Skip to Content
About thirty figures are spread across the picture plane, with their limbs extended. Some are skeletons. Some are biting limbs and most of the figures are bleeding. Most of the figures are white, red, orange, or yellow, and a handful are dark blue. About thirty figures are spread across the picture plane, with their limbs extended. Some are skeletons. Some are biting limbs and most of the figures are bleeding. Most of the figures are white, red, orange, or yellow, and a handful are dark blue.

Malangatana: Mozambique Modern

The Modern Series at the
Art Institute of Chicago

Director's Foreword Series Introduction Acknowledgments Credits

"Introduction: Looking in All Directions" by Hendrik Folkerts “Malangatana as Ethnographer? Modern Paintings of Village Life” by Constantine Petridis “Affinities: Malangatana, Surrealism, and Black Liberatory Politics” by Felicia Mings “Deep Ambivalences: Malangatana’s Anti/Colonial Aesthetic” by Mário Pissarra “'The Complete Painter': Malangatana’s Approach to Painting, 1959–75" by Allison Langley, Katrina Rush, and Julie Simek

Works in the Exhibition Installation Views

This publication shares and expands upon Malangatana: Mozambique Modern, an exhibition dedicated to the work of the pioneering artist Malangatana Ngwenya (1936–2011) with a focus on his oeuvre from the late 1950s until 1975, the year of Mozambique’s independence.

Contributions

Browse all 5 Contributions

Works

How to Cite

Hendrik Folkerts, Felicia Mings, and Constantine Petridis, eds. “Installation Views,” in Malangatana: Mozambique Modern—The Modern Series at the Art Institute of Chicago (Art Institute of Chicago, 2021).

Citation URL: https://www.artic.edu/digital-publications/34/malangatana-mozambique-modern/11/installation-views

DOI: https://doi.org/10.53269/9780865593138/07

Sign up for our enewsletter to receive updates.
Learn more

Image actions

Share

Suggested Terms