Skip to content

Head-Image

Goodman Gallery’s FNB Art Joburg presentation spotlights leading and emerging artists from South Africa and the African diaspora, including 2023 FNB Art Prize winner Lindokuhle Sobekwa. Household names including Sue Williamson and Sam Nhlengethwa will be shown alongside young talent such as Marsi van der Heuvel and Cassi Namoda. 

Featured artists: Ghada Amer, Ernest Cole, Leonardo Drew, David Goldblatt, Gabrielle Goliath, Nicholas Hlobo, William Kentridge, Misheck Masamvu, Cassi Namoda, Sam Nhlengethwa, Walter Oltmann, Yinka Shonibare CBE RA, Lindokuhle Sobekwa, Mikhael Subotzky, Pamela Phatsimo Sunstrum, Hank Willis Thomas, Clive van den Berg, Marsi van der Heuvel, Jeremy Wafer and Sue Williamson. 

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Ghada Amer
Dripping Jenny, 2021
Bronze
Variable Dimensions
Edition of 1

Enquire

Ghada Amer’s (b. 1963, Cairo, Egypt) wide-ranging practice spans painting, cast sculpture, ceramics, works on paper, and garden and mixed-media installations. Recognising both that women are taught to model behaviors and traits shaped by others, and that art history and the history of painting in particular are shaped largely by expressions of masculinity, Amer’s work actively subverts these frameworks through both aesthetics and content. Her practice explores the complicated nature of identity as it is developed through cultural and religious norms as well as personal longings and understandings of the self.

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Leonardo Drew
Number 353, 2022
Wood and paint
90.2 x 90.2 x 8.9 cm / 35.5 x 35.5 x 3.5 in.

Enquire

Leonardo Drew (b. 1961, USA) is known for his significant installations and sculptures which explore the tension between order and chaos. His work has been seen in major museums worldwide and is currently the subject of a major new commission at Yorkshire Sculpture Park, UK.

Number 353 demonstrates 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. It was shown in the artist’s first solo exhibition on the continent at Goodman Gallery Johannesburg earlier this year. 

Drew is a New York-based artist and his work is held in public collections around the world, including 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.

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. Solo museum exhibitions have been held at the Zuckerman Museum of Art at Kennesaw State University (2022); Mississippi Museum of Art, Jackson (2020); North Carolina Museum of Art, Raleigh (2020); and de Young Museum, Fine Arts Museum of San Francisco, California (2017). 2023 saw Drew produce new site-specific installations at Yorkshire Sculpture Park and the Amon Carter Museum of American Art. 

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Through the ritual, sonic and social encounters of her art practice, Gabrielle Goliath attends (and tends) to histories and present-day conditions of differentially valued life, reaffirming ways in which black, brown, femme and queer practices of possibility perform the world differently. Each of her works convenes a coming-to – a tenuous community – collapsing the presumed remove and privileged subject position of representation (as white, male, heteronormative) and calling for meetings in and across difference, on terms of complicity, relation and love.

Beloved. Or as Christina Sharpe phrases it (with characteristic poise), be loved. In this ongoing and very personal series of drawings and prints, the artist summons and celebrates a chorus of both radical and quotidian femme presences: poets, priestesses, activists, artists, parents and prodigies. Beloved is an ode, a work of the heart – a labour of recognition, thanks and love. Shown publicly for the first time, the four drawings presented here pay homage to Caster Semenya, Christina Sharpe, Gabeba Baderoon and Yoko Ono.

Recent exhibitions include Chorus, Dallas Contemporary (2022), Dallas; This song is for…, Kunsthaus Baselland, Basel (2022); The Normal, Talbot Rice Gallery, Edinburgh (2021); This song is for…, Konsthall C, Stockholm (2021); Our Red Sky, Göteborgs Konsthall, Gothenburg (2020); and The Power of my Hands, Musée d’Art Moderne, Paris (2020). She has won a number of awards including a Future Generation Art Prize - Special Prize (2019), the Standard Bank Young Artist Award (2019), and the Institut Français, Afrique en Créations Prize at the Bamako Biennale (2017). Her work features in numerous public and private collections, including Kunsthalle Zürich, TATE Modern, Frac Bretagne, Iziko South African National Gallery, Johannesburg Art Gallery, and Wits Art Museum.

Slide-Show

Slide-Show Thumbnails
Gabrielle Goliath
Caster (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Caster (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Christina (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Christina (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Gabeba (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Gabeba (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Yoko (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Yoko (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Caster (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Caster (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Christina (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Christina (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Gabeba (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Gabeba (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Yoko (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Gabrielle Goliath
Yoko (Beloved), 2023
Oil stick and pigment on Somerset paper
38 x 56.5 cm / 15 x 22.2 in.

Enquire

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

William Kentridge
I Ask this Chair, I Ask this Table, Why?, 2023
Indian ink and Coloured pencil on Phumani handmade paper
197 x 167 cm / 77.6 x 65.7 in.

Enquire

William Kentridge (b.1955, South Africa) is internationally acclaimed for his drawings, films, theatre and opera productions. His work was presented in Korea in a survey at the National Museum of Contemporary Art in 2016.

Kentridge’s work is held in collections including 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.

Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022. In the same year Kentridge opened another major survey exhibition, In Praise of Shadows, at The Broad in Los Angeles. In 2023 this exhibition traveled to the Museum of Fine Arts, Houston. 

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).

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Misheck Masamvu
Not Enough Slices of the Bread, 2022
Oil on canvas
249 x 296.5 x 7.5 cm / 98 x 116.7 x 3 in.

Enquire

Zimbabwean painter 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. 

Not Enough Slices of the Bread (2022) form part of Masamvu’s latest body of work where he combines striking colour with a distinct expressionist style to create tumultuous landscapes, representing the confessional vulnerability at the heart of his practice. These works see the artist lean towards abstraction through frenetic mark-making, allowing the paint to convey his fears, anxieties and dreams. The irregular, erratic swipes of paint and chaotic compositions mimic the artist’s desire to let emotions manifest without being expressed through recognisable forms.

Cassi Namoda (b. 1988, Mozambique) is known for her strong colour palette and narrative approach. Her hybrid narratives are at once wondrous and poignant, everyday and fantastical, archival and current. Cassi Namoda’s work transfigures the cultural mythologies and historical narratives of life in post-colonial Africa, particularly those of the artist’s familial home of Mozambique. 

Namoda’s work is held in public collections including Pérez Art Museum Miami, Miami; Baltimore Museum of Art, Baltimore; MACAAL, Marrakesh; and The Studio Museum; New York. 

Notable solo exhibitions include Life has become a foreign language, Goodman Gallery, Cape Town; To Live Long is To See Much, Goodman Gallery, Johannesburg (2020); Little is Enough for Those with Love/Mimi Nakupenda, The Royal Academy of Arts, London (2019); and Bar Texas, 1971, Library Street Collective, Detroit (2017). Group shows include ECHO. Wrapped in Memory, MoMu, Antwerp; When We See Us: A Century of Black Figuration in Painting, Zeitz Museum of Contemporary Art Africa, Cape Town (2022 - 2023); American Women, La Patinoire Royale-Galerie Valérie Bach (2020). 

Thumb-Show

Thumb-Show Thumbnails
Cassi Namoda
Untitled I, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled I, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled II, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled II, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled III, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled III, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled IV, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled IV, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled I, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled I, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled II, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled II, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled III, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled III, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled IV, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Cassi Namoda
Untitled IV, 2022
Pastel on paper
55.9 x 76.2 cm / 22 x 30 in.

Enquire

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Sam Nhlengethwa
Yellow and orange dresses, 2023
Acrylic on Canvas
140 x 120 cm / 55.1 x 47.2 in.

Enquire

Sam Nhlengethwa (b. 1955, South Africa) was born in the black township community of Payneville near Springs (a satellite mining town east of Johannesburg), and grew up in Ratanda location in nearby Heidelberg. In the 1980s, he moved to Johannesburg where he honed his practice at the renowned Johannesburg Art Foundation under its founder Bill Ainslie.

 

Yellow and orange dresses (2023) is part of a new series of works in which Nhlengethwa is exploring the connection between art and fashion, as well as highlighting beauty of and visibility for people with albinism. 

Nhlengethwa is one of the founders of the legendary Bag Factory in Newtown, in the heart of the city, where he used to share studio space with fellow greats of this pioneering generation of South African artists, such as David Koloane and Pat Mautloa.

Despite Nhlengethwa’s pioneering role in South Africa art, his work has received rare visibility in London. A major survey exhibition, titled Life, Jazz and Lots of Other Things, was hosted by SCAD Museum of Art in Savannah, Georgia in 2014, which was then co-hosted in Atlanta by SCAD and the Carter Center.

Other notable exhibitions and accolades in South Africa and around the world include: in 1994 – the year South Africa held its first democratic elections – Nhlengethwa was awarded the prestigious Standard Bank Young Artist of the Year award; in 1995, his work was included in the Whitechapel Gallery’s Seven Stories About Modern Art in Africa in London; in 2000, he participated in a two-man show at Seippel Art Gallery in Cologne.

Nhlengethwa’s work has featured on a number of international biennales: in 2003, his work was included in the 8th Havana Biennale, Southern African Stories: A Print Collection, the 12th International Cairo Biennale in 2010, the 2013 Venice Biennale as part of the South African pavilion, titled Imaginary Fact: Contemporary South African Art and the Archive, and in the 6th Beijing Biennale in 2015.

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Yinka Shonibare CBE RA
Hybrid Sculpture (Terpsichore/Bété-Guro Mask), 2022
Fibreglass and wood sculpture, hand-painted with Batik pattern, 
and steel base plate or plinth
Figure: 150 x 56 x 44.5 cm / 59.1 x 22 x 17.5 in.
Plinth: 70 x 67 x 57 cm / 27.6 x 26.4 x 22.4 in.

Enquire

Over the past four decades, Yinka Shonibare CBE RA (b. 1962, UK) has become well known for his exploration of colonialism and post-colonialism within the contemporary context of globalisation. Shonibare’s work 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.

The artist’s work is held in notable museum collections including Zeitz MOCAA, Cape Town; Norval Foundation, Cape Town; 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 and the Museum of Contemporary Art, Chicago.

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).

In 2022, Shonibare unveiled three major sculptural works in Stockholm, the United Kingdom and the United Arab Emirates. In recent years, he has unveiled work from his Wind Sculpture series at Norval Foundation in Cape Town (2019) and Central Park, New York (2018). Shonibare was also nominated for the Turner Prize in 2004, and in 2002, he created one of his most recognised installations, Gallantry and Criminal Conversation for Documenta XI. 

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Lindokuhle Sobekwa
My mother reading a bible which for her is an escape tool from stress and pain. 
The Bible gives her a sense of hope that one day all will be good
, 2022
Inkjet print on cotton rag
40 x 60 cm / 15.7 x 23.6 in.

Enquire

Lindokuhle Sobekwa (b. 1995, Katlehong, South Africa) is from a generation of South African photographers born after the first democratic elections of 1994. Sobekwa was recently announced as the 2023 FNB Art Prize winner, the first documentary photographer to win this prize. 

Through his participation in the Of Soul and Joy photography education programme in Thokoza in 2012, he realised that the medium of photography could be an essential tool for documenting social life

Sobekwa exhibited for the first time in 2013 as part of a group show in Thokoza organised by the Rubis Mécénat foundation. His photo essay Nyaope (2014) was published in the Mail & Guardian (South Africa), in Vice magazine’s annual Photo Issue and in the daily De Standaard (Belgium). In 2015, Sobekwa was awarded a scholarship to study at the Market Photo Workshop. That same year his series Nyaope was exhibited in another group show, Free From My Happiness, organised by Rubis Mécénat for the International Photo Festival of Ghent (Belgium). The exhibition toured additional sites in Belgium and South Africa. 

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Pamela Phatsimo Sunstrum
Epic, 2009
Graphite on paper
108 x 404 cm / 42.5 x 159.1 in.

Enquire

Pamela Phatsimo Sunstrum’s (b. 1980, Mochudi, Botswana) multidisciplinary practice encompasses drawing, painting, installation and animation. Her work alludes to mythology, geology and theories on the nature of the universe. Sunstrum’s drawings take the form of narrative landscapes that appear simultaneously futuristic and ancient, shifting between representational and fantastical depictions of volcanic, subterranean, cosmological and precipitous landscapes.

Sunstrum’s multidisciplinary practice encompasses drawing, painting, installation and animation. Epic draws on the larger thematic considerations of her practice. Her work alludes to mythology, geology and theories on the nature of the universe. Sunstrum’s drawings take the form of narrative landscapes that appear simultaneously futuristic and ancient, shifting between representational and fantastical depictions of volcanic, subterranean, cosmological and precipitous landscapes.

Sunstrum currently has her first UK solo exhibition at a public institution, with her work The Pavilion (2023) on view at London Mithraeum Bloomberg SPACE. Other Key exhibitions and performances include All my seven faces at Contemporary Art Center, Cincinnati, OH, USA (2019); Zeitz MOCAA, Cape Town, South Africa; The Wiels, Brussels, Belgium (2019); Kunsthaus Zürich (2019); The Nest, The Hague (2019); Michaelis School for the Arts at the University of Cape Town (2018); Artpace, San Antonio, TX, USA (2018); and The Phillips Museum of Arts, Lancaster (2018)

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Hank Willis Thomas
I am You / I Am Joy, 2023
3D Lenticular
121.9 x 121.9 cm / 48 x 48 in.

Enquire

Hank Willis Thomas (b. 1976, New Jersey, United States) is a conceptual artist working primarily with themes related to perspective, identity, commodity, media, and popular culture.  In January 2023, Thomas unveiled his most recent public artwork The Embrace in Boston, MA, a memorial to both the Kings and the 69 civil rights leaders in Boston. 

Thomas’s lenticular I am You / I Am Joy (2023) sees a direct interaction with Faith Ringgold’s set of collages from the 1970s. Her collages include phrases that speak to Black feminist sentiments borne out of her personal experiences. Thomas borrows Ringgold’s typographic aesthetic and layout to speak to ideas around identity in a contemporary context. The work also references the 1968 Memphis sanitation workers' strike, specifically the posters declaring “I AM A MAN.” These works, through the nature of their material, force viewers to look again, mirroring the artist’s revisiting of this historical moment and protest art more generally. 

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Clive van den Berg
Fugitive Marks III, 2022
Oil on canvas
200 x 150 cm / 78.7 x 59.1 in.

Enquire

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

Fugitive Marks III formed part of Van den Berg’s solo in London last year, and is a work that considers the body and the land as loaded sites which carry memories and scars. It continues his engagement with the idea of the land as a porous receptacle for lived experience. 

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Marsi van der Heuvel
Untitled 14, 2023
Oil on Linen
61 x 42 x 2.5 cm / 24 x 16.5 x 1 in.

Enquire

Through this work she explores the idea of belonging to a place, a family, and a culture by investigating and reinterpreting the photographs taken by her maternal grandmother and other family members during apartheid. The photographs capture ordinary scenes of everyday life – young girls at school, a child feeding chickens, a father holding his young daughter, a child and her doll. People of colour took and displayed photographs as a way of resisting the dominative narrative that would portray them as inferior. These photographs show ordinary families as they wish to be seen and disturb the memories that we have of the apartheid narratives of subjugation. This legacy of trauma, sustained through slavery and apartheid, continues to reverberate down generations and, through her art, Marsi engages with the sense of loss and pain that threaten to displace her own narratives if not addressed now. The subject is at once personal but taps into the collective experience of what it was like to grow up “coloured” in South Africa during apartheid. By exploring her own heritage in an attempt to make sense of her roots, the artist invites viewers to recognise themselves in her work and in the reflection of those who went before her.

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Sue Williamson
Storyboard: Candice Mama, 2016
Mixed media and digital prints on watercolour paper
Frame: 108 x 77 x 3.3 cm / 42.5 x 30.3 x 1.4 in.
Edition of 3

Enquire

Sue Williamson (b. 1941, Lichfield, UK) emigrated with her family to South Africa in 1948. 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). 

On the audio side of Storyboard: Candice Mama, a preparatory work for the two channel video, It’s a pleasure to meet you, (2017) we read the words of Candice Mama, describing her encounter with her father’s killer, apartheid assassin Eugene de Kock. The Mama family went to visit him in jail in order to learn exactly how and why Glenack Masilo Mama had been killed. On the video side of this mixed media collage, Sue Williamson’s photo of Candice Mama is set against a drawing of the bridge on which De Kock stood, waiting for the approach of the minibus driven by Mama’s father.

Williamson’s works feature in museum collections, ranging from the Museum of Modern Art (New York), Tate Modern (London), Victoria & Albert Museum (London), Pompidou Centre, (Paris), Hammer Museum, (Los Angeles) to the National Museum of African Art, Smithsonian Institution (Washington D.C), Iziko South African National Gallery (Cape Town) and the Johannesburg Art Gallery (Johannesburg). 

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Goodman Gallery presents Carapax (Borer), a new work by Walter Oltmann. This is the third in an ongoing series of ‘Carapax’ suits woven in aluminium wire. ‘Carapax’ refers to a carapace or protective exoskeleton. His first two carapax suits (Carapax (Zygen) (2022) and Carapax (Darkling) (2022)) were made to hang on a wall like discarded human-insect husks. In this third version he has made the suit to be wearable by fitting it to his own body measurements. The dark body of a borer beetle is interpreted as a suit of armour, the head and antennae fitting tightly over his head like a cap while the torso, claws and legs have to be ‘climbed’ into with the help of assistants. The inhabitable exoskeleton provides a playful context for inserting oneself into an insectoid carapace; it allows for an embodied experience of being ‘transformed’ into the other.

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Walter Oltmann
Carapax (Boxer), 2023
Anodized aluminium wire and spray paint
205 x 400 x 50 cm / 80.7 x 157.5 x 19.7 in.

Enquire

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Walter Oltmann (b. 1960, South Africa) is a practicing artist who lives and works in Johannesburg. He obtained a BA Fine Arts degree from the University of Natal, Pietermaritzburg (1981), and an MA Fine Arts degree (1985) and PhD in Fine Arts degree (2017) from the University of the Witwatersrand, Johannesburg. He taught in the Fine arts department at the University of the Witwatersrand from 1989 to 2016.

Oltmann has an extensive record of creative work produced since the early 1980s, including a number of public commissions. Since the 1980s he has developed an interest in the relationship between fine art and craft. In his own practice he employs hand-fabricated processes of making and has researched wire craft traditions in southern Africa. His sculptural works are executed by way of weaving in wire and using handcrafting methods that reference African and Western traditions of weaving. He is deeply interested in the influence of craft traditions in contemporary South African art.

In his artworks Oltmann makes connections to domestic textile practices and explores such forms of making in evoking fragility and the passage of time. He often combines aspects of decorative ornament with subject matter that seems somewhat contradictory or disturbing in relation to handcrafted embellishment.

Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms
Art Joburg 2023 -  - Viewing Room - Goodman Gallery Viewing Rooms

Goodman Gallery presents new work by Jabulani Dhlamini, one of South Africa’s most recognised documentary photographers. Dhlamini’s meditative approach to photography encourages a closer look at what lies on the edges through an exploration of personal and collective memory.

As a starting point for these works, Dhlamini returned to the countryside of his childhood in the Free State in an effort to capture the landscape for its rich psychological associations. In these images the photographer explores the relationship between collective memory and private reflections within the context of apartheid and the production of post-apartheid identities. 

These works form part of an ongoing project with emerging photographer, Thembinkosi Hlatshwayo. Dhlamini and Hlatshwayo communicate with each other throughout the conceptual phase of the project, sharing thoughts and images to collectively unpack their ideas of home. Each photographer produces photographs in response to this ongoing exchange. 

The first iteration of this exchange in an exhibition context was iHubo - Whispers curated by Valérie Fougeirol at the 2022 PhotoSaintGermain festival as part of the 10th-anniversary celebration of the Thokoza-based photography education programme Of Soul and Joy initiated by Rubis Mécénat; a programme for which Dhlamini is a mentor and Hlatshwayo was a student. The second iteration was iHubo: Nkosi Sikelela in Cape Town in June this year, marking the first time that these works were seen on exhibition in South Africa. 

Video-Show

Jabulani Dhlamini
ihashi lase Sandlwana,Nquthu,KZN, 2022
Pigment inks on fibre paper
50 x 75 cm / 19.7 x 29.5 in.
Edition of 7

Enquire

Jabulani Dhlamini
ihashi lase Sandlwana,Nquthu,KZN, 2022
Pigment inks on fibre paper
50 x 75 cm / 19.7 x 29.5 in.
Edition of 7

Enquire

Jabulani Dhlamini
Sjay, Zenzeleni Location, Warden, 2022
Pigment inks on fibre paper
62 x 70 cm / 24.4 x 27.6 in.
Edition of 7

Enquire

Jabulani Dhlamini
Sjay, Zenzeleni Location, Warden, 2022
Pigment inks on fibre paper
62 x 70 cm / 24.4 x 27.6 in.
Edition of 7

Enquire

Jabulani Dhlamini
Esandlwana I,Nquthu,KZN, 2022
Pigment inks on fibre paper
55 x 55 cm / 21.7 x 21.7 in.
Edition of 7

Enquire

Jabulani Dhlamini
Esandlwana I,Nquthu,KZN, 2022
Pigment inks on fibre paper
55 x 55 cm / 21.7 x 21.7 in.
Edition of 7

Enquire

Jabulani Dhlamini
Intaba iSandlwana, Nquthu, KZN, 2022
Pigment inks on fibre paper
50 x 75 cm / 19.7 x 29.5 in.
Edition of 7

Enquire

Jabulani Dhlamini
Intaba iSandlwana, Nquthu, KZN, 2022
Pigment inks on fibre paper
50 x 75 cm / 19.7 x 29.5 in.
Edition of 7

Enquire

Jabulani Dhlamini
kwa-Msibi ekhaya elincane, eNkuthu, Ladysmith, 2022
Pigment inks on fibre paper
110 x 110 cm / 43.3 x 43.3 in.
Edition of 7

Enquire

Jabulani Dhlamini
kwa-Msibi ekhaya elincane, eNkuthu, Ladysmith, 2022
Pigment inks on fibre paper
110 x 110 cm / 43.3 x 43.3 in.
Edition of 7

Enquire

Jabulani Dhlamini
Ma-Shabalala, eNkuthu, Ladysmith, 2022
Pigment inks on fibre paper
130 x 130 cm / 51.2 x 51.2 in.
Edition of 7

Enquire

Jabulani Dhlamini
Ma-Shabalala, eNkuthu, Ladysmith, 2022
Pigment inks on fibre paper
130 x 130 cm / 51.2 x 51.2 in.
Edition of 7

Enquire

Jabulani Dhlamini
Ndlondlo, eNkuthu, Ladysmith, 2022
Pigment inks on fibre paper
56 x 79 cm / 22 x 31.1 in.
Edition of 7

Enquire

Jabulani Dhlamini
Ndlondlo, eNkuthu, Ladysmith, 2022
Pigment inks on fibre paper
56 x 79 cm / 22 x 31.1 in.
Edition of 7

Enquire

Jabulani Dhlamini
Mkhulu Makomu Dhlamini.ii,Warden,Free-State, 2022
Pigment inks on fibre paper
60 x 60 cm / 23.6 x 23.6 in.
Edition of 7

Enquire

Jabulani Dhlamini
Mkhulu Makomu Dhlamini.ii,Warden,Free-State, 2022
Pigment inks on fibre paper
60 x 60 cm / 23.6 x 23.6 in.
Edition of 7

Enquire