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Revealing Portraits: Neelika Jayawardane Discusses Zanele Muholi’s ‘Visual Activism’


Image: Zanele Muholi, Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg, 2007.


Revealing Portraits: Reactions and Resistance to Zanele Muholi’s ‘Visual Activism’ in South Africa
Presented by M. Neelika Jayawardane
Tuesday, August 22, 2017
6:30–8pm
ICI Curatorial Hub

401 Broadway, Suite 1620
FREE and open to the public

 

Neelika Jayawardane, art critic and scholar, will discuss the earlier works (2005-2006) of artist Zanele Muholi and the activist impulses within this body of photographic work.

South African Zanele Muholi is now a globally recognized photographer and ‘visual activist’. In her latest project, a series of self-portraits, titled Somnyama Ngonyama – meaning ‘Hail, the Dark Lioness’ in Muholi’s first language, isiZulu – she theatrically stages stereotyped versions of blackness in which she, and black women in general, have been positioned historically, as well as in the present. These self-portraits are a departure from Faces and Phases, the portrait series she began creating in 2006, for which she came to be known as a talented photographer and a fearless activist. In that ongoing project, she commemorates and celebrates the lives of the black gay, lesbian and transgender people she meets in her journeys throughout her home country, visiting participants again and again to meticulously document their lives. This documentation – revealing the ubiquity and ordinariness of queerness, from urbane centers to the margins of South Africa’s townships – won her respect as a photographer, as well as the ire of conservative politicians in the country.

In the early years of South Africa’s democracy, euphoria of freedom may have convinced many that South Africa’s progressive constitution – which specified protection for LGBTI people – indicated a fully inclusive liberation. Yet, Muholi’s compulsion to create an archive of “visual, oral and textual materials that include black lesbians and the role they have played in our communities” evolved as a reaction to the opposition, exclusion, and erasure that she, and other LGBTI people faced from the nation. Her project aimed to counter invisibility, marginality and systemic silence; she sought, instead, to include LGBTI people to the forefront of South Africa’s liberation narrative. But violent reactions from politicians at her exhibitions, and subsequent theft of her hard-drives containing the records of her photographs highlighted the lengths to which the nation would go to force patriarchal compliance and heteronormativity. The reactions to Muholi and her work, during her early years of exhibiting her work in South Africa, bear witness to the schizophrenic experience of living in a nation which touted freedom for all, but where LGBTI people continued to be targets of brutal repression.

This program is organized by Moses Serubiri.


This event is free and open to the public. To attend, please RSVP to .(JavaScript must be enabled to view this email address) with ZANELE in the subject line.

 


This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

 

August 22, 2017

ICI Curatorial Hub
401 Broadway, Suite 1620
New York, NY 10013

presenter

M. Neelika Jayawardane

M. Neelika Jayawardane is Associate Professor of English at the State University of New York-Oswego, and a Research Associate at the Visual Identities in Art and Design (VIAD), University of Johannesburg (South Africa). She is a recipient of the 2018 Creative Capital | Andy Warhol Foundation Arts Writers Grant for a book project on the Afrapix, a South African photographers’ agency that operated during the last decade of apartheid. Jayawardane was born in Sri Lanka, raised in Zambia, and completed her university education in the US, where she currently works. Her scholarly publications focus on the nexus between South African literature, photography, and the transnational/transhistorical implications of colonialism and apartheid on the body. As a founding member of the digital project, Africa is a Country, she became increasingly interested in writing in a manner that is accessible and welcoming to a larger public. She recently contributed an essay for Aperture’s publication of South African “visual activist” Zanele Muholi’s self-portraits, and catalogue article for African Mobilities: This Is Not a Refugee Camp Exhibition at The Architekturmuseum der TU München, in Munich, Germany. She also wrote the introductory essay for the South Africa pavilion’s 57th Venice Biennale catalogue, an essay for The Walther Collection’s publication (2017), as well as numerous essays for artists’ catalogues. Along with academic publications, her writing is featured in Al Jazeera English, Transition, Aperture, Contemporary&, Contemporary Practices: Visual Art from the Middle East, and Even Magazine.


Serubiri Moses

Serubiri Moses is a writer and curator who lives in New York. He is co-curator of Greater New York 2020, MoMA PS1’s survey of contemporary art.
Moses was part of the curatorial team for the Berlin Biennale X (2018). From 2013 to 2017 Moses traveled extensively to participate in curatorial residencies, conferences, and juries across Africa, Asia, Latin America, and Europe. In 2015, Moses held the position of Stadtschreiber at the Bayreuth Academy of Advanced African Studies and in 2014 he co-curated the second public art biennial in Kampala, KLA ART, entitled Unmapped, and organized a four-volume public program at the Goethe Zentrum Kampala. From 2011 to 2012 he was a critic at the Ugandan daily newspaper New Vision Daily. With his interests ranging from historical narration, African feminist theory, indigeneity, and iconography, Moses is currently an associate researcher in “African Art History and the Formation of a Modern Aesthetic,” a long-term project founded by the Bayreuth Academy of Advanced African Studies in Germany. Recent texts and conference talks include: “Counter-Imaginaries: ‘Women Artists on the Move’, ‘Second to None’, and ‘Like a Virgin …’” in Afterall 47 (2019); FESTAC ‘77: Second World Black and African Festival of Arts and Culture (2019); “The Hiss and Steam of a Pot of Blood,” commissioned by Haus der Kulturen der Welt as part of Hubert Fichte: Love and Ethnology (2018); Women on the Move (1985-2015): A Comparative Study (2017) at Para-Site International Conference in Hong Kong; the 17th Triennial Symposium on African Art of the ACASA (Arts Council of the African Studies Association) in Accra, Ghana (2017); “La Vida del Plátano” (2016); The Use and Abuse of History, organized by the School of Oriental African Studies (2015); and the 41st annual meeting of the African Literature Association in Bayreuth, Germany (2015). Moses completed his Master of Arts in Curatorial Studies at Bard College, and is Adjunct Assistant Professor in the Art Department at Hunter College.


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