In this exhibition these forms are apparent, staking their claim in each work, creating continuity and balance. We do not only see these forms inhabiting landscapes, they are equally drawn into dialogue with figures, both human and animal. None of these figures sit alone; each one is engaged in conversation. Paying careful attention to the forms and figures, and the relationships between them, we become immersed in a contemplative world of abstraction.
Memory and Activism', an exhibition of works by the late Namibian printmaker, John Ndevasia Muafangejo. The season runs from 3 to 7 October and is framed as an intersectional dialogue of art, archivism and activism. In remembrance of Muafangejo and his work as sites of activism, this week long programme will be in search of reflective questions that local creative communities should be potentially asking today.
This also includes futuristic questions around how we foresee engaging with collective memory and protest art. This season looks to: As part of this season, 'Muafangejo: Typically Tshilumba works with oil paint on canvas. While his work often refers back to various contemporary social issues, his main focus comes back to his keen interest in depicting scenes from the world around him; specifically landscapes, animals, people and everyday objects. In this exhibition Tshilumba has focussed on the daily lives of Namibians drawing from his experiences in both rural and urban areas. I often take a quick snap shot so that I can use the scene later in my work.
Tshilumba considers himself both a realistic and abstract painter and describes his style as being based in movement. It seems to me that since then things have not changed. The drought is a serious concern for animals and humans. People need to take responsibility for every drop of water they use. It is important that as citizens we do not neglect the country in this battle with nature.
Water the white diamond must be taken seriously. Due to political instability he left the country and in arrived in Namibia.
Tshilumba built a name for himself and in exhibited for the first time at the National Art Gallery of Namibia. Since then Tshilumba has held several solo exhibitions and has been exhibited internationally in Switzerland and Germany This exhibition stems from a competition of the same name, initiated by the National Art Gallery of Namibia and Bank Windhoek with the aim of discovering new and fresh talent in Namibia and to encourage artistic excellence, creativity and individual expression.
The competition consisted of two categories, namely a School Category for secondary school learners Grade 8 to 12 and age 14 to 19 at the time of submission and an Amateur Category for artists who do not have any tertiary art qualification and have not had a solo exhibition or participated in a curated exhibition.
In the first phase of the competition, participants were required to complete an application form describing an idea of what they intent to develop on a 30cmx30cm canvas or paper. The ideas could be supported by visuals such as preliminary sketches, collage, photomontage etc. In the second and final phase of the competition, the finalists were required to successfully translate their ideas into any type of medium. The judges then selected the top 10 best artworks over all. The National Art Gallery of Namibia and Bank Windhoek are proud to have facilitated the work of these budding artists.
We wish them all the best for their future artistic endeavours. I started off with a few friends, some who have left, others who no longer cycle. I select times when there are many cyclists and I feel safe and happy. The various backgrounds and fields of these women include: This project, however, acknowledges that there is a wealth of amazing women in Namibia beyond this list, and in order to ensure that they can all be recognised and acknowledged here, the NAGN invites viewers to add the names of these women to the black-board. As well as endeavouring to celebrate Amazing Namibian Women, this project aims to encourage artists to participate in charitable causes.
The artists participating in this celebratory and charitable project include: We give great thanks to these, and other artists, who strive to celebrate the incredible women of this country, and to help to construct and visualize a society that does the same.
Petrus Amuthenu was born in the coastal town of Swakopmund and grew up in northern Namibia in Uukwaludhi. In he moved to Windhoek where he attended school. From early on Amuthenu entertained himself by drawing and sketching. Though Amuthenu does not see himself exclusively as a printmaker, his careful layering of both content and process visually recalls his mastery of the craft. Testament to his diversity of skills, in this exhibition Amuthenu has used pencil, charcoal, spray-paint, tipex, oil paint, watercolour and printing ink, using a variety of different techniques within these media to create his works.
A mix of media and technique, coupled with the use of urban, noticeably Namibian motifs, invites a local, young audience to relate and respond to his visual social commentary. Weeks studied photography at Stellenbosch University and graduated with a Bachelor of Arts in Photography in Weeks is also a co-founder of Cape Collective Assist, an agency that services the photographic stills industry in South Africa by offering professional photographic assistants.
The two distinct bodies of work are linked by subject matter and location both having taken place in the north of Namibia the Kunene Region and both depicting Himba men. Weeks has just recently been awarded the Fine Art Single Image Magnum Photography Award for one of the images that will be on display. The artist will also give a walkabout and talk at 16h00 on 5 August For this project, initiated by the NAGN, artists from all communities were invited to submit artworks for consideration with only one condition — the work had to be made collaboratively.
Throughout art history we can see the progress of artistic collaboration. The inspiration for this exhibition came from a desire to promote and encourage these types of convergence and collaboration, but to also try and expand them. The Namibian art community is small and varied. However it is this variety from which we can draw strength. From musicians, to performers, to all forms of visual practitioners this exhibition has asked artists to draw strength from each other and to submit works together. The local art scene rose to the occasion and the NAGN saw the submission of works from local and international artists in a variety of mediums and forms.
Conversations took place between husband and wife, dancer and fashion designer, musician and poet, painter and sculptor, artist and institution. The NAGN was very happy to welcome the input of the Goethe Institute who took the opportunity to collaborate with an ensemble of performers dealing with the very notion of communication and conversation itself.
It was the hope of the NAGN that through this project artists of all disciplines would be given the opportunity to explore the potential of making work across disciplines and subjectivities. Over the four weeks that the exhibition spans, the NAGN is hosting a number of side events in addition to the official opening. These events are as follows:. Oudano wa Afrika theatre making company. The two artists are renowned for the work they have done with cardboard printmaking, a technique that they have both unarguably come to master.
This exhibition however will not only showcase cardboard printmaking but works in an array of mediums and styles new to both of them. Shikongeni uses the dry point technique on ABS sheets and ink on paper while Van Wyk uses stencils and airbrushes as his medium. The landscape of the Namibian art industry is ever-changing with each new group of young and exciting artists bringing their own edge to it.
This exhibition hopes to create a space where links between the various groups within our art community can take place. A space where the younger generation of artists, including those still studying, can engage with the older generation of artists and create a dialogue where they can exchange ideas, inspire and teach one another. This will create connections between the wisdom and experience of the older generation and the energy and innovation of the younger generation, coming together to inform new ways of making art and thinking about art.
Van Wyk and Shikongeni would like to inspire the new generation to take the medium even further. This exhibition portrays the testament of the ever-growing relationship between Namibia and China. The images in this exhibition were taken by both Namibian and Chinese photographers who have come together, forming a medley of landscapes and every-day life. This exhibition explores the idea of a creative lens and perspective. As an art form photography is essentially a representative medium, transforming light from life into a still two-dimensional image.
However in viewing these images we come to recognise the eye of the photographer in the result, we soon pick up their personal vocabulary and begin to see the world as they see it. This exhibition is foremost a set of questions:. The National Art Gallery of Namibia hopes that this exhibition will create a visual and creative platform for conversation across various perspectives on Photography and every-day life. They are at the beginning of their professional careers as Namibian artists, and we wish them well. For more information please contact: Nicky Marais, Head of Department: Ismael Shivute was born in Ombome, a small village in Northern Namibia near to the town of Outapi, in This was the year before Namibia became an independent nation.
From early childhood he enjoyed making toys for himself and his friends from found materials. He became an expert at making wire cars which he and his friends would race endlessly across the flat sandy areas around their houses. Shivute completed his schooling at Onesi Senior Secondary School in and the following year attended a short art workshop in Outapi. He completed the three year diploma course in Since Shivute has had the opportunity to take part in many group exhibitions both in Namibia and abroad.
These images are not only about his surroundings but are also made out of his surroundings. With the use of found materials Shivute captures both the spirit and the tangibility of his world. I attempt to inspire those who look at my work with my innovation, creativity and the practicality of the methods I use to make the work. I feel that my art reflects a unique Namibian identity, as well as my own identity as a young artist struggling to survive in the world. I always make use of recycled and found materials, mostly metals, cans and wires because they are locally available at no cost, but also because they reflect a distinction that I admire.
This distinctive character is partly to do with the previous life that materials had, its lovely rusty colour, malleability and also the texture make the artworks come to life and give them a wonderful sense of humour. My subject matter is often the survival of some people in the informal settlement in Windhoek, in which they live in a small and harsh environment.
In this exhibition the artists explore, in various art genres and media, themes such as marginalisation, equality, stratification, journeys, passages, fringes and narrativity. The event will showcase various loom weavings exploring memory through cloth, a body of work that tries to keep memories retained in textile and to make permanent that which is ephemeral. The project Art Inside, which was first launched in , is a nationwide art awareness project aimed at Namibian Government. The initiative aims at acquiring original Namibian visual art for installation in all Ministries and semi-government premises.
In the previous editions Namibian artists from all Regions have responded positively by submitting inspiring art and craftwork of an exceptional quality for this project. Palomino's second solo show in Namibia which took place at the Franco Namibian Cultural Centre in Colourless tried to represent and understand the human being from the inside, through a rough and even grotesque point of view, in the attempt of portaying human decay in our contemporary world. Colourful takes the contrary stance of focussing on an outer, formal magnificence.
In this way Colourful is formulated as the physical and conceptual opposite to Colourless. Using every colour available to him, Palomino has created an exhibition that takes formally from several art movements, from Expressionism and Fauvism and Realism. These two exhibitions, in their contrast and harmony, show the incredible emotional range and technical skill of the artist.
The German colonial era in Namibia lasted from and Now, more than a hundred years later, the influence of German colonialism can be still perceived in everyday Namibian life. Artists from Namibia and Germany as well as further afield have responded to this topic. Through their work we glimpse a suggestion of how one might navigate this historic reality, from its origins to our current attempts to process it. The opening will take place on the 21st Jan , at 18h The exhibition will run until 31 March The Art Competition aims to discover new and fresh talent in Namibia and encourage artistic creativity, excellence, quality and individual expression.
Namibian Soundscapes: Music of the People and the Land [Myrna Capp] on osuqopabah.tk *FREE* shipping on qualifying offers. The interviews in this book tell. Editorial Reviews. About the Author. MYRNA CAPP holds a Doctor of Musical Arts degree from the University of Washington in Seattle, and is Assistant.
A total of artists entered the competition, a panel of judges selected the best ideas or concepts presented by the artists and based on their ideas and concepts submitted these selected artists each received one or more canvases. These canvases were then returned to the gallery as complete artworks that are no on display in the NAGN Upper Gallery. The theme was chosen as a theme to address issues of importance in our society 25 years after of independence. With this project the NAGN encouraged artists to be thoughtful in their exploration of themes and material.
This is evident in a lot of the works that are on display. The NAGN believes that the visual art is a means of communicating and of connecting with wider audiences. The artist and anthropologist is fascinated by the dynamism, the sounds capes, the smells capes, the fuzzy mobility and the diversity of impressions to be collected during nightly urban dwellings.
It is the contrast of cities as rapidly growing self-organizing organisms — the metaphor of the beehive — versus the individual pathway of the single person often seeming so lost or on some rapid indefinable trajectory towards the unknown — which he finds truly worth depicting. The portrayed people, especially the old ones, have very expressive faces.
These faces tell stories of long lives. Experience, suffering, pride and happiness have been engraved. They tell intimate stories about the human condition just by looking at them. They are a partial portrait of the life in current day Namibia. Early this year it was made known to us here at the NAGN that photographer and owner of Studio 77, Tony Figueira is critically ill and is undergoing extensive medical treatment.
Thus the NAGN put out a call to all Namibian photographers — both professional and amateurs - to submit works of photography for the exhibition. Since putting out the call the NAGN has recived a great amount of inquires and many people willing to participate. This only proves that Tony has touched the lives of so many Namibians with his photography, who inturn want to give back to him.
The NAGN urges all to come and support the exhibition as proceeds for the sales of works sold will go to Tony and his family to assit where they may need. Actofel and Robert have been friends since Robert moved to Windhoek in the middle of They were and are currently both visual artists working for the College of the Arts and feel quite passionate all COTA has to offer. On one trip to Otjiwarango, these two artists discussed and decided that a collaboration was in order on a grand scale, the theme of the installation was instantaneously thought up by both artists and the NAGN was then approached.
The exhibition "UNIT" is explorative and creative effort to look into the spaces we create. Unit, by definition, can mean a single person or thing or it can also mean a group of people or things put together. This is what Actofel and Robert aim to create with in the gallery space. These artists will then be asked to create a space with in their plot. This is often the process that takes place in Katutura, land is divided and given to people and they can then set up their houses.
This is part of the inspiration fro this installation. Creativity and ownership soon emerge after people are given this land and a home is created. Actofel and Robert hope to set up similar feelings of artistic ownership of space. With Katutura and more specifically the informal settlements, a sense of chaos and feelings of being overwhelmed can also take place from the disorder in which houses or kambashus are set up.
Actofel and Robert will also set up this feeling with in the installation. The artists that Actofel and Robert have asked to help with this project are established artists of Namibia, students at College of the Arts and friends of both Actofel and Robert. Born in , Genivaldo Amorim is artist self-taught , curator and cultural producer. He Lives and works in Valinhos a city km far from Sao Paulo and works with painting, drawing, photograph, installation, ceramic and projects for web, like the World Body Project, a huge project that reached more than 60 countries until now.
The exhibition "SKIN" is essentially devoted to questions related to the skin, this thin film that "dresses" our body, that we use to "sell" ourselves to others, for other uses, hiding our guts. The skin is the boundary that exists between our body and the world, is the link between what we are, physically, and what we are socially. The installation is a series of pieces, each similar to an animal, are floating in space, like inert bodies, suspended by a wire network. They have soft bodies, but their skins call our attention, exhibiting rich patterns.
This is what interests us. After the exhibition these "skins" return to Brazil and will be distributed among fashion designers that will transform them into clothing that will turn into a new exhibition. The works that will be exhibited at National Art Gallery of Namibia will not be exhibited elsewhere as they were conceived especially for that exhibition, as the artist would like these pieces to have an identity, to belong to a place, to a moment, that the clothes they will become are impregnated with this experience.
The installation will consist of 32 pieces. The other work that will be displayed in the exhibition is titled: In this work the artist makes an analogy between body and matter, associating photos of burned walls with burned skin. The pictures are only of burned paint, but in giving the works the title of "3rd Degree Burns" the viewer is guided to create this connection between paint and skin.
For more information on the artist please visit: Namibian artists from all Regions have responded positively by submitting inspiring art and craftwork of an exceptional quality for this project. From these, the best pieces will be purchased for the Government Collection.
All the work that will be selected will also be exhibited at the NAGN. The exhibition will be on displayuntil Saturday, 18 April Once the exhibition comes to a close the purchased artwork will be installed at Government premises by the NAGN curatorial and technical team. After receiving an invitation from the Global Arts Foundation to participate in their Venice Biennale collateral exhibition last year, Wasserfall Munting Architects - in collaboration with the late Paul van Schalkwyk - installed an exhibit in the beautiful Palazzo Mora aimed at showcasing the beauty of Namibia using architectural device and photography.
This was done with the support of Nedbank, Air Namibia and the Ministry of Youth, Sport, National Service and Culture as the main sponsors, in the hope that it could possibly pave the way for future national participation in the Biennale. The Venice Architecture Biennale was established in as a corollary to the Art Biennale in order to accommodate the growing prominence of architecture in the event. Since then it has become the most prominent international occasion for showcasing architecture and attracted , visitors last year.
The main exhibition was directed by internationally acclaimed architect Rem Koolhas and was focused on the elements of architecture while the Global Arts Foundation collateral exhibition in which Namibians Paul van Schalkwyk and Wasserfall Munting Architects participated was entitled Time, Space, Existence with an emphasis on architectural process and context.
Kandjengo was born in the small village called Okaku in northern part of Namibia in and grew up in a self-employed, family. After completing high school, Kandjengo spent three years at the John Mwafangeyo Art Centre, where he gained a certificate in Visual Art. Today, Kandjengo describes himself as a self-employed freelance artist. Kandjengo said the exhibition was inspired by the different faces and prospectives of the past. The exhibition will run until Saturday, 28 February This exhibition presents artwork in a broad variety of techniques with the continuous thread of paper as medium.
This cohesive body of work is presented as installations to form a visual portrayal of the fragility and vulnerability of the human being. It could be seen as an invitation to the viewer to re-examine ourselves, our history and our contribution to the social phenomenon of abuse. The intention of the artist is to create discomfiting installations to make the viewer aware of our social responsibility and to make society contemplate their responsibility towards vulnerable and fragile humans in society.
Equivalences between the body and the art material paper ,was made to illustrate the fragility and imperfections of skin and tissue paper confirming the body and its relationship — both physical and symbolic — with society and to enhance the tension between art material and the theme of abuse. Text was used purposefully in the artworks as writing is not autonomous and requires a reader and an interpreter.
The artist therefore beseeches the viewers of this exhibition to take the time to read the texts, even though on some artworks the reading of the text was sometimes intentionally made difficult in an attempt to hide the embarrassment of the victim. Although the artworks were created from a personal cultural perspective the figures extend beyond the cultural context of the Afrikaner and the years since to encompass universal psychic and physical pain to become the symbol of the suffering endured by all humans.
There is thus the hint of an autobiographical rendering but it is mostly a therapeutic act to make sense of life on earth. Christine Marais lived in Namibia from the age of 35 until her death at the age of 77 in , and during this time she contributed enormously through her art and illustrations to public appreciation and understanding of the natural history of Namibia. Her carefully painted, evocative works depicting the fauna and flora, as well as the geomorphology and fossil history of this fascinating country continue to educate and delight Namibians, and will do for years to come.
The books she illustrated in collaboration with local scientists and other experts are works of art, as well as essential records of the diversity and beauty of Namibia. Works made by Christine Marais as a young artist will hang with mature pieces, presenting the Namibian public with a unique opportunity to observe the artistic development of an important Namibian artist.
Water-colours, oil paintings, pen drawings as well as artworks translated into woven wool will be on display, as well as illustrations from her many books. The exhibition will be officially opened by Mr Herman van Wyk, formally of Gamsberg Publishers, a close friend of the artist and a long-time admirer of her work. A variety of her books will be on sale in the Gallery for the duration of the exhibition.
The multimedia installation consists of video, photographs, audio, archival materials and found objects. It is widely documented that between the years to Germany committed genocide against the Herero and the Nama peoples of south and central Namibia. According to the historian Marion Wallace, ' It has been vigorously argued — and equally vigorously denied — that the Namibian genocide, the first of the twentieth century, planted seeds of the genocide later committed by the Third Reich. In The Earth Inside Brandt attempts to highlight particular counter-narratives and blind spots in relationship to this painful past, and reflects on place, and on the role of photography in shaping the perceptions of this history.
In her post-documentary approach to film, the artist creates vignettes that reveal three parallel lives in a small coastal town. A Herero woman makes her living from tourists taking photos of her in her traditional dress. On her way to work, she walks past Herero and Nama mass graves. A German Namibian woman in her nineties tries to maintain her illusions about the Second World War and recalls a romantic encounter in the cemetery that lies near her home and adjacent to the unmarked graves.
A woman in her twenties has returned to Namibia, the country of her birth, after years of living in Europe, and grapples with her heritage. The three stories are accompanied by large-scale video and photography triptychs of the Namibian desert coastline and its hinterland. These deceitfully beautiful, derelict landscapes contain places of historical violence.
The sites are largely unmarked and their identity has been preserved primarily through personal memories and oral histories. The exhibition will be accompanied by a series of talks at the University of Namibia and a panel discussion at the NAGN. Chiko who since has live in Canada, is in Namibia doing a residence at the John Muafangejo Arts Centre is a visual artist and provocateur, whose multimedia artworks raises searching questions about the postcolonial condition and about the unstable role and nature of art in its postcolonial context.
Amongst his most compelling works are those that reinstate for the viewer a sense of ritual order and of life s deeper mysteries, alongside proffering incisive, yet subtle social analysis. In this style he could easily be labeled as ethno modernist.
In this sense, the exhibition poses an opportunity to collectively reflect on our capacity to produce moments of light not only for ourselves but also for those around us. Well-known Namibian artist Dias Machate is a gifted sculptor and ceramicist. On 14 January he suffered a stroke and has since then been unable to work, walk or speak. Dias stayed on to make Namibia his home and eventually obtained permanent residence. Dias Machate is a well-liked name on the local and international workshop scene where he is admired for his remarkable artistic abilities, his personal kindness and his readiness to share.
If you are an artist and are interested in taking part in this exhibition please contact collections nagn. At the age of 15, Paolo was introduced by a fellow student at a boarding school in Venice to the world of black and white photography and to the darkroom. In , Paolo obtained his Law Degree in Milan before working for 8 years as a lawyer and 20 for an investment bank. When at university, he printed occasionally but his early career got in the way. Around , he started to devote his free time to printing and added the medium format to the Leica format.
On changing direction in , he immediately installed a new, large and well-equipped darkroom — all as part of the process of converting his passion into a central activity in his life. The project came about when funds were made available by the ministry to purchase original Namibian visual art for installation in all Ministries and other government premises.
In doing so Art Inside provides a much need incentive and opportunity for Namibian artists. After a call for submissions was made to Namibia artists across the country, the NAGN received over art works by the 31 January closing date. Of this number, almost pieces have been selected to be part of the Art Inside Exhibition. The artworks selected show the a reflection the diversity of the Namibian people, landscape and natural resources which is portrayed through different mediums, which include painting, sculpture, photography, prints and craft.
The range of art work selected also highlight that Namibian artists possess the capacity to create work of an excellent standard. Having lived between Mozambique and Portugal for most of her life, single mother and professional photographer Isabel Pinto has now chosen South Africa to settle with her 3 children. Internationally renowned and considered one the leading photographers for Oscar de la Renta and Vogue, New York, Isabel has now based herself in SA to work on local campaigns such as clothing line as well as continuing with her international clients.
Familia is a body of work gathered along 20 years.
It tells the story of 41 families, 97 portraits, of which 12 will hang on the exhibition at the NAGN. I get in absolute wonder by the sight of audacity of Love. Families are the organic ground to learn love language and codes, and in that way renewing Hope for a better world! All the images in the exhibition are printed on to raw organic linen; this is the first time this printing technique has been used in South Africa.
This adds to the photographs a tactile, sensorial quality which draws people closer, inviting one to even to touch them. It is the intimate and joyful portraits of families capturing tender and spontaneous moments that show us as we truly are. Somewhat of a dusty foot philosopher, the multi award interdisciplinary artist has travelled the globe and inspired communities with his art works and art performances. The exhibition will comprise of mixed media paintings, performances and sculpture installations. Every November the Visual and Performing Arts Department of the University of Namibia exhibits the work of its art and design students.
This year, after a break of several years the exhibition returns to the National Art Gallery of Namibia. Work by students of Art for Advertising, Creative Expression, Fashion Studies, and Textile Studies will be exhibited as well as work by some of the first year students. The exhibition is made possible with the support of Standard Bank Namibia, which has been a loyal supporter of the Visual Arts Department of UNAM since , assisting us with exhibition costs and awarding bursaries to the students.
The exhibition will be opened by Ms Surihe Gaomas who has a twofold interest in the arts as a marketing executive at Standard Bank and as an art practitioner herself. This exhibition is staged at the National Art Gallery of Namibia and we expect a number of people to enter. The only day of submitting the work is Sunday Without their continued support and believe in our doings, we would have not been able to set up this prestigious exhibition. We are happy to see that Bank Windhoek still believes in the support and fostering of the local art and craft although the financial milieu had better times.
The public should also take note that all pieces on the exhibition are for sale, so they are warmly invited to attend the opening of the exhibition in order not to miss out on that special purchase. Should an interested person wish to purchase more pieces of a certain potter they are welcome to contact PAN and we will gladly assist with getting into contact with that particular potter. All paintings are of the same size 30cmx30cm and are sold for the same affordable price. The artworks consist of a wide variety of media ranging from paint oil and acrylic to collage as well as pastel and pencil drawings.
There are 21 graduates for both the degree and diploma programmes exhibiting their work across the two venues. The exhibition reflects the outcome, dedication and creative products by the students throughout the academic year. Their work explores innovative and contemporary art forms and expression. The exhibition will run as from the 15th November until 19th January These kinds of efforts are important in providing a platform for young participants in the case of school learners and amateur artists to navigate group dynamics in a secure and encouraging setting.
As a diverse society, this would also give attention to the idea that we need to be able to come together, work together and move forward to achieve sustainability, ingenuity, and excellence. This initiative is part of the National Art Gallery of Namibia strategic objectives, which is to facilitate the production of innovative works of art and craft in Namibia and to develop educational programmes in respect of visual art and craft activities in collaboration with appropriate institutions and providers. Textiles and Textures is an exhibition designed around the tactility that textiles and textures evoke and propose.
The visitor is hence invited to experience the artwork not only by means of a visual and intellectual approach, but also through actual touch and feel. To this regard the exhibition offers an interactive installation, where the visitor is invited to participate through touch and to allow for new and unknown sensations and associations to emerge. In this technological advanced age where often the human touch is reduced to the press of a button, this show seeks to offer other options of expression of emotion.
According to Colchester there was a rapid growth in the practice of textile art around the time of the Second World War. During this time, an artistic revolt against the European aesthetics of beauty arose, and traditional notions of beauty were rejected. The way that art was created changed. Across Africa textiles are historical documents loaded with various narratives over distance and time. Thoughts, convictions, fears and hopes are conveyed through symbol systems in cloth design.
Brett-Smith notes that African geometric patterns function as hidden codes of multiple associations; layered with a wealth of spiritual and practical significance far beyond its apparent simplicity Communication through cloth has become such a refined and subtle art form, according to Spring In Mali the Bamana ritual of excision clitoridectomy celebrates young girls becoming marriageable women. These visual analogues for blood act as protective shields for the girls during and after this vulnerable period Brett-Smith, In West Africa the Asante kingdom in Ghana embellish the cloth employing an ancient form of hand printing with different Adinkra symbols.
The designs are created by using stamps made from carved sections of gourd, printed with a black or deep red dye Spring, In Ashante tradition Adinkra was highly valued as a cloth of mourning, as a funereal shroud for an adult woman Brett-Smith, Displayed here are the works of Laimi Mbangula and Wilka Mumangeni which also transfer symbols onto cloth using stencils, created and based on their culture and identities. Creating fabric representing contemporary Namibia.
African textiles are used for commemorative purposes, to mark special occasions such as historical events.
The dress and poem by Rika Nel is an ode to old age and fragility; a commemoration of Martha Fischer an elder of the Topnaar community, along the Kuiseb River. Certain textiles are also used as material for clothing, which symbolizes a variety of things from the level of status in the community to entrance into a rite of passage. Texture refers to the surface quality of a work of art, meaning the way it feels or looks like it feels. Actual texture really exists and can be experienced through the touch sense. Combining different material techniques allows for interesting new textures to develop.
Visual texture gives the illusion of a texture or surface, and is created through marks such as lines, shapes, colours and tones on the surface. Visitors are encouraged to engage with the works and to especially participate with the interactive installation, in exploring hidden and unanticipated sensations. In times where realities are intersecting, actual touch and feel might well be a last reminiscence of a past world.
Thames and Hudson Ltd, London 2. Smithsonian National Museum of African Art. The British Museum Press. The exhibition notes the bizarre, the real and the fictitious state of human and wildlife, the nature and interaction of our societies, as well as the nature and meaning of home. Most of the participating artists of the Dune Artist Group work in, and across multiple mediums. Viewers are no longer just recipients but become part of art through participation. The Phoenix Project, a partnership between Cardiff University in Wales, UK, and the University of Namibia, has had a significant impact on the country since its launch in One of the key themes is the power of the youth of Namibia in science, health and national development.
Health also features prominently — including heart health, anaesthesia, critical care and first response in trauma care, areas in which the Phoenix Project has been prominent. Project leader Professor Judith Hall said: Youth energy, goodness and enterprise will make things better for all Namibians. The Phoenix Project has already been involved in more than 30 major activities including: It is the name of a rail station in Berlin whose form recalls a compass rose because rail lines from all different directions converge there.
When seven men and seven women came together in to form an agency for photographers, they gave it this name. Ostkreuz described where they were situated, the East, where another country had existed until just recently and where they had some of its most prominent photographers. The founders thus marked a point, an intersection, from which you can head in any direction.
Today Ostkreuz is the most successful photographer-run agency in Germany. It has eighteen members. Almost every one of them has been honored with a national or international prize. They come from all regions of Germany and from other countries. The youngest is in his mid-twenties, the oldest in her mid-sixties. Each sees the world through different eyes; each is interested in something different the world holds; each is heading in a different direction.
But there is a point where they all set out from and where they always reconvene. This point is called Ostkreuz. Ostkreuz is an approach. It means confronting reality straight on and discovering your working material there. Understanding the essence of things as you work, photographing this essence, and keeping the photograph honest. It means developing a stance toward reality and testing this attitude against reality, without necessarily allowing the one or the other to gain the upper hand.
Ostkreuz means being genuine, nothing more, nothing less. Throughout its eighteen years of existence, the agency has repeatedly developed exhibitions. In one of the first, they reflected on the city of Berlin; in the most recent, on Germany; and now this exhibition will be about the world and about the city in the world. No one, no editor or institution, commissioned these photographs from the agency.
This exhibition relies on the individual strengths and perspectives of its members and shows the level the work has achieved—individually and as a whole. This is the idea of a group of individualists who repeatedly struggle to find common ground. This is the idea of the Ostkreuz Agency. Nothing was different after that day, yet something had in fact changed.
From then on, more people were living in cities than in the countryside. The history leading up to this day stretches back over ten thousand years, to the time when the first city was founded. Maybe this city was located in Asia Minor, maybe in Mesopotamia, or maybe it was in India. Certainly, in the beginning, it was nothing more than a speck in the landscape, a place for people who—in their desire for wealth, security, and freedom—did not want to be alone. They sought community because they thought that these aspirations could be better met by living together.
That was the idea. That was how it all started. Today the city shapes the face of the planet, dotting each of its continents. The African city is growing most rapidly, the Asian city holds the most people, and in Europe the city extends furthest into the countryside. Meanwhile, there are thirty cities on earth with over ten million inhabitants—cities that have earned the title of megacities. More than symbolizing the culmination of a long history, this moment of transformation marks the beginning of a new chapter. Yet the city has long been more than just a speck in the landscape.
The future of the world lies in the city.
It is where the fate of humanity will be decided. What happens to the city also happens to us. In the city people who would avoid each other in the country or never even meet confront one another. The city attracts a great concentration of poverty, while at the same time it is often the only way to escape impoverishment. The city shows the power of planning and also how planning can become utterly meaningless.
It gives everyone the feeling that they belong to something, but then shows them that the parts have nothing to do with one another. It provides closeness and creates anonymity. The city is everything and its opposite, all at once, in the same place. Now is the time to get a picture of this city, a city that could be anywhere, a city not shown on any map. It is time to determine the ways in which this city reveals itself, to recognize the forces coming out of the city, time to write the new chapters that are emerging from within. This is the task the photographers of the Ostkreuz Agency have set themselves.
They show how the city of Ordos, in China, is springing up in the middle of the steppes and how Pripyat, in Ukraine, is being taken over again by nature; how the city of Lagos, in Nigeria, is expanding uncontrollably in its tangled growth; how the city of Manila is clustering into slums, and how Detroit, in the United States, is decaying at its core; how Dubai, in the United Arab Emirates, can barely keep up with its own growth, and how the city of Gaza, in Palestine, is being leveled to the ground; how the city of Las Vegas lives from appearance, Auroville from ideals, and Atlantis as myth.
What we ultimately have before us is a portrait of a city that brings together all cities, a city that stretches back before memory and extends beyond our imagination. A city that seems timeless, and yet, at each and every moment, is precisely the city we humans have created. People enable cities to grow and decline. They come and flee, build and destroy, press toward the center and remain on the outskirts, seek community, and stand alone—people who want to fulfill their aspirations.
They have created a place for this: This exhibition is being held concurrently in four venues around Windhoek. The gallery space can be found on the first floor. Click here to view the exhibition. In Dicks received her degree from the University of South Africa. Her book Keeping the Embers Alive: Music of the People and the Land , her second book also available in Kindle edition , was published in June Capp's research interests are improvisation in piano instruction; improvisation as a cross-cultural link; psychology and music; and African music, especially Zimbabwe.
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