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; ff^VoS SISIB Anglo American Corporation Services Limited T1HTO The Rio Tinto Foundation APEXAPEZCOBTCOBPOBATION OF ZIMBABWE LIMITED Joerg Sorgenicht ^RISTON ^.Tanganda Tea Company Limited A-"^" * ETWORK •yvcoDBultaots NDORO Contents March 1997 Artnotes : the AICA conference on Art Criticism & Africa Burning fires or slumbering embers? : ceramics in Zimbabwe by Jack Bennett The perceptive eye and disciplined hand : Richard Witikani by Barbara Murray 11 Confronting complexity and contradiction : the 1996 Heritage Exhibition by Anthony Chennells 16 Painting the essence : the harmony and equilibrium of Thakor Patel by Barbara Murray 20 Reviews of recent work and forthcoming exhibitions and events including: Earth. Water, Fire: recent work by Berry Bickle, by Helen Lieros 10th Annual VAAB Exhibition, by Busani Bafana Explorations - Transformations, by Stanley Kurombo Robert Paul a book review by Anthony Chennells Cover: Tendai Gumbo, vessel, 1995, 25 x 20cm, terracotta, coiled and pit-fired (photo credit: Jack Bennett & Barbara Murray) Left: Crispen Matekenya, Baboon Chair, 1996, 160 x 1 10 x 80cm, wood © Gallery Publications Publisher: Derek Huggins. Editor: Barbara Murray. Design & typesetting: Myrtle Mollis. Originaiion: HPP Studios. Printing: A.W. Bardwell & Co. Paper: Magno from Graphtec Lid. 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 Articles are invited for submission. Please address them to The Editor. Subscriptions from Gallery Publications, c/o Gallery Delta, 1 10 Livings!"! Avenue, RO. Box UA 373, Union Avenue, Harare, Zimbabwe. Tel & Fax: (263-4)792135. e-mail: [email protected]./.w Artnotes One of the reasons for Europe and North healthy critical environment than Zimbabwe. standards. Art criticism can, and in America's dominance in the art world is the He argued that art criticism is not an Zimbabwe it must, fulfill multiple roles as w ide range of stringent criticism that 'either—or' phenomenon; that "all critical educator, promoter, recorder, supporter and surrounds art in those countries. Art, enterprise in whatever mode or medium catalyst. Despite its modest beginnings and curators, galleries, arts bodies, as well as the aims at virtually the same goal — a fuller some might say its colonial origins. Gallery critics, are constantly under scrutiny in articulation and appreciation of art." He attempts to reach as far as possible and with newspapers, magazines, in lectures at spoke about the importance of popular and the recent sponsorship from HIVOS, Gallery universities and conferences, on TV and oral criticism emphasising that criticism can is now going to all schools that teach A level radio. As a result, informed debate is be accommodating rather than divisive and art and to all public, community and rural generated. Art becomes public knowledge that inclusivity of viewpoints is essential. libraries throughout the country. and art criticism contributes to development He later described a marvellous-sounding and to the quality of life. annual event in Nigeria — the Art Stampede. At the end of the conference I felt strongly This is an informal social occasion for artists that we must rely on ourselves and build on But in Africa art criticism is sorely lacking. and critics from all the arts. One or two what we have. Matthew Arnold said "/ am In November last year, Zimbabwe, Nigeria people make speeches but the essence of the bound by my own definition of criticism: a and South Africa sent delegates to a event is to interject, to question, to create an disinterested endeavour to learn and conference on Art Criticism & Africa at the open, free-for-all atmosphere and exchange propagate the best that is known and thought Courtauld Institute. London, organised by of views. in the world'' He also said: "The great aim the British section of the International of culture [is] the aim of setting ourselves to Association of Art Critics (AICA). Of the The third session looked at political and ascertain what perfection is and to make it 61 national branches of AICA, only three are administrative effects on art criticism. Once prevail." With 20th-century relativism we in Africa! The aims of the conference were again the comparative strength of Nigeria have gained greater tolerance. We recognise to investigate the critical culture in was obvious. Ola Oloidi. critic and art every individual's right to a personal version Zimbabwe, Nigeria and South Africa, and to historian at the University of Nsukka, of 'perfection' but criticism challenges us to encourage the formation of local branches of examined the growth of criticism in Nigeria continually revise our version, not to rest on AICA. explaining that it sprang from colonial mediocrities but to keep looking in the hope sources but that it has evolved into a that we might attain the best possible. It is The first session of the conference. 'Art "tradition that can be considered dynamic not that there is some static definition of Criticism of Africa outside Africa', featured and promising". He emphasised "the 'best' or 'perfection' but that we keep on representatives of those exiles from Africa importance of an indigenous art-critical analysing, looking and thinking. whose role in nudging and irritating the West culture and the needfor an internationalist into recognising art from Africa should not inside-out and not outside-in critical In a work of art. the artist seeks the best be underestimated. However, they have attitude'' Fatima Afifi. director of AICA- expression of a facet of life. While every lived outside Africa for a long time and now Egypt, gave evidence of the integrating endeavour is to be welcomed, criticism have an identity crisis. Gavin Jantjes, potential of AICA which, because of its exists to show up the perceived strengths and originally from South Africa, admitted as independence, can transcend divisions and failings. The artist, curator, critic, indeed all much when he spoke of "a rear-view mirror' combat political and cultural pressures on of us, need to be honest enough to and of problems in separating the art. Colin Richards, a lecturer from Wits acknowledge failings if we intend to motherland itself from the exile's idea of the University, explained that art criticism does continue the search. Some decide to settle motherland. Olu Oguibe, originally from not have a firm base in South Africa; that for mediocrity, that is their choice. Nigeria, painted a grim view of freedom of there is no specialist art journal and that expression in Africa saying "healthy critical discourse remains "both rarefied and Critical practice in Africa continues to be criticism is impossible in Africa" and "there underdeveloped'. He said that in the 'new dogged by politics, racism and colonialism. is no culture of excellence in Africa". South Africa' facilities and possibilities are Our history has led to a mentality of fear and George Shire, a Zimbabwean exile, defined more evenly distributed throughout the the suppression of criticism, where critics criticism as a political act and spoke of the are misconstrued as enemies rather than seen need to decolonise art criticism in as allies in that search for the best. The Zimbabwe. This point was forcefully contradicted by the critics of colonial exploitation were South African artist and curator, David harrassed once just as the critics of The second session, 'The Art Critic as Koloane, in the fourth session. Koloane, dictatorial corruption are hartassed now. Advocate', moved on to views from speaking on the topic 'Art Criticism for They are however, thankfully, never participants who live in Africa and know the Whom?' said things have not changed. The silenced, or not for long. Time proves realities. The tone became less theoretical power remains with the white establishment criticism (relatively!) right or wrong in a and surprisingly more hopeful. Murray and "there is a need for a common multitude of ways. What is important in the McCartney highlighted the massive potential .sensibility to tackle the problems confronting end is that criticism exists, inviting people to of the media in promoting art and pointed both black and white artists." This is similar reconsider and change. What Zimbabwe incisively to examples of wide-spread to Zimbabwe where art criticism had a white needs is more criticism. Perhaps an Art existing disinterest, self-censorship and source and access has remained limited. In Stampede? Certainly a branch of AICA lethargy. Tony Mhonda defined Zimbabwe both colonial and post-independence cultural The Editor as "an a-critical society", spoke of the need policy art is dismissed as entirely for grassroots education, condemned Gallery superfluous. With minimal art education, a as a minority, magazine and went on to disinterested government and an berate Zimbabwean critics for being elitist. unenlightened media, the little art criticism Chika Okeke revealed that Nigeria, despite there is must target as many people as its trenchant political repression, has a more possible without compromising its I What is the state of ceramics in Zimbabwe today? Is it art or craft? Is it being taught, made, shown, sold? What is its kind and quality? ^ Potter, lawyer, former chairman of the National Gallery of Zimbabwe, Jack Bennett, conducts a survey of local ceramics and finds there are more questions than answers. Burning fires or siumbering embers? In 1992 an impressive 27 potters packed 204 works into the main space of the National Gallery of Zimbabwe for an exhibition of ceramics. It was a feast of studio pottery and open-fired earthenware. Granted this was a special for ceramics, with all the potters invited and ail entries accepted.