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[ { "append_role_to_name": false, "date": "born 1980", "fc": "Sabelo Mlangeni", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sabelo-mlangeni-30245" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of photographs in Tate’s collection from the series <i>Country Girls</i> by Sabelo Mlangeni (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-xolani-ngayi-estanela-p82719\" title=\"View the details of this artwork\"><span>P82719</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-miss-gay-ten-years-of-democracy-bheki-mndebele-at-wesselton-community-hall-p82730\" title=\"View the details of this artwork\"><span>P82730</span></a>). Shot between 2003 and 2009, the series offers an intimate portrait of members of Queer communities in rural South Africa, where the artist grew up. The black and white photographs were taken in small towns and rural areas in the Mpumalanga province (Driefontein, Ermelo, Bethal, Platrand, Piet Retief, Standerton and Secunda). The series comprises thirty-three images in total and captures candid moments in the everyday lives of its subjects as well as the spaces where they work, live and socialise. While homosexuality is widely condemned in many African countries, South Africa has seen a rise in new forms of Black Queer self-expression following the legalisation of same-sex conduct in the years following the end of apartheid. Capturing a proud and strongly African identity, Mlangeni’s series depicts street scenes, social gatherings and political events where gay identity is made visible to a wider public.</p>\n<p>A number of the images in the series present street-scene portraits in which the texture of gay life in the Mpumalanga province is evidenced in the stylish and expressive use of clothing. In each image, a humble glamour is fashioned from the borrowed shoes, homemade clothes and hand-me-downs worn by the ‘country girls’. In one image, Mlangeni depicts ‘Bigboy’ wearing a homely outfit, including a brimmed hat and floral dress traditionally worn by township mothers (<i>Lwazi Mtshali, ‘Bigboy’</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-lwazi-mtshali-bigboy-p82720\" title=\"View the details of this artwork\"><span>P82720</span></a>]). In another image, Palisa is photographed wearing stockings and a short winter coat against the backdrop of a mine slag heap on a Highveld winter’s day (<i>Palisa</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-palisa-p82721\" title=\"View the details of this artwork\"><span>P82721</span></a>]). Although these clothes do not seem adequate against the cold, they reveal an individual quest for a fashionable cosmopolitan identity in a rural environment.</p>\n<p>In many African countries, gay issues are widely associated with the cultural and social effects of globalisation. Mlangeni’s <i>Country Girls</i> explores the self-expression of a marginalised community, raising questions about the influence and visibility of gay life in traditional African societies. For many more conservative South Africans, these figures occupy a symbolic space; they are both threatening and desirable, celebrated and despised. Rather than representing the ‘country girls’ as social ‘others’, the artist spent six years photographing these communities to build a sense of intimacy and empathy with his subjects. While the persistent and ongoing discrimination towards LGBTQ communities continues, <i>Country Girls</i> attests to the possibility of radical self-expression in challenging social environments and the shifting attitudes of contemporary South African society.</p>\n<p>Describing his practice in general, Mlangeni has said: ‘When I work I’m always mindful of the stereotyping that South Africa – and Africa in general – is often subject to in art and the media … I try to bring another aspect to my country and my continent, by portraying the outsider, those people who aren’t usually given a voice.’ (Quoted in Wermuth 2019, accessed 1 July 2020.)</p>\n<p>\n<b>Further information</b>\n<br/>Sabelo Mlangeni, <i>Country Girls</i>, Michael Stevenson Gallery, Cape Town 2010.<br/>Tamar Garb (ed.), <i>Figures and Fictions: Contemporary South African Photography</i>, Göttingen 2011.<br/>Livia Wermuth, ‘Sabelo Mlangeni: “Portraying the Outsider”’, website of The Walther Collection, 1 April 2019, <a href=\"https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress\">https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress</a>, accessed 1 July 2020.</p>\n<p>Osei Bonsu <br/>June 2020<br/>updated Sarah Allen, January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1980", "fc": "Sabelo Mlangeni", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sabelo-mlangeni-30245" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of photographs in Tate’s collection from the series <i>Country Girls</i> by Sabelo Mlangeni (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-xolani-ngayi-estanela-p82719\" title=\"View the details of this artwork\"><span>P82719</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-miss-gay-ten-years-of-democracy-bheki-mndebele-at-wesselton-community-hall-p82730\" title=\"View the details of this artwork\"><span>P82730</span></a>). Shot between 2003 and 2009, the series offers an intimate portrait of members of Queer communities in rural South Africa, where the artist grew up. The black and white photographs were taken in small towns and rural areas in the Mpumalanga province (Driefontein, Ermelo, Bethal, Platrand, Piet Retief, Standerton and Secunda). The series comprises thirty-three images in total and captures candid moments in the everyday lives of its subjects as well as the spaces where they work, live and socialise. While homosexuality is widely condemned in many African countries, South Africa has seen a rise in new forms of Black Queer self-expression following the legalisation of same-sex conduct in the years following the end of apartheid. Capturing a proud and strongly African identity, Mlangeni’s series depicts street scenes, social gatherings and political events where gay identity is made visible to a wider public.</p>\n<p>A number of the images in the series present street-scene portraits in which the texture of gay life in the Mpumalanga province is evidenced in the stylish and expressive use of clothing. In each image, a humble glamour is fashioned from the borrowed shoes, homemade clothes and hand-me-downs worn by the ‘country girls’. In one image, Mlangeni depicts ‘Bigboy’ wearing a homely outfit, including a brimmed hat and floral dress traditionally worn by township mothers (<i>Lwazi Mtshali, ‘Bigboy’</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-lwazi-mtshali-bigboy-p82720\" title=\"View the details of this artwork\"><span>P82720</span></a>]). In another image, Palisa is photographed wearing stockings and a short winter coat against the backdrop of a mine slag heap on a Highveld winter’s day (<i>Palisa</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-palisa-p82721\" title=\"View the details of this artwork\"><span>P82721</span></a>]). Although these clothes do not seem adequate against the cold, they reveal an individual quest for a fashionable cosmopolitan identity in a rural environment.</p>\n<p>In many African countries, gay issues are widely associated with the cultural and social effects of globalisation. Mlangeni’s <i>Country Girls</i> explores the self-expression of a marginalised community, raising questions about the influence and visibility of gay life in traditional African societies. For many more conservative South Africans, these figures occupy a symbolic space; they are both threatening and desirable, celebrated and despised. Rather than representing the ‘country girls’ as social ‘others’, the artist spent six years photographing these communities to build a sense of intimacy and empathy with his subjects. While the persistent and ongoing discrimination towards LGBTQ communities continues, <i>Country Girls</i> attests to the possibility of radical self-expression in challenging social environments and the shifting attitudes of contemporary South African society.</p>\n<p>Describing his practice in general, Mlangeni has said: ‘When I work I’m always mindful of the stereotyping that South Africa – and Africa in general – is often subject to in art and the media … I try to bring another aspect to my country and my continent, by portraying the outsider, those people who aren’t usually given a voice.’ (Quoted in Wermuth 2019, accessed 1 July 2020.)</p>\n<p>\n<b>Further information</b>\n<br/>Sabelo Mlangeni, <i>Country Girls</i>, Michael Stevenson Gallery, Cape Town 2010.<br/>Tamar Garb (ed.), <i>Figures and Fictions: Contemporary South African Photography</i>, Göttingen 2011.<br/>Livia Wermuth, ‘Sabelo Mlangeni: “Portraying the Outsider”’, website of The Walther Collection, 1 April 2019, <a href=\"https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress\">https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress</a>, accessed 1 July 2020.</p>\n<p>Osei Bonsu <br/>June 2020<br/>updated Sarah Allen, January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1980", "fc": "Sabelo Mlangeni", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sabelo-mlangeni-30245" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15104, "startDate": "2023-07-06", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12411, "startDate": "2023-07-06", "title": "A World in Common: Contemporary African Photography", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "4 March 2024 – 15 May 2025", "endDate": "2025-05-15", "exhibitionLegs": [ { "dateText": "4 March 2024 – 25 August 2024", "endDate": "2024-08-25", "id": 15886, "startDate": "2024-03-04", "venueName": "Wereldmuseum Rotterdam (Rotterdam, The Netherlands)", "venueWebsiteUrl": null }, { "dateText": "2 February 2025 – 15 May 2025", "endDate": "2025-05-15", "id": 16296, "startDate": "2025-02-02", "venueName": "C/O Berlin (Berlin, Germany)", "venueWebsiteUrl": null } ], "id": 13029, "startDate": "2024-03-04", "title": "A World in Common: Contemporary African Photography", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of photographs in Tate’s collection from the series <i>Country Girls</i> by Sabelo Mlangeni (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-xolani-ngayi-estanela-p82719\" title=\"View the details of this artwork\"><span>P82719</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-miss-gay-ten-years-of-democracy-bheki-mndebele-at-wesselton-community-hall-p82730\" title=\"View the details of this artwork\"><span>P82730</span></a>). Shot between 2003 and 2009, the series offers an intimate portrait of members of Queer communities in rural South Africa, where the artist grew up. The black and white photographs were taken in small towns and rural areas in the Mpumalanga province (Driefontein, Ermelo, Bethal, Platrand, Piet Retief, Standerton and Secunda). The series comprises thirty-three images in total and captures candid moments in the everyday lives of its subjects as well as the spaces where they work, live and socialise. While homosexuality is widely condemned in many African countries, South Africa has seen a rise in new forms of Black Queer self-expression following the legalisation of same-sex conduct in the years following the end of apartheid. Capturing a proud and strongly African identity, Mlangeni’s series depicts street scenes, social gatherings and political events where gay identity is made visible to a wider public.</p>\n<p>A number of the images in the series present street-scene portraits in which the texture of gay life in the Mpumalanga province is evidenced in the stylish and expressive use of clothing. In each image, a humble glamour is fashioned from the borrowed shoes, homemade clothes and hand-me-downs worn by the ‘country girls’. In one image, Mlangeni depicts ‘Bigboy’ wearing a homely outfit, including a brimmed hat and floral dress traditionally worn by township mothers (<i>Lwazi Mtshali, ‘Bigboy’</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-lwazi-mtshali-bigboy-p82720\" title=\"View the details of this artwork\"><span>P82720</span></a>]). In another image, Palisa is photographed wearing stockings and a short winter coat against the backdrop of a mine slag heap on a Highveld winter’s day (<i>Palisa</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-palisa-p82721\" title=\"View the details of this artwork\"><span>P82721</span></a>]). Although these clothes do not seem adequate against the cold, they reveal an individual quest for a fashionable cosmopolitan identity in a rural environment.</p>\n<p>In many African countries, gay issues are widely associated with the cultural and social effects of globalisation. Mlangeni’s <i>Country Girls</i> explores the self-expression of a marginalised community, raising questions about the influence and visibility of gay life in traditional African societies. For many more conservative South Africans, these figures occupy a symbolic space; they are both threatening and desirable, celebrated and despised. Rather than representing the ‘country girls’ as social ‘others’, the artist spent six years photographing these communities to build a sense of intimacy and empathy with his subjects. While the persistent and ongoing discrimination towards LGBTQ communities continues, <i>Country Girls</i> attests to the possibility of radical self-expression in challenging social environments and the shifting attitudes of contemporary South African society.</p>\n<p>Describing his practice in general, Mlangeni has said: ‘When I work I’m always mindful of the stereotyping that South Africa – and Africa in general – is often subject to in art and the media … I try to bring another aspect to my country and my continent, by portraying the outsider, those people who aren’t usually given a voice.’ (Quoted in Wermuth 2019, accessed 1 July 2020.)</p>\n<p>\n<b>Further information</b>\n<br/>Sabelo Mlangeni, <i>Country Girls</i>, Michael Stevenson Gallery, Cape Town 2010.<br/>Tamar Garb (ed.), <i>Figures and Fictions: Contemporary South African Photography</i>, Göttingen 2011.<br/>Livia Wermuth, ‘Sabelo Mlangeni: “Portraying the Outsider”’, website of The Walther Collection, 1 April 2019, <a href=\"https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress\">https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress</a>, accessed 1 July 2020.</p>\n<p>Osei Bonsu <br/>June 2020<br/>updated Sarah Allen, January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Taken over a period of six years in small towns in the Mpumalanga province, <i>Country Girls</i> is an intimate portrait of gay life in the South African countryside. Mlangeni’s series draws attention to the ways these communities have fashioned their own identities outside of the city. In these images, local hairstylists, drag queens and beauty pageant contestants come together at family gatherings and social occasions. Despite the equality promised in South Africa’s 1996 constitution, these daily acts of love, intimacy and friendship take place in the face of continued violence and discrimination. Mlangeni’s images reveal how people carve out spaces to work, love, and find community. Capturing their visibility and vulnerability, the series celebrates the resilience of these individuals. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-06-30T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1980", "fc": "Sabelo Mlangeni", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sabelo-mlangeni-30245" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15104, "startDate": "2023-07-06", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12411, "startDate": "2023-07-06", "title": "A World in Common: Contemporary African Photography", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "4 March 2024 – 15 May 2025", "endDate": "2025-05-15", "exhibitionLegs": [ { "dateText": "4 March 2024 – 25 August 2024", "endDate": "2024-08-25", "id": 15886, "startDate": "2024-03-04", "venueName": "Wereldmuseum Rotterdam (Rotterdam, The Netherlands)", "venueWebsiteUrl": null }, { "dateText": "2 February 2025 – 15 May 2025", "endDate": "2025-05-15", "id": 16296, "startDate": "2025-02-02", "venueName": "C/O Berlin (Berlin, Germany)", "venueWebsiteUrl": null } ], "id": 13029, "startDate": "2024-03-04", "title": "A World in Common: Contemporary African Photography", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of photographs in Tate’s collection from the series <i>Country Girls</i> by Sabelo Mlangeni (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-xolani-ngayi-estanela-p82719\" title=\"View the details of this artwork\"><span>P82719</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-miss-gay-ten-years-of-democracy-bheki-mndebele-at-wesselton-community-hall-p82730\" title=\"View the details of this artwork\"><span>P82730</span></a>). Shot between 2003 and 2009, the series offers an intimate portrait of members of Queer communities in rural South Africa, where the artist grew up. The black and white photographs were taken in small towns and rural areas in the Mpumalanga province (Driefontein, Ermelo, Bethal, Platrand, Piet Retief, Standerton and Secunda). The series comprises thirty-three images in total and captures candid moments in the everyday lives of its subjects as well as the spaces where they work, live and socialise. While homosexuality is widely condemned in many African countries, South Africa has seen a rise in new forms of Black Queer self-expression following the legalisation of same-sex conduct in the years following the end of apartheid. Capturing a proud and strongly African identity, Mlangeni’s series depicts street scenes, social gatherings and political events where gay identity is made visible to a wider public.</p>\n<p>A number of the images in the series present street-scene portraits in which the texture of gay life in the Mpumalanga province is evidenced in the stylish and expressive use of clothing. In each image, a humble glamour is fashioned from the borrowed shoes, homemade clothes and hand-me-downs worn by the ‘country girls’. In one image, Mlangeni depicts ‘Bigboy’ wearing a homely outfit, including a brimmed hat and floral dress traditionally worn by township mothers (<i>Lwazi Mtshali, ‘Bigboy’</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-lwazi-mtshali-bigboy-p82720\" title=\"View the details of this artwork\"><span>P82720</span></a>]). In another image, Palisa is photographed wearing stockings and a short winter coat against the backdrop of a mine slag heap on a Highveld winter’s day (<i>Palisa</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-palisa-p82721\" title=\"View the details of this artwork\"><span>P82721</span></a>]). Although these clothes do not seem adequate against the cold, they reveal an individual quest for a fashionable cosmopolitan identity in a rural environment.</p>\n<p>In many African countries, gay issues are widely associated with the cultural and social effects of globalisation. Mlangeni’s <i>Country Girls</i> explores the self-expression of a marginalised community, raising questions about the influence and visibility of gay life in traditional African societies. For many more conservative South Africans, these figures occupy a symbolic space; they are both threatening and desirable, celebrated and despised. Rather than representing the ‘country girls’ as social ‘others’, the artist spent six years photographing these communities to build a sense of intimacy and empathy with his subjects. While the persistent and ongoing discrimination towards LGBTQ communities continues, <i>Country Girls</i> attests to the possibility of radical self-expression in challenging social environments and the shifting attitudes of contemporary South African society.</p>\n<p>Describing his practice in general, Mlangeni has said: ‘When I work I’m always mindful of the stereotyping that South Africa – and Africa in general – is often subject to in art and the media … I try to bring another aspect to my country and my continent, by portraying the outsider, those people who aren’t usually given a voice.’ (Quoted in Wermuth 2019, accessed 1 July 2020.)</p>\n<p>\n<b>Further information</b>\n<br/>Sabelo Mlangeni, <i>Country Girls</i>, Michael Stevenson Gallery, Cape Town 2010.<br/>Tamar Garb (ed.), <i>Figures and Fictions: Contemporary South African Photography</i>, Göttingen 2011.<br/>Livia Wermuth, ‘Sabelo Mlangeni: “Portraying the Outsider”’, website of The Walther Collection, 1 April 2019, <a href=\"https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress\">https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress</a>, accessed 1 July 2020.</p>\n<p>Osei Bonsu <br/>June 2020<br/>updated Sarah Allen, January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Taken over a period of six years in small towns in the Mpumalanga province, <i>Country Girls</i> is an intimate portrait of gay life in the South African countryside. Mlangeni’s series draws attention to the ways these communities have fashioned their own identities outside of the city. In these images, local hairstylists, drag queens and beauty pageant contestants come together at family gatherings and social occasions. Despite the equality promised in South Africa’s 1996 constitution, these daily acts of love, intimacy and friendship take place in the face of continued violence and discrimination. Mlangeni’s images reveal how people carve out spaces to work, love, and find community. Capturing their visibility and vulnerability, the series celebrates the resilience of these individuals. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-06-30T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1980", "fc": "Sabelo Mlangeni", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sabelo-mlangeni-30245" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15104, "startDate": "2023-07-06", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12411, "startDate": "2023-07-06", "title": "A World in Common: Contemporary African Photography", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "4 March 2024 – 15 May 2025", "endDate": "2025-05-15", "exhibitionLegs": [ { "dateText": "4 March 2024 – 25 August 2024", "endDate": "2024-08-25", "id": 15886, "startDate": "2024-03-04", "venueName": "Wereldmuseum Rotterdam (Rotterdam, The Netherlands)", "venueWebsiteUrl": null }, { "dateText": "2 February 2025 – 15 May 2025", "endDate": "2025-05-15", "id": 16296, "startDate": "2025-02-02", "venueName": "C/O Berlin (Berlin, Germany)", "venueWebsiteUrl": null } ], "id": 13029, "startDate": "2024-03-04", "title": "A World in Common: Contemporary African Photography", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of photographs in Tate’s collection from the series <i>Country Girls</i> by Sabelo Mlangeni (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-xolani-ngayi-estanela-p82719\" title=\"View the details of this artwork\"><span>P82719</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-miss-gay-ten-years-of-democracy-bheki-mndebele-at-wesselton-community-hall-p82730\" title=\"View the details of this artwork\"><span>P82730</span></a>). Shot between 2003 and 2009, the series offers an intimate portrait of members of Queer communities in rural South Africa, where the artist grew up. The black and white photographs were taken in small towns and rural areas in the Mpumalanga province (Driefontein, Ermelo, Bethal, Platrand, Piet Retief, Standerton and Secunda). The series comprises thirty-three images in total and captures candid moments in the everyday lives of its subjects as well as the spaces where they work, live and socialise. While homosexuality is widely condemned in many African countries, South Africa has seen a rise in new forms of Black Queer self-expression following the legalisation of same-sex conduct in the years following the end of apartheid. Capturing a proud and strongly African identity, Mlangeni’s series depicts street scenes, social gatherings and political events where gay identity is made visible to a wider public.</p>\n<p>A number of the images in the series present street-scene portraits in which the texture of gay life in the Mpumalanga province is evidenced in the stylish and expressive use of clothing. In each image, a humble glamour is fashioned from the borrowed shoes, homemade clothes and hand-me-downs worn by the ‘country girls’. In one image, Mlangeni depicts ‘Bigboy’ wearing a homely outfit, including a brimmed hat and floral dress traditionally worn by township mothers (<i>Lwazi Mtshali, ‘Bigboy’</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-lwazi-mtshali-bigboy-p82720\" title=\"View the details of this artwork\"><span>P82720</span></a>]). In another image, Palisa is photographed wearing stockings and a short winter coat against the backdrop of a mine slag heap on a Highveld winter’s day (<i>Palisa</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-palisa-p82721\" title=\"View the details of this artwork\"><span>P82721</span></a>]). Although these clothes do not seem adequate against the cold, they reveal an individual quest for a fashionable cosmopolitan identity in a rural environment.</p>\n<p>In many African countries, gay issues are widely associated with the cultural and social effects of globalisation. Mlangeni’s <i>Country Girls</i> explores the self-expression of a marginalised community, raising questions about the influence and visibility of gay life in traditional African societies. For many more conservative South Africans, these figures occupy a symbolic space; they are both threatening and desirable, celebrated and despised. Rather than representing the ‘country girls’ as social ‘others’, the artist spent six years photographing these communities to build a sense of intimacy and empathy with his subjects. While the persistent and ongoing discrimination towards LGBTQ communities continues, <i>Country Girls</i> attests to the possibility of radical self-expression in challenging social environments and the shifting attitudes of contemporary South African society.</p>\n<p>Describing his practice in general, Mlangeni has said: ‘When I work I’m always mindful of the stereotyping that South Africa – and Africa in general – is often subject to in art and the media … I try to bring another aspect to my country and my continent, by portraying the outsider, those people who aren’t usually given a voice.’ (Quoted in Wermuth 2019, accessed 1 July 2020.)</p>\n<p>\n<b>Further information</b>\n<br/>Sabelo Mlangeni, <i>Country Girls</i>, Michael Stevenson Gallery, Cape Town 2010.<br/>Tamar Garb (ed.), <i>Figures and Fictions: Contemporary South African Photography</i>, Göttingen 2011.<br/>Livia Wermuth, ‘Sabelo Mlangeni: “Portraying the Outsider”’, website of The Walther Collection, 1 April 2019, <a href=\"https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress\">https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress</a>, accessed 1 July 2020.</p>\n<p>Osei Bonsu <br/>June 2020<br/>updated Sarah Allen, January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Taken over a period of six years in small towns in the Mpumalanga province, <i>Country Girls</i> is an intimate portrait of gay life in the South African countryside. Mlangeni’s series draws attention to the ways these communities have fashioned their own identities outside of the city. In these images, local hairstylists, drag queens and beauty pageant contestants come together at family gatherings and social occasions. Despite the equality promised in South Africa’s 1996 constitution, these daily acts of love, intimacy and friendship take place in the face of continued violence and discrimination. Mlangeni’s images reveal how people carve out spaces to work, love, and find community. Capturing their visibility and vulnerability, the series celebrates the resilience of these individuals. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-06-30T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "append_role_to_name": false, "date": "born 1980", "fc": "Sabelo Mlangeni", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/sabelo-mlangeni-30245" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999784, "shortTitle": "Works on loan" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "artistRoomsTour": false, "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "exhibitionLegs": [ { "dateText": "6 July 2023 – 14 January 2024", "endDate": "2024-01-14", "id": 15104, "startDate": "2023-07-06", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 12411, "startDate": "2023-07-06", "title": "A World in Common: Contemporary African Photography", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "4 March 2024 – 15 May 2025", "endDate": "2025-05-15", "exhibitionLegs": [ { "dateText": "4 March 2024 – 25 August 2024", "endDate": "2024-08-25", "id": 15886, "startDate": "2024-03-04", "venueName": "Wereldmuseum Rotterdam (Rotterdam, The Netherlands)", "venueWebsiteUrl": null }, { "dateText": "2 February 2025 – 15 May 2025", "endDate": "2025-05-15", "id": 16296, "startDate": "2025-02-02", "venueName": "C/O Berlin (Berlin, Germany)", "venueWebsiteUrl": null } ], "id": 13029, "startDate": "2024-03-04", "title": "A World in Common: Contemporary African Photography", "type": "Loan-out" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of photographs in Tate’s collection from the series <i>Country Girls</i> by Sabelo Mlangeni (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-xolani-ngayi-estanela-p82719\" title=\"View the details of this artwork\"><span>P82719</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-miss-gay-ten-years-of-democracy-bheki-mndebele-at-wesselton-community-hall-p82730\" title=\"View the details of this artwork\"><span>P82730</span></a>). Shot between 2003 and 2009, the series offers an intimate portrait of members of Queer communities in rural South Africa, where the artist grew up. The black and white photographs were taken in small towns and rural areas in the Mpumalanga province (Driefontein, Ermelo, Bethal, Platrand, Piet Retief, Standerton and Secunda). The series comprises thirty-three images in total and captures candid moments in the everyday lives of its subjects as well as the spaces where they work, live and socialise. While homosexuality is widely condemned in many African countries, South Africa has seen a rise in new forms of Black Queer self-expression following the legalisation of same-sex conduct in the years following the end of apartheid. Capturing a proud and strongly African identity, Mlangeni’s series depicts street scenes, social gatherings and political events where gay identity is made visible to a wider public.</p>\n<p>A number of the images in the series present street-scene portraits in which the texture of gay life in the Mpumalanga province is evidenced in the stylish and expressive use of clothing. In each image, a humble glamour is fashioned from the borrowed shoes, homemade clothes and hand-me-downs worn by the ‘country girls’. In one image, Mlangeni depicts ‘Bigboy’ wearing a homely outfit, including a brimmed hat and floral dress traditionally worn by township mothers (<i>Lwazi Mtshali, ‘Bigboy’</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-lwazi-mtshali-bigboy-p82720\" title=\"View the details of this artwork\"><span>P82720</span></a>]). In another image, Palisa is photographed wearing stockings and a short winter coat against the backdrop of a mine slag heap on a Highveld winter’s day (<i>Palisa</i> 2009 [Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mlangeni-palisa-p82721\" title=\"View the details of this artwork\"><span>P82721</span></a>]). Although these clothes do not seem adequate against the cold, they reveal an individual quest for a fashionable cosmopolitan identity in a rural environment.</p>\n<p>In many African countries, gay issues are widely associated with the cultural and social effects of globalisation. Mlangeni’s <i>Country Girls</i> explores the self-expression of a marginalised community, raising questions about the influence and visibility of gay life in traditional African societies. For many more conservative South Africans, these figures occupy a symbolic space; they are both threatening and desirable, celebrated and despised. Rather than representing the ‘country girls’ as social ‘others’, the artist spent six years photographing these communities to build a sense of intimacy and empathy with his subjects. While the persistent and ongoing discrimination towards LGBTQ communities continues, <i>Country Girls</i> attests to the possibility of radical self-expression in challenging social environments and the shifting attitudes of contemporary South African society.</p>\n<p>Describing his practice in general, Mlangeni has said: ‘When I work I’m always mindful of the stereotyping that South Africa – and Africa in general – is often subject to in art and the media … I try to bring another aspect to my country and my continent, by portraying the outsider, those people who aren’t usually given a voice.’ (Quoted in Wermuth 2019, accessed 1 July 2020.)</p>\n<p>\n<b>Further information</b>\n<br/>Sabelo Mlangeni, <i>Country Girls</i>, Michael Stevenson Gallery, Cape Town 2010.<br/>Tamar Garb (ed.), <i>Figures and Fictions: Contemporary South African Photography</i>, Göttingen 2011.<br/>Livia Wermuth, ‘Sabelo Mlangeni: “Portraying the Outsider”’, website of The Walther Collection, 1 April 2019, <a href=\"https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress\">https://www.walthercollection.com/en/collection/activities/sabelo-mlangeni-black-men-in-dress</a>, accessed 1 July 2020.</p>\n<p>Osei Bonsu <br/>June 2020<br/>updated Sarah Allen, January 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" }, { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>Taken over a period of six years in small towns in the Mpumalanga province, <i>Country Girls</i> is an intimate portrait of gay life in the South African countryside. Mlangeni’s series draws attention to the ways these communities have fashioned their own identities outside of the city. In these images, local hairstylists, drag queens and beauty pageant contestants come together at family gatherings and social occasions. Despite the equality promised in South Africa’s 1996 constitution, these daily acts of love, intimacy and friendship take place in the face of continued violence and discrimination. Mlangeni’s images reveal how people carve out spaces to work, love, and find community. Capturing their visibility and vulnerability, the series celebrates the resilience of these individuals. </p>\n</div>\n", "display_name": "Display caption", "publication_date": "2023-06-30T00:00:00", "slug_name": "display-caption", "type": "DISPLAY_CAPTION" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of a group of several works in Tate’s collection from the large-scale, multi-part installation <i>The Oscar Wilde Temple </i>2017–8 by the American artists David McDermott and Peter McGough (see Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mcdermott-mcgough-born-1952-born-1958-mcgough-the-stations-of-reading-gaol-1917-t15987\" title=\"View the details of this artwork\"><span>T15987</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/mcdermott-mcgough-born-1952-born-1958-mcgough-the-oscar-wilde-temple-t15990\" title=\"View the details of this artwork\"><span>T15990</span></a>). <i>The Oscar Wilde Temple </i>is a secular space devoted to honouring the Irish poet and playwright Oscar Wilde (1854–1900), who was tried and imprisoned for his homosexuality in the 1890s. Using the figure of Wilde as a lens through which to cast light on a traumatic history of queer identity, it also serves as a space of commemoration for past and present LGBTQ+ activists, as well as those who have lost their lives to the AIDS crisis. The installation comprises artworks in a variety of media by McDermott and McGough alongside period wallpaper, lighting and other furnishings selected in accordance with Wilde’s aesthetic values. The individual works in Tate’s collection are: the wooden sculpture <i>Oscar Wilde Altarpiece </i>1917/2017; twelve paintings on canvas collectively titled <i>The Stations of Reading Gaol</i> 1917/2017; twelve paintings on canvas collectively titled <i>Martyrs</i> 1917–18/2017–18; a triptych of paintings on linen titled <i>C.33: A Holy Family</i> 1918/2018; a painting on canvas called <i>O.W. C.33</i> 1918/2018;<i> </i>and the mixed-media installation <i>AIDS Chantry </i>2017 which comprises a painting called <i>The Advent </i>1932/1987, a visitors’ book entitled <i>Book of Remembrance, 1917, MMXVII</i> 1917–ongoing and a votive candle stand. The installation as a whole is intended to function as a social space, with visitors being invited to leave messages in the Book of Remembrance for those lost to AIDS. Despite the religious connotations of the installation’s title and components – and in reference to the fact that many religious institutions once condemned same-sex marriage, whilst others continue to do so – the temple is conceived as a safe, secular space of which the artists have said: ‘Here anyone can joyfully join in union.’ (Quoted in Chan 2018, accessed 23 January 2020.)</p>\n<p>\n<i>The Oscar Wilde Temple </i>was first staged in the Russell Chapel at the Church of the Village in New York City between 11 September and 2 December 2017. Intended to transport visitors back to the moment of Wilde’s visit to the United States in 1882–3, the Russell Chapel was transformed into an aesthetic-movement interior furnished with fabric wall coverings, architectural details, period furniture and atmospheric lighting; the artists then installed works exploring the plight of Oscar Wilde and past and present LGBTQ+ activists within the space. For its second iteration, this time in Lonson, McDermott and McGough installed <i>The Oscar Wilde Temple </i>in the former Victorian chapel at Studio Voltaire between 3 October 2018 and 28 April 2019. The same artworks were embedded within a similarly ambitious, fabricated Victorian interior which included wood panelling, a raised floor and stained-glass windows. During the run of the exhibition at both venues, the temple was activated as a social space, hosting important events for LGBTQ+ communities such as marriages, memorials, vow renewals and naming ceremonies. Proceeds from these private events were collected in support of vulnerable LGBTQ+ youth at risk of homelessness: in New York, through a collaboration with the LGBT Community Center of New York City and its community outreach programme; and in London, through a partnership with UK-based charity The Albert Kennedy Trust. A collection box was also placed within each installation which collected funds for the respective charities.</p>\n<p>At the centre of the temple stands the <i>Oscar Wilde Altarpiece </i>1917/2017, a monument to the plight and sacrifice of its namesake. Carved in linden wood in a devotional style, it is based on a portrait of Wilde in his studio in New York’s Union Square in 1882 taken by the American photographer Napoleon Sarony (1821–1896), and depicts the figure standing contrapposto with hands clasped and head tilted in a contemplative pose. Another work dedicated to Wilde’s suffering and martyrdom is the twelve-part cycle of oil paintings <i>The Stations of Reading Gaol </i>1917/2017. Each painting portrays a key moment in Wilde’s biography, chronicling events including his arrest following accusations made by the father of his lover, Lord Alfred ‘Bosie’ Douglas; his trial at Bow Street Magistrates Court, London on charges of ‘gross indecency’ and sodomy; his incarceration at Reading Gaol; and his release after serving two years’ hard labour. Inspired by the Stations of the Cross paintings at the Notre-Dame-des-Champs cathedral in Avranches, France, the oil paintings are produced using a similar palette of traditional Limoges blue and gold. They are based on engravings from British newspapers, including <i>The Star</i>, <i>The Illustrated Police Budget </i>and <i>The Illustrated Police News</i>, which charted the sensational trial for a voracious public.</p>\n<p>The painting <i>C.33 A Holy Family </i>1918/2018 likewise draws on the conventions of church decoration as a means of conveying the depth of Wilde’s sacrifice. Produced as a triptych recalling the tradition of altar painting, the work portrays the ‘holy trinity’ of Wilde, at the centre, his mother Jane Francesca Agnes, Lady Wilde (under her pen name ‘Speranza’) to the left, and his lover ‘Bosie’ to the right. Whilst Speranza and Bosie are painted in monochrome to evoke the permanence of marble or stone statues in recessed niches, Wilde is rendered in full colour. He stands contrapposto against a rural landscape visible through the windows beyond, with books and a single sunflower – an enduring symbol of the poet – at his feet. The ‘C.33’ painted above his head references the number of his cell at Reading Gaol, by which he was identified during his incarceration. This signifier is repeated alongside Wilde’s initials and three green carnations in the oil painting <i>O.W. C.33</i> 1918/2018, the flowers standing in for the figure himself as another enduring symbol.</p>\n<p>Other works in the temple commemorate the struggles and sacrifices of LGBTQ+ activists past and present whose actions have furthered the campaign for sexual liberation and equality worldwide. The twelve-part series of paintings <i>Martyrs </i>1917–18/2017–18 sits on either side of the central altarpiece and honours a variety of individuals through intimate, small-scale portraits executed in blue oil paint on a white ground. Among those depicted are iconic figures including: Alan Turing (1912–1954), English mathematician and computer science pioneer driven to an early death through persecution; Harvey Milk (1930–1978), the first openly gay elected official in California and assassination victim; and Marsha P. Johnson (1945–1992), a transwoman and gay liberation activist who played a central role in the Stonewall uprising in Greenwich Village, New York in June–July 1969. The sacrifice of more recent victims is also commemorated, including: Xulhaz Mannan (1976–2016), the murdered founder of Bangladesh’s first LGBT magazine; Jody Dobrowski (1981–2005), an assistant bar manager killed in a hate crime on Clapham Common, London; and Sakia Gunn (1987–2003), a fifteen-year-old lesbian stabbed in the chest in Newark, New Jersey whilst defending her sexuality. When contemplated in its entirety, <i>Martyrs </i>is a stark representation of both the violent history wreaked on the LGBTQ+ community and the ongoing struggles it faces.</p>\n<p>Whilst <i>The Oscar Wilde Temple </i>has its foundations in the Victorian era, it is also deeply indebted to the struggles faced by the LGBTQ+ community in the 1980s. During this time, the AIDS crisis was at its most prolific, and the suffering – as well as the terror and stigma faced by members of the gay community – at its most acute. Through the multi-part work <i>AIDS Chantry </i>2017<i> </i>– which is comprised of the oil painting <i>The Advent </i>1932/1987, a votive candle stand and a Book of Remembrance in which visitors are able to leave messages for lost loved ones – McDermott and McGough counter prejudice with acceptance. It is a politically charged indictment of hatred at a moment of increasing global instability and social animosity.</p>\n<p>David McDermott was born in Hollywood, California and studied at Syracuse University, New York between 1970 and 1974. Peter McGough was born in Syracuse, New York and studied at the same university in 1976. They currently live and work between Dublin and New York. Since 1980 McDermott and McGough have collaborated on a living artwork that has intertwined their lives and artistic practice. They achieved notoriety in the bohemian quarters of downtown New York in the 1980s for their self-imposed immersion in the Victorian era, transforming their dress, their homes and their artistic materials to adhere to aesthetic and technological conventions of the late nineteenth and early twentieth centuries. They have explored subjects including gay identity, religion, societal repression, fashion and performative time travel, and have most recently emerged as critical figures in the campaign for queer liberation through radical art practice. </p>\n<p>McDermott and McGough began their partnership in 1980, since which time they have collaborated on a living artwork that has intertwined their lives and artistic practice. For many years they lived together in a townhouse on Avenue C in New York City’s East Village and achieved notoriety for their so-called ‘time experiment’ – a self-imposed immersion in the Victorian era during which they transformed their dress, their home and their artistic materials to adhere to aesthetic and technological conventions of the late nineteenth and early twentieth centuries. Whilst their practice frequently addresses aspects of Victorian culture, their fascination with the past is also evidenced by the precise fictional dates that they often attribute to their works as part of their double-dating convention. These elements of their practice are exemplified by <i>The Oscar Wilde Temple </i>which also testifies to their stance as critical figures in the campaign for sexual equality and liberation.</p>\n<p>\n<b>Further reading</b>\n<br/>T.F. Chan, ‘The Oscar Wilde Temple opens at London’s Studio Voltaire’, <i>Wallpaper</i>, 2 October 2018, <a href=\"https://www.wallpaper.com/art/mcdermott-mcgough-oscar-wilde-temple-lgbt-installation-studio-voltaire-london\">https://www.wallpaper.com/art/mcdermott-mcgough-oscar-wilde-temple-lgbt-installation-studio-voltaire-london</a>, accessed 23 January 2020</p>\n<p>Hannah Johnston<br/>January 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-09-29T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1824 – 1885", "fc": "Martha Darley Mutrie", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/martha-darley-mutrie-31818" } ]

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[ { "artistRoomsTour": false, "dateText": "16 May 2024 – 13 October 2024", "endDate": "2024-10-13", "exhibitionLegs": [ { "dateText": "16 May 2024 – 13 October 2024", "endDate": "2024-10-13", "id": 15582, "startDate": "2024-05-16", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12785, "startDate": "2024-05-16", "title": "Now You See Us: Women Artists in Britain 1520-1920", "type": "Exhibition" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This medium-sized oil painting depicts wildflowers, grasses and weeds growing on a bank on the edge of a cornfield. The large, white, trumpet-shaped flowers in the centre-left of the composition are the flowers of bindweed, the leaves and tendrils of which can be seen on the left of the bank. In the centre are thistles with their purple flowers and fluffy white seeds. Towards the top are the small blue cornflowers, while at the bottom there is the small yellow flower of lesser celandine. Elsewhere on the bank you can see the dark-brown prickly stems of a bramble, ferns, grasses and ivy. A large, blue, male Emperor dragonfly flies in the sky over the bank. A few ears of corn are shown on the far left of the composition, where a small gap reveals a view to the cornfield and wider landscape beyond.</p>\n<p>Martha Darley Mutrie is considered one of the leading painters of flowers active in Britain in the nineteenth century. She was born in Ardwick, near Manchester. She trained together with her sister, the painter Annie Feray Mutrie (1826–1893), under George Wallis (1811–1891) at the Manchester School of Design from 1844 to 1846, and also undertook private lessons with him. The sisters began exhibiting at the Royal Manchester Institution from 1845 and at the Royal Academy, London, showing there consistently from the early 1850s. Their work was regularly well received by the critics. Mutrie and her sister moved to London in 1854, where they painted flowers in interior settings, carefully arranged, and also outdoors in mock natural settings.</p>\n<p>Despite the prominence of women artists painting still lifes and flowers, the men practitioners of the genre, such as George Lance (1802–1864) and William Henry ‘Birds Nest’ Hunt (1790–1864), received greater critical and institutional attention. Martha and Annie Mutrie achieved success that was otherwise rare for women working as artists at the time. </p>\n<p>The art critic John Ruskin admired both artists’ work and wrote about one of Annie’s pictures in his review of the 1855 Royal Academy exhibition. In his review Ruskin suggested that she abandon artificial compositions and paint instead ‘some banks of flowers in wild country, just as they grow’ (John Ruskin, Notes on Some of the Principal Pictures Exhibited at the Royal Academy, London, 1855). This painting might be seen as a response to Ruskin’s insight and the advances in science that in the 1850s brought a new focus to the study of nature, with arguments over beauty and truth.</p>\n<p>\n<b>Further reading</b>\n<br/>Pamela Gerrish Nunn, Problem Pictures: Women and Men in Victorian Painting, London 1995, revised edition 2016.</p>\n<p>Tim Batchelor<br/>August 2022</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-09-27T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1958–2008", "fc": "Partou Zia", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/partou-zia-10215" } ]

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[ { "artistRoomsTour": false, "dateText": "8 May 2023", "endDate": null, "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 15292, "startDate": null, "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12560, "startDate": "2023-05-08", "title": "Galleries 41-43, 48", "type": "Collection based display" } ]

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[ { "append_role_to_name": false, "date": "born 1974", "fc": "Nikhil Chopra", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/nikhil-chopra-30566" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Drawing a Line Through Landscape </i>is a large-scale, tent-shaped multimedia work that derives from a performance made by the artist for Documenta 14 in 2017. It consists of what the artist describes as the residues of resulting from one of his most ambitious performances to date. On the occasion of Documenta, Chopra travelled overland between Athens, Greece and Kassel, Germany – the two Documenta venues – for three weeks (between May and June 2017), stopping and pitching a tent in the countryside, in abandoned villages and in cities including Ionnina, Tsarino, Sofia, Gorna Lipnitsa, Cozia, Budapest, Sturovo and Bratislava.</p>\n<p>The tent was both a mobile home for the artist and a structure that allowed him to occupy city and village squares. Made in Rajasthan, India, and designed by artist and scenographer Aradhana Seth, its shape and details recall the tents traditionally used in Mughal and Rajput courtly culture, once recuperated by British colonial authority. As Chopra’s journey took him through Eastern, Central and Western Europe, the tent also evokes present-day migration into Europe and alludes to the continent’s nomadic cultures, some of which originated in India. The work features a number of props and costumes, designed by textile artist Loise Braganza, which can be displayed in or outside the tent, and which attest to Chopra’s life on the road: clothes, some lavishly embroidered and sequinned; and also pillows, lanterns, blankets, first-aid kits, a shaving brush, crockery and various utensils.</p>\n<p>Throughout his travels, Chopra invited into the tent and collaborated with different local artists, groups and individuals. He also drew onto the inner lining of the tent, which he changed at regular intervals, and two of these extensive canvas drawings – each measuring over fifteen metres across – now form part of the installation. The artist has titled them individually, <i>Cozia Budapest</i> and <i>Sea</i>. The latter was his final drawing, conceived on his arrival in Kassel and executed on a defunct platform of the Hauptbahnhof (Kassel’s main train station). Displaying thick, curly blue lines in pastel, it represents a mass of water and forms what Chopra calls a memory drawing. The canvas, which was painted pinned directly on the inside of the tent but can also be displayed facing the outside, ‘draws a line’ back to Chopra’s departure point in Athens on the shores of the Aegean Sea.</p>\n<p>The installation is also accompanied by two colour videos with sound that document different episodes of the artist’s journey from Athens to Kassel. One, which is titled <i>Tánc és Rasz Tilos</i> (<i>Dance and Drawing Forbidden)</i>, focuses entirely on the halting by the police of a performance by the artist, made in collaboration with Iván Angelus, Founder and Rector of the Budapest Contemporary Dance Academy, and students of the Academy on a public square in Budapest. The video lasts just over twelve and a half minutes and is number one in an edition of three. The second video, titled <i>Drawing a Line Through Landscape</i>, lasts just over forty-nine minutes and is number one in an edition of three.</p>\n<p>After its initial presentation at Documenta 14, <i>Drawing a Line Through Landscape</i> has been displayed at the San Francisco Museum of Modern Art’s in the exhibition <i>Soft Power</i> (2019–20). The overall arrangement of the component parts of the installation is flexible. Each of the drawings can serve as the lining of the tent and can be displayed facing the inside or the outside. They can also be hung outside the tent, displayed together or separately. The props can be arranged inside the tent and/or in a vitrine, while the videos are displayed on monitors either inside or outside the tent.</p>\n<p>\n<b>Further reading</b>\n<br/>\n<i>Drawing a Line Through Landscape</i>, Documenta 14, 2017, <a href=\"https://www.documenta14.de/en/calendar/20709/drawing-a-line-through-landscape-part-2-on-the-road\">https://www.documenta14.de/en/calendar/20709/drawing-a-line-through-landscape-part-2-on-the-road</a>, accessed 12 July 2020.<br/>Himali Singh Soin, ‘Far and Away’, <i>Artforum</i>, vol.56, no.1, September 2017, <a href=\"https://www.artforum.com/features/himali-singh-soin-on-nikhil-chopras-_drawing-a-line-through-landscape_-documenta-14-235374/\">https://www.artforum.com/features/himali-singh-soin-on-nikhil-chopras-_drawing-a-line-through-landscape_-documenta-14-235374/</a>, accessed 12 July 2020.<br/>Skye Arundhati Thomas, ‘Nikhil Chopra: Interview’, <i>Studio International</i>, 4 July 2019, <a href=\"https://www.studiointernational.com/nikhil-chopra-interview-i-try-to-hold-up-a-mirror-to-the-world-and-capture-what-is-being-reflected\">https://www.studiointernational.com/nikhil-chopra-interview-i-try-to-hold-up-a-mirror-to-the-world-and-capture-what-is-being-reflected</a>, accessed 12 July 2020.</p>\n<p>Devika Singh<br/>July 2020</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-12-20T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "1627–c.1700", "fc": "Jan Siberechts", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/jan-siberechts-493" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This large landscape panorama is taken from the natural vantage point of Richmond Hill, to the southwest of London. The immediate focus is the River Thames and surrounding land of Petersham meadows. To the left are buildings of Petersham village and in the distance among trees, and centrally placed in the composition, is Ham House. On the opposite bank is Twickenham, with the tower of St Mary’s church clearly visible. Stretching to the far horizon, the river winds its course towards Kingston-upon-Thames and Hampton Court.</p>\n<p>Signed and dated 1677, this is a very early – perhaps the earliest known – panoramic prospect taken from what would become a celebrated vantage point. Artists, poets and writers would turn to it over the centuries, including J.M.W. Turner (1775–1851; see, for example, <i>England: Richmond Hill, on the Prince Regent’s Birthday</i> exhibited 1819, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/turner-england-richmond-hill-on-the-prince-regents-birthday-n00502\" title=\"View the details of this artwork\"><span>N00502</span></a>). Siberechts’s view was made before the area had become a truly fashionable suburban retreat, and also before the river was embanked. Among numerous islets, cattle can be seen standing in the shallows of the gently flooded riverbank. The centrally placed Ham House, and the liveried coach with six horses, with a female occupant, that travels across the foreground, is perhaps a clue to who commissioned the picture. Elizabeth Murray, Duchess of Lauderdale, and Countess of Dysart in her own right, was the owner of Ham House. It is probably her cipher, intertwined Ds and Ls, that is painted on the carriage door. Her family had been granted rights to the Ham and Petersham estates. This panoramic view is thus a record of her ownership, not just of Ham House, but of the surrounding landscape. Also in the foreground are two falconers with their birds and dogs, including a Black ‘cadger’, so-called as he carries the cadge, the framework on which the birds are perched. The possession of falcons, and falconry as a sport, had noble associations. The inclusion of this group is probably intended to further emphasise aristocratic ownership and control over the land that the sweeping view encompasses. </p>\n<p>The Flemish artist Siberechts arrived in England from Antwerp between 1672 and 1674. <i>A View from Richmond Hill</i> was painted in 1677, in a decade when landscape as a painting genre was taking off in Britain, stimulated by the arrival of several Netherlandish specialists, among them, and one of the most important, being Siberechts. Siberechts went on to pioneer the bird’s-eye view of country house estates – paintings taken from an imaginary, elevated position to best show off in detail the architecture and surrounding gardens. Like many of the latter, this painting is monumental in size. But, although in the 1670s Ham House was undergoing extravagant improvements, instead of a forensic celebration of the house the painting is instead a record of possession of its surrounding landscape. It is one of the earliest panoramic views painted in England to handle atmospheric effect as well as topographical accuracy, with the sun breaking through clouds and casting light and shade across the landscape. Painted in his first decade in England, the painting demonstrates Siberechts’s ambition, versatility and his innovative contribution to landscape painting in Britain, which was extended in later decades in works such as <i>Landscape with a Rainbow, Henley-on-Thames </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/siberechts-landscape-with-rainbow-henley-on-thames-t00899\" title=\"View the details of this artwork\"><span>T00899</span></a>) and <i>View of a House and its Estate in Belsize, Middlesex</i> (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/siberechts-view-of-a-house-and-its-estate-in-belsize-middlesex-t06996\" title=\"View the details of this artwork\"><span>T06996</span></a>)<i>, </i>both<i> </i>of which date from the 1690s. </p>\n<p>\n<b>Further reading</b>\n<br/>John Harris, <i>The Artist and the Country House</i>, London 1979.<br/>Julius Bryant, <i>Finest Prospects: A Study in London Topography</i>, exhibition catalogue, Iveagh Bequest, Kenwood 1986, p.17.<br/>Julia Ward, <i>Jan Siberechts (1627–1703): A 17th Century Flemish Landscape Painter of Innovative English Estate Portraiture</i>, <i>including a catalogue raisonné</i>, privately published, Buckinghamshire 2016.</p>\n<p>Tabitha Barber<br/>July 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-01-15T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1987", "fc": "Lewis Hammond", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lewis-hammond-32009" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "append_role_to_name": false, "date": "born 1987", "fc": "Amol K. Patil", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/amol-k-patil-32006" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of three related works on paper made by the artist in 2002, all titled <i>Black Masks on Roller Skates</i> and numbered<i> I</i>, <i>II </i>and <i>III </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/patil-black-masks-on-roller-skates-i-t16001\" title=\"View the details of this artwork\"><span>T16001</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/patil-black-masks-on-roller-skates-iii-t16003\" title=\"View the details of this artwork\"><span>T16003</span></a>).<i> </i>Each one features delicate drawings in black ink of hands – or gloves – and feet, connected with what appear to be angular rods. These imagined constructions are drawn on a textured, faded, sandy-coloured background with hints and patches of sky blue rubbed onto the surface. This texture recalls chawl architecture, a term for a type of workers’ social housing distinctive to Mumbai. <i>Black Masks on Roller Skates – I </i>is of a portrait orientation and features a hand at the top connected to a foot at the bottom, whereas <i>Black Masks on Roller Skates – II </i>and <i>Black Masks on Roller Skates – III</i> are of landscape orientation and both depict one hand connected to two feet that appear to be striding. Each hand and foot appears almost torn from an absent body which is replaced by the angled apparatus connecting each body part.</p>\n<p>The drawings are based on Patil’s observations of sanitary workers cleaning the streets in the Indian city of Mumbai, using bamboo brooms to clean up heaps of garbage. The artist was inspired by the fact that some of the workers would later perform in theatres in the evening – the same hands and feet cleaning the streets during the day would later create rhythm, sound and movement in the evening. Patil has explained: ‘I felt that these two body parts show different types of movement which expresses their whole body language’ (email correspondence with Tate curator Tamsin Hong, 15 October 2022). Explaining the significance of the bamboo-like poles or rods, the artist stated that ‘these poles are actually connecting lines that represent the distance these workers cover while working’, thereby evoking the urban geography of Mumbai as traversed by the city’s workers. Focusing on hands and feet, the artist chose to emphasise the workers’ gestures through the absence of their bodies. Reflecting on the importance of the workers in Mumbai, Patil elaborated: ‘not only do they ensure our security, they offer their heart and body to society. In return, the cosmopolitan society they have built turns their back on them. I have felt the way their bodies and souls operate, from which arises the question of the foundation of society’ (website of the Sovereign Art Foundation, Hong Kong, <a href=\"https://www.sovereignartfoundation.com/uncategorized/spotlight-on-amol-k-patil/\">https://www.sovereignartfoundation.com/uncategorized/spotlight-on-amol-k-patil/</a>, accessed 16 October 2022).</p>\n<p>These drawings form part of Patil’s larger research project, also titled <i>Black Masks on Roller Skates</i>, which is concerned with chawl architecture. The artist deliberately uses water-based wall paint and gesso, layering, erasing and scratching his surfaces in order to evoke the walls and interior spaces of chawls. Patil is interested in how the built structure of chawls defines distinct neighbourhoods within the city of Mumbai, which become in the evenings dynamic sites of protest, theatre, spoken word and music. Considering the dynamism of the figure of the worker, the drawings evoke these cluttered spaces and draw attention to the relentless physical movement of the workers and the precarious state of their existence.</p>\n<p>They also relate to <i>Sweep Walkers</i> 2022, the artist’s installation and performance for documenta 15 at the Hübner Areal in Kassel, Germany in 2022 (artist’s page for documenta 15 website, <a href=\"https://documenta-fifteen.de/en/lumbung-members-artists/amol-k-patil/\">https://documenta-fifteen.de/en/lumbung-membe</a><a href=\"https://documenta-fifteen.de/en/lumbung-members-artists/amol-k-patil/\">rs-artists/amol-k-patil/</a>, accessed 20 October 2022). In this, they exemplify the way in which Patil’s drawings are an integral part of his broader practice, which extends across many media including installation, performance, video and kinetic sculpture. The artist has explained: ‘I think my drawings accumulate everything. Even before deciding to make a sculpture or a performance piece I choose to draw it’ (email correspondence with Tate curator Tamsin Hong, 16 October 2022).</p>\n<p>Pati’s interest in the life of the worker informs his broader investigation into the relationship between the body, the landscape, and forms of creativity and protest. In this, the artist’s father and grandfather have been major influences. Patil’s father was a theatre activist who recorded the sounds of immigrants’ dialects, which then informed his avant-garde playscripts centring on the complexities of living in Mumbai as a migrant. As leader of a Marathi-language theatre troupe, his theatre pieces were also concerned with the working conditions of those employed in the city’s textile industry. The artist’s grandfather also shared a practice of performative protest through poetry. His poems evoked the Indian tradition of powada, which dates back to the seventeenth century, in which performers glorifiy the stories of popular folk figures while also drawing attention to social issues and attacking the caste system. Patil’s conceptual pieces such as <i>Gaze Under Your Skin </i>2020 and <i>Social Theatre</i> 2013 are a continuation of his family’s work to make visible the dignity, creativity and conditions of workers in Mumbai.</p>\n<p>\n<b>Further reading</b>\n<br/>Ryan Holmberg, ‘Amol K Patil’, <i>Art in America</i>, 3 March 2014, <a href=\"https://www.artnews.com/art-in-america/aia-reviews/amol-k-patil-61654/\">https://www.artnews.com/art-in-america/aia-reviews/amol-k-patil-61654/</a>, accessed 17 October 2022.<br/>Kerstin Winking, ‘Amol K. Patil: Poetic Power’, <i>Art Asia Pacific</i>, 1 July 2022, vol.129, pp.37–9.</p>\n<p>Tamsin Hong<br/>October 2022</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1987", "fc": "Amol K. Patil", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/amol-k-patil-32006" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of three related works on paper made by the artist in 2002, all titled <i>Black Masks on Roller Skates</i> and numbered<i> I</i>, <i>II </i>and <i>III </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/patil-black-masks-on-roller-skates-i-t16001\" title=\"View the details of this artwork\"><span>T16001</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/patil-black-masks-on-roller-skates-iii-t16003\" title=\"View the details of this artwork\"><span>T16003</span></a>).<i> </i>Each one features delicate drawings in black ink of hands – or gloves – and feet, connected with what appear to be angular rods. These imagined constructions are drawn on a textured, faded, sandy-coloured background with hints and patches of sky blue rubbed onto the surface. This texture recalls chawl architecture, a term for a type of workers’ social housing distinctive to Mumbai. <i>Black Masks on Roller Skates – I </i>is of a portrait orientation and features a hand at the top connected to a foot at the bottom, whereas <i>Black Masks on Roller Skates – II </i>and <i>Black Masks on Roller Skates – III</i> are of landscape orientation and both depict one hand connected to two feet that appear to be striding. Each hand and foot appears almost torn from an absent body which is replaced by the angled apparatus connecting each body part.</p>\n<p>The drawings are based on Patil’s observations of sanitary workers cleaning the streets in the Indian city of Mumbai, using bamboo brooms to clean up heaps of garbage. The artist was inspired by the fact that some of the workers would later perform in theatres in the evening – the same hands and feet cleaning the streets during the day would later create rhythm, sound and movement in the evening. Patil has explained: ‘I felt that these two body parts show different types of movement which expresses their whole body language’ (email correspondence with Tate curator Tamsin Hong, 15 October 2022). Explaining the significance of the bamboo-like poles or rods, the artist stated that ‘these poles are actually connecting lines that represent the distance these workers cover while working’, thereby evoking the urban geography of Mumbai as traversed by the city’s workers. Focusing on hands and feet, the artist chose to emphasise the workers’ gestures through the absence of their bodies. Reflecting on the importance of the workers in Mumbai, Patil elaborated: ‘not only do they ensure our security, they offer their heart and body to society. In return, the cosmopolitan society they have built turns their back on them. I have felt the way their bodies and souls operate, from which arises the question of the foundation of society’ (website of the Sovereign Art Foundation, Hong Kong, <a href=\"https://www.sovereignartfoundation.com/uncategorized/spotlight-on-amol-k-patil/\">https://www.sovereignartfoundation.com/uncategorized/spotlight-on-amol-k-patil/</a>, accessed 16 October 2022).</p>\n<p>These drawings form part of Patil’s larger research project, also titled <i>Black Masks on Roller Skates</i>, which is concerned with chawl architecture. The artist deliberately uses water-based wall paint and gesso, layering, erasing and scratching his surfaces in order to evoke the walls and interior spaces of chawls. Patil is interested in how the built structure of chawls defines distinct neighbourhoods within the city of Mumbai, which become in the evenings dynamic sites of protest, theatre, spoken word and music. Considering the dynamism of the figure of the worker, the drawings evoke these cluttered spaces and draw attention to the relentless physical movement of the workers and the precarious state of their existence.</p>\n<p>They also relate to <i>Sweep Walkers</i> 2022, the artist’s installation and performance for documenta 15 at the Hübner Areal in Kassel, Germany in 2022 (artist’s page for documenta 15 website, <a href=\"https://documenta-fifteen.de/en/lumbung-members-artists/amol-k-patil/\">https://documenta-fifteen.de/en/lumbung-membe</a><a href=\"https://documenta-fifteen.de/en/lumbung-members-artists/amol-k-patil/\">rs-artists/amol-k-patil/</a>, accessed 20 October 2022). In this, they exemplify the way in which Patil’s drawings are an integral part of his broader practice, which extends across many media including installation, performance, video and kinetic sculpture. The artist has explained: ‘I think my drawings accumulate everything. Even before deciding to make a sculpture or a performance piece I choose to draw it’ (email correspondence with Tate curator Tamsin Hong, 16 October 2022).</p>\n<p>Pati’s interest in the life of the worker informs his broader investigation into the relationship between the body, the landscape, and forms of creativity and protest. In this, the artist’s father and grandfather have been major influences. Patil’s father was a theatre activist who recorded the sounds of immigrants’ dialects, which then informed his avant-garde playscripts centring on the complexities of living in Mumbai as a migrant. As leader of a Marathi-language theatre troupe, his theatre pieces were also concerned with the working conditions of those employed in the city’s textile industry. The artist’s grandfather also shared a practice of performative protest through poetry. His poems evoked the Indian tradition of powada, which dates back to the seventeenth century, in which performers glorifiy the stories of popular folk figures while also drawing attention to social issues and attacking the caste system. Patil’s conceptual pieces such as <i>Gaze Under Your Skin </i>2020 and <i>Social Theatre</i> 2013 are a continuation of his family’s work to make visible the dignity, creativity and conditions of workers in Mumbai.</p>\n<p>\n<b>Further reading</b>\n<br/>Ryan Holmberg, ‘Amol K Patil’, <i>Art in America</i>, 3 March 2014, <a href=\"https://www.artnews.com/art-in-america/aia-reviews/amol-k-patil-61654/\">https://www.artnews.com/art-in-america/aia-reviews/amol-k-patil-61654/</a>, accessed 17 October 2022.<br/>Kerstin Winking, ‘Amol K. Patil: Poetic Power’, <i>Art Asia Pacific</i>, 1 July 2022, vol.129, pp.37–9.</p>\n<p>Tamsin Hong<br/>October 2022</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1987", "fc": "Amol K. Patil", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/amol-k-patil-32006" } ]

[ { "id": 999999779, "shortTitle": "Tate Collection" }, { "id": 999999782, "shortTitle": "Works with images" }, { "id": 999999961, "shortTitle": "General Collection" }, { "id": 999999956, "shortTitle": "Collection" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>This is one of three related works on paper made by the artist in 2002, all titled <i>Black Masks on Roller Skates</i> and numbered<i> I</i>, <i>II </i>and <i>III </i>(Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/patil-black-masks-on-roller-skates-i-t16001\" title=\"View the details of this artwork\"><span>T16001</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/patil-black-masks-on-roller-skates-iii-t16003\" title=\"View the details of this artwork\"><span>T16003</span></a>).<i> </i>Each one features delicate drawings in black ink of hands – or gloves – and feet, connected with what appear to be angular rods. These imagined constructions are drawn on a textured, faded, sandy-coloured background with hints and patches of sky blue rubbed onto the surface. This texture recalls chawl architecture, a term for a type of workers’ social housing distinctive to Mumbai. <i>Black Masks on Roller Skates – I </i>is of a portrait orientation and features a hand at the top connected to a foot at the bottom, whereas <i>Black Masks on Roller Skates – II </i>and <i>Black Masks on Roller Skates – III</i> are of landscape orientation and both depict one hand connected to two feet that appear to be striding. Each hand and foot appears almost torn from an absent body which is replaced by the angled apparatus connecting each body part.</p>\n<p>The drawings are based on Patil’s observations of sanitary workers cleaning the streets in the Indian city of Mumbai, using bamboo brooms to clean up heaps of garbage. The artist was inspired by the fact that some of the workers would later perform in theatres in the evening – the same hands and feet cleaning the streets during the day would later create rhythm, sound and movement in the evening. Patil has explained: ‘I felt that these two body parts show different types of movement which expresses their whole body language’ (email correspondence with Tate curator Tamsin Hong, 15 October 2022). Explaining the significance of the bamboo-like poles or rods, the artist stated that ‘these poles are actually connecting lines that represent the distance these workers cover while working’, thereby evoking the urban geography of Mumbai as traversed by the city’s workers. Focusing on hands and feet, the artist chose to emphasise the workers’ gestures through the absence of their bodies. Reflecting on the importance of the workers in Mumbai, Patil elaborated: ‘not only do they ensure our security, they offer their heart and body to society. In return, the cosmopolitan society they have built turns their back on them. I have felt the way their bodies and souls operate, from which arises the question of the foundation of society’ (website of the Sovereign Art Foundation, Hong Kong, <a href=\"https://www.sovereignartfoundation.com/uncategorized/spotlight-on-amol-k-patil/\">https://www.sovereignartfoundation.com/uncategorized/spotlight-on-amol-k-patil/</a>, accessed 16 October 2022).</p>\n<p>These drawings form part of Patil’s larger research project, also titled <i>Black Masks on Roller Skates</i>, which is concerned with chawl architecture. The artist deliberately uses water-based wall paint and gesso, layering, erasing and scratching his surfaces in order to evoke the walls and interior spaces of chawls. Patil is interested in how the built structure of chawls defines distinct neighbourhoods within the city of Mumbai, which become in the evenings dynamic sites of protest, theatre, spoken word and music. Considering the dynamism of the figure of the worker, the drawings evoke these cluttered spaces and draw attention to the relentless physical movement of the workers and the precarious state of their existence.</p>\n<p>They also relate to <i>Sweep Walkers</i> 2022, the artist’s installation and performance for documenta 15 at the Hübner Areal in Kassel, Germany in 2022 (artist’s page for documenta 15 website, <a href=\"https://documenta-fifteen.de/en/lumbung-members-artists/amol-k-patil/\">https://documenta-fifteen.de/en/lumbung-membe</a><a href=\"https://documenta-fifteen.de/en/lumbung-members-artists/amol-k-patil/\">rs-artists/amol-k-patil/</a>, accessed 20 October 2022). In this, they exemplify the way in which Patil’s drawings are an integral part of his broader practice, which extends across many media including installation, performance, video and kinetic sculpture. The artist has explained: ‘I think my drawings accumulate everything. Even before deciding to make a sculpture or a performance piece I choose to draw it’ (email correspondence with Tate curator Tamsin Hong, 16 October 2022).</p>\n<p>Pati’s interest in the life of the worker informs his broader investigation into the relationship between the body, the landscape, and forms of creativity and protest. In this, the artist’s father and grandfather have been major influences. Patil’s father was a theatre activist who recorded the sounds of immigrants’ dialects, which then informed his avant-garde playscripts centring on the complexities of living in Mumbai as a migrant. As leader of a Marathi-language theatre troupe, his theatre pieces were also concerned with the working conditions of those employed in the city’s textile industry. The artist’s grandfather also shared a practice of performative protest through poetry. His poems evoked the Indian tradition of powada, which dates back to the seventeenth century, in which performers glorifiy the stories of popular folk figures while also drawing attention to social issues and attacking the caste system. Patil’s conceptual pieces such as <i>Gaze Under Your Skin </i>2020 and <i>Social Theatre</i> 2013 are a continuation of his family’s work to make visible the dignity, creativity and conditions of workers in Mumbai.</p>\n<p>\n<b>Further reading</b>\n<br/>Ryan Holmberg, ‘Amol K Patil’, <i>Art in America</i>, 3 March 2014, <a href=\"https://www.artnews.com/art-in-america/aia-reviews/amol-k-patil-61654/\">https://www.artnews.com/art-in-america/aia-reviews/amol-k-patil-61654/</a>, accessed 17 October 2022.<br/>Kerstin Winking, ‘Amol K. Patil: Poetic Power’, <i>Art Asia Pacific</i>, 1 July 2022, vol.129, pp.37–9.</p>\n<p>Tamsin Hong<br/>October 2022</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-06-14T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1986", "fc": "Oscar Murillo", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/oscar-murillo-31389" } ]

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[ { "artistRoomsTour": false, "dateText": "8 May 2023", "endDate": null, "exhibitionLegs": [ { "dateText": null, "endDate": null, "id": 15292, "startDate": null, "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12560, "startDate": "2023-05-08", "title": "Galleries 41-43, 48", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Manifestation</i> combines oil paint, oil stick, cotton thread and graphite on a composite of canvas, velvet and linen stitched together by hand to form a single overall composition.<br/>The surface of the painting is flooded with oil paint and pigment which typifies Murillo’s painting process. This work was made in the artist’s studio in his hometown of La Paia, Colombia in lockdown during the coronavirus pandemic of 2020. It was first exhibited at the Hayward Gallery, London in 2021 in the exhibition <i>Mixing it Up: Painting Today</i>. It is characteristic of Murillo’s paintings in that it was made flat on his studio floor, in sections, over an extended period of time. There the fragments of canvas, velvet and linen acquired a patina of dirt, dust and other imprints of the ‘energy’ of the studio. Describing this process, Murillo has said: ‘The working environment is never tidied up, elements just shift and with time amalgamate. It is in this state of permanence that the work lies, like cooking a long red meat stew.’ (Quoted in Wood 2012, p.107.)</p>\n<p>\n<i>Manifestation</i> may be seen as an indexical record of the artist’s studio processes during the specific period of lockdown, and as a charged pictorial field made at a time when he was simultaneously witnessing the devasting impact of the pandemic in Colombia and transforming his studio into a hub for engaging in local aid work. While Murillo’s earlier paintings incorporated painted words and numbers, here the mark-making is entirely abstract. In its densely worked frenetic composition the painting suggests turmoil and unrest. </p>\n<p>The painting belongs to a body of work with the same shared title begun in 2018. The title refers both to a process of becoming and to the association in multiple languages of the word ‘manifestation’ with acts of protest or demonstration. The <i>Manifestation </i>works build on the technique developed by the artist in his <i>catalyst</i> series, which he initiated in 2011, its title alluding to a continuous process of production of which Murillo was the catalyst. On the subject of the composite technique and structure that the <i>catalyst</i> and <i>Manifestation</i> paintings share, Murillo has said: ‘The individual canvases are very much the DNA; they record that movement, the process of making. When these different processes are done, I move on to the stage of actually composing a painting. The individual canvases are laid out with the aim of making a composition.’ (Quoted in Legacy Russell, ‘Oscar Murillo’, <i>Bomb</i> magazine, 1 January 2013, <a href=\"https://bombmagazine.org/articles/oscar-murillo/\">https://bombmagazine.org/articles/oscar-murillo/</a>, accessed 15 November 2021.) The curator and writer Legacy Russell has commented that, ‘For Murillo, the act of making holds as much potential for liberation and functionality within the confines of one’s studio as it does in one’s home, on the street, or within one’s community.’ (Legacy Russell, ‘Oscar Murillo’, <i>Bomb</i> magazine, 1 January 2013, <a href=\"https://bombmagazine.org/articles/oscar-murillo/\">https://bombmagazine.org/articles/oscar-murillo/</a>, accessed 15 November 2021.)</p>\n<p>This painting<i> </i>is representative of Murillo’s practice, which emphasises the rawness of his materials while questioning conventional modes of artistic production. He has compared his approach to painting to that of the Greek-Italian artist Jannis Kounellis (1936–2017) and the associated arte povera movement – using paint not to create an illusion of space, but as ‘a factual thing, almost as a material and physical tool’ (quoted in Varagur 2020, accessed 15 November 2021).</p>\n<p>\n<b>Further reading</b>\n<br/>Catherine Wood, ‘Dirty Paintings’, <i>Mousse</i>, October 2012, pp.106–12.<br/>Anna Schneider (ed.), <i>Oscar Murillo</i>, exhibition catalogue, Haus der Kunst, Munich 2017.<br/>Krithika Varagur, ‘Interview with Oscar Murillo’, <i>The White Review</i> online, July 2020, <a href=\"https://www.thewhitereview.org/feature/interview-with-oscar-murillo/\">https://www.thewhitereview.org/feature/interview-with-oscar-murillo/</a>, accessed 15 November 2021.</p>\n<p>Isabella Maidment<br/>November 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-05-25T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1965", "fc": "Prabhavathi Meppayil", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/prabhavathi-meppayil-31340" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>fifty one twenty one</i> 2020 is a square-format wall-hung work that forms part of an ongoing series of gesso panels incorporating copper wire threads. Embedded in the surface, the threads appear and disappear as the eye picks up different shades of colour from the oxidised wire. Each work is realised through a labour-intensive process involving the careful application of thin layers of gesso before the copper wire threads are stretched across the surface. After the wires are laid, more layers of gesso are applied and the entire surface is sanded down to create a pristine finish.</p>\n<p>Due to climate conditions in Bangalore, where the works were made, exact measurements for the gesso compound must be used and adequate time allowed for each layer to dry. It can take up to six days to prepare the base and Meppayil keeps a logbook of the number of gesso layers applied in a given day. The artist has described the whole process of making the panels as ‘performative, but at the same time meditative, and very Zen like. It is a process of being with the work and in the work.’ (Email correspondence with Clara Kim, June 2021.) The titling of Meppayil’s work reflects her desire for the works not be read in a representational way, so as not to pre-empt any interpretations. The system she uses is derived from a series of numbers and letters that become an abbreviation of when and where the work was made, or where and when it was shown. Hence, they become markers of time and of a process.</p>\n<p>Meppayil’s reductivist works are inspired by the history of material production and craft legacies in India. Coming from a family of goldsmiths, the artist adopts a minimalist, abstract language rooted in ‘exploring the poetics of making’ through artisanal practice. The writer Emily LaBarge has described how in Meppayil’s work, which deliberately moves away from painterly processes or qualities, ‘the simplest mark becomes the tool, becomes the fingers, the hand, the arm, the body, and all of the bodies before and after it, a temporary and corporeal flood behind the white that delivers calm and escape from all the above.’ (LaBarge 2019.)</p>\n<p>In other series Meppayil has used a <i>thinnam</i> – a goldsmith’s tool for making fine decorative patterns on gold bangles – to create a subtle pattern of indentations onto gesso panels. This insistence on the nature of materials – their physical and chemical properties, and the way they transform with time – is characteristic of the artist’s work. She has stated: ‘I am fascinated by the transient nature of metals. I use non-corrosive coated copper wire but also uncoated copper wire. The heating and untempering process makes the copper wire flexible and stretchable; also it oxidizes the metal. The copper wires will turn blue, green, and dark shades of cupric colours with time and weathering. I use copper wire as material and colour.’ (Quoted in Buchloh and Ananth 2014.)</p>\n<p>The materiality of her works is paramount for the artist. While Meppayil’s work has been read by such scholars and critics as Benjamin H.D. Buchloh in relation to other South Asian modernists including Nasreen Mohamedi and the post-war minimalism and conceptualism of Agnes Martin, Sol LeWitt and Robert Ryman, what distinguishes her practice is its insistence on the nature of materials – their physical and chemical properties, and their transformation with time.</p>\n<p>Clara Kim<br/>July 2021</p>\n<p>\n<b>Further Reading</b>\n<br/>Benjamin H.D. Buchloh and Deepak Ananth, <i>Prabhavathi Meppayil:</i> <i>nine seventeen</i>, exhibition catalogue, Pace London and the American Academy in Rome, London 2014.<br/>Emily LaBarge, ‘Prabhavathi Meppayil: Pace London’, <i>Artforum</i>, September 2019, <a href=\"https://www.artforum.com/print/reviews/201907/prabhavathi-meppayil-80641\">https://www.artforum.com/print/reviews/201907/prabhavathi-meppayil-80641</a>, accessed 2 February 2024.</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-02-05T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1992", "fc": "Lydia Ourahmane", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/lydia-ourahmane-31231" } ]

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[ { "artistRoomsTour": false, "dateText": "20 March 2023 – 1 January 2024", "endDate": "2024-01-01", "exhibitionLegs": [ { "dateText": "20 March 2023 – 1 January 2024", "endDate": "2024-01-01", "id": 15278, "startDate": "2023-03-20", "venueName": "Tate Britain (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/britain/" } ], "id": 12543, "startDate": "2023-03-20", "title": "Duveens", "type": "Collection based display" } ]

[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>The Third Choir</i> 2014 is a sculptural installation consisting of twenty empty blue and yellow used oil barrels branded with the name of the Algerian oil company Naftal, from which an atmospheric, industrial soundtrack can be heard, relayed through mobile phones at the bottom of each barrel. The backstory of the barrels’ shipment from Algeria to Europe across the Mediterranean, and the accompanying 934 documents that Ourahmane gathered in the convoluted process of their export – known collectively as <i>The Third Choir Archive</i> 2014 and also in Tate’s collection – are a significant element of the artwork; the work has been shown in several iterations with the artist choosing elements from the <i>Third Choir Archive </i>to display alongside the barrels. The sound element is comprised of field recordings that the artist made during the process of the export, in shipping yards, customs offices and the like. There is one mobile phone in each barrel tuned to the same frequency with a radio transmitter playing an mp3 file through the phones. A portable radio in the central barrel further amplifies the sound.</p>\n<p>In order for the barrels to be exported out of Algeria, the artist required permission from the Minister of Culture, as exporting art from the country had been illegal since the implementation of a law restricting the movement of art in 1962. As a result of this Ourahmane’s project, the law has been changed and this was the first artwork to be exported out of Algeria since the 1960s. This brings a level of hopefulness to the work; though migration (legal or otherwise) is a complex, difficult process, positive change and progress can be the result. Ourahmane has said of the barrels, ‘as they came under such an intensified bureaucratic procedure in their exportation, they became very human’. The work is intended to convey a sense of the politics of immigration by embodying the bureaucratic process of movement. It raises questions regarding social and political structures within Algeria, as well as the coalitions of desire and unrest that lead to the phenomenon of illegal immigration. The significance of the oil industry to present-day Algerians is also an important factor. The artist has said: ‘It is the same oil that’s exported to Chevron, Total, BP, but it never leaves the country under [the name] Naftal. Young Algerians blame the oil industry for the country’s social and economic problems, prompting their desire for escape. I wanted to use the barrels for a symbol.’</p>\n<p>\n<i>The Third Choir </i>was made for the artist’s 2014 degree show at Goldsmiths, University of London. The concept for the work came after Ourahmane met a young Algerian who had attempted to cross into Europe by sea: </p>\n<p class=\"cttext\">\n</p><blockquote>The groan of social unrest and economic stagnation, all of which derived from various personal encounters fed into a frenzy of stories; pointing toward the subsequent ammunition which has fuelled this particular generation, the third generation after the liberation from France, to seek Europe as a means of escape. The burden of the information I had gathered weighed into the months that followed and became foundations within the concept of The Third Choir. It was important that the signifiers throughout this work created a relative retaliation, that the materials spoke of what they were positioned to activate within the process of the work, and that the barrels could stand as a testament to this journey.</blockquote>\n<blockquote>(Quoted in Adrian Lee, ‘Interview with Lydia Ourahmane’, <i>Artvehicle</i>, online issue 67, 2014, <a href=\"http://www.artvehicle.com/interview/48\">http://www.artvehicle.com/interview/48</a>, accessed 25 July 2021.) </blockquote>\n<p>The artist’s research-based practice tests the penetrability of boundaries and existing in a liminal state. She highlights the many restrictions placed on the freedom of movement of colonised bodies, drawing on stories from her home country of Algeria, a place rendered toxic by foreign oil companies and chemical plants. For her, as with many of her other works, showing this particular artwork outside Algeria is important:</p>\n<p class=\"cttext\">\n</p><blockquote>I think the materials I use need a certain amount of distance. They’re invisible within the context that they’re referencing. Because when you live in a particular culture of society, you exist within it situationally, and your ability to relate is stifled. Repetition makes everything mundane. I’ve always lived between places. My family emigrated from Algeria to the UK when I was a girl. I received my art education in London. And it’s only from this distance that I have learned to understand my background … By granting the objects a freedom of movement, I make possible for them what is systematically denied humans. It feels as though this leads to the bigger picture, reinforcing the complex social ramifications of immigration.</blockquote>\n<blockquote>(In Ourahmane and Blackmore 2018, accessed 9 July 2021.)</blockquote>\n<p>\n<b>Further reading</b>\n<br/>Lydia Ourahmane and Ben Blackmore, ‘Lydia Ourahmane’, <i>BOMB</i>, no.143, 15 March 2018, <a href=\"https://bombmagazine.org/articles/lydia-ourahmane/\">https://bombmagazine.org/articles/lydia-ourahmane/</a>, accessed 9 July 2021.<br/>Anthony Huberman, ‘On Lydia Ourahmane’s <i>Solar Cry</i>’, The Wattis Institute, San Francisco, 2018, <a href=\"https://wattis.org/view?id=882\">https://wattis.org/view?id=882</a>, accessed 23 July 2021. <br/>‘Home is where you are: a conversation between Lydia Ourahmane and Elena Filipovic’, Kunsthalle Basel, 24 February 2021, <a href=\"https://www.youtube.com/watch?v=z09DPGq3XA0\">https://www.youtube.com/watch?v=z09DPGq3XA0</a>, accessed 24 July 2021.</p>\n<p>Aïcha Mehrez <br/>July 2021</p>\n</div>\n", "display_name": "Summary", "publication_date": "2023-11-09T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1971", "fc": "Anicka Yi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/anicka-yi-30367" } ]

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[ { "append_role_to_name": false, "date": "1922–1991", "fc": "Rubem Valentim", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/rubem-valentim-13346" } ]

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[ { "artistRoomsTour": false, "dateText": "23 November 2015", "endDate": null, "exhibitionLegs": [ { "dateText": "23 November 2015", "endDate": null, "id": 9864, "startDate": "2015-11-23", "venueName": "Tate Modern (London, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/modern/" } ], "id": 8122, "startDate": "2015-11-23", "title": "Abstraction and Society", "type": "Collection based display" }, { "artistRoomsTour": false, "dateText": "28 January 2025 – 21 April 2025", "endDate": "2025-04-21", "exhibitionLegs": [ { "dateText": "28 January 2025 – 21 April 2025", "endDate": "2025-04-21", "id": 16047, "startDate": "2025-01-28", "venueName": "Royal Academy of Arts (London, UK)", "venueWebsiteUrl": "http://www.royalacademy.org.uk" } ], "id": 13153, "startDate": "2025-01-28", "title": "The Birth of Modernism in Brazil", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "born 1976", "fc": "Guadalupe Maravilla", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/guadalupe-maravilla-31351" } ]

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[ { "artistRoomsTour": false, "dateText": "10 June 2023 – 17 September 2023", "endDate": "2023-09-17", "exhibitionLegs": [ { "dateText": "10 June 2023 – 17 September 2023", "endDate": "2023-09-17", "id": 15282, "startDate": "2023-06-10", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 12549, "startDate": "2023-06-10", "title": "Liverpool Biennial 2023", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "26 October 2024 – 15 February 2025", "endDate": "2025-02-15", "exhibitionLegs": [ { "dateText": "26 October 2024 – 15 February 2025", "endDate": "2025-02-15", "id": 16051, "startDate": "2024-10-26", "venueName": "Talbot Rice Gallery (Edinburgh, UK)", "venueWebsiteUrl": "http://www.trg.ed.ac.uk/" } ], "id": 13161, "startDate": "2024-10-26", "title": "Guadalupe Maravilla", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "born 1976", "fc": "Guadalupe Maravilla", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/guadalupe-maravilla-31351" } ]

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[ { "artistRoomsTour": false, "dateText": "10 June 2023 – 17 September 2023", "endDate": "2023-09-17", "exhibitionLegs": [ { "dateText": "10 June 2023 – 17 September 2023", "endDate": "2023-09-17", "id": 15282, "startDate": "2023-06-10", "venueName": "Tate Liverpool (Liverpool, UK)", "venueWebsiteUrl": "http://www.tate.org.uk/liverpool/" } ], "id": 12549, "startDate": "2023-06-10", "title": "Liverpool Biennial 2023", "type": "Exhibition" }, { "artistRoomsTour": false, "dateText": "26 October 2024 – 15 February 2025", "endDate": "2025-02-15", "exhibitionLegs": [ { "dateText": "26 October 2024 – 15 February 2025", "endDate": "2025-02-15", "id": 16051, "startDate": "2024-10-26", "venueName": "Talbot Rice Gallery (Edinburgh, UK)", "venueWebsiteUrl": "http://www.trg.ed.ac.uk/" } ], "id": 13161, "startDate": "2024-10-26", "title": "Guadalupe Maravilla", "type": "Loan-out" } ]

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[ { "append_role_to_name": false, "date": "born 1981", "fc": "Maria Taniguchi", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/maria-taniguchi-31344" } ]

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[ { "ajax_url": null, "canonical_url": null, "content": "<div class=\"text\">\n<p>\n<i>Untitled </i>2016 is an acrylic painting on canvas from Taniguchi’s ongoing series of ‘brick paintings’. Made since 2008, the artist’s large-scale monochromatic canvases are covered in a meticulous arrangement of hand-painted ‘bricks’ or cells, each of which measures approximately two by six centimetres. Over 2.7 metres tall, the painting is often shown leaning against the wall, a gesture that heightens the relationship between the artwork and the architecture that surrounds it, as well as between painting and the sculptural object. While it demonstrates an affinity with structures and systems, Taniguchi also sees the work as referencing biological organisms, describing the surface as a kind of ‘skin, pattern, membrane’ (quoted in Chua 2016).</p>\n<p>Typically working on the floor of her studio, Taniguchi prepares the surface of her paintings by stretching the canvas, priming it with a layer of grey paint, then drawing outlines of the brick patterns. She then fills each rectangle with black acrylic paint. Though seemingly uniform at first glance, the surface of the painting varies, depending on the ratio of paint to water, sometimes having a translucent quality despite the opaque tone the artist has chosen to use throughout. The works reflect Taniguchi’s interest in the process of painting and her treatment of the studio as space of reflection and concentration, of discipline and singular focus. On Taniguchi’s art and its relationship to time, the critic Susan Gibb has written:</p>\n<p class=\"cttext\">\n</p><blockquote>Through the repetitive processes of their production, the brick paintings have come to operate as a metronome for [Taniguchi’s] practice and life; day by day she attends to the simple task of filling in the grid, marking time passing like the hands on a clock or the breathing of a body in meditation … to forefront the labor involved in the image’s production, while refusing as well to be simply abstractions, with the brick depicting the concrete architectural form of the wall, yet slyly slipping from these very surfaces. Left untitled, Taniguchi’s brick paintings are neither wholly image nor objects; instead, at each and every moment, they are both, perfectly balanced in-between.<br/>(Susan Gibb, ‘Dogs in Space, Witches of Dumaguete’, in <i>Sriwhana Spong &amp; Maria Taniguchi: Oceanic Feeling</i>, exhibition catalogue, Institute of Contemporary Arts, Singapore 2016, p.7.)</blockquote>\n<p>While the pared-down aesthetic and formal language of Taniguchi’s art has affinities with predecessors such artists as Agnes Martin and Sol LeWitt, her work has also been written about in relation to the process-based art of On Kawara, in its daily practice as a form of validation of one’s existence or a record of life.</p>\n<p>Clara Kim<br/>July 2021</p>\n<p>\n<b>Further reading</b>\n<br/>Christina Chua, ‘On the Walls: An Interview with Maria Taniguchi’, <i>The Artling</i>, 16 January 2016, <a href=\"https://theartling.com/en/artzine/on-the-walls-interview-maria-taniguchi/\">https://theartling.com/en/artzine/on-the-wlls-interview-maria-taniguchi/</a>, accessed 19 March 2024.<br/>\n<i>Sriwhana Spong &amp; Maria Taniguchi: Oceanic Feeling</i>, exhibition catalogue, Institute of Contemporary Arts, Singapore, 2016.<br/>Hugo Boss Asia Art Award, exhibition catalogue, Rockbund Art Museum, Shanghai, 2015.</p>\n</div>\n", "display_name": "Summary", "publication_date": "2024-04-04T00:00:00", "slug_name": "summary", "type": "SHORT_TEXT" } ]

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[ { "append_role_to_name": false, "date": "born 1966", "fc": "Nnena Kalu", "prepend_role_to_name": false, "role_display": "artist", "url": "https://www.tate.org.uk/art/artists/nnena-kalu-31633" } ]

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