Archive: Issue No. 76, December 2003

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AMERICAS

20.12.03 'A Fiction of Authenticity: Contemporary Africa Abroad' in St Louis
20.12.03 'White: Whiteness and Race in Contemporary Art' in Baltimor
20.12.03 'Looking Both Ways: Art of the Contemporary Diaspora' in New York
20.12.03 'Body Maps' in New York
01.12.03 'Identity Document: Art and Awareness' in New York
15.11.03 Conrad Botes in New York
01.11.03 Geers and Langa at Museum for African Art
01.09.03 Langa, Geers & Allen at Contemporary Art Museum St. Louis

EUROPE

01.12.03 Mandela, Crossley and Schadeberg at Peter Herrmann Gallery
01.12.03 Fourie, Hindley and Nerf in Bavaria
15.11.03 Mthethwa and Kentridge in Athens, Greece
15.11.03 Siopis and Kentridge at Kappatos Gallery, in Greece
01.11.03 Angela Ferreira in Lisbon
15.10.03 Williamson and van der Merwe in Cologne
15.10.03 Jürgen Schadeberg in Berlin

EUROPE

Peter Herrmann Gallery

Invitation image(s)


Mandela, Crossley and Schadeberg at Peter Herrmann Gallery

Nelson Mandela, Liz Crossley, Kwesi Owusu-Ankomah, Frédéric Bruly Bouabré, Chéri Samba and Jürgen Schadeberg are all participating on a group show at this Africa-focussed Berlin venue. Also on show is a selection of traditional Ndebele, Zulu and Tsonga beadwork.

Says gallerist Peter Hermann: "Our year-end show is a presentation of highlights from each of our exhibitions during 2003. This is an opportunity for a second-look at favourites from the past year, for a second-chance to see works previously missed, and also to be inspired by new works."

The offering include the small beaded works of the Ndebele, drawings by Liz Crossley and prints of Jürgen Schadeberg's famous photographs. The gallery has also recently acquired additional important works by Chéri Samba following his solo exhibition in September. Also on show will be Frédéric Bruly Bouabré, whose small format series of 18 drawings will juxtapose well with Owusu-Ankomah's large canvases. Nelson Mandela contributes a new series of lithographs.

Opens: November 28, at 8pm
Closes: December 23


Stop and Go

Stop and Go


Fourie, Hindley and Nerf in Bavaria

'Stop and Go' is an exhibition of German and South African art, both countries' practitioners variously concerned with the street, walking through cities, driving through the countryside, or simply describing the joys and dangers of mobility.

The South Africans participating on this show are: Abrie Fourie, Mathew Hindley and Christian Nerf, with Germany represented by Franz Hoefner, Hans Sachs, Kai Zimmer, Manfred Reuter, Philip Horst. The show is curated by recent visitor Spunk Seipel and Expo 3000.

Opens: November 28
Closes: December 21


William Kentridge

William Kentridge


Mthethwa and Kentridge on 'Outlook', in Greece

Zwelethu Mthethwa and William Kentridge are participating on 'OUTLOOK'. This international art exhibition "aims to break new ground within the established context of contemporary art, revealing the contradictions inherent in our consciousness and the latent concerns of our time".

The exhibition also develops a sense of continuity by taking a new look at some key artistic figures from previous generations. The exhibition is inextricably linked to the city of Athens. Venues include: Technopolis, a former Athenian gasworks dating back to the mid-19th century (www.athens-technopolis.gr); the Benaki Museum one of Athens' most impressive and innovative exhibition spaces (www.benaki.gr); and The Factory, Athens's biggest exhibition space.

Also participating is 2001 Bag Factory resident Gustavo Artigas, of Mexico. Amongst the numerous art world heavies in attendance: Jean-Michel Basquiat, Gregory Crewdson, Philip-Lorca diCorcia, Damien Hirst, Mike Kelley, Martin Kippenberger, Sarah Lucas, Raymond Pettibon, Wolfgang Tillmans, Luc, Tuymans, Jeff Wall and Gillian Wearing.

Opens: October 24
Closes: January 25, 2004


Penny Siopis

Penny Siopis


Siopis and Kentridge at Kappatos Gallery, in Greece

Penny Siopis presents her new, miniature paintings, from her 'Shame' series. Shame usually is associated with disgrace or loss of dignity. In South Africa, however, this word often takes on a different context. Siopis states: "Shame is also colloquially an expression of sympathy and identification with the hurt of others. If you fall in the street people might exclaim "shame", or cry out "sorry", even though they are not to blame for the incident."

This series makes visual a word that previously didn't have a physical form through the use of different media such as oil, stamps and found objects presented in her installation of found objects.

Learning the Flute is the title of William Kentridge's new film, which is accompanied by new etchings of the same name.

Opens: November 12
Closes: January 31, 2004

SEE REVIEWS    SEE REVIEW of Siopis' 'Shame' series recently on show at Wits



Angela Ferreira in Lisbon

'No place at all' is the sculptor ngela Ferreira's first comprehensive exhibition to present an anthology of her work.

Born in Maputo, Mozambique, in 1958, Ferreira shares her life between South Africa and Portugal. Her dual nationality, Portuguese and South African, and above all her dual experience of both realities, invests her work with a sense of dialogue, her work reflecting upon the places where cultural exchange occurs, where the forces and powers that configure identities play out.

After graduating from the University of Cape Town Ferreira moved to Lisbon and became "one of the most relevant artists of the generation that came to the forefront in the beginning of 1990s". Among these she was the only one dealing with Portugal's colonial history. Ferreira's work is not confined to historical specificities but is directed at a broader reality, namely the historical relationship between the West and its peripheries. Ferreira's work also question the critical possibilities of the sculptural practices inherited from modernity.

In the consistently unusual form in which objects, images, memories and architectures are organised in her work, one can glimpse a strategy of inquiry which is not circumscribed by cultural determination, but which rather implicates and confronts the most intimate aspects of the subject with global movements.

'No Place at All' is a major and comprehensive presentation of Ferreira's work, focusing on the issues related to urbanism and politics. It includes 11 works produced from 1992 to 2003 and one new project. A bilingual catalogue, in Portuguese and English, accompanies the exhibition and includes two essays, one by Pedro Lapa, the other by Andrew Renton.

Opens: October 23
Closes: January 18, 2004



Williamson and van der Merwe in Cologne

36 million people are infected with HIV worldwide, 70% of whom live in Africa. All groups and sections of the population are affected: government ministers and workers, employees and farmers, parents and orphans, police officers and nurses, doctors and soldiers, homosexuals, teachers, taxi drivers, prostitutes and street vendors.

'Sexuality and Death: Aids in contemporary African art' presents Aids as it is seen from the perspective of the African artist. At the beginning of the 1980s when the first AIDS cases were made public, art offered one of the few legitimate possibilities in Africa to express personal and social experiences with this illness. The starting point of the artists' works is as multifaceted as the illness itself.

On the one hand, artists such as Sue Williamson use their works as a means of communication in Aids prevention. On the other hand, myths, traditions, and resistance are reflected in their works, which all too often hinder the fight against Aids. 'Sexuality and Death' is the title and the didactic and structural leitmotif of the exhibition. The causes and consequences of HIV infection and Aids illness will form the core of discussion.

The show is curated by Dr. Kay Schaefer, a specialist in tropical diseases in Africa and "an expert in contemporary African art". Schaefer has selected 20 African artists from 11 countries. Amongst the 20 are Pascale Marthine Tayou, Hentie van der Merwe, Ingrid Mwangi and Sue Williamson.

Opens: October 19, 2003
Closes: January 25, 2004


Jürgen Schadeberg

Jürgen Schadeberg

Jürgen Schadeberg
Images from Invitation


Jürgen Schadeberg in Berlin

A protégé of the legendary 1950s Drum magazine years, J�rgen Schadeberg emerged as one of South Africa's foremost black and white photographers. Documenting the short-lived jazz years of Sophiatown, including notable portraits of some of its leading cultural figures, Schadeberg's works have become popular collectables. Alongside Bob Gosani and Peter Magubane, his work documents the vibrancy and self-assuredness of a period.

'Beyond Apartheid' comprises recent photographs from a six-month photo essay project on Kliptown, in Johannesburg. Shot in collaboration with four trainee photographers, the show explores familiar post-apartheid territory, the shack dwellings once rendered invisible by apartheid legislation and segregation. This show is a collaborative project of the Goethe-Institutes in Berlin and Johannesburg with the Arsenal/Friends of the German Cinema, Galerie Peter Herrmann and the Kalkscheune.

The show will open at the two venues on October 23, at 7pm at the Goethe Institute, and 8.30pm at Peter Herrmann Gallery. Mrs. Christina Rau, spouse of the German President, and Prof. Dr. J. Limbach, President of the Goethe Institute will open Schadeberg's show.

Opens: October 23
Closes: January 15, 2004

UNITED STATES OF AMERICA

Ingrid Mwangi

Ingrid Mwangi


'A Fiction of Authenticity: Contemporary Africa Abroad' in St Louis

Curated by South African Tumelo Mosaka and Shannon Fitzgerald, curator at the Contemporary Art Museum St Louis, 'A Fiction of Authenticity: Contemporary Africa Abroad' brings together a group of African artists practicing in the diaspora. Working in a variety of media - sculpture, painting, photography, installation, video and performance - the show explores issues of authenticity.

Artists who created new work for the exhibition are Siemon Allen (South Africa/Washington DC), Fatma Charfi (Tunisia/Bern, Switzerland), Godfried Donkor (Ghana/London), Mary Evans (Nigeria/London), Meschac Gaba (Benin/Amsterdam), Kendell Geers (South Africa/Brussels), Moshekwa Langa (South Africa/Amsterdam), Ingrid Mwangi (Kenya/Ludwigshafen, Germany), Odili Donald Odita (Nigeria/Tampa, Florida), Owusu-Ankomah (Ghana/Lilienthal, Germany) and Zineb Sedira (Algeria/London).

All artists, born either near the end of colonialism or shortly after (with the exception of South Africa) made their work in response to the thematic, a fiction of authenticity. As products of the 1960s and 1970s, this important generation of artists challenge the Western invented notion of an authentic Africa. Rooted in exile, diaspora and interculturalism, each artist is creating a new body of work that transcends past limitations of geography, culture, race, ethnicity and nationhood. This exhibition considers their conceptual art practices, international perspectives and recent entrance into the global area that has created a shift in the way we consider postmodern/ postcolonial art production.

A fully illustrated catalogue, produced by the Contemporary, with essays by co-curators Shannon Fitzgerald and Tumelo Mosaka, as well as new essays by Orlando Britto Jinorio, Ery Camara, Okwui Enwezor, Salah Hassan and Gilane Tawadros, accompanies the exhibition. A six-part lecture series and symposium featuring all exhibiting artists, curators and catalogue essayists was organized in conjunction with the exhibition, which is expected to travel after closing in January.

Opens: September 20, 2003
Closes: January 3, 2004


Cindy Sherman

Cindy Sherman
Untitled (#4045), 2000
Colour photograph
44" x 33"

Courtesy the Broad Art Foundation, Santa Monica, and Metro Pictures, New York.

Gary Simmons

Gary Simmons
Big Still, 2001
Painted foam, fibreglass, wood, metal

Courtesy of the artist and Metro Pictures, New York


'White: Whiteness and Race in Contemporary Art' in Baltimore

The Center for Art and Visual Culture, in Baltimore City, Maryland, presents 'White: Whiteness and Race in Contemporary Art,' the first exhibition of art that explores race and racism from the perspective of white people. Over the past 20 years, the cultural and scholarly discourse around race has expanded to include the study of whiteness and white privilege. This inquiry represents a radical shift in the way viewers are asked to think and talk about race from a more subjective standpoint and give it meaning so that we might understand race and racism in a more complex manner.

'White: Whiteness and Race in Contemporary Art' gives voice to 12 contemporary artists who explicitly address the issue of whiteness. Max Becher and Andrea Robbin's German Indian series (1997-98), photographs of German men, women, and children who regularly attend carnivals dressed up as Native Americans, examines white people's fascination with and appropriation of racial otherness.

The exhibition also includes Nancy Burson's Untitled (Guys Who Look Like Jesus) (2000-01), the culmination of a national search for people who believe they look like Christ, depicts eight men of varying ages and races. The series challenges one of Christianity's (and whiteness') most generative and foundational myths: that of Aryan purity as a metaphor of godliness and the triumph over evil. Wendy Ewald's White Girl's Alphabet-Andover, Massachusetts (2002), a project created in collaboration with teenage subjects, represents a poignant, humanistic exploration of the vulnerabilities and ambivalence that underwrite both whiteness and femininity.

The exhibition also features works by Max Becher & Andrea Robbins, Nayland Blake, Nancy Burson, Wendy Ewald, Mike Kelley, Barbara Kruger, Nikki S. Lee, Paul McCarthy, Cindy Sherman and Gary Simmons. South African artist William Kentridge is the twelfth participating artist. 'White: Whiteness and Race in Contemporary Art' is accompanied by a 100-page catalogue edited by Maurice Berger, and is the first book devoted to the subject of whiteness, race and art. (www.artbook.com/1890761060.html)

Curator Maurice Berger is the author of the critically acclaimed White Lies: Race and the Myths of Whiteness (Farrar, Straus & Giroux, 1999), which was named as a finalist for the 2000 Horace Mann Bond Book Award of Harvard University and is being adapted as a television documentary for PBS. Berger is also a fellow at the Vera List Center for Art and Politics of the New School for Social Research in New York. His articles have appeared in many journals and newspapers, including Artforum, Art in America, The New York Times, The Village Voice, October, Wired, and The Los Angeles Times.

Opens: October 9
Closes: January 10, 2004



'Looking Both Ways: Art of the Contemporary Diaspora' in New York

Kendell Geers and Moshekwa Langa, who recently appeared together on 'Black President' at New York's New Museum of Contemporary Art, show together again on 'Looking Both Ways: Art of the Contemporary African Diaspora'. Opening two months after 'A Fiction of Authenticity', 'Looking Both Ways', curated by Laurie Ann Farrell, seems to have much in common with the curatorial impulse which brought the first into being. Here again is a line-up of artists (four of them are on both shows) originating from the African continent and now working mainly in the west. The title 'Looking Both Ways' refers to the artists' practice of looking at the psychic terrain between Africa and the West, a terrain of shifting physical contexts, aesthetic ambitions and expressions.

"Many artists from Africa are in the forefront of discussions of globalism and cultural hybridity, terms currently circulating in the international art world", writes Farrell in an online statement, (and) "are making statements that transcend politics".

The exhibition catalogue is a remarkably handsome publication, and Farrell has already lined up an impressive array of institutions to which the exhibition will travel when it closes at the Museum for African Art, including a European foray. The schedule so far reads Peabody Essex Museum. Salem, MA, March 27 - July 18 2004; Cranbrook Art Museum, Bloomfield Hills, MI, September 12 - November 28; Museu Calouste Gulbenkian, Lisbon, January - March 2005; and the Museum of the African Diaspora, San Francisco, CA, January - March 2006.

The full list of participating artists is: Fernando Alvim, Ghada Amer, Oladélé A. Bamgboyé, Allan deSouza, Kendell Geers, Moshekwa Langa, Hassan Musa, N'Dilo Mutima, Wangechi Mutu, Ingrid Mwangi, Zineb Sedira and Yinka Shonibare.

SEE REVIEWS    SEE REVIEWS

Opens: November 13
Closes: March 1, 2004


Nondumiso Hwele

Nondumiso Hwele
Memory Box Project


'Body Maps' in New York

'Body Maps' is a group show and sale of artworks by South African-born artists in support of The Memory Box Project, a community outreach program of the University of Cape Town. The Memory Box Project promotes AIDS awareness and assists people living with HIV and AIDS in under-resourced communities in Southern Africa to live positively and to plan for the future.

The exhibition explores notions of how identity is formed/ informed (history, body, place) as well the power of community in the face of major challenges. The artists involved are Paul Balmer, Sandile Goje, Vivienne Koorland, Colbert Mashile, and Gary Schneider. The exhibition also includes Body Maps - life size artworks created by Memory Box participants. Facilitated by Jane Solomon, a Cape artist, the Body Maps are traced outlines of participants' bodies onto which they have painted representations of the HIV virus alongside symbols of personal power and areas of emotional significance.

The reception, a ticketed event, will feature an explanation of the Body Maps by Nondumiso Hwele, a Memory Box participant and trainer, as well as introductions by Doctors Without Borders/ M�decins Sans Fronti�res (MSF) and Treatment Action Campaign.

The Memory Box Project supports the Treatment Action Campaign and has a relationship with MSF. Some Memory Box participants receive antiretroviral treatment through an MSF pilot project in Kayelitsha, outside of Cape Town. In this way, the Memory Box Project has documented the success of antiretroviral treatment in the local community, supporting efforts to broaden access to the treatment in South Africa.

Participants in the Project make a memory box and memory book as a way of telling empowering narratives about their lives. Education about HIV and AIDS, as well as treatment possibilities is an integral part of the workshops. The Body Maps are being exhibited in Cape Town, London and New York simultaneously. A book entitled 'Long Life - positive HIV stories', which features the Body Maps and the stories of Memory Box participants, will be available.

Opens: December 9, 2003
Closes: January 28, 2004



'Identity Document: Art and Awareness' in New York

'Identity Document' is a group show and sale of artworks by South African-born artists in support of The Memory Box Project, a community outreach program of the University of Cape Town. The Memory Box Project promotes AIDS awareness and assists people living with HIV and AIDS in under-resourced communities in Southern Africa to live positively and to plan for the future.

The exhibition explores notions of how identity is formed/ informed (history, body, place) as well the power of community in the face of major challenges. The artists involved are Paul Balmer, Sandile Goje, Vivienne Koorland, Colbert Mashile, and Gary Schneider. The exhibition also includes Body Maps - life size artworks created by Memory Box participants. Facilitated by Jane Solomon, a Cape artist, the Body Maps are traced outlines of participants' bodies onto which they have painted representations of the HIV virus alongside symbols of personal power and areas of emotional significance.

The reception, a ticketed event, will feature an explanation of the Body Maps by Nondumiso Hwele, a Memory Box participant and trainer, as well as introductions by Doctors Without Borders/ M�decins Sans Fronti�res (MSF) and Treatment Action Campaign.

The Memory Box Project supports the Treatment Action Campaign and has a relationship with MSF. Some Memory Box participants receive antiretroviral treatment through an MSF pilot project in Kayelitsha, outside of Cape Town. In this way, the Memory Box Project has documented the success of antiretroviral treatment in the local community, supporting efforts to broaden access to the treatment in South Africa.

Participants in the Project make a memory box and memory book as a way of telling empowering narratives about their lives. Education about HIV and AIDS, as well as treatment possibilities is an integral part of the workshops. The Body Maps are being exhibited in Cape Town, London and New York simultaneously. A book entitled 'Long Life - positive HIV stories', which features the Body Maps and the stories of Memory Box participants, will be available.

Opens: December 2, at 6.30pm (Benefit Reception)
Closes: December 5



Conrad Botes in New York

Conrad Botes (aka Konradksi of Bitterkomix fame) will be exhibiting at the Scene Gallery in New York. The Scene Gallery was invited by Art Omi (a residency program in upstate New York) to be one of the visiting galleries who would meet and engage with the artists selected on this year's program. Botes was one of the 30 artists in this year's program, which was where The Scene Gallery first encountered his work and ideas.

According to the gallery, "Conrad's work deals with issues that are new and relevant to a New York audience. His medium of painting on glass and his somewhat cartoon like style is bold and graphic and suits the aesthetic of the gallery. His approach to image making has a somewhat collage style and this is a medium we are drawn to. We represent a number of artists who work in this 'urgent' way".

Botes himself has commented: "The paintings that I make have its roots in comic book drawing, which I have been drawing for over a decade... As with comics, I love to approach painting in a very eclectic manner, combining cartoon stereotypes with more figurative ways of representation. This eclectic approach is also prevalent in the content of my work; where one often finds a combination of humorous with disturbing subject matter".

"The narrative content of my work is usually related to race, gender and violence and their disturbing relationship to power and hierarchy. Rather than delivering future vision (sic) or a solution to problems, these narratives try to present situations around power and hierarchy in a very direct and confrontational way. I love to think of my work as a post mortem of the society and culture from which I emerged."

Opens: December 4
Closes: January 31, 2004



Geers and Langa at Museum for African Art

Kendell Geers and Moshekwa Langa, who recently appeared together on 'Black President' at New York's new Museum of Contemporary Art, are set to show together again. 'Looking Both Ways: Art of the Contemporary African Diaspora' is a group show presenting works by twelve artists from all four extremities of the African continent.

The common link shared by these disparate artists is that they all live and work in Western countries, including Belgium, France, Germany, the Netherlands, Portugal, the United Kingdom, and the United States. The title Looking Both Ways refers to the artists' practice of looking at the psychic terrain between Africa and the West, a terrain of shifting physical contexts, aesthetic ambitions and expressions.

The full list of participating artists is: Fernando Alvim, Ghada Amer, Olad�l� A. Bamgboy�, Allan deSouza, Kendell Geers, Moshekwa Langa, Hassan Musa, N'Dilo Mutima, Wangechi Mutu, Ingrid Mwangi, Zineb Sedira and Yinka Shonibare.

Opens: November 13
Closes: March 1, 2004



Langa, Geers & Allen at Contemporary Art Museum St. Louis

'A Fiction of Authenticity: Contemporary Africa Abroad' brings together an important generation of artists working in a variety of mediums - sculpture, painting, photography, installation, video and performance - exploring issues of authenticity.

Artists creating new work for the exhibition are Siemon Allen (South Africa/Washington DC), Fatma Charfi (Tunisia/Bern, Switzerland), Godfried Donkor (Ghana/London), Mary Evans (Nigeria/London), Meschac Gaba (Benin/Amsterdam), Kendell Geers (South Africa/Brussels), Moshekwa Langa (South Africa/Amsterdam) Ingrid Mwangi (Kenya/Ludwigshafen, Germany), Odili Donald Odita (Nigeria/Tampa, Florida), Owusu-Ankomah (Ghana/Lilienthal, Germany) and Zineb Sedira (Algeria/London).

All artists, born either near the end of colonialism or shortly after (with the exception of South Africa) are making new work in response to the thematic, a fiction of authenticity. As products of the 1960s and 1970s, this important generation of artists challenge the Western invented notion of an authentic Africa. Rooted in exile, diaspora and interculturalism, each artist is creating a new body of work that transcends past limitations of geography, culture, race, ethnicity and nationhood.

This exhibition considers their conceptual art practices, international perspectives and recent entrance into the global area that has created a shift in the way we consider post-modern/post-colonial art production.

Siemon Allen investigates how nation building and identity are created through media attention or the lack of it at specific historical moments. He collects information (stamps, books, newspapers and film) to reveal ways in which perception is formed over time. Interested in world opinion of the U.N. Conference on Racism, held in his hometown of Durban, South Africa, in the fall of 2001, Allen collected United States news coverage of this controversial event, including all mentions of South Africa. The conference coincided with the events of September 11, 2001, thus altering Allen's first impulse for the direction of his work. For 'A Fiction of Authenticity', he has created a new minimalist grid that presents his research over the course of two years. He illustrates this by weaving both the internal and external view of one nation (South Africa) as presented by the media during these coinciding events.

Moshekwa Langa is creating a new body of work combining his interest in the accumulation/dispersal of media, materials and perspectives to gain access to an understanding of home and home away from home. For him, home is rural South Africa and Amsterdam. Langa maps out the often-incongruent movement of the diaspora experience and for 'A Fiction of Authenticity', is creating a new series of expressive painting exploring fictional narratives about the origins of human existence. Culling from fables, mythologies and history, Langa presents non-sequential mappings combined with abstract and representational forms that illustrate various alternative creation myths.

Based in contemporary conceptual practices, Kendell Geers's videos, sound pieces, performances and installations challenge the structure of things, particularly institutional politics, language, history and cultural boundaries. For the Contemporary, Geers will create a neon sign - a single word, SLAUGHTER - near the grounds of the museum, under the name Geers & K.O. Lab. The "S" in the word SLAUGHTER will flicker slightly, change color and fizzle out to reveal the word LAUGHTER, illustrating words within words, and subliminal messages that exist within our daily modes of communication: written and spoken language. SLAUGHTER will be mounted on a building across the street from the Contemporary, making the off-site piece public art available to all.

'A Fiction of Authenticity: Contemporary Africa Abroad' is co-curated by Shannon Fitzgerald, curator, the Contemporary and Tumelo Mosaka, assistant curator, Brooklyn Museum of Art and will travel to venues in the United States - to be announced soon.

A fully illustrated catalogue, produced by the Contemporary, with essays by co-curators Shannon Fitzgerald and Tumelo Mosaka, as well as new essays by Orlando Britto Jinorio, Ery Camara, Okwui Enwezor, Salah Hassan and Gilane Tawadros, accompanies the exhibition.

An unprecedented six-part lecture series and symposium featuring all exhibiting artists, curators and catalogue essayists is being organized in conjunction with the exhibition. The schedule is as follows:

September 20, 2003 - Symposium 10am - 2pm
Gilane Tawadros with exhibiting artists Fatma Charfi, Godfried Donkor and Zineb Sedira Orlando Britto Jinorio with exhibiting artists Meschac Gaba, Ingrid Mwangi and Owusu-Ankomah

October 16, 2003 - 7pm
Salah Hassan: African Modernism
October 23, 2003 - 7pm
Ery Camara: Demystifying Authenticity
November 6, 2003 - 7pm
Tumelo Mosaka with exhibiting artists Siemon Allen, Mary Evans and Moshekwa Langa
December 11, 2003 - 7pm
Shannon Fitzgerald with exhibiting artists Kendell Geers and Odili Donald Odita

Opens: September 20
Closes: January 3, 2004

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