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The Lost Men Grahamstown 1 , 2004. Photograph, archival pigments print on 300 gsm photo-rag paper Image 10,5 x 14,8 cm. Edition 20 Photographed by Andrew Meintjes. Courtesy of Grahamstown National Arts Festival and Art Source South Africa Waldsee, 1944 , 2B Galéria, Budapest, Hungary, April 2004 The 2B foundation and the Alma on Dobbin Foundation invited selected artists to participate in this touring exhibition with a postcard size work that reflected on these events of 60 years ago. The show featured The Lost Men Grahamstown I (2004). “... The letters of Holocaust victims are today preserved in archives. The postcards, letters and scraps of paper are unique documents of forced labour and deportation. They were written in the shadow of death, in most cases in the last moments of their authors’ lives. (Waldsee 1944 catalogue). In the summer of 1944, recently deported persons sent postcards to Budapest from a certain place called Waldsee. The postcards were handed to the Jewish Council in Budapest to be distributed by them to the addressees. The text of the postcards would read: ”I am doing fine, I am working.” or ”I have arrived safely. I have got work in my occupation.” or ”We are doing fine. Follow us here!” It was later discovered that the postcards came from Auschwitz...” (Hedwig Turai) Waldsee 1944 also toured to Florida Holocaust Museum, Florida, USA; St. Petersburg, Russia (Sept – Dec 2006); Hibel Museum, FAU-Jupiter, Florida, USA (Jan – March 2007); Ben Uri Gallery, London, UK (Autumn 2007); and Alper JCC, Miami, Florida, USA (April – June 2008). Related content Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←Previous Next→

‘Here: Pride and Belonging in African Art’, National Museum of African Art, Smithsonian Institution, Washington D.C., USA, 23 January – 23 August 2026 ‘If You Look Hard Enough, You Can See Our Future’, Newcomb Art Museum, Tulane University, New Orleans, Louisiana, USA, 10 March – 20 June 2025 ‘MICA Grad Show 3’, Maryland Institute College of Art, Baltimore, Maryland, USA, 12 – 28 April, 2024 ‘In Uncertainty We Trust’, Sheila and Richard Riggs and Leidy galleries, Maryland Institute College of Art, Baltimore, Maryland, USA, 27 September – 13 October 2023 ‘Cartographies of Becoming’, The Sylt Foundation, Sylt Island, Germany. 24 December 2021 – 30 December 2022 ‘Holding Tension’, Sheila and Richard Riggs and Leidy galleries, Maryland Institute College of Art, Baltimore, Maryland, USA, 2 – 10 December 2022 ‘Reviewing the Past’, Carol Schlosberg Alumni Gallery, Montserrat College of Art, Boston, Massachusetts, USA, 18 January – 19 March 2022 ‘Cure’, University of Johannesburg Art Gallery, South Africa 14 September 2020 – ‘Bag Factory 30 Years: So Far, The Future’, FADA Gallery, University of Johannesburg, South Africa, 30 June – 4 July 2020 ‘Ampersand Foundation 21 Years Celebration Exhibition’, University of Johannesburg Art Gallery, South Africa 11 September – 9 October 2019 ‘Regards: Photographie Camerounaise / Digital Africa’ – Casablanca Biennale Internationale de Casablanca Project Space, Morocco. 18 April – 15 June 2019 ‘Sway: A Photographic Exhibition’, Now Gallery, The Open Window, Irene, South Africa, 27 March – 30 June 2019 ‘Jack Ginsberg Centre for Book Arts Opening Exhibition’, Wits Art Museum, Johannesburg, South Africa, 26 March – 30 June 2019 ‘Wounds and Relics’, Gallery 2, Johannesburg, South Africa, 1 – 22 September 2018 ‘Turbine Art Fair 2018’, Art Source South Africa Booth GH4, Turbine Hall, Johannesburg, South Africa, 12 – 15 July 2018 ‘Recent Acquisitions: UNISA – University of South Africa Permanent Art Collection’, UNISA Art Gallery, University of South Africa, Pretoria, South Africa, 5 – 31 August 2017 ‘Material Gains: Contemporary Art from the Spier Collection’, Stellenbosch University Museum, Stellenbosch, South Africa, 25 July – 15 November 2018 ‘The Art of Reading from William Kentridge to Wikipedia’, Meermanno Museum, The Hague, The Netherlands, 18 November 2017 – 5 March 2018 ‘I Am Because You Are: A Search for Ubuntu with Permission to Dream’, Standard Bank Gallery, Johannesburg, South Africa. 2 February – 31 March 2018 ‘International Printmaking Alliance Exhibition’, Taimiao Art Gallery, Imperial Ancestral Temple, Beijing, China 25 September – 10 October 2017 ‘Rethinking Kakotopia’, University of Johannesburg Art Gallery, South Africa, 6 September – 4 October 2017 ‘Booknesses: Artists’ Books from the Ginsberg Collection’, University of Johannesburg Art Gallery, Johannesburg, South Africa, 25 March – 5 May 2017 ‘In Plain Sight: Social Life in South Africa and Romania Before and After 1989’, ApARTe Gallery of George Enescu University of Arts & Borderline Art Space, Iasi, Romania 25 November – 8 December 2016 ‘Foundations and Futures: Celebrating 25 Years of the Bag Factory’, Fordsburg Artists’ Studios, Johannesburg, South Africa, 28 October – 10 December 2016 ‘Rites of Passage: Between Light and Shadow’, Irma Stern Museum, Cape Town, South Africa, 11 – 18 June 2016

Untethered/Retethered , 2025, (تائه في العدم/مستعيد جذوره) (detail) Decommissioned, model T-10, U.S. military personnel parachute with severed suspension lines, detached harness with risers, 550 para-cord. High-definition video projection, stereo soundtrack, 7 min 26 sec. Parachute diameter: 35 feet. Harness dimensions: 30 x 30 inches (excluding suspension lines). Photographed by Russell Smith Here: Pride and Belonging in African Art , National Museum of African Art, Smithsonian Institution, Washington D.C., USA, 23 January – 23 August 2026 Artists across Africa and the diaspora whose artworks connect to their identities and experiences as LGBTQ+ people are featured as the first continental and diasporic survey of its scale and scope outside of Africa. The show assembles artists whose work has implicitly or explicitly challenged local and global legacies of homophobia and bigotry, offering imaginings of alternative futures as well as celebrations of intimacy, faith, family and joy. Untethered/Retethered (2025) (تائه في العدم/مستعيد جذوره) was selected by curators, Serubiri Moses and Kevin Dumouchelle for this exhibition. Artist statement At present, the United States finances, trains and arms soldiers in the Lebanese Armed Forces. My mixed European/Lebanese heritage has compelled me to spend the last three years interviewing retired and active duty U.S. and Lebanese soldiers, deployed to the ‘Greater Middle East’ region. In these exchanges, I was struck by each soldier’s account of the camaraderie between ‘battle buddies’ and surprised that the older veterans from both countries spoke of a profound sense of loss when returning to civilian life. This traumatic experience of detachment resonated strongly with me when a U.S. paratrooper gave me his parachute. He recounted how he had acquired it after retiring from active duty in 2008, only to discover that all 30 of its suspension lines had been severed. The accompanying original drawings on 2 cotton rags, comprise a ‘hand portrait’ of a Lebanese, active duty infantryman and a ‘foot portrait’ of a U.S. paratrooper. I was driven to record the intimacy of our conversations in some way and they both allowed me to draw their hands and feet, so as to protect their anonymity. The Lebanese infantryman’s hands are scratched by hand with a steel blade into a layer of gunpowder residue because he uses an M16 assault rifle and ammunition supplied by the United States. The U.S. paratrooper’s feet however, are scratched into a layer of black boot polish because to this day, airborne troops use it to buff their leather, ceremonial ‘jump boots’ to signify excellence and professionalism. Related content Press article Washington Post, May 2025 Civic engagement project ‘The Veteran’s Memorial to the Living’ (ongoing) Civic engagement project ‘Talking with Monuments: What they don't say and the stories being missed’, 2024–2026 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

The Lost Men Grahamstown 2 , 2004. Photograph, archival pigments print on 300 gsm photo-rag paper. 100 x 203,5 cm. Edition 5. Photographed by Andrew Meintjes. Courtesy of Grahamstown National Arts Festival and Art Source South Africa Bag Factory Artists , UNISA Art Gallery, University of South Africa, Pretoria, South Africa, 6 July – 26 August 2005 A group show of permanent artists from Fordsburg Artist’s Studios, also known as The Bag Factory. Two editioned photographs and a documentary from The Lost Men Grahamstown (2004) were shown. Related content Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 Counter-memorial ‘The Lost Men Mozambique’, 24 April – 12 May 2007 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

Amnos , (detail), 1993. Copperplate mezzotint etching. Image 9 x 7 cm. Edition 10 Open Bite: A New Look at Intaglio Printmaking , Civic Gallery, Johannesburg, South Africa 1994 A group exhibition installed in the Civic Gallery (later known as The Gallery Premises) at The Johannesburg Civic Theatre. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 ←Previous Next→

The Lost Men France 2 , 2014. Pigment printed photograph on archival paper, 50 x 65 cm, Edition 5. Courtesy of 2014 Centenaire de la Première Guerre Mondiale and Art Source South Africa Sway: A Photographic Exhibition , Now Gallery, The Open Window, Irene, South Africa, 27 March – 30 June 2019 ‘Sway’ was Now Gallery's first photography exhibition, considering the theme of motion and the possibility of changing one's mind. Participating artists: Elsa Bleda, Mary Sibande, Michael Meyersfeld, Dani Bester, Ross Garrett, Alet Pretorius, Carla Crafford, Susanna Smith, Bernard Brand, Suzette du Plooy, Shannon Daniels, Jonina Botha, Dan Roberts, Warren James, Ryno Stols, Karl van Heerden, Paul Emmanuel, Graham De Lacy and Henry Engelbrecht. Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

Parade of shadows , 2009. Manière noire stone lithograph, hand printed, hand coloured, signed, numbered and dated by the artist. Black lithographic ink and watercolour pigment on 285 gsm Fabriano Rosaspina Avorio paper, 80 x 156 cm. Edition 35. Courtesy of Art Source South Africa and Spier Collection If You Look Hard Enough, You Can See Our Future , Newcomb Art Museum, Tulane University, New Orleans, Louisiana, USA, 10 March – 20 June 2025 If You Look Hard Enough, You Can See Our Future highlights work from the Nando’s collection that was created in South Africa between 1948 and 2020. This exhibition underscores the collection’s extensive holdings in portraiture, cityscapes, landscapes, and abstraction. The artwork on view shapes an understanding of the South African milieu and its transformation over the last seventy years. They also offer insight into multi-generational views on life and placemaking. The paintings, works on paper, sculptures, and photography serve as visual documentation of forgotten images and histories in much the same way a journalist records and transmits stories to a reader. While they are bound by a specific time and place, they chronicle universal issues that touch us all: love, loss and the hope for a better future. Related content Exhibition ‘Transitions Multiples’, 23 – 25 September 2011 Exhibition ‘Transitions Multiples’, 8 September – 5 November 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Short film ‘3SAI: A Rite of Passage’, 2008 ←Previous Next→

Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec Regards: Photographie Camerounaise / Digital Africa – Casablanca Biennale Internationale de Casablanca Project Space, Morocco. 18 April – 15 June 2019 Organised as part of the 5th Biennale Internationale de Casablanca 2020 incubation programme, with events planned in Casablanca throughout 2019 and 2020, this showcase brought together established and emerging practitioners working across photography, video and installation. Digital Africa – Casablanca featured video works by: Hakeem Adam (Ghana), Driss Aroussi (Morocco/France), Wendinagegn Belete (Ethiopia/Norway), Paul Emmanuel (Soudh Africa), Badr El Hammami (Morocco/France), Khireddine Khaldoun (Algeria), Mohammed Amine Al Makouti (Morocco), Mahlôt Sansosa (Brazil/Tanzania), Yvon Ngassam (Cameroon), Marton Robinson (Costa Rica), Leandré le Roux (South Africa) and Carly Whitaker (South Africa). Remember-dismember and 3SAI: A Rite of Passage (2008) were selected by curator Christine Eyene, for this exhibition. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Intervention ‘Rising-falling’, 2021 ←Previous Next→

Number 05000674PV , 2009. Manière noire stone lithograph, hand printed, hand coloured, signed, numbered and dated by the artist. Black lithographic ink and watercolour pigment on 285 gsm Fabriano Rosaspina Avorio paper. 80 x 156 cm. Edition 35. Courtesy of Art Source South Africa DAK'ART 2012, Biennale of Contemporary African Art, Museum Theodore Monod, Dakar, Senegal, 11 May – 10 June 2012 CURATORS: Christine EYENE, Nadira LAGGOUNE, Riason NAIDOO THEME: "CONTEMPORARY CREATION AND SOCIAL DYNAMICS" The tenth edition of the biennale is held in a particular context. Indeed, 2012 is an electoral year in Senegal as was 2000. This year also marks the twentieth birthday of the most former biennale of the African continent. DAK'ART is maintained as a key event in the international art calendar. The theme chosen for this edition is expected to examine through various angles the dialogue that contemporary artists maintain with a social environment which is in constant mutation. Contemporary creation and social dynamics, is a field of investigation which academics, art critics and artists are invited to explore in the context of the meetings and exchanges of the edition 2012 of the Biennale. number 05000674PV (2009) was selected by the curators for this exhibition. Related content Exhibition ‘Transitions Multiples’, 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→

Platform number 5 , 2011. Manière noire stone lithograph, hand printed, hand coloured, signed, numbered and dated by the artist. Black lithographic ink and watercolour pigment on 285 gsm Fabriano Rosaspina Avorio paper, 80 x 156 cm. Edition 35 International Printmaking Alliance Exhibition , Taimiao Art Gallery, Imperial Ancestral Temple, Beijing, China 25 September – 10 October 2017 This international exhibition showcases printmaking works with perspective and constructive features recommended by Alliance members as well as the latest creations based on national culture, history, literature or other materials. Participating artists from South Africa: Dominic Thorburn, Bevan de Wet, Sara-Aimee Verity, Christine Dixie, Vuli Nyoni, Mongezi Ncaphayi, Paul Emmanuel, Vusi Kumalo, Sam Nhlengethwa, Nhlanhla Xaba, Diane Victor, Kagiso Patrick Mautloa, Thama Kase, Michael Taylor, Ina van Zyl, Katherine Bull, Zola Toyi. The South African contingent was curated by Professor Dominic Thorburn of Rhodes University, Eastern Cape, South Africa. Platform number 5 (2011) was selected for this exhibition. Related content Exhibition ‘Transitions Multiples’, 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→

Rough collar , 2018, hand incised, perforated carbon paper, carbon residue, perspex display case, wooden plinth, 45 x 40 x 40 cm Ampersand Foundation 21 Years Celebration Exhibition , University of Johannesburg Art Gallery, South Africa 11 September – 9 October 2019 This extensive show, curated by Gordon Froud, senior lecturer at FADA (UJ) showcased the depth of South Africa's art scene and included works by numerous Ampersand Fellows like Diane Victor, Paul Emmanuel, Gabrielle Goliath, Mbongeni Buthelezi, Penny Siopis, Nicholas Hlobo, Senzeni Marasela, Stephen Hobbs, Alan Laing and Heidi Fouri. The Ampersand Foundation has had an immense impact on the country's fine art landscape over the last 21 years by affording visual arts practitioners exposure to the wider international arts landscape of New York. Rough collar (2018) was selected by the curator for this exhibition. Related content Exhibition ‘Substance of Shadows’, 11 September – 2 October 2021 ←Previous Next→

Airstrip , 2002, copperplate drypoint, mezzotint etching, watercolour pigments on 300 gsm Somerset paper, 56 x 76 cm. Edition 5 Bag Factory 30 Years: So Far, The Future , FADA Gallery, University of Johannesburg, South Africa, 30 June – 4 July 2020 The Bag Factory is celebrating three decades of our history and legacy as a non-profit contemporary visual arts organisation by looking through our archives and highlighting our unique, long-standing relationship with artists. Initially founded in 1991 by Dr David Koloane, British philanthropist Robert Loder, and arts administrator Sandra Burnett, with support from artists like Kagiso Patrick Mautloa, Sam Nhlengethwa and many others, the Bag Factory is an inclusive and interactive studio space for a cross-generational community of practicing visual artists where the exchange of ideas is encouraged and stimulated. Airstrip (2002) was selected for this exhibition. Related content Exhibition ‘After-image’, 3 – 26 August 2004 Publication ‘After-image’, 2004 ←Previous Next→