC Collection, South Africa
Johannesburg Art Gallery, Johannesburg, South Africa
South African National Gallery, Cape Town, South Africa
Michaelis Cabinet, University of Cape Town. Cape Town, South Africa
Gallery Frank Haenel, Frankfurt, Berlin, Germany
South African High Commission, Trafalgar Square, London, England
Sindika Dokolo – African Collection of Contemporary Art, Luanda, Angola
Smithsonian National Museum of African Art in Washington DC
2015 Mary Corrigall, Been there, sone that but left with a different T-Shirt, South Africa
2015 Michael Smith, Wearing Well, Artthrob, South Africa
2014 Josephine New, Lisa Brice, Frieze Magazine, United Kingdom
2014 Percy Mabandu, Fine China for Charity, City Press, South Africa
2013 Sean O’Toole, Images of an Icon, Real and Imagined, Mail & Guardian, Johannesburg
2010 Godfried Donker, Embracing Uncertainty, Art South Africa, South Africa
2011 Vitamin P2, Anthology of international painting: Phaidon
2010 ART SOUTH AFRICA, Vol.9.1. Embracing Uncertainty Interview with Godfried Donkor and Lisa Brice
2009 SOUTH AFRICAN ART NOW, Sue Williamson: HarperCollins
2005 Konig, W. PETER DOIG-STUDIOFILMCLUB Museum ludwig,
2005 Alvim, F. et. al. (eds.) NEXT FLAG, the African sniper reader. Zurich, Switzerland.
2005 S. Williamson. Lisa Brice. Nightvision ART SOUTH AFRICA, Vol. 4.2
2004 Williamson, S. et. al. eds. ARTTHROB 1998-2003, the archive, contemporary art in South Africa. Cape Town, South Africa
2004 Perryer, S. ed. 10 YEARS 100 ARTISTS: ART IN A DEMOCRATIC SOUTH AFRICA, Bell-Roberts Publishing in association with Struik Publishers, Cape Town, South Africa.
2003 South Africa. Massie, A. Curator. AWAY FROM HOME, Columbus College of Art & Design, Canzani Center Gallery, Columbus, Ohio, USA
2002 Smith, K. Ed. BROADCAST QUALITY, the art of Big Brother II. Cape Town, South Africa
2002 Brodie, D. curator. NEW STRATEGIES/ Johannesburg Art Gallery, Johannesburg,
2002 PUBLIC EYE. PROJECTS, 1999-2002. Cape Town, South Africa
1999 Lisa Brice Monograph, Gallery Frank Hanel Brice, L and Payne, M. et. al.
1998 LISA BRICE. Frankfurt/Main Germany and Cape Town, South Africa
1997 Williamson, S. ed. THIRTY MINUTES, multi-media installations in the Visitors Block on Robben Island by nine Cape Town artists. Robben Island Museum, Cape Town, South Africa
1996 Williamson, S. and Jamal, A. ART IN SOUTH AFRICA, the Future Present. Cape Town, South Africa
1991 Till, C. et. al. CAPE TOWN TRIENNIAL/_ KAAPSTADSE TRIANNALE_, South Africa National Gallery, Cape Town, South Africa.
Press for Lisa Brice
Lisa Brice / Incorrigible Corrigall / South Africa / 12 May 2015Been there, done that but left with a different T-shirt By Mary Corrigall (194.1 KB)
Lisa Brice / Artthrob / South Africa / 3 May 2015Wearing Well By Michael Smith (210 KB)
Lisa Brice / Frieze Magazine / United Kingdom / 5 September 2014Lisa Brice by Josephine New (184.8 KB)
Lisa Brice / Frieze Masters Magazine / United Kingdom / 15 - 19 October 2014Nude Bathing by Lisa Brice (366 KB)
Lisa Brice / City Press / South Africa / 27 July 2014Fine China for Charity by Percy Mabandu (234.8 KB)
Lisa Brice / Mail & Guardian / Johannesburg / 13 - 19 December 2013Images of an icon, real and imagined by Sean O'Toole (701.5 KB)
Lisa Brice / Art South Africa / South Africa / 1 September 2010Embracing Uncertainty by Godfried Donker (1.4 MB)