Incorporating sculpture, installation, video and performance, Bronwyn Katz’s practice engages with the concept of land as a repository of memory, reflecting on the notion of place or space as lived experience, and the ability of the land to remember and communicate the memory of its occupation. Using found materials as the departure point for her works, Katz’s approach to making is driven foremost by formal concerns such as composition and line, expressed in an abstract minimalist language. Conceptually, her sculptures refer to the political context of their making, embodying subtle acts of resistance that draw attention to the social constructions and boundaries that continue to define those spaces.
Katz has held four solo exhibitions to date, most recently / // ! ǂ at blank projects in Cape Town (2019) and A Silent Line, Lives Here at the Palais de Tokyo in Paris (2018). She has participated in numerous group exhibitions, including Material Insanity (Museum of African Contemporary Art Al Maaden, Marrakech, 2019); Road to the Unconscious (Peres Projects, Berlin, 2019); Not A Single Story (Nirox Foundation, Johannesburg, 2018); Sculpture (Institute of Contemporary Art Indian Ocean, Port Louis, Mauritius, 2018); Tell Freedom (Kunsthal KAdE, Amersvoort, 2018); Le jour qui vient (Galerie des Galeries, Paris, 2017); the 12th Dak’Art Biennale (Senegal, 2016); and The Quiet Violence of Dreams (Stevenson Gallery, Johannesburg, 2016).
Katz is a founding member of iQhiya, an 11-women artist collective which has performed across various spaces, including Documenta (in Kassel and Athens), Greatmore Studios, and Iziko South African National Gallery.
Wees Gegroet & Ouma
In the video installation the artist uses land as a way of remembering and storing memories; she uses her voice and creates a possibility of producing her own language.
The sculpture installation, Ouma, echoes the same message as Wees Gegroet and in the solitary, upright
figure you can see the likeness between the two installations, one reminiscent of the other.