Paris Photo 2012

Mikhael Subotzky

Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose film, video and photographic works are concerned with the structures of narrative and representation, as well as the relationship between social storytelling and the formal contingencies of image making.

Subotzky’s first body of photographic work, Die Vier Hoeke (The Four Corners), was an in-depth study of the South African penal system. Umjiegwana (The Outside) and Beaufort West extended this investigation to the relationship between everyday life in post-apartheid South Africa and the historical, spatial, and institutional structures of control. Beaufort West (Chris Boot, 2008) was Subotzky’s first monograph and the series was included in the exhibition New Photography 2008: Josephine Meckseper and Mikhael Subotzky at the Museum of Modern Art (New York, 2008).

The exhibition Retinal Shift was produced by Subotzky on the occasion of the Standard Bank Young Artist Award 2012 and toured South Africa’s major museums. Retinal Shift includes two large photographic and video installations that critically engage with the artist’s own ambivalence towards the processes of representation and image construction. Retinal Shift (Steidl, 2012) was published to accompany the exhibition.

Retinal Shift also includes Subotzky’s first major film installation, Moses and Griffiths 2012, which uses four screens to narrate the contrasting and conflicting institutional and personal histories of two seventy-year-old tour guides in the small South African town of Grahamstown. Moses and Griffiths has subsequently been exhibited at Palais de Tokyo (Paris, 2013) Yale Art Gallery (New Haven, 2014) and Art Unlimited (Basel, 2014).

A third monograph, Ponte City (Steidl, 2014) is the product of a six-year collaboration with the British artist Patrick Waterhouse. This project focuses a single 54-story building that dominates the Johannesburg skyline. The building is cast as the central character in a myriad of interweaving narratives that, through photographs, commissioned texts, historical documents, and urban myths, chart the convoluted histories of both the building and Johannesburg itself. The Ponte City exhibition, which consists of a single installation of thousands of photographs and documents, has been exhibited at the Scottish National Portrait Gallery (Edinburgh, 2014), FoMU (Antwerp, 2014) and Le Bal (Paris, 2014). Excerpts from the series have been shown at the Liverpool (2012) and Lubumbashi (2013) Biennales, as well as the South African National Gallery (Cape Town, 2010). Ponte City has won the 2015 Deutsche Borse Photography Prize.

Show ‘n Tell was initiated while on residency at the Musée MAC/VAL (Paris, 2013). This body of work looks to the relationship between images, the various instruments of their construction, and both the politics and physiology of their reception. Pixel Interface, a multi-component video installation from this body of work was included in All The World’s Futures, the main exhibition curated by Okwui Enwezor at the 56th Venice Biennale. WYE, Subotzky’s first fictional film installation, was commissioned by the Sherman Contemporary Art Foundation (Sydney) and premiered there in March 2016. Yellow Bile (or Work in Progress), his first exhibition of paintings and performance, took place at Maitland Institute in September 2017.

Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), the San Francisco Museum of Modern Art and the South African National Gallery, among others.

David Goldblatt

David Goldblatt (1930 – 2018) was born in Randfontein, a small mining town outside of Johannesburg, South Africa. Through his lens, South African he chronicled the people, structures and landscapes of his country from 1948, through the rise of Afrikaner Nationalism, the apartheid regime and into the democratic era – until his death in June, 2018. In particular, Goldblatt documented the people, landscapes and industry of the Witwatersrand, the resource-rich area in which he grew up and lived, where the local economy was based chiefly on mining. In general, Goldblatt’s subject matter spanned the whole of the country geographically and politically from sweeping landscapes of the Karoo desert, to the arduous commutes of migrant black workers, forced to live in racially segregated areas. His broadest series, which spans six decades of photography, examines how South Africans have expressed their values through the structures, physical and ideological, that they have built.

In 1989, Goldblatt founded the Market Photography Workshop, a training institution in Johannesburg, for aspiring photographers. In 1998 he was the first South African to have a solo exhibition at the Museum of Modern Art in New York. In 2001, a retrospective of his work, David Goldblatt Fifty-One Years began a tour of galleries and museums. He was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. He has held solo exhibitions at the Jewish Museum and the New Museum, both in New York. His work was included in the exhibition ILLUMInations at the 54th Venice Biennale in 2011, and has featured on shows at the San Francisco Museum of Modern Art and Barbican Centre in London. In 2017, Goldblatt installed a series of portraits from his photographic essay Ex-Offenders in former prisons in Birmingham and Manchester. The portraits depict men and women, from South African and the UK, at the scene of their crimes, with accompanying texts that relate the subjects’ stories in their words. In the last year of his life, two major retrospectives were opened at Centre Pompidou in Paris, and the Museum of Contemporary Art in Sydney. The Goldblatt Archive is held by Yale University, in New Haven, Connecticut.

Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award, the 2013 ICP Infinity Award and in 2016, he was awarded the Commandeur des Arts et des Lettres by the Ministry of Culture of France.