Venezuela una mirada al interior essay

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Venezuela una mirada al interior essay

From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.

New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government.

By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution.

Venezuela una mirada al interior essay

And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid.

This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now.

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And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.

By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art. A non-chronological, intergenerational but conceptually linked collection of artworks from the s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.

Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included.

With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.

New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June. It seeks to attain a more complete knowledge of that world, as it is lived, from multiple positions over time and space.

We have a tendency in exhibitions of work by women to generalise the artists as merely exemplars of a gendered collective: Not just as storytelling, but as speaking authentically, with vulnerability and strength, about who we are, and about the power of narration and its endless possibilities for reinvention.

Presented for the first time in South Africa, Ellen Gallagher is an acclaimed artist who, starting in the mids, has united various media with a range of subject matter to explore the place, and places, of African Americans. Like the artist staring back at him from a reclining body, we confront the image of a great narrator of the universal psychic world attempting — it would appear with some awkwardness — to draw, and hence represent, an individual reality.

Odalisque prompts us to consider what we can and cannot represent about others and ourselves.

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Her obsessive re-exploration of themes, such as, marriage and motherhood is transformed into a body of works that is striking in its symbolic resonance, and rife with allusions to everyday life, and religious and folkloric symbolism.

In the series, root of the flower we do not know mudzi weruva ratisingazive, our encounter with Chihota is dominated by the black female figure she insistently imagines, demonstrating a method of representing the self differently while exercising her right and desire to confirm and consolidate her identity as artist and her experience as female.

Tugbiyele is an emerging Nigerian-American artist and activist who spent her formative years growing up in Lagos, Nigeria. New York-based artist Mickalene Thomas is best known for her elaborate paintings composed of rhinestones, acrylic and enamel which articulate complex visions of what it means to be a woman and expands stereotypical definitions of beauty.

Her film about her mother, former fashion model Sandra Bush, demonstrates her ongoing engagement with portraiture as a key to personal and cultural identity.

Based on a series of earlier drawings, Filtered Memories that represent select childhood and adolescent memories of the artist, the book explores the consequences of memory and, simultaneously, the defamiliarisation of the art object.

What are the parameters of that moment, the edge of that framework? In some instances the physical presence of the artists and their surroundings is consciously transferred to the artwork. Transferral and human presence is also evoked in the beaded canvases of Liza Lou, who along with her team of skilled Zulu woman beaders, produces visual meditations on imperfect artistic production.

The canvases retain traces of sweat, dirt and even blood which are testament to the fragile delicacy of her production and become a site of memory, recording the long struggle and sublime discomfort involved in the act of making.

In this delicate process, the tape picks up pigments and fragments of the original image so that a replica is formed. The pigments and fragments from the image are not all that is transferred onto the tape: Some parts are forgotten and left behind with the splinters and fragments of context replacing them.

Due to the delicate nature of the tin foil, the dents and folds deliberately made by the artists to demarcate the indented image are not the only marks on the material.

The work consists of a plywood tunnel, the interior of which is covered in a thin layer of paraffin wax. Historical and personal accounts of how fire and burning existed in the formation of South African independence are carved into the wax.

Mistakes are made and words are scratched out, the wax breaks and obscures words, sentences run into each other and it becomes difficult to determine a precise starting and ending point. The size of the tunnel, which is just high enough to accommodate a human body, means that viewers are unable to gain perspective, and are forced by the physical constraints of the work to look at the carvings as fragments, and read the altered texts in pieces, so that each viewer has a different experience and constructs a different narrative and meaning.Mirada al interior Tierra adentro, una estimulante lista de 45 propuestas.

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