Rhythmic Elements | Group exhibition

VENUE: AKKA Project Venezia
START: 18/05/2021
END: 30/06/2021

Rhythmic Elements: An interrogation of contemporary African resilience

Curated by Tafadzwa Gwetai

The exhibition aims to analyze the concept of Contemporary Africa and the real meaning of being African through the eyes and hands of four artists from Zimbabwe. Using different techniques and media, each artist proposes his/her own vision of modern man, as part of a community and as an individual. Charles Bhebe will present his “urban narrations” that explore the interaction between man and urban environment; Tafadzwa Gwetai, following the idea that “the constant search of identity has resulted in revolutions that have marked the end of eras and give rise to new futures”, will showcase 8 artworks on canvas, combined to create a puzzle, of identity; Berry Bickle by using photography explores the history of Zimbabwe through postcolonial theory. And then, Neville Starling, an interdisciplinary and self-taught artist who works with a variety of media from sound-light based kinetic sculptures to photography. We will have the chance to admire two of his kinetic sculptures, a short film and a photographic series.

“Africa has become an amalgam of all nations, cultures, and religions from across the globe and our belief system has evolved and now we question and challenge ‘hidden truths’ because we have freedoms that we never experienced on the continent before.”

Curatorial statement by Tafadzwa Gwatai 

“The ‘Rhythmic Elements’ exhibition interrogates the modern visual tempo of contemporary Africa and what it means to be African. Through colonization and encounters with foreign ideologies, Africa was not only exploited but also exposed to new ideas. In essence, the colonial agenda was designed to destabilize the livelihood and most importantly the spiritual foundation of Africans. Consequently, to an extent, Africans have absorbed all forms of colonial and spiritual influence that are intrinsic to the African identity. This characteristic informs the premise of the ‘Rhythmic Elements’ exhibition. It aims to explore the gradual formation of African identities that have merged over time – resulting in ‘evolved’ and ‘devolved’ generations.

The quest for understanding oneself and asserting a stance is a general human quality. Our existence is always constantly being challenged, hence naturally resilience is a common trait. Similarly, notwithstanding colonial dominance, Africa sustained resilience. This African resilience within the continent and in the diaspora has resulted in a juxtaposition of cultures coexisting. There is a hidden beauty that exists with every struggle and these are the ‘Rhythmic Elements’ that have woven themselves through the strength of time and perseverance of layers of inherited truths. These woven bonds have foundations based on inherited inequalities, inherited poverty, inherited race wars, and inherited spirituality which sometimes leads to self-doubt. Thus the African psyche is pushed to question its purpose and existence and can therefore redefine and reinvent itself into a modern African identity – adopting foreign elements and maintaining African traditional customs.

Our scientific musical understanding of the term ‘Rhythmic’ is the patterning of musical sound, as by differences in the timing, duration, or stress of consecutive musical notes. Within the ‘Rhythmic Elements’ exhibition, these differences or attributes of the ‘Rhythmic’, applies to the modern African identity whose ever-evolving. These ever-changing identities occur in the backdrop of an ‘African heartbeat’ that vibrates to the life ‘Rhythmic Drum’, one that has created a living social tempo inhabited by a people with a brave renewed character, despite hardship. Although colonial systems altered African belief systems and ways of life, the beauty and strength in the contemporary African is a lived embodiment of resilience against this disrupter. Today we live in a world where history has been distorted to suit some, fake news is ‘justified’, truths are doubted, and religion has become a weapon of choice. These conditions give rise to a generation of new self-made identities as humanity attempts to make sense of it all. Within the African context, these structures also include the architectural landscape. African townships are colonial designs, strategically placed in locations where prosperity is not an option. Regardless, out of these very townships, a reinvented African was born and they overcame and continue to fight challenges with elegance and pride. That is African resilience in action.

Rhythm is an essential ingredient in human existence and with no underlying ‘rhythm’ to this existence then there is no authentic drive for life. Rhythm is the one integral element in all art forms where ‘rhythm’ can exist without ‘melody’, but ‘melody’ cannot exist without ‘rhythm’. Rhythm is created by a pattern of stressed and unstressed contexts. Rhythm also dictates the speed of change and movements, it is the beat and the pace.

One has to be in sync with this ‘rhythm’ that steers our context and circumstance. Asserting African Identities within this concept of rhythm and considering the colonial struggle that Africans have faced throughout history, these connotations can be applied to the visual senses affecting mind, body, and soul. The physical and supernatural forces are always present in the affirmation of one’s being. Therefore, as a direct result of our visual experiences and cultural encounters, Africa and Africans today are faced with the dilemma of either preserving what appears to be an unattainable past or sacrifice this past for a modern reinvented identity and resiliently uphold their sense of self with honour. Attitudes that can only be distinguished or described as their ‘rhythm’ and grace. African resilience is a distinctive trait that has been evolving and our 21st-century contemporary times reveal even more layers of where we come from and how our current stance on existentialism defines the new African. Africa has become an amalgam of all nations, cultures, and religions from across the globe and our belief system has evolved and now we question and challenge ‘hidden truths’ because we have freedoms that we never experienced on the continent before.”

Participating Artists:

Charles Bhebe was born in Lupane, Zimbabwe and currently lives and works in Bulawayo.

His two-dimensional works explore the human figure as an individual and as part of a community, focusing on the issues of identity and belonging; Spaces we occupy, the information we receive and share, who we associate with, our response to changes around us, be it by design or by natural causes.

Charles Bhebe, Dissonance, 2021, cm 45 x 45

Tafadzwa Gwetai

Tafadzwa Gwetai is a Zimbabwean visual artist, painter, sculptor, and curator who works in oil paint, mixed media, and found objects.
He holds a BTech; Creative Art & Design (Hons) Degree from the University of Chihnoyi, Zimbabwe.

Gwetai has a constant play with the idea of the traditional and modern identity versus an untapped spiritual realm. The notion of spiritualism being deeply entrenched in the African experience and his awareness of the impact of colonisation and the transatlantic enslavement to the social and cultural landscape of our society today.

Tafadzwa Gwetai, Illusion of perfection - We belong together 2, 2021, oil paint, 95 x 160 cm

Neville Starling is a self-taught, interdisciplinary artist, born in 1988 in Bulawayo, Zimbabwe where he is currently based.

Starling works in a variety of mediums and disciplines from sound and/or light-based kinetic sculptures, to film and photography to sculptural adaptations of antiquated photo-centric techniques as well as found or community centred photographic and sound archives.

Neville Starling, Infinity in Nine Frames #5, 2021, Archival inkjet print, 35.5 x 26.7 cm

Berry Bickle was born in Bulawayo, Zimbabwe in 1959
Berry has recently returned to Zimbabwe after living in Maputo for fifteen years.

She has worked in a diverse range of mediums: installation, video, ceramics, contemporary dance, and photography; with the latter two, she has worked in urban spaces in order to analyze contemporary histories and the archival as subjects of her work.

Unique in the world 3, 2005-2008, print, cm 102 x 72


Installation Shots