Defying the Narrative: Contemporary Fine art from West and Southern Africa

Takunda Regis Billiat, Frédéric Bruly Bouabré, Serge Attukwei Clottey, Paa Joe, Troy Makaza, Wycliffe Mundopa, Gareth Nyandoro, Simphiwe Ndzube, Gresham Tapiwa Nyaude, Irvin Pascal, Cameron Platter, Julio Rizhi, Nicola Roos, and Moffat Takadiwa

September 8 – Oct 27, 2018

Opening Reception: Saturday, September 8, 5-8 pm

Selected Printing:

The Daily Californian: In 'Defying the Narrative,' artists turn down homogenization of African art
SF Weekly: Out of Africa, with Serge Attukwei Clottey
San Francisco Arts Monthly: Gallery Highlights (page sixteen)
The Financial Times: Ghana art scene rises from streets to international galleries

Installation view, Defying the Narrative: Contemporary Fine art from West and Southern Africa at Always Gold [Projects], San Francisco, 2018. From left to right: Frédéric Bruly Bouabré, Cameron Platter, and Simphiwe Ndzube.

Installation view, Defying the Narrative: Contemporary Art from W and Southern Africa at Ever Gold [Projects], San Francisco, 2018. From left to right: Troy Makaza, Gareth Nyandoro, and Moffat Takadiwa.

Ever Gold [Projects] is pleased to present Defying the Narrative: Contemporary Art from West and Southern Africa, a group exhibition featuring work by 14 African artists. This exhibition's intent is to brainstorm to present the varied directions of contemporary African fine art to the Bay Area. Defying the Narrative includes artists working in a broad variety of media from diverse backgrounds. Collectively, their work defies the reductive Western conception of Africa equally a monoculture and of African artists equally working in isolation without admission to art history and engineering science, among other falsities. We believe that resisting this impulse to utilise familiar or conventional understandings of contemporary and historical African art gives the viewer an opportunity to experience this work in a more dynamic and holistic way.

Some of the artists featured inDefying  the Narrative have exhibited widely, and some are emerging artists. Frédéric Bruly Bouabré and Paa Joe were both featured in the groundbreaking 1989 exhibition Magiciens de la Terre at the Centre Georges Pompidou in Paris. Many of the artists are interested in making commentary on the state of the environs and the impacts of pollution. For instance, despite very dissimilar practices, one could say that Serge Attukwei Clottey, Julio Rizhi, and Moffat Takadiwa are similarly concerned with ideas around migration of materials and the politics that underlie these movements. Some of the work references traditional African forms and techniques past reconfiguring historic structures with new materials. This combination of new and old is visible in the work of Paa Joe, who builds fantasy coffins using traditional woodworking techniques, and Troy Makaza, who uses silicone-infused paint to create works that read similar woven textile. Many of the artists work in formats that emphasize the thought of hybridity and act to defy many material and formal expectations almost African art.

A common thread in the exhibition is an interest in history and mythology, forth with the distortions and supplements that can exist practical to these narratives. Cameron Platter is a South African artist who engages with the political and creative histories of the state, creating representations that mimic the hybridity of the cultural mural. Simphiwe Ndzube's piece of work reframes activities of daily life by applying surreal reconfigurations through painting and sculpture. Nicola Roos'southward ongoing sculptural projection stems from her discovery of historical accounts of the offset black samurai, whose history she expands toward myth or fantasy.

While organizing exhibitions by group artists past geographical origins is oftentimes a convenient device to simplify the unfamiliar, information technology is not necessarily the most accurate way to represent a group of artists or their work. Frequently, geographically-themed exhibitions create opportunities for misunderstandings, equally the structure of these types of presentations tin can atomic number 82 the viewer to depict connections that are non accurate; favoring connections and assumptions that stem from the focus on geography rather than the artist's particular vocalisation or position. While we have used loose geographic terms in the title for our exhibition, it is merely to illustrate just that: the loose and multi-interpretational areas which are but role of a much larger non-hegemonic whole.

As humans, we are programmed to recognize similarities first and are almost gravitationally drawn to categorize what we see along lines of what is familiar and comfortable to us.  If the artists in the exhibition take annihilation notable in common, it is, perhaps, an interest in the narrative properties of materials and the idea of figuration equally a symbolic device. While all of the artists in Defying the Narrative are African, they stand for a broad spectrum of perspectives, ideologies, and geographic origins, and the lack of a unifying narrative amidst them is both the premise and the conceit of this exhibition.

Purchase the exhibition catalogue:

Installation view, work by Serge Attukwei Clottey on view in Defying the Narrative: Contemporary Art from Westward and Southern Africa at Ever Gold [Projects], San Francisco, 2018.

Installation view, work by Cameron Platter on view in Defying the Narrative: Contemporary Fine art from West and Southern Africa at Ever Aureate [Projects], San Francisco, 2018.

Installation view, sculpture past Nicola Roos on view in Defying the Narrative: Contemporary Art from Due west and Southern Africa at Ever Gold [Projects], San Francisco, 2018.

Takunda Regis Billiat was born in 1990 in Harare, Republic of zimbabwe. He lives and works in Harare, Zimbabwe. Billiat attended the National Gallery of Zimbabwe Visual Arts Studios (National Certificate in Fine Art, 2014), specializing in painting. He exhibited regularly throughout his educatee career, taking role in exhibitions at the National Gallery of Zimbabwe and young creative person exhibitions at Gallery Delta. He was the winner of the all-time work award at the 2013 Auxillia Chimusoro national competition and the 2014 Tavatose Competition winner at the National Gallery of Zimbabwe. He is a current resident at Chinembiri Studios (Mbare, Harare). His work explores Christianity and the Bible as a social construct in contemporary rise of charismatic churches in Zimbabwe, with their prophets exploiting the ignorance of the people of their ain religion's true content. Contempo exhibitions include Greatcoat Boondocks Art Fair 2018 with Kickoff Floor Gallery Harare (Cape Town, S Africa); Collaging The City at First Floor Gallery Harare (Harare, Zimbabwe, 2017); Art Africa at Kickoff Flooring Gallery Harare (Harare, Zimbabwe, 2017); FNB Joburg Art Fair 2017 with Showtime Flooring Gallery Harare (Johannesburg, Due south Africa); AKAA Paris 2017 with Showtime Flooring Gallery Harare (Paris); Mupangara Runhare at First Flooring Gallery Harare, (Harare, Zimbabwe, 2017); and 'I am because y'all are' at Offset Floor Gallery Harare (Harare, Republic of zimbabwe, 2016).

Takunda Regis Billiat
Bata Mudonzvo Ureurure (Hold the Staff and Confess), 2017
Cow horns, material binders, and textile strips
38 x 37 x 12 inches (96.v x 94 x 30.v cm)

Frédéric Bruly Bouabré was born in 1923 in Zéprégühé, Ivory Declension. He passed away at the age of 91 in 2014 in Abidjan, Cote d'ivoire. Bouabré was among the outset Ivorians to be educated past the French colonial authorities. In 1948 he had a vision, which directly influenced much of his later work. He created hundreds of small drawings with a ballpoint pen and colored pencils while working equally a clerk in various authorities offices, and these drawings as a whole comprise a project titled Globe Knowledge—an encyclopedia of universal knowledge and experience. Bouabré too created a 448-letter, universal Bété syllabary, which he used to transcribe the oral tradition of his people, the Bétés. This visual language is recorded through a gear up of approximately one,000 small cards, each bearing monosyllabic pictograms, symbolic imagery, and text, with Bouabré'due south commentary on life and history. His piece of work was featured in the 1989 exhibition Magiciens de la Terre at the Centre Georges Pompidou and the Grande Halle at the Parc de la Villette in Paris. His work was recently featured in the Ivory coast Pavilion at the 55th Venice Biennale (2013).

Frédéric Bruly Bouabré
Untitled (belle tenue vestimentaire – femme Africaine en robe Europèenne), 2009
Colored pencil and ink on cardstock
nine x 6.25 inches (23 10 16 cm)

Serge Attukwei Clottey was born in 1985 in Accra, Ghana. He lives and works in Accra, Ghana. Clottey attended the Ghanatta College of Art and Design in Accra, Republic of ghana earlier studying at the Escola Guignard Academy of Fine art in Brazil and has completed multiple fellowships abroad. Working across installation, performance, photography, and sculpture, Clottey explores personal and political narratives rooted in histories of trade and migration. Based in Accra and working internationally, Clottey refers to his work equally "Afrogallonism," a concept that confronts the question of material culture through the utilization of yellow gallon containers. Cutting, drilling, stitching and melting found materials, Clottey's sculptural installations are bold assemblages that act as a ways of inquiry into the languages of class and abstraction. Recent exhibitions include Differences between at Jane Lombard Gallery (New York, 2018); The Displaced at Gallery 1957 at Lawrie Shabibi Gallery (Dubai, 2018); Manus to Mouth at E'er Gold [Projects] (San Francisco, 2016); My Mother'south Wardrobe at Gallery 1957 (Ghana, 2016); Earthly Conversations at GNYP Gallery (Berlin, 2016); The Displaced at Feuer/Mesler (New York, 2015), We Don't Gimmicky at Kampnagel Hamburg (Hamburg, 2015); The Silence of Ordinary Things at The Error Room (Los Angeles, 2015); Du Bois In Our Fourth dimension II at the University Museum of Contemporary Art (Amherst, MA, 2014); and Cultures in Confluence at the Goethe-Institut Republic of ghana (Accra, 2011). His piece of work is in the drove of the Nerman Museum of Contemporary Art (Overland Park, Kansas) besides as a number of international private collections.

Serge Attukwei Clottey
The Ga Vocal, 2016
Plastics, wire and oil paint
32 ten 70 inches (81 x 178 cm)

Paa Joe was born in 1947 in Eastern Region, Republic of ghana. He lives and works in Accra, Ghana. He began his career with a 12-year apprenticeship as a coffin creative person in the workshop of Kane Kwei (1924–1992) in Teshie (southeastern Ghana) before opening his own studio in Nungua (Greater Accra Region, southeastern Ghana). Paa Joe is considered one of the about of import Ghanaian coffin artists of his generation, and has been included in major exhibitions in Europe, Japan, and the United states of america. His piece of work was featured in the 1989 exhibition Magiciens de la Terre at the Heart Georges Pompidou and the Grande Halle at the Parc de la Villette in Paris. Paa Joe has been featured in exhibitions at the Fondation Cartier cascade l'Art Contemporain (Paris, 2017); the Brooklyn Museum (2012); the Southbank Centre (London, 2012); Salon 94 (New York, 2011); Jack Bong Gallery (London, 2011); and the Victoria and Albert Museum (London, 2011). He was the subject of a 2016 moving-picture show titled Paa Joe and the Panthera leo. Paa Joe'southward fantasy coffins are in the collections of many fine art museums worldwide, including the British Museum in London.

Paa Joe
Rhinoceros, 2016
Wood, oil paint, and interior fabric
64 x 125 ten 46 inches (162.5 10 317.v x 117 cm)

Troy Makaza was born in 1994 in Republic of zimbabwe. He lives and works in Harare, Zimbabwe. He attended the National Gallery of Zimbabwe Visual Arts Studios (2015, National Certificate in Fine Art). As a contemporary artist living in Zimbabwe, Makaza is interested in bridging tradition with gimmicky exercise. Many of Makaza's works incorporate silicone infused paint, a medium that he considers equally a combination of traditional and contemporary qualities. Makaza'south work is oftentimes located somewhere betwixt painting and sculpture and the artist embraces this idea, seeing the hybridity as a representation of contemporary culture in urban Republic of zimbabwe. Recent exhibitions include Another Antipodes at PS Art Infinite (Fremantle, Australia, 2017); FNB Joburg Art Off-white 2017 with Commencement Floor Gallery Harare (Johannesburg, Southward Africa); AKAA Paris with First Flooring Gallery Harare (Paris, 2017); Young At present at Chance Gallery (Johannesburg, South Africa, 2017); Collaging The City at First Floor Gallery Harare (Harare, Zimbabwe, 2017); Cape Boondocks Art Off-white 2017 with Commencement Flooring Gallery Harare (Cape Town, South Africa); London Fine art Fair 2017 with First Flooring Gallery Harare (London); and Face The Magic at Loving|Monro (Los Angeles, 2017).

Troy Makaza
Dislocation of Content, Part 1, 2017
Silicone infused paint
40 ten 81 x 0.25 inches (101.v x 206 x 0.64 cm)

Wycliffe Mundopa was born in 1987 in Rusape, Zimbabwe. He lives and works in Harare, Zimbabwe. He attended the National Gallery Zimbabwe Visual Arts Studios (2005-2007). Mundopa paints scenes that interweave Shona (a grouping of Bantu indigenous group native to Zimbabwe and neighboring countries) folklore and urban iconography. Every bit a painter he is committed to representing the lives of women and children in Harare's underprivileged neighborhoods. His work is represented in private collections in Hong Kong, Republic of kenya, Australia, France, the United kingdom of great britain and northern ireland, Frg, Japan, Kenya, the netherlands, Cameroon, likewise as in the Museum of Modern Art of Equatorial Republic of guinea. Recent exhibitions include the Cape Town Art Fair 2018 with First Floor Gallery Harare (Cape Town, Southward Africa); Collaging the City at Commencement Floor Gallery Harare (Harare, Zimbabwe, 2017) FNB Joburg Art Off-white 2017 with First Floor Gallery Harare (Johannesburg, South Africa); AKAA Paris 2017 with Kickoff Floor Gallery Harare (Paris); 'I am considering y'all are' at Commencement Floor Gallery Harare (Harare, Zimbabwe, 2016); VOLTA 2016 with First Floor Gallery Harare (New York); and Flaunt, Africa New Moving ridge Now at Ethan Cohen Fine Arts (New York).

Wycliffe Mundopa
One Thousand Afternoons, Part 2, 2017
Oil on canvas
38 x 51.25 x 1 inches (96.5 x 130 10 two.5 cm)

Simphiwe Ndzube was born in 1990 in S Africa. He lives and works in Los Angeles, CA and Greatcoat Boondocks, Southward Africa. He attended the Michaelis Schoolhouse of Fine Arts (BFA, 2015), graduating with the Michaelis Prize. Ndzube's work is characterized by a primal interplay between objects, media and 2-dimensional surfaces; stitching together a subjective account of black feel in mail-apartheid South Africa. Contempo exhibitions include The Eye Sees Not Itself at Nicodim Gallery (Los Angeles, 2018); Limbo Colony with Nicodim Gallery at the Armory Show (New York, 2018, solo); Bharbarosi at Nicodim Gallery (Los Angeles, 2017, solo); Condign at WHATIFTHEWORLD (Cape Town, Southward Africa, 2016, solo). He has participated in residencies at Greatmore Artist Residency Studios (Woodstock, Cape Town, South Africa) and Dalton Warehouse (South Fundamental, Los Angeles). His work is in a number of public and private collections, include the Rupert Museum (Cape Town, South Africa), the University of Cape Boondocks, the Zeitz Museum of Contemporary Art Africa (Greatcoat Town, South Africa), and the Rubell Family Collection (Miami).

Simphiwe Ndzube
Torchbearers, 2016
Found objects, collage, and acrylic on canvas
82 10 96 10 11 inches (208 10 244 x 28 cm)

Gareth Nyandoro was built-in in 1982 in Bikita, Republic of zimbabwe. He lives and works in Amsterdam, The Netherlands and Harare, Zimbabwe. He attended Harare Polytechnic College (National Diploma in Fine Art, 2003) before going on to further his studies in Creative Arts and Pattern at Chinhoyi Academy of Technology, Zimbabwe, qualifying in 2008. Nyandoro combines iii-dimensional objects with two-dimensional collages created using a technique the artist dubs "Kucheka cheka." This process is inspired by Nyandoro's preparation as a printmaker, and in particular, by the technique of carving; Nyandoro "cutting-draws" into paper and applies ink with a sponge, ultimately removing the top sheets of paper to reveal marks that take affected deeper layers. In 2014 and 2015, Nyandoro was a resident artist at the Rijksakedemie van Beeldende Kunsten in Amsterdam, Netherlands. Since his debut solo exhibition titled Mutariri at the National Gallery of Zimbabwe in 2012, Nyandoro has exhibited widely on the African continent and internationally. Recent solo exhibitions include Stall(s) of Fame at Palais de Tokyo (Paris, 2017); a solo presentation at The Armory Show with Tiwani Gimmicky (New York, 2017); IPAPO – IPAPO at SMAC Gallery (Cape Town, South Africa, 2016); and Newspaper Cut at Tiwani Contemporary (London, 2016). Recent group exhibitions include Cartoon Africa on the Map at Quetzal Art Centre (Vidigueira, Portugal, 2018); AFRICAN VOICES: Against Frontiers of Reality at the National Gallery of Zimbabwe (Harare, Zimbabwe, 2017); All Things Beingness Equal at Zeitz Museum of Contemporary Fine art Africa (Cape Town, South Africa, 2017); Frieze New York 2016 with Marc Foxx (New York); and A Moment of Grace (KALEIDOSCOPE) at Modern Fine art Oxford (Oxford, 2016).

Gareth Nyandoro
Stylish Mielie Seller, 2017
Ink on paper, mounted on sheet
83 x 101 inches (211 x 257 cm)

Gresham Tapiwa Nyaude was built-in in 1988 in Harare, Republic of zimbabwe. He lives and works in Harare, Republic of zimbabwe. He attended the National Gallery of Zimbabwe Visual Arts Studios (National Certificate in Fine art, 2008). Born and raised in Mbare—Harare's and possibly Republic of zimbabwe's most vibrant and notorious ghetto—Nyaude works confronting the sweeping identity that has been defined by the voice of the state. His images oscillate between figuration, brainchild and hallucination, cartoon from the restless energy of the ghetto. Living on the verge between survival and demise has been somewhat of a phone call to poesy, at times proving brutal and at others sentimental or cynically satirical. His figures defy characterization, underscored past the humanity of their quest to attain a quality of life that appears even beyond the reach of dreams. Recent exhibitions include Songs for Sabotage at New Museum Triennial (New York, 2018); FNB Joburg Art Off-white with Get-go Flooring Gallery Harare (Johannesburg, South Africa, 2017); AKAA Paris with First Floor Gallery Harare (Paris, 2017); Mazino at First Floor Gallery Harare (Harare, Zimbabwe, 2017); Face up the Magic at Loving|Monro (Los Angeles, 2017); Another Antipodes at PS Art Infinite (Freemantle, Commonwealth of australia, 2017); and Cape Town Art Fair with First Floor Gallery Harare (Cape Town, South Africa, 2017).

Gresham Tapiwa Nyaude
The Duplicity of Waiting Part ii, 2017
Oil on canvas
xl x forty inches (100 10 100 cm)

Irvin Pascal was built-in in 1987 in London, England. He lives and works in London and Brighton, England. He attended the University of Brighton (BA, Architecture, 2008, and MA, Fine Art, 2017). Recent exhibitions include Fabric at The Cob Gallery (London 2018); Talisman in the age of departure, curated by Yinka Shonibare MBE at Stephen Friedman Gallery (London, 2018); After Cesaire/Modern Tropiques at Platform Southwark (London, 2018); Marks Make Pregnant: drawing across disciplines at Grand Parade gallery (Brighton, 2018); Bloomberg New Contemporaries at Cake 336 (London, 2018); The Long Count at Von Goetz (London, 2017); BHM at Latham & Watkins (London, 2017); Bloomberg New Contemporaries 2017 at BALTIC 39 (Newcastle, 2017); and PIAF, Copeland Gallery (London, 2017). Pascal was one of the 47 artists selected for this yr'southward prestigious Bloomberg New Contemporaries exhibition, which is accompanied by a printed itemize; he was also included in the 2017 edition. His work is in a number of international collections, including Simmons & Simmons LLP.

Irvin Pascal
Switched off, 2018
Chinese ink, pigment stick, charcoal, and detritus on collaged newspaper
thirty ten 24 inches (76 x 61 cm)

Cameron Platter was born in 1978 in Johannesburg, Southward Africa. He lives and works in KwaZulu Natal, Due south Africa. He attended the Michaelis School of Fine Art at the University of Cape Town (BFA, Painting, 2001). Recent exhibitions include Teen Non_Fiction at 1301PE (Los Angeles, 2018); Salami at GNYP Gallery (Berlin, 2018); SCREAMING HALLELUJAH at Always Gilded [Projects] (San Francisco, 2017); U-SAVED-ME at Depart Foundation (Los Angeles, 2016); 2015 Artist in Residence at the Zeitz Museum of Contemporary Fine art Africa (Greatcoat Town, South Africa); Public Intimacy: Art and Other Ordinary Acts in South Africa at SFMOMA (San Francisco, 2014); Imaginary Fact, Contemporary South African Art and the Archive at the 55th Venice Biennale (2013); De Leur Temps at Musee des Beaux-arts de Nantes (2013); Impressions from Due south Africa, 1965 to At present at MoMA (New York, 2011); Les Rencontres Internationales at Palais de Tokyo (Paris, 2014) and The Centre Georges Pompidou (Paris, 2010); Le Biennale de Dakar 2010 (Dakar, Senegal); Coca-Colonized at Marte Museum (San Salvador, Republic of el salvador, 2010); and Absent-minded Heroes at Iziko Due south African National Gallery (Cape Town, South Africa, 2010). His work is present in the permanent collections of MoMA (New York); The FRAC Pays de la Loire (Carquefou, France); the Iziko South African National Gallery (Greatcoat Town, South Africa); The Margulies Collection (Miami); The Zeitz Collection; and The New Church Collection (Greatcoat Town, Southward Africa). His work has been featured in The Guardian, The Wall Street Periodical, Vice Magazine, NKA Journal of Contemporary African Fine art, The BBC, Utflukt, Fine art South Africa, Protocollum, and Artforum.

Cameron Platter
9a8sdAAAAHJSSSZ33-p (Angel), 2018
Pencil on paper
75 x 58.25 inches (191 x 148 cm)

Julio Rizhi was born in 1991 in Harare, Republic of zimbabwe. He lives and works in Harare, Zimbabwe. A self-taught artist, he is a current resident in sculpture and mixed media at Chinembiri Studios (Mbare, Harare). He explores problems of environmental decay, high-density living, and pollution through his plant object works in ii and three dimensions. He oft utilizes plastic elements in his sculptures, melting brightly colored pieces down as a metaphor for the broken promises of a ameliorate future advertised but never delivered. Rizhi was raised in a family unit of 2 different traditions—the traditions of Mozambique and Zimbabwe. His male parent fled Mozambique during the ceremonious war between the Portuguese and Frelimo, and much of his work explores the long-term social and psychological impacts of war. Recent exhibitions include Cape Town Art Fair 2018 with First Floor Gallery Harare (Cape Town, South Africa); Art Africa Art Off-white 2017 with First Floor Gallery Harare (Cape Boondocks, South Africa); AKAA Paris 2017 with Offset Flooring Gallery Harare (Paris); Another Antipodes at PS Art Infinite (Fremantle, Australia, 2017); and 'I am considering you lot are' at First Floor Gallery Harare (Harare, Zimbabwe, 2016).

Julio Rizhi
Coat of Arms Part 3, 2017
Molten plastic, pigment, and chicken wire
31.5 ten 17 x 10 inches (80 x 44 x 25 cm)

Nicola Roos was born in 1994 in Johannesburg, Gauteng, South Africa. She lives and works in Cape Town, S Africa. She attended the Michaelis School of Fine Art at the University of Cape Boondocks, S Africa, graduating in 2017 with the Michaelis Prize. She produces life-size figurative sculpture, primarily utilizing used inner tire tubes, and considers the piece of work to be an investigation of the origins of civilization and society, likewise as the ever-irresolute politics of national identity, collective memory, and cultural belonging in the postcolonial earth. Contempo exhibitions include Letterlik / Literally at Absolut Fine art Gallery (Stellenbosch, South Africa, 2018); Right at the Equator at Depart Foundation (Malibu Hamlet, CA, 2018); Recent Acquisitions at UNISA Art Gallery (Tshwane, S Africa, 2017); Black and White at Absolut Art Gallery (Stellenbosch, South Africa, 2017); Turbine Art Fair 2017 in Johannesburg, South Africa; and Michaelis Graduate Exhibition at Michaelis School of Fine Art, Academy of Greatcoat Boondocks (Cape Town, Southward Africa, 2017).

Nicola Roos
La Chingada (The Bowwow), 2017
Plaster of Paris, polyurethane foam, wood, polyethylene piping, nails, acrylic resin, recycled inner tyre tubes, cotton cord, cotton material, and antique linen handkerchief
75.5 ten 22.5 x 25.5 inches (192 x 57 x 65 cm)

Moffat Takadiwa was born in 1983 in Karoi, Zimbabwe. He lives and works in Harare. He attended Harare Polytechnic College, Republic of zimbabwe (BA Honors, 2008). Part of the post-independence generation of artists in Republic of zimbabwe, Takadiwa has exhibited extensively across major institutions in Zimbabwe too as internationally. Takadiwa has been a recipient of many awards, including the Award of Omnipresence from The Republic of zimbabwe Olympic Commission (Harare, Zimbabwe) in 2012 and an Award of Merit and Special Mention Prize for exhibitions at Gallery Delta (Harare, Zimbabwe), both in 2010. Recent solo exhibitions include Say Howdy to English at Tyburn Gallery (London, 2017); Foreign Objects at Gallery (London, 2015); Strange Bodies at Whatiftheworld (Cape Town, South Africa, 2016); Local Foreign Products at Gallery Special Projects, FNB Joburg Fine art Off-white (Johannesburg, Due south Africa, 2015); Africa Non Reachable! at First Floor Gallery (Harare, Zimbabwe, 2012). Selected group exhibitions include: Right at the Equator at Depart Foundation (Malibu, 2018); On beingness solitary and unbearable loneliness at Watou Fine art Festival (Kingdom of belgium, 2017); Chinafrika at Galerie für Zeitgenössische Kunst Leipzig (Germany, 2017); and De Nature en Sculpture at Villa Datris Foundation (50'Isle-sur-la-Sorgue, France, 2017). In 2018, the artist will exhibit his piece of work in the group exhibitions Language is the Only Homeland at Nest (The Hague, Netherlands), and The Eye Sees Not Itself at Nicodim Gallery (Los Angeles).

Moffat Takadiwa
English Cut, 2017
Laptop and reckoner keys
98.5 10 63 x half-dozen inches (250 x 160 x fifteen cm)

Installation view, Defying the Narrative: Gimmicky Art from West and Southern Africa at Ever Aureate [Projects], San Francisco, 2018. From left to right: Troy Makaza, Gareth Nyandoro, and Moffat Takadiwa.

Installation view, Defying the Narrative: Contemporary Art from West and Southern Africa at Ever Golden [Projects], San Francisco, 2018. From left to correct: Julio Rizhi, Frédéric Bruly Bouabré, and Simphiwe Ndzube, with sculptures by Cameron Platter in center.

Simphiwe Ndzube
Torchbearers, 2016
Establish objects, collage, and acrylic on canvass
82 ten 96 ten 11 inches (208 x 244 ten 28 cm)

Cameron Platter
Conflicting (Splash), 2017
Carved Jacaranda wood, stain, and polish
46.5 10 xiii.75 10 12 inches (118 x 35 x 30 cm)

Installation view, Defying the Narrative: Contemporary Art from West and Southern Africa at E'er Gilt [Projects], San Francisco, 2018. From left to correct: Julio Rizhi, Cameron Platter, and Frédéric Bruly Bouabré.

Installation view, work by Frédéric Bruly Bouabré on view in Defying the Narrative: Contemporary Art from West and Southern Africa at Ever Gold [Projects], San Francisco, 2018.

Julio Rizhi
The Battlefield, 2017
Molten plastic, paint and chicken wire
49 x 75 10 15 inches (125 x 190 x 38 cm)

Julio Rizhi
The Battlefield (detail), 2017
Molten plastic, pigment and chicken wire
49 ten 75 x 15 inches (125 x 190 x 38 cm)

Julio Rizhi
The Battleground (detail), 2017
Molten plastic, pigment and craven wire
49 10 75 x 15 inches (125 10 190 x 38 cm)

Installation view, paintings by Gresham Nyaude on view in Defying the Narrative: Gimmicky Art from West and Southern Africa at Always Aureate [Projects], San Francisco, 2018.

Moffat Takadiwa
English language Cut, 2017
Laptop and estimator keys
98.5 10 63 x six inches (250 10 160 x xv cm)

Wycliffe Mundopa
One 1000 Afternoons, Role 2, 2017
Oil on canvas
38 10 51.25 ten one inches (96.5 10 130 x ii.5 cm)

Gareth Nyandoro
Chicken for Sale, 2016
Ink on paper, mounted on canvas
38 x 39 inches (96.5 x 98.5 cm)

Installation view, Defying the Narrative: Contemporary Fine art from West and Southern Africa at Ever Gold [Projects], San Francisco, 2018. From left to right: Simphiwe Ndzube and Irvin Pascal.

Installation view, work by Takunda Regis Billiat on view in Defying the Narrative: Contemporary Art from W and Southern Africa at Ever Gold [Projects], San Francisco, 2018.

Takunda Regis Billiat
Bata Mudonzvo Ureurure (Concur the Staff and Confess) (item), 2017
Cow horns, fabric binders, and fabric strips
38 x 37 x 12 inches (96.five x 94 x 30.5 cm)

Takunda Regis Billiat
Bata Mudonzvo Ureurure (Concur the Staff and Confess) (particular), 2017
Cow horns, material binders, and fabric strips
38 ten 37 ten 12 inches (96.5 x 94 ten 30.v cm)


Nicola Roos
La Chingada (The Bowwow) (detail), 2017
Plaster of Paris, polyurethane foam, wood, polyethylene pipe, nails, acrylic resin, recycled inner tyre tubes, cotton wool cord, cotton cloth, and antique linen handkerchief
75.5 x 22.five x 25.5 inches (192 x 57 x 65 cm)

Nicola Roos
El Mestizo (The One-half-Claret) (particular), 2017
Plaster of Paris, polyurethane foam, wood, polyethylene pipe, nails, acrylic resin, recycled inner tyre tubes, cotton fiber cord, cotton fiber cloth, lace, antique glass trading chaplet, and ostrich feather
65 x 21 x twenty″ [HxWxD] (165 x 53 x 50 cm)

Nicola Roos
El Mestizo (The Half-Claret) (detail), 2017
Plaster of Paris, polyurethane cream, wood, polyethylene pipe, nails, acrylic resin, recycled inner tyre tubes, cotton wool cord, cotton fabric, lace, antique glass trading chaplet, and ostrich feather
65 x 21 x 20″ [HxWxD] (165 x 53 x 50 cm)

Paa Joe
Rhino (detail), 2016
Woods, oil paint, and interior fabric
64 x 125 x 46 inches (162.five x 317.5 ten 117 cm)

Paa Joe
Rhinoceros (detail), 2016
Wood, oil paint, and interior cloth
64 x 125 x 46 inches (162.v x 317.5 x 117 cm)