b. 1972, Johannesburg, South Africa; lives and works in Berlin, Germany.

Candice Breitz takes a multidisciplinary approach to making art, her work often exploring themes of identity, representation, and social power dynamics. She is particularly renowned for her video installations, which challenge conventional narratives and expose viewers to critical dialogues made visible through her engagement and subversion of popular culture. Her works often involve the appropriation and manipulation of mainstream media, such as films, television shows, and music, to shed light on social and political issues. Through her innovative use of editing techniques and multi-channel installations, Breitz prompts viewers to question the construction of identities in a media-saturated world. Her exploration of identity, representation, and the impact of media encourages viewers to critically engage with the complex narratives that shape our understanding of ourselves and the world we inhabit whilst also drawing attention to critiques of the increased ‘attention economy’ of our contemporary moment.

Candice Breitz's current and recent exhibitions include The Bad Mother, Haus am Lützowplatz, Berlin (2024); Modern Love (or Love in the Age of Cold Intimacies), EMST / National Museum of Contemporary Art Athens (2022); Candice Breitz: Love Story, Tate Liverpool, Liverpool (2022); everything was beautiful, and nothing hurt., Henry Art Gallery, Seattle (2022); An Uncertain Pleasure, Museo de Arte Moderno de Bogotá, Bogotá (2022); Candice Breitz: I’m Your Man, Contemporary Jewish Museum, San Francisco (2021); and Refuge: Candice Breitz & Angelica Mesiti, John Curtin Gallery / Perth Festival 2019, Perth (2019); Candice Breitz + Mohau Modisakeng, 57th Biennale di Venezia, South African Pavilion, Venice (2017); You + I, Pinchuk Art Centre, Kyiv (2012); and New York, New York, STUK Kunstencentrum, Leuven (2010).

For further information about this artist please click here.

For Candice Breitz's entry on Asia Art Archive's website please click here.