Goodman Gallery’s presentation includes work by leading international artists; Cassi Namoda, Nolan Oswald Dennis, William Kentridge, Grada Kilomba, David Koloane, Misheck Masamvu, Shirin Neshat, Sam Nhlengethwa, Pamela Phatsimo Sunstrum, Hank Willis Thomas, Alfredo Jaar, and Gerhard Marx.
Alongside our presentation at Frieze an extension of our fair booth will be hosted generously by Adler Beatty on the Upper East Side.
Adler Beatty, 34 East 69th Street, New York, NY 10021
Hours: Tuesday through Friday 11-5
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.
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.
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.
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.
Born in Lusaka, Zambia and raised in Midrand, South Africa. He holds a Bachelors degree in architecture from the University of the Witwatersrand (Wits) and a Masters of Science in Art, Culture and Technology for the Massachusetts Institute of Technology (MIT).
Dennis’ 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.
Dennis’ is the 2016 winner of the FNB Arts Prize, and has exhibited in various solo and group shows, including the 9th Berlin Biennale (2016), the Young Congo Biennale (2019), Museu d’Art Contemporani de Barcelona (MACBA), Architekturmuseum der TU München, among others. He is participating in upcoming exhibitions at Palais de Tokyo (Paris), Le Lieu Unique (Nantes), and the Goodman Gallery, and is a 2020 artist in residence at NTUCCA (Singapore).
Dennis will be the next artist in residence at the Delfina Foundation, London from September 2021.
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.
William Kentridge was born in Johannesburg, South Africa in 1955. Kentridge’s artistic practice, expressionist in nature, is entirely underpinned by drawing. He is perhaps best known for his series of eleven animated films, Drawings for Projection, the earliest of which was completed in 1989 and the most recent of which will premiere in 2020. These hand-drawn films follow the narrative of fictional mining magnate, Soho Eckstein, his wife and her lover, Felix Teitlebaum. This saga is permeated with anecdotal elements from Kentridge’s own life and the political events, which unfolded in South Africa’s transition from apartheid to democracy.
In addition to being an accomplished printmaker in his own right, Kentridge’s openness to collaboration has allowed him to produce rich and extensive series of kinetic sculptures, bronzes and hand-woven tapestries. His passion for the theatre has brought him to work, as creative director, on several acclaimed opera productions ranging from Mozart’s Magic Flute , to The Nose by Shostakovich (2010) and most recently two operas by Alban Berg, Lulu (2015) and Wozzeck (2017). Kentridge has also created a number of original performance pieces including Refuse the Hour (2012); Triumphs & Laments (2017) on the Tiber river in Rome; The Head & the Load (2018) and most recently, the chamber opera, Sibyl (2019).
Kentridge’s career has spanned five decades and his work has been shown in major museums and biennales, around the world since the 1990s, including Documenta in Kassel, Germany (1997, 2003, 2012), the Museum of Modern Art in New York (1998, 2010) and the Museum of Contemporary Art Chicago (2012), Musée du Louvre in Paris (2010), FORTUNA in Brazil (2013), Ullens Centre for Contemporary Art in China (2015), Whitechapel Gallery in London (2016), Louisiana Museum in Denmark (2017), Reina Sofia Museum in Spain (2017), Liebieghaus Museum in Germany (2018), Kunstmuseum Basel (2019), Zeitz Museum of Contemporary Art Africa in Cape Town (2019), and most recently MUDAM in Luxembourg (2021).
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 many others.
Kentridge is currently working towards major survey exhibitions at The Royal Academy in London for 2022, and The Broad Museum in Los Angeles.
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.
Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture.
Thomas has 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.
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).
Pamela Phatsimo Sunstrum’s (b. 1980, Mochudi, Botswana) multidisciplinary practice encompasses drawing, painting, installation and animation. Her work alludes to mythology, geology and theories on the nature of the universe. Sunstrum’s drawings take the form of narrative landscapes that appear simultaneously futuristic and ancient, shifting between representational and fantastical depictions of volcanic, subterranean, cosmological and precipitous landscapes.
One of Sunstrum’s most notable projects in London came in the form of a 2018 mural which wrapped around the exterior of The Showroom. The work was dedicated to South African Novelist Bessie Head and formed part of the exhibition titled Women on Aeroplanes, curated by The Otolith Group, Emily Pethick, and Elvira Dyangani Ose.
Key exhibitions and performances include: All my seven faces at Contemporary Art Center, Cincinnati, OH, USA (2019); Zeitz MOCAA, Cape Town, South Africa; The Wiels, Brussels, Belgium (2019); Kunsthaus Zürich (2019); The Nest, The Hague (2019); Michaelis School for the Arts at the University of Cape Town (2018); Artpace, San Antonio, TX, USA (2018); The Phillips Museum of Arts, Lancaster (2018); Interlochen Centre for the Arts, Interlochen (2016); NMMU Bird Street Art Gallery, Port Elizabeth (2016); Tiwani Contemporary, London (2016); VANSA, Johannesburg (2015); Brundyn Gallery, Cape Town (2014); FRAC Pays de Loire, France (2013); the Havana Biennial (2012); and MoCADA, New York (2011).
Grada Kilomba (b. 1968, Lisbon, Portugal) is an interdisciplinary artist, whose work draws on memory, trauma, gender and post-colonialism, interrogating concepts of knowledge, power and violence. “What stories are told? How are they told? And told by whom?” are constant questions in Kilomba’s body of work, to revise post-colonial narratives.
Kilomba subversively translates text into image, movement and installation, by giving body, voice and form to her own critical writing. Performance, staged reading, video, photography, publications and installation are a platform for Kilomba’s unique practice of storytelling, which intentionally disrupts the proverbial ‘white cube’ through a new and urgent decolonial language and imagery.
Her work has been presented in major international events such as: La Biennale de Lubumbashi VI; 10. Berlin Biennale; Documenta 14, Kassel; 32. Bienal de São Paulo. Selected solo and group exhibitions include the Pinacoteca de São Paulo; Bildmuseet, Umeå; Kadist Art Foundation, Paris; The Power Plant, Toronto; Maxim Gorki Theatre, Berlin; MAAT-Museum of Art, Architecture and Technology, Lisbon; Secession Museum, Vienna; Bozar Museum, Brussels; PAC-Pavillion Art Contemporanea, Milan, among others. Kilomba’s work features in public and private collections worldwide.
Strongly influenced by the work of Frantz Fanon, Kilomba studied Freundian Psychoanalysis in Lisbon – at ISPA, and there she worked with war survivors from Angola and Mozambique. Early on she started writing and publishing stories, before extending her interests into staging, image, sound and movement.
Kilomba holds a distinguished Doctorate in Philosophy from the Freie Universität Berlin. She has lectured at several international universities, such as the University of Ghana and the Vienna University of Arts, and was a Guest Professor at the Humboldt Universität Berlin, Department of Gender Studies. For several years, she was a guest artist at the Maxim Gorki Theatre, in Berlin, developing Kosmos 2, a political intervention with refugee artists. She is the author of the acclaimed “Plantation Memories” (Unrast, 2008) a compilation of episodes of everyday racism written in the form of short psychoanalytical stories. Her book has been translated into several languages, and was listed as the most important non-fiction literature in Brazil, 2019. In 2021 she unveiled O Barco / The Boat, a large scale installation with an accompanying performace at MAAT – Musuem of Art, Architecture and Technology in Lisbon, Portugal.
The artist lives and works in Berlin.