One of the most influential and important photographic artists of the 21st century, Roger Ballen’s photographs span nearly forty years. His strange and extreme works confront the viewer and challenge them to come with him on a journey into their own minds as he explores the deeper recesses of his own.
Roger Ballen was born in New York in 1950 but for over 30 years he has lived and worked in South Africa. His work as a geologist took him out into the countryside and led him to take up his camera and explore the hidden world of small South African towns. At first he explored the empty streets in the glare of the midday sun but, once he had made the step of knocking on people’s doors, he discovered a world inside these houses which was to have a profound effect on his work. These interiors with their distinctive collections of objects and the occupants within these closed worlds took his unique vision on a path from social critique to the creation of metaphors for the inner mind. After 1994 he no longer looked to the countryside for his subject matter finding it closer to home in Johannesburg.
Over the years his distinctive style of photography has evolved using a simple square format in stark and beautiful black and white. In the earlier works in the exhibition his connection to the tradition of documentary photography is clear but through the 1990s he developed a style he describes as ‘documentary fiction’. After 2000 the people he first discovered and documented living on the margins of South African society increasingly became a cast of actors working with Ballen in the series’ Outland and Shadow Chamber collaborating to create powerful psychodramas.The line between fantasy and reality in his more recent series’ Boarding House and Asylum of the Birds (to be published in the Spring of 2014 by Thames and Hudson) has become increasingly blurred and in these series he has employed drawings, painting, collage and sculptural techniques to create elaborate sets. People are now often absent altogether; replaced by photographs of people used as props, by doll or dummy parts or where they do appear it’s as disembodied hands, feet and mouths poking disturbingly through walls and pieces of rag. The often improvised scenarios are completed by the unpredictable behaviour of the animals whose ambiguous behaviour is crucial to the overall meaning of the photographs. Ballen has invented a new hybrid aesthetic in these works but one still rooted firmly in black and white photography.
This retrospective covers three decades of work that culminated in the following books, Dorps Small Towns of South Africa 1986, Platteland, Images from Rural South Africa 1994, Outland 2000, Shadow Chamber 2005, Boarding House 2009 through to the new work from the series, Asylum of the Birds 2014.
In addition, the show will also likely to include two of Roger Ballen’s films; in particular I Fink U Freeky which has had nearly 40 million hits on you tube as well as his latest video Asylum of the Birds.
STEVENSON is pleased to present a new exhibition by Serge Alain Nitegeka. Into the BLACK is the artist’s third solo show with the gallery.
In his exploration of formal and philosophical ‘blackness’, Nitegeka follows a lineage of art movements that have placed the colour at the centre of their rationales, including Russian Constructivism, Minimalism and Abstract Expressionism: from Malevich’s ‘generative’ black and Rothko’s ‘pulsating’ black, to Reinhardt’s ‘degrees’ of Black.
In Nitegeka’s latest self-portraits the colour acts as both body and gesture, translating past experience of trauma into formal qualities of texture and surface abrasion.
New panels on show also draw on Nitegeka’s 2012 video Black Subjects, in which a group of performers negotiate their way through sculptures which function as obstacles to movement. In these works blackness speaks of the inextricability of relationship between figure and obstacle, and between movement and stasis.
The colour black is notoriously unrevealing and uncompromising. Into the BLACK ventures into both the known and unknown potentials of the colour in my work.
“Black is the colour of the origin of painting — and our own origin. In French, we say the baby ‘sees the day,’ to mean he was born. Before that, of course, we were in the dark”. This is to suggest that we come from the dark; we don’t know where we come from and we don’t know where we are headed. The black and its darkness are the known constants; sort of like ashes to ashes - dust to dust. From the black into the black.
Serge Alain Nitegeka was born in Burundi in 1983 and lives and works in Johannesburg. He was awarded The Tollman Award for the Visual Arts in 2010. In the same year he was selected for the Dakar Biennale, where he won a Fondation Jean Paul Blachère prize. He has held solo exhibitions at Stevenson Johannesburg and Cape Town (2009; 2012; 2013) as well as the Le Manège gallery, French Institute, Dakar, Senegal (2012). Recent group exhibitions include This House, part of Nouvelles vagues at Palais De Tokyo, Paris (2013); My Joburg at La Maison Rouge, Paris and the Staatliche Kunstsammlungen Dresden (2013) and The Space Between Us at ifa Galleries, Berlin (2013). In late 2014 Nitegeka will have his first US solo show at Marianne Boesky Gallery, New York and will be participating in the group exhibition Venturing Out of the Heart of Darkness, at The Harvey B. Gantt Center for African-American Arts and Culture in early 2015.