Art Basel Miami Beach 2019

Naama Tsabar

Naama Tsabar’s practice fuses elements from sculpture, music, performance and architecture. Her interactive works expose hidden spaces and systems, reconceive gendered narratives, and shift the viewing experience to one of active participation. Tsabar draws attention to the muted and unseen by propagating sound through space and sculptural form. Between sculpture and instrument, form and sound, Tsabar’s work lingers on the intimate, sensual and corporeal potentials within this transitional state. Collaborating with local communities of female identifying and gender non-conforming performers, Tsabar writes a new feminist and queer history of mastery.

Naama Tsabar (b. 1982, Israel) lives and works in New York. She received her MFA from Columbia University in 2010. Solo exhibitions and performances of Tsabar have been presented at the Solomon R. Guggenheim Museum (New York), Museum of Art and Design (New York), The High Line Art (New York), Nasher Museum (Durham, NC), Kunsthaus Baselland (Switzerland), Palais De Tokyo (Paris), Prospect New Orleans, Tel Aviv Museum of Art, The Herziliya Museum for Contemporary Art in Israel, MARTE-C (El Salvador), CCA Tel Aviv (Israel), Faena Buenos Aires, Frieze Projects New York, Kasmin (New York), Paramo Gallery (Guadalajara), Dvir Gallery (Israel and Brussels), Spinello Projects (Miami) Shulamit Nazarian (Los Angeles). Selected group exhibitions featuring Tsabar’s work include, The Andy Warhol Museum, The Jewish Museum of Belgium, Ballroom Marfa, Schirn Kunsthalle in Frankfurt, Elevation 1049 Gstaad (Switzerland), TM Triennale, Hasselt Genk, Belgium, ‘Greater New York’ 2010 at MoMA PS1, Museum Dhondt-Dhaenens (Belgium), The Bucharest Biennale for Young Artists, Hessel Museum of Art at CCS Bard, Casino Luxembourg (Luxembourg), ExtraCity in Antwerp (Belgium). Tsabar’s work has been featured in publications including ArtForum, Art In America, ArtReview, ARTnews, The New York Times, New York Magazine, Frieze, Bomb Magazine, Art Asia Pacific, Wire, and Whitewall, among others.

Tsabar’s work is held in the permanent collections of the Los Angeles County Museum of Art, Solomon R. Guggenheim Museum, Pompidou Centre, Seattle Art Museum, San Francisco Museum of Modern Art, The Bass Museum, PAMM, Kadist Collection, Jimenez-Colón Collection, Tel Aviv Museum, Israel Museum, and Coleccion Dieresis.

William Kentridge

William Kentridge (b.1955, South Africa) is internationally acclaimed for his drawings, films, theatre and opera productions.

Kentridge’s work is held in collections including MoMA, New York; Tate Modern, London; Centre Pompidou, Paris; Haus der Kunst, Munich; Sharjah Art Foundation, Sharjah; National Museum of Modern Art, Kyoto; Guggenheim, Abu Dhabi and Zeitz MoCAA, Cape Town.

Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022. In the same year Kentridge opened another major survey exhibition, In Praise of Shadows, at The Broad, Los Angeles. In 2023 this exhibition travelled to the Museum of Fine Arts, Houston.

Kentridge’s work has been seen in museums across the globe since the 1990s, including the Museum of Modern Art, New York; Albertina Museum, Vienna: Musée du Louvre in Paris, National Museum of Modern and Contemporary Art, Korea; Reina Sofia museum, Madrid, Kunstmuseum in Basel; and Norval Foundation in Cape Town. The artist has also participated in biennale’s including Documenta in Kassel (2012, 2002,1997) and the Venice Biennale (2015, 2013, 2005, 1999, 1993).

Kapwani Kiwanga

Kapwani Kiwanga (b. Hamilton, Canada) lives and works in Paris. Kiwanga studied Anthropology and Comparative Religion at McGill University in Montreal and Art at l’école des Beaux-Arts de Paris.

In 2020, Kiwanga received the Prix Marcel Duchamp (FR). She was also the winner of the Frieze Artist Award (USA) and the annual Sobey Art Award (CA) in 2018.

Solo exhibitions include Haus der Kunst, Munich (DE); Kunstinstituut Melly – Center for Contemporary Art, Rotterdam (NLD); Kunsthaus Pasquart, Biel/Bienne (CHE); MIT List Visual Arts Center, Cambridge (USA); Albertinum museum, Dresden (DE); Artpace, San Antonio (USA); Esker Foundation, Calgary (CA); Tramway, Glasgow International (UK); Power Plant, Toronto (CA); Logan Center for the Arts, Chicago (USA); South London Gallery, London (UK); and Jeu de Paume, Paris (FR) among others.

Selected group exhibitions include Whitechapel Gallery, London (UK); Serpentine Galleries, London (UK); Yuz Museum, Shanghai (CHN); MOT – Museum of Contemporary Art Tokyo (JPN); Museum MMK für Moderne Kunst, Frankfurt (DE); Museum of African Contemporary Art Al Maaden – MACAAL, Marrakech (MAR); National Gallery of Canada, Ottawa (CA); Contemporary Arts Museum, Houston (USA); Hammer Museum, Los Angeles (USA); Centre Pompidou, Paris (FR); Musée d’art contemporain de Montréal, Montreal (CA); ARoS Aarhus Art Museum, Aarhus (DK) and MACBA, Barcelona (ESP).

She is represented by Galerie Poggi, Paris; Goodman Gallery, Johannesburg, Cape Town and London; galerie Tanja Wagner, Berlin.

Kapwani Kiwanga is a Franco-Canadian artist based in Paris. Kiwanga’s work traces the pervasive impact of power asymmetries by placing historic narratives in dialogue with contemporary realities, the archive, and tomorrow’s possibilities.

Her work is research-driven, instigated by marginalised or forgotten histories, and articulated across a range of materials and mediums including sculpture, installation, photography, video, and performance.

Kiwanga co-opts the canon; she turns systems of power back on themselves, in art and in parsing broader histories. In this manner Kiwanga has developed an aesthetic vocabulary that she described as “exit strategies,” works that invite one to see things from multiple perspectives so as to look differently at existing structures and find ways to navigate the future differently.

Mikhael Subotzky

Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose film, video and photographic works are concerned with the structures of narrative and representation, as well as the relationship between social storytelling and the formal contingencies of image making.

Subotzky’s first body of photographic work, Die Vier Hoeke (The Four Corners), was an in-depth study of the South African penal system. Umjiegwana (The Outside) and Beaufort West extended this investigation to the relationship between everyday life in post-apartheid South Africa and the historical, spatial, and institutional structures of control. Beaufort West (Chris Boot, 2008) was Subotzky’s first monograph and the series was included in the exhibition New Photography 2008: Josephine Meckseper and Mikhael Subotzky at the Museum of Modern Art (New York, 2008).

The exhibition Retinal Shift was produced by Subotzky on the occasion of the Standard Bank Young Artist Award 2012 and toured South Africa’s major museums. Retinal Shift includes two large photographic and video installations that critically engage with the artist’s own ambivalence towards the processes of representation and image construction. Retinal Shift (Steidl, 2012) was published to accompany the exhibition.

Retinal Shift also includes Subotzky’s first major film installation, Moses and Griffiths 2012, which uses four screens to narrate the contrasting and conflicting institutional and personal histories of two seventy-year-old tour guides in the small South African town of Grahamstown. Moses and Griffiths has subsequently been exhibited at Palais de Tokyo (Paris, 2013) Yale Art Gallery (New Haven, 2014) and Art Unlimited (Basel, 2014).

A third monograph, Ponte City (Steidl, 2014) is the product of a six-year collaboration with the British artist Patrick Waterhouse. This project focuses a single 54-story building that dominates the Johannesburg skyline. The building is cast as the central character in a myriad of interweaving narratives that, through photographs, commissioned texts, historical documents, and urban myths, chart the convoluted histories of both the building and Johannesburg itself. The Ponte City exhibition, which consists of a single installation of thousands of photographs and documents, has been exhibited at the Scottish National Portrait Gallery (Edinburgh, 2014), FoMU (Antwerp, 2014) and Le Bal (Paris, 2014). Excerpts from the series have been shown at the Liverpool (2012) and Lubumbashi (2013) Biennales, as well as the South African National Gallery (Cape Town, 2010). Ponte City has won the 2015 Deutsche Borse Photography Prize.

Show ‘n Tell was initiated while on residency at the Musée MAC/VAL (Paris, 2013). This body of work looks to the relationship between images, the various instruments of their construction, and both the politics and physiology of their reception. Pixel Interface, a multi-component video installation from this body of work was included in All The World’s Futures, the main exhibition curated by Okwui Enwezor at the 56th Venice Biennale. WYE, Subotzky’s first fictional film installation, was commissioned by the Sherman Contemporary Art Foundation (Sydney) and premiered there in March 2016. Yellow Bile (or Work in Progress), his first exhibition of paintings and performance, took place at Maitland Institute in September 2017.

Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), the San Francisco Museum of Modern Art and the South African National Gallery, among others.

Shirin Neshat

Shirin Neshat (b. 1957, Qazvin, Iran) is an Iranian-born artist and filmmaker living in New York. Neshat’s early photographic works include the Women of Allah series (1993–1997), which explored the question of gender in relation to Islamic fundamentalism and militancy. Her subsequent video works departed from overtly political content or critique in favor of more poetic imagery and narratives. In her practice, she employs poetic imagery to engage with themes of gender and society, the individual and the collective, and the dialectical relationship between past and present, through the lens of her experiences of belonging and exile. 

She has mounted numerous solo exhibitions at museums internationally, including: the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Stedelijk Museum, Amsterdam; the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; and the Musée d’art contemporain de Montréal. Recent solo exhibitions include: Kunstraum Dornbirn, Austria; Faurschou Foundation, Copenhagen; Kunsthalle Tübingen, Germany; and Museo Correr,Venice,  Italy, which was an official corollary event to the 57th Biennale di Venezia in 2017. A major retrospective of her work was exhibited at the Detroit Institute of Arts in 2013. Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), the Hiroshima Freedom Prize (2005), and the Dorothy and Lillian Gish Prize (2006). In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion Award for “Best Director” at the 66th Venice International Film Festival. Dreamers marked her first solo show on the African continent, which exhibited at Goodman Gallery Johannesburg in 2016. That same year, Neshat featured in the New Revolutions: Goodman Gallery at 50 exhibition in Johannesburg and in the Summers group exhibition at Goodman Gallery Cape Town. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg.  The Broad Museum in Los Angeles recently hosted a survey exhibition of the last 25 years of Neshat’s work, which travelled on to Modern Art Museum of Fort Worth in 2021. This year Neshat was the feature artist and Master of Photography at Photo London festival which took place in Somerset House in September. 

Neshat has directed three feature-length films, Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66th Venice International Film Festival,  Looking For Oum Kulthum (2017,) and most recently Land of Dreams (2021) which premiered at the Venice Film Festival.  

The artist lives and works in New York, USA.

Alfredo Jaar

Alfredo Jaar (b. 1956, Santiago, Chile) is an artist, architect, and filmmaker who considers social injustices and human suffering through thought-provoking installations. Throughout his career Jaar has used different mediums to create compelling work that examines the way we engage with, and represent humanitarian crises. He is known as one of the most uncompromising, compelling, and innovative artists working today.

Through photography, film and installation he provokes the viewer to question our thought process around how we view the world around us. Jaar has explored significant political and social issues throughout his career, including genocide, the displacement of refugees across borders, and the balance of power between the first and third world.

Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002).

Important individual exhibitions include The New Museum of Contemporary Art, New York (1992); Whitechapel, London (1992); The Museum of Contemporary Art, Chicago (1995); Moderna Museet, Stockholm (1994);The Museum of Contemporary Art, Rome (2005) and The Nederlands Fotomuseum (2019). Major recent surveys of his work have taken place at Musée des Beaux Arts, Lausanne (2007); Hangar Bicocca, Milan (2008); Alte Nationalgalerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Berlin (2012); Rencontres d’Arles (2013); KIASMA, Helsinki (2014); and Yorkshire Sculpture Park, UK (2017).

The artist has realised more than seventy public interventions around the world. Over sixty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He was awarded the Hiroshima Art Prize in 2018, and has recently received the prestigious Hasselblad award for 2020.

His work can be found in the collections of The Museum of Modern Art and Guggenheim Museum, New York; Art Institute of Chicago and Museum of Contemporary Art, Chicago; MOCA and LACMA, Los Angeles; MASP, Museu de Arte de São Paulo; TATE, London; Centre Georges Pompidou, Paris; Stedelijk Museum, Amsterdam; Centro Reina Sofia, Madrid; Moderna Museet, Stockholm; MAXXI and MACRO, Rome; Louisiana Museum of Modern Art, Humlaebeck; Hiroshima City Museum of Contemporary Art and Tokushima Modern Art Museum, Japan; M+, Hong Kong; and dozens of institutions and private collections worldwide.

The artist lives and works in New York, USA.

Tabita Rezaire

Tabita Rezaire (b.1989, Paris, France) is infinity incarnated into an agent of healing, who uses art as a means to unfold the soul. Her cross-dimensional practices envision network sciences – organic, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of resilience, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits. Inspired by quantum and cosmic mechanics, Tabita’s work is rooted in time-spaces where technology and spirituality intersect as fertile ground to nourish visions of connection and emancipation. Through screen interfaces and collective offerings, she reminds us to open our inner data centers to bypass western authority and download directly from source.

Tabita is based in Cayenne, French Guyana. She has a Bachelor in Economics (Fr) and a Master of Research in Artist Moving Image from Central Saint Martins (Uk). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB.

Tabita has shown her work internationally – Centre Pompidou, Paris; Serpentine London; MoMa NY; New Museum NY; MASP, Sao Paulo; Gropius Bau Berlin; MMOMA Moscow, Museum of Contemporary Art Chicago; ICA London; V&A London; National Gallery Denmark; The Broad LA; MoCADA NY; Tate Modern London; Museum of Modern Art Paris – and contributed to several Biennales such as the Guangzhou Triennial, Athens Biennale, Kochi Biennale (2018); Performa (2017); and Berlin Biennale (2016).

Nolan Oswald Dennis

Nolan Oswald Dennis (b. 1988, Zambia) is a para-disciplinary artist from Johannesburg, South Africa. Their practice explores what they call ‘a black consciousness of space’: the material and metaphysical conditions of decolonization.

Dennis’ work questions the politics of space (and time) through a system-specific, rather than site-specific approach. They are concerned with the hidden structures that pre-determine the limits of our social and political imagination. Through a language of diagrams, drawings and models they explore a hidden landscape of systematic and structural conditions that organise our political sub-terrain. This sub-space is framed by systems which transverse multiple realms (technical, spiritual economic, psychological, etc) and therefore Dennis’ work can be seen as an attempt to stitch these, sometime opposed, sometimes complimentary, systems together. To read technological systems alongside spiritual systems, to combine political fictions with science fiction.

Dennis’ is the 2016 winner of the FNB Arts Prize, and has exhibited in various solo and group shows, including the 9th Berlin Biennale (2016), the Young Congo Biennale (2019), Museu d’Art Contemporani de Barcelona (MACBA), Architekturmuseum der TU München, Palais de Tokyo (Paris) and ARoS Aarhus (Denmark). They were the 2020 artist in residence at NTUCCA (Singapore) and the 2021 artist in residence at the Delfina Foundation (London).

Dennis’ work featured at the Liverpool Biennale with their installation, ‘no conciliation is possible (working diagram)’ in 2023, as well as Kunsthalle Bern and Van Abbe Museum. Dennis also participated in the 12th edition of the Seoul Mediacity Biennale as well as the ‘back wall project’ at the Kunsthalle Basel.

Hank Willis Thomas

Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture.

Thomas has exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands.

Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C.

His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts.

Misheck Masamvu

Misheck Masamvu (b. 1980, Penhalonga, Zimbabwe) explores and comments on the socio-political setting of post-independence Zimbabwe, and draws attention to the impact of economic policies that sustain political mayhem. Masamvu raises questions and ideas around the state of ‘being’ and the preservation of dignity. His practice encompasses drawing, painting and sculpture.

Masamvu studied at Atelier Delta and Kunste Akademie in Munich, where he initially specialised in the realist style, and later developed a more avant-garde expressionist mode of representation with dramatic and graphic brushstrokes. His work deliberately uses this expressionist depiction, in conjunction with controversial subject matter, to push his audience to levels of visceral discomfort with the purpose of accurately capturing the plight, political turmoil and concerns of his Zimbabwean subjects and their experiences. His works serve as a reminder that the artist is constantly socially-engaged and is tasked with being a voice to give shape and form to a humane sociological topography. In 2020, Masamvu took part in the 22nd Biennale of Sydney.

Masamvu’s work has been well-received and exhibited in numerous shows including Armory Show 2018, Art Basel 2018, Basel Miami Beach 2017, 1-54 Contemporary African Art Fair New York 2016, São Paulo Biennale 2016, and the Venice Biennale, Zimbabwe Pavillion 2011.

Kudzanai Chiurai

Kudzanai Chiurai (b. 1981, Zimbabwe)

Chiurai has held numerous solo exhibitions since 2003 and has participated in various local and international exhibitions, such as Figures & Fictions: Contemporary South African Photography (2011) at the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Now (2011) at the Museum of Modern Art in New York. Other notable exhibitions include The Divine Comedy: Heaven, Purgatory and Hell Revisited curated by Simon Njami at Museum für Moderne Kunst in Frankfurt (2014) and SCAD Museum of Art, Savannah USA (2015), as well as Art/Afrique, Le nouvel atelier (2017) at the Fondation Louis Vuitton in Paris, Regarding the Ease of Others (2017) at the Zeitz Museum of Contemporary Art Africa, Genesis [Je n’isi isi]- We Live in Silence at IFA in Stuttgart, Germany and Ubuntu, a Lucid Dream (2020) at the Palais de Tokyo in Paris.

Chiurai’s Conflict Resolution series was exhibited at DOCUMENTA (13) (2012) in Kassel and the 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 Goodman Gallery and has edited four publications with contributions by leading African creatives.

At present the artist lives and works in Harare, Zimbabwe.