africanah.org

Arena for Contemporary African, African-American and Caribbean Art

Author: Barnabas Muvhuti

text: email

Ronald Muchatuta

TichaAA6

Black lives have always mattered through colonialism, the Atlantic Slave Trade, the Jim Crow era, apartheid, and currently, with the ongoing abuse of Black bodies by the police. The atrocity committed against People of Color around the world clearly indicates that social engineering against us has birthed all the negative repression.

Barnabas Ticha Muvhuti talks with the Zimbabwe-born Ronald Muchatuta
Installation view, Stellenbosch Triennale, 2020, image courtesy Melrose Gallery

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From the Vault, part of Stellenbosch Triennale

TichaSunset Over Camel, Richard Mzamane Mabaso (1950 -) Oil on board 56cm x 77cm 1985, Fort Hare University Art Collection

‘From the Vault’ entailed that we had to go into the storage spaces of both Fort Hare and Stellenbosch Universities to unearth these collections which have accumulated so much history as an attempt to bring them into the light. We were not so much interested in the grand narrative nor the well-known artists, but we aimed to reveal histories that have been silenced or hidden by remaining in the vault. We also aimed to identify gaps in these histories. We are also aware that in exposing the silenced, we were silencing others too.

Ticha Muvhuti interviews the curators of From the Vault. part of the Stellenbosch Triennale, South Africa
Sunset Over Camel, Richard Mzamane Mabaso-1950, Fort Hare University Art Collection

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Wallen Mapondera

MapsTuck Shop 4. 2019

In this exhibition, Mapondera, who is known for his paintings on canvas and the trademark installations of tapestries weaved out of cardboard, went beyond his orthodox creative style to work with wood and metal, as well as to incorporate sound. Thus, the work appeals to more senses beyond the visual. This body of three-dimensional works is a narrative of Zimbabweans’ survival strategies or their coping mechanisms in the face of the endless hardships

Barnabas Ticha Muvhuti on recent work of Wallen Mapondera from Zimbabwe

Tuck Shop 4, 2019

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In Conversation with Kresiah Mukwazhi

Kreshia Sourcing bras

Self-fulfilment is the primary reason I do the work. That is why I insert and immerse myself in the work. Even when I am doing painting or textile work, I find a way of portraying self in the work. Raising awareness of issues is the reason I do live art. I like it because the impact is direct and immediate. I almost force my audience to react instantly.

Barnabas Ticha Muvhuti in conversation with Kresiah Mukwazhi

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Viwe Madinda

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For me performing is an extension of my art production, I get to channel suppressed traits like confidence, I get to speak and heal from issues that bother me, but most importantly physically engaging the space takes the work to another dimension. So it makes sense to physically connect with the audience because the issues I engage aren’t translated into an art object since I am mostly interested in invoking emotion. So what better way to be present and illustrate, my journey of learning which has been an uphill experience, than to use my body, voice, and presence?

Barnabas Ticha Muvhuti in conversation with the South African artist Viwe Madinda

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