Appreciation to the Audience.
It was Francis of Assisi who stated that the imperative lies in “Who is looking”, and the Zimbabwe Pavilion at the 57th Venice Biennale enjoyed a fair share of viewership from art appreciators from around the world. From the opening ceremony on, the Pavilion carried in its established tradition to interrogate Zimbabwe’s points of departure through its most celebrated artists; in the global lens, at one of the foremost art fairs in the world!
Under the theme Deconstructing Boundaries: Exploring Ideas of Belonging, the Pavilion propelled itself by connecting a quartet of circumspective artists whose detailed artworks concerning the world spirit and their multiple perspectives in what it means to be Zimbabwean in an ever increasingly cosmopolitan world. If anything further, what it means to be a Zimbabwean artist in the scenario set by the theme.
The roster featured the sage Sylvester Mubayi, accomplished in execution, with a touch that suggests simplicity in the manipulation of media, the curvature of the artist’s body of work reveals a true reflection on the theme of the show as, often, rigidity is the common feature of geographical boundaries. On the political level, the depth of the Snails Crossing River presents a narrative that is, in the present-day, highly infused with implications of the artist’s second sight in society.
Arguably the Snails Crossing River group’s trek is a hushed one, owing to the creature’s physical traits, at any sign of threat, retreat is the natural impulse to insure survival. The representation of victuals laden upon the shells of these figures is of great interest as it presents the caravan, in its modern day format, made up of cross-border traders who occupy a risky place in society. With the snails trek past boundaries, one may think of the threat to the mollusc which is the sea, untamed and composed of the creature’s Achilles Heel.
Belonging thus becomes crucial in the day-to-day running of the Pavilion with a multiplicity of nation’s present therein that city. The audience visited the exhibition in droves as they viewed works such as the above as tours and talks took place frequently. The National Gallery extends their gratitude to all the visitors who made the discussion around Contemporary Art around the World and in Africa.
With figures in excess of 10 000; the Zimbabwe Pavilion found itself as a go to place for art enthusiasts and institutions from all around the world, with Question and Answer sessions that encouraged more visitors into the National Gallery of Zimbabwe’s space. The Snails Crossing River were a highlight and conversation starter with all segments of the audience.
The impressions made by variety of media available gave the audience a new insight on the artistic practice taking place in Zimbabwean Art; the Sculpture of Sylvester Mubayi retrospectively gazing to the historical practice; the video component of Dana Whabira constituting the New Media practice. Admire Kamudzengerere’s Prints introducing the handcraftsman aspect with one of the highlights during the opening days of the Biennale was the Performance hosted in the Pavilion under the direction of Kamudzengerere. Charles Bhebhe’s paintings anchoring the most traditional medium in the art world.
With four pillars placed in the Zimbabwe Pavilion, there was a refreshing response from enthusiasts across the board, offering their time and viewership to entice their curiosity, not only for the art, but for the Country of Origin of the Pavilion. This in turn chartered the Programming and activity in the Pavilion by giving visitors to the space insight on the Deconstruction theme that influenced the creation of the artworks. The success of the Zimbabwe Pavilion at the 57th Venice Biennale was thus rooted in the knowledge of the Curatorial team’s appreciation of “Who” was looking, and as the future beckons, the Art World “looked” and found their boundless tastes appealed to. Our audience is highly appreciated.
Viva Arte Viva!
