Genesis, EBONY/CURATED, Franschhoek, South Africa (2016); It is What it is, EBONY/CURATED, Cape Town, South Africa (2015); LA SAPA, AVA Gallery, Cape Town, South Africa (2013); LA SAPA, AVA Galery, Cape Town, South Africa (2012); Hope for Refugees, Rome, Italy (2005); Untitled, AVA Gallery, Cape Town, South Africa (2004).

Group exhibitions include When We See Us, Bozar Centre for Fine Arts, Brussels, Belgium (2025); Split Infinity, Arak Collection, Artron Art Gallery, Shenzen, China (2025); If You Look Hard Enough, You Could See Our Future, Newcomb Museum of Art, Tulane University, New Orleans (2025); Strategic Interplay, Toledo Museum of Art, Toledo, Ohio, USA (2024); AKAA (Also Known As Africa) , EBONY/CURATED, Paris, France (2023); Africa Supernova, Museum Kade, Amersfoort, Netherlands (2023); Where the Wild Roses Grow, Kristin Hjellegjerde Gallery, Schloss Görne, Germany (2023); If You Look Hard Enough You Can See Our Future, African American Museum, Dallas, USA (2023); Tomorrow is Tomorrow is Tomorrow; Kristin Hjellegjerde Gallery, London, UK (2023); When We See Us, Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), South Africa (2022); Shout Plenty, the African Artists Foundation, Lagos, Nigeria (2022); AAGA annual African Galleries Now online edition powered by Artsy, Africa (2022); Everything Was Beautiful and Nothing Hurt, FNB Art Joburg, Open City, Keyes Art Mile, Rosebank, Johannesburg, South Africa (2021);  8 by 8, EBONY/CURATED, Cape Town, South Africa (2021); In [the] Loop, EBONY/CURATED, Cape Town, South Africa (2021); FNB Art Joburg online edition, Main Booth, Johannesburg, South Africa (2020); Intersect Chicago online edition of SOFA Expo, Chicago, US  (2020);  AKAA (Also Known as Africa), Paris, France (2019); A Smaller Scale, EBONY/CURATED, Cape Town, South Africa (2019); From the Horse's Mouth, EBONY/CURATED, Cape Town, South Africa (2017); Beyond Binaries, Durban Art Gallery, Durban, South Africa (2016); In Print/In Focus, Michealis Galleries, Cape Town, South Africa (2015); Inner Nature, EBONY/CURATED, Cape Town, South Africa (2014); Perspectives and Dramascapes with Wycliff Mundopa, EBONY/CURATED, Cape Town, South Africa (2013); 1:54 Contemporary African Art, Frieze Art Fair, London, UK (2013); First Cape Town Art Fair, Cape Town, South Africa (2013); Art for Africa, Sotheby's New York, New York City, USA (2011); Hifa, National Gallery of Zimbabwe, Harare Zimbabwe (2008); Sanlam Gallery, Bazter Theatre, Cape Town, South Africa (2007); Xcape Art Circuit, Voyage: Scalabrini, Cape Town, South Africa (2006); Picasso and Africa, Alliance Francaise, Cape Town, South Africa (2006); Iziko South African National Gallery, Cape Town, South Africa (2005); Xenophonia, Alliance Francaise, Cape Town, South Africa (2003); P.E.L.Group of Artists, Lusaka, Zambia (1996); Visual Art Council, Lusaka, Zambia (1995). 

Highlights and Collections 

Luzamba's work can be found in international private and public collections, including ARAK Collection, Qatar; Durban Art Gallery, Durban, South Africa; Defise Foundation, London, United Kingdom; Irma Stern Museum, University of Cape Town, South Africa; Nandos Art Collection, London, United Kingdom, Nandos Art Collection, Cape Town, South Africa; Scalabrini House, Bassano De Grappa, Italy Cultures Inc, California, United States of America; Jorge M. Pérez Collection, Miami, United States of America; Fondation H Museum, Antananarvio, Madagascar; Zeitz MOCAA Collection, Cape Town, South Africa; 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 and Toledo Museum of Art, Ohio, USA. 

Sharp suits, polished shoes, tightly knotted ties: in Zemba Luzamba's paintings, clothing is more than style - it is a language of freedom and resistance. The figures that Luzamba paints are sapeurs, members of the congolese sub-culture known as SAPE (the Société des Ambianceurs et des Personnes Élegantes) that emerged in the 1960s and 70s when President Mobutu banned the wearing of Western-style suits in favour of the abacost, a lightweight suit which was traditionally worn without a tie. The abacost became closely associated with Mobutu's supporters, especially those who profited under his regime. To Luzamba and many congolese today, the tailored suit continues to signal defiance and individuality. 

While SAPE culture remains a central motif throughout Luzamba's paintings, his interest lies equally in how meaning is shaped by body language and setting. Subtle details - how someone sits, or where - became clues to social status and personality. In this exhibition, for instance, we encounter two sapeurs seated in red leather armchairs within what appears to be a grand drawing room. Though both are elegantly dressed, their postures and positioning reveal a hierarchy: the man in the yellow jacket clearly holds the authority. Beside him stands a carved wooden stool, a traditional symbol of leadership and power, historically reserved for chiefs, elders and figures of influence. 

Other works depict only the legs and shoes of figures sitting in a line - on white plastic chairs, along a wall, in some kind of hall or domestic space. The titles hint at the scenarios - Casual, Spectators and Groomsmen - but even without them, we can infer the dynamics of the group and situation through gesture and stance. In Spectators, three pairs of shoes are planted firmly forward, their weares relaxed yet assertive. One man leans back with legs spread wide, suggesting a quiet kind of power play. Who or what are they spectating? Are they watching for amusement of exerting pressure through their gaze? By contrast, in Casual, feet dangle and kick up, a newspaper is loosely rolled in one hand, a briefcase rests on another's knees: perhaps colleagues on a break, strangers at a bus stop or friends passing time. 

As in all of Luzamba's works, these scenes resist fixed narratives, inviting us to imagine the stories behind the suits, where even the smallest gestures unravel the complexities of identity, status and power.