From 20 December 2016, Alfredo Jaar and Adam Broomberg & Oliver Chanarin will feature on the group exhibition Breaking News: Turning the Lens on Mass Media, at the J. Paul Getty Museum in Los Angeles (runs until April 30, 2017). The show will include work by artists who appropriate the news to suggest the power of the media in determining the meaning of images. Jaar will exhibit Searching for Africa in LIFE (1996) – a critique of the West’s neglect of Africa, embodied here by LIFE magazine’s supposedly world-encompassing mission to convey cultural richness and global “great events” to its readership. The exhibition will also include Broomberg & Chanarin’s limited-edition book, War Primer 2 (2011), which is the “belated sequel” to Bertolt Brecht’s 1955 publication, War Primer. Whereas Brecht was concerned with images of the Second World War, Broomberg & Chanarin focus on images of conflict on both sides of the so-called “war on terror”.
Alfredo Jaar’s lightbox piece, Other People Think (2011), will feature on The Politics of Images at Galeria Massangana, Joaquim Nabuco Foundation in Recife, Brazil, running from 3 December 2016 to 28 February 2017. The artwork pays homage to a speech written by composer John Cage at age 15 for the Southern California Oratorical contest, which he delivered on US/Latin American relations at the Hollywood Bowl in 1927. The speech declares that “it is our task to consider Latin American thought and respect it,” suggesting silence as a tool to listen and learn what other people think.
Jaar’s work also appears on the exhibition The Social Machine at Malmö Kunstmuseum in Malmö, Sweden until 15 January 2017 and on the XII Bienal Monterray FEMSAIN Mexico until January 2017.
South Africa: The Art of a Nation at London’s British Museum includes an work from David Goldblatt’s photographic series The Transported of KwaNdebele, Candice Breitz’s video work Extra, and It Left Him Cold by Sam Nhlengethwa. It runs until 26 February 2017.
Work by Kendell Geers and Mounir Fatmi appears on the exhibition DÉPENSES, curated by Léa Bismuth, in which 11 artists respond to the writing of Georges Bataille. The exhibition, at Labanque in Béthune, France until 26 February 2017, will feature Geers’ Kaput Mortuum XXXV (2014) and The Rest (2016) by Fatmi.
Kendell Geers features on the exhibition BXL Universal at Centrale for Contemporary Art in Brussels, until 26 March 2017. The group show presents an assemblage of unique “portraits” of the Belgian capital, through archival documents, photographs, films and more. All participating artists live and work in the city.
Mounir Fatmi currently has his second solo exhibition at ADN Galeria in Barcelona, titled The Index and the Machine, which runs until April 2017. The show’s title harks back to the Renaissance period when the printing machine was created and when the first Index (the list of books prohibited by the Church) was published. The printing press was one of the defining inventions of the Renaissance, dramatically shifting the terms of cultural production by allowing for the dissemination of ideas beyond the teachings of the church, but also the proliferation of Bible publications and the Church’s List of Prohibited Books (Index librorum prohibitorum). These hallmark moments of the Western Renaissance form the basis of Fatmi’s show.
Tracey Rose will open her first solo exhibition in Argentina at The Museo de Arte Moderno de Buenos Aires on 15 December 2016, running until 12 March 2017. In Tracey Rose: Toro Salvaje (Wild Bull), the artist constructs a chaotic playground in the museum, which, according to ArtPR, operates as an “analysis of the subterranean crossroads of the Argentine dictatorship’s political legacy, the assassination of the architect of apartheid in Rose’s native South Africa, and the collision of Adolf Hitler and Eva Braun’s escape submarine with Mount Rushmore and American Gothic. A political landscape told with the innocence of childhood reverie.”
Haroon Gunn-Salie’s powerful exhibition Agridoce took place at the Galpão VB in São Paulo as part of the SP-Arte/Videobrasil prize in April 2016. Working in the aftermath of the Rio Doce disaster – one of the worst environmental disasters in Brazilian history – Gunn-Salie created a site-specific installation, rebuilding part of one of the flooded houses at Galpão VB. As an extension to his Agridoce project, Gunn-Salie conceptualised Below the Line for the Museum of Congonhas in Belo Horizonte, in a partnership with UNESCO, IPHAN and IEPHA. The work includes casts of sections, imagined in ruins, of the Twelve Prophets, a group of soapstone sculptures completed between 1800 and 1805 by the artist Antônio Francisco Lisboa, commonly known as Aleijadinho. Runs until March 2017.
Sue Williamson’s Mementoes of District Six (1993) will be included in Third Space /shifting conversations about contemporary art, an upcoming exhibition at the Birmingham Museum of Art in Alabama, curated by Wassan Al-Khudhairi, Hugh Kaul Curator of Modern and Contemporary Art. The exhibition will run from 27 January 2017 to early January 2019. Third Space brings together more than 100 works of art, primarily from the Museum’s permanent collection of contemporary art, to examine the notion of the Global South from the perspective of the American South, and to challenge visitors to see a reflection of their culture within a global context. Mementoes of District Six was exhibited at the Venice Biennale in 1993.
From 7 July to 15 December Williamson’s work appears on the next leg of the exhibition Lucy’s Iris at the Musée départemental d’art contemporain de Rochechouart in France. Twenty artists show Africa from various perspectives, looking at the role of women on the continent, addressing issues such as the environment, memory, colonial history or identity.