Investec Cape Town Art Fair 2022 ICTAF

Misheck Masamvu

Oscillating between abstraction and figuration, Misheck Masamvu’s (b. 1980, Mutare, Zimbabwe) works allow him to address the past while searching for a way of being in the world. As one of the most significant artists from Zimbabwe, Masamvu’s work offers a renewed understanding of visual culture in Africa and the decolonial project more broadly. Rhythmic lines and layered fields of colour have become a prominent language for Masamvu to explore structures of power and how history comes to bear on the contemporary moment, but also how one can adapt to a new way of interacting with the world.

Selected solo exhibitions: Show me how ruins make a home, A Gentil Carioca, São Paulo (2024); Exit Wounds, Goodman Gallery, New York (2024); Safety Pin, Goodman Gallery, Cape Town (2023); Pivot, Bernier/Eliades Gallery, Brussels (2023); Talk to me while I’m eating, Goodman
Gallery, London, United Kingdom (2021); Hata, Goodman Gallery, Cape Town (2019); Still Still, Goodman Gallery, Cape Town; Misheck Masamvu, Institut Français, Paris, France (2015); Disputed Seats, Influx Contemporary Art, Lisbon, Portugal (2009).

Notable group exhibitions include: Kuvhunura/Kupinda nemwenje mudziva, Fondation Blachere Bonnieux, France (2024); Translations: Afro-Asian Poetics, The Institutum, Singapore (2024); Inside Out, Fondation Gandur pour l’Art, Geneva (2022); Witness: Afro Perspectives, El Espacio 23, Miami, USA (2020); Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, Pérez Art Museum Miami, Miami (2020); Two Together, Zeitz Museum of Contemporary Art Africa, Cape Town (2020); Five Bobh: Painting at the End of an Era, Zeitz MOCAA, Cape Town (2017); Africa 2.0 > is there a Contemporary African art?, Influx Contemporary Art, Lisbon (2010); Art, Migration and Identity,, Africa Museum, Arnhem (2008); and 696 , National Gallery of Zimbabwe, Harare (2008).

Major international exhibitions include: The ‘t’ is silent , 8th Biennial of Painting, Museum Dhondt-Dhaenens, Sint-Martens-Latem, Belgium (2022); STILL ALIVE , 5th Aichi Triennale, Aichi, Japan (2022), NIRIN , 22nd Sydney Biennale, Sydney (2020); Incerteza Viva (Live Uncertainty), the 32nd Bienal de São Paulo (2016) and his international debut at Zimbabwe’s inaugural Pavilion at the 54th Venice Biennale (2011).

Collections include: A4 Arts Foundation (Cape Town, South Africa); Braunsfelder Family Collection (Cologne, Germany); Uieshema Collection (Tokyo, Japan); Perez Art Museum (Miami, USA); Pigozzi Collection (Geneva, Switzerland); Taguchi Art Collection (Tokyo, Japan); Fukutake Foundation (Auckland, New Zealand); COMMA Foundation (Damme, Belgium); ANA Collection (Lagos, Nigeria); Sigg Art Foundation, Le Castellet, France; Fondation Gandur pour l’Art (Geneva, Switzerland); and Zeitz Museum of Contemporary Art Africa (Cape Town, South Africa).

Masamvu lives and works in Harare, Zimbabwe.

William Kentridge

William Kentridge (b. 1955, Johannesburg, South Africa) is internationally acclaimed for his drawings, films, theatre and opera productions.

In 2024, in Venice, Kentridge premiered a new nine-episode video series SELF-PORTRAIT AS A COFFEE-POT – a site-specific installation curated by long-time collaborator and curator Carolyn Christov Bakargiev at the Arsenale Institute for Politics of Representation. Folowing this, in October, MUBI presented: William Kentridge’s ‘Self-Portrait as a Coffee-Pot’ Premiere in New York.

In conjunction with the world premiere of his newly commissioned opera The Great Yes, The Great No, which debuted at LUMA Arles in July 2024, the solo exhibition Je n’attends plus (I’m Not Waiting Any Longer) presents a collection of major works, some of which had not been seen in Europe before.

Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022. An iteration of Kentridge’s Royal Academy survey opened at the Taipei Museum of Fine Arts in May 2024. In the same year Kentridge opened another major survey exhibition, In Praise of Shadows, at The Broad, Los Angeles. In 2023, this exhibition travelled to the Museum of Fine Arts, Houston.

Kentridge’s work has been seen in museums across the globe since the 1990s, including the Luma Foundation, France (2024); Arsenale Institute for Politics of Representation, Venice (2024); Taipei Fine Arts Museum (2024); Museum of Modern Art, New York (1999, 2005, 2010); Albertina Museum, Vienna (2010); Musée du Louvre, Paris (2010); National Museum of Modern and Contemporary Art, Korea; Reina Sofia Museum, Madrid (2015); Kunstmuseum Basel (2019); Norval Foundation, Cape Town (2019). The artist has also participated in biennale’s including Documenta in Kassel (2012, 2002, 1997) and the Venice Biennale (2015, 2013, 2005, 1999, 1993).

Collections include: MoMA, New York; Tate Modern, London; Centre Pompidou, Paris; Haus der Kunst, Munich; Sharjah Art Foundation, Sharjah; National Museum of Modern Art, Kyoto; Guggenheim, Abu Dhabi and Zeitz MoCAA, Cape Town.

Kentridge lives and works in Johannesburg, South Africa.

Reza Farkhondeh & Ghada Amer

Ghada Amer (b. 1963, Cairo, Egypt) and Reza Farkhondeh (b. 1963, Iran) have cultivated an artistic collaboration spanning over 20 years, though they have only recently begun to exhibit their collective works publicly, under the moniker RFGA. This partnership seamlessly merges their two distinctive styles to create a dynamic visual vocabulary.

Amer and Farkhondeh’s previous collaborative solo exhibitions include those at Tina Kim Fine Arts, New York, the Singapore Tyler Institute, The Stedlijk Museum in the Netherlands, Goodman Gallery Cape Town

David Goldblatt

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 structures, people and landscapes of South Africa from 1948 until his death in June 2018. Well known for his photography which explored both public and private life in South Africa, Goldblatt created a body of powerful images which depicted life during the time of Apartheid. Goldblatt also extensively photographed colonial era monuments and buildings with the idea that the architecture reveals something about the people who built them.

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. Equal parts artist and documentarian, Goldblatt was known for his practice of attaching extensive captions to his photographs, which almost always identify the subject, place, and time in which the image was taken. These titles often play a vital role in exposing the visible and invisible forces through which the country’s policies of extreme racism and segregation shaped the dynamics of life, especially along axes of gender, labor, identity, and freedom of movement. Beyond endowing his images with documentary power, Goldblatt’s titles also dignify the people and places he photographs.

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. The Goldblatt Archive is held by Yale University, in New Haven, Connecticut.

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. A more recent retrospective includes, ‘David Goldblatt: No Ulterior Motive at the AIC’ (2018), which is now touring. This major traveling retrospective exhibition spans the seven decades of this South African photographer’s career, from the 1950s to the 2010s, demonstrating Goldblatt’s commitment to showing the realities of daily life in his country. The exhibition and accompanying publication bring together roughly 150 works by Goldblatt from the collections of the Yale University Art Gallery and the Art Institute of Chicago—two major Goldblatt repositories—including his early black-and-white photography and his post-apartheid, large-format color photography.

Goldblatt was 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.

Other notable group exhibitions and biennales include: ILLUMInations at the 54th Venice Biennale in 2011, South Africa in Apartheid and After, San Francisco Museum of Modern Art (2013); Everything Was Moving: Photography from the 60s and 70s, Barbican Centre, London (2012). He also exhibited at the Jewish Museum (2010); and the New Museum (2009), both in New York.

Selected key collections include: Museum of Modern Art (MoMA), New York; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art (SFMOMA); Tate Modern, London; Victoria and Albert Museum, London; Centre Pompidou, Paris; The J. Paul Getty; Museum, Los Angeles; National Gallery of Art, Washington, D.C.; Art Institute of Chicago; The Israel Museum, Jerusalem; Huis Marseille, Museum for Photography, Amsterdam; The Museum of Fine Arts, Houston; The Nelson-Atkins Museum of Art, Kansas City; The Walther Collection, Neu-Ulm, Germany and New York; National Gallery of Australia, Canberra; Stedelijk Museum, Amsterdam; Fotomuseum Winterthur, Switzerland; Yale University Art Gallery, New Haven; Johannesburg Art Gallery, South Africa; Iziko South African National Gallery, Cape Town; Art Gallery of New South Wales, Sydney; Princeton University Art Museum, Princeton; Moderna Museet, Stockholm; Museum Folkwang, Essen; Musée de l’Élysée, Lausanne; Carnegie Museum of Art, Pittsburgh; Museo Nacional Centro de Arte Reina Sofía, Madrid; Los Angeles County Museum of Art, Los Angeles.

Grada Kilomba

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 Freudian 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 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 nonfiction literature in Brazil, 2019. In 2021 she unveiled O Barco / The Boat, a large-scale installation with an accompanying performance at MAAT – Museum of Art, Architecture and Technology in Lisbon, Portugal.

The artist lives and works in Berlin.

Remy Jungerman

Remy Jungerman (b. 1959, Moengo, Suriname) explores the intersection of pattern and symbol in Surinamese Maroon culture, the larger African diaspora, and 20th century Modernism. Placing fragments of Maroon textiles and other materials found in the African diaspora—the kaolin clay used in several religious traditions or the nails featured in Nkisi Nkondi power sculpture—in direct contact with materials and imagery drawn from more “established” art traditions, Jungerman presents a peripheral vision that enriches our perspective on art history.

In 2022 , Jungerman received the A.H. Heineken Prize for Art, the biggest visual art prize in the Netherlands. From November 20, 2021 – April 10, 2022 he was the subject of a career survey show at the Stedelijk Museum, Amsterdam, titled Remy Jungerman: Behind the Forest. In 2019, he represented the Netherlands at the 58th Venice Biennale. In 2017 he was nominated for the Black Achievement Award in The Netherlands. In 2008, he received the Fritschy Culture Award from the Museum het Domein, Sittard, The Netherlands.

Jungerman is co-founder and curator of the Wakaman Project, drawing Lines – connecting dots. Wakaman, which means “walking man,” was born out of a desire to examine the position of visual artists of Surinamese origin and to raise their profile(s) on the international stage. His first book, Remy Jungerman. Where the River Runs, published by Jap Sam Books in 2019, won the 2019 50books | 50covers design award from the AIGA in the US and has received two 2019 30 Best Dutch Book Designs awards (as per a student jury from the Gerrit Rietveld Academy, Amsterdam).

Institutional exhibitions and biennales include: Remy Jungerman: Behind the Forest, Stedelijk Museum, Amsterdam (2021-2022); Mondrian Moves, Kunstmuseum, The Hague, Netherlands (2022); 58th Venice Biennial, Dutch Pavilion, Venice (2019); KABRA. Descendants Exchange, Kunstverenging Diepenheim, Netherlands (2013); Infinite Island: Contemporary Caribbean Art, Brooklyn Museum, New York (2007).

Group exhibitions include: Spirit Levels, CCA Glasgow, Scotland (2014); Who More Sci-Fi Than Us?, Kunsthal KAdE, Amersfoort, Netherlands (2012); Positions, De Hal, Paramaribo, Suriname (2011).

Solo exhibitions include: Still Waters, Goodman Gallery Johannesburg (2024); Fault Lines, Goodman Gallery, London (2022).

Jungerman lives and works between Amsterdam and New York

Dor Guez

Dor Guez Munayer’s (b. Jerusalem) practice comprises photography, video, installations, and sculpture. Through multimedia performances, Guez transforms art into a vehicle for storytelling. During a recent performance at the Centre Pompidou in Paris, he examined multi-colonial projections looking at different historical resources. His latest overview, “Catastrophe,” at the Museum of Modern Art in Bogotá in 2022, spanned a wide range of works that reflect the artist’s engagement with his communities and the ever-evolving studies of the Mediterranean Basin.

Guez’s work has been displayed in solo exhibitions at the Laboratorio Arte Alameda, Mexico City (2023); Felix Nussbaum Museum, Osnabrück (2023); MAMBO: Museum of Modern Art, Bogota (2022); Kunst im Kreuzgang, Bielefeld (2021); Futura Gallery, Prague, (2020); American Colony Archive, Jerusalem (2019); MAN Museum, Nuoro (2018); the Museum for Islamic Art, Jerusalem (2017); the Museum of Contemporary Art, Detroit (2016); the Institute of Contemporary Arts, London (2015) the Rose Art Museum, Brandeis University, Massachusetts (2013); The Mosaic Rooms, A.M Qattan Foundation, Centre for Contemporary Arab Culture & Art, London (2013) and the KW Institute for Contemporary Art, Berlin (2010).

Guez’s works are included in public collections such as Tate Modern London, Center Pompidou Paris, Guggenheim Abu Dhabi, LACMA; Los Angeles County Museum of Art, Princeton University Art Museum, The Jewish Museum New York, Rose Art Museum, FRAC collection Marseille, Museum of Modern Art Bogota, and more.

Dor Guez Munayer lives and works between Jaffa and Athens.

Sam Nhlengethwa

Sam Nhlengethwa (b. 1955, Payneville, Springs) part of a pioneering generation of late 20th century South African artists whose work reflects the sociopolitical history and everyday life of their country. Through his paintings, collages and prints Nhlengethwa has depicted the evolution of Johannesburg through street life, interiors, jazz musicians and fashion.

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 Johannesburg CBD, 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.

In 2014, a major survey exhibition, titled Life, Jazz and Lots of Other Things, was hosted by SCAD Museum of Art in Savannah, Georgia, which was then co-hosted in Atlanta by SCAD and the Carter Center.

Nhlengethwa’s practice features in important arts publications, such as Phaidon’s The 20th Century Art Book (2001).

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.

Group exhibitions include: Constructions: Contemporary Art from South Africa, Museu de Arte Contemporanea de Niteroi, Brazil (2011); Beyond Borders: Global Africa, University of Michigan Museum of Art, Michigan (2018).

Biennales include: 6th Beijing Biennale in (2015); 55th Venice Biennale, as part of the South African Pavilion, titled Imaginary Fact: Contemporary South African Art and the Archive (2013); 12th International Cairo Biennale (2010); 8th Havana Biennale (2003); Southern African Stories: A Print Collection, CCA (Caribbean Contemporary Arts), Trinidad (2002).

Collections include: Johannesburg Art Gallery (JAG), Durban Art Gallery (DAG), Iziko South African National Art Gallery (ISANG), Standard Bank’s Head Office, Absa, Botswana Art Museum, Museum of Fine Arts Houston, amongst many in South Africa and abroad.

Nhlengethwa lives and works in Johannesburg, South Africa.

Yto Barrada

Yto Barrada (Moroccan, French, b.1971, Paris) is recognized for her multidisciplinary investigations of cultural phenomena and historical narratives.
Engaging with the performativity of archival practices and public interventions, Barrada’s installations reinterpret social relationships, uncover subaltern histories, and reveal the prevalence of fiction in institutionalized narratives.

Barrada arrived at her artist practice through studies of history and political science, particularly in the negotiation of political and personal experiences. Her first series of photographs, ‘A Life Full of Holes,’ (1998–2004), used the Strait of Gibraltar as a site of inquiry, examining its status as a border between North Africa and Europe and its impact on the residents of Tangier.

Much of Barrada’s work has since focused on borderlands, microhistories, and autonomous agency within a political landscape. Interested in developing a platform for cross-cultural dialogue and exchange, she founded Cinémathèque de Tanger in 2006. North Africa’s first and only repertory cinema and archive, the Cinémathèque operates out of a restored 1930s theater known as the Cinema Rif, located in one of the city’s main squares.

In keeping with her exploration of identity, economics, and notions of authenticity, Barrada’s ‘Faux Guide,’ presented at Pace London (2015), focused on the fossil and mineral trade as an aspect of cultural production. Using museum collection practices as conceptual strategies, the artist’s multifaceted exhibition reflected on acts of subversion within tourist economies. Her first exhibition with Pace in New York, ‘How to Do Nothing with Nobody All Alone by Yourself’ (2018), included a survey of the artist’s practice and included her installation and film essay, Tree Identification for Beginners, which revisited her mother’s 1966 trip to the United States on a State Department-sponsored travel program.

Informed by postcolonial thought and socio-political concerns, Barrada’s interests range from the tensions around borders, immigration, and tourism to the urban landscape, and from children’s toys to botany and paleontology. Her practice encompasses photography, film, sculpture, painting, printmaking, and publishing, while her installations often comprise both original work and found objects.

Within the interlinked logic of Barrada’s work lie secrets, pleasures, and a celebration of strategies of resistance to domination.

Barrada’s work has been exhibited at the Renaissance Society, University of Chicago (2011); Tate Modern, London (2011); Walker Art Centre, Minneapolis, Minnesota (2013); The Massachusetts Museum of Contemporary Art, North Adams (2021); The Museum of Modern Art, New York (2021); and the Stedelijk Museum, Amsterdam (2022). In 2007, Barrada was selected to participate in the Venice Biennale. The artist has received multiple awards, including the Deutsche Guggenheim Artist of the Year (2011); the Abraaj Group Art Prize, UAE (2015); the Roy R. Neuberger Prize (2019); Mario Merz Prize (2022); Queen Sonja Print Award (2022), and Soros Arts Fellowship (2023). Works by Barrada are held in public collections worldwide, including Centre Pompidou, Paris; International Center of Photography, New York; Kunsthalle Basel; The Metropolitan Museum of Art, New York; and The Solomon R. Guggenheim Museum, New York, among others.

Cassi Namoda

Cassi Namoda (b. 1988, Maputo, Mozambique) is known for her strong colour palette and narrative approach. Her hybrid narratives are at once wondrous and poignant, everyday and fantastical, archival and current. Namoda’s work transfigures the cultural mythologies and historical narratives of life in post-colonial Africa, particularly those of the artist’s familial home of 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.

In 2024, Namoda presented her first institutional exhibition and most significant on the continent, titled "Is it sunny or cloudy in the land you live on?” at the Norval Foundation, Cape Town, South Africa. Throughout the exhibition Namoda explores landscape in multiple ambiguous other worldly forms.

Notable solo exhibitions include: Life has become a foreign language, Goodman Gallery, Cape Town (2022); To Live Long is To See Much, Goodman Gallery, Johannesburg (2020); Little is Enough for Those with Love/Mimi Nakupenda, The Royal Academy of Arts, London (2019); and Bar Texas, 1971, Library Street Collective, Detroit (2017).

Group shows include ECHO. Wrapped in Memory, MoMu, Antwerp; When We See Us: A Century of Black Figuration in Painting, Zeitz Museum of Contemporary Art Africa, Cape Town (2022 – 2023); American Women, La Patinoire Royale-Galerie Valérie Bach (2020).
Collections include: Pérez Art Museum Miami, Miami; Baltimore Museum of Art, Baltimore; MACAAL, Marrakesh; and The Studio Museum; New York.

Namoda lives and works in Italy.

Pamela Phatsimo Sunstrum

Pamela Phatsimo Sunstrum’s (b. 1980, Mochudi, Botswana) work alludes to mythology, geology and theories on the nature of the universe. Her work includes imagery that reflects the diverse genealogies of her experience living in different parts of Africa, Southeast Asia, and the U.S. as well as ongoing research in ethnography, ecology, and quantum physics. The artist’s boundary-crossing practice centres Black female identity in the discourse of postcolonialism and neocolonialism, highlighting the contributions of overlooked historical figures while emphasising modes of knowledge and communication beyond the status quo.

In 2024, a major new solo exhibition opened at KM21 Den Haag, including a new large scale diptych painting within an installation that included items from the museum’s furniture collection. Sunstrum also presented her first solo exhibition titled ‘It Will End in Tears’, at a major UK institution, the Barbican Centre’s The Curve. Sunstrum took her life-size wood grain panoramas round the bend of the gallery, building a narrativised sequence with elements of film noir, crime fiction and pure drama.

Recent solo exhibitions include: It Will End In Tears, Barbican London, UK (2024); You’ll be sorry, Goodman Gallery, Johannesburg, South Africa (2023), The Pavillion, London Mithraeum, Bloomberg SPACE, London (2023); All my seven faces, Contemporary Art Center, Cincinnati (2019); Michaelis School for the Arts at the University of Cape Town (2018); Interlochen Centre for the Arts, Interlochen (2016).

Group exhibitions and biennales include: Born in Flames: Feminist Futures, The Bronx Museum of the Arts NY, USA (2021); WITNESS: Afro Perspectives from the Jorge M. Pérez Collection, El Espacio 23, Miami, USA (2020).

Collections include: Fries Museum, Leeuwarden, Hessel Museum at Bard College, New York, A4 Arts Foundation, Cape Town; The Fitzwilliam Museum, Cambridge; University of Cape Town, Cape Town; Deutsche Bank Collection, Frankfurt; El Espacio 23, Miami; FRAC des Pays de la Loire Contemporary Collection, Carquefou; University of South Africa (UNISA) Art Collection.

Sunstrum lives and works in The Hague, Netherlands.

Sue Williamson

Sue Williamson (b. 1941, Lichfield, UK) is one of South Africa’s most important contemporary artists. 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).

In 2025, a major retrospective of her five-decades long career, titled There’s something I must tell you, will be shown at the Iziko South African National Gallery, following her UK and US institutional exhibitions in 2023 at The Box, Plymouth and The Barnes Foundation, Philadelphia.

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. Williamson has also authored two major publications - South African Art Now (2009) and Resistance Art in South Africa (1989).

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.

Major international solo exhibitions include: Between Memory and Forgetting, The Box, Plymouth, UK (2023); Other Voices, Other Cities, Las Palmas (2023); Can’t Remember, Can’t Forget, Apartheid Museum, Johannesburg (2017); Other Voices, Other Cities, SCAD Museum of Art, Georgia (2015), Messages from the Moat, Den Haag, (2003) and The Last Supper Revisited, National Museum of African Art, Smithsonian Institute, Washington D.C. (2002).

Group exhibitions include: Tell Me What You Remember, Barnes Foundation (2023); Breaking Down the Walls – 150 years of Collecting Art at Iziko, Iziko South African Museum (2022); RESIST! The 1960s Protests, Photography and Visual Legacy, BOZAR Centre for Fine Arts, Brussels (2018); Women House, La Monnaie de Paris and National Museum for Women in the Arts (Washington D.C) (2017, 2018); Being There, Fondation Louis Vuitton, Paris (2017); Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, International Centre for Photography in New York and the Museum Africa in Johannesburg (2014); The Short Century, Museum Villa Stuck, Munich, House of World Cultures, Berlin, Museum of Contemporary Art, Chicago, and P.S.1 New York (2001-2).

Collections include: the Museum of Modern Art, New York; Tate Modern, London; Victoria & Albert Museum, London; Pompidou Centre, Paris; Hammer Museum, Los Angeles; 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).

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.

Yinka Shonibare

Yinka Shonibare (b. 1962, London, United Kingdom) studied Fine Art at Byam Shaw School of Art, London (1989) and received his MFA from Goldsmiths, University of London (1991). His interdisciplinary practice uses citations of Western art history and literature to question the validity of contemporary cultural and national identities within the context of globalisation. Through examining race, class and the construction of cultural identity, his works comment on the tangled interrelationship between Africa and Europe, and their respective economic and political histories.

In 2024, Serpentine Gallery, London UK, presented a solo exhibition of works in their Serpentine South gallery titled Suspended States. Shonibare’s work is also featured at the Venice Biennale 2024 as part of the Nigerian Pavilion, in the group show: Nigeria Imaginary.

To mark Sharjah Biennial’s 30th anniversary in February 2023, Shonibare was commissioned to create a series of new works for the exhibition. He also unveiled a new outdoor sculpture commissioned by the David Oluwale Memorial Association in Aire Park, Leeds as part of Leeds 2023.

In November 2022, Shonibare hosted the international launch of Guest Artists Space (G. A. S.) Foundation, a non-profit founded and developed by the artist. The Foundation is dedicated to facilitating cultural exchange through residencies, public programmes and exhibition opportunities for creative practitioners from around the world. The live/work residency spaces are set across sites in Lagos and a rural working farm in Ijebu, Ogun State.

A major retrospective of his work opened at the Museum der Moderne, Salzburg in the same year followed by his co-ordination of The Royal Academy Summer Exhibition, London which opened in September 2021. The survey solo exhibition, Yinka Shonibare CBE: Planets in My Head, opened in April 2022 at Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan followed by the unveiling in June 2022 of a major new sculptural work, Wind Sculpture in Bronze I at Royal Djurgården, Stockholm.

In 2013, he was elected a Royal Academician and was awarded the honour of ‘Commander of the Order of the British Empire’ in 2019. His installation ‘The British Library’ was acquired by Tate in 2019 and is currently on display at Tate Modern, London. Shonibare was awarded the prestigious Whitechapel Gallery Art Icon Award in 2021.

In 2010, his first public art commission ‘Nelson’s Ship in a Bottle’ was displayed on the Fourth Plinth in Trafalgar Square, London and is in the permanent collection of the National Maritime Museum, Greenwich, London. In 2008, his mid-career survey began at Museum of Contemporary Art, Sydney, travelling in 2009 to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institute, Washington D.C. In 2004, he was nominated for the Turner Prize.

Notable museum collections include: the Tate Collection, London; Victoria and Albert Museum, London; National Museum of African Art, Smithsonian Institute, Washington, D.C; Museum of Modern Art, New York; Moderna Museet, Stockholm; the Museum of Contemporary Art, Chicago; National Gallery of Modern Art in Rome and VandenBroek Foundation, The Netherlands.

Shonibare lives and works in London, United Kingdom.

Ghada Amer

Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.

Amer’s wide-ranging practice spans painting, cast sculpture, ceramics, works on paper, and garden and mixed-media installations. Further, she often collaborates with her long-time friend Reza Farkhondeh. Recognising both that women are taught to model behaviors and traits shaped by others, and that art history and the history of painting in particular are shaped largely by expressions of masculinity, Amer’s work actively subverts these frameworks through both aesthetics and content. Her practice explores the complicated nature of identity as it is developed through cultural and religious norms as well as personal longings and understandings of the self.

Amer’s work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. Among invitations to prestigious group shows and biennials—such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007—she was given a midcareer retrospective at the Brooklyn Museum of Art in New York in 2008. Multiple institutions across Marseille, France are currently co-organising a retrospective for 2022 that will travel to the United States and Asia.

Carlos Garaicoa

Carlos Garaicoa (B. 1967 Havana, Cuba) studied thermodynamics and later painting at the Instituto Superior de Arte, Havana (1989 – 1994). 

Garaicoa developed a multidisciplinary approach to address issues of culture and politics, particularly Cuban, through the study of architecture, urbanism and history. He focuses on a dialogue between art and urban space through which investigates the social structure of our cities in terms of their architecture. Through a wide variety of materials and media, Garaicoa found ways to criticise modernist Utopian architecture and the collapse of the 20th century ideologies. 

Garaicoa has held numerous solo exhibitions including Lunds Konsthall and Skissernass Museum, Lund (2019); Parasol Unit Foundation, London (2018); Fondazione Merz, Torino (2017); MAAT, Lisbon (2017); Azkuna Zentroa, Bilbao (2017); Museum Villa Stuck, Munich (2016); Nasjonalmuseet, Oslo (2015); CA2M Centro de Arte Dos de Mayo, Móstoles, Madrid (2014); Fundación Botín, Santander (2014); NC-Arte and FLORA ars + natura, Bogotá (2014); Kunsthaus Baselland Muttenz, Basel(2012); Kunstverein Braunschweig, Brunswick, Germany (2012); Contemporary Art Museum, Institute for Research in Art, Tampa (2007); H.F. Johnson Museum of Art, Cornell University, Ithaca, New York (2011); Stedelijk Museum Bureau Amsterdam (SMBA), Amsterdam (2010); Centre d’Art la Panera, Lérida (2011); Centro de Arte Contemporáneo de Caja de Burgos (CAB), Burgos (2011); National Museum of Contemporary Art (EMST), Athens (2011); Inhotim Instituto de Arte Contemporáneo, Brumadinho (2012); Caixa Cultural, Río de Janeiro (2008); Museo ICO (2012) and Matadero (2010), Madrid; IMMA, Dublin (2010); Palau de la Virreina, Barcelona (2006); Museum of Contemporary Art (M.O.C.A), Los Angeles (2005); Biblioteca Luis Ángel Arango, Bogotá (2000).

Garaicoa has participated in prestigious international events such as the Biennials of Havana (1991, 1994, 1997, 2000, 2003, 2009, 2012, 2015), Shanghai (2010), São Paulo (1998, 2004), Venice (2009, 2005), Johannesburg (1995), Liverpool (2006) and Moscow (2005), the Triennials of Auckland (2007), San Juan (2004), Yokohama (2001) and Echigo-Tsumari (2012); Documenta 11 (2003) and 14 (2017) and PhotoEspaña 12 (2012).

In 2005 Garaicoa received the XXXIX International Contemporary Art Prize Foundation “Pierre de Monaco” in Montecarlo, and the Katherine S. Marmor Award in Los Angeles.

Garaicoa currently lives and works between Havana and Madrid.