Pieter Hugo

Pieter Hugo (born 29 October 1976)[1] is a South African photographer who primarily works in portraiture. His work considers the role of photography between documentary and art traditions with a focus on peripheral communities.[2] He lives in Cape Town.[3]

Pieter Hugo
Hugo in 2017
Born (1976-10-29) 29 October 1976
Johannesburg, South Africa
OccupationPhotographer
Years active2002 – present
Websitewww.pieterhugo.com

Hugo has had four monographs published on his career: Pieter Hugo: The Hyena and Other Men (2008), Pieter Hugo: Selected Works (2009), This Must Be the Place (2012), and Pieter Hugo: Between the Devil and the Deep Blue Sea (2017).

He has had major museum solo exhibitions at the Museu Coleção Berardo, Lisbon, Portugal (2018), the Museum für Kuns und Kulturgeschichte, Dortmund, Germany (2017), the Kunstmuseum Wolfsburg, Germany (2017), The National Portrait Gallery, London (2015), the Ludwig Museum, Budapest (2013), the Institute of Modern Art, Brisbane, Australia (2010), the Multimedia Art Museum, Moscow (2012) and the South African National Gallery, Cape Town (2007).

He has been included on important group exhibitions such as Civilization: The Way We Live Now at the National Museum of Modern and Contemporary Art in Seoul, South Korea (2018), Another Kind of Life: Photography on the Margins at the Barbican Art Gallery, London (2018), Good Hope. South Africa and The Netherlands from 1600 at the Rijksmuseum, the Netherlands (2017), Street & Studio: An urban history of photography at the Tate Modern, London (2008), reGeneration: 50 Photographers of Tomorrow at the DeVos Art Museum, Marquette, Michigan, USA (2008) and How to Live Together, 27th São Paulo Biennale, Brazil; and Museo de Arte Contemporaneo de Santiago, Chile (2006).

Education

Hugo was born 1976 in Johannesburg, South Africa. He began his career working in the film industry in Cape Town, before undertaking a two-year residency at Fabrica research centre, Treviso, Italy.[4]

Work

Hugo’s work is governed by an autodidactic approach to photography and a deep scepticism of the role of the photographic medium.[5][6] He is one of a generation of post-Apartheid photographers that seeks to confront photography’s history of representing marginalised and disempowered people. His work aims to challenge preconceptions around the representation of groups of people ‘other’ to the Western European norm.[7]

Hugo's first major work Looking Aside (2006) depicts portraits of people "whose appearance makes us look aside"[8] – the blind, people with albinism, the aged, his family and himself.[8] Each man, woman and child poses in a sterile studio setting, under crisp light against a blank background.[3] His Rwanda 2004: Vestiges of a Genocide (2011) was described by the Rwanda Genocide Institute as offering "a forensic view of some of the sites of mass execution and graves that stand as lingering memorials to the many thousands of people slaughtered."[9] Hugo's most recognized work is The Hyena & Other Men (2007), which has received a great deal of attention.[7][10]

Rwanda 20 Years: Portraits of Reconciliation
Loyiso Mayga, Wandise Ngcama, Lunga White, Luyanda Mzantsi and Khungsile Mdolo after their initiation ceremony, Mthatha, 2008


His series Messina/Mussina (2007) was made in the town of Musina on the border between Zimbabwe and South Africa,[11] after Colors magazine asked Hugo to work on an AIDS story.[11] Nollywood (2009) consists of pictures of the Nigerian film industry.[12] For Permanent Error (2011) Hugo photographed the people and landscape of an expansive dump of obsolete technology in Ghana.[1] There is a Place in Hell for Me and My Friends (2012) depicts Hugo’s family and friends from South Africa in digitally manipulated black and white portraits that aim to explore the contradictions of racial classification based on skin colour.[13] Kin (2014) places even greater emphasis on the photographer’s family and community[14] which Hugo describes as “an engagement with the failure of the South African colonial experiment and my sense of being ‘colonial driftwood’.”[15]

The Journey (2014) is a series of infrared images of sleeping passengers taken on a sixteen-hour flight from Johannesburg to Atlanta. Hugo prefaces the work which was presented both as an exhibition (2014) and newspaper format publication (2015)[16] with a reflective monologue on the way that infrared images from the first invasion during the Iraq War have shifted associations with the medium from wildlife photography to conflict zones, and how contemporary surveillance has effectively challenged notions of the privacy and ownership of one’s representation.[17]  

Portrait #18, South Africa, 2016

In the Spring of 2014, Hugo was commissioned by Creative Court[18] to work in Rwanda for its "Rwanda 20 Years: Portraits of Reconciliation" project.[19] The project was displayed in The Hague in the Atrium of The Hague City Hall for the 20th commemoration of the 1994 genocide in Rwanda. A selection of the photos have also been displayed in New York at the exhibition Post-Conflict which was curated by Bradley McCallum, artist in residence for the Coalition for the International Criminal Court.[20][21] The project served as the impetus for the photographic series 1994 (2017) which explores the post-revolutionary era in both South Africa and Rwanda through a series of portraits of children from both countries.[22][23]

Flat Noodle Soup (2016) chronicles Hugo’s lengthy engagement with the city of Beijing, exploring how concerns with expressing personal identity within societal norms and pressures are universal and trans-national.[15]

After Siqueiros. Oaxaca de Juárez, 2018. Archival pigment print.

La Cucaracha is a 2019 body of work made during four trips to Mexico over a two-year period.[17] The photographic series explores Hugo’s perception of the flamboyant and violent environment of Mexico with overt art historical references to the nation’s visual canon of precolonial customs and revolutionary ideology.[24]

Fashion

Hugo has produced fashion photography features for various publications. These include Arena Homme Plus,[25] Re-Edition Magazine,[26] Document Journal,[27] System Magazine[28] and AnOther Man.[29] He has also collaborated on publications with Louis Vuitton and Hood By Air.[30]

Editorial

Hugo is a regular contributor to titles such as the New Yorker,[31] Zeit magazine, Le Monde and The New York Time’s magazine. He has written extensively about his own work and that of other photographers with his article on Garth Walker being featured in Aperture magazine, Winter, 2013.[32] In May 2015 he was invited to guest edit the supplement DeLuxe for the Dutch newspaper NRC.nl.[33]

Film

In 2011 Hugo collaborated with Michael Cleary, co-directing the music video for South African musician Spoek Mathambo's cover version of Joy Division's "She's Lost Control". For the video, Hugo won the Young Director Award at the Cannes Lions International Festival of Creativity.[34][35] In 2015 he directed the music video for "Dirty", a song by controversial South African musical artists Dookoom.[36]

Personal life

As of 2013, Hugo was married to film editor Tamsyn Reynolds, with whom he has two children.[37][38]

Publications

Publications by Hugo
  • Looking Aside. Punctum, 2006. ISBN 978-88-95410-00-5.
  • The Hyena & Other Men Munich: Prestel, 2007. ISBN 978-3791339603. With an essay by Adetokunbo Abiola.
  • Messina/Musina. Munich: Punctum, 2007. ISBN 978-88-95410-03-6. With a short story by Stacy Hardy, "The Donkey Fuckers", and a conversation between Hugo and Joanna Lehan.
  • Nollywood. Munich: Prestel, 2009. ISBN 978-3791343129. With texts by Chris Abani, Stacy Hardy and Zina Saro-Wiwa.
  • Rwanda 2004: Vestiges of a Genocide. London; Paris: oodee, 2011. ISBN 978-0-9570389-0-5. Edition of 500 copies. With an essay by Linda Melvern.
  • Permanent Error. Munich: Prestel, 2011. ISBN 978-3791345208.
  • This Must Be The Place: Selected Works. Munich: Prestel, 2012. ISBN 978-3791346892. With essays by TJ Demos and Aaron Schuman.
  • J-SEK. London: One League, 2012. Produced by Hugo and Louis Vuitton with an essay by Montle Moorosi.
  • There's a Place in Hell for Me and My Friends. London; Paris: oodee, 2012. ISBN 978-095703-892-9.
  • Kin. New York: Aperture, 2014. ISBN 978-1597113014. With a short story by Ben Okri.
  • The Journey. Self-published, 2015. Newspaper format.
  • Flat Noodle Soup Talk. Paris: Bessard, 2016. ISBN 979-10-91406-48-2. Edition of 500 copies. Photographs made in Beijing.
  • PH&HBA. Pieter Hugo in collaboration with Hood by AIr. 2016. ISBN 9780955084089. London: See W.
  • 1994. Munich: Prestel. 2017. ISBN 978-3-7913-8273-9. With text by Ashraf Jamal.
  • Pieter Hugo. Between the Devil and the Deep Blue Sea. 2017. ISBN 978-3-7913-8384-2 Ralf Beil & Uta Ruhkamp (ed.) Munich: Prestel
  • La Cucaracha. Barcelona: RM, 2019. ISBN 978-84-17975-15-9. With essays by Mario Bellatin and Ashraf Jamal. Edition of 1500 copies.

Selected books and catalogues
  • Ewing, William; Nathalie Herschdorfer and Jean-Christophe Blaser. 2005. reGeneration: 50 Photographers of Tomorrow 2005-2006. New York: Aperture. ISBN 978-1931788984.
  • Matt, Gerald et al. 2006. Black, Brown, White: Photography from South Africa. Vienna: Kunsthalle Wien. ISBN 978-3938821336.
  • Ewing, William (ed). 2006. Face: The New Photographic Portrait. London: Thames & Hudson. ISBN 978-0500287323.
  • Yildiz, Adnan et al. 2007. An Atlas of Events. Lisbon: Fundação Calouste Gulbenkian
  • Schuman, Aaron. 2008. Pieter Hugo: The Hyena and Other Men. Amsterdam: Foam Fotografiemuseum. [online](https://www.aaronschuman.com/pieterhugo.html)
  • Hug, Alfonso et al. 2008. The Tropics: Views from the Middle of the Globe. Bielefeld: Kerber Verlag. ISBN 978-3866781665.
  • Dempsey, Kate (ed). 2008. Presumed Innocence. Lincoln, Massachusetts: DeCordova Museum and Sculpture Park. ISBN 978-0945506560.
  • De Cultura, Área, and Ajuntament de Tarragona (eds). 2009. Pieter Hugo: Selected Works. Tarragona: Tinglado 2. ISBN 978-84-935674-6-0.
  • Cresci, Mario (ed). 2009. Future Images. Milan: 24 ORE Cultura. ISBN 978-8864130170.
  • Blackwell, Lewis. 2009. Photo-wisdom: Master Photographers on Their Art. Auckland: PQ Blackwell. ISBN 9780473150945.
  • Maggia, Filippo et al. 2010. Breaking News: Contemporary Photography from the Middle East and Africa. Milan: Skira. ISBN 978-8857206455.
  • Enwezor, Okwui (ed). 2010. Contemporary African Photography from the Walther Collection. Events of the Self: Portraiture and Social Identity. Göttingen: Steidl. ISBN 978-3-86930-157-0.
  • Celant, Germano and Melissa Harris (eds). 2010. Immagini Inquietanti. Milan: La Triennale di Milano. Exhibition catalogue.
  • Rubenstein, Bonnie, et al. 2011. Figure + Ground. Contact Photography Festival. Toronto: Scotiabank. 2011 Festival Catalogue.
  • Ovesen, Solvej Helweg and Katerina Gregos (eds). 2011. The Eye is a Lonely Hunter: Images of Humankind. 4. Fotofestival Mannheim Ludwigshafen. Heidelberg: Kehrer. ISBN 978-3868282405.
  • Krifa, Michket and Laura Serani (eds). 2011. For A Sustainable World. Rencontres de Bamako African Photography Biennial, 9th Edition. Arles and Paris: Actes Sud and Institut Français. ISBN 978-2330001551.
  • Kemfert, Beate and Christina Leber (eds). 2011. Road Atlas: Street Photography from Helen Levitt to Pieter Hugo. Munich: Hirmer Verlag. ISBN 978-3777439617.
  • Herschdorfer, Nathalie. 2011. Afterwards: Contemporary Photography Confronting the Past. London: Thames & Hudson. ISBN 9780500543986.
  • Gavin, Francesca. 2011.100 New Artists. London: Laurence King Publishing. ISBN 978-1856697347.
  • Garb, Tamar. 2011. Figures & Fictions: Contemporary South African Photography. Göttingen and London: Steidl and V&A Publishing. ISBN 9783869302669.
  • Fabiani, Francesca. 2011. Re-cycle. Strategie per l’architettura, la città e il pianeta. Rome: MAXXI and Elekta. ISBN 978-8837088965.
  • Beckmann, Anne-Marie and Freddy Langer. 2011. XL Photography 4: Art Collection. Deutsche Börse. Ostfildern: Hatje Cantz Verlag. ISBN 978-3775728027.
  • Markus Brüderlin (ed.), 2013. Art & Textiles: Fabric as Material and Concept in Modern Art from Klimt to the Present, 2013. Exhib. Cat. Kunstmuseum Wolfsburg. Ostfildern: Hatje Cantz
  • Nine Weeks. Cape Town: Stevenson, 2016. ISBN 978-0-620-69507-7. Pieter Hugo in conversation with Hansi Momodu-Gordon.
  • Jamal, Ashraf. 2017. ‘Giants’. In the World: Essays on Contemporary South African Art. Skira: Milan. ISBN 978-8857235639
  • Blanch, Andrea. 2018. “Pieter Hugo. The ambitious Survivor.” Musée Magazine. Power Issue No. 19, Spring 2018.
  • Seymour, Tom, 2020. “Pieter Hugo: death, sexuality and spirituality in Mexico.” British Journal of Photography. Issue 7894. 26 April 2020.
  • Ludel, Wallace. 2020. “La Cucaracha: Pieter Hugo’s Photographs Capture the Poetics of Rural Mexico.” Cultured Magazine. 01.31.2020

Exhibitions

Solo exhibitions
  • 2004: The Albino Project, Galleria Nazionale d'Arte Moderna, Rome, Italy, 2004; Fabrica Features, Lisbon, Portugal, 2004.
  • 2007: Messina/Musina, Standard Bank Young Artist Award 2007 touring exhibition, National Arts Festival, Grahamstown, South Africa; Nelson Mandela Metropolitan Museum, Port Elizabeth; Durban Art Gallery, Durban; Oliewenhuis Art Museum, Bloemfontein; Iziko South African National Gallery, Cape Town; National Gallery, Cape Town, South Africa, 2008[39]
  • 2007: Pieter Hugo: The Hyena & Other Men, Foam Fotografiemuseum Amsterdam, Netherlands, 2008;[40] Herzliya Museum of Contemporary Art, Herzliya, Israel, 2010;[41] Photographic Centre Peri, Turku, Finland, 2010; Multimedia Art Museum, Moscow, 2012[42]
  • 2008: Nollywood, Johannesburg, South Africa, 2008; Australian Center for Photography, Sydney, Australia, 2009;[43] ;[43] Institute of Modern Art, Brisbane, Australia, 2010;[44]
  • 2008: Portraits, Open Eye Gallery, Liverpool, UK, 2008; Ffotogallery, Cardiff, UK, 2008[45]
  • 2008: Pieter Hugo: Selected Works, Tinglado 2, Tarragona, Spain, 2008[46] Tinglado 2, Tarragona, Spain, 2009.[47]
  • 2010: On Reality and Other Stories, Le château d’eau, pôle photographique de Toulouse, Toulouse, France, 2010; Forest Centre Culturel, BRASS, Brussels, Belgium, 2010[48]
  • 2010: Permanent Error, Scotiabank CONTACT Photography Festival, Toronto, Canada, 2011;[49]
  • 2013: This must be the place - Selected works 2003-2012, Museum Ludwig, Budapest[50]
  • 2015: Portraits: From the unsaid to the un-dead, Institute of Contemporary Art Indian Ocean, Mauritius[51]
  • 2015: In Focus, National Portrait Gallery, London[52]
  • 2015–2016: Fondation Cartier-Bresson, Paris, 2015;[53]
  • 2017: Between the Devil and the Deep Blue Sea, Kunstmuseum Wolfsburg, Wolfsburg, Germany.[54]
  • 2017: Verisimilar Worlds: The West African Works 2005-2010, Organ Vida International Photography Festival, Museum of Contemporary Art, Zagreb, Croatia.
  • 2017–2018: Between the Devil and the Deep Blue Sea, Museum für Kunst und Kulturgeschichte, Dortmund, Germany,2017;[55]Museu Coleção Berardo, Lisbon, Portugal, 2018.[56]
  • 2018: Aquí se rompió una taza, Centro Fotográfico Álvarez Bravo, Oaxaca, Mexico[57]
  • 2019: Africa to China, Pékin Fine Arts, Hong Kong, China.[58]
  • 2019–2020: La Cucaracha, Huxley Parlour, London, 2020[59]

Group exhibitions
gollark: Oh no.
gollark: ++experimental_qa MOSFET How many have been produced?
gollark: Yes.
gollark: MOSFETs are in fact the most produce electronic device ever. Although that transistor isn't one.
gollark: <@319753218592866315> make Macron and Minoteaur simultaneously.

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