Search Results for Second Johannesburg Biennale

...Natasha Becker This article takes a critical and intimate look at Okwui Enwezor’s work in South Africa during the 1990s and asserts that the international exhibition he curated in Johannesburg in 1997—the Second Johannesburg Biennale, Trade Routes: History and Geography —is an important lens...

... in Johannesburg as the artistic director of the tion to make space for other voices and ways of city s second biennale. making and being. Two years had passed since the country s first Colin would say that Okwui s extraordinary democratic election. The Truth and Reconciliation achievements were not bonded by his...

... of both our careers. thoughts visually through some of the works of We worked on shows like Trade Routes: History and mine included in Okwui s curatorial projects over a Geography, Second Johannesburg Biennale, South number of years. Africa, 1997; Mirror s Edge, Bildmuseet, Umeå, Swe- den, 1999 2000...

..., not a place. Dhlomo-Mautloa asked me to nominate some- Each attempt at self-recognition is inexorably marred one for the position of director of the Second by the lack of freedom of self-narration, a state that Johannesburg Biennale, and I argued the case for Olu Oguibe has referred to as the legislative...

... the continent and Clive Kellner showed extraordinary vision and disapora, Africa Remix is on a scale the size of tenacity in raising the funding it took to bring an which the city has not seen since Okwui Enwezor's exhibition of the size of Africa Remix to the conti• Second Johannesburg Biennale...

... for (if not an academic and thus it was clear that the Second Johannesburg Biennale, Trade Routes: there were other factors driving the outcome of our History and Geography, he explained that his goal as CFP. So, what was the reason for the frankly anemic the chief curator was to examine the history of glo- response...

... to her mother and worn by the artist when receiving a lifetime achievement award; a Coco Fusco passbook from the Second Johannesburg Biennale; or a flattened skate fish called Jenny. Just as Siopis s films retrieve discarded reels to investigate gaps in dominant narratives, Will raises questions about...

... Second Johannesburg Biennale. Published in the exhibition catalogue was Mutu s Maria (1997), a discolored Immaculate Heart of Mary statuette the head of which she slotted halfway into an oversized brown-skinned plastic doll head with cowrie eyes, twine-bound hair, and a large gash on its forehead...

... by Gilane Tawadros, at the 50th International Art Exhibition, La Biennale di Venezia, Dreams and Conflicts: The Dictatorship of the Viewer, 2003. © Zarina Bhimji. All rights reserved, DACS 2021 I met Okwui Enwezor during the Second Johannes­ When we visited, we could smell the paint on the burg Biennale...

.... The curatorial model of the 2nd Johannesburg, and its success in forming new and groundbreaking visions, stands as testimony to this desirable transition. Second, the overall supervision of DAK'ART should be entrusted to an international advisory board of art experts rather the current govern• ment...

.... if the Biennale has achieved these funda• have a specific mandate. If so, to what extent But today, faced with a global art mar• mental objectives, when we are only in our has this been achieved? ket which all visual artists aspire to partici• second year...

...: Ideal Narratives in Contemporary South African Art, South Africa tion, private initiative, and cultural compromise Pavilion, Fifty-­Fourth International Art Exhibition, La Biennale in the staging of African art. Any attempt to iden- di Venezia (exhibition catalogue) (Johannesburg: CulArt Produc...

... Photo: Kathy Grundlingh their daily business. Mounted on panels of rusted metal, the the Johannesburg Biennales of 1995 and 1997, spoke about the photographs themselves carry veils of rust, as if the splashes...

..., which Enwezor himself referred to as narrative of postcoloniality.17 Already, as the curator interlocking constellations of discursive domains, of Trade Routes: History and Geography, the title of circuits of artistic knowledge production, and re- the Second Johannesburg Biennale (1997), Enwezor search...

... does one invoke the complicated tions by the art critical media. In this regard, the landscape of local/global exchanges within an Johannesburg Biennale seemed poised to become exhibition project? What does the public expect a major player with its two biennials. (The Cairo from...

... of cultural objects. South Africa The South Africa pavilion returned again this year to the exhibition space that it has leased for over a decade on the second floor of the Sale d Armi building in Arsenale. The country has a long and complex history of participation in the biennale since its debut in 1950...

... gallery, collector and historian. leries develop analytical para• in the catalogue of the Second history of Nigerian art, for Taking issues with the notion digms for teaching and research Johannesburg Biennale, 1997...

...- bun, Japan Association of Art Museums, 2010), 199. an organizer of the Second Johannesburg Biennale. 4. Alan Kurtz, “Are Whites Entitled to Write Black History Technorati.com, cited in Zoe Triska, “Black History Month Karen E. Milbourne is curator...

... Zona Limite (On the Margins of the Border Zone), 1995. Detail of installation, First Johannesburg Biennale. Bricks, bird preparation, archive files, photograph, iron 42 • Nka Journal of Contemporary African Art • 26 • Spring 2010 artistic and ethnographic approach has been nur- of the work...

... of the ways immiser- Johannesburg Biennale in 1997, handling the ultra-sensitive of global reality while blocking ated majority are objectifed, the Fusco pretends to be a police• material of the black body with the escape routes...