WITNESS
The Spectre of Memory in Contemporary African Art
The camera is the most obvious recorder of history, but in modern Zimbabwe photographers are more vulnerable to harassment than artists. Photography lacks the flexibility of painting, where all the components of a social phenomenon can be depicted.
Lovemore Kambudzi has been evoking the realities of life in Harare for the last ten years. The (decidedly unofficial) equivalent of a western 'war artist', he has emerged as the principal recorder of his country's fate.
Peterson Waweru Kamwathi's work is mostly linked to moments in the history of his country, Kenya. These references may not be made explicit, but there is a sense in his work of recording history at an oblique angle. His work painstakingly records his country's political aspirations and their realisation or subversion, and the grave consequences of political failure.
Soly Cissé is haunted by the happy memories of his childhood which seem to seep into almost every canvas he paints in the shape of wild animals that he hunted in his youth - the animals appearing now to flee from modernity rather than the artist-s youthful pursuit.
Dominique Zinkpès paintings and drawings follow tortuous journeys where figures hover midway between human and animal, recalling power games, masquerades or sex, all with a strong satirical flavour. The works are disturbing and arresting constructs of the imagination and memory, mirroring the dilemmas and complexities of the artist's personal life.
The exhibition is presented as a part of the Edinburgh Art Festival. Entry to the exhibition is free.