Category Archives: Exhibitions: Current & Forthcoming

ilizwe | nyika | nation exhibition 2021

09 April to 10 July 2021

To watch the exhibition opening please follow the link https://www.facebook.com/1758802921017821/videos/247894320403808

Ilizwe/Nyika/Nation Collaboration was produced in 2019 by artists at a residency held at the National Gallery of Bulawayo.

This collaboration is multidisciplinary work investigating different values and ideologies attached to the land, national identity, boundaries, and belonging in Southern Africa and Zimbabwe and aimed to encourage collaboration between South African and Zimbabwean artists across artistic disciplines. Land is a sensitive issue in both South Africa and Zimbabwe with both countries’ colonial histories, struggles for independence, and forced removals. Land ownership and land rights are still contentious issues in the neighbouring states. Land and gender are charged topics as both countries struggle with transformation and healing from colonialism and apartheid. The collective (mainly comprised of female artists) developed the work through a series of workshopped processes that allowed them to collectively explore histories and narratives (personal and historical) around gender and land.

The group also chose to explore the historical narrative of Ndebele Queen Lozikeyi and the Ndebele people in connection to a historical site of Hillside Dam in Bulawayo. The site is said to be the location of King Lobengula’s favourite royal village to which he escaped to relax in the 19th Century. The collaboration process included completing the facilitation sessions on how we were going to unpack the conceptual themes of land and gender in the collaborative work.

The collaborating artists chose to explore performance and video art as the mediums and so set about constructing costumes and developing the depth of each character in the narrative News headlines around gender-based violence were brought into sharp focus at the time of the residency when the work was produced with the enough is enough protests, while at the same time xenophobic attack flared up in South Africa and the ex-president of Zimbabwe Robert Mugabe passed away ushering in a new political era.

The approach of democratic collaboration made it possible to explore these events in relation to our topic in a sensitive manner as a group over the residency period.

Collaborating Artists include: Deborah Weber, Elgin Rust, Jolene Cartmill, Lady Tshawe, Nomvuyiso Mpofu, Shamilla Aasha, Zandile Masuku and Cliford Zulu.

Contact: Cliford Zulu – c.zulu@nationalgallery.co.zw
www.nationalgallerybyo.com

About the Artists

Deborah Weber: Born in Johannesburg in 1979, is an alumni student of UCT Michaelis School of Fine Art who graduated with a BAFA in 2004 and a Post Graduate Diploma in Fine Arts in 2015 and her MAFA in 2020. She is a performance, video and installation artist and has worked collaboratively since 2001. Her renewed interest in collaboration started in 2014 with the initiation of a co-authored work on fracking in the Karoo called Karoo Disclosure, followed by Ubulungiswa/Justice Collaboration in 2015. Deborah investigated the methodologies and strategies of producing collaborative work in her MAFA research completed in 2020 at UCT. Karoo Disclosure was exhibited at the South African National Museum in Cape Town and the Oliewenhuis Museum in Bloemfontein as well as That Art Fair and the Prince Albert Film Festival in the Western Cape. Ubulungiswa/Justice has been shown at the Michealis Gallery UCT, the AVA Gallery CT, Assemblage project in Alexander JHB and Chale Wote Festival in Ghana. Deborah has worked in the creative industries for many years from the Bell-Roberts Gallery in Loop street to the Brett Kebble Art Awards, Cape Africa Biennial and Design Indaba.

Elgin Rust: was born in Düsseldorf, Germany, in 1974. She is a South African artist who received her MFA with distinction at the University of Cape Town in 2010. Rust is a mixed media practitioner making use of printmaking, sculpture and performative installations in her self-motivated and collaborative oeuvre. She playfully re-imagines legal procedure and theories to give rise to new meaning using image and objects alike. Under the #truthtroughplay her process driven work embraces techniques from wood carving, slip casting ceramics to performative collaborative all immersive site-specific installations. Rust has participated in solo, group and collaborative exhibitions at the AVA Gallery and the Oliewenhuis Art Museum as well as participating at Chale Wote Street Art Festival 2018, Ghana with the collaborative project Ubulungiswa/Justice 2015. Currently she is preparing for a collaborative residency at the National Gallery of Zimbabwe scheduled for September 2019.

Jolene Cartmill Born in South Africa in 1981. Studied film & TV production in Cape Town. Specialized in directing music videos. Has been involved in the production (directing, filming, editing) of many documentaries, shorts and other video and film projects over the last 20 years (with work shown at Encounters Festival, ResFest Africa, Design Indaba, as well as on at least 60 different TV channels globally, and… the internet). A collaborator in the 2015 collaborative art project Ubulungiswa/Justice. Jolene facilitates process dance and is a managing board member of the organisation “Dance Awake”. Currently working on multiple projects including a commissioned body of work around ‘Rites of Passage’ involving dance, music creation, and art film a documentary.

Lady Tshawe:  born in Bulawayo Zimbabwe in 1990. She is an award-winning, multi-talented artist, and her artistic style, expression, and image embody her abilities, aspirations, and achievements. She is a force whose convictions and views about equal opportunities for self-expression influence her writing, theatrical roles, music, and conversations. She advocates for expressing herself as a person, which is far from the need to be afforded privileges because she is a woman. She aspires to influence the performing, entertainment, and research sectors globally.

Nomvuyiso MarbleMabi: Nomvuyiso Marble Mabi Mpofu is a full-time actress for film and theatre, living in Bulawayo Zimbabwe. She has a certificate in visual arts and did her art training at Mzilikazi art and craft center in 1997. Nomviyiso has won best female actress in plays at the Intwasa Arts Festival. She has also been nominated for awards at the NAMA and BAA arts awards in past years. She loves to combine her acting and performance with visual arts which you can see in this new collaborative art project where she plays the Warrior Queen.

Shamilla Aasha: Born in Hwange Zimbabwe in 1977, was raised and educated in Bulawayo eventually obtaining a Diploma in Textile Design from the Bulawayo School of Art and Design in 2000. She has participated in numerous workshops and exhibitions both locally and internationally. She has an art educationist background, with 12 years of experience. Although now; out of the formal education system I continue to nurture creativity through my trust- Asha Children’s Trust – a hub for young creatives. After a sabbatical from professional painting, she emerged in 2018 with a mature body of work whose narrative is influenced by issues of identity, merging cultures, and issues facing women in my society. Traditionally a mixed media painter but have now included textiles, which I regard as a fitting metaphor for my narratives. Shamilla expands on this metaphor using sewing patterns and stitching. Her highly calligraphic painting style allows me to create new patterns from the old and with each layer creating a palmistry language. This has also provided a foundation and informs her textile art, a new exciting path in her art process.

Zandile Vanessa Masuku: Born in Bulawayo, Zimbabwe on the 5th February 1983. She took art independently as the 10th subject at O’level and as a 4th at A’level. After obtaining the art subject prize she went on to study Architecture at the University of Brighton, England graduating in 2008 and moving to London the same year before returning to Zimbabwe in 2009. Whist in the UK she self-taught Alto Saxophone wrote poetry and performed the spoken word. Architecture provided the opportunity to visit multiple scales and notable galleries in England, France and Spain. In 2010 her son was born, which was a pivotal point in her life as she gained ambitiousness which she never had before. In 2012/13 and 2013/14 she was awarded ‘ The Best Female Artist award’ by V.A.A.B. In 2013 she had her first solo exhibition at The National Gallery of Zimbabwe in Bulawayo entitled ‘Dot connected’. her First International feature was in 2015 in Alberta, Canada. She has since shown at various galleries in group exhibitions abroad and locally. As an Environmentalist at heart, she hopes to create dialogues with other people and form more connections for collaborative opportunities.

Cliford Zulu : I am an artist and Curator, to me art means working with inspiration to discover more energy and transformable ideas. I am fascinated by design as such my approach is constructive and open.

Collaborations and new media practices are my starting point, discharging the energy when it arises in the space where both the artists and the audience are slightly out of their comfort zone. In leadership, I explore ways of building blocks with the artists and my audience enabling the spaces to engage the energy captured in the artwork. Working in a young art appreciating community, I work on a practical and at aesthetic level.  I find myself immersed in this new terminology around art management in the creative sector. after spending years as an artist, the transformation is somewhat puzzling yet the idea of growth through networking with artists and audiences in local and international spaces inspires the voyage. To this extend I focus on building projects from the design perspective with the artists put in motion by collaborative movements through interdisciplinary practices.

A lot is gained when it is shared and synergy is just an Academic term for the possible. Putting utopias into action is way more fun.

In association with

with support from

National Gallery of Zimbabwe in Bulawayo | 75 Joshua Nkomo street | sabona@mweb.co.zw  | www.nationalgallerybyo.com

Dreams & realities exhibition

40 years before and after 1980

30 November 2020 – 19 February 2021
 09 am – 5pm  Anglo  American Gallery                                         

Dreams and Realities is commemorating Zimbabwe’s attainment of 40 years of independence and looks back 40 years before independence through this exhibition by resident artists. Having attained black majority rule on the 18th of April 1980, Zimbabwe in 2020 celebrates 40 years of self-determination.

Through the work of resident artists namely; Omega Masuku, Dumisani Ndlovu, Miranda Mathe, Ishmael Singo, Talent Kapadza, Nonhlanhla Mathe, Stanley Sibanda, George Masarira and George Mahenga the exhibition examines the dreams and realities of Zimbabwean people in a visual perspective of Zimbabwe’s 40th anniversary. The exhibition aims to be seen as a contemporary guide for creative memory from Rhodesia to Zimbabwe. Attention is being given to often under-acknowledged events and activities as part of efforts to visualise the memory of emancipation and other elements that bring out the evolving meanings of sovereignty.

Artists are exploring various personal collective journeys, motivations, trials and tribulations of people and groups that played significant roles in the struggle for freedom.  Zimbabwe’s 40th anniversary comes at a time when the status quo has begun to understand the role that art can play in society and in the re-engagement agenda. This exhibition presents largely millennials’ perspectives of liberation struggle and contributes to the ongoing thrust to preserve and promote national liberation heritage. Dreams and Realities interrogates the evolution from pre-independence Rhodesian aspirations to the post-independence quest for reconciliation.  In this, the 5th edition of the Zimbabwe Annual Independence Exhibition, the National Gallery is focusing on the views, narratives by the people of Matebeleland 40 years before and 40 years after 1980. The highlight of the exhibition are ZAPU objects loaned from Brighton Museum in the United Kingdom.

RATIONALE The arts have contributed immensely to the visibility of Zimbabwe internationally and as a country there is need to realize the soft power that the art brings to the image of the country. Art brings people together to harness the impact and role and celebrate its achievements. Dreams and Realities provides us with a great opportunity to revisit our struggles for independence and the post-colonial traumas as we look into the future that will define us as a relatively young nation. It is also an opportunity for the born frees/ millennials to add to this narrative from their own perspective

For more details please contact the curatorial team on +263(2922)70721 or email: sabona@mweb.co.zw

POWERPLAY Digital Art Exhibition.

03 December 2020 to 22 February 2021

The National Gallery of Zimbabwe and arebyte Gallery in London, are pleased to announce POWERPLAY, a group exhibition featuring artists working within digital media, moving image and technology. Co-commissioned by London-based arebyte Gallery and the National Gallery Zimbabwe in Bulawayo, with support from the New Art New Audiences grant from the British Council. The first showing of the exhibition was presented at arebyte Gallery in London,  and on Thursday 3 December, the itinerant exhibition will open in Bulawayo before traveling to the National Gallery of Zimbabwe in Harare and Mutare in 2021.   POWERPLAY will be the first exhibition of digital and new media art at the National Gallery of Zimbabwe  features work by  Mr Color, Balito Aderemi Ibitola, Vincent Bezuidenhout, Scumboy, King Debs, Mbakisi Sibanda, Kumbirai Makumbe and Isaac Kariuki: Virtual Reality iteration done by Christopher McLnnes.

Download the EXHIBITION BOOKLET | see the video https://www.arebyte.com/powerplay


Kumbirai Makumbe,  The Gate , (2020)
Kumbirai Makumbe, The Gate, (2020)

POWERPLAY foregrounds the digital arts scene in Africa and presents work by digital artists who are from or based in Nigeria, South Africa, Zimbabwe, and the UK. Discussing the use of technology in creating a sense of identity and place within a digitised world, the artists in the exhibition look at the relationships of power experienced in varying ways. The works address isolation and alienation; societal bias around gender and race; transformation of being; the politics of borders and migration; dark markets of trade; and communities who work outside of mainstream economy. Taking place both online and offline, the multi-sited exhibition format brings to light the fluidity between the virtual and the real –  how is power asserted over our decisions and movements, what are the consequences, and how can we think about control differently?

Through newly commissioned and re-imagined work, POWERPLAY explores the nuances of working with digital media in a digitised world. The exhibition looks into the reproduction and commodification of the self, consent and surveillance online and offline, and the exploitation and censorship of data, ideas and behaviours. Through the use of existing infrastructure within the gallery and around the city, as well as the pseudo-advertisement aesthetics seen in the CGI printed works and the Virtual Reality iteration of the exhibition, the artworks proliferate and infiltrate this system to question our agency and power over surveillance and capitalism.  

King Debs,  Ritual Dance 0001,  (2018) still
King Debs, Ritual Dance 0001, (2018) still

From politicians threatening to use military or economical power as coercion, to the underlying systemic structures of bias built on the oppression of race, gender and sexuality, plays of power are prevalent throughout online and real life interactions by way of social hierarchies and the monopolising of markets.

Plays of power are also widespread in chat rooms, online community forums, and gaming worlds, often with users spreading hate speech with methods of mental manipulation to initiate formations of groups of like-minded people who are hostile to those with differing opinions.

Technology can be used as a tool to demonstrate power – from data collection by black-box algorithms to major tech companies dominating the market – the ways we converse, vocalise our opinions and integrate are becoming increasingly more digitised and therefore unstable. Technology can seem intangible and removed from a sense of personability, however it can also reinforce a sense of place and identity –  this is formalised in the exhibition through a reconnection to the physical world by challenging the traditional modes of display, and incorporating screen based works with physical ephemera, alongside a virtual reality version of the exhibition, where the work is stretched beyond its physical or material limits.

Overall, the various creative technologies, software and hardware in the exhibition are used with purpose and intent to address the tensions and consequences of producing work linked to immateriality, the individual and the collective, and the misrepresentation of words and meaning. Technology creates an interrelated mesh of connections in a global network, which is solidified in the artists’ various locations across Africa, Europe and America, but is also conceptually linked in the subtleties of each work.

Vincent Bezuidenhout,  DVDRIP  (2010-12) still
Vincent Bezuidenhout, DVDRIP (2010-12) still
Bolatito Aderemi Ibitola,  I Was Here , (2016) GIF still
Bolatito Aderemi Ibitola, I Was Here, (2016) GIF still

Bolatito Aderemi Ibitola uses GIFs as a medium to make connections between migration and desirability of space, playing on the political categorisation of the term “alien” and how the artist feels her own black body is read. This links to Isaac Kariuki who makes comparisons between the sale of (counterfeit) goods on the blackmarket to the displacement of people living outside of the mainstream economy. Here, a connection to life and living is made between online and offline connections, whereby the inside and outside of normative roles are examined through Google Maps and trading on the darkweb. 

Also questioning copyright as a tool of power is Vincent Bezuidenhout and his work DVDRIP which originated during the rise of illegal file sharing, or ‘pirating’ of movies online. In the spirit of Harun Farocki’s ‘operative images’ and aesthetically reminiscent of Glitch Art, screen captures are employed in the work in order to highlight this phenomena of the corruption of digital information. His other work Jsoc_pics consists of images appropriated from the Instagram accounts of members of Joint Special Operations Command, USA. The images are imbued with all the characteristics of traditional masculinity but the faces of the soldiers in these photographs are redacted by the artist. This act of censorship reveals elements of fear and shame often disassociated with toxic masculinity. By printing the images on the most basic elements of American consumerism (mugs, jigsaws, keychains etc), Bezuidenhout reduces the images to commodities and undermines the meaning of this kind of proliferation of the ‘selfie’ in the process.

Scum Boy,  I Can’t,  (2020) still
Scum Boy, I Can’t, (2020) still

Scumboy’s work shows avatars in various states of entrapment; both physically and mentally. Human emotion is expressed in two ways here through a writhing body unable to comprehend the situation and through positive movement in a body dancing in the acceptance of being powerless. Dance is brought into a different space with King Debs’ work whereby the power of gender and race is interrogated in a ritual performed by a woman figure through the artist’s male gaze. In the work, Lerato who is a young Tswana Queen, seen draped in a crimson and black garment, dances to appease the Bantu ancestors. The work opens and challenges the dialogue of the maltreatment of black women, who are instead celebrated in the video in the form of respect and appreciation, and poses the learning/unlearning of the male gaze to the female body.

Utilising language in the form of calligraphy, prayer and shapes is seen in both King Debs’ work and Kumbirai Makumbe who posit new ways of understanding a transcendence of the human. For Kumbirai, an unnamed protagonist talks to Eywa, an artificial intelligence, who assists in ‘ascension’ of the body into code. The work more broadly looks at a non-exclusionary to new ways of being, with an anti-hierarchical approach to interconnectedness of people, ideas, and speculations on the future of society.

Mbakisi Sibanda, ISOLATION, still (2020)
Mbakisi Sibanda, ISOLATION, still (2020)

Mbakisi Sibanda’s work portrays the feeling of being isolated online whilst also being hyper-connected; the contradiction here plays out in the form of a new video work and accompanying print identifying the dark nature of how the internet affects mental and physical health, as well as social disintegration and social anxiety. Also taking at an emotive response to power, Mr. Color’s large banner print tells the story of the creation of a new type of android, one with consciousness and sentient feelings, where energy particles formed from shared consciousness and transfer of energies between bodies. The work questions collectivity, and how positive and powerful energies can combine to create new ways of thinking.


The artists’ works will be shown as a 6 week multimedia installation in arebyte Gallery, London. Throughout the duration of the physical exhibition, interviews with the artists will be available to view on arebyte on screen (AOS), arebyte Gallery’s digital art channel, as well as a virtual tour of the National Gallery of Zimbabwe in Bulawayo (NGZ) gallery space made using Unreal software by UK based artist Christopher MacInnes. Viewable 24/7 via a dedicated screen and Virtual Reality headset in arebyte Gallery’s window, the virtual tour will also be broadcast on dedicated monitors located in the NGZ in Harare and Mutare, as a way to further promote the artists and the exhibition. Visitors will be able to interactively explore the different works through a Virtual Reality headset allowing them to navigate the  multimedia installation originally proposed for NGZ later this year.  The Virtual Reality version of the exhibition will then travel to the NGZ in Mutare and Harare.

An A5 booklet with information on the works and the artists will be produced for visitors to arebyte Gallery and the NGZ in Bulawayo, Harare and Mutare to take with them.  

The exhibition will be part of arebyte Gallery’s 2020 programme systems which discusses the erratic interplay between global infrastructures and economics, computer and technological systems, which have become the carrier for emotional, political and ecological agendas. 

This exhibition is supported by the British Council’s New Art New Audiences grant.


Addresses:

National Gallery Zimbabwe Bulawayo: 75 Joshua Nkomo St, Bulawayo,
National Gallery Zimbabwe Harare: 20 Nyerere way/ Parklane Harare.
National Gallery Zimbabwe Mutare: 122 Third St, Mutare, Zimbabwe
arebyte Gallery: 7 Botanic Square, London City Island, E14 0LG

Team:

Nimrod Vardi – Founder and Creative Director, arebyte Gallery
Claudel Goy – Managing Director, arebyte Gallery
Rebecca Edwards – Curator, arebyte Gallery
Edward Martin – Curatorial Assistant, arebyte Gallery
Butholezwe Kgosi – Regional Director, National Gallery in Bulawayo 
Clifford Zulu – Curator, National Gallery of Zimbabwe in Bulawayo 
Thabiso Mohare – Southern Africa Arts Project Manager, British Council


Artists:

King Debs is a multimedia artist based in Cape Town, South Afrika. Working primarily in 3D digital art and his self-developed calligraphy, King Debs creates a unique aesthetic to transpose his ideas on identity and Afrikanism. His work deals with the notion of post-humanism within an Afrikan context. He is  inspired by ‘trans-humanist’ ideology and the dystopian convergence of man and machine. 

Niyi Okeowo (Mr Color) is an Art Director, based in Lagos, Nigeria. Mr.Color is an ongoing personal expression inspired and influenced by Futurism, Colors, Spaces and themes of isolation and Serenity.

Kumbirai Makumbe currently takes form as a London based artist and designer who believes in the transmutation of the intangible yet experiential. They are enticed by the materiality of digitally generated matter with their work residing at the intersection of art, technology, and the ethereal.

They place significant effort into speculative explorations of alternative modes of being and thinking that could negate exclusionary acts and ideologies. Their work continually interrogates the multi-dimensionality of blackness, exclusionary acts, and notions of inclusion, ‘in-betweenness’, ‘caring’ and transcendence. They are situation-dependent, transform & metamorphose to ceaselessly take on various forms and maneuver through a diverse range of spaces.

Mbakisi Sibanda was born in 1995 in Bulawayo and is a designer by profession, having ventured into commercial design back in 2013 working for advertising and signage companies throughout his career. Sibanda also specialises in creating 3D virtual mockups and visualization.       

Isaac Kariuki is a visual artist and writer living between London and Nairobi. His work centres on technology, surveillance and internet culture as it relates to the global south and marginalised groups.  He holds an MA from Central Saint Martins with a concentration in digital art. He is the founder of Diaspora Drama, a three-part publication exploring creative people of colour with overarching themes of the internet and technology. 

Vincent Bezuidenhout is a South African born artist whose work spans image-making and investigative documentary practices. His research-based process employs narratives and histories to examine the psychology of power in relation to identity. He has been awarded grants and fellowships from The National Arts Council of South Africa, The Goethe Institut, The Tierney Fellowship, Oppenheimer Memorial Trust, School of Visual Arts – NYC and the National Research Foundation of South Africa. Residencies include the Cité Internationale des Arts, Paris and Photoglobal at the School of Visual Arts in New York City. Bezuidenhout holds a Master’s Degree in Fine Art from the Michaelis School of Fine Art, University of Cape Town, is a published writer, and has lectured widely.

Bolatito Aderemi-Ibitola is a trans-disciplinary artist working primarily in time based art, interactivity and performance. Along with her artistic practice, Aderemi-Ibitola also works as a devised theatre practitioner, performance studies scholar and teaching artist. Born in Lagos, Nigeria, she immigrated to the United States in 2000. She returned to Nigeria in 2014 where she is now living and working. Bolatito Aderemi-Ibitola earned her Masters in Performances Studies from Tisch School of the Performing Arts, New York University and a Bachelors in Communication Arts with a focus in Television/Film Production and a minor in Political Science from Allegheny College

Oliver Hunter Pohorille ( Scum Boy ) is a transgender 3D artist and motion graphic designer in Cape Town, South Africa. His work has been exhibited in various galleries around the world and he has worked with multiple artists of various disciplines. He mainly creates still renders for gallery exhibitions and prints but also has a large body of video art. His art is centered around the human form and its interaction with the world. Oliver uses the principle of 3 dimensional art to warp reality into a world of his own creation.

Christopher MacInnes is an artist based in London. Taking computing and networks as a starting point he works with software, hardware and organisms. Using the diverse vectors of our planetary networks, MacInnes attempts to trace the mycellenic tangle of chaotic phenomena across platforms, landscapes and bio-synthetic ecologies.

For more details follow the link https://www.arebyte.com/powerplay or contact us on: sabona@mweb.co.zw


british-council-vector-logo.png

Dreams and Realities exhibition, 2020

40 years before and after 1980

30 November 2020 – 19 February 2021
 09 am – 5pm  Anglo American Gallery

Dreams and Realities is commemorating Zimbabwe’s attainment of 40 years of independence and looks back 40 years before independence through this exhibition by resident artists. Having attained black majority rule on the 18th of April 1980, Zimbabwe in 2020 celebrates 40 years of self-determination.

Through the work of resident artists namely; Omega Masuku, Dumisani Ndlovu, Miranda Mathe, Ishmael Singo, Talent Kapadza, Nonhlanhla Mathe, Stanley Sibanda, George Masarira and George Mahenga the exhibition examines the dreams and realities of Zimbabwean people in a visual perspective of Zimbabwe’s 40th anniversary. The exhibition aims to be seen as a contemporary guide for creative memory from Rhodesia to Zimbabwe. Attention is being given to often under-acknowledged events and activities as part of efforts to visualise the memory of emancipation and other elements that bring out the evolving meanings of sovereignty.

Artists are exploring various personal collective journeys, motivations, trials and tribulations of people and groups that played significant roles in the struggle for freedom.  Zimbabwe’s 40th anniversary comes at a time when the status quo has begun to understand the role that art can play in society and in the re-engagement agenda. This exhibition presents largely millennials’ perspectives of liberation struggle and contributes to the ongoing thrust to preserve and promote national liberation heritage. Dreams and Realities interrogates the evolution from pre-independence Rhodesian aspirations to the post-independence quest for reconciliation.  In this, the 5th edition of the Zimbabwe Annual Independence Exhibition, the National Gallery is focusing on the views, narratives by the people of Matebeleland 40 years before and 40 years after 1980. The highlight of the exhibition are ZAPU objects loaned from Brighton Museum in the United Kingdom.

RATIONALE The arts have contributed immensely to the visibility of Zimbabwe internationally and as a country there is need to realize the soft power that the art brings to the image of the country. Art brings people together to harness the impact and role and celebrate its achievements. Dreams and Realities provides us with a great opportunity to revisit our struggles for independence and the post-colonial traumas as we look into the future that will define us as a relatively young nation. It is also an opportunity for the born frees/ millennials to add to this narrative from their own perspective

For more details please contact the curatorial team on +263(2922)70721 or email: sabona@mweb.co.zw

IZDROTSHO and FACING ZIMBABWE 2018

This June at 75 on Josh

London based, Visiting Artist in Residence, Philip Butler will present a collection of work he did while resident at the gallery since  March 2018. It’s always fun to see these presentations or open days take place because it points us to a future of engagement and continuous networking with an extended networking base between the visiting artists.  On behalf of the National Gallery of Zimbabwe we deeply sincerely want to pass our heartfelt condolences to Philip who lost his mother while resident and had the courage to soldier on while mourning, so please help us to celebrate these two exhibitions realised through the residency.

In a statement, Philip says: Zimbabwe as a country is probably one of the most fascinating places to be right now. It’s currently undergoing political and social transition, so to live and work in Bulawayo where things are unfamiliar (and perhaps a little strange) has been both exciting and challenging. For an artist, I can’t think of a more interesting place to be!

The Residency programme has been instrumental in helping me to see work in a social and political context. Working in the studio has given me a chance to focus on problems in my own practice (the development of a creative and technical approach) coupled with thinking about my personal agendas (so I have a studio; what next?!). My contact with the many artists I’ve met here in Zimbabwe has been a source of inspiration and an opportunity to work with them in both formal and informal settings. Teaching life drawing and portraiture allowed me an opportunity to reflect on how art education compares and contrasts with my experiences from home, especially in the context of enquiry.

From someone who has collected sketches in personal travel journals, my time here has enabled me to explore the whole notion of work as a process of ‘exhibiting’, which has been interesting and not something that comes naturally to me. Facing Zimbabwe is a collection of my own work in progress but will also include works from other artists and poets that I’ve been collaborating with. I’ve relished this opportunity and appreciate the support I’ve received and hope this show reflects this.

For more details relating to the residency and how you can support, please contact the Curatorial department. Email c.zulu@nationalgallery.co.zw

LOST AND FOUND EXHIBITION

Lost and Found Exhibition Curated by Raphael Chikukwa

Running from  28 June to 14 September 2018

The itinerant exhibition is now in Bulawayo. We are presenting the Lost and Found, at the Bulawayo Gallery at the same time showing The legacy. These two exhibitions are capturing the energy and the spirit of Zimbabwean Unity.
Zimbabwe is highly famed for its gallant legacy of resilience stemming from the contentious and turbulent history largely framed in terms of strained race
relations and contested narratives of being and belonging.  Lost and Found:  Expectations, Uncertainty, Excitement and Hope Exhibition provide a platform for Zimbabwean artists to reflect and interrogate the social and economic fabric in the country in light of its most recent political transition.

All the images document an event in which the culmination of various agendas collided on that day, and produced a historic moment, which captured not only formally by artists; but also by amateur photographers, well-wishers, and the general crowd. It was unexpected and brought a new glimpse of hope for the healing of the nation and for moving forward.  Artworks displayed question ingrained history and engender new narratives based on memories and experiences of a restored legacy worth cherishing.

Lost and Found: Resilience, Uncertainty, Expectations, Excitement and Hope means to memorialise the events that changed the face of power and the political landscape. The experience that forged Zimbabwe’s new political and social order presents artists an opportunity to revisit and reflect upon the journey that many Zimbabweans have walked. The past 37 years showed the resilience of Zimbabweans and the new era brings excitement and hope.

For more details contact, Cliford Zulu on c.zulu@nationalgallery.co.zw

EITHA UNGUSWI ZIM//CITY

SABONA, Introducing visiting artist resident at the gallery Tamsanqa (Tamu) Nkiwane. Born 1990, lives and works in London, United Kingdom. Tamu has been with us since January doing a research residency.  The gallery is inviting you to Dousling House, for EITHA UNGUSWI ZIM//CITY a siNdebele slang for, Hello how are you Zim, a series of events from Wednesday 7 to Friday 9 March 2018 in the form of a discussion and exhibition emanating from a 2 months research residency at the NGB. Tamu is interested in the topography of Zimbabwe and the transition from one state to another.

Progressing from the initial presentation at the NGB on 19 January titled TARMAC, Fire imagery acts as a symbol of conversion, everything touched causes a reaction. The objects and imagery in this work are a reflection of the feedback. Found materials and material collage help navigate a personal inspection of one’s surroundings, histories and footing within the ooze of modernscape.

 

For more details please contact the curatorial team on 0970721 or email sabona@mweb.co.zw.

FAMILY AND HAPPINESS

Curated by Hloniphani Dube

PFAMILY AND HAPPINESS                 

 22 February to 13 April 2018

Presenting for the second time at the National Gallery in Bulawayo, Siphulwazi Visual Arts Academy 2018 second semester students exhibition 2018. The broad aim of the academy is to showcase and express the spirit of family, play a pivotal role in nation building.  The objective of the academy is to empower the art students with practical and exhibition making skills and ideas on effective communication using art as a medium.

In this year’s show, we are presenting a variety of new and previously shown work expressing different techniques and mediums as a departure from the 2017 exhibition. This year we have introduced collage and added depth in the use of acrylics and watercolours. We are excited to see that this exercise is helping the students familiarise with colour and various found objects, mostly using recyclable materials. In this exhibition Family and happiness are pedagogies of modern art within these family context family being the Siphulwazi Space and fellow students. Happiness is the expression by you the observer of the exhibition, the consumer, the critic and above all the emotions brought about the exposition.

We are grateful to for the support by the friends of the National Gallery in Bulawayo in believing the dream and enabling young talent to flourish within the Douslin house walls. We also extend heartfelt thanks to the parents that have enabled talent to blossom, because art appreciation is not for everybody.

For more details please contact the Curatorial Department on 00263970721 email: sabona@mweb.co.zw

EXHIBITION PREVIEW: SOUNDS OF HOPE

Exhibition: SOUNDS OF HOPE

On Thursday 25 January at 5:30 pm we will open our first exhibition this year, titled Sounds of Hope by a young and enthusiastic painter and performer, Tichaona Mudhobhi. Tich will present a solo exhibition of paintings in the small galleries on Main and we are so excited to see our young artists taking the gallery spaces and making use of them.

WALKABOUT on Friday 26 January at 4 pm join us for a walkabout with Tichaona do get closer and more details about the artists his thinking and what his future is like. Please remember to bring along your favourite beverage on Friday 26 January.

For your invites to these fantastic events please contact the Curatorial department on 00263970721 or email c.zulu@nationalgallery.co.zw or sabona@mweb.co.zw, let’s keep in touch on social media, like our Facebook page National Gallery in Bulawayo follow us on Twitter @BYOgallery.