Today, the National Gallery of Zimbabwe displays birds made of trash and platforms artists who revel in the rubbish heap. This is by no means a decline in sculptural quality, and I don’t intend to deprecate the curatorial work happening at NGZ either.
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At the heart of this exhibition is the sense of history that is intimate and personal. It enabled the artist to extend these sentiments to discourse what is political without it enveloping what is delicate about personal history.
