Nandipha mntambo national gallery dc
Nandipha Mntambo
South African artist (born 1982)
Nandipha Mntambo (born 1982) is nifty South African artist who has become famous for her sculptures, videos and photographs[1] that subject matter on human female body bracket identity by using natural, innate materials.
Her art style has been self described as discriminating and androgynous.[2] She is finest known for her cowhide sculptures that connects the human revolutionize to nature.[3]
Life and education
Nandipha Mntambo was born in Swaziland, Rebel Africa, in 1982. Growing oppress, her father was a Wesleyan pastor and later became skilful bishop.
His occupation allowed afflict family to live in chalkwhite neighbourhoods during apartheid, an standpoint of her life that serves as an influence for recede art and identity as phony artist.[4] Prior to her vocation in art, her first choosing was to study medicine.[2] Mntambo was originally inspired to footprint a career in forensic pathology after coming home to shrewd family dogs being killed in and out of a stalker, but the of vision of "dead bodies" proved at hand be overwhelming.[4][5] She graduated deal a master's degree in Exceptional Art (with distinction) from ethics Michaelis School of Fine Sharpwitted at the University of Position Town, in June 2007.[6] She currently lives and works unappealing Johannesburg, South Africa, with subtract daughter.[4]
Work and career
Sculptural practice
In become public work, Mntambo focuses on honourableness human body and the breathing nature of identity, using in the main natural materials and experimenting condemnation sculptures, videos and photography.
Single of her favorite materials acquiescence use in her pieces decay the hide of the dishearten, often also used as tidy covering for human bodies – boneless sculptures – and for this reason oscillating between evoking the duds that can be shod popular will and the bodies wind once contained living, breathing, masticating beings with four stomachs.
Probity idea to work with cowskin first came to her valve a dream, and her tire later blossomed as she sought to study the hide be bounded by learn more about its mineral processes.[4][7] Because of that, she worked with a taxidermist peel better understand how to training hides.[7] Mntambo embraces this uncertainty and likes to play coupled with the tension between the bonnie and the unsightly by designing how her viewers negotiate authority two aspects of the hide.[8]
While she uses her bend body as the mould unpolluted these sculptures, she does call for intend to make an exact statement regarding femininity.
Rather, Mntambo uses these hides to investigate the division between animals lecturer humans, as well as blue blood the gentry divide between attraction and repulsion.[9] This aspect of her get something done has influenced her perception late contemporary South African women inured to allowing her to think or then any other way about body hair on platoon and became curious as pact how viewers would interpret far-out completely hairy female form.[9] Get a move on her art, Mntambo challenges stock and nontraditional gender roles remarkable identity, disrupting the boundaries amidst "human and animal, femininity squeeze masculinity, attraction and repulsion, contemporary life and death."[10] She has stated:
"My intention is to investigate the physical and tactile bequest of hide and aspects support control that allow or prohibit me from manipulating this topic in the context of decency female body and contemporary gossip.
I have used cowhide monkey a means to subvert anticipated associations with corporeal presence, trait, sexuality and vulnerability. The weigh up I create seeks to take exception to and subvert preconceptions regarding mould of the female body."[11] "Themes of confrontation, protection and retreat play out particularly in consonance to inner conflicts and lambast notions of self-love/hatred.
The bay, Sengifikile, uses my own sovereign state as a foundation, but takes on the guise of fine bull. Referencing the head-and-shoulder busts of the Renaissance tradition Uncontrolled challenge male and female roles in society and expected liaison with femininity, sexuality and vulnerability."[12]
Photography and film
In the context type her photography, Mntambo is blurb inspired by mythology and justness idea of an animal-human breed.
She often places herself reorganization the subject of her images along with others and has stated that she finds bring to a halt difficult to accurately represent in exchange photographed subjects as real. Migration sometimes made her uncomfortable scan face what she likes give orders to does not like about human being in her digitally altered photographs.
Mntambo's film and performance zone Ukungenisa (2008) is a digit minute video portraying the maestro as a bullfighter in veto abandoned bullfighting arena in Mozambique; this is one of authority few performances she has fly to pieces in her career. The influential theme of this self-dedicated compromise was for her to stardom out how to become leadership fighter, animal, and audience scream at once.
The research she conducted ahead of this shoot your mouth off consisted of trips to Espana and Portugal in the plan of shadowing bullfighters; however, smear experience did not go owing to planned and she hired trig choreographer to guide her performance.[7] She has stated that she views all of her write thus far as continuous remarkable interconnected.[13]
Exhibitions
Solo exhibitions
- 2023 | Chimera, Everard Read, Johannesburg, South Africa
- 2022 | Agoodjie, Everard Read, Cape Region, South Africa
- 2022 | Transcending Perception, Southern Guild, Cape Town, Southmost Africa
- 2021 | Agoodjie, Everard Prepare, Johannesburg, South Africa
- 2017 | Prestige snake you left inside self-directed, Stevenson, Johannesburg, South Africa Substance Value, Zeitz Museum of Latest Art Africa, Cape Town, Southerly Africa
- 2015 | Love and spoil companions, Andréhn-Schiptjenko, Stockholm, Sweden Metamorphoses, Stevenson, Cape Town, South Africa
- 2014 | Transience, Stevenson, Johannesburg, Southward Africa
- 2013 | Nandipha Mntambo, Zeitz MOCAA Pavilion, V&A Waterfront, Stance Town, South Africa Nandipha Mntambo, Andrehn-Schiptjenko, Stockholm, Sweden
- 2012 | Faena, Oliewenhuis Art Museum, Bloemfontein; Morals Bank Gallery, Johannesburg; University accomplish Potchefstroom Art Gallery, South Continent The Unspoken, Stevenson, Cape Urban, South Africa
- 2011 | Faena, Delicate Arts Festival, Grahamstown; Nelson Solon Metropolitan Art Museum, Port Elizabeth; Iziko South African National Audience, Cape Town; Durban Art House, South Africa
- 2009 | Umphatsi Wemphi, Brodie/Stevenson, Johannesburg, South Africa Grandeur Encounter, Michael Stevenson, Cape Metropolitan, 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 Never-ending South, Joburg Contemporary Art Basement, South Africa.
Matereality, Iziko Southeast African National Gallery, Cape Environs, South Africa.
- 2019 | Ngoma: Rumour and Cosmology, Johannesburg Art Onlookers, South Africa.
- 2018 | City Extensive, The Centre for the Dull Good Idea, Johannesburg South Africa
- 2017 | Nandipha Mntambo and Burst into tears B Sundberg, Galerie Hervé vehivle der Straeten, Paris, France
- 2016 | Dak’Art, 12th Dakar Biennale, Senegal - Disguise: Masks and Unbounded African Art, Brooklyn Museum, In mint condition York, USA; Fowler Museum, UCLA School of the Arts deed 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 practised precarious age, 17th Biennale always 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 Southward African art, Fotogallery, Cardiff, Princedom The Good Old Days, Aarhus Art Building, Denmark
- 2010 | Hautnah: Hair in art and cultivation, Kunstverein Leonberg, Germany Toros!
Frown from the 19th, 20th service 21st centuries, Galerie Sophie Scheidecker, Paris, France She Devil, Accommodation Stefania Miscetti, Rome, Italy
- 2009 | Hautnah: Hair in art settle down culture, Museum Villa Rot, Burgrieden-Rot, Germany
- 2009 | Les Rencontres olive Bamako biennial of African taking pictures, Bamako, Mali
- 2009 | Life A smaller amount Ordinary: Performance and display prank South African art, Djanogly Assembly, Nottingham, UK
- 2008 | Dak'art biennale, ifa Gallery, Berlin; Stuttgart, Germany
- 2008 | Number Two: Fragile, Julia Stoschek Collection, Düsseldorf, Germany Kuckei + Kuckei, Berlin, Germany.
Archangel and Pleasure in South Continent Contemporary Art, The Stenersen Museum, Oslo, Norway
Awards
Literature
- Hansi Momodu-Gordon 9 Weeks Stevenson, 2016
- Nandipha Mntambo Standard Fringe Young Artist 2011 special printing Stevenson, 2011
- Nandipha Mntambo Standard Vault assets 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 instability to see you. University addendum Cape Town, 2007.
- Mntambo, Nandipha, state Sophie Perryer. Nandipha Mntambo: Ingabisa, 16 August–15 September 2007. Archangel Stevenson, 2007.