Adam Broomberg & Oliver Chanarin are participating on the group show Conflict, Time and Photography at the Tate Modern which runs until 15 March 2015. Broomberg & Chanarin are also exhibiting their non figurative action photographs The Day Nobody Died as part of the 10th Shanghai Biennale until 31 March 2015.
Using Bertolt Brecht and Hanns Eisler’s unfinished opera War Primer as raw material, artists Adam Broomberg and Oliver Chanarin choreograph a performance of 18 Cadets, responding to specific photographic works in the Tate Modern exhibition Conflict, Time, Photography.
Broomberg and Chanarin received the Deutsche Börse Photography Prize in 2013 for their publication also entitled War Primer 2.
Kudzanai Chiurai’s Defining the State of a Nation runs at Zeitz MOCAA Pavilion at the V&A Waterfront until 1 February 2015. MOCAA has the largest collection of Kudzanai Chuirai in the world comprising 63 artworks. This major presentation of work by Chuirai—including the re-creation of his entire dOCUMENTA (13) installation from Kassel, Germany, bought by Zeitz MOCAA as an act of preservation—takes place in three parts. Part One ran from 9 to 30 November 2014, Part Two runs from 6 December 2014 to 4 January 2015 and Part Three will run from 10 January to 1 February 2015.
The Goodman Gallery attends Art Basel Mail Beach from the 4th to 7th of December at the Miami Convention centre, exhibiting the works by Willem Boshoff, Adam Broomberg & Oliver Chanarin, Mounir Fatmi, Kendell Geers, Alfredo Jaar, William Kentridge, Liza Lou, Mikhael Subotzky, Hank Willis Thomas and Jeremy Wafer. This year’s Art Basel Miami Beach’s Art Public sector features work by Goodman Gallery artists Jaar and Thomas while young artists Haroon Gunn-Salie and Gerald Machona both have work on the film sector. Tracey Rose will present a continuous performance piece in the Positions sector where she will be represented by Dan Gunn.
Mikhael Subotzky and Patrick Waterhouse are shortlisted for the Deutsche Börse Photography Prize 2015
Mikhael Subotzky and Patrick Waterhouse are shortlisted for their publication Ponte City (Steidl, 2014) for the Deutsche Börse Photography Prize 2015. The publication comprises 17 booklets containing essays and personal stories that complete a narrative of the well-known Johannesburg landmark. The annual award of £30,000 rewards living photographers, of any nationality, for a specific body of work in an exhibition or publication format, which is felt to have significantly contributed to photography in Europe between October 2013 and September 2014.
Hasan and Husein Essop, recipients of the Standard Bank Young Artist Award for Visual Art in 2014, exhibit their collaborative photographic series Unrest at the Iziko South African National Gallery until 21 January 2015. The series highlights a multi-cultural clash between religion and popular culture. According to the exhibition statement, “Each photograph reflects the twins in a battle of moral, religious and cultural conflict. Two dominant personalities appear, East and West, with all their stereotypes, and environments are chosen as stages on which to perform and define their behaviours.” The exhibition is an official Art Week Cape Town 2014 event.
William Kentridge will receive an Honorary Doctorate from the University of Cape Town at the December Graduation Ceremony. The stage production Ubu & the Truth Commission, made with Handspring Puppet Company and first performed in 1997, has been seen in the past six months in Sao Paolo, Bogota, Grahamstown, Taipei and Edinburgh, and in coming months continues to Florence, Brussels, Athens, Toronto, Vancouver and Berkeley. Both the installation The Refusal of Time and its companion performance piece Refuse the Hour will be presented in Cape Town in February 2015. Kentridge’s production of Schubert’s Winterreise will continue to be performed in different cities (including Moscow, Singapore, Seoul, Luxemburg, Sydney, Lisbon, San Francisco, Paris, Lille, Barcelona, Rio de Janeiro and Sao Paolo) as will Paper Music, the cineconcert made with composer Philip Miller (confirmed venues include Abu Dhabi and Cluj in Romania). The current exhibition at Wits Art Museum, Johannesburg, of tapestries created by Kentridge and produced by the Marguerite Stephens Tapestry Studio has been extended until the end of February 2015.
The paintings of Carla Busuttil will be exhibited in the group show Figuratively Speaking at Heike Moras Art in London from 15 January to 11 February 2015. The exhibition is made up of artworks by a group of largely London-based artists who use the human body as their inspiration and playing field. Employing a more gestural or expressionistic style, the artists depict the human form using diverse approaches that question embodiment in our current post-Internet age. Busuttil will be one of the artists in conversation with Sacha Craddock on 29 January 2015.
Mikhael Subotzky and Patrick Waterhouse’s photographic exploration of the changing fortunes of Ponte City, the tallest residential building in Africa, is exhibited at the Photography Gallery at the Scottish National Portrait Gallery, Edinburgh, from 6 December 2014 to 26 April 2015. The only scheduled showing of the Ponte City collection in the United Kingdom, the exhibition is accompanied by the Steidl publication Ponte City which was nominated for a Paris-Photo Aperture Foundation Photo book Award 2014.
Mikhale Subotzky and Patrick Waterhouse’s photographic book Ponte City (Steidl) has been nominated for a Paris Photo-Aperture Foundation PhotoBook award for 2014. The shortlist for the award was announced by Todd Hido at the New York Art Book Fair on 26 September. Initiated in November 2011 by Aperture Foundation and Paris Photo, the Paris Photo–Aperture Foundation PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of photography, with two major categories: First PhotoBook and PhotoBook of the Year. For this, their fourth edition, the Awards introduced a new third category: Photography Catalogue of the Year. Subotzky was nominated in 2011 for his book Retinal Shift (Steidl).
Work by Tracey Rose is included in the exhibition Theory of Colour, curated by Cuauhtemoc Medina at the Museum of the National University of Mexico until 7 February 2015. According to the curator’s statement the exhibition showcases contemporary art produced over the past decade that deals with racism from a diversity of approaches: “nationalism, scientism, homogenisation, exoticisation, colonisation, exploitation and sexualisation”. Her work will also be included in the group exhibition Body Talk: Feminism, Sexuality and the Body in the Work of African Women Artists, curated by Koyo Kouoh at WIELS Contemporary Art Centre, in Brussels, from 18 February 2015 until May 2015.
Hank Willis Thomas is included in the exhibition of works by the Goodman Gallery at Frieze London from 15–18 October. Thomas is teaching part-time this fall as a Visiting Artist in the graduate photography and film department at Virginia Commonwealth University. His transmedia project titled Question Bridge, which facilitates a dialogue between black men from diverse backgrounds, will be shown at a number of galleries across the United States throughout October, including the Fabric Workshop in Philadelphia from October 2 to January 3, 2015; the Schomburg Center for African American Culture and Research, New York City from October 3 to January 11, 2015; Winthrop University, Rock Hill, from October 7 to November 16; Rochester Contemporary Art, from October 3 to November 8; San Diego African American Museum of Art; and the Community Folk Art Center, Syracuse University, Syracuse, NY from October 23 to December 13. Thomas’ work is also on show in October at galleries in Ho Chi Minh City, Sao Paolo and Paris.
The solo exhibition by Mounir Fatmi titled Walking on the Light shows at the Centre de Création Contemporaine in Tours, France, until in 18 January 2015. Group shows exhibiting the work of Fatmi into 2015 include the inaugural exhibition 1914-2014: One Hundred Years of Creation in Morocco at the Musée Mohammed VI in Rabat, Morocco that runs until June 2015; Le Maroc Contemporain at the Institut du Monde Arabe, Paris, France that runs until 25 January, 2015; Memory, Place, Desire: Contemporary Art of the Maghreb and the Maghrebi Diaspora at the Cantor Fitzgerald Gallery, Haverford college, until 15 December and Entre Nosotros (Between us) that runs at the Centro de Arte y Technologia, in Zaragoza, Spain, until 28 February 2015.
William Kentridge’s first large-scale solo exhibition in South America, Fortuna, has been travelling since October 2012. This extensive retrospective – conceived in close collaboration with the artist and designed especially for this tour – highlights Kentridge’s unique artistic process rather than focussing on a particular theme. The exhibition features six to seven rooms or sections comprising works ranging from 1989 to 2012. The retrospective has travelled to Instituto Moreira Salles (IMS) in Rio de Janeiro, Fundaçao Ibere Camargo (FIC), Porto Alegre, Pinacoteca Do Estado De Sao Paulo, Sao Paulo. Museo de Arte del Banco de la Republica, Bogota. It will run at Museo de Arte Moderno, Medellin from 30 July to 03 November 2014.
Goodman Gallery is pleased to announce Africans in America, a three-part project curated by Hank Willis Thomas. The focus of the project is on artists who are African immigrants or first generation Americans of African parents living in the United States. Africans in America will launch in 2015 and alternate between Goodman Gallery spaces in Johannesburg and Cape Town leading up to the Gallery’s 50th anniversary in 2016. Thomas is a photo-conceptual artist working primarily with themes related to identity, history and popular culture. He has a longstanding interest in the strains and connections between Africa, America and related notions of diaspora and home.
Rising 54 storeys high, Ponte City is the tallest residential building in Africa. Since 1975 this iconic structure has punctuated the Johannesburg skyline, originally offering cosmopolitan living for white South Africa. In the post-apartheid years the building became more integrated, with many people relocating from townships and recently it has become home for immigrants from other African countries. In 2007 developers planned a major refurbishment of the tower block; although the renovation began it was never completed—leaving the structure in a semi-destructed state, while tenants, those who had not yet been evicted or were simply squatting, still occupied flats in the block.
It was during this time period that the tower became the subject of a creative collaboration between South African photographer, Mikhael Subotzky and British artist, Patrick Waterhouse. They interviewed the remaining tenants and recorded the half-occupied building through a series of photographs and a collection of documents and other debris from the abandoned units. They began working at the monolithic block in 2007 and over the next five years they returned repeatedly to document the building: photographing every door in the multi-level structure and the view from every window; archiving the lives of the residents, from capturing what they were watching on TV to gathering discarded belongings. Cumulatively the work provides a cross-section of an iconic South African landmark that continues to symbolize the hopes and fears of the country’s most populous city, and in turn, this post-apartheid nation.
These images of Ponte City are featured in an exhibition that will open at the Scottish National Portrait Gallery on 6 December 2014 and will be the only UK showing. The exhibition is accompanied by the Steidl publication, Ponte City, which is nominated for a Paris Photo-Aperture Foundation Photobook Award 2014.
Mikhael Subotzky (b.1981) graduated with distinction from the Michaelis School of Fine Art at the University of Cape Town. He is an associate of Magnum Photographs and his work is included in the permanent collections of the Museum of Modern Art, New York, the South African National Gallery, Cape Town and Victoria & Albert Museum, London. Patrick Waterhouse (b. 1981) graduated with a BA from the Camberwell College of Art in 2003. He works in different media including drawings, prints, photographs, and artist’s books. He has published a fully illustrated version of Dante’s Inferno.
The exhibition is organized by Le Bal, Paris and Foto Museum, Antwerp.
Marian Goodman Gallery, New York, is showing an exhibition of recent work by South African artist William Kentridge until 26 November 2014.
The exhibition presents a selection of recent work by Kentridge and is organised to run concurrently with the U.S. premiere of Paper Music: A Ciné Concert by William Kentridge and Philip Miller at Carnegie Hall. Two new films from Paper Music — Emergency and Trio for 4 Hands — will be projected in the viewing room at the gallery. There are also drawings from the films: on the north wall there are drawings made from India ink and red pencil on paper sourced from old dictionaries, whilst on the east wall hangs a series of long narrow strips of Japanese rice paper, pinned alongside each other with calligraphic type ink markings on them.
William Kentridge was born in 1955 and studied at the Johannesburg Art Foundation and the Ecole Jacques Lecoq in Paris. His work has featured at prestigious institutions such as: Tate Modern, London; Centre Pompidou, Paris; the Louvre, Paris; and San Francisco Museum of Modern Art.
William Kentridge opens three exhibitions in Johannesburg in November. From 15 November the Goodman Gallery will exhibit his landscape drawings on the pages of Johannesburg mine ledger books from the early 1900s in the series Drawings: East Rand Proprietary Mines Cash Book. From 9 November the Johannesburg Art Gallery will exhibit the installation The Refusal of Time, a collaboration with Philip Miller, Catherine Meyburgh and Peter Galison, an American historian of science. From November 18 the Wits Art Museum will exhibit Kentridge’s Tapestries in collaboration with the Marguerite Stephens Tapestry Studio. The season of three exhibitions will be accompanied by the launch of three books by Kentridge and collaborators:Accounts and Drawings from Underground: East Rand Propriety Mines Cash Book, 1908 (Seagull Books) with a text by Rosalind C Morris; Six Drawing Lessons (Harvard University Press) and Second-Hand Reading (Fourthwall).
Until February 10 2015 the Perlman Gallery of the Minneapolis Institute of Arts (MIA) presents a selection of photographs from 1973 to 2014 by David Goldblatt. Titled New Pictures 10: David Goldblatt, Structures of Dominion and Democracy,” the photographs explore, “the quiet and commonplace, where nothing ‘happens’, and yet all is contained and immanent,” according to Goldblatt. The exhibition is loosely divided among Goldblatt’s photography before and after 1991. “The photographs exhibited,” writes Goldblatt of his exhibition at the MIA, “are from these two separate yet intimately connected bodies of work.” Goldblatt will make his first appearance in Minnesota on October 2 to discuss his exhibition.
In this subtle yet powerful meditation on experience, time, and memory, videos by iconoclastic South African artist William Kentridge parallel the 24 lieder of Schubert’s quintessentially Romantic song cycle Winterreise. Kentridge’s stoic mixed-media landscapes refuse to yield to the songs’ despair, upending the egocentricism of Schubert’s heartbroken wanderer—performed here by the incomparable Schubert interpreter Matthias Goerne—who, rejected by his love, walks alone through a wintry night.
Distance and Desire: Encounters with the African Archive brings into dialogue various documents from the late-nineteenth and early twentieth-century and recent photographic and video work by contemporary artists engaged with photographic archives, to offer new perspectives on the legacy of anthropological and ethnographic visions of Africa. The exhibition, curated by Tamar Garb, is on view at the Walther Collection in Ulm, Germany until 2015, and features work by Candice Breitz, Kudzanai Chiurai, David Goldblatt, and Sue Williamson. The exhibition is accompanied by a catalogue published by Steidl.
Candice Breitz exhibits her work in a solo exhibition at Peabody Essex Museum, Salem, from 11 October to 1 March 2015. Her video installation The Woods explores how we create, define and perform identities in a world of mass media saturation by portraying the cinematic culture of three centres of global filmmaking – Hollywood, Bollywood and Nollywood. Group shows that include works by Breitz take place in October at Stockholm’s Färgfabriken (exhibition titled UrSenses) and at the David Winton Bell Gallery, Brown University, Providence, Rhode Island (exhibition titled She). Breitz will be giving a talk on 6 October at Harvard University, Cambridge, MA, USA.