In Shalom Kufakwatenzi’s practice, textile, fashion, music, and performance are not separate disciplines, but different manifestations of the same creative energy. The Harare-based artist spoke about childhood loneliness, searching for and redefining identity, returning to her Christian faith, and the challenges of sustaining an artistic practice in Zimbabwe.
This year, African art is finally not somewhere on the margins of the Biennale anymore. It is in the main exhibition, the national pavilions, major solo shows, and quiet side spaces.
Tawanda Reza moved from Bindura to Harare, where he encountered a very different rhythm of life, a stronger artistic environment, and new possibilities.
There is something deeply intuitive in the way Admire Kamudzengerere moves between observation, research, and making — or sometimes not making at all.
Nothando Chiwanga’s images draw you in instantly. Rich in color, layered in detail, and emotionally charged, they create a visual world that feels both intimate and expansive.
What draws me to Takunda Regis Billiat’s work is the dialogue between materials. Organic and synthetic elements meet not in opposition, but in negotiation. Each carries memory, labour, and energy.
This paper focuses on artistic identity, self-positioning, and institutional frameworks of representation in contemporary art, with particular attention to African and Eastern European contexts.
For Kimberly Tatenda Gakanje, art is not simply the production of images, but a way of navigating life — a process shaped by emotion, memory, doubt, play and transformation.
Raised by his grandmother, William Joseph Kachinjika’s artistic practice grows from close observation, manual labour, and lived experience.
Sean Mpetiwa’s works are self-portraits of a generation: vibrant, fleshy, ever-moving figures that map the everyday life, joys, anxieties, and survival strategies of Zimbabwean youth.