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Art Basel Preview 2024

13 - 16 June
Stand P11
 

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Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

Goodman Gallery’s presentation at Art Basel 2024 will present new works by leading artists from the Continent and Diaspora alongside a major installation by Faith Ringgold at Art Unlimited.

At the Stand, Goodman Gallery will present major new works by the gallery artists including; a new tapestry by the acclaimed artist El Anatsui alongside their current participation in “Rewilding” at Kunsthaus Baselland on view during the fair. The first glimpse of a new sculptural work “Washer” by William Kentridge, anticipating this July’s world premiere of “The Great Yes, The Great No” at the LUMA Arles alongside a substantial solo exhibition. 

Reflecting on ‘Stranieri Ovunque – Foreigners Everywhere’ the main exhibition at the Venice Biennale Yinka Shonibare CBE is included with a new ‘Refugee Astronaut’ seen recently at the Arsenale exhibition. A new painting will be presented by Kudzanai Chiurai from a larger, ongoing body of work centred on a speculative history where “The Union of African Nations” becomes the dominant political world power. Following Kapwani Kiwanga’s acclaimed exhibition for the Canada Pavilion new wall based works in ceramic will be presented from the artist’s recent exhibition at Fundacion Serralves, Porto. 

Featured artists: Ghada Amer, El Anatsui, Kudzanai Chiurai, Nolan Oswald Dennis, Leonardo Drew, Claire Gavronsky, Pélagie Gbaguidi, David Goldblatt, Kiluanji Kia Henda, Nicholas Hlobo, Alfredo Jaar, Remy Jungerman, William Kentridge, Kapwani Kiwanga, Atta Kwami, Laura Lima, Misheck Masamvu, Shirin Neshat, Ravelle Pillay, Faith Ringgold, Zineb Sedira, Rose Shakinovsky, Yinka Shonibare CBE RA, Pamela Phatsimo Sunstrum, Clive van den Berg, Carrie Mae Weems and Sue Williamson.

Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

El Anatsui

Untitled II, 2023

 

Aluminum, copper wire and nylon string

Work: 363 x 360 cm (142.9 x 141.7 in.)

Unique

 

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Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

El Anatsui

Untitled, 2024

Aluminium, copper wire and nylon string

Work: 345 x 466 cm (135.8 x 183.5 in.)

Unique

 

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With a career spanning five decades, El Anatsui (b. 1944, Ghana) is one of the most important contemporary artists today — awarded the prestigious Praemium Imperiale alongside Iranian visual artist Shirin Neshat in 2017, as well as the Golden Lion for Lifetime Achievement, the Venice Biennale’s highest honour, in 2015. He was also included in TIME magazine’s 100 most influential people of 2023. Anatsui’s Hyundai Commission at Tate Modern's Turbine Hall was on view from October 2023 to April 2024. In 2019, El Anatsui: Triumphant Scale, a major career survey curated by Okwui Enwezor, opened at Haus der Kunst and travelled to Mathaf: Arab Museum of Modern Art in Doha, Kunstmuseum Bern and Guggenheim Bilbao in 2020.

Anatsui, well-known for his large-scale sculptures composed of discarded materials, transforms these simple materials into complex assemblages that create distinctive visual impact. Anatsui’s use of these materials reflects his interest in reuse, transformation, and an intrinsic desire to connect to his continent while transcending the limitations of place. His work interrogates the history of colonialism and draws connections between consumption, waste and the environment. 

Collections include: African Studies Gallery, University of Nigeria, Nsukka, Nigeria; Akron Art Museum, Akron, Ohio; Asele Institute, Nimo, Nigeria; The British Museum, London, UK; Brooklyn Museum, New York; Centre Pompidou, Paris, France; Guggenheim Abu Dhabi, Abu Dhabi, UAE; The Metropolitan Museum of Art, New York, NY; Jordan National Gallery of Arts, Amman, Jordan; Musée Ariana, Geneva, Switzerland; and Osaka Foundation of Culture, Osaka, Japan.

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Kudzanai Chiurai

Black Vanguard Comunique 4, 2024

Oil paint and oil pastels on canvas

Work: 220 x 180 x 5 cm (86.6 x 70.9 x 2 in.)

Unique

RESERVED

Kudzanai Chiurai (b. 1981, Zimbabwe) is a multidisciplinary artist exploring notions and cycles of political, economic, and social strife present in post-colonial societies. Black Vanguard Comunique 4 is part of a series of ‘history paintings’, inspired by the counterfactual novel Bozambo’s Revenge by French-Guyanese medical doctor and author Bertène Juminer. This body of work is centred on a speculative history through a series of world events whereby “The Union of African Nations” becomes the dominant political power, ratified by an international treaty, that effectively colonises the United Kingdom, France, the southern states of America, Suriname, and the islands of the Caribbean. This is an ongoing body of work by the artist.

Chiurai’s film We Live in Silence (Chapters 1 - 7) is on view as part of the main exhibition at this year’s Venice Biennale Stranieri Ovunque – Foreigners Everywhere. Photographs from his We Live in Silence were part of A World in Common: Contemporary African Photography, at TATE Modern curated by Osei Bonsu in 2023. Solo exhibitions include: Genesis [Je n'isi isi], We Live in Silence, IFA, Stuttgart, Germany (2019); Madness and Civilization, Kalmar Konsmuseum, Kalmar, Sweden (2018); Now and Then: Guercino and Kudzanai Chiurai, Zeitz MOCAA, Cape Town, South Africa (2018).

Chiurai’s work is held at the Museum of Modern Art, New York; Hessel Museum of Art, Bard College, Annandale-On-Hudson; Pérez Art Museum Miami, Miami; Pigozzi Collection, Geneva; Walther Collection, New York; and Zeitz Museum of Contemporary Art Africa, Cape Town.

Nolan Oswald Dennis 

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Nolan Oswald Dennis

model cabinet 1A (study set), 2021–2024

Set of 3 globe models with steel and wood shelving unit

Work: 169.5 x 76,5 x 31.5 cm (66.7 x 30.1 x 12.4 in.)

Unique

SOLD

Nolan Oswald Dennis (b. 1988, Zambia) is a para-disciplinary artist from Johannesburg, South Africa. Their practice explores what they call ‘a black consciousness of space’: the material and metaphysical conditions of decolonisation. They are concerned with the hidden structures that pre-determine the limits of our social and political imagination. Through a language of diagrams, drawings and models they explore a hidden landscape of systematic and structural conditions that organise our political sub-terrain. model cabinet 1A (study set) forms part of a constellation of studio models, sketches and prototypes from recent experimental black-earth-system research by the artist. 

Solo and group shows include: Lagos Biennial (2024), the 12th Seoul Mediacity Biennale (2023); the 12th Liverpool Biennial (2023), 9th Berlin Biennale (2016), the Young Congo Biennale (2019), Museu d’Art Contemporani de Barcelona (MACBA), Architekturmuseum der TU München, Palais de Tokyo (Paris) and ARoS Aarhus (Denmark). Their work a recurse 4 [3] worlds is on view as part of Kunsthalle Basel’s ‘back wall project’ in 2024. 

Collections include: A4 Arts Foundation Cape Town, South Africa and the Van Abbemuseum, Eindhoven, The Netherlands.

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Leonardo Drew

Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

Leonardo Drew

Number 368, 2023

Wood and paint

Approximation: 182.9 x 30.5 x 61 cm (72 x 12 x 24 in.)

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Leonardo Drew (b. 1961, USA) is known for his significant installations and sculptures which explore the tension between order and chaos. Number 353 and Number 368 demonstrate Drew’s approach to manipulating organic material to create richly detailed works which resemble densely populated cities, urban wastelands or organic forms and evoke the mutability of the natural world. 

Drew’s work has been seen in major museums worldwide, including a major new commission at Yorkshire Sculpture Park, UK in 2023. Drew’s mid-career survey, Existed, premiered at the Blaffer Gallery at the University of Houston in 2009 and travelled to the Weatherspoon Art Museum in Greensboro, North Carolina, and the DeCordova Sculpture Park and Museum in Lincoln, Massachusetts.

Collections include: Tate, London; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and Baltimore Museum of Art, Baltimore, MD.

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Claire Gavronsky 

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Claire Gavronsky

Parting Words, 2024

Acrylic on canvas

Work: 180 x 150 cm (70.9 x 59.1 in.)

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Claire Gavronsky (b. 1957, Johannesburg) works in a variety of mediums, most notably in painting and sculpture. Her work often uses visual references to historical paintings, and cues are sometimes taken from events from everyday life. Parting Words is part of a series of paintings by Gavronsky that focus on the atmosphere shared between women within the worlds that they build and inhabit together: intricate, subtle, complex, close, complicit, reciprocal.

Notable solo and group exhibitions include: Io e Me. Autoritratti nel Lockdown. Sala 1, Centro Internazionale d’Arte Contemporanea, Rome (2021); Right to the Future, Museum of 20th and 21st Century Art, St Petersburg (2017); Dakar Biennale, Dakar (2010); and Dystopia, collaboration with William Kentridge, Pretoria, Johannesburg, Ghent (2009-2010).

Pélagie Gbaguidi

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Pélagie Gbaguidi

Incandescence, 2023

Framed: 121.6 x 162.6 cm (47.9 x 64 in.)

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Pélagie Gbaguidi’s (b. 1965, Dakar, Senegal) representation with Goodman Gallery was announced in May 2024. She describes herself as a contemporary ‘griot’ - a West African storyteller - which she defines as someone who functions as an intermediary between individual memory and ancestral past. Incandescence and Incandescence are works that demonstrate Gbaguidi’s creation of materially embodied images that seek to break out of binary thinking, archetypes and simplifications. Her work is an anthology of the signs and traces of trauma and is centred on colonial and postcolonial history.

Biennales and major international exhibitions include: Berlin Biennale (2020), Lubumbashi Biennale (2019), Dakar Biennale (2004, 2006, 2008, 2014 and 2018) and documenta 14 (2017). Her work has featured in group shows at Centre Pompidou-Metz, WIELS (Brussels), Musée Rochechouart, Middelheimmuseum (Antwerp), Stadtmuseum (Munich), MMK (Frankfurt), and the National Museum of African Art – Smithsonian Institution (Washington, D.C.).

Collections include: Artothèque, Saint-Denis, Réunion, France; Casa África, Las Palmas de Gran Canaria, Spain; CNAP Centre National des Arts Plastiques, Paris, France; Holocaust Memorial Foundation, Chicago, United States of America; KANAL-Centre Pompidou, Brussels, Belgium; Kunstmuseum Basel, Kupferstichkabinett, permanent loan from the Hüni-Michel-Stiftung, Basel, Switzerland; M HKA Museum of Contemporary Art / City of Antwerp, Antwerp, Belgium; Memorial ACTe, Pointe-à-Pitre, Guadeloupe, France; and the Mu.ZEE, Ostend, BelgiumS.M.A.K. Municipal Museum of Contemporary Art, Ghent, Belgium.

Nicholas Hlobo

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Nicholas Hlobo

Uxande lwesithandathu, 2023

Acrylic and ribbons on belgian linen canvas

Work: 100 x 150 cm (39.4 x 59.1 in.)

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Nicholas Hlobo’s (b. 1975, South Africa) signature techniques include creating hybrid objects by intricately weaving ribbon and leather into crisply primed canvas alongside wood and rubber detritus. Uxande lwesithandathu (2023) is part of a recent shift in the artist’s practice from a minimal use of acrylic paint to a less inhibited approach, incorporating the medium with signature materials, particularly ribbon stitched into the canvas lending a sculptural feel. Each material in the work holds charged associations with cultural, gendered, sexual and national identity, creating a complex visual narrative that references ideas around post-apartheid nationhood, the self and bodily healing.

Hlobo has been featured in two major curated shows this year: Translations: Afro-Asian Poetics, curated by Dr. Zoé Whitley at The Institutum in Singapore and Unravel: The Power and Politics of Textiles in Art at the Barbican in the UK. 

Solo museum exhibitions have been held at the Museum Beelden aan Zee, The Hague (2016); Savannah College of Art and Design, Georgia (2010) and Tate Modern, London (2008). Hlobo has participated in several biennales including the 18th Biennale of Sydney, Australia (2012), 54th Venice Biennale (2011), 6th Liverpool Biennial (2010) and 3rd Guangzhou Triennial, China (2008).

Collections include: Tate Modern, London; The Metropolitan Museum of Art, New York; Fondation Louis Vuitton, Paris; Savannah College of Art and Design (SCAD) Museum of Art, Savannah; Detroit Institute of Arts, Detroit; and the Zeitz Museum of Contemporary African Art, Cape Town.

 

William Kentridge

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William Kentridge

Washer, 2024

Bronze

Work: 129 x 73 x 105 cm (50.8 x 28.7 x 41.3 in.)

Edition of 5 + 2 AP

 

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William Kentridge (b.1955, South Africa) is internationally acclaimed for his drawings, films, theatre and opera productions. Kentridge’s largest survey exhibition, first seen at the Royal Academy of Arts in London in 2022, is now on view at the Taipei Fine Arts Museum until 1 September. Recently in Venice Kentridge premiered a new nine-episode video series SELF-PORTRAIT AS A COFFEE-POT - a site-specific installation curated by long-time collaborator and curator Carolyn Christov Bakargiev at the Arsenale Institute for Politics of Representation. This is on view until 24 November, 2024. 2024 will also see the artist premiere the theatrical production ‘The Great Yes, The Great No’ at LUMA Arles in July alongside a substantial solo exhibition. 

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

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

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There Were No Books and The World Is Leaking are from Kentridge's new series of drawings that relate to his new theatre production in the making, titled The Great Yes, The Great No, in which the artist uses the journey of a ship from Marseille to Martinique as a prompt for unpacking power, colonialism and migration. The drawings are used as backdrops in the performance and portray imagined scenes from the boat’s arrival in Martinique - an idea of the exotic Caribbean, which is in fact the domestic garden of Kentridge’s Johannesburg studio. Densely packed vegetation is punctuated by fragments of text - phrases such as “the house of justice has collapsed” or “we want no prophets in this garden”. The phrases come from the theatre production and prompt the idea of a drawing being what you read as a text, or a text that, in this case, turns into a garden. In Kentridge’s words “How much do you glean from what you read, and how much of what you read is changed by what you’re seeing around it?”

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William Kentridge

The World Is Leaking, 2023

Paint, indian ink, charcoal and coloured pencil on paper

Work: 152 x 177.5 cm (59.8 x 69.9 in.)

Frame: 162 x 188 x 5.5 cm (63.8 x 74 x 2.2 in.)

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Kapwani Kiwanga

 

 

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Kapwani Kiwanga

Orb, 2023

Hand-made ceramic tiles, acrylic paint, rope, metal profile and wood frame

Work: 165 x 115 x 10 cm (65 x 45.3 x 3.9 in.)

Edition of 3

 

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Kapwani Kiwanga (b. Hamilton, Canada) traces the pervasive impact of power asymmetries. Orb and Estuary were both on view at Serralves Museum of Contemporary Art, Kiwanga’s first solo exhibition in Portugal ‘WHERE SALT AND FRESHWATER MEET AND CROOKED TREES FILTER THE SUN’; an exhibition that explored power, history, and the vibrant possibilities of tomorrow. 

Kiwanga’s Biennale Arte 2024 solo presentation for the Canada Pavilion commissioned by the National Gallery of Canada titled Trinket is now on view until 24 November. It is a site-responsive sculptural installation made of conterie, also known as seed beads and continues the artist’s concerns with how diverse forms of power are manifested. Kunstmuseum Wolfsburg presented Kapwani Kiwanga’s first comprehensive mid-career retrospective, The Length of the Horizon in 2023. This show includes her memorable 2022 Venice Biennale installation ‘Terrarium’.  

Solo exhibitions include Copenhagen Contemporary, Haus der Kunst,  Munich; Kunstinstituut Melly – Center for Contemporary Art,  Rotterdam; Kunsthaus Pasquart, Biel/Bienne; MIT List  Visual Arts Center, Cambridge; Albertinum museum, Dresden; Artpace, San Antonio; Esker Foundation, Calgary;  Tramway, Glasgow International; Power Plant, Toronto; Logan Center for the Arts, Chicago; South London Gallery, London and Jeu de Paume, Paris. 

Collections include: NOMAS Foundation, Rome, Italy; FRAC PACA, Marseille, France; 

Guggenheim Museum, New York, USA; Museo de Arte Contemporanea de Castilla y Léon, MUSAC, León, Spain; Musée départemental d'art contemporain de Rochechouart, Rochechouart, France; National Gallery of Canada, Ottawa, Canada; Musée d’Art moderne de la Ville de Paris, Paris, France; Kadist Art Foundation Paris/San Francisco, France and USA; and Mead Art Museum, Amherst, USA 

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Atta Kwami

 

Atta Kwami (b. 1956, Accra, Ghana, d. 2021, UK) composed works of vibrant geometric patterns that are inspired by a wide range of influences, from Ewe and Assante cloth to jazz, the tradition of mural painting and the design of street kiosks along the roads of West-African towns. Kwami is known for expanding the notions of painting, basing his practice both in the visual world of his native Ghana and in reflections on modernism.

In 2021, the year he died, he was awarded the prestigious Maria Lassnig prize, which recognised later career artists deserving wider career recognition, and, in 2022, The Serpentine unveiled the final public mural commission by Kwami, DzidzƆ kple amenuveve (Joy and Grace), which remains on view until September 2024. This Spring, the Serpentine will publish a monograph edited by Melissa Blanchflower titled Atta Kwami, with Verlag der Buchhandlung Walther und Franz König, Köln supported by The Maria Lassnig Foundation and marking the first publication dedicated to Kwami’s practice. 

Kwami’s work has been exhibited widely, notably creating large-scale public art commissions such as at the Folkestone Triennial in 2021 for which the artist made short-term alien interventions in the landscape. Solo exhibitions include: National Museum of African Art, Smithsonian Institution, Washington DC (1994-1995), SOAS, University College of London (1995), Geometric Organic, National Museum Accra (1998-1999) and Kunsthalle Basel, Basel (2001). 


Collections include: the National Museums of Ghana and Kenya; the V&A Museum, London; British Museum, London; the National Museum of African Art, Washington, DC; The Metropolitan Museum of Art, New York; Brooklyn Museum, Brooklyn, New York.

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Atta Kwami

Another Moment, 1999

Acrylic on linen

Work: 155 x 200 cm (61 x 78.7 in.)

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Misheck Masamvu

Misheck Masamvu (b. 1980, Zimbabwe) is widely regarded as one of the leading figures of the Harare painting school. Trained in Germany, Masamvu continues to live and work in Zimbabwe which provides rich inspiration for his gestural painting. Cadence forms part of a new body of work that combines striking colour with a distinct expressionist style to establish a grammar of chaotic compositions, gestural brushwork and perpetually altered or mutated figures often depicted in states of flux or transformation.

Masamvu was featured in a major group show in early 2024: Translations: Afro-Asian Poetics, curated by Dr. Zoé Whitley at The Institutum in Singapore. Notable solo and group exhibitions include Inside Out, Fondation Grandpour l’Art, Geneva (2022); Witness: Afro Perspectives, El Espacio 23, Miami (2020); Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, Pérez Art Museum Miami, Miami (2020); and Two Together, Zeitz Museum of Contemporary Art Africa, Cape Town (2020). Museum exhibitions and biennales include The ‘t’ is silent, 8th Biennial of Painting, Museum Dhondt-Dhaenens, Sint-Martens-Latem (2022); STILL ALIVE, 5th Aichi Triennale, Aichi (2022), NIRIN, 22nd Sydney Biennale, Sydney (2020), the 32nd Bienal de São Paulo (2016).


Collections include: Khouri Art Foundation, Dubai; Perez Art Museum, Miami; Pigozzi Collection, Geneva; Taguchi Art Collection, Tokyo; X Museum, Beijing; and Zeitz Museum of Contemporary Art Africa, Cape Town.

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Misheck Masamvu

Cadence, 2023

Oil on canvas

Work: 160.5 x 140,5 cm (63.2 x 55.3 in.)

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Ravelle Pillay

Ravelle Pillay (b.1993, Durban, South Africa) considers the legacies of colonialism and migration, and their subsequent hauntings and reverberations in the present. She draws from found and family photographs and the material degradation of images over time to consider agency, memory, and life-making. 

Hothouse continues the artist's exploration of what and how we remember. It taps into her interrogation of the lingering shadows of nationhood, heritage and the cycles of oppression experienced by generations of people across space and time, whose lives have been circumscribed by the dark, overt or barely noticeable incursions of colonialism. 

Pillay’s first institutional show, Idyll, opened at Chisenhale Gallery, London in 2023. This followed a residency at Gasworks London at the end of 2022. Group exhibitions include: (Un)Natural : Constructed Environments at the Nasher Museum of Art (2023-2024) and Soulscapes, the Dulwich Picture Gallery, London, 2024.

Collections include: the Nasher Museum of Art, Durham.

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Ravelle Pillay

Hothouse, 2024

Oil on canvas

Work: 120 x 150 cm (47.2 x 59.1 in.)

Unique

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Shirin Neshat

Shirin Neshat (b. 1957, Qazvin, Iran) employs poetic imagery to engage with themes of gender and society, the individual and the collective and the dialectical relationship between past and present, all through the lens of her personal experiences of belonging and exile.

Solo exhibitions include: The Fury (2023) at Fotografiska Stockholm; Land of Dreams (2022) at The Museum of Contemporary Art Toronto, which later toured to SITE Santa Fe in New Mexico; a 2019 retrospective titled, Shirin Neshat: I Will Greet the Sun Again at The Broad, Los Angeles, which has since been exhibited at The Modern Art Museum of Fort Worth in the US.

A major mid-career retrospective was held at the Detroit Institute of Arts in 2013 as well as exhibitions at 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. Neshat has directed three feature-length films: Land of Dreams (2021) which premiered at the Venice Film Festival, Looking For Oum Kulthum (2017) and Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66th Venice International Film Festival.

Collections include: 21st Century Museum of Contemporary Art - Kanazawa, Kanazawa, Japan; ARoS Aarhus Art Museum, Aarhus, Denmark; Art Institute of Chicago, Chicago, IL, United States; British Museum, London, United Kingdom; Broad Art Foundation, Los Angeles, CA, United States; Brooklyn Museum, Brooklyn, NY, United States; Dallas Museum of Art, Dallas, TX, United States; Long Museum, Shanghai, China; Metropolitan Museum of Art, New York, United States; Museo de Arte Contemporáneo de Castilla y León, Léon, Spain; Museum of Fine Arts, Boston, MA, United States; Solomon R. Guggenheim Museum, New York, United States; Tate Modern, London, United Kingdom; Whitney Museum of American Art, New York, United States; and the Yarat Contemporary Art Center, Baku, Azerbaijan

Offerings (SN376) and Offerings (SN379) form part of a larger, limited edition series of the same title. The concept is centred around the theme of wine as a catalyst for social sharing, a life force that should be “enjoyed during our brief time on earth”, in the words of the 11th-century Persian poet Omar Khayyam whose poem is inscribed as calligraphy over the surfaces of female faces, hands and bodies. Neshat's iconic poetic visual language creates contrasts between the softness of the skin and the graphic nature of the text.

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Shirin Neshat

Offerings (SN376), 2019

Silver gelatin print and ink

Work: 76.2 x 61 cm (30 x 24 in.)

Edition of 5

 

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Faith Ringgold

Faith Ringgold (b.1930, New York, USA - d. 2024, New Jersey, USA) was one of the most influential American cultural figures of her generation whose work has reflected her political activism and personal story within the context of the anti-racist and African American women’s movement.

Solo exhibitions include: Faith Ringgold: American People, Museum of Contemporary Art Chicago, Chicago, (2023-24); Faith Ringgold: Black is beautiful, Musée National Picasso-Paris (2023); Faith Ringgold: American People, New Museum, New York (2022); Faith Ringgold, Serpentine Gallery, London (2019); Faith Ringgold: A Twenty-Five Year Survey, touring exhibition (1990-93); Fine Arts Museum of Long Island, New York; High Museum of Art, Atlanta; The Arizona State Art Museum; Figge Art Museum, Davenport; University of Michigan Museum of Art; Women’s Center Gallery, University of California; Mills College Art Gallery, Oakland; and Tacoma Museum, Washington; and Twenty-Year Retrospective: Sculpture and Performance (1963-1984), The Studio Museum, New York. Group exhibitions include: Soul of a Nation: Art in the Age of Black Power, The Broad, Los Angeles (2019) and Brooklyn Museum, New York (2018).

Collections include: High Museum of Art, Atlanta; National Museum of Women in the Arts, Washington; National Museum of African American History and Culture, Washington; Philadelphia Museum of Art, Philadelphia; Savannah College of Art, Georgia; Schomburg Center for Research in Black Culture, New York City; Schomberg Library; Smithsonian American Art Museum, Washington; Solomon R. Guggenheim Museum, New York; Studio Museum Harlem, New York; and The Fabric Workshop and Museum, Philadelphia

Awards and honours include: The John Simon Guggenheim Memorial Foundation Fellowship; two National Endowment for the Arts Awards; The American Academy of Arts and Letters Award and the Medal of Honor for Fine Arts from the National Arts Club. Ringgold received an Honorary Doctorate from the Royal College of Art, London (2013). Ringgold was elected as a member into the American Academy of Arts and Sciences in Boston, MA (2017).

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Faith Ringgold

America Free Angela, 1971

Cut paper

Work: 76.2 x 50.8 cm (30 x 20 in.)

Unique

 

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Faith Ringgold

America Free Angela, 1971

Cut paper

Work: 76.2 x 50.8 cm (30 x 20 in.)

Unique

 

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Faith Ringgold

South African Love Story #2: Part I and II (diptych), 1985-87

Intaglio on canvas, with pieced fabric border

Work: 160 x 193 cm (63 x 76 in.)

Unique

 

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Faith Ringgold

South African Love Story #2: Part I and II (diptych), 1985-87

Intaglio on canvas, with pieced fabric border

Work: 160 x 193 cm (63 x 76 in.)

Unique

 

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Faith Ringgold

America Free Angela, 1971

Cut paper

Work: 76.2 x 50.8 cm (30 x 20 in.)

Unique

 

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Faith Ringgold

America Free Angela, 1971

Cut paper

Work: 76.2 x 50.8 cm (30 x 20 in.)

Unique

 

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Faith Ringgold

South African Love Story #2: Part I and II (diptych), 1985-87

Intaglio on canvas, with pieced fabric border

Work: 160 x 193 cm (63 x 76 in.)

Unique

 

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Faith Ringgold

South African Love Story #2: Part I and II (diptych), 1985-87

Intaglio on canvas, with pieced fabric border

Work: 160 x 193 cm (63 x 76 in.)

Unique

 

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Rose Shakinovsky

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Rose Shakinovsky

Insurrection January 6th 2021 USA, 2024

Oil on linen

Work: 37 x 60 cm (14.6 x 23.6 in.)

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Rose Shakinovsky’s (b. 1953, Johannesburg) work defies any stylistic category as it consists of work that ranges from the re-presentation and decontextualization of found objects and images, to painted abstractions. Shakinovsky explores current political and social discourses while simultaneously referencing and reconstructing art historical edifices. Insurrection January 6th 2021 USA, SA National Anthem and China Floods 2023 are part of a new series of paintings. This series stems from internet images gathered over the past four years, covering wars, social unrest, migration and climate devastation. 


Notable solo and group exhibitions include: Io e Me. Autoritratti nel Lockdown. Sala 1, Centro Internazionale d’Arte Contemporanea, Rome (2021); Right to the Future, Museum of 20th and 21st Century Art, St Petersburg (2017); COLORI: L’emozione dei COLORI nell’arte, Castello di Rivoli Museo d’Arte Contemporanea, Rivoli (2017); Assessing Abstraction, South African National Gallery (2017); Dakar Biennale, Dakar (2010).

Yinka Shonibare CBE RA

Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

Yinka Shonibare CBE RA

Refugee Astronaut VI, 2024

Fibreglass mannequin, Dutch wax printed cotton textile, net, possessions, `

astronaut helmet, moon boots and steel baseplate

Work: 190 x 110 x 120 cm (74.8 x 43.3 x 47.2 in.)

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Yinka Shonibare CBE RA (b. 1962, UK) examines race, class, and the construction of cultural identity through a sharp political commentary on the tangled interrelationship between Africa and Europe and their respective economic and political histories. 

Shonibare first solo exhibition in over 20 years at a London public institution, Suspended States at the Serpentine Gallery until 1 September. An edition of Shonibare’s Refugee Astronaut is on view as part of the main exhibition at this year’s Venice Biennale, titled Stranieri Ovunque – Foreigners Everywhere. The artist also participates as part of a group exhibition titled Nigeria Imaginary for the Nigerian Pavilion curated by Aindrea Emelife, Curator of Modern and Contemporary Art, MOWAA. 

Recent survey exhibitions and retrospectives include Yinka Shonibare CBE: Planets in My Head; Frederik Meijer Gardens & Sculpture Park, Michigan (2022) and Yinka Shonibare CBE: End of Empire; Museum der Moderne; Salzburg (2021).

Collections include: Tate, London; the National Museum of African Art, Smithsonian Institute, Washington D.C; Museum of Modern Art, New York; Guggenheim, Abu Dhabi; Moderna Museet, Stockholm; the Museum of Contemporary Art, Chicago; Zeitz MOCAA, Cape Town and Norval Foundation, Cape Town.

The initial idea for Refugee Astronaut, born in 2015, stemmed from the concept of space as a possible place of refuge for the human race. The work is a warning, imagining what could happen if we don’t do something about rising water levels and the displacement of people. The Refugee Astronaut is the reverse of the colonial instinct of the astronaut, it is a nomadic astronaut trying to find somewhere that is still habitable. Refugee Astronaut VI is a new version of the work on view at the 2024 Venice Biennale.

 

Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

Pamela Phatsimo Sunstrum

Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

Pamela Phatsimo Sunstrum

You’ll be sorry, 2023

Crayon, pencil, and oil on board

Work: 107 x 190 cm (42.1 x 74.8 in.)

Unique

Pamela Phatsimo Sunstrum

Pamela Phatsimo Sunstrum’s (b. 1980, Botswana) work alludes to mythology, geology and theories on the nature of the universe.You'll be sorry forms part of Sunstrum’s latest body of work that plays out the fictional narrative of a femme fatale figure who embodies the precarity, suspicion and defiance that comes with a return and desire for access. The work provides an interrogation of border politics in the geopolitical sense as well as a feeling of being on the border, an outsider, within one's immediate circumstances.

A major new solo exhibition will be opening at KM21 Den Haag on 22 June 2024 including a new large scale diptych painting within an installation that includes items from the museum's furniture collection. In September 2024 Sunstrum will be presenting the Barbican Centre's Curve gallery commission. This exhibition will be an immersive installation of paintings amongst a sculptural structure. 

Recent solo exhibitions include: The Pavillion, London Mithraeum, Bloomberg SPACE, London (2023); All my seven faces at Contemporary Art Center, Cincinnati (2019); Michaelis School for the Arts at the University of Cape Town (2018); Interlochen Centre for the Arts, Interlochen (2016). Group exhibitions and biennales include: Born in Flames: Feminist Futures, The Bronx Museum of the Arts NY, USA (2021); WITNESS: Afro Perspectives from the Jorge M. Pérez Collection, El Espacio 23, Miami, USA (2020).

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

 

 

Clive van den Berg

Clive van den Berg (b. 1956, Zambia) has focused on pioneering the insertion of queer perspectives into the larger rewrite of South African history throughout the course of his prolific forty-year career. Van den Berg has produced a range of works unified by his enduring focus on five interrelated themes: memory, light, landscape, desire and body. 

Van den Berg’s retrospective, titled Porous, will take place at the Wits Art Museum in late 2024 and be accompanied by a major new book published by Skira. 

Solo exhibitions include Remembering, a survey exhibition of paintings, prints and sculptures at the Kwa-Zulu Natal Society of Art Gallery, Durban (2021); Personal Affects, Museum of African Art, New York (2005). Major curated exhibitions include If You Look Hard Enough, You Can See Our Future: Selections of Contemporary South African Art from the Nando’s Art Collection, The African American Museum of Dallas, Dallas (2023); Breaking Down the Walls: 150 years of Art Collecting, Iziko SANG, Cape Town (2023); Screening of Memorials Without Facts: Men Loving, São Paulo Museum of Art, São Paulo (2018); Earth Matters: Lands as Material and Metaphor in the Arts of Africa, Smithsonian National Museum of African Art, Washington D.C. (2013-2014).

Collections include: El Espacio 23, Miami; Amant Foundation, New York; A4 Arts Foundation, Cape Town; Wits Art Museum, Johannesburg; Spier Arts Trust, London; Iziko South African National Gallery, Cape Town; Smithsonian Museum of African Art, Washington DC and Video Brasil, Sao Paulo.

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Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

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Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

Unique

 

Enquire

Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

Unique

 

Enquire

Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

Unique

 

Enquire

Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

Unique

 

Enquire

Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

Unique

 

Enquire

Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

Unique

 

Enquire

Clive van den Berg

Unsettled Air II, 2024

Oil on canvas

Work: 100 x 76 cm (39.4 x 29.9 in.)

Unique

 

Enquire

Sue Williamson

Art Basel Highlights 2024 -  - Viewing Room - Goodman Gallery Viewing Rooms

Sue Williamson

Cold Turkey : Stories of the TRC (Poison Victim), 1996

Assemblage of acetate, steel, plexiglass and wood

Work: 64 x 90,5 cm (25.2 x 35.6 in.)

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Sue Williamson (b. 1941, Lichfield, UK) is one of South Africa’s most important Contemporary artists. In the 1970s, Williamson started to make work which addressed social change and by the late 1980s she was well known for her series of portraits of women involved in the country’s political struggle, titled A Few South Africans (1980s). 

In Cold Turkey : Stories of the TRC (Poison Victim) Williamson uses images taken from newspapers, intending for the prints to appear “as they might be displayed in a courtroom for the information of the jury.” The work refers to the Truth and Reconciliation Commission (TRC) case of police commander Eugene de Kock, responsible for the death of numerous activists during apartheid. South Africa’s TRC was a court-like body setup in 1995 to help bring about reconciliation in the country by uncovering the truth about the violence and human rights violations under apartheid. 

A major retrospective of her five-decades long career will be shown at Iziko South African National Gallery in 2025 following her UK and US institutional exhibitions in 2023 at The Box, Plymouth and The Barnes Foundation, Philadelphia. Important international solo exhibitions include: Between Memory and Forgetting, Plymouth (2023); Can’t Remember, Can’t Forget, Apartheid Museum, Johannesburg (2017); Other Voices, Other Cities, SCAD Museum of Art, Georgia (2015), Messages from the Moat, Den Haag, (2003) and The Last Supper Revisited, National Museum of African Art, Smithsonian Institute, Washington D.C. (2002). 

Collections include: Museum of Modern Art, New York; Tate Modern, London; Victoria & Albert Museum, London; Pompidou Centre, Paris; Hammer Museum, Los Angeles; the National Museum of African Art, Smithsonian Institution, Washington D.C; Iziko South African National Gallery, Cape Town and the Johannesburg Art Gallery, Johannesburg. Williamson has authored two books - ‘South African Art Now’ (2009) and ‘Resistance Art in South Africa’ (1989).