Penny Siopis

**Penny Siopis** (an haife ta a 5 Fabrairu 1953) yar wasan Afirka ta Kudu ce daga Cape Town . An haife ta ne a Vryburg da ke lardin Arewa maso Yamma daga iyayen Girka da suka ƙaura bayan sun gaji gidan burodi daga kakan Siopis. Siopis ta yi karatun Fine Arts a Jami’ar Rhodes da ke Makhanda, inda ta kammala digirinta na biyu a shekarar 1976, inda ta cigaba da karatun digiri na biyu a Polytechnic Portsmouth da ke Burtaniya. Ta koyar da Fine Arts a Technikon Natal a Durban daga shekarar 1980 zuwa 1983. A cikin shekarar 1984 ta fara karatun digiri a Jami'ar Witwatersrand a Johannesburg. A wannan lokacin ta kuma ziyarci jami'ar bincike a Jami'ar Leeds (1992 &#x2013; 93) da kuma farfesa mai ziyara a fannin fasaha a Jami'ar Umeå a Sweden (2000) a matsayin wani ɓangare na musayar tsaka-tsaki. Tare da digiri na girmamawa daga Jami'ar Rhodes, Makhanda - Siopis a halin yanzu farfesa ne mai daraja a Makarantar Michaelis na Fine Art, Jami'ar Cape Town . 

## Shekarun farko
Ta yi suna a farkon shekarun 1980 tare da zane-zanen 'cake' dinta, wanda a zahiri ya kebanta kyawawan dabi'un mata a saman fenti mai kauri na impasto. Wadannan ayyukan sun biyo bayan 'zane-zane na tarihi' nata, wanda aka fassara a matsayin nau'i na tsayin daka da wariyar launin fata.  Ayyukanta na tsaka-tsakin tun lokacin da aka sami 'yancin kai na ƙasarta sun bincika tsayin daka da raunin ƙwaƙwalwar ajiya, ra'ayi na gaskiya da haɗa₦₦un abubuwan da ke tattare da tarihin mutum da na gama kai. Gwaji tare da kayan aiki da yawa da matakai, ta yi tunani game da siyasar jiki, baƙin ciki da kunya, ƙetare, ƙaura da kuma kwanan nan dangantaka tsakanin ɗan adam da ɗan adam a cikin yanayin canjin yanayi.  Duk bincikenta yana tabbatar da abin duniya da tsari a matsayin wanda ba zai iya rabuwa da ra'ayi ba, tare da halayenta na amfani da abubuwan da suka dace da kuma hanyoyin da za'a iya amfani da su don zama alamar sha'awarta ga 'kasidun raunin rauni'.  Griselda Pollock ta ce, "Penny Siopis ɗaya ne daga cikin ƴan wasan fasaha a duniya a yau waɗanda za su iya saƙa yanar gizo na alamomi, motsin rai, muryoyi, kalmomi, gano abubuwa da fentin fentin don haɗa manyan rukunan tarihi tare da zaren raunin ɗan adam". 

## Aiki
Siopis ya kafa kanta a matsayin ɗaya daga cikin masu fasaha mafi kwarewa da kalubale a Afirka ta Kudu da kuma bayan,  ta hanyar yin aiki a kan zane-zane, shigarwa da fim, tare da haɗuwa da nassoshi daban-daban da kayan aiki a hanyoyi da ke damun iyakokin horo da binaries.

Tunanin lokaci yana gudana cikin dukkan ayyukanta sau da yawa yana bayyana a cikin ainihin canje-canjen jiki na kayanta; a farkon zanen cake ɗinta an sanya fentin mai ya zama abin da bai dace ba saboda nauyi, shekaru da lalata; a cikin fina-finanta ta yin amfani da lokacin hotunan kayan tarihi an yi alama sosai da tasirin shekaru akan celluloid kamar lokacin tarihin da aka kama a cikin share kyamara; A cikin tarin abubuwan da ta samu a cikin kayan aikinta, ra'ayoyin gadon sun fito a gaba tare da aikinta mai gudana *Will (1997 - )* - wanda ta ba da wasiyyar abubuwa ga masu cin gajiyar - kasancewar lokaci na ƙarshe ya zama cikakke a lokacin mutuwarta;  manne da zanen tawada index jujjuyawar yayin da suke yin rikodin canjin kayan da ke faruwa lokacin da mannen manne da ɗanƙoƙi ya amsa da pigment, nauyi, motsin jikin mai zane, da bushewar iska.

Siopis na ganin aikinta na fasaha a matsayin 'buɗaɗɗen sigar', tana aiki azaman ƙirar ƙima wacce za'a iya fitar da sauye-sauyen zahiri na kayanta zuwa babban ɗa'a na canji na sirri da na siyasa. A cewar Achille Mbembe wannan ingancin yana nuna sha'awarta game da aiwatarwa a matsayin madawwamin yanayin zama kuma ya haɗa da "ƙirƙirar alaƙar da ba ta da ƙarfi tsakanin tsari da rashin tsari, a cikin fahimtar cewa hanyar samun kuɗi ta hanyoyin da kusan koyaushe ba a iya faɗi ba kuma a wasu lokuta na haɗari" 

### Zane-zane
*"Tun daga farko, halinta game da zane-zane ya kasance mai zamani da zamani a lokaci guda a cikin rashin girmamawa ga tsarkin ayyukan ƙirƙire-ƙirƙire da na zahiri."* 

#### Zane-zanen cake
Tsakanin shekarar 1980 zuwa 1984 Siopis ta haɓaka zane-zanen 'cake' dinta. Yin amfani da kayan aikin da ba na al'ada ba kamar bututun da sauran kayan adon kek don sanya babban taimako na zane-zane na impasto Siopis ta binciko ingancin fentin mai, yuwuwar sa a matsayin abu da haɗin gwiwa tare da alamun gargajiya na jikin mace. Wurin da ya wuce kima na impasto yana canzawa akan lokaci tare da bangon waje na bushewa tun kafin ciki, yana haifar da farfajiyar zuwa wrinkle da fashe. Wannan ya zama misali ga duk ainihin tasirin lokaci da yanayi a jiki. Siopis ya ƙalubalanci ƙa'idodin yammacin duniya na tunanin nama da kyau na mace.  Yayin da jikin mace shine babban abin da aka fi mayar da hankali akan waɗannan ayyuka, haɗin gwiwa tare da abinci da lalata suna sharhi game da manyan labarun zamantakewa na lalata waɗanda aka haɓaka a cikin zane-zanen da ke biyo baya. Yin aiki tare da abubuwan rayuwa tare da ka'idodin mata Siopis ya bayyana yadda ta *"na da sha'awar yin aiki a cikin sararin samaniya kuma yayin da nake aiki kayan abu ya zama abu mai mahimmanci"* 

#### Hotunan tarihi
Tsakanin shekarar 1985 zuwa 1995 Penny Siopis ta samar da wani nau'in aikin da ake kira 'zane-zane na tarihi'.  Ko da yake sha'awarta game da kayan fenti da gwajin ta da wannan matsakaici ba ta daina ba, ayyukan da aka yi a wannan lokacin sun bambanta ta hanyoyi masu mahimmanci daga zane-zane 'cake'. An riga an yi alamar canjin canji a cikin *Rayuwarta ta Har yanzu tare da kankana da sauran Abubuwa* (1985); ya ma fi bayyana a fili a *Melancholia* (1986). Gabatar da hangen nesa na mulkin mallaka a cikin raguwa, abin da ke faruwa a Melancholia duka biyun vanitas ne da zanen tarihi. Ya haɗu da alamomin manyan al'adun Turai da nassoshi ga Afirka, dukansu suna taruwa a matsayin tarkacen tarihi a cikin sararin samaniya wanda ke nuna wuce gona da iri, lalacewa da rashin jin daɗi. A da ana kallon nau'in zanen tarihi a matsayin mafi girman nasarar da aka samu a al'adar tarihi ta fasahar Turai. Tambayoyin da Siopis ya yi game da sifarsa da akidarsa ya bayyana a irin waɗannan ayyuka kamar *Haƙuri akan abin tunawa: 'A History Painting*' (1988).

A cikin ayyukan tarihi ta gabatar da dabarun haɗin gwiwa da haɗakarwa a matsayin wata hanya ta tarwatsa hoto kai tsaye da kuma kawo nassoshi game da wakilcin tarihin mulkin mallaka da aka kawo 'yan Afirka ta Kudu ta hanyar littattafan tarihi. Wadannan fasahohin kuma sun ba ta damar sanya ma'anar abubuwa a matsayin alamar tarihi a nasu dama. Ta hanyar gabatar da abubuwa da hotuna da aka gano ayyukanta sun kalubalanci tsarin da ba a iya gani amma masu karfi a cikin tsarin akidar wariyar launin fata a daidai lokacin da takaddamar siyasa ta yi kamari a kasar.    .

Zane-zane tare da nuni ga abubuwan tarihi

#### Pinky Pinky
Jerin shekarun 2001–2004 shine hangen nesa na wani almara na birni na Afirka ta Kudu Pinky Pinky. Matakan halitta na hadewar sifofin. Rabin mutum, rabin dabba, halitta mai jinsi guda biyu na kabilanci mara iyaka, Pinky Pinky tana farautar yara 'yan makaranta a bandaki kuma tana barazanar 'yan mata sanye da rigar ruwan hoda. Siopis ta fara bincike na sirri na Pinky Pinky, kuma bisa ga bayanan maganganun da yaran makaranta ta yi hira da su a kan batun, ta samar da sifofi na gani na wannan nau'in nau'in nau'in nau'in tsari wanda ba shi da kwanciyar hankali. Ci gaba da aiki a cikin sarrafa fenti da tsari don kwaikwayi fata da nama, Siopis yana ba da damar fenti ya tsaya a matsayin abin da ba a iya magana ba. Located in Freudian theory and Lacan's 'ainihin', Siopis ya binciko ikon 'yan adam na yin aiki-ta hanyar tunanin mutum wanda ya wuce harshe ta hanyar aiwatar da abubuwan da ba za ku iya yi a rayuwa ta ainihi ba, uwa da cikin almara, labari da fantasy.     .

A cikin ganinta na Pinky Pinky, Siopis ta sanya kayan aikin gyaran jikin mutum iri-iri a cikin ruwan hoda, fenti na jiki - sassan jikin filastik kamar idanu da lashes na karya; hakora da kusoshi. A cikin waɗannan 'ban tsoro na karya', Siopis yana bawa masu kallo damar jin alaƙa da nisanta da nasu fargaba.  A cikin wata hira da Sipho Mdanda na shekarar 2004, Siopis ya rubuta yadda "Yawancin waɗannan kayan aikin prosthetics sune "al'ada" launi na jiki, wani nau'in ruwan hoda mai datti. Akwai baƙin ciki a nan, kamar yadda launin nama ba kawai nau'i ne na launi ba, amma ba kome ba ne fiye da ra'ayin yammacin yamma wanda fari (ruwan hoda) ya zama launi na duniya ga nama.  Jerin yana binciken labarun sirri da na jama'a game da tsoro da rauni a Afirka ta Kudu. Misali ne na tsananin fargabar al'umma dangane da al'amuran talauci, kyamar baki, launin fata, da kuma laifuka a daidai lokacin da aka samu tsattsauran ra'ayi na zamantakewa da rashin tabbas bayan shekarar 1994.

Jihohin Siopis : "Kamar yadda Pinky Pinky ya kasance mai aikata ta'addanci, shi ma yana da alama wanda aka azabtar da shi, kuma ya zama wanda aka azabtar da shi, tashin hankali, ayyuka marasa kyau - ginanniyar 'wani abu' don zargi ga matsalolin zamantakewa." 

#### Zanen kunya
Siopis ya samar da zane-zanen Abin kunya tsakanin shekarar 2002 da 2005 a sakamakon Hukumar Gaskiya da Sasantawa ta Afirka ta Kudu  yayin da yake binciko yanayin kunya da tunanin jama'a. Jerin zane-zane masu haɗe-haɗe-halayen ƙwaƙƙwaran mai zane-zane na kauri,gel ɗin lacquer gel wanda aka yi amfani da shi a cikin sana'ar gida don ƙirƙirar gilashin tabo da tasirin madubi masu launi akan saman. Shirye-shiryen roba mai hatimin saƙon da ke cikin zane-zane yana nuna rawar harshe da yanayin 'marasa magana' na jin da ke cikin aikin zanen.

Ayyukan daga jerin an fara nuna su a cikin shekarar 2003 a nune-nunen solo a Johannesburg da Athens. A cikin shekarar 2005 zane-zanen Kunya ya zama muhimmin fasalin shigarwar kafofin watsa labarai da yawa na Siopis mai taken Rubuce-rubuce Uku akan Kunya a gidan kayan gargajiya na Sigmund Freud, sau ɗaya gidansa, a London[8.33]. Da yake amsawa ga littafin Freud Essays Uku akan ƙa'idar Jima'i, wanda aikin na shekarar 2005 ya nuna shekaru ɗari, Siopis' Shame shigarwa "ya danganta al'amurran jima'i da kunya ga tarihin mummunan tarihin ƙasarta".  Ta hanyar shigar da nassoshi (rakodin murya da abubuwa) cikin sararin samaniya, aikin ya haifar da tattaunawa tsakanin ra'ayoyin Freud da kuma abubuwan da suka shafi mutum daban-daban a yayin gudanar da shari'ar Hukumar Gaskiya da Sasantawa ta Afirka ta Kudu, ta ɗaure alamun raunin ɗan adam da tasirin ban mamaki na share tarihin tarihi. Ya ƙunshi sassa uku da ke cikin binciken Freud, ɗakin cin abinci da ɗakin kwana, an canza ɗakuna don nuna kayan aikin Siopis mai taken Murya, Motsawa da Ƙwaƙwalwar Ƙwaƙwalwa - ɗan ƙaramin zanen da aka sanya a kusa da gadon mutuwar Freud.

A matsayin wani ɓangare na *Red: Iconography of Color in Work of Penny Siopis* a cikin shekarar 2009, an nuna zane-zane 90 daga jerin a KZNSA Gallery a Durban. Daga baya an haɗa zane-zanen Abin kunya a cikin nunin Siopis na shekarar 2014 na baya-bayan nan Time and Again, tare da sanya zane-zanen azaman grid a babban gidan wasan kwaikwayo na Afirka ta Kudu a Cape Town, da Gidan kayan tarihi na Wits a Johannesburg. A lokacin nunin kan layi na baya-bayan nan don Art Basel: Majagaba, an baje kolin shigarwa na zane-zanen Abin kunya a Stevenson, Cape Town a cikin shekarar 2021  tare da sabon fim ɗinta na baya-bayan nan mai suna *Shadow Shame Again*, yana nuna alaƙa da cin zarafi na jinsi a Afirka ta Kudu da ma duniya baki ɗaya tare da shekaru na aiki kan batun kunya. Daga cikin wannan baje kolin na baya-bayan nan, Pumla Dineo-Gqola ya rubuta yadda "Hotunan, kiɗa da tafawa a cikin fim ɗin, kamar zane-zane masu hankali da aka shirya a matsayin frieze, suna haifar da ma'ana tare, game da samar da tashin hankali na kunya, da kuma game da jinsi, jinsi da ma'anoni na tarihi". 

#### Zanen tawada da manne
A cikin shekaru 15 da suka gabata Penny Siopis ta kasance tana ba da sha'awarta game da abin duniya, dama da kuma abubuwan da za su iya; tsari da rashin tsari a cikin gwaje-gwaje tare da matsakaicin matsakaici na manne itace da tawada mara kyau. Ta nuna kwayoyin halitta suna raye, ƙirƙirar tsarin ruwa wanda matsakaicin shine wakili mai aiki a cikin yin aikin.  

Wannan tsari ya haɗa da haɗa tawada da manne kuma wani lokacin ruwa ta hanyar zub da manne a kan zane wanda sai a motsa don daidaita magudanar ruwa.  Bayar da kayan aiki don "haɗuwa, juyawa da daidaitawa cikin alamu da siffofi; mai zane-zane ya amsa hoton da ba a iya ganewa ba wanda ya fara ɗaukar siffar *"ƙarfafa" ci gaban su, kuma wani lokacin zaɓar kada ya shiga tsakani.*  Siopis ya rubuta game da 'hukumar bayyananniyar' itace manne - wani abu na canji - fari, danko da ruwa, yana canzawa zuwa wuri mai wuya, m. Matsakaici na wanda ba ɗan adam ba tare da ikon canza yanayinsa da launi bisa ga ƙarfin da ke kewaye da shi, Siopis yana bincika 'rayuwa' na matsakaicin matsakaici. 

*"Na yi imani cewa gamuwa da abubuwa masu rai na iya ladabtar da tunanina na ƙwaƙƙwaran ɗan adam, da haskaka abubuwan gama gari na duk abin da ke tattare da shi, fallasa yawan rarraba hukuma da sake fasalin kai da muradunta"* 

Halin da ba shi da tsari wanda saman ke nunawa yana ba ɗan adam faffadan fa'ida don haɗin kai. Ana gayyatar masu kallo don yin amfani da nasu hukumar wajen ƙirƙira hoto daga ragowar kayan da ke saman. A cikin wannan tsari ana iya kunna canji na mutum, kuma tsarin manne da tawada ya zama hanya ta zahiri ta tunani game da babban canji na zamantakewa [ayyukan kayan aiki]. Mbembe ya rubuta, "Al'amari yana ba da damar rayuwa. Yana kuma dagula rayuwa. Yana buɗewa zuwa zurfin fahimtar ɗan adam a matsayin ɗaya daga cikin nau'o'in nau'in nau'i." 

Bayan wasan kwaikwayo na solo na 2009 'Paintings' a Stevenson Gallery, Siopis ya haɓaka matsakaicin gaba tare da abubuwan da aka samo - wanda aka gani a cikin 2017 solo show mai taken *Restless Republic* .  A cikin wannan shekarar mai zanen ta yi aiki a wurin zama a Cibiyar Maitland akan wani aiki mai suna *Buɗe Form/Open Studio*  inda ta ci gaba da bincikenta tare da manne da tawada akan manyan zane-zane kuma ta gayyaci jama'a zuwa sararin samaniya don shiga cikin tsarinta. Don nunin solo ɗinta na *Dumi Ruwa Imaginaries*  a cikin 2019, Siopis ya haɗa matsakaici tare da fenti mai a cikin shigar da ƙananan zane-zane 90 akan takarda tare da ɗaki na taron abubuwa mai taken *Tentacular Time*  da kuma yin fim ɗinta mai suna *She Breathes Water* .  Siopis ya yi amfani da hanyoyi daban-daban na yin don mayar da martani ga ɗimbin tarihin sauyin yanayi da rikitaccen yanayin ƙasa da zamantakewa.  An nuna cikakken fim ɗin kwanan nan tare da jerin manne na *Atlas* nata, tawada da zanen mai akan takarda a cikin Siopis' 2021 solo show *In the Air * a Stevenson, Amsterdam wanda ya kara bincika jigogi na yanayi da cutar ta Covid-19.

### Shigarwa
Ayyukan shigarwa na Penny Siopis sun ƙunshi tarin abubuwan da aka zana daga tarin masu fasaha da aka sanya a cikin nau'i daban-daban. "A koyaushe ina sha'awar abubuwa a matsayin masu ɗaukar ma'anoni fiye da kansu," Siopis ya rubuta, "su ne alamun lokaci na jiki, na rayuwar mutane da tarihin zamantakewa".  Abubuwan suna ƙaura daga wannan shigarwa zuwa wani, "kamar tarihin, wanda nake amfani da shi kamar yadda nake amfani da fim ... fasaha ce ta gaske. Abubuwan da aka sauke kuma su sake zama kamar fenti". 

*Charmed Lives*, wani aikin shigarwa da aka ƙirƙira don nunin Muryar 'Yanci a Gidan Tarihi na Fasaha na Afirka a New York a 1999 sananne ne a cikin ayyukan Siopis a cikin wannan nau'in, ya zama samfuri don ƙarin shigarwa.  Yawancin abubuwan da ke cikin wannan shigarwa suna cike da motsin rai wanda mai zane da masu kallo ke ba su suna bayyana nau'i-nau'i daban-daban a cikin mafi girman tunanin daga na sirri, zamantakewa da kuma tarihin fasaha, suna yin tambayoyi game da yanayin tarihin da kuma ainihin gaskiya na tarihin tarihi. Juyin halitta akai-akai na shigarwa da ma'anar da aka yi daga gare su suna aiki azaman ƙarfin haɓakawa a cikin aikin Siopis. "Wani abu yana kusa kusa da wani ko kuma ya faɗi akan wani, yana haifar da dangantaka marar iyaka. Ba su da iyaka waɗannan ƙananan dangantaka tsakanin abubuwa da abubuwa da sarari," in ji Siopis. 

*Will (1997 –)* wani shigarwa ne wanda ya ƙunshi abubuwan da mai zanen ya keɓance daga tarin tarinta kuma ya yi wasici ga daidaikun mutane a duk faɗin duniya. Aiki na tarihin rayuwa, wannan tarin musamman yana aiki azaman ma'ajin tarihi da kayan tarihi na sirri da na gama gari. "Gwargwadon za ta narke kuma gutsuttsura sun watse. Za a harbe su cikin sabuwar duniya ... Bayar da kanta tana nuna motsin ɗan adam wanda a cikin raina ya zama wani ɓangare na shigarwa". 

Jennifer Law ya rubuta game da wannan shigarwa da kuma yadda yake neman "kafa da kula da dangantaka tsakanin zamani da sararin samaniya".  Kamar yadda duka fasaha da gado, Doka ta rubuta "Sopis's Will shine mafi kyawun lokaci ... Za mu iya duba baya kan tsarin rayuwa kuma mu gane batun kamar yadda aka yi ta tattaunawa, 'a matsayin aikin, wani abu da za a gina  . 

### Bidiyo/Fim
Siopis ta fara aiki tare da fim a 1994 tare da fim ɗinta *Per Kind Permission: Fieldwork* . Duk da haka, a cikin 1997 Siopis ya sami kyautar ta a cikin yin fim ta hanyar aikin *My Lovely Day* . Ta ci gaba da yin aiki tare da fim a duk lokacin aikinta kuma ta bayyana bidiyon a matsayin montages, yanke-da-manna hotuna waɗanda ke motsawa kuma suna bayyana akan lokaci. Haɗe da rubutu da kiɗa, fim yana ba da dama mai ban mamaki don ba da labari.

A cikin *Ƙaunar Rana ta* Siopis ta yanke jerin jerin fina-finan gida na mahaifiyarta na mm 8 waɗanda ta ɗauki rayuwar danginsu a cikin 50s zuwa 60s, da ƙarin abubuwan da suka faru na jama'a waɗanda aka kama a cikin sharer kyamarar ta. Ta haɗa waɗannan tare da kiɗa da kalmomin da aka tuna da kakarta, wanda aka gabatar a matsayin subtitles. Ta saka labarin zuriya uku na mata, a matsayin wani nau'in ɓacin rai. Labarin ya matsa lokacin tarihi zuwa kwana ɗaya. Lokaci na tarihi da ta ba da labari shi ne wariyar launin fata Afirka ta Kudu, amma abubuwan da ta ambata game da rikice-rikicen zamantakewa da bala'o'i sun kasance a lokutan baya: 'musayar jama'a' biyo bayan rikicin Greco-Turkiyya na 1919-1922, ƙaura mai girma da ya haifar da yaƙe-yaƙe biyu na duniya da farkon ƙaddamar da mulkin mallaka na Afirka.

Fina-finan gidan mahaifiyarta sun jagoranci Siopis zuwa fina-finan gida na baƙo, waɗanda takan samu a kasuwannin ƙulle-ƙulle da shaguna a Afirka ta Kudu da kuma balaguron da take yi a ƙasashen waje. Yanzu tana da babban tarihin fim ɗin da take hakowa akai-akai. Siopis yana ganin fim ɗin a matsayin shirye-shiryen da ya kawo tarihinsa da mahallinsa a cikin wurin. Ta yanke jerin jerin fim ɗin da ta haɗa da rubutun a galibin hanyoyin da za a iya faɗi. Don haka, duk wanda ya gan shi zai siffanta labarin su ma.

Duk faifan bidiyon suna ɗaukar wani labari na musamman daga tarihin Afirka ta Kudu wanda ke da inganci na asali kuma yana magana fiye da yanayin tarihinsa; biyu daga cikinsu, *Obscure White Messenger* (2010) da kuma *The Master is Drowning* (2012), dubi ainihin da yunkurin kisan gillar da aka yi wa firaministan mulkin wariyar launin fata HF Verwoerd. Siopis ta zana hanyoyin adana bayanai daban-daban don gina labarin, kuma ta yi amfani da hanyoyin adireshi daban-daban, amma ta fi son mutum na farko. A cikin *Oscure White Messenger* ta yi amfani da tsarin tambaya da amsa, wanda ta zana daga rahoton likitan mahaukata na hirar da ya yi da Dimitrio Tsafendas, nan da nan bayan kisan. A farkon fim ɗin ba shi da sauƙi a gano wanda ke magana: wanene 'kai' kuma wanene 'Ni'?.

## Solo nune-nunen

## Nunin ƙungiyar da aka zaɓa

## Tari
Ana wakilta aikin mawaƙin a cikin manyan tarin jama'a a Afirka ta Kudu; tarin duniya sun haɗa da Cibiyar Pompidou, Paris; Cibiyar Smithsonian, Washington; Moderna Museet, Stockholm; da Tate, London.

## Kyauta

* 2016 Arts & Culture Trust Kyautar Nasarar Rayuwa, Afirka ta Kudu
* 2015 Helgaard Steyn Prize, Afirka ta Kudu
* 2002 Klein Karoo Nationale Kunsfees: Kyautar Mawallafin Kayayyakin Kayayyakin Kallon, Afirka ta Kudu
* 1995 Vita Art Yanzu, Wanda ya lashe lambar yabo ta Quarterly, Afirka ta Kudu
* 1991 Vita Art Yanzu, Kyautar Kyauta ta Musamman, Afirka ta Kudu
* 1988 Vita Art Yanzu, Wanda ya lashe lambar yabo ta Kwata-kwata, Afirka ta Kudu
* Vita Art Yanzu, Kyautar Kyauta, Afirka ta Kudu
* 1986 Volkskas Atelier Award, Afirka ta Kudu
* 1985 Cape Town Triennial, Kyautar Kyauta, Afirka ta Kudu

## Littafi Mai Tsarki

* Sue Williamson, *Resistance Art in South Africa*. Cape Town: David Philip, 1989.
* Colin Richards, 'For want of (An)Other World', in *Penny Siopis*, Johannesburg: The Artists Press, 1994.
* Clive van den Berg (ed) *Panoramas of Passage: Changing Landscapes of South Africa*, Washington and Johannesburg: Meridian Center and Wits Art Galleries, 1995.
* Okwui Enwezor (ed) *Trade Routes: History and Geography*, Greater Johannesburg Metropolitan Council, 1997.
* Frank Herremen & Mark D'Amato, *Liberated Voices: Contemporary Art from South Africa*, London and New York: Museum for African Art: Prestel, 1999.
* Jennifer A Law, 'The Story Teller: Penny Siopis', in *Liberated Voices: Contemporary Art from South Africa* Frank Herreman (ed), New York: Museum of African Art, New York and Prestel, 1999.
* Brenda Atkinson and Candice Breitz (eds) *Grey Areas: Representation, Identity and Politics in Contemporary South African Art*, Johannesburg: Chalkham Hill Press, 1999.
* Olu Oguibe and Okwui Enwezor, (eds) *Reading the Contemporary: African Art from Theory to the Marketplace*, London: Iniva and MIT Press, 2000.
* Jennifer Law, *Penny Siopis: Sympathetic Magic*. Johannesburg: University of Witswaterstrand, 2002.
* Kathryn Smith (ed) *Penny Siopis*, Johannesburg: Goodman Gallery, 2005.
* Colin Richards, 'Prima Facie: Surface as Depth in the Work of Penny Siopis' in Kathryn Smith (ed) *Penny Siopis*, Johannesburg: Goodman Gallery, 2005.
* Griselda Pollock, 'Painting, Difference and Desire in History: The Work of Penny Siopis 1985–1994' in Kathryn Smith (ed) *Penny Siopis*, Johannesburg: Goodman Gallery, 2005.
* Jennifer Law, *Three Essays on Shame*, London: Freud Museum, 2005.
* Penny Siopis, 'Shame in Three Parts at the Freud Museum' in Claire Pajaczkowska and Ivan Ward (eds), *Shame and Sexuality: Psychoanalysis and Visual Culture*, London: Routledge, 2008.
* Sarah Nuttall, *Entanglement: Literary and Cultural Reflections on Post- Apartheid*, Johannesburg: Wits University Press, 2009.
* Brenton Maart (ed), Red, The Iconography of Colour in the work of Penny Siopis, Durban: KZNSA Gallery, 2009.
* Sarah Nuttall & Penny Siopis, *An Unrecoverable Strangeness: some reflections on selfhood and otherness in South African Art*, Critical Arts 24:3, 2010.
* Colin Richards, 'In Human History: Pasts and Prospects in South African Art today' in Thembinkosi Goniwe, Mario Pisarra (eds), *Visual Century: South African Art in Context 1907–2007*, Vo 4, Johannesburg: Wits University Press, 2011.
* Sue Williamson, *South African Art Now*. New York: HarperCollins, 2011.
* Penny Siopis and Kim Miller, *Whose Afraid of the Crowd*, Catalogue 57. Cape Town: Stevenson, 2011.
* Corinne Diserens, *Appropriated Landscapes: Contemporary African Photography from The Walther Collection*, Göttingen: Steidl, 2011.
* Penny Siopis, 'The Hooks of History – Three Films' in Marie-Hélène Gutberelet, Cara Snyman (eds) *Shoe Shop*, Johannesburg: Jacana Media, 2012.
* Brenton Maart (ed), *Contemporary South African Art and the Archive*, Makhanda: National Arts Festival, 2013.
* Gerrit Oliver (ed), Penny Siopis: *Time and Again*, Wits University Press: Johannesburg, 2014.
* Griselda Pollock, 'Remembering Three Essays on Shame, Penny Siopis, Freud Museum, London 2005' in Gerrit Oliver (ed), *Penny Siopis: Time and Again*, Wits University Press: Johannesburg, 2014.
* Penny Siopis, *Grief*, Stevenson: Cape Town, 2016.
* Penny Siopis, *Shame*, Stevenson: Cape Town, 2016.
* Penny Siopis, *Material Acts* , Stevenson: Cape Town, 2019.
* Karen Milbourne, *I Am...Contemporary Women Artists of Africa*, Washington DC: Smithsonian National Museum of African Art, 2019.

## Manazarta

## Hanyoyin haɗi na waje

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