Online Reporter
Trust Khosa-Zimpapers Arts and Entertainment Hub
ZIMBABWE’S top visual artists might be honoured in their homeland, but they continue to make a significant impression overseas by promoting our country globally.
Over the years, Zimbabwe has had icons shining at the annual Venice Biennale in Italy.
Top visual artists including Moffat Takadiwa, Gillian Rosselli, Victor Nyakauru, Sekai Machache, Troy Makaza, and Kombo Chapfika have made an impact internationally, making Zimbabwe one of the leading nations in visual arts representation.
This year, Zimbabwe, out of the 54 nations in Africa, was selected among nine national participants at this year’s Venice Biennale. In a statement by the National Gallery of Zimbabwe, it was announced that Zimbabwe was selected alongside Egypt, South Africa, Ghana, Kenya, Côte d’Ivoire, Cameroon, Namibia, and Uganda, highlighting our influence in the visual arts.
The increase in the number of African countries participating in the event dates back to 2024. For Zimbabwe, it is a significant triumph as it has become a regular participant in the international festival dubbed the “world’s cultural heart.”
“In 2024, that presence expanded again. With debuts from Benin, Ethiopia, Senegal, and Tanzania joining longstanding participants such as Egypt, South Africa, Nigeria, Uganda, Zimbabwe, and Côte d’Ivoire, the edition was widely described as a record showing for African countries. The trajectory suggested momentum.
“And now, in 2026, four countries —Morocco, Zimbabwe, Egypt, and the DRC — have made the grade.
“This context arrives at a historically significant moment. The 61st Venice Biennale is curated by Koyo Kouoh, the first African woman to lead the international exhibition. This milestone is regarded by many as a decisive shift in global art discourse.
“Is this a matter of state funding cycles? Cultural policy priorities? Economic strain? Administrative restructuring? Or does it reveal the precarity of visibility when participation relies on inconsistent national infrastructures rather than sustained continental strategy?
“What does it mean that a year marking a breakthrough in curatorial leadership from the continent coincides with a diminished number of African national pavilions? Is representation consolidating elsewhere within the Biennale’s structure? Or are deeper systemic challenges at play?” reads part of the statement.
The recognition of Zimbabwean artists at the Venice Biennale not only showcases their talent but also emphasises the growing importance of African voices in the global art scene.
