Associated Artist
Simnikiwe Buhlungu (Johannesburg, South Africa, 1995) has an interest in navigating personal and socio-historical narratives presents itself as a complex web of [re] imagined engagements which are surrounding, but not exclusive to, experiences embedded within the complexity of knowledge production(s) - which are (un)written, (un)spoken, (un)heard and made (in)visible. Through this, her practice begins to develop into moments that pose questions and attempt to provide answers to these ideas. The work has existed in a variety of forms — text, print, video, sonic negotiations and installation in a number of exhibitions, happenings and spaces. She also engages with printed material and publications, their production and dissemination — in conversation with her practice.
Departing from knowledge production as a site of incongruencies, she is interested in how these moments call for the urgency to self-historicise and ultimately, self-determine. This is further manifested in the use of visual materials and language to activate research as a creative practice and complicates the way in which these methodologies can be used to initiate a visual discourse of noting to self.
Recent presentations of her work include hygrosummons (iter.01), Chisenhale Gallery, London; Unraveling The (Under-) Development Complex, Savvy Contemporary, Berlin; *dissonated underings [hic!], after-happenings and khuayarings (sithi “ahhhh!”), Kunsthalle Bern; The Milk of Dreams, La Biennale de Venezia 2022; Small World, Real World, Stedelijk Museum, Amsterdam, 2021; Triennale Tres Pesos, El Colegio de la Desextinción (Mexico and Online), 2020; Bergen Kunsthall and KODE 1 (Bergen, Norway), 2020; Collective Intimacies - Notes to Self: Intimate 1, The Showroom (London, UK), 2019.