Vrijdag 08 Maart 2013

Acclaimed for his work in animated film, visual art, theater, and opera, William Kentridge had his first survey exhibition in the United States in 2001 at MCA Chicago. From this exhibition, the MCA acquired more than a dozen drawings and two of his best-known films: Felix in Exile (1994) and History of the Main Complaint (1996), both of which will be on view. The drawings featured in the exhibition are those used to make this latter film—charcoal sketches that Kentridge erased and reworked to create the memorable segments that depict his alter egos and their struggles in late and post-apartheid Johannesburg: Felix Teitlebaum, the romantic artist who is always shown nude, and Soho Eckstein, the self-absorbed, wealthy mine owner and land developer who always wears a pinstriped suit.

mcachicago

Het Tropenmuseum brengt een ode aan zijn eigen verzamelingen met de tentoonstelling Onverwachte ontmoetingen. Verborgen verhalen uit eigen collectie.
Een Afrikaans krachtbeeld ontmoet een Apple computer en een kunstwerk met portretten van Marlene Dumas een Duitse staalkaart met veertig verschillende oogkleuren.

tropenmuseum

In 2011 reisde fotograaf Mario Marino (Oostenrijk, 1967) naar de Omo vallei in Zuid-Ethiopië, nabij de grens tussen Kenya en Sudan. Zijn ontmoetingen op straat en op de markt resulteerde in een indrukwekkende serie portretten van mensen die behoren tot zeven kleine bevolkingsgroepen: Surma, Karo, Hamar, Borena-Oromo, Tsimaw, Mursi en Erbore. Zelfbewust en trots op hun culturele eigenheid poseerden tientallen mensen voor hem. Uit de lichaamsbeschilderingen, littekentatoeages en sieraden blijkt dat men traditionele opvattingen over schoonheid en identiteit nog steeds belangrijk vindt.

afrikamuseum

Beeldhouwer en kunstenaar Josiah Onodome Onemu (1945) is afkomstig uit Nigeria. Hij woont en werkt al tientallen jaren in Nederland. Deze expositie toont een overzicht van zijn brede oeuvre, waarvan een deel in beheer is van het Afrika Museum en een deel bestaat uit de privé-collectie van de kunstenaar. Vruchtbaarheid, het samenspel van tegendelen, lijden en wanhoop, hoop en beloftes, verandering en afscheid – de grote thema’s van het leven worden in het werk van Josiah Onemu nu eens sober, tot de essentie gereduceerd, dan weer verhalend in beeld gebracht. Hoe verschillend de uitwerking ook kan zijn, het onderwerp heeft altijd betrekking op mens en maatschappij.

afrikamuseum

Female Power is een tentoonstelling vol vrouwelijke kracht en macht. Van keramische borstvormen en een installatie met gevlochten harnassen tot foto’s van legendarische Japanse vissersvrouwen: steeds meer hedendaagse kunstenaressen creëren nieuwe vrouwbeelden. Hun werk wordt gecombineerd met dat van kunstenaressen die in de jaren ’70 en ’80 van de vorige eeuw met hun positieve vrouwbeelden hebben bijgedragen aan de ‘empowerment’ van vrouwen. Met uit Afrika Nandipha Mntambo (1982 SZ), Tsholofelo Monare (1986 ZA)

MMKArnhem

Veel Afrikanen proberen het geluk naar zich toe te trekken: met krachtbeelden, amuletten of orakels, maar ook door voorouders en goden te raadplegen. Speciaal voor de 'geluksmaand' exposeert het museum enkele altaren die door kunstenaar Gerald Pinedo werden vervaardigd ter ere van de Orisha's (Afrikaanse goden). Op dergelijke altaren brengen gelovigen offers om de Orisha's gunstig te stemmen en hun hulp in te roepen.

afrikamuseum

Brings together the full range of the artist’s work, from wood trays referring to traditional symbols of the Akan people of Ghana; to early ceramics from the artist’s Broken Pots series, driftwood assemblages that refer to the trans-Atlantic slave trade, and wooden sculptures carved with a chainsaw; to the luminous metal wall-hangings of recent years.

umma-umich africanart

Goodman’s multimedia works explore issues of female identity by marrying the glittering allure of cars with that of women as symbols of desire, sex, success and promise. Many of the pieces on this materially-diverse exhibition are intentionally contradictory: seductive and poignant, yet simultaneously awkward and problematic. The body of work includes sculptural pieces constructed from car parts and feminine accessories, as well as Goodman’s provocative photographic Vajazzling series. The latter was initiated during a residency in New York in 2012 and documents the adornment of various female torsos in a response to the commodification of the female body and its use in the media.

whatiftheworld

It's not every day that a housewife looks around her kitchen and sees her utensils as objects of art. But Usha Seejarim is no ordinary housewife. The artist from Bethal, a small town in Mpumalanga, says that "as a home-maker/housewife/mother of two, and an artist", she is fascinated by her everyday chores. When she is in the kitchen, her spoons, forks, knives and plates become art objects. In her latest exhibition, Seejarim takes a closer look at the places and the objects in her immediate surrounds, and the roles she assumes when she is around these objects.

joburgculture joburgculture-jag

Siemon Allen’s Labels is a large architectural installation displayed in the museum’s Music Room. This visual memorial to South Africa’s rich musical past features 5000 photographs of record labels inserted into a suspended clear plastic curtain. The site-responsive installation has been configured to converse with part of the museum’s collection of historical artifacts and meanders through the space amongst the musical instruments and clocks, to form a number of intimate accessible enclosures. The exhibition is a historical record, a chronological discography of select labels from Allen's archive.

iziko

In South Africa, the landscape has unavoidable political connotations because the country's strife is entwined with the ownership of the land - a situation that continues to this day. These issues have dominated depictions of the landscape in recent years, with formal concerns understandably of secondary concern. While remaining aware of the polemics of land, Kannemeyer is selecting works for the exhibition that challenge perceptions of the landscape, rather than issues identified with the land or 'clever conceptual plays'. It is unexpected interpretations of one of the most traditional genres in the history of art that resonate most strongly with him.

stevenson

Moshekwa Langa is an artist and visual anthropologist who works with installation, drawing, video and sculpture. Drawing has been an extended practice for Langa, incorporating elements of graffiti, thread, yarn and other materials. After studying and living in Amsterdam for several years he returned to South Africa – to spend time with his family, but also to confront certain aspects of his youth and the unfamiliar state of his hometown. Langa cites daily life, routine, boredom, indifference and passion among his influences and inspirations. His work documents the rituals of sangomas, grieving, gossip and love.

goodman-gallery

'Terugkoms van Cythera' shows a shift away from Louw’s socio-historic themes and a move towards a more enigmatic, introspective and psychological exploration. Referencing The Embarkation for Cythera (L'Embarquement pour Cythère) (1717) by French Rococo painter Jean-Antoine Watteau, the exhibition serves as an interesting antithesis to the precious celebration of life and love at the birthplace of Venus portrayed in the original painting.

smacgallery

Explores the ways in which contemporary artists based in South Africa and China engage with new paths of movement, with economic and cultural shifts, and with the rise of new regimes, new leaders and new social and urban spaces. The exhibition includes works in diverse media by internationally acclaimed Chinese artists, Wu Junyong, Chen Qiulin, Maleonn and Qin Ga  and local artists Lebogang Rasethaba, Gerald Machona, Michael MacGarry and James Webb.

standardbankarts

Kendell Geers, born in 1968 in South Africa, uses various media such as installation, drawing, video, performance, and photography. His life and work can be divided into two decade-long periods whose trajectories and developments are explored in this exhibition. The first political phase runs from 1988 to 2000, during which time the artist, a white South African, explored the moral and ethical contradictions of the apartheid system through his practice. Initiated by his move to Brussels in 2000, his later European period is now characterized by a more poetic aesthetic. Here, Geers transferred his incendiary practice into a postcolonial and increasingly global context, suggesting more universal themes like terrorism, spirituality, and mortality.

hausderkunst

Through inventively re-edited interviews, fan performances and montaged cinema sequences, Breitz's works present a new take on contemporary portraiture by creating innovative narratives to probe and analyse individual experience. A major part of the exhibition will be the inclusion of The Woods, a new work making its international debut. Co-commissioned with the Peabody Essex Museum, Breitz's new trilogy focuses on child performers and the performance of childhood to probe aspirations and promises embedded in mainstream cinema.

acmi

Aimé Mpané’s recent work explores the physical and psychological complex space that exists in the fissure between trauma and the memory of trauma as a result of the brutalities instigated by colonial legacies in his homeland – DR Congo. Aimé Mpané mines the theme of power and vulnerability in society as he engages with the past and present. His emotionally charged sculptural installation is inscribed with individual and collective identity nurtured within the compass of history. His work reflects subtle understanding of context, respect for tradition and awareness of the crucial links between function and experimentation.

skoto

Working with common mild steel, Kyle Morland created a new body of sculptures through mechanical deformation. Morland often creates the tools necessary to realise his ideas, and in this series he made a forming tool to bend specific widths of steel. This tool, while allowing easier metal formation, added a set of formal constraints to the creative process. These smaller free-standing works are made from the same length of steel with conjoined ends and twists turning them into single sided, single boundary objects.

blankprojects

Richard Penn’s work is about origins. He is interested in the almost ungraspable scope of our universe from the extremely small to the unimaginably large and distant. His most recent work borrows shapes and formats from the Hubble deep space telescope and the Kepler space telescope, both of which are used to look outward into space and backward in time at the far reaches and earliest moments of the universe. The Kepler telescope’s primary mission is to search for extra solar planets and specifically earth-like planets which will have an impact on theories around the probability of life beyond Earth.

blankprojects

Music as an expression of national identity is a common theme on stamps. That was also the case with the stamps of the previous Music-on-African-stamps exhibition. However, the stamps of the present exhibition show a very different picture, which has nothing to do with national identity: European composers and western “heroes of popular music”. Stamps showing European composers like Ludwig van Beethoven, Igor Strawinsky, Johann Sebastiaan Bach,  Georg Friedrich Händel, Wolfgang Amadeus Mozart, black music heroes like Louis Armstrong, Billy Holiday, Muddy Waters, Mahalia Jackson, Lionel Hampton and Jimmy Hendrix and white music heroes like Elvis Presley, The Beatles, Jerry Garcia, Janis Joplin and Bob Dylan.

ascleiden

Award-winning photographer Jodi Bieber explores the twilight that she experienced in the decade following the advent of democracy in South Africa. The show is a selection of work from 1993 to 2004, primarily revealing Bieber’s more rarely shown independent series, as well as some of her earlier work as a press photographer.

museum-goch goodman-gallery

Machyta Oko Giebels (Nijmegen 1978) laat in deze tentoonstelling vooral 'sculptings' zien. Dat zijn werken die het midden houden tussen een schilderij en een wandsculptuur. Hij schildert en drukt op en krast vervolgens in een soort cement (mortel in combinatie met pigmenten en bindmiddelen). Zijn afkomst – zijn vader vluchtte uit Equatoriaal Guinee - is af te lezen uit een serie portretten en 'faces' van bekende en onbekende zwarten. Admire Kamudzengerere Zimbabwe, 1981) sloot eind 2013 zijn residency van twee jaar af aan de Rijksakademie voor Beeldende Kunsten te Amsterdam. Hij heeft zijn verblijf in Nederland verlengd.

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