Gallery News for Kudzanai Chiurai
Making Africa in Barcelona
Centre de Cultura Contemporania de Barcelona presents the acclaimed traveling exhibition Making Africa from 23 March until 28 August. The exhibition focuses on the design accomplishments of the continent without, in the words of Okwui Enwezor, “being obsessed with the usual tropes of recycling, humanitarian design or traditional crafts”. Included are Goodman Gallery artists Kudzanai Chiurai, Haroon Gunn-Salie, Hank Willis Thomas as well as Mikhael Subotzky & Patrick Waterhouse.
Kudzanai Chiurai and Gerald Machona in Zimbabwe
The exhibition Kabbo ka Muwala, featuring the work of Gerald Machona and Kudzanai Chiurai, is a collaboration between Carl von University Oldenburg, National Gallery of Zimbabwe in Harare, Makerere University in Kampala, and Städtische Galerie Bremen. The exhibition presents works by 20 artists reflecting on narratives of migration, and was conceived as an itinerant project taking place in Zimbabwe, Uganda and Germany, artistically exploring perspectives on the multitude of migration processes in and from southern and eastern Africa primarily through the eyes of artists from these regions. The exhibition runs at the National Gallery of Zimbabwe, Harare until 4 April and then tours to the Makerere Art Gallery in Kampala the Städtische Galerie Bremen in Germany.
Various artists at the New Church Museum, Cape Town
Works by Willem Boshoff, Kudzanai Chiurai, David Goldblatt and Sue Williamson are included on the exhibition 50/50, curated by South African art historian Rory Bester at the New Church Museum in Cape Town. Bester has selected works from the museum’s permanent collection and augmented these with loans that reflect on the patterns of repetition and recognition in turning over and overturning of art histories. The exhibition is a collation and juxtaposition of historical and contemporary works, all viewed through a responsive, documentary lens. As these repetitions and recognitions accumulate over time they come to bear on signifiers such as monuments, monumentality and iconoclasm, secrets and lies, the rise and fall of ideas, culture, cultivation, movement and mobility.
Kudzanai Chiurai Documentary in Johannesburg
The feature documentary Black President will be screened at The Bioscope independent cinema in Johannesburg city from 12 to 16 September 2015. The film, directed by musician Mpumelelo Ncata and produced by journalist Anna Teelman, is primarily concerned with the work of Kudzanai Chiurai and, according to the filmmakers’ statement, “question(s) the responsibility of African artists in an ever-more globalised universe, where we maybe find ourselves ‘playing catch up’ to the West as opposed to following our own paths.”
Black President enjoyed a successful world premiere at the Berlin International Film Festival (aka the Berlinale) this year in February. The African premiere was held at the Durban International Film Festival in June. The film has also been screened at the New Horizons festival in Wroclaw, Poland.
Goodman Gallery is pleased to announce an exhibition of new and recent work by Kudzanai Chiurai in our Johannesburg space. The show, titled Harvest of Thorns, is a culmination of Chiurai’s projects around public acts of violence as documented and represented by the media. Harvest of Thorns is loosely based on the book of the same title by author Shimmer Chinodya.
Chinodya gives insight into the guerrilla warfare that ensued after Rhodesia’s split from Britain in 1965. Through various conversations with family members. His interest in public acts of violence is thus a real issue of personal relevance. Chiurai asks us to consider subjective mourning for these public acts of violence including the recent events that took place in Marikana. His film Moyo is the third in a series including Iyeza and Creation. Moyo – meaning air – tenderly articulates the moment in death when the air or spirit leaves the body. The woman in the film witnesses this moment and cries ‘Warazulwa ngenxa yami’ (you were ripped and torn for my sake) as she wipes the wounds of a lifeless figure.
The exhibition interrogates a contemporary African notion of sacrifice, though not enquiring into its necessity. Violence and sacrifice are evidenced through Chiurai’s use of sheepskin, bandages, wood, blood-red beads and bronzed horns. Chiurai alludes to ritual practices of war, cleansing and burial.
Harvest of Thorns will also feature drawings and films shown on dOCUMENTA (13) in 2012, which formed part of Chiurai’s series titled Conflict Resolution. The series, Chiurai explains, “grapples with the issue of conflict in the contemporary moment in Africa. The spaces within which conflict has been taking place vary to the extent of our own understanding of what defines conflict. Our understanding of resolution is therefore also brought to the fore as we question the validity and nature of force used in our attempts at peace.”
Kudzanai Chiurai is an internationally acclaimed young artist born in Zimbabwe. He was the first black student to graduate with a BA Fine Art from the University of Pretoria. Born one year after Zimbawe’s emergence from white-ruled Rhodesia – Chiurai’s early work focused on the political, economic and social strife in his homeland. Chiurai has held numerous solo exhibitions since 2003 and has participated in various local and international exhibitions, including Figures & Fictions: Contemporary South African Photography at the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Now at the Museum of Modern Art in New York, which acquired Chiurai’s work for their collection. His Conflict Resolution series was included in dOCUMENTA (13) in Kassel in 2012. His film Iyeza was one of the few African films to be included in the New Frontier shorts programme at the Sundance Film Festival in 2013.
In award-winning artist Kudzanai Chiurai’s State of the Nation, the notion of “state” is explored as a utopia and an action, a state of mind as well as a status. This new exhibition will take place at two venues: a warehouse on Gwi Gwi Mrwebi Street in Newtown and Goodman Gallery Projects at Arts on Main. Between the two venues, the show features photographic prints, drawings, large oil paintings, video, sound installation and performance with a focus on youth culture. State of the Nationproposes fresh ways of looking at the socio-politics of Africa today. It explores the African condition by juxtaposing the past and the present of a continent in the grip of violent civil wars.
The title State of the Nationis intended to explore aspects of a constructed African state that has just been ravaged by conflict. “On a continent that has experienced more violent conflict than any other, this exhibition follows an individual’s narration of events that lead up to the inaugural speech by the first supposedly democratically elected prime minister. This leader styled along many of our existing African leaders, retells the history of a people from another time, but still Africa’s time…” says the artist.
With Melissa Mboweni as curator of the project and collaborations with photographer Jurie Potgieter and singers Thandiswa Mazwai and Zaki Ibrahim, Chiurai references child soldiers, African liberation movements, and civil wars. He tracks the similarities in the societal, political and ideological fabric of states in tumultuous times of transition. Notions of public and private are raised in performances taking place in the streets of Newtown and in basements with limited access. A sound installation scores the gallery experience. Representations of spectacle perpetuated by the media are brought to question. Scenes captured in photographs, drawings and paintings play into popular hip-hop imagery.
In a similar style to previous bodies of work (such as his Dying to be Men series of 2009), Chiurai’s constructed environments are enticing and seductive but explore very real casualties of African independence and democracy and the effects of globalisation on war. Chiurai’s nation asks, “If we could write our history and chart our futures as we please, who would we be?”
Born in 1981 in Zimbabwe, Kudzanai Chiurai is an internationally acclaimed young artist now living and working in Johannesburg, South Africa. He was the first black student to graduate with a BA Fine Art from the University of Pretoria. Regarded as part of the “born free” generation in Zimbabwe – born one year after the country’s independence from Rhodesia – Chiurai’s early work focused on the political, economic and social strife in his homeland. Seminal works such as Presidential Wallpaper depict Zimbabwean president Robert Mugabe as a sell-out and led to Chiurai’s exile from his home country. Chiurai has held numerous solo exhibitions since 2003 and has participated in various local and international exhibitions, most recently Figures & Fictions: Contemporary South African Photographyat the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Nowat the Museum of Modern Art in New York, which acquired Chiurai’s work for their collection.
Kudzanai Chiurai extends his foray into the murky world of African politics with a new installation at Goodman Gallery Project Space, Johannesburg. Taking his cue from a series of large-scale photographs critiquing the representation and aesthetics of political power produced for his solo exhibition at Goodman Gallery Cape in 2009, Chiurai moves the action forward with a series of large linocuts, an oversized mural, and the fictional remains of a presidential assassination.
Though he is known primarily as a painter, Chiurai extends his practice to a broad public engagement not always possible in the confines of the white cube. His work as a producer, editor, and designer is often located in informal networks and situations and is intimately connected to his political activism. This wide-ranging approach to making art is demonstrated in a body of work that embraces photography, publishing, music, public art, and fashion. COMMUNISTS AND HOT CHICKEN WINGS: THE BIRTH OF A NEW NATION brings together these various strands, and showcases Chiurai’s searing and ironic take on the confluence of sex, money, and politics in contemporary South Africa. A new publication edited by Chiurai, with contributions by leading creatives, accompanies the exhibition.
Kudzanai Chiurai was born in Zimbabwe, and currently lives and works in the city of Johannesburg. He completed a BAFA at the University of Pretoria and has participated in a number of local and international group exhibitions, including the Dakar Biennale, Senegal; Africa Now, a travelling exhibition in Scandinavia; as well as New Painting, a local travelling exhibition in 2006.
The Goodman Gallery has exhibited his recent work at PhotoParis 2009, the 2010 Armory fair in New York, and Art Basel Miami Beach 2009. His work is represented in the collections of Iziko South African National Gallery, BHP Billiton, and Nandos UK, amongst others.
Goodman Gallery is pleased to announce the first solo exhibition in Cape Town by young Zimbabwean artist Kudzanai Chiurai. Based in Johannesburg, Chiurai’s practice as an artist and activist has garnered him considerable attention. Whilst working within the formal gallery system, his practice is also located in informal networks and situations. In the lead-up to the 2008 Zimbabwean elections Chiurai distributed stencils highlighting its political situation at solidarity meetings, creating a viral campaign in the streets of Johannesburg. This was followed by the publication of a series of open edition agitprop posters.
Dying to be Men continues Chiurai’s interest in the aesthetics of propaganda, and interrogates the visual legacy of political representation. At the convergence of major political events – elections in South Africa, the USA and Zimbabwe – Chiurai hones in on aspects of the image of the black president and his cabinet in particular. As such, the works on show unpack notions of masculinity and power, as evocatively suggested by the title of the exhibition.
Chiurai completed a BAFA at the University of Pretoria and has participated in a number of local and international group exhibitions, including the Dakar Biennale, Senegal, African Now, a traveling exhibition in Scandinavia, as well as New Painting, a local traveling exhibition in 2006. His work is represented in the collections of BHP Biliton and Nando’s UK , amongst others.
Goodman Gallery Cape Town
20 January – 28 February 2015
CURATED BY CAROLYN H. DRAKE, ASSISTED BY RENATO SILVA AND LARA KOSEFF
IGSHAAN ADAMS | MARCELO CIDADE | KUDZANAI CHIURAI | KENDELL GEERS | DAVID GOLDBLATT | SONIA GOMES | HAROON GUNN-SALIE | WILLIAM KENTRIDGE | MOSHEKWA LANGA | TURIYA MAGADLELA | THIAGO MARTINS DE MELO | CILDO MEIRELES | PAULO NAZARETH | NUNO RAMOS | ARIEL REICHMAN | ROSÂNGELA RENNÓ | MIKHAEL SUBOTZKY & PATRICK WATERHOUSE | JEREMY WAFER
Exploring the connections and disconnections between Africa and South America from an artistic perspective is the subject of South-South – a new, ongoing initiative launching at Goodman Gallery Cape Town in January. The project borrows its title from Brazil’s foreign policy aimed at reinforcing integration between major powers of the developing world. Emerging from this contemporary environment of integration trends, South-South confronts the complex notion of a connected “geopolitical south” through contemporary art.
To kick-start this annual event Goodman Gallery invited curator Carolyn H. Drake for the first exhibition – The Poetry In Between: South-South. The show brings together a cross-section of intergenerational artists from southern Africa and Brazil. Through existing and newly commissioned works, the exhibition discusses the multifarious issues that connect these two regions within the discourse of the geopolitical south, by addressing universal questions through a southern lens. The point of departure of the exhibition is rooted in poetic manifestations as a way to understand the addressed issues as open ended and varied in meaning.
A core consideration within The Poetry In Between: South-South is to explore the elements that compose the intricate path of our existence – a topic that is more about condition than place, more about subtext than context. Artists reflect on poetic elements of the everyday, in which personal narratives feed into collective histories through utterances and gestures of otherwise unspoken, unrecorded moments, all originating in a global south. The Poetry In Between: South-South ultimately traverses the development of a supposed identity of the South that is being reconsidered within contemporary visual art. Or, in the words of art historian Felipe Scovino: “Brazil’s visual arts sees the postmodern subject not as something or someone whose identity is unified and stable, but rather as something fragmented and […] comprising multiple identities that may at times be contradictory or unresolved.” Cultural theorist, Kwame Anthony Appiah discerns a similar development in South Africa, namely that “the South African identity is a work in progress. Its meaning will repose in an archive that remains to be written.” While Africa and Brazil have a long history often centrally linked to slavery, more recently South Africa and Brazil have grown to share many other connections, as young democracies with a similar political and cultural ethos and a comparable economic and urban fabric. Inescapable factors that occur within these connections include overlapping extremes such as the combination of underdevelopment and overdevelopment within one economic system and the ever-present inequality between marginalised and well-off communities. If we look within the subtext of the clear contrasts and schizophrenic characteristics that mark these southern territories, we might find a new sense of what connects these places. It is the space in between the extremes that this exhibition aims to evoke.
Within this framework, artists from both countries reveal similar approaches. The works of Igshaan Adams, Nuno Ramos, Turiya Magadlela, Sonia Gomes, Haroon Gunn-Salie and Ariel Reichman transform domestic and everyday elements into poetic moments, evoking an existence that is both joined and separated. Others urge us to think about how to position ourselves within a larger urban context, such as Marcelo Cidade, Kendell Geers and Mikhael Subotzky. Moshekwa Langa and Paulo Nazareth employ found materials in order to rewrite collective histories of identity based on the personal experiences from their travels. Capturing or retelling histories that have either not been recorded – or in the minds of many do not exist – manifests in the work of Kudzanai Chiurai, Thiago Martins de Melo, Rosângela Rennó and David Goldblatt’s In Boksburg series. Having followed a slightly longer path, Ramos, Rennó and Goldblatt as well as two of the most renowned artists from either region, Cildo Meireles and William Kentridge, carry the weight of (art) history and yet remain fresh, timely and relevant in their work. They challenge existing systems and structures by creating new ones out of materials that are embedded with a multitude of meanings and references that are often cryptic and ambivalent yet resonant.
The exhibition will be accompanied by a publication that incorporates a catalogue of the show as well as a critical reader edited by Clare Butcher and Carolyn H. Drake, entitled A Heteronymous Reader. The reader is inspired by the poet Fernando Pessoa’s approach to writing, which he developed in South Africa and Portugal in the first half of the 20th century and will include short, existing and newly commissioned texts by artists, writers and poets. Specific texts in the reader are generously supported by the Goethe-Institut.
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.
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.
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.
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.
Goodman Gallery Cape presents Summer Show – opening on 15 December and running until 14 January. The exhibition has been designed as a review, focusing on new and recent work by South Africans artists either represented by or associated with the gallery. Important works from series produced by the artists over the past year are showcased, and the show also features a selection of works recently shown at the gallery’s Johannesburg spaces.
The exhibition includes prints from Siemon Allen‘s Records series, in which the artist explores images of South Africa through the collection and archiving of music records from the beginning of the 20th Century to the present day. Photography is strongly represented, with works from Jodi Bieber’s vibrant, urban-denizen take in her Soweto series, in marked contrast with David Goldblatt’s large-scale colour prints of rural South Africa. Mikhael Subotzky (who recently won the 2012 Standard Bank Young Artist Award for Visual Art) and Patrick Waterhouse show recent work from their ongoing collaboration on the Ponte City project.
A text piece by Stuart Bird is shown in anticipation of his upcoming solo show in January, Gerhard Marx presents exquisitely detailed and artisanally worked surfaces in his new works, continuing his preoccupation with notions of mapping, place and nature, and Walter Oltmann shows a powerful new addition in aluminium wire to his series of insect suit sculptures.
Paintings by Moshekwa Langa, Lisa Brice and Clive van den Berg explore abstraction and gesture in different ways; all three have produced significant bodies of new works which were well received during 2011. Minnette Vari‘s uncanny brush and ink drawings of the goddess/crone Baubo sit in awkward dialogue with Kendell Geers’ La Sainte Vierge.
This exhibition affords a fascinating look at the output of some of South Africa’s major artists, and will also showcase from our Johannesburg spaces works not yet shown in Cape Town, including Kudzanai Chiurai’s Revelations, a series of photographic tableaux exploring politics and power in Africa, new wood sculptures by Willem Boshoff, and a selection of drawings, linocut graphics and sculpture by William Kentridge.
Lisa Brice | Kudzanai Chiurai | Soly Cissé | Tom Cullberg | Claire Gavronsky | Robert Hodgins | David Koloane | Moshekwa Langa | Minnette Vári
There is an element of uncertainty inherent in the medium of paint – it is a fluid material that allows for various modes of expression, and as such is an ideal starting point for an examination of notions of nebulousness and accident.
Goodman Gallery Cape presents Open End, a group exhibition of paintings by both emerging and established artists that speaks to the element of uncertainty in artistic production and expression, and illustrates a process that seeks to arrive at meaning through search.
In an environment where so much emphasis is placed on work that is conceptually pre-determined, where the work is crafted around and invested with a deliberate and established message or meaning, the show aims to create a space for paintings produced without a clear conceptual starting point, focusing on the wrestle or the hunt for meaning rather than the expression of a packaged and determined project.
It is a simultaneously dangerous and powerful position to work from, unstable and vulnerable on the one hand, but filled with the potential of new and unexplored ideas, of work that is discursive and receptive to chance on the other. The title Open End refers not only to the absence of resolution, but to the very manner in which the work is approached: an embracing of uncertainty – or, to paraphrase Francis Bacon, a courting of accidents – in the search for meaning.
The exhibition will feature new works by Lisa Brice and David Koloane, and a painting created in situ by Kudzanai Chiurai. Tom Cullberg will show a series of abstract, perhaps metaphysical paintings dealing with the tensions that exist between the rational and the chaotic. Two anamorphic landscape-like paintings by Minnette Vári – first seen earlier this year as part of her solo show Parallax at Goodman Gallery Johannesburg – as well as several typically humorous and confrontational works by Moshekwa Langa will be included. Dakar-based artist Soly Cissé will show nine small monochrome paintings deftly straddling the figurative and the abstract, Claire Gavronsky will show an oil painting addressing notions of memory and loss, and several works by the incomparable Robert Hodgins illustrate the flex and the power of the medium.
Goodman Gallery presents a group exhibition simply titled Winter Show, featuring a range of local and international art luminaries. Traveling from Goodman Gallery Johannesburg, the show presents recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, as well as revealing a shift in the Gallery’s approach, showcasing work from around the African continent and beyond that is both explicitly and implicitly concerned with the synergies and tensions that exist between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer, are not only being showcased, but are now officially represented by the Goodman Gallery.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, considering in great depth the question of ‘who has the right to represent whom?’. Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered, not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. The Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include one of artist, Kara Walker’s 2009 films – which are based on narratives from the archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – featuring the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and evocative movements. William Kentridge will present a new drawing produced this year, a large scale tapestry, as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx.
With Goodman Gallery firmly established as a world-class contemporary art institution, the Winter Show will reveal the gallery’s commitment – not only to representing artists of the highest caliber, but to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced, both locally and abroad.
‘Language’ is the system of communication, in the form of speech and writing, employed by a specific group of people, usually originating from a specific geographical area or region. Human language is inseparable from human thought and distinguishes man from animals.
Different aspects of language had become the source for many conceptual artworks by the time the group Art & Language was founded by Michael Baldwin, David Bainbridge, Terry Atkinson, and Harold Hurrell in 1968. These artists considered language to be a crucial aspect of their practice, in which they critiqued the underlying assumptions of modern painting and sculpture, formalist processes, art practices, production, and criticism. Since the 1970s, language has been seen as a means of moving from form and image-based works to a more theoretical and conceptual artistic discourse. This shift, away from the image and towards text, has led to a new relationship between image and text, in which images are translated to symbols, and symbols to text. It has meant that text – rather than image – becomes a basis for art production, which in turn has meant the appearance of ‘art as idea’.
Questioning the process of art production, American artists like Jenny Holzer have built on the traditions of conceptual and installation art of the late 1960s. Holzer developed a mode of textual art during the 1970s, using electronic signs and various printed media to explore language and text as a form of art. Her ‘Inflammatory Essays’, conceived in the late 1970s, are indicative of the way in which she has created a division between text and image. Prior to this, Joseph Kosuth proposed the use of text in his work as means of replacing painting, exploring the production and role of language and meaning in art. Text in Kosuth’s work of the 1960s facilitates a conceptual mode of production and the dissolution of the art object.
Language continued to be fundamental in the work of many American artists during the 1980s. Lorna Simpson, for example, used language as a device to move away from purely image-based photography. Simpson’s combination of text and photography allowed her to construct readings of the black woman as an erotic curiosity and, at the same time, to change the simple reading of images, and to create layers of signification in her work.
In the contemporary South African context, artists such as Willem Boshoff make works which are informed by language. Boshoff’s sculptures and dictionaries suggest a relationship with language that extends beyond the simple use of text, to a specific interest in language itself and what constitutes language as a form.
Similarly, Frances Goodman has explored the desires, compulsions, insecurities, and obsessions hidden in our use of language, saying that ‘After working with a number of media I eventually found that words and language had the uncanny ability to unnerve and get under people’s skins, in a way that visual images and modes could not … sometimes [words] are simple and clear, and yet they are often full of innuendoes and subtexts’.
Language also defines power relations, and in the colonial context, the language of the coloniser reinforced power structures and symbolised authority. Artists have often made reference to this in their works, showing the role that language plays in our relation to society and to power. Brett Murray for example, plays with words in order to critique South African politics. Kudzanai Chiurai uses posters, such as the kind used in political campaigns, , to demonstrate state violence, political unrest, and corrupted power.
Kendell Geers uses language to interrogate the art establishment and society in general, questioning our existing moral codes and suggesting new approaches. He has argued that ‘Language is a self-replicating virus that can only be destroyed by a stronger, more resilient virus. Through the mirror of the colloquial, the tongue gets twisted and forgets its place in collecting our thoughts’, and that ‘language is oppressive for it only acknowledges that which can be named. It is not the result of any particular individual’s design as much as the external manifestation of culture’.
Works by these artists and the others on this show have been chosen for their engagement with language and discourse. Sometimes this engagement is enacted on the level of form – so that words and characters become images – and at other times the engagement is an interrogation, through text, of what constitutes the image.
This winter the Goodman Gallery will relaunch its Parkwood space, which has been extensively reconsidered, both physically and conceptually. This launch will be initiated with a group exhibition simply titled Winter Show, featuring a range of luminary-status local and international artists. The show will not only present recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, but will also reveal a shift in the Gallery’s approach, showcasing work from around the Continent and beyond that is both explicitly and implicitly concerned with synergies and tensions between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer and Hank Willis Thomas, are not only being showcased by the Goodman Gallery, but are now officially represented by us.
The Winter Show will act as a confluence of the Goodman Gallery’s top represented artists, as well as artists participating in In Context – a series of exhibitions and interventions currently taking place at Arts on Main and other venues in Johannesburg. Artists such as Jenny Holzer, Amer, Willis Thomas, Bili Bidjocka, Willem Boshoff and Kara Walker will participate in both shows, with the Winter Show presenting some of their more recent work. While In Context manifests an intimate and often candid exploration of the dynamics of the African continent, the Winter Show will offer a broader conceptual platform, covering many aspects of South African, African and global landscapes and conditions.
The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, intricately considering the question of ‘who has the right to represent whom?’ Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. In Context magnifies these issues, while the Winter Show augments the dialogue, bringing new voices into the conversation.
Compelling features of the Winter Show include two of Walker’s 2009 films – which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – presenting the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements. Jenny Holzer’s Purple Red Curve (2005) transmits a coalescence of master narratives through a curved electronic LED sign. Jeremy Wafer will create a site-specific wall drawing in the Goodman Gallery specifically for the show. Kentridge will present a series of new drawings produced this year as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx. A large scale, steel version of this work will be launched at the Apartheid Museum on 8 July 2010 as part of In Context. The Winter Show will also feature an ongoing screening of all of the Goodman Gallery’s top art films by leading artists such as Kentridge and Vári.
The Goodman Gallery in Parkwood has undergone numerous physical transformations and now boasts a new showroom and a space dedicated to photographic works. We are in the process of establishing an art library accessible to the visiting public and will offer a range of educational art talks and events during the Winter Show.
With Goodman Gallery firmly established as a prestigious, world-class contemporary art institution, the Winter Show will reveal how the Gallery – beyond representing artists of the highest caliber – is dedicated to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced locally and abroad.
Us is a show of new work by younger and more established local and international artists around the theme of group identity, whether nation, culture, class, gender, sexuality or race. This show emerges out of the context of the xenophobic violence in South Africa last year, as well as the ripple effects of the world economic crisis. There was an open call for artists to develop new work in conversation with their diverse contexts and each other around the complexities of difference and belonging. The show explores how the ‘substance’ of any US is often less fixed than constantly shifting, fluid and unstable. Taking place at two venues, the show opens with a daring and original selection of new performance work, sculptural installation, painting and photography, each exploring a point of view as unique as the show’s many Us’s.
Artists include Cape Town based collective, the Gugulective, Kemang Wa Lehulere, Donna Kukama, Mikhael Subotzky, Dorothee Kreutzfeldt, Bili Bidjoka, Laurence Bonvin, Dunjia Herzog, Andrew Putter, Themba Shibase, Kudzanai Chiurai, Zen Marie, Bridget Baker and others.
The show is curated by Simon Njami, founding editor of Revue Noir and curator of Africa Remix, and Bettina Malcomess, a writer and artist.
The show takes place at the Johannesburg Art Gallery, in partnership with the generous support of the Goethe Institute, as well as Prohelvetzia, and the Goodman Gallery at the Goodman Gallery Project space at Arts on Main.
Opening: 20 September 2009. JAG. 4pm
Opening: 26 September 2009. Goodman Project Space. Arts on Main. 12pm
A series of walkabouts and discussions of the show will be held by the curators.
Walkabout, Sat 26 September, Johannesburg Art Gallery, 11am-12. Bettina Malcomess and Simon Njami.
Discussion: at the Goethe Institute Project Space, Arts on Main, 3pm.
Title: Support group for those who feel they don’t belong – a discussion of difference in contemporary art. Hosted by the Gugulective.
Walkabout, Sun 11 October, 3:30 – 4pm, Johannesburg Art Gallery. Bettina Malcomess
Walkabout, 4pm – 5pm, Goodman Project Space, Arts on Main: with Bettina Malcomess and artists, showing performance work from the opening night by Zen Marie and Donna Kukama.
Kudzanai Chiurai is an internationally acclaimed young artist born in Zimbabwe. He was the first black student to graduate with a BA Fine Art from the University of Pretoria. Born one year after Zimbawe’s emergence from white-ruled Rhodesia – Chiurai’s early work focused on the political, economic and social strife in his homeland.
Chiurai has held numerous solo exhibitions since 2003 and has participated in various local and international exhibitions, including Figures & Fictions: Contemporary South African Photography at the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Now at the Museum of Modern Art in New York, which acquired Chiurai’s work for their collection. His Conflict Resolution series was included in dOCUMENTA (13) in Kassel in 2012. His film Iyeza was one of the few African films to be included in the New Frontier shorts programme at the Sundance Film Festival in 2013. Chiurai has held numerous solo exhibitions with the Goodman Gallery and has edited three publications with contributions by leading African creatives.
2014 – 2015 State of the Nation, Zeitz MOCAA Pavillion, V & A Waterfront
2014 This is not Africa, this is Us, Part I: Kunstahal Rotterdam
2013 Front Page , Mallorca Landings, Spain
2012 The Harvest of Thorns , The Assylem Atelje, Johannesburg, South Africa
2011 State of the Nation , Goodman Gallery project space, Arts on Main, Johannesburg, South Africa
2010 Communists and hot chicken wings: the birth of a new nation , Goodman Gallery project space, Arts on Main, Johannesburg, South Africa
2009 Dying To Be Men , Goodman Gallery, Cape Town, South Africa
2008 Yellow Lines , Obert Contemporary, Johannesburg
2007 Graceland Obert Contemporary, Johannesburg
2005 Y Propaganda , Obert Contemporary, Johannesburg
2004 Correction: The Revolution Will Be Televised , Obert Contemporary, Johannesburg
2003 The revolution will not be televised , Brixton Art Gallery, London
2015 The Johannesburg Pavilion, South Africa
2014 Nevralgies, Galarie Maia Muller, Paris
2014 Daegue Biennale, South Korea
2014 Arles Discovery Award Exhibition, Arles
2014 Surfacing, Goodman Gallery, Cape Town
2014 This is not Africa, this is Us, Part II: Art Rotterdam
2014 This is not Africa, this is Us, Part III: West den Haag
2014 _ The Divine Comedy: Heaven, Hell, Purgatory Revisited_ by Contemporary African Artists, MMK Museum für Moderne Kunst, Frankfurt am Main
2013 – 2015 Distance and Desire: Encounters with the African Archive, Walther Collection, Ulm Germany
2013 – 2014 Pop Goes the Revolution, New Church, Cape Town.
2013 LagosPhoto 2013: The Megacity and the Non-City , Art21, Victoria Island, Lagos
2013 My Joburg, La Maison Rouge, Paris, France
2013 !Kauru, Pretoria Art Museum, Pretoria, South Africa
2013 eMerging: Visual Art and Music in a Post-Hip-Hop Era, Museum of Contemporary African Diasporan Arts, (MoCADA), New York City borough of Brooklyn, USA
2013 Making Way: Contemporary Art from South Africa and China, Standard Bank Gallery, Johannesburg, South Africa
2013 New Frontier, Sundance Film Festival, Park City, Utah, USA
2012 Video Artprojx, Art Basel Miami Beach, Miami, USA
2012 dOCUMENTA (13), Kassel, Germany
2011 Figures & Fictions: Contemporary South African Photography , Victoria and Albert Museum, London, UK
2011 über(W)unden – Art in troubled times, Goethe- Institut South Africa
2011 Impressions from South Africa , 1965 to Now, Museum of Modern Art in New York
2010 Cairo Biennale, Cairo, Egypt
2010 Its greener on the other side, Co-op, Johannesburg, South Africa
2010 In other words, Goodman Gallery, Johannesburg, South Africa
2010 Photo Ireland festival, Dublin, Ireland
2010 SPace, Museum Africa, Johannesburg, South Africa
2010 For those that live in it, MU, Netherlands
2009 ParisPhoto Exhibition, Paris, France
2009 Us, Johannesburg Art Gallery.
2009 Armory Show, Goodman Gallery, New York
2009 Joburg Art Fair, Goodman Gallery, Johannesburg
2009 Nation State, Goodman Gallery Cape Town and Johannesburg
2008 Melbourne Stencil Festival, Melbourne, Australia
2008 Africa Now, Round Tower, Copenhagen; Northern Norway Art Centre, Lofoten, Norway; and Tampere art museum, Finland
2006 Dak’art, Dakar, Senegal
2006 New Painting, KZNSA, Durban
2005 Melrose Art, Obert Contemporary
2005 Reconciliation, University of Pretoria
2012 FNB Art Prize
2011 Top 200 Young South Africans, Mail & Guardian
2005 Top 100 Dazzlers and Doers in South Africa, Mail & Guardian, South Africa
2003 Most Promising Art Student, University of Pretoria, South Africa
2000 Merit Award, The National Art Gallery, Zimbabwe
BAFA, University of Pretoria, 2006
Iziko South African National Gallery, Cape Town
UNISA Art Gallery, Pretoria
Patrice Motsepe, Johannesburg
Click Media, Johannesburg
BHP Billiton, London
Museum of Modern Art, New York
Artur Walther Collection, Germany
The Pigozzi Collection, Italy
2013 Tim Leibbrandt, Harvest of Thorns Art South Africa, South Africa
2013 Simphiwe Mpye, GQ & A With Kudzanai Chiura, GQ Magazine, South Africa
2013 Katherine Jacobs, Dying to be Men, Artthrob, South Africa
2013 Laurice Taitz, Kudzanai Chiurai Considers the Nature of Violence, Mail & Guardian, Johannesburg
2012 Charl Blignaut, Jesus is a black woman, City Press, 9 December
2012 Nkepile Mabuse, Kudzanai Chiurai: The artist who stood up to Mugabe, CNN online, July 12
2010 Camilla Peus, Schwartz, Weiss, Und, Alle Farben Art Magazine, June
2010 Jana Du Plessis, Kudzanai Chiurai on the Black President, One Small Seed, June
2011 Percy Zvomuya, Pathology of Power Mail & Guardian, November 11 – 17
2011 Sean O’Toole, Starkest Africa, Sunday Times Lifestyle, 16 October
2010 Percy Zvomuya, Sense of time and Space , Mail & Guardian, May 14
2008 Bongani Madondo, He ain’t yellow, Sunday Times Lifestyle, 26 October
2007 Review by Catherine Green, Art South Africa, Vol. 06, Issue 02, Summer
2007 Review by Anthea Buys, Mail & Guardian, 31 August
2007 Paranoia Comes Up Against Acclaim, Business Day, 1 June
2007 Fred de Vries, “Urban Guerilla Of Afro Pop Art” The Weekender, 3 February
2005 Kwanele Sosibo, Aluta Continua, Art South Africa, Vol. 04, Issue 02, Summer
2005 Rebecca Kahn Propagandist, SL Magazine, June
2005 Charcoal Revolution, Mail & Guardian, 20 May
2005 Bongani Madondo, Pop Goes The Easel, Sunday Times, 01 May
2004 Review by Thuthu Lesuthu, Art South Africa, Vol. 03, Issue 01, Spring
2004 Robyn Sassen, Calling a spade a spade: youth, audacity and bravery in the work of Zim painter Kudzanai Chiurai, ARTTHROB, August
2004 Child of the Zimbabwean Revolution, This Day, August 3,
2004 Bunmi Akpata-Ohohe Doing it his own way , Africa Today, May
2012 Lodi Matsetela (ed) Lines Volume 3. STATE OF THE NATION, Goodman Gallery
2011 Lien Heidenreich-Seleme & Sean O’Toole (eds), über(w)unden: Art in Troubled Times, Jacana Media2010 Mbali Soga (ed), Lines Volume 2. THE BLACK PRESIDENT, Goodman Gallery
2011 Peter Anders and Matthew Krouse (eds), Positions: Contemporary South African Artists, Jacana Media
2009 Lauren Cornell, Massimiliano Gioni, and Laura Hoptman (eds), Younger Than Jesus: The Reader, New Museum and Steidl
2008 Lines Volume 1. YELLOW LINES
Press for Kudzanai Chiurai
Chiurai Kudzanai / Mail & Guardian / South Africa / 3 July 2015No barriers: Top SA artists take over Swedish park Steuart Wright (632.1 KB)
Kudzanai Chiurai / Destiny Man / South Africa / May 2015The Art of Politics By Gillian Klawansky (138.7 KB)
SP-Arte / Folha de S.Paulo / Brazil / 3 April 2015Equal in inequality, Brazil and South Africa lock dialogue in SP-Arte By Silas Marti (769.7 KB)
South African Pavilion at 56th Venice Biennale: Artists Announced / Art South Africa / South Africa / 17 April 2015South African Pavilion at 56th Venice Biennale: Artists Announced By Art South Africa (1.1 MB)
Kudzanai Chiurai / City Press / South Africa / 12 April 2015Life and Death and Art By Garreth van Niekerk (4.1 MB)
Kudzanai Chiurai / Frieze Magazine / New York / 1 May 2014Africa’s first mega-museum to open in Cape Town By Sean O’Toole (65.2 KB)
Kudzanai Chiurai / Snapped / South Africa / December 2014Kudzanai Chiurai Harvest of Thorns By Snapped (415.2 KB)
Kudzanai Chiurai / City Press / Johannesburg / 27 July 2014Fine china for charity by Percy Mabandu (234.8 KB)
Kudzanai Chiurai / PhotoNews / Germany / June - July 2014Kudzanai Chiurai Revelations (445.5 KB)
Kudzanai Chiurai / Art Southafrica / South Africa / 2 December 2013Harvest of Thorns by Tim Leibbrandt (227.9 KB)
Kudzanai Chiurai / Artthrob / South Africa / 16 July - 15 August 2013Dying To Be Men by Katharine Jacobs (303.1 KB)
Kudzanai Chiurai / City Press / Johannesburg / 9 December 2012Jesus is a Black Woman by Charl Blignaut (233.2 KB)
Kudzanai Chiurai / GQ Magazine / South Africa / December 2013GQ & A With Kudzanai Chiurai by Siphiwe Mpye (313 KB)
Kudzanai Chiurai / Mail & Guardian / Johannesburg / 14 June 2013Kudzanai Chiurai considers the nature of violence by Laurice Taitz (217.5 KB)
Kudzanai Chiurai / City Press / Johannesburg / South Africa / 11 October 2011One Man Army by Charl Blignaut (211.8 KB)
Kudzanai Chiurai / Art Magazine / June 2010Schwartz, Weiß, und alle Farben by Camilla Péus (1.7 MB)
Kudzanai Chiurai / One Small Seed / June 2010Kudzanai Chiurai on The Black President by Jana du Plessis (1.7 MB)