FNB Art Joburg | 2023

Misheck Masamvu

Oscillating between abstraction and figuration, Misheck Masamvu’s (b. 1980, Mutare, Zimbabwe) works allow him to address the past while searching for a way of being in the world. As one of the most significant artists from Zimbabwe, Masamvu’s work offers a renewed understanding of visual culture in Africa and the decolonial project more broadly. Rhythmic lines and layered fields of colour have become a prominent language for Masamvu to explore structures of power and how history comes to bear on the contemporary moment, but also how one can adapt to a new way of interacting with the world.

Selected solo exhibitions: Show me how ruins make a home, A Gentil Carioca, São Paulo (2024); Exit Wounds, Goodman Gallery, New York (2024); Safety Pin, Goodman Gallery, Cape Town (2023); Pivot, Bernier/Eliades Gallery, Brussels (2023); Talk to me while I’m eating, Goodman
Gallery, London, United Kingdom (2021); Hata, Goodman Gallery, Cape Town (2019); Still Still, Goodman Gallery, Cape Town; Misheck Masamvu, Institut Français, Paris, France (2015); Disputed Seats, Influx Contemporary Art, Lisbon, Portugal (2009).

Notable group exhibitions include: Kuvhunura/Kupinda nemwenje mudziva, Fondation Blachere Bonnieux, France (2024); Translations: Afro-Asian Poetics, The Institutum, Singapore (2024); Inside Out, Fondation Gandur pour l’Art, Geneva (2022); Witness: Afro Perspectives, El Espacio 23, Miami, USA (2020); Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, Pérez Art Museum Miami, Miami (2020); Two Together, Zeitz Museum of Contemporary Art Africa, Cape Town (2020); Five Bobh: Painting at the End of an Era, Zeitz MOCAA, Cape Town (2017); Africa 2.0 > is there a Contemporary African art?, Influx Contemporary Art, Lisbon (2010); Art, Migration and Identity,, Africa Museum, Arnhem (2008); and 696 , National Gallery of Zimbabwe, Harare (2008).

Major international exhibitions include: The ‘t’ is silent , 8th Biennial of Painting, Museum Dhondt-Dhaenens, Sint-Martens-Latem, Belgium (2022); STILL ALIVE , 5th Aichi Triennale, Aichi, Japan (2022), NIRIN , 22nd Sydney Biennale, Sydney (2020); Incerteza Viva (Live Uncertainty), the 32nd Bienal de São Paulo (2016) and his international debut at Zimbabwe’s inaugural Pavilion at the 54th Venice Biennale (2011).

Collections include: A4 Arts Foundation (Cape Town, South Africa); Braunsfelder Family Collection (Cologne, Germany); Uieshema Collection (Tokyo, Japan); Perez Art Museum (Miami, USA); Pigozzi Collection (Geneva, Switzerland); Taguchi Art Collection (Tokyo, Japan); Fukutake Foundation (Auckland, New Zealand); COMMA Foundation (Damme, Belgium); ANA Collection (Lagos, Nigeria); Sigg Art Foundation, Le Castellet, France; Fondation Gandur pour l’Art (Geneva, Switzerland); and Zeitz Museum of Contemporary Art Africa (Cape Town, South Africa).

Masamvu lives and works in Harare, Zimbabwe.

Clive van den Berg

Clive van den Berg (b. 1956, Luanshya, Zambia) is a Johannesburg-based artist, curator and designer who has focused on pioneering the insertion of queer perspectives into the larger rewrite of South African history throughout the course of his prolific forty-year career. Van den Berg has produced a range of works spanning a variety of mediums delve into the porous nature of human existence and the landscapes we inhabit, creating a profound commentary on vulnerability, memory, and the intersection of personal and collective histories.

Van den Berg’s retrospective, titled Porous, took place at the Wits Art Museum in August 2024, and was accompanied by a major new book published by Skira.

In his paintings, he delves into the porous nature of land, acting as a vessel for lived experiences and unearthing unresolved layers beneath its surface. Within Van den Berg’s practice, the landscapes serve as a departure point, transcending physicality to evoke a haunting absence that guide viewers through imagined topographies. Van den Berg’s sculptural practice is equally captivating, focusing on the male form and the symbolic resonance of skin to explore themes of vulnerability and exposure. Through this vulnerability, he challenges traditional notions of masculinity and brings to light the ever-present spectre of mortality. His work serves as a poignant meditation on love, loss, and resilience.

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.

Solo exhibitions include: Porous, Wits Art Museum (2024); Remembering, a survey exhibition of paintings, prints and sculptures, Kwa-Zulu Natal Society of Art Gallery, Durban (2021); Personal Affects, Museum of African Art, New York (2005).

Major curated exhibitions include: If You Look Hard Enough, You Can See Our Future: Selections of Contemporary South African Art from the Nando’s Art Collection, The African American Museum of Dallas, Dallas (2023); Breaking Down the Walls: 150 years of Art Collecting, Iziko SANG, Cape Town (2023); Screening of Memorials Without Facts: Men Loving, São Paulo Museum of Art, São Paulo (2018); Earth Matters: Lands as Material and Metaphor in the Arts of Africa, Smithsonian National Museum of African Art, Washington D.C. (2013-2014).

Collections include: El Espacio 23, Miami; Amant Foundation, New York; A4 Arts Foundation, Cape Town; Wits Art Museum, Johannesburg; Spier Arts Trust, London; Iziko South African National Gallery, Cape Town; Smithsonian Museum of African Art, Washington DC and Video Brasil, Sao Paulo.

Van den Berg lives and works in Johannesburg, South Africa.

William Kentridge

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

In 2024, in Venice, Kentridge premiered a new nine-episode video series SELF-PORTRAIT AS A COFFEE-POT – a site-specific installation curated by long-time collaborator and curator Carolyn Christov Bakargiev at the Arsenale Institute for Politics of Representation. Folowing this, in October, MUBI presented: William Kentridge’s ‘Self-Portrait as a Coffee-Pot’ Premiere in New York.

In conjunction with the world premiere of his newly commissioned opera The Great Yes, The Great No, which debuted at LUMA Arles in July 2024, the solo exhibition Je n’attends plus (I’m Not Waiting Any Longer) presents a collection of major works, some of which had not been seen in Europe before.

Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022. An iteration of Kentridge’s Royal Academy survey opened at the Taipei Museum of Fine Arts in May 2024. 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 Luma Foundation, France (2024); Arsenale Institute for Politics of Representation, Venice (2024); Taipei Fine Arts Museum (2024); Museum of Modern Art, New York (1999, 2005, 2010); Albertina Museum, Vienna (2010); Musée du Louvre, Paris (2010); National Museum of Modern and Contemporary Art, Korea; Reina Sofia Museum, Madrid (2015); Kunstmuseum Basel (2019); Norval Foundation, Cape Town (2019). The artist has also participated in biennale’s including Documenta in Kassel (2012, 2002, 1997) and the Venice Biennale (2015, 2013, 2005, 1999, 1993).

Collections include: 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 lives and works in Johannesburg, South Africa.

Ghada Amer

Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.

Amer’s wide-ranging practice spans painting, cast sculpture, ceramics, works on paper, and garden and mixed-media installations. Further, she often collaborates with her long-time friend Reza Farkhondeh. Recognising both that women are taught to model behaviors and traits shaped by others, and that art history and the history of painting in particular are shaped largely by expressions of masculinity, Amer’s work actively subverts these frameworks through both aesthetics and content. Her practice explores the complicated nature of identity as it is developed through cultural and religious norms as well as personal longings and understandings of the self.

Amer’s work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. Among invitations to prestigious group shows and biennials—such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007—she was given a midcareer retrospective at the Brooklyn Museum of Art in New York in 2008. Multiple institutions across Marseille, France are currently co-organising a retrospective for 2022 that will travel to the United States and Asia.

Jabulani Dhlamini

Jabulani Dhlamini (b. 1983, Warden, South Africa) is a documentary photographer whose practice reflects on his upbringing in the post-apartheid era alongside the experiences of local South African communities. Dhlamini’s meditative approach to photography encourages a closer look at what lies on the edges through an exploration of personal and collective memory.

Dhlamini’s most celebrated bodies of work have focused on key moments in South African history, such as ‘Recaptured’ which looks at cross-generational recollections of the Sharpeville Massacre, ‘Isisekelo’ which documents the familial impact of land dispossession, and ‘iQhawekazi,’ which mapped the shifting legacy of Winnie Madikizela-Mandela at the time of her death in 2018.

Solo exhibitions include: ‘Casa/iKhaya Lami,’ Mitre Gallery, Brazil (2023); ‘Isisekelo,’ Goodman Gallery Johannesburg (2019); ‘Recaptured,’ Goodman Gallery Cape Town (2016); ‘uMama,’ Market Photo Workshop, Johannesburg (2012).

Group exhibitions include: ‘Inganekwane,’ North West University Gallery, South Africa (2022); ‘iHubo – Whispers,’ PhotoSaintGermain festival, France (2022); ‘Side to Side Johannesburg,’ La Permanence Photographique, France (2022); ‘A Different Now is Close Enough to Exhale on You,’ Umhlabathi Collective Gallery, South Africa (2022); ‘Five Photographers. A tribute to David Goldblatt,’ Gerard Sekoto Gallery, French Institute of South Africa and the Alliance Française of Johannesburg.

Dhlamini is an alumni fellow of the Edward Ruiz Mentorship programme and the Market Photo Workshop in Johannesburg.

Dhlamini lives and works in Johannesburg, South Africa.

Sam Nhlengethwa

Sam Nhlengethwa (b. 1955, Payneville, Springs) part of a pioneering generation of late 20th century South African artists whose work reflects the sociopolitical history and everyday life of their country. Through his paintings, collages and prints Nhlengethwa has depicted the evolution of Johannesburg through street life, interiors, jazz musicians and fashion.

Nhlengethwa was born in the Black township community of Payneville near Springs (a satellite mining town east of Johannesburg), in 1955 and grew up in Ratanda location in nearby Heidelberg. In the 1980s, he moved to Johannesburg where he honed his practice at the renowned Johannesburg Art Foundation under its founder Bill Ainslie. Nhlengethwa is one of the founders of the legendary Bag Factory, in Newtown, in the heart of the Johannesburg CBD, where he used to share studio space with fellow greats of this pioneering generation of South African artists, such as David Koloane and Pat Mautloa.

In 2014, a major survey exhibition, titled Life, Jazz and Lots of Other Things, was hosted by SCAD Museum of Art in Savannah, Georgia, which was then co-hosted in Atlanta by SCAD and the Carter Center.

Nhlengethwa’s practice features in important arts publications, such as Phaidon’s The 20th Century Art Book (2001).

Other notable exhibitions and accolades in South Africa and around the world include: in 1994 – the year South Africa held its first democratic elections – Nhlengethwa was awarded the prestigious Standard Bank Young Artist of the Year award; in 1995, his work was included in the Whitechapel Gallery’s Seven Stories About Modern Art in Africa in London; in 2000, he participated in a two-man show at Seippel Art Gallery in Cologne.

Group exhibitions include: Constructions: Contemporary Art from South Africa, Museu de Arte Contemporanea de Niteroi, Brazil (2011); Beyond Borders: Global Africa, University of Michigan Museum of Art, Michigan (2018).

Biennales include: 6th Beijing Biennale in (2015); 55th Venice Biennale, as part of the South African Pavilion, titled Imaginary Fact: Contemporary South African Art and the Archive (2013); 12th International Cairo Biennale (2010); 8th Havana Biennale (2003); Southern African Stories: A Print Collection, CCA (Caribbean Contemporary Arts), Trinidad (2002).

Collections include: Johannesburg Art Gallery (JAG), Durban Art Gallery (DAG), Iziko South African National Art Gallery (ISANG), Standard Bank’s Head Office, Absa, Botswana Art Museum, Museum of Fine Arts Houston, amongst many in South Africa and abroad.

Nhlengethwa lives and works in Johannesburg, South Africa.

Leonardo Drew

Leonardo Drew (b. 1961, Tallahassee, Florida, USA) is known for his significant installations and sculptures which explore the tension between order and chaos. Drew transforms accumulations of raw materials such as wood, scrap metal and cotton to create works that play upon a tension between order and chaos. His surfaces often approach a language of their own, embodying the laboured process of writing oneself into history.

Drew’s work has been seen in major museums worldwide. He was commissioned for a new outdoor project City in the Grass for Madison Square Park in 2019, marking the Madison Square Park Conservancy’s 38th public commission and the artist’s first major public outdoor art project. City in the Grass was presented as a solo exhibition in three museums, the Wadsworth Atheneum Museum of Art, Hartford, Connecticut (2021); Mississippi Museum of Art, Jackson (2020); and North Carolina Museum of Art, Raleigh (2020). In 2022, Drew was elected as a National Academician by the National Academy of Design. Another major new commission featured at Yorkshire Sculpture Park, UK in 2023. Drew’s mid-career survey, Existed, premiered at the Blaffer Gallery at the University of Houston in 2009 and travelled to the Weatherspoon Art Museum in Greensboro, North Carolina, and the DeCordova Sculpture Park and Museum in Lincoln, Massachusetts.

Collections include: Tate, London; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and Baltimore Museum of Art, Baltimore, MD.
Drew currently lives and works in Brooklyn, New York.

Pamela Phatsimo Sunstrum

Pamela Phatsimo Sunstrum’s (b. 1980, Mochudi, Botswana) work alludes to mythology, geology and theories on the nature of the universe. Her work includes imagery that reflects the diverse genealogies of her experience living in different parts of Africa, Southeast Asia, and the U.S. as well as ongoing research in ethnography, ecology, and quantum physics. The artist’s boundary-crossing practice centres Black female identity in the discourse of postcolonialism and neocolonialism, highlighting the contributions of overlooked historical figures while emphasising modes of knowledge and communication beyond the status quo.

In 2024, a major new solo exhibition opened at KM21 Den Haag, including a new large scale diptych painting within an installation that included items from the museum’s furniture collection. Sunstrum also presented her first solo exhibition titled ‘It Will End in Tears’, at a major UK institution, the Barbican Centre’s The Curve. Sunstrum took her life-size wood grain panoramas round the bend of the gallery, building a narrativised sequence with elements of film noir, crime fiction and pure drama.

Recent solo exhibitions include: It Will End In Tears, Barbican London, UK (2024); You’ll be sorry, Goodman Gallery, Johannesburg, South Africa (2023), The Pavillion, London Mithraeum, Bloomberg SPACE, London (2023); All my seven faces, Contemporary Art Center, Cincinnati (2019); Michaelis School for the Arts at the University of Cape Town (2018); Interlochen Centre for the Arts, Interlochen (2016).

Group exhibitions and biennales include: Born in Flames: Feminist Futures, The Bronx Museum of the Arts NY, USA (2021); WITNESS: Afro Perspectives from the Jorge M. Pérez Collection, El Espacio 23, Miami, USA (2020).

Collections include: Fries Museum, Leeuwarden, Hessel Museum at Bard College, New York, A4 Arts Foundation, Cape Town; The Fitzwilliam Museum, Cambridge; University of Cape Town, Cape Town; Deutsche Bank Collection, Frankfurt; El Espacio 23, Miami; FRAC des Pays de la Loire Contemporary Collection, Carquefou; University of South Africa (UNISA) Art Collection.

Sunstrum lives and works in The Hague, Netherlands.

Gabrielle Goliath

Through the ritual, sonic and social encounters of her art practice, Gabrielle Goliath (b. 1983, South Africa) attends (and tends) to histories and present-day conditions of differentially valued life, reaffirming ways in which black, brown, femme and queer practices of possibility perform the world differently. Each of her works convenes a coming-to – a tenuous community – collapsing the presumed remove and privileged subject position of representation (as white, male, heteronormative) and calling for meetings in and across difference, on terms of complicity, relation and love.

In 2024, Goliath presented her first solo exhibition titled ‘Personal Accounts’, at a major UK institution, Talbot Rice Gallery. Goliath’s immersive, often durational installations have shown across South Africa and internationally. She has won several awards including a Future Generation Art Prize – Special Prize (2019), the Standard Bank Young Artist Award (2019), and the Institut Français, Afrique en Créations Prize at the Bamako Biennale (2017).

Recent exhibitions include: Personal Accounts, Talbot Rice Gallery, University of Edinburgh, UK (2024); Personal Accounts, 60th Venice Biennale (2024). This ongoing body of work is a transnational, decolonial, black feminist project of repair; Beloved, Goodman Gallery, Johannesburg (2023); Chorus, Dallas Contemporary (2022), Dallas; This song is for…, Kunsthaus Baselland, Basel (2022); This song is for…, Konsthall C, Stockholm (2021); Our Red Sky, Göteborgs Konsthall, Gothenburg (2020); and The Power of my Hands, Musée d’Art Moderne, Paris (2020).

She has won a number of awards including a Future Generation Art Prize – Special Prize (2019), the Standard Bank Young Artist Award (2019), and the Institut Français, Afrique en Créations Prize at the Bamako Biennale (2017).

Collections include: Kunsthalle Zürich; TATE Modern, Frac Bretagne, Iziko South African National Gallery, Johannesburg Art Gallery, and Wits Art Museum.

Goliath lives and works in Johannesburg, South Africa.

Mikhael Subotzky

Mikhael Subotzky’s (b. 1981, Cape Town) works are the results of his fractured attempts to place himself in relation to the social, historical, and political narratives that surround him. As an artist working in film, video installation and photography, as well as more recently in collage and painting, Subotzky engages critically with contemporary politics of images and their making. “At the heart of my work is a fixation with revealing the gap between what is presented (and idealised) and what is hidden, coupled with a desire to pull apart and reassemble the schizophrenia of contemporary existence,” he says.

Subotzky’s first body of photographic work, Die Vier Hoeke (The Four Corners), was an in-depth study of the South African penal system. Umjiegwana (The Outside) and Beaufort West extended this investigation to the relationship between everyday life in post-apartheid South Africa and the historical, spatial, and institutional structures of control. Retinal Shift was produced by Subotzky on the occasion of the Standard Bank Young Artist Award 2012 and toured South Africa’s major museums and critically engaged with his ambivalence towards the processes of representation and image construction. Ponte City, a collaboration with artist Patrick Waterhouse, focuses on a single 54-story building that dominates the Johannesburg skyline. The building is cast as the central character in a myriad of interweaving narratives that, through photographs, commissioned texts, historical documents, and urban myths, chart the convoluted histories of both the building and Johannesburg itself. The Ponte City exhibition, which consists of a single installation of thousands of photographs and documents, has been acquired by the San Francisco Museum of Modern Art and the accompanying publication won the 2015 Deutsche Borse Photography Prize.

Subotzky’s work has been exhibited in recent museum presentations The Struggle of Memory at Palais Populaire, Berlin (2024) and Fragile Beauty: Photographs from the Sir Elton John and David Furnish Collection at Victoria & Albert Museum, London (2024).

Notable solo and two-person exhibitions include Home Building Ideas for South Africa (or A Cape Town Landscape), Goodman Gallery Cape Town (2024); Epilogue, Goodman Gallery, London (2022); Tell It To The Mountains, (with Lindokuhle Sobekwa) A4 Foundation, Cape Town (2021); Mikhael Subotzky: WYE, Sherman Contemporary Art Foundation, Sydney (2016); Ponte City (with Patrick Waterhouse), National Galleries, Scotland, UK, then travelled to Le Bal, Paris and FOMU, Antwerp (2014).

His work was included in the 12th Cairo Biennale (2010), The Unexpected Guest, Liverpool Biennial (2012), Rencontres Picha Biennale de Lubumbashi, Lubumbashi (2013) and the 56th Venice Biennale: All the World’s Futures, Venice (2015).

Public collections include 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 lives and works in Johannesburg, South Africa.

Yinka Shonibare

Yinka Shonibare (b. 1962, London, United Kingdom) studied Fine Art at Byam Shaw School of Art, London (1989) and received his MFA from Goldsmiths, University of London (1991). His interdisciplinary practice uses citations of Western art history and literature to question the validity of contemporary cultural and national identities within the context of globalisation. Through examining race, class and the construction of cultural identity, his works comment on the tangled interrelationship between Africa and Europe, and their respective economic and political histories.

In 2024, Serpentine Gallery, London UK, presented a solo exhibition of works in their Serpentine South gallery titled Suspended States. Shonibare’s work is also featured at the Venice Biennale 2024 as part of the Nigerian Pavilion, in the group show: Nigeria Imaginary.

To mark Sharjah Biennial’s 30th anniversary in February 2023, Shonibare was commissioned to create a series of new works for the exhibition. He also unveiled a new outdoor sculpture commissioned by the David Oluwale Memorial Association in Aire Park, Leeds as part of Leeds 2023.

In November 2022, Shonibare hosted the international launch of Guest Artists Space (G. A. S.) Foundation, a non-profit founded and developed by the artist. The Foundation is dedicated to facilitating cultural exchange through residencies, public programmes and exhibition opportunities for creative practitioners from around the world. The live/work residency spaces are set across sites in Lagos and a rural working farm in Ijebu, Ogun State.

A major retrospective of his work opened at the Museum der Moderne, Salzburg in the same year followed by his co-ordination of The Royal Academy Summer Exhibition, London which opened in September 2021. The survey solo exhibition, Yinka Shonibare CBE: Planets in My Head, opened in April 2022 at Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan followed by the unveiling in June 2022 of a major new sculptural work, Wind Sculpture in Bronze I at Royal Djurgården, Stockholm.

In 2013, he was elected a Royal Academician and was awarded the honour of ‘Commander of the Order of the British Empire’ in 2019. His installation ‘The British Library’ was acquired by Tate in 2019 and is currently on display at Tate Modern, London. Shonibare was awarded the prestigious Whitechapel Gallery Art Icon Award in 2021.

In 2010, his first public art commission ‘Nelson’s Ship in a Bottle’ was displayed on the Fourth Plinth in Trafalgar Square, London and is in the permanent collection of the National Maritime Museum, Greenwich, London. In 2008, his mid-career survey began at Museum of Contemporary Art, Sydney, travelling in 2009 to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institute, Washington D.C. In 2004, he was nominated for the Turner Prize.

Notable museum collections include: the Tate Collection, London; Victoria and Albert Museum, London; National Museum of African Art, Smithsonian Institute, Washington, D.C; Museum of Modern Art, New York; Moderna Museet, Stockholm; the Museum of Contemporary Art, Chicago; National Gallery of Modern Art in Rome and VandenBroek Foundation, The Netherlands.

Shonibare lives and works in London, United Kingdom.