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Christine Robinson

[Ingrid Mwangi Robert Hutter]

(b Nairobi, 1975).

Kenyan and German performance artist, installation artist, photographer, and video artist. Mwangi’s work addresses notions of cultural difference, social conventions, racial categories, and national identity, primarily through an autobiographical lens. She has often utilized her body as a subject and engaged with questions related to her own African-European heritage. In 2005 Mwangi shifted from a mostly solo practice to a collaborative partnership with her husband, German artist Robert Hutter (b 1964). From that time, the pair has worked and exhibited exclusively under the name IngridMwangiRobertHutter. Together they have explored larger human experiences and universal issues of stereotypes, fear and negotiations between different cultures, genders, nationalities, and religions through multimedia works that have produced cross-cultural dialogues.

Mwangi was raised in Nairobi by a German mother and a Kenyan father. In 1990, as a teenager, she moved with her family to Germany and studied at the Hochschule der Bildenden Künste Saar in Saarbrücken from ...

Article

Kevin Mulhearn

(b Cape Town, 1964).

South African installation and multimedia artist. Searle received her MA from the Michaelis School of Fine Art, Cape Town, in 1995. Her work has regularly addressed the complex politics of identity in South Africa and the deep and contested historical roots that inflect its contemporary manifestations. She has often used her own body in her work and dealt with themes connected in some way to her own complicated heritage, but she has typically produced work that also speaks to broader issues of both local and global import.

Much of Searle’s art has grappled with the history of South Africa’s ‘coloured’ people, a multiracial population that was the outcome of centuries of cohabitation between indigenes, Europeans, and imported slave labour. In her photographic series Colour Me (1998–2000), Searle covered her skin with such spices as clove and turmeric, allowing her to acknowledge the trade in these commodities, which prompted European settlement on the southern tip of Africa in the 17th century and brought slaves to the region from present-day Malaysia and Indonesia. The dual video projection ...

Article

Andrew Cross

revised by Mary Chou

(b London Aug 9, 1962).

British sculptor, painter and installation artist. Born to Nigerian parents, he grew up in Nigeria before returning to England to study Fine Art in London at Byam Shaw School of Art and Goldsmiths’ College where he completed his MFA. Shonibare’s West African heritage has been at the heart of his work since he started exhibiting in 1988, when he began using ‘Dutch-wax’ dyed fabrics, commonly found in Western Africa, both for wall-mounted works (as pseudo paintings) and for sculpted figures. Generally perceived as ‘authentic’African cloth, the tradition of Batik originated in Indonesia, and was appropriated by the Dutch who colonized the country. Manufactured in Holland and Britain, the cloth was then shipped to West Africa where it became the dress of the working class in nations such as Nigeria. Shonibare used the material as a way of deconstructing the more complex histories that determine these and other images of ethnicity. As such, he has been described as a ‘post-cultural hybrid’ or the ‘quintessential postcolonial artist’ by critics as well as the artist himself....