Untitled (Influx I), 2016
Lightjet C-prints mounted to Dibond
Work: 95 x 118 x each cm
The Brother Moves On
Country of my Skull, 2016
Treated and painted cows skull, zinc tub and marker drawing, vinyl, steel wire
Reiteration (Transparent Territory), 2016
Cut and reconstituted map fragments and acrylic ground on canvas
120 x 180 cm
A Small Escalating Refrain (Transparent Territory), 2016
Cut and reconstituted map fragments and acrylic ground on canvas
Work: 45 x 45 cm
A family picnic in the north-west. 15 August 2009 (A_0176), 2009
Digital print in pigment inks on cotton rag paper
A0 or A0+ / A0+
Hassan, from Our House Is on Fire series, 2013
Digital C-print and ink
Work: 152.4 x 121.9 cm Frame: 155.6 x 124.8 x 5.1 cm
Life Magazine, April 19, 1968, 1995
Three pigment prints mounted on Dibond
Work: 117 x 76 cm Frame: 122 x 81.5 x 5 cm
Goodman Gallery Cape Town
15 December 2016 – 14 January 2017
Lisa Brice / Kudzanai Chiurai / David Goldblatt / Alfredo Jaar / Samson Kambalu / Kendell Geers / William Kentridge / Liza Lou / Gerald Machona / Gerhard Marx / Shirin Neshat / Walter Oltmann / The Brother Moves On / Jessica Webster
For its end-of-year Summer Show, Goodman Gallery Cape Town has gathered together a selection of important pieces from both new and existing bodies of work by its artists. Taken as a whole, the show presents a textured and vibrant series of engagements with the artists’ social and political environments through photography, sculpture, drawing, prints and video. The exhibition serves an as opportunity to show works not yet seen in Cape Town, and to introduce visitors to artists newly represented by the gallery.
Despite its title, David Golblatt’s A family picnic in the north-west. 15 August 2009 focuses on a macro view of the landscape and structures in which this human scene is taking place. The photograph illustrates Goldblatt’s change in narrative style since shifting to working in colour. As writer Christoph Danelzik-Brüggemann says in the book Intersections: “In parallel with a continued emphasis on striking human situations, in landscapes he developed a visual language that accorded more meaning to space than to time. The formats became larger and a plethora of extremely precisely recorded details (blades of grass, stones, person) combined to form tableaux which the viewer’s eye can explore at leisure. As an overall picture emerges from these details, the viewer becomes aware that the image tells of our times, of the people who live in this land, and of the forces that shape it.”
Walter Oltmann’s Bristle Disguise uses woven alumnium and razor wire to reference local craft traditions. Covered in spikes that recall both the elaborate dress often used in ritualised African dance and the pulsating energy radiated in the activity, his bodysuit merges craft and art. Oltmann has researched and written extensively on the use of wire in African material culture in South Africa and is deeply interested in the influence of these traditions in contemporary South African art. “In my sculptures I use images of natural phenomena (human, plant and animal) and play with the idea of mutation, hybrids and reconfiguring the familiar. Through dramatically enlarging and/or transposing features of one to the other, I play with the paradox between vulnerability and the monstrous. Using the language of craft, my artworks are always a product of labour and time,” he says.
In 2005, American artist Liza Lou first travelled to South Africa to initiate an art project with Zulu beadworkers. Starting with 12 women from the surrounding townships of KwaZulu-Natal, Lou’s project has flourished and has now grown to a collective of over 25 artisans. Her commitment to this community of Zulu women and to exploring the process and testing the limits of her chosen material has led to a minimal, contemplative practice in which the material has become the subject. Untitled #13 is a prime example of the end result; a formal object that, through subtle imperfections, bears witness to the manual labour and personal investment at stake.
Country of my skull was one of the installations included on The Brother Moves On’s solo exhibition, Hlabelela, at Goodman Gallery Johannesburg. The exhibition questioned each member’s personal histories, cultural background and beliefs as a means of unsettling the idea of a homogenised black experience and its acceptance by white art institutions and discourse. The performances, installations and videos explored the complex identity of black youthful opposition but also questioned whether these contemporary traditions can exist within the established traditions of art institutions and art discourse.
Lisa Brice’s Well Worn 5 was part of a body of work that featured a cast of female protagonists engaged in autobiographical acts of looking and being looked at. Grooming, making up, stripping down, dressing up within the confines of domestic, private or veiled interiors, they range from depictions of adoration and loathing, to defiance and reinvention. The mirror reflection reoccurs as a central motif, simultaneously functioning as an alter-ego and an imagined audience beyond the private, as well as a formal device within the painting.
In Life Magazine, April 19, 1968, Alfredo Jaar deconstructs a renowned photograph of Martin Luther King’s funeral that provides a stark visual essay on the racial prejudices that lead to King’s assassination. The work typifies Jaar’s interest in the politics of images: their effect on modern society ”bombarded by thousands of images without warning, without mercy, containing messages of consumption crafted by marketing and communications experts”. He directs the viewer to the parts of the visual experience that they may not have considered in their reckoning of who has power, who does not, and why.
Samson Kambalu’s Nyau Cinema consists of site-specific performances captured on and made in conversation with the medium of film. Born in Malawi and now based in London, Kambalu regards his work as a form of playful dissent that fuses the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the Protestant tradition of inquiry, criticism and dissent. “In my tribe, the Chewa, excess time and resources are not sold; instead it is squandered in ‘useless’ activities such as the arts, funerals, initiations etc. – all led by Nyau masks,” he says. “The role of the Nyau mask is thus to orchestrate the giving of gifts,” which in a capitalist culture, he explains, would be considered the squandering of surplus time and wealth. He invokes the concept of “Gule Wamkulu” (literally the “Great Play”), a ritual masked dance performed by the Chewa, which he describes as “really the creation of ‘Situations’, where a gift can be given without incurring a debt”.
Gerhard Marx’s Transparent Territory series consists of drawings that have been constructed from the fragments of decommissioned and discarded terrestrial maps. The focus in these works is on the act of taking the flat, rectangular depictions of landmass and territory (which maps are intended to be), and reconfiguring them into mineral-like geometric constructions in which folds, facets and overlays construct spatial illusions along with a sense of depth and interiority within the flatness of the map. The series takes inspiration from early depictions of perspectival illusion, most notably Giotto’s clustering of architectural structures. The works also burrow into the flatness of geographic depiction through an act of ‘cartographic mining’, in which the solidity of the earth’s surface is ruptured into a transparent palimpsest of geography and historical time that undermines the authority and singular viewpoint of the two-dimensional map.
Kudzanai Chiurai’s Genesis [Je n’isi isi] CI and Genesis [Je n’isi isi] XI, from his photographic series of the same name, recount the stories of the men who ventured with Livingstone into unexplored territories in central Africa. They included other Europeans who sought similar adventures and the porters and guides who bore the weight of their supplies as well as slaves freed from Arab slave traders. It re-imagines Livingstone’s journey with the guiding principles that Christianity and commerce were inseparable.
Drawing is at the heart of William Kentridge’s artistic practice, forming the basis for works in other media, particularly film. South Africa’s preeminent contemporary artist, Kentridge has earned international acclaim for his layered and complex work, which includes operas, theatre productions and films incorporating his own sculpture and drawings as well as collaborations with dancers and composers. Waiting for the Fire, a large-scale drawing in Indian ink, illustrates his facility as a draughtsman, clearly evident in the animated charcoal drawings that first brought him to the world’s attention.
In the series Our House Is On Fire, originally made as a special commission for the Rauschenberg Foundation, Shirin Neshat was inspired by time she spent in Egypt in the aftermath of the revolution in 2011. In close-up portraits and details of hands and feet, meticulously inscribed with the words of poets of the Iranian revolution, Neshat tells a story of loss and mourning particular to her subjects and simultaneously universal.
In Untitled (Influx I) Gerald Machona has collaborated with Mozambican choreographer Guiamba to create a performance-based installation that seeks to transform migratory objects and garments. A Zimbabwean now living in South Africa, Machona’s work has dealt repeatedly with the theme of migration. Crucial to this artwork is an attempt to disrupt the 55-minute hour scheme used by Cape Town garment factories, where an assembly line of seamstresses was governed by a clock that would run 55 minutes of production and 5 minutes of recess every hour. Rather than rely on a clock to keep time and a metronome to indicate tempo, the artists have drawn rhythm from a sewing machine to stitch together the dance and installation.
Every year Jessica Webster dedicates some time to working as roughly and freely as possible with ink and bleach on paper. “By now I have amassed a huge stack of A3 works, but I see this set of earlier pieces as some of the most successful.” Using ink and paper allows the artist “to get back in touch with some of the fundamentals of my practice: this is the relationship between the two-dimensional surface and the imaginary spaces that composition orders,” she says. Inks 1-15 references Sol Le Witt’s series of drawings Variations of Incomplete Open Cubes (1974). “While Le Witt’s work is interpreted as symbolising the purely visual metaphors of rationality and the Enlightenment subject, my painted copies evoke the more fragile and unstable aspects of geometry. Using Le Witt’s series as readymade references me to focus on how the bare minimum of painterly strokes can create conflict between the sense of depth caused by geometrical perspective and the fluidity and gesturality of hand-painted lines. In some of the works I continue this investigation with other objects, provoking the imaginary sites upon which geometry and order comes to be projected.”
William Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), the Museum of Modern Art in New York (1998, 2010), the Albertina Museum in Vienna (2010), Jeu de Paume in Paris (2010), and the Musée du Louvre in Paris (2010), where he presented Carnets d’Egypte, a project conceived especially for the Egyptian Room. Kentridge’s production of Mozart’s The Magic Flute was presented at Theatre de la Monnaie in Brussels, Festival d’Aix, and in 2011 at La Scala in Milan, and his production of Shostakovich’s The Nose was seen at The New York Metropolitan Opera in 2010 and again in 2013, travelling to Festival d’Aix and to Lyon in 2011. The five-channel video and sound installation The Refusal of Time was made for Documenta (13) in Kassel, Germany, in 2012; since then it has been seen at MAXXI in Rome, the Metropolitan Museum, New York, and other cities including Boston, Perth, Kyoto, Helsinki and Wellington. A substantial survey exhibition of Kentridge’s work opened in Rio de Janeiro in 2012, going on in following years to Porto Alegre, São Paulo, Bogota, Medellin, and Mexico City. In the summer of 2014 Kentridge’s production of Schubert’s Winterreise opened at the Vienna Festival, Festival d’Aix, and Holland Festival. In the fall it opened at the Lincoln Center in New York. Paper Music, a concert of projections with live music by Philip Miller, opened in Florence in September 2014, and was presented at Carnegie Hall in New York in late October 2014. Both the installation The Refusal of Time and its companion performance piece Refuse the Hour were presented in Cape Town in February 2015. More recently, Kentridge’s production of the Alban Berg opera Wozzeck premiered at the Salzburg Festival in 2017, and last year his acclaimed performance project The Head & The Load opened at Tate Modern in London, and travelled to Park Avenue Armory in December 2018. In June 2019, A Poem That I Used To Know opened at Kunstmuseum, Basel in Switzerland. This comprehensive survey show includes early drawings, major film installations, sculpture and two new pieces, an installation and a film, produced by Kentridge in response to works in the museum’s permanent collection.
In 2010, Kentridge received the prestigious Kyoto Prize in recognition of his contributions in the field of arts and philosophy. In 2011, he was elected as an Honorary Member of the American Academy of Arts and Letters, and received the degree of Doctor of Literature honoris causa from the University of London. In 2012, Kentridge presented the Charles Eliot Norton Lectures at Harvard University and was elected member of the American Philosophical Society and of the American Academy of Arts and Sciences. Also in that year, he was awarded the Dan David Prize by Tel Aviv University, and was named as Commandeur des Arts et Lettres by the French Ministry of Culture and Communication. In 2013, William Kentridge was awarded an Honorary Doctorate in Fine Arts by Yale University and in 2014 received an Honorary Doctorate from the University of Cape Town.
Why Should I Hesitate, a major survey show, divided across the Norval Foundation and Zetiz MOCAA, opened in late August 2019 and will run until July 2020. In addition, Kentridge’s new opera project, Waiting for the Sibyl, premiered at Teatro dell’Opera di Roma in September 2019. Waiting for the Sibyl was created in response to Alexander Calder’s Work in Progress. Most recently, Kentridge’s production of Alban Berg opera Wozzeck ran at the Metropolitan Opera in New York.
South African-born, Belgian artist Kendell Geers changed his date of birth to May 1968 in order to give birth to himself as a work of art. Describing himself as an ‘AniMystikAKtivist’, Geers takes a syncretic approach to art that weaves together diverse Afro-European traditions, including animism, alchemy, mysticism, ritual and a socio-political activism laced with black humour, irony and cultural contradiction.
Geers’s work has been shown in numerous international group exhibitions, including the Venice Biennale (2007) and Documenta (2002). Major solo shows include Heart of Darkness at Iziko South African National Gallery in Cape Town (1993), Third World Disorder at Goodman Gallery Cape Town (2010) and more recently Songs of Innocence and of Experience at Goodman Gallery Johannesburg (2012). His exhibition Irrespektiv travelled to Newcastle, Ghent, Salamanca and Lyon between 2007 and 2009. Geers was included on Art Unlimited at Art 42 Basel in 2011. Work by Geers was included on Manifesta 9 in Genk, Limburg, Belgium and a major survey show of his work was exhibited at Haus der Kunst, Munich, Germany in 2013. Earlier this year Geers held a solo exhibition, The Second Coming (Do What Thou Wilt), at Rua Red in Dublin.
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.
Samson Kambalu is an artist and writer working in a variety of media, including site-specific installation, video, performance and literature. His work is autobiographical and approaches art as an arena for critical thought and sovereign activities. Born in Malawi, Kambalu’s work fuses aspects of the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the Protestant tradition of inquiry, criticism and dissent. He has been featured in major exhibitions and projects worldwide, including the Dakar Biennale (2014, 2016), Tokyo International Art Festival (2009) and the Liverpool Biennial (2004, 2016). He was included in All the World’s Futures, Venice Biennale 2015, curated by Okwui Enwezor. More recently Kambalu was the Malawi Cultural Consultant for the film The Boy Who Harnessed the Wind and translated the script into Chichewa. He also was included on the 2019 Dallas Medianale.
Kambalu studied at the University of Malawi (BA Fine Art and Ethnomusicology); Nottingham Trent University (MA Fine Art) and Chelsea College of Art and Design (PhD Fine Art). Kambalu, who began his academic career at the University of Malawi, has won research fellowships with Yale University and the Smithsonian Institution, and is an associate professor of Fine Art at Ruskin School of Art, and a fellow at Magdalen College, Oxford University.
Gerhard Marx (b. South Africa, 1976) develops his projects through an engagement with pre-existent conventions and practices. This process entails careful acts of dissection and rearrangement, which allow Marx to engage the poetic potential and philosophical assumptions of his chosen material, developing original drawing, sculptural and performative languages. Marx completed his undergraduate degree at the Michaelis School of Fine Art, UCT and received his MA (Fine Art) (Cum Laude) from Wits School of Art, Johannesburg.
Ecstatic Archive is Marx’s sixth solo project with the Goodman Gallery. Marx’s work is shown regularly at international art fairs, held in numerous public and private art collections and was included on the South African pavilion at the 2013 Venice Biennale. Marx has been involved in the making of numerous public sculptures, including The World On Its Hind Legs, a collaboration with William Kentridge (Beverley Hills, LA), Vertical Aerial: JHB, (the Old Ford, Constitution Hill, Johannesburg), The Fire Walker, in collaboration with William Kentridge (Queen Elizabeth Bridge, Johannesburg) and Paper Pigeon, in collaboration with Maja Marx (Pigeon Square, Johannesburg). In 2018 Marx participated in the third season at the Centre for the Less Good Idea with his project Vehicle, in collaboration with musicians Shane Cooper and Kyle Shepherd. Vehicle is scheduled to form part of the Holland Festival in June 2019.
He has extensive experience in theatre, as a scenographer, director, filmmaker and playmaker, including REwind: A Cantata for Voice, Tape and Testimony (directed by Marx, interactive film by Gerhard Marx and Maja Marx, composed by Philip Miller), performed at the Royal Festival Hall, Southbank, London (2010), the Market Theatre, Johannesburg (2008) and the 62’Centre, William College, Massachusetts (2007).
Marx is a fellow of the Sundance Film Institute, the Annenberg Fund and of the Ampersand Foundation.
As soon as you touch me I change
– Mr Gold, The Brother Moves On
Self proclaimed art movement The Brother Moves On is an ever-evolving performance art collective founded by Nkululeko Mthembu and his brother Siyabonga Mthembu. Determined to belie any one definition, the collective’s work is often deliberately improvised and unpredictable. Collaboration drives the collective, which strives to undermine the traditional authority of individual artist practice and ownership.
Long term members of the collective include Siyabonga Mthembu, Zelizwe Mthembu, Ayanda Zalekile, Simphiwe Tshabalala, Oscar Kgware, Itani Thalefi, Hlubi Vhakalise, Malcolm Jiyane , Nolan Oswald Dennis and Stuart Cairns but membership is constantly fluctuating and transient.
Various performers, writers, artists, musicians and activists may collaborate at any given time on different projects before moving on.
The collective create live performances and installations so that meaning is generated through an experience rather than contained within one object. Fiction, re-enactment and the fantastical are utilized in performances like The Afterlife of Mr Gold, which chronicles both the life and afterlife of a supernatural fat cat – and The Brother Breaks the Bullion and The Brother Burns the Bullion – where real word economics and queer identity are amalgamated into a fable of greed and power.
In combining elements of fiction, the supernatural and the fantastical with factual history or recorded ‘truths’ in their installations and performances, The Brother Moves On defamiliarises our experience of both our present and our past. Performative fiction, which drives so much of The Brother Moves On instigates the altered realities through which the collective critique and comment on the socio-political issues of our own reality.
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.
Liza Lou was born in New York City in 1969 and has lived in Los Angeles since 1990. She has had numerous solo exhibitions at venues including the Stiftung Museum Kunst Palast, Düsseldorf; Fundació Joan Miró, Barcelona; Henie Onstad Kunstsenter, Oslo; White Cube, London; Aspen Art Museum, and the Minneapolis Institute of Arts. Group shows include The Israel Museum, Jerusalem; Palais de Tokyo, Paris; Serpentine, London; Biennale d’art Contemporain de Lyon, and Taipei Biennale, among many others. The Dakis Joannou Collection, Cleveland Museum of Art, the Whitney Museum of American Art, Fondation Cartier, the Olbricht Collection, the François Pinault Foundation, and the Brant Foundation are but a few of the international collections that own her work.
In 2002, she was awarded a MacArthur Foundation Fellowship.
Lou has exhibited in numerous museums and galleries around the world, including, The New Museum of Contemporary Art, New York; The Metropolitan Museum of Art, New York; Victoria and Albert Museum, London; Los Angeles County Museum of Art, Los Angeles; Minneapolis Institute of Arts Minneapolis; Deste Foundation for Contemporary Art, Athens, Greece; Museum of Contemporary Art, Tokyo; Santa Monica Museum of Art, Santa Monica; and Smithsonian Institution of American Art, Washington, D.C.
The artist currently lives and works between Los Angeles and South Africa.
David Goldblatt (b.1930, Randfontein, South Africa) chronicled the structures, people and landscapes of his country from 1948 – through the rise of Afrikaner Nationalism, the apartheid regime and into the democratic era – until his death in June 2018. Goldblatt’s photography examines how South Africans have expressed their values through the structures, physical and ideological, that they have built. In 1989, Goldblatt founded the Market Photography Workshop in Johannesburg. In 1998 he was the first South African to have a solo exhibition at the Museum of Modern Art in New York. In 2001, a retrospective of his work, David Goldblatt Fifty-One Years began a tour of galleries and museums. He was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. He has held solo exhibitions at the Jewish Museum and the New Museum, both in New York. His work was included in the exhibition ILLUMInations at the 54th Venice Biennale in 2011, and has featured on shows at the San Francisco Museum of Modern Art and Barbican Centre in London and in 2018, a major retrospective at the Centre Pompidou in Paris. Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award, the 2013 ICP Infinity Award and in 2016, he was awarded the Commandeur des Arts et des Lettres by the Ministry of Culture of France.
Kudzanai Chiurai (b. 1981, Zimbabwe) was born one year after Zimbabwe’s emergence from white-ruled Rhodesia. Chiurai incorporates various media into his practice, which is largely focused around cycles of political, economic and social strife present in post-colonial societies.
Chiurai’s artwork confronts viewers with the psychological and physical experience of African metropolises. From large mixed media works and paintings to photography and video, Chiurai tackles some of the most pressing issues facing these environments, such as xenophobia, displacement and inequality.
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.
Alfredo Jaar (b. 1956, Santiago, Chile) is an artist, architect, and filmmaker who lives and works in New York. He is known as one of the most uncompromising, compelling, and innovative artists working today.
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.
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.
Born in 1960 in Rustenburg, Gauteng, South Africa, Walter Oltmann’s main area of focus is sculpture, and more particularly in fabricating woven wire forms, which sometimes reference local craft traditions. He has researched and written on the use of wire in African material culture in this region and is deeply interested in the influence of these traditions in contemporary South African art. He has had numerous solo exhibitions with the Goodman Gallery, and has created several large-scale commissions for venues such as the Zeitz Sculpture Garden in Segera, Kenya.
Lisa Brice (b.1968, Cape Town, South Africa) negotiates the precarious terrain of artistic production, as she moves between practices of spontaneous drawing and figure painting. She makes use of unexpected painting and printing techniques on a variety of surfaces, which include canvas and tracing paper. For Brice, the act of tracing often leads her to a repetition of similar motifs or figures in her work, sometimes biographical, and at other times art historical: ‘I am attracted to the idea of repetition,’ Brice remarks, ‘Chasing that high, stories told and retold.’
In 2006 Brice had her first solo exhibition of paintings at Goodman Gallery Johannesburg, titled Night Vision, in which she reflected on the uncertainties of childhood. In 2009, a solo show, More Wood for the Fire, was presented at Goodman Gallery Johannesburg; the exhibition detailed Brice’s relationship with the island of Trinidad. In 2011, Brice’s work was included in the Vitamin P2 publication, Phaidon’s major anthology of international painting. In 2012, Brice presented a solo exhibition titled Throwing the Floor at Goodman Gallery in Cape Town. She has had subsequent shows at Goodman Gallery Johannesburg in 2015 titled Well Worn, and in June 2016 she was included on a show at Camden Art’s Centre in London Making & Unmaking curated by Duro Olowu. Brice had her first solo museum exhibition in the UK at the Tate Britain in 2018, where she exhibited large scale paintings which addressed the longstanding art-historical tradition of the female nude.
The artist lives and works in London, UK.