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Africa Digests the West: a Review of Modernism and the Influence of Patrons-Cum Brokers on the Style and Form of Southern Eastern and Central African Art
ISSN-L: 2223-9553, ISSN: 2223-9944 Part-I: Social Sciences and Humanities Vol. 4 No. 1 January 2013 AFRICA DIGESTS THE WEST: A REVIEW OF MODERNISM AND THE INFLUENCE OF PATRONS-CUM BROKERS ON THE STYLE AND FORM OF SOUTHERN EASTERN AND CENTRAL AFRICAN ART Phibion Kangai 1, Joseph George Mupondi 2 1Department of Teacher Education, University of Zimbabwe, 2Curriculum Studies Department, Great Zimbabwe University, ZIMBABWE. 1 [email protected] , 2 [email protected] ABSTRACT Modern Africa Art did not appear from nowhere towards the end of the colonial era. It was a response to bombardment by foreign cultural forms. African art built itself through “bricolage” Modernism was designed to justify colonialism through the idea of progress, forcing the colonized to reject their past way of life. Vogel (1994) argues that because of Darwin’s theory of evolution and avant-garde ideology which rejected academic formulas of representation, colonialists forced restructuring of existing artistic practice in Africa. They introduced informal trainings and workshops. The workshop patrons-cum brokers did not teach the conventions of art. Philosophically the workshops’ purpose was to release the creative energies within Africans. This assumption was based on the Roseauian ideas integrated culture which is destroyed by the civilization process. Some workshop proponents discussed are Roman Desfosses, of colonial Belgian Congo, Skotness of Polly Street Johannesburg, McEwen National Art Gallery Salisbury and Bloemfield of Tengenenge. The entire workshop contributed to development of black art and the birth of genres like Township art, Zimbabwe stone sculpture and urban art etc. African art has the willingness to adopt new ideas and form; it has also long appreciation of innovation. -
Chapungu Sculpture Park
CHAPUNGU SCULPTURE PARK Do you Chapungu (CHA-poon-goo)? The real showcase within the Centerra community is the one-of-a-kind Chapungu Sculpture Park. Nestled in the foothills of the Rocky Mountains, this 26-acre outdoor cultural experience features more than 80 authentic stone sculptures carved by artisans from Zimbabwe displayed amongst beautiful natural and landscaped gardens. The entire walking park which is handicap accessible, orients visitors to eight universal themes, which include: Nature & Environment • Village Life • The Role of Women • The Elders • The Spirit World • The Family The Children • Custom & Legend. Whether you are an art enthusiast or just enjoy the outdoors, this serenity spot is worth checking out. Concrete and crushed rock used from the makings of the sculptures refine trails and lead you along the Greeley and Loveland Irrigation Canal and over bridges. Soak in the sounds of the birds perched high above in the cottonwood trees while resting on a park bench with a novel or newspaper in hand. Participate in Centerra’s annual summer concert series, enjoy a self guided tour, picnic in the park, or attend Visit Loveland’s Winter Wonderlights hosted F R E E A D M I S S I O N at the park and you are bound to have a great experience each time you visit. Tap Into Chapungu Park Hours: Daily from 6 A.M. to 10:30 P.M. Easily navigate all the different Chapungu Sculpture Park is conveniently located just east of the Promenade Shops at Centerra off Hwy. 34 and regions within Chapungu Located east of the Promenade Shops Centerra Parkway in Loveland, Colorado. -
Culture and Customs of Zimbabwe 6596D FM UG 9/20/02 5:33 PM Page Ii
6596D FM UG 9/20/02 5:33 PM Page i Culture and Customs of Zimbabwe 6596D FM UG 9/20/02 5:33 PM Page ii Recent Titles in Culture and Customs of Africa Culture and Customs of Nigeria Toyin Falola Culture and Customs of Somalia Mohamed Diriye Abdullahi Culture and Customs of the Congo Tshilemalema Mukenge Culture and Customs of Ghana Steven J. Salm and Toyin Falola Culture and Customs of Egypt Molefi Kete Asante 6596D FM UG 9/20/02 5:33 PM Page iii Culture and Customs of Zimbabwe Oyekan Owomoyela Culture and Customs of Africa Toyin Falola, Series Editor GREENWOOD PRESS Westport, Connecticut • London 6596D FM UG 9/20/02 5:33 PM Page iv Library of Congress Cataloging-in-Publication Data Owomoyela, Oyekan. Culture and customs of Zimbabwe / Oyekan Owomoyela. p. cm.—(Culture and customs of Africa, ISSN 1530–8367) Includes bibliographical references and index. ISBN 0–313–31583–3 (alk. paper) 1. Zimbabwe—Social life and customs. 2. Zimbabwe—Civilization. I. Title. II. Series. DT2908.O86 2002 968.91—dc21 2001055647 British Library Cataloguing in Publication Data is available. Copyright © 2002 by Oyekan Owomoyela All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2001055647 ISBN: 0–313–31583–3 ISSN: 1530–8367 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). -
“CHAPUNGU: Nature, Man, and Myth” April 28 Through October 31, 2007 ABOUT the ARTISTS
“CHAPUNGU: Nature, Man, and Myth” April 28 through October 31, 2007 ABOUT THE ARTISTS Dominic Benhura, b. 1968 in Murewa – “Who Is Strongest?”, “Zimbabwe Bird” At age 10 Benhura began to assist his cousin, sculptor Tapfuma Gutsa, spending many formative years at Chapungu Sculpture Park. Soon after he began to create his own works. Today he is regarded as the cutting edge of Zimbabwe sculpture. His extensive subject matter includes plants, trees, reptiles, animals and the gamut of human experience. Benhura has an exceptional ability to portray human feeling through form rather than facial expression. He leads by experimentation and innovation. Ephraim Chaurika, b. 1940 in Zimbabwe – “Horse” Before joining the Tengenenge Sculpture Community in 1966, Chaurika was a herdsman and a local watchmaker. He engraved the shape of watch springs and cog wheels in some of his early sculptures. His early works were often large and powerfully expressive, sometimes using geometric forms, while later works are more whimsical and stylistic. His sculptures are always skillful, superbly finished and immediately appealing. Sanwell Chirume, b. 1940 in Guruve – “Big Buck Surrendering” Chirume is a prominent Tengenenge artist and a relative of artist Bernard Matemura. He first visited Tengenenge in 1971 to help quarry stone. In 1976 he returned to become a full time sculptor. Largely unacknowledged, he nevertheless creates powerful large sculptures of considerable depth. His work has been in many major exhibitions, has won numerous awards in the National Gallery of Zimbabwe, and is featured in the Chapungu Sculpture Park’s permanent collection. Edward Chiwawa, b. 1935 northwest of Guruve – “Lake Bird” This first generation master sculptor learned to sculpt by working with his cousin, Henry Munyaradzi. -
The Art Magazine from Gallery Delta
Sponsoring art for Zimbabwe Gallery Delta, the publisher and the editor gratefully acknowledge the following sponsors who have contributed to the production of this issue of Gallery magazine: The Rio Tinto Foundation Colorscan (Pvt) Ltd. ^ jmz coBromATiOM or zimbabwx ldoted MEIKLES HOTEL CODE THE CANADIAN ORGANIZATION FOR DEVELOI'MKNI IHROUCH KDUCATION Contents June 1995 2 Artnotes Art about Zimbabwe by Pip Curlin 6 I have a gallery in Africa: the origins of Gallery Delta by Derek Huggins 10 A gift that was hiding: Job Kekana by Pip Curling 12 Living and working in the mission tradition: in memoham Job Kekana by Elizabeth Rankin » \ 13 Helen Lieros: an interview with Barbara Murray 19 Letters 20 Reviews of recent work and forthcoming exhibitions and events Cover: Helen Lieros, Cataclysm, 1994, 1 12 x 86cm, mixed media. Photo by Dani Deudney Left: Zephania Tshuma, No Way To Go, 1986, 75 x 10 x 10cm, painted wood © Gallery Publications Publisher: Derek Huggins. Editor: Barbara Murray. Design & typesetting: Myrtle Mallis. Origination & printing by AW. Bardwell & Co. Colour by Colourscan (Pvt) Ltd. Paper; Express from Graphtec Ltd, Contents are the copyright of Gallery Publications and may not be reproduced in any manner or form without permission. The views and opinions expressed in this magazine are those of the writers themselves and not necessarily those of Gallery Delta, the publisher or the editor. Subscriptions from Gallery Publications, 7^ Gallery Delta, 1 10 Livingstone Avenue, PO Box UA 373 Union Avenue, Harare. Tel: (14)792135. -i Artnotes In his last interview, Job Kekana said, "When you travel between people it makes your knowledge stronger," and, despite all the criticism levelled at the Johannesburg Biennale, it did offer opportunities to "travel Andries Botha, Dromedarls Donderl between people". -
“CHAPUNGU: Nature, Man, and Myth” April 28 Through October 31, 2007 FREQUENTLY ASKED QUESTIONS
“CHAPUNGU: Nature, Man, and Myth” April 28 through October 31, 2007 FREQUENTLY ASKED QUESTIONS “Chapungu: Nature, Man, and Myth” presents 23 monumental, hand-carved stone sculptures of people, animals, and creatures of legend created by artists from the African nation of Zimbabwe, many from the Shona tribe. The exhibition illustrates a traditional African family’s attitude and close bond to nature, illustrating their interdependence in an increasingly complex world and fragile environment. How does this exhibition differ from the one the Missouri Botanical Garden hosted in 2001? All but one of the sculptures in this exhibition have never been displayed at the Missouri Botanical Garden. “Chapungu: Custom and Legend, A Culture in Stone” made its U.S. debut here in 2001. Two large sculptures from that exhibition were acquired by the Garden: “Protecting the Eggs” by Damian Manuhwa, and the touching “Sole Provider” by Joe Mutasa. Both are located in the Azalea-Rhodendron Garden, near the tram shelter. “Sole Provider” was donated by the people of Zimbabwe and Chapungu Sculpture Park in memory of those who died during the September 11, 2001 tragedy. An opal stone sculpture from the 2001 exhibition – Biggie Kapeta’s “Chief Consults With Chapungu”– returns as a preview piece, installed outside the Ridgway Center in January. Many artists from the 2001 exhibition are represented by other works this time. How do you say Chapungu? What does it mean? Say “Cha-POONG-goo.” Chapungu is a metaphor for the Bateleur Eagle (Terathopius ecaudatus), a powerful bird of prey that can fly up to 300 miles in a day at 30 to 50 miles per hour. -
Zimbabwe Mobilizes ICAC’S Shift from Coup De Grâce to Cultural Coup
dialogue Zimbabwe Mobilizes ICAC’s Shift from Coup de Grâce to Cultural Coup Ruth Simbao, Raphael Chikukwa, Jimmy Ogonga, Berry Bickle, Marie Hélène Pereira, Dulcie Abrahams Altass, Mhoze Chikowero, and N’Goné Fall To whom does Africa belong? Whose Africa are we talking about? … R S is a Professor of Art History and Visual Culture and It’s time we control our narrative, and contemporary art is a medium the National Research Foundation/Department of Science and Tech- that can lead us to do this. nology SARChI Chair in the Geopolitics and the Arts of Africa in the National Gallery of Zimbabwe () Fine Art Department at Rhodes University, South Africa. r.simbao@ ru.ac.za Especially aer having taken Zimbabwe to Venice, we needed to bring R C is the Chief Curator at the National Gallery of the world to Zimbabwe to understand the context we are working in. Zimbabwe in Harare, and has been instrumental in establishing the Raphael Chikukwa (Zvomuya b) Zimbabwe Platform at the Venice Biennale. J O is an artist and producer based in Malindi, Kenya. he International Conference on African Cultures His work interweaves between artistic practice and curatorial strate- (ICAC) was held at the National Gallery of gies, and his curatorial projects include e Mombasa Billboard Proj- Zimbabwe in Harare from September –, ect (2002, Mombasa), and Amnesia (2006-2009, Nairobi). In 2001, . Eight delegates write their reections on he founded Nairobi Arts Trust/Centre of Contemporary Art, Nairobi (CCAEA), an organization that works as a catalyst for the visual arts the importance of this Africa-based event. -
An Educator's Resource Guide
April 28 to October 31, 2007 An Educator’s Resource Guide 4344 Shaw Boulevard, St. Louis, MO 63110 · www.mobot.org Animals, families, and creatures of legend spring to life in these monumental hand-carved sculptures from Zimbabwe. Carved from opal stone, cobalt, and springstone, the statues depict their African creators’ traditional close bond to nature and the environment. Children will love the new animals and creatures—and the stories they tell. 23 monumental sculptures of animals, legendary creatures, and humans—all new work One special statue on display the tropical rain forest inside the Climatron® conservatory Small original sculptures available for purchase at the Chapungu Gallery and Gift Shop Chapungu artists made their U.S. debut at the Missouri Botanical Garden in 2001, and we are pleased to welcome this new exhibit in 2007. Tips for the Best Experience • Pre-register your school group online at www.mobot.org/education or call (314) 577-5140. 2 educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN Table of Contents Preparing for your Chapungu Experience............................................4 The Garden and Africa............................................................................8 Where is Zimbabwe? .............................................................................10 The Shona Culture ................................................................................11 What is Chapungu?.................................................................................12 Guide -
Following the Stone: Zimbabwean Sculptors Carving a Place in 21St Century Art Worlds
FOLLOWING THE STONE: ZIMBABWEAN SCULPTORS CARVING A PLACE IN 21ST CENTURY ART WORLDS BY LANCE L. LARKIN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Anthropology with a minor in African Studies with a minor in Museum Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Alma Gottlieb, Chair Professor Matti Bunzl Associate Professor Theresa Barnes Krannert Art Museum Curator Allyson Purpura ABSTRACT This dissertation follows the historical trajectory of the products of Zimbabwean stone sculptors to examine the interplay between international art markets and the agency of the artists themselves. Although this 1960s arts movement gained recognition within global art circuits during the colonial era – and greater acclaim following independence – by the turn of the 21st century only a few sculptors were able to maintain international success. Following the depreciation on the markets, I ask: (1) for what reasons do international art buyers now devalue Zimbabwean stone sculpture after having valorized it in the 1960s-80s? (2) How do Zimbabwean artists react to these vicissitudes of the international art markets? In the first half of the dissertation I examine how the stone sculpture was framed by European patrons as a Modernist art that valorized indigenous beliefs in contrast to the Rhodesian colonial regime’s oppression. Following independence in 1980, the movement continued to be framed as a link to pre-state carving traditions – solidifying links with “tradition” – while the political economic situation in Zimbabwe began to deteriorate by the end of the 1990s. -
Colecciónartística
COLECCIÓN ARTÍSTICA de la Agencia Española de Cooperación COLECCIÓN ARTÍSTICA de la Agencia Española de Cooperación Ministro de Asuntos Exteriores y de Cooperación Alfonso Mª Dastis Quecedo Secretario de Estado de Cooperación Internacional y para Iberoamérica Jesús Manuel Gracia Aldaz Director de la Agencia Española de Cooperacion Internacional para el Desarrollo Luis Tejada Chacón Jefe del Departamento de Cooperación y Promoción Cultural Jorge Manuel Peralta Momparler Inventario, textos del catálogo y documentación María Blanco Conde Dirección de la edición del catálogo María Blanco Conde Fotografía Enrique Sáenz de San Pedro Miguel Lizana Barco Coordinación Editorial Carlos Pérez Sanabria Héctor Cuesta Romero Diseño y maquetación Ana Lapresta Adiego © Ministerio de Asuntos Exteriores y de Cooperación Agencia Española de Cooperación Internacional para el Desarrollo http:\\publicacionesoficiales.boe.es [email protected] © de los textos, la autora © de las fotografías, su autor NIPO: 502-16-154-2 ABREVIATURAS UTILIZADAS MUSEOS E INSTITUCIONES CIC Centro Iberoamericano de Cooperación CSIC Consejo Superior de Investigaciones Científicas ICH Instituto de Cultura Hispánica ICI Instituto de Cooperación Iberoamericana IEE Ibérica Europea de Ediciones S. A. IHAC Instituto Hispano-Árabe de Cultura M.A, MAM Museo de América, Madrid MEAC Museo Español de Arte Contemporáneo MNCARS Museo Nacional Centro de Arte Reina Sofía MOMA Museum of Modern Art SEACEX Sociedad Estatal para la Acción Cultural Exterior UIMP Universidad Internacional Menéndez -
Meister Bildhauer Aus Simbabwe Master Sculptors of Zimbabwe
Friends Forever Herbst - Autumn 2006 Meister Bildhauer aus Simbabwe Master Sculptors of Zimbabwe ART CENTER BERLIN FRIEDRICHSTRASSE Oktober – Dezember 2006 www.friendsforeverzimbabwe.com www.friendsforeverzimbabwe.com Friends Forever Introducing Zimbabwean Master Sculptors and the history of their art. The phenomenon of modern Zimbabwean Stone Sculpture is indeed a story Another condition was the building of The National Gallery in then Salisbury, well worth telling again and again. Not only because it is a beautiful voice today Harare, capital of Zimbabwe. from the beautiful country of Zimbabwe, but mainly because of its significance Frank McEwen was called from Europe as its first director, and he showed an for as an art form, with its humanistic expression trough a modern language, those times unusual interest in art created by Africans. It evolved into a proper at the same time based upon tradition and traditional beliefs. We wonder, art academy on the premises of the gallery, where many of today’s artists were when we experience this plastic world of contemporary art, created in stone trained. McEwen eventually brought the best artists abroad – to Paris, London in a southern African country by artists of meager means. What is it we feel? and New York with great success. The nearness of another soul – from another part of the world – from quite different circumstances – and yet – we have a lot in common; what is it? – We Many of the artists developed at Tengenenge, an artists’ society, which was wonder – and we certainly like it very much. This is not the “well-off” Europeans created at Tom Blomefield’s place northwest of Harare, located on the slopes of stretching out to the “poor” African citizen - and yet it is also this – but first and The Great Dyke. -
Works of Art from the National Gallery of Zimbabwe
NATIONAL GALLERY OF ZIMBABWE Issued 14th April 1988 (Extracts from Philatelic Bureau Bulletin No 2 of 1988)2 This issue was released, a little late, to commemorate the 30th anniversary of the National Gallery of Zimbabwe, in Harare. An exciting movement and development of contemporary sculpture and painting started in the late 1940s. In 1957, the National Gallery of Zimbabwe opened its doors with Mr Frank McEwen as the Director. In the same year, a Workshop School was started within the Gallery building where artistic activity and sculpture were encouraged and developed, using soapstone and serpentine. The National Gallery collects, and provides space to exhibit, the finest of visual art both traditional and contemporary, and sets standards of excellence for the nation and international visitors to see and emulate. The stamps depict a wide range of art from the permanent collection of the Gallery 15c: Cockerel Welded Metal: 76 x 69cm. Arthur Azevedo was born in Harare in 1935. He trained as a teacher and went to Rome in 1956 with the intention of becoming a Roman Catholic priest. At that time, he was interested in painting and during the holidays he painted in the Castelli Romani and Alban Hills Region. He returned to Zimbabwe in 1962 and, as a result of lack of satisfaction as a painter, he diverted his interest to sculpture in 1963. His subjects are mainly animals. This work was purchased by the National Gallery in 1969. 23c: Man Turning into a Hippo Black Serpentine: 149 x 65cm Bernard Matemera was born at Guruve. During his youthful years he herded cattle and made clay figures.