Goodman Gallery Cape Town
2 June – 20 July
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery’s history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery’s history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery’s ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world’s most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery’s programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery’s transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
David Goldblatt 1983 Digital print in pigment inks on cotton rag paper
Clive van den Berg, artist, curator and designer, works on his own and in collaboration with colleagues in a collective called trace, whose primary activities are the development of public projects. He has had several solo exhibitions in South Africa, and his work is regularly exhibited abroad. His public projects have included the artworks for landmark Northern Cape Legislature and, since he has joined the trace team, museum projects for the Nelson Mandela Foundation, Constitution Hill, Freedom Park, the Workers Museum, The Holocaust and Genocide Centre and many other projects.
Van den Berg has much experience working on large-scale institutional projects with teams representing diverse constituencies: urban planners and policy makers, architects, landscape designers, museum curators, historians, community liaison officials and representatives of local and national governments. In the Northern Cape, for example, where he worked with the Luis Ferreira da Silva architects, he pioneered a new strategy for integrating forms of the local landscape and indigenous aesthetics into the overall building design, while also training local artisans as part of a skills transference project aimed at long-term sustainability. The result is a world-renowned and uniquely South African state edifice: a monument to the people of the Northern Cape.
At Constitution Hill, his design ethos strove to fuse old materials with new curatorial strategies: to preserve individual and collective memory about the prisons and experiences that people had in them, while also educating future publics about the place of the prisons in South African history, and creating aesthetic forms appropriate to the institution.
In contemporary South Africa, much public institutional design is aimed at the cultivation of memory and the memorialization of the past. Van den Berg’s integrative approach to art, design and architectural construction has allowed him to produce spaces in which previously unheard or even suppressed narratives can be articulated. His design work on the exhibitions for the Mandela Foundation have been oriented toward this end: in showcasing materials from the Foundation’s archive, he has developed exciting new formats and vocabularies in which to reveal a past that had hitherto remained largely unknown, making it accessible to a new generation of South African citizens.
Sue Williamson (b. 1941, Lichfield, UK) emigrated with her family to South Africa in 1948. Trained as a printmaker, Williamson also works in installation, photography and video. In the 1970s, she started to make work which addressed social change during apartheid and by the 1980s Williamson was well known for her series of portraits of women involved in the country’s political struggle.
Referring to her practice, Williamson states: “You become aware of the audience to whom you speak. In that sense, you think backwards: what you have to say, whom you say it to, and how it will reach the audience. Having to consider your work through the eyes of somebody who knows nothing about you as an artist and what you are doing is a useful exercise.” Williamson has managed to avoid the rut of being caught in an apartheid-era aesthetic, “I am never particularly interested in doing what I did the last time. I take one thing and work it out a number of ways.”
In 2018, Williamson was Goodman Gallery’s featured artist at the FNB Joburg Art Fair, where she exhibited her work Messages from the Atlantic Passage, a large-scale installation of shackled, suspended glass bottles engraved with details taken from 19th century slave trade documents. This installation was also exhibited the previous year at Art Basel in Switzerland and at the Kochi-Muziris Biennale in India in 2018.
Williamson’s works feature in numerous public collections across the globe, including those at the Museum of Modern Art, New York, USA, Tate Modern, London, UK, Victoria & Albert Museum, London, UK, National Museum of African Art, Smithsonian Institution, Washington D.C., USA, Wifredo Lam Centre, Havana, Cuba, Iziko South African National Gallery, Cape Town, South Africa, and Johannesburg Art Gallery, South Africa.
Williamson has received various awards and fellowships such as the Bellagio Creative Arts Fellowship 2011, Italy, Rockefeller Foundation, the Visual Artist Research Award Fellowship 2007, Smithsonian Institution, Washington D.C., USA and the Lucas Artists Residency Fellowship 2005, Montalvo Art Center, California, USA.
Sue Williamson lives and works in Cape Town, South Africa.
Born in 1960 in Rustenburg, Gauteng, South Africa, Walter Oltmann’s main area of focus is sculpture, and more particularly in fabricating woven wire forms, which sometimes reference local craft traditions. He has researched and written on the use of wire in African material culture in this region and is deeply interested in the influence of these traditions in contemporary South African art. He has had numerous solo exhibitions with the Goodman Gallery, and has created several large-scale commissions for venues such as the Zeitz Sculpture Garden in Segera, Kenya.
Kiluanji Kia Henda (b. 1979, Luanda, Angola) employs a surprising sense of humour in his work, which often hones in on themes of identity, politics, and perceptions of post-colonialism and modernism in Africa. Kia Henda brings a critical edge to his multidisciplinary practice, which incorporates photography, video, and performance. Informed by a background surrounded by photography enthusiasts, Kia Henda’s conceptual-based work has further been sharpened by exposure to music, avant-garde theatre, and collaborations with a collective of emerging artists in Luanda’s art scene. Much of Kia Henda’s work draws on history through the appropriation and manipulation of public spaces and structures, and the different representations that form part of collective memory, in order to produce complex, yet powerful imagery.
Kia Henda has had solo exhibitions in galleries and institutions around the world. His work has featured on biennales in Venice, Dakar, São Paulo and Gwanju as well as major travelling exhibitions such as Making Africa: A Continent of Contemporary Design and The Divine Comedy: Heaven, Hell, Purgatory revisited by Contemporary African Artists. In 2019, Kia Henda’s work was acquired by Tate Modern in London, and he was selected to participate on the Unlimited sector at Art Basel. In 2020 Kia Henda will be shown at the MAN Museo d’Arte Provincia di Nuoro in Italy, marking his first major solo exhibition in a European museum.
Kia Henda currently lives and works between Luanda and Lisbon.
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.
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.
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.
Brett Murray studied at the University of Cape Town where he was awarded his Master’s of Fine Arts degree in 1988 with distinction. The title of his dissertation is ‘A Group of Satirical Sculptures Examining Social and Political Paradoxes in the South African Context’. As an undergraduate he won Irma Stern Scholarships in both 1981 and 1982. He won the Simon Garson Prize for the most Promising student in 1982 and was awarded the Michaelis Prize in 1983. As a postgraduate student he received a Human Sciences Research Council bursary, a University of Cape Town Research Scholarship, the Jules Kramer Grant and an Irma Stern Scholarship.
He has exhibited extensively in South Africa and abroad. From 1991 to 1994 he established the sculpture department at the University of Stellenbosch, where he curated the show ‘Thirty Sculptors from the Western Cape’ in 1992. In 1995 he curated, with Kevin Brand, ‘Scurvy’, at the Castle of Good Hope in Cape Town. That year he co-curated ‘Junge Kunst Aus Zud Afrika’ for the Hänel Gallery in Frankfurt, Germany.
In 1999, Brett co-founded, with artists and cultural practitioners Lisa Brice, Kevin Brand, Bruce Gordon, Andrew Putter, Sue Williamson, Robert Weinek and Lizza Littlewort, ‘Public Eye’, a Section 27 company that manage and initiate art projects in the public arena with the aims to develop a greater profile for public art in Cape Town. They have initiated projects on Robben Island, worked with the cities health officials on aids awareness campaigns and initiated outdoor sculpture projects including ‘The Spier Sculpture Biennale’. He curated ‘Homeport’ in 2001 which saw 15 artists create site specific text based works in Cape Town’s waterfront precinct. Public Eye have interfaced with cultural funding bodies as consultants and hosted multi-media events across the city.
Murray was included on the Cuban Biennial of 1994, and subsequently his works where exhibited at the Ludwig Museum of Contemporary Art in Germany. He was included on the group show, ‘Springtime in Chile’ at the Museum of Contemporary Art in Santiago, Chile. He was also part of the travelling show ‘Liberated Voices, Contemporary Art From South Africa’ which opened at the Museum for African Art in New York in 1998. His work formed part of the shows ‘Min(d)fields’ at the Kunsthaus in Baselland, Switzerland in 2004 and ‘The Geopolitics of Animation‘ at the Centro Andaluz de Arte Contemporaneo in Seville in Spain in 2007. He won the Cape Town Urban Art competition in 1998 that resulted in the public work ‘Africa’, a 3.5 metre bronze sculpture, being erected in Cape Town’s city centre. He won, with Stefaans Samcuia, the commission to produce an 8 × 30 meter wall sculpture for the foyer of the Cape Town International Convention Centre in 2003. In 2007 he completed ‘Specimens’, a large wall sculpture for the University Of Cape Town’s medical school campus. In 2011 he produced the public artwork ‘Seeds’ for The University of Bloemfontein and in 2013 he was commissioned to produce the 7 meter bronze ‘Citizen’ for the Auto & General Park in Johannesburg.
His solo shows include: ‘White Boy Sings the Blues’ at the Rembrandt Gallery in Johannesburg in 1996, ‘I love Africa’ at the Bell-Roberts Gallery in Cape Town in 2000, ‘Us and Them’ at the Axis Gallery in New York in 2003 and ‘Sleep Sleep’ at the Goodman Gallery in Johannesburg in 2006. His solo show, ‘Crocodile Tears’, was held at both the Cape Town and Johannesburg branches of The Goodman Gallery in 2007 and 2009. His recent show, ‘Hail To The Thief’, was first held at the Goodman Gallery in Cape Town in 2010, and then at the Goodman Gallery in Johannesburg in 2012. He was nominated as the Standard Bank Young Artist of the year in 2002.
Born in Johannesburg, South Africa. Live and work in Florence, Italy
rosenclaire’s collaborative work began in the mid 1980’s when they translocated from South Africa to Italy. Their artwork and teaching has always involved some form of political activism. Though very different in stylistic approach, their work shares the same concepts and common concerns. The collaborative work is generally context-specific.
rosenclaire exhibitions are therefore works in themselves where they both respond to a central concern and the show as a whole is designed as a cohesive installation.
They join forces in order to creatively facilitate a discourse pertaining to a specific theme, place or situation that they are invited to participate in. This may be a curated show, a public sculpture or a pedagogic intervention. Exhibitions often contain a live feed that both references surveillance but at the same time renders the audience as subject and content of the work. The work is done specifically for the conceptual task at hand where, as artists, they regain control and responsibility for generating a specific dialogue with both the art world and general public. An important permanent interactive installation called ‘Soapboxes’ of theirs, sits outside the South African National Gallery/IZIKO (SANG). They collaborate as wives and as dedicated mentors who have run a renowned artists residency program in Tuscany for the past 30 years. Each of them are artists in their own right and make work individually as well.
Gavronsky works in a variety of mediums, most notably in painting and sculpture. Her work often uses visual reference’s to historical paintings, and cues are sometimes taken from events from everyday life. Memory, racism, violence against women and children are some of the theme’s which run through her oeuvre. Her work also bridge’s sometimes complex narratives through overlaid images, and stories which link the past to the present.
In 1981 Gavronsky received a Master of Fine Art in painting, and she moved to Italy in 1985 and has since lived between Cape Town and Tuscany.
Shakinovsky’s work defies any stylistic category as it consists of work that ranges from the re-presentation and decontextualization of found objects, found images and found situations, to delicately painted abstractions and ironic bronzes. The work concerns itself with current political and social discourses while simultaneously referencing and reconstructing art historical edifices. Shakinovsky is interested in the structure as well as the morphology of all seemingly coherent visual and nonvisual languages from the prelinguistic to the post-linquistic and the digital. Her present research is concerned with discourses pertaining to the Posthuman, Postanthropos, Transhuman, Migration and the consequences of Climate Change.
Shakinovsky has over the past decade given contemporary art history courses to collectors, philanthropists and business leaders hoping to inspire them to contribute to fostering the arts in their respective countries.
Diane Victor (b. 1964 in Witbank, South Africa) has established herself as a major figure in the South African and International art communities and is renowned for her expert printmaking and draughtsmanship. Victor positions herself within the South African art scene through her bold confrontations with difficult and at times taboo subject matter. Her large scale drawings and etchings demonstrate a command of mark-making, which she uses to render her subjects in affecting detail. At times, her work seems to pose challenges to social and political life in contemporary South Africa, considering issues of corruption, violence and an unequal power distribution.
Having received her BA Fine Arts Degree from the University of the Witwatersrand, with a major in Printmaking, and graduating with distinction – Victor has gone on to win various prestige awards including the Sasol New Signatures Award in 1987. In 1988, Victor became the youngest recipient of the prestigious Volkskas Atelier Award which granted her a ten-month stay at the Cité Internationale des Artes in Paris, France. Over this period, Victor was able to work collaboratively with other experienced printmakers and to observe and reflect on a society very different from her own.
Victor has exhibited at numerous venues around South Africa and internationally, some of which include the UNISA Gallery, Fried Contemporary, MoMA New York, Faulconer Gallery, The Highpoint Center for printmaking, The Gus Fisher Gallery, National Museum of Contemporary Art Oslo, Yale University Art Gallery, The Contemporary Museum Honolulu, and Australia and Adelaide Central Gallery. Victor’s work is part of a number of important collections, including Sasol, Pretoria Art Museum, Johannesburg Art Gallery, Durban Art Museum and Santam.
Since 1990, Victor has been a lecturer, teaching Fine Art, at various South African institutions including the University of Pretoria, Tshwane University of Technology, Open Window Academy, the University of the Witwatersrand, Rhodes University and the University of Johannesburg.
Victor lives and works in Johannesburg, South Africa. At present, she is a senior Fine Art lecturer at the University of Pretoria’s Department of Visual Art.
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.
Kudzanai Chiurai (b. 1981, Zimbabwe) was born one year after Zimbabwe’s emergence from white-ruled Rhodesia. Chiurai incorporates various media into his practice, which is largely focused around cycles of political, economic and social strife present in post-colonial societies.
Chiurai’s artwork confronts viewers with the psychological and physical experience of African metropolises. From large mixed media works and paintings to photography and video, Chiurai tackles some of the most pressing issues facing these environments, such as xenophobia, displacement and inequality.
Chiurai has held numerous solo exhibitions since 2003 and has participated in various local and international exhibitions, such as Figures & Fictions: Contemporary South African Photography (2011) at the Victoria and Albert Museum in London and Impressions from South Africa, 1965 to Now (2011) at the Museum of Modern Art in New York. Other notable exhibitions include The Divine Comedy: Heaven, Purgatory and Hell Revisited curated by Simon Njami at Museum für Moderne Kunst in Frankfurt (2014) and SCAD Museum of Art, Savannah USA (2015), as well as Art/Afrique, Le nouvel atelier (2017) at the Fondation Louis Vuitton in Paris, Regarding the Ease of Others (2017) at the Zeitz Museum of Contemporary Art Africa, Genesis [Je n’isi isi]- We Live in Silence at IFA in Stuttgart, Germany and Ubuntu, a Lucid Dream (2020) at the Palais de Tokyo in Paris.
Chiurai’s Conflict Resolution series was exhibited at dOCUMENTA (13) (2012) in Kassel and the film Iyeza was one of the few African films to be included in the New Frontier shorts programme at the Sundance Film Festival in 2013. Chiurai has held numerous solo exhibitions with Goodman Gallery and has edited four publications with contributions by leading African creatives.
At present the artist lives and works in Harare, Zimbabwe.
Lisa Brice (b.1968, Cape Town, South Africa) negotiates the precarious terrain of artistic production, as she moves between practices of spontaneous drawing and figure painting. She makes use of unexpected painting and printing techniques on a variety of surfaces, which include canvas and tracing paper. For Brice, the act of tracing often leads her to a repetition of similar motifs or figures in her work, sometimes biographical, and at other times art historical: ‘I am attracted to the idea of repetition,’ Brice remarks. ‘Chasing that high, stories told and retold.’
In 2006 Brice had her first solo exhibition of paintings at Goodman Gallery Johannesburg, titled Night Vision, in which she reflected on the uncertainties of childhood. In 2009, a solo show, More Wood for the Fire, was presented at Goodman Gallery Johannesburg; the exhibition detailed Brice’s relationship with the island of Trinidad. In 2011, Brice’s work was included in the Vitamin P2 publication, Phaidon’s major anthology of international painting. In 2012, Brice presented a solo exhibition titled Throwing the Floor at Goodman Gallery in Cape Town. She has had subsequent shows at Goodman Gallery Johannesburg in 2015 titled Well Worn, and in June 2016 she was included on a show at Camden Art’s Centre in London Making & Unmaking curated by Duro Olowu. Brice had her first solo museum exhibition in the UK at the Tate Britain in 2018, where she exhibited large scale paintings which addressed the longstanding art-historical tradition of the female nude.
The artist lives and works in London, UK.
Gerald Machona is a Zimbabwean born Visual artist with a Master’s Degree in Fine Art from Rhodes University and a Bachelor’s degree from the University of Cape Town, completed at the Michaelis School of fine art. Machona’s work has been included on several prominent international exhibitions, which include the South African Pavilion at the 56th Venice Biennale in Italy, All the World’s Futures and at the 20th Biennale of Sydney, The future is already here – it’s just not evenly distributed. Machona’s work has also appearedin exhibitions at the Brooklyn Museum in New York and at the Zeitz Museum of Contemporary Art Africa in Cape Town.
Machona works with sculpture, performance, new media, photography and film. The most notable aspect of his work is his innovative use of currency—particularly decommissioned Zimbabwean dollars—as an aesthetic material. Machona’s current work engages with issues of migration, transnationalism, social interaction and xenophobia in Africa.
In 2013, Machona featured in Mail and Guardian’s 200 Young South African’s supplemental and was selected by Business Day and the Johannesburg Art Fair in 2011 as one of the top ten young African artists practicing in South Africa. In 2019 Machona was included on the group exhibition Still Here Tomorrow to High Five You Yesterday at Zeitz MOCAA in Cape Town.
Gabrielle Goliath (b.1983) situates her practice within contexts marked by the traces, disparities and as of yet unreconciled traumas of colonialism and apartheid, as well as socially entrenched structures of patriarchal power and rape-culture. Enabling opportunities for affective, relational encounters, she seeks to resist the violence through which black, brown, feminine, queer and vulnerable bodies are routinely fixed through forms of representation.
Goliath has exhibited widely, most recently in Our Red Sky, Göteborgs Konsthall, Gothenburg; Le Guess Who, Centraal Museum, Utrecht; Future Generation Art Prize, Pinchuk Art Centre, Kiev and Venice; Kubatana – An Exhibition with Contemporary African Artists, Vestfossen Kunstlaboratorium, Norway; Verbo Performance Art Festival, São Paulo, and the Palais de Tokyo’s Do Disturb Festival, Paris. Her solo exhibition, This song is for… is currently installed at the Iziko South African National Gallery, and will travel in 2021 to the Durban Art Gallery, Durban; William Humphreys Museum, Kimberley; and Konsthall C, Stockholm.
Goliath has won a number of awards including a Future Generation Art Prize/Special Prize
(2019), the prestigious Standard Bank Young Artist Award (2019), as well as the Institut Français, Afrique en Créations Prize at the Bamako Biennale (2017). Her work features in numerous public and private collections, including the TATE Modern, Iziko South African National Gallery, Johannesburg Art Gallery, and Wits Art Museum. She is currently a Ph.D. candidate with the Institute for Creative Arts at the University of Cape Town, South Africa.
Robert Hodgins (b. 1920, Dulwich, England) became a Lecturer in 1954 at the School of Art, Pretoria Technical College, where he remained until 1962. Then he took up a position as Journalist and Critic for Newscheck magazine. Between 1966 and 1983 he was a Lecturer at the University of the Witwatersrand Fine Art Department. At the end of 1983 he retired to take up painting full-time.
Some Hodgins’ paintings convey a feeling of deep seriousness and sadness; the paintings depict a sense of confusion that many people experience. However Hodgins believed that being an artist is about creating something new, an artist perfects the art of ingeniously reinventing content within society.
“Being an artist is about putting something into your subject matter that isn’t inherently there,” wrote Hodgins in 2000. “You are not at the mercy of your subject matter, it’s the content, and what you put into it, what you do with it, what extract from it, and what you put it with, that is so exciting. If you are aware of this, then you begin to build on the content of your whole life. Before you know where you are, you’re already thinking about the next work, and you could live to be 300. Paintings can be one-night stands or lifetime love-affairs – you never know until you get cracking”
Adam Broomberg (b. 1970, Johannesburg, South Africa) and Oliver Chanarin (b. 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 condition.
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.
South African-born, Belgian artist Kendell Geers changed his date of birth to May 1968 in order to give birth to himself as a work of art. Describing himself as an ‘AniMystikAKtivist’, Geers takes a syncretic approach to art that weaves together diverse Afro-European traditions, including animism, alchemy, mysticism, ritual and a socio-political activism laced with black humour, irony and cultural contradiction.
Geers’s work has been shown in numerous international group exhibitions, including the Venice Biennale (2007) and Documenta (2002). Major solo shows include Heart of Darkness at Iziko South African National Gallery in Cape Town (1993), Third World Disorder at Goodman Gallery Cape Town (2010) and more recently Songs of Innocence and of Experience at Goodman Gallery Johannesburg (2012). His exhibition Irrespektiv travelled to Newcastle, Ghent, Salamanca and Lyon between 2007 and 2009. Geers was included on Art Unlimited at Art 42 Basel in 2011. Work by Geers was included on Manifesta 9 in Genk, Limburg, Belgium and a major survey show of his work was exhibited at Haus der Kunst, Munich, Germany in 2013. Earlier this year Geers held a solo exhibition, The Second Coming (Do What Thou Wilt), at Rua Red in Dublin.
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.
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.
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).
Jessica Webster (b. 1981, South Africa) is a conceptual painter whose work is complex in range of theme and materiality. From her first solo show I knew you in this dark at David Krut Projects in 2009, through to her solo shows at Goodman Gallery Murderer (2015) and Wisteria (2017), Webster has pursued ideas about traumatic memory and the human predicament for sense-making as having a defamiliarising effect on the almost mundane visual realities of daily experience.
Webster’s philosophical approach to painting originated in her PhD in Philosophy (Wits, 2017). Her research was co-supervised by artist Penny Siopis, whose lasting mentorship of Webster led to the development of a close analysis of Siopis’s practice regarding trauma, objecthood, and the embodied "sexuality’’ of the painted surface. Webster’s ideas address painting as re-articulations of psycho-somatic events which reveals painting at its most robust: where it lays bare the aesthetic ideals of the enlightenment project as traumatic.
Webster’s current painting (2018-2020) exerts itself as a detachment from the traumatic underpinnings of that thesis towards a new experiment with lightness and irony. But for Webster, the theme of each body of work lies adjacent to achieving the unresolvable power that painting has to deeply move the individual and collective. In that way, painting plays a quiet yet containing social role in the arts and for the public. Her work is held in private and public institutions locally and internationally and has been reviewed by critical authors such as Amie Soudien, Same Mdluli and Dave Mann.