Candice Breitz
Gallery News for Candice Breitz
Work by Candice Breitz on museum show in Finland
Work by Candice Breitz is featured on the Wäinö Aaltonen Museum of Art’s current group exhibition, titled Civil War (5 October – 13 January). The exhibition considers the armed conflicts from the perspectives of a war’s civilians and victims. Although it is timely to look back at the Finnish Civil War and World War I, both fought in 1918, this exhibition also covers present-day conflicts around the world by presenting a selection of works by various international artists who deal with the wars of our own time.
Candice Breitz's "TLDR" and "Sweat" on view in Germany
Candice Breitz: Sex Work at the Museum Frieder Burda in Berlin presents the artist’s TLDR and Sweat, video works which address the rampant gender-based violence faced by sex workers (21 September – 5 January). Shot shortly before #MeToo went mainstream in October 2017, the works resonate poignantly within this debate, re-focusing questions that are central to the movement. The exhibition features Breitz’s work in dialogue with pieces by American artist William N. Copley from the collection Frieder Burda. Both artists oppose the discrimination of sex workers, but from two different points of views: Copley’s depictions feature erotic and faceless nudes dominated by the male gaze, while Breitz gives these individuals back their voices.
Candice Breitz on group exhibition in Switzerland
Candice Breitz’s Love Story forms part of the Kunstmuseum St. Gallen’s group exhibition, titled The Humans (15 September – 24 March). The exhibition explores how artists formulate their independent views of the world and how they immerse themselves in realities that are inaccessible to traditional media. In addition to the role of our consumption of digital media, the participating artists also shed light on questions about how we deal with people on the margins of society and our attitude toward global migrations.
Candice Breitz on historic group show in Hannover
For over a century the Kunstverein Hannover in Germany has held an annual exhibition based on an open-call system. 88. Herbstausstellung, the title of this year’s edition, features 53 artists chosen from a pool of 500 applications by a jury. Candice Breitz is one of the artists selected to exhibit work at a handful of venues throughout the city, which includes the Kunstverein, the KUBUS municipal gallery and ‘Vom Zufall und vom Glück’ gallery (18 August – 28 October).
More news
-
Solo exhibitions
Candice Breitz / Love Story / 2018
Goodman Gallery Johannesburg
3 February – 9 March 2018Love Story – a seven-channel installation by Candice Breitz – interrogates the mechanics of identification and the conditions under which empathy is produced, prompting viewers to consider: Why is it that the same audiences that are driven to tears by fictional blockbusters, remain affectless in the face of actual human suffering?
The work is based on the personal narratives of six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Ezzat Mardini, who escaped war-torn Syria, José Maria João, a former child soldier from Angola; Mamy Maloba Langa, a survivor from the Democratic Republic of the Congo; Shabeena Saveri, an Indian transgender activist; Luis Nava, a political dissident from Venezuela; and Farah Abdi Mohamed, a young atheist from Somalia. The interviews were conducted in the cities where each individual is seeking or has been granted asylum (two in Berlin, two in New York and two in Cape Town).
In the first space of the installation, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (cast here as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a green-screen set, without the support of fictional backdrops, costumes, props, accents or interlocutors. Breitz’s edit intertwines the six renditions, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. In a second space that is accessible only via the first, the original interviews are projected in their full duration and complexity.
Suspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media, and an accessible drama featuring two actors who are the very embodiment of visibility, Love Story reflects on the callousness of a media-saturated culture in which identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real world adversity.
Breitz (b. Johannesburg, 1972) is a Berlin-based 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 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 other popular culture.
Major moments for Breitz in 2017 included the Venice Biennale, for which she was one of two artists selected to represent South Africa (alongside Mohau Modisakeng); the inclusion of a new commission titled I’m Your Man (A Portrait of Leonard Cohen) in an exhibition titled Leonard Cohen: A Crack in Everything at the Musée d’art contemporain de Montréal; and the premiere of a major new video work, TLDR (this 13-channel video installation is the sequel to Love Story), at the B3 Biennial of the Moving Image in Frankfurt.
Breitz has had solo exhibitions around the world and has participated in several biennales, including in Johannesburg (1997), São Paulo (1998), New Orleans (2008) 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) and has been acquired by the Museum of Modern Art and the Solomon R. Guggenheim Museum in New York, San Francisco Museum of Modern Art, the National Gallery of Victoria (Melbourne), MAXXI / Museo nazionale delle arti del XXI secolo (Rome), and FNAC / Fonds national d’art contemporain (France), among others.
Love Story (2016) was commissioned by the National Gallery of Victoria (Melbourne), Outset Germany (Berlin) + Medienboard Berlin-Brandenburg.
Love Story, 2016
Featuring Alec Baldwin and Julianne Moore
Based on and including interviews with: Shabeena Francis Saveri
(03:38:49), Mamy Maloba Langa (04:15:35), Sarah Ezzat Mardini (02:47:52), Farah Abdi Mohamed (03:32:19), José Maria João (03:27:57) and Luis Ernesto Nava Molero (03:49:58)
7-Channel Installation: 7 Hard Drives
Duration: 73 minutes, 42 seconds, loopCandice Breitz / The Woods / 2013
In her first solo show at Goodman Gallery Johannesburg, Candice Breitz will present The Woods (2012), a trilogy of video installations that takes a close look at the world of child performers and the performance of childhood in order to probe the dreams and promises embedded in mainstream cinema. This new body of work is being shown for the second time internationally after having its debut at the Australian Centre for the Moving Image in Melbourne in late 2012. Consistent with Breitz’s interest in the role that mimicry plays in the forging of selfhood, and with her ongoing analysis of the circular relationship between real life and reel life, The Woods traverses three continents to explore the rituals and conventions governing the on-camera and off-camera personae of professional child actors, as well as adult actors who have become famous playing child roles. The trilogy brings together footage shot in Los Angeles, Mumbai and Lagos, seeking to observe and grasp the aspirational logic that is shared by Hollywood, Bollywood and Nollywood.
Engaging actors and crews whose creative labour would ordinarily be subsumed into these three giant popular cinema industries, the three chapters of The Woods bring a behind-the-scenes eye to industries that typically prefer to mask their inner workings. As suggested by their titles – The Audition, The Rehearsal and The Interview – in each of the three installations making up The Woods, a particular show business ritual becomes the locus of meaning through which to more broadly reflect upon and decode the machinery of mainstream entertainment.
The Woods marks the first time that Breitz has cast professional actors – in the past, she has preferred to work with amateur casts. In the case of all three works in the trilogy, the actors were left to make their own choices when it came to self-presentation. All actors appear in clothes and accessories from their own wardrobes and were invited to liberally interpret their roles.
The Woods is a new work that has been co-commissioned by ACMI (Melbourne) and the Peabody Essex Museum (Salem, Massachusetts).
Candice Breitz was born in Johannesburg in 1972. She has lived and worked in Berlin since 2002. She holds degrees from the University of the Witwatersrand (Johannesburg), the University of Chicago and Columbia University (New York). She has participated in the Whitney Museum’s Independent Studio Program and ran 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 Braunschweig University of Art since 2007. In recent years, solo exhibitions of Breitz’s work have been hosted by museums and galleries such as the Palais de Tokyo (Paris), De Appel (Amsterdam), Moderna Museet (Stockholm), Castello di Rivoli (Turin), White Cube (London), San Francisco Museum of Modern Art, Standard Bank Gallery (Johannesburg) and South African National Gallery (Cape Town). Breitz has participated in biennales in Johannesburg (1997), São Paulo (1998), Istanbul (1999), Taipei (2000), Kwangju (2000), Tirana (2001), Venice (2005), New Orleans (2008) and Singapore (2011). Selected group exhibitions include New Frontier (Sundance Film Festival, 2009), The Cinema Effect (Hirshhorn Museum + Sculpture Garden, 2008), Made in Germany (Kunstverein Hannover, 2007), Superstars (Kunsthalle Wien, 2005) and Remix: Contemporary Art and Pop (Tate Liverpool, 2002). Breitz’s work has been acquired by museums including the Solomon R. Guggenheim Museum and the Museum of Modern Art (both in New York), the National Gallery of Canada (Ottawa), Fonds national d’art contemporain (France), Castello di Rivoli (Turin), Hamburger Kunsthalle (Hamburg), Musée d’Art Moderne Grand-Duc Jean (Luxembourg), Kunstmuseum Lichtenstein (Vaduz), Museum of Old and New Art (Tasmania), Queensland Art Gallery (Brisbane), San Francisco Museum of Modern Art, Art Gallery of Ontario (Toronto), Museum of Fine Arts (Boston) and Museo nazionale delle arti del XXI secolo (Rome).Group exhibitions
the silences between / 2017
Goodman Gallery Cape Town
24 August – 29 September 2017Curated By Emma Laurence
Candice Breitz • Broomberg & Chanarin • Nolan Oswald Dennis • mounir fatmi • Kendell Geers • David Goldblatt • Haroon Gunn-Salie • Alfredo Jaar • Samson Kambalu • William Kentridge • Grada Kilomba • Paulo Nazareth • Mikhael Subotzky
the silences between brings together major works by a selection of pre-eminent contemporary artists who use varying modes of storytelling to rethink, rework and reimagine the world and our place within it.
The title is taken from the Maori poetry book, The Silences Between: (Moeraki conversations) in which writer Keri Hulme prompts the question: ‘What is recorded in the writing of history and what is left out?’
The exhibition considers the role of the artist in questioning how meaning is made and what is recorded in visual memory. Works by artists such as Paulo Nazareth (Brazil), William Kentridge (South Africa), Candice Breitz (South Africa/Germany), Nolan Oswald Dennis (Zambia/South Africa), Grada Kilomba (Portugal/Germany) and Samson Kambalu (Malawi/UK) confront this process and offer alternatives to the ‘grand narrative’ of Western thought.
This exhibition takes its cue from Donna Haraway’s influential book Staying With The Trouble (2016), in which the prominent academic argues that the world cannot be understood ‘as the heroic story, told yet one more time, of the privileged signifier moving across time and space to bring back the prize at the end and die’.
the silences between presents works that expose the layered scaffolding of ‘meaning-making’ through the telling of everyday stories of ordinary people and seemingly insignificant events that have been left out of the dominant narrative.
‘The show seeks to activate the small but crucial stories that are so often forgotten, and in so doing offer new ways of crafting sensibilities,’ says curator Emma Laurence. ‘Through interfering with systems of knowledge production and archiving, the works puncture the overarching narratives of our globalised world.’
Performance Programme
Wednesday 13 September at 19:00Co-curated by Tendai Marima and Emma Laurence
Tendai Marima / Sons of the Mbira
Kutala Chopeto / Crocodile Love
Grada Kilomba / Plantation Memories: Lecture performanceNew Revolutions: Goodman Gallery at 50
Goodman Gallery Johannesburg
4 June – 6 August 2016In 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.
The Artists
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.
Speaking Back | Curated by Natasha Becker / 2015
Goodman Gallery Cape Town
23 May – 18 July 2015ruby onyinyechi amanze, Ghada Amer, Candice Breitz, Virginia Chihota, Ivy Chemutai Ng’ok, Otobong Nkanga, Nkiru Oparah, Tracey Rose, Adejoke Tugbiyele, Mickalene Thomas, Kara Walker, Arlene Wandera, Ellen Gallagher
Speaking Back seeks to reveal deeply significant dimensions of culture and subjectivity, history and struggle, by bringing women together as diverse artists to find out what each in her artistically signified yet gendered/racial/sexual/cultural singularity is offering to the world, to us all. It seeks to attain a more complete knowledge of that world, as it is lived, from multiple positions over time and space.
We have a tendency in exhibitions of work by women to generalise the artists as merely exemplars of a gendered collective: women, a sexualising nomination by which they are, as a category lumped together, their singularity annulled. While the exhibition makes space – conceptually and physically – for women artists, it embraces the potential of aesthetic practice to bring forward the singularity of each person and the variations in her specific symbolic capacities. If there are any generalisations to be made, it could be said that Speaking Back, prioritises narration – the use of particularly chosen aesthetic practices to convey a story to an audience. Not just as storytelling, but as speaking authentically, with vulnerability and strength, about who we are, and about the power of narration and its endless possibilities for reinvention.
Presented for the first time in South Africa, Ellen Gallagher is an acclaimed artist who, starting in the mid-1990s, has united various media with a range of subject matter to explore the place, and places, of African Americans. In Odalisque (2005), one of the artworks in the exhibition, Gallagher takes a photograph by Man Ray of Matisse, substitutes Freud’s head for that of Matisse’s and gives the model who is being drawn (and whose dress suggests that she is from that most sexualised and most sexually unequal context, the harem) the artists own face. Like the artist staring back at him from a reclining body, we confront the image of a great narrator of the universal psychic world attempting – it would appear with some awkwardness – to draw, and hence represent, an individual reality. Odalisque prompts us to consider what we can and cannot represent about others and ourselves.
In another instance, Virginia Chihota’s stunning screen prints urge us to reconsider not only the lives and strategies of individual artists but also the circumstances in which African diasporic female identity, visibility, and history have been produced and transformed. Her obsessive re-exploration of themes, such as, marriage and motherhood is transformed into a body of works that is striking in its symbolic resonance, and rife with allusions to everyday life, and religious and folkloric symbolism. In the series, root of the flower we do not know (mudzi weruva ratisingazive, 2014) our encounter with Chihota is dominated by the black female figure she insistently imagines, demonstrating a method of representing the self differently while exercising her right and desire to confirm and consolidate her identity as artist and her experience as female.
Adejoke Tugbiyele’s multimedia aesthetic practice offers a different take on sexual identity and political freedom –an issue all too familiar to South African audiences through the work of local artists and political activists. Tugbiyele is an emerging Nigerian-American artist and activist who spent her formative years growing up in Lagos, Nigeria. Her series of drawings, inspired by the journalistic fervour in Lagos during the passing of Nigeria’s anti-gay laws in 2014, draws attention to the self-righteous moralising inherent in contemporary media narratives surrounding the bill and her conceptual sculpture, Unpray the Flesh (2013) investigates religious complicity in the persecution of marginalised groups through the conjoining of religious symbolism with phallocentric worship. In AfroOdyssey V: Demons Contained, a performative video piece, Tugbiyele delves into her own sexual identifications and the narrative ramifications of ‘coming out,’ for familial and cultural histories.
New York-based artist Mickalene Thomas is best known for her elaborate paintings composed of rhinestones, acrylic and enamel which articulate complex visions of what it means to be a woman and expands stereotypical definitions of beauty. Her film about her mother, former fashion model Sandra Bush, demonstrates her ongoing engagement with portraiture as a key to personal and cultural identity. In the process of this extraordinary film, Thomas reveals the complex role of the mother-daughter bond for each woman’s sense of self. Internationally renowned, Otobong Nkanga employs traces of memory and human activity as the sounding board for narration and ‘the performative’ in her work that negotiate the cycle of art between the aesthetic realm of display and a strategies of de-sublimation that push the status of the artwork as contingency. In her artist book, No Be One Story O! (2010) Nkanga makes a radical artistic departure into the realm of literature itself. Based on a series of earlier drawings, Filtered Memories that represent select childhood and adolescent memories of the artist, the book explores the consequences of memory and, simultaneously, the defamiliarisation of the art object.
Speaking Back suggests and invites an encounter with expanded methods of cultural inquiry and the heterogeneity and creativity of contemporary art in the work of the above-mentioned artists as well as that of Ruby Onyinyechi Amanze, Ghada Amer, Candice Breitz, Tracy Rose, Ivy Chemutai Ng’ok, Nkiru Oparah, Kara Walker, and Arlene Wandera.
Other People's Memories / 2015
GOODMAN GALLERY JOHANNESBURG 28 JANUARY – 26 FEBRUARY 2015
CANDICE BREITZ / ADAM BROOMBERG AND OLIVER CHANARIN / NOLAN DENNIS / MOUNIR FATMI / KENDELL GEERS / DAVID GOLDBLATT/ HAROON GUNN SALIE/ ALFREDO JAAR / MOSHEKWA LANGA / WILLIAM KENTRIDGE / LIZA LOU / MIKHAEL SUBOTZKY /
“Imagine them reconstructing the conceptual framework of our cultural moment from those fragments. What are the parameters of that moment, the edge of that framework?” K Eshun (2003)
Other People’s Memories is a group show which explores the ways in which history and memory exist in the process of making, as well as the process of viewing, and by extension, the relationship between the artist, the artwork and the viewer.
The works included in the exhibition are the result of the artists’ relationship to something which has already happened, so that the artwork becomes an act of insertion, where the artists’ personal history becomes part of the historical, social or cultural moment which is referenced. In some instances the physical presence of the artists and their surroundings is consciously transferred to the artwork.
In Moshekwa Langa’s drawings, the artist uses string, tape and paint to map his memories and encounters. He includes domestic items like salt and wine, which he works into the fibrous paper and permeable string, so that the marks he makes are made viscerally – making overt the artist’s physical presence.
Transferral and human presence is also evoked in the beaded canvases of Liza Lou, who along with her team of skilled Zulu woman beaders, produces visual meditations on imperfect artistic production. The canvases retain traces of sweat, dirt and even blood which are testament to the fragile delicacy of her production and become a site of memory, recording the long struggle and sublime discomfort involved in the act of making.
Mikhael Subotzky’s work Sticky Tape Transfer 03 is formed through a process, developed by the artist, whereby adhesive tape is applied and then removed from images that feature in the artist’s personal history. In this delicate process, the tape picks up pigments and fragments of the original image so that a replica is formed. The pigments and fragments from the image are not all that is transferred onto the tape: dust and grime from the studio also become trapped in the glue, so that the image is made up not only of itself but also from the physical surroundings of the artist. Subotzky’s images then, become a meditation on memory itself. Like Subotzky’s transfers, a memory – each time it is evoked – is revised. Some parts are forgotten and left behind with the splinters and fragments of context replacing them.
The physical presence of the maker is made apparent in Kendell Geers’ work Foiled – where the artist has imprinted a religious figurine of Christ on the Cross on a large sheet of tin foil. Due to the delicate nature of the tin foil, the dents and folds deliberately made by the artists to demarcate the indented image are not the only marks on the material. As Geers manipulates the tin foil to create the image at its centre, his movement is picked up by the material so that the foil retains not only a visual “memory” of the devotional object but also a memory of how it came to be. The exhibition also allows for an exploration of how the artwork exists not only as something which contains the artists’ personal history – which happens in the process of making – but also how the viewer’s own history is projected onto the referred moment during the process of viewing and interpreting. Nolan Oswald Dennis’ work Tunnel 001 investigates the use of fire and what the artist terms “civil burnings” in the historical formation of South Africa.
The work consists of a plywood tunnel, the interior of which is covered in a thin layer of paraffin wax. Historical and personal accounts of how fire and burning existed in the formation of South African independence are carved into the wax. Like the foil in Geers’ work, the brittle yet stiff surface of the wax in Tunnel 001 means that in rewriting the texts, the artist physically changes what was originally written. Mistakes are made and words are scratched out, the wax breaks and obscures words, sentences run into each other and it becomes difficult to determine a precise starting and ending point. The size of the tunnel, which is just high enough to accommodate a human body, means that viewers are unable to gain perspective, and are forced by the physical constraints of the work to look at the carvings as fragments, and read the altered texts in pieces, so that each viewer has a different experience and constructs a different narrative and meaning. Where Dennis replicates and reworks texts onto a new surface, William Kentridge works directly onto archival documents, merging his drawing process into all that is contained by the archival document. Kentridge has worked with pages from an old cash book from East Rand Proprietary mines from 1906. In this way, the artist has worked the writing, texture and marks on the pages of the book into the landscapes – so that the history which the pages record becomes intrinsic to the landscape.The archive, in this case, is directly altered by the artist’s charcoal landscapes, allowing for a rumination of the effect of the past on the landscape and exploring the tension between the reclaiming of damaged ground by the ever evolving and growing landscape – and the extent to which landscape remembers trauma. While Kentridge explores the extent to which trauma and social injustice is evoked in the landscape,
David Goldblatt considers the ways in which loss and memory are contained within manmade monuments. In his 2014 series, Structures of Dominion and Democracy, Goldblatt continues his reflection on the structures and monuments that frame a particular vision of South African history. The new series concentrates on, but is not entirely devoted to, the period after the fall of apartheid, and features images of makeshift memorials, public monuments, and artworks which memorialize moments of trauma and allow for attempts at national catharsis. The works interrogate the practice of memorializing history and the ideologies that govern this practice. Whereas Goldblatt documents and investigates the ways in which monuments are constructed amongst different groups, Alfredo Jaar works with a historical photograph of Italian artist Lucio Fontana after his return from his native Argentina to Milan in 1946. The image shows Fontana standing amongst the ruins of his studio which was destroyed during World War II. The image, which the artist sourced from the Farabola archive in Rome, has been enlarged to a 2,5 × 2,5 metres square. Beyond the evident display of destruction and loss caused by war, this image marks an extraordinary moment in history where a group of artists and intellectuals were able to overcome years of isolation and devastation and reintroduce Italian culture to the world. This group includes Fontana in visual arts as well as Rossellini, Visconti and De Sica in film, Moravia, Pavese or Ungaretti in literature and the later generation of filmmakers like Antonioni, Bertolucci, Pasolini and artists like Pistoletto, Boetti, Calzolari and countless others who illuminated the cultural scene of Italy and the world.
Jaar first showed this image during the 2013 Venice Biennale as part of his project Venezia, Venezia, which was a call to artists and intellectuals across the globe to rethink the current unbalanced structure of contemporary art display and representations of the world in general. As Jaar points out, “artists create models of thinking the world”. By alluding to the power which culture demonstrated back in 1946, the artist encourages culture to once again overcome the present social, geographical, political, and cultural imbalances still aggravating the world.
Haroon Gunn Salie begins from the point of a South African identity of Diaspora – and a history of colonialism and slavery.
Gunn Salie has produced a metal cut out of the words KOM OOR DIE SEE – a line from the popular “Kaapseklopse” and slave song Die Alabama. Working in The Belfast Exposed archive – which contains photographs documenting the Troubles in Northern Island – photographers Adam Broomberg and Oliver Chanarin were interested in the process of selection, and the physical marks made on the photographic contact strips in the archive.Marks were made both by the succession of archivists who worked with the archive, and as the archive was made open to the public, marks and cuts made by individuals who defaced images of themselves.
The archive, then, is not only a collection of images which document the troubles, but the images themselves – they too become surfaces which bear testimony to the physical manipulation and handling of history and documentation.
In the works on the exhibition the artists have brought to light the process of selection and deletion by uncovering parts of the images which have been covered by archivists’ stickers and deleting the rest of the image. In the process of exposing what was covered and deleting what was not, the artists make over the ways in which cataloguing and selection impact on an archive. When the works are installed in the gallery the images – now devoid of their context – trigger different responses in the viewers, who must use their own backgrounds and history to make meaning of the images’ sequences.
Mounir Fatmi works within the realm of art history and visual culture. Taking the Italian Renaissance artist Fra Anglico’s painting The Healing of Deacon Justinian as his starting point, Fatmi questions the possibility of traversing ethnic and cultural barriers. A digital replica of Angelico’s painting has been printed on a mirrored surface. The painting depicts the Catholic hagiology of the Deacon Justinian, whose cancerous leg was replaced with that of an a dead Ethiopian by the saints Cosmas and Damian – twin doctors of Turkish descent who were martyred in the Catholic faith after they were beheaded under Diocletian persecution.
Fatmi places composites images of modern surgeries and trauma rooms onto the Angelico image so that the saints and the deacon appear as ghostly forms in the modern world. Like so many of his works, in Blinding Light, Mounir Fatmi does not provide the viewer with an answer or solution to ethnic and cultural barriers – but rather through a merging of media, time and origin he includes the viewer in the a process of complicating and questioning the past.
The mirrored surface of the work means that in the proccess of looking, the viewer becomes part of the layered imagery. Bodies are reflected in the parts of the work which are still reflective and hidden in the parts which have been been covered by the photographic print. Again, medium is used as a visual analogy for contemplating that which has come before, where the viewer, as in Frangelico’s painting, becomes a ghostly presence in a reworking and re-imagining of the past. In her dual channel video work Treatment, – Candice Breitz also works with insertion and reception, through revising and editing David Cronenberg’s iconic 1970’s horror film The Brood.
Breitz enlists herself, her own mother and father, and her real-life psychotherapist to inhabit and re-create a series of scenes from The Brood.
As with the Cronenberg film,Treatment resists indulging concrete autobiographical information, denying onlookers voyeuristic access to Breitz’s actual relationships with her parents and therapist, and focusing instead on the psychological horror that potentially lies within family life.
Once again the work deals with the hidden that exists underneath the observable – and asks the viewer to engage with the reference, the artist’s intention and the narrative potential of their own history being brought to bear upon the works.Surfacing / 2014
Surfacing is a group exhibition which allows for an exploration of the transient space between destruction and (re)construction. The exhibition aims to bring to light the fragments and residues that remain after destruction, and linger beneath a new form. In the preface to the 1961 edition of Frantz Fanon’s The Wretched of the Earth, Jean-Paul Sartre writes “violence is man re-creating himself”. Although Sartre speaks of violence as a necessity for overthrowing colonial power, “no gentleness can efface the marks of violence; only violence itself can destroy them.” This exhibition understands Sartre’s notion to address culpability, selfhood and violence and trauma involved in the process of becoming, scrutinizing and (re)creating.
Liza Lou’s Dirty White (2011-14) is a painting woven entirely out of glass beads. Over a period of months, Lou and her studio assistants from eight different townships in KwaZulu-Natal wove white A4 sheets out of identical white beads. The resulting painting tells the story of its own making: pock marks, streaks, ruptures and dirt are imbedded in a kind of code that speaks of the blood, sweat and tears of everyday life. For Lou, it is precisely in the moments of imperfection that beauty emerges – quoting from Leonard Cohen’s Anthem (1992), Lou explains “there’s a crack in everything, that’s where the light gets in.”
Kendell Geers’ sculpture Country Of My Skull is made from a cannibal trophy from New Caledonia; an artifact that by
its very nature is politicised and stands as a reference to violence and terror. The work’s title is taken from Antjie Krog’s literary account of the South African Truth and Reconciliation Commission – and expresses the artist’s constant battle between the paradoxical distancing of himself from a prejudiced and vicious heritage and the acknowledgement that he can never be entirely removed from it. In WaitingWantingWastingWorking Kendell Geers has produced a generic bed made from polished steel and razor mesh. For Geers the industrial phenomenon of razor mesh production – based on separation and othering, is a metaphor for the predicament of South Africa during Apartheid – as well as a metaphor for the artist who was born into the apartheid regime and struggled to understand the violence he was born out of and simultaneously born into. WaitingWantingWastingWorking has been made to be beautiful and monumental, while at the same time maintaining the original violence which has so informed Geers’ production throughout his career.One million points of light by Alfredo Jaar was shot off the coast of Angola, in Luanda. It was taken while standing, facing the ocean directly towards Brazil, in memory of the 14 million slaves sent from Angola to Brazil. Jaar’s photograph is inviting in its beauty and physicality; the way in which the image has been photographed and Jaar’s decision to use a lightbox to display the photograph means that surface of the image becomes almost tangible. It appears as if the light hitting the water becomes a layer that could be peeled back like skin, revealing the deep suffering to which the artist alludes.
In an abridged version of the large installation I was looking back, Mikhael Subotzky investigates the practice and mechanics of looking in relation to the history of South Africa, the history of photographic devices, and his own history as an artist. A number of the works on show have been smashed by the artist, creating a tension between document and object. The shattered surfaces become both unsettling and poignant, both concealing and recreating the image that lies beneath it.
mounir fatmi’s 3D rendered film Sleep Al Naim shows the writer Salman Rushdie sleeping peacefully, his bare chest heaving and falling to the rhythm of his breathing. The film borrows its imagery from Andy Warhol’s minimalist pop experimental film Sleep. Sleep Al Naim suggests the ambivalence of a physical abandonment, quiet and calm. Given the now notorious threats to Rushdie’s life, the film alludes to potential physical threat – and the viewer perhaps feels unease at watching Rushdie in a state of such vulnerability. This unease occurs against the alienation between the viewer and what is happening inside “Rushdie’s” mind – the ambivalence of quiet exists in these moments – when the torments of the mind exist in the unconscious.
William Kentridge’s 2007 body of work What Will Come is both a reflection on the way in which images are perceived and constructed by the human eye and a political statement about the violence and repercussions of colonialism. The works explore the Italian invasion of Ethiopia (at the time Abyssinia) in 1935-1936, drawing a connection between fascism and colonialism. Kentridge describes the works as “involving seeing twice. Seeing the image in one form and then reconstructing the image either in a mirror, or another optical device.” What Kentridge does then, is to deconstruct an image and ask for the viewer to reconstruct it using a series of optical devices. The drawings become fragments and remnants – with the full image existing only in the transient space of each viewer’s eye – and by extension mind. In evoking Italian amnesia about its colonial past, and the need for the re-evaluation of its violent heritage, Kentridge explores the duality of selfhood trauma involved in re-evaluating the self.
In Candice Breitz’s new video installation Treatment, the artist brings an original soundtrack to three key scenes from director David Cronenberg’s seminal film The Brood. In focusing on the family trauma at the heart of The Brood, Breitz pays tribute to Cronenberg’s ability to draw audiences into psychological identification with his characters, suggestively adding the voices of her own family to a palimpsest that already folds Cronenberg’s family narrative into that of the fictional family in The Brood. Staging an analogy between cinematic role-play and therapeutic role-play, The Brood and Treatment share – with their directors – a deep-seated interest in the formative nature of family relationships, a serious investment in the analytical potential of the moving image, and an absolute conviction in the potential of fiction to delve beneath the surface of things.
Haroon Gunn-Salie’s installation titled Amongst Men considers the figure of Imam Abdullah Haron, and the intersecting histories of Islam and the resistance to colonialism and apartheid in South Africa. The installation conceptually recreates Imam Haron’s funeral, which was attended by over 40 000 people after he was murdered by Apartheid police in 1969, by suspending a series of cast kufiya. It is accompanied by a haunting sound element: a recording of a poem written and read by James Matthews, which questions “Was he a patriot or terrorist?” – a reflection on the Imam’s legacy of resistance in contrast to his treatment at the hands of the Apartheid government.
Johan Thom’s work Recital (lend me your ears) consists of three prayer bead necklaces each fashioned from wooden beads, music strings and fifty individually engraved razorblades. Like a real set of prayer beads, the object is made to be handled as part of a highly personal, meditative reflection. The work exists as a silent symphony playing out in the mind of the viewer, and is constructed from the artist’s personal history as an immigrant from Europe. Thom states “this symphony has as much to do with my family, religion, as with war and the discovery of gold in Southern Africa in 1886. But more sinister meanings are present here: The appearance of sharp blades on the necklace serve to remind of the actual collection of ears as trophies by soldiers during the colonial wars in Africa. Instead of a crucifix each prayer bead terminates in another object associated with the larger history by and through which my identity is constructed.” As with Kentridge’s film, where the complete image exists only in the mind of the viewer, Thom’s violent heritage is replayed in the mind of each viewer who interacts with the components of the artist’s inherited history.
In The English Garden, Kudzanai Chiurai investigates Zimbabwe’s violent history as well as the way in which Africa is imagined in the west. Chiurai questions the “contemporary African condition” by juxtaposing the past and the present of a continent in the constant grip of violent civil wars. The painted body emerges from Chiurai’s landscapes as an ambivalent site, of simultaneous oppression and agency, as it negotiates the limits of action and freedom. It is precisely those moments of oppression and agency – destruction and reconstruction – that Chiurai explores, and that his characters simultaneously lament and cherish.
C-16 / 2013
Goodman Gallery is pleased to present a group exhibition to end the calendar year, review some of the most significant works produced in 2013 and not yet seen in Cape Town, unveil new chapters in some ongoing projects, and to look forward to exhibitions coming up in 2014.
The exhibition features work by some of South Africa’s most important artists covering the full spectrum of contemporary artistic practice, and also serves as a chance to introduce a Cape Town audience to some of the exciting young artists the gallery has begun working with over the past year.
The exhibition will feature a new flip-book film by William Kentridge titled Second-Hand Reading, with music by South African composer Neo Muyanga. In the film, which premiered to great acclaim in New York in September, the pages of a 1914 edition of Cassel’s Cyclopedia of Mechanics, marked by the artist with charcoal, chalk and pencil, are flipped at twelve pages per second to create a characteristic and remarkable animation.
Kudzanai Chiurai will show the film Moyo – as well as a new photographic print from the project – in which the artist gently engages with notions of memory, mourning and loss. Moyo is the third film in a series that includes Creation and Iyeza, which formed part of his exhibition at dOCUMENTA in 2012.
In a series of photographs titled SABC Minimal Candice Breitz explores the studios and stages behind the scenes at the South African Broadcasting Corporation, an institution that, despite its radical transformation over the past 20 years, remains indelibly marked by its own role in the country’s political and social history.
Gerald Machona anticipates his upcoming solo exhibition in Johannesburg with The Edelweiss, a delicate sculpture of Switzerland’s national flower, made with decommissioned currency and suspended under a glass dome, that speaks powerfully of the impact that seemingly abstract economic policies have on our daily lives.
Haroon Gunn-Salie’s Turn the Other Way, originally installed in a demolished house in District Six, asks viewers to consider their own role in the devastation of the neighborhood that began in the 1960s, and the ongoing conflicts over the land on which it once stood. In transposing the installation to a gallery space on the edge of the district the work’s message is changed and complicated further.
In Land of Black Gold IV, recently shown on the exhibition Kaboom! Comics in Art at the Museum fur Moderne Kunst in Bremen, Siemon Allen strategically cuts up, splices and erases original Tintin comic strips by Hergé to create a large single panel that raises questions about language, cultural perspective and the contingent nature of narrative.
The exhibition also includes large-scale sculptural work by Kendell Geers, Sigalit Landau, Stuart Bird and Walter Oltmann, new and recent photographic work by Mikhael Subotzky, Adam Broomberg & Oliver Chanarin, Alfredo Jaar, David Goldblatt and Sue Williamson, and paintings by Moshekwa Langa, Clive van den Berg and Vusi Beauchamp.
Exhibition opening Saturday 14 December at 10h00
Goodman Gallery Cape Town will remain open throughout the holiday season, except on public holidays. The gallery will also be open on Monday 23 December and Monday 30 December.
Editions / 2013
This March, Goodman Gallery Cape presents a group exhibition of work in a wide range of media. Titled Editions, the show brings together photographs, sculpture, video/multimedia works, lithographs, linocuts and photogravures by a variety of South African and international artists, with the common thread that each work forms part of an edition.
Kudzanai Chiurai shows a new film from his Conflict Resolution series, last seen at Documenta 13 in Kassel, Germany, as well as a new photograph from the same body of work. New prints by Gerhard Marx and Walter Oltmann find them engaging with etching, lithography and woodblock printing in new and exciting ways.
Alfredo Jaar’s photographs of Serra Pelada, an opencast gold mine dug by human hands in Brazil, are shown as color transparencies mounted in lightboxes, and sit in uneasy relation to Liza Lou’s Gather Forty, a sculpture made from gold-plated beads threaded and bound in a sheaf.
The exhibition also includes new prints by Clive van den Berg and Diane Victor; photographs from Candice Breitz’ recent Extra!, last seen at the Iziko South African National Gallery, and David Goldblatt’s characteristically quiet colour landscapes; and a portfolio of photolithography by Moshekwa Langa.
Also on show is the full series of Robert Hodgins’ experimental Officers and Gents, to coincide with the Wits Art Museum’s exhibition of his print archive; a selection of lithographs from Sam Nhlengethwa’s recent Conversations series; Mikhael Subotzky’s Don’t even think of it, a film made from a series of still photographs shot by the artist in 2004; and a set of 7 photogravures by William Kentridge titled Zeno Writing II.
Advance/...Notice / 2012
Goodman Gallery Johannesburg welcomes you to 2012 with Advance/… Notice, an exhibition of new works by a dynamic group of contemporary artists from around the world. As we advance into a new calendar year, this exhibition gives notice of innovations from some of our artists who are already familiar to you, and of our new ventures into an intellectual exchange with artists with whom we are excited to work for the first time. This show will also give audiences a preview of what is to come, as many of the featured artists have solo shows planned for 2012 at Goodman Gallery spaces and other prestigious South African institutions.
Advance/… Notice introduces newly perfected techniques or processes for some of our well-known artists, such as platinum photographic prints by David Goldblatt, and a completely new turn of direction and field of interest for African American artist Hank Willis Thomas, who first exhibited with us on In Context in 2010, as well as for Sigalit Landau, the acclaimed Israeli artist we co-hosted at last year’s Venice Biennale. These international savants are joined by South African artists such as Hasan and Husain Essop, Moshekwa Langa, Mikhael Subotzky, Sue Williamson, William Kentridge, Rosenclaire, and Frances Goodman revealing either brand new works, or works not yet seen in Johannesburg. Also featured are works by Kendell Geers, whose retrospective exhibition will open at IZIKO South African National Gallery in late March 2012.
Our first show of the year seems an apt time to introduce the novel and the unexpected in the work of a number of artists and to also welcome prominent figures including Liza Lou, a world-renowned American now living and working in KwaZulu Natal; South African Candice Breitz, now resident in Berlin; Chilean-born New Yorker Alfredo Jaar; London-based Iranian Reza Aramesh, as well as Carla Busuttil – a young South African artist based in Berlin who is well-established in the United Kingdom, but has never before exhibited in her home country.
Liza Lou presents a work titled Gather Forty, one of a series of forty individual sculptures made from gold-plated beads that have been expertly threaded onto four hundred individual pieces of stainless steel wire and bound in a sheaf – continuing the shift of the beadwork medium from craft to conceptual art. Alfredo Jaar, internationally recognised artist, filmmaker and architect, celebrated for the public interventions he has created all over the world, shows From Time to Time, a panel of nine Time magazine covers focusing on Africa that either feature animals or malnourished Africans – revealing how the rest of the world often encapsulates its second largest continent. Breitz, who opens a major survey of her work titled Extra! at the Standard Bank Gallery this February, presents The Character, a video installation filmed in Mumbai that seeks to understand the role and influence of child characters in mainstream Indian cinema through interviews with a group of young moviegoers. In Action 78, Aramesh uses familiar scenes from news footage of the first Gulf War to restage, re-present and destabilise any easy readings of the conflicts we think we understand. Oil paintings by Busuttil offer a sinisterly-executed perusal of the exploitation of power and cruelty.
We are also very pleased to present for the first time the work of Nelisiwe Xaba, who will be presenting an interactive dance and video collaboration with Mocke J van Veuren at Goodman Gallery Projects in February. The crossover into visual art is exciting new territory for this renowned performer/dancer.
Goodman Gallery hopes you will join us to be inspired, challenged and excited by this exhibition and its promise of advances in the visual arts of South Africa. We trust you will find the exhibition gives notice of an innovative and exciting programme for 2012 in Johannesburg and Cape Town.In Context / 2010
In Context presents a diverse group of international and South African artists who share a rigorous commitment to the dynamics and tensions of place, in reference to the African continent and its varied and complex iterations, and to South Africa in particular. The works – wide-ranging, frequently provocative – engage with a number of pressing questions about space, context, and geography.
In this gathering of artists – envisioned as a series of conversation and engagements – the question of context is posed once again, but problematised in various ways. The terms ‘local’ and ‘international’ are given new emphasis (especially at this juncture and in the context of one of the largest sporting events on the planet) and the following questions are posed: What does it mean to be a local artist in this age of the global? Do African artists wish to continue speaking of context? How do artists of the African Diaspora reflect on their distance from and proximity to home? Where is home? How have some artists living in Europe and the Americas inherited and absorbed an African heritage or sensibility, even when they have not visited the Continent? Have we reached a point in the story of contemporary art in which the term ‘African artist’ can be dispensed with or do we still require it as a marker of distance from Europe and North America? To what extent does the global art market rely upon or exploit the term to sell art in Europe and North America? Is there thus a distinction to be made between the way in which African artists represent themselves and the ‘Western’ reception of contemporary art from Africa?
Rather than present only artists from the African continent in this project, In Context also considers the works of artists who, though they may have some interest in South Africa, have not visited the country or anywhere else in Africa. Their connection to the continent might be one they have inherited from the history of slavery, or from the displacements of Diaspora and exile. The aim is to generate conversations between works and even to assess the relevance of the questions we have raised in the face of the works themselves. We may find ourselves entirely surprised by the answers. We hope to be provoked, to open engagements that overturn the concerns and themes we have offered, that render them more rather than less problematic, or that dispense with them altogether. We may indeed find that individual practice casts an entirely different light on the question of context.
In Context will take place in a number of non-commercial venues and, through a series of talks, walkabouts, and panel discussions, will promote engagement both with artists and audiences. The partners in this project take seriously the need to begin a number of collaborations that can be sustained beyond the events of In Context. They also seek to reach a wider audience than the usual gallery visitors and to promote appreciation of art through unconventional interventions outside of the traditional gallery space.
-
Biography
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.
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.
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), 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 and the Solomon R. Guggenheim Museum (both 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).
Candice Breitz lives and works between Cape Town, South Africa and Berlin, Germany.
Recent work can be viewed at: http://vimeo.com/album/259786
Solo Exhibitions
2018 Love Story, Goodman Gallery, Johannesburg, South Africa
2017 Candice Breitz: Portrait of an Artist, Braunschweig University of Art, Braunschweig, Germany
2017 Candice Breitz: Love Story, Centre for Contemporary Art, Tel Aviv, Israel
2017 Love Story, KOW, Berlin, Germany
2017 Love Story, CCA, Tel Aviv, Israel2016 Ponderosa, Kunstmuseum Stuttgart, Stuttgart, Germany
2015 The Woods, Peabody Essex Museum, Salem, USA
2015 Treatment, Kaufmann Repetto, New York, USA2014 The Woods, Blaffer Art Museum , University of Houston, Texas, USA
2014 Factum, Art Gallery of Ontario, Toronto, Canada
2014 FreePort [No. 008]: Candice Breitz, Peabody Essex Museum, Salem, Massachusetts, USA
2014 Working Class Hero, ZeitHaus Volkswagen, Kunstmuseum Wolfsburg, Germany
2014 Treatment, Centre d’Art Contemporain Geneve, Switzerland2013 Working Class Hero (A Portrait of John Lennon) , Anna Schwartz Gallery, Sydney, Australia
2013 The Woods , Goodman Gallery Johannesburg, South Africa
2013 Him + Her , Void Contemporary Art Gallery, Derry, Northern Ireland2012 Candice Breitz: The Character , The Australian Centre for the Moving Image (ACMI), Melbourne, Australia
2012 Extra! , Iziko South African National Gallery, Cape Town, South Africa
2012 Extra! , Standard Bank Gallery, Johannesburg, South Africa2010 Kunsthaus Bregenz, Bregenz, Austria
2010 Espoo Museum of Modern Art , Espoo, Finland
2010 White Cube, London, UK
2010 STUK Leuven, Leuven, Belgium2009 Yvon Lambert, New York, USA
2009 The Power Plant, Toronto, Canada
2009 San Francisco Museum of Modern Art, San Francisco, USA
2009 Art Center Kabuso, Hardangerfjord, Norway
2009 Blank Projects, Cape Town, South Africa
2009 Riksutställningar – Swedish Traveling Exhibitions (various places)2008 Louisiana Museum of Modern Art, Humlebæk, Denmark
2008 Collection Lambert en Avignon, Avignon, France
2008 Musée d’Art Moderne Grand-Duc Jean, Luxembourg
2008 Temporäre Kunsthalle Berlin, Berlin, Germany
2008 BFI Southbank, London, UK2007 MUSAC – Museo de Arte Contemporáneo de Castilla y León, León, Spain
2007 White Cube, London, UK
2007 Prix International d’Art Contemporain 2007, Monaco
2007 Vox Contemporary Image, Montréal, Canada2006 Konstmuseum Uppsala, Uppsala, Sweden
2006 Baltic Centre for Contemporary Art, Gateshead, UK
2006 Hellenic American Union, Athens, Greece
2006 Kukje Gallery, Seoul, South Korea
2006 Bawag Foundation, Vienna, Austria2005 Castello di Rivoli, Turin, Italy
2005 Palais de Tokyo, Paris, France
2005 White Cube, London, UK
2005 Sonnabend Gallery, New York, USA
2005 Edith-Russ-Haus für Medienkunst, Oldenburg, Germany
2005 Mercer Union, A Centre for Contemporary Art, Toronto, Canada
2005 Bob Marley Museum, Kingston, Jamaica
2005 Das Schiff, Basel, Switzerland2004 Sonnabend Gallery, New York, USA
2004 Moderna Museet, Stockholm, Sweden
2004 FACT / Foundation for Art & Creative Technology, Liverpool, UK
2004 Tokyo Wonder Site, Tokyo, Japan
2004 Galleri Roger Björkholmen, Stockholm, Sweden2003 Modern Art Oxford, Oxford, UK
2003 Galerie Max Hetzler, Berlin, Germany
2003 aspreyjacques, London, UK
2003 De Beeldbank, Eindhoven, Netherlands
2003 Goethe Institute, Zagreb, Croatia2002 Artpace San Antonio, Texas, USA
2002 INOVA Institute of Visual Arts, Milwaukee, USA
2002 Künstlerhaus Bethanien, Berlin, Germany
2002 Museum Folkwang / RWE-Turm, Essen, Germany
2002 Miami Basel Statements, Miami, USA2001 De Appel Foundation (Amsterdam)
2001 O.K Center for Contemporary Art Upper Austria, Linz, Austria
2001 Kunstverein St. Gallen Kunstmuseum, St. Gallen, Switzerland
2001 Galerie Johnen & Schöttle, Cologne, Germany
2001 Galleri Roger Björkholmen, Stockholm, Sweden
2001 Galeria João Graça, Lisbon, Portugal
2001 Galleria Francesca Kaufmann, Milan, Italy2000 Centre d’Art Contemporain Genève, Geneva, Switzerland
2000 New Museum of Contemporary Art, New York, USA
2000 Galerie Art + Public, Geneva, Switzerland
2000 Galerie Rüdiger Schöttle, Munich, Germany
2000 Galleria Francesca Kaufmann, Milan, Italy
2000 Chicago Project Room, Chicago, USA
2000 Künstlerhaus Schloss Wiepersdorf, Wiepersdorf, Germany1999 Galerie Rüdiger Schöttle, Munich, Germany
1999 Galleri Roger Björkholmen, Stockholm, Sweden1998 Galerie Johnen & Schöttle, Cologne, Germany
1998 Sala Mendoza, Caracas, Venezuela
1998 Chicago Project Room, Chicago, USA
1998 Galleri Roger Björkholmen, Stockholm, Sweden1997 Craig Krull Gallery, Los Angeles, USA
1997 Silverstein Gallery, New York, USA
1997 Galerie Rüdiger Schöttle, Munich, Germany1996 The Rainbow Show, The Space Gallery , Johannesburg, South Africa
1995 Tourist Works, Cochrane Woods Art Center , Chicago, USA
1994 Serial Corpses, Institute of Contemporary Art , Johannesburg, South Africa
Group Exhibitions
2018 FRONT International Cleveland Triennial, Transformer Station, Ohio City, USA
2018 Touch / Saastamoinen Foundation Art Collection, Espoo Museum of Modern Art, Espoo, Finland
2018 Women: Images of women through the centuries, Kunst Museum Winterthur, Winterthur, Switzerland
2018 LOVE 2018: Purple Hearts, LeRoy Neiman Gallery, Columbia University, New York, USA2017 Archive: Commissions from Performa’s Archive, Whitechapel Gallery, London, UK
2017 Re-Vision: New Presentation of the Collection, Kunstmuseum Bonn, Bonn, Germany
2017 Leonard Cohen: Une brèche en toute chose / A Crack in Everything, Musée d’art contemporain de Montréal, Montréal, Canada
2017 Again and Again, Haus der Kunst, Munich, Germany
2017 My Music, Arken Museum of Modern Art, Ishøj, Denmark
2017 NGV Triennial, National Gallery of Victoria, Melbourne, Australia
2017 Selections from the Collection, Henry Art Gallery, University of Washington, Seattle, USA
2017 Cult! Zeppelin Museum, Friedrichshafen, Germany
2017 Kunst.Ort.Kino, Kunsthalle Erfurt, Erfurt, Germany
2017 El Usman Faroqhi Here and a Yonder – On Finding Poise in Disorientation, SAVVY Contemporary, Berlin, Germany
2017 Extra Bodies: The Use of the “Other Body” in Contemporary Art, Migros Museum of Contemporary Art, Zürich, Switzerland
2017 ON DESIRE, The B3 Biennial of the Moving Image, Frankfurt am Main, Germany
2017 the silences between, Goodman Gallery, Cape Town, South Africa
2017 Kunstraum Deutschland / Artspace Germany, Lalit Kala Akademi, New Delhi, India
2017 Candice Breitz + Mohau Modisakeng, South African Pavilion, 57th La Biennale di Venezia, Venice, Italy
2017 NSK State-in-Time Pavilion, 57th La Biennale di Venezia, Venice, Italy
2017 Cinema mon amour: Film in the Arts, Aargauer Kunsthaus, Aarau, Switzerland2016-2017 South Africa: The Art of a Nation. The British Museum, London, UK
2016 Thicker than Water. Concepts of Family in Contemporary Art, Kunstpalais Erlangen, Erlangen, Germany
2016 Höhenrausch 2016: Andere Engel, OK Offenes Kulturhaus Oberösterreich, Linz, Austria
2016 Wer bin ich?, Vögele Kultur Zentrum, Pfäffikon, Switzerland
2016 Briser la glace, MAGASIN Centre National d’Art Contemporain, Grenoble, France
2016 Moving Tales: Video Works from the La Gaia Collection, Complesso Monumentale di San Francesco, ex Chiesa di San Francesco, Cuneo, Italy
2016 A World View: The Tim Fairfax Gift, Queensland Gallery of Modern Art, Brisbane, Australia
2016 Moving Tales: Video from the La Gaia Collection, Chiesa di San Francesco, Cuneo, Italy
2016 New Revolutions: Goodman Gallery at 50 , Goodman Gallery, Johannesburg, South Africa
2016 Robenmutter, (Work featured: Mother), Lentos Museum, Linz, Austria
2016 Thrill of Heights – Angels and Doppelgaenger, (Work featured: Factum) OK Center for Contemporary Art Upper Austria, Linz, Austria2015 Speaking Back, Goodman Gallery, Cape Town, South Africa
2015 Other People’s Memories, Goodman Gallery, Johannesburg, South Africa
2015 All the World’s a Stage, works from the Goetz collection, Sala de Arte Sentander, Madrid, Spain
2015 Cannibalism? On Appropriation in Art, (work featured: Soliloquy Trilogy)Zacheta National Gallery of Art, Warsaw, Poland
2015 Faces: Between Figured, Portraits and Masks,(Work featured: Factum) Neues Museum Numberg, Germany
2015 The Coming Museum, (Work featured: The Character), Forum Eugenio de Almeida, Evora, Portugal
2015 Verstarker: Fan-Verhalten und Kunst, (Work featured: Monuments), Kunstlerhaus Bethanien, Berlin, Germany
2015 I got Rhythm: Art & Jazz since 1920_, (Work Featured: King (_A Portrait of Michael Jackson) Kunstmuseum Stuttgart, Germany2014 From Sitting to Selfie, Standard Bank Gallery, South Africa
2014 Surfacing, Goodman Gallery, Cape Town, South Africa
2014 Producing the Common, Dak’Art / 11th Biennale de l’Art Africain Contemporain, Dakar, Senegal
2014 UrSenses, Färgfabriken, Stockholm, Sweden
2014 She, David Winton Bell Gallery, Brown University, Province, Rhode Island, USA2013 – 2015 Distance and Desire: Encounters with the African Archive, Walther Collection, Ulm Germany
2013 – 2014 Pop Goes the Revolution, New Church, Cape Town, South Africa
2013 David Cronenberg / Transformations, MOCCA / Museum of Contemporary Canadian Art, Toronto, Canada
2013 Modern Identities, Garage Center for Contemporary Culture, Moscow, Russia
2013 Permanent Collection, National Gallery of Canada, Ottawa, Canada
2013 Distance and Desire: Encounters with the African Archive, The Walther Collection, Neu-Ulm, Germany
2013 Icastica, 1st International Arezzo Biennial of Art, Arezzo, Italy
2013 Dave Allen / Candice Breitz / Douglas Gordon, n.b.k / Neue Berliner Kunstverein, Berlin, Germany
2013 1.pers.sing: The Artist’s Body between Self-Portrait and Performance, b-05 Art and Design Center, Montabaur, Germany
2013 This is Not a Love Song, La Virreina Centre de la Imatge, Barcelona, Spain
2013 My Joburg, La Maison Rouge, Paris, France
2013 Rehearsals: The Practice and Influence of Sound and Movement, SCAD Museum of Art, Savannah, USA2012 Thank You for the Music, Kiasma Museum of Contemporary Art Helsinki, Finland
2012 Advance/… Notice, Goodman Gallery, Johannesburg, South Africa
2012 Biografen / The Cinem, Botkyrka Konsthall Botkyrka, Sweden2011 Monanism, MONA, Museum of Old and New Art Hobart, Tasmania, New Zealand
2011 Open House, Singapore Biennale 2011, Singapore
2011 InvisibleIsVisible Museum of Contemporary Art Taipei, Taipei, Taiwan
2011 Rollenbilder – Rollenspiele, Museum der Moderne Salzburg Salzburg 2011 Jewish Museum
2011 Moving Portraits, De La Warr Pavilion Bexhill on Sea, UK
2011 European Media Art Festival 2011: Moving Stories Kunsthalle Dominikanerkirche Osnabrück, Germany
2011 Overkill The Mission Chicago, USA
2011 Moving Stories Vidéoformes Clermont-Ferrand, France
2011 Moving Stories, WRO Art Center Wrocław, Poland
2011 Moving Stories, Invideo Milan, Italy
2011 Moving Stories, O.K Center for Contemporary Art Linz, Austria
2011 Moving Stories, Contour Mechelen Mechelen, Belgium2010 Afro Modern: Journeys through the Black Atlantic Tate Liverpool Liverpool, UK
2010 Art in the First Decade Queensland Art Gallery / Gallery of Modern Art 21st Century: Brisbane, Australia
2010 I Love You, ARoS Aarhus Kunstmuseum Aarhus Denmark
2010 The Flower of May, Gwangju Museum of Art Gwangju, Korea
2010 Je crois aux miracles / 10 ans de la Collection Lambert, Collection Lambert en Avignon Avignon, France
2010 Culture(s) of Copy, Goethe Institut Hong Kong, Hong Kong
2010 Culture(s) of Copy, Edith-Russ-Haus für Medienkunst, Oldenburg, Germany
2010 La Fuerza de la Palabra. Colección MUSAC, Instituto Cultural Cabañas Guadalajara, Mexico
2010 Museo de Arte Contemporáneo de Castilla y León La Fuerza de la Palabra, MUSAC León, Spain
2010 Afro Modern: Journeys through the Black Atlantic Centro Galego de Arte Contemporánea Santiago de Compostela, Santiago, Chile
2010 Events of the Self:, The Walther Collection *2010* Portraiture and Social Identity, Ulm, Germany
2010 1910-2010: From Pierneef to Gugulective Iziko South African National Gallery Cape Town, South Africa
2010 In Context, Goodman Gallery Johannesburg , South Africa
2010 Il Museo Privato, Galleria d’Arte Moderna e Contemporanea Bergamo, Italy
2010 Trailer Park: Opere dalla Fondazione Morra Greco , Teatro Margherita Bar, Bari, Italy2009 New Frontier, Sundance Film Festival, Park City, USA
2009 What a Wonderful World, Göteborg International Biennial for Contemporary Art, Sweden
2009 Contemporary Outlook: Seeing Songs, Museum of Fine Arts Boston, Boston, USA
2009 Performa 09 , Performa New York, USA
2009 Polyglottolalia , Tensta Konsthall Stockholm, Sweden
2009 Video Portraits, Smith College Museum of Art Northampton Australia
2009 Mi Vida. From Heaven to Hell, Mücsarnok Budapest, Hungary
2009 Artists vs Hollywood, Globe City Newcastle upon Tyne, UK
2009 Artists vs Hollywood, Arts Space Wodonga, Wodonga, Australia
2009 Mnemocyne, Pesaro Film Festival, Pesaro, Italy
2009 Klang = Skulptur, Festival Rümlingen, Rümlingen, Switzerland
2009 Monitoring , 26th Kassel Documentary, Film and Video Festival, Kassel, Germany
2009 The Rustle of Language, Galleria Francesca Kaufmann, Milan, Italy
2009 Dada South? Iziko South African National Gallery, Cape Town, South Africa
2009 Song Show, Artlab Gallery, University of Western Ontario, Canada2008 We Are Stardust, We Are Golden, Galerie Johnen & Schöttle, Cologne, Germany
2008 Colateral 2: Quando a arte olha o cinema, SESC Avenida Paulista, São Paulo, Brazil
2008 American Idyll: Contemporary Art and Karaoke, Contemporary Arts Center Cincinnati, USA
2008 Laughing in a Foreign Language, The Hayward / Southbank Centre, London , UK
2008 Disguise, Michael Stevenson Gallery, Cape Town, South Africa
2008 Starstruck: Contemporary Art and the Cult of Celebrity, The New Art Gallery Walsall, Walsall, England
2008 Cohabitation: 13 Artists and Collage, Galleria Francesca Kaufmann, Milan, Italy
2008 Prospect.1 New Orleans, The New Orleans Biennale, New Orleans, USA
2008 The Cinema Effect: Illusion, Reality, and the Moving Image, Hirshhorn Museum & Sculpture Garden, Washington D.C., USA
2008 Artists vs Hollywood, The Block / Queensland University of Technology, Brisbane, Australia
2008 Popshop: Remixing Icons of Mass Culture, MU Eindhoven, Eindhoven, Netherlands
2008 Unclassifiable, Overgaden / Institut for Samtidskunst, Copenhagen, Denmark
2008 Order. Desire. Light., The Irish Museum of Modern Art, Dublin, Ireland
2008 Under Erasure, Temple Bar Gallery and Studios, Dublin, Ireland
2008 Ladies Only!, Kunstmuseum St. Gallen, St. Gallen, Switzerland
2008 Worlds On Video, CCCS Centro di Cultura Contemporanea Strozzina, Florence, Italy
2008 Unclassifiable, Darling Foundry Visual Arts Center, Montreal, Canada
2008 Sensory Overload, Milwaukee Art Museum, Milwaukee, Canada
2008 Empty Orchestra, Justina M. Barnicke Gallery, Toronto, Canada
2008 Heavy Metal, Kunsthalle zu Kiel, Kiel, Germany
2008 The Krautcho Club / In and Out of Place, Forgotten Bar Project, Berlin, Germany
2008 Recent Acquisitions , Queensland Art Gallery / Gallery of Modern Art, Queensland, Australia
2008 Australian, International and Asian and Pacific Collections, Brisbane, Australia2007 Made in Germany , Kunstverein Hannover, Hannover, Germany
2007 Star Power: Museum as Body Electric, Museum of Contemporary Art l Denver, Denver, USA
2007 World Receiver , Hamburger Kunsthalle Hamburg, Germany
2007 The Collection: Aiwa To Zen, Musée d’Art Moderne Grand-Duc Jean, Luxembourg
2007 Seduction: A Theory-Fiction between the Real & the Possible, Beijing Centre for Creativity, Beijing, China
2007 Celebrity, Scottsdale Museum of Contemporary Art, Arizona, USA
2007 Collateral: When Art Looks at Cinema, Hangar Bicocca, Milan, Italy
2007 Unclassifiable: Shifting the Fulcrum, LMCC Project Space, New York, USA
2007 Collector’s Choice: Collection 2, Daelim Contemporary Art Museum, Seoul, South Korea
2007 The Zabludowicz Collection: An Archaeology, Project Space 176, London, UK
2007 Rohkunstbau / Three Colours: White, Schloss Sakrow, Postdam, Germany
2007 Replaying Narrative , Le Mois de la Photo à Montréal 2007, Montreal, Canada
2007 Centro Galego de Arte Contemporánea Cuestión Xeracional, Santiago de Compostela, Santiago, Chile
2007 Unclassifiable, Malmö Festival, Malmö, Sweden
2007 The Future of Futurism, Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy
2007 Autumn Reading , Galleri Roger Björkholmen, Stockholm, Sweden
2007 European Media Art Festival 2007: Final Cut, Kunsthalle Dominikanerkirche, Osnabrück, Germany2006 Tokyo-Berlin / Berlin-Tokyo, Mori Art Museum Tokyo, Japan
2006 Sip My Ocean, Louisiana Museum of Modern Art Humlebæk, Denmark
2006 Berlin-Tokio / Tokio-Berlin, Neue Nationalgalerie, Berlin, Germany
2006 Full House: Faces of a Collection, Kunsthalle Mannheim, Mannheim, Germany
2006 This is America!, Centraal Museum, Utrecht, Netherlands
2006 Dark Places, Santa Monica Museum of Art California, USA
2006 Figures de l’acteur, Le Paradoxe du comédien, Collection Lambert en Avignon Avignon, France
2006 Art, Life & Confusion / 47th October Salon, Belgrade Biennial, Belgrade, Serbia
2006 Video Venice Adelaide Bank Festival of Arts Adelaide, Australia
2006 CUT: Film as Found Object, Philbrook Museum of Art, Tulsa, USA
2006 Hiding in the Light, Mary Boone Gallery, New York, USA
2006 Candice Breitz + Elfie Semotan, Galerie der Stadt Wels, Wels, Austria
2006 Collection Pierre Huber, Le Magasin Centre National d’Art Contemporain, Grenoble
2006 Lifestyle, Kunstmuseum St. Gallen, St. Gallen
2006 Biennale Cuvée, O.K Center for Contemporary Art, Linz, Austria
2006 Anstoß Berlin, Kunst macht Welt, Haus am Waldsee Berlin, Germany
2006 Giving Visibility, Miami Beach Cinematheque, Miami, USA
2006 Eine Frage (nach) der Geste, Oper Leipzig, Leipzig, Germany
2006 Crossing the Screen, NRW Forum Kultur und Wirtschaft, Düsseldorf, Germany
2006 sonambiente 2006, Akademie der Künste, Berlin, Germany
2006 Festival In-Presentable, La Casa Encendida, Madrid, Spain
2006 Start, Hangar Bicocca Milan, Italy
2006 Nie Meer, De Warande Turnhout, Belgium
2006 International Exhibitionist Screening, Curzon Soho Cinema, London, UK
2006 Video Program, Musée d’art contemporain du Val de Marne, Vitry-sur-Seine, France
2006 Wonder Women: Idols in Contemporary Art, Katonah Museum of Art, New York, USA
2006 Everyday Heroes, Kulturzentrum Mainz, Mainz, Germany
2006 Klartext Berlin, Kunstraum Niederösterreich, Vienna, Austria2005 The Experience of Art, Biennale di Venezia, Venice, Italy
2005 Superstars, Kunsthalle Wien, Vienna, Austria
2005 CUT: Film as Found Object, Milwaukee Art Museum, Milwaukee, USA
2005 Girls on Film, Zwirner + Wirth Gallery, New York, USA
2005 Fair Use , Armand Hammer Museum, Los Angeles, USA
2005 From the Electronic Eye. Works from the Video Collection, Castello di Rivoli Turin, Italy
2005 Guardami. Percezione del Video, Palazzo delle Papesse, Siena, Italy
2005 Museo de Arte Contemporáneo de Castilla y León, MUSAC Fusion, León, Spain
2005 Circa Berlin, Nikolaj Contemporary Art Center, Copenhagen, Denmark
2005 Others, Sørlandets Kunstmuseum, Kristiansand, Norway
2005 Artists Interrogate: Race and Identity, Milwaukee Art Museum, Milwaukee, USA
2005 Manipulations, Centro Cultural Chacao, Caracas
2005 Collection Pierre Huber, Le Musée cantonal des Beaux-Arts de Lausanne, Lausanne, Switzerland
2005 11th Biennale de l’Image en Mouvement, Centre pour l’image contemporaine, Geneva, Switzerland
2005 Africa Screams, Museum der Weltkulturen, Frankfurt am Main, Germany
2005 Scrabble, Centro Atlántico de Arte Moderno, Las Palmas, Canary Islands
2005 Bring Your Own: The Teseco Collection, Museo d’arte Provincia di Nuoro, Nuoro, Italy
2005 Senza Confine, Galleria Continua, San Gimigniano, Italy
2005 22nd Kassel Documentary, Film and Video Festival Kassel, Germany
2005 36 × 27 × 10, Palast der Republik, Berlin, Germany
2005 Global Tour , W139 Amsterdam, Netherlands
2005 Moving On, NGBK Berlin, Germany
2005 Aiwa To Zen, Tranzit, Prague, Czech Republic2004 TV Today , Montevideo Time Based Arts, Amsterdam, Netherlands
2004 Africa Screams, Kunsthalle Wien, Vienna, Austria
2004 The Work of the Work , Henry Art Gallery, Seattle, USA
2004 Video Hits, Queensland Art Gallery, Brisbane, Australia
2004 Music/Video, The Bronx Museum of the Arts, New York, USA
2004 Why Not Live For Art?, Tokyo Opera City Art Gallery, Tokyo, Japan
2004 Me Myself I, Kunstmuseum St. Gallen, St. Gallen, Switzerland
2004 Villa Arson Shake, Nice, France
2004 CUT: Film as Found Object, Museum of Contemporary Art, North Miami, USA
2004 Shake Staatsaffäre, O.K Center for Contemporary Art, Linz, Austria
2004 Museum für Photographie Aufruhr der Gefühle Braunschweig, Germany
2004 Aufruhr der Gefühle, Kunsthalle Göppingen, Göppingen, Germany
2004 Art Unlimited, Art 35 Basel, Basel, Switzerland
2004 Any Place Any, Macedonian Museum of Contemporary Art, Thessaloniki, Greece
2004 Videothek , Galerie der Stadt Wels, Wels, Austria
2004 Strange Planet, Saltworks Gallery, Atlanta, USA
2004 Gewalt, Loushy Art & Editions, Tel Aviv, Israel
2004 Africa Screams, Iwalewa House Bayreuth, Germany
2004 Visions of Paradise , João Ferreira Gallery Cape Town, South Africa
2004 Through the Looking Glass, Albany History Museum, Grahamstown, South Africa
2004 Open House: Art and the Public Sphere O.K Center for Contemporary Art, Linz, Austria
2004 Democracy and Change, Klein Karoo National Arts Festival, Oudtshoorn, South Africa
2004 Prototype: Contemporary Art from Joe Friday’s Collection, Carleton University Art Gallery Ottawa, Canada
2004 Weiße Nächte Kiel Oben, Kunsthalle zu Kiel, Kiel, Germany
2004 100 Handlungsanweisungen , Kunsthalle Wien, Vienna, Austria
2004 Cabinet photographique érotique, Galerie Steinek, Vienna, Austria2003 fuckin’ trendy:, Kunsthalle Nürnberg, Mode in der zeitgenössischen Kunst Nürnberg, Germany
2003 Continuity + Transgression , National Museum of Art Osaka, Osaka, Japan
2003 Extended Play: Art Remixing Music, Govett-Brewster Art Gallery New Plymouth, New Zealand
2003 Brightness Museum of Modern Art Dubrovnik Works from the Thyssen
2003 Bornemisza Contemporary Art Foundation Dubrovnik, Croatia
2003 Plunder, Dundee Contemporary Arts, Dundee, USA
2003 Against All Evens Göteborg International Biennial for Contemporary Art, Sweden
2003 Striptease, Sweden Kunstmuseum St. Gallen : Vom Verschleiern + Enthüllen in der Kunst St. Gallen, Switzerland
2003 Looks of Complicity, Centro Galego de Arte Contemporánea, Santiago de Compostela, Santiago, Chile
2003 Some Things We Like…, aspreyjacques, London, UK
2003 Pictured, Galleri Roger Björkholmen, Stockholm, Sweden
2003 Anemic Cinema, Sketch, London, UK
2003 Paradigms Longwood Art Gallery, Bronx, New York, USA
2003 Cité des Arts Fins des Histoires? Une traversée plurielle, Chambéry, France2002 Remix: Contemporary Art and Pop Tate Liverpool, Liverpool, UK
2002 Arte in VideoCastello di Rivoli, Rivoli, Italy
2002 Continuity + Transgression National Museum of Modern Art Tokyo, Tokyo, Japan
2002 Beyond the Image Wars in Science, Religion, and Art, ZKM Iconoclash Karlsruhe, Germany
2002 Schrägspur, Hamburger Kunsthalle, Hamburg, Germany
2002 Vidéo Topiques, Musée d’Art Moderne et Contemporain, Strasbourg, France
2002 Screen Memories, Art Tower Mito Contemporary Art Center, Tokyo, Japan
2002 Africaine , Studio Museum in Harlem, New York, USA
2002 40 Jahre: Fluxus und die Folgen, Caligari FilmBühne, Wiesbaden, Germany
2002 Emotional Site, Saga-cho Shokuryo Building, Tokyo, Japan
2002 Centre of Attraction, 8th Baltic Triennial of International Art Vilnius, Lithuania
2002 Superlounge , Gale Gates Brooklyn, New York, USA
2002 In the Side of Television , Espai d’Art Contemporani de Castelló, Castellon, Spain
2002 Anthony Wilkinson Gallery Candice Breitz, Christian Jankowski, Kenny Macleod, London, UK
2002 Sublimation , Klein Karoo National Arts Festival Oudtshoorn, South Africa
2002 Metropolis, Navy Pier, Chicago Art Fair, Chicago, USA
2002 Total Überzogen, Edith-Ruß-Haus für Medienkunst, Oldenburg, Germany
2002 Solitudes, Galerie Michel Rein, Paris, France2001 Tele[Visions] Kunsthalle Wien, Vienna, Austria
2001 Monet’s Legacy. Series: Order and Obsession Hamburger Kunsthalle, Hamburg, Germany
2001 Looking at You, Museum Fridericianum, Kassel, Germany
2001 Escape, Tirana Biennale 2001, Tirana, Albania
2001 19th World Wide Video Festival 2001, Amsterdam, Netherlands
2001 Su La Testa!, Palazzo Delle Papesse, Siena, Italy
2001 Collection Frac Rhône-Alpes / Les Subsistances Sculpture Contemporaine Lyon, France
2001 Electronic Maple, NY Center for Media Arts, New York, USA
2001 Post-Production, Galleria Continua, San Gimigniano, Italy
2001 18th Kassel Documentary, Film and Video Festival Kassel, Germany
2001 Hallucinating Love Foundation, aspreyjacques, London, UK
2001 My Generation, Atlantis Gallery, London, UK
2001 En Avant, Galerie Grita Insam Vienna, Austria
2001 Prodigal Prodigy, White Box, New York, USA
2001 Song Poems, Cohan Leslie & Browne New York, USA
2001 Galerie Mezzanin Group Exhibition Vienna, Austria2000 The Sky is the Limit!, Taipei Biennale 2000, Taipei, Taiwan
2000 Man + Space , Kwangju Biennale Korea 2000 Kwangju, Korea
2000 The Anagrammatical Body, ZKM Karlsruhe, Germany
2000 The Wounded Diva, Kunstverein München, Munich, Germany
2000 Das Lied von der Erde, Museum Fridericianum, Kassel, Germany
2000 Körper, Fotogalerie Wien, Vienna, Germany
2000 Horizons , Galleri Roger Björkholmen Stockholm, Sweden
2000 face-à-face, Kunstpanorama Luzern, Lucerne, Switzerland
2000 One-Night Stand, João Ferreira Gallery, Cape Town, South Africa
2000 Tomorrow, Rare Art Gallery, New York, USA
2000 30th Anniversary Benefit, White Columns, New York, USA
2000 Translations, Bard Center for Curatorial Studies, New York, USA
2000 Day Against Racial Discrimination Vienna Cinéma Le Pestel Akademie Wien, Vienna, Austria1999 The Passion and the Wave , 6th International Istanbul Biennial, Istanbul, Turkey
1999 The Anagrammatical Body, Kunsthaus Mürzzuschlag, Mürzzuschlag, Austria
1999 Global Art 2000 , Museum Ludwig Köln, Cologne, Denmark1998 Roteiros, Roteiros, Roteiros…, XXIV Bienal de São Paulo, São Paulo, Brazil
1998 Interferencias, Canal de Isabel II, Madrid, Spain
1998 Transatlantico, Centro Atlantico de Arte Moderno, Canary Islands1997 Permutations, Artist’s Space, New York, USA
1997 Heaven: A Private View, P.S.1 Contemporary Art Center, New York, USA
1997 Graft, Johannesburg Biennale, Cape Town, South Africa
1997 Funny Pictures, Ten in One Gallery, Chicago, USA
1997 Me, Clementine Gallery, New York, USA
1997 Silverstein Gallery June Show, New York, USA
1997 Tran:sonic, Espacio 204, Caracas1996 Romper Room , Thread Waxing Space New York, USA
1996 Inklusion/Exklusion, Neue Galerie Graz in Reininghaus Graz, Austria
1996 Interzones, Kunstforeningen, Copenhagen, Denmark
1996 Group Exhibition, The Space Gallery Johannesburg, South Africa1995 Black Looks/White Myths, Africana Museum Johannesburg, South Africa
1995 Taking Liberties/The Body Politic, Johannesburg Biennale Johannesburg, South AfricaConference and Workshop Participation
2017 Do Artists Need to Leave Africa to be Successful?, Conversations Platform, Art Basel, Basel, Switzerland
2017 Wilson Must Go: Conversation with Ivan O’Mahoney, NGV Triennial, Clemenger BBDO Auditorium, Melbourne, AustraliaAwards and Merits
2007 Prix International d’Art Contemporain l Fondation Prince Pierre de Monaco
Academic Record and Residencies
Education
1998 – 2002 Doctoral Candidate in Art History – Columbia University (New York)
1997 Whitney Independent Studio Program – Whitney Museum (New York)
1997 M.Phil. Art History – Columbia University (New York)1995 M.A. Art History – University of Chicago (Chicago)
1993 B.A. (Fine Arts) – University of the Witwatersrand (Johannesburg)
Residencies / Stipends
2006 Baltic Centre for Contemporary Art (Gateshead)
2005 Cité Internationale des Arts (Paris)
2003 IASPIS International Artists’ Studio Program (Stockholm)
2002 Künstlerhaus Bethanien International Artists in Residency Program (Berlin)
2002 ArtPace International Artist-in-Residence Program (San Antonio)2001 O.K Center for Contemporary Art Upper Austria (Linz)
2000 Künstlerhaus Schloss Wiepersdorf (Wiepersdorf)
Collections
MOMA – The Museum of Modern Art (New York USA)
National Gallery of Canada (Ottawa Canada)
FNAC – Fonds national d’art contemporian (Puteaux, France)
Solomon R.Guggenheim Museum (Museum New York)
Castello di Rivoli (Tuim Italy)
Sammlung Goetz (Munich, Germany)
Hamburger Kunsthalle (Hamburg, Germany)
Kunstmuseum (St. Gallen, Switzerland)
Louisianna Muesum of Modern Art (Humlebaek Denmark)
Stadtische Galerie im Lenbachhaus (Munich, Germany)
Art Gallery of Western Austrilia (Perth, Austrilia)
Musee d’Art Moderne Grand-Duc Jean (Luxembourg)
MUSAC – Museo de Arte Contemporaneo de Castilla Y Leon (Leon, Spain)
Institut d’art Contemporain – Collection Frac Rhone – Alpes (Lyon, France)
Milwaukee Art Museum (Milwaukee, USA)
The Henry Art Gallery (Seattle, USA)
Kunstmuseum Lichteinstein (Vaduz, Lichtenstein)
MONA – The Museum of Old New Art (Tasmania, Australia)
QAG – Queensland Art Gallery (Brisbane, Australia)
SFMOMA – San Francisco Museum of Modern Art (San Francisco, USA)
AGO – Art Gallery of Ontario (Toronto, Canada)
MFA – Museum of Fine Arts (Boston, USA)
MAXXI – Museo nazionale delle arti del XXI secolo (Rome, Italy)
Institut fur Auslandsbeziehungen e.V. (Stuttgart, Germany)
Kunsthaus Bregenz (Bregenz, Austria)
National Museum of African Art (Washington, D.C, USA)
Thyssen-Bornemisza Art Contemporary (Vienna, Austria)
Sonnabend Collection (New York, USA)
Bill + Ruth True Collection (Seattle, USA)
Fondazione Teseco per l’Arte (Pisa, Italy)
CIFO – Cisneros Fontanals Art Foundation (Miami, USA)
Collezione Gemma Testa (Turin, Italy)
Anita + Poju Zabludowicz Collection (London, UK)
Dimitris Gigourtakis Collection (Athens, Greece)
The West Collection (Pennsylvania, USA)
Princess Gloria von Thurn und Taxis Collection (Regensburg, Germany)
Pinchuk Collection (Kiev, Ukraine)
David Roberts Collection (London, UK)
Colección Inelcom de Arte Contemporáneo (Madrid, Spain)
Fondazione Morra Greco (Naples, Italy)
Manilow Collection (Chicago, USA)
Selected Articles and Reviews
Monographs
2013 Zachary Cahill, Candice Breitz, Artforum, New York
2013 Mary Corrigal, Identity Politics, Sunday Independent, South Africa
2013 Mathew Krouse, Go Down ‘To The Woods’ Today, Mail & Guardian, Johannesburg2012 Sue Williamson, Candice Breitz in the studio with Sue Williamson, Art in America, United States
2012 James Sey, Lead Review, Art Southafrica, South Africa
2012 Natalie Watermeyer, Invading the Vitrine, Classicfeel, Johannesburg
2012 Sean O’Toole, The White Elephant in the Room, Mail & Guardian, Johannesburg
2012 O’Toole, Sean and Sirmans, Franklin (essays). Candice Breitz: Extra! (Johannesburg: Standard Bank Gallery + South African National Gallery, 2011) exhibition catalogue.2010 Enwezor, Okwui et al (essay). Candice Breitz: The Scripted Life. (Bregenz: Kunsthaus Bregenz, 2010) exhibition catalogue.
2009 Burke, Gregory (editor). Candice Breitz: Same Same. (Toronto: The Power Plant Toronto, 2009) exhibition catalogue.
2009 Chris Kraus, Candice Breitz, ArtForum, New York
2009 Glen Helfand, This is it, San Francisco Bay Guardian
2009 Sarah Milroy, Seeing Double, Globe & Mail, Toronto
2009 Ken Johnson, Art in Review: Candice Breitz, New York Times, New York
2009 Hilarie Sheets, Clip Art, Art News, New York2008 Allen, Jennifer (essay). Candice Breitz / Inner + Outer Space. (Berlin: Temporäre Kunsthalle Berlin) exhibition catalogue.
2008 Holm, Michael Juul (editor). Candice Breitz: Louisiana Contemporary. (Humlebæk: Louisiana Museum of Modern Art) exhibition catalogue.2007 Demos, T.J. (essay). Mother + Father / Monuments. (Monaco: Fondation Prince Pierre de Monaco – 41e Prix International d’Art Contemporain) exhibition catalogue.
2007 Zaya, Octavio (editor). Candice Breitz: Multiple Exposure. (Barcelona + León: ACTAR + MUSAC – Museo de Arte Contemporáneo de Castilla y León).2006 Kintisch, Christine (editor). Candice Breitz: Working Class Hero. (Vienna: Bawag Foundation) exhibition catalogue.
2006 Lange, Christy (interview). Candice Breitz. (Seoul: Kukje Gallery) exhibition catalogue.
2006 Potamianou, Artemis (editor). Candice Breitz. (Athens: Hellenic American Union) exhibition catalogue.
2006 Andrew Graham-Dixon, Haunted Staircase: Candice Breitz Working Class Hero (A Portrait of John Lennon), Seven Magazine, London2005 Charles Darwent, Shot by Both Sides, The Independent On Sunday, London
2005 Andrew Graham-Dixon, Implosion of The Body-Snatched, The Sunday Telegraph, London
2005 Richard Dorment, Screaming and Singing, The Daily Telegraph, London
2005 Christy Lange, Crazy For You: Candice Breitz On Pop Idols and Portraiture, Modern Painters, London
2005 Beccaria, Marcella (editor). Candice Breitz. (Rivoli-Torino: Castello di Rivoli) exhibition catalogue.
2005 Himmelsbach, Sabine and von Sydow, Paula (editors). Candice Breitz: Mother. (Frankfurt: Revolver Archiv für Aktuelle Kunst) exhibition catalogue.
2005 Neri, Louise (editor). Candice Breitz. (London: White Cube) exhibition catalogue published by Jay Jopling/White Cube, Francesca Kaufmann and Sonnabend Gallery.2003 Cotter, Suzanne (editor). Candice Breitz: Re-Animations. (Oxford: Modern Art Oxford) exhibition catalogue.
2003 Charlotte Mullins, Taking Shots at a Media-Saturated World, Financial Times, London2002 Tannert, Christoph (editor). Candice Breitz: Alien (Ten Songs from Beyond). (Essen: Museum Folkwang im RWE Turm) exhibition catalogue.
2001 Sturm, Martin and Plöchl, Renate (editors). Candice Breitz: Cuttings. (Linz: O.K Center for Contemporary Art Upper Austria, 2001) exhibition catalogue.
Reference Books
2011 Hoet, Jan et al. Collection Vanmoerkerke. (Brussels: Rispoli Books) pp. 30-31.
2010 Fineberg, Jonathan. Art Since 1940: Stategies of Being. (Upper Saddle River: Prentice Hall) pp. 524-525.
2010 Olivares, Rosa. 100 Videoartists. (Madrid: Exit Publications) pp. 114-115.
2010 Williamson, Sue. South African Art Now. (New York: Harper Collins Publishers) pp. 258-261.
2010 Williamson, Sue. South African Art Now. (New York: Harper Collins Publishers) pp. 258-261.2009 Belting, Hans et al. The Global Art World. (Ostfildern: Hatje Cantz) p. 343.
2009 Cesci, Mario (editor). Future Images. (Milan: Motta Cultura) pp. 56-57.
2009 Coulter-Smith, Graham. Deconstruyendo las instalaciones – Deconstructing Installation Art. (Madrid: Brumaria A.C.,) pp. 170-175.
2009 Ebersberger, Eva et al. Thyssen-Bornemisza Art Contemporary – The Collection Book. (Cologne: Verlag der Buchhandlung Walther König,).
2009 Haeußler, Harriet et al. Aus Künstlersicht. (Bielefeld: Kerber Art).
2009 Saehrendt, Christian et al. Das kann ich auch! Gebrauchsanweisung für Moderne Kunst. (Cologne: DuMont) pp.43-45.
2009 Young, Paul (editor). Art Cinema. (Cologne: Taschen GmbH).
2009 Enwezor, Okwui and Okeke-Agulu Chika. Contemporary African Art Since 1980. (Bologna: Damiani Grafiche).2008 Beccaria, Marcella et al. Castello di Rivoli – The Castle The Collection. (Milan: Skira Editore S.p.A.) pp. 156-157.
2008 Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid Economy. (New York: Penguin Group).
2008 Uccelli, Alessandro et al. Arte Contemporanea Contaminazioni. (Milan: Mondadori Electa S.p.A.).
2008 von Heydebreck, Amélie et al. Stations – 100 Meisterwerke zeitgenössischer Kunst. (Cologne: DUMONT Literatur und Kunst Verlag,) pp. 182-183.
2008 Zenth, Torben (editor). Ny Dansk Kunst 08 / New Danish Art 08. (Copenhagen: Kopenhagen Publishing) pp. 108-113.2007 Edelsztein, Sergio et al. Ice Cream: Contemporary Art in Culture. (London: Phaidon Press Limited).
2007 Matt, Gerald. Interviews. (Cologne: Verlag der Buchhandlung Walther König) pp. 58-65.
2007 Rush, Michael. Video Art. (London: Thames & Hudson) pp. 222-223.
2007 Smith, Kathryn. One Million and Forty-Four Years (and Sixty Three Days): A Sampler. (Stellenbosch: SMAC Gallery, University of Stellenbosch, 2007).2006 Demeester, Anne et al. W139 – Amsterdam. Report of an Ongoing Journey. (Amsterdam: W139).
2006 Gisbourne, Mark et al. Kunst Station Berlin. (Munich: Knesebeck Verlag) pp. 40-49.
2006 Gisbourne, Mark et al. Berlin Art Now. (London: Thames & Hudson) pp. 40-49.
2006 Holm, Michael Juul and Kold, Anders (editors). Sip My Ocean: Video from the Louisiana Collection. (Humlebaek: Louisiana Museum of Modern Art) exhibition catalogue.
2006 Martin, Sylvia. Video Art. (Cologne: Taschen) pp. 36-37.2005 Gianelli, Ida and Beccaria, Marcella. Video Art: The Castello di Rivoli Collection. (Milan: Skira, 2005) pp. 66-67.
2005 Grosenick, Uta. ART NOW: The New Directory to 136 International Contemporary Artists. (Cologne: Taschen).
2005 Yáñez. Isabel and Ordás, Carlos (editorial coordination). MUSAC: Collection Vol. 1. (León: Museo de Arte Contemporáneo de Castilla).2004 Perryer, Sophie. 10 Years 100 Artists / Art in a Democratic South Africa. (Cape Town: Bell-Roberts Publishing / Struik Publishers) pp. 74-77.
2003 Gianelli, Ida and Beccaria, Marcella. Castello di Rivoli Museum of Contemporary Art: The Castle – The Collection. (Turin: Umberto Allemandi & C) p. 114.
2003 Groetz, Thomas. Galerie Max Hetzler: Berlin 1994 – 2003. (Berlin: Holzwarth Publications).
2003 Pace, Linda et al. Dreaming Red: Creating ArtPace. (Verona: Artegrafica).2002 Grosenick, Uta and Riemschneider, Burkhard. ART NOW: 137 Artists at the Rise of the New Millennium. (Cologne and Berlin: Taschen).
Interviews
2009 Burke, Gregory. Candice Breitz speaks to Gegory Burke, Switch (Toronto: The Power Plant – Volume 1.2: Summer) pp. 10–14.
2008 Matt, Gerald. `Sound Minds: Gerald Matt in Conversation with Candice Breitz,’ in: Rosenberg, Angela (editor). Candice Breitz / Inner + Outer Space, (Berlin: Temporaere Kunsthalle Berlin) exhibition catalogue.
2007 Beccaria, Marcella. Family Values: An Interview by Marcella Beccaria with Candice Breitz, Janus (No. 21: January) Section III: pp. 2-11.
2007 Matt, Gerald. Candice Breitz, Interviews. (Cologne: Verlag der Buchhandlung Walther König) pp. 58-65.2006 Kedves, Jan. Interview: Candice Breitz, Zoo Magazine (No. 12) pp. 138-145.
2005 Chambers, Nicholas. Candice Breitz: Mother + Father – Interview with Nicholas Chambers, Artlines (Queensland Art Gallery, South Brisbane – Volume 2) pp. 12-15.
2005 Lange, Christy. Crazy for You: Candice Breitz on Pop Idols & Portraiture, Modern Painters (London: September) pp. 68-73.
2005 Neri, Louise. Candice Breitz and Louise Neri: Eternal Returns, in: Neri, Louise (editor). Candice Breitz. (London: White Cube) exhibition catalogue published by Jay Jopling/White Cube, Francesca Kaufmann and Sonnabend Gallery.2004 Kröner, Magdalena. Candice Breitz: Schreien, Stottern, Singen: Das Playback des Ich: Ein Gespräch mit Magdalena Kröner, Kunstforum (No. 168: January – February) pp. 276-283.
2003 Stange, Raimar. Zurück in die Kunst. (Hamburg: Rogner & Bernhard bei Zweitausendeins).
2001 Altstatt, Rosanne. Killing Me Softly… An Interview with Candice Breitz Kunst-Bulletin (No. 6: June) pp. 30-37.
2000 Hunt, David. Candice Breitz: Fighting Words, Flash Art (No. 211: March – April) p. 94.
1996 Atkinson, Brenda. Rethinking Pornography: Imaging Desire (Candice Breitz interviewed by Brenda Atkinson ,Camera Austria (No. 56).
Selected Books + Catalogues
2011 Bertz, Inka et al (editors). Heimatkunde: 30 Künstler blicken auf Deutschland, (Berlin: Jüdischen Museum Berlin, 2011) exhibition catalogue.
2011 Goldberg, RoseLee (editor). Performa 09: Back to Futurism, (New York: Performa Publications) published as a record of Performa 09 (November 1-22, 2009).
2011 Ngui, Matthew et al (editors). Singapore Biennale 2011: Open House. (Singapore) exhibition catalogue.
2011 Ruelfs, Esther and Stooss, Toni (editors). Rollenbilder – Rollenspiele, (Salzburg: Museum der Moderne Salzburg Mönchsberg) exhibition catalogue.2010 Balsom, Erika. Cinema, Scattered’ in: Poddar, Sandhini et al, Being Singular Plural: Moving Images from India. (New York: Guggenheim Museum Publications) exhibition catalogue.
2010 Barson, Tanya and Gorschlüter, Peter. Afro Modern: Journeys through the Black Atlantic, (London: Tate Publishing) exhibition catalogue.
2010 Demos, T.J. Dara Birnbaum: Technology / Transformation: Wonder Woman, (London: Afterall Books).
2010 Enwezor, Okwui (editor). Events of the Self: Portraiture and Social Identity,Contemporary African Photography from The Walther Collection (Neu-Ulm: Steidl Verlag).
2010 Lee, Yongwoo (editor). The Flower of May, (Gwangju: Gwangju Museum of Art / Gwangju Biennale Foundation) exhibition catalogue.
2010 Sorensen, Jens Erik et al (editor). I Love You, (Aarhus: ARoS Aarhus Kunstmuseum) exhibition catalogue.
2010 Essers, Liza (editor). In Context, (Johannesburg: Goodman Gallery) exhibition catalogue.
2010 Wallace, Miranda (editor). _21st Century: Art in the First Decade _(Brisbane: Queensland Art Gallery / Gallery of Modern Art) exhibition catalogue.2009 Gelin, Celia (editor). What A Wonderful World, (Gothenburg: Göteborg International Biennial for Contemporary Art) exhibition catalogue.
2009 Minami, Yuki (editor). Mute 2, (Tokyo: Tanin Inc).
2009 Ruelfs, Esther et al. (editor) Images Recalled. 3. Fotofestival Mannheim Ludwigshafen Heidelberg. (Heidelberg: Kehrer) exhibition catalogue.
2009 Zsolt, Petrányi et al. (curator). Mi Vida. From Heaven To Hell, (Budapest: Mücsarnok / Kunsthalle Budapest) exhibition catalogue.
2009 Bara, Tina et al (curator). Eine Frage (nach) der Geste / A Question(ing) of Gesture, (Leipzig: Oper Leipzig) exhibition catalogue.2008 Behm, Anthea. The Chrissy Diaries, in: Kokoli, Alexandra (editor). Feminism Reframed – Reflections on Art and Difference. (Newcastle: Cambridge Scholars Publishing) pp. 107-135.
2008 Bosland, Joost et al (curator). Disguise: The Art of Attracting and Deflecting Attention, (Cape Town: Michael Stevenson Gallery) exhibition catalogue.
2008 Brougher, Kerry et al. The Cinema Effect: Illusion, Reality, and the Moving Image, (Washington, DC: Hirshhorn Museum & Sculpture Garden) exhibition catalogue.
2008 Kataoka, Mami et al (curator). Laughing in a Foreign Language, (London: The Hayward, Southbank Centre) exhibition catalogue.
2008 Kissane, Seán et al (editor). Order. Desire. Light, Contemporary Drawing. (Dublin: The Irish Museum of Modern Art) exhibition catalogue.
2008 Luckow, Dirk (editor). Heavy Metal: Die unerklärbare Leichtigkeit eines Materials. (Kiel: Kunsthalle zu Kiel) exhibition catalogue.
2008 Robinson, Deborah (curator). Starstruck: Contemporary Art and the Cult of Celebrity, (Walsall: The New Art Gallery Walsall) exhibition catalogue.
2008 Von Fürstenberg, Adelina (curator). Colateral 2: Quando a arte olha o cinema, (São Paulo: SESC Avenida Paulista) exhibition catalogue.2007 Boellert, Arvid et al (editor). XIV. Rohkunstbau: Drei Farben – Weiss. (Potsdam: Schloss Sacrow) exhibition catalogue.
2007 Di Pietrantonio, Giacinto and Rodeschini, Maria Cristina. The Future of Futurism. (Bergamo: GAMeC – Galleria d’Arte Moderna e Contemporanea) exhibition catalogue.
2007 Fraser, Marie (editor). Replaying Narrative – Le Mois de la Photo à Montréal. (Montreal: Vox Contemporary Image) exhibition catalogue.
2007 Neilson, Elizabeth (curator). The Zabludowicz Collection: An Archaeology, (London: Project Space 176) exhibition catalogue.
2007 Nöring, Hermann (curator). Final Cut: Media Art and Cinema, (Osnabrück: European Media Art Festival 2007 / Rasch Druckerei und Verlag GmbH & Co. KG) exhibition catalogue.
2007 Von Fürstenberg, Adelina (curator). Collateral: When Art Looks at Cinema. (Milan: Charta) exhibition catalogue.2006 Aupetitallot, Yves et al (editors). Review: Vidéos & Films de la Collection Pierre Huber. (Grenoble: Le Magasin, Centre National d’Art Contemporain) exhibition catalogue.
2006 Block, René et al (curator). Art, Life & Confusion / 47th October Salon (Belgrade: Belgrade Cultural Centre) exhibition catalogue.
2006 Blomberg, Katja (curator). Anstoss Berlin – Kunst macht Welt. (Berlin: Haus am Waldsee) exhibition catalogue.
2006 Decter, Joshua (curator). Dark Places. (Los Angeles: Santa Monica Museum of Art) exhibition catalogue.
2006 De la Motte-Haber, Helga et al. Sonambiente Berlin: Klang Kunst Sound Art. (Heidelberg: Kehrer Verlag) exhibition catalogue.
2006 Doswald, Christoph. Double-Face: The Story About Fashion and Art. From Mohammed to Warhol. (St. Gallen: Schnittpunkt – Kunst und Kleid St. Gallen / JRP|Ringier) exhibition catalogue.
2006 Elliott, David et al. Tokyo-Berlin / Berlin-Tokyo. (Tokyo: Mori Art Museum) exhibition catalogue.
2006 Holm, Michael Juul. Tragedy Framed: Mother + Father, in: Holm, Michael Juul and Kold, Anders (editors). Sip My Ocean: Video from the Louisiana Collection. (Humlebaek: Louisiana Museum of Modern Art) exhibition catalogue.
2006 Knol, Meta (curator). This is America: Visies op de Amerikaanse Droom, (Utrecht: Centraal Museum) exhibition catalogue.
2006 Le Bas, Clarisse. Figures de l’acteur, Le Paradoxe du comédien. (Avignon: Collection Lambert) exhibition catalogue.
2006 Ramljak, Suzanne (curator). Wonder Women: Idols in Contemporary Art,. (New York: Katonah Museum of Art) exhibition catalogue.
2006 Schneider, Angela et al. Berlin-Tokyo / Tokyo-Berlin. Die Kunst zweier Städte, (Berlin: Neue Nationalgalerie) exhibition catalogue.
2006 Stange, Raimar (curator). Klartext Berlin. (Vienna: Kunstraum Niederösterreich) exhibition catalogue.2005 Aupetitallot, Yves (editor). Private View, 1980 – 2000. Collection Pierre Huber. (Lausanne: Musée cantonal des Beaux-Arts de Lausanne) exhibition catalogue.
2005 Breyer, Insa et al. Moving On, (Berlin: Neue Gesellschaft für Bildende Kunst) exhibition catalogue.
2005 Demeester, Anne et al. Global Tour: Art, Travel & Beyond, (Amsterdam: W139) exhibition catalogue.
2005 Falch, Frank et al. Andre / Others. (Kristiansand: Sørlandets Kunstmuseum) exhibition catalogue.
2005 Fusi, Lorenzo (editor). Guardami. Percezione del Video, (Siena: Palazzo delle Papesse Centro Arte Contemporanea) exhibition catalogue.
2005 Hull, Steven. Ab Ovo, (Italy: Graphicom / Nothingmoments Publishing).
Martignoni, Rossella and Mian, Martina (coordinators). 51. Biennale di Venezia: The 2005 Experience of Art (Venice: Fondazione La Biennale di Venezia) exhibition catalogue.
2005 Matt, Gerald (curator) and Mittersteiner, Sigrid (editor). Superstars: Das Prinzip Prominenz von Warhol bis Madonna, (Vienna: Kunsthalle Wien) exhibition catalogue.
2005 Mézil, Éric et al. Theorema, A Private Collection in Italy, The Enea Righi Collection. (Avignon: Collection Lambert en Avignon) exhibition catalogue.
2005 Sheikh, Simon and Hansen, Elisabeth Delin (curators). Circa Berlin. (Copenhagen: Nikolaj, Copenhagen Contemporary Art Center,) exhibition catalogue.2004 Basilico, Stefano (editor). CUT: Film as Found Object in Contemporary Video, (Milwaukee: Milwaukee Art Museum) exhibition catalogue.
2004 Brown, Elizabeth (curator). WOW: The Work of the Work, (Seattle: Henry Art Gallery) exhibition catalogue.
2004 Dezuanni, Rebecca et al. Video Hits: Art & Music Video, (South Brisbane: Queensland Art Gallery) exhibition catalogue.
2004 Dyer, Richard. Is a Memory Something You Have, or Something You Have Lost, in: Grant, Catherine et al. Electronic Shadows: The Art of Tina Keane (London: Black Dog Publishing) p. 74.
2004 Fischer-Schreiber, Ingrid and Edlinger, Thomas. Open House. Art and the Public Sphere. (Linz: O.K Center for Contemporary Art Upper Austria) exhibition catalogue.
2004 Koh, Germaine (curator and editor). Prototype: Contemporary Art from Joe Friday’s Collection. (Ottawa: Carleton University Art Gallery) exhibition catalogue.
2004 Matt, Gerald. Handlungsanweisungen, (Vienna: Kunsthalle Wien / Steidl Verlag) exhibition catalogue.
2004 Okeke, Chika. Lost in Translation: Dilemmas of a Strange Planet, in: Byrd, Cathy (editor). Strange Planet. (Atlanta: Ernest G. Welch School of Art & Design Gallery / Georgia State University & Saltworks Gallery) exhibition catalogue.
2004 Ratzeburg, Wiebke et al. Aufruhr der Gefühle: Leidenschaften in der zeitgenössischen Fotografie und Videokunst. (Braunschweig: Museum für Photographie Braunschweig) exhibition catalogue.
2004 Rollig, Stella et al. Open House: Art and the Public Sphere (Linz: O.K Center for Contemporary Art Upper Austria) exhibition catalogue.
2004 Savvidis, Christos et al. Art – Immigration – Utopia: Any Place Any, (Thessaloniki: Macedonian Museum of Contemporary Art) exhibition catalogue.
2004 Schmahmann, Brenda. _Through the Looking Glass: Representations of Self by South African Women Artists-, (Johannesburg: David Krut Publishing) exhibition catalogue.
2004 Wendl, Tobias et al. Africa Screams: Das Böse in Kino, Kunst und Kult, (Wuppertal: Peter Hammer Verlag) exhibition catalogue.2003 Allen, Jennifer. Candice Breitz: From A to B and Beyond, in: Cotter, Suzanne (editor). Candice Breitz: Re-Animations, (Oxford: Modern Art Oxford) exhibition catalogue.
2003 Bourriaud, Nicolas. Postproduction: Sampling, Programming, Displaying, (San Gimignano: Galleria Continua) exhibition catalogue.
2003 Burke, Gregory and Rees, Simon. Extended Play: Art Remixing Music, (New Zealand: Govett-Brewster Art Gallery) exhibition catalogue.
2003 Seifermann, Ellen. fuckin’ trendy – Mode in der zeitgenössischen Kunst. (Nürnberg: Kunsthalle Nürnberg) exhibition catalogue.
2003 Stange, Raimar. Zurück in die Kunst. (Hamburg: Rogner & Bernhard bei Zweitausendeins).
2003 Takeshita, Miyako and Torii, Izumi. Emotional Site, (Tokyo: Shokuryo Building) exhibition catalogue.
2003 Von Hausswolff, Carl Michael and Nohlström, Åsa. Against All Evens: 2nd International Biennial for Contemporary Art in Göteborg. (Göteborg: Hasselblad Center) exhibition catalogue.
2003 Wigram, Max et al. Brightness: Works from the Thyssen-Bornemisza Contemporary Art Foundation. (Dubrovnik: Museum of Modern Art Dubrovnik) exhibition catalogue.2002 Fichtner, Heidi et al. The 8th Baltic Triennial of International Art: Centre of Attraction. (Vilnius: Contemporary Art Centre, 2002) exhibition catalogue.
2002 Kazuko, Koike et al. Emotional Site, (Tokyo: Saga-cho Shokuryo Building) exhibition catalogue.
2002 Latour, Bruno and Weibel, Peter. Iconoclash: Beyond the Image Wars in Science, Religion, and Art, (Karlsruhe: ZKM Center for Art and Media, 2002) exhibition catalogue.
2002 Marzo, Jorge Luis et al. En el lado de la televisión, (Castellon: Espai d’Art Contemporani de Castelló) exhibition catalogue.
2002 Nakabayashi, Kazuo et al. A Perspective on Contemporary Art: Continuity / Transgression, (Tokyo: The National Museum of Modern Art) exhibition catalogue.
2002 Osaka, Eriko and Kotakemori, Yuka. Screen Memories, (Japan: Contemporary Art Gallery, Art Tower Mito) exhibition catalogue.
2002 Van den Berg, Clive et al. Klein Karoo National Arts Festival, exhibition catalogue.
2002 Wallis, Simon (curator). Remix, (Liverpool: Tate Liverpool) exhibition catalogue.2001 Decter, Joshua et al. Televisions, Kunst sieht Fern. (Vienna: Kunsthalle Wien) exhibition catalogue.
2001 Heinrich, Barbara. Looking At You, (Kassel: Kunsthalle Fridericianum) exhibition catalogue.
2001 Phillips, Christopher. Candice Breitz: Four Installations’ in: Sturm, Martin and Plöchl, 2001 Renate. Candice Breitz: CUTTINGS. (Linz: O.K Center for Contemporary Art Upper Austria) exhibition catalogue.
2001 Politi, Giancarlo (editor). Tirana Biennale 1. (Tirana: National Gallery & Chinese Pavilion: September 15 – October 15) exhibition catalogue.
2001 Smith, Kathryn. Convergence/Divergence: Voyages into Mutant Technologies’ in: Southsul (Johannesburg, March) exhibition catalogue.
2001 Tegelaers, Theo et al. Prodigal Prodigy, (New York: White Box) exhibition catalogue.
2001 Wappler, Friederike. The Piece goes on… Prozesskunst, Video und endlos währende Repetition’ in: Schneede, Uwe et al. Monets Vermächtnis. Serie – Ordnung und Obsession. (Hamburg: Hatje Cantz Verlag / Hamburger Kunsthalle) exhibition catalogue.2000 Colombo, Paolo (curator). 6th International Istanbul Biennial: The Passion and the Wave: Book 2. (Istanbul: 6th International Istanbul Biennial) exhibition catalogue.
2000 Eiblmayr, Silvia et al. Die verletzte Diva, Hysterie, Körper, Technik in der Kunst des2013/12/06 Jahrhunderts. (Munich: Kunstverein München) exhibition catalogue.
2000 Heinrich, Barbara. Das Lied von der Erde. (Kassel: Kunsthalle Fridericianum) exhibition catalogue.
2000 Sans, Jérôme and Hsu, Manray (curators). The Sky is the Limit: 2000 Taipei Biennial, (Taipei: Taipei Fine Art Museum) exhibition catalogue.
2000 Scheps, Marc et al. Kunstwelten im Dialog: Von Gauguin zur globalen Gegenwart. (Cologne: Museum Ludwig Köln) exhibition catalogue.
2000 Sung-kwan, Cho. Man + Space: Kwangju Biennale, (Kwangju: Kwangju Biennale) exhibition catalogue.1999 Atkinson, Brenda and Breitz, Candice (editors). Grey Areas: Representation, Identity and Politics in Contemporary South African Art, (Johannesburg: Chalkham Hill Press).
1999 Colombo, Paolo (curator). 6th International Istanbul Biennial: The Passion and the Wave: Book 1. (Istanbul: 6th International Istanbul Biennial, 1999) exhibition catalogue.1998 Herkenhoff, Paulo and Pedrosa, Adriano (editors). XXIV Bienal de São Paulo: Roteiros. Roteiros. Roteiros. Roteiros. Roteiros. Roteiros. Roteiros (Volume 1), (São Paulo: Takano Editora Gráfica Ltda) exhibition catalogue.
1998 Zaya, Octavio (editor). Interferencias, (Madrid: Tabapress) exhibition catalogue.1997 Enwezor, Okwui and DeBord, Matthew (editors). Trade Routes: History and Geography, (Johannesburg: 2nd Johannesburg Biennale) exhibition catalogue.
1997 Weibel, Peter (editor). Inklusion/Exklusion: Art in the Age of Postcolonialism and Global Migration. (Cologne: Dumont) exhibition catalogue.1996 Michelson, Anders and Zaya, Octavio (editors). Interzones: A Work In Progress, (Kunstforeningen: Copenhagen) exhibition catalogue.
1995 Mosaka, Tumelo and Zaya, Octavio. Black Looks: White Myths, (Johannesburg: 1st Johannesburg Biennale) exhibition catalogue.
Selected Periodicals
2011 Beckstette, Sven (moderator). In Favour of Transparency: A roundtable conversation on collectors and collections with Candice Breitz, Peggy Buth, Jonathan Monk and Andreas Siekmann’ Texte zur Kunst (Issue 83: September) pp. 76-93.
2011 Bördner, Christiane (editor). Candice Breitz: Mother and Father, I Love You (Issue 6: Spring, 2011) p. 48-49.
2011 Harms, Ingeborg. Was sich Sammler so trauen, Frankfurter Allgemeine Zeitung (Frankfurt: October 21, 2011).
2011 Schillinger, Jakob. The Prosumer Version: Art from the Masses, Flash Art International (Milan – No. 280: October, 2011) pp. 86-89.2010 Badrutt-Schoch, Ursula. Candice Breitz – Wer bin ich und weshalb?, Kunst-Bulletin (Zürich: April ) pp. 26-31.
2010 Buys, Anthea. Sprawling tales of home, Mail and Guardian (Cape Town: May 28).
2010 Cobolli Gigli, Nicoletta. La vita è come un copione, Arte (Milan: February) pp. 74-77.
2010 Corrigall, Mary. The Grey Areas’ debate 14 years later, The Sunday Independent (Johannesburg: June 20).
2010 D’Aguiar, Fred. Behind the masks’ The Guardian (London: January 30) pp. 16-17.
2010 De Jager, Maureen. Aberrant Light and Colour (After the Rainbow), Art South Africa (Cape Town – Volume 9.1: Spring) pp. 104-106.
2010 Golling, Marcus. Afrika von Innnen, Augsburger Allgemeine Zeitung (Augsburg: June 11).
2010 Greer, Bonnie. Afro Modern: Journeys through the Black Atlantic, The Times (Lond n: January 28).
2010 Heather, Rosemary. Candice Breitz talks to Rosemary Heather, APEngine Online (London: June 19).
2010 Jones, Jonathan. ‘Afro Modern: Tate Liverpool,’ The Guardian (London: January 30, 2010) p. 44.
2010 Kollros, Petra. Der erste Auftritt gehört Afrika, Südwest Presse (Ulm: June 10).
2010 Lee, Edmund. Culture(s) of Copy, Timeout Hongkong (Hong Kong: July 7).
2010 Milner, Johnny W.A.. Art channels pop, Helsinki Times (Helsinki: March 18).
2010 Murray, Soraya. Candice Breitz: Estereotipos del pop, Exit Express (Madrid – No. 4 9: February) pp. 72-73.
2010 Nicolin, Paola. The Rustle of Language, Artforum Online (New York: January 13).
2010 Okeke-Agulu, Chika. Afro Modern: Journeys through the Black Atlantic, Artforum (New York: January) p. 95.
2010 Ross, Trine. Meryls mange masker, Politiken (Copenhagen: June 19).
2010 Ruppert, Harald. Candice Breitz im Kunstmuseum Bregenz, Suedkurier (Konstanz: February 15).
2010 Schilling, Leonie. Candice Breitz esplorando identidades, Arte al Limite (Santiago de Chile – No. 41: March / April) pp. 120-126.
2010 Schindler, Feli. Zwillinge und Hollywoodstars, Basler Zeitung (Basel: March 24).
2010 Sey, James and Dubin, Steven. Final Whistle, Art South Africa (Cape Town – Volume 9.1: Spring) pp. 70-78.
2010 Sommer, Tim. Studio: Candice Breitz, Art (Hamburg: March) pp.12-13.
*2010*Sonna, Birgit. Der Spalt im Medienkorsett, Art Online (Hamburg: February 8).
2010 Spont, Marya. Analyzing Mass Media through Video Art Education: Popular Pedagogy and Social Critique in the Work of Candice Breitz, Studies in Art Education: A Journal of Issues and Research (Volume 51 / Issue 4: Summer) pp. 295–314.
2010 Stange, Raimar. Fiktiv(e) Leben?, Kunstforum International (Ruppichteroth – No. 204: October – November) pp. 58-65.
2010 Tagliafierro, Marco. The Rustle of Language, Artforum (New York: March) p. 263.
2010 Vogel, Sabine B.. Kunsthaus: Nicht ohne meine Schwestern, Die Presse (Vienna: April 2).
2010 Von Naso, Rüdiger. Mit der Pop-Kultur auf Du und Du, Madame (Munich – No. 03).
2010 Werneburg, Brigitte. White Box, Black House, Die Tageszeitung (Berlin: June 5).2009 Ashby, Keith. Hybrid morals, Times Literary Supplement (London – No 5529: March 20).
2009 Bennett, Laura. Strike a Pose, The Boston Globe (Boston: July 17).
2009 Bishop, Claire. Trial and Error, Artforum Online (New York: 27 November).
2009 Cook, Greg. More Than a Feeling, The Boston Phoenix (Boston: July 24).
2009 Cornell, Peter. Polyglottolalia / Tensta konsthall, Expressen (Stockholm: April 1).
2009 Cash, Stephanie. Candice Breitz at Yvon Lambert, Art in America (New York – No. 6: June / July) pp. 189-190.
2009 Ermen, Reinhard. Klang Skulptur, Kunstforum International (Ruppichteroth – No. 199: October – December) pp. 353-354.
2009 Esplund, Lance. Candice Breitz: Him + Her, The Wall Street Journal (New York: March 14–15) p. W12.
2009 Falconer, Morgan. Film and video, The Burlington Magazine (London – No. 1274: May) pp. 345-347.
2009 Frey, Roswitha. Der Rhythmus der Steinmetze, Badische Zeitung (Freiburg: August 25).
2009 Helfand, Glen. This is it, San Francisco Bay Guardian (San Francisco – Vol. 44, No. 6: November 11).
2009 Hofmann, Niklas. Klotzen statt Klecksen, Sueddeutsche Zeitung (Munich: August 3).
2009 Johnson, Ken. Art in Review: Candice Breitz, New York Times (New York: March 6) p. C28.
2009 Jönsson, Dan. What a wonderful world_, på Göteborgs internationella konstbiennal Dagens Nyheter (Stockholm: September 10).
2009 Kedves, Jan. Candice Breitz, SPEX (Berlin – No. 318: January / February) pp. 56-58.
2009 Kraus, Chris. Candice Breitz, Artforum (New York: December) pp. 244-245.
2009 Latimer, Quinn. She Said, He Said, Modern Painters (New York: February) p.24.
2009 Milroy, Sarah. Seeing Double, Globe and Mail (Toronto: September 22) p. R1.
2009 Prickett, Sarah Nicole. Art Star Risen, Fashion (Toronto: November) p. 94.
2009 Rubin, Nadine. Candice Breitz, Art South Africa (Johannesburg – Volume 7.4: June).
2009 Scharf, Jürgen. Ein Spiel mit Raum und Zeit, Suedkurier (Konstanz: August 26).
2009 Sheets, Hilarie. Clip Art, Art News (New York: February) pp. 88 – 91.
2009 Spencer, Rosie. Performa breaks into new territory, The Art Newspaper (New York: 11).
2009 Stern, Steven. Prospect.1 New Orleans, Frieze (Issue 120: January – February).
2009 Stokes, Emily. Performa 09, New York, The Financial Times (London: November 17).
2009 Tüting, Linda-Luise. Gruppentherapie mit Jack, Artinvestor (München: No.01) pp. 94-97.
2009 Wahjudi, Claudia. Candice Breitz, Kunstforum (Ruppichteroth – No. 195: January – March) p.290-293.
2009 Warner, Anna. Mycket Meryl py Hertig Johans torg, Skaraborgs Allehanda (Skövde: October 3).
2009 Whyte, Murray. Seeing double, and thinking twice, Toronto Star (Toronto: November 1) p. E5.
2009 Woodman, Tenley. MFA ’Seeing’ beauty in a more modern Madonna, The Boston Herald (Boston: July 1).2008 Balslev, Nanna. Billeder af en fankultur, Nyhedsavisen (Copenhagen: January 9) p. 35.
2008 Bucher, Heike. Vom Rauben und Kopieren der Kunst, Tageblatt (Luxembourg: April 10).
2008 Büsing, Nicole et al. Pulsschlag aus Stahl, Der Spiegel Online (Hamburg: December 6).
2008 Casadio, Mariuccia. Self Exposure, Vogue Italia (Milan – No. 689: January) p. 260.
2008 Casadio, Mariuccia. Colorful, Vogue Italia (Milan – No. 695: July) p. 256.
2008 Clarinval, France. Appropriation et recyclages dans l’art, Le Quotidien (Luxembourg: April 24).
2008 Darwent, Charles. When you’re outside it, the joke is no laughing matter, The Independent (London: February 3).
2008 De Rochebouët, Béatrice. La vidéaste Candice Breitz met ses fans en scène, Le Figaro (Paris: April 24) p. 29.
2008 Dietsch, Deborah. Kinetic Realisms of social, political themes, The Washington Times (Washington DC: June 20).
2008 Diez, Georg. Atelierbesuch Candice Breitz, Die Zeit Magazin Leben (Hamburg – No. 18: April 24) pp. 38-40.
2008 Diez, Georg. Heiterkeit an der Oberfläche, Sueddeutsche Zeitung (München: October 30) p. 18.
2008 Dorment, Richard. Beyond A Joke, The Daily Telegraph (London: February 5) p. 27.
2008 Dunne, Aidan. Poignant images from a region apart, The Irish Times (Dublin: July 23) p. 15.
2008 Enoch, Martin. Lennons fans synger, MetroXpress (Copenhagen: January 17) p. 40.
2008 Fagerström, Linda. En kör av solister, Helsingborgs Dagblatt (Helsingborg: January 16) p. 34.
2008 Goddard, Peter. Humiliating music makes amusing art, The Toronto Star (Toronto: October 18)
2008 Gopnik, Blake. Take Time to Rewind at the Hirshhorn’s ‘Realisms’, The Washington Post (Washington DC: June 21).
2008 Griveau, Anne-Laure. Candice Breitz, REDUX (Anglet – No. 26: January).
2008 Grimley, Terry. The modern phenomenon of fame, The Birmingham Post (Birmingham: April 29).
2008 Hansen, Josée. I’ll be your mirror, D’Lëtzebuerger Land (Luxembourg: August 22).
2008 Haun, Anne et al. Jetzt rappelts in der Kiste, Weltkunst Contemporary (Munich – No. 04/2008: October) pp. 24 – 27.
2008 Hemmer, Martine. Popstars als Spiegelbilder von Fan-Fantasien, Saarbrücker Zeitung (Saarbrücken: June 7).
2008 Hermansen, Tom. Mennesket I mængden, Jyllands Posten (Jylland: January 9) p. 15.
2008 Heilmann, Julia. Bilder für Flaneure, Berliner Morgenpost (Berlin: October 26) p. 21.
2008 Heilmann, Julia. Eine Halle für die Kunst, Welt am Sonntag (Berlin: October 26) p. 29.
2008 Heinz, Andreas. Die Kunst steckt im Wolkenkasten, Neues Deutschland (Berlin: October 29) p. 11.
2008 Hirou, Amandine. Vive Abba!, L’Express Styles (Paris: January 17) pp.6-7.
2008 Ifversen, Karsten. Dybe erkendelser om populærkulturen, Politiken (Copenhagen: January 9).
2008 Jalving, Camilla. Hverdagens helte spejler sig I idolerne, Kristeligt Dagblad (Copenhagen: January 10) p. 5.
2008 Jensen, Christina. Britneys fans på museum, MetroXpress (Copenhagen: Janua ry 9) p. 48.Judkis, Maura. You deserve a Fake Today, Washington City Paper (Washington DC: July 11 – 17).
2008 Kuhn, Nicola. Berlins heißer Kunstherbst, Der Tagesspiegel (Berlin: October 29) p. 21.
2008 Kuhn, Nicola. Wir lieben euch doch, Der Tagesspiegel (Berlin: November 29) p. 26.
2008 Kurtz, Andreas. Der Hausmeister ließ sich erweichen, Berliner Zeitung (Berlin: October 30) p. 32.
2008 Lequeux, Emmanuelle. Ces merveilleux fans chantants. A Avignon une exposition entraînante de Candice Breitz, Le Monde (Paris: June 10) p. 22.
2008 Lessig, Lawrence. In Defense of Piracy, The Wall Street Journal (New York: October 11 – 12) p. W3.
2008 Lewis, Ben. Are you having a laugh?, Evening Standard (London: February 1) p. 39.
2008 Lorgé, Marie-Anne. Sacré Podium, Le Jeudi (Luxembourg: April 10).
2008 Macdonald, Fiona. Art Review: Comic chops from the best, Metro (London: January 28) p. 31.
2008 Meyer-Gatermann, Anne. A capella im Karton, Märkische Allgemeine (Berlin: October 29) p. 10.
2008 Mueller, Dominikus. Kunst ist der neue Pop, Die Tageszeitung (Berlin: October 30) p. 16.
2008 Popovic, Anja. 800 Gäste in “Temporärer Kunsthalle”, Berliner Morgenpost (Berlin: October 29) p. 30.
2008 Richter, Peter. Wir sind nicht gekommen, um zu bleiben, Frankfurter Allgemeine Zeitung (Frankfurt: October 29) p. 33.
2008 Rolland, Marie-Laure. La creation, au-delà des clichés, Luxemburger Wort (Luxembourg: April 25) p. 13.
2008 Rondeau, Corine. Loin du château bleu – Candice Breitz, FROG (Paris – No. 7) pp. 114-119.
2008 Rose, Sean James. L’épiphanie des fans selon Candice Breitz, La Libération (Paris: April 2).
2008 Rosenberg, Karen. Now You Perceive It, Now You Think You Do, The New York Times (New York: August 22) p. E30.
2008 Ruthe, Ingeborg. Madonna in der Kiste, Berliner Zeitung (Berlin: October 29) p. 3.
2008 Sandals, Leah. Singing together in harmony, The National Post (Toronto: October 23).
2008 Sandbye, Mette. Oh Yeahhh!, 24timer Århus+ (Århus: January 14) p. 13.
2008 Slot, Steffen. Stedet hvor man ikke taler, Dagbladet Ringsted (Ringsted: January 9) p. 6.
2008 Smith, Roberta. The Week Ahead, The New York Times (New York: June 15) p. E4.
2008 Sorensen, Rosemary. Beyond the frozen image, The Australian (Sydney: October 27)
2008 Stange, Raimar. In Media Res, Flash Art International (Milan – No. 262: October) pp. 122-125.
2008 Strötgen, Janina. Gesellschaft ist alles – Privates zählt nichts, Tageblatt (Luxembourg: April 26).
2008 Turner, Ben. Art House: Candice Breitz, House ( London – No. 04: Spring) pp. 29-36.
2008 Von Bullion, Constanze. Platz für viele Galaxien, Süddeutsche Zeitung (Munich: May 17) p. 3.
2008 Walde, Gabriela. Kunsthalle: Verspätete Hommage auf Nicholson, Berliner Morgenpost (Berlin: 29 November).
2008 Walerich, Christiane. Pop Devotion, WOXX (Luxembourg: May 16).
2008 Wynants, Jean-Marie. Des idoles et des fans, Le Soir (Brussels: April 30).2007 Ackermann, Tim. Deutschland sucht den Super-Jacko, Die Tageszeitung (Berlin: May 25) pp.15-16.
2007 Arnaudet, Didier. Candice Breitz, Art Press (No. 340: December).
2007 Bennett, Jill. Aesthetics of Intermediality, Art History (Oxford: June 3) pp. 432-450.
2007 Büsing, Nicole and Klaas, Heiko. We are the Champions: Candice Breitz, Weltkunst Contemporary (Munich: September) pp. 26-28.
2007 Chandler, Voelz. Art soaks in MCA spotlight, Rocky Mountain News (Denver: November 2).
2007 Chapman, Peter. Pick of the Week: Candice Breitz, The Independent (London: August 11-17) p. 13.
2007 Collings, Matthew. Diary: Art is the New Religion, Modern Painters (London: December) pp. 38-41.
2007 Di Blasi, Johanna. Made In Germany: Candice Breitz, Verlagsbeilage Hannoversche Allgemeine Zeitung / Neue Presse (Hannover: May 24) pp. 6-7.
2007 Farrell, Laurie Ann. Notes on a Cultural Pirate, Art South Africa (Cape Town – Volume 5 / Issue 4: Winter) pp. 48-53.
2007 Güner, Fisun. Art Review: Candice Breitz, Metro (London: August 6) p. 29.
2007 Hayden, Malin Hedlin. On Candice Breitz’s Becoming, n.paradoxa: International Feminist Art Journal (London – Volume 20) pp. 50-57.
2007 Heilmann, Julia. Die Schöne und die Biester, Berliner Morgenpost (Berlin: September 9).
2007 Heilmann, Julia. Die Schöne und die Biester, Welt Kompakt (Berlin: September 12) p. 23.
2007 Herchenröder, Christian. Religiöse Ersatzmutter: Made in Germany_, Handelsblatt (Düsseldorf: June 8).
2007 Holmes, Pernilla. -In Your Face, Artnews (New York – Volume 106 / No. 6: June) pp. 106-111.
2007 Jocks, Heinz-Norbert. Made in Germany: Ein Gespräch mit den Direktoren Ulrich Krempel, Veit Görner und Stephan Berg, Kunstforum (Ruppichteroth – No. 186: June – July) pp. 419-437.
2007 Koerner von Gustorf, Oliver. Lauter schräge Vögel, Welt am Sonntag (Berlin: May 27) p. 71.
2007 Liebs, Holger. Schwarzes Loch, Süddeutsche Zeitung (Munich: May 24) p. 13.
2007 Lösel, Anita. Made In Germany: Blutbad und Blümchentapete, Der Stern (May 27).
2007 Lüddemann, Stefan. Im Kunstbetrieb angekommen? Neue Osnabrücker Zeitung (Osnabrück: May 26).
2007 Lüddemann, Stefan. Kleine Schwester des Kinos? Neue Osnabrücker Zeitung (Osnabrück: April 25).
2007 Marcus, J. S. Hanover: Made in Germany, Wall Street Journal (New York: July 27).
2007 Müller, Katrin Bettina. Vorne der See, hinten die Geschichte, Tip (Berlin: July 26 – August 8) pp. 58, 61.
2007 Müller, Hans-Joachim. Aufzeichnungen zerfliessender Lebensräume, Neue Zuericher Zeitung (Zuerich: July 28).
2007 O’Toole, Sean. The Big Picture: Candice Breitz, Sunday Times – Lifestyle (Johannesburg: August 19) p. 5.
2007 Shaw, William. We Are Not A Muse, The New York Times Magazine (New York: February 5) pp. 80-84.
2007 Smee, Sebastian. Hip but not so happening, The Australian (February 10).
2007 Sooke, Alastair. How to replace a diamond-studded skull, The Daily Telegraph (London: July 31) p. 28.
2007 Tieke, Kristina. Hellwach im Reich des Dämmers, Hannoversche Allgemeine Zeitung Nr. 119 (Hannover: May 24) p. 13.
2007 von Thurn und Taxis, Elisabeth. Spiel’s Nochmal Fan! Vanity Fair (Berlin – No. 30/31: July 19) pp. 146-149.
2007 Ward, Ossian. Private View: Candice Breitz, Time Out (London: July 25-31) p. 49.
2007 Williams, Eliza. Candice Breitz: White Cube, Flash Art (Milan – No. 257: November – December,) p. 111.
2007 Wyndham, Constance. Video saves the radio star, The Financial Times (London: July 28) p. 18.2006 Baer-Bogenschütz, Dorothee. Barcelona: Copyright-Debatte bei der Film-Messe Loop, Kunstzeitung (No. 120: August) p. 5.
2006 Bettens, Walter. Get up, Stand up: The Making of Legend (A Portrait of Bob Marley), DAMn° Magazine (Issue 5: February – March) pp. 142-145.
2006 Bloemkolk, Jos. This is America: een opwindend beeld, Het Parool (Amsterdam: July 8) pp. 28-29.
2006 Buhr, Elke. Candice sucht den Superstar, Art: Das Kunstmagazin (No. 10: October) pp. 70-75.
2006 Casavecchia, Barbara. Tutti gli specchi di Candice, D – la Repubblica delle Donne (No. 525: November 18) pp. 149-152.
2006 Garcia, Cathy Rose. Artist Shows How Stars Influence Fans, The Korea Times (Seoul: September 23-24).
2006 Graham-Dixon, Andrew. Haunted Staircase. Candice Breitz: Working Class Hero (A Portrait of John Lennon), The Sunday Telegraph / Seven Magazine (London: October 29) p. 32.
2006 Holmes, Nigel. The Art Universe: from the Vanity Fair Observatory High Atop Times Square, Vanity Fair (No. 556: December) pp. 340-341.
2006 Januszczak, Waldemar. Art: Urban Myths, The Sunday Times (London: November 26).
2006 Kramar, Thomas. Und dann sind wir Helden (der Arbeiterklasse), Die Presse (Wien: December 15).
2006 Mittringer, Markus. Zahn- und Liedpflege, Der Standard (Wien: December 19).
2006 Oliver, William. Candice Breitz: getting snippy with Sharon, The Art Newspaper: Art Basel / Miami Beach Daily Edition 9/10 (December) p. 6.
2006 O’ Toole, Sean. A Star Astride the World Stage, Business Day (Johannesburg: September 1) p. 10.
2006 Paice, Kimberley. _Repetition and Theft: Recent video works by American women artists-, n.paradoxa: International Feminist Art Journal (London – Volume 17) pp. 5-18.
2006 Probst, Ursula Maria. Critique: Klartext Berlin – Words Are Very Unnecessary, Spike (No. 10: Winter) pp. 94-95.
2006 Rappolt, Mark. Lucky Star: Candice Breitz, i-D Magazine (London – Vol. II/XVI / No. 266: May) pp. 118-121.
2006 Ross, Christine. The Temporalities of Video: Extendedness Revisited, Art Journal (Volume 65 / No. 3: Fall) pp. 83-99.
2006 Schoch, Ursula Badrutt. Kunst und Kleid eröffnet, St. Galler Tagblatt (St. Gallen: September 2) p. 25.
2006 Sooke, Alastair. Singing to the Gallery, The Daily Telegraph (London: September 2) p. 4.
2006 Tilmann, Christina. Der Sound der Würstchenbude, Der Tagesspiegel (Berlin: June 1) p. 26.
2006 Whetstone, David. Stairwell with a Lennon touch, The Journal (Newcastle: October 10) p. 31.2005 Althen, Michael. Ich bin deine Erfindung, Frankfurter Allgemeine Zeitung (Frankfurt: October 13) p. 39.
2005 *Barrett, Rachael. Now watch the Legend: Marley video art tribute opens, The Sunday Observer (Jamaica: December 4) p. 15.
*2005 Bester, Rory. Candice Breitz at White Cube, London, Art South Africa (Volume 4 / Issue 2: Summer) pp. 77-78.
2005 Bleyl, Henning. Klischees im Kammerspiel, Die Tageszeitung (Bremen: October 29/30) p. 27.
2005 Bruhns, Annette. Die Meisterin des Loops, KulturSPIEGEL (Issue 11: November) pp. 26-32.
2005 Chambers, Nicholas. Candice Breitz: Mother + Father – Interview with Nicholas Chambers, Artlines (Queensland Art Gallery, South Brisbane – Volume 2) pp. 12-15.
2005 Chapman, Peter. Private View: Candice Breitz, The Independent / The Information (London: September 10-16) p. 15.
2005 Crompton, Sarah. Why Women Slipped out of the Frame, The Daily Telegraph (London: June 29).
2005 Curto, Guido. I nostri genitori? Gli attori di Hollywood, La Stampa (Torino: February 15) p. 25.
2005 Darwent, Charles. Shot by Both Sides, The Independent on Sunday / ABC Magazine (London: September 11) p. 15.
2005 Dorment, Richard. Review of the Year 2005: Newcomer of the Year – Candice Breitz, The Daily Telegraph / Arts + Books (London: December 24) p. 5.
2005 Dorment, Richard. Screaming and Singing, The Daily Telegraph (London: September 6) p. 21.
2005 Dorment, Richard. The Star Pavilions, The Daily Telegraph (London: June 15) p. 17.
2005 Gispert, Luis et al. The Artists’ Artists, Artforum (No. 4: December) p. 107.
2005 Glover, Michael. A game of happy families, The Financial Times (London: September 16) p. 16.
2005 Graham-Dixon, Andrew. Implosion of the body-snatched, The Sunday Telegraph (London: September 11) p. 6.
2005 Güner, Fisun. Candice Breitz, Metro (London: September 12) p. 33.
2005 Höbel, Wolfgang. Casanovas, Freaks und Patrioten, Der Spiegel Online (Germany: September 5).
2005 Iredale, Jill. Eye of the Beholder: Candice Breitz, Lincolnshire Echo (Lincoln: September 15) p. 10.
2005 Johnson, Ken. Girls on Film, New York Times (New York: August 26).
2005 Jones, Alice. My family and other actors, The Independent (London: September 5) p. 43.
2005 Kent, Sarah. Screen Idols, Time Out (London: September 21 – 28) p. 57.
2005 Lange, Christy. Crazy for You: Candice Breitz on Pop Idols & Portraiture, Modern Painters (London: September) pp. 68-73.
2005 Miadi, Fadwa. Une vidéaste contre Hollywood, Jeune Afrique L’Intelligent (Paris: May 29).
2005 Nochlin, Linda. Venice Biennale: What Befits a Woman?, Art in America (No. 8: September) pp. 120-125.
2005 Nord, Cristina. Zu viele Männer, Die Tageszeitung (Berlin: September 8) p. 16.
2005 Perra, Daniele. Candice Breitz: Castello di Rivoli Museo d’Arte Contemporanea, Tema Celeste (No. 109: May – June) p. 89.
2005 Richter, Peter. Wann platzt die Blase?, Monopol (No. 4: August – September) p. 20.
2005 Riding, Alan. Modern Art, The New York Times Travel Issue (New York: September 25) p. 11.
2005 Robecchi, Michele. Candice Breitz, Contemporary (Issue 76) pp. 34–37.
2005 Smith, Roberta. A Medium in the Making: Slicing Familiar Films Into Something New, New York Times (New York: July 29).
2005 Smith, Roberta. Art in Review: Candice Breitz, New York Times (New York: October 21).
2005 Spiegler, Marc. The Venice Effect, The Art Newspaper (Basel: June 15).
2005 Sumpter, Helen. Pop Idols: Candice Breitz, The Big Issue (London: September 19) pp. 30-31.
2005 Van Teeseling, Steven. Worsteling met de echte wereld, De Groene Amsterdammer (Amsterdam: July 1) p. 28.
2005 Vetrocq, Marcia. Venice Biennale: Be Careful What You Wish For, Art in America (No. 8: September) p. 113.
2005 Volk, Gregory. Candice Breitz at Sonnabend, Art in America (No. 11: December) p. 136.
2005 Weichardt, Jürgen. Wiederholte Wunschwelten, Nordwest-Zeitung (Oldenburg: October 29) p. 13.
2005 Whitfield, Sarah. Exhibition Reviews: Candice Breitz at White Cube, The Burlington Magazine (London – Volume CXLVII / Number 1232: November) pp. 766-767.
2005 Wittneven, Katrin. Utopia: Candice Breitz über die Zukunft der Sprache, Monopol (No. 6: December – January) pp. 101-103.
2005 Wulffen, Thomas. 51. Biennale Venedig. Nach dem Rundgang: Notizen zu Künstlern, Kunstforum (No. 177: September – October) pp. 95, 276.
2005 Zolghadr, Tirdad et al. Venice Biennale 2005, Frieze (Issue 93: September) p. 101.2004 Aschenbrenner, Jenny. Sluta gapa och svälja, Piteå-Tidningen (Stockholm: October 15).
2004 Auer, James. Milwaukee Art Museum Recasts its Contemporary Collection, Milwaukee Journal Sentinel (Milwaukee: February 21).
2004 Diez, Renato. Art Basel: Una festa per l’arte, Arte (No. 373: September) p.73.
2004 Grumberg, Amiel. Art et Tourisme: le Guide du Rout’Art, Beaux Arts Magazine (No. 242: July).
2004 Gurney, Kim. Through the Looking Glass: Albany History Museum, Grahamstown, Art South Africa (Cape Town – Volume 3 / Issue 1: Spring) p. 64.
2004 Hammond, Jeff Michael. Culture Shock: South African artist turns lens on Japan, Asahi Shimbun (Tokyo: June 18).
2004 Korotkin, Joyce. Candice Breitz: Sonnabend Gallery, New York, Tema Celeste (No. 103: May – June) p. 93.
2004 Kröner, Magdalena. Candice Breitz: Schreien, Stottern, Singen: Das Playback des Ich: Ein Gespräch mit Magdalena Kröner, Kunstforum (No. 168: January – February) pp. 276-283.
2004 Mayer, Gabriele. Frauen brauchen schußsichere Kleider: In der Nürnberger Kunsthalle treffen sich Kunst und Mode, Frankfurter Allgemeine Zeitung (Frankfurt: January 14).
2004 Orrghen, Anna. Breitz ställer masskulturen i konstens tjänst, Svenska Dagbladet (Stockholm: October 9).
2004 O’Toole, Sean. SA’s Loss Becomes a Global Gain, Business Day (Johannesburg: March 5).
2004 Piccoli, Cloe. People: Candice Breitz, Carnet Arte (Milan: June – July) p. 68.
2004 Spiegler, Marc. Candice Breitz: Max Hetzler, Berlin, Artnews (March) p. 140.
2004 Stange, Raimar. Pop Goes Politics: Art, Music, Politics, Flash Art Italia (No. 244: February – March) pp. 124-126.
2004 Wendland, Johannes et al. Neue Heimat: Warum ausländische Künstler in Berlin leben, Zitty (Berlin – No. 8: January 1-14) p. 23.
2004 Werneburg, Brigitte. Reigen der Affekte: Aufruhr der Gefühle, Die Tageszeitung (Berlin: August 20) p.16.
2004 Wolfe, Alexandra. The Transom: Just Like J.Lo, The New York Observer (New York: February 16) p. 3.2003 Bussel, David. Candice Breitz, i-D Magazine (January, 2003) p. 171.
2003 Geldard, Rebecca. Candice Breitz / Asprey Jacques, Time Out (London: 19 – 26 March).
2003 Gohlke, Gerrit. Schutz und Trutz, Stirn und Hand: Über Alien – eine Videoinstallation von Candice Breitz, BE Magazin # 9 (Berlin: Künstlerhaus Bethanien) pp. 116-122.
2003 Güner, Fisun. Art Spoken from a Soapbox / Candice Breitz: Diorama, Metro (London: February 28) p. 22.
2003 Haines, Bruce. Candice Breitz: Re-Animations / Jim Lambie: Male Stripper, Contemporary (London: November – December) p. 71.
2003 Kojima, Yayoi. People: Candice Breitz, Esquire Magazine (Tokyo – Volume 17 / No. 1: January) p. 47.
2003 MacAlister, Katherine. Chewing up pop culture, The Oxford Mail (Oxford: September 12) p. 17.
2003 Menin, Samuela and Sansone, Valentina. Focus Video and Film / Contemporary Video Art Today (Part I), Flash Art (No. 228: January – February) p. 89.
2003 *Mullins, Charlotte. Sigmar Polke and Candice Breitz: Taking Pot Shots at a Media-Saturated World, The Financial Times (London: October 1).
*2003 Nilsson, John Peter. Få vågar så, Aftonbladet (Stockholm: May 25) p. 4.
Peacocke, Helen. Art: Candice Breitz and Jim Lambie: Modern Art Oxford The Oxford 2003 Times (Oxford: September 19).
2003 Peacocke, Helen. Stars and stripes of art gallery’s season: Candice Breitz and Jim Lambie at Modern Art Oxford, The Oxford Times (Oxford: September 12) pp. 4-5.
2003 Ratnam, Niru. Up Front On The Verge: Candice Breitz, OM: Observer Magazine (London: August 24) p. 15.
2003 Schaufelberger, Peter. Mit Haut und Haar: Striptease, vom Verschleiern und Enthüllen – eine Austellung im Kunstmuseum St. Gallen, Südkurier (St. Gallen: June 14) p. 30.
2003 Schmitz, Edgar. Candice Breitz: Re-Animations, Kunstforum (Volume 167: November – December) pp. 346-348.
2003 Stange, Raimar. Candice Breitz in der Galerie Hetzler: Monitor mit Nabelschnur, Der Tagesspiegel (Berlin: October 4) p. 28.
2003 Stange, Raimar. Candice Breitz: Galerie Max Hetzler, Flash Art (No. 233: November – December) p. 104.
2003 Stange, Raimar. Candice Breitz: Mediale Aliens_, uSpot p. 13.
2003 Stange, Raimar. Raimar Stange über Candice Breitz, Artist Kunstmagazin (No. 54: January) p. 24.
2003 Sumpter, Helen. Candice Breitz: Re-Animations / This is not a Love Song, The Big Issue (London: September 29).
2003 Vogel, Matthias. Mythos Cyborg: Der “Maschinenmensch” als Thema der Gegenwartskunst, Neue Zürcher Zeitung (Zurich: March 13).
2003 Wainwright, Jean, Candice Breitz: Modern Art Oxford, Art Monthly (No. 271: November) pp. 18-19.
2003 Wilsher, Mark. Candice Breitz: Diorama / Asprey Jacques, What’s On In London (London: March 19 – 26) p. 24.2002 Auer, James. Visuals overtake traditional art forms at inova, Milwaukee Journal Sentinel (Milwaukee: November 27).
2002 Cotter, Holland. Cinema à la Warhol, With Cowboys, Stillness and Glamour, New York Times (New York: April 5).
2002 Gardner, Belinda Grace. Ins Museum, der Fernseher wegen, Die Welt (Germany: May 19).
2002 Grosse, Julia. Sing, und du wirst integriert, Die Tageszeitung (Berlin: November 8) p. 16.
2002 Gupta, Anjali. The Conversation: A Discussion with Artpace’s Candice Breitz, San Antonio Current (San Antonio: February 21 – 27) p. 15.
2002 Jahn, Wolf. Flimmern in der Höhle: Videokunst in der Galerie der Gegenwart, Hamburger Abendblatt (Hamburg: April 13).
2002 Murray, Soraya. Africaine: Candice Breitz, Wangechi Mutu, Tracey Rose, Fatimah Tuggar, Nka Journal of Contemporary African Art (No. 16/17: Fall – Winter) p. 88.
2002 Preuss, Sebastian. `Viel Heu, wenig Mitte,’ Berliner Zeitung (Berlin: January 9).
2002 Robecchi, Michele. Reviews: Candice Breitz / Francesca Kaufmann, Flash Art Italia (No. 231: December – January).
2002 Rohr-Bongard, Linde. Kunst-Kompass: Stars von Morgen, Capital (No. 13).
2002 Stange, Raimar. Candice Breitz im Museum Folkwang, Kunst-Bulletin (No. 11: November) p. 46.
2002 Sumiyoshi, Chie. Mito: Candice Breitz, Brutus (Tokyo – Volume 5 / No. 1:) p. 155.
2002 Weil, Rex. Candice Breitz: De Appel / Amsterdam, Artnews (Summer) p. 184.
2002 Wright, Annabel. Challenging Meaning in Contemporary Art, The Daily Yomiuri (Tokyo: November 14) p. 12.2001 Altstatt, Rosanne. Killing Me Softly… An Interview with Candice Breitz, Kunst-Bulletin (No. 6: June) pp. 30-37.
2001 Büsing, Nicole and Klaas, Heiko. Wiederholungszwang, Kieler Nachrichten (Kiel: September 27).
2001 Cartier, Stephan. Der Rhythmus der neuen Zeit geht in Serie, Weser-Kurier (Bremen: September 28).
2001 Cherubini, Laura. Tre star brillano nel cielo di Candice Breitz, il Giornale (Milan: October 22).
2001 Cincinelli, Saretto. Post Production: Galleria Continua, San Gimignano, Flash Art Italia (No. 229: August – September) p. 104.
2001 Falconer, Morgan. Hallucinating Love / Asprey Jacques, What’s On In London (London: July 18 – 25).
2001 Gardner, Belinda Grace. Kein Heuhaufen fällt zweimal in denselben Fluß, Frankfurter Allgemeine Zeitung (Frankfurt: October 24).
2001 Himmelsbach, Sabine. Body Check, Ethik & Unterricht (No. 11: 2) p. 12.
2001 Hofmann, Isabelle. Serientäter unter sich, Kunstzeitung (No. 64: December, 2001) p. 9.
2001 Hofmann, Isabelle. Vom Gesetz der Serie: Die Hamburger Kunsthalle präsentiert eine große internationale Ausstellung, Hannoversche Allgemeine Zeitung (Hannover: November 26).
2001 Johnson, Ken. West Side: The Armory Show on the Piers Just Keeps Growing, New York Times (New York: February 23) p. E31.
2001 Knöfel, Ulrike. Kunst kommt von Zappen, Der Spiegel (No. 33: August 13) p. 167.
2001 Krumpl, Doris. Sanfter Tod mit Liebesliedern: Candice Breitz mit “Cuttings” im Linzer O.K Centrum für Gegenwartskunst, Der Standard (Vienna: July 4) p. 26.
2001 Louis, Eleonora. Candice Breitz: Cuttings, Springerin (Vienna – Volume VII / Issue 3/01) p. 68.
2001 Pollack, Barbara. Africa’s Avant-Garde – The Newest Avant-Garde, Artnews (April).
2001 Schaufelberger, Peter. Babylonische Sprachverwirrung: Video-Installation von Candice Breitz in St. Gallen, Südkurier (St. Gallen: May 12, 2001).
2001 Schellen, Petra. Obsessionen… Zählen, bis man von der Zeit eingesogen wird: Serien Ausstellung in der Kunsthalle,’ Die Tageszeitung (Berlin: October 25).
2001 Schlüter, Ralf. Monets Vermächtnis: Im Rausch der Wiederholung, Art: Das Kunstmagazin (December).
2001 Schoch, Ursula Badrutt. Augentauchen: Das Kunstmuseum St. Gallen enthüllt in einem künstlerischen “Striptease” sein Können, St. Galler Tagblatt (St. Gallen: May 2) p. 22.
2001 Schwarze, Dirk. Die Kunsthalle als großes Kino, Hessische / Niedersächsische Allgemeine (Kassel: August 11) p. 26.
2001 Wainwright, Jean, Can we talk about contemporary video and film art in terms of genres?, PLUK (London – No. 2: September – October) pp. 28-41.2000 Corbetta, Caroline. Candice Breitz: Francesca Kaufmann, Flash Art Italia (No. 221: April – May).
2000 Fichtner, Heidi. Global Art: Das Lied von der Erde, Nu: The Nordic Art Review (No. 6).
2000 Higgie, Jennifer. Istanbul Biennial, Frieze (Issue 50: January – February) pp. 92-93.
2000 Hunt, David. Candice Breitz: Fighting Words, Flash Art (No. 211: March – April) p. 94.
2000 Hunt, David. Sixth International Istanbul Biennial, Art & Text (No. 68: February – April).
2000 Johnson, Ken. Art in Review: Tomorrow, New York Times (New York: July 14).
2000 Keller, Claudia. Idylle mit Leichen, Der Tagesspiegel (Berlin: August 23) p. 26.
2000 Kerkham, Ruth. A Deadly Explosive on Her Tongue – White Artists / Black Bodies, Third Text (No. 50: Spring, 2000) pp. 45-60.
2000 Kibanda, Nadine. Out of Africa: La Storia Oltre Le Frontiere, Flash Art Italia (February – March) p. 78.
2000 Law, Jennifer. Ghost Stories: Democracy, Duplicity and Virtuality in the Work of Candice Breitz, Frauen Kunst Wissenschaft (Issue 29: June) p. 45-56.
2000 Nemeczek, Alfred. Regie führt das Leben, Art: Das Kunstmagazin (No. 9: September).
2000 Noè, Paola. Candice Breitz: Galleria Francesca Kaufmann, Tema Celeste (March – April).
2000 Phillips, Christopher. Report from Istanbul: Band of Outsiders, Art in America (April) pp. 71-75.
2000 Rohr-Bongard, Linde. Kunst-Kompass: Stars von Morgen, Capital (No. 23) p. 238.
2000 Roper, Chris. Review of the Week: Hardcore Bacchanalia, Mail & Guardian (Johannesburg: January 14-20) p. 2.
2000 Tatot, Claude-Hubert. Parole et parole et parole… Candice Breitz: Babel Series, Papiers Libres Art Contemporain (Geneva – No. 21: July).
2000 Vettese, Angela. Arte Visiva: C’è qualcosa di nero, Il Sole 24 Ore (Milan: January 23).
2000 Weskott, Hanne. Schlagerkitsch und meditative Landschaften, Süddeutsche Zeitung (Munich: October 11) p. 21.1999 Büthe, Joachim. Kunstwelten im Dialog? Von Gauguin bis zur globalen Gegenwart, Neue Bildende Kunst (No. 7: December).
1999 Dziewior, Yilmaz. Candice Breitz: Galerie Johnen & Schöttle, Artforum (March) p. 123.
1999 Herzog, Samuel. Hätte man das Goldene Horn doch bloss ausfliessen lassen, Basler Zeitung (Basel: September 21).
1999 Herzog, Samuel. Istanbul: Sechste Internationale Biennale, Kunst-Bulletin (No. 11: November) p. 35.
1999 Kortun, Vasif and Antmen, Ahu. The Istanbul Fall: A Journey Through a Sensitive Megapolis, Flash Art (No. 209: November – December).
1999 Liebs, Holger. Wenn der Skorpion auf die Grille trifft, Süddeutsche Zeitung (Munich: November 12).
1999 Sonna, Birgit. Namen sind nur Schall und Rauch, Süddeutsche Zeitung (Munich: March 31).1998 Axel, Brian Keith. Disembodiment and the Total Body: A Response to Enwezor on Contemporary South African Representation, Third Text (No. 44: Autumn).
1998 Jesus Montes, Maria. El cuerpo se debate entre lo sexual y lo racial, El Nacional (Caracas: January 16) p. C/4.
1998 Monsalve, Yasmín. Diálogo entre pornografía y etnografía, El Universal (Caracas: January 16) p. 3-9.
1998 Sonna, Birgit. Cindy Shermans kleine Schwestern, Süddeutsche Zeitung (Munich: August 26).
1998 Torres Leon, Vicglamar. Etnografía y pornografía en la Mirada fotográfica, El Globo (Caracas: January 16) p. 18.
1998 Zaya, Octavio. Reflections on Candice Breitz’s Rorschach Series, TRANS (No. 5: Winter).1997 Blignaut, Charl. The New Photography: How we see ourselves, The Weekly Mail & Guardian (Johannesburg: November 14-20) pp. 2-4.
1997 Campbell, Clayton. Candice Breitz, David Levinthal, and David McGee, Flash Art (No. 195: Summer).
1997 Enwezor, Okwui. Reframing the Black Subject: Ideology and Fantasy in Contemporary South African Representation, Third Text (No. 40: Autumn) pp. 21-40.
1997 Hoffmann, Justin. nklusion:Exklusion, Kunstforum (No. 136: February – March) pp. 350-353.
1997 Kandel, Susan. Feminine Perspective, Los Angeles Times (Los Angeles: April 18).
1997 Kravagna, Christian. Mr. Livingstone, I presume…, Springerin (Vienna – Volume III / Issue 2) pp. 39-43.1996 Accone, Darryl. Breitz ticks off the viewers with a colour balance that disturbs the rainbow nation, The Sunday Independent (Johannesburg: September 15) p. 4.
1996 Atkinson, Brenda. Rethinking Pornography: Imaging Desire (Candice Breitz interviewed by Brenda Atkinson, Camera Austria (No. 56).
1996 Enwezor, Okwui and Zaya, Octavio. Moving In: Eight Contemporary African Artists, Flash Art (No. 186: January – February).
1996 Friedman, Hazel. Skin Graft, Mail & Guardian (Johannesburg: August 23-29) p. 30.
1996 Greig, Robert. Unmasking the self in grotesqueries of the other, The Sunday Independent (Johannesburg: September 8).
1996 Marchart, Oliver. Geschüttelt, nicht gerührt, Falter Verlag (Vienna: October 3) p. 26.
1996 Sirmans, Franklin. Steirischer Herbst ’96: Barfly Theory at the Show, Flash Art (No. 191: November – December) p. 38-39.
1996 Spiegl, Andreas. nklusion:Exklusion – Kunst im Zeitalter von Postkolonialismus und globaler Migration, Springerin (Vienna – Volume II / Issue 4) pp. 57-59.
1996 Zaya, Octavio. Global Art: Candice Breitz, Flash Art (No. 191: November – December) p. 97.1994 Powell, Ivor. Watch This Artist, The Weekly Mail and Guardian (Johannesburg: March 18-24).
Download CV -
Videos
-
Press for Candice Breitz
Candice Breitz / Mail & Guardian / South Africa / June 19 to 25 2015
Show talks back to race By Stefanie Jason (7.4 MB)Candice Breitz / Artforum / New York / May 2015
Candice Breitz, Treatment By Dawn Chan (3.5 MB)Candice Breitz / The Dominion Post / New Zealand / 31 March 2015
Cult of celebrity at Wellington's City Gallery a thriller By Tom Cardy (425.7 KB)Candice Breitz / Artforum / New York / 05 January 2013
Interview with Zachary Cahill (154.9 KB)Candice Breitz / Sunday Independent / Johannesburg / 03 March 2013
Identity Politics by Mary Corrigall (735.8 KB)Candice Breitz / Mail & Guardian / Johannesburg / 15-21 March 2013
Go down to 'The Woods' today by Matthew Krouse (167 KB)Candice Breitz / Art in America / October 2012
Candice Breitz in the studio with Sue Williamson (363.4 KB)Candice Breitz / Art South Africa / Vol 10, Issue 03 / Autumn 2012
Review by James Sey (1.9 MB)Candice Breitz / Classicfeel / Johannesburg / February 2012
Invading the Vitrine by Natalie Watermeyer (776.7 KB)Candice Breitz / Mail & Guardian / Johannesburg / 3-9 February 2012
The white elephant in the room by Sean O’Toole (71.2 KB)Candice Breitz / Artforum / New York / December 2009
Candice Breitz by Chris Kraus (1.2 MB)Candice Breitz / San Francisco Bay Guardian / 11 November 2009
This is it by Glen Helfand (1.1 MB)Candice Breitz / Globe and Mail / Toronto / 22 September 2009
Seeing Double by Sarah Milroy (2.4 MB)Candice Breitz / New York Times / New York / 6 March 2009
Art in Review: Candice Breitz by Ken Johnson (3 MB)Candice Breitz / Art News / New York / February 2009
Clip Art by Hilarie Sheets (782.8 KB)Candice Breitz / The Sunday Telegraph / Seven Magazine / London / 29 October 2006
Haunted Staircase. Candice Breitz: Working Class Hero (A Portrait of John Lennon) by Andrew Graham-Dixon (1.2 MB)Surfacing / Cape Times / Cape Town / 2 April 2014
Breaking Through Surfaces to Undeclared Spaces by Genna Gardini (3.5 MB)Candice Breitz / The Sunday Telegraph / London / 11 September 2005
Implosion of the body-snatched by Andrew Graham-Dixon (1.6 MB)Candice Breitz / The Independent on Sunday / ABC Magazine / London / 11 September 2005
Shot by Both Sides by Charles Darwent (1.2 MB)Candice Breitz / The Daily Telegraph / London / 6 September 2005
Screaming and Singing by Richard Dorment (1.1 MB)Candice Breitz / Modern Painters / London / September 2005
Crazy for You: Candice Breitz on Pop Idols & Portraiture by Christy Lange (3.9 MB)Candice Breitz / Financial Times / London / 1 October 2003
Taking pot shots at a media-saturated world by Charlotte Mullins (1.5 MB)