expressing.etosha art project - wordpress.comcatalogue. a group of artists and students were invited...
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expressing.etosha art project
4 introduction5 howtofind theartworks6 messagefrom tobieaupindi8 abouttheprojectby meredithpalumbo14 herculesviljoen17 wiebkevolkmann20 imkerust23 shiyakaruseb26 jostkirsten28 theartistsinetosha30 helenalitembu31 kleopasnghikefelwa31 lionelpietersen32 acknowledgements
contents
Whatstartedwithawildideaandwasnurturedwiththesupportofmanypeoplebelievinginithasnowsuccessfullymaterialised.Iamproudtointroducetheex-pressing.etoshaartprojectanditscatalogue.
Agroupofartistsandstudentswereinvitedtodosite-specificin-stallationsinNamutonirestcamp,EtoshaNationalPark.Workingonatightbudget,aneventightertime-scheduleandasetofchal-lenginglogistics,theseartistshaveproducedamazingworks,whichcannowbeappreciatedbyanybodyvisitingNamutoni.Theworksareinstalledinthenaturalsurroundingsofthefortandgivethevisitorsanexperienceofcon-temporaryNamibianartoutsidetheusualgallerysettings.Itisanexcitingandfreshattemptatcombiningvisualart,conservationandtourismconstructively.
AllthiswouldnothavebeenpossiblewithouttheincrediblesupportofRiéthvanSchalkwykofVenturePublications,whohasbeeninstrumentalingettingthisprojectoffthegroundandsup-portingitthroughouttheprocess,andtheManagingDirectorofNa-
mibiaWildlifeResorts,MrTobieAupindi,whograciouslyagreedtohosttheprojectatNamutoniandaccommodatetheartistsduringtheinstallationprocess.
EverybigartprojectisdependentonfinancialsupportandweareverygratefulthattheBankWind-hoekArtsFestivalkindlyacceptedtopickupthemajorpartofthebillfortheprojectexpenses,whileB-MobileCarRentalsensuredthatwehadavehicletotaketheartiststotheEtoshaNationalPark,filledupwithpetroldonatedbyFour-waysTotalOtavi.AspecialthanksalsototheNWRstaffatNamu-toni,whowelcomedourgroupwithopenarmsandassistedusinsomanywaystomaketheprojectasuccess,andHendrikSmithofConstructionUnlimitedandhisteamfortheirhands-onsupportonsite.
Site-specificinstallationsareexcitingartforms.Theyhavetheirspecificsetofcircumstancessuchasbeingexposedtotheweatherandthefactthatyoucannotmovethemtoanotherlocation.Soitwasdecidedtoprintthiscataloguetodocumenttheprojectandartworks,generouslyfundedby
VenturePublicationsandtheEmbassyoftheFederalRepublicofGermanyinNamibia.MeredithPalumboPh.D(author)andLeighDaniz(photographer)havekindlyvolunteeredtheirtimeandexper-tiseforthispublication.
Last,butnotleast,Iwouldliketothanktheartistsandstudentswhoacceptedmyinvitationandcreatedsuchwonderfulandspectacularartworks.Ifeelgreatlyhonouredandprivilegedthatallofyouwerepartofthisfantasticgroup.Thankyou,youhavemadetheprojectwhatitis!
Iwouldliketoextendmydeepestgratitudetoallco-creatorsandsupporters.Thankyouthatyoubelievedinmyvisionandjoinedforcestomakeithappen.Andallthiswouldmeanlittleifitwerenotforyou:thereader,artloverandguestofourproject!Enjoy!
ImkeRust
introduction
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1Etosha Sympathetic Magic–HerculesViljoen2Weeping Women–ImkeRust3Blue Cracks–HelenaIitembu4Stone Path–ShiyaKaruseb5Untitled–LionelPietersen6Port of Un-knowing–WiebkeVolkmann7Dream II–JostKirsten8Playground for All–KleopasNghikefelwa
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how to find the artworks
Artisthemirrorofthesoul.Notonlydoesitrepresentthepurecreativeenergyofanation;italsoshowstheinnerbeauty,wisdomandstrengthofthepeople.
WeatNamibiaWildlifeResortsrecognisetheimportanceandbenefitsofinvestinginpublicart.WearehopingtobeginaninnovativetrendasoneofthefirstNamibianorganisationstoopenourdoorsboldlytoanartprojectofthisnatureandscale.
Byhostingthisproject,wesupportthetalentsofourlocalartists,atthesametimeensuringthatourculturalheritagewillbefreelyavailabletobeappreciatedbythethousandsoflocalandinternationalguestswhovisitourresortseveryyear.WealsorecognisethehonourandresponsibilityofpreservingNamibianartforourchildrenandgrandchildrenandofsharingitwithartloversfromnearandfar.Wearethereforeespeciallypleasedthattheartistschosetoinstalltheirartworksinthepark,wheretheycanbeviewedbyourvisitorsandstaffatalltimes.
ThisprojecthasenabledcontemporaryNamibianartiststoengageactivelywiththeirimmediateenvironment,naturalresources,historyandnationalheritageonadeeplypersonal
message from tobie aupindi
06andintimatelevelinaverypublicway.Theresultingartworksareproofofanexcitingcreativeinteractionbetweentheartists,theenvironment,theresortandtheviewers,andsetapositiveexampleofthesuccessachievedwhenworkingtogethertowardsacommongoal.Wewereparticularlydelightedthattheprojectincludedartstudents,sincewebelieveincreatingopportunitiesforouryouthtogainpracticalexperienceandtraining,andtohavetheiryoungtalentsexposed.
NamibiaWildlifeResortsisproudtohosttheexpressing.etoshaartproject,whichconsistsofpermanentsite-specificartinstallationsintheNamutoniResortintheEtoshaNationalPark.Wearedelightedthatfivewell-knownNamibianartistsandthreeartstudentsjoinedforceswithNamibiaWildlifeResortsandtheothergeneroussponsorstocreatethesewonderfulartworks.
IwouldliketoextendtheappreciationofNamibiaWildlifeResortstotheorganisersoftheprojectandtothegroupofartistsforcontributingtheirhardwork,timeandcreativetalentstoaddanadditionaldimensionofanexciting,aestheticandculturalnaturetoNamutoni.Iwouldalsoliketothanktheothersponsors,
whosegeneroussupporthasensuredtheimplementationandsuccessofthisproject.
Itisourpleasuretoinviteallvisitorsandartloverstosharetheexpressing.etoshaartprojectwithus.
TobieAupindi
ManagingDirectorNamibiaWildlifeResortsOfficialhostoftheexpressingetoshaartproject
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ArtistshavebeenexpressingEtoshainpaintings,
drawings,andprintsfordecades;however,the
mannerinwhicheightcontemporaryNamibian
artistsarecelebratingEtosha’scentennialin2007
isunique.ImkeRust,HerculesViljoen,ShiyaKa-
ruseb,JostKirsten,WiebkeVolkmann,andthree
UniversityofNamibiastudentartists,HelenaIitem-
bu,LionelPietersenandKleopasNghikefelwa,
installedinnovativethought-provokingsite-specific
worksfortheexpressing.etoshaartprojectatFort
NamutoniinEtoshaNationalParkinAugust2007.
Theexpressing.etoshaartprojectwasinitiated
byImkeRust,atwo-timewinneroftheStan-
dardBankNamibiaBiennale.Theartistdrew
onherpreviouscuratorialexperienceandpas-
sionforcontemporaryNamibianarttodevelop
thisproject.
ThegeneroussupportprovidedbytheManagingDirectorofNamibiaWildlifeResortsMrTobieAupindi,BankWindhoekArtsFestival,MsRiéthvanSchalkwykofVenturePublications,B-MobileCarRental,theEmbassyofGermanyinWindhoek,FourwaysTotalOtaviandConstructionUnlimitedhasmadeexpressing.etoshathefirstpubliccontemporarysite-specificartinstallationprojectofitskindandscaleinNamibiasupportedbyavarietyofpublicandprivateinstitutionsandorganisations.Theprojectisanimportantculturalcontributionandartisticsalutationtotheofficialcentenarycelebra-tionofEtoshaNationalPark.EarlyinJunetheartiststravelledtoNamutoniinEtoshatocare-fullystudythesitearoundthehistoricfort.Whileatthefort,theartistsinvestigatedconceptsandlocationsforpossibleartworks,collectedmaterialsfromthesiteandconsideredhowtheinstalla-tionscouldbeintegratedintothenaturalenvironmentofthepark.Giventhesignificantandcomplexhistoryofthefort,afewoftheartistswereeagertoacquirerecycledmaterialsfromthefortandthecurrentrenovationsof
itssurroundingbuildingsfortheirsite-specificworks.Theartistsdevelopedideasthatreflectedtheirconsciousnessaboutnature,memory,andhistory.Beforediscussingtheworkscre-atedbytheseNamibianartists,abriefdefinitionofsite-specificworksandwhyFortNamutoniatEtoshaNationalParkistheperfectlocationforthisprojectwillbeaddressed.Duringthe1960sartistsaroundtheworldbecamemoreenvi-ronmentallysensitive,whichwasindicativeofthepublic’sconcernaboutthepollutionanddestructionoftheworld’snaturalresources.Atthesametimeart-istsbecamedisillusionedaboutthecommodificationofartandtheelitistattitudesassociatedwithcontemporaryarttrends.Theirsolutionwastotaketheirworkdirectlytothepeopleandcir-cumventthemuseumandgallerysystem.Thisbroughtaboutsomeofthefirstartworksdesignedforaspaceoutsidethe‘sterilewhitecube’oftheestablishedartinfra-structureandtheintentionalblur-ringoftheboundariesbetweenartandnon-art.Manyartists
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associatedwiththesesite-specificprojectsusednaturalororganicmaterialstocreatetheirwork,includingthelanditself.Site-specificworks,alsocalledenvironmentalartorearthart,likeRobertSmithson’sSpiral Jetty,[1970]andChristo’sSurrounded Islands[1980–83]areincorporateddirectlyintothenaturalenviron-ment.SmithsonandChristo’sworksarenotisolatedexamples;site-specificworkshavebeeninstalledallovertheworld,includ-ingSouthernAfrica.WorksofthistypearenotunknowninNamibia.Afewartists,includingTrudiDicksandHelenaBrandt,havecreatedandinstalledself-fundedsite-spe-cificworks.
Oneoftheprimaryobjectivesofsite-specificinstallationsliketheseistocallattentiontothenaturalworld,tomakewhathasbecomemundanevisible,andtoilluminatenature’splightintheindustrialisedworld.Anotherobjective,equallyimportant,istobringcontempo-raryartintothepublicspheretoindividualswhodonotusuallyfrequentmuseumsandgalleries.Manyartistsevenencouragetheparticipationandinteractionof
thespectatorwiththeworktoheightentheaestheticexperience.Giventheseobjectives,Etoshaisanintriguinglocationforcontem-porarysite-specificartworks.EtoshaNationalParkisNamibia’sflagshiptouristdestinationandoneoftheleadingtouristat-tractionsinNamibia.Withmorethan200,000visitorsannuallyitcontributesbillionsofdollarsinincomeperyeartotheNamib-ianeconomy.Thepark’sprimarypurposeistheconservationandpreservationofthenaturalwildlifeandespeciallyendangeredspe-cies,andthisinitiativeisindica-tiveofNamibia’scommitmenttotheenvironmentandsustainabledevelopment.Inadditiontothissignificantendeavour,EtoshaNa-tionalParkpreservesandprotectsthehistoricfortatNamutoni,acriticalsiteinNamibianhistory.
ThefortwasfirstbuiltbytheGermansin1889andshortlythereafterwasthesiteofahis-toricbattlebetweentheOwamboandGermans,whichledtothedestructionofthefort.Twoyearslaterwhenthefortwasrebuilt,theGermanGovernor,DrFriedrichvonLindequist,establishedthe
regionsurroundingthefacilityasagamereserveonMarch22.Inthefollowingdecades,Etoshasurvivedwar,neglect,andlackoffunding,butinspiteofthesecircumstancestheparkhasenduredandthrivedintothe21stcentury.CurrentlyNamibiaWildlifeResortsisupgradingitshospitalityfacilitiestomaketheparkaworld-classtouristdestinationfordo-mesticandinternationalvisitors.Inaddition,EtoshaispartoftheProtectedAreaNetwork[PAN],anorganisationthatholdslandintendedtorestoretheancientmigrationpatternsforwildlifeintrust.TheseprogressiveattitudesoftheMinistryofEnvironmentandTourismandNamibiaWildlifeResorts,alongwiththeflowofthousandsofdomesticandinter-nationaltourists,makesFortNa-mutoniatEtoshaNationalParkanideallocationfortheinstallationofsite-specificartworks.Theartistsinvolvedintheexpressing.etoshaartprojectdrewinspirationfortheirworkfromthenaturalbeautyofthepark,itsnaturalresources,anditshistory,realormythical.InkeepingwiththeimportanteducationalcomponentoftheMinistryofEnvironmentandTour-ism,expressing.etoshaincluded
threestudentswhoseprofessionaldevelopmentwasenhancedbylearningaboutcollectiveprojectsandpublicartcommissions.HerculesViljoenhasbeenapro-fessionalartistformorethantwodecadesandisfamiliarwithpubliccommissionsandsite-specificworks,havingproducedseveraloverthecourseofhiscareer.ThroughhispositionasChairper-sonoftheDepartmentofVisualArtsattheUniversityofNamibia,hehashadanenormousimpactonthedevelopmentofanumberofyoungNamibianartists.Viljoen’swork,calledEtosha Sympathetic Magic,enablestheviewertophysically,intellectu-allyandemotionallyexperienceapartofthefort’shistory.Inadarkcrampedcellwhereprisonerswereonceincarcerated,Viljoeninstallednumerouslife-sizephoto-graphicimagesofhumanfigures,takenfromarchivalphotographsoftheoriginalinhabitantsoftheEtoshaarea.Thelargeformscrowdedinthetinycellconfronttheviewerwiththerealityofphysicalconfinementandevokethefeelingsofpsychologicalen-trapment.Sectionsofwiremesh
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reclaimedfromthefort’srestora-tionthatcontainbitsofplasterandminiatureanimalsweresuspendedlikespiderwebsfromtheceilingtoincreasethefeelingofendlessinternmentandpassingtime.Theinnovativeuseoflight[blacklight]createsamysticalandunsettlingexperience,asdoesthenecessitytostoopdowntopeerthroughasmallopeningintheoldwoodendooratthefrontofthecelltoseetheinstallation.ImkeRust,whosepreviousbodyofworkdealtwithmemoryandhistory,drewontheSanmyththatdescribestheoriginoftheEtoshaPaninherpieceentitledWeeping Women.ThemythstatesthatagroupofstrangersmovedintotheregionthatisnowtheEtoshaSaltPanandkilledallthemenand
childrenofthepeopleoriginallylivingthere,butleftthewomentomournthedeathoftheirlovedones.Thewomencriedsomanytearsthattheyformedalargesalt-waterlake.Whenthelakedriedup,theEtoshaPanwasformed.Forherinstallation,Rustcreatedsevenlife-sizefiguresmadeofverticallystackedsaltblockstosymbolisethedevastatedwomen.Theroughtexturedsurfaceofthesaltblockalludestothetenac-ityofwomen,andtheirabilitytosurvivegreathardship.Salthasadirectreferencetothepan,andhumanbereavement,butalsocallstomindthatthroughouthistorysaltwasusedtopreservefoods,wasasymbolofhospitality,andhadgreatmedicinal,religious,andeconomicsignificance.Smalltype-writtennotesareattachedto
rocksthatencircletheWeep-ing Womenwiththemessages:‘saltsal-vation’,‘washingawaythepast,thehurt,thesorrow,thepain,thebrokenheart’,and‘greatwhiteplace’,evokingthemythicalandliteralhistoryoftheregionandtheimportanceofsalttohumanandanimalsurvival.TheWeeping Women,likemanysite-specificworks,considersmaterialityandtheenvironment.Seasonalrainswillerodethefigures,transformingtheirshapesandeventuallysendingthesaltbacktotheearth,whilesimultane-ouslyre-enactingthemythastherainwatermixeswiththesaltandcreatesthenaturaltearsolutiononceshedbymythicalfoundersoftheEtoshaPan.ShiyaKaruseb,adeeplyspiri-
tualmulti-mediaartist,useshumanity’shistoricalpathasapointofdepartureforhiswork.InStone Path,Karusebconstructedalimestonepathandgatewaythatsymbolisestheevolutionofhumanspiritualdevelopment.Theartistequatesthevariationofdensityanddurabilityofstonetomankind’sprogressiontowardpeaceandsocialstability.Thelimestonepathrepresentstheintermediateorcurrentperiodofsocialandspiritualdevelopmentwheremanhasjustbeguntolearntoreconciledifferenceswithoutviolenceorwar.Theareaontheothersideofthegatesymbolisesthe‘marbleperiod’wherewarandviolencearenolongerasolutiontoconflictresolutioninautopiansociety.Karusebcreatedwhathecallsapathofhistorymarch-
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ingtowardsabrighterfuture;however,theobstructioninthemiddleofthegatewayimpliesthattoarriveatthisfuturewillnotbewithoutobstaclesandhardship.TheartistusedreclaimedlimestonefromtheoldbuildingsaroundFortNamutonitomakeadirecthistoricalreferencetothepast.RedpaintonthesidesofeachstoneonthepathreferstothebloodshedandpainofthepreviousperiodofhumanevolutionandNamutoni’shis-tory.Karuseb’sStone Pathisanoptimisticworkthatadvocatesreconciliationwhilesimultaneouslyacknowledgingthepast.JostKirsten,anaccomplishedsculptorfromSwakopmundandStandardBankBiennalewinner,
alsoreferstoNamibianhistoryandincorporatesreclaimedobjects.Dream IIreferstoviolentconflictsinthepastoverlandandresourcesintheregion.Theartistpointsoutthatcolonialism,imperialismandforcefullandacquisitionarehori-zontalmovements,andincontrastheselectedaverticalformtome-morialisetheresolutionofconflict.Thecolumn’sverticalityisavisualmetaphorforhopeandoptimism,andastimulusfordreams,whichtheartistbelievesareverticalanddirectedupward.Theheightandupwardthrustoftheinstallationencouragetheviewertodream,rememberandimagineapositivepersonalandcollectivefuture.Kirstenoftenusesrepetitiveformsandrecycledmaterialsinhiswork;however,theyaremeticulously
transformedandarrangedsothattheintrinsicorganicquali-tiesofthematerialsarenotlostintheprocess.Kirsten’scolumnismadeupofreclaimedPurpleHeartwoodthatwasleftoverfromtheconstructionofthedecksaroundthefort,whichtheartistassembledintosquareformsreminiscentofthefort’sblock-likearchitecture.Thesquaresarestackedtoaheightofalmostfourmetres,andatintervalsalongthecolumn,Kirstengrindedblackgeometriclinearandtexturalpat-ternsintothecolumn,whichalsoechotheblackbase.Theblackmetalsectionofthesculpturesupportingtheupperportionofthecolumniscarefullyconsideredandaddsamonumentalityandsignificancetotheentireinstal-lation.
InstarkcontrasttoKirsten’sverticalforms,thesignificanceofWiebkeVolkmann’sPort of Un-knowingisinitshorizontalorientation,drawingtheviewerclosertotheearth.Hereclecticbackgroundinenvironmentalismandsustainabledevelopmentisevidentinthisinstallationassheequatesthefragilityandwell-nessofthehumanbodytotheplightoftheearth.Volkmann’sPortisabedofreclaimedandnaturalmaterials;thepillowsaremadeofoldelectricinsulatorsincasedin‘pillowcases’wo-venfromreclaimedwiremesh.TheduvetcoverismadefromavarietyofhistoricalNamutoniResortbedspreads,filledwithorganicmaterialandseedsthatwillcontinuouslygerminateand
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growthroughtheembroideredpawandhoof-print-shapedopen-ingsintheduvet.Theorganicbedrestsonacarpetofflattenedautomobiletiresintheshapeofananimalskin.Awindowattheheadofthebedislacedwithcurvilinearmetalformsthatgrowintotheskylikethebranchesofatree.Themultifacetedsymbol-ismofVolkmann’s‘bed’drawsourattentiontomanathismostcontent,whileherests,dreams,andrejuvenates,butalsowhenheismostvulnerable,asleeporill.Theartistdrawsaparalleltotheearth,itsbeautyandseasonalrenewal,whichiscontrastedwithitsvulnerabilityandfragilityinthefaceofunbridleddevelopmentinthe21stcentury.Volkmann’sPort of Un-knowingbringsusindirectcontactwiththeearth,urgesusto
becomemoreintimatelyinvolvedwithnatureandconsiderissueslikepollution,thewasteofnaturalresources,andglobalwarming.Theartistremindsusthatoursensitivitytotheseproblemsiscriticaltooursurvivalandthatoftheearth.TheconceptofraisingawarenessaboutapreciousresourceisalsoaddressedintheworkofrecentartgraduateHelenaIitembu.Etoshameans‘openareaofwater’inOs-hiwambo,andBlue Cracksisanabstractreferencetothatpreciousresource.Iitembucreatedonehun-dredsemi-circularformspaintedinhuesofbluetodepicttheshimmeringsurfaceofwater.TheinstallationiscarefullyarrangedinaU-shapeformthatbringstomindalargecup.ForEtoshaandtheentireNamibiannation,thecareful
managementofwateriscriticalforthesurvivalofmanandanimalalike.Iitembu’sBlue Cracksisacolourfulreminderofthisvitalresponsibility.LionelPietersen,astudentofmediaandtwo-dimensionalstud-ies,exploresyetanothersignifi-cantrelationshipbetweenmanandnature,thefunctionalityandpurposeofanimalandman-madestructures,liketermiteheapsandthefort,andthepotentialtoexhaustnaturalresources.Pietersenconsiderstheneces-sityforsustainableintegrationofnature’sresourcesandmanufac-turedgoodsinthepost-modernperiod.InUntitled,PietersenreclaimedlargepolesthatarebeingusedintherenovationsatFortNamutoni.Eachofthethreewoodenformsiscoveredwithamixtureofbuilders’sandand
epoxycombinedwithgreenandred-brownpigment.ThecolouroftheverticalformsblendsintothedeepearthtonesofEtosha.Thelargebolts,electricalplugs,andswitchesembeddedinthesandandepoxymixturefurtheremphasisethedichotomyofman-madeandnaturalelements.Theroughtextureandprotrudingmass-manufacturedobjectsleavetheviewerwonderingifabalancebetweensustainabledevelopmentofnaturalresourcesandincreasedconsumerismcanbeachieved;theartistoptimisticallysuggeststhatitcan.
KleopasNghikefelwa,whohasadiplomaintheologyandiscur-rentlyafinalyearvisualartstudentattheUniversityofNamibia,usesaplayfulapproachtoaserious
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subject:thepeacefulco-existenceofmanandanimals,anissuethatisparamounttotheoverallvisionofEtosha.Byusingthechildhoodgamecalled‘hopscotch’inhisPlayground for All,Nghikefelwabringsthisimportantmattertotheyoungandyoung-at-heartthroughthefamiliarsocialactivityofgameplayinginthehopesofraisingtheawarenessofthenextgeneration.Nghikefelwacreatedelevenroundconcretediscsaboutfortycenti-metresindiameter.Juxtaposedoneachdiscareahumanfoot-printandaleopardpawprintthatsuggestthesymbioticrelationshipbetweenmanandanimal.ItalsocallstomindtheChinesesymbolofyinandyang,whichaddressesthenecessitytohaveopposingforcesinnaturecometogetherto
findbalanceandharmony.Theseeightsite-specificworksareexciting,contemporaryinter-pretationsofEtoshaNationalParkinthe21stcentury.Theyaddressissuesconsideredimportantbythepark’sadministrationandthepubliccreatively:preservationofnaturalresources,sustainabledevelopment,education,andhistory.Theartistsparticipatingintheprojectemployedcomplexconceptualthinking,aninventiveapproachtotheuseofreclaimedmaterials,andthecreativeintegrationofartandnaturetochallengethepublictothinkaboutthemselvesandtheirenviron-mentinamoreinsightfulmanner.Equallyimportant,isthefactthattheseworksarenotinaneliteandinclusiveartmuseumorgallery,
butinthecountry’slargestpublicgamereserve,therebycommu-nicatingtoagreaternumberofpeople.Expressing.etoshaisatestamenttotheinsightfulandcreativethinkingonthepartoftheartistsandtheirsponsors,andwillhopefullyinspireothersinNamibiatoundertakeandsupportsimilarprojects.
MeredithPalumboPh.D(ArtHistorian)
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hercules viljoen
Etosha Sympathetic Magicphotographicimages,foundobjects,historicalbuildingfrag-ments,fabric,blacklight220x234x310cmIncorporatingphotographicimagesonlight-reflectingpaper,foundobjects,historicalbuildingfrag-ments,light-reflectingfabricandthread,energy-saving‘black’lightandatimingdevice,Etosha Sym-pathetic Magicisasite-specificartworkinstalledinanhistoricalprisoncellthatformsanintegralpartofitssymbolicsignificance.Onfirstsighttheworkismeanttoprovideamysticalstimulustothevisitor.Uponcontemplationitmay,however,evokeaestheticandculturalawareness.Thetitlereferstoaspectsofrockart,dreamandtrance,whilethecombina-tionofelementspotentiallysignifysymbolicaspectsofconservation,survivalandhistory.Asanartistitismyintenttocre-ateartworksthataddressissuesofsocialinterest,atthesametimemaintainingaestheticintegrity.Inthisinstance,theartworkdoesnotonlyinvitevisitorstoFortNa-mutonitoidentifywiththeculturalhistoryofEtosha,butalsotogive
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themanopportunitytointerprettheartworkonasymbolicandaestheticlevel.
Etosha Sympathetic Magiccanonlybeseenthroughapeepholeinthedoor,anallusiontothefactthattheartwork’scontextisaprisoncell,withthevisitorpotentiallytakingtheplaceofa(gameorprison)warden.Throughthepeephole,thevisitorobservesaseeminglymythologicalscene,consistingoflife-sizeindigenoushumanfiguresplacedinahalfcirclearoundminiatureanimals,thelattersuspendedinfrontofthefigures.‘Black’light,whichcreatestheimpressionthatthefiguresare‘floating’,illuminatesthefiguresandtheanimalsfrombelow,givingthesceneamysticalappearanceandanostensibleendlessdarknessplayingoninside-outsideambiguity.Theani-malsarewrappedinlight-reflect-ingfabricandaresetinbuildingfragmentsrecoveredduringtherenovationsofthefort.Thistreat-menthasreferencetoaspectsofrockartandcontemporarywest-ernart.Thebuildingfragmentsalsocontainpiecesofwiremesh(fencing),whichhintsatthesametimeatprotection(conservation)andcaptivity(aweb,thepredes-tined).Thetitle,togetherwiththecom-binationofhumanandanimalfigures,referstoman’squestforsurvival.Ithintsatthetheorythathunterscreatedimagesofanimalsinorderto‘control’them,therebyensuringasuccessfulhuntandthesurvivalofthespecies.
Dependingonthevisitor’sorienta-tion,theworkmaybeinterpretedonahistoricalorfuturisticlevel,localornational.
IwishtoexpressmyappreciationtotheNationalHeritageCouncilofNamibiaandtheNationalArchivesofNamibiafortheirassistanceintheprojectEtoshaSympatheticMagic.
Born1957,Gibeon,Namibia
t0026461252529f0026461252548c00264811247748POBox856Windhoek,[email protected]@mweb.com.na
MA(FineArt)(UniversityofSouthAfrica)
1989HeadoftheVisualArtsDe-partment,UniversityofNamibia
Co-initiatorofTulipamweInter-nationalArtists’Workshopandco-ordinatorfrom1995-1998
FounderofTulipamweVisualArtsTrust2007
ParticipatedinvariousInterna-tionalArtists’WorkshopsinAfricaandBritain
AwardedThapongArtistsResidency,Botswanain2002andVisaspourlaCréation(AFAA),Francein2005Awardedandcarriedoutvarious
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Port of Un-knowingWindowframe,coppertubing,bedlinenfromNamutoni,tyrerubber,copperwire,isolators,concrete,elephantdungandseedsca.600x600x300cm
InPort of Un-knowingsensualexperienceandpoeticdreamingisofferedasanimportantcomple-menttorationalstudyofnatureaswetrytocontributetonaturalbalanceandproductivity.Iseeknowledgeofthecycleoflife,thecyclingofcarbonbackintothesoilbylivingplantsandanimalssothatnewgrowthcantakeplace,asthenecessarybasisofallconservationeffortsandwealthcreationinandthroughEtosha.Thedynamicsymbiosisofanimalsandplantsandhumansinfacilitat-ingmutuallysupportiveprocessesofbirth,procreation,deathanddecayofphysicalmatteraresym-bolisedbythebed.Thebedcanbeassociatedwithrecuperation,dreaming,lovemaking,healingandwiththetimingofeventsthatrespondstonaturalcycles.Thewindow-treecanbeassociatedwithfreshunderstandingsandtransformationofourworldviewsandwiththesoulandspiritualmotivesthatinfluenceouractionsinandonthisworld(thewindowisrecycledfromtheoldfort).Whilewehaveaccesstosomuchinformationandtechnology(sym-bolisedbytheporcelaininsulatorsfortelecommunicationlines),whatisreallyrequirediscontempla-tionandanintimatediscoursebetweenallourhumancapacityandsensesandthenaturalpro-cessesaroundus.Theweaving
ofcopperwiremaybeassociatedwiththehumanfascinationforcomplexityandwiththetransmis-sionofenergyandideas.ThisismirroredinthecoppertubingthatoncecarriedwaterandgasintheoldfortatNamutoni.Themetalofconductionandtransmissionisalsolinkedwiththepotentialofcorruptionintimesofscarcity,confusionandgreed.
Thepatchworkoffabric(recy-clinglinenfromvariousagen-ciesanderasofadministrationintheEtoshaNationalPark)fortheduvetcoverandthestitch-ingtogetherofthestripsoftyretreadcanbelinkedtotheartist’srespectfortraditionalcraftsandwomen’sworkandwomen’swaysofknowingandconnecting.TheconceptionofthisworkfellintoatimewhenIlayillinbedforweeksandtheGermanwordforduvetcover,Bettbezugtookonmultiplemeanings.Theduvet,filledwithdungandsoilfromEtosha,andseedsofperennialgrasseswilldisintegrateasitisexposedtotheelementsand(hopefully)thetillingactionofanimals.The‘performance’ofplantgrowthasitemergesfromthisaestheticseedbedispresentedasagentlereminderthatwhilemuchhumanactionhasledtodegradation,wecanchangeourworldviewandpracticalapproachestopartnerwithnatureandtocreatemutuallysupportivedynamicsoftransfor-mationandgrowth.
ThanksgotoBandagSouthAf-rica,DickMcPhersonofDUNLOPinWindhoekandE.C.JensenTransportforsponsoringand
transportingthetyretread.TrysieKannemeyer,RiéthvanSchalk-wyk,WaltrautVolkmann,HendrikSmith,ConradRoedernandfellowartistsinthisprojectcontributedtotherestofthematerialsandprocessing.
wiebke volkmann
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Born1964,Otjiwarongo,Namibia
t/f0026461225183c00264811270081POBox9285,Windhoek,[email protected]
DegreeinFineArtandGermanLit-eratureandHigherEducationDip-lomafromUCT(1989)andcertifiededucatorforHolisticManagementEducationofficerattheNationalMuseumofNamibiaHistoryofArtlectureratthenewlyestablishedUniversityofNamibiain1990
EstablishmentandmanagementofanNGOforsocialhousingusingearthconstruction,inNami-biabetween1991and1996AuthorofatextbookforNamibianschoolsforthesubjectCraftandTechnology
Designingandproducingarangeofinteriorfurnishingfromusedcarparts,calledtrashtotreasure
PerformanceartprojectTouch-stonein1991withTossievanTonder
Currentlyfree-lancedesigner/fa-cilitator/artist.
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Since2005Wiebkehasbeenworkingwiththethemeoflanddegradation,thehistoryofagricul-tureinNamibiaandtheroleandexperiencesofwomen,particular-lyherownancestorsinthiscon-text.Theone-offperformancesinthebushincorporatedsculpturalpiecesandweredocumentedasstillphotographs.Freeassociationswithspokenand
writtenlanguageaswellascre-ativebodymovementareanotherimportantsourceofinspirationandleadtothemanyslidingsignifiniersandmulti-medianatureofherwork.
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imke rust
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tionofthisworkisfundamental,asitrepresentsthelawsandcyclesofnature.AlsoreminiscentofthebiblicalwifeofLot,whogot‘stuckinhistory’,these‘women’caneventuallytranscendfromtheirearthlymatterandformintoahigherrealm.Accordingtoalchemists,saltisthethirdheavenlysubstance.Itistheformaspectandrepresentstheactionofthoughtonmatter.
Theuseofsaltbyhumanshasalongandinterestinghistory.Saltissymbolicofcleansing,preserva-tion,healing,spiritualincorrupt-ibility,wisdomandknowledge,andisasignofhospitality.Onadailyandpracticallevelsaltisalsousedallovertheworldtopreservefoodoraddflavourtoit,forcleansingandtosafeguardpeoplefromevil.AlltheseconceptsrelateeithersymbolicallyorliterallytotheEtoshaPanandtheEtoshaNationalPark.
Weeping WomanRock-salt,Etoshaclayca.400x300x190cm
Iammovingtowardsamorespiritual,feminineandconceptualapproachinmyartmaking.Ifeelmoreandmoredrawntoworkingwithandinnatureandbecomemoreconsciousofmyspecificrealities,asawoman,asanartistandasaNamibian.AccordingtoanoldSanmyththeEtoshasaltpanwasformedbyaseaoftearsshedbymothersfortheirmurderedchildren.Ihavecreatedsevenhuman-likefiguresfromrock-salttorepresentthesewomen.Theworkandmaterialusedissymboliconmanylevels.Notonlyaresaltandwaterthetwoelementswhichmakeuptears,butalsothetwobasicne-cessitiesforalllifetoexist.Onceitrains,thesemythological‘women’willstartweepingagain.Their‘tears’bringlifeinformofwater,buttoomany‘tears’willalsomakethesoilimmediatelysurroundingitinfertile,duetoitshighsaltcon-tent.Thewaterwillerodethesaltpillarsandeventuallywashthemawaytotally.Tometheimperma-nenceandthesteadytransforma-
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Born1975,Windhoek,Namibia
t0026461249699c00249812493100POBox86241,Windhoek,[email protected]
DiplomainTravelandTourism,CapeTown,SouthAfrica.BADegreeinVisualArts,Univer-sityofSouthAfrica.
EmployedascuratorattheNationalArtGalleryofNamibia2003–2004
Since2004self-employedasart-ist,curatorandwriter.
SeveralsoloexhibitionsinNa-mibiaandGermany.
ParticipatedinnumerousgroupexhibitionsinNamibia,SouthAf-rica,GreatBritainandGermany.
AwardsandStipends:DAAD‘Artists-in-BerlinPro-gramme’two-monthstipendinBerlin,Germany,2006.
BremerKunststipendium:three-monthstipendinBremen,Germany,2006
FirstPrize(OverallWinner)Stan-dardBankNamibiaBiennale2001and2005.
ThirdPrizeinthecategory:SculptureintheNationalCeram-icsBiennale2004.
HighlyRecommendedAwardintheSculptureCategoryintheStandardBankNamibiaBiennale2001.
PermanentCollections:GraphotekBerlin,NationalArtGalleryofNa-mibia,ArtsAssociationofNamibiaandEuropeanUnion(Windhoek,Namibia)
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Stone PathLimestonefromdemolishedbuild-ingsatNamutoni,clay,naturalwood,wireandPVApaintca500x150x200cm
Aswerecoverfrompainandsuffering,letusallgetontheStone Pathandstartoffwithourjourney–thejourneyofcivilisation–equality-unity.
Onthisjourneyweexplorewaysandmeanstoendcorruptionandpovertyandtherewillbenocrime.
Onthisjourneywedryalltearscausedbythepast,theClayEra.Ifthepastshouldberememberedonthisjourney,thenitshouldonlyserveasanexampleandaguidetoourdestination,theMarbleEra.
Onthisjourneywearelookingforsomething,somethingspecial,somethingunknownbutwhich,iffound,willbetterthelivesofallmankind,nomattertheirrace,tribalgroupingandskincolour.Withourdifferences,diversecul-turesandreligiousbackgrounds,thisjourneyissuretobeanabso-luteadventure.
Toreachourdestination,thefuture–theMarbleEra,weneedeachother.
shiya karuseb
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Attendedthree-yearartcourseatJMACprintmaking,drawingsculpture,etching,drypointandillustration
TulipamweInternationalArt-ists’WorkshopandexhibitioninNamibia
ThapongInternationalArtistsWorkshopandexhibitioninBotswana
GroupexhibitioninNamibia,SADC,Germany,Canada,Russia,USA,Italy1997Soloexhibition,LoftGallery,Namibia
1998SoloexhibitionNorwayLillehummer,Elverum
SoloexhibitionYeboGallery,Wo-ermannGallery,Swakopmund
NationalprintmakersworkshopFrance,Paris.
1998-2001ArtlecturerJMAC
Soloexhibition,Namibia,FNCC
CityofWindhoekArtAward
SoloexhibitionNamibia,NAGN
PataPataInternationalArtwork-shopandexhibition,Zimbabwe,Harare
Soloexhibition,NAGN
Earthdate:August30,1972,PlaceofEarthdate:Okahandja(Nau-Aib),Namibia
c00264812807324
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jost kirsten
Dream IIPurpleHeartwood,mildsteel385x22x22cm
Mostofmyworksaremadefromrecycledobjectsormaterials.Iof-tentrytofindabalancebetweentheintrinsiccharacteristicsofthesematerialsandwhatIwantthemtobecome.These‘layers’areusuallyresponsiblefortheoverallmoodofapiece.InthecaseofDream IIthesculp-turewasintendedtoconnectintimatelywiththesite.Thiswasachievedlargelywithsimilaritiesinmaterialandcolourfoundinboththesiteandthesculpture.PurpleHeartwoodwasusedinthecon-structionofthesculptureandthesurroundingdeckarea.Theblacksteelbaseisechoedintheburntincisionsinthewood.
ThewoodsIuseareoftenburnedsincecombustionisanaturalprocesslinkedtothismaterial.Thestronggeometricformofthesculpturewasadoptedfromthearchitectureofthefort.
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Born1977,Oranjemund,Namibia
t0026464403370c00264812898727POBox1906,Swakopmund,[email protected]@yahoo.de
NelsonMandelaMetropolitanUniversity,PortElizabeth,SouthAfrica
2003BTechDegreeinFineArt(CumLaude)
Exhibitexperience:Numerous
2006FirstSoloExhibition[BURN],OmbaGallery,Windhoek
2003StandardBankBiennale,NationalArtGalleryofNamibia
Honours/Awards:2004//AEGamsArtFestival,3rdprize(sculpture)
PostCardExhibition,oneofeightworksselectedforprinting
2003StandardBankBiennale,overallwinner
Meritawardforacademicexcel-lence,PortElizabethTechnikon,SA.
Collections:FourpiecesintheNelsonMan-delaMetropolitanUniversityCol-lection,PortElizabeth,SouthAfrica
NumerousprivatecollectionsinNamibia,SouthAfrica,Germany,EnglandandAmericaTwopiecesinWeyland’sprivatecollection
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the artists in etosha
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helena litembu
Blue CracksConcrete,PVApaint150x120x20cm
ForthisinstallationIexploredthelife-givingwateroftheEtoshaPanasthemostimportantpartoftheEtoshaNationalPark.Theworkpresentsthemovementofwaterandthedryingofthepan.IntherainyseasonthepanfillsupwithwaterfromtheCuvelaiRiver.Thevastblueseashimmersindiffer-enthuesofblueintheNamibiansun.Asthewaterdriesout,thepan’ssaltyclaysurfacecracksandcreatesabeautifulnaturalpattern.Thispatternisechoedbythehalf-circleshapeofthepieces.Thehalf-circlealsoreferstothemoon,afemininesymbol,linkedtothemenstruationcycleandcloselyconnectedtowater.SincetheartworkisanabstractreflectionofthenaturalwateritislocatedclosetotheswimmingpoolatNamutoni.
born1982,Oshikuku,Namibia
2006BachelorofArts,UniversityofNamibia
2004ExchangestudenttoMar-seille-EcoleSuperièureDesBeauxArts,France
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kleopas nghikefelwa lionel pietersen
Playground for AllConcrete,PVApaint600x150cm
InEtoshahumansandanimalsinteractwitheachotheronadailybasis.InmyinstallationIimprintedahumanfootprintandawildanimalspooronelevenroundconcreteblocks.Iarrangedthemintheformofthehop-scotchchildren’sgametosymbolisehumansandwildanimalsinteract-inginaplayfulandharmoniousmannerjustlikeinparadise.Asatheologian,IbelieveGodcre-atedhumansandanimalsonthesameday.Maybethatcouldbethetestimonytoempowertheintimateinteractionandrelation-shipbetweenthetwo.Playground for AllallowschildrentoplayinEtosha,inanattempttomaketheNamutonirestcampamoreplay-fulandchild-friendlyplace.
born1983,Okongo,Namibia
c00246813320314PrivateBag16008,Windhoek,[email protected]
FinalyearstudentforadiplomainvisualartattheUniversityofNamibia
2006DiplomainTheologyandPastoralEducation
2005Firstprizeinthethree-di-mensionalcategoryoftheStan-dardBankNamibiaBiennale
Untitlednaturalwood,resin,sandandfoundobjectsfromNamutoni200x70x170cm
Etoshaisaplacewheretherebuiltruinsofhistoryareboundtotheverycoreofthiscountry’sexistenceandindefiningourna-tion.Likethewildanimalswhichitseekstoprotectithasevolvedandadaptedtosurvive,andiseverprogressiveinitsoriginalform.Youareconfrontedwithendlesspossibilitiestodealwithsuchanenvironment,inquestion-ing,answeringorinteractingwithit.Likethisfort,thetermitehillsseemforeignasweapproachEtosha,leaninginthedirectionofNamutoniasiftonavigateourtour.AnothersimilaritybetweenthetermitehillsandNamutoniisthattheirformisdictatedbytheirfunctionandisfunctionalintheirentirety.
born1980,Windhoek,Namibia
UNAMStudentTwo-Dimensionalstudies&Media
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Copyright©VenturePublicationsandtherespectiveauthors,artistsandphotographers.
Allrightsreserved.Nopartofthispublicationmaybereproduced,storedinaretrievalsystem,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopying,recordingorotherwise,withoutpriorconsentofthecopyrightholder.
FirstpublishedinNamibiain2007byVenturePublications.POBox21593Windhoek,Namibia5StorchStreett0026461225665f0026461220410
Author:ArthistorianMeredithD.Palumbo,Ph.D.Photographs:LeighDanizLayout&Design:AnikaJägerPrinters:JohnMeinertPrinting,Windhoek
Forfurtherinformationaboutthisproject,contactImkeRustviae-mail:[email protected]:POBox86241,Windhoek,Namibia.
ISBN978-99916-68-99-4EAN9789991668994
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