The Sunday News
ZIMBABWE’S pavilion at the ongoing La Biennale di Venezia 56th International Art Exhibition in Italy, has managed to attract a wide audience with visitors from various parts of the world commending the pieces on show.
Zimbabwe’s exhibition at the international art showcase in Venice, Italy features works of Chikonzero Chazunguza, Gareth Nyandoro and Masimba Hwati.
Deputy curator, Tafadzwa Gwetai said there were a few African countries hence many people flocking to Zimbabwe’s pavilion to get a view of what the continent had to offer in terms of art.
In response to questions emailed to him, Gwetai, who is deputy to Raphael Chikukwa, said there are only four countries from the continent, namely South Africa, Mozambique, Angola and Zimbabwe participating in the biennial.
Zimbabwe’s theme is “Pixels of Ubuntu/Unhu — Exploring the Social and Cultural Identities of the 21st Century”.
The biennial kicked off on 9 May and ends on 22 November.
“The few African countries have managed to attract great interest in works on show at the four pavilions because they are seen to represent the generality of the continent. People want to see the contemporary art from Africa hence they continue flocking to our stand and they have been commending the works on display by our three artists.
“I think they have been able to relate to the artwork because it is contemporary and some of the people coming through also share experiences on the issues being tackled by the works,” he said.
Chazunguza’s pieces marry the past with the present as he depicts older images enveloped in current trends. In “Everyday People” he used photos of Mbuya Nehanda and Sekuru Kaguvi but clothed them in modern wear.
In a talk presented at the National Art Gallery in Bulawayo early last month, Gwetai said Chazunguza’s piece spoke to the current generation that they can also rise up and follow in the yesteryear heroes’ footsteps and make positive change in society.
Writing on artsouthafrica.com art critic Valerie Kabov says of Zimbabwe’s Pavilion; “While the global press is all too often blinded by stereotype and clichés of the Zimbabwean political past, in the world of art, Zimbabwe quietly, calmly and confidently charts a path of stability and self-determination, which is a paradigm for its future”.
Hwati’s “Urban Totems” is a lining of portraits of Nyandoro, each a black and white rendition of the same photograph, the only colour and difference in each piece being delivered by an embroidery patch replacing the eyes, presenting various dominant brands such as Google+, Yahoo!, Amstel, Whatsapp and KFC, which Kabov describes as “a tongue in cheek allusion to both the history of portraiture and the loss of individualism in the age of branding, social media and technology’.
Gwetai said on a personal level, the experiences in Venice have assisted him internalise and think more about the subject matter and the technical elements.
“Working with Chikukwa has meant a lot in assisting me improve my curatorship abilities because he is inspiring, has got energy and a vision about Africa as he feels there is a certain visibility the continent needs to portray,” he said.
Gwetai said he was also taken in by Venice’s old architecture that has been preserved for centuries and the fact the city only used gondolas as transport as there are no vehicles because the city is built on small islands linked through canals.
“I didn’t see a car for over a month because the mode of transport was by boat. I am also impressed by the building as they have been preserved having been built in BC early AD history,” he said.
