Colecção Crescente 2015

Kulungwana Association opens on Thursday 2nd April at 18h00, at “Sala de Espera” Gallery, at the Central Train Station in Maputo, the group exhibition “COLECÇÃO CRESCENTE 2015”, curated by artist Mieke Oldenburg.

This is the 5th edition of this project, that has as its objective to provide an impulse in the creation of new work, including more than 100 participants in total – from established to emerging artists, as well as students – a number that increases each year. This year a theme was suggested to the artists: “A Vida na Rua” / “Life on the Street” - a theme proposed by 'friends' of Kulungwana Association on Facebook – inviting artists to reflect on this concept through a variety of techniques, on 3 blocks of MDF measuring 18 x 18 cm, as in previous editions of the exhibition.

All works will be sold at the same price, as an initiative that has as its main aim to invite all art lovers, the curious viewer, as well as all members of the public interested in beginning or expanding their personal art collection, to visit the exhibition.

As in 2014, this exhibition is accompanied by a catalogue that includes one work by each of the 77 participating artists, an initiative that stems from the continuous contribution by Kulungwana Association towards the publication of documentation and information on the artistic production in the country.

This project counts on the support of Moza Banco and the Royal Norwegian Embassy.

The exhibition will be open until 16th May 2015.

Cartaz Nada Como o Tempo Mário Macilau

"As a photographer, I believe in the power of images. I explore the relationships between the environment, humanity and time. Photography has connected me to incredible moments and experiences and all places have taught me something valuable." MM


Mário Macilau in the last six months has been represented in three significant exhibitions, prominent in their global positioning. His presence as a contemporary photographer on the global stage has established his vision of a shared humanity as one that cannot be ignored. In Macilau’s images the survival of marginalized communities and the effect of poverty on their lives is a long-term project focused on living and environmental conditions that are both vulnerable and resilient. His images haunt a public view with a powerful integrity that exists image by image between the photographer and his subject, embedded with empathy and not a passive voyeurism that has made the political view of poverty news worthy. Born in Maputo in 1984, trained at the Centro de Formação e Documentação Fotográfica , Mário Macilau has subtly propelled the narratives of his subjects to a global recognition. As said by Gabriela Salgado his images are crus e belos, fascinantes e desoladores.

His first solo exhibition in London titled The Road Not Taken, follows his participation in The Saatchi Gallery’s Pangaea, New Art from Africa and Latin America in 2014. His representing the Holy See Pavilion in the 56th Venice Biennale In the beginning … the Word became Flesh is in the words of the Vatican curator Micol Forte “not a photo-reportage, but rather a poetic work that reverses the connections between now and before, near and far, the visible and what cannot be seen”.

Łódź Fotofestiwal 2015 prominently featured Macilau in the Discovery Show, a part of Fotofestiwal presenting works of young artists recognizing their consistent talent and commitment.

The awards he has won include Hasselblad Master Finalist
, BES Photo and the numerous residencies in Africa that have created distinctive bodies of work from Nairobi, Johannesburg, São Tomé and La Reunion Island. His international residencies include The Africa Centre Fountainhead Residency Miami, VISA Pour La Création, Residency Paris
and Crossing Point Residency Rencontres d’Arles 2012.

In this his second representation with Kulungwana, Nada Como O Tempo traces the scars of Mozambique’s contemporary conflict as an indictment of suffering that has revisited a Nation once upheld as the success of post conflict resolution in Africa. These are not the only images of Macilau’s Mozambique, in the series ‘Moments of Transition’ exhibited in the Łódź Fotofestiwal Discovery Show he explores the genre of studio photography as portraits and playfully mixes contemporary fashion with tradition in the dress sense of a young urban Maputo. Discovering or creating senses of identity that are uplifting and aesthetically beautiful. We are reminded of contemporary dichotomies, peace and war, vulnerability and security, but mostly we as the audience are brought in contact with each individual that Macilau photographs. Challenging the personal and the collective in finding what these relationships with the people who live within the impermanence of a challenged and marginalized existence are to us a global audience. Can we easily forget the young woman who is covered with cement dust in the series The Price of Cement, as fetishized ghosts in the system of rapid economic development. Mário Macilau has a world audience that he touches with his contemporary vision from a personal and deeply felt look his unrelenting focus creates images full presence, person by person. That his images are ascetically and technically brilliant place his work in the main stream of contemporary photography as a pivotal force for insight

The exhibition will be opened on Thursday 02 July at 18h00 and can be visited until 25 July 2015.

Carmen Maria Rapsódia Urbana

Opens on Thursday 30 July at 18h00, closes 29 August 2015.

Colography and an interpretation

Since the beginning of various cultures and their civilizations, the stamp has always been part of the reproduction of images that illustrate ideas and thoughts of its peoples. In the field of the Visual arts, image has occupied a privileged position. Since the beginnings of the technique of print-making, it has always been associated to the visual arts and mainly to drawing, considering that paper is usually its definitive support. This medium has its specificities. The plate, fragile and with its limitations in conservation and handling. All image produced in this technique is printed based on a plate. The only variation is the technique used.

Within these print-making techniques are wood-printing, relief-printing, etching or chalcography, lithography, lino-print, pochoir, stencils or stamping and monotype. The different types of nomenclature and terms applied to colography permit an atemporal relationship to be established with the technologies associated to the history of print-making.

Why does Carmen Maria prefer the colographic technique? It's plastic qualities and the flexibility in the production of the plate are some of them. This technique, based on the additive method in which the plate is made in leather or cardboard, onto which are glued all types of materials and metals, to create the composition. The artist prefers to use hardboard as the main material for production of her plates as this technique permits a multiplicity of interpretations and thematic associations with little recourse of materials. The material used for the place has the unique characteristics that allow for absorption of colour and impact in the pressure during the process of transfer of the image from the plate to the paper.

Each print is unique and is not easily reproduced with the same plastic properties. With the reproduction of these images, come the colour and the pressure marks caused by the process of transferring the image from the plate to the paper. The work is also a product of accumulation of objects and materials.

With this result, Carmen Maria makes use of all the plastic possibilities such as colour, form, weight and density. The work goes beyond the marks of her social and cultural universe. It reflects the harmony, weight, texture, the density and transparency of images.

Jorge Dias | Curator | July 2015

Cartaz Sementes D'Alma - Ídasse

Sementes D'Alma (Seeds of the Soul), solo exhibition by the artist Idasse, opens on 10 September at 18.00, at Kulungwana Association's Sala de Espera gallery.

This show, curated by Ciro Pereira, comprises a total of 17 works, including drawings, paintings and sculpture, in a variety of materials and media.

While focussing on graphite on paper drawings, this collection also includes some works using other techniques, that give us a view of the varied and already broad range of the work of the artist.

In addition to containing reproductions of the works in this exhibition, the catalogue also provides biographical details about the artist, texts by António Cabrita, Calane da Silva and Marcelo Panguana, some extracts from which follow below:

In the case of Ídasse, the artist seems, in his characteristic and tremendous power of expression, to want to illuminate the shapes of a bestiary of beings that is impossible to catalogue and which are certainly supernatural, as though creating a spiritual flock based on totems and gods.
António Cabrita

(…) by also pursuing sculpture, shaping wood, iron or clay, sometimes all these elements in a single work. But this is also a small, indicative showcase of the larger life exhibition that is under preparation for 2016.
Calane da Silva

Ídasse re-emerges now from silence, from the haughty distance he maintained far from the limelight. He re-appears undoubtedly mature, but surprisingly magical, innovative and seductive, a visionary of our times.
Marcelo Panguana

The exhibition will be open until 10 October of the present year.

Biographical notes

Ídasse Ekson Malendza was born in the Infulene Valley in Maputo, in 1955. He is one of the producers of art, on the road to identifying with the arts in Mozambique. He draws and works in painting, ceramics and sculpture. He also ventures into the installation of large-scale panels.

His teachers were Manuela Sena, João Paulo and António Bronze. In 1979 he took a course as a promoter of arts at the Cultural Studies Centre with Malangatana and Domingos Manhiça, where he had some training in anthropology, history, of modern art and African art, music, photography, theatre, painting, ceramics, design and wood engraving. Under the guidance of António Quadros, he completed a course in Graphic Communication.

From 1982 he became immersed completely in the visual arts. He worked at the National Film Institute, where he created the Art Department. He joined the “Charrua” (plough) art movement . He is a members of the “Núcleo de Arte”, the Mozambican Photography Association, the Mozambican Writers Association and the “Inhabitants of Design” Movement.

The work of Ídasse is found in many collections in Mozambique and in such countries as Nigeria, South Africa, France, Portugal, Spain, USA, Italy, Denmark, Japan, Austria, Sweden and Brazil.

In the course of his career, Ídasse has participated in over a hundred exhibitions, has been part of many juries and curated several shows. He has also participated in several workshops and has been artist in residence on various occasions in Mozambique and abroad.

Click here for more on the artist.

Cartaz REVELAÇÕES Kudzanai Chiurai

In spite of sell-out shows, exhibitions abroad and his art hanging on the walls of New York's Museum of Modern Art and in Elton John and Richard Branson's homes, Chiurai remains unaffected: a cut-off observer, clearly speaking his truth. Not surprisingly then, his only future agenda is to return home to Zimbabwe to teach kids about art. Lu Larché, Mail and Guardian 2012.

Kudzanai Chiruai has recently returned to live in Harare after more than a decade. Being the first black recipient of a BFA from the University of Pretoria then maintaining a permanent studio in Johannesburg from where he based his practice and gained lightening recognition as one of Africa's 10 most important young artists .The question put to him was why? It had a simple answer,

It was time to come home. The next question is will Kudzanai famous for a series of poster-works depicting the Zimbabwean president as a demonic figure find the tolerance and the space to work in Zimbabwe where a new constitution enshrines freedom of expression and has yet to be tested by the Nation's artists.

Born into post independent Zimbabwe Kudzanai Chiurai has been described as a poet, an activist and a cultural philosopher who engages political and social issues in his multi faceted multi media practice. Primarily recognized as a painter, Chiurai works with photography, text, sound installation and video/film. The fluidly with which he works draws from hip-hop, street art, youth culture and graffiti. He explores themes of urban space, with the psychological and physical experience of inner city Johannesburg where exiles, refugees and asylum-seekers survive. His themes take on the big cotemporary issues of xenophobia and displacement, as well as the constructed political nature of African States and the performativity of leaders, using stereotyped characters as if they were narratives of soap operas.

This diversity of mediums and expressions reflects how Chiruai's engagement with the African urban experience is an integrated thematic and an aesthetic response to the urban social fabric that is being re woven in its contemporary, shaping new societies in old frameworks. His imagery is of Africa dystopian, defined by conflicts when Utopia was the promise in the post democratic, postcolonial state. Questioning power and its meanings in the contemporary of the Africa Continent Kudzanai suggests, "You can't escape politics, everything's political in the sense of how we're socialized."

Chiurai’s Africa in both fiction and reality reflected back into his work that is intriguing as it is enigmatic. Using imagery that is at first recognizable from conflict zones to all the detritus of urban street life making them contemporary icons and artifacts and the use of fabrics as motifs of identity. It is in one sense a theatre of the absurd and in an other a refection on Africa's postcolonial history.

Of his series Revelations shown here at Kulungwana's Gallery, Kudzanai states:

My body of photographs, Revelations, started in 2011, explore the way in which Africa is imaged and understood in the West as well as questioning the contemporary African condition by juxtaposing the past and the present of a continent in constant the grip of violent civil wars. These constructed environments are enticing and seductive but explore very real casualties of African independence and democracy and the effects of globalization on war.

Chiruai was curated for dOCUMENTA (13) in 2102 in the same year Art Basel and the Dakar Biennale. In addition he was awarded FNB Art Prize. He has been collected by MOMA New York, BHP Billiton, London, Contemporary African Art Collection Jean Pigozzi, Iziko National Gallery Cape Town, Zeitz MOCAA, Cape Town and many prominent private collectors. In 2015 he was presented by the Johannesburg Pavilion, on the 56th Venice Biennale. His exhibition showing the photographic installation Revelations and the video work Moyo is Kudzanai Chiruai first showing in Mozambique, presented under Associação-Kulungwana's cultural exchange program.

For Further reading: