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Frieze Seoul 2023
Frieze Seoul 2023
Frieze Seoul 2023

Goodman Gallery is delighted to present leading artists and young talent from or related to the Global South. The work of these artists narrate, document, and comment on the geopolitical connections between local and diasporic experiences.

Featured artists include: Kudzanai Chiurai, Nolan Oswald Dennis, Leonardo Drew, Nicholas Hlobo, Remy Jungerman, William Kentridge, Misheck Masamvu, Cassi Namoda and Yinka Shonibare CBE RA.

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Kudzanai Chiurai
Triangular Commerce V (Investigation), 2021

 

Mixed media on handmade premium art paper
120 x 80 cm / 47.2 x 31.5 in.

 

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Artist and filmmaker Kudzanai Chiurai (b. 1981, Zimbabwe) produced The Triangular Commerce series of works on paper while on residency at WhiteSpaceBlackBox in Switzerland. Chiurai is currently on exhibition at Tate Modern as a part of A World in Common: Contemporary African Photography curated by Osei Bonsu.

In these drawings he draws inspiration from Hegel’s philosophical text entitled Theses on Africa which explores Hegel’s neat systematization of slavery and the expansion of capitalism, and contemplates the subsequent impact on present day Zimbabwe. Through rethinking the current cultural and political realities facing southern Africa, Chiurai confronts the production of power and the post-colonial system which still systemically dictate education-systems and existing cultural codes. 

Chiurai’s work is held at the Museum of Modern Art, New York; BHP Billiton, London; 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. 

Notable exhibitions include Genesis [Je n’isi isi] - We Live in Silence, Institut für Auslandsbeziehungen, Stuttgart (2020); Ubuntu, a Lucid Dream, Palais de Tokyo, Paris (2020); and Regarding the Ease of Others, Zeitz Museum of Contemporary Art Africa, Cape Town (2017). 

 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Nolan Oswald Dennis
PHREE EARTH (umhube), 2023

 

Pencil on pen paper
Frame: 86 x 67 cm (33.9 x 26.4 in.)
Unique

 

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Nolan Oswald Dennis (b. 1988, Zambia) is included with a significant presentation in the current Liverpool Biennial. Dennis spoke at this Summer’s edition of Art Basel Talks Programme, where he discussed his work as a ‘black-earth-system’. 

PHREE earth (plane) (2023) and PHREE EARTH (umhube) (2023) can be considered as part of a group of studio models, sketches and prototypes made over the past two years, as a series of earth-system orientated research projects considering the role of oppressive power and the politics of space.

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Nolan Oswald Dennis
PHREE EARTH (plane), 2023



Pencil on pen paper
86 x 67 cm / 33.9 x 26.4 in.
Unqiue

 

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Dennis’s work is held at private and public collections including the Brainlab Cultural Foundation, Germany; A4 Arts Foundation, South Africa; UNISA, South Africa; Scheryn Art Collection, South Africa; and the Barloworld Corporate Collection, South Africa. 

Notable shows include FANTASTIC, Palais de Tokyo, France (2021); This is Not Africa, Unlearn What You Have Learned, ARoS Aarhus, Denmark (2021); the Young Congo Biennale (2019); In the Open or in Stealth, Museu d’Art Contemporani de Barcelona, Spain (2018); and  the 9th Berlin Biennale (2016). The artist will be part of the 12th Seoul Mediacity Biennale later this year.

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Leonardo Drew
Number 355D, 2022

 

Plaster, wood, calcium carbonate, and paint on paper
Work: 91.4 x 91.4 cm (36 x 36 in.)
Unique

 

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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. 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 355D and Number 357D 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. Both works were shown in the artist’s first solo exhibition on the continent at Goodman Gallery Johannesburg earlier this year. 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Leonardo Drew
Number 357D, 2022

 

Wood, paint, and calcium carbonate on paper
Work: 91.4 x 91.4 cm (36 x 36 in.)
Unique

 

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Leonardo 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. 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Nicholas Hlobo 
Uxande lwesithandathu, 2023

 

Acrylic and ribbons on Belgian linen canvas
Work: 100 x 150 cm (39. 4 x 59.1 in.)|
Unique

 

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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. He began his career around the end of apartheid in 1994, when there was a new sense of freedom and national pride in South Africa. Hlobo’s subtle commentary on the democratic realities of his home country and concerns with the changing international discourse of art remain at the core of his work.

Uxande lwesithandathu (2023) is a new work by Hlobo that 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’s work is included in numerous international public and private collections, including 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. 

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).

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Remy Jungerman
Pimba AISA I, 2023

 

Cotton textile, kaolin (pimba) on wood panel (plywood)
120 x 150 x 4.5 cm / 47.2 x 59.1 x 1.8 in.

 

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Remy Jungerman (1959, Suriname) explores the intersection of pattern and symbolism in Surinamese Maroon culture, the larger African diaspora, and 20th-century Modernism. The artist’s career survey titled Remy Jungerman: Behind the Forest was held at the Stedelijk Museum, Amsterdam in 2021. In 2019 he represented the Netherlands at the 58th Venice Biennale. 

Jungerman places fragments of Maroon textiles and other materials found in the African diaspora—the kaolin clay used in several religious traditions or the nails featured in Nkisi Nkondi power sculpture—in direct contact with materials and imagery drawn from more “established” art traditions. Jungerman, therefore, presents a peripheral vision that both enriches and informs our perspective on art history.

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Remy Jungerman
Pimba AGIDA SUSA III, 2023

 

Cotton textile, kaolin (pimba) on wood panel plywood
190 x 240 x 4.5 cm / 74.8 x 94.5 x 18. in.
 

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Jungerman’s work is held at the Stedelijk Museum, Amsterdam; Centraal Museum, Utrecht; Kunstmuseum, The Hague; Zeeuws Museum, Middelburg; ABN AMRO Collection, Amsterdam; Rennie Museum, Vancouver; Paramaribo, Suriname; Hudson Vally MOCA, Peekskill, New York; Francis Greenburger Collection, New York; and the Saamaka Marron Museum. Jungerman’s work is on view at DAS MINSK Kunsthaus in Potsdam until August 2023. 

 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Remy Jungerman
Pimba WAKA POSU VIII, 2023

 

Cotton textile, kaolin (pimba) on wood panel (plywood)
80 x 107 x 4.5 cm / 31.5 x 42.1 x 1.8 in. 

 

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Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

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).

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Oak Leaf

William Kentridge
Oak Leaf, 2021

 

Bronze
88 x 110 x 30 cm / 34.6 x 43.3 x 11.8 in.
Weight : 48 kgs (105.8 lbs) 
Edition of 5 

 

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Soft Dictionary

WIilliam Kentridge
Soft Dictionary, 2016

 

Single Channel HD Video
2 min 45 sec
Edition of 9

 

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Vetkoek

WIilliam Kentridge
Vetkoek / Fête Galante, 1986

 

Single channel film
2 min 46 secs
Edition of 6

 

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Cursive

WIilliam Kentridge
Cursive (Union), 2020

 

Bronze
21.9 x 16.2 x 10.3 cm / 8.6 x 6.4 x 4.1 in.
Edition of 6

 

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Sibyl

WIilliam Kentridge
Sibyl, 2020

 

Single channel HD film
9 minutes, 59 seconds
Edition of 3

 

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Oak Leaf

William Kentridge
Oak Leaf, 2021

 

Bronze
88 x 110 x 30 cm / 34.6 x 43.3 x 11.8 in.
Weight : 48 kgs (105.8 lbs) 
Edition of 5 

 

Enquire

 

 

Soft Dictionary

WIilliam Kentridge
Soft Dictionary, 2016

 

Single Channel HD Video
2 min 45 sec
Edition of 9

 

Enquire

Vetkoek

WIilliam Kentridge
Vetkoek / Fête Galante, 1986

 

Single channel film
2 min 46 secs
Edition of 6

 

Enquire

Cursive

WIilliam Kentridge
Cursive (Union), 2020

 

Bronze
21.9 x 16.2 x 10.3 cm / 8.6 x 6.4 x 4.1 in.
Edition of 6

 

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Sibyl

WIilliam Kentridge
Sibyl, 2020

 

Single channel HD film
9 minutes, 59 seconds
Edition of 3

 

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Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Misheck Masamvu
Hue and Cry, 2022

 

Oil on canvas
200 x 176 x 5 cm / 78.7 x 69.3 x 2 in.
Unique

 

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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. 

Hue and Cry (2022) and Entangled (2023) 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.

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Misheck Masamvu
Entangled, 2023

 

Oil on canvas
200 x 176 cm / 78.7 x 69.3 in.
Unique 

 

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Masamvu’s works are held in collections across the globe including the 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. 

Notable solo and group exhibitions include Inside Out, Fondation Grandpour l’Art, Geneva (2022); Talk to me while I’m eating, Goodman Gallery, London (2021); 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) and his international debut at Zimbabwe’s inaugural Pavilion at the 54th Venice Biennale (2011). 

 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Cassi Namoda
Costa Do Sol, 2023

 

Oil on linen
121.9 x 167.6 cm / 48 x 66 in.

 

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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. 

The new suite of paintings including Costa Do Sol (2023) are an embodiment of the transcendence of time, using familial and vivid colours to express the bondage of time to emotional psyche and memory. The works are centred around the Portuguese expression of ‘Saudade’ which can be translated to "a longing".

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). 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Yinka Shonibare CBE RA
The African Library Collection: Filmmakers, 2020

 

Approximately 225 Hardback books, Dutch wax printed cotton textile, gold foiled names, bookcase, bespoke card catalogue box
233.7 x 139.7 x 33.7 cm / 92 x 55 x 13.3 in.

 

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The African Library Collection by Yinka Shonibare is one of the final available single collections of the artist’s popular Library Installation - of which The British Library Installation is on view in the permanent collection at TATE Modern. The Libraries consist of multiple books covered in the ‘Dutch wax print’ typical of the artist’s practice. The spines of many of these books are printed with the names of notable figures from the African Continent, from various categories including political figures, designers and here filmmakers. The work is arranged on rows of shelving and accompanied by a bespoke card catalog box. The collection commemorates the fight for independence in the European colonies across the African continent and the figures from difficult cultural fields who contributed to the independence period through their notable work. 

Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms
Frieze Seoul 2023 - Booth C6 - Viewing Room - Goodman Gallery Viewing Rooms

Yinka Shonibare CBE RA
Maypole, 2021

 

Patchwork, appliqué, embroidery and Dutch wax printed cotton textile
140 x 190 cm / 55.1 x 74.8 in.
Unique

 

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Maypole (2021) is a recent quilt by Yinka Shonibare CBE RA – a new series of work which draws on the rich history of quilting in African American history and brings to life his wide range of references from British colonial history.

Depicted in the quilt is the historical British tradition of Maypole Dancing, one of the early rural traditions of British culture and is one of the few rituals not connected to Christianity. The Maypole Dance was timed to celebrate the anticipation of Spring and the bounty of the Harvest to come. Strongly connected with fertility, Maypole therefore combines traditional and historical rituals with Shonibare’s postcolonial gaze to ask how Britain's identity and wealth developed through the Colonial project.