Eminent South African photographer David Goldblatt has been awarded the Kraszna-Krausz Fellowship. The award was given at a ceremony in London last night (18 April) and was the first Kraszna-Krausz Fellowship awarded for achievement as a photographer working in the photographic book form.
The Kraszna-Krausz Book Awards are presented by the Kraszna-Krausz Foundation in partnership with Media Space and they pay tribute to Andor Kraszna-Krausz (b. Hungary, 1904 — 1989), one of the most important and influential names in photographic publishing.
In announcing the fellowship Michael G. Wilson – Chairman of the Kraszna-Krausz Foundation — said in April: “David Goldblatt is the 2015 inaugural Kraszna-Krausz Fellow in recognition of his incredible achievement as a photographer working in the medium of the photography book. Throughout his career, Goldblatt’s projects have exemplified the highest standards of intellectual rigour and creative production. His photography books have inspired multiple generations of photographers and are among the most influential of the 20th and 21st centuries.” Other Krausz-Kraszna Fellowships went to writer and journalist Sir Harold Evans as well as a First Book Award 2015 to Ciarán Óg Arnold for his project ‘I went to the worst of bars hoping to get killed but all I could do was to get drunk again’.
The 56th International Art Exhibition of la Biennale di Venezia will open on 9 May, a celebration of the 120th anniversary of the first exhibition that took place in 1895. This year the exhibition titled All the World’s Futures will be curated by Okwui Enwezor. Included is Goodman Gallery artist Mikahel Subotzky who will show his multimedia installation Pixel Interface II. This large-scale video installation was first realised at the Musée MAC/VAL after Subotzky spent the summer on residency at the Paris museum. According to Subotzky the work “magnifies and combines a single line of pixels from three video plinths. I built three microscopes to subject the television screens themselves to scrutiny, turning their images into the abstraction of red, green and blue pixels”.
Lisa Lou’s installation Gather (one Million) is installed at Wichita Museum of Art in Kansas from 30 May to 13 September. The work presents a “shimmering 150-square-foot golden field” according to the gallery statement. To make the work, nine million beads in varying shades of gold were threaded onto cut wire to make one million blades of grass. Lou systematically counted, weighed, blended and divided the blades into equal wheat-like sheaves. The work will be presented along with Lou’s newest series of large wall-hanging colour fields of glass beads that evoke open skies and sunsets. According to the gallery statement, “The painterly freedom of the installation evokes the seasonal regeneration of landscape and the abundance of harvest.”
For EYE Amsterdam, until 30 August, William Kentridge has developed More Sweetly Play the Dance, a 45-metre-long frieze that depicts an endless parade of figures taken from media images of people fleeing from hunger, war and sickness. These Kentridge sublimates into an impressive procession that evokes their sadness yet also conveys their vitality. In addition, EYE is presenting other large works by Kentridge including the film installation on eight screens entitled I Am Not Me, the Horse Is Not Mine (2008), based on Nikolai Gogol’s The Nose, and Other Faces (2011), the tenth and most recent work in the series Drawings for Projection (1989-2011). On 1 May Matthew and William Kentridge present Between Brothers: The Soho Chronicles – A Conversation. On 28 May Kentridge will be in conversation with opera and theatre director, and former director of the Holland Festival Pierre Audi in the event titled Around Lulu.
Notes Toward a Model Opera at the Ullens Centre for Contemporary Art, Beijing is a comprehensive retrospective spanning 25 years of Kentridge’s output. It includes key pieces which allow viewers familiar and new to understand the trajectory and the evolution of his social and humanistic concerns. From the early Soho Eckstein films and related drawings, the exhibition moves on to encompass major multimedia installations, recent ink paintings, and finally the titular project, a new work related to the particular aesthetics of modernity in socialist China. As Kentridge’s first solo exhibition in China, the exhibition offers a vantage point on his expansive practice uniquely suited to an audience in East Asia. From 27 June to 30 August 2015.
Dutch National Opera presents the complete version of Alban Berg’s opera Lulu for the first time in a co-production with the Metropolitan Opera New York and English National Opera from 1 June to 28 June, directed by William Kentridge. The Royal Concertgebouw Orchestra takes its place in the pit. Kentridge was inspired for his staging by the silent films from the 1920s and ‘30s, the time in which Lulu was composed.
The Pavilion of South Africa at the 56th International Art Exhibition is curated by Christopher Till and Jeremy Rose under the title What Remains is Tomorrow. Included is Goodman Gallery artist Haroon Gunn-Salie with his site-specific installation Soft Vengence dealing with the current controversial heritage debate in South Africa. South African-based Zimbabwean Gerald Machona is also included with his video work Vabvakure (People from Far Away) and his sculpture Ndiri Afronaut. Other Goodman Gallery artists on the Pavilion of South Africa are Willem Boshoff, Brett Murray, Diane Victor and Jeremy Wafer
For the 56th Venice Biennale William Kentridge presentsTriumphs & Laments, a polyptych conceived by the artist to be placed in Rome, on the walls of the banks of the Tiber River between Ponte Sisto and Ponte Mazzini. Kentridge notes the drawings on the walls are preliminary sketches for some of the 90 figures that will make up Triumphs & Laments, a 500 m long frieze. This frieze will show a non-chronological history of Rome, looking at the laments which inevitably accompany any triumph; every triumph is someone else’s disaster. The frieze is due to be completed in 2016 and will be marked by a musical event in collaboration with composer Philip Miller. Triumphs & Laments is a project initiated by Tevereterno under the direction of Kristin Jones. For the Venice Biennale the work will be installed at the Italian National Pavilion, curated by Vincenzo Trione. The installation was facilitated by Galleria Lia Rumma.
At Goodman Gallery Johannesburg and Goodman Gallery Cape Town, and concurrent to the 56th Venice Biennale, two exhibitions will echo the theme of this year’s International Exhibition. Post African Futures, curated by Tegan Bristow from 21 May to 20 June, will showcase the work of a new generation of digital art practitioners and will include Nigerian artist Emeka Ogbho whose work is shown on the main exhibition at Venice. Speaking Back at Goodman Gallery Johannesburg from 23 May to 4 July will be curated by Natasha Becker and will look at narration by women from multiple positions of authenticity. The exhibition will include artists Ellen Gallagher and Kara Walker both of whom will have a presence at Venice this year.
Included on the programme Venice Agendas 15 is artist Sue Williamson. Curated by Workinprogress, the theme for this year’s events at Venice is Crossing Boundaries, and includes a series of talks, discussions and performances. These will be followed by a series of outcome events that take place internationally throughout 2015. Williamson is included in the discussion CLOSED BORDERS: Whose boycott is it anyway? on 7 May; as well as on BORDER LINE: Right of Passage due to take place on 8 May. This unique limited edition publication event will consist of the assembling of 100 individual art books constructed on site from work by 25 international artists that have each produced 100 signed photographic works as a ‘one off’.
The Nose is William Kentridge’s first comprehensive solo exhibition in Switzerland. At the center of his presentation is the 8-part video installation I Am Not Me, The Horse Is Not Mine, which has previously been shown at MoMA in New York and Tate Modern in London. What makes the exhibition at Zurich’s Museum Haus Konstruktiv unique, is that it is the first to also present little-known works that were produced in the context of the complex video work and during Kentridge’s production of The Nose Opera. These include bronzes, tapestries, drawings, collages and paper sculptures. The exhibition is accompanied by a catalogue in German and English with essays by William Kentridge, Jane Taylor und Sabine Schaschl that will be published by Verlag der Buchhandlung Walther König. From 4 June to 6 September 2015.
The William Kentridge retrospective Fortuna curated by Lilian Tone in partnership wirth the Instituto Moreira Salles, the Foundation Ibere Camargo and the Pinacoteca do Estado de Sao Paulo moves to Mexico City’s Museo Universitario Arte Contemporáneo from March 14 to 26 June, and then to Museo Amparo, Puebla, also in Mexico, from 4 July to 4 October 4, 2015
Goodman Gallery is pleased to announce Africans in America, a three-part project curated by Hank Willis Thomas. The focus of the project is on artists who are African immigrants or first generation Americans of African parents living in the United States. Africans in America will launch in 2015 and alternate between Goodman Gallery spaces in Johannesburg and Cape Town leading up to the Gallery’s 50th anniversary in 2016. Thomas is a photo-conceptual artist working primarily with themes related to identity, history and popular culture. He has a longstanding interest in the strains and connections between Africa, America and related notions of diaspora and home.
For their solo exhibition at FOAM photography museum in Amsterdam, titled To Photograph the Details of a Dark Horse in Low Light, Adam Broomberg and Oliver Chanarin lead viewers through a disturbing history lesson on the relationship between photography and race. Until 3 June. Other group exhibitions showing the work of Broomberg & Chanarin include This Is War! at the Palazzo del Monte di Pietà, Padua, until 31 May. The series People in Trouble Laughing Pushed to the Ground is exhibited at Belfast Exposed in Northern Ireland until 18 April; and their work is featured in the group exhibition Conflict, Time, Photography at Essen’s Museum Folkwang until July 5.
Candice Breitz’s video installations take centre stage at City Gallery in Wellington, New Zealand, from 28 March to 26 July. The three major works on exhibition will each present distinct aspects of her oeuvre. Her latest trilogy, shown at Goodman Gallery Johannesburg in 2012, titled The Woods, refers to the world’s largest film industries: Hollywood (USA), Bollywood (India) and Nollywood (Nigeria). The sixteen-channel work King (A Portrait of Michael Jackson) (2005) presents sixteen Michael Jackson fans performing the entire Thriller album. And in Factum (2010), Breitz interviews identical twins and a set of triplets, playing on similarities and differences in what they say and how they say it.
The 56th International Art Exhibition titled All the World’s Futures, curated by Okwui Enwezor and organized by la Biennale di Venezia chaired by Paolo Baratta, will open to the public from 9 May at the Giardini della Biennale and at the Arsenale. The exhibition will include the works of 136 artists from 53 countries, of whom 89 will be showing here for the first time. South African Mikhael Subotzky is invited to exhibit at this prestigious event. Subotzky and Patrick Waterhouse are shortlisted for their publication Ponte City (Steidl, 2014) for the Deutsche Börse Photography Prize 2015. The annual award of £30,000 will be given on 28 May
For their solo exhibition at FOAM photography museum in Amsterdam, titled To Photograph the Details of a Dark Horse in Low Light, Adam Broomberg and Oliver Chanarin lead viewers through a disturbing history lesson on the relationship between photography and race. In response to a commission to ‘document’ Gabon, Broomberg & Chanarin made several trips to the West African country to photograph a series of rare initiation rituals, using only Kodak film stock that had expired in the 1960’s. Another key work in the exhibition is a billboard-sized photograph of a 1950’s model for the Kodak Eastman Company whose portrait was distributed to photography labs all over the world as a visual reference for correct exposure. Shirley became a benchmark for ‘normal’ Caucasian skin. Darkroom experiments and Polaroid’s indirect support of the apartheid regime have inspired Broomberg & Chanarin’s series of Polaroids, made with a renovated ID camera, that considers the proposition that prejudice might be inherent in the medium of photography itself. The exhibition runs from 20 March to 3 June.
The work of Adam Broomberg and Oliver Chanarin has been included in the exhibition Conflict, Time, Photography showing at the Tate Modern in London until 15 March 2015. As featured artists on the exhibition, on 26 January Broomberg and Chanarin presented a unique performance throughout the galleries of Conflict, Time, Photography in collaboration with the youth organisation, the Army Cadet Force. Using Bertolt Brecht and Hanns Eisler’s unfinished opera War Primer as raw material, the performance responded to specific photographic works in this landmark exhibition through procession, poetry and military drumming. Titled War Primer 2, the one off event included the participation of 18 army cadets aged between 14 and 17.
Banco Santander Foundation will present in its Santander Art Gallery from February 21, 2015 a performance of works by the most important collection of contemporary art in Germany, the Sammlung Goetz. The theme that serves as leitmotiv to the selection of works by Commissioner Karsten Lockemann is theater. Thus the title of the exhibition All the World’s a Stage. Works from the Goetz Collection, has been borrowed from a famous quote from William Shakespeare’s play “As You Like It” (As You Like It). The show is scheduled to showcase some of the most representative works of the German collection. A selection of 93 works by 27 artists, referring to the subject of theater and scenarios including all types of artistic media will be presented. Some of the artists that will be part of the exhibition are Matthew Barney, Janet Cardiff, Stan Douglas, Elmgreen & Dragset Jeff Wall, Ulrike Ottinger, Candice Breiz, Hans-Peter Feldman, Candida Höfer, Hiroshi Sugimoto, Hans Op de Beek, Michael Kunze, Mike Kelley, Jonathan Meese and Laurie Simmons, among others.
William Kentridge’s first large-scale solo exhibition in South America, Fortuna, has been travelling since October 2012. This extensive retrospective – conceived in close collaboration with the artist and designed especially for this tour – highlights Kentridge’s unique artistic process rather than focussing on a particular theme. The exhibition features six to seven rooms or sections comprising works ranging from 1989 to 2012. The retrospective has travelled to Instituto Moreira Salles (IMS) in Rio de Janeiro, Fundaçao Ibere Camargo (FIC), Porto Alegre, Pinacoteca Do Estado De Sao Paulo, Sao Paulo. Museo de Arte del Banco de la Republica, Bogota. It will run at Museo de Arte Moderno, Medellin from 30 July to 03 November 2014.