Gallery News for Tracey Rose
Tracey Rose solo exhibition at the Museo de Arte Moderno de Buenos Aires
Tracey Rose will open her first solo exhibition in Argentina at The Museo de Arte Moderno de Buenos Aires on 15 December 2016, running until 12 March 2017. In Tracey Rose: Toro Salvaje (Wild Bull), the artist constructs a chaotic playground in the museum, which, according to ArtPR, operates as an “analysis of the subterranean crossroads of the Argentine dictatorship’s political legacy, the assassination of the architect of apartheid in Rose’s native South Africa, and the collision of Adolf Hitler and Eva Braun’s escape submarine with Mount Rushmore and American Gothic. A political landscape told with the innocence of childhood reverie.”
Tracey Rose and Misheck Masamvu at Biennale de Sao Paulo
Large-scale paintings by Misheck Masamu, and sculptures and drawing by Tracey Rose are included in the 32nd Bienal de São Paulo. Titled Incerteza Viva [Live Uncertainty], the 2016 Biennale focuses on notions of uncertainty, reflecting on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties. The 32nd Biennale de Sao Paulo runs until 11 December 2016.
Tracey Rose in Berlin
Tracey Rose’s solo exhibition Lassoing with the Post-Colonial Pirates runs at gallery Dan Gunn in Berlin from 12 September to 7 November. She is also featured on the group shows Body Talk, curated by Koyo Kouoh at the Lunds Konsthall, Lund until 27 September; Homosexuality-ies, curated by Birgit Bosold, Dorothée Brill and Detlef Weitzat the Schwules Museum in Berlin until 1 December; Álbum de Família, curated by Adriana Salomão at Centro Cultural Helio Oiticia in Rio de Janeiro until 19 September and SGUARDO DI DONNA / Through Women’s Eyes curated by Francesca Alfano Miglietti at the Casa dei Tre Oci in Venice from 11 September to 8 December.
Tracey Rose and race theory in Mexico City
Work by Tracey Rose is included in the exhibition Theory of Colour, curated by Cuauhtemoc Medina at the Museum of the National University of Mexico until 7 February 2015. According to the curator’s statement the exhibition showcases contemporary art produced over the past decade that deals with racism from a diversity of approaches: “nationalism, scientism, homogenisation, exoticisation, colonisation, exploitation and sexualisation”. Her work will also be included in the group exhibition Body Talk: Feminism, Sexuality and the Body in the Work of African Women Artists, curated by Koyo Kouoh at WIELS Contemporary Art Centre, in Brussels, from 18 February 2015 until May 2015.
Goodman Gallery Cape Town
Los Carpinteros • Flávio Cerqueira • Elizabet Cerviño • Ângela Ferreira • Carlos Garaicoa • Kendell Geers • Haroon Gunn-Salie • Kiluanji Kia Henda • Grada Kilomba • KutalaChopeto • Paulo Nazareth • Sisipho Ngodwana • Antônio Obá • Rosana Paulino • Wilfredo Prieto • Tracey Rose • Gustavo Speridião
IN THE VIDEO ROOM Maria Thereza Alves • Coco Fusco • Binelde Hyrcan • Thiago Martins de Melo • Susana Pilar Delahante Matienzo
FEATURED PERFORMANCES iQhiya • Elizabet Cerviño • Ângela Ferreira’s Wattle and Daub with vocals by Lizette Chirrime*
Curated by Renato Silva and Lara Koseff
In the second edition of our South-South series, Goodman Gallery presents Let me begin again, an exhibition drawing parallels between artists from the Global South, whose work is situated within and beyond the afterlife of political revolution. The show looks at cross- cultural influence and divergence – both historical and recent – between countries such as Cuba, Brazil, South Africa and Angola, as well as other regions such as Mozambique, and Namibia; featured artists born in or living between these countries or in the diaspora.
Let me begin again considers a paradisal vision of race and class equality, and autonomy from Western domination, championed in the mid- to late 20th century. It is rooted in an intersection and unravelling of ideologies that emerged after revolution in Cuba, the end of military dictatorships in other parts of Latin American and independence in Africa, building up to the end of apartheid in the 1990s. The exhibition explores notions of freedom and control; artists revising and recalling historical moments, and challenging instability, yet sometimes embracing flux, in ways that are divergent from, but still linked to, political movements.
In July 1991, Nelson Mandela, president of the African National Congress (ANC) at the time, and Fidel Castro, then president of Cuba, spoke together on the same platform in Havana. Mandela was on a tour of Latin America, but his visit to Cuba marked an important moment for both world leaders. This interaction reflected Cuba’s mission of internationalism in the Global South; its support of African independence and involvement in the Angolan Civil War, which Mandela attributed as directly leading to the unbanning of the ANC. “The decisive defeat of the aggressive apartheid forces [in Angola] destroyed the myth of the invincibility of the white oppressor,” Mandela said. Both Mandela and Castro spoke of the emancipation of the poor and the rightless. Castro exclaimed persistently, “How far we slaves have come!” On reflection, these were distinct leaders from regions emerging from and moving towards different socio-political realities. But they were also converging on a conviction of equality; finding common ground in evoking the power of what Ernesto Che Guevara called – in reference to the strength of the masses – the human tide. Yet at the time, while victories such as free and quality health care and education were celebrated, the disappointments of transition where becoming palpable in Cuba – which in the early 1990s was deep in economic crisis due to the dissolution of the Soviet Union. And in Brazil, profound yet often concealed wounds were still only very slowly being revealed. Following Cuba, Mandela visited Brazil in August 1991, in efforts to seek continued sanctions in support for the end of apartheid. While there Mandela stated, “I have the feeling of being at home,” but was taken aback by the nuances of racial politics, and the latent and often clouded racial discrimination that lingered despite the transition into democracy.
Rereading this meeting of minds now – 25 years later, with dreams further deferred, tenuous diplomatic breakthroughs between enemy states, dissident voices, state control, unfinished projects, presidents on trial, lingering mass inequality and institutional racism, as well as looming neo-colonialism, is revealing and disheartening. While the world seemed to stop after the death of Mandela – his critics emerging mainly from South African – it was at odds over Castro’s more recent obituary, and his very polarising legacy. In a time when the Western world is again seeing the rise of the extreme right, the Global South appears to be grappling with the ideals, victories, as well as conflicting narratives and setbacks of the revolutionary left. Within this context of emerging economies and racially diverse societies, seems to be a need not only to move forward, but to revise and reconsider where we came from, to recover what has been lost.
This show comes 20 years after pivotal exhibitions such as Memorias Intimas Marcas – initiated by Fernando Alvim, in collaboration with Gavin Younge and Carlos Garaicoa, which looked at the residue of trauma caused by the Angolan Civil War – and the 2nd and last Johannesburg Biennale, curated by Okwui Enwezor, which unusually for the international art world at the time included many artists from the Global South. Now, this edition of South-South reflects on how the ideologies that were being embraced in the 1990s have unfolded or collapsed in quieter, contemplative moments, but are also being reignited or challenged in new instances of heated rupture.
Let me begin again offers a deferential plea to unearth the forgotten; rethink the misrepresented or misunderstood; confront the seemingly irreversible; tackle unfinished projects and traverse unending beginnings. Featured artists embody a variety of divergent socio-political stances and, in some cases, markedly or seemingly apolitical ones. But in each instance is the sensation of – or a call for – reinvention, renewal or adaptation, from historiography to processes of working.
Let me begin again follows The Poetry in Between: South-South, the first edition in the series in 2015, which focused on Brazil and South Africa in particular.
Goodman Gallery Cape Town
29 October – 7 December 2016
Kudzanai Chiurai • Nolan Oswald Dennis • Gabrielle Goliath • Haroon Gunn-Salie • Kiluanji Kia Henda • David Koloane • Moshekwa Langa • Gerhard Marx • Tracey Rose • Thabiso Sekgala • Jeremy Wafer
Goodman Gallery Cape Town’s group show Where We Are is a partner exhibition to Africans in America at Goodman Gallery Johannesburg and the Johannesburg Art Gallery. Where We Are offers a counter conversation to Africans in America, which explores the shifts in perspective that are occurring among a new generation of artists from Africa and the Americas as they transverse between the two. The Cape Town exhibition presents work by African artists within Africa – many of whom are still based in their country of origin – as opposed to working in the context of the diaspora.
The artists’ practice has either been rooted in or constantly drawn back to their places of origin – whether circumstantially or deliberately. Place is an inherent locus of the exhibition observable in a multitude of expressions, including map-making, borders, urban landscapes, migration and monuments.
Where We Are is a precursor to a larger exhibition that will take place in New York in 2017. It serves as a series of questions, interrogating history, geography and memory, both personal and collective. The artists examine the systems of place that define the daily lives and recent histories of people across the continent and find them wanting, resulting in many attempts at re-imagining. In the proposal of ideals and alternatives, the status quo is indicted and the past held accountable, as we attempt to understand where we are, how we got here and how to move forward.
Housed in an edifice of large wooden shipping crates, Angolan artist Kiluanji Kia Henda’s video installation Concrete Affection – Zopo Lady references the mass exodus of Luanda’s inhabitants after Angola’s independence from Portugal’s colonial rule in 1975. The cityscape becomes a vivid fabric of motion and colour in an expansive drawing by David Koloane, for whom the city of Johannesburg is a muse.
Gabrielle Goliath’s chilling audio installation, Roulette, points to a defining feature of South Africa – the ever-present threat of violence. A stream of amplified static is punctured by a point-blank recording of a gunshot once every six hours (the damaging effects of which the participant is warned about before listening) – bringing to life femicide statistics showing that every six hours a woman in South Africa is killed by an intimate or ex-intimate partner, one of the highest rates in the world. Rather than confront the violence head-on, two photographs by the late Thabiso Sekgala look beneath the surface at the devastation in the mining towns of Rustenburg and nearby Marikana.
Drenched in red, Haroon Gunn-Salie’s sculptures of dismembered hands cast from public statues of Captain Carl von Brandis, Johannesburg’s first magistrate, and Portuguese explorer Bartolomeu Dias are a powerful indictment of colonialist expansion. Zimbabwean artist Kudzanai Chiurai engages in a similar re-contextualisation of colonial imagery in his Genesis series, which takes as a departure point stone reliefs commemorating the expeditions of David Livingstone and counters them by imagining an Africa reconnected with its rich traditional past. Tracey Rose also subverts historical assumptions of whiteness by recasting the role of the messiah as a challenge to canonical religious iconography.
The ideas of land and memory are central to Nolan Oswald Dennis’ triptych, which contains extracts from Wikipedia entries for the term “Azania” and points to the limits of and Western bias still so prevalent in human encyclopedic knowledge.
Jeremy Wafer explores the arbitrariness of the physical barriers and boundaries that define country, specifically the demarcation between Mozambique and South Africa. Similarly, Gerhard Marx deconstructs the borders defined in mapping to question notions of territory and the place of the human in the abstracted aerial view.
The abstraction of the landscape is taken to its end point in Moshekwa Langa’s work, an expressive evocation of distance and horizon offering a personal perspective on migration, loss of place and the bittersweet experience of return.
The exhibition includes a video programme hosted in Goodman Gallery Cape Town’s new street-level video room on Sir Lowry Road, echoing the thematic content of Where We Are with a focus on the individual as an anchor to place.
Goodman Gallery Johannesburg
4 June – 6 August 2016
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery’s history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery’s history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery’s ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world’s most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery’s programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery’s transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
Goodman Gallery Cape Town
23 May – 18 July 2015
ruby onyinyechi amanze, Ghada Amer, Candice Breitz, Virginia Chihota, Ivy Chemutai Ng’ok, Otobong Nkanga, Nkiru Oparah, Tracey Rose, Adejoke Tugbiyele, Mickalene Thomas, Kara Walker, Arlene Wandera, Ellen Gallagher
Speaking Back seeks to reveal deeply significant dimensions of culture and subjectivity, history and struggle, by bringing women together as diverse artists to find out what each in her artistically signified yet gendered/racial/sexual/cultural singularity is offering to the world, to us all. It seeks to attain a more complete knowledge of that world, as it is lived, from multiple positions over time and space.
We have a tendency in exhibitions of work by women to generalise the artists as merely exemplars of a gendered collective: women, a sexualising nomination by which they are, as a category lumped together, their singularity annulled. While the exhibition makes space – conceptually and physically – for women artists, it embraces the potential of aesthetic practice to bring forward the singularity of each person and the variations in her specific symbolic capacities. If there are any generalisations to be made, it could be said that Speaking Back, prioritises narration – the use of particularly chosen aesthetic practices to convey a story to an audience. Not just as storytelling, but as speaking authentically, with vulnerability and strength, about who we are, and about the power of narration and its endless possibilities for reinvention.
Presented for the first time in South Africa, Ellen Gallagher is an acclaimed artist who, starting in the mid-1990s, has united various media with a range of subject matter to explore the place, and places, of African Americans. In Odalisque (2005), one of the artworks in the exhibition, Gallagher takes a photograph by Man Ray of Matisse, substitutes Freud’s head for that of Matisse’s and gives the model who is being drawn (and whose dress suggests that she is from that most sexualised and most sexually unequal context, the harem) the artists own face. Like the artist staring back at him from a reclining body, we confront the image of a great narrator of the universal psychic world attempting – it would appear with some awkwardness – to draw, and hence represent, an individual reality. Odalisque prompts us to consider what we can and cannot represent about others and ourselves.
In another instance, Virginia Chihota’s stunning screen prints urge us to reconsider not only the lives and strategies of individual artists but also the circumstances in which African diasporic female identity, visibility, and history have been produced and transformed. Her obsessive re-exploration of themes, such as, marriage and motherhood is transformed into a body of works that is striking in its symbolic resonance, and rife with allusions to everyday life, and religious and folkloric symbolism. In the series, root of the flower we do not know (mudzi weruva ratisingazive, 2014) our encounter with Chihota is dominated by the black female figure she insistently imagines, demonstrating a method of representing the self differently while exercising her right and desire to confirm and consolidate her identity as artist and her experience as female.
Adejoke Tugbiyele’s multimedia aesthetic practice offers a different take on sexual identity and political freedom –an issue all too familiar to South African audiences through the work of local artists and political activists. Tugbiyele is an emerging Nigerian-American artist and activist who spent her formative years growing up in Lagos, Nigeria. Her series of drawings, inspired by the journalistic fervour in Lagos during the passing of Nigeria’s anti-gay laws in 2014, draws attention to the self-righteous moralising inherent in contemporary media narratives surrounding the bill and her conceptual sculpture, Unpray the Flesh (2013) investigates religious complicity in the persecution of marginalised groups through the conjoining of religious symbolism with phallocentric worship. In AfroOdyssey V: Demons Contained, a performative video piece, Tugbiyele delves into her own sexual identifications and the narrative ramifications of ‘coming out,’ for familial and cultural histories.
New York-based artist Mickalene Thomas is best known for her elaborate paintings composed of rhinestones, acrylic and enamel which articulate complex visions of what it means to be a woman and expands stereotypical definitions of beauty. Her film about her mother, former fashion model Sandra Bush, demonstrates her ongoing engagement with portraiture as a key to personal and cultural identity. In the process of this extraordinary film, Thomas reveals the complex role of the mother-daughter bond for each woman’s sense of self. Internationally renowned, Otobong Nkanga employs traces of memory and human activity as the sounding board for narration and ‘the performative’ in her work that negotiate the cycle of art between the aesthetic realm of display and a strategies of de-sublimation that push the status of the artwork as contingency. In her artist book, No Be One Story O! (2010) Nkanga makes a radical artistic departure into the realm of literature itself. Based on a series of earlier drawings, Filtered Memories that represent select childhood and adolescent memories of the artist, the book explores the consequences of memory and, simultaneously, the defamiliarisation of the art object.
Speaking Back suggests and invites an encounter with expanded methods of cultural inquiry and the heterogeneity and creativity of contemporary art in the work of the above-mentioned artists as well as that of Ruby Onyinyechi Amanze, Ghada Amer, Candice Breitz, Tracy Rose, Ivy Chemutai Ng’ok, Nkiru Oparah, Kara Walker, and Arlene Wandera.
This March, Goodman Gallery Cape presents a group exhibition of work in a wide range of media. Titled Editions, the show brings together photographs, sculpture, video/multimedia works, lithographs, linocuts and photogravures by a variety of South African and international artists, with the common thread that each work forms part of an edition.
Kudzanai Chiurai shows a new film from his Conflict Resolution series, last seen at Documenta 13 in Kassel, Germany, as well as a new photograph from the same body of work. New prints by Gerhard Marx and Walter Oltmann find them engaging with etching, lithography and woodblock printing in new and exciting ways.
Alfredo Jaar’s photographs of Serra Pelada, an opencast gold mine dug by human hands in Brazil, are shown as color transparencies mounted in lightboxes, and sit in uneasy relation to Liza Lou’s Gather Forty, a sculpture made from gold-plated beads threaded and bound in a sheaf.
The exhibition also includes new prints by Clive van den Berg and Diane Victor; photographs from Candice Breitz’ recent Extra!, last seen at the Iziko South African National Gallery, and David Goldblatt’s characteristically quiet colour landscapes; and a portfolio of photolithography by Moshekwa Langa.
Also on show is the full series of Robert Hodgins’ experimental Officers and Gents, to coincide with the Wits Art Museum’s exhibition of his print archive; a selection of lithographs from Sam Nhlengethwa’s recent Conversations series; Mikhael Subotzky’s Don’t even think of it, a film made from a series of still photographs shot by the artist in 2004; and a set of 7 photogravures by William Kentridge titled Zeno Writing II.
Text by Adrienne Edwards
The significance of Lorraine O’Grady and Tracey Rose’s new show, an exhibit at Goodman Gallery Johannesburg of curated selections of their works from different periods in their careers, cannot be overstated. Titled Rose O’Grady, the show is a gift to artists, to South Africa, to the world. It is the first time that Lorraine O’Grady will exhibit in Africa. It is the first time that there will be an intergenerational and international dialogue between two important black female conceptual artists with performance-based practices. It is the first time that Rose’s dynamic work, presented on her home turf following her important retrospective at the Johannesburg Art Gallery, will be contextualised with that of an especially inspirational American pioneer.
What makes this truly unique is that O’Grady and Rose have multi-disciplinary practices, including video, photography, text, and installation, with performance at the core. The confluence of identity issues and contemporary life concerns are what have made performance as an artistic practice immensely relevant for them as they explore the binary complexity of their identity and address new agendas, completely unrestrained by tradition and convention. They both possess a profoundly deep understanding of and research in literature and art history, including Renaissance old masters, modernism, conceptual and performance art, and especially feminist art of the 1960s-1970s. Their work exists at the nexus of postmodern art movements, political discourse, sociological investigation, and historical narrative. O’Grady and Rose’s conceptual frameworks – which are deeply process driven, it typically taking years to develop a concept for a work – are centered on the development of characters and personas. These personas give physical form to their ideas as they create a variety of individuals or metaphorical beings: some are personal, some stereotypical, others historical. The personas serve to embody, transform, and use these women’s life experiences in order not to be held back, rendered powerless by them. Their aim is also to catalyse society, to clear the mental and moral barriers, allowing art to lurk in the midst of things, allowing the message to hang in the air, allowing it to permeate our collective conscious.
While the work spans over 30 years, one of the most striking aspects of this special collaboration, despite differences in age and geography, is the evolutionary pattern, a continuum that exists between these two artists. These bold, fearless, aggressive works are deeply and profoundly connected. O’Grady certainly had almost no references who shared a common life experience as her own when she began to make work. Rose and artists of her generation and those even younger, whether in South Africa or in the Caribbean or in the United States, absolutely do: there is O’Grady, Suzanne Cesaire, Ben Patterson, Adrian Piper, and David Hammons, among many others. What this show most importantly does is to convey that this brave work is not made in isolation and that it is overpoweringly relevant.
The exhibit presents the artists’ important early works, including performance stills from O’Grady’s Mlle Bourgeoisie Noire (1980-1983), and Rose’s Span I and Span II (1997) and Ciao Bella (2001). It also features photographs that reference and subvert public performance traditions or “parading” like the African American Day Parade in Harlem, New York City and the Cape Town Minstrel Carnival. O’Grady and Rose will each show thrilling new work in the show.
So starting this May, the initial rumblings of what ultimately will be a seismic shift in the global contemporary art world, will emerge as a proposition – indeed, a new persona, a merging of minds, aesthetics, voices, and experiences. She is Rose O’Grady.
Lorraine O’Grady is an artist and critic whose installations, performances, and texts address issues of diaspora, hybridity, and black female subjectivity. The New York Times in 2006 called her “one of the most interesting American conceptual artists around”. And in 2007 her landmark performance, Mlle Bourgeoisie Noire, was made one of the entry points to WACK! Art and the Feminist Revolution, the first-ever museum exhibit of this major art movement. Born in Boston in 1934 to West Indian parents, O’Grady came to art late, not making her first works until 1980. After majoring in economics and literature, she’d had several careers: as an intelligence analyst for the U.S. government, a successful literary and commercial translator, even a rock critic. Ultimately, her broad background contributed to a distanced and critical view of the art world when she entered it and to an unusually eclectic attitude toward artmaking. In O’Grady’s work, the idea tends to come first, and then a medium is employed to best execute it. Although its intellectual content is rigorous and political, the work is generally marked by unapologetic beauty and elegance.
Tracey Rose was born in 1974 in Durban, and currently lives and works in Johannesburg, South Africa. She received her B.A. in Fine Arts from the University of the Witwatersrand, Johannesburg, in 1996, and earned a Masters of Fine Arts from Goldsmiths College, University of London, UK, in 2007. In 2006, she was named one of the 50 greatest cultural figures coming out of Africa by The Independent newspaper in London. Rose has had solo presentations in South Africa, as well as in Europe and the Americas, has been featured in major international events such as the Venice Biennale in 2001 and her work has been included in seminal exhibitions such as Snap Judgments: New Positions in Contemporary African Photography and Africa Remix. Tracey Rose: Waiting for God, the artist’s mid-career retrospective, was recently held at the Johannesburg Art Gallery. The exhibition was co-produced with Bildmuseet, Umeå University, Sweden, where it will be presented in September 2011.
Adrienne Edwards works with Performa, the visual art performance biennial. She has a thriving intellectual practice focused on conceptual and performance art, and is pursuing a graduate degree at New York University in Performance Studies.
Tracey Rose was born in 1974 in Durban, and currently lives and works in Johannesburg, South Africa. She received her B.A. in Fine Arts from the University of the Witwatersrand, Johannesburg, in 1996, and earned a Masters of Fine Arts from Goldsmiths College, University of London, UK, in 2007. In 2006, she was named one of the 50 greatest cultural figures coming out of Africa by The Independent newspaper in London, UK. Rose has had solo presentations in South Africa, as well as in Europe and the Americas, has been featured in major international events such as the Venice Biennale in 2001 and her work has been included in seminal exhibitions such as Snap Judgments: New Positions in Contemporary African Photography and Africa Remix. Tracey Rose: Waiting for God, the artist’s mid-career retrospective, was held at the Johannesburg Art Gallery in 2011. The exhibition was co-produced with Bildmuseet, Umeå University, Sweden, where it traveled to in September 2011.
2017 Limerick City Art Gallery, Limerick, Ireland
2016 False Flag, Art Parcours, Art Basel, Basel, Switzerland
2015 Lassooing with the Post Colonial Pirates, Dan Gunn, Berlin, Germany
2014 (x), Reina Sofía Museum, Madrid, Spain
2011 Waiting for God , Bildmuseet, Umeå University, Sweden
2011 Rose O’Grady (with Lorraine O’Grady), Goodman Gallery Johannesburg, Johannesburg, South Africa
2011 Waiting for God , Johannesburg Art Gallery, Johannesburg, South Africa
2009 Raison d’être , Espace doual´art, Douala
2008 The Cockpit , MC Kunst, Los Angeles, CA, USA
2008 Plantation Lullabies , Goodman Gallery, Johannesburg, South Africa
2007 Tracey Rose, The Project, New York City, NY, USA
2006 ¿Le molesta que dé de pecho aqui?, Polvo, Chicago, USA
2006 Imperfect Performance: A tale in two states , Moderna Museet, Stockholm, Sweden
2004 The Thieveing Fuck and the Intagalactic Lay , Goodman Gallery, Johannesburg, South Africa
2004 Lucie’s Fur , The Project, New York, USA
2003 Ciao Bella , Gallery in the Round, Grahamstown, South Africa
2002 TKO, Yvon Lambert Le Studio, Paris, France
2002 The Project, New York, USA
2002 Ciao Bella , Goodman Gallery, Johannesburg, South Africa
2001 La Panaderia (with Uri Tzaig), Mexico City, Mexico
2000 00.1 TKO , ArtPace, San Antonio, Texas, USA
2000 The Project, New York, USA
2000 Goodman Gallery, Johannesburg, South Africa
2017 Documenta 14, Athens, Greece
2017 Documenta 14, Kassel, Germany
2016 Where We Are, Goodman Gallery, Cape Town, South Africa
2016 Art Basel 2016, Art Basel Parcours, Basel, Switzerland
2015 The San Juanita: Re-examining Borders, American Museum of Chicago, Chicago, USA
2015 Speaking Back, Goodman Gallery, Cape Town, South Africa
2015 SGUARDO DI DONNA / Through Womens’ Eyes, Casa dei Tre Oci, Venice, Italy
2015 Album de Familia, Centro Cultural Helio Oiticia, Rio de Janeiro, Brazil
2015 Homosexuality-ies, Schwules Museum Berlin, Germany
2013 My Joburg , La Maison Rouge , Paris, France
2012 Paradise Now , curated by Cis Bierinckx, Beursschouwburg Art Centre, Brussels, Belgium
2012 Conjurations Profanes , Musée du quai Branly, Paris, France
2011 11th Biennale de Lyon, France
2011 _ Re)Constructions: Contemporary Art from South Africa_ , Museu de Arte Contemporanea de Niteroi (MAC), Brazil
2011 Nasher Museum of Art at Duke University, USA
2010 FINE ART 2010, ARTCO Galerie GmbH, Herzogenrath, Germany
2010 An unspardonable sin, castillo/corrales, Paris, France
2010 Afro Modern. Journeys through the Black Atlantic, CGAC, Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain
2010 Disidentification, Göteborgs Konsthall, Göteborg, Sweden
2010 Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, Liverpool (England)
2009 ARTCO – FINE ART, ARTCO Galerie GmbH, Herzogenrath, Germany
2009 Adding Substractions, Bag Factory, Johannesburg, South Africa
2009 Gechichte/n Verwahren, Galerie IG Bildende Kunst, Vienna, Austria
2009 Rebelle – Kunst & Feminisme 1969–2009, Museum voor Moderne Kunst Arnhem – MMKA, Arnhem, Germany
2008 Cinema Remixed & Reloaded: Black Women Artists and the Moving Image since 1970 Contemporary Arts Museum Houston, Houston, TX, USA
2008 Snap Judgments, Stedelijk Museum Amsterdam, Amsterdam, Netherlands
2008 The Left Hand Of Darkness, The Project, New York City, NY, USA
2008 Snap Judgments: New Positions in Contemporary African Photography, Brooks Museum of Art, Memphis, TN, USA
2008 DIALOGE – ARTCO Galerie GmbH, Herzogenrat, Germany
2007 Apartheid – The South African Mirror, CCCB, Centre de Cultura Contemporània de Barcelona, Barcelona, Spain
2007 Global Feminism, Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, USA
2007 Cinema Remixed and Reloaded (Part I), Spelman College Museum of Fine Art, Atlanta, GA, USA
2007 The Loaded Lens, Goodman Gallery Cape, Cape Town, South Africa
2007 Africa Remix, Contemporary art of a continent, Johannesburg Art Gallery (JAG), Johannesburg, South Africa
2007 1st Thessaloniki Biennale of Contemporary Art, Thessaloniki Biennale of Contemporary Art, Thessaloniki, Greece
2007 Lift Off Part II, Goodman Gallery Cape, Cape Town, South Africa
2007 TRANS CAPE, contemporary African art on the move, Trans Cape Africa, Cape Town, South Africa
2007 Global Feminisms, Brooklyn Museum of Art, New York City, NY, USA
2007 Critical Mass, Kritische Masse I, Kunsthalle Bern, Bern, Switzerland
2007 Juicios instantáneos, Museo Tamayo, Mexico City
2006 Perfect Performance, Moderna Museet, Stockholm, Sweden (catalogue)
2006 Memories of Modernity, Malmö, Sweden
2006 Nie Meer Nie, Belguim
2006 Don Giovanni, Kunsthalle Wein, Vienna, Austria (catalogue)
2006 Masquerade, Museum of Contemporary Art, Sydney, Australia (catalogue)
2006 Snap Judgments, International Centre of Photography, New York, USA (catalogue)
2006 Olvida quien soy, Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria (catalogue)
2005 David Exhibition, Michealangelo Towers, Johannesburg, South Africa (catalogue)
2005 Orientations and Illusions, prog:Me, Rio De Janeiro, Brazil (video banned)
2005 Fair Play, play gallery, Berlin, Germany
2005 Click, The Goodman Gallery, Johannesburg, South Africa
2005 The Project (with Jessica Rankin and Maria Elena González) , Los Angeles, USA
2005 African Queen, The Studio Museum Haarlem, New York, USA
2005 The Healers, The London School of Hygiene and Tropical Medicine, UK
2005 Africa Remix, The Haywood Gallery, London, UK; Centre George Pompidou, Paris, France
2005 Africa Remix, Mori Art Museum, Tokyo, Japan (catalogues)
2004 Horisonter, The Museum of World Cultures, Göteberg, Sweden (catalogue)
2004 Trouble, Le Grand Café, Centre d’Art Contemporain, Saint-Nazaire, France
2004 How to Resist, L.A. Freewaves, Museum of Contemporary Art, Los Angeles, USA
2004 Making Waves, Johannesburg Art Gallery, South Africa (brochure)
2004 Negotiated Identities: Black Bodies, Johannesburg Art Gallery, South Africa
2004 X, Stephen Lawrence Gallery, London, UK (brochure)
2004 Afrika Remix, museum kunst palest, Dusseldorf, Germany (catalogue)
2004 Double Vision, Worldwide Video Festival, Amsterdam, The Netherlands (catalogue)
2004 Seeds and Roots, The Studio Museum, New York, USA
2004 Tremor, Palais des Beaux-Arts, Charleroi, Belgium (catalogue)
2004 Decade of Democracy, South African National Gallery, Cape Town, South Africa (catalogue)
2004 Through the Looking Glass, Grahamstown, South Africa (catalogue)
2004 Coexistence, The Rose Art Museum, Brandeis University, Waltham, MA, USA
2003 Writing Identity, Galerie für Zeitgenössische Kunst, Leipzig, Germany
2003 The Squared Circle: Boxing in Contemporary Art, Walker Art Center, Minneapolis, USA (catalogue)
2003 Espacios Mestizos, Osorio, Gran Canaria (catalogue)
2003 Transferts, Palais des Beaux-Arts, Brussels, Belgium (catalogue)
2003 More Than a Thousand Words, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, NY, USA
2002 Playtime, Museum Afrika, Johannesburg, South Africa
2002 Suvivre á l’Apartheid, Maison Européenne de la Photographie, Paris, France (catalogue)
2002 Africaine, The Studio Museum, New York, USA
2002 Winterkabinet, Paraplufabriek (Umbrella Factory), Nijmegen, The Netherlands
2002 Goddess, Galerie Lelong, New York, USA
2001 The Project (with Grazia Toderi and Uri Tzaig), Los Angeles, USA
2001 A little bit of history repeated, Kunst-Werke, Berlin, Germany (catalogue)
2001 Projects for a Revolution, Mais de la Photo, Montreal, Canada (catalogue)
2001 The Hope I hope, Faces of Truth, Ayloul Festival, Beirut, Lebanon
2001 Aggressions, Espacio C, Carmargo, Spain (catalogue)
2001 PRO.(TEST).1, The Zone, Johannesburg, South Africa
2001 19th Worldwide Video Festival, Amsterdam, The Netherlands (catalogue)
2001 Plateaude l’humanite, 49 Esposizione Internazionale D’Arte la Biennale di Venizia, Italy (catalogue)
2001 In the meantime…, De Appel, Amsterdam, Netherlands (catalogue)
2001 Fresh: Artist in Residence, South African National Gallery, Cape Town, South Africa (monograph)
2000 Socialisme, Stockholm Art Fair, Stockholm, Sweden
2000 Mostra Africana de Arte Contemporanea, SESC Pompéia, SaoPaulo, Brazil (catalogue)
2000 Dakar Biennale, Dakar, Senegal (catalogue)
2000 South Meets West, Kunsthalle, Bern, Switzerland (catalogue)
1999 Videodrome, The New Museum, New York, USA
1999 Channel, South African National Gallery, Cape Town, South Africa
1999 Video Cult/ures, Zentrum Fúr Kunst and Medientechnologie (ZKM), Karlsruhe, Germany (catalogue)
1999 Dialog: Vice Verses, OK Centrum, Linz, Austria (catalogue)
1998 Triennale of Small Sculptures, SudwestLB Forum, Stuttgart, Germany (catalogue)
1998 Guarene, Fondiazione Sandretto per l’arte, Torino, Italy (catalogue)
1998 Democracy’s Images, Bildmuseet, Umea, Sweden (catalogue)
1998 Human Rights Day, Hillbrow Fort, Johannesburg, South Africa
1998 Dark Continent, Klein Karoo Nationale Kunstefees, Oudshoorn, South Africa
1997 Graft, Trade Routes History and Geography, 2nd Johannesburg Biennale, South African National , South Africa (catalogue)
1997 FNB Vita Awards, Sandton Civic Gallery, Johannesburg, South Africa, (catalogue)
1997 Cross/ings, Museum of Contemporary Art, Tampa, Florida, USA (catalogue)
1997 Purity & Danger, Gertrude Posel Gallery, Johannesburg, South Africa
1997 Top of Africa , 50 Stories (co-curator) , Carlton Centre, Johannesburg, South Africa
1996 Hitchhiker, Generator Art Space, Johannesburg, South Africa
1996 Scramble, Civic Theatre Gallery, Johannesburg, South Africa
2012 DAAD Artists-in-Residence Programme, Berlin
2004 Jones, Kellie , TRACEY ROSE: POSTAPARTHEID PLAYGROUND , Ebsco Host Connection, Academic Journal
Press for Tracey Rose
Tracey Rose / Mail & Guardian / South Africa / June 19 to 25 2015Show talks back to race By Stefanie Jason (7.4 MB)
Tracey Rose / Okay Africa / Africa / 1 June 2015Women In Art From Africa & The Diaspora: ‘Speaking Back’ On View At Cape Town’s Goodman Gallery By Chaze Matakala (428.4 KB)
Tracey Rose / Financial Times / New York / 27 March 2015Performance artist Tracey Rose focused on leaving a legacy By Liz Bolshaw (122.7 KB)