Images of LGBTQ lives in South Africa are frank, tender, violent and troubling
, but this really is an exhibition to approach with caution. Let’s not worry too much about the image of a woman wearing a generously sized strap-on dildo in the first room, or the Vaseline-smeared sex scenes, or the colossal bronze sculpture representing the full magnificence of the clitoris.
Through some 300 images, taken over the past 20 years, and accompanied by films recording individual testimonies, this chronological survey presents the major projects of Muholi’s career to date, and is a revised and expanded version ofIn photographs, and only recently in sculptures, Muholi explores the representation and experiences of Black queer South Africans, whose persecution, and yet queer Black people, falling outside ideals of “Africanness” that derive from the belief that...
In this series, Muholi moves away from the journalistic style favoured elsewhere, demonstrating instead their ability to handle visual tropes. Here, Muholi adopts the language of fashion photography, and the anthropological photography of the colonial era, confronting us, as well as themself, with the attributes of racism and gender discrimination, accumulated over centuries.
Since then, other symbols of violence and oppression have joined the lexicon – latex gloves, and even medical face masks representing indignities and injustices ranging from stop and search, disparities in health and living standards, and disproportionate contact with the police., famous for her chameleonic reinventions.
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