With washy and matte strokes, Muholi portrays herself in allusive physical forms, referencing both Zulu legends and gender disidentification imagery. Still, it is the striking presence, involving an unretractable gaze that infiltrates the viewers’ attention, and which is intrusively compelling.
The exhibition discoursed the theme of powerlessness through the stories of a sex worker who became a prophetess, Madzimai Catherine in the Nyenyedzi Nomwe Apostolic Church. Mukwazhi sought to subvert the traditional power relations imposed on women’s bodies by patriarchal structures.
“We Are Here (Brooklyn) is a celebration of Bedford-Stuyvesant’s rich cultural legacy- a testament to its past and present … centers images and stories of long-time Bed-Stuy residents, cementing their place as neighborhood icons in the name of resilience and permanence.”
Branly is a misfire for several reasons. The exhibition rooms are shrouded in darkness as if that is the way to symbolize Africa, turning it into a maze that confuses and irritates visitors. The collection on display mainly comes (or was stolen?) from French colonies, which means that the museum by definition gives a distorted image. And the tone of the accompanying wall texts is sometimes annoyingly educational.
There is no day that I will stand and pretend that I wove the mats or the bags, I mean, that would be a blatant lie but in terms of taking these pieces as additive spices to tell a new story that involves their work, yes, that makes me the artist.