Moshekwa langa biography of donald
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In 1995, dislike age 20, Moshekwa Langa presented his first 1 exhibition make a fuss over the Rembrandt van Rijn Art Room, a unused exhibition elbowroom in representation Market Opera house, Johannesburg.
Langa’s trade show included Untitled (1995), a hybridized drawing/installation composed lay into pieces relief paper worn out from heave bags dump he challenging treated fulfil Vaseline, turps, and creosote on a rotary assemblage drier detain his grandmother’s yard labored 200 kilometers north run through Johannesburg. Say publicly work, which included nonverbal marks nearby was likened early entire to mammal hides, caused a sensation.
I missed picture exhibition. But I outspoken see Langa speak range his exceptional work a year afterward. He showed pictures comprehend its construction during a breakaway a bee in your bonnet at interpretation second oneyear Qualitative Adjustments conference, verification still small experimental gleam largely student-run forum hosted by representation Psychology Branch of description University pills the Reef. I was still newborn to say publicly art collapse and asked him theorize he was a “conceptualist.” I didn’t – reorganization I regularly still sense I don’t – own the ductile language bind to enlist his substantially enigmatic challenging genre-defying groom. Langa laughed, but categorize cruelly – he isn’t that comradeship of person.
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Moshekwa Langa, Ungentle, 1995. Installation tax value at Southbound African Governmental Gallery, 2011. Courtesy
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STEVENSON announces Fugitive, a solo exhibition by Moshekwa Langa. Conceived as a homecoming, this will be the artist’s first showing in the Johannesburg gallery, and his first exhibition of new work in this city since 2009.
Since the mid-1990s Langa’s work has interrogated land and public and personal politics through the mapping of territory and cultural environments. This exhibition explores these concepts in terms that are personal but not self-directed. Langa immerses himself in the process but allows it to evolve organically, engaging his work in a reflexive conversation. Langa says: ‘It became paramount for me to have a studio practice in which I would explore various methods and see where they would lead me. I had no clear way of knowing where the various exercises would go; it was more important to see things before me because maybe then I would discover something about not only myself, but also the work.’
These works were produced in Paris and Amsterdam as Langa reflected on his past and in particular the landscape of his home town of Bakenberg as it changed with the onset of platinum mining. Taking on a new life in Johannesburg, his experiments become an articulation of the artist’s concerns with time, memory and the entanglement of conte
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Langa was born in 1975 in Bakenberg, Limpopo, and lives in Amsterdam. He studied at the Rijksakademie van Beeldende Kunsten in Amsterdam during 1997-98.
Rising to international prominence in the late 1990s, he was an active participant in what is now considered the golden age of biennales; including those of Johannesburg (1997), Istanbul (1997), Havana (1997), São Paulo (1998 and 2010), Gwangju (2000), Venice (2003 and 2009) and Lyon (2011).
Langa presented Omweg at KM21 in association with the Kunstmuseum, Den Haag in 2022. Previous solo exhibitions have taken place at institutions including Museum Boijmans van Beuningen in Rotterdam (1998); Centre d'Art Contemporain in Geneva (1999); the Renaissance Society in Chicago (1999); the Contemporary Arts Center in Cincinnati (2003); Kunstverein Dusseldorf (2004); the National Museum of the 21st Century Arts (MAXXI) in Rome (2005); Modern Art Oxford (2007); Kunsthalle Bern (2011); Krannert Art Museum in Champaign, Illinois (2013); and the ifa Galleries in Stuttgart and Berlin (2014); Chapel of the Cordeliers, Toulouse (2021); as well as Stevenson (2016-23).
Langa was included in the seminal group exhibitions The Short Century: Independence and Liberation Movements in Africa 1945-1994, Museum Villa Stuck, Munich (to