RUBY ONYINYECHI AMANZE
YINKA SHONIBARE CBE RA
El Anatsui (b. 1944, Ghana) is an internationally acclaimed artist who transforms simple materials into complex assemblages that create distinctive visual impact. Anatsui uses resources typically discarded such as liquor bottle caps and cassava graters to create sculptures that defy categorisation. Anatsui’s use of these materials reflects his interest in reuse, transformation, and an intrinsic desire to connect to his continent while transcending the limitations of place. His work interrogates the history of colonialism and draws connections between consumption, waste and the environment. But at the core of Anatsui’s work is his unique formal language that distinguishes his practice.
Anatsui is well-known for large scale sculptures composed of thousands of folded and crumpled pieces of metal sourced from local alcohol recycling stations and bound together with copper wire. These intricate works, which can grow to be massive in scale, are both luminous and weighty, meticulously fabricated yet malleable. He leaves the installations open and encourages the works to take different forms every time they are installed.
In 2015, Anatsui was awarded the Golden Lion for Lifetime Achievement, the Venice Biennale’s highest honour. Anatsui’s solo exhibition Gravity and Grace: Monumental Works by El Anatsui, was organized by the Akron Art Museum, Akron, Ohio (2012), and travelled to the Brooklyn Museum, New York and the Des Moines Art Center, Iowa (2013); then to the Bass Museum of Art in Miami, Florida (2014); and concluded at the Museum of Contemporary Art in San Diego, California (2015). In 2019, El Anatsui: Triumphant Scale, a major career survey curated by Okwui Enwezor, opened at Haus der Kunst and travelled to Mathaf: Arab Museum of Modern Art in Doha, Kunstmuseum Bern and Guggenheim Bilbao in 2020.
Anatsui currently lives and works between Ghana and Nigeria.
ruby onyinyechi amanze (b. 1982, Port-Harcourt, Nigeria) is a Brooklyn-based artist of Nigerian descent and British upbringing whose creative practices and processes focus on producing mixed media, paper-based drawings and works. Her art draws inspiration from photography, textiles, architecture and print-making.
amanze’s practice builds around questions of how to create drawings that maintain paper’s essence of weightlessness. The large-scaled and multi-dimensional drawings are part of an ongoing, yet non-linear narrative that employ the malleability of space as the primary antagonist.
A nameless, self-imagined, chimeric universe has simultaneously been positioned between nowhere and everywhere. Using a limited palette of visual elements, including ada the Alien, windows and birds, amanze’s drawings create a non-narrative and expansive world. The construction of this world is largely centered around an interest in the spatial negotiations found in the three dimensional practices of dance, architecture and design.
Most recently, amanze completed two-year long residencies at the Queens Museum and as part of the Drawing Center’s Open Sessions Program, both in New York. She has exhibited her work internationally in Lagos, London, Johannesburg and Paris, and nationally at the California African American Museum, the Drawing Center and the Studio Museum of Harlem.
amanze earned her B.F.A., Summa Cum Laude, from Tyler School of Art, Temple University, and her M.F.A. from Cranbrook Academy of Art. In 2012-2013, amanze was a Fulbright Scholar at the University of Nigeria, Nsukka.
Today she resides between Philadelphia and Brooklyn, but calls multiple places home.
Cassi Namoda (b. 1988) is a painter whose work transfigures the cultural mythologies and historical narratives of life in post-colonial Africa, particularly those of the artist’s native Mozambique. Namoda’s paintings are highly elusive, drawing upon literary, cinematic and architectural influences that capture the expansiveness of her specifically Luso-African vantage point. The idiosyncratic subjects who appear and reappear in Namoda’s paintings also convey this hybridity: they emerge from African indigenous religions just as much as they spring from Western mythologies. Her work borrows from an art historical canon and arises from vernacular photography in equal measure. While they appear straightforward, her images are conceptually rigorous and portray figures with complex narratives. Namoda is equally attentive to landscape, creating scenes that depict both the rural and the urban through a surreal lens. Having lived in Haiti, the United States, Kenya, Benin, Uganda and other countries, Namoda has acquired a grasp of place that is at once grounded and subversive. Her landscapes resound with the features of equatorial life – blazing suns, palm trees –but they are mythic in their representation and pleasantly impeccable – mirroring the subjects that populate them.
William Kentridge (b. Johannesburg, South Africa, 1955) is internationally acclaimed for his drawings, films, theatre and opera productions. While his practice, expressionist in nature, is entirely underpinned by drawing, his method combines studio-based and collaborative practices to create works of art that are grounded in politics, science, literature and history, and maintain a space for contradiction and uncertainty.
Kentridge’s work has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel, Zeitz MOCAA, the Norval Foundation in Cape Town, MUDAM in Luxembourg and the Royal Academy of Arts in London. He has also participated in a number of Biennale’s including Documenta in Kassel (2012, 2002,1997) and the Venice Biennale (2015, 2013, 2005, 1999, 1993).
Opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose, and Alban Berg’s operas Lulu and Wozzeck, and have been seen at opera houses including the Metropolitan Opera in New York, La Scala in Milan, English National Opera in London, Opera de Lyon, Amsterdam opera, the Sydney Opera House and the Salzburg Festival.
Kentridge’s theatrical productions, performed in theatres and at festivals across the globe include Refuse the Hour, Winterreise, Paper Music, The Head & the Load, Ursonate and Waiting for the Sibyl and in collaboration with the Handspring Puppet Company, Ubu & the Truth Commission, Faustus in Africa!, Il Ritorno d’Ulisse, and Woyzeck on the Highveld.
In 2016 Kentridge founded the Centre for Less Good Idea in Johannesburg: a space for responsive thinking and making through experimental, collaborative and cross-disciplinary arts practices. The centre hosts an ongoing programme of workshops, public performances, and mentorship activities.
Kentridge’s work can be found in the collections of Art Gallery of Western Australia (Perth), Art Institute of Chicago, Carnegie Museum of Art (New York), San Diego Museum of Art, Fondation Cartier (Paris), Zetiz MoCAA (Cape Town), Norval Foundation (Cape Town), LACMA (Los Angeles), Haus der Kunst (Munich), Sharjah Art Foundation, Mudam (Luxembourg), Musée d’Art Contemporain de Montreal, MoMA (New York), SF MoMA (San Francisco), Castello di Rivoli (Turin), Moderna Museet, Stockholm, MoCA (Los Angeles), Stedelijk Museum (Amsterdam), National Gallery of Victoria (Melbourne), Johannesburg Art Gallery, MAXXI (Rome), Louisiana Museum (Humlebaek,Denmark), National Gallery of Canada (Ottawa), National Museum of Modern Art (Kyoto), Israel Museum (Jerusalem), Inhotim Museum (Brumadinho, Brazil), Broad Art Foundation, Los Angeles, Centre Pompidou (Paris), Fondation Louis Vuitton (Paris), National Gallery of Australia (Canberra), Tate Modern (London), Sifang Art Museum (Nanjing), Kunsthalle Mannheim, Vehbi Koç Foundation (Istanbul), Luma Foundation (Arles), Museum of Fine Arts (Budapest), Fundaçion Sorigue (Lerida, Spain), Guggenheim (Abu Dhabi), Kunsthalle Praha (Prague) and Amorepacific Museum of Art (Seoul); as well as private collections worldwide.
Kentridge is the recipient of honorary doctorates from several universities including Yale and the University of London. In 2012 he presented the Charles Eliot Norton lectures at Harvard University. In 2013 he served as Humanitas Visiting Professor in Contemporary Art at Oxford University, and Distinguished Visiting Humanist at the University of Rochester, New York, and in 2015 he was appointed an Honorary Academician of the Royal Academy in London. In 2017 he received the Princesa de Asturias Award for the Arts, Spain, and in 2018, the Antonio Feltrinelli International Prize, Italy. Previous awards include the Kyoto Prize, Japan (2010), the Oskar Kokoschka Award, Vienna (2008), the Kaiserring Prize (2003), and the Sharjah Biennial 6 Prize (2003), among others.
Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022, followed by performances from The Centre for the Less Good Idea at The Barbican. In 2022, Kentridge opened another major survey exhibition, In Praise of Shadows, at The Broad in Los Angeles. The exhibition travels to the Museum of Fine Arts in Houston in June this year.
Nicholas Hlobo (b. 1975, Cape Town, South Africa) began his career around the end of apartheid in 1994, when there was a new sense of freedom and national pride in South Africa. With the eradication of legalised and enforced discrimination and segregation, Hlobo and his peers were empowered to openly voice their opinions and ideas under the protection of these new laws. Hlobo’s subtle commentary on the democratic realities of his home country and concerns with the changing international discourse of art remain at the core of his work. Using tactile materials such as ribbon, leather, wood, and rubber detritus that he melds and weaves together, Hlobo creates intricate two- and three-dimensional hybrid objects. Each material holds a particular association with cultural, gendered, sexual, or ethnic identity. Together, the works create a complex visual narrative that reflects the cultural dichotomies of Hlobo’s native South Africa as well as those that exist around the world. His evocative, anthropomorphic imagery and metaphorically charged materials elucidate the artist’s own multifaceted identity within the context of his South African heritage.
Hlobo received a fine art degree from Johannesburg’s Technikon Witwatersrand in 2002. Solo exhibitions of his work have been organized at the Savannah College of Art and Design (SCAD) Museum of Art in Savannah, GA (2019); Uppsala Art Museum, Sweden (2017); Museum Beelden aan Zee, The Hague, Netherlands (2016); Locust Project, Miami (2013); National Museum of Art, Architecture and Design, Oslo (2011); Savannah College of Art and Design, Lacoste, France (2010); Tate Modern, London (2008); Institute of Contemporary Art, Boston (2008); and SCAD Museum of Art, GA (2007). Select group exhibitions featuring his work include Delirious, Lustwarande Foundation, Tilburg, The Netherlands (2019); Kiss My Genders, Hayward Gallery, London, United Kingdom (2019); Material Insanity, Museum of African Contemporary Art Al Maaden (MACAAL), Marrakesh, Morocco (2019); Face to Face: From Yesterday to Today, Non-Western Art and Picasso, The Montreal Museum of Fine Arts, Montreal, Canada (2018); After the Thrill is Gone: Fashion, Politics, and Culture in Contemporary South African Art, The Museum of the African Diaspora, San Francisco, CA (2018); Art/Afrique, le nouvel atelier, Fondation Louis Vuitton (2017); Energy and Process, Tate Modern, London (2016); The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists, Museum für Moderne Kunst, Frankfurt, traveled to SCAD Museum of Art, GA (2014); and Smithsonian National Museum of African Art, Washington, DC (2015); A History (art architecture design, from the 80s to now), Centre Pompidou, Paris (2015); Intense Proximity, La Triennale 2012, Palais de Tokyo, Paris (2012); and Flow, Studio Museum in Harlem, New York (2008). Hlobo has participated in multiple biennials including the 18th Biennale of Sydney, Australia (2012); the 54th Venice Biennale (2011); the 6th Liverpool Biennial (2010); and the 3rd Guangzhou Triennial, China (2008). His work is included in numerous international public and private collections, including the Arquipelago – Centro de Artes Contemporaneas, Azores, Portugal; Centre Pompidou, Paris, France; Detroit Institute of Arts, Detroit, MI; Fondation Louis Vuitton, Paris, France; Savannah College of Art and Design (SCAD) Museum of Art, Savannah, GA; The Metropolitan Museum of Art, New York, NY; The Nelson Mandela Metropolitan Art Museum, Port Elizabeth, South Africa; South African National Art Gallery, Cape Town; Tate Modern, London, United Kingdom; Unisa – University of South Africa, Pretoria, South Africa; and the Zeitz Museum of Contemporary African Art, Cape Town, South Africa.
Hlobo has received numerous honors and distinctions such as the Rolex Visual Arts Protégé (2010-11); Standard Bank Young Artist Award (2009); and the Tollman Award for Visual Art (2006).
The artist lives and works in Johannesburg.
Zineb Sedira’s (b. 1963 Paris, France) work has enriched the debate around the concepts of modernism, modernity and its manifestations in an inclusive way for over the fifteen years of her practice. She has also raised awareness of artistic expression and the contemporary experience in North Africa.
She found inspiration initially in researching her identity as a woman with a singular personal geography. From these autobiographical concerns she gradually shifted her interest to more universal ideas of mobility, memory and transmission. Full of her fascination for the relationship between mother and daughter, her vidéo Mother Tongue (2002), depicts three generations of women and raises the issue of transmission in a globalized world.
Sedira has also addressed environmental and geographical issues, negotiating between both past and future. Using portraits, landscapes, language and archival research, she has developed a polyphonic vocabulary, spanning fiction, documentary and more poetic and lyrical approaches. Sedira has worked in installation, photography, film, video and she has recently returned to object-making. Preserving and transmitting memories of the past in order to leave a legacy for the future has often been at the core of Sedira’s work.
Sedira’s work was shown in several solo exhibitions including at the Photographer’s Gallery (London, 2006), at Wapping Project (London, 2008), at New Art Exchange (Nottingham, 2009), at Pori Museum (Finland, 2009), at BildMuseets (Sweden, 2010), at Kunsthalle Nikolaj (Copenhagen, 2010), at the Palais de Tokyo (Paris, 2010), at the [mac] musée d’Art contemporain of Marseille (2010), at the Blaffer Art Museum, University of Houston, at Prefix – Institute of Contemporary Art (Toronto, 2010) and et at the Charles H. Scott Gallery in Vancouver and at Blaffer Art Museum, Houston (2013).
Her work was also shown in many group shows in institutions such as Tate Britain (London, 2002), Centre Pompidou (Paris, 2004, 2009), Mori Museum (Tokyo, 2005), Baltic Centre for Contemporary Art (Gateshead, 2005), Musée d’Art Moderne of Alger (2007), Brooklyn Museum (New York, 2007), Mathaf – Arab Museum of Modern Art (Qatar, 2010), the Contemporary Art Center (Thessaloniki, 2011) at the Tate Britain, London, UK, at the MuCEM, Musée des civilisations de l’Europe et de la Méditerrannée and the Friche de la Belle de Mai (2013), Marseille, at the Gwangju Museum of Art, South Korea, at the Centre Pompidou-Metz, France (2013), at the MMK Museum für Mordern Kunst, Germany (2014), as well as in biennials and triennials, including the Venice Biennale (2001 and 2011), the triennial for photography and video at the Institute of Contemporary Photography in New York (2003), the Sharjah Biennale (2003 and 2007) and the Folkestone Triennial (2011).
Sedira is founder of aria (artist residency in algiers), a residency program to support the development of the contemporary art scene in Algeria through international cross-cultural exchanges and collaborations.
Shirin Neshat (b. 1957, Qazvin, Iran) is an Iranian-born artist and filmmaker living in New York. Neshat’s early photographic works include the Women of Allah series (1993–1997), which explored the question of gender in relation to Islamic fundamentalism and militancy. Her subsequent video works departed from overtly political content or critique in favor of more poetic imagery and narratives. In her practice, she employs poetic imagery to engage with themes of gender and society, the individual and the collective, and the dialectical relationship between past and present, through the lens of her experiences of belonging and exile.
She has mounted numerous solo exhibitions at museums internationally, including: the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Stedelijk Museum, Amsterdam; the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; and the Musée d’art contemporain de Montréal. Recent solo exhibitions include: Kunstraum Dornbirn, Austria; Faurschou Foundation, Copenhagen; Kunsthalle Tübingen, Germany; and Museo Correr,Venice, Italy, which was an official corollary event to the 57th Biennale di Venezia in 2017. A major retrospective of her work was exhibited at the Detroit Institute of Arts in 2013. Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), the Hiroshima Freedom Prize (2005), and the Dorothy and Lillian Gish Prize (2006). In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion Award for “Best Director” at the 66th Venice International Film Festival. Dreamers marked her first solo show on the African continent, which exhibited at Goodman Gallery Johannesburg in 2016. That same year, Neshat featured in the New Revolutions: Goodman Gallery at 50 exhibition in Johannesburg and in the Summers group exhibition at Goodman Gallery Cape Town. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg. The Broad Museum in Los Angeles recently hosted a survey exhibition of the last 25 years of Neshat’s work, which travelled on to Modern Art Museum of Fort Worth in 2021. This year Neshat was the feature artist and Master of Photography at Photo London festival which took place in Somerset House in September.
Neshat has directed three feature-length films, Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66th Venice International Film Festival, Looking For Oum Kulthum (2017,) and most recently Land of Dreams (2021) which premiered at the Venice Film Festival.
The artist lives and works in New York, USA.
Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.
Amer’s wide-ranging practice spans painting, cast sculpture, ceramics, works on paper, and garden and mixed-media installations. Further, she often collaborates with her long-time friend Reza Farkhondeh. Recognising both that women are taught to model behaviors and traits shaped by others, and that art history and the history of painting in particular are shaped largely by expressions of masculinity, Amer’s work actively subverts these frameworks through both aesthetics and content. Her practice explores the complicated nature of identity as it is developed through cultural and religious norms as well as personal longings and understandings of the self.
Amer’s work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. Among invitations to prestigious group shows and biennials—such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007—she was given a midcareer retrospective at the Brooklyn Museum of Art in New York in 2008. Multiple institutions across Marseille, France are currently co-organising a retrospective for 2022 that will travel to the United States and Asia.
Leonardo Drew (b. 1961, Tallahassee, Florida) is a New York-based artist who, over three decades, has become known for creating contemplative abstract sculptural works. 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 currently has solo exhibitions in the UK and the US with new site-specific installations at Yorkshire Sculpture Park and the Amon Carter Museum of American Art, respectively. Solo museum exhibitions have been held at the Zuckerman Museum of Art at Kennesaw State University (2022); Mississippi Museum of Art, Jackson (2020); North Carolina Museum of Art, Raleigh (2020); de Young Museum, Fine Arts Museum of San Francisco, California (2017); Palazzo Delle Papesse, Centro Arte Contemporanea, Siena, Italy (2006); and the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2000).
Drew’s mid-career survey, Existed, premiered at the Blaffer Gallery at the University of Houston in 2009 and traveled to the Weatherspoon Art Museum in Greensboro, North Carolina, and the DeCordova Sculpture Park and Museum in Lincoln, Massachusetts.
Dor Guez is an artist and a scholar. He was born in Jerusalem to a Palestinian family from Lydda on his mother’s side and a family of Jewish immigrants from North Africa on his father’s. Guez’s photography, video installations, essays, and lecture-performances explore the relationship between art, narrative, trauma, memory, and displacement. Interrogating personal experiences and official accounts of the past, Guez raises questions about contemporary art’s role in narrating unwritten histories and re-contextualizing visual and written documents. In the past 20 years, his studies and artistic work focus on archival materials and photographic practices of the Middle East and North Africa, as well as mapping traces of violence in the landscape.
Guez received his Ph.D. from Tel Aviv University in 2014 and earned his professorship from Bezalel Academy of the Arts and Design in 2018. He is the founder of the CPA (Christian-Palestinian Archive), and the Co-director of Seaport: Mediterranean Curatorial Residency.
To date, eight catalogues have been published internationally about Guez’s practice. Publishers include Distanz, New England Press, and A.M Qattan Foundation. Guez’s work has been displayed in over 40 solo exhibitions worldwide; MAN Museum, Nuoro (2018); DEPO, Istanbul (2017); the Museum for Islamic Art, Jerusalem (2017); the Museum of Contemporary Art, Detroit (2016); the Institute of Contemporary Arts, London (2015); the Center for Contemporary Art, Tel Aviv (2015); the Rose Art Museum, Brandeis University, Massachusetts (2013); Artpace, San Antonio (2013); the Mosaic Rooms, Centre for Contemporary Arab Culture & Art, London (2013); the KW Institute for Contemporary Art, Berlin (2010); and Petach Tikva Museum of Art, (2009). He has participated in numerous group exhibitions, including shows at the Buenos Aires Museum of Modern Art (2016); the North Coast Art Triennial, Denmark (2016); Weatherspoon Art Museum, Greensboro, North Carolina (2015); the 17th, 18th, and 19th International Contemporary Art Festival Videobrasil, São Paulo (2011, 2013, 2015); Cleveland Institute of Art (2014); Triennale Museum, Milan (2014); Centre of Contemporary Art, Torun (2014); Tokyo Metropolitan Museum of Photography (2014); Maxxi Museum, Rome (2013); Palais de Tokyo, Paris (2012); the 12th Istanbul Biennial (2011); and the Museum of Modern Art, Ljubljana (2010).
Guez shares his time between Jaffa and New York City.
Alfredo Jaar (b. 1956, Santiago, Chile) is an artist, architect, and filmmaker who considers social injustices and human suffering through thought-provoking installations. Throughout his career Jaar has used different mediums to create compelling work that examines the way we engage with, and represent humanitarian crises. He is known as one of the most uncompromising, compelling, and innovative artists working today.
Through photography, film and installation he provokes the viewer to question our thought process around how we view the world around us. Jaar has explored significant political and social issues throughout his career, including genocide, the displacement of refugees across borders, and the balance of power between the first and third world.
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, and has recently received the prestigious Hasselblad award for 2020.
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.
The artist lives and works in New York, USA.