Goodman Gallery

Happy birthday Paul Maheke🎈

Across various forms and artistic disciplines, has sustained a long-term exploration into the ways that marginalised bodies, narratives and histories are made visible and invisible. Resisting a probing of identity that sits solely within the framework of identity politics, Maheke’s trajectory has continuously been channelled through spectral sensations.

Maheke presents his largest UK solo exhibition to date at titled ‘To Be Blindly Hopeful’, showing new work that encourages resilience.

In a new book opens our eyes to exactly what Duchamp was doing in Munich and why he stopped painting in 1919.

“Duchamp’s Endgame" by Kendell Geers is a passionate tale about the fundamental mysteries of what the work by the Godfather of Dada and Pope of Surrealism. This captivating narrative challenges the official canons and takes the reader on a visually fascinating journey through the mesmerizing labyrinths of the artist’s imagination.

Order though

Join us in Johannesburg tomorrow for the opening of Sue Williamson’s solo exhibition ‘Short Stories in a Longer Tale’

The show includes new and important unseen early works by , marking the artist's 30th year with Goodman Gallery. With the power of the female voice a central thread, viewers are introduced to the exhibition space with a selection of photographs from ‘All Our Mothers’, a series Williamson began in the 1980s.

Opening reception:
🗓 Saturday, 20 July from 10:30
🎙 Walkabout with the artist from 11:00

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Images:
All Our Mothers: Barbara Masekela, Johannesburg, 2022 (detail)
All Our Mothers: Gertrude Shope, Pretoria, 2012 (detail)
All Our Mothers: Frene Ginwala, Johannesburg, 2022 (detail)

On view at : Carlos Garaicoa’s solo exhibition ‘Toda utopía pasa por la barriga’

Through the study of architecture, urbanism and decay, ’s work explores culture, history and politics. In this show the artist considers more intimately our place within and effect on the natural world.

Curated by Lillebit Fadraga, the show brings together works from the last 5 years in the artist's production and is co-produced with , where it will travel in September this year.

On view until 1 September

Happy birthday Kiluanji Kia Henda🎈

Born in Luanda, employs a surprising sense of humour in his work, explores themes related of identity, politics, and perceptions of post-colonialism and modernism in Africa. Kia Henda brings a critical edge to his multidisciplinary practice, which incorporates photography, video, and performance.

View the artist’s photographic series ‘The Geometric Ballad of Fear’ and sculpture ‘A Espiral do Medo (The Spiral of Fear)’ as part of the 60th curated by , titled ‘Stranieri Ovunque – Foreigners Everywhere’

Kia Henda will present a new installation as part of the in September

On view at : Ghada Amer and Candice Breitz as part of the group exhibition, ‘The lnfinite Woman’

Exploring identity, sexuality, pleasure and power, The lnfinite Woman sheds light on the ways in which women have been viewed from the earliest myths to the most contemporary and subversive representations.

The show features ’s 6-channel video installation ‘Mother’ (2005) as well as ’s ‘Les Grands Nymphéas’ (2018-2022) and ‘Your Silence’ (2023).

Until 3 November

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Installation views, The Infinite Woman, 2024
© Nicolas Brasseur for Fondation Carmignac

Happy birthday Yto Barrada!

's work — including photography, film, sculpture, prints and installations, — began by exploring her hometown Tangier.

In the series of photographs, 'Plumber Assemblage, Fig.1 - 10, Tangier' (2014), the artist considers the romanticism attached to objects characterized as ‘foreign’ and through this process, examines how value is assigned. Found objects such as pipes, faucets, and spigots — which are reused in assemblages by plumbers to advertise their services in Tangier — are placed outside of their typical context in poses that reconfigure their meaning. The series was presented as part of Barrada’s first solo exhibition in Johannesburg 'She Could Talk a Flood Tide Down' in which she engaged different aspects of language and play — and through humour allowed for deeper reflection and a closer reading of objects, materials and processes.

View this body of work as part of 's 10-year survey of Barrada’s photographic and film practice, 'Yto Barrada: Part-Time Abstractionist'
Until 2 September

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Installation views, Yto Barrada: Part-Time Abstractionist. May 22–September 2, 2024, International Center of Photography, New York. Image © Jeenah Moon for ICP

🐟🧶View Ernesto Neto’s large, immersive sculpture ‘Um dia todos fomos piexes’ at the Joburg Contemporary Art Foundation

The work is included in the ’s group exhibition ‘Ecospheres’ which aims to address the topic of ecology, the environment, climate and the natural world through the concept of making-with (living with).

The sculpture is a knitted blue net scented with aromatic spices, inviting visitors to be present and relax within the atmosphere created by the work. As the title - Um dia todos fomos peixes (One Day We Were all Fish) - and aesthetic of the sculpture suggest, the work draws much of its inspiration from the ocean. For Neto, the ocean has been a point of fascination since childhood, making it the perfect source material for his ongoing inquiry into the relationships between the human body and natural landscapes. The netting of the work itself is an abstract representation of a giant fish, an idea which struck Neto during a ceremony in Brazil lead by the spiritual leader Álvaro Tukano.

🗓 On view until 7 December 2024



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Image 1 & 3
Installation views showing Ernesto Neto, Um dia todos fomos peixes (One day we were all fish) (2017). © Ernesto Neto. Photo Graham De Lacy.

Image 2
Installation view of ATMOSPHERE 1. Water: Narrative and Myth-Making: in the foreground, Ernesto Neto, Um dia todos fomos peixes (One day we were all fish) (2017); in the background, Zizipho Poswa, uNa’kaMzingisi (Mzingisi’s Mother) (2024). Photo Graham De Lacy.

Currently on view at → William Kentridge: Je n’attends plus

La Mécanique Générale
Until January 12, 2025

A solo exhibition including new drawings, sculpture and a new film installation related to “The Great Yes, The Great No”, a new chamber opera by William Kentridge, commissioned by LUMA Foundation, in partnership with the Festival d’Aix-en-Provence.

In Conversation – William Kentridge and Homi K. Bhabha
Wednesday, July 10th at 11:30 am
La Grande Halle, Landscaped park

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Installation views from “Je n’attends plus”

Closing soon: .jungerman’s ‘Still Waters’ in Johannesburg

The exhibition also includes Broos, a film composed of photographs and brief video clips Jungerman made during ancestral rituals held by descendants of the Bakabusi on the Rorac plantation in Suriname. The film exists partly as a contextual tool, offering a cinematic entryway into Jungerman’s references and materials. It also exists as a work on its own, located thematically at the centre, indicating the rhythmic energy that moves between all the works. Making its debut on the continent, the film was shown as part of his 2021/2 survey exhibition at the Stedelijk Museum in Amsterdam.

On view until 11 July

Opening this weekend at : the world premiere for ‘The Great Yes, The Great No’, a newly commissioned William Kentridge performance

🗓 7 - 10 July 2024
📍 La Grande Halle, Parc des Ateliers, LUMA

The story behind ‘The Great Yes, the Great No’ begins in June 1941, when a converted cargo ship, the Capitaine Paul Lemerle, sailed from Marseille to Martinique. Among the passengers escaping Vichy France were the surrealist André Breton, the anthropologist Claude Lévi-Strauss, the Cuban artist Wifredo Lam, the communist novelist Victor Serge, and the author Anna Seghers. The captain of the boat is Charon, the ferryman of the dead, who calls other characters onto the deck - Aimé Césaire, The Nardal sisters, who together with the Césaires and Senghor had founded the anti-colonial Négritude movement in Paris, in the 1920s and 1930s. Frantz Fanon joins the group along with Trotsky, Frida Kahlo and Diego Rivera. The boat journey is the 1941 crossing of the Atlantic, but also references earlier crossings from Africa to the Caribbean, as well as contemporary forced sea crossings.

Opening tomorrow: Pélagie Gbaguidi’s solo exhibition at Contemporary Art Museum of Haute-Vienne – Château de Rochechouart

Saturday, 29 June from 17:30

For ’s first museum exhibition in France, the artist brings together a range of recent paintings, drawings and graphic works. This new body of work shares a number of motifs, such as fragments of body parts rendered in vigorous, gestural markings on torn swaths of canvas, violent clashes between matter and surface, and insistence on physicality. Bridging the gap between an ancestral past and the possibilities of creating new images for the future, Gbaguidi seeks to mediate individual memories and untold stories.



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Pélagie Gbaguidi, All Languages Speak, 2019 - 2022
Embroidery on flour sack
📸 Peter Cox
Courtesy Zeno X Gallery, Antwerp

Opening this weekend: William Kentridge’s solo exhibition at , Je n’attends plus

30 June 2024 - 12 January 2025
La Mécanique Générale, Parc des Ateliers, LUMA

In conjunction with the world premiere of his newly commissioned opera The Great Yes, The Great No, which will debut at LUMA Arles, the exhibition Je n’attends plus (I am Not Waiting Any Longer) presents a group of major works, some of which have not been seen in Europe before. Dealing with issues of migration, oppression, racial relations, the transmission of history, and the role of the artist in a society under duress, the exhibition brings together a remarkable body of experimental and performative work.



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William Kentridge
Still from You Whom I Could Not Save, 2023
Single channel HD film
7 minutes 23 seconds
Courtesy William Kentridge Studio

Dior’s Autumn/Winter 2024-2025 Haute Couture Show earlier this week paid tribute to the late Faith Ringgold.

Under ’s Creative Director, , the collection celebrates Ringgold’s dedication to social justice and feminist politics, blending Haute Couture with powerful narratives of female empowerment.

"The scenography with installations showcasing some of Ringgold’s most iconic series: 'Freedom Woman Now' and 'Woman Free Yourself'. These political posters, born in the early 1970s, were potent reminders of Ringgold’s enduring feminist and activist spirit. Freedom Woman Now, with its interlocking triangles and bold declarations, remains a clarion call for gender equality—a message as powerful today as it was over fifty years ago." - Monica de Luna, Le Mile Magazine

One standout feature of the show was the reinterpretation of Ringgold’s 'Windows of the Wedding #1: Woman', a series that celebrated the collaboration between Ringgold and her mother, Madame Willi Posey.

This follows Goodman Gallery and collaborative presentation of Ringgold's major installation 'The Wake and Resurrection of the Bicentennial Negro' at Unlimited

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© .In and .School

On view at the 2024 Venice Biennale: ’s photographic series ‘The Geometric Ballad of Fear’

The series is made up photographs of idyllic landscapes on the Sardinian coast, between stacks, wild vegetation and the open sea. However, each photograph was superimposed on the structure of a grid, evocative of metal barriers of protection and repentance. The landscape scenarios, already anesthetized by the choice of black and white, appear inaccessible and forced into the distance, as if they were observed through a security barrier. The work evokes the walls and borders, physical and legal, with which the European continent has equipped itself in response to the arrival of migratory flows in recent years and which have transformed the arrival towards the European coasts into a trap, a geometry fear of a militarized continent.

View this work as part of ’s main exhibition ‘Stranieri Ovunque – Foreigners Everywhere’ curated by

View work by and in this year’s Drawing Biennial

This year’s Biennial is a vibrant pulse-check of contemporary drawing in 2024, as well as a vital fundraiser that provides with funding for the next two years of activity, supporting artists and community by championing drawing.

Each Biennial reflects the conditions of our time, highlighting the diverse ways in which the artists use drawing to ‘pick, poke, prod and probe’ to process and understand the world.

Visit to learn more and to bid on their online fundraising auction. Bidding is open and ends 8pm, 3 July.

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Images
Paul Maheke, I Said Goodbye to the Ghosts of Yesterday (2), 2023, Acrylic pencil and ink on paper (detail)

Paul Maheke, I Said Goodbye to the Ghosts of Yesterday (1), 2023, Acrylic pencil and ink on paper (detail)

ruby onyinyechi amanze, architecture four-ways + one swimming pool, 2024, Graphite, ink, cut paper, medium, screenprint on paper (detail)

🟠 Opening soon: El Anatsui at
🗓 29 June - 29 September

This weekend sees the opening of .art’s major solo exhibition at Talbot Rice Gallery, the University of Edinburgh’s public art gallery. The most significant exploration of El Anatsui’s practice ever staged in the UK, this show spans five decades of work and will extend to the building’s façade, turning it into an open-air gallery.

Political, postcolonial and social histories will be examined through a monumental new work made specifically for Talbot Rice Gallery. Visitors will journey through a large selection of Anatsui’s iconic large-scale sculptural wall hangings made with reclaimed metal from the bottling industry in Ghana and Nigeria (made between 2002 to 2024).

The exhibition will also include a selection of carved wooden reliefs from over a 30-year period, as well as printed works on paper that tell the story, and carry the imprint, of his decades-long, intricate production of the monumental metal bottle-top artworks, most recently seen in the UK in an extraordinary commission for Tate Modern’s Turbine Hall.

Closing soon: Atta Kwami solo exhibition in London

“There are so many dimensions to his practice because Atta was not only an incredible painter, printmaker, visual artist, he was also an architect, somebody who developed very consequent public art. He was also a curator and a historian. The paintings go beyond the canvas. It's this idea that they can go into the city, they become murals, they become architecture, they become kiosks. Ultimately, he wanted them to become buildings.” - in our latest INSIGHT film on Kwami

On view until 29 June

Opening today: S*x Reenchanted at , featuring Tabita Rezaire

The feminist group exhibition S*x Reenchanted presents eight international artists and their decolonial perspectives on sexuality.

The exhibition includes ‘Sugar Walls Teardom’ which explores the contributions of Black womxn’s wombs to the advancement of modern medical science and technology. Sugar Walls Teardom commemorates ‘herstory’ and celebrates womb technology through an account of coercive anatomic politics. Rezaire asks, ‘Whose body is exploitable? By who? For who?’

*xReenchanted

✨️🎞 Candice Breitz shares her video installation 'Whiteface' with Italian audiences for the first time at in Rome! The installation forms part of the public program Riverberi curated by .

In ’s 'Whiteface', viewers encounter whiteness in its own words. The work reveals several questions about the nature of whiteness as a structure of power, its strategies of obfuscation and, ultimately, survival. 
🗓 On view until 2 July 

🎙Join the artist talk this evening, 21 June at 18:30 
In this conversation, the artist and the curators delve into the making of and the stylistic devices in 'Whiteface' to gain an understanding of contemporary manifestations of whiteness. The talk will focus on the articulations of whiteness in various forms of media as specific, global arenas for the dissemination and normalization of supremacist ideas and ideologies, and how they can be critiqued and challenged in concrete terms.

Visit to view ’s 10-year survey!

‘Part-Time Abstractionist’ by internationally acclaimed multi-disciplinary artist, Yto Barrada presents the artist’s photographic and film practice and is comprised of over 40 works, nearly all of them unique, including new work exploring the space of the darkroom. The show offers insight into the ways Barrada utilizes abstraction to examine the social, political, and industrial structures that have and continue to shape society.

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Installation view, Yto Barrada: Part-Time Abstractionist. May 22–September 2, 2024, International Center of Photography, New York. Image © Jeenah Moon for ICP

Opening this weekend: Carrie Mae Weems at Hessel Museum of Art, Bard College

Remember to Dream revisits the range and breadth of Carrie Mae Weems’s prolific career through seldom displayed and lesser-known works that demonstrate the evolution of her pioneering, politically engaged practice. Moving beyond iconic projects, Remember to Dream seeks to rebalance an understanding of Weems’s artistic development over the past 30 years while locating her work in the context of her own lived experiences and commitment to activism. Ranging from large-scale installations to serial bodies of photography, the works in the exhibition provide a through-line from the Civil Rights Movement to Black Lives Matter, tracing significant moments of racial reckoning in the United States through Weems’s own lens.

Opening 22 June
On view until 1 December

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Family Pictures and Stories: Welcome Home, 1978-1984 © Carrie Mae Weems. Courtesy of the artist and Barbara Gladstone, New York

📸✨ View work by the late South African photographer Ernest Cole in London

‘Ernest Cole: A Lens in Exile’
The first exhibition of Ernest Cole's photographs documenting New York City during the height of the civil rights movement in America
Curated by Mark Sealy
📍
🗓Until 12 October

‘Ernest Cole: House of Bondage’
This exhibition revisits Cole’s ground-breaking project ‘House of Bondage’, one of the most significant photobooks of the twentieth century.
📍
🗓Until 22 September

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Images:
On view at : Ernest Cole, Harlem, New York, c.1970. © Ernest Cole / Magnum (detail)

On view at © Ernest Cole / Magnum (detail)

“What would the bottom of the ocean tell us tomorrow, if emptied of water today?” asks .kilomba.

Kilomba opens her first comprehensive institutional solo exhibition in Germany, titled ‘Opera to a Black Venus’, on June 21st in . The exhibition will show the artist’s unique practice of storytelling, which questions concepts of violence and repetition - through performance, choreography, video, as well as large-scale sculptural and sonic installations.

The artist will present for the first time to the public three newly commissioned works, including Opera to a Black Venus (2024), a large-format video installation which gives the exhibition its name. The monumental works weave through different materialities, such as glass, stone, sand, textile and video, revealing a futuristic scenario, where few remnants of living nature encourage reflection on strategies of survival and resistance, exposing the archaeology of human existence.

Selected earlier works will be exhibited in dialogue, presenting the artist’s subversive and poetic visual language.

The exhibition has been commissioned in a collaboration between Kunsthalle Baden-Baden and Museo Nacional Centro de Arte Reina Sofia.

Opening this week: Pamela Phatsimo Sunstrum’s first solo museum show in Europe at

22 June - 20 October

Titled ‘The Gods and The Underdogs’ the exhibition will include an overview of recent drawings and paintings being shown in the Netherlands for the first time. will also create a site-specific installation at KM21, based on two large new paintings which she will combine with historic items of furniture from Kunstmuseum Den Haag’s large decorative arts collection, in a unique interaction between contemporary art and cultural heritage.

Visit to learn more

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Images:
Pamela Phatsimo Sunstrum, Tips, 2023
Pamela Phatsimo Sunstrum, And love was like a girl (dikgomo), 2023

Opening this week: .kilomba at

Titled ‘Opera to a Black Venus’ the show will be the first comprehensive institutional solo exhibition of internationally renowned artist, writer, and thinker Grada Kilomba in Germany. The exhibition will show her unique practice of storytelling, which questions concepts of violence and repetition - through performance, choreography, video, as well as large-scale sculptural and acoustic installations.

The title refers to the Black history of resilience and resistance and is dedicated to the entanglement between ecological collapse and colonial injustice.

At the centre of the exhibition are the newly commissioned works 'Opera to a Black Venus' (2024), a large-format video installation, and 'Labyrinth' (2024), a site-specific spatial installation presented for the first time ever at the Kunsthalle Baden-Baden.

Opening Friday, 21 June

“To all the fathers who dare to dream, to all the fathers who dare to love.” — Carrie Mae Weems

“PORTRAITS OF FATHERHOOD”

A$AP ROCKY x CARRIE MAE WEEMS x BOTTEGA VENETA

Happy birthday 🎈

Guez is an artist and a scholar. He was born in Jerusalem to a Palestinian family from Lydda on his mother’s side and a family of Jewish immigrants from North Africa on his father’s. His photography, video installations, essays, and lecture-performances explore the relationship between art, narrative, trauma, memory, and displacement. Interrogating personal experiences and official accounts of the past, Guez raises questions about contemporary art’s role in narrating unwritten histories and re-contextualizing visual and written documents.

In the past 20 years, his studies and artistic work focus on archival materials and photographic practices of the Middle East and North Africa, as well as mapping traces of violence in the landscape.

Today - 16 June - is Youth Day in South Africa.

The Soweto Uprising of 1976 was marked by thousands of pupils taking to the streets across the country, particularly in Soweto, to protest the apartheid government’s oppressive educational laws and compulsory introduction of Afrikaans as the language of instruction. These peaceful protests were met with police violence, resulting in the tragic deaths of multiple young people and profoundly reshaping the socio-political landscape. The ongoing impact of apartheid and colonial legacies is explored in the work of documentary photographer . His images highlight critical moments in the country’s post-apartheid history and unpack why the transition to democracy in 1994 has not resulted in adequate social change. His work also sheds light on the joy and sense of community that people create for themselves.

This image is from his body of work titled ‘Wegkruipertjie’

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Jabulani Dhlamini, WEGKRUIPERTJIE 3, Protea South in Soweto, 2013, Pigment inks on fibre paper

Happy birthday .sobekwa🎈

“I think photography saved me. It has been a platform for me to have difficult conversations. It became a kind of passport or tool for expression and enabling delicate confrontation with experiences and circumstances. With the camera in my hand, I was brave enough to push boundaries and investigate things that I would have otherwise not confronted.” - Sobekwa shares in an interview with

Sobekwa will have his major show at the Johannesburg Art Gallery in September this year as part of his 2023 prize.