In support of for our charity partner Witkoppen Health and Welfare Clinic, a non-profit organisation which services 1.3 million people across the most deprived communities in Johannesburg, Goodman Gallery is proud to present our limited edition of Artist Blankets - the result of a collaboration between our gallery artists Cassi Namoda, Ghada Amer& Reza Farkhondeh,Broomberg and Chanarin,Nolan Oswald DennisandSamson Kambalu. A portion of the sales of each blanket goes to Witkoppen Clinic, to enable them to engineer new programmes to cope in this moment of great need. All artist blankets are made in South Africa.
Nolan Oswald Dennis is an interdisciplinary artist from Johannesburg, South Africa. His practice explores what he calls ‘a black consciousness of space’: the material and metaphysical conditions of decolonization.
His work questions the politics of space and time through a system-specific, rather than site-specific approach. He is concerned with the hidden structures that pre-determine the limits of our social and political imagination.
Through a language of diagrams, drawings and models he explores a hidden landscape of systematic and structural conditions that organise our political sub-terrain. This sub-space is framed by systems which transverse multiple realms (technical, spiritual economic, psychological, etc) and therefore Dennis’ work is an attempt to stitch these, sometime opposed, sometimes complimentary, systems together. To read technological systems alongside spiritual systems, to combine political fictions with science fiction.
Cassi Namoda (b. 1988) is a painter whose work transfigures the cultural mythologies and historical narratives of life in post-colonial Africa, particularly those of the artist’s native Mozambique. Namoda’s paintings are highly elusive, drawing upon literary, cinematic and architectural influences that capture the expansiveness of her specifically Luso-African vantage point. The idiosyncratic subjects who appear and reappear in Namoda’s paintings also convey this hybridity: they emerge from African indigenous religions just as much as they springe. While they appear straightforward, her ima from Western mythologies.
The blanket is based on a work by Namoda, titled, “Untitled, lovers” from her 2020 solo exhibition Dog meat, cat meat, God-knows-what meat which took place in Miami. The work reflects Shetani folklore and symbolism that is ubiquitous in Swahili and Makonde craft, including wood carving. Namoda has rendered the elements of wood carvings into the painting to re-imagine folkloric traditions of her native Mozambique.
For the past twenty years, Broomberg & Chanarin have engaged in a forensic and paranoid interrogation of the medium of photography in search of its source code; the cultural, emotional, political and financial currency of photographs. This work is a reference to their 2018 solo exhibition Bandage the knife not the wound, in which the artists reflected on their precarious sense of place and belonging to their homeland (South Africa), to photography and to each other by turning to the handful of images that remain meaningful to them.
Samson Kambalu is an artist and writer working in a variety of media, including site-specific installation, video, performance and literature. His work is autobiographical and approaches art as an arena for critical thought and sovereign activities. Born in Malawi, Kambalu’s work fuses aspects of the Nyau gift-giving culture of the Chewa, the anti-reification theories of the Situationist movement and the Protestant tradition of inquiry, criticism and dissent. He has been featured in major exhibitions and projects worldwide, including the Dakar Biennale (2014, 2016), Tokyo International Art Festival (2009) and the Liverpool Biennial (2004, 2016). He was included in All the World’s Futures, Venice Biennale 2015, curated by Okwui Enwezor.