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Counterspace's Sumayya Vally on her 2021 Serpentine Pavilion

Counterspace’s Sumayya Vally on her Serpentine Pavilion
Counterspace’s Sumayya Vally on her Serpentine Pavilion
Counterspace is the fast-emerging South African architectural practice commissioned to create the latest Serpentine Pavilion in London. Here, its founder Sumayya Vally takes artist and photographer Mikhael Subotzky on a whistle-stop tour of their adopted hometown, Johannesburg
Bree Street Taxi Rank, Central Business District: Vally studied the area, an economic hub for the Ethiopian and Eritrean diaspora, as part of her research on trade in Johannesburg
Looking at each individual project by Sumayya Vally, it’s hard to pinpoint a ‘signature’ look or subject. There are installations, film and sound pieces, projects around food, community-focused schemes, fine art research, and traditional building works. Yet zoom out and examine her portfolio as a whole and her fascination with the ‘city’ becomes clear. Listening to her talk reveals even more ....

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Foam Paul Huf Award 2021: jury members announced - Foam Fotografiemuseum Amsterdam

Foam Paul Huf Award 2021: jury members announced
th Foam Paul Huf Award to be revealed on 11 March
The award for talented photographers under 35 years is organised annually by Foam and evaluated by an independent professional jury. The jury for 2021 consists of the following members: Joachim Naudts (chair, artistic coordinator Kunsthal Extra City, Belgium), Osei Bonsu (curator, International Art, United Kingdom), Alessia Glaviano (visual director of Vogue Italia and director of Photo Vogue Festival, Italy), Gwen Lee (co-founder Singapore International Photography Festival and DECK, Singapore) and Alona Pardo (curator Barbican Art Gallery, United Kingdom). Soon, they will start the process to select the winner from the submitted portfolios from the nominated artists. ....

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The Apollo 40 Under 40 Africa in focus: Mikhael Subotzky

‘It’s a crazy thing to be doing,’ says Mikhael Subotzky. The artist’s recent shift into painting seems to baffle him as much now, as he speaks to me over Zoom from a hotel in Cape Town, as it did when I met him in his Johannesburg studio in September 2019, where he showed me some of the
White on White canvases included in his first display of paintings, ‘Massive Nerve Corpus’, at Goodman Gallery’s Johannesburg branch earlier that year. These large-scale semi-abstract canvases, layered with strips of medical tape, are certainly a far cry from the documentary photographs with which the artist made his name in the 2000s; Subotzky himself wrote derisively in 2019 of ‘privileged white men […] with their oversized paintings and well-worked mythologies’. But it’s perhaps precisely for this reason that he followed the ‘crazy’ impulse to paint. Over the course of the past 15 years Subotzky has developed from an acute observer of societal injustice in South Af ....

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