A journey through history and artistic expression in ‘A Flight of Mirrors’
Pavilion of TANZANIA, ‘A Flight in Reverse Mirrors’, 60th International Art Exhibition – La Biennale di Venezia. Photograph: Andrea Avezzù. Courtesy of La Biennale di Venezia
The United Republic of Tanzania makes its debut at the 60th International Art Exhibition – La Biennale di Venezia with ‘A Flight of Mirrors (The Discovery of the Other)’, an exhibition that delves into Tanzania’s rich history through four imaginary rooms, each representing a different era. Set within the Fabbrica del Vedere, this exhibition showcases the work of four artists—Haji Chilonga, Lutengano Mwakisopile (Lute), Happy Robert, and Naby—each addressing distinct themes and periods, weaving a narrative that explores the dynamic exchange between humans and their environment.
ART AFRICA: “A Flight of Mirrors (The Discovery of the Other)” consists of four imaginary rooms, each representing four eras of Tanzanian history. Can you take us through this history and show us how the exhibition unfolds within the Fabbrica del Vedere, where the four artists Haji Chilonga, Lutengano Mwakisopile (Lute), Happy Robert, and Naby address specific themes?
Enrico Bittoto: The first room, conceived by Lutengano Mwakisopile, explores the period between 1890 and 1908, focusing on the resistance of Tanganyika tribal chiefs against German colonisers. These rebellions, led by figures like Chief Mkwawa and Kinjikitile Ngwale, were brutally suppressed, with many chiefs beheaded and their heads sent to German museums, only to be returned recently. Mwakisopile’s woodcuts evoke the symbolic power of these historical figures, presenting an evolved form of rock art that narrates political and social struggles. His portraits of chiefs are reminiscent of state halls and churches, symbolising the need for decolonisation and the rediscovery of historical identity. The portrayal of these leaders underscores the unification against colonial oppression, fostering a sense of national identity amidst ethnic and cultural differences.
Pavilion of TANZANIA, ‘A Flight in Reverse Mirrors’, 60th International Art Exhibition – La Biennale di Venezia. Photograph: Andrea Avezzù. Courtesy of La Biennale di Venezia
In the second room, Happy Robert transports us to the economic boom of the 1960s, a time of significant transformation. His six paintings, resembling old black-and-white photographs, depict the remnants of generations who migrated, highlighting the erosion of traditional community ties and the rise of consumerism. These images, blurred and scratched, serve as a poignant reminder of the shift from a colonial past to a new form of colonialism—market-driven consumerism. Robert’s work reflects on the bittersweet legacy of this period, illustrating how the desire for a modern lifestyle led to a loss of cultural identity and community cohesion.
Haji Mussa Chilonga, in the third room, represents contemporary Tanzanian life, influenced by Impressionist techniques. His paintings capture reality with broader strokes, creating a sensory experience reminiscent of Lovecraft’s “The Picture in the House.” Chilonga’s subjects, with their lyrical movement and blurred outlines, convey the dynamic interplay of colour and forms, echoing the works of artists like Leonardo Castellani and Enrico Prampolini. His art transcends traditional African forms, blending them with modern techniques to reflect the evolving Tanzanian identity.
Naby’s installation in the fourth room closes the pavilion with a deeply personal exploration of identity and migration. Inspired by Saint John Perse’s “Vents,” Naby’s work mirrors her life journey, marked by a departure from familial constraints and an ongoing search for self-rebirth. Her transformation is depicted through totemic animals, the horse and the moth, symbolising freedom and metamorphosis. The installation portrays a hybrid being, evolving through stages of arrival and departure, each represented by small houses symbolising temporary shelters. The journey of the “mechanical moth,” a defensive weapon turned simple nocturnal butterfly, embodies the perpetual cycle of migration and transformation. Naby’s narrative concludes with the generative act of a new woman-moth, signifying the end of one cycle and the beginning of another, encapsulating the essence of migration as an inexhaustible, inherent part of life.
Pavilion of TANZANIA, ‘A Flight in Reverse Mirrors’, 60th International Art Exhibition – La Biennale di Venezia. Photograph: Andrea Avezzù. Courtesy of La Biennale di Venezia
Together, these artists provide a comprehensive exploration of Tanzanian history, identity, and transformation, from anti-colonial struggles to contemporary reflections on societal changes. Their works offer a powerful commentary on the enduring impact of colonialism, the quest for national identity, and the personal journeys that shape our understanding of self and community.
The exhibition explores the birth and concept of the “Other.” How does Tanzania – regarded as one of the “Cradles of Humanity” where the first “Conscious Creatives” developed – inform this curatorial approach? Additionally, the exhibited works, including paintings, woodcuts, and site-specific installations, engage with themes of travel, migration in opposite directions (colonialisation versus economic emigration), and human and animal nomadism. Can you talk about these aspects?
The United Republic of Tanzania is making its debut at the Venice Art Biennale with a project aligned with the theme of the 60th International Art Exhibition, curated by Adriano Pedrosa. The project explores Tanzania’s modern and contemporary history, examining the dynamics of exchange between humans and between humans and the environment. The “inverted mirrors” concept in the Tanzania Pavilion symbolises dual perspectives: one reflecting historical periods from the late 19th century to the 1960s, and the other addressing contemporary issues and future projections. This approach highlights the continuous and cyclical nature of societal and environmental interactions.
The Pavilion features two rooms. The first room contrasts the colonial era’s “reverse immigration” with the 1960s market-driven emigration. The second room delves into present-day contradictions, suggesting that future scenarios may merely replicate past cycles. This juxtaposition aims to reveal how travel and migration have historically masked deeper societal issues. The Pavilion’s dialogue extends to the perspectives of three Tanzanian artists and an Italian artist with a stateless background, who provides a final interpretation of the exhibition, acting as a cultural mediator.
Tanzania’s participation underscores a significant moment in its artistic maturity, presenting a reality grounded in local experiences rather than external influences. The Pavilion aims to avoid symbolic representations and instead offers a concrete depiction of Tanzanian life. This focus on local history, detached from the global context, provides a truthful narrative, acknowledging Tanzania’s recent history as a product of colonialism and Western influence while rooted in ancient cultural traditions and biodiversity.
Pavilion of TANZANIA, ‘A Flight in Reverse Mirrors’, 60th International Art Exhibition – La Biennale di Venezia. Photograph: Andrea Avezzù. Courtesy of La Biennale di Venezia
The Tanzanian Pavilion seeks to challenge the marginalisation of African art in the global arena, similar to the historical underestimation of Eastern art. Contemporary Tanzanian art, characterised by its vibrant colour, decisive action, and strong material presence, reflects a logical and concrete culture. These elements are intrinsic to Tanzania’s history and experience, striving to transcend pure description and move toward substantive expression.
Tanzanian art draws from its rich tradition of animism and pantheism, historically serving sacred and educational purposes. This heritage positions Tanzanian artists as modern-day mediators, interpreting past and present realities while predicting future developments. The Pavilion’s goal is to present art that is accessible, didactic, and universally understandable, devoid of technological mediation and rooted in human experience. This approach repositions Tanzanian art at the centre of a pedagogical, empathetic discourse, starting from one of humanity’s earliest communication sites.
The Pavilion also touches on the mythological figure of the trickster, as described by Lewis Hyde in “Trickster Makes the World.” The trickster embodies ambiguity and duality, crossing boundaries and blending opposites. This archetype is reflected in the Tanzanian Pavilion’s attempt to navigate and mediate cultural and historical complexities, presenting a narrative transcending simple dichotomies.
Historically, the relationship between humans and nature has been marked by mistrust and misunderstanding, evolving into distrust among human groups. Modern theories and AI developments aim to rectify these communication gaps, but they must overcome traditional stigmas embedded in human consciousness. Addressing these deep-seated misconceptions in art is crucial for fostering understanding and reducing conflicts rooted in ignorance. The Tanzanian Pavilion at the Venice Biennale represents a step toward this goal, offering a nuanced and empathetic portrayal of its cultural and historical landscape.
Pavilion of TANZANIA, ‘A Flight in Reverse Mirrors’, 60th International Art Exhibition – La Biennale di Venezia. Photograph: Andrea Avezzù. Courtesy of La Biennale di Venezia
Tell us how The Sonic Envelope of the Pavilion entitled “Kuseka – Full Stretch” by The Zawose Queens with a loop conceived by Peter Gabriel fits within the exhibition and the broader context of the biennale theme “Foreigners Everywhere”.
The sonorisation of the Tanzania Pavilion at the Venice Art Biennale is led by the Zawose Queens, Pendo and Leah Zawose, continuing the legacy of their father and grandfather, Hukwe Zawose. This musical project, supported by Peter Gabriel and produced by Katie May, merges traditional Tanzanian sounds with world music and electronics. The resulting piece, Kuseka-Full Stretch, reflects the exhibition’s themes of journey, mutual understanding, and life’s cyclical nature.
Kuseka-Full Stretch is a fusion of African and European harmonies, forming a single environmental suite that complements the Pavilion’s concept of “flight in reverse mirrors.” The Zawose Queens and Gabriel create an acoustic dialogue that is both enveloping and unsettling. The music transitions from low tones symbolsing birth and identity discovery, to a hopeful middle phase, and finally to higher notes representing the wonder of flight and human encounters. The journey ends on a lower tone, indicating the cycle’s restart.
This prolonged musical journey, described as “prolonged laughter,” is a metaphor for life’s bittersweet experiences, encapsulated by the Swahili phrase “hakuna matata.” It mirrors Pedrosa’s theme for this year’s Biennale, representing a continuous discovery and reflection on life’s broad horizons. The music underscores the resilience and pride of those who persist despite challenges, capturing an eternal attempt at departure and growth, often frustrated by external decisions. This sonic pilgrimage aims to foster total identification between the work and its observer, evoking emotions from joy to bitterness, depending on individual life experiences.
For more infromation, please visit the Tanzania Pavilion.
