Zanele Muholi

With over 60 self-portraits, South African visual activist and photographer Zanele Muholi critically employs the conventions of ethnographic imagery to raise social awareness.

In her first solo exhibition in London, South African visual activist photographer Zanele Muholi (b. 1972) presents her ongoing self-portraits series Somnyama Ngonyama. In more than 60 photographs Muholi uses her body as a canvas to confront the politics of race and representation in the visual archive.

Left: Zanele Muholi, Sebenzile, Parktown, 2016. Right: Ntozakhe II, Parktown, 2016. © Zanele Muholi. Courtesy Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

Left: Zanele Muholi, Somnyama Ngonyama II, Oslo, 2015. Right: Somnyama I, Paris, 2014. © Zanele Muholi. Courtesy Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

Left: Zanele Muholi, Hlonipha, Cassilhaus, Chapel Hill, North Carolina, 2016. Right: Bona, Charlottesville, 2015. © Zanele Muholi. Courtesy Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

Somnyama Ngonyama playfully employs the conventions of classical painting, fashion photography and the familiar tropes of ethnographic imagery to rearticulate contemporary identity politics. By increasing the contrast in the dark complexion of her skin, Muholi interrogates complex representations of beauty and desire. Taken primarily in Europe, North America and Africa, each portrait asks critical questions about social justice, human rights and contested representations of the black body. Muholi’s psychologically-charged portraits are unapologetic in their directness as she explores different archetypes and personae, and offers personal reflections.

Zanele Muholi, Julile I, Parktown, Johannesburg, 2016 — Zanele Muholi, *Julile I*, Parktown, Johannesburg, 2016. © Zanele Muholi. Courtesy Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

Scouring pads and latex gloves address themes of domestic servitude, while alluding to sexual politics, violence and the suffocating prisms of gendered identity. Everyday objects are transformed into dramatic and historically-loaded props, merging the political with the aesthetic. Rubber tyres, safety pins and protective goggles invoke forms of social brutality and exploitation, often commenting on events in South Africa’s history; materials such as plastic draw attention to environmental issues and global waste. Accessories like cowrie shells and beaded fly whisks highlight Western fascinations with clichéd, exoticised representations of African cultures.

Left: Zanele Muholi, Bester I, Mayotte, 2015. Right: Nomalandi Wenda, Parktown, 2016 — **Left:** Zanele Muholi, *Bester I*, Mayotte, 2015. **Right:** *Nomalandi Wenda*, Parktown, 2016. © Zanele Muholi. Courtesy Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

until 28 October 2017
Zanele Muholi
Somnyama Ngonyama, Hail the Dark Lioness
Autograph ABP
Rivington Place, London

Zanele Muholi

With over 60 self-portraits, South African visual activist and photographer Zanele Muholi critically employs the conventions of ethnographic imagery to raise social awareness.

Latest on News

Latest on Domus