“The Missing Patrons: Why Zimbabwe’s Millionares & Corporates Must Step Into the Art World”
- Richard Mudariki
- Nov 5
- 4 min read
By Richard Mudariki
When philanthropist and business leader Tsitsi Masiyiwa recently expressed her pride in Zimbabwe’s artistic talent and creative potential on Linkedin, her words resonated deeply with me. As an artist and cultural producer who has dedicated my life to building platforms for Zimbabwean and African artists, I have seen firsthand how patronage both private and corporate, can transform a nation’s art and culture. Her reflections reminded me that art is not just culture, it is capital and our creative sector holds immense promise for national development. But this promise can only be realised through deliberate and sustained investment.
Across the world, in both developing and developed nations, strong artistic heritage has always been built on patronage. From Lagos to London, thriving art ecosystems were shaped by individuals and businesses who collected, commissioned, and funded artists and institutions. This financial support has produced strong cultural foundations and sustainable markets—and in many cases, entire museums and foundations were born from private collections. The message is clear: art grows where it is funded, and a nation’s cultural maturity is reflected in how it supports and preserves its creative producers.
In Zimbabwe, however, a significant gap remains. In the 2024 ArtWeb Power 100 Zimbabwe report, it was observed that there are very few corporate art collections in the country. This stands in stark contrast to our neighbour, South Africa, where companies such as MTN, Telkom, Sanlam and Standard Bank have built vast collections of modern and contemporary art. These collections are not just aesthetic, they are strategic assets that strengthen corporate identity, contribute to national pride, and ensure that artists are recognised as key contributors to social progress. Zimbabwean corporations like Econet, Delta, Old Mutual Zimbabwe and CBZ have a tremendous opportunity to follow this model: investing in local artists, acquiring works, and creating spaces that celebrate and preserve our creativity.
But progress requires more than simply decorating boardrooms with art. It also demands grassroots support affordable studios, materials grants, mentorships, and professional development programs for artists. In my own practice and through the initiatives I lead, I have seen how access to even modest resources can propel an emerging artist’s career forward. A healthy creative ecosystem needs these foundational investments, because without them, talent risks being lost to economic hardship or forced migration.
I was encouraged to learn that the Highlife Foundation, under the leadership of the Masiyiwas, is now supporting the renovation of the National Gallery of Zimbabwe, an institution that has for decades been the heartbeat of our visual culture. This kind of patronage is critical, it revives our heritage infrastructure while inspiring confidence in other institutions to step forward. I am deeply grateful for this commitment, and I believe it must become a model for others to follow.
There are more promising signs of renewal. The establishment of the National Gallery Victoria Falls and the upcoming CIMMA Conference mark important milestones, opening fresh avenues for exchange and visibility. During a private conversation at the Afreximbank booth at 1-54 London, it was mentioned that the bank’s new Harare Trade Centre in Harare will include a dedicated space for showcasing contemporary art. I find this deeply inspiring. When I later viewed the architectural renderings by Architectural Planning Studio, it confirmed what I have long believed, that art belongs at the centre of commerce, diplomacy, and civic life.
The connection between art and development was also clear to me earlier this year when I visited the “Nigerian Modernism” exhibition at Tate Modern in London. The show was a powerful celebration of Nigeria’s art history, highlighting how decades of investment, community building, and institutional support at home made it possible for Nigerian artists to stand confidently on a global stage. The strength of their local ecosystem, supported by collectors, galleries, and corporations, has allowed their art to flourish internationally. This is exactly the kind of long-term vision Zimbabwe needs.
These encouraging efforts from the Highlife Foundation’s renovations to Afreximbank’s architectural vision must form part of a larger ecosystem that benefits the producers of art. A sustainable sector cannot rely on isolated acts of goodwill. It must be anchored by corporate, institutional, and private commitment to see art not as a charitable gesture but as an investment in national identity and economic growth.
I want to thank Tsitsi Masiyiwa and her daughter for their continued leadership and belief in the power of culture. But we also need a whole lot more from banks, insurance companies, and telecommunications firms to recognise that supporting art is part of their social and economic responsibility.
Art is both a mirror and a measure of who we are. With the right investment, Zimbabwe’s creative sector can not only reflect our collective ingenuity but also fuel a cultural and economic transformation that will define our future.
Richard Mudariki is an artist and cultural producer. He holds a BA Honours in Cultural Heritage Management and Museuology from the Midlands State University, Gweru, Zimbabwe.
