The road that brought Subotzky to Johannesburg

Mikhael Subotzky, a renowned photographer known for his intricate visual narratives, has unveiled a new exhibition in Johannesburg that explores the deep-rooted connections between his personal history and the city. The exhibition, titled Thirteen Tons Settled to Brick, delves into the multigenerational journey of Subotzky's family, beginning with his great-grandfather's migration from Nazi Germany to South Africa in the early 20th century. The exhibit opens at the Goodman Gallery, showcasing a range of artworks that reflect both historical and contemporary perspectives on Johannesburg. Subotzky's journey to Johannesburg is marked by a profound sense of return, echoing the experiences of many who find themselves drawn to the city despite its complexities. His great-grandfather's decision to flee persecution led him to sell his possessions, including a 13-ton steamroller, and settle in Johannesburg. This pivotal moment in family history forms the backbone of the exhibition, illustrating how migration and survival shape identities across generations. As visitors step into the gallery, they are greeted by a striking display that includes a 1976 Mercedes-Benz, a symbol of both nostalgia and the passage of time. This vehicle, chosen for its historical significance, serves as a backdrop to the broader narrative of Subotzky's exploration of identity and heritage. The car, with its buttercream-yellow hue and moss-green leather seats, evokes memories of familial inheritance, linking past and present in a tangible way. The centerpiece of the exhibition, An Idea of Africa, presents an inverted map of the continent, adorned with abstract shapes that trace the artist's great-grandfather's journey from Nazi Germany. This artwork not only captures the physical movement of individuals but also reflects the emotional and psychological landscapes traversed during such migrations. The inclusion of a detailed drawing of the Woermann Line, the vessel that carried Subotzky's ancestor, adds layers of meaning to the piece, emphasizing the importance of historical context in understanding current realities. Subotzky's transition from photography to painting was not a deliberate choice but rather an organic evolution of his artistic practice. During a tour of his studio, he explained how his technique of using a wet sponge to manipulate prints eventually led him to recognize the similarities between his processes and traditional painting methods. This shift highlights the fluidity of artistic expression and the interconnectedness of different mediums. A major component of the exhibition is A Johannesburg Landscape, a panoramic collage composed of ten panels. Created using Subotzky's signature method of sticky-tape transfers, this piece combines self-taken photographs, archival images, and other visual elements to form a layered narrative. By layering these images, Subotzky creates a mosaic that intertwines past and present, allowing viewers to engage with the complexities of Johannesburg's history and its ongoing transformation. The exhibition invites viewers to consider the cyclical nature of history and how individual stories resonate within larger societal contexts. Through his art, Subotzky not only documents personal journeys but also engages with broader themes of migration, identity, and memory. Each piece in the exhibition serves as a reflection on how personal histories can inform collective understandings of place and belonging. As the exhibition unfolds, it becomes clear that Subotzky's exploration of Johannesburg is more than a mere documentation of the city's landscape; it is an inquiry into the human experience shaped by migration and cultural exchange. The artworks challenge viewers to confront the multifaceted nature of identity and the enduring impact of historical events on contemporary life. Through this lens, Subotzky offers a poignant commentary on the intersections of personal and collective histories, inviting deeper reflections on what it means to belong to a place and its evolving narrative.