2016 Unfolded brown paper and calligraphy ink, framed each 41 x 41 cm unframed ; 45 x 45 x 2,5 cm including frame
Bronwyn Lace (born Gaborone, Botswana, 1980) is a visual artist. Site specificity, responsiveness and performativity are central to her practice. Lace’s focus is on the collaborative relationships between art and other fields, including physics, museum practice, philosophy, literature and education. She often elects to work with found, recycled and repurposed elements and builds her intricate works responsively and in situ. In 2016 Lace joined William Kentridge in the establishing and animating of the Centre for the Less Good Idea in Maboneng, Johannesburg. Today Lace is a co-director on the board of the Centre and is living and working in Vienna, Austria.
A selection of Lace’s exhibitions include: 2019 ‘Cross- sections’, a group exhibition curated by Basak Senova travelling from Tunis, Tunisia to Stockholm, Sweden to Helsinki, Finland; 2018 ‘Mirror | Mirror’, a solo exhibition at Everard Read, Johannesburg, South Africa; 2017 ‘Bred in the Bone’, a solo exhibition at Circa, Cape Town, South Africa; 2017 ‘Southern Abstraction, group exhibition at Everard Read, London, UK; 2017 ‘Dead Gardens’, a group show curated by Olimpia Bera, Cluj Napoca, Romania; 2016 ‘KulturKontakt’, a group exhibition as part of the Austrian Federal Chancellery residency, Vienna, Austria; 2016 ‘Bronze, Steel and Stone’, group exhibition at Everard Read, London, UK; 2015 ‘Response’, a two person exhibition, Johannesburg, South Africa; 2015 ‘Response’ a exhibition presentation delivered at the National Smithsonian Museum of African Art, Washington, USA; 2014 ‘Teeming’, solo exhibition at SpekePhotographic, Johannesburg, South Africa; 2013 ‘Resuscitate’, solo exhibition at Nirox Project Space, Johannesburg, South Africa; 2012 ‘A Tendency Towards Complexity’ solo exhibition at CIRCAonJellico, Johannesburg, South Africa.