Pieter Hugo

Life and work

Hugo was born 1976 in Johannesburg, South Africa. After working in the film industry in Cape Town, he spent a two-year residency at Fabrica research centre, Treviso, Italy.

Hugo's photography deals with "marginalized or unusual groups of people: honey gatherers in Ghana, Nigerian gang members who bring hyenas or baboons on their rounds to collect debts, Boy Scouts in Liberia, taxi washers in Durban, judges in Botswana". Explaining his interest in the marginal he has said, "My homeland is Africa, but I'm white. I feel African, whatever that means, but if you ask anyone in South Africa if I'm African, they will almost certainly say no. I don't fit into the social topography of my country and that certainly fueled why I became a photographer."

Hugo's first major work Looking Aside (2006) is portraits of people "whose appearance makes us look aside" – the blind, people with albinism, the aged, his family and himself. Each man, woman and child poses in a sterile studio setting, under crisp light against a blank background. 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." Hugo's most recognized work is The Hyena & Other Men (2007), which has received a great deal of attention. His series Messina/Mussina (2007) was made in the town of Musina on the border between Zimbabwe and South Africa, after Colors magazine asked Hugo to work on an AIDS story. Nollywood (2009) consists of pictures of the Nigerian film industry. For Permanent Error (2011) Hugo photographed the people and landscape of an expansive dump of obsolete technology in Ghana. Sean O'Toole writes "if Nollywood was playfully over-the-top, a smart riposte to accusations of freakishness and racism levelled at his photography..., Permanent Error marks Hugo’s return to a less self-reflexive mode of practice."

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". In 2015 he directed the music video for "Dirty", a song by controversial South African musical artists Dookoom.

In the Spring of 2014, Hugo was commissioned by Creative Court to work in Rwanda for its "Rwanda 20 Years: Portraits of Forgiveness" project. 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.

In 2016 Hugo collaborated with Hood By Air on a publication.

Publications by Hugo

Publications with contributions by Hugo

Awards

Critical reception

While receiving a lot of 'critical bouquets', Hugo has also been accused of sensationalising and exploiting the exotic "other". Hugo responds, "My intentions are in no way malignant, yet somehow people pick it up in that way. I've travelled through Africa, I know it, but at the same time I'm not really part of it... I can't claim to [have] an authentic voice, but I can claim to have an honest one."

Figures and Fictions exhibition co-curator Tamar Garb is ambivalent about the ethical questions his work poses: "Some people feel his work perpetuates an image of Africa as a space of abject poverty and of theatrical display for a Western art market – but he genuinely engages with the places he works in and questions the means of his own representation."

In "The Photography of Pieter Hugo" in Aperture Magazine, Bronwyn Law-Viljoen says: "The novelist John Fowles observes, in an essay on The French Lieutenant's Woman, that 'All human modes of description (photographic, mathematical…) are metaphorical. Even the most precise scientific description of an object or a movement is a tissue of metaphors.' "Hugo understands that a photographic metaphor, a way of describing something through reference to something else, is created as much by the elements inside the frame of the image itself as by the carefully chosen distance, what I have called the critical zone, from the photographer’s lens to his subject. It is within this zone that Hugo "maneuvers through the muddy waters of political engagement, documentary responsibility, and the relationship of these to his own aesthetic."

Solo exhibitions

Group exhibitions