Art in the Diaspora

Ministry of Culture, Arts and Sports Present the Pavilion of the United Republic of Tanzania  at Venice Bienialle

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The four artists who will occupy the four mirrored “imaginary rooms” within the  location of the “Fabbrica del Vedere” – already a syncretic place of encounter  between stories, arts, people, and cultures – will interpret, through their particular sensibilities, the themes of travel, encounter, re-definition of the self,  and comprehensive mediation.  

The four rooms, in constant dialogic exchange, will share the space traversed by  the viewer to visit them. Based on the stimuli evoked by the artworks, the viewer  can autonomously decide the path of their visit, which unfolds over a few square  meters. This is because the narrative, the message, do not require much physical  space to fully express themselves, containing within them boundless territories in  the intimate spiritual realms of each individual.  

Tanzania Pavilion 2024, Image courtesy of Tanzania Pavilion

In the first room, the first two chambers will be compared: that of Lutengano  Mwakisopile (Lute) and that of Happy Robert. They represent two stories and  two periods of the 20th century that speak to us about growth, encounter with  the stranger, and the beginning of the journey. On one side (Lutengano), we find  a “western migration” of conquest, where the wealthy migrate to the lands of the  destitute to exploit their material goods. On the other side (Happy), we find a  migration “towards the West”, of abandonment, where the destitute migrate to  the lands of the wealthy, hoping to partake in the prosperity they cannot find in  their own land.  In the second room, the two chambers of Haji Chilonga and Naby will be  compared.

Tanzania Pavilion 2024, Image courtesy of Tanzania Pavilion

The stories told in these rooms reflect upon Chilonga’s work, which  focuses on the contemporary aspects of Tanzania and depicts a new man.  Multifaceted and in search of a social and cultural emancipation not yet achieved  despite the political and technological progress of the second half of the last  century and the first two decades of the current one. It portrays a nuanced  dimension. Naby’s work, on the other hand, does not necessarily project into the  future; rather, it is oriented towards a constant, reiterated present folded within  a social cage permeating contemporary society. This society is extremely  stratified and classifiable, where contamination, migration/escape, and the pursuit  of change are completely ineffective in improving the psycho-physical and  economic well-being of the individual. They are destined to experience a loop of  inherently frustrated expectations.

For more information:  |  | @tanzaniapavilion2024


Uf-o Art Collective and Archive of Last Futurists |  | Stefano Pancera, Consulate of Tanzania in Milan |  

Jacopo Soranzo, NGO CEFA ETS | |  

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