FNB Art Joburg 2024

Laura Lima

Laura Lima’s (b. 1971, Governador Valadares, Minas Gerais, Brazil) practice employs a variety of media often incorporating living organisms and actions that are performed for long periods of time, to explore ways in which human behaviour alters our perception of the everyday.
Since letting a cow loose on Ipanema Beach in the mid-1990s, Lima has continued to present a body of work consisting of what she sometimes describes as ‘images’. Consistently escaping easy classification, Laura Lima’s ‘images’ are ‘neither performance nor installation nor cinema’, but rather attempts to visually link, in concrete reality, a personal glossary that the artist has worked and reworked throughout the more than twenty years of her career. Another component of Lima’s work relates to the notion of ornamental philosophy. Her work seeks to propose new understandings of accepted definitions and concepts, destabilising and subverting what is taken for granted.

In 2023, ‘Laura Lima: Balè Literal’, a major solo exhibition was held at MACBA, which will tour to MAM Rio de Janeiro in May 2025. A dedicated publication is due to be published later in the year by Cobogó.

Lima was the recipient of the Bonnefanten Award for Contemporary Art (BACA), in 2014, and the Marcantonio Vilaça Award in 2006. The artist was also nominated for the Francophone Award in 2011 and the Han Nefkens Award in 2012. In 2003, Lima co-founded A Gentil Carioca together with Ernesto Neto and Marcio Botner, a gallery headed by artists in Rio de Janeiro, where she still serves as a board member.

Solo exhibitions include: How to Eat the Sun and Moon, Goodman Gallery, Johannesburg (2024); Laura Lima: Balè Literal, MACBA Museu d’Art Contemporani de Barcelona (2023); Taylor Shop, Pinacoteca do Estado, São Paulo (2018); Cavalo come Re’, Prada Foundation, Milan (2018); The Inverse, ICA Miami (2016); Ágrafo, Galeria Luisa Strina, São Paulo (2015); El Mago Desnudo, MAMBA Museo de Arte Moderno de Buenos Aires (2015); The Naked Magicien, National Gallery of Denmark, Copenhagen (2015) and Bonnierskonsthall, Stockholm (2014); The fifth floor, Laureate Bonnefanten, Maastricht (2014); The Abstraction, Lilith Performance Studio, Malmö (2014); Bar/Restaurante, Migros Museum für Gegenwartskunst, Zurich (2013); Casa França Brasil, Rio de Janeiro (2011).

Biennales and group exhibitions include: Witch Hunt, at Hammer Museum, Los Angeles (2021); Busan Biennial (2018); Sharjah Biennial (2019); Por aqui é tudo novo, Instituto Inhotim, Brumadinho (2016); Trienal de Aichi, Toyohashi (2016); Performa 15, New York (2015); 15 Rooms, Long Museum, Shanghai (2015); Encruzilhada, Parque Lage, Rio de Janeiro (2015); 140 Caracteres, Museu de Arte Moderna de São Paulo (2014); Por amor a la disidencia, MUAC Museo Universitario Arte Contemporáneo, Cidade do México (2013); Circuitos Cruzados – Centre Pompidou meets MAM, Museu de Arte Moderna de São Paulo (2013); Ruhrtriennale, Essen (2012); 11a Bienal de Lyon (2011).

Collections include: CACI Centro de Arte Contemporânea Inhotim, Brazil; MAM Museu de Arte Moderna de São Paulo, Brazil; Bonniers Konsthall, Sweden; Migros Museum für Gegenwartskunst, Switzerland; Pinacoteca do Estado de São Paulo.

Lima lives and works in Rio de Janeiro, Brazil.

Clive van den Berg

Clive van den Berg (b. 1956, Luanshya, Zambia) is a Johannesburg-based artist, curator and designer who 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 spanning a variety of mediums delve into the porous nature of human existence and the landscapes we inhabit, creating a profound commentary on vulnerability, memory, and the intersection of personal and collective histories.

Van den Berg’s retrospective, titled Porous, took place at the Wits Art Museum in August 2024, and was accompanied by a major new book published by Skira.

In his paintings, he delves into the porous nature of land, acting as a vessel for lived experiences and unearthing unresolved layers beneath its surface. Within Van den Berg’s practice, the landscapes serve as a departure point, transcending physicality to evoke a haunting absence that guide viewers through imagined topographies. Van den Berg’s sculptural practice is equally captivating, focusing on the male form and the symbolic resonance of skin to explore themes of vulnerability and exposure. Through this vulnerability, he challenges traditional notions of masculinity and brings to light the ever-present spectre of mortality. His work serves as a poignant meditation on love, loss, and resilience.

His public projects have included the artworks for landmark Northern Cape Legislature and, since he has joined the trace team, museum projects for the Nelson Mandela Foundation, Constitution Hill, Freedom Park, the Workers Museum, The Holocaust and Genocide Centre and many other projects.

Solo exhibitions include: Porous, Wits Art Museum (2024); Remembering, a survey exhibition of paintings, prints and sculptures, 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.

Van den Berg lives and works in Johannesburg, South Africa.

Nolan Oswald Dennis

Nolan Oswald Dennis (b. 1988, Lusaka, 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 decolonization. Dennis’ work questions the politics of space (and time) through a system-specific, rather than site-specific approach. They are concerned with the hidden structures that predetermine 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.

In 2025, Dennis presented their first UK institutional solo exhibition at Gasworks London, and their first US institutional solo exhibition at the Swiss Institute. On the occasion of the exhibition, the Swiss Institute together with Zeitz MOCAA, Cape Town and Koenig will publish the first ever monograph on Dennis’s practice in April 2025.

In 2024, Dennis designed the ‘Traces of Ecstasy’ pavilion and exhibition project for the Lagos Biennial in Tafawa Balewa Square. An adapted version of this project was on view at the Institute for Contemporary Art at Virginia Commonwealth University in the same year. Dennis was also shortlisted for the Future Generation Art Prize 2023/24.

Dennis was the 2020 artist in residence at NTUCCA (Singapore) and the 2021 artist in residence at the Delfina Foundation (London). They were awarded the FNB Arts Prize in 2016. They are a founding member of artist groups NTU and the Index Literacy Program, as well as a research associate at the VIAD research centre at the University of Johannesburg.

Solo shows include: Nolan Oswald Dennis, Gasworks London (2025); overturns, Swiss Institute, New York (2025); UNDERSTUDIES, Zeitz MOCAA, Cape Town (2024); geo-logics, Kunstinsituut Melly, Netherlands (2024); Nolan Oswald Dennis, Goodman Gallery, Johannesburg (2023); Positions #7, Van Abbemuseum, Eindhoven, the Netherlands (2023); models (from a black planetarium), Centre d’Art Neuchâtel, Neuchâtel, Switzerland (2022); Specifications for a Reverse Archaeology, The Javett Art Centre at the University of Pretoria (2022-2023); conditions, Goodman Gallery, Cape Town (2021); Options, Goodman Gallery, Cape Town, (2019).

Group shows and biennales include: Black Ancient Futures, Museum of Art, Architecture and Technology, Lisbon (2024); back wall project, Kunsthalle Basel (2024); 12th Seoul Mediacity Biennale (2023); the 12th Liverpool Biennial (2023), Frieze, Seoul (2023); the Young Congo Biennale (2019), Museu d’Art Contemporani de Barcelona, MACBA (2018); Palais de Tokyo, Paris; ARoS Aarhus, Denmark; 9th Berlin Biennale (2016); Poetics of Relation, LIYH, Geneva (2015).

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

Dennis lives and works in Johannesburg, South Africa.

Kudzanai Chiurai

Kudzanai Chiurai (b. 1981, Harare, Zimbabwe) is a multidisciplinary artist exploring notions and cycles of political, economic, and social strife present in post-colonial societies. His work interrogates urgent social issues, such as xenophobia, exile, displacement, the psychological experiences of urban spaces, as well as the Western imprint on Africa.

In 2024, Chiurai’s film We Live in Silence (Chapters 1 – 7) was on view as part of the main exhibition at the 60th Venice Biennale Stranieri Ovunque – Foreigners Everywhere, curated by Adriano Pedrosa. In 2023, photographs from the artist’s We Live in Silence series were part of A World in Common: Contemporary African Photography, at TATE Modern curated by Osei Bonsu.

In 2013, Chiurai’s Conflict Resolution series was exhibited at DOCUMENTA (13) (2012) in Kassel and the film Iyeza was one of the few African films to be included in the New Frontier shorts programme at the Sundance Film Festival.

Chiurai’s project, The Library of Things We Forgot to Remember, is built around his collecting practice which focuses on preserving archives and memorialising social and cultural history from southern Africa. The project exists in the form of an archive of materials situated in Johannesburg including vinyls, posters, paintings and more, drawn from private African collections. Each time this archive is exhibited, Chiurai invites a different librarian to interrogate the archive and curate an exhibition.

Solo exhibitions include: Genesis [Je n’isi isi], We Live in Silence, IFA, Stuttgart (2019); Madness and Civilization, Kalmar Konsmuseum, Sweden (2018); Now and Then: Guercino and Kudzanai Chiurai, Zeitz MOCAA, Cape Town (2018); and Regarding the Ease of Others, Zeitz MOCAA, Cape Town (2017).

Group shows include: FLIGHT, Malmö Konsthall, Sweden (2023); Ubuntu, a Lucid Dream, Palais de Tokyo, Paris (2020); Art/Afrique, Le nouvel atelier, Fondation Louis Vuitton, Paris (2017); The Divine Comedy: Heaven, Purgatory and Hell Revisited, Museum für Moderne Kunst, Frankfurt (2014) and travelled to the SCAD Museum of Art, Savannah (2015); Figures & Fictions: Contemporary South African Photography, Victoria and Albert Museum, London (2011); and Impressions from South Africa, 1965 to Now, Museum of Modern Art, New York (2011).

Collections include: 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.

Chiurai lives and works in Harare, Zimbabwe.

Gabrielle Goliath

Through the ritual, sonic and social encounters of her art practice, Gabrielle Goliath (b. 1983, South Africa) 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.

In 2024, Goliath presented her first solo exhibition titled ‘Personal Accounts’, at a major UK institution, Talbot Rice Gallery. Goliath’s immersive, often durational installations have shown across South Africa and internationally. She has won several 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).

Recent exhibitions include: Personal Accounts, Talbot Rice Gallery, University of Edinburgh, UK (2024); Personal Accounts, 60th Venice Biennale (2024). This ongoing body of work is a transnational, decolonial, black feminist project of repair; Beloved, Goodman Gallery, Johannesburg (2023); Chorus, Dallas Contemporary (2022), Dallas; This song is for…, Kunsthaus Baselland, Basel (2022); 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).

Collections include: Kunsthalle Zürich; TATE Modern, Frac Bretagne, Iziko South African National Gallery, Johannesburg Art Gallery, and Wits Art Museum.

Goliath lives and works in Johannesburg, South Africa.

Alfredo Jaar

Alfredo Jaar (b. 1956, Santiago, Chile) is an artist, architect, and filmmaker who considers social injustices and human suffering through thought-provoking installations. Throughout his career Jaar has used different mediums to create compelling work that examines the way we engage with, and represent humanitarian crises. He is known as one of the most uncompromising, compelling, and innovative artists working today.

Through photography, film and installation he provokes the viewer to question our thought process around how we view the world around us. Jaar has explored significant political and social issues throughout his career, including genocide, the displacement of refugees across borders, and the balance of power between the first and third world.

Jaar’s work has been shown extensively around the world. He has participated in the Biennales of Venice (1986, 2007, 2009, 2013), Sao Paulo (1987, 1989, 2010) as well as Documenta in Kassel (1987, 2002).

Important individual exhibitions include The New Museum of Contemporary Art, New York (1992); Whitechapel, London (1992); The Museum of Contemporary Art, Chicago (1995); Moderna Museet, Stockholm (1994); The Museum of Contemporary Art, Rome (2005) and The Nederlands Fotomuseum (2019). Major recent surveys of his work have taken place at Musée des Beaux Arts, Lausanne (2007); Hangar Bicocca, Milan (2008); Alte Nationalgalerie, Berlinische Galerie and Neue Gesellschaft fur bildende Kunst e.V., Berlin (2012); Rencontres d’Arles (2013); KIASMA, Helsinki (2014); and Yorkshire Sculpture Park, UK (2017).

The artist has realised more than seventy public interventions around the world. Over sixty monographic publications have been published about his work. He became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. He was awarded the Hiroshima Art Prize in 2018, and has recently received the prestigious Hasselblad award for 2020.

His work can be found in the collections of The Museum of Modern Art and Guggenheim Museum, New York; Art Institute of Chicago and Museum of Contemporary Art, Chicago; MOCA and LACMA, Los Angeles; MASP, Museu de Arte de São Paulo; TATE, London; Centre Georges Pompidou, Paris; Stedelijk Museum, Amsterdam; Centro Reina Sofia, Madrid; Moderna Museet, Stockholm; MAXXI and MACRO, Rome; Louisiana Museum of Modern Art, Humlaebeck; Hiroshima City Museum of Contemporary Art and Tokushima Modern Art Museum, Japan; M+, Hong Kong; and dozens of institutions and private collections worldwide.

The artist lives and works in New York, USA.

Sue Williamson

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 2025, a major retrospective of her five-decades long career, titled There’s something I must tell you, will be shown at the Iziko South African National Gallery, following her UK and US institutional exhibitions in 2023 at The Box, Plymouth and The Barnes Foundation, Philadelphia.

In 1997, Williamson founded www.artthrob.co.za, a leading website on South African contemporary art and the first of its kind in the country. Williamson has also authored two major publications - South African Art Now (2009) and Resistance Art in South Africa (1989).

Williamson has participated in biennales around the world, including the Kochi Muziris Biennale (2019); several Havana Biennales as well as Sydney, Istanbul, Venice and Johannesburg biennales.

Major international solo exhibitions include: Between Memory and Forgetting, The Box, Plymouth, UK (2023); Other Voices, Other Cities, Las Palmas (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).

Group exhibitions include: Tell Me What You Remember, Barnes Foundation (2023); Breaking Down the Walls – 150 years of Collecting Art at Iziko, Iziko South African Museum (2022); RESIST! The 1960s Protests, Photography and Visual Legacy, BOZAR Centre for Fine Arts, Brussels (2018); Women House, La Monnaie de Paris and National Museum for Women in the Arts (Washington D.C) (2017, 2018); Being There, Fondation Louis Vuitton, Paris (2017); Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, International Centre for Photography in New York and the Museum Africa in Johannesburg (2014); The Short Century, Museum Villa Stuck, Munich, House of World Cultures, Berlin, Museum of Contemporary Art, Chicago, and P.S.1 New York (2001-2).

Collections include: the 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).

Awards and fellowships include: The Living Legends Award (2020), attributed by the South African government’s Department of Sports, Arts and Culture; the University of Johannesburg’s Ellen Kuzwayo Award (2018); the Rockefeller Foundation’s Bellagio Creative Arts Fellowship (2011); the Smithsonian’s Visual Artist Research Award Fellowship (2007) and the Lucas Artists Residency Fellowship (2005) from Montalvo Art Center in California.

​Williamson lives and works in Cape Town, South Africa.

Mikhael Subotzky

Mikhael Subotzky’s (b. 1981, Cape Town) works are the results of his fractured attempts to place himself in relation to the social, historical, and political narratives that surround him. As an artist working in film, video installation and photography, as well as more recently in collage and painting, Subotzky engages critically with contemporary politics of images and their making. “At the heart of my work is a fixation with revealing the gap between what is presented (and idealised) and what is hidden, coupled with a desire to pull apart and reassemble the schizophrenia of contemporary existence,” he says.

Subotzky’s first body of photographic work, Die Vier Hoeke (The Four Corners), was an in-depth study of the South African penal system. Umjiegwana (The Outside) and Beaufort West extended this investigation to the relationship between everyday life in post-apartheid South Africa and the historical, spatial, and institutional structures of control. Retinal Shift was produced by Subotzky on the occasion of the Standard Bank Young Artist Award 2012 and toured South Africa’s major museums and critically engaged with his ambivalence towards the processes of representation and image construction. Ponte City, a collaboration with artist Patrick Waterhouse, focuses on a single 54-story building that dominates the Johannesburg skyline. The building is cast as the central character in a myriad of interweaving narratives that, through photographs, commissioned texts, historical documents, and urban myths, chart the convoluted histories of both the building and Johannesburg itself. The Ponte City exhibition, which consists of a single installation of thousands of photographs and documents, has been acquired by the San Francisco Museum of Modern Art and the accompanying publication won the 2015 Deutsche Borse Photography Prize.

Subotzky’s work has been exhibited in recent museum presentations The Struggle of Memory at Palais Populaire, Berlin (2024) and Fragile Beauty: Photographs from the Sir Elton John and David Furnish Collection at Victoria & Albert Museum, London (2024).

Notable solo and two-person exhibitions include Home Building Ideas for South Africa (or A Cape Town Landscape), Goodman Gallery Cape Town (2024); Epilogue, Goodman Gallery, London (2022); Tell It To The Mountains, (with Lindokuhle Sobekwa) A4 Foundation, Cape Town (2021); Mikhael Subotzky: WYE, Sherman Contemporary Art Foundation, Sydney (2016); Ponte City (with Patrick Waterhouse), National Galleries, Scotland, UK, then travelled to Le Bal, Paris and FOMU, Antwerp (2014).

His work was included in the 12th Cairo Biennale (2010), The Unexpected Guest, Liverpool Biennial (2012), Rencontres Picha Biennale de Lubumbashi, Lubumbashi (2013) and the 56th Venice Biennale: All the World’s Futures, Venice (2015).

Public collections include Museum of Modern Art, New York; Solomon R Guggenheim Museum, New York; the National Gallery of Art, Washington; Tate, London; Centre Pompidou, Paris; and the South African National Gallery, among others.

Subotzky lives and works in Johannesburg, South Africa.

Misheck Masamvu

Oscillating between abstraction and figuration, Misheck Masamvu’s (b. 1980, Mutare, Zimbabwe) works allow him to address the past while searching for a way of being in the world. As one of the most significant artists from Zimbabwe, Masamvu’s work offers a renewed understanding of visual culture in Africa and the decolonial project more broadly. Rhythmic lines and layered fields of colour have become a prominent language for Masamvu to explore structures of power and how history comes to bear on the contemporary moment, but also how one can adapt to a new way of interacting with the world.

Selected solo exhibitions: Show me how ruins make a home, A Gentil Carioca, São Paulo (2024); Exit Wounds, Goodman Gallery, New York (2024); Safety Pin, Goodman Gallery, Cape Town (2023); Pivot, Bernier/Eliades Gallery, Brussels (2023); Talk to me while I’m eating, Goodman
Gallery, London, United Kingdom (2021); Hata, Goodman Gallery, Cape Town (2019); Still Still, Goodman Gallery, Cape Town; Misheck Masamvu, Institut Français, Paris, France (2015); Disputed Seats, Influx Contemporary Art, Lisbon, Portugal (2009).

Notable group exhibitions include: Kuvhunura/Kupinda nemwenje mudziva, Fondation Blachere Bonnieux, France (2024); Translations: Afro-Asian Poetics, The Institutum, Singapore (2024); Inside Out, Fondation Gandur pour l’Art, Geneva (2022); Witness: Afro Perspectives, El Espacio 23, Miami, USA (2020); Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, Pérez Art Museum Miami, Miami (2020); Two Together, Zeitz Museum of Contemporary Art Africa, Cape Town (2020); Five Bobh: Painting at the End of an Era, Zeitz MOCAA, Cape Town (2017); Africa 2.0 > is there a Contemporary African art?, Influx Contemporary Art, Lisbon (2010); Art, Migration and Identity,, Africa Museum, Arnhem (2008); and 696 , National Gallery of Zimbabwe, Harare (2008).

Major international exhibitions include: The ‘t’ is silent , 8th Biennial of Painting, Museum Dhondt-Dhaenens, Sint-Martens-Latem, Belgium (2022); STILL ALIVE , 5th Aichi Triennale, Aichi, Japan (2022), NIRIN , 22nd Sydney Biennale, Sydney (2020); Incerteza Viva (Live Uncertainty), the 32nd Bienal de São Paulo (2016) and his international debut at Zimbabwe’s inaugural Pavilion at the 54th Venice Biennale (2011).

Collections include: A4 Arts Foundation (Cape Town, South Africa); Braunsfelder Family Collection (Cologne, Germany); Uieshema Collection (Tokyo, Japan); Perez Art Museum (Miami, USA); Pigozzi Collection (Geneva, Switzerland); Taguchi Art Collection (Tokyo, Japan); Fukutake Foundation (Auckland, New Zealand); COMMA Foundation (Damme, Belgium); ANA Collection (Lagos, Nigeria); Sigg Art Foundation, Le Castellet, France; Fondation Gandur pour l’Art (Geneva, Switzerland); and Zeitz Museum of Contemporary Art Africa (Cape Town, South Africa).

Masamvu lives and works in Harare, Zimbabwe.

Jabulani Dhlamini

Jabulani Dhlamini (b. 1983, Warden, South Africa) is a documentary photographer whose practice reflects on his upbringing in the post-apartheid era alongside the experiences of local South African communities. Dhlamini’s meditative approach to photography encourages a closer look at what lies on the edges through an exploration of personal and collective memory.

Dhlamini’s most celebrated bodies of work have focused on key moments in South African history, such as ‘Recaptured’ which looks at cross-generational recollections of the Sharpeville Massacre, ‘Isisekelo’ which documents the familial impact of land dispossession, and ‘iQhawekazi,’ which mapped the shifting legacy of Winnie Madikizela-Mandela at the time of her death in 2018.

Solo exhibitions include: ‘Casa/iKhaya Lami,’ Mitre Gallery, Brazil (2023); ‘Isisekelo,’ Goodman Gallery Johannesburg (2019); ‘Recaptured,’ Goodman Gallery Cape Town (2016); ‘uMama,’ Market Photo Workshop, Johannesburg (2012).

Group exhibitions include: ‘Inganekwane,’ North West University Gallery, South Africa (2022); ‘iHubo – Whispers,’ PhotoSaintGermain festival, France (2022); ‘Side to Side Johannesburg,’ La Permanence Photographique, France (2022); ‘A Different Now is Close Enough to Exhale on You,’ Umhlabathi Collective Gallery, South Africa (2022); ‘Five Photographers. A tribute to David Goldblatt,’ Gerard Sekoto Gallery, French Institute of South Africa and the Alliance Française of Johannesburg.

Dhlamini is an alumni fellow of the Edward Ruiz Mentorship programme and the Market Photo Workshop in Johannesburg.

Dhlamini lives and works in Johannesburg, South Africa.

David Goldblatt

David Goldblatt (1930 – 2018) was born in Randfontein, a small mining town outside of Johannesburg, South Africa. Through his lens, South African he chronicled the structures, people and landscapes of South Africa from 1948 until his death in June 2018. Well known for his photography which explored both public and private life in South Africa, Goldblatt created a body of powerful images which depicted life during the time of Apartheid. Goldblatt also extensively photographed colonial era monuments and buildings with the idea that the architecture reveals something about the people who built them.

In particular, Goldblatt documented the people, landscapes and industry of the Witwatersrand, the resource-rich area in which he grew up and lived, where the local economy was based chiefly on mining. Equal parts artist and documentarian, Goldblatt was known for his practice of attaching extensive captions to his photographs, which almost always identify the subject, place, and time in which the image was taken. These titles often play a vital role in exposing the visible and invisible forces through which the country’s policies of extreme racism and segregation shaped the dynamics of life, especially along axes of gender, labor, identity, and freedom of movement. Beyond endowing his images with documentary power, Goldblatt’s titles also dignify the people and places he photographs.

In 1989, Goldblatt founded the Market Photography Workshop, a training institution in Johannesburg, for aspiring photographers. In 1998 he was the first South African to have a solo exhibition at the Museum of Modern Art in New York. The Goldblatt Archive is held by Yale University, in New Haven, Connecticut.

In 2001, a retrospective of his work, ‘David Goldblatt Fifty-One Years’ began a tour of galleries and museums. He was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. A more recent retrospective includes, ‘David Goldblatt: No Ulterior Motive at the AIC’ (2018), which is now touring. This major traveling retrospective exhibition spans the seven decades of this South African photographer’s career, from the 1950s to the 2010s, demonstrating Goldblatt’s commitment to showing the realities of daily life in his country. The exhibition and accompanying publication bring together roughly 150 works by Goldblatt from the collections of the Yale University Art Gallery and the Art Institute of Chicago—two major Goldblatt repositories—including his early black-and-white photography and his post-apartheid, large-format color photography.

Goldblatt was the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award, the 2013 ICP Infinity Award and in 2016, he was awarded the Commandeur des Arts et des Lettres by the Ministry of Culture of France.

Other notable group exhibitions and biennales include: ILLUMInations at the 54th Venice Biennale in 2011, South Africa in Apartheid and After, San Francisco Museum of Modern Art (2013); Everything Was Moving: Photography from the 60s and 70s, Barbican Centre, London (2012). He also exhibited at the Jewish Museum (2010); and the New Museum (2009), both in New York.

Selected key collections include: Museum of Modern Art (MoMA), New York; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art (SFMOMA); Tate Modern, London; Victoria and Albert Museum, London; Centre Pompidou, Paris; The J. Paul Getty; Museum, Los Angeles; National Gallery of Art, Washington, D.C.; Art Institute of Chicago; The Israel Museum, Jerusalem; Huis Marseille, Museum for Photography, Amsterdam; The Museum of Fine Arts, Houston; The Nelson-Atkins Museum of Art, Kansas City; The Walther Collection, Neu-Ulm, Germany and New York; National Gallery of Australia, Canberra; Stedelijk Museum, Amsterdam; Fotomuseum Winterthur, Switzerland; Yale University Art Gallery, New Haven; Johannesburg Art Gallery, South Africa; Iziko South African National Gallery, Cape Town; Art Gallery of New South Wales, Sydney; Princeton University Art Museum, Princeton; Moderna Museet, Stockholm; Museum Folkwang, Essen; Musée de l’Élysée, Lausanne; Carnegie Museum of Art, Pittsburgh; Museo Nacional Centro de Arte Reina Sofía, Madrid; Los Angeles County Museum of Art, Los Angeles.

William Kentridge

William Kentridge (b. 1955, Johannesburg, South Africa) is internationally acclaimed for his drawings, films, theatre and opera productions.

In 2024, 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. Folowing this, in October, MUBI presented: William Kentridge’s ‘Self-Portrait as a Coffee-Pot’ Premiere in New York.

In conjunction with the world premiere of his newly commissioned opera The Great Yes, The Great No, which debuted at LUMA Arles in July 2024, the solo exhibition Je n’attends plus (I’m Not Waiting Any Longer) presents a collection of major works, some of which had not been seen in Europe before.

Kentridge’s largest UK survey to date was held at the Royal Academy of Arts in London in 2022. An iteration of Kentridge’s Royal Academy survey opened at the Taipei Museum of Fine Arts in May 2024. In the same year Kentridge opened another major survey exhibition, In Praise of Shadows, at The Broad, Los Angeles. In 2023, this exhibition travelled to the Museum of Fine Arts, Houston.

Kentridge’s work has been seen in museums across the globe since the 1990s, including the Luma Foundation, France (2024); Arsenale Institute for Politics of Representation, Venice (2024); Taipei Fine Arts Museum (2024); Museum of Modern Art, New York (1999, 2005, 2010); Albertina Museum, Vienna (2010); Musée du Louvre, Paris (2010); National Museum of Modern and Contemporary Art, Korea; Reina Sofia Museum, Madrid (2015); Kunstmuseum Basel (2019); Norval Foundation, Cape Town (2019). 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.

Kentridge lives and works in Johannesburg, South Africa.