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View full screen - View 1 of Lot 28. Muchengetedzi Werunyararo .

Wallen Mapondera

Muchengetedzi Werunyararo

Lot Closed

January 31, 05:28 PM GMT

Estimate

7,000 - 9,000 USD

Lot Details

Description

Wallen Mapondera

Zimbabwean

b.1985

Muchengetedzi Werunyararo 


egg crates, cဣhina bag, waxed thread and teargas can on board

123 by 125 by 23cm., 48⅜ by 49¼ by 9in.

Executed 2022

Please be aware of the Conditions of Sale when bidding. As a benefit auction, there is no buyer’s premium charged. The only additional costs due to the winning bidder are applicable sales tax and shipping. Works auctioned are sold “as is,” and condition reports are included with lot descriptions as available. In-person previews of the auction artwork will be available at Norval Foundation at 4 Steenberg Rd, Tokai, Cape Town, 7945, South Africa from 25 January – 20 March, Monday to Sundays 9AM – 5:00PM (Closed on Tuesdays).Please note that while this auction is hosted on laitexier.com, it is being administered by Norval Foundation (“the museum”), and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by the museum. As such, Sotheby’s will share the contact details for the winning bidders with the museum so that they may be in touch directly post-sale.

This work has been kindly donated by the artist

Wallen Mapondera is a multi-disciplinary artist based in Chitungwiza, Zimbabwe. He is best known for his complex wall sculptures that create richly tessellated abstract surfaces out of cardboard and textiles. By transforming them into textured visual puzzles, Mapondera rescu🍷es ordinary materials from their typical lifecycle (from factory to commodity to landfill). In this way, his works metaphorically challenge the linearity of time and history.


Muchengetedzi Werunyararo (2022) translates to “The Peace Keeper”. The empty tin 🐭of teargas used in the artwork was picked up by a seven-year-old boy who was sitting beside his mother in their﷽ vegetable market in Zimbabwe. In the work, the violent incident is represented through the cuttings of egg crates, small bumps of red cloth, lines of red string and fabric from a china bag. The china bags are reminiscent of the artist’s mother going to neighbouring countries like South Africa, Mozambique and Botswana to sell her goods. Ultimately, Mapondera aims to draw our attention to the crimes of exploitation, oppression and indifference that undergird even the most mundane objects.