The exhibition discoursed the theme of powerlessness through the stories of a sex worker who became a prophetess, Madzimai Catherine in the Nyenyedzi Nomwe Apostolic Church. Mukwazhi sought to subvert the traditional power relations imposed on women’s bodies by patriarchal structures.
“We Are Here (Brooklyn) is a celebration of Bedford-Stuyvesant’s rich cultural legacy- a testament to its past and present … centers images and stories of long-time Bed-Stuy residents, cementing their place as neighborhood icons in the name of resilience and permanence.”
Branly is a misfire for several reasons. The exhibition rooms are shrouded in darkness as if that is the way to symbolize Africa, turning it into a maze that confuses and irritates visitors. The collection on display mainly comes (or was stolen?) from French colonies, which means that the museum by definition gives a distorted image. And the tone of the accompanying wall texts is sometimes annoyingly educational.
There is no day that I will stand and pretend that I wove the mats or the bags, I mean, that would be a blatant lie but in terms of taking these pieces as additive spices to tell a new story that involves their work, yes, that makes me the artist.
I am fascinated with the surface of steel. It is a substance so strong and industrial in nature. I love interrogating it, pushing its boundaries and playing with the alchemical processes. I look to bring life and dynamism to the materials that have constructed my hometown. I also love painting on it, the beauty of the oil paint gliding on its smooth surface.