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| African art around the globe | African art around the globe |
| (30 days later) | |
| Savannah, Georgia | Savannah, Georgia |
| Yinka Shonibare's Addio del Passato at the SCAD Museum of Art until 27 January | Yinka Shonibare's Addio del Passato at the SCAD Museum of Art until 27 January |
| An exhibition of new works by Yinka Shonibare features photographs from Shonibare's allegorical Fake Death Pictures series, sculptures, and the film Addio Del Passato (So Closes My Sad Story) that collectively explore themes of desire, love, repression and power. These works weave together conceptual impressions of colonialism using a theatrical vocabulary and visual imagery that speak to history through the lens of the present. | An exhibition of new works by Yinka Shonibare features photographs from Shonibare's allegorical Fake Death Pictures series, sculptures, and the film Addio Del Passato (So Closes My Sad Story) that collectively explore themes of desire, love, repression and power. These works weave together conceptual impressions of colonialism using a theatrical vocabulary and visual imagery that speak to history through the lens of the present. |
| Amsterdam | Amsterdam |
| Hollandaise at the Stedelijk Museum Bureau Amsterdam until 6 January | Hollandaise at the Stedelijk Museum Bureau Amsterdam until 6 January |
| This exhibition looks at the longstanding economic relation between the Netherlands and the African continent. Built on a creative and analytical examination of historical, global developments and their local implications in relation to iconic Dutch wax cloth, the curator Koyo Kouoh invites five artists working with textile to reflect and create new works for this show, which will go on to travel to Dakar in Senegal. Hollandaise, the brightly coloured fabric regarded as typically African, is the result of complex globalisation processes that to this day exhibit colonial features. | This exhibition looks at the longstanding economic relation between the Netherlands and the African continent. Built on a creative and analytical examination of historical, global developments and their local implications in relation to iconic Dutch wax cloth, the curator Koyo Kouoh invites five artists working with textile to reflect and create new works for this show, which will go on to travel to Dakar in Senegal. Hollandaise, the brightly coloured fabric regarded as typically African, is the result of complex globalisation processes that to this day exhibit colonial features. |
| Artists: Godfried Donkor (Ghana), Abdoulaye Konaté (Mali), Wendelien van Oldenborgh (The Netherlands), Willem de Rooij (The Netherlands), Billie Zangewa (Malawi) | Artists: Godfried Donkor (Ghana), Abdoulaye Konaté (Mali), Wendelien van Oldenborgh (The Netherlands), Willem de Rooij (The Netherlands), Billie Zangewa (Malawi) |
| Antananarivo | Antananarivo |
| Pierrot Men's Il était une femme… at no comment until 31 December | Pierrot Men's Il était une femme… at no comment until 31 December |
| Following the launch of the Malagasy photographer Pierrot Men's latest book, Il était une femme…, the publisher No Comment showcases Men's images along with a video interview with the artist. Men's images capture moments of life, faces, expressions that poetically tell the lives of women in Madagascar. | Following the launch of the Malagasy photographer Pierrot Men's latest book, Il était une femme…, the publisher No Comment showcases Men's images along with a video interview with the artist. Men's images capture moments of life, faces, expressions that poetically tell the lives of women in Madagascar. |
| Cape Town | Cape Town |
| Spring show at the Goodman Gallery until 7 December | Spring show at the Goodman Gallery until 7 December |
| A group exhibition featuring many of the Goodman's stable of artists including Clive van den Berg, Stuart Bird, Adam Broomberg & Oliver Chanarin, Kudzanai Chiurai, Claire Gavronsky, Kendell Geers, David Goldblatt, Moshekwa Langa, Gerhard Marx, Brett Murray, Sam Nhlengethwa, Walter Oltmann, Rose Shakinovsky, Mikhael Subotzky and Sue Williamson. | A group exhibition featuring many of the Goodman's stable of artists including Clive van den Berg, Stuart Bird, Adam Broomberg & Oliver Chanarin, Kudzanai Chiurai, Claire Gavronsky, Kendell Geers, David Goldblatt, Moshekwa Langa, Gerhard Marx, Brett Murray, Sam Nhlengethwa, Walter Oltmann, Rose Shakinovsky, Mikhael Subotzky and Sue Williamson. |
| Cape Town | Cape Town |
| Fiction as Fiction (or, A Ninth Johannesburg Biennale) at the Stevenson Gallery until 12 January | Fiction as Fiction (or, A Ninth Johannesburg Biennale) at the Stevenson Gallery until 12 January |
| The third exhibition in the year-long Trade Routes Project, in which the gallery pays tribute to the 1997 Johannesburg biennale. The biennale's second edition, organised by Okwui Enwezor in 1997, was also its last. With the exhibition's closure, South Africa witnessed a temporary end to the presentation of international contemporary art within its borders. How would (local) art history have been altered if the Johannesburg biennale had not closed down? What if we imagine there was a third incarnation in 1999? A fourth in 2001? A fifth, after some delay, in 2004? | The third exhibition in the year-long Trade Routes Project, in which the gallery pays tribute to the 1997 Johannesburg biennale. The biennale's second edition, organised by Okwui Enwezor in 1997, was also its last. With the exhibition's closure, South Africa witnessed a temporary end to the presentation of international contemporary art within its borders. How would (local) art history have been altered if the Johannesburg biennale had not closed down? What if we imagine there was a third incarnation in 1999? A fourth in 2001? A fifth, after some delay, in 2004? |
| What if the ninth Johannesburg biennale were slated to take place at the end of 2012? What might the biennale be about? Which artists might be in the show? In asking these kinds of questions, one invites responses that are in essence fictional. Perhaps, then, there is no better subject for a fictional biennale than fiction itself. | What if the ninth Johannesburg biennale were slated to take place at the end of 2012? What might the biennale be about? Which artists might be in the show? In asking these kinds of questions, one invites responses that are in essence fictional. Perhaps, then, there is no better subject for a fictional biennale than fiction itself. |
| Artists: Yto Barrada, Yael Bartana, Dineo Seshee Bopape, Chimurenga, Peter Clarke, Ângela Ferreira, Yang Fudong, Nicholas Hlobo, Robin Rhode, Penny Siopis, Frohawk Two Feathers, Kemang Wa Lehulere, Lynette Yiadom-Boakye. | Artists: Yto Barrada, Yael Bartana, Dineo Seshee Bopape, Chimurenga, Peter Clarke, Ângela Ferreira, Yang Fudong, Nicholas Hlobo, Robin Rhode, Penny Siopis, Frohawk Two Feathers, Kemang Wa Lehulere, Lynette Yiadom-Boakye. |
| Chalon sur Saône | Chalon sur Saône |
| Archives and Bruno Boudjelal's Algérie, clos comme on ferme un livre? (Algeria, closed like closing a book?) at the Musée Nicéphore Niépce until 20 January | Archives and Bruno Boudjelal's Algérie, clos comme on ferme un livre? (Algeria, closed like closing a book?) at the Musée Nicéphore Niépce until 20 January |
| The first part of this two-part exhibition includes colonial-era military images and those taken during 1990s from the museum's archives, and is intended to try to make sense of the historical implications of a French colonial presence in Algeria. The second features a body of work developed by the French-Algerian photographer Bruno Boudjelal. From the late 1990s Boudjelal has, with the support of the museum, returned on numerous sojourns to the country of his ancestry, a nation that has endured political discord. He has worked to formulate his own contemporary narrative in contrast to that envisioned by writers and journalists, attempting to approach a highly complex situation. From a journey that began when Bruno went to find his father's family, he created a photographic diary recording his thoughts and feelings, and documenting the living conditions of the Algerian people he encountered along the way – to make this body of a work in which he pays tribute to Frantz Fanon. The exhibition features approximately 75 black and white images. | The first part of this two-part exhibition includes colonial-era military images and those taken during 1990s from the museum's archives, and is intended to try to make sense of the historical implications of a French colonial presence in Algeria. The second features a body of work developed by the French-Algerian photographer Bruno Boudjelal. From the late 1990s Boudjelal has, with the support of the museum, returned on numerous sojourns to the country of his ancestry, a nation that has endured political discord. He has worked to formulate his own contemporary narrative in contrast to that envisioned by writers and journalists, attempting to approach a highly complex situation. From a journey that began when Bruno went to find his father's family, he created a photographic diary recording his thoughts and feelings, and documenting the living conditions of the Algerian people he encountered along the way – to make this body of a work in which he pays tribute to Frantz Fanon. The exhibition features approximately 75 black and white images. |
| Charleroi | Charleroi |
| Intranquillités at BPS22 space for contemporary creation until 16 December | Intranquillités at BPS22 space for contemporary creation until 16 December |
| Intranquillités, a title borrowed from the Portuguese poet Fernando Pessoa, evokes a state of anxiety, restlessness, even insecurity. Yet the idea behind the title differs completely insofar as it represents a call for alertness, for keeping senses and sensibility awake. Curiosity (as a tool for emancipation), free speech and the quest for crosses' origins drive this group exhibit. The works of the Moroccan artists Charif Benhelima, Mohamed El Baz and Mounir Fatmi draw from the curiosity and will to know, to understand the situations that we live in and see every day in our globalised world. Questioning and deconstructing realities built through media, these artworks invite us to stand still yet activated, inducing an agitating curiosity that alone guarantees our conscience. | Intranquillités, a title borrowed from the Portuguese poet Fernando Pessoa, evokes a state of anxiety, restlessness, even insecurity. Yet the idea behind the title differs completely insofar as it represents a call for alertness, for keeping senses and sensibility awake. Curiosity (as a tool for emancipation), free speech and the quest for crosses' origins drive this group exhibit. The works of the Moroccan artists Charif Benhelima, Mohamed El Baz and Mounir Fatmi draw from the curiosity and will to know, to understand the situations that we live in and see every day in our globalised world. Questioning and deconstructing realities built through media, these artworks invite us to stand still yet activated, inducing an agitating curiosity that alone guarantees our conscience. |
| Cotonou | Cotonou |
| Inventing the World: The Artist as Citizen at the Biennale Bénin 2012 until 13 January | Inventing the World: The Artist as Citizen at the Biennale Bénin 2012 until 13 January |
| Inventing the World: The Artist as Citizen takes public initiatives that have occurred in Benin in recent years such as Meschac Gaba's Musée de l'Art et de la Vie Active and Zinkpè's Boulev'art as a starting point to interrogate the notion of the artist as citizen both as an aesthetic idea and an ethical project. Biennale Bénin 2012 will present new commissions and existing works by 36 artists as part of the international exhibition and feature nearly 100 additional artists in the special projects, encounters and workshops. | Inventing the World: The Artist as Citizen takes public initiatives that have occurred in Benin in recent years such as Meschac Gaba's Musée de l'Art et de la Vie Active and Zinkpè's Boulev'art as a starting point to interrogate the notion of the artist as citizen both as an aesthetic idea and an ethical project. Biennale Bénin 2012 will present new commissions and existing works by 36 artists as part of the international exhibition and feature nearly 100 additional artists in the special projects, encounters and workshops. |
| Doha | Doha |
| Tea With Nefertiti at the Arab Museum of Modern Art until 31 March | Tea With Nefertiti at the Arab Museum of Modern Art until 31 March |
| Tea with Nefertiti examines our perceptions of an artwork from three distinct perspectives: the artist, the museum and the public. Through revisiting the contested histories of how Egyptian collections have been amassed by numerous museums from the 19th century onwards, it brings together antiquities, modernist works, archives, and 26 international contemporary artists and artist collectives to explore the mechanisms by which artworks come to acquire a range of meanings and functions that can embody a number of diverse, and at times conflicting, narratives. Curated by Sam Bardaouil and Till Fellrath of Art Reoriented, Tea with Nefertiti comprises more than 100 artworks dating from c1800 BC to the present, ranging from painting, sculpture and photography to video and mixed-media installation. It also includes a newly commissioned site-specific intervention by Bassem Yousri. | Tea with Nefertiti examines our perceptions of an artwork from three distinct perspectives: the artist, the museum and the public. Through revisiting the contested histories of how Egyptian collections have been amassed by numerous museums from the 19th century onwards, it brings together antiquities, modernist works, archives, and 26 international contemporary artists and artist collectives to explore the mechanisms by which artworks come to acquire a range of meanings and functions that can embody a number of diverse, and at times conflicting, narratives. Curated by Sam Bardaouil and Till Fellrath of Art Reoriented, Tea with Nefertiti comprises more than 100 artworks dating from c1800 BC to the present, ranging from painting, sculpture and photography to video and mixed-media installation. It also includes a newly commissioned site-specific intervention by Bassem Yousri. |
| London | London |
| Joel Andrianomearisoa's Waiting for the Seventh Day That Will Bring Us Together at the Jack Bell Gallery until 15 December | Joel Andrianomearisoa's Waiting for the Seventh Day That Will Bring Us Together at the Jack Bell Gallery until 15 December |
| Andrianomearisoa frequently experiments with how paper and textiles can be used as a medium, and black features prominently. In Waiting for the Seventh Day he presents his ongoing exploration of eroticism, desire and negotiations with love. How does one speak of love, or understand love in the age of reason? The artist's engagement with this contradiction is what forms the raw material of the show. The exhibition highlights the bodily presence of the viewer as itself a central aspect to the negotiation of space and ideas within his work. | Andrianomearisoa frequently experiments with how paper and textiles can be used as a medium, and black features prominently. In Waiting for the Seventh Day he presents his ongoing exploration of eroticism, desire and negotiations with love. How does one speak of love, or understand love in the age of reason? The artist's engagement with this contradiction is what forms the raw material of the show. The exhibition highlights the bodily presence of the viewer as itself a central aspect to the negotiation of space and ideas within his work. |
| London | London |
| William Kentridge's I am not me, the horse is not mine at the The Tanks at Tate Modern until 20 January | William Kentridge's I am not me, the horse is not mine at the The Tanks at Tate Modern until 20 January |
| The South African artist William Kentridge's eight-channel video installation, I am not me, the horse is not mine, will be showcased in the UK for the first time in the Tanks at Tate Modern. Projected simultaneously across the walls of the Tank, each film is played on a continuous loop to create an immersive audio-visual environment, which resists the establishment of a single narrative. Each short film contributes layers to a story that references Russian modernism, from Soviet film of the 1920s and 1930s to the calamitous end of the Russian avant-garde. | The South African artist William Kentridge's eight-channel video installation, I am not me, the horse is not mine, will be showcased in the UK for the first time in the Tanks at Tate Modern. Projected simultaneously across the walls of the Tank, each film is played on a continuous loop to create an immersive audio-visual environment, which resists the establishment of a single narrative. Each short film contributes layers to a story that references Russian modernism, from Soviet film of the 1920s and 1930s to the calamitous end of the Russian avant-garde. |
| Los Angeles | Los Angeles |
| Wangechi Mutu's N̶i̶t̶a̶r̶u̶d̶i̶ Ninarudi, Swahili for I̶ ̶p̶l̶a̶n̶ ̶t̶o̶ ̶r̶e̶t̶u̶r̶n̶ I am returning at the Susanne Vielmetter Los Angeles Projects until 22 December | Wangechi Mutu's N̶i̶t̶a̶r̶u̶d̶i̶ Ninarudi, Swahili for I̶ ̶p̶l̶a̶n̶ ̶t̶o̶ ̶r̶e̶t̶u̶r̶n̶ I am returning at the Susanne Vielmetter Los Angeles Projects until 22 December |
| The show, located in all four galleries, includes a major video installation as well as new collages and sculptural works where Mutu continues to address perceptions of conflicting cultural projections played out on the body through her contemplations on race and gender. Her hybrid beings, still fused and molded from plants, animals, machines, porn imagery and medical illustrations, are populating her collages in ever widening ranges of materials, but the tone of the work has shifted towards a deeper exploration and disclosure of the artist's own experience in the diaspora. In this exhibition, ideas around longing, memory, and exile resonate and subvert traditional notions of a singular place of origin. Fusing her Kenyan experience with inflections of other cultural influences, the work calls into question any notion of a static identity and firmly rejects the centralisation and dominance of Eurocentric constructs within and outside of her homeland. | The show, located in all four galleries, includes a major video installation as well as new collages and sculptural works where Mutu continues to address perceptions of conflicting cultural projections played out on the body through her contemplations on race and gender. Her hybrid beings, still fused and molded from plants, animals, machines, porn imagery and medical illustrations, are populating her collages in ever widening ranges of materials, but the tone of the work has shifted towards a deeper exploration and disclosure of the artist's own experience in the diaspora. In this exhibition, ideas around longing, memory, and exile resonate and subvert traditional notions of a singular place of origin. Fusing her Kenyan experience with inflections of other cultural influences, the work calls into question any notion of a static identity and firmly rejects the centralisation and dominance of Eurocentric constructs within and outside of her homeland. |
| Rome | Rome |
| Pascale Marthine Tayou's Secret Garden at the Museum of Contemporary Art of Rome until 10 February | Pascale Marthine Tayou's Secret Garden at the Museum of Contemporary Art of Rome until 10 February |
| The celebrated Cameroonian artist Pascale Marthine Tayou presents his first solo exhibition at Macro, curated by Bartolomeo Pietromarchi. Tayou's numerous installations give a platform to the western conception of African exoticism that is full of energy and vitality, but is also complex and contradictory. The artist's work, as his name written in the feminine form delineates, is deliberately heterogeneous and indefinable, elusive in respect to predetermined patterns. The definition of Tayou's poetic process hangs between the eccentric and colourful story of everyday life and the necessity to mix human characteristics and geographies, cultures and situations, which are not easy to identify. The common thread in his works is the idea of journey, not only physical but also mental, that is manifested as a constant geographical and cultural nomadism. | The celebrated Cameroonian artist Pascale Marthine Tayou presents his first solo exhibition at Macro, curated by Bartolomeo Pietromarchi. Tayou's numerous installations give a platform to the western conception of African exoticism that is full of energy and vitality, but is also complex and contradictory. The artist's work, as his name written in the feminine form delineates, is deliberately heterogeneous and indefinable, elusive in respect to predetermined patterns. The definition of Tayou's poetic process hangs between the eccentric and colourful story of everyday life and the necessity to mix human characteristics and geographies, cultures and situations, which are not easy to identify. The common thread in his works is the idea of journey, not only physical but also mental, that is manifested as a constant geographical and cultural nomadism. |
San Francisco | San Francisco |
| David Goldblatt, Ernest Cole, and Billy Monk's South Africa in Apartheid and After at the San Francisco Museum of Modern Art until 5 March | David Goldblatt, Ernest Cole, and Billy Monk's South Africa in Apartheid and After at the San Francisco Museum of Modern Art until 5 March |
| This show illuminates a vital, difficult, and contested period in the recent history of South Africa from the perspectives of three photographers: David Goldblatt, Ernest Cole, and Billy Monk. The son of eastern European immigrants, documentary photographer Goldblatt came of age under apartheid and observed the increasing entrenchment of racial inequality in his country. His early project In Boksburg (1982) portrays a typical suburban white community shaped by what the artist calls "white dreams and white proprieties." Included at Goldblatt's request, photographs by Cole and Monk expand the exhibition's field of view. Cole, a self-taught black South African documentary photographer, observed the other side of the racial divide in the 1960s, making photographs that are eloquently observant and deeply humane. Monk's work offers a raw and witty record of The Catacombs, a rowdy Cape Town nightclub where he worked as a bouncer in the 1960s. These three groups of pictures are complemented by a selection of Goldblatt's recent, post-apartheid photographs, sober yet hopeful records of an imperfect, still-evolving democracy. | This show illuminates a vital, difficult, and contested period in the recent history of South Africa from the perspectives of three photographers: David Goldblatt, Ernest Cole, and Billy Monk. The son of eastern European immigrants, documentary photographer Goldblatt came of age under apartheid and observed the increasing entrenchment of racial inequality in his country. His early project In Boksburg (1982) portrays a typical suburban white community shaped by what the artist calls "white dreams and white proprieties." Included at Goldblatt's request, photographs by Cole and Monk expand the exhibition's field of view. Cole, a self-taught black South African documentary photographer, observed the other side of the racial divide in the 1960s, making photographs that are eloquently observant and deeply humane. Monk's work offers a raw and witty record of The Catacombs, a rowdy Cape Town nightclub where he worked as a bouncer in the 1960s. These three groups of pictures are complemented by a selection of Goldblatt's recent, post-apartheid photographs, sober yet hopeful records of an imperfect, still-evolving democracy. |
| St Petersburg | St Petersburg |
| Roger Ballen's Shadow Land at the Rosphoto State Museum and Exhibition Centre for Photography until 19 December | Roger Ballen's Shadow Land at the Rosphoto State Museum and Exhibition Centre for Photography until 19 December |
| The internationally acclaimed photographer Roger Ballen's first major exhibition in Russia features works created over a period of three decades. It ranges from his early series Dorps and the highly charged and controversial series Platteland, Outland, Shadow Chamber and Boarding House through to unseen new work from the series Asylum. His strange and extreme works confront the viewer and challenge them to come with him on a journey into their own minds as he explores the deeper recesses of his own. His distinctive style of photography has evolved using a simple square format in stark and beautiful black and white. | The internationally acclaimed photographer Roger Ballen's first major exhibition in Russia features works created over a period of three decades. It ranges from his early series Dorps and the highly charged and controversial series Platteland, Outland, Shadow Chamber and Boarding House through to unseen new work from the series Asylum. His strange and extreme works confront the viewer and challenge them to come with him on a journey into their own minds as he explores the deeper recesses of his own. His distinctive style of photography has evolved using a simple square format in stark and beautiful black and white. |
| In Ballen's earlier works, his connection to the tradition of documentary photography is clear. From the 1990s however, he developed a style he describes as "documentary fiction". The line between fantasy and reality is even more blurred in his more recent series. Ballen has invented a new hybrid aesthetic; often employing drawings, painting, collage and sculptural techniques to create elaborate sets where people ore often absent. In these his most recent works Ballen's aesthetic codes clearly show an evolution yet remain firmly rooted in photography. | In Ballen's earlier works, his connection to the tradition of documentary photography is clear. From the 1990s however, he developed a style he describes as "documentary fiction". The line between fantasy and reality is even more blurred in his more recent series. Ballen has invented a new hybrid aesthetic; often employing drawings, painting, collage and sculptural techniques to create elaborate sets where people ore often absent. In these his most recent works Ballen's aesthetic codes clearly show an evolution yet remain firmly rooted in photography. |
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