RESHMA CHHIBA / GABRIELLE GOLIATH / MURRAY KRUGER / GERALD MACHONA / KYLE MORLAND / MONIQUE PELSER / THABISO SEKGALA
Goodman Gallery Cape presents [Working Title] – a group exhibition of young artists working in South Africa, brought together in a way that allows multiple and perhaps surprising dialogues to emerge, and foregrounding questions of authorship, authority and notions of the relational.
Reshma Chhiba’s Kundalini Shakti and Linga-yoni – a slashed canvas and an unsettlingly organic sculpture, both informed by the artist’s ongoing interest in the Hindu goddess Kali as an embodiment of unbridled feminine creativity – act as a complement and counterpoint to the cool, Apollonian rationalism of Kyle Morland’s Double-Ended Saddle Cut, a suspended sculpture of welded steel. Both are also concerned, in different ways, with the act and effects of making. Murray Kruger, too, plays with concepts of creativity and authorship in his recreation of, and extrapolation from, Walter Battiss’ 1973 performance piece Open tent for contemplating the cosmic origins of art, while at the same time raising questions about the nature of the artwork, its evolution over time, and the ways in which its audiences are implicated in its inscription into history.
Gerald Machona’s origami-based installation Bling Bling: Blood diamonds are a girl’s best friend, a cynical comment on the abuses of power in postcolonial African politics, resonates with Monique Pelser’s Conversations with my Father, a searingly intimate attempt, in an installation and set of photographs, to understand her father’s death and life in the larger context of the dark and complex history of the South African police. A solemn photographic installation by Gabrielle Goliath titled Berenice 10-28 speaks poignantly of personal issues of loss and grief, while uncompromisingly confronting questions of violence and abuse in South African society.
Thabiso Sekgala’s photographs of the workers and inhabitants of a housing estate in Ghent are a refreshing and original take on the questions of identity that inform so much contemporary South African practice, and a provocative inversion of the usual dynamics of ‘othering’, while his stark images of domestic objects, at once intimate and abject, are a compelling reflection on contemporary urban life.
[Working Title] is a showcase of young artists whose work, while ranging in media and crossing disciplines, shares an uncommon and original approach to contemporary practice.
EXHIBITION (PART ONE): 31 MARCH – 13 APRIL
EXHIBITION (PART TWO) & THE NIGHT SHOW EVENT: WEDNESDAY 13 APRIL AT 18H00
EXHIBITION (PART THREE): 14 APRIL – 30 APRIL
STUART BIRD | NASTASHA BURATOVICH | IAN GROSE | GUGULECTIVE | MATTHEW KING | ROSE KOTZE | GERALD MACHONA | KYLE MORLAND | MUSA NXUMALO | JODY PAULSEN | MONIQUE PELSER | JEANNIE ROUX | SIYA | SAFIA STODAL | LINDA STUPART | ZACH TALJAARD | HUGH UPSHER
The night is traditionally considered a temporal condition, or a time of obscurity. A shedding space where defined personas, highly regulated by the brilliant contrast of daylight and its custodians, give way to concealed and ambiguous forms. This shedding is also manifested in the buildings and structures of the city as the sun goes down. This April, Goodman Gallery Cape is proud to present a group exhibition staged in three parts that aims to explore some of the themes introduced by the night, as well as to re-imagine gallery space, stripped of its daytime persona.
The first stage of the show is an exhibition opening on the evening of the 31st March and running to the 13th April. This exhibition will present the night as anticipatory. Sweat and teenage desire mix with quiet anxiety, the threat of violence suggested by shadows, and the possibility of escaping into the world of cinema beckons – a welcome anaesthetic to lurking crises.
In its second incarnation taking place on the evening of the 13th April, The Night Show will exist as a happening; an event that forms the fulcrum around which the exhibition’s more concrete manifestations revolve. This section of the show aims to be a frenetic event-night that showcases site-specific, installation-oriented, time-based and performative works. A particular focus is given to the re-presentation of underutilised spaces such as storage and balcony areas, parking spaces and rooftops, as potential spaces for artworks.
In response to this event, from the 14th April the original exhibition will be reconfigured as a retrospective interrogation of work shown thus far. This stage of the exhibition focuses on traces of what was, what wasn’t and what could still be. The grey, early hours of the morning after the night before will focus more on documentation, quieter imagery and contemplative themes. The haze of the event will linger like the whine of last night’s music in tired ears.
Press for Kyle Morland