New Revolutions: Goodman Gallery at 50 (Johannesburg) / 2016 - Installation View
04 June - 23 July 2016
New Revolutions: Goodman Gallery at 50 (Johannesburg) / 2016 - Installation View
04 June - 23 July 2016
The mill at Pomfret Asbestos Mine. It was opened in September 1978 and closed in 1986. 20 December 2002 (4_8769)
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.
South African-born, Belgian artist Kendell Geers changed his date of birth to May 1968 in order to give birth to himself as a work of art. Describing himself as an ‘AniMystikAKtivist’, Geers takes a syncretic approach to art that weaves together diverse Afro-European traditions, including animism, alchemy, mysticism, ritual and a socio-political activism laced with black humour, irony and cultural contradiction.
Geers’s work has been shown in numerous international group exhibitions, including the Venice Biennale (2007) and Documenta (2002). Major solo shows include Heart of Darkness at Iziko South African National Gallery in Cape Town (1993), Third World Disorder at Goodman Gallery Cape Town (2010) and more recently Songs of Innocence and of Experience at Goodman Gallery Johannesburg (2012). His exhibition Irrespektiv travelled to Newcastle, Ghent, Salamanca and Lyon between 2007 and 2009. Geers was included on Art Unlimited at Art 42 Basel in 2011. Work by Geers was included on Manifesta 9 in Genk, Limburg, Belgium and a major survey show of his work was exhibited at Haus der Kunst, Munich, Germany in 2013. Earlier this year Geers held a solo exhibition, The Second Coming (Do What Thou Wilt), at Rua Red in Dublin.
David Goldblatt (b.1930, Randfontein, South Africa) chronicled the structures, people 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. Goldblatt’s 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 in Johannesburg. 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 and in 2018, a major retrospective at the Centre Pompidou in Paris. 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.
David Koloane (1938 – 2019) was born in Alexandra, Johannesburg, South Africa. Koloane spent his career making the world a more hospitable place for black artists during and after apartheid. Koloane achieved this through his pioneering work as an artist, writer, curator, teacher and mentor to young and established artists at a time when such vocations were restricted to white people in South Africa. A large part of this effort involved the initiatives Koloane helped establish, from the first Black Art Gallery in 1977, the Thupelo experimental workshop in 1985 and the Bag Factory Artists’ Studios in 1991, where he served as director for many years. Koloane also tutored at the Federated Union of Black Artists (FUBA) in 1979 and became the head of the fine art section and gallery from 1985 to 1990.
Through his expressive, evocative and poetic artwork, Koloane interrogated the socio-political and existential human condition, using Johannesburg as his primary subject matter. Koloane’s representations of Johannesburg are populated with images of cityscapes, townships, street life, jazz musicians, traffic jams, migration, refugees, dogs, and birds among others. Imaginatively treated, through the medium of painting, drawing, assemblage, printmaking and mixed media, Koloane’s scenes are a blend of exuberant and sombre, discernible and opaque pictorial narratives.
Koloane’s work has been widely exhibited locally and internationally. In 1999 he was part of the group exhibition Liberated Voices at the National Museum of African Art in Washington DC. In 2013, Koloane’s work was shown on the South African pavilion at the 55th la Biennale di Venezia and on the group exhibition My Joburg at La Maison Rouge in Paris. In 1998, the government of the Netherlands honoured Koloane with the Prince Claus Fund Award for his contributions to South African art. Koloane was also awarded an Honorary Doctorate twice, once from Wits University in 2012, and again from Rhodes University in 2015.
Earlier this year Koloane was the subject of a travelling career survey exhibition, A Resilient Visionary: Poetic Expressions of David Koloane, which opened at IZIKO SANG in June and will travel to Standard Bank Gallery and Wits Art Museum in October.
Clive van den Berg, artist, curator and designer, 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.
At Constitution Hill, his design ethos strove to fuse old materials with new curatorial strategies: to preserve individual and collective memory about the prisons and experiences that people had in them, while also educating future publics about the place of the prisons in South African history, and creating aesthetic forms appropriate to the institution.
In contemporary South Africa, much public institutional design is aimed at the cultivation of memory and the memorialization of the past. Van den Berg’s integrative approach to art, design and architectural construction has allowed him to produce spaces in which previously unheard or even suppressed narratives can be articulated. His design work on the exhibitions for the Mandela Foundation have been oriented toward this end: in showcasing materials from the Foundation’s archive, he has developed exciting new formats and vocabularies in which to reveal a past that had hitherto remained largely unknown, making it accessible to a new generation of South African citizens.
Diane Victor (b. 1964 in Witbank, South Africa) has established herself as a major figure in the South African and International art communities and is renowned for her expert printmaking and draughtsmanship. Victor positions herself within the South African art scene through her bold confrontations with difficult and at times taboo subject matter. Her large scale drawings and etchings demonstrate a command of mark-making, which she uses to render her subjects in affecting detail. At times, her work seems to pose challenges to social and political life in contemporary South Africa, considering issues of corruption, violence and an unequal power distribution.
Having received her BA Fine Arts Degree from the University of the Witwatersrand, with a major in Printmaking, and graduating with distinction – Victor has gone on to win various prestige awards including the Sasol New Signatures Award in 1987. In 1988, Victor became the youngest recipient of the prestigious Volkskas Atelier Award which granted her a ten-month stay at the Cité Internationale des Artes in Paris, France. Over this period, Victor was able to work collaboratively with other experienced printmakers and to observe and reflect on a society very different from her own.
Victor has exhibited at numerous venues around South Africa and internationally, some of which include the UNISA Gallery, Fried Contemporary, MoMA New York, Faulconer Gallery, The Highpoint Center for printmaking, The Gus Fisher Gallery, National Museum of Contemporary Art Oslo, Yale University Art Gallery, The Contemporary Museum Honolulu, and Australia and Adelaide Central Gallery. Victor’s work is part of a number of important collections, including Sasol, Pretoria Art Museum, Johannesburg Art Gallery, Durban Art Museum and Santam.
Since 1990, Victor has been a lecturer, teaching Fine Art, at various South African institutions including the University of Pretoria, Tshwane University of Technology, Open Window Academy, the University of the Witwatersrand, Rhodes University and the University of Johannesburg.
Victor lives and works in Johannesburg, South Africa. At present, she is a senior Fine Art lecturer at the University of Pretoria’s Department of Visual Art.
Jabulani Dhlamini was born in Warden, Free State in 1983; he lives and works in Johannesburg. Dhlamini majored in documentary photography at the Vaal University of Technology, graduating in 2010. From 2011-2012, Dhlamini was a fellow of the Edward Ruiz Mentorship and completed a year-long residency at the Market Photo Workshop in Johannesburg. Dhlamini’s work focuses on his upbringing, as well as the way he views contemporary South Africa.
His Umama series was exhibited as part of his Edward Ruiz award at the Market Photo Workshop in 2012, and at Goodman Gallery Cape Town in 2013 – his first solo exhibition with the gallery. In Umama, Dhlamini pays homage to single mothers and explores the challenges faced by women raising children on their own in South African townships. For his Recaptured series, which was exhibited at Goodman Gallery in 2016, Dhlamini turned to the community of Sharpeville, asking people to bring objects that reminded them of the 1960 massacre. Over the course of several years Dhlamini interviewed and photographed a number of individuals who traced their movements and emotions on the day of the Sharpeville Massacre, relocating themselves within the collective memory.
In 2018 Dhlamini’s work was featured on the Five Photographers, A Tribute to David Goldblatt group exhibition at the Gerard Sekoto Gallery at the French Institute. In his most recent exhibition at Goodman Gallery, iXesha!, Dhlamini explored how memory is created and archived within a community where the memory has been localised. This exhibition included images from Dhlamini’s recent series iQhawekazi documenting the events around Winnie Mandela’s funeral.
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 Guyana.
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 also 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 at the Berlin Biennale, Tate Modern London, Museum of Modern Art Paris, MoCADA NY, The Broad LA, and Serpentine Gallery in London. Rezaire has presented her work on numerous panels, including 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, conducted at yoga session at Museum of Modern Art in New York and has her writings published by Cambridge Scholars.
Rezaire holds a Bachelor in Economics (Paris) and a Master in Artist Moving Image from Central Saint Martins College (London).
Thabiso Sekgala (b. 1981 in Johannesburg, South Africa) was a photographer whose work explored themes of abandonment, memory, spatial politics and concept of home.
‘In photography I am inspired by looking at human experience whether lived or imagined,’ Sekgala once expressed. ‘Images capture our history and who we are, our presence and absence. Growing up in both rural and urban South Africa influences my work. The dualities of these both environments inform the stories I am telling through my photographs, by engaging issues around land, peoples’ movement, identity and the notion of home.’
Sekgala held solo exhibitions in South Africa and Europe and exhibited in group shows internationally, including Les Rencontres D’Arles, LagosPhoto Festival and Bamako Biennale. In 2013 he had residencies in both the Kunsterhaus Bethanien, Berlin, and at HIWAR/Durant Al Funun, Jordan.
He studied at Johannesburg’s Market Photo Workshop from 2007 to 2008 and was awarded the Tierney Fellowship in 2010.
Sekgala died in Johannesburg in 2014.
Sue Williamson (b. 1941, Lichfield, UK) emigrated with her family to South Africa in 1948. Trained as a printmaker, Williamson also works in installation, photography and video. In the 1970s, she started to make work which addressed social change during apartheid and by the 1980s Williamson was well known for her series of portraits of women involved in the country’s political struggle. A Few South Africans is one such a series where she celebrates women who had played roles in the fight for freedom.
Referring to her practice, Williamson states: “You become aware of the audience to whom you speak. In that sense, you think backwards: what you have to say, whom you say it to, and how it will reach the audience. Having to consider your work through the eyes of somebody who knows nothing about you as an artist and what you are doing is a useful exercise.” Williamson has managed to avoid the rut of being caught in an apartheid-era aesthetic, “I am never particularly interested in doing what I did the last time. I take one thing and work it out a number of ways.”
In 2018, Williamson was Goodman Gallery’s featured artist at the FNB Joburg Art Fair, where she exhibited her work Messages from the Atlantic Passage, a large-scale installation of shackled, suspended glass bottles engraved with profiles of 19th-century victims of slavery. This installation was also exhibited that year at Art Basel in Switzerland and at the Kochi-Muziris Biennale in India.
Williamson’s works feature in numerous public collections across the globe, including those at the Museum of Modern Art, New York, USA, Tate Modern, London, UK, Victoria & Albert Museum, London, UK, National Museum of African Art, Smithsonian Institution, Washington D.C., USA, Wifredo Lam Centre, Havana, Cuba, Iziko South African National Gallery, Cape Town, South Africa, and Johannesburg Art Gallery, South Africa.
Williamson has received various awards and fellowships such as the Bellagio Creative Arts Fellowship 2011, Italy, Rockefeller Foundation, the Visual Artist Research Award Fellowship 2007, Smithsonian Institution, Washington D.C., USA and the Lucas Artists Residency Fellowship 2005, Montalvo Art Center, California, USA.
Sue Williamson lives and works in Cape Town, South Africa.
Ghada Amer (b. 1963, Cairo, Egypt) views herself primarily as a painter, but she has worked in a variety of media, producing ceramics, site-specific garden works, photographs, prints, drawings, installations, and performance pieces.
Her work has always explored ideas related to women, femininity, and gender roles. ‘I believe that all women should like their bodies and use them as tools of seduction,’ Amer stated; and in her well-known erotic embroideries, she at once rejects oppressive laws set in place to govern women’s attitudes toward their bodies and repudiates first-wave feminist theory that the body must be denied to prevent victimisation. By depicting explicit sexual acts with the delicacy of needle and thread, their significance assumes a tenderness absent within simple objectification. Amer continuously allows herself to explore the dichotomies of an uneasy world and confronts the language of hostility and finality with unsettled narratives of longing and love.
Amer’s work addresses first and foremost the ambiguous, transitory nature of the paradox that arises when searching for concrete definitions of east and west, feminine and masculine, art and craft. Through her paintings, sculptures and public garden projects, Amer takes traditional notions of cultural identity, abstraction, and religious fundamentalism and turns them on their heads.
She has also created a number of text-based works, most notably the installation piece Encyclopaedia of Pleasure, which comprises fifty-seven canvas boxes inscribed with embroidered texts serving as investigations of sexual and spiritual identity. While her works serve as commentary on the roles of women, they also offer a critique of painting itself, particularly in its largely masculine Abstract Expressionist mode. Her incorporation of thread into the parameters of the canvas legitimates a form of expression seen as particularly feminine.
Amer has shown her work all over the world, including the Istanbul, Johannesburg, Whitney, Gwangju, Sydney and Venice biennales; in major travelling shows such as The Short Century; Looking Both Ways: Art of the Contemporary African Diaspora; and Africa Remix. She has exhibited at P.S. 1 in New York and SITE Santa Fe, and in 2008 the Brooklyn Museum hosted Love Has no End, a retrospective of twenty years of Amer’s work.
Amer trained to be an artist at Villa Arson, Nice, France.
She currently lives and works in New York City.
Nolan Oswald Dennis is an interdisciplinary artist from Johannesburg, South Africa. His practice explores what he calls ‘a black consciousness of space’ : the material and metaphysical conditions of decolonization.
His work questions the politics of space and time through a system-specific, rather than site-specific approach. He is concerned with the hidden structures that pre-determine the limits of our social and political imagination. Through a language of diagrams, drawings and models he explores a hidden landscape of systematic and structural conditions that organise our political sub-terrain. This sub-space is framed by systems which transverse multiple realms (technical, spiritual economic, psychological, etc) and therefore Dennis’ work can be seen as an attempt to stitch these, sometime opposed, sometimes complimentary, systems together. To read technological systems alongside spiritual systems, to combine political fictions with science fiction.
He holds a degree in Architecture from the University of the Witwatersrand, Johannesburg and a Masters of Science in the Art, Culture and Technology from the Massachusetts Institute of Technology (MIT).
Candice Breitz(b. 1972, Johannesburg, South Africa) is an artist whose moving image installations have been shown internationally. Throughout her career, she 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 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.
Recent work can be viewed at: http://vimeo.com/album/259786
mounir fatmi was born in Tangiers, Morocco, in 1970. When he was four, his family moved to Casa-blanca. At the age of 17, he traveled to Rome where he studied at the free school of nude drawing and engraving at the Academy of Arts, and then at the Casablanca art school, and finally at the Rijksakad-emie in Amsterdam.
He spent most of his childhood at the flea market of Casabarata, one of the poorest neighborhoods in Tangiers, where his mother sold children’s clothes. Such an environment produces vast amounts of waste and worn-out common use objects. The artist now considers this childhood to have been his first form of artistic education, and compares the flea market to a museum in ruin. This vision also serves as a metaphor and expresses the essential aspects of his work. Influenced by the idea of de-funct media and the collapse of the industrial and consumerist society, he develops a conception of the status of the work of art located somewhere between Archive and Archeology.
By using materials such as antenna cable, typewriters and VHS tapes, mounir fatmi elaborates an experimental archeology that questions the world and the role of the artist in a society in crisis. He twists its codes and precepts through the prism of a trinity comprising Architecture, Language and Machine. Thus, he questions the limits of memory, language and communication while reflecting upon these obsolescent materials and their uncertain future. mounir fatmi’s artistic research consists in a reflection upon the history of technology and its influence on popular culture. Consequently, one can also view mounir fatmi’s current works as future archives in the making. Though they represent key moments in our contemporary history, these technical materials also call into question the transmission of knowledge and the suggestive power of images and criticize the illusory mechanisms that bind us to technology and ideologies.
Since 2000, Mounir fatmi’s installations have been selected for several biennials, the 52nd and 57th Venice Biennales, the 8th Sharjah Biennale, the 5th and 7th Dakar Biennales, the 2nd Seville Biennale, the 5th Gwangju Biennale, the 10th Lyon Biennale, the 5th Auckland Triennial, the 10th and 11th Bamako Bien-nales, the 7th Shenzhen Architecture Biennale, the Setouchi Triennial and the Echigo-Tsumari Trienni-al in Japan. His work has been presented in numerous personal exhibits, at the Migros Museum, Zur-ich. MAMCO, Geneva. Picasso Museum La Guerre et la Paix, Vallauris. AK Bank Foundation, Istan-bul. Museum Kunst Palast, Düsseldorf and at the Gothenburg Konsthall. He has also participated in several group exhibitions at the Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscow. Mathaf, Doha, Hayward Gallery and the Victoria & Albert Museum, London. Van Abbemuseum, Eindhoven and at Nasher Mu-seum of Art, Durham.
He has received several prizes, including the Uriöt prize, Amsterdam, the Grand Prix Léopold Sédar Senghor at the 7th Dakar Biennale in 2006, as well as the Cairo Biennale Prize in 2010.
Haroon Gunn-Salie (b. 1989, Cape Town) translates community oral histories into artistic interventions and installations. His multidisciplinary practice utilises a variety of mediums, drawing focus to forms of collaboration in contemporary art based on dialogue and exchange. Gunn-Salie completed his BA Honours in sculpture at Michaelis School of Fine Art at the University of Cape Town in 2012, where his graduate exhibition titled Witness presented a site-specific body of work focusing on still unresolved issues of forced removals under apartheid. The artist worked with veteran residents of District Six, an area in central Cape Town where widespread forced removals occurred following the Group Areas Act of 1950.
Significant exhibitions and projects that have featured Gunn-Salie’s work include: Simon Castets and Hans Ulrich Obrist’s 89-plus project, for which he participated in the 89plus programme with Obrist at the 2014 Design Indaba in Cape Town; Making Africa: A Continent of Contemporary Design, which travelled to the Vitra Design Museum and Guggenheim Museum Bilbao (2015); What Remains is Tomorrow, the South African Pavilion at La Biennale di Venezia (2015); and the 19º Festival de Arte Contemporânea Sesc Videobrasil (2015).
Gunn-Salie was placed in the top five of the Sasol new signatures competition in 2013. At the 19º Festival de Arte Contemporânea Sesc Videobrasil in 2015 he was awarded the first ever SP-Arte/Videobrasil prize, designed to encourage and publicise the work of young artists whose lines of research focus on the debate surrounding the Global South. As part of the award, Gunn-Salie presented a solo exhibition at Galpão VB during the SP-Arte fair in São Paulo in 2016. In 2018, the artist’s work commemorating the Marikana Massacre, Senzenina, formed part of the Frieze Sculpture exhibition, London, and in the same year he was the recipient of the FNB Art Prize.
Haroon Gunn-Salie is currently based between Cape Town and Johannesburg.
Alfredo Jaar is an artist, architect, and filmmaker who lives and works in New York. He is known as one of the most uncompromising, compelling, and innovative artists working today.
Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002).
Important individual exhibitions include The New Museum of Contemporary Art, New York (1992); Whitechapel, London (1992); The Museum of Contemporary Art, Chicago (1995); Moderna Museet, Stockholm (1994); The Museum of Contemporary Art, Rome (2005) and The Nederlands
Fotomuseum (2019). Major recent surveys of his work have taken place at Musée des Beaux Arts, Lausanne (2007); Hangar Bicocca, Milan (2008); Alte Nationalgalerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Berlin (2012); Rencontres d’Arles (2013); KIASMA, Helsinki (2014); and Yorkshire Sculpture Park, UK (2017).
The artist has realised more than seventy public interventions around the world. Over sixty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He was awarded the Hiroshima Art Prize in 2018.
His work can be found in the collections of The Museum of Modern Art and Guggenheim Museum, New York; Art Institute of Chicago and Museum of Contemporary Art, Chicago; MOCA and LACMA, Los Angeles; MASP, Museu de Arte de São Paulo; TATE, London; Centre Georges Pompidou, Paris; Stedelijk Museum, Amsterdam; Centro Reina Sofia, Madrid; Moderna Museet, Stockholm; MAXXI and MACRO, Rome; Louisiana Museum of Modern Art, Humlaebeck; Hiroshima City Museum of Contemporary Art and Tokushima Modern Art Museum, Japan; M+, Hong Kong; and dozens of institutions and private collections worldwide.
Kapwani Kiwanga studied anthropology and comparative religion at McGill University (Montreal, CA). She has followed the program “La Seine” at the Ecole Nationale Supérieure des Beaux-Arts de Paris, and also works at Le Fresnoy (a french national center for contemporary art). She was artist in residence at the MU Foundation in Eindhoven (NL) and at the Box in Bourges (FR).
Working with sound, film, performance, and objects, Kapwani Kiwanga relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation. The Paris-based artist’s work focuses on sites specific to Africa and the African diaspora, examining how certain events expand and unfold into popular and folk narratives, and revealing how these stories take shape in objects and oral histories. Trained as an anthropologist, Kiwanga performs this role in her artistic practice, using historical information to construct narratives about groups of people. Kiwanga is not only invested in the past but also the future, telling Afrofuturist stories and creating speculative dossiers from future civilizations to reflect on the impact of historical events.
Gerhard Marx (b. South Africa, 1976) develops his projects through an engagement with pre-existent conventions and practices. This process entails careful acts of dissection and rearrangement, which allow Marx to engage the poetic potential and philosophical assumptions of his chosen material, developing original drawing, sculptural and performative languages. Marx completed his undergraduate degree at the Michaelis School of Fine Art, UCT and received his MA (Fine Art) (Cum Laude) from Wits School of Art, Johannesburg.
Ecstatic Archive is Marx’s sixth solo project with the Goodman Gallery. Marx’s work is shown regularly at international art fairs, held in numerous public and private art collections and was included on the South African pavilion at the 2013 Venice Biennale. Marx has been involved in the making of numerous public sculptures, including The World On Its Hind Legs, a collaboration with William Kentridge (Beverley Hills, LA), Vertical Aerial: JHB, (the Old Ford, Constitution Hill, Johannesburg), The Fire Walker, in collaboration with William Kentridge (Queen Elizabeth Bridge, Johannesburg) and Paper Pigeon, in collaboration with Maja Marx (Pigeon Square, Johannesburg). In 2018 Marx participated in the third season at the Centre for the Less Good Idea with his project Vehicle, in collaboration with musicians Shane Cooper and Kyle Shepherd. Vehicle is scheduled to form part of the Holland Festival in June 2019.
He has extensive experience in theatre, as a scenographer, director, filmmaker and playmaker, including REwind: A Cantata for Voice, Tape and Testimony (directed by Marx, interactive film by Gerhard Marx and Maja Marx, composed by Philip Miller), performed at the Royal Festival Hall, Southbank, London (2010), the Market Theatre, Johannesburg (2008) and the 62’Centre, William College, Massachusetts (2007).
Marx is a fellow of the Sundance Film Institute, the Annenberg Fund and of the Ampersand Foundation.
Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation. Subotzky has exhibited in a series of important international exhibitions, including most recently Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in the fall of 2020.
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), and the South African National Gallery, among others.
Subotzky’s work was included in the Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015).
Minnette Vári’s (b.1968 in Pretoria, South Africa) body of work conflates history with the self, examining how identity arises out of a traumatic past. As Kendell Geers observes in a catalogue essay published in 2004 by Kunstmuseum Lucerne, ‘Minnette Vári has in her lifetime witnessed the fall of apartheid and all its structures, followed by the new democracy.’ In response to this history, Vári has written a history of herself in relation to this trajectory, one that attempts to recover what is lost, to give shape and voice to forgotten or erased memories. In her videos and drawings, Vári frequently depicts her own body enduring a disfiguring metamorphosis – she merges with and emerges from nature as well as from the concrete architecture of modern cities. The female ‘protagonist’ of her video works is sometimes archetypal and sometimes spectral, a persona who ingests and is ingested by time.
Vári has exhibited her work since the early nineties, participating in such group exhibitions as the Johannesburg Biennale, Memoris, Intimas, Marcas at MUHKA in Belgium, the Venice Biennale, the Seoul International Media Art Biennale, and the Havana Biennale. Her solo exhibitions include Aurora Australis at the Standard Bank Gallery, Johannesburg, Chimera at Art Unlimited, Basel, Vigil at Serge Ziegler Galerie, New York, and shows in 2008, 2009, 2010 and 2013 at Goodman Gallery, Johannesburg.
In early 2016, The Standard Bank Gallery hosted a major retrospective exhibition on Vári, entitled Of Darkness and of Light.
Vári currently lives and works in Johannesburg.
Born in Durban, South Africa in 1953. Lives and works in Johannesburg, South Africa.
Jeremy Wafer was born in Durban in 1953 and grew up in Nkwalini in what was then Zululand. He studied fine art at the University of Natal, Pietermaritzburg (B.A.F.A.1979) and at the University of the Witwatersrand (B.A. Hons. in Art History 1980 and M.A. Fine Art 1987). He has taught in the Fine Art Departments of the former Technikon Natal (now DUT) and Technikon Witwatersrand (now UJ) before being appointed Associate Professor. Wafer received his PhD in 2016 and was subsequently appointed full professor of Sculpture in the School of Arts of the University of the Witwatersrand. Wafer is the recipient of numerous awards and residencies, notably the Standard Bank National Drawing Prize in 1987 and the Sasol Wax Art Award in 2006. His work featured on the South African Pavilion of the 56th Venice Biennale in 2015. Wafer has exhibited in South Africa and internationally, his work is represented in the National Museum of African Art, Smithsonian Institute, Washington DC, the South African National Gallery, the Johannesburg Art Gallery as well as in many other museum, private and corporate collections.
William Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), the Museum of Modern Art in New York (1998, 2010), the Albertina Museum in Vienna (2010), Jeu de Paume in Paris (2010), and the Musée du Louvre in Paris (2010), where he presented Carnets d’Egypte, a project conceived especially for the Egyptian Room. Kentridge’s production of Mozart’s The Magic Flute was presented at Theatre de la Monnaie in Brussels, Festival d’Aix, and in 2011 at La Scala in Milan, and his production of Shostakovich’s The Nose was seen at The New York Metropolitan Opera in 2010 and again in 2013, travelling to Festival d’Aix and to Lyon in 2011. The five-channel video and sound installation The Refusal of Time was made for Documenta (13) in Kassel, Germany, in 2012; since then it has been seen at MAXXI in Rome, the Metropolitan Museum, New York, and other cities including Boston, Perth, Kyoto, Helsinki and Wellington. A substantial survey exhibition of Kentridge’s work opened in Rio de Janeiro in 2012, going on in following years to Porto Alegre, São Paulo, Bogota, Medellin, and Mexico City. In the summer of 2014 Kentridge’s production of Schubert’s Winterreise opened at the Vienna Festival, Festival d’Aix, and Holland Festival. In the fall it opened at the Lincoln Center in New York. Paper Music, a concert of projections with live music by Philip Miller, opened in Florence in September 2014, and was presented at Carnegie Hall in New York in late October 2014. Both the installation The Refusal of Time and its companion performance piece Refuse the Hour were presented in Cape Town in February 2015. More recently, Kentridge’s production of the Alban Berg opera Wozzeck premiered at the Salzburg Festival in 2017, and last year his acclaimed performance project The Head & The Load opened at Tate Modern in London, and travelled to Park Avenue Armory in December 2018. In June 2019, A Poem That I Used To Know opened at Kunstmuseum, Basel in Switzerland. This comprehensive survey show includes early drawings, major film installations, sculpture and two new pieces, an installation and a film, produced by Kentridge in response to works in the museum’s permanent collection.
In 2010, Kentridge received the prestigious Kyoto Prize in recognition of his contributions in the field of arts and philosophy. In 2011, he was elected as an Honorary Member of the American Academy of Arts and Letters, and received the degree of Doctor of Literature honoris causa from the University of London. In 2012, Kentridge presented the Charles Eliot Norton Lectures at Harvard University and was elected member of the American Philosophical Society and of the American Academy of Arts and Sciences. Also in that year, he was awarded the Dan David Prize by Tel Aviv University, and was named as Commandeur des Arts et Lettres by the French Ministry of Culture and Communication. In 2013, William Kentridge was awarded an Honorary Doctorate in Fine Arts by Yale University and in 2014 received an Honorary Doctorate from the University of Cape Town.
Upcoming News and Projects
Why Should I Hesitate, a major survey show, divided across the Norval Foundation and Zetiz MOCAA, is to opened in late August 2019 and will run until March 2020. Kentridge’s new opera project, Waiting for the Sibyl, will premiere at Teatro dell’Opera di Roma in September 2019. Waiting for the Sibyl was created in response to Alexander Calder’s Work in Progress, the only operatic work created by Calder and staged at the Opera in Rome in 1968. These two works will be performed consecutively at the Teatro Costanzi as the joint presentation, Calder/Kentridge. Performances will take place from 10 – 15 September, 2019.
Hasan and Husain Essop (b. 1985, Cape Town) have been collaborating since their graduation from the Michaelis School of Fine Arts at the University of Cape Town in 2008. In 2010 they travelled to Cuba to produce a body of work as part of the tenth Havana Biennial, under the theme ‘Integration and resistance in the global age’. In 2011 they completed a 3-month residency at the prestigious Thami Mnyele Foundation in Amsterdam.
They have participated in several major group exhibitions – including Figures and Fictions: Contemporary South African Photography at the V&A Museum in London in 2011, and South: Contemporary Art from Australia, Mexico & South Africa at the Hazelhurst Regional Gallery in Sydney in 2014 – and they have held solo exhibitions in Johannesburg, Cape Town and Dubai.
In 2014 they received the Standard Bank Young Artist Award for Visual Art, and presented a new body of work at the Grahamstown National Arts Festival titled Unrest. The exhibition addresses the notion of global unrest through the particular lens of young Muslims living in Cape Town, and features the brothers’ characteristic large-scale photographic prints, as well as sculptural installations and multimedia works. The exhibition has since been shown in five cities across South Africa, and at the Gallery Isabelle van den Eynde in Dubai.
Kiluanji Kia Henda (b. 1979 in Luanda, Angola) employs a surprising sense of humour in his work, which often hones in on themes of identity, politics, and perceptions of postcolonialism and modernism in Africa. Practicing in the fields of photography, video, and performance, Kia Henda has tied his multidisciplinary approach to a sharp sense of criticality. A profound springboard into this realm comes from growing up in a household of photography enthusiasts. Furthermore, his conceptual edge has been sharpened by immersing himself in music, avantgarde theatre, and collaborating with a collective of emerging artists in Luanda’s art scene. In complicity with historical legacy, Kia Henda realises the process of appropriation and manipulation of public spaces and structures, and the different representations that form part of collective memory, as a relevant complexion of his aesthetical construction.
His solo exhibitions have been held in galleries and institutions around the world. His work has featured on biennales in Venice, Dakar and São Paulo as well as major travelling exhibitions such as Making Africa: A Continent of Contemporary Design and The Divine Comedy: Heaven, Hell, Purgatory revisited by Contemporary African Artists.
Kia Henda currently lives and works between Luanda and Lisbon.
Shirin Neshat (b. 1957, Qazvin, Iran) completed her education in the USA in 1974, five years later the Islamic Revolution prevented her from returning to her home country for almost twenty years. Her personal experiences as a Muslim woman in exile have informed her practice in which she employs photography, video installation, cinema and performance to explore political structures that have shaped the history of Iran and other Middle Eastern nations. Neshat portrays the alienation of women in repressive Muslim societies interrogating the role reserved for women Islamic value systems. In her practice, she employs poetic imagery to engage with themes of gender and society, the individual and the collective, and the dialectical relationship between past and present, through the lens of her experiences of belonging and exile.
She has mounted numerous solo exhibitions at museums internationally, including: the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Stedelijk Museum, Amsterdam; the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; and the Musée d’art contemporain de Montréal. Recent solo exhibitions include: Kunstraum Dornbirn, Austria; Faurschou Foundation, Copenhagen; Kunsthalle Tübingen, Germany; and Museo Correr, Italy, which was an official corollary event to the 57th Biennale di Venezia in 2017. A major retrospective of her work was exhibited at the Detroit Institute of Arts in 2013. Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), the Hiroshima Freedom Prize (2005), and the Dorothy and Lillian Gish Prize (2006). In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion Award for “Best Director” at the 66th Venice International Film Festival. Dreamers marked her first solo show on the African continent, which exhibited at Goodman Gallery Johannesburg in 2016. That same year, Neshat featured in the New Revolutions: Goodman Gallery at 50 exhibition in Johannesburg and in the Summers group exhibition at Goodman Gallery Cape Town. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg. This year The Broad Museum in Los Angeles will host a survey exhibition of the last 25 years of Neshat’s work.
The artist lives and works in New York, USA.
HANK WILLIS THOMAS is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. His work has been exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands. Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C. His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts.
Sam Nhlengethwa was born in the mining community of Payneville Springs in 1955 and grew up in Ratanda location in Heidelberg, east of Johannesburg. He completed a two-year Fine Art Diploma at the Rorkes Drift Art Centre in the late 1970s. While he exhibited extensively both locally and abroad during the 1980s and ’90s, Nhlengethwa’s travelling solo show South Africa, Yesterday, Today and Tomorrow in 1993 established him at the vanguard of critical consciousness in South Africa and he went on to win the Standard Bank Young Artist Award in 1994.
Nhlengethwa was born into a family of jazz lovers; his two brothers both collected jazz music and his deceased eldest brother was a jazz musician. “Painting jazz pieces is an avenue or outlet for expressing my love for the music,” he once said in an interview. "As I paint, I listen to jazz and visualise the performance. Jazz performers improvise within the conventions of their chosen styles. In an ensemble, for example, there are vocal styles that include freedom of vocal colour, call-and-response patterns and rhythmic complexities played by different members. Painting jazz allows me to literally put colour onto these vocal colours.
“Jazz is rhythmic and it emphasises interpretation rather than composition. There are deliberate tonal distortions that contribute to its uniqueness. My jazz collages, with their distorted patterns, attempt to communicate all of this. As a collagist and painter, fortunately, the technique allows me this freedom of expression… What I am doing is not new though, as there are other artists before me who painted jazz pieces. For example, Gerard Sekoto, Romare Bearden and Henri Matisse.”
Nhlengethwa’s work has been included in key exhibitions such as Seven Stories About Modern Art in Africa at the Whitechapel Gallery in London and major publications such as Phaidon’s The 20th Century Art Book. He has had several solo shows in South Africa and abroad, exhibiting in the 12th International Cairo Biennale (2010) and in Constructions: Contemporary Art from South Africa at Museu de Arte Contemporanea de Niteroi (2011) in Brazil. In 2018 Nhlengethwa was included on the group exhibition Beyond Borders: Global Africa at the University of Michigan Museum of Art.
Born in 1960 in Rustenburg, Gauteng, South Africa, Walter Oltmann’s main area of focus is sculpture, and more particularly in fabricating woven wire forms, which sometimes reference local craft traditions. He has researched and written on the use of wire in African material culture in this region and is deeply interested in the influence of these traditions in contemporary South African art. He has had numerous solo exhibitions with the Goodman Gallery, and has created several large-scale commissions for venues such as the Zeitz Sculpture Garden in Segera, Kenya.
Kudzanai Chiurai (b. 1981) is an internationally acclaimed young artist born in Zimbabwe. Born one year after Zimbabwe’s emergence from white-ruled Rhodesia, Chiurai’s early work has focused on the political, economic and social strife in his homeland however, his art practice spans a diverse range of media.
From large mixed media works and paintings that tackle some of the most pertinent issues facing Southern Africa such as xenophobia, displacement and black empowerment, Chiurai’s artworks confront viewers with the psychological and physical experience of inner-city environments of African metropolitans, seeing these spaces as the continent’s most cosmopolitan melting pots in which thousands of refugees and asylum-seekers who battle for survival alongside the never-ending swell of newly urbanized denizens. As an increasingly important figure in contemporary African art, Chiurai has expanded his art and activist practice to include photography and video: mediums that enable the artist to address pertinent issues facing his generation of southern Africans.
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 and ‘Regarding the Ease of Others’ (2017) at the Zeitz Museum of Contemporary Art Africa.
His 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.
ruby onyinyechi amanze (b. 1982, Port-Harcourt, Nigeria) is a Brooklyn-based artist of Nigerian descent and British upbringing whose creative practices and processes focus on producing mixed media, paper-based drawings and works. Her art draws inspiration from photography, textiles, architecture and print-making.
In her approach to art, amanze’s body of work establishes an introspective dialogue and personal quest in an attempt to materialise her experience of displacement and dislocation. The motifs and symbols of amanze’s works create non-linear narratives which articulate and delve into ideas surrounding free play as an act of revolution and post-colonial, non-nationalism as an accepted norm in western societies.
Most recently, amanze completed two-year long residencies at the Queens Museum and as part of the Drawing Center’s Open Sessions Program, both in New York. She has exhibited her work internationally in Lagos, London, Johannesburg and Paris, and nationally at the California African American Museum, the Drawing Center and the Studio Museum of Harlem. In 2019, amanze was named the Deutsche Bank Featured Artist at Frieze New York.
amanze relocated to the United States to study a Bachelor of Fine Art degree at the Tyler School of Art at Temple University in Philadelphia. She graduated summa cum laude and continued her academic career obtaining a Masters degree in Fine Art from the Cranbrook Academy of Art in Michigan. Recognised for her academic excellence, in 2012-2013, amanze was the recipient of the prestigious Fulbright Scholars award and was hosted by the University of Nigeria, Nsukka.
amanze currently resides between Philadelphia and Brooklyn, but calls multiple places home.
Robert Hodgins was born in Dulwich, England in 1920. In 1954 he became a Lecturer 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 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”