Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness includes one hundred self-portraits created by one of the most powerful visual activists of our time. In each of the images, Muholi drafts material props from her immediate environment in an effort to reflect her journey, explore her own image and possibilities as a black woman in today’s global society, and — most important — to speak emphatically in response to contemporary and historical rascisms. As she states, “I am producing this photographic document to encourage people to be brave enough to occupy spaces, brave enough to create without fear of being vilified. . . . To teach people about our history, to re-think what history is all about, to re-claim it for ourselves, to encourage people to use artistic tools such as cameras as weapons to fight back.” More than twenty curators, poets, and authors offer written contributions that draw out the layers of meaning and possible readings to accompany select images. Powerfully arresting, this collection is as much a manifesto of resistance as it is an autobiographical, artistic statement.
CONTRIBUTORS: Zanele MuholiEAN: 9781597114240COUNTRY: United StatesPAGES: WEIGHT: 1820 gHEIGHT: 356 cm
“The first thing to note about Zanele Muholi: Somnyama Ngonyama: Hail the Dark Lioness is that it begins before you open it. The striking cover portrait itself—“Ntozakhe II, Parktown, Johannesburg,” from 2016—demands ample time to be taken in…This is how the book starts on you, its front and back cover working together to prepare you for what lies within. A hint at its insides.”—Yrsa Daley-Ward, The New York Times Book Review
Zanele Muholi (born in Umlazi, Durban, South Africa, 1972) is a visual activist and photographer, cofounder of the Forum for the Empowerment of Women, and founder of Inkanyiso, a forum for queer and visual media. Muholi has won numerous awards for their work, including the ICP Infinity Award for Documentary and Photojournalism (2016); the Fine Prize for an emerging artist at the 2013 Carnegie International; a Prince Claus Award (2013); and both the Casa África award for best female photographer and a Fondation Blachère award at Les Rencontres de Bamako biennial of African photography (2009). Their Faces and Phases series was shown at dOCUMENTA (13) and the 55th Venice Biennale and was shortlisted for the Deutsche Börse Photography Prize in 2015. Muholi is an honorary professor at the University of the Arts Bremen, Germany. They are represented by Stevenson Gallery, Johannesburg, and Yancey Richardson Gallery, New York.
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Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness includes one hundred self-portraits created by one of the most powerful visual activists of our time. In each of the images, Muholi drafts material props from her immediate environment in an effort to reflect her journey, explore her own image and possibilities as a black woman in today’s global society, and — most important — to speak emphatically in response to contemporary and historical rascisms. As she states, “I am producing this photographic document to encourage people to be brave enough to occupy spaces, brave enough to create without fear of being vilified. . . . To teach people about our history, to re-think what history is all about, to re-claim it for ourselves, to encourage people to use artistic tools such as cameras as weapons to fight back.” More than twenty curators, poets, and authors offer written contributions that draw out the layers of meaning and possible readings to accompany select images. Powerfully arresting, this collection is as much a manifesto of resistance as it is an autobiographical, artistic statement.
CONTRIBUTORS: Zanele MuholiEAN: 9781597114240COUNTRY: United StatesPAGES: WEIGHT: 1820 gHEIGHT: 356 cm
Zanele Muholi (born in Umlazi, Durban, South Africa, 1972) is a visual activist and photographer, cofounder of the Forum for the Empowerment of Women, and founder of Inkanyiso, a forum for queer and visual media. Muholi has won numerous awards for their work, including the ICP Infinity Award for Documentary and Photojournalism (2016); the Fine Prize for an emerging artist at the 2013 Carnegie International; a Prince Claus Award (2013); and both the Casa África award for best female photographer and a Fondation Blachère award at Les Rencontres de Bamako biennial of African photography (2009). Their Faces and Phases series was shown at dOCUMENTA (13) and the 55th Venice Biennale and was shortlisted for the Deutsche Börse Photography Prize in 2015. Muholi is an honorary professor at the University of the Arts Bremen, Germany. They are represented by Stevenson Gallery, Johannesburg, and Yancey Richardson Gallery, New York.
Mevrou Smit het Aronspoort toe gekom om vir haarself ’n nuwe lewe en identiteit te bewerk, nie om gewild te wees nie. “Daar is geen wag voor daai mond nie. Al die gedagtes wat in haar kop uitbroei, marsjeer soos mank soldate oor haar tong.” (p.16). Maar dit is juis daardie gedagtes wat al menige moord opgelos het, dit terwyl sy vir haarself streng reëls gestel het vir “goeie” gedrag en verbete daaraan werk om daarby te hou. Reëls soos om te oorleef en te luister na jou instinkte. “My derde reël is om nie my tyd te mors met retrospeksie nie” (p.78), verduidelik sy aan Dario wat in hierdie aflewering weer ’n hoopvolle draai kom maak. Die uitstekende skryfstyl van Elizabeth Wasserman verseker dat mevrou Smit konsekwent, sonder aansien des persoons, hou by haar reëls.
Ek moet bieg dat hierdie derde sage van mevrou Smit vir my ietwat stadig afgeskop het. Daar was nie juis dringendheid rondom die ontdekking van ’n dekade-oue menslike oorskot in die rivierbank nie. Maar wanneer daar ’n vars moord vermoed word, tel mevrou Smit se bloedhond instinkte spoed op. En die krisis na die einde toe is so spannend as wat ’n sogenaamde sagte krimi kan toelaat.
Ek sukkel deesdae toenemend met reekse. Ek vergeet die fynere detail van vorige boeke (ouderdom of té veel storielyne?) en dan sukkel my kop deurentyd om te onthou. Dus sou ek beslis beter gevaar het om die drie boeke agtereenvolgens te lees. Nuwe Mevrou Smit lesers wat nie noodwendig alles wil weet van haar vorige lewe en die voorafgaande avonture op Aronspoort nie, behoort suksesvol te kan volstaan met die intrige soos hier aangebied.
