2022
Aesthetica Magazine: Thread of Humanity
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Blind Magazine: Nadav Kander on Following the Thread of Inspiration
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2021
Nadav Kander: Photo London Magazine and Review, Text by Gemma Padley
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2020
In Conversation with David Campany, Text from The Meeting
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The Washington Post, Text by Kenneth Dickermann
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The Guardian - Isolation and contemplation: Nadav Kander's visual response to coronavirus
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2019
BBC News Night. Interview by Brenda Emmanus
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The Meeting - Steidl
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2017
Pan & The Dream - The Emperor's New Clothes
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Los Angeles Review of Books Interview by Michael Kurcfeld
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Photo Works
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2016
It's Nice That: Nadav Kander Artist Talk
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Professional Photography, Text by Kathrine Anker
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American SuburbX, Text by Brad Feuerhelm
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2015
Christies: Artist Nadav Kander Studio Visit
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Dust Artist Interview, Flowers Gallery , London
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It's Nice That. Text by Rob Alderson
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2014
The Strait Times, Text by Deepika Shetty
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Dust Interview, Studio International
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Dust Review - haunting and painterly. Text by Sean O'Hagan
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Dust, Flowers Gallery, London
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2013
The Guardian, Text by Jonathan Jones
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2012
Nadav Kander Interviewed by William Avedon
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Road to 2012: Aiming High, National Portrait Gallery, London
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2011
The Observer Magazine, Text by Sandy Nairne
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A Conversation with Nadav Kander by Jorg Colberg
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2010
The Guardian, Text by Sean O'Hagan
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Color Magazine, Text by Helmut Werb
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Portfolio Magazine, Text by Simon Baker
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Yangtze, The Long River Interview by Lens Culture
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2009
Hot Shoe, Interview by Bill Kouwenhoven
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Prix Pictet Announcement
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Nadav Kander in collaboration with the Royal College of Art
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2008
The Financial Times, Text by Francis Hodgson
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2007
Miedzy Nami Magazine, Interview By Jakub Mielnik
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The Guardian - Isolation and contemplation: Nadav Kander's visual response to coronavirus

Text by Nadav Kander. Please click here to view the full article.

Some occasions or occurrences in my life present themselves in a way that, if not ignored, inform me as to how I tick, what is fundamental to me. What it is I constantly strive to grasp and express. It has the effect of bringing understanding to that that is intuitive.

At the point this lockdown began, I was no stranger to solitude and the effect it has on me and my practice as an artist. When we separated ourselves, I was very aware of the feelings that arose in me from the forced distancing and shocked at how quickly my surroundings, which were until that moment a safe place, became quickly alienating and unsafe to me. Another human being becoming a threat, an enemy, a carrier of a deadly disease. I began thinking about the importance of touch to non-verbal communication and how the lack of it would produce a yearning for connection. My knee-jerk reaction was to go to my studio and riff off these feelings, which I tried but then resisted knowing the knee jerk in my case always results in work of little value.

Weeks later I began again. This is work with the guts of solitude, melancholy and longing which bring up feelings of both beauty and terror.

I think of a quote by Rilke: “Love your solitude and try to sing out with the pain it causes you.” So many feelings are at play and I was aware that in this quiet time there was a much bigger picture playing out, and it will continue to play out in our future.

As a child growing up in Johannesburg, South Africa, we had no TV. I had an electric train set that was made in Germany where my father was born. It was set out on a spare dining room table. No hills or tunnels, just a figure of eight with a station. There were small human figures dotted about, who with my imagination performed many duties depending on how I saw my mini world that day.

In my studio I have many items on shelves that, out of context, are odd, causing to arise a mildly uncomfortable feeling in a viewer. Animal skulls, dolls, wigs, porcelain flowers, crucifixes and small humans, some from my train driving days.

These folks performed once again for me and mirrored back at me the feelings of Solitude – Quietude – Contemplation that I felt most strongly in the first days of lockdown. The feeling of the unknown.

It seemed not by chance that the Royal Academy show of Leon Spilliaert was opened just before the lockdown. The painter wandering alone at night near the water’s edge in Ostend and bringing his memory into the studio to paint the feeling as much as the scene he had just experienced.

This series of work I hope brings up feelings of isolation, distance and contemplation in a viewer as well as a realisation that this time in history is bigger than just this virus. That it holds potential in its invitation to consider that this event is willing us human beings collectively to move towards balancing our indiscriminate use of nature’s resources. This is not a warped reality, it is just reality, and it comes out of man being out of balance with nature.