The idea of the confrontational self-portrait, and of such images as fragments of much larger stories, has found a new champion in recent years in the photographs of the South African artist and self-described ‘visual activist’ Zanele Muholi, whose extraordinary series ‘Somnyama Ngonyama’ – ‘Hail the Dark Lioness’ is one of the most compelling and politically powerful bodies of self-portraiture made anywhere in recent years. These too use everyday objects and props, or materials as they refer to them, to explore themes of labour, racism, Eurocentrism and sexual politics - layering the imagery with meaning and association, with the ultimate tool being their own body: “The black body itself is the material, the black body that is ever scrutinised, and violated and undermined”.

Like yesterday’s artist Oana Stanciu, Zanele Muholi took part in our 2019 exhibition ‘Sometimes I Disappear’. The first major UK survey exhibition of Zanele Muholi’s work was scheduled to open at Tate Modern in late April but is currently postponed, awaiting the museum’s re-opening.