Mikhael Subotzky / WYE

Mikhael Subotzky / WYE
02 March - 01 April 2017
Installation View
Mikhael Subotzky
WYE, Film Still 5 (1393), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 25 - The Fault, Black Man..., 2016
Pigment inks, Micropore dressing tape and J-Lar tape on cotton paper
69 x 70,5 cm
Mikhael Subotzky
WYE Study 10 (1403), 2016
Graphite and J-Lar tape on paper
20,6 x 14 cm
Mikhael Subotzky
Sticky-tape Transfer 22 - South (or Africa-Political and Sea Routes), 2017
Pigment inks, correction tape and J-Lar tape on cotton paper
196,5 x 150 cm
Mikhael Subotzky
WYE, Film Still 1 , 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 26 - Lethbridge, Hermanus and Feio (with Hare), 2016
Pigment inks and J-Lar tape on cotton paper
59 x 50 cm
Mikhael Subotzky
WYE, Film Still 16 (1451), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 19 (1423), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 22 (1461), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 25 (1297), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE Study 21, 2016
Pigment inks and J-Lar tape on cotton paper
25,5 x 37,6 cm
Mikhael Subotzky
Sticky-tape Transfer 19 - #feesmustfall (or Protecting the Architecture of Reason), 2016
Spray paint, pigment inks and J-lar on cotton paper
201 x 257 cm
Mikhael Subotzky
WYE, Film Still 3 (1391), 2016
Inkjet print on cotton rag paper
Image: 22.5 x 30 cm Work: 34.5 x 40 cm
Mikhael Subotzky
WYE, Film Still 30 (1416), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 33 - Dear Gemma / Gentlemen of the Dowsing Guild (1560), 2017
Pigment inks and J-Lar tape on cotton paper
150 x 101,5 cm (x 3)
Mikhael Subotzky
Title: WYE Poster 2 (Feio) (1565), 2017
Digital poster
35.6 x 55.9 cm
Mikhael Subotzky
WYE, Film Still 2 (1417), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 9 (0928), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 11 (1443), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 24 , 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE Study 17 (0461), 2016
Pen and J-Lar tape on paper
14,2 x 20,6 cm
Mikhael Subotzky
WYE Study 8 (1401), 2016
Pen and J-Lar tape on paper
20,6 x 13,8 cm
Mikhael Subotzky
WYE, Film Still 15 (1083), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 30, One and Three Hares, 2016
Pigment inks, oil stick and J-Lar tape on cotton paper
270 x 270 cm
Mikhael Subotzky
Title: WYE Poster 3 (Hare) (1566), 2017
Digital poster
35.6 x 55.9 cm
Mikhael Subotzky
WYE, Film Still 14 (0974), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 27 (1467), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 35 - Hermanus (1554), 2017
Pigment inks and J-Lar tape on cotton paper
76 x 94 cm
Mikhael Subotzky
Sticky-tape Transfer 37 - Feio (or looking at Blue), 2017
Pigment inks and J-Lar tape on cotton paper
60 x 57 cm
Mikhael Subotzky
WYE Study 19, 2016
Pigment inks and J-Lar tape on cotton paper
33,5 x 25,5 cm, framed: 42.5cm x 32.5 cm
Mikhael Subotzky
Sticky-tape Transfer 27 - Anger (or No Public Thoroughfare after a gas explosion at the Port Elizabeth train station) (1533), 2016
Pigment inks and J-Lar tape on cotton paper
201 x 257 cm
Mikhael Subotzky
Sticky-tape Transfer 18 - Halcyon Days (or a Boeing 747, pride of the South African Airways), 2017
Pigment inks, fineliner and J-Lar tape on cotton paper
Work: 117  x 129 cm Frame: 134 x 147 x 6 cm
Mikhael Subotzky
WYE, Film Still 6 (1394), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 7 (1395), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, 2016
Three-channel video installation
48 minutes 30 seconds
Mikhael Subotzky
Sticky-tape Transfer 38 - Hermanus 2 (1562), 2017
Pigment inks and J-Lar tape on cotton paper
39 cm (H) x 33 cm (W)
Mikhael Subotzky
Sticky-tape Transfer 20 - R. Wye (or The British Isles - political) (0982), 2017
Pigment inks, correction tape and J-Lar tape on cotton paper

Mikhael Subotzky
WYE, Film Still 4 (1419), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 8 (1435), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 13 (0973), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 29 (1476), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 34 - Lethbridge , 2017
Pigment inks and J-Lar tape on cotton paper
74 x 88 cm
Mikhael Subotzky
Sticky-tape Transfer 23 - Like Ostriches from the Other Side, 2016
Pigment inks, fineliner, Micropore dressing tape and J-Lar tape on cotton paper
Front: 49 x 68 cm and Back: 36,6 x 51,7 cm. Framed: 65 x 95 cm
Mikhael Subotzky
WYE Study 7 (1400), 2016
Graphite and J-Lar tape on paper
20,6 x 14,1 cm
Mikhael Subotzky
WYE, Film Still 21 , 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 32 - Script Sketch (or Detecting and Divining) (1541), 2017
Pigment inks and J-Lar tape on cotton paper
70 x 209 cm (x 2)
Mikhael Subotzky
WYE, Film Still 23 (1427), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 26 , 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 29 - Zeno's WYE, 2017
Pigment inks and J-Lar tape on cotton paper
240 x 174 cm
Mikhael Subotzky
WYE Poster Triptych (1563), 2017
Pigment inks, correction tape and J-Lar tape on cotton paper

Mikhael Subotzky
WYE Study 11 (1404), 2016
Pen and J-Lar tape on paper
20,6 x 14 cm
Mikhael Subotzky
Sticky-tape Transfer 21 - Unexplored (or Australia), 2017
Pigment inks, correction tape and J-Lar tape on cotton paper
170 x 176 cm
Mikhael Subotzky
WYE, Film Still 12 (0966), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 36 - Hare, 2017
Pigment inks and J-Lar tape on cotton paper
70 x 86 cm
Mikhael Subotzky
WYE Study 20, 2016
Pigment inks and J-Lar tape on cotton paper
28,5 x 35,4 cm
Mikhael Subotzky
Sticky-tape Transfer 24 - Troglodyte (Immortal), 2016
Acrylic, pigment inks, fineliner and J-Lar tape on cotton paper
85 x 112 cm
Mikhael Subotzky
WYE, Film Still 17 (1460), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 20 (1424), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
WYE, Film Still 28 (1468), 2016
inkjet print on cotton rag paper
Image size 22,5 x 30 cm, Paper Size 34,5 x 40cm
Mikhael Subotzky
Sticky-tape Transfer 31 - Port Elizabeth Beach 1820 or 1970 (After Baines or Photographer Unknown) (1558), 2017
Pigment inks and J-Lar tape on cotton paper
140 x 178,5 (x 2)
Mikhael Subotzky
WYE Study 18, 2016
Pigment inks and J-Lar tape on cotton paper
23,5 x 17,7 cm
Mikhael Subotzky
WYE Poster 1 (Lethbridge) (1564), 2017
Digital poster
35.6 x 55.9 cm

Mikhael Subotzky / WYE - Installation View

02 March - 01 April 2017

Mikhael Subotzky

WYE, Film Still 5 (1393)

Mikhael Subotzky

Sticky-tape Transfer 25 - The Fault, Black Man...

Mikhael Subotzky

WYE Study 10 (1403)

Mikhael Subotzky

Sticky-tape Transfer 22 - South (or Africa-Political and Sea Routes)

Mikhael Subotzky

WYE, Film Still 1

Mikhael Subotzky

Sticky-tape Transfer 26 - Lethbridge, Hermanus and Feio (with Hare)

Mikhael Subotzky

WYE, Film Still 16 (1451)

Mikhael Subotzky

WYE, Film Still 19 (1423)

Mikhael Subotzky

WYE, Film Still 22 (1461)

Mikhael Subotzky

WYE, Film Still 25 (1297)

Mikhael Subotzky

WYE Study 21

Mikhael Subotzky

Sticky-tape Transfer 19 - #feesmustfall (or Protecting the Architecture of Reason)

Mikhael Subotzky

WYE, Film Still 3 (1391)

Mikhael Subotzky

WYE, Film Still 30 (1416)

Mikhael Subotzky

Sticky-tape Transfer 33 - Dear Gemma / Gentlemen of the Dowsing Guild (1560)

Mikhael Subotzky

Title: WYE Poster 2 (Feio) (1565)

Mikhael Subotzky

WYE, Film Still 2 (1417)

Mikhael Subotzky

WYE, Film Still 9 (0928)

Mikhael Subotzky

WYE, Film Still 11 (1443)

Mikhael Subotzky

WYE, Film Still 24

Mikhael Subotzky

WYE Study 17 (0461)

Mikhael Subotzky

WYE Study 8 (1401)

Mikhael Subotzky

WYE, Film Still 15 (1083)

Mikhael Subotzky

Sticky-tape Transfer 30, One and Three Hares

Mikhael Subotzky

Title: WYE Poster 3 (Hare) (1566)

Mikhael Subotzky

WYE, Film Still 14 (0974)

Mikhael Subotzky

WYE, Film Still 27 (1467)

Mikhael Subotzky

Sticky-tape Transfer 35 - Hermanus (1554)

Mikhael Subotzky

Sticky-tape Transfer 37 - Feio (or looking at Blue)

Mikhael Subotzky

WYE Study 19

Mikhael Subotzky

Sticky-tape Transfer 27 - Anger (or No Public Thoroughfare after a gas explosion at the Port Elizabeth train station) (1533)

Mikhael Subotzky

Sticky-tape Transfer 18 - Halcyon Days (or a Boeing 747, pride of the South African Airways)

Mikhael Subotzky

WYE, Film Still 6 (1394)

Mikhael Subotzky

WYE, Film Still 7 (1395)

Mikhael Subotzky

WYE

Mikhael Subotzky

Sticky-tape Transfer 38 - Hermanus 2 (1562)

Mikhael Subotzky

Sticky-tape Transfer 20 - R. Wye (or The British Isles - political) (0982)

Mikhael Subotzky

WYE, Film Still 4 (1419)

Mikhael Subotzky

WYE, Film Still 8 (1435)

Mikhael Subotzky

WYE, Film Still 13 (0973)

Mikhael Subotzky

WYE, Film Still 29 (1476)

Mikhael Subotzky

Sticky-tape Transfer 34 - Lethbridge

Mikhael Subotzky

Sticky-tape Transfer 23 - Like Ostriches from the Other Side

Mikhael Subotzky

WYE Study 7 (1400)

Mikhael Subotzky

WYE, Film Still 21

Mikhael Subotzky

Sticky-tape Transfer 32 - Script Sketch (or Detecting and Divining) (1541)

Mikhael Subotzky

WYE, Film Still 23 (1427)

Mikhael Subotzky

WYE, Film Still 26

Mikhael Subotzky

Sticky-tape Transfer 29 - Zeno's WYE

Mikhael Subotzky

WYE Poster Triptych (1563)

Mikhael Subotzky

WYE Study 11 (1404)

Mikhael Subotzky

Sticky-tape Transfer 21 - Unexplored (or Australia)

Mikhael Subotzky

WYE, Film Still 12 (0966)

Mikhael Subotzky

Sticky-tape Transfer 36 - Hare

Mikhael Subotzky

WYE Study 20

Mikhael Subotzky

Sticky-tape Transfer 24 - Troglodyte (Immortal)

Mikhael Subotzky

WYE, Film Still 17 (1460)

Mikhael Subotzky

WYE, Film Still 20 (1424)

Mikhael Subotzky

WYE, Film Still 28 (1468)

Mikhael Subotzky

Sticky-tape Transfer 31 - Port Elizabeth Beach 1820 or 1970 (After Baines or Photographer Unknown) (1558)

Mikhael Subotzky

WYE Study 18

Mikhael Subotzky

WYE Poster 1 (Lethbridge) (1564)

Goodman Gallery Johannesburg

2 March – 1 April 2017

In WYE, an immersive three-screen film installation, Mikhael Subotzky treads the tumultuous terrain of the “white male psyche”.

When three fictional protagonists travel between England, South Africa and Australia, their projections onto these landscapes mirror colonial mindsets in the historicised past, the vexed present, and an imagined post-corporeal future.

According to Subotzky: “The white South African man carries the mark of the colonial explorer whose ‘superior’ relationship to ‘foreign’ lands sticks stubbornly to their projected and internalised positioning in the contemporary body politic.”

An unsettling and beautiful piece, WYE tackles white guilt with demanding complexity. While, on one screen, we inhabit the intrinsically arrogant mindset of a 19th-century British settler on his arrival to the Eastern Cape, on another we follow a 21st-century South African man who walks a Port Elizabeth beach seeking a ‘blank canvas’ free of crime and ‘politics’ before emigrating to Australia. on the third screen we enter the white male body itself, which has become ‘colonised’ in the name of a futuristic form of psycho-anthropology.

According to curator and writer Nina Miall: “At the heart of WYE is an artist attempting to convey the evolving political nuances of his own position in relation to his subject, and […] to ‘scratch at the surface’ of the vexed terrain of post-apartheid South Africa, to mine its […] historical scars, contemporary anxieties and future disaffinities.”

The title WYE alludes to the 19th-century Romantic idealisation of the River Wye – the spiritual home of the English picturesque at a time when European imperialists swept inland in Australia and Southern Africa. The title also invokes the ‘wye’ structure of the letter ‘Y’, which is used in engineering and railroad parlance (two of the building blocks of the British colonial project), and a shape that echoes the triangular narrative structure of the three interconnected films.

This exhibition marks _WYE_’s debut in South Africa, after it was commissioned and exhibited by the Sherman Contemporary Art Foundation (Sydney) in 2016. WYE was produced by Laurence Hamburger (goodcop) and filmed by the legendary German cinematographer Jörg Schmidt-Reitwein (Werner Herzog’s Nosferatu the Vampyre and Woyzeck).

As an artist working mainly in film and photography, as well as collage and drawing, Subotzky engages critically with contemporary politics of mis/representation. For this show, he flips the lens inwards to channel the colonial perspective, collapsing it from within rather than criticising it from the objective distance that often characterises historical documentary forms.

Further works exhibited contextualise WYE within the artist’s broader practice include his colloquially named Sticky Tape Transfers, which peel apart depictions of past and present South Africa to interrupt the surface of images and complicate their function.

“At the heart of my work is a fixation with revealing the gap between what is presented (and idealised) and what is hidden, coupled with a desire to pull apart and reassemble the schizophrenia of contemporary existence,” says Subotzky.

Mikhael Subotzky’s work was included in the Liverpool (2012) and Lubumbashi (2013) Biennials, and Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale.

Subotzky’s work is exhibited and collected widely in South Africa and abroad. A large installation of his work was recently acquired by the Centre Georges Pompidou (Paris) and he is represented in public collections worldwide, including the Museum of Modern Art (New York), the Solomon R. Guggenheim Collection (New York), The National Gallery of Art (Washington), the Tate collection (London), The South African National Gallery (Cape Town) and the Johannesburg Art Gallery.

Recent awards include the Deutsche Borse Photography Prize (with Patrick Waterhouse, 2015) as well as the Standard Bank Young Artist for Visual Art award (2012) and the Discovery Award at Rencontres de la Photographie Arles (2011).

Subotzky was born in 1981 in Cape Town, South Africa, and is currently based in Johannesburg.

Mikhael Subotzky

Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation. Subotzky has exhibited in a series of important international exhibitions, including most recently Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in the fall of 2020.

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), and the South African National Gallery, among others.

Subotzky’s work was included in the Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015).