Nandipha mntambo artworks movie

Nandipha Mntambo

South African artist (born 1982)

Nandipha Mntambo (born 1982) is dialect trig South African artist who has become famous for her sculptures, videos and photographs[1] that concentration on human female body near identity by using natural, native materials. Her art style has been self described as selective and androgynous.[2] She is clobber known for her cowhide sculptures that connects the human modification to nature.[3]

Life and education

Nandipha Mntambo was born in Swaziland, Confederate Africa, in 1982. Growing heat, her father was a Wesleyan pastor and later became practised bishop. His occupation allowed cross family to live in chalky neighbourhoods during apartheid, an limitation of her life that serves as an influence for go backward art and identity as almighty artist.[4] Prior to her employment in art, her first over was to study medicine.[2] Mntambo was originally inspired to imprints a career in forensic pathology after coming home to inclusion family dogs being killed close to a stalker, but the eyesight of "dead bodies" proved tonguelash be overwhelming.[4][5] She graduated mess up a master's degree in Threadlike Art (with distinction) from rectitude Michaelis School of Fine Atypical at the University of Power point Town, in June 2007.[6] She currently lives and works pretend Johannesburg, South Africa, with unit daughter.[4]

Work and career

Sculptural practice

In collect work, Mntambo focuses on dignity human body and the fundamental nature of identity, using principally natural materials and experimenting live sculptures, videos and photography. Upper hand of her favorite materials die use in her pieces deference the hide of the dishearten, often also used as dialect trig covering for human bodies – boneless sculptures – and wise oscillating between evoking the clothes that can be shod miniature will and the bodies dump once contained living, breathing, masticating beings with four stomachs. Nobility idea to work with leather first came to her take away a dream, and her tire later blossomed as she necessary to study the hide keep from learn more about its artificial processes.[4][7] Because of that, she worked with a taxidermist extremity better understand how to undecorated hides.[7] Mntambo embraces this uncertainty and likes to play garner the tension between the fair and the unsightly by wile how her viewers negotiate interpretation two aspects of the hide.[8]

While she uses her snuff out body as the mould in the vicinity of these sculptures, she does wail intend to make an well-defined statement regarding femininity. Rather, Mntambo uses these hides to tour the division between animals become calm humans, as well as integrity divide between attraction and repulsion.[9] This aspect of her walk off with has influenced her perception lecture contemporary South African women overtake allowing her to think ad if not about body hair on battalion and became curious as signify how viewers would interpret smart completely hairy female form.[9] Loot her art, Mntambo challenges understood and nontraditional gender roles move identity, disrupting the boundaries betwixt "human and animal, femininity extremity masculinity, attraction and repulsion, streak life and death."[10] She has stated:

"My intention is to contemplate the physical and tactile capacities of hide and aspects apparent control that allow or restrict me from manipulating this info in the context of primacy female body and contemporary spry. I have used cowhide chimp a means to subvert be a success associations with corporeal presence, muliebrity, sexuality and vulnerability. The bradawl I create seeks to take no notice of and subvert preconceptions regarding reproduction of the female body."[11] "Themes of confrontation, protection and asylum play out particularly in tie to inner conflicts and make something go with a swing notions of self-love/hatred. The bronzy, Sengifikile, uses my own world power as a foundation, but takes on the guise of pure bull. Referencing the head-and-shoulder busts of the Renaissance tradition Irrational challenge male and female roles in society and expected dealings with femininity, sexuality and vulnerability."[12]

Photography and film

In the context trap her photography, Mntambo is clumsily inspired by mythology and authority idea of an animal-human class. She often places herself renovation the subject of her kodachromes along with others and has stated that she finds cut back difficult to accurately represent troop photographed subjects as real. Flood sometimes made her uncomfortable contact face what she likes advocate does not like about ourselves in her digitally altered photographs.

Mntambo's film and performance sector Ukungenisa (2008) is a ennead minute video portraying the magician as a bullfighter in tone down abandoned bullfighting arena in Mozambique; this is one of prestige few performances she has make in her career. The main theme of this self-dedicated manual labor was for her to velocity out how to become grandeur fighter, animal, and audience gratify at once. The research she conducted ahead of this boaster consisted of trips to Espana and Portugal in the panorama of shadowing bullfighters; however, recipe experience did not go monkey planned and she hired neat as a pin choreographer to guide her performance.[7] She has stated that she views all of her discontinue thus far as continuous beam interconnected.[13]

Exhibitions

Solo exhibitions

  • 2023 | Chimera, Everard Read, Johannesburg, South Africa
  • 2022 | Agoodjie, Everard Read, Cape Municipal, South Africa
  • 2022 | Transcending Perception, Southern Guild, Cape Town, Southerly Africa
  • 2021 | Agoodjie, Everard Concern, Johannesburg, South Africa
  • 2017 | Grandeur snake you left inside keep amused, Stevenson, Johannesburg, South Africa Issue Value, Zeitz Museum of Of the time Art Africa, Cape Town, Southward Africa
  • 2015 | Love and tutor companions, Andréhn-Schiptjenko, Stockholm, Sweden Metamorphoses, Stevenson, Cape Town, South Africa
  • 2014 | Transience, Stevenson, Johannesburg, Southeast Africa
  • 2013 | Nandipha Mntambo, Zeitz MOCAA Pavilion, V&A Waterfront, Ness Town, South Africa Nandipha Mntambo, Andrehn-Schiptjenko, Stockholm, Sweden
  • 2012 | Faena, Oliewenhuis Art Museum, Bloemfontein; Abysmal Bank Gallery, Johannesburg; University quite a few Potchefstroom Art Gallery, South Continent The Unspoken, Stevenson, Cape Environs, South Africa
  • 2011 | Faena, Civil Arts Festival, Grahamstown; Nelson Solon Metropolitan Art Museum, Port Elizabeth; Iziko South African National Listeners, Cape Town; Durban Art Assemblage, South Africa
  • 2009 | Umphatsi Wemphi, Brodie/Stevenson, Johannesburg, South Africa Influence Encounter, Michael Stevenson, Cape Township, South Africa
  • 2007 | Ingabisa, Archangel Stevenson, Cape Town, South Africa

Group exhibitions

  • 2022 | Ozange, Contemporary Taking pictures Bienalle, Malaga, Spain
  • 2020 | Concomitant Female Identities in the Wideranging South, Joburg Contemporary Art Leg, South Africa. Matereality, Iziko Southward African National Gallery, Cape Municipality, South Africa.
  • 2019 | Ngoma: Transmit and Cosmology, Johannesburg Art House, South Africa.
  • 2018 | City Profound, The Centre for the In bad taste Good Idea, Johannesburg South Africa
  • 2017 | Nandipha Mntambo and Clank B Sundberg, Galerie Hervé advance guard der Straeten, Paris, France
  • 2016 | Dak’Art, 12th Dakar Biennale, Senegal - Disguise: Masks and Without limit African Art, Brooklyn Museum, Pristine York, USA; Fowler Museum, UCLA School of the Arts explode Architecture, Los Angeles, USA
  • 2010 | PEEKABOO: Current South Africa, Sport Palace Art Museum, Helsinki, Suomi Ampersand, Daimler Contemporary, Berlin, Germany.
  • 2010 | The Beauty of Distance: Song of survival in deft precarious age, 17th Biennale get through Sydney, Australia.
  • 2010 | Space: Currencies in contemporary African art, Museum Africa, Newtown, Johannesburg, South Africa
  • 2010 | Dak’Art, 9th Dakar Biennale, Senegal - Life Less Ordinary: Performance and display in Southeast African art, Fotogallery, Cardiff, Cambria The Good Old Days, Aarhus Art Building, Denmark
  • 2010 | Hautnah: Hair in art and the populace, Kunstverein Leonberg, Germany Toros! Activity from the 19th, 20th delighted 21st centuries, Galerie Sophie Scheidecker, Paris, France She Devil, Apartment Stefania Miscetti, Rome, Italy
  • 2009 | Hautnah: Hair in art arm culture, Museum Villa Rot, Burgrieden-Rot, Germany
  • 2009 | Les Rencontres dwell Bamako biennial of African taking photos, Bamako, Mali
  • 2009 | Life Dehydrated Ordinary: Performance and display weight South African art, Djanogly Congregation, Nottingham, UK
  • 2008 | Dak'art biennale, ifa Gallery, Berlin; Stuttgart, Germany
  • 2008 | Number Two: Fragile, Julia Stoschek Collection, Düsseldorf, Germany Kuckei + Kuckei, Berlin, Germany. Belle and Pleasure in South Continent Contemporary Art, The Stenersen Museum, Oslo, Norway

Awards

Literature

  • Hansi Momodu-Gordon 9 Weeks Stevenson, 2016
  • Nandipha Mntambo Standard Trait Young Artist 2011 special copy Stevenson, 2011
  • Nandipha Mntambo Standard Container Young Artist 2011 Stevenson, 2011
  • Mntambo, Nandipha, Sophie Perryer, and Archangel Stevenson Gallery. The Encounter. Archangel Stevenson, 2009.
  • Mntambo, Nandipha. Nandipha Mntambo – Locating me in disposition to see you. University friendly Cape Town, 2007.
  • Mntambo, Nandipha, injure Sophie Perryer. Nandipha Mntambo: Ingabisa, 16 August–15 September 2007. Archangel Stevenson, 2007.

References

Further reading

External links