Goodman Gallery Johannesburg
4 June – 6 August 2016
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 (France/Canada) and Jacolby Satterwhite (USA).
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 (1930 – 2018) was born in Randfontein, a small mining town outside of Johannesburg, South Africa. He began exploring the medium of photography after matriculating in 1948 but only formally made photography his profession after his father died in 1962 and the family business, a mining concession store, was sold. In the years that followed, while Goldblatt supported his family through photography commissions and magazine work, he produced more than ten major photographic series, documenting the people, landscapes and structures of South Africa.
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.
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).
Candice Breitz (b. 1972, Johannesburg, South Africa) is an artist whose moving image installations have been shown internationally. Throughout her career, Breitz has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community, be that community the immediate community that one encounters in family, or the real and imagined communities that are shaped not only by questions of national belonging, race, gender and religion but also by the increasingly undeniable influence of mainstream media such as television, cinema and popular culture. Most recently, Breitz’s work has focused on the conditions under which empathy is produced, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real-world adversity.
Solo exhibitions of Breitz’s work have been hosted by the Kunstmuseum Bonn (Germany), Kunstmuseum Stuttgart, National Gallery of Canada (Ottawa), San Francisco Museum of Modern Art, Kunsthaus Bregenz, Palais de Tokyo (Paris), The Power Plant (Toronto), Louisiana Museum of Modern Art (Humlebæk), Modern Art Oxford, De Appel Foundation (Amsterdam), Baltic Centre for Contemporary Art (Gateshead), MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), Moderna Museet (Stockholm), Castello di Rivoli (Turin), Pinchuk Art Centre (Kyiv), Centre d’Art Contemporain Genève, Bawag Foundation (Vienna), Temporäre Kunsthalle Berlin, White Cube (London), MUSAC / Museo de Arte Contemporáneo de Castilla y León (Spain), Wexner Center for the Arts (Ohio), O.K Center for Contemporary Art Upper Austria (Linz), ACMI / The Australian Centre for the Moving Image (Melbourne), Collection Lambert en Avignon, FACT / Foundation for Art & Creative Technology (Liverpool), Blaffer Art Museum (Houston) and the South African National Gallery (Cape Town).
Selected group exhibitions include South Africa: the art of a nation (British Museum, London, 2016), Laughing in a Foreign Language (The Hayward, London, 2008), The Cinema Effect (Hirshhorn Museum + Sculpture Garden, Washington, D.C., 2008), Made in Germany (Kunstverein Hannover, 2007), Superstars (Kunsthalle Wien, 2005), CUT: Film as Found Object (Museum of Contemporary Art, North Miami, 2004), Continuity + Transgression (National Museum of Modern Art, Tokyo, 2002), Thank You for the Music (Kiasma Museum of Modern Art, Helsinki, 2012), Rollenbilder – Rollenspiele (Museum der Moderne Salzburg, 2011), Performa (New York, 2009), Contemporary Outlook: Seeing Songs (Museum of Fine Arts, Boston, 2009), Remix: Contemporary Art and Pop (Tate Liverpool, 2002) and Looking at You (Museum Fridericianum, Kassel, 2001).
Breitz has participated in biennales in Johannesburg (1997), São Paulo (1998), Istanbul (1999), Taipei (2000), Kwangju (2000), Tirana (2001), Venice (2005, 2017), New Orleans (2008), Göteborg (2003 + 2009), Singapore (2011) and Dakar (2014). Her work has been featured at the Sundance Film Festival (New Frontier, 2009) and the Toronto International Film Festival (David Cronenberg: Transformation, 2013).
Her work has been acquired by museums including the Museum of Modern Art,the Solomon R. Guggenheim Museum, the Jewish Museum (in New York), Louisiana Museum of Modern Art (Humlebæk), San Francisco Museum of Modern Art, the National Gallery of Canada (Ottawa), Städtische Galerie im Lenbachhaus (Munich), Art Gallery of Ontario (Toronto), FNAC / Fonds national d’art contemporain (France), Castello di Rivoli (Turin), Hamburger Kunsthalle (Hamburg), M+ / Museum of Visual Culture (Hong Kong), Milwaukee Art Museum, Kunstmuseum St. Gallen, MUDAM / Musée d’Art Moderne Grand-Duc Jean (Luxembourg), MUSAC / Museo de Arte Contemporáneo de Castilla y León (León, Spain), Kunstmuseum Lichtenstein (Vaduz), MONA / Museum of Old and New Art (Tasmania), QAG GOMA / Queensland Art Gallery (Brisbane), Museum of Fine Arts (Boston) and MAXXI / Museo nazionale delle arti del XXI secolo (Rome).
Breitz holds degrees from the University of the Witwatersrand (Johannesburg), the University of Chicago and Columbia University (NYC). She has participated in the Whitney Museum’s Independent Studio Program and led the Palais de Tokyo’s Le Pavillon residency as a visiting artist during the year 2005-2006. She has been a tenured professor at the Hochschule für Bildende Künste in Braunschweig since 2007.
Candice Breitz lives and works between Cape Town, South Africa and Berlin, Germany.
ruby onyinyechi amanze (b. 1982, Port-Harcourt, Nigeria) is a Philedelphia-based artist of Nigerian descent and British upbringing whose creative practices and processes focus on producing mixed media, paper-based drawings and works. Her art draws inspiration from photography, textiles, architecture and print-making.
amanze’s practice builds around questions of how to create drawings that maintain paper’s essence of weightlessness. The large-scaled and multi-dimensional drawings are part of an ongoing, yet non-linear narrative that employ the malleability of space as the primary antagonist.
A nameless, self-imagined, chimeric universe has simultaneously been positioned between nowhere and everywhere. Using a limited palette of visual elements, including ada the Alien, windows and birds, amanze’s drawings create a non-narrative and expansive world. The construction of this world is largely centered around an interest in the spatial negotiations found in the three dimensional practices of dance, architecture and design.
Most recently, amanze completed two-year long residencies at the Queens Museum and as part of the Drawing Center’s Open Sessions Program, both in New York. She has exhibited her work internationally in Lagos, London, Johannesburg and Paris, and nationally at the California African American Museum, the Drawing Center and the Studio Museum of Harlem.
amanze earned her B.F.A., Summa Cum Laude, from Tyler School of Art, Temple University, and her M.F.A. from Cranbrook Academy of Art. In 2012-2013, amanze was a Fulbright Scholar at the University of Nigeria, Nsukka.
Today she resides between Philadelphia and Brooklyn, but calls multiple places home.
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.
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.
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.
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).
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”
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.
mounir fatmi was born in Tangiers, Morocco, in 1970. When he was four, his family moved to Casa-blanca. At the age of 17, he traveled to Rome where he studied at the free school of nude drawing and engraving at the Acadaemy of Arts, and then at the Casablanca art school, and finally at the Rijksakad-emie in Amsterdam.
He spent most of his childhood at the flea market of Casabarata, one of the poorest neighborhoods in Tangiers, where his mother sold children’s clothes. Such an environment produces vast amounts of waste and worn-out common use objects. The artist now considers this childhood to have been his first form of artistic education, and compares the flea market to a museum in ruin. This vision also serves as a metaphor and expresses the essential aspects of his work. Influenced by the idea of de-funct media and the collapse of the industrial and consumerist society, he develops a conception of the status of the work of art located somewhere between Archive and Archeology.
By using materials such as antenna cable, typewriters and VHS tapes, mounir fatmi elaborates an experimental archeology that questions the world and the role of the artist in a society in crisis. He twists its codes and precepts through the prism of a trinity comprising Architecture, Language and Machine. Thus, he questions the limits of memory, language and communication while reflecting upon these obsolescent materials and their uncertain future. mounir fatmi’s artistic research consists in a reflection upon the history of technology and its influence on popular culture. Consequently, one can also view mounir fatmi’s current works as future archives in the making. Though they represent key moments in our contemporary history, these technical materials also call into question the transmission of knowledge and the suggestive power of images and criticize the illusory mechanisms that bind us to technology and ideologies.
Since 2000, Mounir fatmi’s installations have been selected for several biennials, the 52nd and 57th Venice Biennales, the 8th Sharjah Biennale, the 5th and 7th Dakar Biennales, the 2nd Seville Biennale, the 5th Gwangju Biennale, the 10th Lyon Biennale, the 5th Auckland Triennial, the 10th and 11th Bamako Bien-nales, the 7th Shenzhen Architecture Biennale, the Setouchi Triennial and the Echigo-Tsumari Trienni-al in Japan. His work has been presented in numerous personal exhibits, at the Migros Museum, Zur-ich. MAMCO, Geneva. Picasso Museum La Guerre et la Paix, Vallauris. AK Bank Foundation, Istan-bul. Museum Kunst Palast, Düsseldorf and at the Gothenburg Konsthall. He has also participated in several group exhibitions at the Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscow. Mathaf, Doha, Hayward Gallery and the Victoria & Albert Museum, London. Van Abbemuseum, Eindhoven and at Nasher Mu-seum of Art, Durham.
He has received several prizes, including the Uriöt prize, Amsterdam, the Grand Prix Léopold Sédar Senghor at the 7th Dakar Biennale in 2006, as well as the Cairo Biennale Prize in 2010.
Kapwani Kiwanga (b. 1978, Hamilton, Canada) studied anthropology and comparative religion at McGill University (Montreal, CA). She has followed the program “La Seine” at the Ecole Nationale Supérieure des Beaux-Arts de Paris, and also works at Le Fresnoy (a french national center for contemporary art). She was artist in residence at the MU Foundation in Eindhoven (NL) and at the Box in Bourges (FR).
Working with sound, film, performance, and objects, Kiwanga relies on extensive research to transform raw information into investigations of historical narratives and their impact on political, social, and community formation. The Paris-based artist’s work focuses on sites specific to Africa and the African diaspora, examining how certain events expand and unfold into popular and folk narratives, and revealing how these stories take shape in objects and oral histories. Trained as an anthropologist, Kiwanga performs this role in her artistic practice, using historical information to construct narratives about groups of people. Kiwanga is not only invested in the past but also the future, telling Afrofuturist stories and creating speculative dossiers from future civilizations to reflect on the impact of historical events.
Kiwanga was the inaugural winner of the 2018 Frieze Artist Award and in 2019 held a solo exhibition at MIT List Visual Arts Center and was on group exhibitions at Museu d’Art Contemporani de Barcelona, as well as Whitechapel and Serpentine Sackler galleries in London.
Jeremey Wafer (b. 1953, Durban, South Africa) grew up in Nkwalini in what was then Zululand. He studied fine art at the University of Natal, Pietermaritzburg (B.A.F.A.1979) and at the University of the Witwatersrand (B.A. Hons. in Art History 1980 and M.A. Fine Art 1987).
Wafer has taught in the Fine Art Departments of the former Technikon Natal (now DUT) and Technikon Witwatersrand (now UJ) before being appointed Associate Professor. Wafer received his PhD in 2016 and was subsequently appointed full professor of Sculpture in the School of Arts of the University of the Witwatersrand.
Wafer is the recipient of numerous awards and residencies, notably the Standard Bank National Drawing Prize in 1987 and the Sasol Wax Art Award in 2006. His work featured on the South African Pavilion of the 56th Venice Biennale in 2015. Wafer has exhibited in South Africa and internationally, his work is represented in the National Museum of African Art, Smithsonian Institute, Washington DC, the South African National Gallery, the Johannesburg Art Gallery as well as in many other museum, private and corporate collections.
Wafer lives and works in Johannesburg, South Africa.
Tabita Rezaire (b.1989, Paris, France) is infinity incarnated into an agent of healing, who uses art as a means to unfold the soul. Her cross-dimensional practices envision network sciences – organic, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of resilience, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits. Inspired by quantum and cosmic mechanics, Tabita’s work is rooted in time-spaces where technology and spirituality intersect as fertile ground to nourish visions of connection and emancipation. Through screen interfaces and collective offerings, she reminds us to open our inner data centers to bypass western authority and download directly from source.
Tabita is based in Cayenne, French Guyana. She has a Bachelor in Economics (Fr) and a Master of Research in Artist Moving Image from Central Saint Martins (Uk). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB.
Tabita has shown her work internationally – Centre Pompidou, Paris; Serpentine London; MoMa NY; New Museum NY; MASP, Sao Paulo; Gropius Bau Berlin; MMOMA Moscow, Museum of Contemporary Art Chicago; ICA London; V&A London; National Gallery Denmark; The Broad LA; MoCADA NY; Tate Modern London; Museum of Modern Art Paris – and contributed to several Biennales such as the Guangzhou Triennial, Athens Biennale, Kochi Biennale (2018); Performa (2017); and Berlin Biennale (2016).
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.
Jabulani Dhlamini (b. 1983, Free State, South Africa) lives and works in Johannesburg. Dhlamini majored in documentary photography at the Vaal University of Technology, graduating in 2010. From 2011-2012, Dhlamini was a fellow of the Edward Ruiz Mentorship and completed a year-long residency at the Market Photo Workshop in Johannesburg. Dhlamini’s work focuses on his upbringing, as well as the way he views contemporary South Africa.
Dhlamini’s Umama series was exhibited as part of his Edward Ruiz award at the Market Photo Workshop in 2012, and at Goodman Gallery Cape Town in 2013 – his first solo exhibition with the gallery. In Umama, Dhlamini pays homage to single mothers and explores the challenges faced by women raising children on their own in South African townships. For his Recaptured series, which was exhibited at Goodman Gallery in 2016, Dhlamini turned to the community of Sharpeville, asking people to bring objects that reminded them of the 1960 massacre. Over the course of several years Dhlamini interviewed and photographed a number of individuals who traced their movements and emotions on the day of the Sharpeville Massacre, relocating themselves within the collective memory.
In 2018 Dhlamini’s work was featured on the Five Photographers, A Tribute to David Goldblatt group exhibition at the Gerard Sekoto Gallery at the French Institute. In his most recent exhibition at Goodman Gallery, iXesha!, Dhlamini explored how memory is created and archived within a community where the memory has been localised. This exhibition included images from Dhlamini’s recent series iQhawekazi documenting the events around Winnie Mandela’s funeral.
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.
Gerhard Marx (b. 1976, South Africa) develops his projects through an engagement with pre-existent conventions and practices. This process entails careful acts of dissection and rearrangement, which allow Marx to engage the poetic potential and philosophical assumptions of his chosen material, developing original drawing, sculptural and performative languages. Marx completed his undergraduate degree at the Michaelis School of Fine Art, UCT and received his MA (Fine Art) (Cum Laude) from Wits School of Art, Johannesburg.
Marx’s work is shown regularly at international art fairs, held in numerous public and private art collections and was included on the South African pavilion at the 2013 Venice Biennale. Marx has been involved in the making of numerous public sculptures, including The World On Its Hind Legs, a collaboration with William Kentridge (Beverley Hills, LA), Vertical Aerial: JHB, (the Old Ford, Constitution Hill, Johannesburg), The Fire Walker, in collaboration with William Kentridge (Queen Elizabeth Bridge, Johannesburg) and Paper Pigeon, in collaboration with Maja Marx (Pigeon Square, Johannesburg). In 2018 Marx participated in the third season at the Centre for the Less Good Idea with his project Vehicle, in collaboration with musicians Shane Cooper and Kyle Shepherd. Vehicle is scheduled to form part of the Holland Festival in June 2019.
He has extensive experience in theatre, as a scenographer, director, filmmaker and playmaker, including REwind: A Cantata for Voice, Tape and Testimony (directed by Marx, interactive film by Gerhard Marx and Maja Marx, composed by Philip Miller), performed at the Royal Festival Hall, Southbank, London (2010), the Market Theatre, Johannesburg (2008) and the 62’Centre, William College, Massachusetts (2007).
Marx is a fellow of the Sundance Film Institute, the Annenberg Fund and of the Ampersand Foundation. He lives and works in Cape Town, South Africa.
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.
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.
Shirin Neshat (b. 1957, Qazvin, Iran) completed her education in the USA in 1974, five years later the Islamic Revolution prevented her from returning to her home country for almost twenty years. Her personal experiences as a Muslim woman in exile have informed her practice in which she employs photography, video installation, cinema and performance to explore political structures that have shaped the history of Iran and other Middle Eastern nations. Neshat portrays the alienation of women in repressive Muslim societies interrogating the role reserved for women Islamic value systems. In her practice, she employs poetic imagery to engage with themes of gender and society, the individual and the collective, and the dialectical relationship between past and present, through the lens of her experiences of belonging and exile.
She has mounted numerous solo exhibitions at museums internationally, including: the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Stedelijk Museum, Amsterdam; the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; and the Musée d’art contemporain de Montréal. Recent solo exhibitions include: Kunstraum Dornbirn, Austria; Faurschou Foundation, Copenhagen; Kunsthalle Tübingen, Germany; and Museo Correr, Italy, which was an official corollary event to the 57th Biennale di Venezia in 2017. A major retrospective of her work was exhibited at the Detroit Institute of Arts in 2013. Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), the Hiroshima Freedom Prize (2005), and the Dorothy and Lillian Gish Prize (2006). In 2009, Neshat directed her first feature-length film, Women Without Men, which received the Silver Lion Award for “Best Director” at the 66th Venice International Film Festival. Dreamers marked her first solo show on the African continent, which exhibited at Goodman Gallery Johannesburg in 2016. That same year, Neshat featured in the New Revolutions: Goodman Gallery at 50 exhibition in Johannesburg and in the Summers group exhibition at Goodman Gallery Cape Town. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg. In 2017, Neshat was awarded the prestigious Praemium Imperiale award for Painting. That same year, Neshat directed Giuseppe Verdi’s Aida at the Salzburg. The Broad Museum in Los Angeles recently hosted a survey exhibition of the last 25 years of Neshat’s work.
The artist lives and works in New York, USA.
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.
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.
Thabiso Sekgala (b. 1981 in Johannesburg, South Africa) was a photographer whose work explored themes of abandonment, memory, spatial politics and concept of home.
‘In photography I am inspired by looking at human experience whether lived or imagined,’ Sekgala once expressed. ‘Images capture our history and who we are, our presence and absence. Growing up in both rural and urban South Africa influences my work. The dualities of these both environments inform the stories I am telling through my photographs, by engaging issues around land, peoples’ movement, identity and the notion of home.’
Sekgala held solo exhibitions in South Africa and Europe and exhibited in group shows internationally, including Les Rencontres D’Arles, LagosPhoto Festival and Bamako Biennale. In 2013 he had residencies in both the Kunsterhaus Bethanien, Berlin, and at HIWAR/Durant Al Funun, Jordan.
He studied at Johannesburg’s Market Photo Workshop from 2007 to 2008 and was awarded the Tierney Fellowship in 2010.
Sekgala died in Johannesburg in 2014.
Mikhael Subotzky (b. 1981, Cape Town) is a Johannesburg based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation.
Subotzky has exhibited in a number of important international exhibitions, including most recently Masculinities: Liberation through Photography at the Barbican in London (2020), Inheritance: Recent Video Art from Africa at the Fowler Museum (UCLA) in Los Angeles (2019) and Ex Africa in various venues in Brazil (2017-18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this
project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in 2021.
Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art (New York), Solomon R Guggenheim Museum (New York), the National Gallery of Art (Washington), Tate (London), Centre Pompidou (Paris), the San Francisco Museum of Modern Art and the South African National Gallery, among others.
Subotzky’s work was included in Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multi-component video installation, was included in All The World’s Futures, curated by Okwui Enwezor at the 56th Venice Biennale (2015).
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 profiles of 19th-century victims of slavery. This installation was also exhibited that year at Art Basel in Switzerland and at the Kochi-Muziris Biennale in India.
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.
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.