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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.

Artworks

Chromogenic print
Work: 56 x 84 cm
Hard ground etching
Paper: 31 x 35 cm
Unavailable
Hard ground etching
Paper: 31 x 35 cm
Unavailable
Lithographic Print
Work: 64 x 45 cm
Unavailable
Lithographic Print
Work: 64 x 45 cm
Unavailable
Bronze
67 x 51 x 41cm
Unavailable
Bronze
67 x 51 x 41cm
Unavailable
Chromogenic print
Work: 56 x 84 cm Frame: 63 x 91 x 3.5 cm
Unavailable
Hard ground etching
Paper: 31 x 35 cm
Unavailable
Hard ground etching
Paper: 31 x 35 cm
Unavailable
Lithographic Print
Work: 64 x 45 cm
Unavailable
Lithographic Print
Work: 64 x 45 cm
Unavailable
Offset lithograph
Work: 200 x 106 cm Frame: 215 x 119 x 6 cm
Gold plated beads, stainless steel
25 x 12 cm / 9.84 " x 4.72 "
Gold plated beads, stainless steel
25 x 12 cm / 9.84 " x 4.72 "
Chromogenic Print
56 x 84cm
Unavailable
Hard ground etching
Image: 14.7 x 20.8 cm Work: 35 x 31 cm Frame: 43.5 x 39.5 x 4.5 cm
Unavailable
Hard ground etching
Image: 14.7 x 20.8 cm Work: 35 x 31 cm Frame: 43.5 x 39.5 x 4.5 cm
Unavailable
Lambda Photograph
Work: 123 x 123 cm Frame: 128 x 128 x 5 cm
Unavailable
Lambda Photograph
Work: 123 x 123 cm Frame: 128 x 128 x 5 cm
Unavailable
Lightbox with color transparency
102 x 153 x15 cm
Unavailable
Mohair Tapestry Edition of 6
275 x 306 cm
Mohair Tapestry Edition of 6
275 x 306 cm
Lithographic Print
Work: 64 x 45 cm
Unavailable
Light box with color transparency
102 x 153 x 15 cm
Unavailable
Lambda Photograph
Work: 128 x 128 cm
Unavailable

About

David Goldblatt image

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.

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Clive van den Berg image

Clive van den Berg

Clive van den Berg (b. 1956, Zambia) is an artist, curator and designer, who works on his own and in collaboration with colleagues in a collective called trace, whose primary activities are the development of public projects. He has had several solo exhibitions in South Africa, and his work is regularly exhibited abroad. His public projects have included the artworks for landmark Northern Cape Legislature and, since he has joined the trace team, museum projects for the Nelson Mandela Foundation, Constitution Hill, Freedom Park, the Workers Museum, The Holocaust and Genocide Centre and many other projects.

Van den Berg has much experience working on large-scale institutional projects with teams representing diverse constituencies: urban planners and policy makers, architects, landscape designers, museum curators, historians, community liaison officials and representatives of local and national governments. In the Northern Cape, for example, where he worked with the Luis Ferreira da Silva architects, he pioneered a new strategy for integrating forms of the local landscape and indigenous aesthetics into the overall building design, while also training local artisans as part of a skills transference project aimed at long-term sustainability. The result is a world-renowned and uniquely South African state edifice: a monument to the people of the Northern Cape.

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William Kentridge image

William Kentridge

William Kentridge (b.1955, South Africa) is internationally acclaimed for his drawings, films, theatre and opera productions.

Kentridge’s work is held in collections including MoMA, New York; Tate Modern, London; Centre Pompidou, Paris; Haus der Kunst, Munich; Sharjah Art Foundation, Sharjah; National Museum of Modern Art, Kyoto; Guggenheim, Abu Dhabi and Zeitz MoCAA, Cape Town.

Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022. In the same year Kentridge opened another major survey exhibition, In Praise of Shadows, at The Broad, Los Angeles. In 2023 this exhibition travelled to the Museum of Fine Arts, Houston.

Kentridge’s work has been seen in museums across the globe since the 1990s, including the Museum of Modern Art, New York; Albertina Museum, Vienna: Musée du Louvre in Paris, National Museum of Modern and Contemporary Art, Korea; Reina Sofia museum, Madrid, Kunstmuseum in Basel; and Norval Foundation in Cape Town. The artist has also participated in biennale’s including Documenta in Kassel (2012, 2002,1997) and the Venice Biennale (2015, 2013, 2005, 1999, 1993).

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Candice Breitz image

Candice Breitz

Candice Breitz (b. 1972, Johannesburg, South Africa) is an artist whose moving image installations have been shown internationally. Throughout her career, Breitz has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community, be that community the immediate community that one encounters in family, or the real and imagined communities that are shaped not only by questions of national belonging, race, gender and religion but also by the increasingly undeniable influence of mainstream media such as television, cinema and popular culture. Most recently, Breitz’s work has focused on the conditions under which empathy is produced, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity.

Solo exhibitions of Breitz’s work have been hosted by the Kunstmuseum Bonn (Germany), Kunstmuseum Stuttgart, National Gallery of Canada (Ottawa), San Francisco Museum of Modern Art, Kunsthaus Bregenz, Palais de Tokyo (Paris), The Power Plant (Toronto), Louisiana Museum of Modern Art (Humlebæk), Modern Art Oxford, De Appel Foundation (Amsterdam), Baltic Centre for Contemporary Art (Gateshead), MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), Moderna Museet (Stockholm), Castello di Rivoli (Turin), Pinchuk Art Centre (Kyiv), Centre d’Art Contemporain Genève, Bawag Foundation (Vienna), Temporäre Kunsthalle Berlin, White Cube (London), MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain), Wexner Center for the Arts (Ohio), O.K Center for Contemporary Art Upper Austria (Linz), ACMI / The Australian Centre for the Moving Image (Melbourne), Collection Lambert en Avignon, FACT / Foundation for Art & Creative Technology (Liverpool), Blaffer Art Museum (Houston) and the South African National Gallery (Cape Town). 

Selected group exhibitions include South Africa: the art of a nation (British Museum, London, 2016), Laughing in a Foreign Language (The Hayward, London, 2008), The Cinema Effect (Hirshhorn Museum + Sculpture Garden, Washington, D.C., 2008), Made in Germany (Kunstverein Hannover, 2007), Superstars (Kunsthalle Wien, 2005), CUT: Film as Found Object (Museum of Contemporary Art, North Miami, 2004), Continuity + Transgression (National Museum of Modern Art, Tokyo, 2002), Thank You for the Music (Kiasma Museum of Modern Art, Helsinki, 2012), Rollenbilder – Rollenspiele (Museum der Moderne Salzburg, 2011), Performa (New York, 2009), Contemporary Outlook: Seeing Songs (Museum of Fine Arts, Boston, 2009), Remix: Contemporary Art and Pop (Tate Liverpool, 2002) and Looking at You (Museum Fridericianum, Kassel, 2001).

Breitz has participated in biennales in Johannesburg (1997), São Paulo (1998), Istanbul (1999), Taipei (2000), Kwangju (2000), Tirana (2001), Venice (2005, 2017), New Orleans (2008), Göteborg (2003 + 2009), Singapore (2011) and Dakar (2014). Her work has been featured at the Sundance Film Festival (New Frontier, 2009) and the Toronto International Film Festival (David Cronenberg: Transformation, 2013).

Her work has been acquired by museums including the Museum of Modern Art,the Solomon R. Guggenheim Museum, the Jewish Museum (in New York), Louisiana Museum of Modern Art (Humlebæk), San Francisco Museum of Modern Art, the National Gallery of Canada (Ottawa), Städtische Galerie im Lenbachhaus (Munich), Art Gallery of Ontario (Toronto), FNAC / Fonds national d’art contemporain (France), Castello di Rivoli (Turin), Hamburger Kunsthalle (Hamburg), M+ / Museum of Visual Culture (Hong Kong), Milwaukee Art Museum, Kunstmuseum St. Gallen, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), MUSAC / Museo de Arte Contemporáneo de Castilla y León (León, Spain), Kunstmuseum Lichtenstein (Vaduz), MONA / Museum of Old and New Art (Tasmania), QAG GOMA / Queensland Art Gallery (Brisbane), Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome).
Breitz holds degrees from the University of the Witwatersrand (Johannesburg), the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s Le Pavillon residency as a visiting artist during the year 2005-2006. She has been a tenured professor at the Hochschule für Bildende Künste in Braunschweig since 2007.

Candice Breitz lives and works between Cape Town, South Africa and Berlin, Germany. 

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Brett Murray

Brett Murray studied at the University of Cape Town where he was awarded his Master’s of Fine Arts degree in 1988 with distinction. The title of his dissertation is ‘A Group of Satirical Sculptures Examining Social and Political Paradoxes in the South African Context’. As an undergraduate he won Irma Stern Scholarships in both 1981 and 1982. He won the Simon Garson Prize for the most Promising student in 1982 and was awarded the Michaelis Prize in 1983. As a postgraduate student he received a Human Sciences Research Council bursary, a University of Cape Town Research Scholarship, the Jules Kramer Grant and an Irma Stern Scholarship.

He has exhibited extensively in South Africa and abroad. From 1991 to 1994 he established the sculpture department at the University of Stellenbosch, where he curated the show ‘Thirty Sculptors from the Western Cape’ in 1992. In 1995 he curated, with Kevin Brand, ‘Scurvy’, at the Castle of Good Hope in Cape Town. That year he co-curated ‘Junge Kunst Aus Zud Afrika’ for the Hänel Gallery in Frankfurt, Germany.

In 1999, Brett co-founded, with artists and cultural practitioners Lisa Brice, Kevin Brand, Bruce Gordon, Andrew Putter, Sue Williamson, Robert Weinek and Lizza Littlewort, ‘Public Eye’, a Section 27 company that manage and initiate art projects in the public arena with the aims to develop a greater profile for public art in Cape Town. They have initiated projects on Robben Island, worked with the cities health officials on aids awareness campaigns and initiated outdoor sculpture projects including ‘The Spier Sculpture Biennale’. He curated ‘Homeport’ in 2001 which saw 15 artists create site specific text based works in Cape Town’s waterfront precinct. Public Eye have interfaced with cultural funding bodies as consultants and hosted multi-media events across the city.

Murray was included on the Cuban Biennial of 1994, and subsequently his works where exhibited at the Ludwig Museum of Contemporary Art in Germany. He was included on the group show, ‘Springtime in Chile’ at the Museum of Contemporary Art in Santiago, Chile. He was also part of the travelling show ‘Liberated Voices, Contemporary Art From South Africa’ which opened at the Museum for African Art in New York in 1998. His work formed part of the shows ‘Min(d)fields’ at the Kunsthaus in Baselland, Switzerland in 2004 and ‘The Geopolitics of Animation‘ at the Centro Andaluz de Arte Contemporaneo in Seville in Spain in 2007. He won the Cape Town Urban Art competition in 1998 that resulted in the public work ‘Africa’, a 3.5 metre bronze sculpture, being erected in Cape Town’s city centre. He won, with Stefaans Samcuia, the commission to produce an 8 × 30 meter wall sculpture for the foyer of the Cape Town International Convention Centre in 2003. In 2007 he completed ‘Specimens’, a large wall sculpture for the University Of Cape Town’s medical school campus. In 2011 he produced the public artwork ‘Seeds’ for The University of Bloemfontein and in 2013 he was commissioned to produce the 7 meter bronze ‘Citizen’ for the Auto & General Park in Johannesburg.

His solo shows include: ‘White Boy Sings the Blues’ at the Rembrandt Gallery in Johannesburg in 1996, ‘I love Africa’ at the Bell-Roberts Gallery in Cape Town in 2000, ‘Us and Them’ at the Axis Gallery in New York in 2003 and ‘Sleep Sleep’ at the Goodman Gallery in Johannesburg in 2006. His solo show, ‘Crocodile Tears’, was held at both the Cape Town and Johannesburg branches of The Goodman Gallery in 2007 and 2009. His recent show, ‘Hail To The Thief’, was first held at the Goodman Gallery in Cape Town in 2010, and then at the Goodman Gallery in Johannesburg in 2012. He was nominated as the Standard Bank Young Artist of the year in 2002.

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Robert Hodgins image

Robert Hodgins

Robert Hodgins (b. 1920, Dulwich, England) became a Lecturer in 1954 at the School of Art, Pretoria Technical College, where he remained until 1962. Then he took up a position as Journalist and Critic for Newscheck magazine. Between 1966 and 1983 he was a Lecturer at the University of the Witwatersrand Fine Art Department. At the end of 1983 he retired to take up painting full-time.

Some Hodgins’ paintings convey a feeling of deep seriousness and sadness; the paintings depict a sense of confusion that many people experience. However Hodgins believed that being an artist is about creating something new, an artist perfects the art of ingeniously reinventing content within society.

“Being an artist is about putting something into your subject matter that isn’t inherently there,” wrote Hodgins in 2000. “You are not at the mercy of your subject matter, it’s the content, and what you put into it, what you do with it, what extract from it, and what you put it with, that is so exciting. If you are aware of this, then you begin to build on the content of your whole life. Before you know where you are, you’re already thinking about the next work, and you could live to be 300. Paintings can be one-night stands or lifetime love-affairs – you never know until you get cracking”

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Kudzanai Chiurai image

Kudzanai Chiurai

Kudzanai Chiurai (b. 1981, Zimbabwe)

Chiurai has held numerous solo exhibitions since 2003 and has participated in various local and international exhibitions, such as Figures & Fictions: Contemporary South African Photography (2011) at the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Now (2011) at the Museum of Modern Art in New York. Other notable exhibitions include The Divine Comedy: Heaven, Purgatory and Hell Revisited curated by Simon Njami at Museum für Moderne Kunst in Frankfurt (2014) and SCAD Museum of Art, Savannah USA (2015), as well as Art/Afrique, Le nouvel atelier (2017) at the Fondation Louis Vuitton in Paris, Regarding the Ease of Others (2017) at the Zeitz Museum of Contemporary Art Africa, Genesis [Je n’isi isi]- We Live in Silence at IFA in Stuttgart, Germany and Ubuntu, a Lucid Dream (2020) at the Palais de Tokyo in Paris.

Chiurai’s Conflict Resolution series was exhibited at DOCUMENTA (13) (2012) in Kassel and the film Iyeza was one of the few African films to be included in the New Frontier shorts programme at the Sundance Film Festival in 2013. Chiurai has held numerous solo exhibitions with Goodman Gallery and has edited four publications with contributions by leading African creatives.

At present the artist lives and works in Harare, Zimbabwe.

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