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Born 1975, Bakenberg, ZA Currently Lives and Works in Paris, FR
Born 1975, Bakenberg, ZA Currently lives and works in Paris, FR EDUCATION 1998 Rijksakademie van Beeldende Kunsten, Amsterdam, NL RESIDENCIES 2017/2019 Cite Internationale des Arts, Paris, FR 2016 Kadist Art Foundation, Paris, FR 2015 Thami Mnyele Residency, Amsterdam, NL 2008 Résidences Internationales aux Récollets, Paris, FR 2002 The Fabric Workshop & Museum, Philadelphia, US Triangle Arts Trust, Grand- Rivière, TT SOLO EXHIBITIONS 2018 Relatives, Blain|Southern, London UK 2017 Fugitive, Stevenson, Johannesburg, ZA 2016 Ellipses, Stevenson, Cape Town, ZA MiniSurvey, Frieze, New York, US 2014 The Jealous Lover, ifa-Galerie Stuttgart; ifa-Galerie Berlin, DE 2013 Counterpoints: Moshekwa Langa, In and Out of Africa, Krannert Art Museum, University of Illinois, Urbana-Champaign, US Mogalakwena, Goodman Gallery, Cape Town, ZA 2012 Ramokone, Goodman Gallery, Johannesburg, ZA 2011 Marhumbini: In an Other Time, Kunsthalle Bern, CH 2010 Black Maria, Galerie Mikael Andersen, Copenhagen, DK Wuthering Heights, Galerie Mikael Andersen, Berlin, DE 2009 Rose Coloured Glasses, Bernier/Eliades Gallery, Athens, GR Thresholds, Goodman Gallery, Johannesburg, ZA 2008 Miracle in the Rain, Taché-Lévy Gallery, Brussels, BE 2007 Encounters: Moshekwa Langa - Homeland, Modern Art Oxford, UK The Inheritance of Loss, Goodman Gallery, Cape Town, ZA 2006 The man who cast no shadows, Taché-Lévy Gallery, Brussels, BE Terms of Endearment, Galeria Bonomo, Rome, IT 2005 Moshekwa Langa, MAXXI, Museo nazionale delle arti del XXI secolo, Rome, IT Backlash Blues, Goodman Gallery, -
Moshekwa Langa
Buchanan Building 46 7th Avenue Prinsengracht 371B [email protected] 160 Sir Lowry Road Parktown North 1016 HK Amsterdam www.stevenson.info 7925 Cape Town 2193 Johannesburg The Netherlands +27 21 462 1500 +27 11 403 1055 +31 62 532 1380 @stevenson_za MOSHEKWA LANGA. Born 1975, Bakenberg, South Africa Lives in Amsterdam, the Netherlands EDUCATION Rijksakademie van Beeldende Kunsten, Amsterdam, the Netherlands SELECTED SOLO EXHIBITIONS Andrew Kreps Gallery, New York, USA Stevenson, Cape Town, South Africa Blain Southern, London, UK Stevenson, Johannesburg, South Africa , Stevenson, Cape Town, South Africa Mini Survey, Frieze, New York, USA ifa-Galerie Stuttgart; ifa-Galerie Berlin, Germany Krannert Art Museum, University of Illinois, Urbana-Champaign, USA Goodman Gallery, Cape Town, South Africa Goodman Gallery, Johannesburg, South Africa Kunsthalle Bern, Switzerland Galerie Mikael Andersen, Copenhagen, Denmark Galerie Mikael Andersen, Berlin, Germany Bernier/Eliades Gallery, Athens, Greece Goodman Gallery, Johannesburg, South Africa Taché-Lévy Gallery, Brussels, Belgium Modern Art Oxford, UK Goodman Gallery, Cape Town, South Africa Taché-Lévy Gallery, Brussels, Belgium Galeria Bonomo, Rome, Italy MAXXI, Museo nazionale delle arti del XXI secolo, Rome, Italy Goodman Gallery, Johannesburg, South Africa Gallery SAW, Ottawa, Canada Kunstverein Düsseldorf, Germany Contemporary Arts Center, Cincinnati, USA Galerie Ascan Crone - Andreas Osarek, Berlin, Germany South African National Gallery, Cape Town, South Africa Galerie Tanya Rumpff, Haarlem, -
Bush Writings Post-Blue
HOW LATITUDES BECOME FORMS JUST HOW DID LATITUDES BECOME FORMS? ON MARCH 7, 2002, Philippe Vergne, Douglas Fogle, Olukemi Ilesanmi, and Aimee Chang engaged in a roundtable discussion of the Walker Art Center’s global initiative and the mounting of the exhibition How Latitudes Become Forms: Art in a Global Age.1 Following is an edited version of that conversation. Aimee Chang: Let’s start with the title of the show … Philippe Vergne: It was the result of a process that started with a discussion about what the exhibition should be and whether or not we should look at a specific theme. We went through many, many options; Once Upon a Place and Total Architecture were two early possibilities. Douglas Fogle: When we first started organizing the exhibition, we used the notion of “metropole” as a struc- turing principle, relating to the cities we were visiting, but that quickly fell out as a strategy. PV: Another idea was to use the show as a reflection of how art practice changes when we change locations. We tried The Third Place, making a distinction between place and space, after the theory of Homi Bhabha.2 We tried Globalism, using that word like the word modernism to see if a comparable shift could be identified in the development of late twentieth-century art. None of these initial ideas were completely satisfying. In the end, we did not want the show to be about a specific theme, to illustrate a theme. We wanted to keep our eyes and minds as open as possible when we were traveling and identifying artists. -
Pieter Hugo. Between the Devil and the Deep Blue
English Temporary exhibition Floor -1 Pieter Hugo Between the Devil and the Deep Blue Sea 05/07 — 07/10/2018 An exhibition of the Kunstmuseum Wolfsburg PIETER HUGO 1994 BETWEEN THE DEVIL AND THE DEEP BLUE SEA Rwanda & South Africa 2014–2016 After the first comprehensive presentation consisting of fifteen series, produced between 2003 and 2016, at 1994 was a significant year for me. I finished school and the Kunstmuseum Wolfsburg, the show was presented left home. Nelson Mandela was elected president in at Museum für Kunst und Kulturgeschichte, in Dortmund, South Africa’s first democratic election, after decades of and has now found its third venue at Museu Coleção apartheid. Berardo, in Lisbon. It was also the year of the Rwandan genocide, an event What divides us and what unites us? How do people which shook me. Ten years later I was to photograph its live with the shadows of cultural repression or political aftermath extensively, and puzzle over its legacy. dominance? The South African photographer Pieter Hugo When I returned to Rwanda on assignment in 2014, (b. 1976, Johannesburg) explores these questions in his my own children were one and four years old. They portraits, still-lifes, and landscapes. had changed my way of looking at things. Whereas on Raised in post-colonial South Africa, where he witnessed previous visits to Rwanda I’d barely seen any children, this the official end of apartheid in 1994, Hugo has a keen time I noticed them everywhere. sense for social dissonances. He perceptively makes The Rwandan children raised the same questions in me as his way through all social classes with his camera, my own children. -
Art at the Silo Hotel a Brief History
ART AT THE SILO HOTEL A BRIEF HISTORY The history of Africa is the history of being plundered for its most valuable resources. This was exemplified by the original grain silo building in Table Bay from which grain was exported to Europe. The new building represents a showcase retaining Africa’s greatest creative resources. The building itself can be seen as a work of art, offering it’s beautifully reimagined structure as an industrial canvas that highlights the very best of African art and design. “I have always included wonderful art at each of The Royal Portfolio properties. Art brings a space Liz Biden, owner of The Royal Portfolio pays tribute to this vision, through her use of to life, it creates warmth and tells stories. But moreover, art takes you on a journey which evolves contemporary African art and local craftsmanship in her interior design of The Silo as we evolve. Our guests love to enjoy the art collection at our properties. The Silo Hotel will take Hotel. that art experience to a whole new level with a focus on contemporary African art…” LIZ BIDEN During her trips throughout Africa, aided by her well-travelled eye for the exquisite FOUNDER AND OWNER and the unusual, Liz Biden has acquired a unique and varied collection of art that complements that of Zeitz MOCAA situated below The Silo Hotel. Highlighting both young, aspiring artists, as well as established, highly acclaimed artists such as Cyrus Kabiru, Mahau Modisakeng and Nandipha Mntambo. Liz Biden has specifically chosen pieces to complement the unique interiors of each of the 28 rooms, offering individualised experiences for guests and many a reason to return. -
15 February 2020, Cape Town
CONTEMPORARY ART 15 February 2020 CT 2020/1 2 Contemporary Art including the Property of a Collector Saturday 15 February 2020 at 6 pm Bubbly and canapés from 5 pm VEnuE abSEntEE anD TELEPHonE biDS Quay 7 Warehouse, 11 East Pier Road Tel +27 (0) 21 683 6560 V&A Waterfront, Cape Town +27 (0) 78 044 8185 GPS Co-ordinates: 33°54’05.4”S 18°25’27.9”E [email protected] PREVIEW payMEnt Thursday 13 and Friday 14 February Tel +27 (0) 21 683 6560 from 10 am to 5 pm +27 (0) 11 728 8246 Saturday 15 February from 10 am to 6 pm [email protected] LEctuRES anD WalKaboutS conDition REpoRTS See page 10 [email protected] ENQuiRIES anD cataloGUES www.straussart.co.za +27 (0) 21 683 6560 +27 (0) 78 044 8185 contact nuMBERS DURinG PREVIEW anD auction ILLUSTRATED CATALOGUE: R220.00 Tel +27 (0) 78 044 8185 All lots are sold subject to the conditions of business +27 (0) 72 337 8405 printed at the back of ths catalogue PUBLIC AUCTION BY DIRECTORS F KILBOURN (EXECUTIVE CHAIRPERSON), E BRADLEY, CB STRAUSS, C WIESE, J GINSBERG, C WELZ, V PHILLIPS (MD), B GENOVESE (MD), AND S GOODMAN (EXECUTIVE) 4 Contents 3 Sale Information 6 Directors, Specialists, Administration 8 Map and Directions 9 Buying at Strauss & Co 10 Lectures and Walkabouts 12 Contemporary Art Auction at 6pm Lots 1–102 121 Conditions of Business 125 Bidding Form 126 Shipping Instruction Form 132 Artist Index PAGE 2 Lot 21 Yves Klein Table IKB® (detail) LEFT Lot 53 William Kentridge Small Koppie 2 (detail) From the Property of a Collector 5 Directors Specialists Administration -
PERSPECTIVES 2 5 March – 11 April 2015
PERSPECTIVES 2 5 MARch – 11 APRIL 2015 Perspectives 2 Perspectives 2 – as its title suggests, the second in a His Presence, a painting first shown in the Zimbabwean series of group exhibitions titled Perspectives – features Pavilion at the 55th Venice Biennale (2013). Moshekwa works by Walter Battiss, Zander Blom, David Goldblatt, Langa’s trance-like paintings similarly imagine a realm Pieter Hugo, Anton Kannemeyer, Moshekwa Langa, beyond comprehension, and the sparse black gestures Stanley Pinker, Robin Rhode, Penny Siopis of Zander Blom’s Untitled [1.288] draw inspiration from and Portia Zvavahera. the mark-making of South African modernist Ernest Mancoba’s lifelong meditation on the essence Many of the works included in Perspectives 2 have been of human form. exhibited in the gallery over the past 12 years; others by gallery artists were exhibited further afield. They return to A group of works picture scenes of pleasure. Stanley be offered to new collectors to start new conversations, and Pinker’s The Bather is a small, joyous painting of a nude from this group several themes emerge. sitting alongside a lake, and is a portrait of intimacy and relaxation calmingly rendered in a spring palette. Battiss’ The notion of seriality is prominent. Walter Battiss’ colourful renderings of women from the Bajun Islands watercolours painted at Leisure Bay in KwaZulu-Natal are on the Kenyan coast, and his watercolours of Leisure studies of colour and light at different times of the day. Bay, his holiday destination, offer comparably hedonistic Zander Blom’s large-scale abstract painting Untitled [1.300] sensibilities. This motif extends to the primary-coloured offers repetition in mark-making and so allows the viewer’s nude gathering in Battiss’ sgraffito oil on canvas Figures eye to circulate through it. -
Frances Goodman
Frances Goodman Born Johannesburg, South Africa, 1975 Lives Johannesburg, South Africa EDUCATION 2003 Higher Institute for Fine Art, Antwerp, Belgium 2000 MFA, Goldsmiths College, University of London, UK 1999 Postgraduate Diploma, Goldsmiths College, University of London, UK 1997 BFA, University of the Witwatersrand, Johannesburg, South Afric SOLO EXHIBITIONS 2017 Title to be Confirmed, Galleri Specta, Copenhagen, Denmark. Beneath Her, Richard Taittinger Gallery, New York, USA. 2016 Degreened, SMAC Art Gallery, Cape Town, South Africa. Solo Booth, Richard Taittinger Gallery, 154 Art Fair, Brooklyn, USA. Rapaciously Yours, Richard Taittinger Gallery, New York, USA. 2015 Lick It, Walmart Art Windows, ArtCenter South Florida, Miami, USA. Let Down Your Hair, Art in Buildings, New York 2014 Nail Her, Goodman Gallery, Johannesburg, South Africa The Sweetest Ride, TM Projects, Geneva, Switzerland 2013 Sub Rosa, Goodman Gallery, Johannesburg, South Africa Cars and Girls, WHATIFTHEWORLD Gallery, Cape Town 2012 Touched, (Art) Amalgamated, New York 2011 Goodman Garage, Westdene, Johannesburg, South Africa Forever, NSA Gallery, Durban, South Africa Till Death Us Do Part, Goodman Gallery, Johannesburg, South Africa 2010 Keeping Up Appearances, Aeroplastics, Brussels 2009 Morbid Appetites, Goodman Gallery Cape, Cape Town 2008 Careless Whispers, Galleri Specta, Copenhagen Young Guns, Project Space, Aeroplastics, Brussels Art Fair, Brussels 2007 Wishful Thinking, Goodman Gallery, Johannesburg, South Africa 2005 Petite Mort, Goodman Gallery, Johannesburg, South Africa 2004 Wanting, KULAK, University of Kortrijk, Belgium David, Gallery in the Round, SA National Festival of the Arts, Grahamstown, South Africa 2003 Intimate/Inanimate Moments, Solo Project, The Process Room, Irish Museum of Modern Art, Dublin 2000 Two-person exhibition with Moshekwa Langa, Goodman Gallery, Johannesburg, South Africa GROUP EXHIBITIONS 2017 Le Jour Qui Vient, Galerie des Galeries, Paris, France. -
Book XVIII Prizes and Organizations Editor: Ramon F
8 88 8 88 Organizations 8888on.com 8888 Basic Photography in 180 Days Book XVIII Prizes and Organizations Editor: Ramon F. aeroramon.com Contents 1 Day 1 1 1.1 Group f/64 ............................................... 1 1.1.1 Background .......................................... 2 1.1.2 Formation and participants .................................. 2 1.1.3 Name and purpose ...................................... 4 1.1.4 Manifesto ........................................... 4 1.1.5 Aesthetics ........................................... 5 1.1.6 History ............................................ 5 1.1.7 Notes ............................................. 5 1.1.8 Sources ............................................ 6 1.2 Magnum Photos ............................................ 6 1.2.1 Founding of agency ...................................... 6 1.2.2 Elections of new members .................................. 6 1.2.3 Photographic collection .................................... 8 1.2.4 Graduate Photographers Award ................................ 8 1.2.5 Member list .......................................... 8 1.2.6 Books ............................................. 8 1.2.7 See also ............................................ 9 1.2.8 References .......................................... 9 1.2.9 External links ......................................... 12 1.3 International Center of Photography ................................. 12 1.3.1 History ............................................ 12 1.3.2 School at ICP ........................................ -
South African Photography of the HIV Epidemic
Strategies of Representation: South African Photography of the HIV Epidemic Annabelle Wienand Supervisor: Professor Michael GodbyTown Co-supervisor: Professor Nicoli Nattrass Cape Thesis presentedof for the degree of Doctor of Philosophy in the Department of Visual and Art History Michaelis School of Fine Art University of Cape Town University February 2014 University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University This thesis is dedicated to Michael Godby and Nicoli Nattrass Abstract This thesis is concerned with how South African photographers have responded to the HIV epidemic. The focus is on the different visual, political and intellectual strategies that photographers have used to document the disease and the complex issues that surround it. The study considers the work of all South African photographers who have produced a comprehensive body of work on HIV and AIDS. This includes both published and unpublished work. The analysis of the photographic work is situated in relation to other histories including the history of photography in Africa, the documentation of the HIV epidemic since the 1980s, and the political and social experience of the epidemic in South Africa. The reading of the photographs is also informed by the contexts where they are published or exhibited, including the media, non-governmental organisations (NGOs) and aid organisations, and the fine art gallery and attendant publications. -
Prix Pictet Disorder Shortlist Press Release English
PRESS RELEASE Embargoed for publication: 19.00 hrs 10 July 2015 SHORTLIST ANNOUNCED FOR WORLD’S TOP PHOTOGRAPHY PRIZE The shortlist of twelve photographers selected for the sixth Prix Pictet, Disorder, is announced today, Friday 10 July 2015. The photographers are: Ilit Azoulay, born Jaffa 1972, lives and works Tel Aviv-Jaffa, Israel Valérie Belin, born Boulogne-Billancourt 1964, lives and works Paris, France Matthew Brandt, born Los Angeles 1982, lives and works Los Angeles, USA Maxim Dondyuk, born Polyan’ 1983, lives and works Kiev, Ukraine Alixandra Fazzina, born London 1974, lives and works London, UK Ori Gersht, born Tel Aviv 1967, lives and works London, UK John Gossage, born New York 1946, lives and works Washington DC, USA Pieter Hugo, born Johannesburg 1976, lives and works Cape Town, South Africa Gideon Mendel, born Johannesburg 1959, lives and works London, UK Sophie Ristelhueber, born Paris 1949, lives and works Paris, France Brent Stirton, born Durban 1969, lives and works New York, USA Yang Yongliang, born Shanghai 1980, lives and works Shanghai, China The winner of the Prix Pictet will be announced by Honorary President Kofi Annan on 12 November 2015, on the occasion of the opening of an exhibition of works by the twelve shortlisted photographers at the Musée d’Art Moderne de la Ville de Paris. Now in its sixth cycle, the Prix Pictet was founded by the Pictet Group in 2008. Today the Prix Pictet is recognised as the world’s leading prize for photography. On an 18-month cycle the award focuses on a theme that promotes discussion and debate on issues of sustainability. -
NETWORKING TOUR 2014 Johannesburg // South Africa
NETWORKING TOUR 2014 Johannesburg // South Africa The European - South African Studio NETWORKING TOUR 2014 The European - South African Studio Johannesburg // South Africa // 10. - 20.2.2014 Contacts and networks between artists, gallery owners and curators is a rare and precious treasure. The Networking Tours of the International Summer Academy of Fine Arts and Media Venice are specially designed to build up these contacts. In 2011 we arranged a tour to New York. 2014 we arrange one to Johannes- burg/South Africa. The program is, to meet the most prominent artists of South Africa, have studio visits, as well as to communicate with them on the basis of our own work. Therefore a special studio is prepared for us to ex- press our own reflections on Johannesburg and South Africa as a piece of art work of ourselves. This means that there will be studio visits from February 10th to 15th and studio work from February 16th to 18th. The final event will be the exhibition of the own art works and a plenary discussion together with most prominent gallery owners of South Africa. The accommodation as well as the studio will be at the Maboneng precinct, a newly developed area for art and business: www.mabonengprecinct.com Preliminary Program Monday, February 10th 2014 4.00 - 6.00pm: Before 1.00pm: Arrival and check in David Goldblatt 01.00 - 2.00pm: Santu Mofokeng Lunch at “Canteen” / Arts on Main. 8.00 - 10.00pm: 4.00 - 6.00pm: Dinner at the market theatre restaurant. Visit to “Miagi Centre” in Soweto, director Robert Brooks.