1 December 2018, Cape Town

o Nnenna Okore Yinka Shonibare Cyrus Kabiru Naomi Wanjiku Gakunga Kate Got dge Igshaan Adams Frohawk Two Feathers Peterson Kamwathi Peju Alatise Patrick arker Mongezi Ncaphayi Peju Alatise Cameron Platter Goncalo Mabunda Wallen era Barthélémy Toguo Jeanne Gaigher Wayne Barker Thania Petersen Igshaan Ad s Hlobo Nnenna Okore Yinka Shonibare Cyrus Kabiru Naomi Deborah Bell Kate G dge Frohawk Two Feathers Peterson Kamwathi Patrick Bongoy Peju Alatise Patrick yne Barker Mongezi Ncaphayi Jeanne Gaigher Cameron Platter Goncalo Mabund uo Naomi Wanjiku Gakunga Thania Petersen Igshaan Adams Peju Alatise Nnenn holas Hlobo Nnenna Okore Kate Gottgens Yinka Shonibare Cyrus Kabiru Naomi G wk Two Feathers Peterson Kamwathi Peju Alatise Nicholas Hlobo Patrick Bongoy W Okore Mongezi Ncaphayi Cameron Platter Goncalo Mabunda Cyrus Kabiru Walle Toguo Jeanne Gaigher Hank Willis Thomas Peterson Kamwathi Thania Petersen Ig olas Hlobo Nnenna Okore William Kentridge Yinka Shonibare Cyrus Kabiru Kate Go Bell Wallen Mapondera Frohawk Two Feathers Peterson Kamwathi Peju Alatise Pat er Mongezi Ncaphayi Gonçalo Mabunda Blessing Ngobeni Cameron Platter Yinka nda Wallen Mapondera Barthélémy Toguo Mongezi Ncaphayi Jeanne Gaigher H k Thomas Thania Petersen Igshaan Adams Nicholas Hlobo Blessing Ngobeni Nnen onibare Cyrus Kabiru Naomi Wanjiku Gakunga Nnenna Okore Kate Gottgens Willia rah Bell Frohawk Two Feathers Thania Petersen Deborah Bell Mongezi Ncaphayi P Bongoy Cameron Platter Mongezi Ncaphayi Blessing Ngobeni Goncalo Mabunda n Mapondera Barthélémy Toguo Yinka Shonibare Jeanne Gaigher Mongezi Ncap an Adams Hank Willis Thomas Yinka Shonibare Nicholas Hlobo Nnenna Okore Yinka Kabiru Naomi Wanjiku Gakunga Kate Gottgens William as Naomi Gakunga Barthélémy Toguo William Kentridge Deborah Bell Kate Gottge arker Mongezi Ncaphayi Blessing Ngobeni Cameron Platter Goncalo Mabunda W ens Frohawk Two Feathers Peterson Kamwathi Patrick Bongoy Wayne Barker Mon hayi Blessing Ngobeni Cameron Platter Goncalo Mabunda Wallen Mapondera

Contemporary ART AFRICA Zeitz MOCAA Beneﬁ t Auction

Saturday 1 December at 6pm The auction will be preceded by a champagne preview at 5pm. Lots 1-28

VENUE Zeitz Museum of Contemporary Art Africa Silo District, South Arm Road, V&A Waterfront, Cape Town

PREVIEW Thursday 29 November to Saturday 1 December, 10am to 6pm

WALKABOUTS Thursday 29 November at 11am Friday 30 November at 11am

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ALL LOTS ARE SOLD SUBJECT TO THE CONDITIONS OF BUSINESS AS THEY APPEAR ON THE STRAUSS & CO WEBSITE.

In support of Zeitz MOCAA, Strauss & Co will waive all commissions. 2 Zeitz MOCAA Beneﬁ t Art Auction 3 Zeitz MOCAA Beneﬁ t Auction

The museum’s inauguration last year captured our times, one that participates in and leads the imagination of the global art community, global discourse, one that grows in relevance, and since then, we have remained committed and one that is a leading voice in the to building a sustainable future, while engaging international art world. wider African and international audiences. With critical support from artists, collectors, and Since the museum opened, we have pursued patrons alike, we can shape the museum’s numerous programmes guided by our mission future programming and ensure that we to advance, promote and preserve arts and continue to have a deep and sustained impact culture from Africa and its diaspora; to provide on our community at large. access to contemporary art to the public; to operate schools’ programmes to enrich, inspire We are incredibly thankful to the artists and and bring art and culture to school children; galleries who have donated such signifi cant and help create a new platform for African art works to this benefi t auction – our fi rst in Cape and culture. Town. We are humbled by their deep generosity, and remain grateful for both their contributions This year saw a number of exciting exhibitions, and partnership. The artists and galleries public programmes, and special events taking included here have been dedicated to the place in and around the museum – ranging museum’s success since inception, and their from artist talks and scholarly lectures, to unwavering support is appreciated across children’s workshops and fi lm screenings. the museum.

We have cemented our commitment to driving Thank you also to the collectors who are joining new research, as well as implemented training us for this auction. Your support of this fundraiser and development programmes for museum will allow the museum to continue and expand staff, including the curatorial team. our community outreach efforts, underscoring our commitment to Access for All which remains A crucial part of our programming has been central to the mission of the museum. our community outreach efforts, organised by the Centre for Art Education. We are thrilled To Strauss & Co, and to all the other supporters to share that in the fi rst year of operation, Zeitz of this benefi t auction, and of the museum MOCAA welcomed more than 100 000 visitors year-round: thank you again. We very much look with free admission (30% of our overall visitation), forward to collaborating with you on the next and engaged nearly 9 000 students and adults phase of our journey at Zeitz MOCAA. through education, outreach and public programmes. Brooke Minto Azu Nwagbogu We are confi dent in our vision to become a Director of Acting Chief contemporary art museum that represents Institutional Advancement Curator

4 Zeitz MOCAA Benefi t Art Auction “In“ my opinion, there has never been a better local and international art scene, harnessing timet to collect African art in general, and South several international awards for architecture AfricanA art, in particular. and its contribution to contemporary culture. Zeitz MOCAA, together with the Iziko National ThisT demand for African art is the result of Museum, the Irma Stern Museum, A4 Foundation a combination of positive forces which, and the Norval Foundation, in conjunction collectively,c form a very healthy and vibrant with our excellent gallerists, have created the arta ecosystem. African artists are creating foundation for Cape Town becoming a much exceptionale works which dynamic galleries sought after international art destination. haveh succeeded in presenting to the world, securings access and exposure at leading Strauss & Co is delighted to join forces with Zeitz arta fairs across the globe. Leading auction MOCAA and leading African and international housesh are cementing the secondary market artists and galleries in presenting an auction of throught dedicated sales and academics outstanding artworks, to be sold for the benefi t anda museums are lending gravitas through of the museum’s Art Education programme, researchre and carefully curated exhibitions. an initiative we closely identify with. We salute AfricanA artists featured prominently at infl uential the generosity of the artists who contributed internationalin art events such as the Venice the works and, having waived all commissions Biennale,B Documenta and Performa, generating in order to maximise the contribution to the awarenessa and desirability among collectors program, invite patrons of Zeitz MOCAA and globally.g our clients to lend their support to this worthy cause.” ThisT ecosystem was given signifi cant impetus anda substance with the opening of Zeitz MOCAAM in September 2017. Since opening, the Frank Kilbourn museumm has made a dynamic impact on the Strauss & Co’s Executive Chairperson

5 1 Mongezi Ncaphayi

SOUTH AFRICAN 1983-

Libation Grounds

2018 mixed media on cold pressed Fabriano 140 by 99,5cm

ZAR50 000 - 70 000 £2 800 - 3 800 PROVENANCE $3 500 - 5 000 Donated by the artist. €3 100 - 4 400 Courtesy of SMAC Gallery.

Through a mixture of printmaking and paint, Mongezi Ncaphayi’s vast, cartographic art uses the principles of line, colour and form to illicit a sensory reaction not unlike that of jazz music, with its unpredictable rhythms, electric surges, and moments of calm.

The emancipatory undertones of jazz are made Mongezi Ncaphayi (b. 1983, South Africa) has explicit through the titling of Ncaphayi’s Libation held numerous exhibitions through David Krut Grounds (2018). Here we see a subliminal Projects, and SMAC Gallery, South Africa. He landscape, marked by contours of calculated has also exhibited work at the Investec Cape gesture. There are moments of control, where Town Art Fair, Cape Town (South Africa: 2018); the artist’s hand is evident; at other times the 1:54 Contemporary Art Fair, London (UK: 2017); inks and watercolours have been left to run their and the 10th World Triennial of Printmaking in

own course, according to their own principles. Chamalières (France: 2017). copyright the artist Gallery, courtesy Image of SMAC

6 Zeitz MOCAA Beneﬁ t Art Auction 7 2 Blessing Ngobeni

SOUTH AFRICAN 1985-

Hero in Me

2018 mixed media on canvas 129 by 80cm

ZAR80 000 - 120 000 £4 500 - 6 600 PROVENANCE $5 700 - 8 600 Donated by the artist. €5 000 - 7 500 Courtesy of Everard Read Gallery.

Although well-known for his depictions of violence and the abuse of power, Blessing Ngobeni’s Hero In Me (2018) brings to the surface an undercurrent of optimism: the desire and will to overcome, in spite of one’s circumstances.

By pairing the face of a young boy next to that of a demonic fi gure within the head of a single abstracted form, Hero In Me refl ects our capacity for both good and evil. Unlike the other silenced fi gures – who balance Blessing Ngobeni (b. 1985, South Africa) is the precariously on the edge of their seats, fading recipient of the Arts and Culture Trust Impact back into the blue-grey backdrop – the image Award (2013) and the Reinhold Cassirer Art of the boy pops out, his cheeks full. We can Award (2012). His work has been exhibited almost hear his defi ant spirit. across South Africa, the UK and the USA.

8 Zeitz MOCAA Beneﬁ t Art Auction 9 3 Cameron Platter

SOUTH AFRICAN 1978-

Yellow Slow Dance

2018 carved jacaranda wood, enamel paint 80 by 45 by 40cm

ZAR50 000 - 70 000 £2 800 - 3 800 $3 500 - 5 000 PROVENANCE €3 100 - 4 400 Donated by the artist.

In the art world the name Cameron Platter has become synonymous with advertisements for penis enlargements, cheap abortions, and the banalities of consumer culture and mass- production. His satirical reinventions mirror our compulsion towards the ‘quick-ﬁ x’, that are often accompanied with a mixed sense of futility and celebration.

Yellow Slow Dance (2018) looks like the mass- produced plastic chairs one might ﬁ nd at a high-school dance, wedding or beach resort. Cameron Platter (b. 1975, South Africa) has In reality, it has been painstakingly carved out exhibited work at IZIKO South African National of jacaranda wood and repainted in enamel. Gallery, Cape Town (South Africa: 2015); the If the objects that we produce are extensions 55th Venice Biennale, Venice (Italy: 2013); of our hopes and desires, then Yellow Slow the Museum of Modern Art, New York (USA: Dance reﬂ ects what Caitlin Berrigan calls 2011); the Centre Georges Pompidou, Paris ‘the craftsman’s revenge on viral American (France: 2010); and Haus Der Kultur, Berlin capitalism.’ (Germany: 2011).

10 Zeitz MOCAA Beneﬁ t Art Auction 11 4 Gonçalo Mabunda

MOZAMBICAN 1975-

Untitled (Throne)

2014 decommissioned arms 130 by 100 by 60cm

ZAR120 000 - 160 000 £6 600 - 8 500 $8 500 - 11 500 PROVENANCE €7,500 - 10 000 Donated by Jack Bell Gallery, London.

Born between the end of the Mozambican War of Independence (1964-1975) and the start of the Mozambican Civil War (1977-1992), Gonçalo Mabunda’s artwork incorporates decommissioned AK47s, pistols, and rocket Gonçalo Mabunda (b. 1975, Mozambique) launchers – an approach to anti-war activism has held numerous solo exhibitions at Jack that has garnered widespread international Bell Gallery, London (UK). His work also formed visibility. part of Okwui Enwezor’s ‘All the World’s Futures’ at the Venice Biennale, Venice (Italy: 2015); As the title of this work – Untitled (Throne) and has been exhibited at the Guggenheim (2014) – suggests, these conﬂ icts are a result Museum Bilbao (Spain: 2016); the Vitra Design of the continued struggle for power, creating Museum, Weil (Germany: 2015); the Museum of something from the vestiges of a turbulent past Arts and Design, New York (USA: 2008); and the that serves to warn future generations about Museum Het Domein Waardij Kunstinsllingen the devastating consequences of war. (Holland: 2007), amongst others.

12 Zeitz MOCAA Beneﬁ t Art Auction 13 5 Wallen Mapondera

ZIMBABWEAN 1985-

Deedizerwa

2017 cardboard, laminated hessian 115 by 100cm

ZAR40 000 - 60 000 £2 500 - 3 500 PROVENANCE $3 000 - 4 500 Donated by the artist. €2 500 - 3 750 Courtesy of SMAC Gallery.

Wallen Mapondera makes use of a wide variety of materials that best animate his ideas around the current social, political and economic issues faced by many Zimbabweans. In his earlier works, he used zoomorphic and Wallen Mapondera (b. 1985, Zimbabwe) was anthropomorphic imagery to comment on selected for the National Gallery of Zimbabwe power, inequality, and exploitation. Artist-in-Residence Programme in Harare. Recent exhibitions include ‘Five Bhobh: Painting As seen in Deedizerwa (2017), Mapondera’s at the End of an Era’ at Zeitz MOCAA in Cape more recent works draw our attention to Town (2018); ’Familiar Histories: An Unstoppable issues around land-reclamation, redistribution, Force in Wallen Mapondera Contemporary and migration through the use of discarded Art Discourse’ at the National Gallery of and obsolete materials – a metaphor for the Zimbabwe, Harare (2017); as well as ‘X: Part displacement and marginalisation experienced III’ and ‘Nothing Personal’ at SMAC Gallery in by communities living in high-density areas. Stellenbosch (2017, 2016).

14 Zeitz MOCAA Beneﬁ t Art Auction 15 6 Barthélémy Toguo

CAMEROONIAN 1967-

Celebrations 10

2014 signed, dated and inscribed with the title watercolour on paper sheet size: 28 by 38,5cm

ZAR80 000 - 120 000 £4 500 - 6 600 PROVENANCE $5 700 - 8 600 Donated by the artist. €5 000 - 7 500 Courtesy of Stevenson.

Throughout interviews with Barthélémy Toguo, the word ‘LIFE’ appears in capital letters. Using his own as a source of inspiration, Toguo’s art is informed by his experiences of having lived in many different regions of the world. His practice is similarly osmotic, shifting between performance, sculpture, video, installation and drawing.

Celebrations 10 (2014) depicts an amputated fi gure with needles protruding from the body. Barthélémy Toguo (b. 1967, Cameroon) has An umbilical cord draws from a gourd on the exhibited work at the Centre Pompidou, Paris, fl oor, feeding through the lower-half of the (France: 2017); the Venice Biennale, Venice body into the fi gure’s mouth, which is tilted (Italy: 2015); the Dak’Art Biennale, Dakar back uncomfortably to receive it. The blood- (Senegal: 2014); Uppsala Konstmuseum, like substance appears as both a source of Uppsala (Sweden: 2014); the Studio Museum nourishment and intoxication, bringing to mind Harlem, New York (USA: 2013); and the the concoction of suffering, pain, and joy that Museum of Modern Art, New York (USA: 2010),

we experience in life. amongst others. courtesyTodeschini Image of Mario

16 Zeitz MOCAA Beneﬁ t Art Auction 17 7 Jeanne Gaigher

SOUTH AFRICAN 1990-

Beetroot

2017 pigmented digital print, ink and acrylic paint on canvas 102 by 109cm

ZAR30 000 - 40 000 £1 700 - 2 200 PROVENANCE $2 100 - 2 800 Donated by the artist. €1 900 - 2 500 Courtesy of SMITH.

Jeanne Gaigher trained as a printmaker and photographer. Although these inﬂ uences are still present in her work, the turn to painting has opened the door for more abstracted and Jeanne Gaigher (b. 1990, South Africa) has interpretative readings of the world. held numerous solo exhibitions at SMITH Gallery, Cape Town (South Africa), and has Beetroot (2017) is one such work. Here we see a exhibited work in Perth, Vienna, and Paris. combination of swishing reds, browns, and blues In 2017 she was awarded the Index Artist in lift from the bowl in the centre of the image. Residence Scholarship, Freira-Stipendium, Zurich The result is a sensory invitation, one that relies (Switzerland: 2017); as well as Artist in Residence on your memory to recall not just ‘beetroot’ in at Blackriver Studios, Cape Town (South Africa: and of itself, but the experience of it – the way it 2017) and at Alma Mater, Cape Town (South looks, smells, tastes. Africa: 2017).

18 Zeitz MOCAA Beneﬁ t Art Auction 19 8 Hank Willis Thomas

AMERICAN 1976-

Come out of the Bone Age darling..., 1955/2015

2015 STD 2/3 digital chromogenic print 101,5 by 105,5cm

ZAR120 000 - 150 000 £6 600 - 8 500 PROVENANCE $8 500 - 10 700 Donated by the artist. €7 500 - 9 400 Courtesy of Goodman Gallery.

The inaugural exhibition at Zeitz MOCAA, All Things Being Equal…, takes its name from a work by American conceptual artist Hank Willis Thomas, whose explorations of popular culture and media reveal how prejudice and bias function within modern society.

Come out of the Bone Age, darling… 1955/2015 (2015) was produced for the exhibition Hank Willis Thomas (b. 1976, USA) has exhibited Unbranded: A Century of White Women (2016). at the SCAD Museum of Art, Savannah (USA: The exhibition made use of mainstream 20th 2017); the California African American Museum, century advertisements, which, removed from Los Angeles (USA: 2016); the International context, reﬂ ect much about the society from Centre of Photography, New York (USA: 2013); which they were produced. ’Ads really aren’t the Guggenheim Museum Bilbao (Spain: 2015); about the products,’ said Thomas, ‘It’s about and the Museum für Moderne Kunst, Frankfurt

what myths and generalisations we can attach’. (Germany: 2012), amongst others. courtesy Image of the artistGallery and the Goodman

20 Zeitz MOCAA Beneﬁ t Art Auction 21 9 Thania Petersen

SOUTH AFRICAN 1980-

I AM ROYAL - Location 4: Later District Six

2015 inkjet print on Epson hot press 62 by 89cm

ZAR20 000 - 30 000 £1 100 - 1 600 PROVENANCE $1 400 - 2 100 Donated by the artist. €1 200 - 1 800 Courtesy of WHATIFTHEWORLD.

Thania Petersen’s multi-disciplinary approach to art is deeply embedded in the personal, local, and global contexts: from her own Cape Thania Petersen (b. 1980, South Africa) has held Malay heritage to the intertwined histories of multiple exhibitions with Everard Read Gallery, colonisation, capitalism, and religion. South Africa. Her work formed part of the inaugural exhibition All Things Being Equal… at In I AM ROYAL - Location 4: Later District Six Zeitz MOCAA, Cape Town (South Africa: 2017- (2015) we see the artist’s image ‘super-imposed’ 19), and has been exhibited at the IZIKO South on the landscape of District Six, a site of forced African National Gallery, Cape Town (South removals in the 1950s. What was once a vibrant Africa: 2017); PS Art Space Fremantle, Perth community now stands empty, with Cape (Australia: 2017); and the 3rd World Ceramic Town’s bustling CBD as a backdrop. Biennale in Kyongg Province (Korea: 2005).

22 Zeitz MOCAA Beneﬁ t Art Auction 23 10 Igshaan Adams

SOUTH AFRICA 1982-

Untitled

2018 cotton twine, wire, beads, rope 180 by 90 by 90cm

ZAR150 000 - 200 000 £8 500 - 11 000 PROVENANCE $11 000 - 14 000 Donated by the artist. €9 500 - 12 500 Courtesy of Blank Projects.

Igshaan Adams explores the spaces between sexuality, spirituality, and race through multi- layered reinterpretations of cultural artefacts – such as parda (a curtain or veil associated with purity, delicacy and restraint) – and everyday household fabrics, such as dish cloths or washing rags. Igshaan Adams (b. 1982, South Africa) has held multiple solo exhibitions at blank projects Seen in Untitled (2018), these materials act as in Cape Town, and was recently awarded metaphors for personal and collective memory, the Standard Bank Young Artist of the Year weaved together to create a beacon of 2018, which culminated in a nation-wide intricate and subtle beauty. There is a palpable travelling exhibition called ‘When the Dust desire to reconcile his sexuality and his faith, Settles’, currently on show at the IZIKO South creating a work that celebrates both the African National Gallery, Cape Town (South material and the spaces between. Africa: 2018).

24 Zeitz MOCAA Beneﬁ t Art Auction 25 11 Nicholas Hlobo

SOUTH AFRICAN 1975-

Ifaskoti yomQhakancu

2018 ribbons and leather on cotton canvas 100 by 100cm PROVENANCE ZAR570 000 - 850 000 Donated by the artist. £30 000 - 45 000 Courtesy of Lehmann Maupin, New York, $40 000 - 60 000 Hong Kong and Seoul and Stevenson Gallery, €35 000 - 53 000 Cape Town.

Nicholas Hlobo’s circular, minimalist canvas Ifaskoti yomQhakancu (2018) may seem worlds apart from the larger-than-life Iimpundu-lu Zonke Ziyandilandela (or Lightning Bird) that greets visitors to the museum. The origins of both works, however, stem from a desire for self-actualisation within the regulatory and paradoxically osmotic cultural frameworks that shape one’s identity.

In Ifaskoti yomQhakancu, the associative power Nicholas Hlobo (b. 1975, South Africa) has won of silk ribbons and leather so common to his multiple awards, including the Standard Bank practice take the form of abstract, biomorphic Young Artist for Visual Art (2009). Solo exhibitions shapes. Rather than a literal account, the have taken place at institutions including the microscopic lens offered in this work is Uppsala Konstmuseum (Sweden: 2017) and suggestive: the materials provide a sense of Tate Modern, London (UK: 2008). In 2011 Hlobo intimacy; the canvas a kind of Petri dish for the showed newly commissioned work at the 54th adaptations of culture and identity. Venice Biennale (Italy), amongst others.

26 Zeitz MOCAA Beneﬁ t Art Auction 27 12 Nnenna Okore

AUSTRALIAN 1975-

Slowly but Surely

2017 mixed media 127 by 124,5 by 7,6cm

ZAR150 000 - 200 000 £8 500 - 11 000 $11 000 - 14 000 PROVENANCE €9 500 - 12 500 Donated by the artist.

Nnenna Okore is perhaps best known for her large, organic installations, which stretch and drape across the walls and ﬂ oors of the gallery spaces she exhibits. Based on observations from ecological and man-made environments, Okore’s practice reﬂ ects processes of ageing, death, and decay as well as regeneration.

Materials such as newspaper, jute strings and Nnenna Okore (b. 1975, Australia) has exhibited burlap are deconstructed through processes at Memphis Brooks Museum of Art, Memphis of shredding and fraying; only to be twisted, (USA: 2016); Museu Afro Brasil, São Paulo (Brazil: teased, stitched and weaved back together 2015); Spelman Museum of Fine Art, Atlanta across wire frames. Slowly But Surely (2017) looks (USA: 2014); Museum of Contemporary African like an eye – an empty pupil, surrounded by an Diasporic Art, New York (USA: 2013); and the iris and the complex network of vessels that one Museum of Art and Design, New York (USA: might imagine beneath the skin. 2008), amongst others.

28 Zeitz MOCAA Beneﬁ t Art Auction 29 13 Yinka Shonibare

BRITISH 1962-

Twins II 2015 AP 2 of 2 from an edition of 10 signed, dated and numbered in the margin four colour silkscreen print with gold leaf on Somerset Tub sized 410gsm paper image size: 83,5 by 81,5cm sheet size: 104 by 100cm PROVENANCE Donated by the artist. ZAR80 000 - 120 000 Courtesy of Stephen Friedman Gallery, London; £4 500 - 6 600 James Cohan Gallery, New York; Goodman $5 700 - 8 600 Gallery, South Africa and Pearl Lam Galleries, €5 000 - 7 500 Hong Kong, Shanghai and Singapore.

Yinka Shonibare MBE works in a variety of mediums, drawing on his experiences of growing up between the UK and Nigeria. A signature feature in his work is the use of Indonesian inspired designs on fabric (known as batik), which were produced by the Dutch and later became signiﬁ ers of post-colonial identity in West Africa.

This blurring of national or cultural signifi ers is refl ected in his colourful Twins (2015) series, in which silhouetted pairings of men and women, dressed in period costumes typical of the colonial era, are balanced against linear Yinka Shonibare MBE (b. 1962, UK) has exhibited drawings of Ibeji wood carvings. In Yoruba work at the Victoria and Albert Museum, London culture, twins are believed to be magical. If (UK: 2015); Smithsonian National Museum of one twin passes, a carving is commissioned to African Art, Washington (USA: 2014); Museum of represent the deceased, which is then dressed Modern Art, Arnhem (Netherlands: 2012); and and decorated to refl ect one’s status. Tate Britain, London (UK: 2012), amongst others.

30 Zeitz MOCAA Beneﬁ t Art Auction 31 14 Yinka Shonibare

BRITISH 1962-

Twins III

2015 AP 2 of 2 from an edition of 10 signed, dated and numbered in the margin four colour silkscreen print with gold leaf on Somerset Tub sized 410gsm paper image size: 83,5 by 81,5cm sheet size: 104 by 100cm PROVENANCE Donated by the artist. ZAR80 000 - 120 000 Courtesy of Stephen Friedman Gallery, London; £4 500 - 6 600 James Cohan Gallery, New York; Goodman $5 700 - 8 600 Gallery, South Africa and Pearl Lam Galleries, €5 000 - 7 500 Hong Kong, Shanghai and Singapore.

32 Zeitz MOCAA Beneﬁ t Art Auction 33 15 Yinka Shonibare

BRITISH 1962-

Twins IV

34 Zeitz MOCAA Beneﬁ t Art Auction 35 16 Yinka Shonibare

BRITISH 1962-

Twins V

36 Zeitz MOCAA Beneﬁ t Art Auction 37 17 Cyrus Kabiru

KENYAN 1984-

Macho Nne the Smithsonian 2018 c-type print on Diasec mount image size: 150 by 140cm

Edition 1 of 1 + 1AP; accompanied by C-Stunner, a unique work

C-Stunner: The Smithsonian 2018 found objects, mixed media 30 by 30 by 6cm (2)

ZAR150 000 - 200 000 £8 500 - 11 000 PROVENANCE $11 000 - 14 000 Donated by the artist. €9 500 - 12 500 Courtesy of SMAC Gallery.

Over the years Cyrus Kabiru’s C-Stunners series has become an iconic example of resourcefulness and imagination; one that Cyrus Kabiru (b. 1984, Kenya) was selected as bridges the supposed barriers between art, a featured artist for The Armory Show’s ‘Focus design, craft and fashion. Section: African Perspectives’, New York (USA: 2016); and has exhibited work at the MARTA While links could be drawn between traditional Herford Museum of Contemporary Art, Herford African mask-making practices and Kabiru’s (Germany: 2016); the Vitra Design Museum, sculptural eyewear, his practice is also deeply Weil (Germany: 2015); the Guggenheim embedded in the future, creating work from Museum in Bilbao (Spain: 2015); the Théâtre natural materials and the byproducts of global National de Chaillot, Paris, (France: 2015); and capitalism that culminate in a highly aestheti- the Studio Museum in Harlem, New York (USA:

cised vision of our contemporary moment. 2015 and 2013). copyright the artist Gallery, courtesy Image of SMAC

38 Zeitz MOCAA Beneﬁ t Art Auction 39 18 Naomi Wanjiku Gakunga

KENYAN 1960-

Before Winter

2016 sheet metal, steel wire, dry leaves and handcrafted paper 112 by 92cm

ZAR70 000 - 90 000 £2 800 - 4 000 PROVENANCE $3 800 - 5 000 Donated by the artist. €3 100 - 4 400 Courtesy of October Gallery, London.

Naomi Wanjiku Gakunga is well-known for her wall-hanging sculptures, which make use of ubiquitous materials such as Mabati (or sheets of metal), commonly used to upgrade the rooﬁ ng of one’s home. The use of Mabati also allows one to harvest water.

Before Winter (2016) is made from such sheets of metal, complete with steel wire, dry leaves, and handcrafted paper. A line runs through the centre with leaves either side, as if deposited Naomi Wanjiku Gakunga (b. 1960, Kenya) has on the banks of a river. The metal sheets exhibited her work at the Museum of Decorative surrounding it resemble aerial landscape Arts and Design, Riga (Latvia: 2018); The photographs, marking the passage of time. Museum of Geometric and MADI Art, Dallas ‘Before Winter is symbolic of the preparations (USA: 2018): 1:54 African Art Fair, London (UK: we make in life’, says the artist, ‘They allow us to 2017); and the Museu Afro Brasil, Sao Paulo

ﬂ ow, effortlessly, from one season to another.’ (Brazil, 2015), amongst others. courtesyImage of Jonathan Greet

40 Zeitz MOCAA Beneﬁ t Art Auction 41 19 Kate Gottgens

SOUTH AFRICAN 1965-

Night-Thoughts

2018 oil on canvas 150 by 150cm

ZAR120 000 - 180 000 £6 600 - 10 000 PROVENANCE $8 500 - 12 900 Donated by the artist. €7 500 - 10 000 Courtesy of SMAC Gallery.

Kate Gottgens’ paintings have been described as ‘raw’, ‘seductive’, and ‘edgy’. Cast in decadent environments that often resemble suburban scenes, the ﬁ gures that make up her paintings appear mute, isolated, and at odds with one another and their surrounds.

In Night-Thoughts (2018), a slumped ﬁ gure lays bent over in the foetal position. Their loose, Kate Gottgens (b. 1965, South Africa) has had washed outline is barely visible, ﬂ oating above numerous exhibitions with SMAC Gallery, and the surrounding architecture, which cuts heavily has exhibited work at Sydney Contemporary, across and through the frame. Here we see Sydney (Australia: 2018); NUNC Contemporary- the colours, compositions and forms that have Antwerp, Antwerp (Belgium: 2015); MiArt, Milan become so characteristic of Gottgens’ mood- (Italy: 2014); SCOPE FAIR, Miami (USA: 2014); infused canvases, with their sense of allure and the 8th New Delhi Triennale, New Delhi and anxiety. (India: 1994).

42 Zeitz MOCAA Beneﬁ t Art Auction 43 20 William Kentridge

SOUTH AFRICAN 1955-

Sister Fan

2016 signed AP 3 of 3 from an edition of 9 bronze and oil paint 33 by 51 by 31cm

ZAR1 000 000 - 1 500 000 £55 000 - 82 000 PROVENANCE $70 000 - 107 000 Donated by the artist. €62 500 - 93 750 Courtesy of Goodman Gallery.

William Kentridge’s sculptural works form part of the set design for his dynamic performances, inﬂ uenced by his career in theatre productions. Although they look like they are made of wood, cardboard and fabric, his series Three Sisters (2016) are cast in bronze, only to be repainted. This artistic style is known as trompe l’œil, tricking the eye into perceiving these busts as rudimentary mechanical inventions.

One can see the form of a human torso, with each individual ‘head’ transformed into a propeller fan, cone dial or cubic box. William Kentridge (b. 1955, South Africa) has Rather than serving a utilitarian function, exhibited around the world since the 1990s, these potential automatons interrogate including Documenta in Germany (1997, 2003, the foundations of technological invention 2012); the Museum of Modern Art, New York as the basis for humankind’s progression, (1998, 2010); the Albertina Museum, Vienna suggesting the key role of artistic imagination (2010); and the Musée du Louvre, Paris (2010),

and creative thought. amongst others. courtesy Image of the artistGallery and the Goodman

44 Zeitz MOCAA Beneﬁ t Art Auction 45 21 William Kentridge

SOUTH AFRICAN 1955-

Sister Cone

2016 signed AP 3 of 3 from an edition of 9 bronze and oil paint 37 by 47 by 33cm

ZAR1 000 000 - 1 500 000 £55 000 - 82 000 PROVENANCE $70 000 - 107 000 Donated by the artist. €62 500 - 93 750 Courtesy of Goodman Gallery. Image courtesy Image of the artistGallery and the Goodman

46 Zeitz MOCAA Beneﬁ t Art Auction 47 22 William Kentridge

SOUTH AFRICAN 1955-

Sister Box

2016 signed AP 3 of 3 from an edition of 9 bronze and oil paint 23 by 45 by 40cm

48 Zeitz MOCAA Beneﬁ t Art Auction 49 23 Deborah Bell

SOUTH AFRICAN 1957-

Compass

2011 mixed media on paper sheet size: 134 by 215cm

ZAR225 000 - 300 000 £12 500 - 16 500 PROVENANCE $16 000 - 21 000 Donated by the artist. €14 000 - 19 000 Courtesy of Everard Read Gallery.

In Compass (2011), a solitary tiger stretches its body across a vast, golden desert. It appears calm, unperturbed by the potential threat of the desert. A wheel, some sticks, a brick and a ladder – all markers of ‘progress’ and ‘civilisation’ – appear dwarfed beside it, useless.

As a symbol of solitary strength and willpower, the tiger best encapsulates that ’single gesture of absolute presence’ for which contemporary South African artist Deborah Bell is so revered. Deborah Bell (b. 1957, South Africa) She describes her Zen approach to art as a has collaborated extensively with her spiritual act or devotion, best done in isolation: contemporaries William Kentridge, Robert ‘No one can take you there, you’ve got to Hodgins, and David Krut on several historically ﬁ nd your own way.’ In this sense, Compass is an important projects, and exhibited extensively in exemplary work. both South Africa and the United Kingdom.

50 Zeitz MOCAA Beneﬁ t Art Auction 51 24 Frohawk Two Feathers

AMERICAN 1976- Icon of Hippolyta, Savior of Hispaniola. Or, Before the end of you and me is you, my enemy. Not to worry however, the chaos serpent will ﬁ nd a way. In aurum potestas. In bello vincit. 2018 acrylic and ink on paper 152,5 by 101,5cm

ZAR80 000 - 120 000 £4 500 - 6 600 PROVENANCE $5 700 - 8 600 Donated by the artist. €5 000 - 7 500 Courtesy of Johannes Vogt Gallery.

Frohawk Two Feathers has made a successful career as an artist by adopting and reassembling iconic imagery – maps, landmarks, colonial regalia – to recreate his own, ﬁ ctional stories that often mirror real historic events, such as the scramble for Africa.

In Greek mythology, Hippolyta was the queen of the Amazons, a group of powerful women warriors notorious for their love of war. From its origins through to the works of William Shakespeare (A Midsummer Frohawk Two Feathers (b. 1976, USA) has had Night’s Dream), Agatha Christie (The Labours of solo exhibitions at the Hudson River Museum, Hercules), and DC Comics (Wonder Woman), the New York (USA: 2015); the Wellin Museum of story of Hippolyta has been called upon time and Art, New York (USA: 2013); the Nevada Museum again for its iconic signifi cance. Here the fi gure of of Art, Nevada (USA: 2013); and the Museum Hippolyta surfaces once more, a hero in the fi ght of Contemporary Art, Denver (USA: 2012), against colonial rule. amongst others.

52 Zeitz MOCAA Beneﬁ t Art Auction 53 25 Peterson Kamwathi

KENYAN 1980-

Flux (Vessels: Constellations and Sediments IV)

2017 - 2018 charcoal, graphite, coloured pencils, stencil, soft pastel, spray paint sheet size: 113,5 by 115cm

ZAR60 000 - 80 000 £3 500 - 4 500 PROVENANCE $4 200 - 5 700 Donated by the artist. €3 750 - 5 000 Courtesy of Artlab Africa.

Peterson Kamwathi is perhaps best known for his body of work Sitting Allowance (2007), which reﬂ ected on the post-election violence in Kenya that same year. Since then, his practice has continued to explore pertinent issues faced within and beyond the country’s borders.

This particular work, Flux (Vessels: Constellations and Sediments IV) (2017-18), takes its cue from the displacement and subsequent migration of people across the globe. Here we see a ﬂ oating geometric shape. Words and currencies Peterson Kamwathi (b. 1980, Kenya) has shown like ‘Gold’, ’Gas’, and ‘USD’ are stencilled across work at the Venice Biennale, Venice (Italy: it, bringing to mind global stock markets. 2017); One Off Contemporary Art Gallery, Above this, a ﬁ gure is captured mid-air like Nairobi (Kenya: 2013); Dak’Art Biennale, Dakar a gymnast caught between the moment of (Senegal: 2010); Brot Kunsthalle, Vienna (Austria: take-off and landing. Its position is precarious, 2010); and the Goethe-Institut, Nairobi (Kenya:

its future unknown. 2009), amongst others. courtesyTodeschini Image of Mario

54 Zeitz MOCAA Beneﬁ t Art Auction 55 26 Peju Alatise

NIGERIAN 1976-

Butterﬂ y Effect

2017 signed and dated 2017 metal, resin cast and acrylic paint 91,5 by 91,5 by 91,5cm

ZAR80 000 - 120 000 £4 500 - 6 600 $5 700 - 8 600 PROVENANCE €5 000 - 7 500 Donated by the artist.

Peju Alatise deﬁ nes her artistic practice as a search for truth. Words, ﬁ breglass, broken bottles, sawdust, acrylic, canvas, metal, sand and fabrics are but a few of the materials used to reconstruct her universe, which draws from her experiences of life in Nigeria, with all of its socio-political and religious baggage in tow.

Her philosophical quest for meaning is reﬂ ected here through the depiction of eight young children, staring down at the hole in each Peju Alatise (b. 1975, Nigeria) has exhibited at of their chests. The artwork harbours surreal 1:54 Contemporary African Art Fair, London (UK: qualities, and is structured so that each child 2014); the Casablanca Biennale, Casablanca stands on their own beam, creating the kind of (Morocco: 2014); Art Twenty-One, Lagos ‘knock-on’ repetition alluded to in the work’s (Nigeria: 2013); and the Nike Art Gallery, Lagos title, Butterﬂ y Effect (2017). (Nigeria: 2012), amongst others.

56 Zeitz MOCAA Beneﬁ t Art Auction 57 27 Patrick Bongoy

CONGOLESE 1980-

Exported 1

2018 found rubber inner tubes 67 by 110cm

ZAR50 000 - 70 000 £2 800 - 3 900 PROVENANCE $3 600 - 5 000 Donated by the artist. €3 200 - 4 400 Courtesy of EBONY/CURATED.

Patrick Bongoy’s artistic practice addresses the economic deprivation and displacement that people face after violent socio-political unrest and environmental degradation. Perhaps best known for his weighty rubber sculptures, which depict ﬁ gures struggling against the forces of their bondage, Bongoy’s two-dimensional works make use of similar materials to suggest a relationship between one’s environment and one’s everyday struggle for survival.

As the title suggests, Exported 1 (2018) reﬂ ects a tactile relationship with the environment that is Patrick Bongoy (b. 1980, DRC) has held deeply ingrained within the economic fabric of numerous exhibitions at EBONY/Curated, and the everyday. The words ‘MADE’, ‘KONGO’ and has exhibited his work at Gallery MOMO, Cape ‘CHINA’ are cut out from three hanging strips Town (South Africa: 2018); 1:54 Contemporary of rubber. They read like price tags, drawing African Art Fair, London (2017); the Alliance attention to the costs of labour against the Française, Cape Town (South Africa: 2015); and backdrop of international trade relations. the Center Wallonia in Brussels (Belgium: 2012).

58 Zeitz MOCAA Beneﬁ t Art Auction 59 28 Wayne Barker and Bailey’s African History Archives SOUTH AFRICAN 1963- Drum series, suite of 8 2018 Edition of 9 silkscreen on Fabriano 76,5 by 56cm (8)

ZAR80 000 - 120 000 PROVENANCE £4 500 - 6 600 Donated by the artist. $5 700 - 8 600 Courtesy of Bailey’s African History Archives €5 000 - 7 500 and Everard Read Gallery.

Wayne Barker is well-known for his reproductions of Pierneef’s nationalist landscapes, overlaid with paint, bright neon lights, and the hallmarks of consumer culture. These works merge past with present, questioning the continued exploitation of land and people through the iconography of the age.

Drawn from Barker’s latest solo exhibition, DRUM, which was held earlier this year at CIRCA Gallery in Cape Town (2018), these silkscreen prints have Wayne Barker (b. 1963, South Africa) has undergone a similar process, refl ecting on the exhibited at Art Paris Art Fair (2017); the Victoria dreams imbued in DRUM, a popular South African and Albert Museum, London (2001); the Venice magazine that captured the defi ant spirit and Biennale (1997); Johannesburg Art Gallery vitality of South Africa’s urban areas. ‘We were (2007); and the fi rst and second Johannesburg dreaming about a utopia,’ says the artist, ‘But it Biennales, Johannesburg (1995 and 1997), was a dream. It didn’t quite happen like that.’ amongst others.

60 Zeitz MOCAA Beneﬁ t Art Auction 61 artist index

Adams, I 10 Alatise, P 26 Barker, W and Bailey’s African History Archives 28 Bell, D 23 Bongoy, P 27 Gaigher, J 7 Gakunga, NW 18 Gottgens, K 19 Hlobo, N 11 Kabiru, C 17 Kamwathi, P 25 Kentridge, W 20, 21, 22 Mabunda, G 4 Mapondera, W 5 Ncaphayi, M 1 Ngobeni, B 2 Okore, N 12 Petersen, T 9 Platter, C 3 Shonibare, Y 13, 14, 15, 16 Thomas, HW 8 Toguo, B 6 Two Feathers, F 24

62 Zeitz MOCAA Beneﬁ t Art Auction Bidding Form Bidder Number (for ofﬁ ce use only) SALE DATE: 1 December 2018 SALE VENUE: Silo District, South Arm Road, V&A Waterfront, Cape Town Absentee (*)Telephone (Please tick applicable box) ENQUIRIES: Tel +27 (0) 72 337 8405 Mobile +27 (0) 78 044 8185 PLEASE FORWARD COMPLETED FORM TO: E-mail: [email protected]

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64 Zeitz MOCAA Beneﬁ t Art Auction Acknowledgements

ThankT you to everyone who has contributed to this special beneﬁ t auction. OurO success would not be possible without you!

StraussS & Co

THET ARTISTS IgshaanIg Adams PPeju Alatise WWayne Barker DDeborah Bell PPatrick Bongoy JJeanne Gaigher NNaomi Wanjiku Gakunga KKate Gottgens NNicholas Hlobo CCyrus Kabiru PPeterson Kamwathi WWilliam Kentridge GGonçalo Mabunda WWallen Mapondera MMongezi Ncaphayi BBlessing Ngobeni NNnenna Okore TThania Petersen CCameron Platter YYinka Shonibare HHank Willis Thomas BBarthélémy Toguo FFrohawk Two Feathers

SSUPPORTING GALLERIES AArtHouse Contemporary AArtlab Africa BBlank Projects EEBONY/CURATED EEverard Read Gallery GGoodman Galley JJack Bell JJohannes Vogt Gallery LLehmann Maupin OOctober Gallery OOne Off Contemporary Art Gallery SSMAC Gallery SSMITH SStevenson WWHATIFTHEWORLD

65 Beneﬁ t Auction Committee Jonathan Bloch Bina Genovese Frank Kilbourn Vanessa Phillips Brooke Minto Azu Nwagbogu Linda Pyke Jochen Zeitz

The Strauss & Co Staff

The Zeitz MOCAA Staff Matthew Atkins Tiffany Andrews Sven Christian Tandazani Dhlakama Sakhisizwi Gcina Alistair Kennedy Emma King Ellen Kondowe Tammy Langtry Belinda Tamukedde Mbali Tshabalala Marijke Tymbios

In-Kind Donors Growthpoint PIC V&A Waterfront The Aleit Group Moet Hennessey Faye Frizlar, Nexus Design Robert Wong, Colorfuzion Hansa Digital and Litho Denver Hendricks Photography David Herman, Quest Communications

66 Zeitz MOCAA Beneﬁ t Art Auction