Posts Tagged ‘Accra

04
Aug
13

Exhibition: ‘Pieter Hugo: This Must Be The Place – Selected Works 2003-2012’ at the Ludwig Museum of Contemporary Art, Budapest

Exhibition dates: 24th May – 11th August 2013

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I have not seen enough of the other series of Pieter Hugo to make an informed decision, but work from the The Hyena & Other Men (2005-2007) and Permanent Error (2009-2010) series, the most often reproduced, is certainly strong. Whether I am fully convinced by his singular frontality is another matter…

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Many thankx to the Ludwig Museum of Contemporary Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Pieter Hugo. 'The Hyena Men of Abuja, Nigeria' 2005

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Pieter Hugo
The Hyena Men of Abuja, Nigeria
2005
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Pieter Hugo. 'Aissah Salifu, Agbogbloshie Market, Accra, Ghana' 2010

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Pieter Hugo
Aissah Salifu, Agbogbloshie Market, Accra, Ghana
2010
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Pieter Hugo. 'Escort Kama. Enugu, Nigeria' 2008

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Pieter Hugo
Escort Kama. Enugu, Nigeria
2008
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Pieter Hugo. 'Chris Nkulo and Patience Umeh. Enugu, Nigeria' 2008

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Pieter Hugo
Chris Nkulo and Patience Umeh. Enugu, Nigeria
2008
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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“Pieter Hugo’s (b. Johannesburg, 1976) career is quite young, yet his photography is already so comprehensive that we can rightly speak of a consistent oeuvre. Since 2003 Hugo has photographed people and themes exclusively in sub-Saharan Africa. Daily life in post-colonial Africa, the complex conditions after the end of apartheid in his own land and the impact of global trade and commerce are themes that circulate throughout his intriguing series.

Pieter Hugo spends long periods of time photographing his extensive series in order to capture intimate and often bizarre moments. His use of a large-format camera requires patience and trust between photographer and subject, which is visible in straightforward expressions and candid interactions. There is a moment of calm and even timelessness in these works that allows the viewer to engage more fully with the subject matter.

The political diversity of a continent that is rapidly transforming – some note that Africa will be a global economic power of the future – is portrayed by Pieter Hugo with the clarity of familiar painting genres such as landscape, portraiture, group portraiture and still life. The subjects of his photography: the elderly, the poor, the blind, street artists, soap actors, close family and friends – form a social tableau that is at once personalized while also presenting a more universal image of Africa at the beginning of the twenty first century.

The initial motivation for the series The Hyena & Other Men (2005-2007) comes from a cell phone camera image Pieter Hugo discovered on the internet. The image concerns a group of performers who travel throughout Nigeria with tamed hyenas and other wild animals and collect money from their choreographed public performances. Hugo embarked on two separate trips to document this remarkable nomadic group up close. Hugo presents the complex relationship between animal and owner, capturing moments of calm and tenderness amidst situations full of drama and spectacle.

The Agbogbloshie market on the outskirts of Accra (Ghana) is the thematic of the Permanent Error series (2009-2010), which is mainly a dumping site for the technological waste of the western world. Here computers and other electronic equipment are collected and burned by inhabitants, often children, to extract precious raw materials. These machines formerly representing prosperity and progress are here transformed into only noxious and life threatening vapours. The charred ground, grey sky and scattered groups of foragers and cattle seem isolated from the world, but are in fact one of the last links in a chain of global commerce. Despite the harsh surroundings, the subjects stand tall, identified by full name and framed in the style of classical portraiture.

Nollywood (2008-2009) is the third largest film industry in the world, releasing between 500 and 1,000 movies each year. It produces movies on its own terms, telling stories that appeal to and reflect the lives of its public: it is a rare instance of self-representation on such a scale in Africa. The continent has a rich tradition of story-telling that has been expressed abundantly through oral and written fiction, but has never been conveyed through the popular media before. Stars are local actors; plots confront the public with familiar situations of romance, comedy, witchcraft, bribery, prostitution. The narrative is overdramatic, deprived of happy endings, tragic. The aesthetic is loud, violent, excessive; nothing is said, everything is shouted.

At a morgue in the township of Khayelitsha in Cape Town, Pieter Hugo turns his camera to individuals who have died of AIDS related illnesses. In The Bereaved (2005) as with many of his other series, Hugo gives first and last names of his subjects. Such a personal statement challenges the anonymity of AIDS statistics in South Africa. Ten years after the Rwandan Genocide, Pieter Hugo captures the unimaginable violence of these events through leftover fragments (Vestiges of a Genocide, 2004). The absence of human life is disturbingly present in the images. Bones are preserved with lime so as not to disintegrate. Heavy dust and dirt create an organic seal over the remains. While these substances often signify what is past and forgotten, the items in the photographs are preserved artificially and naturally for all to remember.

The series entitled Messina / Musina (2006) deals with the inhabitants of a small town on the border of Zimbabwe in South Africa’s Limpopo Province. The title reflects the correction of an earlier colonial misspelling of the town’s name (Messina), as well as the transition taking place at this geographical and social periphery.

In Pieter Hugo’s studio portraits of the elderly, the blind and people with albinism – Looking Aside, 2003-2006 – there is a direct and confrontational engagement between the viewer and the subjects. The viewer is made to feel uncomfortable and immobilized by the subject’s gaze. In There’s a Place in Hell for Me and My Friends (2011) – a recent series of portraits realized in the same spirit and adopting a stripped back, close-up and confrontationally direct approach – Hugo explores similar territory [to his earlier series Looking Aside] but from practically the opposite angle. In this case, the subjects are simply the photographer and his friends, who represent an array of ethnicities but are not particularly atypical, abnormal or ‘unusual’ in a genetic sense. Instead they are rendered unusually, portrayed in a heightened monotone with their skin transformed into a range of exaggerated black spots and dark tones.

With Kin (2011), his most autobiographical series to date, Pieter Hugo reflects on his own family and deep ambivalence towards the notion of home. Personal moments such as the pregnancy of his wife, the birth of their child and an operation of his mother are interspersed with national icons: open landscapes, anthropological museums and references to historical places and figures in South Africa. The recent and historical, private and public, rich and poor, ugly and beautiful interact closely in this series and represent the social complexities of post-apartheid South Africa.”

Press release from the Ludwig Museum of Contemporary Art website

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Pieter Hugo. 'Naasra Yeti, Agbogbloshie Market, Accra, Ghana' 2009

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Pieter Hugo
Naasra Yeti, Agbogbloshie Market, Accra, Ghana
2009
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Pieter Hugo. 'John Kwesi, Wild Honey Collector, Techiman District, Ghana' 2005

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Pieter Hugo
John Kwesi, Wild Honey Collector, Techiman District, Ghana
2005
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Pieter Hugo. 'The Honourable Justice Unity Dow' 2005

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Pieter Hugo
The Honourable Justice Unity Dow
2005
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Pieter Hugo. 'Steven Mohapi, Johannesburg' 2003

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Pieter Hugo
Steven Mohapi, Johannesburg
2003
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Pieter Hugo. 'Ashleigh McLean' 2011

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Pieter Hugo
Ashleigh McLean
2011
© Pieter Hugo
Courtesy of Stevenson, Cape Town/Johannesburg and Yossi Milo, New York

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Ludwig Museum of Contemporary Art
1095 Budapest Komor Marcell Street 1
Hungary 06 1 555-3444

Opening hours:
Tuesday-Sunday: 10.00-20.00
Closed on Mondays

Ludwig Museum of Contemporary Art website

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16
May
12

Exhibition: ‘Pieter Hugo: This must be the place’ at The Hague Museum of Photography, The Netherlands

Exhibition dates: 3rd March – 20th May 2012

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Sexy, scary and very sad.

The hand of the monkey Clear on the thigh of Dayaba Usman (see second photograph below) – and the look on his face – makes one wonder who is really in chains.

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Many thankx to the Hague Museum of Photography for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Pieter Hugo
Mallam Mantari Lamal with Mainasara, Abuja
2005 – 2007 
From the series The Hyena & Other Men
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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Pieter Hugo
Dayaba Usman with the monkey Clear, Abuja
2005 – 2007
From the series The Hyena & Other Men
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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Pieter Hugo
Mummy Ahmadu and  a snake charmer with a rock python, Abuja
2005 – 2007
From the series The Hyena & Other Men
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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“The South African photographer Pieter Hugo’s (1976) monumental photographs, centred around contemporary Africa, are now well known around the world. He has already won numerous awards including the KLM Paul Huf award in 2008 and was recently nominated for the Deutsche Börse Photography Prize 2012. The Hague Museum of Photography will be the first museum to exhibit a comprehensive survey of Hugo’s work from 2002 – 2011. Together with many previously unseen works, the exhibition will include a curated selection of his most well-known series: The Hyena & Other Men, the bizarre Nollywood and the striking Permanent Error. His impressive portraits tell personal stories about recurring themes throughout his oeuvre, namely those people who inhabit the margins of society in Sub-Saharan Africa. 

The differences between the West and Africa, rich and poor, white and black are confronted in Hugo’s vivid compositions. Many of his series are prompted by newspaper articles, or radio and television pieces, which he finds compelling. He came in contact, for instance with the group of men who travel around Nigeria with hyenas and pythons, through an image sent via cell phone camera by a friend. He decided to accompany the group on their travels, and the outcome of this experience is The Hyena & Other Men (2005 – 2007), a series of portraits from a travelling group of street performers, who together with their – sometimes forcefully – tamed animals earn money to continue travelling.

In the series Permanent Error (2009 – 2010) he offers portraits of young men and woman who live amidst an immense waste dump of broken computers, mother boards and keyboards. To earn money these young people burn the computers dumped here as a means to extract valuable metals. The dangerous and poisonous vapours produce a hell on earth, where the quality of life is already challenging. The people who pose for Hugo stand in front of the camera with a defiant self-confidence.

From a different perspective comes his series about Nollywood (2008 – 2009) in Nigeria, the biggest film industry in the world after Hollywood and Bollywood. Here, stories that have for centuries been part of an oral tradition are told in dramatic films in which a central role is reserved for themes such as romance, witchcraft, bribery and prostitution. It is this world, where the everyday and the surreal exist simultaneously, that Hugo finds fascinating. In this series Hugo depicts actors and assistants posing in the role of movie characters. The result is an absurd tableau such as a photo of a half-naked woman sitting on a bed with a bloody knife stuck between her breasts. All the while she stares blankly at the camera. In another image, a woman well-dressed in Nigerian clothing sits completely unfazed by the man next to her made-up as the devil.”

Press release from The Hague Museum of Photography website

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Pieter Hugo
Escort Kama, Enugu
2008 – 2009
From the series Nollywood
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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Pieter Hugo
Obechukwu Nwoye, Enugu
2008 – 2009
From the series Nollywood
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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Pieter Hugo
Abdulai Yahaya, Agbogbloshie Market, Accra
2009 – 2010
From the series Permanent Error
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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Pieter Hugo
Abdulai Yahaya, Agbogbloshie Market, Accra
2009 – 2010
From the series Permanent Error
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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Pieter Hugo
David Akore, Agbogbloshie Market, Accra
2009 – 2010
From the series Permanent Error
© Courtesy of Stevenson Gallery, Kaapstad / Yossi Milo, New York

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The Hague Museum of Photography
Stadhouderslaan 43
2517 HV Den Haag
T: 31 (0)70 – 33 811 44

Opening hours:
Tuesday – Sunday, 12 – 6 p.m.

The Hague Museum of Photography website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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