The Whitechapel Gallery, Collezione Maramotti and Max Mara have announced the five shortlisted artists for the ninth edition of the Max Mara Art Prize for Women: Rebecca Bellantoni, Bhajan Hunjan, Onyeka Igwe, Zinzi Minott and Dominique White.
This weekend the artists travelled to Collezione Maramotti in Reggio Emilia, Italy, for the announcement as well as to celebrate the opening of the significant artwork The Age/L’Età, by the eighth winner of the Prize, Emma Talbot. The Age/L’Età tours from the Whitechapel Gallery, where it was unveiled this summer.
Artists were shortlisted by a judging panel consisting of gallerist Rozsa Farkas, artist Claudette Johnson, writer Derica Shields and collector Maria Sukkar. Typically hosted by Whitechapel Gallery’s Director, the 2022-24 edition jury was chaired by the Prize’s guest curator Bina von Stauffenberg. The winner will be announced in Spring 2023.
The Max Mara Art Prize for Women, in collaboration with Whitechapel Gallery, is a biannual award established in 2005. It is the only visual art prize of its kind and aims to promote and support artists identifying as women based in the U.K., enabling them to develop their potential with the gift of time and space. The winner is awarded a six-month Italian residency tailored to fit the Artist and her winning proposal for the Prize. During the residency, which Collezione Maramotti organises, the Artist has the opportunity to realise an ambitious new project presented in major solo exhibitions at the Whitechapel Gallery in London, UK and at Collezione Maramotti in Reggio Emilia, Italy, which then acquires it.
On behalf of the judging panel, Bina von Stauffenberg, chair of the Max Mara Art Prize for Women jury, said: “Today, as women’s rights continue to be challenged, it could not be more urgent or relevant to ensure that women artists are championed, and heard on the world stage. For more than a decade, this unique Prize has successfully enabled women-identifying artists at different stages of their careers to develop their potential in extraordinary ways. Through a six-month Italian residency and the resources to create a major new commission, it offers critical time, space and support.”
The shortlisted artists for the Max Mara Art Prize for Women 2022-24
Rebecca Bellantoni (b.1981)
Rebecca Bellantoni is a London-based artist who draws from everyday occurrences and abstracts them. Investigating, through the layered lens of Black women’s writing (fiction and nonfiction), metaphysics, comparative theology, philosophy, religion and spirituality and their aesthetics of them; she gently prises apart the concept of the accepted/expected ‘real’ and the experiential ‘real’; looking at how these removed borders may offer meditative experiences and portals to self, collective reasoning and healing thought and action.
Bellantoni’s current research and making project C.R.Y.: Concrete Regenerative Yearnings, think about the city, its multiple worlds, and its materials (industrial and natural), about the psyche, soul and body of the city dweller. Her research is inspired by Katherine McKittrick’s idea of Black women’s geography, created through the negotiations of space, place and lived experience and Edouard Glissant’s writing on the role of the landscape and built environment on the psyche and cultural production of a colonised people. Her practice is wide-ranging and encompasses moving images, installation, performance, photography, textiles, printmaking, sculpture, sound-text and ceramics.
Recent works have been presented at/with In the house of my love, Brent Biennial (London, UK, 2022); Frieze lives (London, UK, 2021); Aggregates, Ausstellungsraum Klingental (Basel, Switzerland,2021); Coalition of Care, PUBLICs (Helsinki, Finland, 2019); La Manutention, Palais de Tokyo (Paris, France, 2019; in collaboration with Rowdy S.S.).
Bhajan Hunjan (b. 1956)
Bhajan Hunjan arrived in the U.K. to train as a painter and printmaker. After graduation from Reading University and the Slade School of Art, became associated with the politics and figurative work of the emerging Black British Art Movement. Since then, she has developed a very individual visual language of free-floating lines, symbolic colours and shapes, repetition and script motifs that draw upon both her Sikh heritage and fine art abstraction to encourage viewers to reflect on social, spiritual and emotional environments.
Hunjan works extensively on public art commissions, often in concrete, metal and stone. These are always created through community consultation for site-specific spaces and often in collaboration with other artists and local women’s groups. Significant external projects include St Paul’s Way (Tower Hamlets, London, UK, 2012), the Town Square (Slough, UK, 2008), and Peepul Centre Floorscape (Leicester, U.K., 2005). Recent projects include an installation inside the Exbury Egg (2021), made during her stay in Thamesmead as part of the Bow Arts Artists community in Thamesmead. She is also a committed artist educator working with young people and families to create site-specific temporary and permanent installations.
Bhajan is Artist in Residence on the Maria Lucia Cattani Project and Runnymede Explore/Stories Project with the National Trust.
Onyeka Igwe (b. 1986)
Onyeka Igwe is an artist and researcher working between cinema and installation, born and based in London, UK. Through her work, Igwe is animated by the question ‘how do we live together?’ with a particular interest in how the sensory, spatial and non-canonical ways of knowing can answer this question. She uses embodiment, archives, narration and text to create structural ‘figure-of-eights’, a form that exposes a multiplicity of narratives.
Igwe’s works have been shown in the U.K. and internationally at film festivals and galleries. Solo exhibitions include The Miracle on George Green, The High Line (New York, U.S.A., 2022); a so-called archive, LUX (London, UK, 2021); THE REAL STORY IS WHAT’S IN THAT ROOM, Mercer Union (Toronto, Canada, 2021); There Were Two Brothers, Jerwood Arts (London, UK, 2019) and Corrections, with Aliya Pabani, Trinity Square Video (Toronto, Canada, 2018). Recent group exhibitions include Echoes, Haus der Kunst (Munich, Germany, 2022); Reconfigured, Timothy Taylor (New York, U.S.A., 2021); Archives of Resistance, Neue Galerie (Innsbruck, Austria, 2021); New Labor Movements, McEvoy Foundation for the Arts (San Francisco, U.S.A., 2021), and Production Series, K.W. Institute for Contemporary Art (Berlin, Germany, 2020).
The Artist has forthcoming commissions with The Common Guild, FLAMIN Productions and is collaborating with Huw Lemmey on his exhibition at Studio Voltaire, London. In addition, she was awarded the New Cinema Award at Berwick Film and Media Arts Festival in 2019 (U.K.), the 2020 Arts Foundation Fellowship Award for Experimental Film (U.K.), the 2021 Foundwork Artist Prize (U.S.A.) and has been nominated for the 2022 Jarman Award (U.K.).
Zinzi Minott (b.1986)
Zinzi Minott’s work focuses on the relationship between dance, bodies and politics. Minott explores how dance is perceived through the prisms of race, queer culture, gender and class. She is specifically interested in place of Black women’s body within the form.
As a dancer and filmmaker, she seeks to complicate the boundaries of dance, seeing her live performance, filmic explorations, prints and objects as different but connected manifestations of dance and body-based outcomes and modes of inquiry.
Minott is interested in ideas of broken narrative, disturbed lineage, and how the use of the glitch can help us to consider notions of racism one experiences through the span of Black life. She is specifically interested in telling Caribbean stories and highlighting the histories of those enslaved during The Atlantic Slave Trade and the resulting migration of the Windrush Generation.
She is a Laban alumnus, the first dancer to be Artist in residence at both Serpentine Gallery (London, UK, 2018) and Tate (London, UK, 2017), respectively. She received The Continuous commission for 2020-2022 (U.K.), The Jerwood Live Work Award in 2020 (U.K.), and won The Adrian Howells Award for 2019/2020 (U.K.). She was recently nominated for the Live Art- Shortlist LIVE 2022 (Finland).
Dominique White (b. 1993)
Dominique White weaves the theories of Black Subjectivity, Afro-pessimism and Hydrarchy with the nautical myths of Black Diaspora into a term she defines as the Shipwreck(ed), a reflexive verb and state of being. White’s sculptures, or beacons, prophesy the emergence of the Stateless; “a [Black] future that hasn’t yet happened, but must.” (Campt 2017 in Yussof 2018).
White lives between Marseille and Essex and she often works nomadically. Recent solo exhibitions and presentations include Statements, ArtBasel (Basel, Switzerland, 2022); The Cinders of the Wreck, Triangle (Astérides, Marseille, France, 2022); Hydra Decapita, VEDA (Florence, Italy, 2021-2022); and Blackness in Democracy’s Graveyard, U.K.S. (Oslo, Norway, 2021). Recent group exhibitions include Afterimage at MAXXI L’Aquila (Italy, L’Aquila, 2022-2023); Love at Bold Tendencies (London, UK, 2022); Techno Worlds at Art Quarter Budapest, commissioned by Goethe-Institut (Travelling) (2021-2025).
White was awarded the Roger Pailhas Prize (Art-O-Rama, France) in 2019 in conjunction with her solo presentation with VEDA and received awards from Artangel (U.K.) and the Henry Moore Foundation (U.K.) in 2020. In addition, white was in residency at Sagrada Mercancía (Chile), Triangle France – Astérides (France) and La Becque (Switzerland) in 2020 and 2021.
Top Photo: Clockwise from top left: Rebecca Bellantoni, Bhajan Hunjan, Onyeka Igwe Courtesy Max Mara Art Prize for Women