Title: Pinky Pinky (Ronaldo)
Medium: Six colour lithograph
Size: 15" x 19.5"
Edition size: 40
In Renaldo the World Cup and soccer is used as a way of conveying some of the facets represented by Pinky Pinky.
In the Pinky Pinky series of hand printed lithographs Penny Siopis explores the psychological and mythical terrain of South African teenage girls. Pinky Pinky is a ''mythical" figure that makes himself known to prepubescent and pubescent girls in the largely Black townships and schools of South Africa. He tends to be an urban creature but has put in an appearance in rural areas.
Pinky Pinky haunts toilets, mostly public toilets, and places where teenage girls find themselves alone. He molests girls and has been accused of rape. Pinky Pinky is a very real figure for many girls and embodies the fears and anxieties that girl's face as their bodies develop and their social standing changes. He can also be seen as a figure that has grown out of the neurosis that can develop in a society that experiences such change and tension as is found in Southern Africa. It is also a society in which rape and the abuse of women and children are extremely high.
Pinky Pinky plays a pretty good game of hide and seek, taking advantage of adolescent angst made all the more complex by growing up in a society wracked by violence and uncertainty. Pinky Pinky takes full advantage of sensitivity to change and as such is horrific as its violence is created from our own imaginings and prejudices.
Pinky Pinky is a figure that does not get discussed much by adults and is virtually unknown of in White society and yet he permeates the reality of many South Africans. Penny Siopis chose to work with this as a theme in the prints that she did at The Artists' Press.
Penny Siopis / Pinky Pinky (Ronaldo)
Penny Siopis was born in 1953 in Vryburg, South Africa, and lives in Cape Town. She has an MFA from Rhodes University, Grahamstown (1976), and is an Honorary Professor at Michaelis School of Fine Art, University of Cape Town.
Siopis’s abiding interest in what she calls the ‘poetics of vulnerability’ — manifest in a tension between materiality and image — coalesces with her explorations of history, sexuality, race, memory,estrangement and violence in her paintings, installations and films.
Solo exhibitions include Incarnations, at the Institute of Contemporary Art Indian Ocean, Port Louis, Mauritius (2016); Penny Siopis: Films at the Erg Gallery, Brussels (2016); Time and Again: A Retrospective Exhibition at the South African National Gallery, Cape Town (2014) and Wits Art Museum, Johannesburg (2015); Red: The iconography of colour in the work of Penny Siopis at the KZNSA Gallery, Durban (2009), and Three Essays on Shame at the Freud Museum, London (2005), in addition to Stevenson Cape Town and Johannesburg.
Notable group shows include:
Unfinished Conversations at the Beirut Art Center (2015); Boundary Objects at the Kunsthaus Dresden (2015); After Eden/Après Eden - The Walther Collection at La Maison Rouge, Paris (2015); Public Intimacy: Art and Other Ordinary Acts in South Africa at the Yerba Buena Center for the Arts, San Francisco (2014); Prism: Drawing from 1990-2011, Museum of Contemporary Art, Oslo (2012); Appropriated Landscapes, Walther Collection, Neu Ulm/Burlafingen,Germany (2011); PEEKABOO - Current South Africa, Tennis Palace Art Museum, Helsinki (2010); Black Womanhood: Images, Icons and Ideologies of the African Body, Hood Museum, New Hampshire; Davis Museum, Wellesley, Massachusetts, and the San Diego Museum of Art, California (2008), as well as the biennales of Taipei (2016), Venice (South African Pavilion 2013, and 2003), Sydney (2010), Johannesburg (1995 and 1997), Gwangju (1997) and Havana (1995).