Exhibition Review: Digital Sphere by Talent Kapadza

Talent Kapadza, a celebrated visual artist based in Bulawayo, embodies a dynamic blend of creativity, ambition, and relentless innovation. Affectionately known as "Pollock" among his peers for the stylistic resemblance of his early works to the iconic Jackson Pollock, Kapadza has steadily carved out a distinctive identity within Zimbabwe’s contemporary art scene.

Kapadza is deeply admired for his fearless experimentation. His work pushes boundaries, exploring new mediums and techniques that set him apart as a trailblazer in Bulawayo’s art community. His dedication to his craft is particularly notable through the installations and by the amount of time he invests in researching his subjects, materials, and artistic influences, elevating his work with depth and meaning. As an artist, Kapadza is not just creating; he is setting the pace for many visual artists in Bulawayo. His ability to embrace challenges is an inspiration for a new generation of like-minded creatives, paving the way for Bulawayo’s contemporary art scene to reach new heights. Beyond traditional canvases, Kapadza ventures boldly into installation art, demonstrating remarkable versatility and comfort with various materials. This fearlessness makes him a daring and unconventional painter unafraid to price his work on the high value and explore new artistic methods. Kapadza appears to be moving beyond the Pollock-inspired abstract expressionism of his earlier years, evolving into an artist with a distinctly original voice. 

His recent exhibition, Digital Spheres, exemplifies his efforts to remain contemporary by integrating digital technology into his work. While this evolution is commendable, the Pollock influence should not be entirely discarded—it serves as a foundational element upon which he builds his unique visual language. Although this review emphasizes the artist’s character, Kapadza’s exhibitions also reflect his bold personality. That said, the current self-curated show under review, diverges from his established identity and style. But practicing in Zimbabwe requires artists to remain innovative and inventive, weaving compelling narratives through cutting-edge artistic expression to stay relevant locally and visible internationally.

Looking ahead, Kapadza shows no signs of slowing down. His ambition to redefine the boundaries of contemporary art promises a future filled with groundbreaking work. It may now be the right time for him to engage more actively with the international art scene, bringing his vision to a global audience. Cliford Zulu’s review captures not only Kapadza’s art but also the essence of the artist himself—ambitious, daring, and deeply committed to his craft. Kapadza represents the spirit of innovation and resilience that is redefining Bulawayo’s contemporary art landscape. The exhibition runs at the National Gallery in Bulawayo until early 2025.

About Cliford Zulu Cliford Zulu is an independent curator based in Bulawayo with over a decade of experience curating contemporary art and design both locally and internationally.

Exhibition Review: Sibambe Ngamazinyo VAAB annual exhibition 2024

Venue: Amakhosi Gallery Curator: Owen Maseko The 35th VAAB group exhibition Sibambe Ngamazinyo, opened on the 21st of December 2024 making the launch of the newly established Amakhosi Gallery. 

While the space itself is a welcome addition to Bulawayo’s art scene, providing a much-needed platform for creative expression, the promising premise fell short in its execution and exposed significant areas for improvement. Curated by Owen Maseko, his multiple roles as VAAB chairman, exhibition curator, and participating artist raise critical questions about the potential for conflict of interest and divided focus. 

The short timeline between open call submissions and the exhibition, left many Bulawayo Visual Artists left out hence the display felt rushed, with little room for refinement. Moreover, the exhibition statement lacked clarity, judging by the exhibited artworks leaving some participating artists uncertain about the central theme and intended narrative. This lack of coherence further created a gap in the audience's engagement with the artwork. The curatorial work suffered from several logistical oversights, leaving visitors without essential context. The lighting was inadequate for a “Gallery-in-making”, with some works poorly illuminated, which detracted from their impact. Such lapses signaled a lack of preparation and attention to detail. The marketing of the Gallery and exhibition was minimal, and it affected the attendance. 

This was a missed opportunity to showcase the new gallery and the emerging artists to a broader audience. For institutions like Amakhosi and the VAAB, an improved marketing strategy would be crucial for future events to ensure higher visibility and community engagement. The trajectory of the annual VAAB exhibitions standards does not appear to be consistently upheld, raising questions about its structure, planning and long-term commitment to its membership. Establishing consistency will be vital for building a recognisable and reliable Association and platform for artists and audiences. While a few seasoned artists participated, the exhibition primarily showcased emerging names. This highlighted the need for more robust curatorial work and mentorship to elevate participation and the overall quality of the exhibition. The absence of 3D works was a noticeable gap, emphasising the need for broader artist engagement to fully represent the diversity of Bulawayo’s artistic community. Since its inception, the annual showcase has historically been a source of inspiration, confidence, and opportunity for many artists in the city. 

Expanding participation to include a wider range of mediums and styles would help maintain its relevance and impact. A Trigger for Freedom of Expression, Amakhosi Gallery will have to offer more than just a physical space—its presence triggers new opportunities for freedom of expression for artists in the region. By breaking away from historical censorship and creating an environment where artistic voices can thrive, the gallery may represent a vital step forward for the visual arts in Bulawayo and beyond.

Despite these shortcomings, Sibambe Ngamazinyo underscores the challenges in VAAB to me the exhibition title translates to “we are hanging by the thread” 

The space is an exciting addition to Bulawayo’s creative landscape, with the capacity to host significant visual arts events. Congratulations are due to the Amakhosi Cultural Centre team for their effort in bringing this vision to life and the VAAB for keeping the artist's dream alive despite the challenges. With better planning, clearer communication, and a commitment to professional standards, future exhibitions at the Amakhosi Gallery can become transformative moments for Bulawayo’s visual arts community. This inaugural effort may have stumbled, but it marks the beginning of what could become a vibrant and influential platform for the city’s artists. 

Cliford Zulu is an Independent Curator working and based in Bulawayo.

Understanding Cultural appropriation in the context of Zimbabwean art and designs

Research project: Understanding Cultural appropriation in the context of Zimbabwean art and designs refers to using elements of one culture by members of another culture, usually without permission or understanding of the original context. In art, this concept has sparked significant debate, particularly regarding issues of power dynamics, respect, and creativity. Appropriation often involves borrowing symbols, motifs, styles, or practices from a marginalised culture, by artists who do not belong to that culture. Some examples include incorporating Indigenous designs, traditional patterns, or spiritual practices into artworks or performances. Historically, art has been influenced by cross-cultural interactions. However, appropriation becomes problematic when it prospers without acknowledgement or respect.

IMG: Andre Van Rooyen

 Key Discussions in Art 

1. Ethics and Power Imbalance:  Critics argue that cultural appropriation reinforces systemic inequalities. Dominant cultures often benefit economically and socially by using elements from marginalized groups, while the originating cultures may face stereotyping or erasure here I am looking at the Njelele shrine for example. 

2. Respect vs. Exploitation:  When cultural symbols carry sacred or significant meanings, using them in art without understanding can be seen as disrespectful.  An artist might view it as a homage, but members of the originating culture may perceive it as theft or trivialization, the rock painting is another example. 

3. Originality and Influence:  Defenders of cultural borrowing such as Galleries etc. suggest that all art draws inspiration from diverse sources and that cross-cultural exchange enriches artistic expression. The distinction between respectful inspiration and exploitative appropriation is a nuanced and a subjective debate. 

4. Representation and Voice:  Another critique is that appropriation can silence voices from the originating culture. For example, when a non-Indigenous artist profits from Indigenous art styles, they may overshadow Indigenous artists working within their own traditions. 

5. Economic Implications:  The economic gains often flow disproportionately to those outside the culture. 

For instance, major fashion brands have been criticized for copying traditional designs without compensating the communities they derive from. Examples in Art and Controversy 

• Fashion: Designers using Indigenous beadwork or Designs from painted huts. 

• Visual Art: Artists incorporating tribal or spiritual iconography without crediting its source. 

 Moving Toward Ethical Art Practices 

1. Collaboration: To avoid this, institutions through their curators and artists need to engage and compensate members of the source culture can lead to respectful and authentic representations. 

2. Acknowledgment:  Giving credit to cultural inspirations and learning their significance reduces harm. 3. Empowerment: Highlighting and supporting artists from the culture being borrowed fosters equity and representation. 

Conclusion: Cultural appropriation in art is a deeply complex issue involving respect, creativity, and power dynamics. While cultural exchange is intrinsic to human expression, it is crucial to navigate these interactions ethically to honour the origins and voices of the cultures involved.

Cliford Zulu is an Independent Curator working and based in Bulawayo, Zimbabwe.