GROUP EXHIBITION

Beyond the unavoidable familial kinship that flows from their shared representation by the Goodman Gallery, the exhibition lightly explores the formal correspondences and conceptual affinities that might link their highly individualised practices. These resemblances, be it in choose of colour, approach to material or attitude to iconography, are explored through creative juxtapositions, without suggesting fixed connotations.

The viewer is welcomed by William Kentridge’s large bronze sculpture, Washer (2024), part of an on-going series of glyphs describing elemental symbols within the artist’s larger practice, displayed adjacent Yinka Shonibare’s quilt work African Flower Magic (Conophytum Smorenskaduense) (2025), part of a series depicting endangered flora native to Southern Africa, specifically South Africa’s Northern Cape and Namibia’s arid desert regions. The pairing establishes the parameters for navigating this exhibition of casual affinities amidst obvious differences.

Presently, a number of the artists in this summer presentation are also showing together in major group exhibitions across Europe and the United Kingdom. In Berlin, William Kentridge and Yinka Shonibare appear in Seeing Words, Reading Images: The Written Art Collection in dialogue with the Deutsche Bank Collection at PalaisPopulaire (until 17 August 2026). In London, El Anatsui and William Kentridge have work in Project a Black Planet: The Art and Culture of Panafrica at the Barbican Art Gallery (until 6 September 2026). In Sevilla, Spain, Pamela Phatsimo Sunstrum and Yinka Shonibare form part of Améfrica: Diasporic Connections in the Jorge M. Pérez Collection at Centro Andaluz de Arte Contemporáneo (until 10 January 2027).