Gallery News for Minnette Vári
Mine at the University of Johannesburg
Works by William Kentridge and Minette Vari feature on the exhibition Mine at the University of Johannesburg Art Gallery. The exhibition requires time to savour. The 19 video art works on display may not be new, but they represent some of the classic work in this field by artists in Johannesburg. According to the publicity statement, the title “refers not only to the idea of deep-level mining but to the idea of personal ownership. The common denominator [is] that the artists make reference to themselves in their work.” The exhibition is curated by Berlin-based curator Abrie Fourie.
For more information click here
The Underground, the Surface and the Edges at Michaelis Galleries
Works by William Kentridge, Maya Marx and Gerhard Marx and Minnette Vári feature on The Underground, the Surface and the Edges, an exhibition of video work curated by Leora Farber and Anthea Buys at Michaelis Galleries in Cape Town. More than merely the stacked silhouettes of a distant metropolis, a cityscape has a story to tell. It traces the movement of wealth and the distribution of resources in a city. It bears witness to its history and influences, and asserts the city’s aspirations to more wealth, higher buildings, and greater infrastructures. The Underground, the Surface and the Edges is an exhibition that plots a complex cityscape through a selection of video works by South African artists who are interested in the workings of African cities and the people who live in them. The exhibition also includes works by Berni Searle, Steven Cohen, Anthea Moys, Stephen Hobbs and Marcus Neustetter, Johan Thom, Mocke Janse van Vuuren and Theresa Collins, Zen Marie, Nina Barnett, Die Antwoord, and Leora Farber.
The exhibition runs from 15 June to 02 July 2011
Minnette Vári in Space, Ritual, Absence
The work of Minnette Vári features on the group show Space, Ritual, Absence, curated by James Sey and Leora Farber. The exhibition, which forms part of the the colloquium of the same name, opens Thursday 10 March at 6.00 for 6.30 pm at the FADA Gallery, University of Johannesburg Bunting Road Campus. The exhibition runs until 1 April 2011. For more information contact Sharon Pettigrew – firstname.lastname@example.org.
The Armory Show / 03.03.2010–07.03.2010
The Goodman Gallery will be exhibiting at the Armory Show (Pier 94, Booth 933), New York (03.03.2010–07.03.2010). Among the artists exhibiting are: Kudzanai Chiurai, David Goldblatt, Frances Goodman, William Kentridge, Thomas Mulcaire, Joachim Schönfeldt, Mikhael Subotzky, Gavin Turk, Minnette Vári. the armory
Press for Minnette Vári
Minnette Vári / Sunday Independent / 7 February 2010Where two worlds meet by Mary Corrigall (5.9 MB)
In Context / Mail & Guardian / 28 May 2010Sprawling tales of home by Anthea Buys (2.5 MB)
In Context / The Star / May 2010A nose and a box to draw art lovers by Ufrieda Ho (3.3 MB)
Minnette Vári / Art South Africa, Vol 2, Issue 2 / Summer 2003Strange Utopia ? John Peffer in Conversation with Minnette Vari (627.8 KB)
Minnette Vári / Mail & Guardian / 05 October 2001Art pick of the week by Kathryn Smith (828 KB)
Minnette Vári’s new body of multimedia work, on show at Goodman Gallery Cape in an exhibition titled Revenant, is built around the concept of the uncanny return – of repressed sexualities, identities, returns to earth from beyond it, and returns from beyond death itself, in a new cycle of work that features vibrant departures into relatively unfamiliar media for the artist.
Building on a recent showing of drawings that explored ancient depictions of pre-pagan female deities around the world, Vári depicts the goddess ‘Baubo’ as a narrative presence pulling the strands of the show together, weaving weirdly in and out of various landscapes, situations, objects and interactions. Dating from at least the 5th Century BC. Baubo became one of the first “sacred fools” and her image of a jesting, sexually liberated, wise woman has informed the identities and practices of many subsequent cults of worship. Baubo has been celebrated as a positive force of female sexuality and the healing power of laughter, which is why the series of drawings featuring the figure is named ‘apotrope’: a ritual or object to ward off bad luck. One origin story of the Baubo has it exposing its genitals to provoke the laughter of the inappropriate response, as she causes the goddess Demeter to stop mourning her daughter Persephone and to laugh instead. The unbidden nakedness that attracts immediately the unavoidable gaze is, in short, an uncanny response.
The Baubo figures certainly immediately strike one as absurd, the absurdity of a violated body. Their legs lead one’s gaze upwards, to the decorous suggestion of a vulva, indistinguishable from a slight cleft in – a chin? And then up to a face. Much larger than the legs it sits atop, the face is variously screaming, laughing, in repose… but where is the middle? A closer look changes the feeling of absurdity to one of unease at this absent middle. Physically impossible, it demands an explanation, a palliative analysis.
What schema of interpretation, then, can we map onto these uncanny figures? While there are legs akimbo and the available, public pudenda of the id-fuelled sexualised jester here, yet these genitals are demure, melding into the superego of the emotive face, the rational and feeling mind which laughs, shouts or rests in repose. The absent middle here, then, could be that of the ego, the slave to three masters. It is the ego’s function to introduce time to experience, to instil the presence of a narrative, of social organisation. In these figures narrative is delicately but unyieldingly subverted, in the profound way that art can make possible. Here, the unconscious agencies have taken over the asylum in the form of mysterious and uncanny bodies par excellence. It is not precisely what Deleuze and Guattari had in mind, but these bodies-without-organs tell us about the irruption of that freedom of existence that lies within us all, and which we sometimes call the unconscious. Vári’s masterstroke is to make this goddess/jester the viewer’s tour guide through this irruption of the uncanny return, and our guide through the exhibition.
The show comprises a variety of work, most connected to or featuring the Baubo. ‘The Life of Baubo (Apotrope series)’ introduces the figure to the audience, and is extended in a series of storyboard drawings placing the goddess in different and strange environments and landscapes. There are thematically important large studies of the Baubo playing in front of a Victorian mirror, a period motif that will itself re-emerge in the work. Here the goddess acts out a mysterious and almost childlike othering, a staging of Lacan’s famous ‘mirror phase’; as if recognising herself as a creature with her own identity for the first time.
The show also features a series of seven jewel-like three-dimensional objects, the ‘Charm Series’, another reference to the Baubo’s reputed apotropaic magic; ‘that which turns away harm’. Each is based on a piece of space debris (parts of satellites, rocket booster gear etc.). The reference to the number seven is to seven days of the week, where each day corresponds to a heavenly body and its related metal, gods & goddesses; eg. Wednesday = Mercury (Mercredi) = Wodin/Mercurius/Hermes. This collaboration with designer goldsmith Cronjé Grobbelaar also evokes alchemical principles of change, transformation and return.
The last two sets of works are in a more familiar medium for the artist – video. The first is a video work in 7 channels, featuring an extended panorama within which the Baubo acts out a ‘creation myth’ of sorts. This time the goddess interacts with characters and objects in an ever-evolving landscape, including well-known megalithic and other South African landmarks, and actual items of ‘space junk’ that have fallen back to earth. Lastly, the show features a video projection based on Victorian/Edwardian memorial photography. In this narrative, figures wake from their deathly slumber (or take turns to be the ‘dead one’). They are ‘revenants’, returning from the dead. While referencing how technology would be applied in the search of the paranormal, and the world of spiritualism in the late 19th Century in its visual lexicon of double exposures, images of ectoplasm etc., it is also set against the backdrop of the Johannesburg of the Randlords era. In making this work, Vári was hosted by the landmark mansion of Northwards, a Herbert Baker home built in 1904. The historical frame gestures to going into the belly of the earth, like Persephone whose mother Demeter was cheered up by Baubo, and returning with precious goods – referencing both mining and the creative process. A series of photographs will accompany this video work.
Minnette Vári presents a range of new work in her latest solo show at the Goodman Gallery in Johannesburg. Titled Parallax (from the Greek for ‘change’ or ‘alternation’) the exhibition meditates on the question of mutability, particularly the changing nature of perceptions of women, and the shifts in perception and attitudes brought about by aging and by changes in intergenerational position. In 1999, Vári produced a hard-hitting and highly successful video piece entitled ‘Oracle’, based on Francisco de Goya’s famous painting ‘Saturn Devouring his Children’. Vári’s sensibility shows an affinity with Goya’s visceral treatment of supernatural subject matter that allegorises socio-political realities.
A new series of anamorphic images on paper, which can be viewed straight-on, but assume a different perspective when viewed from side-on, references Goya’s ‘Los Caprichos’, a collection of obscure moral parables on the follies of humankind. Vári’s images can be read as sinister landscapes, which she has populated with ‘decoys’ that relate to more contemporary conflicts and moral dilemmas, such as ecological disaster and xenophobic violence.
A particular focus of the exhibition is a meditation on the way history and myth consider the different ages of woman. From temptresses to hideous crones and imbecilic innocents, they are often viciously, but just as often tenderly, portrayed. The triadic figure of the Fates, appearing in many different guises in different cultures, weaves its way through this exhibition in diverse forms and media. The eldest of the three, the death-dealing Crone called Atropos, gives her name to the Death’s Head moth, around which superstitious lore abounds. This compelling motif moves through the video work on the show, drawing out a personal recollection for the artist through her entomologist grandfather. The genus of the moth, Acherontia, draws its name in turn from the mythological river Acheron that souls must cross into the underworld. There is also an actual river Acheron in north-western Greece, and this play between mythical and real landscapes is a further theme of the exhibition.
Vári has had a long-term interest in the idea of fantastical and allegorical places and creatures, and in this show presents virtual and impossible scenes featuring real cartographic material. Prominent in these constructions are various star maps showing the seasonal migration of constellations such as that featuring Sirius, the Dog Star, which symbolizes a bridge between higher and lower consciousness. All these interwoven themes were developed during extensive research periods that Vári recently spent in both the Southern and Northern Hemispheres.
Vári is well-established locally and abroad, and her new body of work elicits both careful intellection and an intuitive, visceral appreciation. In demonstrating the artist’s enormous talent and technical skill across different media, the show works on many levels. It is historically-informed and highly contemporary, intellectually rigorous, yet emotionally charged. As her work matures and diversifies, it confirms her reputation as one of South Africa’s foremost contemporary artists.
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.
In Context presents a diverse group of international and South African artists who share a rigorous commitment to the dynamics and tensions of place, in reference to the African continent and its varied and complex iterations, and to South Africa in particular. The works – wide-ranging, frequently provocative – engage with a number of pressing questions about space, context, and geography.
In this gathering of artists – envisioned as a series of conversation and engagements – the question of context is posed once again, but problematised in various ways. The terms ‘local’ and ‘international’ are given new emphasis (especially at this juncture and in the context of one of the largest sporting events on the planet) and the following questions are posed: What does it mean to be a local artist in this age of the global? Do African artists wish to continue speaking of context? How do artists of the African Diaspora reflect on their distance from and proximity to home? Where is home? How have some artists living in Europe and the Americas inherited and absorbed an African heritage or sensibility, even when they have not visited the Continent? Have we reached a point in the story of contemporary art in which the term ‘African artist’ can be dispensed with or do we still require it as a marker of distance from Europe and North America? To what extent does the global art market rely upon or exploit the term to sell art in Europe and North America? Is there thus a distinction to be made between the way in which African artists represent themselves and the ‘Western’ reception of contemporary art from Africa?
Rather than present only artists from the African continent in this project, In Context also considers the works of artists who, though they may have some interest in South Africa, have not visited the country or anywhere else in Africa. Their connection to the continent might be one they have inherited from the history of slavery, or from the displacements of Diaspora and exile. The aim is to generate conversations between works and even to assess the relevance of the questions we have raised in the face of the works themselves. We may find ourselves entirely surprised by the answers. We hope to be provoked, to open engagements that overturn the concerns and themes we have offered, that render them more rather than less problematic, or that dispense with them altogether. We may indeed find that individual practice casts an entirely different light on the question of context.
In Context will take place in a number of non-commercial venues and, through a series of talks, walkabouts, and panel discussions, will promote engagement both with artists and audiences. The partners in this project take seriously the need to begin a number of collaborations that can be sustained beyond the events of In Context. They also seek to reach a wider audience than the usual gallery visitors and to promote appreciation of art through unconventional interventions outside of the traditional gallery space.
Sphères 2009 Galleria Continua / Le Moulin
Joel Andrianomearisoa / Kader Attia / Willem Boshoff / Chris Burden / Angela de la Cruz / Carlos Garaicoa / Claire Gavronsky / Kendell Geers / Liam Gillick / Frances Goodman / Mark Handforth / Camille Henrot / Carsten Höller / Ann Veronica Janssens / Christoph Keller / Joseph Kosuth / Ange Leccia / Claude Lévêque / Pierre Malphettes / Thomas Mulcaire / Hans Op de Beeck / Nathaniel Rackowe Anselm Reyle / Ugo Rondinone / Bruno Serralongue / Rose Shakinovsky / Sudarshan Shetty / Nedko Solakov / Katja Strunz / Mikhael Subotzky / Sun Yuan & Peng Yu / Gavin Turk / Minnette Vari
Opening during the FIAC, Saturday, 24th of October 2009.
Preview from 12h00 – 14h30, brunch on the river bank.
For the second edition, the Spheres project re-involves the participation of several contemporary art galleries of international dimensions prompted by one desire: to join their diverse forces and energies to develop a shared exhibition – a new kind of exhibition experience – with no submission to any restricting theme. The Galleries will present artists from the five continents, whose works will be installed in and will relate to various parts of the exceptional complex. In doing so, they will engage with the rich history of the site.
24 October 2009 – 30 May 2010
AIR DE PARIS
ALMINE RECH GALLERY
How can one not be tempted to divine one’s own destiny from the televisual tarot of global media? There were times when, told in the language of international news, the histories of my country would unfold in unrecognisable ways, and my place within these stories would become disjointed and unbearable. I wanted to speak of the discomfort of a thousand ill-fitting interpretations. Using television images relating to the transformative events
between 1994 and 1998, I attempted to locate my own implicit presence in the narrative of these critical times. My project was about reclaiming these moments, re-inscribing them with the movements of my own body, the sound of my own heartbeat – a memory recounted in flesh and bones. Although my body is not apolitical nor neutral and my access to it is not uncomplicated, I wanted to bring the extremes of fear, euphoria, desire, rage and loss into a language beyond democratic rhetoric.
When used as an instrument against the forgetfulness of history, the strategies of art become volatile and impatient. Through my work I tear at the fabric of different realities, severing images from their origin and cleaving apart the logic of their familiarity. The links I make in this process can be chilling and brutal, but often the things we can’t bear to face are the most telling witnesses of our times. Considering the socio-political imprint that this place and time has left on me, I choose in my work to bring the peculiarities of a mutating subjectivity to bear on the specificities of its historical context. We need all the individual fragments we can find in order to anticipate the places our histories could take us.
- Minnette Vari
Monomotopa* is a suite of digitally constructed cartouche images, suggestive of those found in the fantastical antique maps depicting fabled destinations that no white man had yet seen. Textures, names and blurred lines taken from reproductions of actual maps of Africa and the New World, are combined with hazy vistas of shore lines and peninsulas. These vistas are in fact entirely fictitious landscapes, and are the product of macro (extreme close-up) photographs that Vári has taken of the surfaces of her self-portraits done in black and ochre ink on paper.
Through this process, an intimately known “self” is transformed into an unknown “elsewhere”. Onto each of these stretches of alien land, the artist has grafted different views of the Johannesburg skyline, situating
the city in the distant past; a miraged metropolis haunting the shores of an indeterminate, yet intimate geography. Thus transplanted, the city of
Johannesburg – due to its gold mines also known as Egoli, the city of gold – assumes mythical dimensions, and becomes a Promised Land, an El Dorado of
boundless riches, a projection of Europe’s conquistatorial instincts.
This notional landscape is framed within an elaborate cartouche of the sort that often adorns old maps. There is a triumphalist dimension to the cartouche which asserts dominion over the spaces it frames, appropriating territories in the name of distant powers and often bears the names of the monarch or sponsor and that of the mapmaker. It often features flags and coats of arms
and scenes of military and naval conquests, and its ornate scrolls serve to distance or “other” the familiar.
Distorted as though through a crystal ball, Monomotapa shows the Highveld transmuted into a specimen of titillating exotica, presenting it as it would have been for a foreign power’s delectation and appropriation. However, Vári’s cartouche encloses contested land, and turning its familiar heraldry in upon itself, introduces figures and devices inassimilable into this scenario. Two heavily armed Boers derived from the monument in Church Square, Pretoria, challenge its hegemony as does the reference to Cetshwayo kaMpande, the last king of an independent Zulu nation. The cartouche, a defiantly European device, is overlaid with African flora and fauna, baboons, warthogs, the Hadeda ibis so common in Johannesburg and even the locally reviled “Parktown prawn”, a fearsome-looking though harmless member of the cricket family. Armed, naked female indigenes (Vári’s own figure as seen in her video piece Vigil) clamber over the frame in stealthy, crouching poses.
The prognosis is far from benign: all featured parties appear prepared to defend their land against each other and alien intruders. Bristling clusters of rifles, razor wire and security cameras often crown the cartouche, and allude to the embattled condition of our citizenry, in a country where the integrity of individual and historical identity can still not be taken for granted. Monomotapa posits a binding equation between the individual and the geography he or she inhabits, with the former being understood as a product of the latter.
Landscape and history too become one, for the terrain Vári depicts is scarred by the events enacted upon it.
The colonial landscapes of explorer and painter Thomas Baines* (1820 -1875), and in particular his waterfalls such as the Victoria falls of Zimbabwe are reframed in this series in which Vári creates a discomfiting synthesis between cartography and mythological portraiture. Through her work, Vári has long explored the conditions and technologies of colonialist desire, and though this series, produces an ambiguous ‘self’ that becomes equally distorted, ‘othered’ and mythologised, but also something more threatening. Finally, The Falls hints at the calamities and catastrophes of grand political projects and power struggles, and the errors of hubris that seem to repeat themselves throughout history into the present day.
In the series Life of Baubo, Minnette Vári explores the ancient depictions of pre-pagan female deities around the world. Vári’s particular focus is on the goddess Baubo, of whom figurines have been found dating from the 5th Century BC. Baubo became one of the first “sacred fools” and her image of a jesting, sexually liberated, wise woman has informed the identities and practices of many subsequent cults of worship. Baubo has been celebrated as a positive force of female sexuality and the healing power of laughter, which is why the series is also named apotrope: a ritual or object to ward off bad luck.
Vári’s figures immediately strike one as absurd, the absurdity of a violated body. Their legs lead one’s gaze upwards, to the decorous suggestion of a vulva, indistinguishable from a slight cleft in – a chin? And then up to a face. Much larger than the legs it sits atop, the face is variously screaming, laughing, in repose… but where is the middle? The meaning of the Baubo figure in antiquity is still a matter for conjecture and interpretative debate among medievalists and historians. Fertility symbol, pagan goddess, trickster spirit? A closer look changes the feeling of absurdity to one of unease at this absent middle. Physically impossible, it demands an explanation, a palliative analysis.
The ancient proximity of the Baubo to the Sheela-na-gig has been remarked upon. The Sheela, with its vast, exposed vagina is far more clearly a figure with a female sexuality unbound, unconstrained, and even threatening to engulf its viewer. The origin story of the Baubo, on the other hand, has it exposing its genitals to provoke the laughter of the inappropriate response, the unbidden nakedness that attracts immediately the unavoidable gaze – in short, an uncanny response, that same uncanniness revealed when one cannot explain what is funny in the joke, one can only laugh.
And if we adduce the uncanny, then is it not possible to map a schema of interpretation onto these uncanny figures? If the legs and exposed genitals could be seen as the seat for the id, and the head and face that of the superego, the absent middle here, then, is that of the ego, the slave to three masters. It is the ego’s job to introduce time to experience, to instil the presence of a narrative, of social organisation. In these figures narrative is delicately but unyieldingly subverted, in the profound way that art can make possible. Here, the unconscious agencies have taken over the asylum in the form of mysterious and uncanny bodies par excellence. It is not precisely what Deleuze and Guattari had in mind, but these bodies-without-organs tell us about the irruption of that freedom of existence that lies within us all, and which we sometimes call the unconscious.
Minnette Vári was born in 1968 in Pretoria, South Africa. She now lives in Johannesburg. As Kendell Geers observes in a catalogue essay published in 2004 by Kunstmuseum Lucerne, “Minnette Vári has in her lifetime witnessed the fall of apartheid and all its structures, followed by the new democracy.” In response to this history, Vári has written a history of herself in relation to this trajectory, one that attempts to recover what is lost, to give shape and voice to forgotten or erased memories. Her work conflates self and history, examining how identity arises out of the traumatic past. In her videos and drawings, Vári frequently depicts her own body enduring a disfiguring metamorphosis – she merges with and emerges from nature as well as from the concrete architecture of modern cities. The female “protagonist” of her video works is sometimes archetypal and sometimes spectral, a persona who ingests and is ingested by time.
Vári has exhibited her work since the early nineties, participating in such group exhibitions as the Johannesburg Biennale, Memoris, Intimas, Marcas at MUHKA in Belgium, the Venice Biennale, the Seoul International Media Art Biennale, and the Havana Biennale. Her solo exhibitions include Aurora Australis at the Standard Bank Gallery, Johannesburg, Chimera at Art Unlimited, Basel, Vigil at Serge Ziegler Galerie, New York, and shows in 2008 and 2009 at Goodman Gallery, Johannesburg.
2010 Parallax, Goodman Gallery, Johannesburg, South Africa
2009 Time and Tide: An anthology in video Goodman Gallery Cape, South Africa
2008 Goodman Gallery Cape, South Africa
2007 Minnette Vári, Goodman Gallery, Johannesburg, South Africa
2007 Vigil, Elga Wimmer Gallery in collaboration with Serge Ziegler Galerie, New York, USA
2006 CHIMERA (black edition), Exhibition and Workshop Residency, Victoria H. Myhren Gallery, University of Denver, Colorado, USA
2005 Featured Festival Artist, Kleinkaroo National Arts Festival, Oudtshoorn, South Africa
2005 Aurora Australis, Galerie Renee Ziegler, Zürich, Switzerland
2005 Gallery Momo, Johannesburg, South Africa
2004 Minnette Vári, Kunstmuseum Luzern/Art Museum Lucerne, Lucerne, Switzerland
2003 Minnette Vári, Corkin-Shopland Gallery, Toronto, Canada
2003 Media Work, Jannotta Gallery, Hillyer Hall, Smith College, Massachusetts, USA
2003 CHIMERA (black edition), Galerie Renée Ziegler, Art Unlimited, Basel, Switzerland
2002 Minnette Vári, Serge Ziegler Galerie, Zürich, Switzerland
2001 Minnette Vári, Serge Ziegler Galerie, Zürich.
2001 Minnette Vári, Camouflage Art.Culture.Politics. Brussels.
2001 Aurora Australis, Standard Bank Gallery, Johannesburg, South Africa
1998 Beyond The Pale, at the invitation of and support by the French Institute of South Africa, Galerie d’Alliance Française, Johannesburg, South Africa
1994 Minnette Vári. Centurion Art Gallery, Centurion, South Africa.
1992 Painting and Language. FIG Gallery, Johannesburg.
2011 The Underground, the Surface and the Edges, Michaelis Galleries, Cape Town
2011 Space, Ritual, Absence, FADA Gallery, University of Johannesburg Bunting Road Campus
2010-2011 Afropolis. City, Media, Art. Rautenstrauch-Joest-Museum – Kulturen der Welt, Cologne, Germany (Catalogue)
2010-2011 VAF1. Contemporary African Video Art, organised through AGENCY: Art, Life, Society. Yorkshire, UK. (Catalogue)
2010 Open End: An Exhibition of Paintings Goodman Gallery Cape
2010 In Context, Goodman Gallery Project Space, Arts On Main, Johannesburg (Catalogue)
2009 SPHÈRES 2009, Galleria Continua – Le Moulin, Boissy-le-Châtel, France
2009 The 10th Havana Biennale, Havana, Cuba
2009 Dystopia, Unisa Art Gallery, Museum Africa, Johannesburg, South Africa and Galerij Jan Colle, Ghent, Belgium
2009 5th VentoSul Biennial, Curitiba, Brazil. (Catalogue)
2009 Périfériks Curated by Kader Attia. Exhibition as part of the Eternal Tour festival, Centre d’Art de Neuchâtel, Switzerland
2008 The 5th Seoul International Media Art Biennale, South Korea
2007 African Pavillion, 52nd Venice Biennale, Venice, Italy
2007 Afterlife, Michael Stevenson, Cape Town, South Africa
2007 Voci dalla luna: a Homage to Federico Fellini, curated by Andrea Bruciati. Galleria Comunale d’Arte Contemporanea, Monfalcone, Italy.
2007 Diva Streets NYC, Digital and Video Art Fair, New York City, USA (Presented for Diva Streets by Serge Ziegler Galerie, Zürich, Switzerland)
2007 Luanda Triennial, Luanda, Angola
2006 Sd Observatorio, IVAM, Valencia, Spain
2006 Fairytale, TICA (Tirana Institute of Contemporary Art), Albania
2005 International Biennale Of Contemporary Art 2005, National Gallery, Prague, Czech Republic
2005 Digital Discourse, St. James Centre for Creativity, Valetta, Malta
2004 La Allegria De Mis Suenos, First Seville International Biennial of Contemporary Art, Seville, Spain
2004 Personal Affects: Power And Poetics In Contemporary South African Art, The Museum for African Art & the Cathedral Church of St John the Divine, New York, USA
2004 New Identities: Contemporary South African Art, Museum Bochum, Germany Pretoria Art Museum, Pretoria, South Africa (Catalogue)
2004 Dimension Folly: Subjectivity, Passion and Excess in Everyday Life, Galleria Civica di Arte Contemporanea, Trento, Italy (Catalogue)
2003 Banquet, Centre of Contemporary Art Palau de la Virreina, Barcelona, Spain; Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany; Conde Duque Cultural Centre, Madrid, Spain. (Catalogue)
2003 Transferts, curated by Toma Muteba Luntumbue for Africalia. Palais des Beaux Arts, Brussels. (Catalogue)
2003 Global Priority, Herter Art Gallery, University of Massachusetts, Amherst, USA. (Catalogue)
2002 STYX. Directed by Ralph Kotschka, Europäishe Kunstakademie, Trier, Germany. (Catalogue)
2002 Videoformes. Curated by Gabriel Soucheyre; South African programme compiled by Clive van den Berg. Clermont-Ferrand, France. (Catalogue)
2002 Muster Frau. Curated by Dr. Peter Joch. Kunsthalle Darmstadt, Germany. (Catalogue)
2002 Contributions from the Venice Biennial. Charlottenborg Udstillingsbygning, Copenhagen. (Catalogue)
2002 Slow Motion. Curated by Alexandra Kolossa. Ludwig Forum, Aachen. (CD-ROM Catalogue)
2002 In Progress. Curated by Harald Szeemann for the 55th International Film Festival, Locarno, Switzerland. (Catalogue)
2002 Dislocation, Image & Identity: South Africa, Circulo de Bellas Artes, Madrid; Sala Rekalde, Bilbao, Spain; Centro Cultural de Maia, O’Porto. (Catalogue)
2002 Survivre a L’apartheid, de Drum Magazine à Aujourd’hui, Maison Européenne de la Photographie, Paris, France. (Catalogue)
2001 Short Stories. Curated by Roberto Pinto. La Fabbrica del Vapore, Milan. (Catalogue)
2001 Plateau of Human Kind, Venice Biennale, Venice, Italy
2001 Casino 2001, 1st Quadrennial of Contemporary Art, S.M.A.K., Ghent, Belgium
2001 World Wide Video Festival 2001, Arti & Amiticiae, Amsterdam, Netherlands
2000 Memorias Intimas Marcas, Museum van Hedendaagse Kunst Antwerpen
(MUHKA), Belgium; Museu da Cidade, Lisbon, Portugal
2000 South Meets West, National Museum, Accra, Ghana; Kunsthalle, Bern, Switzerland Johannesburg, Part of Atmosfere Metropolitane, Openspace, Milan, Italy
1999 Dialog 1: Vice Verses, O.K. Centre of Contemporary Art, Linz, Austria
1999 Channel, Association of Visual Arts, Cape Town, South Africa
FNB Vita Art Prize Exhibition, Sandton Civic Art Gallery, Johannesburg, South Africa
1998 Democracy’s Images: Photography And Visual Art After Apartheid, Bildmuseet, Umeå, Sweden
1997 Transversions, Part of Trade Routes: History and Geography, 2nd Johannesburg Biennale, Museum Africa, Newtown, Johannesburg, South Africa
‘Strange Utopia: John Peffer in conversation with Minnette Vári’, Peffer, J. Art South Africa, Vol 2, Issue 2, Summer 2003, p24-30.
‘Vári Pak Mitiese Monsters’, Van Bosch.C, Die Burger, Cape Town, 26 February 2002; Die Beeld, Gautend, 1 March 2002
‘New media showcase’, Edmunds, P. The Mail & Guardian, South Africa, 1 – 7 March 2002
‘Minnette Vári, Serge Ziegler Galerie, Zürich’, Hug, C. Tema Celeste, No. 93, Sept/Oct 2002, p.105
‘Selected Works From The World Wide Video Festival at Michaelis Galleries’, Nic Dawes, Artthrob, http://www.artthrob.co.za/02mar/reviews/michaelis.html, March 2002
‘Minette Vári’, Von Burg, D. Kunst-Bulletin, No. 7/8, July/August 2002
‘Art Chicago Seeks The Cutting-Edge’, Stein, L. Chicago Tribune, 11 May 2001
‘Blick Aus Der Ferne’, Omlin, S. Neue Zurcher Zeitung, 27 Feb 2001
‘Mediale Zerrbilder’, Polzer, B. Kunst, Annabelle, 3/01, 2 February 2001
‘Geschichte Verschlingen’, Mack, G. Kulturtipps, Cash, No.8, 23 February 2001
‘Körpergeschichte’, Kraft, M. Kunst, Züritipp, No. 8, 23 February 2001
‘49th Venice Biennale: Minnette Vári’, Sutton, P. Visual Arts/Features, The Australian Broadcasting Corporation’s Gateway to Arts and Culture, November 2001
‘Minette Vári At The Standard Bank Gallery’, Atkinson, B. Artthrob, http://www.artthrob.co.za/01nov/reviews/stdbank.html, 7 November 2001
‘Art Pick of the Week’, Smith, K. The Mail & Guardian, South Africa, 23 – 29 November 2001
‘A Deadly Explosive On Her Tongue’, Kerkham, R. Third Text, Spring, 2001
‘Flash Art’, Atkinson, B. Elle, South Africa, 2000
‘City Artist on the Cutting Edge’, Fröling, G. Tonight, Pretoria News, 20 April 1999
‘VexQuest’, in insert, Delapse, Johanneburg, interactive CD ROM Magazine, winter 1999
‘Artbio’, Williamson, S. Artthrob, Issue No.7, http://www.artthrob.co.za, 1998
‘Reality is always re-written’, Lefebvre, E. Newtown Zebra, No.11, Sept-Dec 1998
‘Vári Konfronteer Jou Met Jou Vrese’, Van Rensburg, W. Beeld, Johannesburg, 17 Nov 1998
‘Morphing Minnette’, Atkinson, B. Electronic Mail & Guardian, 24 November 1998
‘Zone of Metaphors’, Friedman, H. The Mail & Guardian, 11 April 1997
‘Pta-kaalfoto ’verslapping van sensuur’, Van der Spuy, B. Beeld, 23 June 1997
‘Hearing the artist’s message’, Vári, M. Artspeak, Tonight, Pretoria News, 1 July 1997
‘Planet Art’, Geers, K. Elle, South Africa, October 1997
‘Multi-Parfuum, Ruk Masker Af’, Van Niekerk, L. Beeld, 8 October 1997
‘Trapped In The Hall Of Mirrors’, Friedman, H. The Mail & Guardian, 12 April 1997
‘Scratching Beneath The Surface", Friedman, H. The Mail & Guardian, 19 April 1997
‘The real dangers of fashion in art’, Geers, K. Tonight, The Star, 25 April 1997
‘Duistere waarhede wat die sinne uitdaag’, Burger, L. Beeld, 30 April 1997
‘(De)facing the surface’, Vári, M. Gallery Page, http://www.up.ac.za/academic/arts/gallery.html, 1997
‘Message In A Bottle’, Berry, O. Tonight, Pretoria News, 5 December 1996
‘Baring All For Art’, Berry, O. Tonight, Pretoria News, 22 September 1995
‘Vanguardismo de Sudáfrica visita el Museo de Arte Contemporaneo’, Cultura, La Epoca, Santiago, Chile, 2 November 1995
Perryer, S. (Ed) et al. 2004. 10 Years, 100 Artists: Art in a Democractic South Africa. Bell-Roberts Publishing in association with Struik Publishers, Cape Town, South Africa. ISBN 1868729877
Powell, Richard J. 2002. Black Art: A Cultural History. Thames & Hudson Publishers, London,
UK. ISBN 0500203628
Barragán, P. 2002. El Arte Que Viene / The Art To Come. Subastas Siglo XXI, Madrid, Spain
Atkinson, B. and Breitz, C. (Ed). 1999. Grey Areas, Representation, Identity and Politics in
Contemporary South African Art. Chalkham Hill Press, Johannesburg, South Africa.
Williamson, S. and Jamal, A. 1996. Art In South Africa, The Future Present. David Philip
Publishers, Cape Town, South Africa. ISBN 0864863217