Goodman Gallery New York presents Landing, a group exhibition bringing together a group of five seminal artists – modern, resistance and contemporary -who have each played a significant role in shaping the course of South African art history.
Exhibiting this group of influential 20th and 21st century South African artists in New York – a northern hemisphere center for Modernism – addresses the need for greater visibility for artists originating from the global South as part of a broader vision for revising Art History. Indeed, the presentation comes at a time of a growing international recognition for the importance of these artists as key contributors to what has now been coined global modernism(s), with work held in major collections around the world, including Centre Pompidou, Paris; Perez Art Museum, Miami, Museum of Modern Art, New York; Tate Modern, London, and the Hammer Museum, Los Angeles.
David Koloane (1938 – 2019) was born in Alexandra, Johannesburg, South Africa. Koloane spent his career making the world a more hospitable place for black artists during and after apartheid. Koloane achieved this through his pioneering work as an artist, writer, curator, teacher and mentor to young and established artists at a time when such vocations were restricted to white people in South Africa. A large part of this effort involved the initiatives Koloane helped establish, from the first Black Art Gallery in 1977, the Thupelo experimental workshop in 1985 and the Bag Factory Artists’ Studios in 1991, where he served as director for many years. Koloane also tutored at the Federated Union of Black Artists (FUBA) in 1979 and became the head of the fine art section and gallery from 1985 to 1990.
Through his expressive, evocative and poetic artwork, Koloane interrogated the socio-political and existential human condition, using Johannesburg as his primary subject matter. Koloane’s representations of Johannesburg are populated with images of cityscapes, townships, street life, jazz musicians, traffic jams, migration, refugees, dogs, and birds among others. Imaginatively treated, through the medium of painting, drawing, assemblage, printmaking and mixed media, Koloane’s scenes are a blend of exuberant and sombre, discernible and opaque pictorial narratives.
Koloane’s work has been widely exhibited locally and internationally. In 1999 he was part of the group exhibition _Liberated Voices_ at the National Museum of African Art in Washington DC. In 2013, Koloane’s work was shown on the South African pavilion at the 55th la Biennale di Venezia and on the group exhibition _My Joburg_ at La Maison Rouge in Paris. In 1998, the government of the Netherlands honoured Koloane with the Prince Claus Fund Award for his contributions to South African art. Koloane was also awarded an Honorary Doctorate twice, once from Wits University in 2012, and again from Rhodes University in 2015. In 2019 Koloane was the subject of a travelling career survey exhibition, _A Resilient Visionary: Poetic Expressions of David Koloane_, which opened at IZIKO SANG and later travelled to Standard Bank Gallery and Wits Art Museum in October.
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.Download full CV
Sam Nhlengethwa was born in the black township community of Payneville near Springs (a satellite mining town east of Johannesburg), in 1955 and grew up in Ratanda location in nearby Heidelberg. In the 1980s, he moved to Johannesburg where he honed his practice at the renowned Johannesburg Art Foundation under its founder Bill Ainslie.
Nhlengethwa is one of the founders of the legendary Bag Factory in Newtown, in the heart of the city, where he used to share studio space with fellow greats of this pioneering generation of South African artists, such as David Koloane and Pat Mautloa.
Despite Nhlengethwa’s pioneering role in South Africa art, his work has received rare visibility in London. A major survey exhibition, titled Life, Jazz and Lots of Other Things, was hosted by SCAD Museum of Art in Savannah, Georgia in 2014, which was then co-hosted in Atlanta by SCAD and the Carter Center.
Other notable exhibitions and accolades in South Africa and around the world include: in 1994 – the year South Africa held its first democratic elections – Nhlengethwa was awarded the prestigious Standard Bank Young Artist of the Year award; in 1995, his work was included in the Whitechapel Gallery’s Seven Stories About Modern Art in Africa in London; in 2000, he participated in a two-man show at Seippel Art Gallery in Cologne.
Other significant international group exhibitions include Constructions: Contemporary Art from South Africa at Museu de Arte Contemporanea de Niteroi at in Brazil in 2011, Beyond Borders: Global Africa at the University of Michigan Museum of Art in 2018.
Nhlengethwa’s work has featured on a number of international biennales: in 2003, his work was included in the 8th Havana Biennale, Southern African Stories: A Print Collection, the 12th International Cairo Biennale in 2010, the 2013 Venice Biennale as part of the South African pavilion, titled Imaginary Fact: Contemporary South African Art and the Archive, and in the 6th Beijing Biennale in 2015.
Nhlengethwa’s practice features in important arts publications, such as Phaidon’s The 20th Century Art Book (2001).Download full CV
Kapwani Kiwanga (b. Hamilton, Canada) lives and works in Paris. Kiwanga studied Anthropology and Comparative Religion at McGill University in Montreal and Art at l’école des Beaux-Arts de Paris.
In 2020, Kiwanga received the Prix Marcel Duchamp (FR). She was also the winner of the Frieze Artist Award (USA) and the annual Sobey Art Award (CA) in 2018.
Solo exhibitions include Haus der Kunst, Munich (DE); Kunstinstituut Melly – Center for Contemporary Art, Rotterdam (NLD); Kunsthaus Pasquart, Biel/Bienne (CHE); MIT List Visual Arts Center, Cambridge (USA); Albertinum museum, Dresden (DE); Artpace, San Antonio (USA); Esker Foundation, Calgary (CA); Tramway, Glasgow International (UK); Power Plant, Toronto (CA); Logan Center for the Arts, Chicago (USA); South London Gallery, London (UK); and Jeu de Paume, Paris (FR) among others.
Selected group exhibitions include Whitechapel Gallery, London (UK); Serpentine Galleries, London (UK); Yuz Museum, Shanghai (CHN); MOT – Museum of Contemporary Art Tokyo (JPN); Museum MMK für Moderne Kunst, Frankfurt (DE); Museum of African Contemporary Art Al Maaden – MACAAL, Marrakech (MAR); National Gallery of Canada, Ottawa (CA); Contemporary Arts Museum, Houston (USA); Hammer Museum, Los Angeles (USA); Centre Pompidou, Paris (FR); Musée d’art contemporain de Montréal, Montreal (CA); ARoS Aarhus Art Museum, Aarhus (DK) and MACBA, Barcelona (ESP).
She is represented by Galerie Poggi, Paris; Goodman Gallery, Johannesburg, Cape Town and London; galerie Tanja Wagner, Berlin.
Kapwani Kiwanga is a Franco-Canadian artist based in Paris. Kiwanga’s work traces the pervasive impact of power asymmetries by placing historic narratives in dialogue with contemporary realities, the archive, and tomorrow’s possibilities.
Her work is research-driven, instigated by marginalised or forgotten histories, and articulated across a range of materials and mediums including sculpture, installation, photography, video, and performance.
Kiwanga co-opts the canon; she turns systems of power back on themselves, in art and in parsing broader histories. In this manner Kiwanga has developed an aesthetic vocabulary that she described as “exit strategies,” works that invite one to see things from multiple perspectives so as to look differently at existing structures and find ways to navigate the future differently.Download full CV
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.Download full CV
Sue Williamson (b. 1941, Lichfield, UK) emigrated with her family to South Africa in 1948. In the 1970s, Williamson started to make work which addressed social change and by the late 1980s she was well known for her series of portraits of women involved in the country’s political struggle, titled A Few South Africans (1980s).
Major international solo exhibitions include: Can’t Remember, Can’t Forget at the Apartheid Museum in Johannesburg (2017); Other Voices, Other Cities at the SCAD Museum of Art in Georgia, USA (2015), Messages from the Moat, Den Haag, Netherlands (2003) and The Last Supper Revisited (2002) at the National Museum of African Art, Smithsonian Institute in Washington D.C. Williamson has participated in biennales around the world, including the Kochi Muziris Biennale (2019); several Havana Biennales as well as Sydney, Istanbul, Venice and Johannesburg biennales. Group exhibitions include, Resist: the 1960s Protests, Photography and Visual Legacy (2018) at BOZAR in Brussels; Women House (2017, 2018) at La Monnaie de Paris and National Museum for Women in the Arts (Washington D.C); Citizens: Artists and Society Tate Modern, London; Being There (2017) at Fondation Louis Vuitton (Paris) and Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life (2014) at the International Centre for Photography New York and the Museum Africa (Johannesburg), curated by Okwui Enwezor, and The Short Century (2001-2) also curated by Okwui Enwezor, Museum Villa Stuck, Munich, House of World Cultures, Berlin, Museum of Contemporary Art, Chicago, and P.S.1 New York.
Williamson’s works feature in museum collections, ranging from the Museum of Modern Art (New York), Tate Modern (London), Victoria & Albert Museum (London), Pompidou Centre, (Paris), Hammer Museum, (Los Angeles) to the National Museum of African Art, Smithsonian Institution (Washington D.C), Iziko South African National Gallery (Cape Town) and the Johannesburg Art Gallery (Johannesburg). Williamson has authored two books - South African Art Now (2009) and Resistance Art in South Africa (1989). In 1997, Williamson founded www.artthrob.co.za, a leading website on South African contemporary art and the first of its kind in the country. Awards and fellowships include The Living Legends Award (2020), attributed by the South African government’s Department of Sports, Arts and Culture; the University of Johannesburg’s Ellen Kuzwayo Award (2018); the Rockefeller Foundation’s Bellagio Creative Arts Fellowship (2011); the Smithsonian’s Visual Artist Research Award Fellowship (2007) and the Lucas Artists Residency Fellowship (2005) from Montalvo Art Center in California.
Williamson lives and works in Cape Town, South Africa.Download full CV
Misheck Masamvu (b. 1980, Penhalonga, Zimbabwe) explores and comments on the socio-political setting of post-independence Zimbabwe, and draws attention to the impact of economic policies that sustain political mayhem. Masamvu raises questions and ideas around the state of ‘being’ and the preservation of dignity. His practice encompasses drawing, painting and sculpture.
Masamvu studied at Atelier Delta and Kunste Akademie in Munich, where he initially specialised in the realist style, and later developed a more avant-garde expressionist mode of representation with dramatic and graphic brushstrokes. His work deliberately uses this expressionist depiction, in conjunction with controversial subject matter, to push his audience to levels of visceral discomfort with the purpose of accurately capturing the plight, political turmoil and concerns of his Zimbabwean subjects and their experiences. His works serve as a reminder that the artist is constantly socially-engaged and is tasked with being a voice to give shape and form to a humane sociological topography. In 2020, Masamvu took part in the 22nd Biennale of Sydney.
Masamvu’s work has been well-received and exhibited in numerous shows including Armory Show 2018, Art Basel 2018, Basel Miami Beach 2017, 1-54 Contemporary African Art Fair New York 2016, São Paulo Biennale 2016, and the Venice Biennale, Zimbabwe Pavillion 2011.Download full CV
David Goldblatt (1930 – 2018) was born in Randfontein, a small mining town outside of Johannesburg, South Africa. Through his lens, South African he chronicled the people, structures and landscapes of his country from 1948, through the rise of Afrikaner Nationalism, the apartheid regime and into the democratic era – until his death in June, 2018. In particular, Goldblatt documented the people, landscapes and industry of the Witwatersrand, the resource-rich area in which he grew up and lived, where the local economy was based chiefly on mining. In general, Goldblatt’s subject matter spanned the whole of the country geographically and politically from sweeping landscapes of the Karoo desert, to the arduous commutes of migrant black workers, forced to live in racially segregated areas. His broadest series, which spans six decades of photography, examines how South Africans have expressed their values through the structures, physical and ideological, that they have built.
In 1989, Goldblatt founded the Market Photography Workshop, a training institution in Johannesburg, for aspiring photographers. In 1998 he was the first South African to have a solo exhibition at the Museum of Modern Art in New York. In 2001, a retrospective of his work, David Goldblatt Fifty-One Years began a tour of galleries and museums. He was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. He has held solo exhibitions at the Jewish Museum and the New Museum, both in New York. His work was included in the exhibition ILLUMInations at the 54th Venice Biennale in 2011, and has featured on shows at the San Francisco Museum of Modern Art and Barbican Centre in London. In 2017, Goldblatt installed a series of portraits from his photographic essay Ex-Offenders in former prisons in Birmingham and Manchester. The portraits depict men and women, from South African and the UK, at the scene of their crimes, with accompanying texts that relate the subjects’ stories in their words. In the last year of his life, two major retrospectives were opened at Centre Pompidou in Paris, and the Museum of Contemporary Art in Sydney. The Goldblatt Archive is held by Yale University, in New Haven, Connecticut.
Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award, the 2013 ICP Infinity Award and in 2016, he was awarded the Commandeur des Arts et des Lettres by the Ministry of Culture of France.Download full CV
Clive van den Berg (b. 1956, Zambia) is an artist, curator and designer, who works on his own and in collaboration with colleagues in a collective called trace, whose primary activities are the development of public projects. He has had several solo exhibitions in South Africa, and his work is regularly exhibited abroad. His public projects have included the artworks for landmark Northern Cape Legislature and, since he has joined the trace team, museum projects for the Nelson Mandela Foundation, Constitution Hill, Freedom Park, the Workers Museum, The Holocaust and Genocide Centre and many other projects.
Van den Berg has much experience working on large-scale institutional projects with teams representing diverse constituencies: urban planners and policy makers, architects, landscape designers, museum curators, historians, community liaison officials and representatives of local and national governments. In the Northern Cape, for example, where he worked with the Luis Ferreira da Silva architects, he pioneered a new strategy for integrating forms of the local landscape and indigenous aesthetics into the overall building design, while also training local artisans as part of a skills transference project aimed at long-term sustainability. The result is a world-renowned and uniquely South African state edifice: a monument to the people of the Northern Cape.Download full CV
Yinka Shonibare CBE RA (b. London, UK, 1962) moved to Lagos, Nigeria at the age of three. He returned to the UK to study Fine Art at Byam Shaw School of Art, London and Goldsmiths College, London, where he received his Masters in Fine Art.
In 2022, Shonibare unveiled three major sculptural works in Stockholm, the United Kingdom and the United Arab Emirates. In recent years, he has unveiled Wind Sculptures at Norval Foundation in Cape Town (2019) and Central Park, New York (2018). Shonibare’s first public art commission, titled Nelson’s Ship in a Bottle, was displayed on the Fourth Plinth in Trafalgar Square in 2010 and was acquired by London’s National Maritime Museum.
Current and recent survey exhibitions and retrospectives include Yinka Shonibare CBE: Planets in My Head (1 April – 31 October 2022) at Frederik Meijer Gardens & Sculpture Park in Michigan and Yinka Shonibare CBE: End of Empire at the Museum der Moderne in Salzburg (22 May 2021 – 3 October 2021). Shonibare’s 2008 mid-career survey travelled from the Museum of Contemporary Art in Sydney to the Brooklyn Museum in New York as well as the Museum of African Art at the Smithsonian Institute in Washington D.C.
Major awards include the Whitechapel Gallery Art Icon Award 2021 and Shonibare was honoured as ‘Commander of the Order of the British Empire’ in 2019. Shonibare was also nominated for the Turner Prize in 2004, and in 2002, he created one of his most recognised installations, Gallantry and Criminal Conversation for Documenta XI.
Notable museum collections include: Zeitz MOCAA, Cape Town; Norval Foundation, Cape Town; Tate, London; the National Museum of African Art, Smithsonian Institute, Washington D.C; Museum of Modern Art, New York; Guggenheim Abu Dhabi; Moderna Museet, Stockholm and the Museum of Contemporary Art, Chicago.
November 2022 marks the official launch following a soft launch earlier this year of Guest Artists Space (G. A. S.) Foundation in Nigeria. The non-profit, which receives strategic oversight from UK-based charity Yinka Shonibare Foundation, delivers residency programmes across sites in Lagos and on a 54-acre working farm in Ijebu. The launch will host a series of talks, exhibitions and performances.
South African-born, Belgian artist Kendell Geers changed his date of birth to May 1968 in order to give birth to himself as a work of art. Describing himself as an ‘AniMystikAKtivist’, Geers takes a syncretic approach to art that weaves together diverse Afro-European traditions, including animism, alchemy, mysticism, ritual and a socio-political activism laced with black humour, irony and cultural contradiction.
Geers’s work has been shown in numerous international group exhibitions, including the Venice Biennale (2007) and Documenta (2002). Major solo shows include Heart of Darkness at Iziko South African National Gallery in Cape Town (1993), Third World Disorder at Goodman Gallery Cape Town (2010) and more recently Songs of Innocence and of Experience at Goodman Gallery Johannesburg (2012). His exhibition Irrespektiv travelled to Newcastle, Ghent, Salamanca and Lyon between 2007 and 2009. Geers was included on Art Unlimited at Art 42 Basel in 2011. Work by Geers was included on Manifesta 9 in Genk, Limburg, Belgium and a major survey show of his work was exhibited at Haus der Kunst, Munich, Germany in 2013. Earlier this year Geers held a solo exhibition, The Second Coming (Do What Thou Wilt), at Rua Red in Dublin.Download full CV