EXHIBITION (PART ONE): 31 MARCH – 13 APRIL
EXHIBITION (PART TWO) & THE NIGHT SHOW EVENT: WEDNESDAY 13 APRIL AT 18H00
EXHIBITION (PART THREE): 14 APRIL – 30 APRIL
STUART BIRD | NASTASHA BURATOVICH | IAN GROSE | GUGULECTIVE | MATTHEW KING | ROSE KOTZE | GERALD MACHONA | KYLE MORLAND | MUSA NXUMALO | JODY PAULSEN | MONIQUE PELSER | JEANNIE ROUX | SIYA | SAFIA STODAL | LINDA STUPART | ZACH TALJAARD | HUGH UPSHER
The night is traditionally considered a temporal condition, or a time of obscurity. A shedding space where defined personas, highly regulated by the brilliant contrast of daylight and its custodians, give way to concealed and ambiguous forms. This shedding is also manifested in the buildings and structures of the city as the sun goes down. This April, Goodman Gallery Cape is proud to present a group exhibition staged in three parts that aims to explore some of the themes introduced by the night, as well as to re-imagine gallery space, stripped of its daytime persona.
The first stage of the show is an exhibition opening on the evening of the 31st March and running to the 13th April. This exhibition will present the night as anticipatory. Sweat and teenage desire mix with quiet anxiety, the threat of violence suggested by shadows, and the possibility of escaping into the world of cinema beckons – a welcome anaesthetic to lurking crises.
In its second incarnation taking place on the evening of the 13th April, The Night Show will exist as a happening; an event that forms the fulcrum around which the exhibition’s more concrete manifestations revolve. This section of the show aims to be a frenetic event-night that showcases site-specific, installation-oriented, time-based and performative works. A particular focus is given to the re-presentation of underutilised spaces such as storage and balcony areas, parking spaces and rooftops, as potential spaces for artworks.
In response to this event, from the 14th April the original exhibition will be reconfigured as a retrospective interrogation of work shown thus far. This stage of the exhibition focuses on traces of what was, what wasn’t and what could still be. The grey, early hours of the morning after the night before will focus more on documentation, quieter imagery and contemplative themes. The haze of the event will linger like the whine of last night’s music in tired ears.
Gerald Machona is a Zimbabwean born Visual artist with a Master’s Degree in Fine Art from Rhodes University and a Bachelor’s degree from the University of Cape Town, completed at the Michaelis School of fine art. Machona’s work has been included on several prominent international exhibitions, which include the South African Pavilion at the 56th Venice Biennale in Italy, All the World’s Futures and at the 20th Biennale of Sydney, The future is already here – it’s just not evenly distributed. Machona’s work has also appearedin exhibitions at the Brooklyn Museum in New York and at the Zeitz Museum of Contemporary Art Africa in Cape Town.
Machona works with sculpture, performance, new media, photography and film. The most notable aspect of his work is his innovative use of currency—particularly decommissioned Zimbabwean dollars—as an aesthetic material. Machona’s current work engages with issues of migration, transnationalism, social interaction and xenophobia in Africa.
In 2013, Machona featured in Mail and Guardian’s 200 Young South African’s supplemental and was selected by Business Day and the Johannesburg Art Fair in 2011 as one of the top ten young African artists practicing in South Africa. In 2019 Machona was included on the group exhibition Still Here Tomorrow to High Five You Yesterday at Zeitz MOCAA in Cape Town.