Anne Zanele Mutema

When will I see me again? Part 3, 2021

Clear plastic, weaving, crochet and selected objects

AMU0014

$ 1,200.00 USD

Available

Anne Zanele Mutema

When will I see me again? Part 2, 2021

Clear plastic, weaving, crochet and selected objects

AMU0015

$ 1,200.00 USD

Available

Anne Zanele Mutema

When will I see me again? Part 1, 2021

Clear plastic, weaving, crochet and selected objects

AMU0016

$ 1,200.00 USD

Available

Miriro Mwandiambira

Sugar Embodiment (Lost in Translation) performance Genoa, Italy 2019, 2019

video documentation of performance

MM0001

$ 300.00 USD

Sugar Embodiment – Performance in Genoa 2019 Lost in Translation. This performance transposes an experience of downtown Harare. While missing an actual port, Harare downtown is also a space of transit, exchange, congestion and trade. In this space of intense consumption and traffic, I situation the woman and the feminine as a participant but also one of the things that is objectified and consumed. A plastic mannequin worked in the performance become a symbolic object standing in for both the overwhelming flood of plastic and the humans both responsible for its production and consumption, which dehumanises them and their environment in the process. There are no ethics in the Darwinian survival of the fittest environment, where a woman’s default role is one of undefeated resilience in the face of overwhelming inevitabilities. The symbolic object then becomes the subject of the symbolic action of a futile attempt to cleanse it using all the wrong things recalling the myth of Sisyphus performing a task which only appears to have meaning and acquires meaning not through utility but through its endlessness, which is then interpreted as life. The sun starts setting.

Available

Miriro Mwandiambira

Try to Adore me, no? (extract) documentation of performance , 2017

video documentation of performance

MM0002

$ 300.00 USD

Try to Adore Me, no? 2017 Harare In Try to Adore Me, no? Mwandiambira brings into the public domain the intimate drama of a young woman drowning in social expectations ad peer group pressure. In the middle of a busy downtown street in Harare, we encounter a dramatised dysmorphic version of a young woman in front of a mirror in her bedroom, using every wrong material to achieve the impossible ideals of composure and beauty which are only genuinely available to an inanimate store mannequin. As it unfolds the performance also becomes an intervention and provocation to the public. Debates and discussions among onlookers ensure about what is happening and what is to be done about it, with some becoming angry and wanting to stop the performance and others defending her. From something personal the performance becomes an opportunity to reflect on the ability of a woman or any individual to assert and express themselves honestly in Zimbabwe today.

Available