On August 16 2012 South African Police shot striking mineworkers of the Lonrho platinum mines, killing 34 and wounding 78 in seemingly wild shooting without good cause. The men were shot, some with their hands up in surrender, within a radius of about 300 metres of this koppie on which they met. Beyond is the Lonhro smelter, which stood idle during the strike. Marikana, North-West Province. 11 May 2014 (4_A1201), 2014 Exhibition print / Silver gelatin on fibre based paper Approx (A0) 86 x 110cm / Approx 42 x 53cm
Copies of advertisements regarding destitute children that appeared in the Cape Government Gazette, form part of a memorial to children entitled We are still here. Between 1841 and 1921 some 7000 children were advertised as destitute in the Gazette. If not claimed by someone able to support them they were indentured, presumably as labourers. Memorial by Lovell Friedman and Leora Lewis, Longmarket pedestrian mall, Cape Town. 11 March 2012 (4_A0900), 2012 Demonstration print / Exhibition print / Silver gelatin on fibre based paper Approx (A0) 86 x 110cm / Approx 42 x 53cm
GOODMAN GALLERY JOHANNESBURG 28 JANUARY – 26 FEBRUARY 2015
CANDICE BREITZ / ADAM BROOMBERG AND OLIVER CHANARIN / NOLAN DENNIS / MOUNIR FATMI / KENDELL GEERS / DAVID GOLDBLATT/ HAROON GUNN SALIE/ ALFREDO JAAR / MOSHEKWA LANGA / WILLIAM KENTRIDGE / LIZA LOU / MIKHAEL SUBOTZKY /
“Imagine them reconstructing the conceptual framework of our cultural moment from those fragments. What are the parameters of that moment, the edge of that framework?” K Eshun (2003)
Other People’s Memories is a group show which explores the ways in which history and memory exist in the process of making, as well as the process of viewing, and by extension, the relationship between the artist, the artwork and the viewer.
The works included in the exhibition are the result of the artists’ relationship to something which has already happened, so that the artwork becomes an act of insertion, where the artists’ personal history becomes part of the historical, social or cultural moment which is referenced. In some instances the physical presence of the artists and their surroundings is consciously transferred to the artwork.
In Moshekwa Langa’s drawings, the artist uses string, tape and paint to map his memories and encounters. He includes domestic items like salt and wine, which he works into the fibrous paper and permeable string, so that the marks he makes are made viscerally – making overt the artist’s physical presence.
Transferral and human presence is also evoked in the beaded canvases of Liza Lou, who along with her team of skilled Zulu woman beaders, produces visual meditations on imperfect artistic production. The canvases retain traces of sweat, dirt and even blood which are testament to the fragile delicacy of her production and become a site of memory, recording the long struggle and sublime discomfort involved in the act of making.
Mikhael Subotzky’s work Sticky Tape Transfer 03 is formed through a process, developed by the artist, whereby adhesive tape is applied and then removed from images that feature in the artist’s personal history. In this delicate process, the tape picks up pigments and fragments of the original image so that a replica is formed. The pigments and fragments from the image are not all that is transferred onto the tape: dust and grime from the studio also become trapped in the glue, so that the image is made up not only of itself but also from the physical surroundings of the artist. Subotzky’s images then, become a meditation on memory itself. Like Subotzky’s transfers, a memory – each time it is evoked – is revised. Some parts are forgotten and left behind with the splinters and fragments of context replacing them.
The physical presence of the maker is made apparent in Kendell Geers’ work Foiled – where the artist has imprinted a religious figurine of Christ on the Cross on a large sheet of tin foil. Due to the delicate nature of the tin foil, the dents and folds deliberately made by the artists to demarcate the indented image are not the only marks on the material. As Geers manipulates the tin foil to create the image at its centre, his movement is picked up by the material so that the foil retains not only a visual “memory” of the devotional object but also a memory of how it came to be. The exhibition also allows for an exploration of how the artwork exists not only as something which contains the artists’ personal history – which happens in the process of making – but also how the viewer’s own history is projected onto the referred moment during the process of viewing and interpreting. Nolan Oswald Dennis’ work Tunnel 001 investigates the use of fire and what the artist terms “civil burnings” in the historical formation of South Africa.
The work consists of a plywood tunnel, the interior of which is covered in a thin layer of paraffin wax. Historical and personal accounts of how fire and burning existed in the formation of South African independence are carved into the wax. Like the foil in Geers’ work, the brittle yet stiff surface of the wax in Tunnel 001 means that in rewriting the texts, the artist physically changes what was originally written. Mistakes are made and words are scratched out, the wax breaks and obscures words, sentences run into each other and it becomes difficult to determine a precise starting and ending point. The size of the tunnel, which is just high enough to accommodate a human body, means that viewers are unable to gain perspective, and are forced by the physical constraints of the work to look at the carvings as fragments, and read the altered texts in pieces, so that each viewer has a different experience and constructs a different narrative and meaning. Where Dennis replicates and reworks texts onto a new surface, William Kentridge works directly onto archival documents, merging his drawing process into all that is contained by the archival document. Kentridge has worked with pages from an old cash book from East Rand Proprietary mines from 1906. In this way, the artist has worked the writing, texture and marks on the pages of the book into the landscapes – so that the history which the pages record becomes intrinsic to the landscape.
The archive, in this case, is directly altered by the artist’s charcoal landscapes, allowing for a rumination of the effect of the past on the landscape and exploring the tension between the reclaiming of damaged ground by the ever evolving and growing landscape – and the extent to which landscape remembers trauma. While Kentridge explores the extent to which trauma and social injustice is evoked in the landscape,
David Goldblatt considers the ways in which loss and memory are contained within manmade monuments. In his 2014 series, Structures of Dominion and Democracy, Goldblatt continues his reflection on the structures and monuments that frame a particular vision of South African history. The new series concentrates on, but is not entirely devoted to, the period after the fall of apartheid, and features images of makeshift memorials, public monuments, and artworks which memorialize moments of trauma and allow for attempts at national catharsis. The works interrogate the practice of memorializing history and the ideologies that govern this practice. Whereas Goldblatt documents and investigates the ways in which monuments are constructed amongst different groups, Alfredo Jaar works with a historical photograph of Italian artist Lucio Fontana after his return from his native Argentina to Milan in 1946. The image shows Fontana standing amongst the ruins of his studio which was destroyed during World War II. The image, which the artist sourced from the Farabola archive in Rome, has been enlarged to a 2,5 × 2,5 metres square. Beyond the evident display of destruction and loss caused by war, this image marks an extraordinary moment in history where a group of artists and intellectuals were able to overcome years of isolation and devastation and reintroduce Italian culture to the world. This group includes Fontana in visual arts as well as Rossellini, Visconti and De Sica in film, Moravia, Pavese or Ungaretti in literature and the later generation of filmmakers like Antonioni, Bertolucci, Pasolini and artists like Pistoletto, Boetti, Calzolari and countless others who illuminated the cultural scene of Italy and the world.
Jaar first showed this image during the 2013 Venice Biennale as part of his project Venezia, Venezia, which was a call to artists and intellectuals across the globe to rethink the current unbalanced structure of contemporary art display and representations of the world in general. As Jaar points out, “artists create models of thinking the world”. By alluding to the power which culture demonstrated back in 1946, the artist encourages culture to once again overcome the present social, geographical, political, and cultural imbalances still aggravating the world.
Haroon Gunn Salie begins from the point of a South African identity of Diaspora – and a history of colonialism and slavery.
Gunn Salie has produced a metal cut out of the words KOM OOR DIE SEE – a line from the popular “Kaapseklopse” and slave song Die Alabama. Working in The Belfast Exposed archive – which contains photographs documenting the Troubles in Northern Island – photographers Adam Broomberg and Oliver Chanarin were interested in the process of selection, and the physical marks made on the photographic contact strips in the archive.Marks were made both by the succession of archivists who worked with the archive, and as the archive was made open to the public, marks and cuts made by individuals who defaced images of themselves.
The archive, then, is not only a collection of images which document the troubles, but the images themselves – they too become surfaces which bear testimony to the physical manipulation and handling of history and documentation.
In the works on the exhibition the artists have brought to light the process of selection and deletion by uncovering parts of the images which have been covered by archivists’ stickers and deleting the rest of the image. In the process of exposing what was covered and deleting what was not, the artists make over the ways in which cataloguing and selection impact on an archive. When the works are installed in the gallery the images – now devoid of their context – trigger different responses in the viewers, who must use their own backgrounds and history to make meaning of the images’ sequences.
Mounir Fatmi works within the realm of art history and visual culture. Taking the Italian Renaissance artist Fra Anglico’s painting The Healing of Deacon Justinian as his starting point, Fatmi questions the possibility of traversing ethnic and cultural barriers. A digital replica of Angelico’s painting has been printed on a mirrored surface. The painting depicts the Catholic hagiology of the Deacon Justinian, whose cancerous leg was replaced with that of an a dead Ethiopian by the saints Cosmas and Damian – twin doctors of Turkish descent who were martyred in the Catholic faith after they were beheaded under Diocletian persecution.
Fatmi places composites images of modern surgeries and trauma rooms onto the Angelico image so that the saints and the deacon appear as ghostly forms in the modern world. Like so many of his works, in Blinding Light, Mounir Fatmi does not provide the viewer with an answer or solution to ethnic and cultural barriers – but rather through a merging of media, time and origin he includes the viewer in the a process of complicating and questioning the past.
The mirrored surface of the work means that in the proccess of looking, the viewer becomes part of the layered imagery. Bodies are reflected in the parts of the work which are still reflective and hidden in the parts which have been been covered by the photographic print. Again, medium is used as a visual analogy for contemplating that which has come before, where the viewer, as in Frangelico’s painting, becomes a ghostly presence in a reworking and re-imagining of the past. In her dual channel video work Treatment, – Candice Breitz also works with insertion and reception, through revising and editing David Cronenberg’s iconic 1970’s horror film The Brood.
Breitz enlists herself, her own mother and father, and her real-life psychotherapist to inhabit and re-create a series of scenes from The Brood.
As with the Cronenberg film,Treatment resists indulging concrete autobiographical information, denying onlookers voyeuristic access to Breitz’s actual relationships with her parents and therapist, and focusing instead on the psychological horror that potentially lies within family life.
Once again the work deals with the hidden that exists underneath the observable – and asks the viewer to engage with the reference, the artist’s intention and the narrative potential of their own history being brought to bear upon the works.
William Kentridge’s work has been seen in museums and galleries 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 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. This comprehensive survey show includes early drawings, major film installations, sculpture and two new pieces, an installation and a film, produced by Kentridge in response to works in the museum’s permanent collection.
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.
Why Should I Hesitate, a major survey show, divided across the Norval Foundation and Zetiz MOCAA, 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. Waiting for the Sibyl was created in response to Alexander Calder’s Work in Progress. Most recently, Kentridge’s production of Alban Berg opera Wozzeck ran at the Metropolitan Opera in New York.
Adam Broomberg (born 1970, Johannesburg, South Africa) and Oliver Chanarin (born
1971, London, UK) are artists living and working between London and Berlin. They are
professors of photography at the Hochschule für bildende Künste (HFBK) in Hamburg
and teach on the MA Photography & Society programme at The Royal Academy of Art
(KABK),The Hague which they co-designed.
Their work considers themes of surveillance, warfare, and institutional authority. Having
stood at the frontlines of war, Broomberg and Chanarin have captured zones of
conflict not as documentarians, but rather as unassuming witnesses. Their images have
resisted the allure of being purely representational, and have instead considered how
a photograph can capture more than just a visual encounter. Tackling politics,religion,
war and history, Broomberg and Chanarin prise open the fault lines associated with such
imagery, creating new responses and pathways towards an understanding of the human
Together they have had numerous solo exhibitions most recently at The Centre Georges
Pompidou (2018) and the Hasselblad Center (2017). Their participation in international
group shows include the Yokohama Trienniale (2017), Documenta, Kassel (2017), The
British Art Show 8 (2015-2017), Conflict, Time, Photography at Tate Modern (2015);
Shanghai Biennale (2014); Museum of Modern Art, New York (2014); Tate Britain (2014),
and the Gwanju Biennale (2012). Their work is held in major public and private collections
including Pompidou, Tate, MoMA, Yale, Stedelijk, V&A, the Art Gallery of Ontario,
Cleveland Museum of Art, and Baltimore Museum of Art. Major awards include the ICP
Infinity Award (2014) for Holy Bible, and the Deutsche Börse Photography Prize (2013)
for War Primer 2. Broomberg and Chanarin are the winners of the Arles Photo Text
Award 2018 for their paper back edition of War Primer 2, published by MACK.
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 series of important international exhibitions, including most recently 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 the fall of 2020.
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), and the South African National Gallery, among others.
Subotzky’s work was included in the 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).
Haroon Gunn-Salie (b. 1989, Cape Town) translates community oral histories into artistic interventions and installations. His multidisciplinary practice utilises a variety of mediums, drawing focus to forms of collaboration in contemporary art based on dialogue and exchange. Gunn-Salie completed his BA Honours in sculpture at Michaelis School of Fine Art at the University of Cape Town in 2012, where his graduate exhibition titled Witness presented a site-specific body of work focusing on still unresolved issues of forced removals under apartheid. The artist worked with veteran residents of District Six, an area in central Cape Town where widespread forced removals occurred following the Group Areas Act of 1950.
Significant exhibitions and projects that have featured Gunn-Salie’s work include: Simon Castets and Hans Ulrich Obrist’s 89-plus project, for which he participated in the 89plus programme with Obrist at the 2014 Design Indaba in Cape Town; Making Africa: A Continent of Contemporary Design, which travelled to the Vitra Design Museum and Guggenheim Museum Bilbao (2015); What Remains is Tomorrow, the South African Pavilion at La Biennale di Venezia (2015); and the 19º Festival de Arte Contemporânea Sesc Videobrasil (2015).
Gunn-Salie was placed in the top five of the Sasol new signatures competition in 2013. At the 19º Festival de Arte Contemporânea Sesc Videobrasil in 2015 he was awarded the first ever SP-Arte/Videobrasil prize, designed to encourage and publicise the work of young artists whose lines of research focus on the debate surrounding the Global South. As part of the award, Gunn-Salie presented a solo exhibition at Galpão VB during the SP-Arte fair in São Paulo in 2016. In 2018, the artist’s work commemorating the Marikana Massacre, Senzenina, formed part of the Frieze Sculpture exhibition, London, and in the same year he was the recipient of the FNB Art Prize.
Haroon Gunn-Salie is currently based between Cape Town and Johannesburg.
mounir fatmi was born in Tangiers, Morocco, in 1970. When he was four, his family moved to Casa-blanca. At the age of 17, he traveled to Rome where he studied at the free school of nude drawing and engraving at the Acadaemy of Arts, and then at the Casablanca art school, and finally at the Rijksakad-emie in Amsterdam.
He spent most of his childhood at the flea market of Casabarata, one of the poorest neighborhoods in Tangiers, where his mother sold children’s clothes. Such an environment produces vast amounts of waste and worn-out common use objects. The artist now considers this childhood to have been his first form of artistic education, and compares the flea market to a museum in ruin. This vision also serves as a metaphor and expresses the essential aspects of his work. Influenced by the idea of de-funct media and the collapse of the industrial and consumerist society, he develops a conception of the status of the work of art located somewhere between Archive and Archeology.
By using materials such as antenna cable, typewriters and VHS tapes, mounir fatmi elaborates an experimental archeology that questions the world and the role of the artist in a society in crisis. He twists its codes and precepts through the prism of a trinity comprising Architecture, Language and Machine. Thus, he questions the limits of memory, language and communication while reflecting upon these obsolescent materials and their uncertain future. mounir fatmi’s artistic research consists in a reflection upon the history of technology and its influence on popular culture. Consequently, one can also view mounir fatmi’s current works as future archives in the making. Though they represent key moments in our contemporary history, these technical materials also call into question the transmission of knowledge and the suggestive power of images and criticize the illusory mechanisms that bind us to technology and ideologies.
Since 2000, Mounir fatmi’s installations have been selected for several biennials, the 52nd and 57th Venice Biennales, the 8th Sharjah Biennale, the 5th and 7th Dakar Biennales, the 2nd Seville Biennale, the 5th Gwangju Biennale, the 10th Lyon Biennale, the 5th Auckland Triennial, the 10th and 11th Bamako Bien-nales, the 7th Shenzhen Architecture Biennale, the Setouchi Triennial and the Echigo-Tsumari Trienni-al in Japan. His work has been presented in numerous personal exhibits, at the Migros Museum, Zur-ich. MAMCO, Geneva. Picasso Museum La Guerre et la Paix, Vallauris. AK Bank Foundation, Istan-bul. Museum Kunst Palast, Düsseldorf and at the Gothenburg Konsthall. He has also participated in several group exhibitions at the Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscow. Mathaf, Doha, Hayward Gallery and the Victoria & Albert Museum, London. Van Abbemuseum, Eindhoven and at Nasher Mu-seum of Art, Durham.
He has received several prizes, including the Uriöt prize, Amsterdam, the Grand Prix Léopold Sédar Senghor at the 7th Dakar Biennale in 2006, as well as the Cairo Biennale Prize in 2010.
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.
David Goldblatt (b.1930, Randfontein, South Africa) chronicled the structures, people 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. Goldblatt’s 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 in Johannesburg. 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 and in 2018, a major retrospective at the Centre Pompidou in Paris. 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.
Nolan Oswald Dennis (b. 1988, Zambia) is an interdisciplinary artist from Johannesburg, South Africa. His practice explores what he calls ‘a black consciousness of space’: the material and metaphysical conditions of decolonization.
His work questions the politics of space and time through a system-specific, rather than site-specific approach. He is concerned with the hidden structures that pre-determine the limits of our social and political imagination. Through a language of diagrams, drawings and models he explores a hidden landscape of systematic and structural conditions that organise our political sub-terrain. This sub-space is framed by systems which transverse multiple realms (technical, spiritual economic, psychological, etc) and therefore Dennis’ work can be seen as an attempt to stitch these, sometime opposed, sometimes complimentary, systems together. To read technological systems alongside spiritual systems, to combine political fictions with science fiction.
He holds a degree in Architecture from the University of the Witwatersrand, Johannesburg and a Masters of Science in the Art, Culture and Technology from the Massachusetts Institute of Technology (MIT).
Candice Breitz (b. 1972, Johannesburg, South Africa) is an artist whose moving image installations have been shown internationally. Throughout her career, Breitz has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community, be that community the immediate community that one encounters in family, or the real and imagined communities that are shaped not only by questions of national belonging, race, gender and religion but also by the increasingly undeniable influence of mainstream media such as television, cinema and popular culture. Most recently, Breitz’s work has focused on the conditions under which empathy is produced, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity.
Solo exhibitions of Breitz’s work have been hosted by the Kunstmuseum Bonn (Germany), Kunstmuseum Stuttgart, National Gallery of Canada (Ottawa), San Francisco Museum of Modern Art, Kunsthaus Bregenz, Palais de Tokyo (Paris), The Power Plant (Toronto), Louisiana Museum of Modern Art (Humlebæk), Modern Art Oxford, De Appel Foundation (Amsterdam), Baltic Centre for Contemporary Art (Gateshead), MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), Moderna Museet (Stockholm), Castello di Rivoli (Turin), Pinchuk Art Centre (Kyiv), Centre d’Art Contemporain Genève, Bawag Foundation (Vienna), Temporäre Kunsthalle Berlin, White Cube (London), MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain), Wexner Center for the Arts (Ohio), O.K Center for Contemporary Art Upper Austria (Linz), ACMI / The Australian Centre for the Moving Image (Melbourne), Collection Lambert en Avignon, FACT / Foundation for Art & Creative Technology (Liverpool), Blaffer Art Museum (Houston) and the South African National Gallery (Cape Town).
Selected group exhibitions include South Africa: the art of a nation (British Museum, London, 2016), Laughing in a Foreign Language (The Hayward, London, 2008), The Cinema Effect (Hirshhorn Museum + Sculpture Garden, Washington, D.C., 2008), Made in Germany (Kunstverein Hannover, 2007), Superstars (Kunsthalle Wien, 2005), CUT: Film as Found Object (Museum of Contemporary Art, North Miami, 2004), Continuity + Transgression (National Museum of Modern Art, Tokyo, 2002), Thank You for the Music (Kiasma Museum of Modern Art, Helsinki, 2012), Rollenbilder – Rollenspiele (Museum der Moderne Salzburg, 2011), Performa (New York, 2009), Contemporary Outlook: Seeing Songs (Museum of Fine Arts, Boston, 2009), Remix: Contemporary Art and Pop (Tate Liverpool, 2002) and Looking at You (Museum Fridericianum, Kassel, 2001).
Breitz has participated in biennales in Johannesburg (1997), São Paulo (1998), Istanbul (1999), Taipei (2000), Kwangju (2000), Tirana (2001), Venice (2005, 2017), New Orleans (2008), Göteborg (2003 + 2009), Singapore (2011) and Dakar (2014). Her work has been featured at the Sundance Film Festival (New Frontier, 2009) and the Toronto International Film Festival (David Cronenberg: Transformation, 2013).
Her work has been acquired by museums including the Museum of Modern Art,the Solomon R. Guggenheim Museum, the Jewish Museum (in New York), Louisiana Museum of Modern Art (Humlebæk), San Francisco Museum of Modern Art, the National Gallery of Canada (Ottawa), Städtische Galerie im Lenbachhaus (Munich), Art Gallery of Ontario (Toronto), FNAC / Fonds national d’art contemporain (France), Castello di Rivoli (Turin), Hamburger Kunsthalle (Hamburg), M+ / Museum of Visual Culture (Hong Kong), Milwaukee Art Museum, Kunstmuseum St. Gallen, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), MUSAC / Museo de Arte Contemporáneo de Castilla y León (León, Spain), Kunstmuseum Lichtenstein (Vaduz), MONA / Museum of Old and New Art (Tasmania), QAG GOMA / Queensland Art Gallery (Brisbane), Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome).
Breitz holds degrees from the University of the Witwatersrand (Johannesburg), the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s Le Pavillon residency as a visiting artist during the year 2005-2006. She has been a tenured professor at the Hochschule für Bildende Künste in Braunschweig since 2007.
Candice Breitz lives and works between Cape Town, South Africa and Berlin, Germany.
HANK WILLIS THOMAS is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture. His work has been 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.