Winter Show / Cape Town / 2010

Kudzanai Chiurai / Jenny Holzer / Kendell Geers / Mikhael Subotzky / David Goldblatt / William Kentridge / Marco Cianfanelli / William Kentridge & Marguerite Stephens / Kara Walker 07 August - 28 August 2010 Goodman Gallery, Cape Town

Goodman Gallery presents a group exhibition simply titled Winter Show, featuring a range of local and international art luminaries. Traveling from Goodman Gallery Johannesburg, the show presents recent works by Goodman stalwarts such as William Kentridge, David Goldblatt, Sam Nhlengethwa and Mikhael Subotzky, as well as revealing a shift in the Gallery’s approach, showcasing work from around the African continent and beyond that is both explicitly and implicitly concerned with the synergies and tensions that exist between Africa and the rest of the globe. Some of the participating international artists, such as Ghada Amer, are not only being showcased, but are now officially represented by the Goodman Gallery.

The Winter Show will elaborate on the thorny notion of the politics of representation, which Brenda Atkinson and Candice Breitz confronted in their 1999 collection of essays Grey Areas: Representation, Identity and Politics in Contemporary South African Art. The book was a direct response to the critique of Nigerian curator Okwui Enwezor, who was the creative director of the Second Johannesburg Biennial in 1997. At the time, Enwezor interrogated the practice of artists such as Breitz, Minnette Vári and Penny Siopis, considering in great depth the question of ‘who has the right to represent whom?’. Now, over a decade later, accusations of misrepresentation have been revisited and reconsidered, not only by Enwezor himself and those whose essays were included in Grey Areas, but by the art community at large. The Winter Show augments the dialogue, bringing new voices into the conversation.

Compelling features of the Winter Show include one of artist, Kara Walker’s 2009 films – which are based on narratives from the archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom – featuring the artist’s signature black-silhouette cut-out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and evocative movements. William Kentridge will present a new drawing produced this year, a large scale tapestry, as well as a maquette of the structure World on its Hind Legs, created in collaboration with Gerhard Marx.

With Goodman Gallery firmly established as a world-class contemporary art institution, the Winter Show will reveal the gallery’s commitment – not only to representing artists of the highest caliber, but to bringing an innovative programme of relevant and compelling international works to South Africa, offering audiences exposure to some of the best contemporary work being produced, both locally and abroad.

Artworks

About

Kudzanai Chiurai

Kudzanai Chiurai (b. 1981, Zimbabwe) was born one year after Zimbabwe’s emergence from white-ruled Rhodesia. Chiurai incorporates various media into his practice, which is largely focused around cycles of political, economic and social strife present in post-colonial societies.

Chiurai’s artwork confronts viewers with the psychological and physical experience of African metropolises. From large mixed media works and paintings to photography and video, Chiurai tackles some of the most pressing issues facing these environments, such as xenophobia, displacement and inequality.

Chiurai has held numerous solo exhibitions since 2003 and has participated in various local and international exhibitions, such as Figures & Fictions: Contemporary South African Photography (2011) at the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Now (2011) at the Museum of Modern Art in New York. Other notable exhibitions include The Divine Comedy: Heaven, Purgatory and Hell Revisited curated by Simon Njami at Museum für Moderne Kunst in Frankfurt (2014) and SCAD Museum of Art, Savannah USA (2015), as well as Art/Afrique, Le nouvel atelier (2017) at the Fondation Louis Vuitton in Paris, Regarding the Ease of Others (2017) at the Zeitz Museum of Contemporary Art Africa, Genesis [Je n’isi isi]- We Live in Silence at IFA in Stuttgart, Germany and Ubuntu, a Lucid Dream (2020) at the Palais de Tokyo in Paris.

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 in 2013. Chiurai has held numerous solo exhibitions with Goodman Gallery and has edited four publications with contributions by leading African creatives.

At present the artist lives and works in Harare, Zimbabwe.

Jenny Holzer

Jenny Holzer was born in the village of Gallipolis, in southeastern Ohio, USA, in 1950. She first visited New York City when she was eleven, and eventually moved there in 1977 when she was accepted into the Whitney Museum’s Independent Study Program. She had studied at the Rhode Island School of Design and at a certain point during her MA there, she began incorporating text into her paintings. She wrote her first Truisms in 1977. In an interview with Diane Waldman in 1989 (published in Jenny Holzer, Guggenheim Museum), Holzer talks about what motivated her decision to begin writing and more or less abandon painting as she had practiced and studied it up to that point: ‘I wanted to see if I could make anything that would be of use to or have some kind of meaning for a general audience, people on their way to lunch who didn’t care anything about art.’ She also says that in incorporating her work into the signage and furniture of a city like New York (she has, over the years, placed work in many other urban spaces all over the world) she didn’t want either complete control of complete chaos, ‘but both there in their extreme forms, not averaged.’ To this end, Holzer has employed every kind of public sign writing to make art that is incorporated into the public architecture of cities.

Holzer has been doing solo and collaborative installations and exhibitions in galleries and urban environments all over the world since 1978, including in New York, Berlin, Venice, Osaka, Lund, Boston, Hamburg, London, Paris, Saõ Paolo, and Seoul. These works have taken the form of LED signs, pastings, posters, light installations, writing on stone, billboards, plaques, graffiti, prints, projections, t-shirts, and tattoos. She is also a painter and printmaker – her canvases are strongly text based – and has published books, essays, and stories. She has done a number of special projects for various cities and these include LED installations, electronic signs, projections, and engravings on benches. Holzer has won several major awards including honorary doctorates, the Leone d’Oro at the Venice Biennale, and the Goslar Emperor Ring.

Kendell Geers

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.

Mikhael Subotzky

Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation.

Subotzky has exhibited in a number of important international exhibitions, including most recently Masculinities: Liberation through Photography at the Barbican in London (2020), Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this
project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in 2021.

Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), the San Francisco Museum of Modern Art and the South African National Gallery, among others.

Subotzky’s work was included in Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015).

David Goldblatt

David Goldblatt (1930 – 2018) was born in Randfontein, a small mining town outside of Johannesburg, South Africa. He began exploring the medium of photography after matriculating in 1948 but only formally made photography his profession after his father died in 1962 and the family business, a mining concession store, was sold. In the years that followed, while Goldblatt supported his family through photography commissions and magazine work, he produced more than ten major photographic series, documenting the people, landscapes and structures of South Africa.

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.

William Kentridge

William Kentridge’s artist website can be visited here and Instagram account here

William Kentridge was born in Johannesburg, South Africa in 1955. His career has spanned five decades and his work has been shown in major museums, galleries, fairs and biennials around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), the Museum of Modern Art in New York (1998, 2010), the Albertina Museum in Vienna (2010), Jeu de Paume in Paris (2010), and the Musée du Louvre in Paris (2010), where he presented Carnets d’Egypte, a project conceived especially for the Egyptian Room. Kentridge’s production of Mozart’s The Magic Flute was presented at Theatre de la Monnaie in Brussels, Festival d’Aix, and in 2011 at La Scala in Milan, and his production of Shostakovich’s The Nose was seen at The New York Metropolitan Opera in 2010 and again in 2013, travelling to Festival d’Aix and to Lyon in 2011. The five-channel video and sound installation The Refusal of Time was made for Documenta (13) in Kassel, Germany, in 2012; since then it has been seen at MAXXI in Rome, the Metropolitan Museum, New York, and in many other cities including Boston, Perth, Kyoto, Helsinki and Wellington. A substantial survey exhibition of Kentridge’s work opened in Rio de Janeiro in 2012, going on in following years to Porto Alegre, São Paulo, Bogota, Medellin, and Mexico City. In the summer of 2014 Kentridge’s production of Schubert’s Winterreise opened at the Vienna Festival, Festival d’Aix, and Holland Festival. In the fall it opened at the Lincoln Center in New York. Paper Music, a concert of projections with live music by Philip Miller, opened in Florence in September 2014, and was presented at Carnegie Hall in New York in late October 2014. Both the installation The Refusal of Time and its companion performance piece Refuse the Hour were presented in Cape Town in February 2015. More recently, Kentridge’s production of the Alban Berg opera Wozzeck premiered at the Salzburg Festival in 2017 and last year his acclaimed performance project The Head & The Load opened at Tate Modern in London, and travelled to Park Avenue Armory in December 2018. In June 2019, A Poem That I Used To Know opened at Kunstmuseum, Basel in Switzerland, which travelled to LaM in Lille in early 2020. Why Should I Hesitate, a major survey show, divided across the Norval Foundation and Zetiz MOCAA, both in Cape Town, opened in late August 2019 and will run until July 2020. In addition, Kentridge’s new opera project, Waiting for the Sibyl, premiered at Teatro dell’Opera di Roma in September 2019 and will be seen in several European cities in 2020.

In 2010, Kentridge received the prestigious Kyoto Prize in recognition of his contributions in the field of arts and philosophy. In 2011, he was elected as an Honorary Member of the American Academy of Arts and Letters, and received the degree of Doctor of Literature honoris causa from the University of London. In 2012, Kentridge presented the Charles Eliot Norton Lectures at Harvard University and was elected member of the American Philosophical Society and of the American Academy of Arts and Sciences. Also in that year, he was awarded the Dan David Prize by Tel Aviv University, and was named as Commandeur des Arts et Lettres by the French Ministry of Culture and Communication. In 2013, William Kentridge was awarded an Honorary Doctorate in Fine Arts by Yale University and in 2014 received an Honorary Doctorate from the University of Cape Town. In 2017, Kentridge received the Princess of Asturias Award for the Arts in Spain and 2019, he was honoured with the Praemium Imperiale Laureate: Painting by the Japan Art Association in Tokyo.

Marco Cianfanelli

Marco Cianfanelli was born on 30th November 1970 in Johannesburg.

Kara Walker

Kara Walker was born in Stockton, California, in 1969. She studied at the Rhode Island School of Design and the Atlanta College of Art, and now lives in New York. Walker is well known for her cut-out silhouettes and films that examine, in particular, race, the history of the Antebellum South in the USA, African-American identity, and representations of black women. These tableaux offer a visual paring down of the history of Africa in America but despite their graphic simplicity they are often replete with violence and action. In an interview for the film series Art:21 Walker comments that ‘A lot of my work has been about the unexpected … wanting to be the heroine and yet wanting to kill the heroine at the same time. That kind of dilemma, that push and pull, is the underlying turbulence that I bring to each of the pieces that I make. The silhouette lends itself to avoidance of the subject, not being able to look at it directly.’

Kara Walker began exhibiting her work in 1995. She has had numerous solo exhibitions since then in galleries and museums in the US, Europe, and the Middle East, including the San Francisco Museum of Modern Art, the Tel Aviv Museum of Art, Mannheimer Kunstverein in Munich, Deutsche Guggenheim, Tate Liverpool, and the Metropolitan Museum of Art. She has also participated in group exhibitions such as SITE Santa Fe, the Whitney Biennial, and the Istanbul Biennale. Her works are in many important public collections.