Goodman Gallery in New York will be showcasing the latest works of Zimbabwean artist Misheck Masamvu in an exhibition titled Exit Wounds. Running from September 3rd to October 19th, 2024, this exhibition is a profound exploration of memory, trauma, and transformation through Masamvu’s unique expressionist lens. This event marks a significant moment in Masamvu’s career, following his participation in the group exhibition Translations: Afro-Asian Poetics curated by Dr. Zoé Whitley at The Institutum in Singapore earlier this year.
Masamvu’s work is characterized by striking use of color, chaotic compositions, and gestural brushwork that evoke a sense of constant motion and flux. His paintings often depict fragmented figures caught in states of transformation, challenging the viewer to engage with the complexities of identity, history, and personal experience. This dynamic style not only draws the eye but also demands introspection, inviting viewers to confront the layered realities within his work.
One of the standout pieces in the exhibition, Fragmented Thoughts (2023), is a vivid oil painting on canvas that measures 150 x 130 cm. The piece is a perfect example of Masamvu’s mastery of color and form, with rhythmic lines and fields of color converging to create a visual language that speaks to the structures of power and the lingering impact of history on the present moment. The artist’s technique of blending abstraction and figuration allows him to express a deeper exploration of how one can adapt to new ways of interacting with the world.
Born in 1980 in Zimbabwe, Masamvu’s upbringing during the country’s struggles for independence deeply informs his work. His art offers a renewed and broader understanding of African visual culture and the decolonial project, making his work particularly relevant in today’s global discourse on race, power, and history. By utilizing his distinctive expressionist style, Masamvu provides a medium through which to address the past while searching for a new way of being in the world.
The exhibition also features Elusive Memories (2023), another oil on canvas measuring 150 x 130 cm. Like many of his other works, it emphasizes the perpetual shifting of figures and the flux between states, embodying the artist’s exploration of memory and how it can be elusive, fragmented, and constantly redefined. This theme of memory, coupled with Masamvu’s use of color, creates a dialogue that resonates with the viewer long after they leave the gallery.
Masamvu’s international presence is well-established, with his works being featured in prestigious exhibitions such as the 8th Biennial of Painting at Museum Dhondt-Dhaenens in Belgium (2022), the 5th Aichi Triennale in Japan (2022), and the 22nd Sydney Biennale in Australia (2020). His debut on the international stage came with Zimbabwe’s inaugural Pavilion at the 54th Venice Biennale in 2011. Over the years, his work has been acquired by major collections including the A4 Arts Foundation in Cape Town, the Braunsfelder Family Collection in Cologne, and the Perez Art Museum in Miami.
The quote from Masamvu, “When I get into colour, I realise that this is a deeper space, and I realise that I must travel within it… I can feel, I can hear, I cannot be stopped,” encapsulates the essence of his approach to painting. For Masamvu, color is not just a tool but a journey—one that allows him to delve deeper into the emotional and psychological spaces that shape human experience.
In Exit Wounds, Goodman Gallery invites audiences to experience this journey, as Masamvu continues to push the boundaries of contemporary art, challenging perceptions and expanding the discourse on African identity and expression. The exhibition promises to be a compelling and thought-provoking presentation of one of Africa’s most important contemporary artists.
Whether you are familiar with Misheck Masamvu’s work or are encountering it for the first time, Exit Wounds is an exhibition that demands attention, offering a powerful commentary on the intersections of history, memory, and transformation in today’s world.
