Zanele Muholi | Tate Modern
Zanele Muholi, Ntozakhe II, Parktown, 2016, Photograph, gelatin silver print on paper, 1000 x 720 mm. Courtesy of the Artist and Yancey Richardson, New York © Zanele Muhol.
Written by Lauren Levesque
Zanele Muholi’s profound photography is captivating and on display at Tate Modern.
Tate Modern is thrilled to announce the opening exhibition of Zanele Muholi, a prominent artist who can capture the rawness within each individual. During 2020, Zanele Muholi was set to have a captivating and expansive show in the U.K.; however, due to the worldwide lockdown, the show was put on ice. In her new show, individuals will experience a fuller version of the exhibition. Zanele Muholi’s art can be captivating, influential, and fulfilling due to her observation of challenging ideologies that seem to have a deathly grip on society. Muholi first gained momentum in her career in the early 2000s and focuses on Black lesbian, gay, bisexual, trans, queer, and intersex lives in South Africa and how that context brings new types of reality and circumstance. The exhibition will be from 6 June 2024 – 26 January 2025.
Zanele Muholi, Qiniso, The Sails, Durban, 2019, Photograph, gelatin silver print on paper, 399 x 260 mm. Courtesy of the Artist and Yancey Richardson, New York © Zanele Muholi.
Qiniso is a true testament to identity. The layering of ‘afro picks’ in the individual's hair highlights a significant part of African American culture and identity. Every detail of this photograph has been meticulously crafted. From the way the hair sticks out in the picks to the similarly shaped earrings that reaffirm the use of the metal and how it is an intricate part of life. Upon gazing at the photograph, the viewer gets a sense of tradition and reservation. The image itself feels distant; however, even with that feature, it still feels organic and profound.
Zanele Muholi, Manzi I, West Coast, Cape Town, 2022, Photograph, gelatin silver print on paper, 641 × 800 cm. Courtesy of the Artist and Yancey Richardson, New York © Zanele Muholi.
The water plays a significant role in Manzi I. The woman submerges herself in the water, representing her ability to cleanse and be reborn as the most natural version of herself. This allows the viewer to hold the intense gaze of the individual and attempt to feel the emotion flowing within the photograph. The pieces of sunlight that begin to reflect in the water feel like different avenues for each individual to go down; however, the stillness shown and the vulnerability permit the photograph to be ethereal and, most of all, authentic.
Zanele Muholi, ID Crisis, 2003, Photograph, gelatin silver print on paper, 325 x 485 mm. Courtesy of the Artist and Yancey Richardson, New York © Zanele Muholi.
The beauty that lives within ID Crisis is multifaceted. The way the light burns through the window and lays down onto the bandages and skin of the woman has a gentle nuance to it. The bandage being wrapped around the woman highlights how she wants to conceal part of her body, and it also hints to the viewers about the possible social and political ramifications of making this decision. The need and desire for autonomy shine through, as Muholi has captured intimate and behind-the-scenes nakedness that connects the viewer to the art.
Zanele Muholi, Julie I, Parktown, Johannesburg, 2016, Photograph, gelatin silver print on paper, 660 x 1000 mm. Courtesy of the Artist and Yancey Richardson, New York © Zanele Muholi.
Julie I promotes vulnerability and quiet confidence. The captivating eyes of the individual first draw the viewer in. They pull in the viewer and keep us in a trance; as time progresses, the viewer's eyes move around the photograph, observing each detail. The stack of newspapers in the background leaks the idea that breaking news is constantly happening in the environment. In addition, the plastic bags that the woman is lying on allow the tone of the image to feel precarious as if at any moment they could pop and the damage would be strewn about. The image is beautiful, leaving a lasting impression on the onlooker.
