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Bronwyn Katz, KÃXU-DA (I) (BECOME LOST US), 2019. Bedspring, wire and pot scours. Courtesy of the artist.

Bronwyn Katz, ore, 2019. Steel, iron ore. 81 x 71 x 7 cm. Courtesy of the artist. Photo: Blank projects.

Bronwyn Katz, x, 2019. Steel wool, cardboard, audio, Dimensions variable. Courtesy of the artist. Photo: Blank projects.

Bronwyn Katz, Rooi Spoor I, 2018. Salvaged bed springs and wool approx. 100 x 100 cm. Courtesy of the artist. Photo: Blank projects.

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 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.

During her residency at Gasworks, Katz plans on continuing her research around notions of land, memory and systems of notation which gesture to ancestral language and potential imagined languages.


Bronwyn Katz lives and works in Johannesburg. Recent solo exhibitions include; Salvaged Letter, Peres Projects, Berlin; / // ! ǂ, Blank Projects, Cape Town (both 2019); and A Silent Line, Lives Here, Palais de Tokyo, Paris (2018). Recent group exhibitions include; Là où les eaux se mêlent (Where the water mingles), Biennale de Lyon; and Material Insanity, Museum of African Contemporary Art, Marrakech, (both 2019). She is a founding member of iQhiya, an 11-women artist collective which has performed across various venues, including Documenta 14.

Bronwyn Katz's residency is supported by Mercedes Vilardell.