THE GLOBAL SOUTH FROM AN AFRICAN PERSPECTIVE – MUSEUM EXHIBITION IN JOHANNESBURG
The Joburg Contemporary Art Foundation (JCAF) presents the second of three exhibitions that forms part of their research theme Female Identities in the Global South.
Titled Liminal Identities in the Global South, the exhibition explores ideas of hybridity and resistance in the artistic practices of seminal women artists from Latin America, alongside artists from the MENA region, the African diaspora and South Africa. The exhibition considers heterogeneous forms of expression across art, architecture and music, from the 1960s to the present.
The exhibition also explores the impact of COVID-19; the pandemic body forms a second curatorial thread. The pandemic has placed many of us in a state of limbo or liminality, so that we are caught between a pre-Covid-19 world and one in which we imagine a better future.
Liminal Identities in the Global South is divided into five areas: Prelude, Requiem, Movements I, II and III, each conceptualized according to a musical tempo, either moderate, fast or slow, denoting a time-based experience of the exhibition.
Featured artists: Jane Alexander (South Africa), Lina Bo Bardi (Italy/Brazil), Lygia Clark (Brazil), Kamala Ibrahim Ishag (Sudan), Kapwani Kiwanga (Canada/France), Ana Mendieta (Cuba/US), Lygia Pape (Brazil), Berni Searle (South Africa), Sumayya Vally/Counterspace (South Africa).
Liminal Identities in the Global South
Until January 29th, 2022
Joburg Contemporary Art Foundation
No 1 Durris Road
Forest Town 2193
Johannesburg, South Africa
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The 322 pieces that make up Espíritos sem nome (Nameless Spirits), a retrospective dedicated to the production of the Bahian Mario Cravo Neto (1947-2009) at the São Paulo headquarters of the Moreira Salles Institute, attest to his vigor as a visual artist; With the robustness of his work, he permeates media beyond photography, since he produces pieces in languages such as cinema, the three-dimensional, drawing and publishing, among others.
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American artist Deana Lawson produces portraits of contemporary Black life that are meticulously staged yet profoundly intimate. Deana Lawson’s solo exhibition at the Kunsthalle Basel (Basel, Switzerland) takes place as one of the international collaborations of the 34th Bienal de São Paulo's - Faz escuro mas eu canto (Though it’s dark, still I sing)
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The Museum of Modern Art Bogota presents I dreamt the landscape was looking at me, by Jessica Mitrani in in collaboration with Alex Czetwertynski. It is optical device that invites the viewer on a hypnotic journey suspended between reality and fiction, personal and public, resulting in a spontaneous and non-linear narrative.
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The 322 pieces that make up Espíritos sem nome (Nameless Spirits), a retrospective dedicated to the production of the Bahian Mario Cravo Neto (1947-2009) at the São Paulo headquarters of the Moreira Salles Institute, attest to his vigor as a visual artist; With the robustness of his work, he permeates media beyond photography, since he produces pieces in languages such as cinema, the three-dimensional, drawing and publishing, among others.
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The 322 pieces that make up Espíritos sem nome (Nameless Spirits), a retrospective dedicated to the production of the Bahian Mario Cravo Neto (1947-2009) at the São Paulo headquarters of the Moreira Salles Institute, attest to his vigor as a visual artist; With the robustness of his work, he permeates media beyond photography, since he produces pieces in languages such as cinema, the three-dimensional, drawing and publishing, among others.
American artist Deana Lawson produces portraits of contemporary Black life that are meticulously staged yet profoundly intimate. Deana Lawson’s solo exhibition at the Kunsthalle Basel (Basel, Switzerland) takes place as one of the international collaborations of the 34th Bienal de São Paulo's - Faz escuro mas eu canto (Though it’s dark, still I sing)
CENTROPY – AFRICAN DIASPORA THROUGH BRAZIL TO SWITZERLAND
American artist Deana Lawson produces portraits of contemporary Black life that are meticulously staged yet profoundly intimate. Deana Lawson’s solo exhibition at the Kunsthalle Basel (Basel, Switzerland) takes place as one of the international collaborations of the 34th Bienal de São Paulo's - Faz escuro mas eu canto (Though it’s dark, still I sing)
Within the ambitious Collection reorganization that the Reina Sofía Museum is carrying out, the nucleus Los enemigos de la poesía: Resistencias en América Latina (The enemies of poetry: Resistances in Latin America) is presented, focused on Latin art produced between 1964 and 1987 and its relationship with Spain. The political transformations of the time and the appearance of new artistic practices, such as mail art, favored a series of transcendental exchanges for the future of contemporary art.
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Within the ambitious Collection reorganization that the Reina Sofía Museum is carrying out, the nucleus Los enemigos de la poesía: Resistencias en América Latina (The enemies of poetry: Resistances in Latin America) is presented, focused on Latin art produced between 1964 and 1987 and its relationship with Spain. The political transformations of the time and the appearance of new artistic practices, such as mail art, favored a series of transcendental exchanges for the future of contemporary art.
The Museum of Modern Art Bogota presents I dreamt the landscape was looking at me, by Jessica Mitrani in in collaboration with Alex Czetwertynski. It is optical device that invites the viewer on a hypnotic journey suspended between reality and fiction, personal and public, resulting in a spontaneous and non-linear narrative.
MAMBO EXHIBITS “I DREAMT THE LANDSCAPE WAS LOOKING AT ME”
The Museum of Modern Art Bogota presents I dreamt the landscape was looking at me, by Jessica Mitrani in in collaboration with Alex Czetwertynski. It is optical device that invites the viewer on a hypnotic journey suspended between reality and fiction, personal and public, resulting in a spontaneous and non-linear narrative.
Curated by Guilherme Blanc, Wall is the result of an invitation made to the Argentinian-Israeli artist Inés Moldavsky to revisit and expand, in an installation context, her film The Men Behind the Wall, Golden Bear winner at the Berlinale in 2018. In this filmic work a dating app is used to create a set of conversations and personal meetings with Palestinian men living in the Gaza strip and the West Bank.
DATING APPS AND ARMED CONFLICT - INÉS MOLDAVSKY EXHIBITS AT THE GALERIA MUNICIPAL DO PORTO
Curated by Guilherme Blanc, Wall is the result of an invitation made to the Argentinian-Israeli artist Inés Moldavsky to revisit and expand, in an installation context, her film The Men Behind the Wall, Golden Bear winner at the Berlinale in 2018. In this filmic work a dating app is used to create a set of conversations and personal meetings with Palestinian men living in the Gaza strip and the West Bank.
The 322 pieces that make up Espíritos sem nome (Nameless Spirits), a retrospective dedicated to the production of the Bahian Mario Cravo Neto (1947-2009) at the São Paulo headquarters of the Moreira Salles Institute, attest to his vigor as a visual artist; With the robustness of his work, he permeates media beyond photography, since he produces pieces in languages such as cinema, the three-dimensional, drawing and publishing, among others.
CONTEMPORARY AND TIMELESS - MARIO CRAVO NETO: NAMELESS SPIRITS
The 322 pieces that make up Espíritos sem nome (Nameless Spirits), a retrospective dedicated to the production of the Bahian Mario Cravo Neto (1947-2009) at the São Paulo headquarters of the Moreira Salles Institute, attest to his vigor as a visual artist; With the robustness of his work, he permeates media beyond photography, since he produces pieces in languages such as cinema, the three-dimensional, drawing and publishing, among others.
