- Zanele Muholi Somnyama Ngonyama,
Hail the Dark Lioness runs at the GSA from 11 November – 17 December 2017 - The exhibition features four new portraits, commissioned by
Autography ABP, that highlight the plight of women in the struggle for freedom
[of movement] and equality under Apartheid.
Ntozakhe II,
Parktown, 2016 © Zanele Muholi.
Parktown, 2016 © Zanele Muholi.
Courtesy of Stevenson, Cape Town/Johannesburg and Yancey
Richardson, New York
Richardson, New York
The Glasgow School
of Art is to stage the Scottish premiere of an exhibition of work by acclaimed
black South African visual activist, Zanele Muholi, it was confirmed today, 27 October 2017. Somnyama Ngonyama, Hail the Dark Lioness, which was shown in
London’s Autograph ABP gallery earlier this year, will run in the Reid Gallery
at the GSA from 11 November – 17 December 2017.
Curated by Renée
Mussai and presented by Autograph ABP, the body of work on show sees Zanele
Muholi (b. 1972) confront the politics of race and representation in the visual
archive in her ongoing self-portrait series Somnyama
Ngonyama.
Mussai and presented by Autograph ABP, the body of work on show sees Zanele
Muholi (b. 1972) confront the politics of race and representation in the visual
archive in her ongoing self-portrait series Somnyama
Ngonyama.
“We are
delighted to present Zanele Muholi’s first solo show in Scotland,” says
Jenny Brownrigg, Exhibitions Director at The Glasgow School of Art. “It is a great pleasure for the GSA to work
in partnership with Autograph ABP to bring this show to Scotland and give
people the opportunity to see this powerful body of work.”
delighted to present Zanele Muholi’s first solo show in Scotland,” says
Jenny Brownrigg, Exhibitions Director at The Glasgow School of Art. “It is a great pleasure for the GSA to work
in partnership with Autograph ABP to bring this show to Scotland and give
people the opportunity to see this powerful body of work.”
Taken primarily in Europe, North America
and Africa between 2014 and 2016, each portrait in Somnyama
Ngonyama (isiZulu for Hail, the Dark Lioness) poses critical questions about social
justice, human rights and contested representations of the black body. Muholi’s
self-reflective and psychologically charged portraits are unapologetic in their
artistry as she explores different archetypes / personae and offers visual
reflections inspired by personal experiences and socio-political events.
and Africa between 2014 and 2016, each portrait in Somnyama
Ngonyama (isiZulu for Hail, the Dark Lioness) poses critical questions about social
justice, human rights and contested representations of the black body. Muholi’s
self-reflective and psychologically charged portraits are unapologetic in their
artistry as she explores different archetypes / personae and offers visual
reflections inspired by personal experiences and socio-political events.
In Somnyama Ngonyama,
ready-made objects and found materials are transformed into culturally loaded
props, merging the political with the aesthetic – often commenting on specific
events in South Africa’s recent history. Scouring pads and latex gloves address
themes of domestic servitude, while simultaneously alluding to sexual politics,
violence and the suffocating prisms of gendered identity. Rubber tires,
electrical cords or cable ties reference forms of social brutality and
capitalist exploitation, and powerfully evoke the plight of workers – maids,
miners and members of the disenfranchised communities. Using different
artefacts – from chopsticks, can lids and safety pins to plastic bags or polythene
wrapping – Muholi draws attention to urgent environmental issues and toxic
waste. Accessories such as cowrie shells or beads highlight Western
fascinations with clichéd, exoticised representations of African cultures and
people as well as the global economies of migration, commerce and labour.
ready-made objects and found materials are transformed into culturally loaded
props, merging the political with the aesthetic – often commenting on specific
events in South Africa’s recent history. Scouring pads and latex gloves address
themes of domestic servitude, while simultaneously alluding to sexual politics,
violence and the suffocating prisms of gendered identity. Rubber tires,
electrical cords or cable ties reference forms of social brutality and
capitalist exploitation, and powerfully evoke the plight of workers – maids,
miners and members of the disenfranchised communities. Using different
artefacts – from chopsticks, can lids and safety pins to plastic bags or polythene
wrapping – Muholi draws attention to urgent environmental issues and toxic
waste. Accessories such as cowrie shells or beads highlight Western
fascinations with clichéd, exoticised representations of African cultures and
people as well as the global economies of migration, commerce and labour.
The portraits in Somnyama Ngonyama skillfully employ the
conventions of classical portraiture, fashion photography and the familiar
tropes of ethnographic imagery to rearticulate contemporary identity politics.
By increasing the contrast in post-production, the dark complexion of Muholi’s
skin becomes the focal point of a multilayered interrogation into complex
notions of beauty, desire and the dangerous terrains, racisms, and interlinked
‘phobias’ navigated daily.
conventions of classical portraiture, fashion photography and the familiar
tropes of ethnographic imagery to rearticulate contemporary identity politics.
By increasing the contrast in post-production, the dark complexion of Muholi’s
skin becomes the focal point of a multilayered interrogation into complex
notions of beauty, desire and the dangerous terrains, racisms, and interlinked
‘phobias’ navigated daily.
Muholi responds to these
constraining narratives of history, ideologies and contemporary realities with
a sinister, often tragi-comical humour, embarking, in her own words, on ‘a
discomforting self-defining journey, rethinking the culture of self-representation
and self-expression’.
constraining narratives of history, ideologies and contemporary realities with
a sinister, often tragi-comical humour, embarking, in her own words, on ‘a
discomforting self-defining journey, rethinking the culture of self-representation
and self-expression’.
Thus, Somnyama Ngonyama represents Muholi’s personal visual memoir – an
Archive of The Self – a growing compendium of photographic portraits emerging
in constant dialogue with her surroundings, at once affirmation and
reclamation, and testament to a myriad of tribulations brought forth by
displacement and subjugation. Gazing defiantly at the camera, Muholi
continually challenges the viewers’ perceptions while firmly asserting [her] cultural identity on her own terms.
Archive of The Self – a growing compendium of photographic portraits emerging
in constant dialogue with her surroundings, at once affirmation and
reclamation, and testament to a myriad of tribulations brought forth by
displacement and subjugation. Gazing defiantly at the camera, Muholi
continually challenges the viewers’ perceptions while firmly asserting [her] cultural identity on her own terms.
‘I’m reclaiming my blackness,
which I feel is continuously performed by the privileged
which I feel is continuously performed by the privileged
‘other’. My reality is that I
do not mimic being black; it is my skin, and the experience of being black is
deeply entrenched in me. Just like our ancestors, we live as black people 365
days a year, and we should speak without fear.’
do not mimic being black; it is my skin, and the experience of being black is
deeply entrenched in me. Just like our ancestors, we live as black people 365
days a year, and we should speak without fear.’
Zanele Muholi
‘Somnyama
Ngonyama presents a compelling and
visionary mosaic of identities, an exquisite empire of selves. Inviting us into
a multilayered conversation, each photograph in the series, each visual
inscription, each confrontational narrative depicts a self in profound dialogue
with countless others: implicitly gendered, culturally complex and historically
grounded black bodies.’
Ngonyama presents a compelling and
visionary mosaic of identities, an exquisite empire of selves. Inviting us into
a multilayered conversation, each photograph in the series, each visual
inscription, each confrontational narrative depicts a self in profound dialogue
with countless others: implicitly gendered, culturally complex and historically
grounded black bodies.’
Renée
Mussai, Curator
Mussai, Curator
NEW ARTIST
COMMISSION
COMMISSION
The exhibition features four new
portraits, commissioned by Autograph ABP, that highlight the plight of women in
the struggle for freedom [of movement] and equality under Apartheid.
portraits, commissioned by Autograph ABP, that highlight the plight of women in
the struggle for freedom [of movement] and equality under Apartheid.
The three-portrait series, Bayephi I, II and III, commemorates the 1956 Women’s March on Pretoria, a pivotal
moment in South Africa’s history where thousands of women from different
cultural backgrounds united to demonstrate against repressive ‘pass laws’,
which severely restricted their ability to move freely. These portraits were
taken in June 2017 at the Old Fort prison complex at Constitution Hill in
Johannesburg, where many women were incarcerated as political prisoners for
transgressing pass laws.
moment in South Africa’s history where thousands of women from different
cultural backgrounds united to demonstrate against repressive ‘pass laws’,
which severely restricted their ability to move freely. These portraits were
taken in June 2017 at the Old Fort prison complex at Constitution Hill in
Johannesburg, where many women were incarcerated as political prisoners for
transgressing pass laws.
In the fourth portrait, entitled ZaKi, Muholi continues to explore the
poetics of transgression and exile in Kyoto, Japan, visualising an imagined
Afro-Japanese hyphenated identity.
poetics of transgression and exile in Kyoto, Japan, visualising an imagined
Afro-Japanese hyphenated identity.
Zanele Muholi Somnyama Ngonyama,
Hail the Dark Lioness runs at the GSA from 11 November – 17 December 2017.
Open daily 10am – 4.30pm. Entry free.
Hail the Dark Lioness runs at the GSA from 11 November – 17 December 2017.
Open daily 10am – 4.30pm. Entry free.
Ends
For further information on the
exhibition showing at the GSA, images and interviews contact:
exhibition showing at the GSA, images and interviews contact:
Lesley Booth, 0779 941 4474 / press@gsa.ac.uk
Notes for Editors
About Zanele Muholi
Zanele
Muholi was born in 1972 in Umlazi, Durban, and lives in Johannesburg, South
Africa.
Muholi was born in 1972 in Umlazi, Durban, and lives in Johannesburg, South
Africa.
Muholi sees her practice as visual
activism to effect social change. Over the past decade, she has become known
globally with Faces and Phases, her
pioneering portrait photography of South Africa’s LBTQI communities. She
co-founded the Forum of Empowerment of Women (FEW) in 2002, and founded
Inkanyiso (www.inkanyiso.org), in
2009 a forum for queer visual activist media.
activism to effect social change. Over the past decade, she has become known
globally with Faces and Phases, her
pioneering portrait photography of South Africa’s LBTQI communities. She
co-founded the Forum of Empowerment of Women (FEW) in 2002, and founded
Inkanyiso (www.inkanyiso.org), in
2009 a forum for queer visual activist media.
Muholi studied Advanced Photography
at the Market Photo Workshop in Newtown, Johannesburg, and holds an MFA in
Documentary Media from Ryerson University, Toronto. She is an Honorary
Professor at the University of the Arts Bremen, and has been the recipient of
the prestigious Prince Claus Award and the Carnegie Fine Prize.
at the Market Photo Workshop in Newtown, Johannesburg, and holds an MFA in
Documentary Media from Ryerson University, Toronto. She is an Honorary
Professor at the University of the Arts Bremen, and has been the recipient of
the prestigious Prince Claus Award and the Carnegie Fine Prize.
She was included in the South
African pavilion at the 55th Venice Biennale (2013) and took part in the São
Paolo Biennial (2010) and documenta 13, Kassel (2013). Recent solo exhibitions
include the Brooklyn Museum, New York (2015); Rencontres D’Arles (2016); and
Stedelijk Museum, Amsterdam (2017). Her photographs are represented in the
collections of Centre Georges Pompidou, Paris; Guggenheim, New York; Museum of
Contemporary Photography, Chicago; South African National Gallery, Cape Town; Walther
Collection New York/Neu-Ulm; Tate Modern, London; and others. Muholi is
represented by Stevenson Cape Town/Johannesburg and Yancey Richardson, New
York.
African pavilion at the 55th Venice Biennale (2013) and took part in the São
Paolo Biennial (2010) and documenta 13, Kassel (2013). Recent solo exhibitions
include the Brooklyn Museum, New York (2015); Rencontres D’Arles (2016); and
Stedelijk Museum, Amsterdam (2017). Her photographs are represented in the
collections of Centre Georges Pompidou, Paris; Guggenheim, New York; Museum of
Contemporary Photography, Chicago; South African National Gallery, Cape Town; Walther
Collection New York/Neu-Ulm; Tate Modern, London; and others. Muholi is
represented by Stevenson Cape Town/Johannesburg and Yancey Richardson, New
York.
AUTOGRABP ABP
Our charitable mission is to use
photography and film to explore politics of cultural identity, race,
representation, social justice and human rights and to encourage reflection
upon how these issues affect us individually and institutionally. Drawing on
both contemporary and historical practices, we use our artistic programme to
explore how perspectives and perception of these themes evolve through
experience and over time.
photography and film to explore politics of cultural identity, race,
representation, social justice and human rights and to encourage reflection
upon how these issues affect us individually and institutionally. Drawing on
both contemporary and historical practices, we use our artistic programme to
explore how perspectives and perception of these themes evolve through
experience and over time.
From modest beginnings many years
ago as an agency, we have grown in ambition and scale to now run our own
galleries and education studio in the heart of London. Rivington Place is
Autograph ABP’s purpose built home; an architectural landmark building designed
by Sir David Adjaye.
ago as an agency, we have grown in ambition and scale to now run our own
galleries and education studio in the heart of London. Rivington Place is
Autograph ABP’s purpose built home; an architectural landmark building designed
by Sir David Adjaye.
From this production centre, we
commission new work from artists and writers, curate exhibitions, produce
publications, research and display works from our own and other photographic
archives. We also offer a critical education and events programme both on and
off site, which serves people of all ages, all year round. The majority of our
public activities are free and we have a particular strong relationship with
our local communities.
commission new work from artists and writers, curate exhibitions, produce
publications, research and display works from our own and other photographic
archives. We also offer a critical education and events programme both on and
off site, which serves people of all ages, all year round. The majority of our
public activities are free and we have a particular strong relationship with
our local communities.
We are active regionally and
internationally; lending art work from our permanent collection of photography
and touring our exhibitions, encouraging public and private collectors to
acquire photographic works, participating in conferences and debating questions
of rights and representation as they are expressed through visual
communication.
internationally; lending art work from our permanent collection of photography
and touring our exhibitions, encouraging public and private collectors to
acquire photographic works, participating in conferences and debating questions
of rights and representation as they are expressed through visual
communication.
We enter into strategic partnerships
locally and globally which support the production of new art work and the
exploration of key themes arising from our mission. Subject to context, we are
at any time working with individual artists, galleries, museums, academic
institutions and other interest groups, including non governmental
organisations, ranged around the world.
locally and globally which support the production of new art work and the
exploration of key themes arising from our mission. Subject to context, we are
at any time working with individual artists, galleries, museums, academic
institutions and other interest groups, including non governmental
organisations, ranged around the world.
We receive regular funding from Arts
Council England which represents approximately half our annual operating costs.
The balance is made up through a combination of earned and other income streams
derived from a range of sources including trusts and foundations, consultancy
work and sales, including limited edition prints.
Council England which represents approximately half our annual operating costs.
The balance is made up through a combination of earned and other income streams
derived from a range of sources including trusts and foundations, consultancy
work and sales, including limited edition prints.
To find out more, please visit www.autograph-abp.co.uk