ASIKO 2014 international art programme under the title A History of Contemporary Art in Senegal in 5 Weeks as part of the OFF at the 11th Dakar Biennale.

Its May 2014, i find myself back in Dakar for a five week CCA Lagos intensive Global Critic Clinic that has become an integral component of the ASIKO initiative. The clinic Begun in 2012 in response to an urgent need for more curators on the continent, I am looking forward to develop my research methodologies, sharpen my proposal development as well as develop critical writing skills, engage closely with artists from across the continent as well as with experienced professionals from around the world. 

I look forward to interacting and learning from distinguished visiting faculty of artists, curators and academics including: Joseph Adande (BN), Jonathas de Andrade (BR), Lisa Aronson (US), Rashida Bumbray (US), Eddie Chambers (UK), Mimi Cherono Ng’ok (KN), Modibo Diawara(SN), Viye Diba (SN), Baba Diop (SN), N’Gone Fall (SN), Dominique Fontaine (CAN), Tamar Garb (SA/UK), Koyo Kouoh (CM), Simone Leigh(US), Nana Offoriata-Ayim (GH), Moyo Okediji (NG), Emeka Ogboh (NG), Olu Oguibe (US/NG), Wangechi Mutu (KN), Rosana Paulino (BR), Aura Seikkula (FIN), Mady Sima and Amadou Kane Sy (SN). But above all visit the main Dark Art biennale exhibition, sadly no Zimbabwean this time.. and other Dark Art OFF programs doted around Dakar and between ASIKO assignment reading and writing.

I will be sharing my Personal experiences in ASIKO international art programme under the title  A History of Contemporary Art in Senegal,  as part of the OFF at the  11th Dakar Biennale.  and pay much attention to what facilitators bring on to the table. Some of the visiting artists and curators i have only interacted with them on social media platforms so it promises to be a huge ling between my Job description and what is on the ground. I made this decision to apply because i was running out of ideas at the NGB. Huge challenges with artists responding to exhibitions workshops and conversations Up to date i question my self is it me or it’s the way things are. I have found and shared common stories with my colleagues here and the challenge in Zimbabwe is a challenge in Bamako, Nairobi Kampala, etc

Keep close for weekly updates 

Week one of ASIKO 

Great working week so far presentations with Rosana still going on well, pick of the week though was the visiting artists beginning with Emeka Ogbor Nigerian sound artist doing some fascinating work capturing the moment and sound at the same time. Archiving such works like sound and images image they took center stage, after Q&A, i am glad that Emeka came through to share his work with the team.

www.14thmay.com/about.html

Wangechi Mutu Kenyan artist and sculptor who lives and works in Brooklyn, New York. I consider Mutu as one of the most important contemporary African artists of recent years, and her work has achieved much global acclaim studied worked and lived in the US shared a very deep talk about her life as an artist from Wales to the US and now back in Kenya. The talk opened up my mind and answered many questions about African Artist in the diaspora. Both Emeka and Wangechi touched on the subject we worked on with Rosana the facilitator in the use of materials research and presentation of one’s work.  I am looking forward to the coming weeks as the main Dark Art biennale officialy opened and the city is alive with more than 100 other exhibitions around Dakar. It is that week of the biennales official opening  and reunions new contacts and networking with curators and Artists.

www.wangechimutu.com

Glad to have seen  fellow Zimbabweans like Sithabile Mlotswa, Gina Maxim, Richard Mudariki in Dakar as well.

   




http://www.asikoartschool.org/

Popty Bach 2013 Wales UK

In July 2013 Cliford Zulu sculptor and Assistant Curator was invited to participate in a three week long international artist’s workshop in the UK. Popty Bach is a networking result that was discussed in 2011 by Victoria Malcolm and Cliford Zulu while working at the Wales and Zimbabwe Pavilion respectively during the 54th Venice Biennale in Italy. In February 2012 Victoria Malcolm came to Zimbabwe to give a talk at the National Gallery in Bulawayo after participating in the Tuphelo International Artist’s Workshop at the Bag factory in Johannesburg South Africa. During her stay in Bulawayo a workshop along the Tuphelo concept was the direction taken hence the invitation to participate.

The workshop officially began on 17 September with participants including Cliford Zulu Zimbabwe, Witty Nyide Artist/ Education Officer Durban Art Gallery and Igshaan Adams artist/ Great more studios committee member from South Africa, Peter Backer Artist from Liverpool, Louis Bird Artist, from Carmarthenshire UK and Chris Bonfati USA, visiting to the Tate Modern Gallery and other galleries in and around London to see the exhibitions and curatorial work.

We drove to Wales the same afternoon to familiarize with the working space. Dolbantau is a former bed manufacturing factory known as Alpha-beds, run by Brian Faux and Victoria Malcom. Victoria Malcolm

The workshops main objectives sought to put together in one space artists and curators in one space for 10 days so that they can work on experimental works and are able to tell a story through the exhibition. Also the workshop persuaded the idea and concept of presenting unfinished works for the public to interact with the work and complete it in their own interpretation and understanding

The other part of the workshop included visits to the galleries in London and Wales which included The Tate Modern and Britain National Gallery Victoria Albert Museum, October Gallery, Gasworks artists residency and gallery and in Wales we visited the

Zimbabwe the workshop is still pending I am thinking of asking a few schools in and around Bulawayo to send in a total of 15 young artists to beging to focus on art and curating at that level seeing that curating in Zimbabwe is a fairly new concept the workshop will cover basic curatorial and art lesson and will share educational opportunities for curating and art and a professional career

The Spirit of friendship “Entre dos aguas” Pakati pemagungwa

 I am glad to have been asked to curate this exhibition as it was the one that many people in Zimbabwe would see the for the first time my outside the Gallery spaces. the itinerant show was special to me as it was a dedication and a way to keep the memory of the good work that the late ambassador did especially when it came to  the promotion of the Arts below is a reportage of: Art, Design, Gallery & NYC Events, done by David Barish

more
http://www.artandculturemaven.com/2012/12/gallery-show-opening-in-new-york-city.html

The Spirit of Friendship @ The Gabarron Foundation

 The Spirit of Friendship / Entre dos Aguas

Opened at The Gabarron Foundation December 6, 2012.

The group show consists of eleven contemporary African artists 

curated by Cliford Zulu and will run until February 22, 2013.

The exhibition is dedicated to the late Spanish Ambassador
to Harare, Zimbabwe, H.E. Pilar Fuertes Ferragut who suppoted
the Arts of Zimbabwe.

This exhibition was organized by the Gabarron Foundation
with the Spanish Embassy in Harare and the National Gallery 
of Zimbabwe.

The Gabarron Brothers, Gris and Juan, CEO and Vice President.

Dark Art 2012

Arriving in Dakar was a moment that I had looked forward to as it imaginatively presented to me as the finest contemporary arts showcase in the continent. As a young curator I started to put images and research together and I had this image of an unfinished vision. Travelling to Senegal really made me feel great as this was set to thwart all the misconceptions about contemporary African art. I have to say the facilitation by Goethe for me to travel and meet up with old friends within the creative circles from around the world kept me on my toes as I sought to find the Biennale and immense my imaginations into it with an open heart and mind set. Oohhhhh!   The first block was communication then it all clicked that I am in a French speaking territory, the basics worked to keep me in focus.

The official opening signalled challenges amongst the curators and organisers. Compliments to the Senegalese government to the support of the Arts. I was surprised to see that the 10^th Biennale still did not attract locals to attend and participate in the various exhibitions dotted around Dakar. At first it was a bit of a challenge identifying exhibitions but eventually the official map was out and Dakar began to roll out. Coming from Venice Biennale in 2011 I was comfortable seeing that the people that matter in the growing African creative scene, from Curators to artists and sponsors put the effort to see the biennale taking off.

Personally I was thrilled walking up and down the streets of Dakar eating the local favourite Rice and Fish, and the street markets, the fancy and well decorated commuter mini bus rides. Art was found in most places, though to most people it’s just a way of life. The story of African Arts is just the same in the continent that the west is funding our culture and the locals are not keen to support the events. I did not have an outstanding show that moved my jaws. As a young curator I was mostly interested in the use of space, audience building, support and presenting the image of the contemporary artists by African for Africans very little of that I saw, at least in the few days I was there so I lost the oomph and because 20years on, the biennale it did not meet my expectations.

I am grateful to have been part of the show and to have been part of the Goethe team in Dark Art 2012 the experience was worth it as networking with fellow artists and curator in Africa was the highlight of the stay nurturing the contacts and sharing with fellow creative will be a joy to do as I look for something new to create or participate in the story of Dark Art is debatable yet it sounds complete.  

90 Days in Venice

My name is Cliford of the son of uZulu, I inhabit from the city of kings in Bulawayo. An artist come administrator and now working towards fulltime curating exhibitions at the National Gallery of Zimbabwe-Bulawayo, I will share my 90 day personal experience on working and visiting Italy. I arrived in Venice on the 1st of June 2011 in the company of the Terence and Dzikamai the ZBC crew also coming to cover the Exhibitionn and the Biennale in general. Now i was beginning to link my areal Google research and the reality on the ground. I realised that technology is becoming more and more relevant in our day to day life.

Venezia, Italian for Venice is “a water City” and the island relies on water for every means of its day to day activities. The only time I saw cars was in a ferry crossing through the canal to the beach island of Lido or when I went to main land Venice Mestre.

Being the first time in Venice I was amazed by the architecture and getting around, I felt like I was in a maze or game.” Imagine a fish (Bream) on a table”, that’s the aerial-abstract view of the city, so I got rid of my leather shoes and put on some walking shoes. For 90 days i walked around the city from the Pavilion to the Apartment. I walked from the apartment in Fonda Fonte Nove to the pavilion near San Marco in 30 minutes

The Zimbabwean pavilion is situated on the 2nd floor of Casa per Ferie the Instituto Provinciale  S.Maria Della Pieta  Calle della pieta in Castello 3701 – 30122 Venezia and shares the complex with the Ireland pavilion. My task is to provide vital interface with visitors to the pavilion, maintain and supervise the smooth running of the exhibition that opens from 10 am to 6pm Tuesday to Sunday, Monday closed. First week of the Biennale was crazy and alive with hundreds of visitors in the city it was vernissage after vernisagge. The Zimbabwe pavilion had the Private View (official opening) on the 4^th of June, officiated by the The Zimbabwean ambassador to Italy Mary Mubi. The four artists featured in the exhibition Tapfuma Gutsa, Berry Bickle, Calvin Dondo and Misheck Masamvu where present to promote their work, also present was Doreen Sibanda the Pavilion commissioner Raphael Chikukwa the Curator and Rev. Paul Damasane.

The first 30 days where characterised by a high turn out of visitors who included curators, gallery owners, artists and art lovers in general. My time table was mostly apartment pavilion apartment and Mondays that’s when I would visit other pavilions. During lunch time I also went to taste Venice and I must confess the first week was challenging. I just missed my wife’s cooking, but I soon got used to the pastas and the spaghettis around different restaurants, enjoying outdoor dinning with a bit of Venetian street performers making time fly by. Venice history is reach and it will take another 5 pages to tell you about maybe in my next blog. Walking around the city recalling all the Google stories about “the city sinking” I just took extra care and was working on my exit strategy, you know incase the lagoon decides to. Gondolas Vaporatos watertaxis, waterdelivery boats water this is life. So the first month was dedicated to work discover and learn.

The second month was much more interesting because I got rid of the Venice maps and began to explore the city more avoiding main tourist’s roots and getting lost and the labyrinth. The Venetian invigilators at the pavilion where now accustomed to the exhibition so I had time to discover the Biennale, the artists curator and the commissioner where gone (yiiiiiihaaaahh hurrrayyyyy it was time to get this party started -Jokes) giving me time to plan my curatorial analysis programme. After finding my foot with the taste i moved on to the Venice night programme, to my surprise life begins in the evening with people going out for meals drinks and small parties, i enjoyed the night stroll as it gave me a better picture of the city while drinking local popular wine prosecco by the canals. during the day temperatures would be so high that most of the people would just sweat from the humid heat.

I made a quick visit to most of the pavilions out side the major exhibition centers, the Giardini and the Arsenale I reserved those for the last month of my stay. The second month also opened new communication and activity avenues with the invigilators working in other pavilions. Networking opportunities, joint skill and information sharing activities about art and what happens during the day in the pavilions became part of the activity. My observation of the artwork to the pavilions visited and the Zimbabwean pavilion, results of my curatorial analysis will be published after I complete my mission in Venice.

Third month, I became a Zimbabwean man in Venice, i started exploring mainland Venice- Mestre to see the art life and general living conditions of the Italian people was, and to my little surprise i discovered a rather painful story of the Venetian people. They claim that their livelihood in Venice has been destroyed as they have been pushed out of the city due to an influx of tourists, causing the cost of food transport and housing to go beyond the reach of many. There is a population of about 55 000 venetians home owners with a very rich history and culture in Venice, but on a daily basis 60 to 80 000 tourists visit the city taking pictures of everything they see even of just a family sitting in the house or doing laundry is fascinating to visitors with their long black cameras. That on its own is an ongoing debate that I will blog about also.

Basically I have just been immersed by the way the Biennale has been hosted by the city and the kind of activities that happens during the six months that the Art, Film, Music and dance activities are organized and presented to the world to see. I am so gatefull to the national Gallery for an

After 90 days in Venice I took a break and went home to see family and 8 days after I was back in the city of water predicted to sink by…………. till the next blog part 2 of my Venice experience. Bling me this opportunity which is part of the job to explore and develop ways within which this inaugural exhibition becomes a stepping stone for future participation in the this and other biennales around the world including the initiation of the Zimbabwean, Harare, Bulawayo, Mutate Biennale, and in the Zimbabwean arts calendar

Ciao Cliford Zulu  20 September 2011 @12:30 pm

Studio or Admin

The passion and the talent of creating images through painting and carving/sculpting over the past 10 years and the subsequent move into the administration of the visual arts in Bulawayo i am enjoying doing both at the moment and that is keeping me extremely busy; office by day and artists by night morning and the weekends.

I now look back and forward in trying to come up with the best way to be known and understood in as an individual. and i cant get over the fact the i love both. Maybe the current economical and political situation in Zimbabwe is pushing human beings so hard in order for one to put food on the table. I will not talk about roof over shelter yet because that remains a dream in a long pipeline for some of  us.

Alex turning 4 in November 2011, looks up to daddy to keep him happy with all the gadgets he needs while Buhlebenkosi looks up to hubby to comfort and provide confidence line for the future of the Family.

So when i wake up in the morning at about 5 am i must be at the workshop/studio at about 6am to get started on clients orders ranging from carved table tops, carved to ivory tusks etc.

At 815 am i must be on my way to the office (Gallery) and get by until 5pm, then back to the studio for final touches that will finish over the weekend. it pays well and you get a sense of control satisfaction and ownership.

On the  other hand the administration job is lovely and full of challenges and opportunities in the field of curating, locally and internationally. i get the opportunity to interact with the who’s and the who’s in the creative circles like exhibition openings and other creative functions.

so as i conclude part one of this doc. i just want to sit down and find the best way and the most rewarding satisfying and good job, source of income, career etc. till then talk to me.