Gallery News for Tabita Rezaire
Tabita Rezaire on various international shows, and in residence
Tabita Rezaire’s film Peaceful Warrior shows on the International Women’s Film Festival at the Centre de Cultura Contemporania Barcelona in the programme Feminist Film Manifestos II from 10 to 12 November 2016. Her work appears also on Technology Now: Blackness on the Internet at London’s ICA on 16 November and on Videonomad at Njelele Art Station, Harare, Zimbabwe from 13 to 15 October 2016. Rezaire will join EMARE (European Media Artist in Residence Exchange), at Imapkt, Utretch, in the Netherlands from October to December 2016.
NTU at Berlin Biennale
The collective CUSS Group exhibits on the Berlin Biennale from 4 June to 18 September 2016. Included is another Johannesburg-based collective NTU which includes Goodman Gallery artists Tabita Rezaire and Nolan Oswald Dennis. The work by CUSS responds to commercial, cultural, and technological super-hybridity in contemporary South Africa and beyond. Signposted as “Triomf Factory Shop,” their installation appears to be a store filled with products for sale: including a fragrance, a beer, and LCD monitors broadcasting a TV channel, all of which are commissioned works by other South African artists.
Peaceful Warrior is a decolonial self-care preaching-tutorial urging people of color to connect with their histories, ancestral knowledge and traditional philosophical wisdom. From yoga, meditation, to womb movements and a healthy diet, Peaceful Warrior aims at healing
traumatic genetic memory to build a spiritual community for a more efficient struggle.
Sorry for real is a virtual apology on behalf of the western world. Trying to provide an apology for genocide, slavery, colonialism, segregatiown, apartheid, and the exploitation of black and indigenous bodies, and the current heritage of the colonial matrix of power that is capitalism, white supremacy, and hetero-patriarchy, this work questions the apology forgiveness narrative. What is the function of an apology? Who benefits from the apology? What power structures are hidden behind our apologetic age?
Looking at digital cultural political means of resistance and media activism on the Internet, this video essay explores Internet art practices in South Africa as a manifestation of cultural dissent towards western hegemony online. Confronting the unilateral flow of online information, Afro Cyber Resistance is a socially engaged gesture aiming to challenge the representation of African bodies and cultures through online practices.
COMB THROUGH is a self portrait exploring the artist’s relationship with her hair and its social and cultural meaning. While the video shows her struggling to take her braids off, the sound superimposes various personal accounts of young women complaining about their ‘nappy’ hair on Youtube. Life time struggle in 3 minutes.
SAME SEX BIZ is a fragmented display of diverging views towards homosexuality in Mozambique. This screen recording collage interweaves various footages from dance scene of Maputo’s LGBT party, a Nigerian woman’s anger towards the recent laws baning homosexuality in Nigeria, homophobic allegations, and the hopes and disgusts of young Mozambican activists. By confronting discourses SAME SEX BIZ creates a chaotic sample of the complex situation that are facing African homosexuals today.
Goodman Gallery Johannesburg
8 April – 17 May 2017
Kemetic Yoga & A Conversation With the Artist: Thursday 13 April from 18h00
The Internet is exploitative, exclusionary, classist, patriarchal, racist, homophobic, transphobic, fatphobic, coercive and manipulative. We need to decolonise and heal our technologies. Healing is resistance.
Exotic Trade is Tabita Rezaire’s first solo exhibition in which she deploys ‘digital healing activism’ as a strategy to envision decolonial technologies through which we can ‘holistically connect to ourselves, to one another, to the earth and to the multiverse’ (Rezaire).
This otherworldly exhibition digs into the histories, politics and memories of information and communication technologies (ICT), exposing the violence and erasure carried by our current networks and unearthing possibilities for spiritual technologies.
Through video installations and digital prints, the artist responds to a perceived need to reconnect body, ‘womb-mind’ and spirit to heal the ‘oppressive colonial hierarchies of knowledge systems which define the dominant narratives of our time’ (Rezaire).
Exotic Trade explores ‘alternative’ means of receiving, creating and sharing information through spiritual interfaces by accessing what Rezaire terms the ‘cosmos database’ – from communicating with ancestors to embracing water, the womb and teacher plants as ‘primal-portals’ for ‘downloading’ knowledge.
In the show, Rezaire draws parallels between the layout of submarine optic cables (the very architecture of the Internet) and colonial trade routes to point to the powerful symbolism underpinning ‘electronic colonialism’ whereby the Internet has literally been built on routes of Black pain.
For Rezaire, ‘the irony is that the technology of the Internet would not exist without the influence of African spiritualities because the origin of computing science has, in fact, been traced back to African divination systems’. Rezaire uses screen interfaces within her practice to remember the ‘space-time’ where technology, the biosphere and the spiritual world connect.
Exotic Trade will be arranged in the shape of a womb to create a ‘nurturing space that connects us to the source’, says the artist. This composition relates to the intention behind key pieces, which celebrate the resilience of Black womxn in the face of colonialist and capitalist exploitation. Rezaire seeks to mark the contribution of Black womxn to the advancement of medical science and technology – often unwillingly and painfully, such as with gynaecology – and confront the erasure of Black womxn from the dominant narrative of technological achievement.
Rezaire grapples with inherited traumas that burden Black womxn’s ‘soul-bodies’ and re-construes Black, femme erotic power as a creative and transformative energy. Her mission is ‘to reimagine a politics of pleasure driven by unapologetic desire, spiritual awakening, love and compassion’ (Rezaire).
By undertaking a dedicated excavation of the healing potential of forgotten technologies and asserting their relevance to our present age – a process that Rezaire calls ‘network archaeology’ – Exotic Trade advocates for the possibility of nurturing a ‘mind-body-spirit-techno consciousness’ that counters our current state of disconnection.
Rezaire’s solo show comes at a time of increasing global interest in her work and in digital art from Africa and its Diaspora. Her 2017 programme includes two museum commissions by Oregaard Museum in Hellerup, Denmark, and NRW-FORUM in Düsseldorf; exhibitions at House of Electronic Arts Basel in Basel, the KNOCKDOWN CENTER in New York, and Impakt festival in Utrecht, among others. Her artist group NTU will present solo shows at Auto Italia South East in London and LUMA Westbau in Zurich. Rezaire has a series of talks and performances scheduled in South Africa, Belgium, the Netherlands, Austria, and the USA. In June, she will begin an artist residency at Meetfactory in Prague.
Tabita Rezaire is a French born Guyanese / Danish new media artist whose work explores ‘decolonial health and knowledge’ through the politics of technology. By navigating architectures of power online and offline, her work tackles the pervasive matrix of coloniality and its effects on identity, technology, sexuality and spirituality. In 2016, Rezaire’s work was featured on exhibitions at the 9th Berlin Biennale; The Broad, LA; The Museum of Modern Art, Paris; and the Museum of Contemporary African Diasporan Arts (MoCADA), New York. She lives and works in Johannesburg, South Africa.
Exotic Trade is love is anger is pain is healing on screens
Exotic Trade is hardrive memory is forgotten memory is unearthed potential
Exotic Trade is a diagnosis is a remedy is caring
Exotic Trade is trying
Exotic Trade is for you is for us
Exotic Trade is harnessing the power of vibration
Exotic Trade is sharing fluids of survival
Exotic Trade is wet and juicy love
Exotic Trade is contradiction is complicity exposed
Exotic Trade is struggling with self-love
Exotic Trade is self-commodification is self-realisation is self-doubt
Exotic Trade is me for sell
Goodman Gallery Johannesburg
Johannesburg Art Gallery
17 November 2016 – 17 December 2017
ruby onyinyechi amanze / Ghada Amer / Kajahl / Stan Douglas / Brendan Fernandes / Theaster Gates / Eric
Gottesman / Lyle Ashton Harris / Alfredo Jaar / Ayana V Jackson / Rashid Johnson / Julie Mehretu / Wangechi Mutu / Paulo Nazareth / Odili Donald Odita / Dawit L. Petros / Valerie Piraino / Daapo Reo / Tabita Rezaire / Mikhael Subotzky / Carrie Mae Weems / Kehinde Wiley
As part of its ongoing In Context series, Goodman Gallery is pleased to announce the forthcoming exhibition Africans in America and the concurrent academic conference Black Portraiture[s] III: Reinventions: Strains of Histories and Cultures, along with a series of events happening throughout Johannesburg. The citywide initiative will take place from November 2016 through January 2017.
In 2010, Goodman Gallery director Liza Essers launched In Context, an innovative curatorial platform to bring together a diverse group of international artists who share a rigorous commitment to the dynamics and tensions of place in reference to the African continent. A signature programme within the gallery, In Context activates the city of Johannesburg as a locus of contemporary art practice, ideas and discourses. In Context takes place in Johannesburg in the absence of an officially funded citywide biennial. Goodman Gallery takes great pleasure in facilitating the exhibition Africans in America and spearheading the Black Portraiture[s] III conference. These events play a vital part in addressing gaps in art history, rewriting it from diverse perspectives, a central pursuit within the In Context series.
Conceptualised and curated by artist Hank Willis Thomas and Liza Essers, Africans in America aims to speak to the flows, exchanges and continuities between the continent of Africa and the United States. The exhibition will take place across two spaces in the city, Goodman Gallery in Parkwood and the Johannesburg Art Gallery. Artists featured include Ghada Amer, Theaster Gates, Alfredo Jaar, Julie Mehretu, Wangechi Mutu, Odili Donald Odita and Kehinde Wiley, amongst others.
The exhibition is aligned to the important Black Portraiture[s] III initiative convened by Deborah Willis (New York University), Henry Louis Gates III (Harvard University) and Brett Pyper (University of Witwatersrand). The seventh in a series of conversations about imaging the black body, the 2016 edition is the first to be held on the African continent. The conference, which has attracted an impressive list of international panelists, opens up a forum for artists, activists and scholars from around the world to share ideas on a range of subjects, from historical topics to current research on South African art and activism and related themes affecting the global African diaspora.
Hank Willis Thomas has been represented by Goodman Gallery South Africa since 2008. Africans in America is the second exhibition he has curated for the gallery. He has become recognised for challenging constructions of race and gender in the United States and South Africa. His art has consistently extended dialogues on African and diaspora identities into significant international arenas, and his important work in South Africa has keyed into local history while driving new visions in the post-apartheid context.
In Context 2016 is a partnership between Goodman Gallery; The Department of Photography & Imaging at the Tisch School of the Arts, New York University; Hutchins Center for African and African American Research at Harvard University; Wits School of Arts at University of the Witwatersrand; United States Mission to South Africa; La Pietra Dialogues/ New York University; New York University Vice Provost for Faculty, Arts, Humanities and Diversity; and Hank Willis Thomas Studio, in association with Phillips; Museum of Contemporary African Diasporan Arts; Studio Museum in Harlem; Wiser Institute; Center for African American Studies/ Princeton University; Johannesburg Art Gallery; Contemporary And, and Art Africa.
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.
NINA CHANEL ABNEY | DERRICK ADAMS | SADIE BARNETTE | ZOE BUCKMAN | BETHANY COLLINS | NOLAN OSWALD DENNIS | OMAR VICTOR DIOP | TITUS KAPHAR | KILUANJI KIA HENDA | YASHUA KLOS | GERALD MACHONA | TOYIN OJIH ODUTOLA | EBONY G PATTERSON | ADAM PENDLETON | JODY PAULSEN | TABITA REZAIRE | JACOLBY SATTERWHITE | SHINIQUE SMITH
In keeping with our mission to investigate critical moments in the interconnected histories of global black life, Goodman Gallery is pleased to present To Be Young, Gifted, and Black the next edition of the ongoing series Working Title, an exhibition curated by one of our most thoughtful and provocative artists, Hank Willis Thomas.
Taking inspiration from Nina Simone’s iconic song To Be Young, Gifted, and Black (1969), written in memory of playwright Lorraine Hansberry, the author of Raisin in the Sun (1959) who died in 1964 at the age of 34, To Be Young, Gifted, and Black is about our moment, looking back at theirs. What lies between their Civil Rights and our #BlackLivesMatter? All over the world we cry out ever more fervently that our lives matter, even as evidence mounts supposedly to the contrary. However, we ourselves have never been in doubt of this truth, as Simone’s powerful words attest. She shares other great truths, singing that When you’re young, gifted, and black / Your soul’s intact, and, To be young, gifted, and black / Is where it’s at.
To Simone, these affirmations—these unique gifts—of soul and belonging, gained because of one’s race, age, and abilities, not in spite of, are fact. So too, to the artists in To Be Young, Gifted, and Black. Speaking both to the spirit of the song and of our times, they highlight the timeless matter-of-factness of Simone’s words, as well as a conscious contemporary need to hear, feel, and state her assertion boldly and loudly, unapologetically and with gusto.
Hank Willis Thomas is a conceptual artist working with themes related to identity, history and popular culture. He received his BFA from New York University’s Tisch School of the Arts and his MFA in photography, along with an MA in visual criticism, from California College of the Arts (CCA) in San Francisco.
Thomas has acted as a visiting professor at the MFA programs at Maryland Institute College of Art and has lectured at Yale University, Princeton University and the Musee du Quai Branly in Paris. His work has been featured in several publications including 25 under 25: Up-and-Coming American Photographers (CDS, 2003), as well as his monograph Pitch Blackness (Aperture, 2008). He received a new media fellowship through the Tribeca Film Institute and was a 2011 fellow at the W.E.B. DuBois Institute at Harvard University. He has exhibited in galleries and museums throughout the U.S. and abroad and his work is in numerous collections including the Whitney Museum of American Art, The Brooklyn Museum and Museum of Modern Art. His collaborative projects have been featured at the Sundance Film Festival and installed publicly at the Oakland International Airport.
As facilitator of emergent forms, the Goodman Gallery works with curators and artists who question the current status of the art world, specifically problems that emerge from restrictive labels and one dimensional readings of the process of making of art in African contexts.
This year the Goodman Gallery has invited curator Tegan Bristow to curate the exhibition POST AFRICAN FUTURES around her cohesive research into technology based art in Africa. The works allow for a new engagement with practice that uses technology and explodes the myth of AfroFuturism in Africa. It is the belief of the Goodman Gallery that the barrier breaking, innovative works which have emerged as artists have responded to Bristow’s call for participation are a move away from staid ideas of art making in Africa. The Goodman Gallery is proud to present a show allowing for works which critique and question systems and structures that the commercial art industry has often relied upon.
Taking cue from the phrase ‘research made tangible’, the exhibition POST AFRICAN FUTURES expands on research being developed by Bristow on art and culture practice that critically reflects on technology and the myth of AfroFuturism in Africa. The title of the exhibition was first used at the Fak’ugesi Digital Africa Conference at Wits University in December 2014, in which Bristow invited academic reflections on the state and meaning of critical engagements with technology, particularly communication technology, in African art and culture.
The exhibition expands on the subject by exhibiting the work of a number of artists and cultural practitioners from across the African continent that reflect these engagements in their practice. Bristow is curating the exhibition as an extension of this research, in collaboration with Emma Laurence of the Goodman Gallery.
The exhibition proposes a challenge to art by viewing engagements around communications technology and technology use as a site for critically engaging African identification and a resistance to the globalisation of culture. Bristow’s research for the exhibition began as a survey of work, focusing on South Africa, Kenya and small amounts in Nigeria. What Bristow found in this survey was a rich and complex reference to technology that serves a number of critical positions, the most important being a pointed focus on identification and differentiation.
Here artists are using the conceptual frame of digital technologies and technology languages as a way to talk about how African cultures are against what they are perceived to be. This is multi-faceted and acts as a critique of both of globalised media practices and of romanticised Africanisms. These practices have their foundation in the socio-cultural, global image generation, traditional practices and performance. Digital Art as a medium-specific engagement in this frame addresses the digital as an imagined metaphysical conduit. Artists use the digital’s metaphorical capacity to represent the unseen and the magical, both as representation of cultural practices that cannot be adequately portrayed through image or film and as a critique of Western systems of knowledge.
This frames a critique of globalised forms and a resistance against a cultural predomination.What Bristow sees in digital aesthetics in Africa is a response, represented as a perceived dissonance but also an appropriation by breaking and playing with visual cultures, mixing globalised image norms into local memes, exploring a well thought through and critical perspective. It is important to understand that the practice is definitely not a romantic indigenisation of technology or cute innovations for the irrevocably poor.
It is rather a type of border thinking, a live conversation with the world that brings contemporary culture together with African socio-cultural knowledge systems. Post African Futures as a title challenges a number of notions. The first being AfroFuturism as a title for any African work that addresses technology or science fiction subject matters. Many African artists have been lumped into this criterion yet they present articulations that are unique to their particular regions. The exhibition is an exploration of multiple “African cultures of technology” that have unique socio-political and economic histories.
For instance, technology in South Africa is historically tied to apartheid, a possessive aggressive system of control where communications technology is still a power driven medium. South African artists reflect this works are visually aggressive and challenge relationships to power, reflecting a lo-fi abrasiveness, an exploration of extremes and failures making for rich visual and aural work. While Kenyan histories for instance, are tied to social rebellion and change, here works strongly interrogate social justice, using networks and social narrative as primary conduits.
Post African Futures challenges the notion of “futures and innovation” as failure in bypassing current issues and current social and cultural transformation. Post African Futures asks its audience to see the socio-cultural and metaphorical use of technology in critiquing histories while dealing the importance of now. The format of the exhibition will include online work, installation, performance, “post future” artifacts, video installations and screenings.
About Tegan Bristow:
Bristow is an interactive digital media artists and Head of Interactive Media at the Digital Arts Division of the Wits School of Arts at Wits University. Bristow is writing her PhD on Technology Art and Cultural Practices in Africa with the Planetary Collegium. This exhibition follows research through which Bristow is proposing a new ways of teaching technology arts specific to Africa, as well as challenging norms around technology’s role in art and culture in Africa.
CUSS Group (SA), Tabita Rezaire (SA), Nolan Oswald Dennis (SA), Pamela Phatsimo Sunstrum (SA), Thenjiwe Nkosi (SA), Emeka Ogbho (Nigeria), Haythem Zakaria (Tunisia), Jean Katambayi Mukendi (DRC), Sam Hopkins (Kenya), Muchiri Njenga (Kenya), Jepchumba (Kenya), Brooklyn J Pakathi (SA), Wanuri Kahui (Kenya), Dineo Sheshe Bopape (SA), Kapwani Kiwanga (CAN), The Brother Moves On (SA), Just A Band (Kenya), Lebogang Rasethaba & Nthato Mokgata (SA), Imagineering Lagos Collective (Nigeria).
In addition to the gallery exhibition, a series of talk, screenings, and performances will take place over the four-week duration of the show.
Thurs 21 May | Goodman Gallery, JHB
• 18:30 The DISRUPTER X Project: NOTES FROM THE ANCIENTS by Pamela Phatsimo Sunstrum & Thenjiwe Niki Nkosi, featuring Dion Monti and Lisa Jaffe (SA)
• 19:00 Anamnesis initiatory vision by Joël-Claude MEFFRE (FR) for artist Haythem Zakaria (FR / TN).
DIGITAL AFRICA & NARRATIVE
Sat 23 May | Goodman Gallery, JHB
• 14:00 Hallu-Ci, short screening and talk by Brooklyn J Pakathi (SA)
• 14:30 Lagos 2060, feature screening and talk by Olamide Udo-Udoma of Lagos Imaginarium (NG)
POST FUTURES, KENYA: TRADITION IN THE GLOBALISED DIGITAL
Thurs 28 May | Goodman Gallery, JHB
• 18:30 Kichwateli, short screening + Q & A with Muchiri Njenga (KE)
• 19:00 Silicon Savannahs & Digital Landscapes, talk by Jepchumba (KE)
• 19:30 Pumzi, feature screening of Kenya Sci-Fi Film by Wanuri Kahui (KE)
Sat 6 June | Goodman Gallery, JHB
• 14:00 SWAARTNET, talk by NTU (SA)
• 15:15 WWW GLOBAL COM, short screening of NTU artist’s works.
SOUND & AFRICAN CULTURES OF TECHNOLOGY
Thurs 18 June | Goodman Gallery, JHB
• 18:30 Mr Gold & Makmende, short screening and talk by The Brother Moves On and Just A Band (SA & KE)
• 19:15 Future Sound of Mzanzi, feature screening of documentary film by Lebogang Rasethebe & Nthato Mokgata (SA)
Sat 20 June | King Kong, 6 Verwey Street, Troyville, JHB
In collaboration with Keleketla @ King Kong
• 20:00 “The Afterlife with Mr Gold”, featuring The Brother Moves One (SA), Just A Band (KE) and OkMalumKoolKat (SA)
In addition to the exhibition at the Goodman Gallery, the interactive space Future Lab Africa has been developed for the show by digital artist Jepchumba. Future Lab Africa hopes to create lasting networks and public engagements which extend beyond the exhibition incorporating research and multidisciplinary methodologies as a basis of understanding new developments in the African digital art space. A podcast series produced by Jepchumba in conversation with the featured artists, released over the period of the exhibition on the Future Lab Africa site. Future Lab Africa can be accessed at http://futurelabafrica.org.
Tabita Rezaire (b.1989, Paris, France) is a French-born Guyanese/Danish new media artist, intersectional preacher, health practitioner, tech-politics researcher and Kemetic/Kundalini Yoga teacher based in Johannesburg. She holds a Bachelor in Economics (Paris) and a Master in Artist Moving Image from Central Saint Martins College (London).
Rezaire’s practice explores decolonial healing through the politics of technology. Navigating architectures of power – online and offline – her works tackle the pervasive matrix of coloniality and its effects on identity, technology, sexuality, health and spirituality. Disseminating light, her digital healing activism offers substitute readings decentering occidental authority, hoping to assist in the ‘dismantling [of] our white-supremacist-patriarchal-cis-hetero-globalized world screen’, according to Rezaire.
Rezaire is a founding member of NTU, half of the duo Malaxa, and mother of the energy house SENEB.
Artsy declared her among the 10 International Black artists to watch in 2016, and True Africa among the top 100 innovators and opinion makers on the continent in 2015. Rezaire has shown her work internationally – Berlin Biennale, Tate Modern London, Museum of Modern Art Paris, MoCADA NY, The Broad LA and presented her work on numerous panels – Het Nieuwe Institut Rotterdam, Royal Academy The Hague, Kunsthalle Bern, National Gallery Harare, Cairotronica, Fakugezi Digital Art Africa Johannesburg. She has curated screenings at the Institute of Contemporary Art London, led technology and ‘booty politics’ workshops worldwide and has her writings published by Cambridge Scholars.
Rezaire lives and works in Johannesburg, South Africa.
2017 Exotic Trade, Goodman Gallery, Johannesburg, South Africa
2017 NON EXCHANGE, Cape Town, SA
2017 Being Her(e): Meditations on African Femininities, Constitution Hill, Johannesburg, SA
2017 Casa Internazionale delle Donne Roma
2017 Le Murate Progetti Arte Contemporanea Firenze, 3 Febbraio
2017 House of Electronic Arts Basel @Liste, Basel, Switzerland
2017 UNREAL, NRW-Forum Düsseldorf, Germany
2017 Citizen X, Oregaard Museum, Denmark
2017 Low Res: Spatial Politics in the Cloud, NARS Foundation, NY, USA
2017 Gender hacking, 3 rd ckster, Bern, Switzerland
2017 I Heard You Laughing, Gregor Staiger Gallery, Zurich, Switzerland
2017 Melbourne Queer Film Festival, Australian Centre for the Moving Image, Melbourne, Australia
2017 Africana Womanism [Show 1], Murate Center, Florence, Italy
2017 Africana Womanism [Show 2], Museo di Roma in Trastevere, Rome, Italy
2017 Africana Womanism [Show 3], FM Centro per l’Arte Contemporanea, Milan
2017 Flawless, 99 Sudbury, Toronto, Canada
2017 REALIDADES ALTERADAS (alternative realities), Centro de Arte 2 de Mayo, Madrid, Spain
2017 Fugitive Desires, 198 Contemporary Arts & Learning, London, UK
2017 Melbourne Queer Film Festival, Melbourne, Australia
2017 SCREENING, 67 Ludlow, NY, US & Amonymous Gallery, Mexico
2017 Nautilus Part 1, Marselleria, Milan, Italy
2016 In Context: Africans In America, Goodman Gallery, Johannesburg, South Africa
2016 dgtl fmnsm_, Cyneart, international Festival for computer based arts, Dresden, Germany
2016 Wandering/WILDING: Blackness on the Internet_, IMT Gallery, London, UK
2016 Selling the Shadow to Support the Substance, MOMO Gallery, South Africa
2016 Feminist Film Manifestos II, Center of Contemporary Culture of Barcelona, Spain
2016 Citizen X, Oregaard Museum, Denmark
2016 _Videonoma_d, Njelele Art Station, Harare, Zimbabwe
2016 SITUATIONS, Fotomuseum, Winterthur, Switzerland
2016 Berlin Biennale, Berlin, Germany
2016 Vision of the future, S1 Studio, Sheffield, UK
2016 Girls Who Dance in Dissonance, Wayside, LA, USA
2016 SISTER NYC x MAMI, Redbull Studios, NY, USA
2016 Sorry For Real, MoCADA, NY, USA
2016 89plus, ‘Filter Bubble’, QIDIAN, Shangai, China
2016 Your Digital Self Hates You, Stadtgalerie Gallery, Bern, Switzerland
2016 The 3d Additivism cookbook, online
2016 MAMI, Knockdown Center, NY, USA
2016 Black to the future, Petit Bain, Paris, France
2016 Queer Circuits in Archival Times, NY, USA
2016 Afrofuturism, The New School, NY, USA
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Johannesburg, South Africa
2015 Signs Adrift: Borrowed, Bartered, and Stolen, Bakehouse Art Complex, Miami, USA
2015 Another Experiment By Women, Anthology Film Archive
2015 89plus, Filter Bubble, LUMA, Westbau, Zurich, Switzerland
2015 Co-Workers: Network as Artist, Museum of Modern Art Paris, Paris, France
2015 Internet Yami Ichi, New York, USA
2015 Young, Gifted, and Black, Goodman Gallery, Johannesburg, South Africa
2015 AXW BLUESTOCKINGS screening, New York, USA
2015 TIME is Love.9 Screening, curated by Kisito Assangni
2015 Post Internet Is Dead! Fisher Gallery, Exhibition Initiative, Oberlin, OH, USA
2015 Beyond the surface, Kamera, Laborneunzehn, Berlin, Germany
2015 The Film Will Always Be You, Tate Modern, London, UK
2015 Basha Uhuru “Expressions Of Freedom”, Constitution Hill, Johannesburg, South Africa
2015 AXWFF – Another Experiment by Women Film Festival, New York, USA
2015 Post African Futures, Goodman Gallery, Johannesburg, South Africa
2015 CeC 2015 – Carnival of e-creativity, Shillong, India
2015 Brown Core Fly Stream, Njelele Art Station, Harare, Zimbabwe
2015 FAUX SHO, (It’s All) Tropical & Assembly House Leeds, UK
2015 Past Imperfect/ Future Present, Fada Gallery, Johannesburg, South Africa
2015 RESISTANCE IS IN THE CRACKS, Goldsmith, London, UK
2015 Post Digital 2014, Kalashnikovv Gallery, Johannesburg, South Africa
2015 Cairo Video festival, Dubai Community Theatre & Arts Center, Dubai
2014 Cairo Video Festival 6th edition, Cairo, Egypt
2014 #LIKEIT #LICKIT, Social Media Week Johannesburg, Johannesburg, South Africa
2014 Ted Ex Johannesburg, We The People, Johannesburg, South Africa
2014 Brave New World Video Screening, ArtvideKOELN, Berlin, Germany
2014 Proyector International Videoart Festival, Madrid, Spain
2014 Avaf Athens International Videoart Festival, Athens, Greece
2014 Bullet Gaze/Urban Safari, Hulene Barrio, Maputo, Mozambique
2014 Cologne International Videoart Festival, Cologne, Germany
2014 Joburg Fringe 2014, Joburg Art Week, Johannesburg, South Africa
2014 VIDEONOMAD III_, NJELELE Art Station, Harare, Zimbabwe
2014 )Fresh Produce, Turbine Art Fair, Taff14, Johannesburg, South Africa
2014 Loud Mouth Series, Chi Diaries La fete de la Musique, Johannesburg, South Africa
2014 Dystopia, 4bid gallery, Amsterdam, Netherlands
2014 Returning to Sender, HKW Haus der Kulturen der Welt, Berlin, Germany
2014 Chi Diaries, Bushfire Festival, Swaziland
2014 VIDEONOMAD II, Dakar Biennale Off, Raw Material Company, Dakar, Senegal
2014 Full screen Vimeo, Burma@Access, London, UK
2013 Bring your own, UAL, London, UK
2012 Plus Art Project Frieze Week Exhibition, Mayor’s Parlour, London, UK
2011 Central Saint Martins College Exhibition, London, UK
2014 35A #LIKEIT #LICKIT, @Social Media Week Johannesburg
2014 _35A Moving Image Festival, ‘#DIGIT’ and ‘#DOX’, 6B, Paris,
2014 _Sex on Screen / Pop Politics / Consumerist Paradise: Glamorous and Big Business / Real is for me is for you /, ICA Student Forum: Art Moving Image programming
2014 Visual AIDS online, NYC
2014 All That Glitters is Gold Camp Photography, FRAC Ile de France/ le Carré, Paris
2013 Live Art?, Venice Agendas, 55th Venice Biennale
2013 Outer/Inner (Space) @CSM, Films and Performances, London
2013 Inner/Outer (Space), LUX online exhibition
2012 LUX/ICA Moving Image Biennale, London, 2012
2017 Participating in Impakt festival, Utrecht, Netherlands Panel: ‘The Technological Body’, Haunted Machines & Wicked Problems, Impakt, Utrecht, Nl
2017 Screening performance at School, Vienna, Austria
2017 Residency at Meetfactory, Prague, Czech Republic
2017 Lecture and workshop at the University, Ramapo College, New York, USA
2015 Kemetic yoga children workshop, Soweto
2015 Booty Love Politix, session#1 Twerk, Kalashnikov Gallery, Johannesburg
2014 Video Workshop with Romani Community, Paris
2013 Video Workshop with Landfill Workers, Maputo
2016 Tabita Rezaire: Artist Talk, National Gallery, Harare, Zimbabwe
2016 Tabita Rezaire Lecture, Royal Academy The Hague, NL
2016 Decolonising Design, Het Nieuwe Institut, Netherlands
2016 CairoTronica Conference, Cairo, Eg
2016 Net Art Aesthetics, Chat Rooms, Washington, US
2016 Tabita Rezaire: Artist Talk, Mocada, USA
2015 Digital Futures, Auction Hause, London
2015 Creatives Hustles, Women and Technology, Innovation SA
2015 Anya Fulu Ugo African Arts Conference, University of Nigeria (Paper: ‘Afro Cyber Resistance’)
2015 Swaartnet, Post African Futures, Goodman Gallery, Johannesburg
2015 VIADUCT 2015: Archival Addresses, Johannesburg (Paper: ‘Perfect Gentlemen: Fake it until you make it’)
2015 Poverty Pornography, Market Photo Workshop, Johannesburg
2014 Fak’ugesi Digital Africa Conference, Johannesburg (Paper: ‘Afro Cyber Resistance’)
2013 FILM AND MEDIA Conference, London (Paper: ‘Film, Kinetic Theatre and Spectatorship: Carolee Schneemann’)
2013 Console-ing Passions: Television, Audio, Video, New Media and Feminism (Paper: ‘The Monstrous Woman in Video Performance’)
2013 MRes Central Saint Martins Conference, London (Paper: ‘From Cruelty to Ecstasy, the Scream of Resistance in Film Performance’)
2016 French Institute, Johannesburg, SA
2013 APJ, Le Carre, Vincennes, FR
2013 Go&Do, University of the Arts London, UK
2017 MeetFactory, Prague, Czech Republic
2016 EMARE, Impakt, Utrecht, Netherlands
2016 Hospitalfield, Autoitalia x NTU, Scotland
2016 International Visitors Programme, Het Nieuwe Institut, Netherlands
2016 Sommerakademie im Zentrum Paul Klee, Bern, Switzerland
2015 Mres Art: Moving Image Central Saint Martins College of Art, London
2011 Foundation Diploma in Video Art, Copenhagen Business School / University Paris Dauphine
2010 Bachelor Economics and Management
Peaceful Warrior , 2015
Video / video installation
Edition of 3
Press for Tabita Rezaire