Kudzanai Chiurai
Gallery News for Kudzanai Chiurai
Panel Discussion with Professor Pitika Ntuli and Kudzanai Chiurai
As part of his exhibition State of the Nation Kudzanai Chiurai will engage in a panel discussion with Professor Pitika Ntuli.
Kudzanai Chiurai’s show attempts to interact with the changing identity of an African leader. The show references, among other African leaders, Mugabe’s independence/inaugural speech in 1980, the execution of Samuel Doe by Charles Taylor’s orders and is interspersed with images derivative of popular American Hip Hop culture. It seems too that the focus on Africa brings with it new notions of a soldier identity that is not necessarily styled along the images seen in Hollywood movies but more along the lines of how this form of popular culture has influenced child soldiers’ choice of dress – which is usually a combination of ill-fitting army pants with popular animated characters t-shirts. War on the African continent seems to fuse ‘traditionally’ specific rituals with drug-induced initiations that border on gangsterism.
Kudzanai Chiurai has also worked extensively on a film that intersects the biblical Last Supper with African civil war. The theme of sacrifice runs throughout the film. The panel discussion will explore the implications of sacrifice within and beyond an African civil war context.
Panelists include:
Professor Pitika Ntuli
Kudzanai Chiurai
Date: Saturday 3rd December 2011
Venue: 50 Gwi Gwi Mrwebi Street
Time: 12:30
This initiative is supported by the Goethe Institute and the Goodman Gallery. For additional images please take a look at www.thestateofthenation.co.za
Kudzanai Chiurai, William Kentridge and Sue Williamson at MoMA
A new exhibition titled Impressions from South Africa, 1965 to Now at the Museum of Modern Art in New York features the work of Goodman Gallery artists Kudzanai Chiurai, William Kentridge and Sue Williamson.
During the oppressive years of apartheid rule in South Africa, not all artists had access to the same opportunities. But far from quashing creativity and political spirit, these limited options gave rise to a host of alternatives—including studios, print workshops, art centers, schools, publications, and theaters open to all races; underground poster workshops and collectives; and commercial galleries that supported the work of black artists—that made the art world a progressive environment for social change. Printmaking, with its flexible formats, portability, relative affordability, and collaborative environment, was a catalyst in the exchange of ideas and the articulation of political resistance.
Impressions from South Africa, 1965 to Now presents prints by 29 artists and organisations from MoMA’s collection that demonstrate the unusual reach, range, and impact of printmaking in a country during and after a period of political upheaval. From the earliest print, a 1965 linoleum cut by Azaria Mbatha, to recent works by a younger generation that investigate a multiplicity of themes and forms in the wake of apartheid, these works are striking examples of printed art as a tool for social, political, and personal expression. Other featured artists include Bitterkomix, Sandile Goje, Senzeni Marasela, John Muafangejo, Cameron Platter and Claudette Schreuders.
The show was organised by Judith B. Hecker, Assistant Curator, Department of Prints and Illustrated Books and made possible by The Coca-Cola Company. Additional support is provided by Jerry I. Speyer and Katherine G. Farley.
The exhibition runs from 23 March to 14 August 2011.
Various artists on Figures & Fictions at the V&A
Figures & Fictions: Contemporary South African Photography at the Victoria and Albert Museum in London will feature works by some of the most exciting and inventive photographers living and working in South Africa today, including Goodman Gallery artists Jodi Bieber, Kudzanai Chiurai, Hasan & Husain Essop, David Goldblatt, Mikhael Subotzky and Nontsikelelo Veleko. The exhibition presents the vibrant and sophisticated photographic culture that has emerged in post-apartheid South Africa. The works on display respond to the country’s powerful rethinking of issues of identity across race, gender, class and politics. The photographs depict people within their individual, family and community lives, practicing religious customs, observing social rituals, wearing street fashion or existing on the fringes of society. All the photographers question what it is to be human at this time in South Africa.
The exhibition will run from 12 April to 17 July 2011
Click Here to view the video From Black and White to Full Colour: a curator’s journey in which curator of Figures & Fictions, Tamar Garb, reflects on her Cape Town upbringing and the forthcoming show.
Various artists at the 12th International Cairo Biennale
Goodman Gallery artists Joël Andrianomearisoa, Kudzanai Chiurai, Marco Cianfanelli, Sam Nhlengethwa, Mikhael Subotzky & Patrick Waterhouse will feature on the 12th International Cairo Biennale in Egypt this December.
Since its inception in 1984, the Cairo Biennale has been considered one of the most important cultural events in the Middle East. Conceived and initially designed to explore contemporary art in the Arab world, the concepts of the successive artistic directors expanded the interest to the global international arena. The biennale is produced by the fine arts sector of the Egyptian ministry of culture, and the exhibition is spread over the entirety of all public spaces managed by the sector.
The 12th International Cairo Biennale runs from 12 December 2010 to 12 February 2011. For more information visit www.cairobiennale.gov.eg.
More news
Press for Kudzanai Chiurai
Kudzanai Chiurai / Art Magazin / June 2010
Schwartz, Weiß, und alle Farben by Camilla Péus (1.7 MB)Kudzanai Chiurai / One Small Seed / June 2010
Kudzanai Chiurai on The Black President by Jana du Plessis (1.7 MB)-
Solo exhibitions
Kudzanai Chiurai / State of the Nation
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 / Communists and Hot Chicken Wings: The Birth of a New Nation
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.
Kudzanai Chiurai / Dying to be men
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.
Kudzanai Chiurai / Dying to be men
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.
Group exhibitions
'US' / Curated by Simon Njami & Bettina Malcomess
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.
Winter Show
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.
In Other Words
‘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.
Winter Show
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.
Open End: An Exhibition of Paintings
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.
Summer Show
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.
Advance/...Notice
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. -
Biography
Born in 1981 in Zimbabwe, Kudzanai Chiurai is an internationally acclaimed young artist now living and working in 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 like Presidential wallpaper depicted Zimbabwean president Robert Mugabe as a sell-out and led to Chiurai’s exile from Zimbabwe.
In a series of large mixed media works, Chiurai consequentially began to tackle some of the most pertinent issues facing southern Africa such as xenophobia, displacement and black empowerment. He began to produce paintings that confront viewers with the psychological and physical experience of inner-city Johannesburg, the continent’s most cosmopolitan melting pot where thousands of exiles, refugees and asylum-seekers battle for survival alongside the never-ending swell of newly urbanised South Africans. The actuality of these environs is reinforced by Chiurai’s use of photographic transfer. Boldly stenciled figures and anonymous text provide running commentary, leading viewers on a journey through his intricately painted turn-of-the century buildings, bustling streets and congested transit systems.
His sell-out exhibition Graceland (2007) offered striking commentary on issues related to black economic empowerment and inner-city rejuvenation in South Africa. From his home/studio located in one of Johannesburg’s most notorious crime hotspots (now earmarked as a rejuvenation zone), Chiurai produced a body of work that featured buildings, residents and signage seen from his own balcony. And while stereotypical benchmarks of urban development, such as the new BMW-driving suburban black elite, were challenged and often ridiculed, a subtle yet powerful ray of hope and progress also emerged. Works like Since 1900 and Fela heralded the perseverance and longevity of mom and pop neighborhood businesses and indigenous African icons. Chiurai offered a deeply personal glimpse of his version of “Graceland” and signalled a fresh direction for future works.
In 2009 Chiurai joined the Goodman Gallery stable, exhibiting in the group exhibition Nation State and extending his foray into the murky world of African politics with two solo shows: Dying to be men at Goodman Gallery Cape in 2009 and Communists and hot chicken wings: the birth of a new nation at Goodman Gallery project space in 2010. Large-scale photographs critiquing the representation and aesthetics of political power were at the core of Dying to be men, and Chiurai followed this with a series of large linocuts, an oversized mural, and the fictional remains of a presidential assassination in Communists and hot chicken wings.
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. He has edited two publications with contributions by leading creatives. The first of these formed part of his 2008 solo exhibition Yellow Lines, which was a catalogue of the exhibition that also worked as magazine. Collaborating with writers, artists, graphic designers, stylists and fashion photographers, Chiurai presented them with a brief to reinterpret the theme of the exhibition. He completed a second reader titled Black President vol. II, which was published in 2010 by Goodman Gallery Editions.
Chiurai 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.Solo Exhibitions
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
Group Exhibitions
*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
Awards and Merits
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, ZimbabweAcademic Record and Residencies
BAFA, University of Pretoria, 2006
Collections
BHP Billiton, London
Nandos, London
Patrice Motsepe, Johannesburg
Click Media, Johannesburg
Selected Articles and Reviews
“He ain’t yellow” by Bongani Madondo, Sunday Times Lifestyle, 26 October 2008
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
“Urban Guerilla Of Afro Pop Art” by Fred de Vries, The Weekender, 3 February 2007
“Aluta Continua, by Kwanele Sosibo, Art South Africa, Vol. 04, Issue 02, Summer 2005
“Propagandist” by Rebecca Kahn, SL Magazine, June 2005
“Charcoal Revolution”, Mail & Guardian, 20 May 2005
“Pop Goes The Easel” by Bongani Madondo, Sunday Times, 01 May 2005
Review by Thuthu Lesuthu, Art South Africa, Vol. 03, Issue 01, Spring 2004
“Calling a spade a spade: youth, audacity and bravery in the work of Zim painter Kudzanai Chiurai” by Robyn Sassen, ARTTHROB, August 2004
“Child of the Zimbabwean Revolution”, This Day, August 3, 2004
“Doing it his own way”, By Bunmi Akpata-Ohohe, Africa Today, May 2004
Publications
Younger Than Jesus: The Reader, Edited by Lauren Cornell, Massimiliano Gioni, and Laura Hoptman, New Museum and Steidl, 2009
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