
Property from the Collection of Henri van der Tol
Mummy Ahmadu and Mallam Mantari Lamal with Mainasara, Abuja, Nigeria (from The Hyena and Other Men)
Lot Closed
November 13, 01:57 PM GMT
Estimate
10,000 - 15,000 EUR
Lot Details
Description
Pieter Hugo
b. 1976
Mummy Ahmadu and Mallam Mantari Lamal with Mainasara, Abuja, Nigeria (from The Hyena and Other Men)
signed, titled, dated 2005, and numbered 7 of 9 (on a label on the reverse of the frame)
chromogenic print, mounted to aluminium
100 by 100 cm.
39⅜ by 39⅜ in.
Executed in 2005, this print is number 7 from an edition of 9.
Cokkie Snoei, Rotterdam
Acquired from the above by the present owner
Pieter Hugo and Adetokunbo Abiola, The Hyena and Other Men, Munich, 2007, unpaginated, illustrated in colour
Few artists have encapsulated the spirit of marginalised groups in Africa as effectively as South African photographer Pieter Hugo. Born in Johannesburg and raised in Cape Town, Hugo became interested in issues of race and representation through his own struggles with identity. His desire to explore the social make-up of the African continent resulted in his seminal series the Hyena Men and Other Men, executed between 2005 and 2007.
The Hyena Men, or Gadawan Kura, are part of a nomadic, extended family in northern Nigeria who live on the fringes of society and have acquired an almost mythical status. Trading on mysticism and superstition, the men are traditional storytellers who make their living by selling potions and charms as well as catching and training wild animals, with which they perform for crowds on the streets.
Executed in 2005, the present work showcases Hugo’s distinct exploration of African customs by challenging prevailing stereotypes and exoticized motifs. Resisting traditional depictions focusing on the performances themselves, Hugo took this photograph during pauses between shows. This approach allowed him to capture a stillness and intimacy that runs counter to the imposing and intimidating nature of the hyena. Revealing the tender yet fraught relation between the animal, man and child, this moment couldn’t have been documented without a level of trust that Hugo built with the group.
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