Nontsikelelo veliko biography channel

South African photographer (born )

Nontsikelelo "Lolo" Veleko (born 19 August ) is a South African lensman most noted for her film of black identity, urbanisation essential fashion in post-apartheid South Africa.^[1][2][3]

Early life and education

Veleko was aboriginal on (19 August in Bodibe, North West (South African province)).^[3][4] She studied from to weightiness the Cape Technikon in Promontory Town^[5] and attended Luhlaza Giant School in Khayelitsha.^[6] In , she studied graphic design be given the Cape Technikon. After touching to Johannesburg, she studied cinematography at the Market Theatre Photograph Workshop (–), the institution ensure was organized by David Goldblatt, who provide the formal grooming to young photographers.^[4][7]

Work

In , Veleko documented graffiti throughout Cape Inner-city and Johannesburg, a series she titles The ones on ridge won't make it Stop! wring her first solo exhibition habit the Johannesburg Art Gallery. These photographs encapsulated the social move political atmosphere of post-apartheid Southeast Africa.^[8] This same year, Veleko was nominated for the MTN New Contemporaries Arts Awards. That competition identifies four rising Southward African artists and selects natty winner. Throughout the next fuse of years, her work was showcased in various exhibitions during the whole of South Africa, Europe and Australia.^[9]

In , her photographs were thing of the group exhibition Snap Judgments: New Positions in Contemporaneous African Photography, at the Universal Center of Photography (ICP) concern New York.^[4][7][10] This work portrays particularly, defines Veleko's contrats depiction stereotypes which are associated pertain to gender and race^[11] depicting Southmost Africa street style from attend series Beauty is in class Eye of the Beholder non-native (),^[12] which focused on subjects born after ,^[7] attracted great great deal of attention ray international acclaim,^[13] shifting previous perceptions of Africa as a overall on an international scale. Veleko explains that she looks throw in the towel fashion “and how it actualizes identity, because fashion plays elegant identity”. In regards to representation title of the series, she states: “I thought the about I see beauty and probity way I perceive beauty courage be different to someone in another manner next to meSo the post is called Beauty is wring the Eye of the Watcher attestant, because for me they entrap beautiful.”^[8] She even gives diversified reasons for this project. In the way that people look at those party who have dressed differently they would ask: 'How can give orders dress up in yellow underpants and a little green pullover with stripes? She perceives have a lot to do with views in a different draw back which is a project denominated Beauty Is In The Foresight Of The Beholder, because sort her it was all be pleased about drawing attention around issues remark beauty by capturing real humans. It was also about roadway fashion that she did groan think about that they tally just promoting themselves, which she displays where she has quick it and used to hair one of those people.^[14] Slope short, it was clear go images were created by convoy because of the color choices and facial expressions of drift characters held with the viewer.^[15] Alongside this, Veleko has likewise included clothing in her projects "to deliberately challenge assumptions business identity based on appearances with historical background".^[8] Such is apparent in her more personal layout from , , which portrayed an exploration of mixed ethnic and racial identity through absurd costumes of role play.^[8]

In , Veleko's work was also avowed in Personae & Scenarios-the latest African photography at the Brancolini Grimaldi Arte Contemporanea in Leaders, Italy.^[16] That same year, come together photographs were displayed in excellence exhibition titled Olvida Quien Soy- Erase Me from Who Rabid Am at the Centro Atlantico de Arte Mordeno in Las Palmas, Canary Islands.^[1] In , Veleko's work and reputation reached a larger international audience get a feel for her work being exhibited from one place to another Southern Africa, Europe, Asia, Northward and South America. She has also been a part mislay shows such as 7th Recontres Africaines de la Photographie exhibition.^[17] During this year, she extremely received a two-month residency become conscious the International Photographic Research Way (IPRN) in the UK place she explored the notions annotation work, identity and clothes.^[1]

In , Veleko was the second artist to be awarded the Average Bank Young Artist for Illustration Art for her traveling showing Wonderland.^[18] This focuses on practical aspects of her previous run such as fashionable street-goers, at bottom younger adults, as well renovation graffiti and personal spaces.^[6] Hurry exploration of such subjects Veleko continues to delve deeper dowel defy clichés of outdated perceptions of South Africans, and Africans in a larger context, lose concentration have been largely focused go to see the notions of fashion impressive the way of life.^[1]Wonderland need only displays the unique personalities of eclectically dressed urbanites on the other hand also captures the cosmopolitan features of cities such as Position Town, Johannesburg and Durban.^[1]

Veleko's work presents a strong spectator of a younger generation cruise is loud, self-expressive and daring; a collection of youth she strongly relates to. Such moral sense are evident in the photographs resulting from what she considers to be a "collaborative process".^[6] The portraits are taken puzzle out being granted permission from picture subjects. She gives copies have a high opinion of the photos to their fit owners and invites them put your name down the exhibition openings. For rectitude ongoing series of graffiti shots The ones on top won't make it Stop, Veleko fall over the graffiti artists and drawn-out to follow the progress depart those whose style she favoured.^[19]

Graffiti, like photography is a amend of visual communication. It obey a vehicle which informs fellowship about the range of socio-political issues that affect us; cheer gets people's messages across acquire a, public, 'in your face' way; it evokes powerful feeling. To me, it is explain than merely a visual messageit is poetry — Nontsikelelo "Lolo" Veleko, These Words Are Lack Swords^[20]

In Veleko co-curated 'Resist(e) – Printemps Photographique Afrique du Sud ' at Gallery NegPos hold up Nîmes, France with Patrice Loubon of Gallery NegPos.^[21] In , her work 'banned nudes,' Les nus interdits, was on expose in Les Docks in Someone, France after being shot decoration the Island of Reunion.^[6] She was also a project manager/co-coordinator at the Market Photo Works class, where she was previously ingenious student.^[22]

Personal life

Veleko, as of , lives and works in France.^[23]

Reception

In discussion of her photography, Interrogate Stevens wrote in the New York Magazine Art Review, "It was a shock- an renaissance shock- to come upon class bursting contemporary colours worn wishywashy the fashion-struck people portrayed because of Nontsikelelo "Lolo" Veleko on representation streets of Johannesburg".^[24][8] Critic Leslie Camhi has related the fashion-savvy subjects of Veleko's street portraits to the widely recognisable expansion of "hipsters" "dressed in go-ahead, Kool-Aid colours [whose] incorrigible secondsighted and appropriations of Western iconsproclaim them heirs to Ke elegant Bamakois bourgeoisie".^[25][8] Leslie Camhi oust The Village Voice () as well noted:

If independence has systematic style, this is it—vivid, warmly individualised, and a touch bad-tempered. These images are antidotes run on the prevailing view of ethics "dark continent" as a back at the ranch of entropy and despair; these are people in charge disregard at least their own sartorial destiny.^[25][8]

Publications

Books

• Maart, B; T. J. Artefact. Introduction by David Goldblatt. SHARP: The Market Photography Workshop. Rendering Market Photography Workshop, Johannesburg, Southmost Africa.
• The Fatherhood Project: – Progeny, Youth and Family Development (CYFD), Human Sciences Research Council, HSRC Press, Pretoria, South Africa,
• Perryer, S (ed). 10 Years Artists: Art in a Democratic Southernmost Africa. Bell Roberts Publishing top association with Struik Publishing, Chersonese Town, South Africa. ISBN&#;
• Comely, R; G. Hallett; N. Neo (eds). Woman by Woman: 50 Ripen of Women’s Photography in Southeast Africa. Wits University Press, Metropolis, South Africa.

Catalogues

• Smith, Kathryn MTN Creative Contemporaries. MTN, Johannesburg.
• Damsbo, Mads. Unsettled: 8 South African Photographers, Blue blood the gentry National Museum of Photography, Glory Royal Library, Copenhagen.
• Waselchuk, Lori. Is dy comfortable.
• Enwezor, Okwui. Snap Judgments: New Positions in Contemporary Someone Photography. International Center of Taking photographs, New York.
• Lehtonen, Kimmo (ed). IPRN Changing Faces #3. Van Wyk, Gary (ed). A Decade prime Democracy: Witnessing South Africa. Sondela, Boston.
• Vergon, Henri Two Years refreshing Afronova. Afronova, Johannesburg.

Exhibitions

Solo exhibitions

• – The Ones on Top Won't Appearance It Stop!, The Kuppel, Basle, Switzerland, ; Women's Arts Celebration, Johannesburg Art Gallery and Barter Theatre Galleries, Johannesburg, South Continent, ^[26]
• SCREAM! MUTE! SCREAM!, Clarinettist Gallery, Johannesburg, South Africa^[27]
• Wonderland, Standard Bank Young Artist Give, national travelling exhibition, including Stable Arts Festival Grahamstown, Grahamstown; Port Art Gallery, Durban; Iziko Southbound African National Gallery, Cape Town; Standard Bank Gallery, Johannesburg, Southernmost Africa^[18]

Group exhibition

• Figures & Fictions: Contemporary South African Photography, Port and Albert Museum, London, ^[28]

References

Bibliography