Candice Breitz


Born Johannesburg, South Africa 1972
Lives and works in Berlin, Germany


Candice Breitz is known for her moving-image installations offering nuanced studies in the structure of identity under global capitalism. Throughout her career, she has explored the process by which an individual becomes him or herself in relation to a larger community and the influence of popular culture and the media on contemporary understandings of self.

Breitz came to international prominence with a suite of group video portraits depicting fans singing songs by musical icons such as Madonna, John Lennon and Michael Jackson. In these works, she explores how the development of our character is affected by our identification with celebrity figures. Recently, the artist has turned her focus to the production of empathy and identification in today’s highly mediated culture.

Works by Breitz have been acquired by museums including MoMA / Museum of Modern Art and Solomon R. Guggenheim Museum, New York; San Francisco Museum of Modern Art, San Francisco; National Gallery of Canada, Ottawa; FNAC / Fonds National d’Art Contemporain, France; Castello di Rivoli, Turin; Hamburger Kunsthalle, Hamburg; M+ / Museum of Visual Culture, Hong Kong; National Gallery of Victoria, Melbourne; Kunstmuseum Lichtenstein, Vaduz; MONA / Museum of Old and New Art, Tasmania; QAGOMA / Queensland Art Gallery & Gallery of Modern Art, Brisbane; and MAXXI / Museo Nazionale Delle Arti del XXI Secolo, Rome.




Artist website


Candice Breitz

I’m Your Man (A Portrait of Leonard Cohen)

Candice Breitz

Working Class Hero (A Portrait of John Lennon)
, Carriageworks

Recent Works

Candice Breitz

I’m Your Man (A Portrait of Leonard Cohen)
, 2017
19-Channel Installation: 19 Hard Drives
40 minutes 43 seconds

Candice Breitz

, 2017
Single-channel video
Edition of 25

Candice Breitz

Factum Tremblay
, 2009
Two channel digital video, 9:16, colour, sound
78 minutes 8 seconds

Candice Breitz

Factum Kang
, 2009
Two channel digital video, 9:16, colour, sound
69 minutes 10 seconds

Candice Breitz

Factum Jacob
, 2009
Two-channel digital video, 9:16, colour, sound
63 minutes and 49 seconds


Candice Breitz: The Medium is the Message

From Vault Magazine, May/June 2018
by Anna Dunnill

  For the acclaimed South African artist Candice Breitz, truth lives in the places where politics and pop culture intersect. – Feature   Candice Breitz is sending ripples of discomfort through the art world. Partly, this is the subject matter of her artwork in the National Gallery of Victoria’s inaugural NGV Triennial, a major commission […]

The NGV Triennial

From The Monthly, March 2018
by Julie Ewington

  A new exhibition series’ first instalment delivers a heady mix of populism and politics   Right now, in Melbourne, it seems the NGV Triennial is setting a new international exhibition standard: the shorter the title, the greater the ambition. This inverse ratio is a triumph of branding, coupling the nation’s oldest, wealthiest, best attended […]

Candice Breitz: Video storyteller

From Art Guide Australia, 17 January 2018
by Nadiah Abdulrahim

Bob Marley. Sarah Ezzat Mardini. Michael Jackson. José Maria João. Madonna. Mamy Maloba Langa. Alec Baldwin. Shabeena Saveri. Julianne Moore. Luis Nava Molero. Leonard Cohen. Farah Abdi Mohamed. These recognisable and not-so-recognisable names are diverse and disparate, but one thing that brings them together is South African artist Candice Breitz. Born in Johannesburg in 1972, Breitz, […]

Come face to face with Leonard Cohen in ‘I’m Your Man’

From The Upsider, 8 January 2018
by Emma Froggatt

Video artist Candice Breitz’s work is incredibly intimate. Walk into Melbourne’s Anna Schwartz gallery from January 30, 2018 and you’ll enter a space that resembles more of a cinema than a gallery. But what you hear will be 1988 Leonard Cohen album I’m Your Man, sung by his most beloved fans. For the first time in the gallery’s […]

The National Gallery of Victoria, thinking ahead

From The Australian, 19 December 2017
by Matthew Westwood

Excerpt: The NGV Triennial, which opened at the National Gallery of Victoria on Friday, marks the culmination of several years of planning and is a sign of the strategic course the institution is on. Its forerunner was the Melbourne Now exhibition, which opened four years ago and brought together contemporary art, architecture and design in […]