Chroma by Stevenson

27 NOVEMBER 2014 – 17 JANUARY 2015

The blood of sensibility is blue. I consecrate myself To find its most perfect expression. — Derek Jarman

Chroma takes its title from a book of musings on colour by filmmaker Derek Jarman. Written just before his death in 1994, when his vision was failing, the book draws from art history, philosophy, science, medicine and literature, alongside Jarman’s acute observations of his own life, to reflect the extraordinary multiplicity of ways in which colour is experienced and comprehended by the human eye and mind. The exhibition sets out to explore colour from diverse perspectives, and various quotations cited here are extracted from his text.* Learning that colour is a fiction of light is one of the primary shocks of growing up. — Tacita Dean, ‘The Magic Hour’

Science declares colour to be an expression of vibration and wavelength: what we see is determined by the spectrum of light that an object absorbs or reflects, as perceived by the human mind and eye. Colour as we experience it is a phenomenon of perception, as colour itself does not have a physical and tangible materiality. This seeming paradox ensures that colour is grist for the philosopher’s mill, prompting metaphysical questions about the nature of both physical reality and the construct of mind. Yet, because colour can only be perceived through the prism of mind, it is simultaneously, and inextricably,

poetic and psychological; rarely do we speak about colour without invoking the realms of emotion and of meaning. Red. Prime colour. Red of my childhood. Blue and green were always there in the sky and woodland unnoticed. Red first shouted at me from a bed of pelargoniums in the courtyard of Villa Zuassa. I was four. This red had no boundary, was not contained. These red flowers stretched to the horizon. — Derek Jarman

The symbolism and metaphorical significance of colour has been contemplated since the dawn of artistic expression; however, in Western art history colour only become a subject in itself early in the 20th century. Malevich’s Black Square, painted a century ago, in 1915, is perhaps the most radical manifestation of a shift that allowed more conceptual and abstract notions, including those of colour, to become part of the subjectivity of art. The scientific approach to the aesthetics of colour was arguably most carefully articulated in the work of Josef Albers, whose series of paintings of chromatic interactions started in 1949 and who published his theoretical treatise, The Interaction of Colour, in 1963, arguing that the perception of colour is governed by an internal and deceptive logic. If one says ‘red’ (the name of a colour) and there are fifty people listening it can be expected there will be fifty reds in their minds, and one can be sure that all these reds will be different. — Josef Albers

At the time of these aesthetic debates about colour and subject in the 1950s and 60s, South Africa was dominated by apartheid, which limited conceptual considerations of colour as subject: racial classification brought the focus to issues of black and white, literary and figuratively. It is interesting that in the 1990s the analogy of the rainbow, with its spectrum of colours, has been widely used to heal the fractures in this society, and in recent years the shifts that have taken place have allowed more spacious considerations of the experience of colour in art. This exhibition presents both works that see colour as their primary leitmotif and others that, often with new strategies, reflect on the politics of colour in recent years. The exhibition opens with works whose imagery exists at the edges of our perceptions of colour, exemplified by a watercolour of swirling dark blues by Moshekwa Langa inscribed ‘During the hours of darkness’. In three large-scale oil paintings of night scenes by Deborah Poynton, darkness almost enfolds the viewer, who must strain to see colour and subject. By contrast, Bruno Boudjelal’s Paysage du Depart photographs were made using lengthy exposures to light to create eerie white landscapes that almost disappear, invoking Ludwig Wittgenstein’s rhetorical question in his Remarks on Colour: ‘Isn’t white that which does away with darkness?’ These images were taken in Algeria, where the Harragas – those who ‘burn their immigration papers’ – depart for European shores; the series started by mistake with over-exposures ‘on a winter day full of white light’, giving Boudjelal the inspiration to create images that evoke the longing and sadness of these uncertain journeys. In Pieter Hugo’s infra-red photographic portraits, taken from beyond the spectrum of human perception, anonymous sleepers remind us that surveillance has its own aesthetic of desaturated grays and grainy muteness.

As Jarman observed: ‘Red adapts the eye for the dark. Infra-red.’ In an installation of videos by Samson Kambalu, sepia is the hue of time passed. In the performances selected for this exhibition, his short and usually singular actions also play with our perceptions and the construct we understand as colour. His installation is seen alongside groups of small Polaroids by Kemang Wa Lehulere where grainy images of the artist and elements of his installations constellate as blurred and liminal figments of associations and memory. The luminosity of blues and whites is experienced through the work of Nicholas Hlobo, Edson Chagas and Wim Botha, recalling Cézanne’s observation that ‘Blue gives other colours their vibration’. The tonality of white is usually overlooked by the eye, even though all whites are not the same: whiteness may be innocent or it may have a cooled intensity. The delicate stitch-work of Hlobo’s white ribbon drawings on white paper is discernable only in relief as the forms strain towards dissolution. In Chagas’ photographic series Found Not Taken whiteness sits close to lightness, and thus to sky with its blue stain. The grey and blue fields on which discarded objects sit speak of the life of objects, and how they are consumed by space. In a large installation of Botha’s blue and white watercolours and paintings, his blue hues make white appear even more luminous, especially in relation to the shimmering white of a marble bust that anchors the constellation. In Daniel Naudé’s new photographs of Australian bowerbird sites of courtship, he records how the male birds collect and sort myriad mostly blue and white objects by colour into spectacular, formally acute displays as part of their courtship, a reminder of the primacy of colour in the survival of life on earth.

Central to the exhibition is Jarman’s Blue (1993). This is the final film made by the artist before his death from AIDS-related complications, when his vision became shadowed by a blue veil. In this work Jarman uses an unwavering, dense blue colour field as a vibrant backdrop against which to meditate on his life and imminent death. In his words: Blue protects white from innocence Blue drags black with it Blue is darkness made visible Dineo Seshee Bopape’s entrance wall painting and her slide show recalling the television test pattern introduce the range of the colour spectrum, which is explored fully in the large back gallery. Meschac Gaba’s sculpture Vernissage, from his Colours of Cotonou series, offers viewers the opportunity to have their nails painted in bright hues selected from bottles of nail varnish. Also in this space is a new sculpture from Zander Blom’s Modern Painting series comprising artifacts from his studio; here hundreds of empty paint tubes are aestheticized and abstracted in a deep, square cardboard box. In new paintings, Blom, for whom colour is fundamental to his marks and spatial planes on the raw canvas that he characteristically uses, continues on his trajectory of reimagining the history of modernism since the black square of Malevich. Recent images by Viviane Sassen of reflected and refracted planes of coloured glass photographed in the Namibian desert recall the acute abstraction of the Russian Supremacists, perplexing the mind and eye with their intense abstraction of sky and sand and angular coloured planes. The seriality of colour is to be seen in Moshekwa Langa’s triptych I Am So

Sorry in which pulsating expanses of red, green and blue lend subtly yet sharply differing tones to the words of the title. The large canvases of Nigerian-born Odili Donald Odita with their shard-like forms are acute, angular meditations on the interplay of colours and the associative and emotive responses their subtle interactions evoke in us. In a different idiom, the Ghanaian painter Atta Kwami plays with the colour and forms that are distinctive of Ghanaian architecture and African strip-woven textiles, especially those of the Ewe and Asante. He creates grids of colour that are rhythmic structures vibrating with the tones of jazz and the timbre of Ghanaian music (Koo Nimo) in their plays of improvisation, reinterpretation and variation. The work of the little-known Mozambique painter Estevão Mucavele is a meditation on colour and process. He paints the patterns that make up his landscapes, and then repeatedly scraps away and overpaints the different elements with varying colours to build up a luminous surface. In the words of renowned poet and painter Malangatana, he paints ‘with no compromises – he neither respects nor is aware of habitual norms. Academicisms have no place in his life [...] he makes art of that which meets his eye, with no other concern than to recount what he sees.’ In the final galleries the focus is on works that continue to activate debates around the politics of representation and the political significance of colour. Perhaps the most iconic images from South Africa’s years of transition and debates around identity are Berni Searle’s Colour Me series in which she covered her face with spices, and this series is to be seen along new works by

Mawande Ka Zenzile whose paintings incorporate natural pigment and earth as he literally seeks to ground contested imagery around colonialism and hegemonies of power. In two photomontages by Jane Alexander, produced after 10 years of democracy, two sculpted ‘Harbingers’ cross two locations in Cape Town, one depicted through a reflection on a passing car window, each with an arc of rainbow. As with all her photomontage, the image is intended to elaborate on the role of the original sculpted figure, with references made through the elements included in the images read together as a form of commentary on the time. Penny Siopis’ memorable Pinky Pinky series from around 2002 used stories of a mythical ghost-like creature to create images of disembodied beings; their parts are all separate in each painting, in varying hues of pink, flesh and red. These paintings convey the formlessness of this strange being through the inclusion of just an eye, lashes, lips or a mouth, in fields of singular colours. Nandipha Mntambo’s recent paintings continue her fascination with the representations of hump-like forms, and in these paintings, the rich impasto black surfaces are often heightened by the inclusion of strands of cow-hair tails. Her reduced palette is accentuated with occasional shards of light and colour coming through the undulating abstract forms which resonate with rich associations of man, nature and landscape. In the abstractions of Serge Alain Nitegeka black has a density and weight always in opposition to the sharp inflation of white, and his ‘black subject’ appears within a body that is both formal and political. The works of Walid Raad explore the psychological impact of the conflicts that have ravaged Lebanon over

four decades; in Appendix XVII: Plates 22-257 colour itself is counted amongst the victims of warfare; brutalized into submission, the essence of some colours diminishes, while others die off. In Simon Gush’s Red, the artist considers the strike actions and debates at the Mercedes Benz plant in East London, South Africa, in 1990 when the workers manufactured a red car as a gift for Nelson Mandela. Gush presents four wall-mounted Mercedes doors, painted in different reds, along with a black-and-white documentary of the events. The various shades of red prompt us to ask ‘which red is the truest?’ Memory and mythology grind down action and context, and colour is central to the re-telling of the tale. Vermilion is a red with a feeling of sharpness, like glowing steel which can be cooled by water. Vermilion is quenched by blue, for it can support no mixture with a cold colour. The glow of red is within itself. For this reason it is a colour more beloved than yellow. — Wassily Kandinsky, ‘Concerning the Spiritual in Art’

All quotes are from Derek Jarman’s Chroma: A Book of Colour (The Overlook Press, Woodstock, New York, 1995), with the exception of Tacita Dean, published in Colour – Documents of Contemporary Art, edited by David Batchelor (Whitechapel, London, and MIT Press, Cambridge, Massachusetts, 2007)

MOSHEKWA LANGA

‘during the hours of darkness’ 2000 Mixed media on paper 100 x 140cm

DEBORAH POYNTON

Scene with a Dog 2014 Oil on canvas 230 x 150cm

Scene with a Rainbow 2014 Oil on canvas 230 x 150cm Detail overleaf Scene with Falling Leaves 2014 Oil on canvas 230 x 150cm

BRUNO BOUDJELAL

Paysage du Depart 1, 2, 3, 4, 5, 7, 8, 11, 12 2012-13 Archival ink on cotton rag paper 60 x 90cm each Editions of 4

PIETER HUGO

I am 40 000 feet above the Atlantic ocean – mid-air, between Johannesburg and Atlanta. It is a 16-hour flight. I cannot sleep. It seems as if everybody else in economy class is in some deep, troubled somnambulist state. Most have masks over their eyes and are shielded from any luminous intrusion. I go for a walk to stretch my legs. Nine hours of flying left. I have almost reached the halfway mark of my journey. Will the second half go faster? Unlikely. I am bored. I take my pocket camera with me. There is an infrared function on the camera. I make a few portraits of some of the sleeping passengers. Because the camera is photographing the infrared spectrum, no flash is needed. The subjects don’t know I am photographing them. I go back to my seat and review the pictures. They remind me of the images that came from Iraq during the US invasion. They remind me of what soldiers see through their night vision goggles. It occurs to me that the pictures of the first invasion of the Iraq War changed the way we see the world. Previously I associated infrared photography with wildlife pictures, leopards caught feeding at night. Now I associate them with conflict. I start pondering the strange relationship photography has with surveillance and the military industrial complex.

The Journey 2014 Archival pigment ink on Baryta Fibre paper 3 panels, 176 x 138cm each Edition of 3 + 2AP

What time is it? Is it South African time? Is it US time? On the aerial map on my in-flight entertainment system there seems to be no land beneath us. No islands. No human presence. Who governs this space between where a journey begins and ends, this limbo between departing and arriving? I think of Walker Evans’ subway portraits and it occurs to me that the world is a very different place now to when he made those pictures. Our notion of public and private has drastically shifted. I wonder if anyone accused him of voyeurism in 1938. I wonder how the people I photograph will feel about these pictures. In this age we demand that celebrity be placed within the public gaze but have a conflicting ethos for our own representations. I once read that a Londoner was caught on CCTV an average of 300 times a day. We are constantly being photographed without being aware of it. If these image serve as a warning that we are almost always under surveillance, being watched, I feel they have a reason to exist, to be seen and debated, even though they may make the sitters – and myself – uncomfortable. I look at my watch. Only eight hours and 17 minutes left till Atlanta.

SAMSON KAMBALU

Amistad 2014 Digital video, colour Duration 57 sec Edition of 1 + 1AP

Cowboy Asleep 2014 Digital video, colour Duration 33 sec Edition of 1 + 1AP

Dancer in the Woods 2014 Digital video, colour Duration 34 sec Edition of 1 + 1AP

Dinosaurs are Birds 2014 Digital video, colour Duration 39 sec Edition of 1 + 1AP

Installation view with Cowboy Asleep, Dinosaurs are Birds, Amistad, The Blues Came Along, Runner

KEMANG WA LEHULERE

The World of Nat Nakasa (Sketch 1) 2013 Set of 5 Polaroid photographs 10.7 x 8.9cm each

The World of Nat Nakasa (Sketch 2) 2013 Set of 5 Polaroid photographs 10.7 x 8.9cm each

The World of Nat Nakasa (Sketch 4) 2013 Set of 5 Polaroid photographs 10.7 x 8.9cm each

WIM BOTHA

Private Violence of Equilibrium 2014 Installation including: Untitled (Nebula 5 with Bywoner) 2014 Carrara marble 70 x 40 x 30cm

Private Violence of Equilibrium 2014 Installation with: A Thousand Things Part 191 2014 Painted wood 83 x 82 x 90cm Untitled (Nebula 5 with Bywoner) 2014 Carrara marble 70 x 40 x 30cm Cloud Studies 2014 Oil on linen Various dimensions

NICHOLAS HLOBO

Isinikezelo 2014 Ribbon on Fabriano paper 150 x 246cm Detail overleaf

Ndinikâ&#x20AC;&#x2122;isandla 2014 Ribbon on Fabriano paper 66 x 101cm

Thabatheka 2014 Ribbon on Fabriano paper 101 x 66cm

EDSON CHAGAS

Found Not Taken, London 2013 C-print 80 x 120cm Edition of 3 + 2AP

Found Not Taken, Luanda 2013 C-print 80 x 120cm Edition of 3 + 2AP

Found Not Taken, London 2014 C-print 80 x 120cm Edition of 3 + 2AP

ESTEVﾃグ MUCAVELE

Untitled 2014 Oil on canvas 79 x 87cm

Untitled 2007 Oil on canvas 71 x 81cm

Untitled 2006 Oil on canvas 71 x 81cm

DANIEL NAUDĂ&#x2030;

Satin Bower 4. Queen Mary Falls, Queensland, Australia, 2014 All archival pigment ink prints 75 x 100cm Editions of 4 + 2AP

Great Bower 2. Mareeba, Queensland, Australia, 2014

Satin Bower 1. Bunya Mountains, Queensland, Australia, 2014

Satin Bower 2. Lamington National Park, Queensland, Australia, 2014

Great Bower 1. Yungaburra, Queensland, Australia, 2014

DEREK JARMAN

Blue 1993 35mm (tape) HD file Duration 79 min Courtesy of Basilisk Communication Ltd

WALID RAAD

Scratching on things I could disavow: A History of Modern and Contemporary Arab Art, Part 1, Section 271: Appendix XVIII Plates 063-257, 2012 Set B of 3l plates Archival inkjet prints, framed 54.3 x 42cm each Edition of 7 + 2AP Courtesy of the artist and Galerie Sfeir-Semler, Hamburg

SIMON GUSH

Red (Mandela car) 2014 Mercedes 500SE car doors Installation dimensions variable

Red 2014 HD video, stereo sound Duration 1 hour 21 min 49 sec In collaboration with James Cairns Edition of 3 + 1AP

DINEO SESHEE BOPAPE

video still: the distressing part is being caught up in the voice of the heroine 2013 Wall painting Dimensions variable

â&#x20AC;&#x153;callibration// 1.the fable; 2. the fatal image, 3. we hold these truths to be true (g.o.)â&#x20AC;? 2014 Slide projection, 15 slides Installation view

MESCHAC GABA

Vernissage 2009/2014 Wood, nail varnish, nail accessories, found objects Installation view

ZANDER BLOM

Modern Painting 8 (Paint Tubes) 2014 Mixed media 85 x 116 x 126cm

1.690 Untitled 2014 Oil on linen 198 x 164cm

1.689 Untitled 2014 Oil on linen 197 x 140cm 1.691 Untitled 2014 Oil on linen 198 x 140cm

VIVIANE SASSEN

Red Vlei 2014 C-print 150 x 150cm Edition of 5 + 2AP With the support of Matthijs de Wilde and Nederlands Fotomuseum

Opposite Yellow Vlei 2014 C-print 150 x 140cm Edition of 5 + 2AP

From left to right Axiom G03 Axiom G02 Axiom GB02 All 2014, C-prints 45 x 30cm Editions of 5 + 2AP

From left to right Axiom M Axiom B01 Axiom BB01 All 2014, C-prints 45 x 30cm Editions of 5 + 2AP

Opposite Green Vlei 2014 C-print 150 x 140cm Edition of 5 + 2AP

From left to right Axiom GB01 Axiom G01 Axiom R02 Axiom R01 Axiom RB01 All 2014, C-prints 45 x 30cm Editions of 5 + 2AP

MOSHEKWA LANGA

‘I am so sorry’ 2001 Triptych Mixed media on paper 100 x 140cm each

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ATTA KWAMI

Roxana 2013 Acrylic on linen 78.9 x 58.4cm Beacon 2014 Acrylic on linen 122 x 122cm Courtesy of Nicolas Krupp Contemporary Art, Basel

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ODILI DONALD ODITA

Tomorrow World 2013 Oil on canvas 228.5 x 279.5cm Detail overleaf

Accelerator 2014 Oil on canvas 127 x 152.5cm

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PENNY SIOPIS Pinky Pinky: Mask 2003-4 Oil and found objects on canvas 51 x 61cm

Pinky Pinky: Tongue 2005 Oil and found objects on canvas 40.5 x 50.5cm

Overleaf, from left to right:

Pinky Pinky: Lash 2003 Oil and found objects on canvas 20 x 25cm

Pinky Pinky: Jewel 2004 Oil and found objects on canvas 13 x 18cm Pinky Pinky: Pale 2004 Oil and found objects on canvas 61 x 45.5cm Pinky Pinky: Red Eye 2005 Oil and found objects on canvas 50 x 61cm Pinky Pinky: Lips 2003 Oil and found objects on canvas 20 x 25cm Pinky Pinky: Nose 2005 Oil and found objects on canvas 22.5 x 30.5cm

Pinky Pinky: Blinky 2002 Oil and found objects on canvas 50.5 x 40.5cm Pinky Pinky: Pimple 2002 Oil and found objects on canvas 18 x 13cm

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BERNI SEARLE

Colour Me series 1998 Handprinted colour photographs Set of 4, 42 x 50cm each

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MAWANDE KA ZENZILE

The Mythology of the Rape 2014 Cow dung, earth, buttons and oil on canvas 151 x 180cm

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Untitled 2014 Diptych Cow dung, earth and oil on canvas 90 x 90cm each

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Amehlo akaphakelani 2014 Cow dung and oil on canvas 60 x 60cm

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Homage to the Magician Performance, 27 November 2014 Sound (I Put a Spell on You by Screaminâ&#x20AC;&#x2122; Jay Hawkins)

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JANE ALEXANDER

Dig it All yummy, 2004 Archival pigment ink on cotton rag paper 45 x 40cm Edition of 15

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Harbinger with rainbow, 2004 Archival pigment ink on cotton rag paper 45 x 54.5cm Edition of 15

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NANDIPHA MNTAMBO

Enfold-me I 2014 Oil and cow hair on canvas 200 x 174.5cm

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SERGE ALAIN NITEGEKA

Tunnel IX: Studio Study I 2014 Paint on wood 123 x 244 x 8cm

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ARTIST BIOGRAPHIES

JANE ALEXANDER (born 1959 in Johannesburg; lives in Cape Town) participated in the 10th Gwangju Biennale, Burning Down the House, in 2014. She is included in the travelling exhibition The Divine Comedy (Museum für Moderne Kunst, Frankfurt, and SCAD Museum of Art, Savannah, Georgia). ZANDER BLOM (born 1982 in Pretoria; lives in Cape Town) was the winner of the third Jean-François Prat Prize for contemporary art, Paris, in 2014. DINEO SESHEE BOPAPE (born 1981 in Polokwane; lives in Johannesburg) was included in Ruffnek Constructivists at the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, and The Lightning Speed of the Present at Boston University College of Fine Arts, Boston, in 2014.

WIM BOTHA (born 1974 in Pretoria; lives in Cape Town) had solo exhibitions at the National Arts Festival, Grahamstown, in 2014, and at Kunstraum Innsbruck, Austria, in 2013. He is included in the travelling exhibition The Divine Comedy, and showed on Imaginary Fact, the South African Pavilion at the 55th Venice Biennale in 2013.

MESCHAC GABA was born 1961 in Cotonou; lives there and in Rotterdam. His Museum of Contemporary African Art was acquired by and exhibited at Tate Modern, London, in 2013; seven rooms of the Museum were shown at the Deutsche Bank KunstHalle, Berlin, in 2014.

BRUNO BOUDJELAL was born 1961 in Montreuil; lives near Paris. His series Les Paysages du Départ was included on Artists Engaged? Maybe at the Calouste Gulbenkian Foundation, Lisbon, in 2014.

SIMON GUSH was born 1981 in Pietermaritzburg; lives in Johannesburg. His Red (Mandela car) showed as part of his solo exhibition at the Goethe-Institut, Johannesburg, in 2014. He has a solo show at Galerie Jette Rudolph in January 2015.

EDSON CHAGAS (born 1977 in Luanda; lives there) exhibited his series Found Not Taken at the Angolan Pavilion at the 55th Venice Biennale in 2013, winning the Golden Lion for Best National Participation.

NICHOLAS HLOBO (born 1975 in Cape Town; lives in Johannesburg) has work on view at the Centre Pompidou, Paris, as part of A History (Art, Architecture and Design from the 80s to Now) and on Tate Modern’s

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Energy and Process, a thematic view of works from the collection. He is included in the travelling exhibition The Divine Comedy.

mention at the Stockholm Film Festival (1994) for ‘an inspiration that takes matters of life and death beyond film form’.

exhibited commissioned works at the Liverpool World Museum in 2014, and is the author of Kumasi Realism 19512007: An African Modernism (2013).

PIETER HUGO was born 1976 in Johannesburg; lives in Cape Town. His Kin series is on view at Fundació Foto Colectania in Barcelona (until 10 December), and travels to Fondation Henri Cartier-Bresson, Paris, in January 2015. His survey exhibition, This Must Be the Place, is currently at Centro Atlántico De Arte Moderno, Las Palmas. He is included on Prospect.3: Notes for Now (P.3), the New Orleans Biennial (2014).

SAMSON KAMBALU (born 1975 in Malawi; lives in London) is currently completing a PhD in Fine Art, looking at the general economy in Meschac Gaba’s Museum of Contemporary African Art, at Chelsea College of Art, London. In 2014 his work was included on the Dakar Biennale.

MOSHEKWA LANGA (born 1975 in Bakenberg; lives in Amsterdam) had solo exhibitions at the ifa (Institut für Auslandsbeziehungen) galleries in Stuttgart and Berlin in 2014, and at the Krannert Art Museum , University of Illinois, in 2013.

DEREK JARMAN was born 1942 in Middlesex, England, and died in 1994. Blue, his 12th and final feature film, won awards for Best New British Feature at the Edinburgh Film Festival (1993) and an honourable

MAWANDE KA ZENZILE (born 1986 in Lady Frere; lives in Cape Town) was the recipient of the 11th Tollman Award for the Visual Arts in 2014, and an artist-in-residence at Nafasi Art Space in Dar es Salaam, Tanzania, in June/July.

NANDIPHA MNTAMBO (born 1982 in Swaziland; lives in Johannesburg) has work on the travelling exhibition The Divine Comedy and on Performance Now, curated by RoseLee Goldberg, at Queensland University of Technology Art Gallery, Brisbane, Australia.

ATTA KWAMI (born 1956 in Accra; lives in Kumasi and Loughborough)

ESTEVÃO MUCAVELE (born 1941 in Manjacaze; lives in Maputo) had

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his first exhibition in Cape Town in 1969. He returned to Mozambique in 1976 after the country achieved independence. A survey exhibition took place at the country’s National Art Museum in 1990. DANIEL NAUDÉ (born 1984 in Cape Town; lives there) presented his series Sightings of the Sacred: Cattle in India, Uganda and Madagascar at Stevenson, Cape Town, in 2014. He was included on Apartheid and After at Huis Marseille Museum for Photography (2014). SERGE ALAIN NITEGEKA (born 1983 in Burundi; lives in Johannesburg) has his first New York solo exhibition, Morphings in BLACK, at Marianne Boesky East (until 21 December), following his third solo at Stevenson, Johannesburg, Into the BLACK (2014).

ODILI DONALD ODITA (born 1966 in Enugu, Nigeria; lives in Philadelphia) is included on Represent: 200 Years of African American Art at Philadelphia Museum of Art, opening January 2015. His work appears in the recent Phaidon publications Defining Contemporary Art: 25 Years in 200 Pivotal Artworks and Vitamin P2. DEBORAH POYNTON was born 1970 in Durban; lives in Cape Town. A survey of 25 years of her painting, titled Model for a World, showed at The New Church Museum, Cape Town, in 2014. A monograph on her paintings was published by Stevenson in 2013. WALID RAAD (born 1967 in Chbanieh, Lebanon; lives in New York) had solo shows at Carré d’Art, Musée d’art contemporain, Nîmes, France;

and the University of Contemporary Art, Amherst, USA, in 2014. His Scratching on Things I Could Disavow: A History of Art in the Arab World showed at Sfeir-Semler Gallery, Beirut, in 2012/3 and T-B A21, Vienna, in 2011. VIVIANE SASSEN was born 1972 in Amsterdam; lives there. Her exhibition In and Out of Fashion, which debuted at Huis Marseille in 2012, travels to Fotomuseum Winterthur in December 2014. She was included on The Encyclopedic Palace, 55th Venice Biennale, in 2013. BERNI SEARLE (born 1964 in Cape Town; lives there) was the recipient of a Rockefeller Creative Arts Fellowship in 2014. She was included on Public Intimacy: Art and Social Life in South Africa at the Yerba Buena Center for the Arts, San Francisco (2014).

PENNY SIOPIS was born 1953 in Vryburg; lives in Cape Town. Her retrospective exhibition, Time and Again, opens at the Iziko South African National Gallery in Cape Town on 17Â December. The survey is accompanied by a major monograph edited by Gerrit Olivier and published by Wits University Press. KEMANG WA LEHULERE (born 1984 in Cape Town; lives there) is the Standard Bank Young Artist for Visual Art 2015, with a solo exhibition opening at the National Arts Festival in July 2015. Wa Lehulere won the first International Tiberius Art Award Dresden in 2014.

CAPE TOWN Buchanan Building 160 Sir Lowry Road Woodstock 7925 PO Box 616 Green Point 8051 T +27 (0)21 462 1500 F +27 (0)21 462 1501 JOHANNESBURG 62 Juta Street Braamfontein 2001 Postnet Suite 281 Private Bag x9 Melville 2109 T +27 (0)11 403 1055/1908 F +27 (0)86 275 1918 info@stevenson.info www.stevenson.info e-catalogue 2 Version 10 December 2014 ÂŠ 2014 for works: the artists Front cover Walid Raad, Scratching on things I could disavow: A History of Modern and Contemporary Arab Art_Part I_Chapter 1_Section 271: Appendix XVIII_Plate 224_A History of an Invitation II, 2012 (detail), archival inkjet print, 54 x 42cm Opposite Walid Raad, Scratching on things I could disavow: A History of Modern and Contemporary Arab Art_Part I_Chapter 1_Section 271: Appendix XVIII_Plate 223_A History of an Invitation I, 2012 (detail), archival inkjet print, 54 x 42cm Design Gabrielle Guy Installation photography Mario Todeschini