In May, we had the joy to participate in a panel talk with Zemba Luzamba and Bola Mosuro at the Kristin Hjellegjerde Gallery, where we discussed Zembas solo show, "Angalia Kwa Karibu" ("Look Close" in Swahili). The conversation covered his career, inspirations, and elements of Congolese culture. Our founder, Alain Defise, highlighted the Congolese art scene and the mission of the Defise Foundation to enhance the visibility of Congolese talent. |

Watch the full video of the talk on our YouTube channel here

About the exhibition

Luzamba invites us to explore meaning and emotion through gestures, clothing, and expressions, reflecting on themes of self-expression, community, and resistance. He captures moments from contemporary life within a cultural context, conveying a universal message: the human spirit embodies resilience, hope, and resourcefulness. Regardless of the time or circumstances, we will always find ways to carve our own paths and unite.

This exhibition pairs distinctive clothing with titles in Swahili, such as " Bakolo tirran" which describes individuals who have established authority in their neighbourhoods through long-term residency, despite not owning the land. Other titles, like "Mulambo" (black tax), highlight the financial burden that successful Black individuals often face when they feel obligated to support family members as a form of repayment for their upbringing. In "Mkimbizi" (asylum seeker), "Maisha Mapya" (new life), and "Mwanzo mpya" (new beginning), Luzamba captures hope through symbols, like an egg representing origin and wealth, and the cutting of a rope, which signifies ceremonial inauguration. In "Pamoja na furaha" (together with joy), men in matching black suits gather to drink whiskey, celebrating solidarity and community.

A nod to the SAPE (Société des Ambianceurs et des Personnes Élégantes),a Congolese subculture that emerged in the 1960s and 70s in response to President Mobutu’s ban on Western-style suits in favour of the abacost, a lightweight suit which was traditionally worn without a tie, can be seen throughout the paintings. The abacost was seen as the uniform of Mobutu’s supporters, especially those who had benefited from his regime. As such, the wearing of a suit and tie became a symbol of resistance and freedom, and today, it still retains that association for many Congolese people. In this exhibition, the distinctive clothing is paired with the use of Swahili, Luzamba’s native tongue, to title the paintings and further imbue the works with cultural specificity. For instance, the painting in which the men are standing in a line is titled Bakolo tirran, an idiomatic expression that refers to people who have gained a sense of authority and ownership within their neighbourhood through having lived in the community for a long time, even though they may not own the land which they inhabit.

About Zemba

Zemba Luzamba (b. 1973) is an artist born and raised in the Democratic Republic of the Congo. He moved to South Africa to pursue his career as an artist, and this experience of migration has allowed him an intimate and sympathetic view of migrant communities, which has informed many of his works over the past 15 years. A contemporary realist, Luzamba's paintings hover on the border of satire, at once appearing to mimic the colonial lifestyle of the post-colonial elites while simultaneously bringing it into question. Is this pure observation, aspiration or critique?

Luzamba’s work can be found in international private and public collections, including Fondation H Museum, Antananarivo, Madagascar; Jorge M. Pérez Collection, Miami, United States; Durban Art Gallery, South Africa, Irma Stern Museum, South Africa, Nandos Art Collection, UK/South Africa, Scalabrini House, Italy, Cultures Inc, US, Museum of Modern Art, Equatorial Guinea;  UTA Artist Space Collection, USA; Kilbourn Collection, Cape Town, South Africa; The Spier Art Collection, Cape Town, South Africa; Zeitz MOCAA Collection, Cape Town, South Africa.