[Working Title] 2013 Catalogue Launch / 2014

[Working Title] 2013 Catalogue Launch / 2014
25 October - 08 November 2014
Installation View
[Working Title] 2013 Catalogue Launch / 2014
25 October - 08 November 2014
Installation View
[Working Title] 2013 Catalogue Launch / 2014
25 October - 08 November 2014
Installation View
[Working Title] 2013 Catalogue Launch / 2014
25 October - 08 November 2014
Installation View
[Working Title] 2013 Catalogue Launch / 2014
25 October - 08 November 2014
Installation View
[Working Title] 2013 Catalogue Launch / 2014
25 October - 08 November 2014
Installation View
[Working Title] 2013 Catalogue Launch / 2014
25 October - 08 November 2014
Installation View
Haroon Gunn-Salie
Kom Oor Die See, 2014
Steel
24 x 238cm
Johan Thom
Knobkierie, 2014
203 engraved razor blades, rose wood, American walnut wood, piano string
approx. 150 x 0.75 cm
Gerald Machona
If you travel east far enough you end up in the west and if you go far enough west you end up in the east, 2012
Decommissioned Zimbabwean dollar, Chinese yuan, American dollar, fabric, foam padding, rubber soles, Velcro cotton and nylon thread
2 shoes measuring 30cm x 25cm x 10cm each
Jessica Webster
Untitled sequence 13 (Magosi and audience), 2014
Oil paint and wax on digital print canvas
100 x 140 cm
Vusi Beauchamp
Kongo Man, 2014
Acrylic on canvas
190 x 190cm
Bogosi Sekhukhuni
Consciousness Engine 2: absentblackfatherbot, Dual Channel Video Installation, 2014
Hologram installation with plants
4"23'

[Working Title] 2013 Catalogue Launch / 2014 - Installation View

25 October - 08 November 2014

[Working Title] 2013 Catalogue Launch / 2014 - Installation View

25 October - 08 November 2014

[Working Title] 2013 Catalogue Launch / 2014 - Installation View

25 October - 08 November 2014

[Working Title] 2013 Catalogue Launch / 2014 - Installation View

25 October - 08 November 2014

[Working Title] 2013 Catalogue Launch / 2014 - Installation View

25 October - 08 November 2014

[Working Title] 2013 Catalogue Launch / 2014 - Installation View

25 October - 08 November 2014

[Working Title] 2013 Catalogue Launch / 2014 - Installation View

25 October - 08 November 2014

Haroon Gunn-Salie

Kom Oor Die See

Johan Thom

Knobkierie

Gerald Machona

If you travel east far enough you end up in the west and if you go far enough west you end up in the east

Jessica Webster

Untitled sequence 13 (Magosi and audience)

Vusi Beauchamp

Kongo Man

Bogosi Sekhukhuni

Consciousness Engine 2: absentblackfatherbot, Dual Channel Video Installation

The launch of the [Working Title] 2013 catalogue will happen at The Goodman Gallery Johannesburg on 25 November, timed to coincide with the closing day [Working Title] 2014 at Goodman Gallery Cape Town.

The [Working Title] series is focused on developing work that can go beyond the run of the exhibition, and it is important that the catalogue exist in a similar way. The texts aim to extend the questions and subversions the artists provoke as opposed to just explaining and describing the works on show.

Some texts take the form of conversations – Raimi Gbadamosi and Gerald Machona discuss the role of art in representing tragedy and violence while Haroon Gunn-Salie, Simon Castets and Hans-Ulrich Obrist discuss the role of intervention and activism in Gunn-Salie’s practice.
Other contributions like Jessica Webster’s short stories, the co–authored essay by The Brother Moves On and the Frown’s manifesto of worship – are texts which exist as self referential semi fiction.

Kalia Brooks, Adjunct Professor in Photography at the Tisch School of the Arts, explores themes of control and compassion in Tegan Bristow’s interactive video work Coming and going but never leaving. Bristow herself reviews the use of digital and online media in Cuss Group’s work Untitled (Johannesburg screen saver) arguing that medium is definitive in representing the state of South Africa’s socio-political climate. In his analysis of Vinatge Cru, anthropologist and director of the LGBT rights programme at human rights watch, Graeme Reid investigates the centrality of performance to queer visibility in South Africa. Adreinne Edwards, associate curator at Performa New York writes on Nelisiwe Xaba and Mocke van Vueren’s work Uncles and Angels, understanding the work as an experimental meditation on ritual, the feminine, technology. Working Title exists as a space where relationships between the Goodman Gallery and artists, creatives and writers can be incubated.

The catalogue launch will happen alongside an exhibition which showcases works, performances and collaborations which have happened post [Working Title] 2013. Haroon Gunn-Salie, Jessica Webster and Johan Thom – all of whom have solo exhibitions next year with the Goodman Gallery – will exhibit works which are in preparation for their respective exhibitions or which have happened in association with the Goodman Gallery.

Gerald Machona, who was awarded the [Working Title] award in 2013 will exhibit a new series of ‘dictators’ headgear’ made from his trademark medium of decommissioned currency. A film made by The Brother Moves On, which focuses on the collaborative performances done since 2013 will be screened at the gallery.

The [Working Title] exhibitions are part of an initiative by the Goodman Gallery aimed at supporting young artists, curators, independent projects and major installations and performances.

[Working Title] 2014 is currently on show at The Goodman Gallery Cape Town and focuses on artists based outside of Cape Town – Johannesburg, Nigeria, Benin, France, the United Kingdom, and the United States – but whose work raises universal questions about place, justice, and individual action and responsibility, questions that resonate with a particular urgency in Cape Town in 2014.

The Goodman Gallery is proud to announce that Bogosi Sekhukhuni is this year’s recipient of the [Working Title] Prize. The [Working Title] Prize is awarded every year to an artist who has participated on the [Working Title] exhibition. The award is aimed at recognising and supporting young artists and assisting them in developing their work. The substantial prize is not confined to any one specific exhibition, and the artists may use the money awarded to further their careers in any way they deem fit. Last year’s winner was Gerald Machona, who used the prize in the realisation of his solo exhibition Vabvakure (People from Far Away), this year. Bogosi Sekhukhuni works with drawing, installation and video, and is engaged in works which allow for an exploration of the role online forums and technology play in “reimagining our identity”. His work has been shown on Hans-Ulrich Obrist and Simon Castets’ co-curated exhibition 89plus, and this year he participated in a residency at the Google Cultural Institute in Paris.

Jessica Webster

Jessica Webster (b. 1981) was raised on the mines of the Free State and in Benoni. From a young age her proliferate painting and drawing practice was recognised as provoking the stranger qualities of the everyday: at sixteen, she sold her first major painting to the MTN Gallery in 1997. Webster entered Michaelis School of Fine Art in 2002 where she studied painting under established painters Malcolm Payne and Virginia MacKenny, attaining the Judy Stein Prize for painting upon graduation in 2005, and coming first in her class for academia and practice. In 2006, Webster survived an act of extreme violence in a shooting which left her paralysed from the waist down. Within six months of the shooting, she was being wheeled from hospital into Master’s supervision and mentorship with Penny Siopis at the University of the Witwatersrand, which resulted in her first solo show in 2009 at David Krut Projects in Johannesburg. 

The show met with great acclaim: the Johannesburg Art Gallery acquiring the centrepiece painting of the exhibition and the bulk of the work being sold to experienced collectors. Art critic Michael Smith described her work in Mail & Guardian (2009) as ‘light years ahead of the simply sensational’. At the same time, Webster embarked on an in-depth study of painting and philosophy for her Master’s degree that has resulted in the expected fulfilment of her PhD in philosophy and painting in 2017. The relationship between writing and practice has been an intensive aspect of Webster’s career thus far, which has gained her critical recognition in the form of awards from both the Oppenheimer and Mellon Foundations. In 2013, Webster was assigned as part of the Goodman Gallery’s stable of artists, upon which they have published a number of her creative writings in 2013 and held her first solo show with the gallery in 2015. Referring to the intensity of the affect from the show, art critic Sylvia McKeown writes that ‘Some objects are steeped in emotion that is so powerful that onlookers can sense the soul of the object’s creator…in everyday life we call it great art.’ This relationship between states of consciousness in painting and the power of life experience to affect form was continued in her show Wisteria at Goodman Gallery Cape Town in April 2017, a year which proved to be full of success for Webster ,who also curated the ‘Emerging Painter’s exhibition at the Turbine art Fair, and was awarded her her PhD in Philosophy at the University of the Witwatersrand with no corrections.

Haroon Gunn-Salie

Haroon Gunn-Salie (b. 1989, Cape Town) translates community oral histories into artistic interventions and installations. His multidisciplinary practice utilises a variety of mediums, drawing focus to forms of collaboration in contemporary art based on dialogue and exchange. Gunn-Salie completed his BA Honours in sculpture at Michaelis School of Fine Art at the University of Cape Town in 2012, where his graduate exhibition titled Witness presented a site-specific body of work focusing on still unresolved issues of forced removals under apartheid. The artist worked with veteran residents of District Six, an area in central Cape Town where widespread forced removals occurred following the Group Areas Act of 1950.

Significant exhibitions and projects that have featured Gunn-Salie’s work include: Simon Castets and Hans Ulrich Obrist’s 89-plus project, for which he participated in the 89plus programme with Obrist at the 2014 Design Indaba in Cape Town; Making Africa: A Continent of Contemporary Design, which travelled to the Vitra Design Museum and Guggenheim Museum Bilbao (2015); What Remains is Tomorrow, the South African Pavilion at La Biennale di Venezia (2015); and the 19º Festival de Arte Contemporânea Sesc Videobrasil (2015).

Gunn-Salie was placed in the top five of the Sasol new signatures competition in 2013. At the 19º Festival de Arte Contemporânea Sesc Videobrasil in 2015 he was awarded the first ever SP-Arte/Videobrasil prize, designed to encourage and publicise the work of young artists whose lines of research focus on the debate surrounding the Global South. As part of the award, Gunn-Salie presented a solo exhibition at Galpão VB during the SP-Arte fair in São Paulo in 2016. In 2018, the artist’s work commemorating the Marikana Massacre, Senzenina, formed part of the Frieze Sculpture exhibition, London, and in the same year he was the recipient of the FNB Art Prize.

Haroon Gunn-Salie is currently based between Cape Town and Johannesburg.

Gerald Machona

Gerald Machona is a Zimbabwean born Visual artist with a Master’s Degree in Fine Art from Rhodes University and a Bachelor’s degree from the University of Cape Town, completed at the Michaelis School of fine art. Machona’s work has been included on several prominent international exhibitions, which include the South African Pavilion at the 56th Venice Biennale in Italy, All the World’s Futures and at the 20th Biennale of Sydney, The future is already here – it’s just not evenly distributed. Machona’s work has also appearedin exhibitions at the Brooklyn Museum in New York and at the Zeitz Museum of Contemporary Art Africa in Cape Town.

Machona works with sculpture, performance, new media, photography and film. The most notable aspect of his work is his innovative use of currency—particularly decommissioned Zimbabwean dollars—as an aesthetic material. Machona’s current work engages with issues of migration, transnationalism, social interaction and xenophobia in Africa.

In 2013, Machona featured in Mail and Guardian’s 200 Young South African’s supplemental and was selected by Business Day and the Johannesburg Art Fair in 2011 as one of the top ten young African artists practicing in South Africa. In 2019 Machona was included on the group exhibition Still Here Tomorrow to High Five You Yesterday at Zeitz MOCAA in Cape Town.