Gerald Machona / Greener Pastures

Gerald Machona / Greener Pastures
04 October - 03 November 2018
Installation View
Gerald Machona
Survive, 2018
Single channel video, HD, sound
Variable Dimensions
Gerald Machona
Live long and prosper, 2018
Epson Hot Press on perspex
Work: 118 x 118 cm Frame: 136.5 x 136.5 x 3.5 cm
Gerald Machona & Sethembile Msezane
Love in the time of Afrophobia II, 2016
Epson Hot Press on perspex with gold gilded frame
Work: 118 x 170 cm Frame: 136.5 x 189 x 3.5 cm
Gerald Machona
Federation of Rhodesia and Nyasaland, 2018
Glass, copper and decommissioned currency
Work: 65 x 25 x 25 cm
Gerald Machona
Untitled (Gerald Machona), 2016
Epson Hot Press on perspex with gold gilded frame
Work: 118 x 79 cm Frame: 136.5 x 97.5 x 3.5 cm
Gerald Machona
Keep calm and untie the noose I, 2015
Digital print in pigment inks on cotton rag paper
Image: 118 x 79 cm Paper: 128 x 89 cm
Gerald Machona
Terraform, 2018
Decommissioned currency, copper wire, marble dust

Sethembile Msezane
Untitled (Sethembile Msezane), 2018
Epson Hotpress on Perspex
Work: 118 x 79 cm
Gerald Machona
7 Colonial Powers, 2018
Glass, copper and decommissioned currency
Work: 65 x 25 x 25 cm
Gerald Machona
Influx II, 2014
Digital collage on Epson Hot Press with gold gilded frame / Digital collage on Epson Hotpress
Frame: 33.5 x 56.5 x 3.5 cm / Work: 15 x 38 cm
Gerald Machona
What Lies Beneath The Land, 2018
Decommissioned currency on board, Gold gilded fame
Work: 136 x 103 cm Frame: 153.5 x 120 x 7 cm
Gerald Machona
Poinciana (Madagascar), 2018
Glass, copper and decommissioned currency
Work: 50 x 15 x 15 cm
Gerald Machona
A coup not a coup, 2018
Decommissioned currency with gold gilded frame
Work: 136 x 185 cm Frame: 143.5 x 200.5 x 7 cm
Gerald Machona
BRICS, 2018
Glass, copper and decommissioned currency
Work: 65 x 25 x 25 cm
Gerald Machona
Sengaparile (Botswana), 2018
Glass, copper and decommissioned currency
Work: 50 x 15 x 15 cm
Gerald Machona
Bougainvillea (Zambia), 2018
Glass, copper and decommissioned currency
Work: 50 x 15 x 15 cm
Gerald Machona
We inherit the sins of our Forebearers, 2018
Decommissioned currency / Glass, sand and decommissioned currency
Work: 27 x 11.5 x 11.5 cm

Gerald Machona / Greener Pastures - Installation View

04 October - 03 November 2018

Gerald Machona

Survive

Gerald Machona

Live long and prosper

Gerald Machona & Sethembile Msezane

Love in the time of Afrophobia II

Gerald Machona

Federation of Rhodesia and Nyasaland

Gerald Machona

Untitled (Gerald Machona)

Gerald Machona

Keep calm and untie the noose I

Gerald Machona

Terraform

Sethembile Msezane

Untitled (Sethembile Msezane)

Gerald Machona

7 Colonial Powers

Gerald Machona

Influx II

Gerald Machona

What Lies Beneath The Land

Gerald Machona

Poinciana (Madagascar)

Gerald Machona

A coup not a coup

Gerald Machona

BRICS

Gerald Machona

Sengaparile (Botswana)

Gerald Machona

Bougainvillea (Zambia)

Gerald Machona

We inherit the sins of our Forebearers

Goodman Gallery Cape Town
4 October – 3 November 2018

Stories of mobility are strongly linked to the individual and collective search for greener pastures. This yearning for a better life, place or situation is the conceptual thread that runs through Gerald Machona’s second solo exhibition with Goodman Gallery. In this show, Machona explores past and present manifestations of this pursuit and utilises an intersectional approach to navigate the various ways in which interlocking systems of power impact and overlap with individual and collective aspiration towards greener pastures.

Induku enhle igawulwa ezizweni is a Zulu proverb that expresses the desire and appreciation of searching for love in faraway places or nations,’ writes Machona in an artist statement about this body of work. ‘Journeying for survival in a search to better understand oneself or even for love is not a foreign concept in tracing nomadic or migration patterns in Africa.’ But due to a past marked by segregation, South Africa has been ‘shaped [by] a culture of mistrust and suspicion amongst its citizens’. The unfortunate effect of this has been the outbreak of ‘xenophobic’ attacks against fellow Africans in the country in recent years; a reaction Machona suggest might be described better as ‘Afrophobia’.

Through his work Machona goes about dispelling these cultural stigmas by revealing stories of cross-cultural, transnational unions, space sharing and family raising. Drawing on his own experience as a Zimbabwean of Shona heritage marrying into a Zulu family, Machona reveals how a tradition such as the gift-giving ceremonies of lobola undermine essentialist concepts of gendered, national and ethnic identity. However, these traditions have remained deeply entrenched in patriarchal norms, often at the exclusion of contemporary struggles for gender equality. Machona expresses these ideas through his signature use of decommissioned currency fashioned as transnational floral arrangements as well as photographic works which depict the process of negotiating marital traditions across borders.

According to Machona, ‘the very notion that people can be ‘naturalised’ into a family, ethnicity or as citizens of a country through marriage contradicts any purist notions of national or ethnic identity rooted in [indigenousness]. What it does point out, however, is that identities are in flux and are constantly navigating across national and ethnic boundaries’.

In Machona’s case this liminality exists in his navigation of marital traditions across Zulu and Shona customs through the boundaries that separate Zimbabwe and South Africa. Such transnational cultural experiences reveal how the receding economic and social significance of boundaries, among African nation states, has in actual fact heightened interconnectivity between people.

Gerald Machona

Gerald Machona is a Zimbabwean born Visual artist with a Master’s Degree in Fine Art from Rhodes University and a Bachelor’s degree from the University of Cape Town, completed at the Michaelis School of fine art. Machona’s work has been included on several prominent international exhibitions, which include the South African Pavilion at the 56th Venice Biennale in Italy, All the World’s Futures and at the 20th Biennale of Sydney, The future is already here – it’s just not evenly distributed. Machona’s work has also appearedin exhibitions at the Brooklyn Museum in New York and at the Zeitz Museum of Contemporary Art Africa in Cape Town.

Machona works with sculpture, performance, new media, photography and film. The most notable aspect of his work is his innovative use of currency—particularly decommissioned Zimbabwean dollars—as an aesthetic material. Machona’s current work engages with issues of migration, transnationalism, social interaction and xenophobia in Africa.

In 2013, Machona featured in Mail and Guardian’s 200 Young South African’s supplemental and was selected by Business Day and the Johannesburg Art Fair in 2011 as one of the top ten young African artists practicing in South Africa. In 2019 Machona was included on the group exhibition Still Here Tomorrow to High Five You Yesterday at Zeitz MOCAA in Cape Town.