Group Show || Living Just Enough

Kiluanji Kia Henda

Kiluanji Kia Henda (b. 1979, Luanda, Angola) employs a surprising sense of humour in his work, which often homes in on themes of identity, politics, and perceptions of post-colonialism and modernism in Africa. Kia Henda brings a critical edge to his multidisciplinary practice, which incorporates photography, video, and performance. Informed by a background surrounded by photography enthusiasts, Kia Henda’s conceptual-based work has further been sharpened by exposure to music, avant-garde theatre, and collaborations with a collective of emerging artists in Luanda’s art scene. Much of Kia Henda’s work draws on history through the appropriation and manipulation of public spaces and structures, and the different representations that form part of collective memory, in order to produce complex, yet powerful imagery.

Kia Henda has had solo exhibitions in galleries and institutions around the world. His work has featured on biennales in Venice, Dakar, São Paulo and Gwangju as well as major travelling exhibitions such as Making Africa: A Continent of Contemporary Design and The Divine Comedy: Heaven, Hell, Purgatory revisited by Contemporary African Artists. In 2019, Kia Henda’s work was acquired by Tate Modern in London, and he was selected to participate on the Unlimited sector at Art Basel. In 2020, Kia Kenda exhibited at the MAN Museo d’Arte Provincia di Nuoro in Italy, marking his first solo exhibition in a major European museum.

Kia Henda currently lives and works between Luanda and Lisbon.

Grada Kilomba

Grada Kilomba (b. 1968, Lisbon, Portugal) is an interdisciplinary artist, whose work draws on memory, trauma, gender and post-colonialism, interrogating concepts of knowledge, power and violence. “What stories are told? How are they told? And told by whom?” are constant questions in Kilomba’s body of work, to revise post-colonial narratives.

Kilomba subversively translates text into image, movement and installation, by giving body, voice and form to her own critical writing. Performance, staged reading, video, photography, publications and installation are a platform for Kilomba’s unique practice of storytelling, which intentionally disrupts the proverbial ‘white cube’ through a new and urgent decolonial language and imagery.

Her work has been presented in major international events such as: La Biennale de Lubumbashi VI; 10. Berlin Biennale; Documenta 14, Kassel; 32. Bienal de São Paulo. Selected solo and group exhibitions include the Pinacoteca de São Paulo; Bildmuseet, Umeå; Kadist Art Foundation, Paris; The Power Plant, Toronto; Maxim Gorki Theatre, Berlin; MAAT-Museum of Art, Architecture and Technology, Lisbon; Secession Museum, Vienna; Bozar Museum, Brussels; PAC-Pavillion Art Contemporanea, Milan, among others. Kilomba’s work features in public and private collections worldwide.

Strongly influenced by the work of Frantz Fanon, Kilomba studied Freudian Psychoanalysis in Lisbon – at ISPA, and there she worked with war survivors from Angola and Mozambique. Early on she started writing and publishing stories, before extending her interests into staging, image, sound and movement.

Kilomba holds a Doctorate in Philosophy from the Freie Universität Berlin. She has lectured at several international universities, such as the University of Ghana and the Vienna University of Arts, and was a Guest Professor at the Humboldt Universität Berlin, Department of Gender Studies. For several years, she was a guest artist at the Maxim Gorki Theatre, in Berlin, developing Kosmos 2, a political intervention with refugee artists. She is the author of the acclaimed “Plantation Memories” (Unrast, 2008) a compilation of episodes of everyday racism written in the form of short psychoanalytical stories. Her book has been translated into several languages, and was listed as the most important nonfiction literature in Brazil, 2019. In 2021 she unveiled O Barco / The Boat, a large-scale installation with an accompanying performance at MAAT – Museum of Art, Architecture and Technology in Lisbon, Portugal.

The artist lives and works in Berlin.

Tabita Rezaire

Tabita Rezaire (b.1989, Paris, France) is infinity incarnated into an agent of healing, who uses art as a means to unfold the soul. Her cross-dimensional practices envision network sciences – organic, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of resilience, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits. Inspired by quantum and cosmic mechanics, Tabita’s work is rooted in time-spaces where technology and spirituality intersect as fertile ground to nourish visions of connection and emancipation. Through screen interfaces and collective offerings, she reminds us to open our inner data centres to bypass western authority and download directly from source.

She has a Bachelor in Economics (Fr) and a Master of Research in Artist Moving Image from Central Saint Martins (UK). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB.

Recent solo exhibitions include: Tabita Rezaire. Calabash Nebula, Museo Nacional Thyssen-Bornemisza, Madrid (2024); Fusion élémen.terre, Les Abattoirs, Tolouse, France (2023); Tabita Rezaire: Symbiose Immaculée, IMPAKT and Centraal Museum (2021); Tabita Rezaire: EXOTIC TRADE, Goodman Gallery, Johannesburg, South Africa (2017).

Group exhibitions include: Sex Reenchanted, Heidelberger Kunstverein, Heidelberg, Germany (2024); Omi Libations (2024) at project space of the Schering Stiftung, Berlin, Germany; Actions for the Earth: Art, Care & Ecology, Block Museum of Art, Northwestern University in Evanston, Illinois (2024), THIS IS NOT AFRICA: UN-LEARN WHAT YOU HAVE LEARNED at ARoS, Aarhus Kunstmuseum in Aarhus, Denmark (2021); Statens Museum for Kunst, Copenhagen, Denmark; Goddesses of Healing, M.Bassy, Hamburg, Germany (2021).

Rezaire has shown her work internationally – Centre Pompidou, Paris; Serpentine London; MoMa NY; New Museum NY; MASP, Sao Paulo; Gropius Bau Berlin; MMOMA Moscow, Museum of Contemporary Art Chicago; ICA London; V&A London; National Gallery Denmark; The Broad LA; MoCADA NY; Tate Modern London; Museum of Modern Art Paris – and contributed to several Biennales such as the Lagos Biennale (2024); Guangzhou Triennial (2018); Athens Biennale (2018); Kochi Biennale (2018); Performa (2017); Berlin Biennale (2016).

Rezaire lives and works in Cayenne, French Guiana. where she is currently studying agriculture and birthing AMAKABA —her vision for collective healing in the Amazonian forest. Tabita is devoted to becoming a mother to the world.

Hank Willis Thomas

Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture.

Thomas has exhibited throughout the United States and abroad including the International Center of Photography, New York; Guggenheim Museum Bilbao, Spain; Musée du quai Branly, Paris; Hong Kong Arts Centre, Hong Kong, and the Witte de With Center for Contemporary Art, Netherlands.

Thomas’ work is included in numerous public collections including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Brooklyn Museum, New York; High Museum of Art, Atlanta, and National Gallery of Art, Washington D.C.

His collaborative projects include Question Bridge: Black Males, In Search Of The Truth (The Truth Booth), Writing on the Wall, and the artist-run initiative for art and civic engagement For Freedoms, which in 2017 was awarded the ICP Infinity Award for New Media and Online Platform. Thomas is also the recipient of the Gordon Parks Foundation Fellowship (2019), the Guggenheim Foundation Fellowship (2018), Art for Justice Grant (2018), AIMIA | AGO Photography Prize (2017), Soros Equality Fellowship (2017), and is a member of the New York City Public Design Commission. Thomas holds a B.F.A. from New York University (1998) and an M.A./M.F.A. from the California College of the Arts (2004). In 2017, he received honorary doctorates from the Maryland Institute of Art and the Institute for Doctoral Studies in the Visual Arts.

Kudzanai Chiurai

Kudzanai Chiurai (b. 1981, Harare, Zimbabwe) is a multidisciplinary artist exploring notions and cycles of political, economic, and social strife present in post-colonial societies. His work interrogates urgent social issues, such as xenophobia, exile, displacement, the psychological experiences of urban spaces, as well as the Western imprint on Africa.

In 2024, Chiurai’s film We Live in Silence (Chapters 1 – 7) was on view as part of the main exhibition at the 60th Venice Biennale Stranieri Ovunque – Foreigners Everywhere, curated by Adriano Pedrosa. In 2023, photographs from the artist’s We Live in Silence series were part of A World in Common: Contemporary African Photography, at TATE Modern curated by Osei Bonsu.

In 2013, 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.

Chiurai’s project, The Library of Things We Forgot to Remember, is built around his collecting practice which focuses on preserving archives and memorialising social and cultural history from southern Africa. The project exists in the form of an archive of materials situated in Johannesburg including vinyls, posters, paintings and more, drawn from private African collections. Each time this archive is exhibited, Chiurai invites a different librarian to interrogate the archive and curate an exhibition.

Solo exhibitions include: Genesis [Je n’isi isi], We Live in Silence, IFA, Stuttgart (2019); Madness and Civilization, Kalmar Konsmuseum, Sweden (2018); Now and Then: Guercino and Kudzanai Chiurai, Zeitz MOCAA, Cape Town (2018); and Regarding the Ease of Others, Zeitz MOCAA, Cape Town (2017).

Group shows include: FLIGHT, Malmö Konsthall, Sweden (2023); Ubuntu, a Lucid Dream, Palais de Tokyo, Paris (2020); Art/Afrique, Le nouvel atelier, Fondation Louis Vuitton, Paris (2017); The Divine Comedy: Heaven, Purgatory and Hell Revisited, Museum für Moderne Kunst, Frankfurt (2014) and travelled to the SCAD Museum of Art, Savannah (2015); Figures & Fictions: Contemporary South African Photography, Victoria and Albert Museum, London (2011); and Impressions from South Africa, 1965 to Now, Museum of Modern Art, New York (2011).

Collections include: Museum of Modern Art, New York; Hessel Museum of Art, Bard College, Annandale-On-Hudson; Pérez Art Museum Miami, Miami; Pigozzi Collection, Geneva; Walther Collection, New York; and Zeitz Museum of Contemporary Art Africa, Cape Town.

Chiurai lives and works in Harare, Zimbabwe.

Leonardo Drew

Leonardo Drew (b. 1961, Tallahassee, Florida, USA) is known for his significant installations and sculptures which explore the tension between order and chaos. Drew transforms accumulations of raw materials such as wood, scrap metal and cotton to create works that play upon a tension between order and chaos. His surfaces often approach a language of their own, embodying the laboured process of writing oneself into history.

Drew’s work has been seen in major museums worldwide. He was commissioned for a new outdoor project City in the Grass for Madison Square Park in 2019, marking the Madison Square Park Conservancy’s 38th public commission and the artist’s first major public outdoor art project. City in the Grass was presented as a solo exhibition in three museums, the Wadsworth Atheneum Museum of Art, Hartford, Connecticut (2021); Mississippi Museum of Art, Jackson (2020); and North Carolina Museum of Art, Raleigh (2020). In 2022, Drew was elected as a National Academician by the National Academy of Design. Another major new commission featured at Yorkshire Sculpture Park, UK in 2023. Drew’s mid-career survey, Existed, premiered at the Blaffer Gallery at the University of Houston in 2009 and travelled to the Weatherspoon Art Museum in Greensboro, North Carolina, and the DeCordova Sculpture Park and Museum in Lincoln, Massachusetts.

Collections include: Tate, London; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and Baltimore Museum of Art, Baltimore, MD.
Drew currently lives and works in Brooklyn, New York.

Nolan Oswald Dennis

Nolan Oswald Dennis (b. 1988, Lusaka, Zambia) is a para-disciplinary artist from Johannesburg, South Africa. Their practice explores what they call ‘a black consciousness of space’: the material and metaphysical conditions of decolonization. Dennis’ work questions the politics of space (and time) through a system-specific, rather than site-specific approach. They are concerned with the hidden structures that predetermine the limits of our social and political imagination. Through a language of diagrams, drawings and models they explore a hidden landscape of systematic and structural conditions that organise our political sub-terrain.

In 2025, Dennis presented their first UK institutional solo exhibition at Gasworks London, and their first US institutional solo exhibition at the Swiss Institute. On the occasion of the exhibition, the Swiss Institute together with Zeitz MOCAA, Cape Town and Koenig will publish the first ever monograph on Dennis’s practice in April 2025.

In 2024, Dennis designed the ‘Traces of Ecstasy’ pavilion and exhibition project for the Lagos Biennial in Tafawa Balewa Square. An adapted version of this project was on view at the Institute for Contemporary Art at Virginia Commonwealth University in the same year. Dennis was also shortlisted for the Future Generation Art Prize 2023/24.

Dennis was the 2020 artist in residence at NTUCCA (Singapore) and the 2021 artist in residence at the Delfina Foundation (London). They were awarded the FNB Arts Prize in 2016. They are a founding member of artist groups NTU and the Index Literacy Program, as well as a research associate at the VIAD research centre at the University of Johannesburg.

Solo shows include: Nolan Oswald Dennis, Gasworks London (2025); overturns, Swiss Institute, New York (2025); UNDERSTUDIES, Zeitz MOCAA, Cape Town (2024); geo-logics, Kunstinsituut Melly, Netherlands (2024); Nolan Oswald Dennis, Goodman Gallery, Johannesburg (2023); Positions #7, Van Abbemuseum, Eindhoven, the Netherlands (2023); models (from a black planetarium), Centre d’Art Neuchâtel, Neuchâtel, Switzerland (2022); Specifications for a Reverse Archaeology, The Javett Art Centre at the University of Pretoria (2022-2023); conditions, Goodman Gallery, Cape Town (2021); Options, Goodman Gallery, Cape Town, (2019).

Group shows and biennales include: Black Ancient Futures, Museum of Art, Architecture and Technology, Lisbon (2024); back wall project, Kunsthalle Basel (2024); 12th Seoul Mediacity Biennale (2023); the 12th Liverpool Biennial (2023), Frieze, Seoul (2023); the Young Congo Biennale (2019), Museu d’Art Contemporani de Barcelona, MACBA (2018); Palais de Tokyo, Paris; ARoS Aarhus, Denmark; 9th Berlin Biennale (2016); Poetics of Relation, LIYH, Geneva (2015).

Collections include: A4 Arts Foundation Cape Town, South Africa and the Van Abbemuseum, Eindhoven, The Netherlands.

Dennis lives and works in Johannesburg, South Africa.