ARTIST  Various

VENUE NAGN Main Gallery and Foyer

OFFICIAL OPENING  19 March 2019, 18h00

DURATION 20 March to  4 May 2019

'Creations' is a showcase of works by Namibian creatives in celebration of 29 years of Namibia's independence. This project aims to bring creatives from various backgrounds, from the more “traditional” forms of making to the more “contemporary”. The exhibition’s aim is to provide a platform to a wider variety of Namibian artists, from all disciplines, to come into contact with each other through their art.

On The Brink

ARTIST  Davido Indongo and Ndakondjelwa Nghipandulwa

VENUE NAGN Upper Gallery

OFFICIAL OPENING  14 March 2019, 18h00

DURATION 15 March to  4 May 2019

“ON THE BRINK” an exhibition by Ndakondjelwa Nghipandulwa and David Indongo “The fact that we are connected through space and time shows that life is a unitary phenomenon, no matter how we express that fact”-Lynn Margulis, Evolutionary Biologist (1938 – 2011) Ndako (Ndakondjelwa Nghipandulwa) and Davido (David Indongo) are two emerging Namibian artists, who have partnered together to apply their skillset to advocate for the conservation and safeguarding of the Rhinoceros. “we belong to and with the rest of the vast interwoven miracle that we call nature, through an inescapable network of mutuality. Therefore, everything within nature should be respected and worked with instead of against as an injustice anywhere is a threat to justice everywhere. For whatever affects one directly, affects all indirectly.” Namibia is home to the largest population of free-roaming rhino in the world. The world population of black rhino is estimated at 5000, with Namibia’s population accounting for an estimated 40 percent of that number. According to recent international reports, rhino horn is valued between N$900 000 and N$1.3 million per kilogram. At that price, rhino horn is more valuable than gold and platinum, and on the black market, more than diamonds and cocaine. (SMITH, 2017) . The high value of the rhino horns attracts poaching syndicates; this is quickly leading to the extinction of the rhino. The duo met in 2018 at the Tulipamwe International Artists’ Workshop and found that they had similar goals and believed that together they could make an impact. In this exhibition Ndako creates striking portraits of the rhinos using nails and thread on rhino board, the nails creates an outline to which he adds depth using wool. These works highlight the strength and resilience of the rhino. In contrast Davido’s work lean towards the empathetic element, portraying images of young rhinos with their parents through his pointillism style, creating an image that is almost translucent, and fragile similar to the existence of the rhino. Ndako was born in Kwanza-Sul (Angola) in 1988 while his parents were in exile. They moved back to Namibia in 1990 and lived in Windhoek ever since. His earliest memory of being interested in art started at age 11 inspired by his late uncle’s sketch book of wild animals drawings. He has been experimenting with art ever since. However, in 2016, a financial crisis hit the country and he lost his job in the roads construction industry. “Pursuing art as a career wasn’t really by choice; life basically shoved me into that direction.” - Ndako Davido is a photographer, videographer, graphic designer and a visual artist. He grew up in Windhoek. His journey of becoming an artist began at Dawid Bezuidenhout high school where he was enrolled, he furthered his studies at the College of the Arts where he graduated in 2017. He is currently studying towards a Bachelors of Arts Degree at the University of Namibia. “Through this exhibition we would like to create more awareness on this issue. Hopefully we will be able to convince the audience to take this seriously and get involved in any way that they can.” Davido and Ndako SMITH, J.-M. (2017, January Friday). news. Retrieved March 11 , 2019, from Namibia Media Holdings:






New Beginnings

ARTIST  Various


OFFICIAL OPENING 7 February 2019, 18h00

DURATION 8 February to 9 March 2019

The National Art Gallery of Namibia is excited to host the 10th iteration of the College of the Arts’ New Beginnings exhibition. This exhibition represents the work of College of the Arts Graduates, both recent and from the last 10 years of diploma tuition in the Department of Visual Art and Fashion Design. The popular and innovative work of COTA graduates grants the public a chance to see new work by fresh graduates in visual arts.

New Beginnings was initiated as a springboard for young visual artists who are at the beginning of their artistic careers. The College of the Arts offers accredited diploma qualifications. The students are introduced to a variety of material and medium across a wide range of subjects including traditional fine art techniques as well as contemporary explorations of current issues and themes. During the first two years of tuition, students complete a series of workshops designed to further their knowledge and skills in these areas, while in their third year, students are encouraged to select a contemporary research theme and create a body of work which explores this theme.

After graduation, many COTA graduates decide to further their studies at the University of Namibia, while some of them take up work as art teachers in the formal and informal education sectors. Two COTA graduates have set up their own small art centres, one in Havana, an informal settlement in Windhoek, and the other in Okahao, in Northern Namibia. COTA now accepts students who have started their creative journeys towards becoming fully qualified artists from these two centres.

The exhibition will display work selected from the class of 2018 3rd year students’ presentations while other works are submitted by past students. These works are made outside the College of the Arts by graduates who are now practising as professional artists in the Namibian art community.

“Of the Greatness of Life- Some Keys of Understanding”

ARTIST  Dr. Helmut Lauschke

VENUE NAGN Upper Gallery

OFFICIAL OPENING  17 January 2019, 18h00

DURATION 18 January to  9 March 2019

"Of the Greatness of Life" is a solo exhibition by Dr. Helmut Lauschke, the exhibition is made up of a number of expressive paintings, it draws from his long serving career as medical doctor, a time he spent working in northern Namibia. The paintings are particularly inspired by the people of the area and their way of life, how they lived especially in a time filled with so many challenges.

Dr. Lauschke was born on the 10th September 1934 in Cologne, Germany. He lived through the “Kristallnacht” or Night of the Broken Glass and the Second World War. Lauschke studied medicine and specialized in traumatology and plastic-reconstructive surgery in Germany. He arrived in Namibia January 1985, and worked as a medical doctor at Oshakati state hospital in the northern Namibia until September 1998.

The hospital was situated inside the war zone with bombs being detonated in and around the hospital premises. It was constantly overcrowded and the few medical doctors available worked hard day and night, at times till physical exhaustion to assist the patients. The hospital conditions remain this way until Namibia gain Independence in March 1990.

The experiences in the north moved Dr. Lauschke and he depicts his experience through his paintings. His artworks bring to our attention the psychological and physical sufferings that the war caused. This can be seen in the paintings such as Children as Playing and Suffering and Kwashiorkor, a condition he treated so often in the hospital.

Apart from his vast medical experience, Dr. Lauschke is dedicated to visual arts, and this is his third solo exhibition at the National Art Gallery of Namibia.

RMB Art Come Together

ARTIST  Various


OFFICIAL OPENING 6 December 2018, 18h00

DURATION 7 December 2018 to  2 February 2019

The National Art Gallery of Namibia is pleased to announce the exhibition ‘RMB Art Come Together’, an exhibition of the results from art workshops in the Khomas, Kavango East, Oshana and Hardap regions.

The “Art Come Together Workshops” focuses on collaborative efforts, which encourages team work among the participants. 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.

2018 UNAM Visual Arts Graduates Exhibition

ARTIST  Various


OFFICIAL OPENING 15 November 2018, 18h00

DURATION 16 November 2018 to 19 January 2019

This year, the University of Namibia Visual Arts graduates’ exhibition, is taking place at the National Art Gallery of Namibia (NAGN) and the Franco Namibian Cultural Centre (FNCC).

FNCC and NAGN are continuing to partner in hosting this exhibition. There are 21 graduates for both the degree and diploma programmes exhibiting their work across the two venues. The graduates are majoring in various fields such as Art for Advertising, Ceramic Studies, Creative Expression, Fashion Studies, Textiles Studies and Visual Culture. The exhibition reflects the outcome, dedication and creative products by the students throughout the academic year.

The students have been engaging with various topics such as identity, cultural norms and social- economic & environmental issues that are evident in our society. Their work explores innovative and contemporary art forms and expression.
This year the NAGN and FNCC have worked closely together with the students and lecturers in an effort to create a vibrant and diverse exhibition that inhabits the foyer and Main gallery at the NAGN as well as the exhibition space at the Franco Namibian Cultural Centre. 

The NAGN and FNCC welcome the UNAM graduates to the professional art world of Namibia and wishes them all the best for their future endeavours in the art sector.

The exhibition will run as from the 15th November 2018 until 19th January 2019.

The graduates:
Hambeleleni Abed | Patricia Britz | Shaleen Claasen 
Wilmarie Greyling |Muningando Hoveka | Risto Iita | Onesmus Joseph Peralia Kangwe |Tuaovisiua Katuuo | Jearl Krohne | Aunne Lungameni 
Alina Mateke | Freddy Mazila | Gabriela de Oliveira Lohe 
Haindere Paskalius |Ruusa-Ndinelago Petrus | Miliam Sakarias | Anna Shalihu
Renate Shikongo | Simeon Shilongo | Erngracia Tsamases

John Ndevasia Muafangejo (1943 -1987): “Marking the legacy that still inspire”

ARTIST  Various


DURATION 5 October to 17 November 2018

John Ndevasia Muafangejo (1943 -1987): “Marking the legacy that still inspire”

05 October -17 November 2018, NAGN Lower Gallery


“Marking the legacy (1943 – 1987) that still inspire” is a historical exhibition of John Ndevasia Muafangejo’s artworks from the Permanent Collection of the National Art Gallery of Namibia (NAGN). The exhibition traces the tremendous contribution that Muafangejo has made to the development of visual arts in Namibia.

Muafangejo is born in 1943, at Etunda-Lo-Nghadi in southern Angola. At age 15 with his father’s death, him and his mother moved to the Anglican Mission Station at Odibo in northern Namibia. In 1967 with the support of the Missionary, the promising visual artist enrolled at the Mission’s Art and Craft Centre at Rorke’s Drift in Natal, South Africa. There he studied printmaking, painting, drawing, weaving, and sculpturing; with these skills he became one of the first black trained visual artists in the country. When he returned to Odibo in 1970, he taught visual art at St. Mary, a local Anglican Mission School.

During this period Muafangejo exhibited locally and internationally in South Africa, Canada, Great Britain, and Sweden. In 1977 he left Odibo for Windhoek as a result of the war zone that it had become, for ten years until his death in 1987, Muafangejo lived and worked in Windhoek, Katutura.  Although his artistic career was short-lived, his legacy of print-making still lives on and continues to inspire. Muafangejo’s work echoes his strong religious background, everyday life, his culture, traditions, and socio-political events of that time.

This exhibition combines Muafangejo’s work with that of 9 artists: Lok Kandjengo, Petrus Amuthenu, Kapanda Nangombe, Elia Shiwoohamba, Alpheus Mvula, Shiya Karuseb, Susan Mitchinson, Trudi Dicks and David Amukoto whose techniques reflect inspiration from the late Muafangejo.







Future Perfect

ARTIST  Various

OFFICIAL OPENING 19 September 2018 @ 18h00
DURATION 20 September to 5 November 2018


Contemporary Art from Germany


An exhibition by the ifa (Institut für Auslandsbeziehungen)

The exhibition FUTURE PERFECT includes films, photographs, sculptures, objects, paintings, and collages by sixteen artists who look at visions of the future and speculations on the course of history. The title of the exhibition refers to the tense of the verb that expresses the completion of an action in the future: something will have been. From this perspective, the exhibition asks: if the future can already be perceived as a finished past, how can we nonetheless develop visions, speculate, or move beyond tried-and-trusted ways of thinking?

The ability to speculate, to name intentions, expectations, and fears, and then to make these the basis for action is what holds societies together. Today the future is increasingly seen as a critical concept. Even the very near future is so difficult to anticipate, with all our digital and mobile acceleration, and it seems impossible to come to a reliable understanding about the future. The fall of the Berlin Wall in Germany and the end of a world divided into two conceptual blocks has not only globalized our economies – it has also led to the demise of a good number of old European convictions and notions. But the future is also an emancipatory concept. In the southern Mediterranean area in particular today civil societies are demanding a future, and facing massive resistance in the process.

This exhibition develops reflections on the promises the future brings. Can we come to an understanding concerning a future perfect? How do artists take up a position on the future, using material, form, narrative, or imagination? How do they reflect the past anew? Where do they see options for action?

Curators: Angelika Stepken, Philipp Ziegler, Anna Veijo, Erastus Hangula

Participating artists: Nairy Baghramian, DAS INSTITUT (Kerstin Brätsch
& Adele Röder), Mariana Castillo Deball, Cyprien Gaillard, Dani Gal, Annette Kelm, Jutta Koether, Armin Linke, Antje Majewski, Henrik Olesen, Yorgos Sapountzis, Nora Schultz, Nasan Tur, Danh Vo, Clemens von Wedemeyer

A catalogue in German and English is being published by Verlag für moderne Kunst with contributions by Jennifer Allen, Dirk Baecker, John Beeson, Patrizia Dander, Hans-Jürgen Hafner, Kito Nedo, Elke aus dem Moore, Susanne Pfeffer, Bert Rebhandl, Angelika Stepken, Joseph Vogel, Astrid Wege, Adnan Yıldız and Philipp Ziegler.


 ifa (Institut für Auslandsbeziehungen) e.V.

The ifa (Institut für Auslandsbeziehungen) is funded by the German Foreign Office, the State of Baden-Württemberg and the City of Stuttgart.




ARTIST Isabel Katjavivi

VENUE Upper Gallery 
DURATION 3 August to 8 September 2018 


They tried to bury us
An exhibition by Isabel Tueumuna Katjavivi

A history that is not fully understood or told or memorialised, is a history that lives in the present. The reign of terror that was the 1904-1908 genocide in Namibia lingers in this way in the psyche of the nation, even 110 years after the closing of the last concentration camp.

For a century the genocide was denied by many, and to this day there are some people who still believe it never occurred. They have not come to terms with the atrocities that took place across our land at that time. 

The evidence is there in Von Trotha’s Extermination Orders. It is in the inter-generational memory of the descendants of those who were killed and those who survived. It is in the whispers of the Hanging Trees. It is in the bones that lie in the ground under houses in Otjinene, Swakopmund, and elsewhere, and under the Independence Memorial Museum, which is built on the site of the infamous Orumborombondi concentration camp. 

It is estimated that over 50% of the Nama people and 80% of the OvaHerero were killed.

General von Trotha’s extermination order for the OvaHerero, issued October 2nd 1904:

‘I, the great General of the German troops, send this letter to the Hereros. The Hereros are German subjects no longer…The Herero people must now leave the land. If it refuses, I will force them with the Groot Rohr (Cannon). Any Herero found inside the German frontier, with or without a gun or cattle, will be executed. I shall spare neither women nor children. I shall give the order to drive them away and fire on them. These are my words to the Herero people.’

General von Trotha’s extermination order for the Nama people, issued April 22nd 1905:

‘The Nama who chooses not to surrender and lets himself be seen in the German area will be shot, until all are exterminated. Those who, at the start of the rebellion, committed murder against whites or have commanded that whites be murdered have, by law, forfeited their lives. As for the few not defeated, it will fare with them as it fared with the Herero, who in their blindness also believed that they could make successful war against the powerful German Kaiser and the great German people. I ask you, where are the Herero today?’

We need to unearth this history, bring the truth to light, and heal the wounds of the past. As a nation it is impossible to build a future without righting the wrongs of the past and making sure that the knowledge of the past is availed to successive generations.

They tried to bury us is a continuation of Isabel Katjavivi’s 2017 art piece, 'The past is not buried'. This exhibition deals with the unresolved past that is the genocide, and how it is all around us. We need to stop treading on the past in our present.

The floor installation is made of sand, stones and grass collected from within and around Otjinene. It is a scene of remembrance of those who died. The heads are made of air-drying clay. The fragility of the medium symbolises the fragility of life. The installation allows the audience to walk the thin line between the past and the present.

“History is not the past. It is the present. We carry our history with us. We are our history.” 
(James Baldwin, I am not your Negro, 2016). 

Contact person:

Annapaula Vakamuena

Public Relations Office

National Art Gallery of Namibia

Tel: +264 61 231 160 . 081 8068694

Fax:+264 61 240930




ARTIST Jeannette Unite

VENUE Main Gallery 
DURATION 20 July to 6 September 2018

The TERRA exhibition has shown in museums and university art galleries in Germany, UK, USA, Europe. China and Uzbekistan.

TERRA focuses on mining in Africa; this body of work was produced in response to extensive a range of mining and industrial sites in Ghana, Tanzania, Kenya, Nigeria, and Southern Africa and examines the paradox of plenty and corporate constructs around mineral companies’ tax and legal aspects of mineral rights and the impact on socio-political subjects.

For over a decade most of Unite’s work has focused on the mining industry, resource depletion in Africa and the economic and sociological conditions impacted. Her large-scale drawings of mining headgear and industrial complexes are executed with chalks and pastels that the artist makes herself, making use of minerals that she gets from mines as waste by-products after the extraction of ore. At first glance these works may appear to be lyrical, graceful compositions portraying old mining machinery but Unite is at pains to embed a fundamental critique of the way mining has shattered lives, displaced communities and wreaked havoc on the environment. Unite is a very active researcher both in archives for source material from which to draw and ‘on the ground’ in mines themselves and the communities that provide labour for their operation.

Unite's works reference mining heritage sourced from archives and museums. This includes early geological historical maps and texts that were created during the Industrial Revolution to guide mining the coal that fuelled the engines that drove modernity and the quest for minerals.

The artist has travelled through more than thirty countries accumulating an extensive personal archive of images and materials from the mining industry. The photographs from these travels and images duplicated from mining museums and archives are as precious a resource to Unite as the site-specific sands and slimes pond tailings from the mines and industrial detritus soiled with history, and loaded with meaning that she mixes into her paints and pastels.

These mining artworks are made from the very mined material they interrogate so the material is thus both subject and object, Unite explores the impact and relations between power and earth through the mechanisms, both technical and social of our modern world that are so inextricably linked to mining.

All wealth is derived from the earth, and laws and legislation are constructed to regulate who has access and ownership of the resources from the planet, images of the industrial sublime critiques the force of human compulsion for material goods regardless of the environmental and social consequences.

The artist’s TERRA book can be viewed at the below link



Contact person:

Annapaula Vakamuena

Public Relations Office

National Art Gallery of Namibia

Tel: +264 61 231 160 . 081 8068694

Fax:+264 61 240930



Made, Unmade

ARTIST  Julie Brook

VENUE NAGN Lower Gallery
OFFICIAL OPENING 28 June 2018 @ 18h00
DURATION 29 June to 28 July 2018

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Made, Unmade, an exhibition of artworks by British Artist Julie Brook which will take place in the NAGN Lower Gallery from 28 June until 28 July 2018.


Julie Brook for 25 years has roamed, lived and sculpted in a succession of uninhabited and remote landscapes in North West Scotland: Hoy, Orkney; Jura, West coast; Mingulay, Outer Hebrides. Brook studied at the Ruskin School of Drawing and Fine Art, Oxford University.

She has explored the black volcanic desert of central Libya and in the Jebel Acacus mountains in South West Libya (2008/2009) and the semi-desert of NW Namibia (2011-2015) where the nature of light, shadow and structure are expressed in the sculptural forms Brook makes. Much of her work is transient; temporal, ephemeral and visceral, the sculptures are made of the fabric of the landscape itself. Brook documents these transformations through film and photography which then become the expression of the work.

Her work was recently seen on the BBC4 documentary; Field, Forest and Sky showing her tidal work, Firestack, made on the West coast of North Harris, Outer Hebrides.

In February 2017 she gave a public talk with Raku Kichizaemon XV, Raku teabowl master at MOMAK, Kyoto as part of his retrospective exhibition Cosmos in a Teabowl showing all 15 generations of teabowl makers. This featured in a documentary on NHK news.

In September 2017 she received a research and development award from Creative Scotland and the Daiwa foundation for a 2 year project exploring new work in Lewis and Harris, Outer Hebrides in relation to working in stone quarries in Komatsu, Japan.


For more information on the artist visit :



Contact person:

Annapaula Vakamuena

Communications and Marketing Officer

National Art Gallery of Namibia

Tel: +264 61 231 160 . 081 8068694




ARTIST  Helga Kohl
VENUE Upper Gallery 
DURATION 22 June to 14 July 2018

The exhibition PERSPECTIVES will celebrate photographs of architecture by the internationally acclaimed photographer Helga Kohl. Most of the works will be exhibited for the first time.

This exhibition will be of particular educational value as there will be a number of texts as well as a video on the artist. In addition Helga Kohl will introduce her work to groups of students with an interest in photography, art and architecture.

Helga Kohl’s signature works are poetic expressions which captivate the viewer in terms of both symbolic meaning and formal value. This exhibition has two series of photographs of ghost towns on the Atlantic Coast of Namibia and works on contemporary architecture. Visit the exhibition to see how Kolmanskop touched her soul and explore the haunting images of buildings eroded by wind, salt and sand at Elizabeth Bay. Furthermore, you will discover her transformation of buildings in Windhoek into abstract designs and visions of built structures appearing to transform into air, light and water.  

This exhibition has been made possible by support from The National Arts Council of Namibia, the Namibian Arts Association, the Pupkewitz Foundation and the National Art Gallery of Namibia.


2018 Tulipamwe Exhibition

ARTIST  Various

VENUE Lower Gallery and Foyer
OFFICIAL OPENING 15 June 2018 @ 18h00
DURATION 16 June to 14 July 2018

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Tulipamwe 2018, an exhibition of artworks by international, SADC and Namibian artists which will be in the Foyer and Lower Gallery from 15 June until 14 July 2018.


It has been 24 years since the first Tulipamwe and the spirit of togetherness continues. The 2018 edition of the Tulipamwe has brought together 26 artists from 6 countries to create, learn and share with one another.

This year’s workshop is held in the Hardap region, in the south of the country from 1 to 13 June where the amazing environment serves as inspiration and motivation for the artists.


Tulipamwe International Artists Workshop is a programme under the National Art Gallery of Namibia, and is a vital component in the development of Namibian artists, creating collaborative efforts among artists and contributes to the development of Namibia’s creative economy.

The artists work in a range of media including wood, stone, paint, paper, clay and metal. Collaborations are actively encouraged during the Tulipamwe workshop as a means of developing individuals and their styles. 

The outputs of this workshop will be exhibited at the National Art Gallery of Namibia from the opening at 18h00 on Friday June 15th 2018 until 14th July 2018.

The exhibition will showcase the diversity of work created on the workshop as well as experimental and works in progress. The workshop includes many established as well as emerging Southern African artists and the exhibition will reflect this range.




David  Amukoto, Namibia │ Joachim Kambongarera, Namibia │ Julien Brandt, Namibia│
Atang Phitshana, Botswana │ Wil-Merie Howard, Namibia
Davido Indongo, Namibia│ Ngavee Kambezunda, Namibia │ Alwina Heinz, German│
Alfeus Mathews, Namibia │ John Kalunda, Namibia│ Helmut Lauschke, Namibia│ Kudzanai Katerere, Zimbabwe │ Hercules Viljoen, Namibia
Silke Berens, Namibia│ Engelhard Rooinasie, Namibia
 Ndikhumbule Ngquinambi, South Africa│ Aunne Lungameni, Namibia│ Obed Mokhuhlani, Botswana │
 Jakobina Gideon, Namibia │ Mwamba Chikwemba, Zambia │ Ndakondjelwa Nghipandulwa, Namibia | Kim Modise, Namibia | Ismael Shivute, Namibia| Lara Diaz, Namibia | Frieda Luhl, Namibia | Ndasuunye PAPA Shikongeni, Namibia



Contact person:

Annapaula Vakamuena

Communications and Marketing Officer

National Art Gallery of Namibia

Tel: +264 61 231 160 . 081 8068694



New Beginnings

ARTIST Various

VENUE Upper Gallery and Foyer
DURATION 9 March to 21 April 2018

 ‘New Beginnings’ an exhibition of work by graduates of the College of the Arts is now in its 9th iteration and with this exhibition we celebrate another year of teaching, learning, thinking and making. The diploma qualification in Visual Art at the College of the Arts has been running for 15 years, and has been fully accredited by the National Qualifications Authority for the past 5 years. Our programme teaches a variety of art and craft skills and students work towards a thematically coherent body of work in the third year of their studies.

Each year ‘New Beginnings’ has a different feel, depending on the material and conceptual choices of the final year students. Our students come from all corners of Namibia, often from rural areas where the concerns and hardships of their families are sometimes an inspiration for their work.

Mathews Alfeus’ fighting dog sculptures are made from reclaimed metals, a metaphor for the disengagement and aggression he finds within his community, while Kambezunda Ngavee was inspired by the traumatic history of his Herero ancestors, and worked these issues into his stone carvings. Davido Indongo went on a personal journey of discovery into his Ondonga culture and interviewed older family members about the use of ‘totems’ in their interactions.

Julien Brandt went on a spiritual journey of her own, making art in order to achieve an inner healing. Her works depict a series of women’s faces, using a variety of materials and placing great emphasis on the worked back-ground to each image. Her paintings are essentially a personal reflection.

In the Visual Art Department students are also encouraged to learn different craft skills, and Samantha Shaalulange and Hilde Hangula selected textile design as their major subject. Samantha used the indigenous Aloe Vera as her focus and created a number of designs for cushion covers using this motif, while Hilde explored different traditional musical instruments as images in her textiles. Tweyapewa Mbendeka used a soldering iron to work into pieces of Perspex to create a light rendition of the heavy memories of war.

Iyaloo Hatutale and Victor Mubiana selected to make a series of craft jewellery pieces using recycled and natural materials. Victor concentrated on the creative possibilities of Makalani pods, sawing them into different shapes and combining them with contrasting materials. Iyaloo took as her theme the ‘Oshosholo’ plant that has such bright yellow flowers in the first rain of the season but ends its life as the sharp ‘diviltjie’ thorn which makes walking barefoot outside impossible.

Kevan Kakori’s concern with the scourge of poaching in Southern Africa was the starting point for his series of prints which use a comic approach as a novel way of attracting attention to this problem. Erastus Ndongo selected abstract painting as his focus for the year and used combinations of Gesso and sand to make his highly textured wall pieces. Immanuel Igonda’s favourite time of day is dusk, when “Boys and their cattle return home in the dust and the last rays of the sun”. He spent the year making small works and capturing this feeling in paint.

For more information please contact:

Nicky Marais, Head of Department: Visual Art, College of the Arts

+264 61 277308,



ARTIST  Various

VENUE Main Gallery
OFFICIAL OPENING 20 February 2018, 18H00
DURATION  21 February to 3 May 2018

The National Art Gallery of Namibia (NAGN) is pleased to announce the official opening of 'BOOTH' on Tuesday 20 February 2018 in the Main Gallery of the NAGN at 18h00.

BOOTH is a curated group exhibition showing the works of different artists including Paul Kiddo, Urte Remmert, Foibe Amundaba, Elifas Andreas, Maria Mbereshu, Elvis Garoeb, Eino Imene, Elrico Gawanab, Nicky Marais, Ndinomholo Ndilula, Petrus Amuthenu, Nangombe Kapanda, Elia Shiwoohamba, Alfeus Mateus, Lara Diez, Alfred Muifi, Ismael Shivute, David Amukoto and Ngavee Kambezunda.

BOOTH was conceptualised as an investigation into the “White Cube” as an exclusive, authoritative space. Since the 1960s, visual art theory has formally reflected on the nature of a traditional white cube gallery space. Many artists, curators and academics have discussed the restrictions within this traditional gallery space, as well as its role in upholding exclusionary practices within the visual arts and art history.

BOOTH creates immediate juxtapositions conceptually by asking artists to intervene within restrictions. Limits and restrictions are things that we face daily on various levels and to different degrees. Artists interventions have taken many forms, some working overtly with the idea of restricted space, such as in the installation by Lara Diez and Urte Remmert while others look conceptually at the effects on daily life of historical segregation as in the works of Eino Imene and Paul Kiddo. Linear effects have been used to create demarcation within artworks as in the paintings by Foibe Amundaba and textiles by Elizabeth Shinana.

In the artworks of Maria Mbereshu and Nicky Marais the mind finds ‘freedom’ even within the confines of a Booth. Both Marais and Mbereshu have created abstract artworks from a meditative process drawing on their internal worlds to create illusion.

The demarcated squares and cubes in which the artworks sit contain not only aesthetic evocations of confinement but also speak to social issues. In these artworks we see the cube used as a platform. In the work of Ndinomholo Ndilula and Ngavee Kambezunda issues of war and genocide are tackled with subtlety and tact. Alfred Muifi has used the platform to speak to the prevailing issue of alcohol abuse in society.

In this exhibition linoleum block and cardboard prints by four different artists are grouped into one installation, forming a Booth of their own. This action is intended to draw the viewer's understanding back to the curatorial imperative, the delineating lines of each Booth functioning as a reminder that each work is placed and arranged with intention.

Borders, confines, categories, margins and restrictions are ever-present throughout our daily lives, from the land that we live on to the type of characteristics we get defined by. Intervening against these physical and metaphorical boundaries, demarcated areas, grids and boundaries are the make-up of BOOTH. 

This exhibition was curated by the NAGN in collaboration with StArt Art Gallery


Tulipamwe through the years

ARTIST  Various

VENUE Upper Gallery and Foyer
OFFICIAL OPENING There is no official opening
DURATION 10 May to 23 June 2018

Tulipamwe through the years is an exhibition of artworks from the Tulipamwe Permanent Collection displayed alongside contemporary artworks submitted by participating artists rendering appreciation of the growth in knowledge, understanding and skills gained through the Tulipamwe International Artists’ Workshop. 
There will be no official opening, the public is invited to come view the exhibition at the National Art Gallery of Namibia from 9 May - 23 June.


Textiles and Textures

ARTIST  Various

VENUE Lower and Upper Galleries
OFFICIAL OPENING 16 November 2017, 18H00
DURATION 17 November 2017 to 2 June 2018

The National Art Gallery of Namibia (NAGN) is pleased to announce the official opening of 'Textiles and Textures' on Thursday 16 November 2017 in the Lower gallery of the NAGN at 18h00.

The works on show form part of the permanent collections of the National Art Gallery of Namibia and the Arts Association Heritage Trust, as well as contributions by contemporary artists; Maria Caley, Lynette Diergaardt, Ina- Maria Shikongo, Mielja Magobelilo, Cathy McRoberts, Wilka Mumangeni, Maria Mbereshu and Laimi Mbangula. 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 (1990) 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 (2007).
Communication through cloth has become such a refined and subtle art form, according to Spring (2012). In Mali the Bamana ritual of excision (clitoridectomy) celebrates young girls becoming marriageable women. This tradition is expressed in the ‘red’ dyed mud cloths also known as excision cloths, indicating the bloodshed and the healing that follows. These visual analogues for blood act as protective shields for the girls during and after this vulnerable period (Brett-Smith, 2007:71).
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, 2012). In Ashante tradition Adinkra was highly valued as a cloth of mourning, as a funereal shroud for an adult woman (Brett-Smith, 2007).
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.1
This exhibition hopes to give an insight into the vast world of textiles and textures in Namibia both Historical and Contemporary. 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.
1. Colchester, C. (1990) The New Textiles: Trends and Traditions. Thames and Hudson Ltd, London
2. Brett- Smith, S.2007. In Inscribing meaning: writing graphic systems in African Art. Smithsonian National Museum of African Art. p.71 - 81
3. Spring, C. 2012. African Textiles Today. The British Museum Press. p. 10-32
Curators: Tulina Nakashona, Elize van Huyssteen, Ndeenda Shivute, Erastus Hangula and Anna Veijo.

Master Mind

ARTIST Lok Kandjengo

VENUE Pashuka Multi-Purpose Venue
OFFICIAL OPENING 5 April 2018, 18H00
DURATION  6 April to 19 May 2018

"Master Mind" is an innovative cardboard and linoleum printmaking exhibition by Lok Kandjengo. Kandjengo’s inspiration for print making is derived from his environment, culture and his origin. In Master Mind the artist continue to explore facets of his culture, life experience as well as to celebrate Namibia’s landscape.


Kandjengo is a dedicated young Namibian visual artist who constantly strives towards self-improvement through art. The artworks in Master Mind serves as an encouragement to fellow Namibians who wish to pursue a career in print making and as inspiration for others to contribute towards making Namibia a better place to live in the 21st century, as we march towards Vision 2030.

“The message I want to convey is quite simple: “work hard and don’t expect the government to hand out jobs” –Kandjengo

Kandjengo takes social responsibilities at heart. Part of this is his involvement in mural paintings, in the development of teaching materials for sign language, and cataloguing for the newly founded TATE Institute of technology (for the Deaf and Hard of hearing). The artist plans are to become more involved in projects that address the issues of unemployment, training and education in Namibia.

Kandjengo uses his talent to educate and communicate with his viewers about social issues such as youth empowerment and job creation.


This exhibition is a reflection of Kandjengo’s print making technical skills. Each artwork provides a unique printing style, colour use, which the artist has mastered over the years.


For more information

Lok Kandjengo

‘’, Cell:+264812247575



ARTIST  Various

VENUE Pashuka Multi Purpose venue
OFFICIAL OPENING There is no official opening
DURATION 23 February to 31 March 2018

NA/M(E)BIA is an exhibition of works from the NAGN Permanent Collection displayed alongside a few pieces made by contemporary Namibian artists in celebration of Namibia’s 28 years of independence.

There is no official opening for this exhibition but viewers are welcome to view it as of 22 February 2018 .

The exhibition will run until 31 March at the NAGN


Its raining cats and dogs

ARTIST  Various

VENUE Upper Gallery and Foyer
OFFICIAL OPENING 25 January 2018, 18H00
DURATION  26 January to 3 March 2018

The National Art Gallery of Namibia (NAGN) is pleased to announce the official opening of 'Its raining cats and dogs' on Thursday 25 January 2018 in the Upper Gallery of the NAGN at 18h00.

It’s Raining Cats and Dogs is a group exhibition by Namibian and German artists including members of the Dune Artist Group. 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. Classical genres like sculpture, painting and drawing will be showcased next to participatory projects, video and sound installations and /or projects in public space. Viewers are no longer just recipients but become part of art through participation.

ARTIST  Various

VENUE Upper Gallery and Foyer
OFFICIAL OPENING 25 January 2018, 18H00
DURATION  26 January to 3 March 2018


A Phoenix Project Exhibition

ARTIST  Various

VENUE Pashuka Multi-Purpose Venue
OFFICIAL OPENING 9 November 2017, 18H00
DURATION 10 November 2017 to 18 February 2018

The National Art Gallery of Namibia (NAGN) is pleased to announce the official opening of 'A Phoenix Project Exhibition' on Thursday 9 November 2017 in the Pashuka Multi-Purpose Venue of the NAGN at 18h00.


Exhibition images bring Phoenix to life
Photographic display celebrates Cardiff University’s transformative work in Namibia

Ground-breaking work to improve health and reduce poverty in Namibia will be highlighted in a new photographic exhibition.
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 2014.

The display at the National Art Gallery of Namibia (NAGN) in Windhoek runs from 10 November 2017 to 18 February 2018 and seeks to bring some of the transformative work to life.
It follows a Phoenix Project photographic exhibition at the National Assembly for Wales in Cardiff earlier this year, however this display is different and has been specifically curated for Namibia.
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.
The exhibition, featuring images taken by Phoenix photographer Paul Crompton, will be officially opened by UNAM Vice-Chancellor Professor Lazarus Hangula at 18:00 on 09 November.
Project leader Professor Judith Hall said: “Working hand-in-hand with the University of Namibia, Phoenix is making a real impact so I’m delighted we have an exhibition to give people a flavour of what makes the project so special.

“One of the main themes of the exhibition is the power of youth – we can, we have done, and we will go forward harnessing this power. Youth energy, goodness and enterprise will make things better for all Namibians.
“Phoenix has achieved a lot in a short space of time as visitors to the exhibition will appreciate, but there’s so much more I want to do – and I will!”

Professor Hangula said: “The Phoenix Project is a perfect example that north-south collaboration is not only possible but also that it can be very successful as well.”

Ndeenda Shivute, NAGN Curatorial Coordinator said: “The National Art Gallery is excited to be hosting the Phoenix project exhibition.
“Not only is the exhibition a tool to showcase the good work the project has done in Namibia, but it is a great educational tool for the various visitors to the NAGN.

“This is a great showcase of how the arts and science can work together, and we hope this is the beginning of many collaborations.”
Cardiff University Vice-Chancellor, Professor Colin Riordan, announced in March this year that the University would continue to fund Phoenix for a further five-year period, until at least 2022.

The project’s work taps into the United Nations Sustainable Development Goals, including poverty, health & wellbeing, and education.
The Phoenix Project has already been involved in more than 30 major activities including:
 Improving the skills of doctors, nurses and midwives
 Boosting mathematics knowledge among future scientists
 Saving lives following road accidents
 Boosting aspirations of young learners
 Improving study skills
 Supporting local languages
 Developing communities of software enthusiasts
 Supporting e-learning
 Improving human rights awareness
Phoenix is part of Cardiff University’s Transforming Communities programme, which works with communities in Cardiff, Wales and beyond.

For further information please contact Simon Namesho in the UNAM press office at or 061 206 3091; Kevin Leonard in the Cardiff University press office at or 00 44 29 2087 0997; or Annapaula Vakamuena in the National Art Gallery of Namibia’s communication and marketing office at or 061 231 160.

UNAM Visual Arts Graduate Exhibition 2017

ARTIST  Various

VENUE Main Gallery and Foyer
OFFICIAL OPENING 7 November 2017, 18H00
DURATION 7 November 2017 to February 2018

The National Art Gallery of Namibia (NAGN) is pleased to announce the official opening of 'UNAM Visual Arts Graduate Exhibition 2017' on Tuesday 7 November 2017 in the Main Gallery of the NAGN at 18h00.

2017 brings the return of the UNAM Visual Arts Graduate Exhibition, both at the NAGN and FNCC.

The exhibition showcases work from third and fourth year diploma students graduating in the courses of Art for Advertising, Ceramics Studies, Creative Expression, Fashion Studies, Museum Studies and Textiles Studies.

The opening will take place at the National Art Gallery, and exhibition goers can continue to admire the works in the FNCC gallery. 
The exhibition will run untill the 7th of December at FNCC, 3rd February 2018.






Bank Windhoek Triennial

ARTIST Various
OPENING DATE 1 September 2017
VIEWING 1 Sep - 28 Oct 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition 2017 Bank Windhoek Triennial, which is on at the NAGN from  1 September to 28 October 2017.

At the NAGN, the year 2017 brings with it the fourth iteration of the Bank Windhoek Triennial. This event is a nationwide arts exhibition and competition that happens every three years. The first Bank Windhoek Triennial happened in 2008, with two more since then in 2011 and 2014, bringing us to the fourth event of this kind happening in September this year. Large-scale art exhibitions such as this happen all over the world in many different countries.

Organised by the NAGN, with the sponsorship of Bank Windhoek, the Triennial aims to celebrate visual art in Namibia as well as to raise the standard thereof. This exhibition is also an opportunity to engage in dialogue around cultural diversity within our society to promote unity in celebrating diversity. All artists with Namibian citizenship, domicile or permanent residence were invited to apply to be part of this exhibition. An adjudication panel of 3 local and 2 international judges made a selection of artworks for the exhibition as well as for prize-winners.

Being a part of a Bank Windhoek Triennial and exhibiting at the National Art Gallery of Namibia are huge accolades for Namibian artists. Selected artworks will be exhibited in the Bank Windhoek Triennial exhibition at the National Art Gallery of Namibia in Windhoek. The exhibition opens on 1st September and closes on 28th October 2017. There are four cash prizes which will be awarded to the most exceptional artworks based on the set criteria: 1st place, 2ndplace, 3rd place and a ‘most promising young artist’ award. These will be announced at the opening. 

From over 350 entries the judges chose 70 artworks by 60 artists. In their report on the process of selection the Judges wrote “The competition and its resultant exhibition demonstrates that Namibian art is alive and well and evinces a vibrancy, passion and commitment to excellence that speaks loud and clear.” (Frauke Stegmann, Andrew Lamprecht, Maureen de Jager, Ervast Mtota, Zodidi Gaseb).

In her foreword for the catalogue, Baronice Hans (Managing Director, Bank Windhoek) said that “Bank Windhoek prides itself on being a connector of positive change through initiatives such as the Bank Windhoek Triennial. We encourage Namibians from all walks of life to connect to art.” With their dedicated support to projects like this one, Bank Windhoek achieves this goal.”


Brothers in Arms

ARTIST  Silke Berens

VENUE NAGN Upper Gallery
DURATION 1 August to 25 August 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the official opening of 'Brothers in Arms' on Tuesday 1 August 2017 in the Upper Gallery of the NAGN at 18h00.



The exhibition ´Brothers in Arms´ examines the perpetuation of the heroic soldier narrative spanning more than three generations of the artist’s family. The artist is largely excluded from this narrative by nature of her gender and functions as observer and witness to the embodiment and enactment of the ‘noble warrior’ and ‘comrade’ archetype within the construct of warfare. She perceives both senselessness and absurdity in the much-extolled virtues supposedly achieved by participating in combat: Honour, glory, sacrifice to a greater cause and the compliance to time-honoured norms such as manliness and patriotic duty. 


The realities of the effects of war are without a doubt far less glorious than in romanticised mythologies, which were particularly upheld by the artist’s family members and ancestors. Those who returned from war whether having participated in active combat or not, were wounded in ways which left them struggling to adjust to, or function in, society. In the artist’s family, this manifested as dysfunctional behaviour and mental health conditions such as addiction, depression and/or post-traumatic stress disorder (PTSD).


Yet, the battlefield occurrence of intense bonding with fellow comrades in arms, habitually under extreme conditions of imminent threat, fear and violence, is one that seemingly saves the experiences of these men from being rendered meaningless in the face of war’s horrific moral dissonances. Protecting the life of the soldier next to you while risking injury or death, creates a sense that war is worthwhile and restores agency to an otherwise extremely disempowered entity.


The existential question with which the artist approached the making of this body of work is: what value or meaning can possibly remain in all of this brotherhood and courage and honour when the outcome consists of hearts and minds irrevocably broken and damaged? The son who never knew his father, the war widow lost in her grief for the rest of her life, the wife suffering the violence of her husband´s untreated PTSD, the brother fighting ghosts until the end, the mother losing her son to a slow decay of hope. The daughter is rendered powerless to speak up, because the men go to war and the women wave them silently goodbye. This goodbye signifies more than the potential cost of never returning: No relationship will be as it was before, as these men are forever changed by their combat experiences.


However we perceive the machinery of war, the questions asked in this body of work offer no easy resolution or obvious solutions. Even though we may honour soldiers’ suffering and loss by gestures of commemoration and remembrance, how will we as humanity move towards less destructive and futile socio-cultural ‘customs’ when at this present moment the carnage of warfare unabatedly continues to ruin generations of young and old?




The 8th National Ceramics Biennale

ARTIST Various

VENUE NAGN Main Gallery
DURATION 28 July to 25 August 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the official opening of the 8th National Ceramics Biennale on Thursday 27 July 2017 in the Main Gallery of the NAGN at 18h00.


The Potters’ Association of Namibia (PAN) aims to promote, develop, educate and ensure that the art of pottery remains alive and well in Namibia. In so doing, every second year they present a juried public exhibition of ceramics by potters from all over Namibia.  This years’ 8th Biennale is a proud celebration of PAN’s 30th Anniversary.


PAN is an Association of a very small group of like-minded individuals who share a love of clay.  Most of the members are amateur potters; very few are full-time producers; seven are teachers either in their own private studios or at the few schools and colleges that offer pottery to their pupils.


We are privileged to have 3 Honourary Life Members who have accompanied PAN on a long, fruitful and earnest journey since 1987:  Sarie Maritz, Genie Albrecht and Sharon Flewellen.


“Namibian potters share this fascination with clay. They have experienced at first hand the wonder and excitement of forming clay into objects like bowls, cups or pieces of sculpture and of discovering how fire effects a transformation. In this way they participate in the common human heritage of making pottery, one which dates back thousands of years to the beginnings of mankind, when the culture, art and life of pre-industrialized societies were still undivided and whole, when man was perhaps more in touch with his soul.” – Sarie Maritz (2007)


“Potters of Namibia unite!  This was the main reason for starting the Potters' Association of Namibia.  We are such earthy people and wanted to know who else in our vast beautiful country felt the same, where we could share our joy of the feel of clay flowing through our hands and fingers.  This is the wonderment of this ancient art material. Clay is an escape from the conundrum of life, and here in Namibia we potters share our common goals, our problem solving and above all the joys of creativity. We are also trying to pass this on to our future potters so that they too experience the same sentiments.” - Genie Albrecht (2017)


 “Potters do not have feet of clay – they are solidly earth-bound, grounded, truly centred and, although they dabble with alchemy and play with fire, they are the sincerest people I know.” – Sharon Flewellen (2007)


The Potters’ Association of Namibia is grateful to Bank Windhoek for their continued support of the Biennale exhibitions!



Inspiration through the lens - Home is where the heart belongs

ARTIST Ndasuunje Papa Shikongeni

VENUE NAGN Main Gallery
DURATION 23 June to 22 July 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Inspiration through the lens - Home is where the heart belongs, which is on in the Main Gallery of the NAGN from  23 June to 22 July 2017.

Ndasuunye Papa Shikongeni is an internationally recognised Namibian artist who is well known not only for his print making and sculpture but also for his music. In this, his first solo-photographic exhibition, ‘Inspiration Through the Lens, home is where the heart belongs’; Shikongeni adds photography to his diverse list of skills. In many ways this exhibition was inspired by Shikongeni’s relationship with the renowned late photographer Tony Figueira. Figueira said “I believe true photography has to be composed in the mind before the shutter is released.” Indeed it was early on in their relationship that Figueira first mentioned that he would be curious to see what Shikongeni’s printmaker’s eye would bring to the medium of photography. Over the years, and with the encouragement and mentorship of Figueira, Shikongeni developed his photographic skills. The first half of the title of this exhibition is an ode to this relationship; it was through Figueira’s lens that Papa Shikongeni first learned the power of photography.

The story of the second half on the title; ‘home is where the heart belongs’, however, starts in early 2016 when Shikongeni began to conceptualise his first photographic exhibition. At this point in time the working title for the exhibition was ‘Conflict of Interest’. As an artistic and social activist Shikongeni set out to document imag­es of ghettos/informal-settlements in order to expose the physically entrenched inequality in Namibia. Howev­er the process of travelling to the various regions and engaging with the people whose homes he eventually photographed caused a shift in perspective. Shikongeni recounts that at Opstal farm, on the road to Spitz­kope, he spoke to an elderly woman who asked him “what is comfort?”, all around them Shikongeni could see the physical signs of poverty yet this woman insisted that she was comfortable, the wealth that she had seen her relatives amass had made them no more comfortable than she was. This attitude inspired Shikongeni to add ‘home is where the heart belongs’ to his title. This title also acts as homage to Shikongeni’s own past, as he too once lived in the ghetto. He asks “Where did I come from? This is where most of the parents of our politicians lived and some still live.” Many of Namibia’s prominent figures began life in homes not so different from the ones he depicts here. The title is Shikongeni’s reminder to them, to not forget their roots or the people they left behind.

“What goes around comes around, if not this time, maybe next time. Be kind to others. It is only respect and light for humanity that will conquer all. I am because of you and you are because of me.” – Shikongeni

In all the images on display Shikongeni has consciously chosen to point his camera away from the people and photograph only their houses. This decision has resulted in images of homes that look as if they might have been abandoned, and we are lead to the question; at what point in the future will homes built out of scrap material be things of the past? Attempts at poverty eradication are ongoing but it is important to remember that the history of land and property ownership in Namibia has seen the forced removal of people from their homes. This was first under German colonial rule then under apartheid South Africa and again more recently under the current political system. Carving up the land into distinct boundaries that do not reflect the nomadic heritage of pre-colonial Namibia has caused us to settle into unproductive land units that narrow our understanding of how to live on the land. These empty homes are equally a reminder of this.

“Through this process we began to think that the purpose of land was to transform it into real estate to feed the construction industry instead of living from it. Unfortunately people do not eat real estate or money.” – Shikongeni

The other question that arises is; where does poverty reside? The tell tale signs of poverty can be seen in the physical bodies of human beings and equally in the structures that they live in. However Shikongeni is quick to note that the concept of poverty also resides in the mind. When we look at these images do we see homes or shacks?

 “Poverty resides in politics and is a man- made construct. No one was born poor, people are made poor to serve the interest of the few.” – Shikongeni

  Ndasuunye Papa Shikongeni was born in Windhoek and grew up in Okahandja. Over the past decade, his works have depicted many different aspects of Namibian culture, traditions, spirituality and politics. He has ex­hibited internationally and nationally with works in both public and private collections. At the first /Ae //Gams festival in 1997 Shikongeni was awarded a trophy for his cardboard printmaking. Over the years Shikongeni has received many more awards and was given the first prize at the 2014 Bank Windhoek Triennial for his sculptural work. Since 1994 Shikongeni has worked as an art teacher and lecturer in Namibia. Currently Shikongeni lec­tures at the College of the Arts in Windhoek.



ARTIST Various

VENUE NAGN Upper Gallery and Foyer
DURATION 15 June to 25 August 2017 (Foyer) & 15 June to 20 July (Upper Gallery)

The National Art Gallery of Namibia (NAGN) is please to announce the exhibition LONGSTORYSHORT – expanding historically conflated testimonies from the Permanent Collections of the NAGN and Arts Association Heritage Trust (AAHT) which will be on in the NAGN's Upper Gallery from 15 June to 20 July, and from 15 June to 25 August in the NAGN's Foyer.

Long Story Short is an English idiom used for explaining the condensing of a story to only tell the ‘main aspect’ without giving all the details. This happens regularly in social situations and conversations. But what happens when some information is left out? How is it decided what is minor and what is major when it comes to detail and content?

Story telling is a large part of an individual’s daily life, and indeed of communities and societies at large. Stories are shared orally, and some are written down, becoming recorded documents of history. The complexities of circumstances involved in the events being narrated are prone to omission when we “cut a long story short”. Moreover, the perspectives and interpretations of those narrating are often also rooted in the societal norms in which the story-telling occurs and may not be sufficiently challenged, or made visible in the very least.

The history of the Namibian nation contains thousands of testimonies of war. The oppressive forces of European occupation, German colonial rule and South African rule brought with them violent abuses of human rights and the dignity of Namibians. These invaders justified their presence through their own story-telling to international parties.  A tangible example of this is the narrative around Cassinga, widely believed to be a Namibian refugee camp in southern Angola during South African occupation of Namibia. As elaborated on by Christian Williams (2010: 230), “South Africa's attack on the morning of May 4, 1978 at Cassinga resulted not only in mass carnage and destruction at one time and place, but also in competing histories that have continued to reproduce themselves and impact on people's lives over the more than thirty years since that day.” Immediately after this attack on Cassinga, the South African Defence Force (SADF) presented Cassinga to the international media as a military camp to legitimise the attack. Certain photographs were used, and others left out, to enhance this narrative. Hayes et al (1998: 3) describes, “[a]t every stage of South Africa’s bid to gain the League of Nations mandate to rule Namibia and to control Namibians, photography was crucial to the politics of representing the place and its peoples.” On 6 May 1978, the Namibian liberation party, the South West Africa People’s Organisation (SWAPO), “circulated its first press release which referred to 'the unprovoked attack on the civilian population in Angola' and 'the cold blooded murder of Namibian women and children'” (Williams 2010: 233).  Again, certain images were used alongside to verify this narrative.

In both instances, it can be argued that the complex nature of the history of Cassinga, and indeed of the other camps like it during this time, is conflated. With this conflation, the multifaceted and intricate experiences of the people involved in and affected by this event may be undermined by dominant paraphrasing.  The question of what is left out when paraphrasing occurs? What part of the long story is cut short, might be useful to keep in mind when listening or reading testimonies, or indeed viewing images as testimony? 

In a society as diverse in culture and norms as the Namibian one, there are many different kinds of stories. Cutting a long story short can inadvertently invoke unchecked cultural norms. When there is an assortment of cultural norms in a society, interpersonal relationships are often inadvertently built through cultural comfort; i.e. the expectation that the person you are relating your story to has had similar experiences and therefore can fill in the gaps for themselves. What happens when relating happens across cultural comfort, in a true embrace of diversity? Perhaps when questions are asked and details are given there is possibility for more understanding of histories, and of each other.

LONGSTORYSHORT includes the inaugural display of the Stalemate Bell as part of the Insight installation conceived by Italian NGO IoDeposito. This artwork has been donated to the National Art Gallery of Namibia as one of seven sensory audio installations around the world, all of which are made specifically relating to the historical circumstances of their final destination. The Stalemate Bell looks at how the inclusion of narratives of previously colonised peoples, including Namibians, forced to fight in World War I, can form a more intimate and multi-faceted reflection on experiences of this war, and indeed on the general conditions of war.

Along with the sensory installation of the Stalemate Bell, this exhibition draws together works from the NAGN collection that speak to just how complex the narrative in a visual plane can be, never mind the complexities that ensue when placing images in proximity or juxtaposition to other images. The common phrase ‘a picture speaks a thousand words’ is used to explain how images are complex and need to be read as such. Let’s Talk by Sageus ‘Ziggy’ Marthin is arguably the visual embodiment of this concept, portraying the literal action of speaking through a central, open mouth, surrounded by multiple different scenes. One can imagine these scenes as snapshots from different daily lived experiences, all connected through dialogue encouraged by the title of the artwork. In a different way of presenting dialogue and discussion through its absence, Ndasuunje ‘Papa’ Shikongeni’s Silance made out of numerous closed zips makes visible and present the concept of ‘silence’, whose existence is usually dependent on the absence and lack of sound, and more specifically in this case, of discussion. It is through the space of visual arts where it is possible to both encourage dialogue, as well as to make visible the previously hidden or invisible. In this way, visual arts can be a way to re-visit the parts of the stories that have been cut short.

To cut a long story short, don’t.


Williams, Christian A. (2010). 'Remember Cassinga?' an exhibition of photographs and histories. Kronos36(1), 213-251. 



Presence in Absence

ARTIST Nicky Marais

VENUE NAGN Main Gallery
DURATION 11 May to17 June 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Presence in Absence, which is on in the Main Gallery of the NAGN from  11 May to 17 June 2017.


The subject matter of this most recent body of work by Nicky Marais is in many ways a new departure as well as a continuation of her established practice. In the past Marais has employed a vocabulary of abstract forms and colour relationships that originate primarily from the Namibian landscape, and the social and political history of the Namibian people. Through the layered use of flattened symbolic images she recreates the patterns inherent in natural landforms, pathways and human settlements – both urban and rural, traditional and contemporary. However in this body of work we see the emergence of new forms inspired by texts, dreams and conversations.

The Shapes and forms in this exhibition are drawn from a wide range of sources. Describing her work as a “constant hunt for significant shapes”, Marais has frequently used shapes derived from the ancient rock paintings and petro-glyphs in the Namib which describe and depict the relationships between people and their spirit worlds. This interest in the relationship between the physical and spiritual continues in this body of work and extends into an investigation of the relationship between the tangible and intangible.

This conversation about the spiritual and physical, much like the conversation about abstract and figurative art has often been framed as a strict binary. In the words of Laura Hoptman; “Abstraction as an essential expression of an idea... rather than as a representation of an object from the real world, is the most straight-forward binary definition”. This binary is disrupted in Marais’ work through the use of representational symbols, drawn from recognisable sources, to create layered compositions that span our traditional notions of figurative and abstract art. In a similar manner her subject matter runs counter to the binary of spirituality and intangibility, divergent and at times conflicting narratives are brought together to create physical artworks. The presence/materiality of these works stand in place of what is absent/immaterial.

‘Presence in Absence’ explores the relationship between abstraction and non-representation in a dynamic installation of paintings and found shapes. Using stencils and collage to build areas of painted pattern, Marais juxtaposes various forms to create vibrant, diverse surfaces. In describing the work of Tomma Abts (an artist whose work Marais admires), Laura Hoptman says “To create rather than to represent can be seen as active, even activist, because the artist herself is positioned to communicate the most profound, if inchoate, ideas in a language that is nonspecific and timeless”. In many ways these words characterise the continuous development of Marais’ work as the continuing hunt for symbols is an active process that is frozen for just a moment in this exhibition.

 Nicky Marais is a Namibian painter and mixed-media artist, who works primarily with non-representational art elements to create artworks on a very large and very small scale.   She has lived and worked in Windhoek as an exhibiting fine artist, arts project coordinator, arts educator and activist since soon after graduating in 1987 from the Port Elizabeth Technikon in South Africa. Marais has exhibited in Namibia and internationally. She is currently the Head of Department of Visual Arts at the College of the Arts, where she teaches theory of art and builds local content into the accredited diploma courses offered by the College.


Personal communication with the artist

Laura Hoptman, 2005, ‘Tomma Abts’


Change Your Perspective

ARTIST Paul Godard

VENUE NAGN Foyer & Upper Gallery 
DURATION 16 May to 10 June 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Change Your Perspective, which is on in the Foyer & Upper Gallery of the NAGN from  16 May to 10 June 2017.

Experience Paul Godard's utopian vision of Namibia's remarkable landscapes, inspired by the wild horses of the Namib Desert and the many success stories in sustainable tourism from across the country.

Namibia as you have never seen it before...

Paul's altered-perspective images are an invitation to change our perspective in the way we interact with the environment and its people.

Come and be inspired by these large format (up to 1.2m x 2.4m!!) artistic interpretations of a country of vastness and beauty unlike any other.

The #ChangeYourPerspective exhibition also marks the launch of theTicket2Utopia project, which is a collaborative initiative of the Ticket2Utopia team, Eco Awards Namibia, and the Namibian Association of CBNRM Support Organisations - NACSO that will champion Namibia's sustainable tourism success stories.

Kind sponsorship has been provided by Xanita, Rebul Innovative Packaging Solution, Delheim Wines, Nice restaurant & bar, Namibia Media Holdings and #NamBreweriesOhlthaver & List.


Collecting The Nation

ARTIST Various
OPENING DATE  24 March 2017
VENUE Maria Mwengere Centre, Rundu
DURATION 24 March-26 May 2017

Collecting the Nation

An exhibition of reproductions from the National Art Gallery of Namibia Permanent Collection

The mandate of the National Art Gallery of Namibia (NAGN) is to serve the Namibian nation as a whole. This involves decentralizing activities from the Namibian capital of Windhoek and extending our services into the regions. As such, the NAGN mobile exhibition programme is designed to bring parts of the NAGN Permanent Collection to the regions as an educational resource, as well as to offer opportunities to enjoy an art exhibition and encourage arts appreciation.

As 2017 hosts another year of the Bank Windhoek Triennial, a nationwide competition, Collecting the Nation showcases reproductions of artworks from past Bank Windhoek Triennial participants and winners which have been collected by the NAGN. The Bank Windhoek Triennial encourages national participation in Namibia’s largest visual arts exhibition, and has yielded exceptional results showcasing the best of Namibian arts and crafts.

The permanent collection of the NAGN houses a large variety of works collected from the inception of the gallery as an institution in 2005. The mandate of the NAGN is to collect, preserve, study, exhibit and stimulate appreciation for and advance knowledge of works of art that collectively represent the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards. The Permanent Collection of the NAGN echoes this mandate, striving to preserve and exhibit works that show the artistic talent in Namibia, as well as that offer voices to issues and themes pertaining to Namibian society. It is therefore fitting that some of the works of past Bank Windhoek Triennial winners and participants exist in this collection.

From the printmaking by Kabelo Kim Modise to the sculpture by Erik Schnack, the selection of artworks in Collecting the Nation reveals the variety of media embraced by Namibian artists.  Paul Kiddo’s realist painting of the Christuskirche shows the merit and skill of the artist in rendering intricate detail, while Chris Snyman’s Guardian Angel emotively gestures toward bold and abstract expressions. Ceramicist Sarie Maritz and basket weaver Elizabeth Modise reflect the Bank Windhoek Triennial as an exhibition thus far inclusive of exceptionally crafted products. Artistic and conceptual merit is evident in the artworks and craft collected from the Bank Windhoek Triennial and placed into the NAGN Permanent Collection.

Like the Bank Windhoek Triennial, The NAGN Permanent Collection is as varied as our society is diverse, being made up of over 300 artworks, from works by around 150 artists. This collection is housed in the NAGN storage, and is shown throughout the annual schedule in sections in exhibitions in the gallery curated around various themes.

For more information about the NAGN, the NAGN Permanent Collection, or the 2017 Bank Windhoek Triennial and how to enter, please contact, or, or phone 061 231 160.


Architecture in Namibia: Archaeology of the future-The landscape of tomorrow


VENUE NAGN Main Gallery
DURATION 20 April to 6 May 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Architecture in Namibia: Archaeology of the future-The landscape of tomorrow, which is on in the Main Gallery of the NAGN from 20 April to 6 May 2017.

The title of the exhibition was born when Italian architect Cinzia Abbate visited the Twyfelfontein Visitors’ Centre, where she appreciated how a contemporary building could be inseparable from its context, ready to dissolve into its environment, thus becoming the archaeology of the future.


Cinzia introduced Namibian architect Nina Maritz to Livio Sacchi in 2015, then president of the OAR (the Rome and Province Chamber of Architects), who expressed an interest in supporting an architectural exchange between Namibia and Italy. Nina initiated a work group of interested members of the architectural community in Namibia, who compiled a synopsis of Namibian architecture, through research and the participation of members of the Namibia Institute of Architects who contributed project material. 


Since Independence, Namibian architects have been consistently busy with the rapid development of the country. The past twenty-six years have been boom years for the architectural profession, which saw the provision of ample work through Government development and generous budgets leaning to the luxurious for many buildings. The 50th anniversary exhibition of the Namibia Institute of Architects in 2002 portrayed this architectural scenario.   Since then, the pace of development in the country has rarely given architects the chance to reflect on their work and its influence in shaping the environment.  


The exhibition comprises a snapshot of the current work of Namibian architects, placed in the context of history and location. It covers the influences of landscape, starting with the ancient geology of the country and travels through the different areas of coast, hinterland, north and south. It considers cultural and material influences and ponders whether there can be a contemporary Namibian style. It looks at the most recent projects placed in urban and rural situations, and zooms in onto urban development in Windhoek. Faced with the legacy of apartheid and rapid urbanisation, the capital city is a microcosm of Namibian society, with architecture playing a role in various socio-economic spheres, from rich to poor, from private to public.


Since this exhibition was first presented in 2016 at the Casa dell’Architettura in Rome, the economic situation in Namibia has changed, forcing architects to question their relevance in society and their need to adapt.  The contradictory permanence of architecture in the consumerist age and in the wider context of sustainability raises further questions.  How can architects create more integrated solutions towards a more coherent vision of the future? This exhibition provides the opportunity to reflect on the past, to contemplate these questions, and to imagine how the architecture of today forms tomorrow’s architectural landscape.





The City- Becoming and Decaying


VENUE NAGN Upper Gallery and Foyer
DURATION 5- 29 April 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition The City- Becoming and Decaying, which is on in the Upper Gallery and Foyer of the NAGN from 5 to 29 April 2017

This exhibition is made up of works by photographers from the renowned German photography agency OSTKREUZ. These photographs were taken over a period of two years, during which time 18 photographers travelled to 22 countries documenting cities around the globe. ‘The City. Becoming and Decaying’ has now been touring internationally since 2010.

About the Ostkreuz Agency

“The agency bears the name Ostkreuz. 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 1990 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. They come from the agency’s own initiative. 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.” (Marcus Jauer)

About The City
“One day, not long ago, humanity crossed a threshold without even realizing it. 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. According to a United Nations’ population report, as of the year 2008 more people live in cities than in the country. 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 have brought together images from around the world of the city’s growth and decay. 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: it is called the city.” (Marcus Jauer)

Photographers : Sibylle Bergemann, Jörg Brüggemann, Espen Eichhöfer, Annette Hauschild, Harald Hauswald, Pepa Hristova, Andrej Krementschouk, Ute Mahler, Werner Mahler, Dawin Meckel, Julian Röder, Thomas Meyer, Frank Schinski, Jordis Antonia Schlösser, Anne Schönharting, Linn Schröder, Heinrich Völkel, Maurice Weiss.

This exhibition is being held concurrently in four venues around Windhoek.

-The Katutura Community Art Center (KCAC) gallery is located on Hostel Str. in Katutura. The gallery space can be found on the first floor. Open 08:30-17:00 Mon-Fri.
-The Goethe-Institut is located at 5, Fidel Castro St. Open 9:00–17:30 Mon- Thurs, 9:00–14:00 Fri.
-The Namibia University of Science and Technology can be found on the corner of Beethoven and Wagner Street, the exhibition is located in the foyer of the Department of Architecture and Spatial Planning Building. Open 08:00-18:00 Mon-Fri.
-The National Art Gallery of Namibia is located on the corner of Robert Mugabe Avenue and John Meinert Street, the exhibition is located in the Foyer and Upper gallery. Open 14:00-17:00 Mon, 8:00-17:00 Tues-Fri, 9:00-14:00 Sat.

Tulipamwe International Artists' Exhibition 2017

ARTIST Local and International Artists
OPENING DATE 8 march 2017
VENUE NAGN Main Gallery
DURATION 9 March- 15 April 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Tulipamwe 2017, an exhibition of artworks by international and local artists which will be in the Foyer and Main Gallery from 8 March until 15 April 2017.

 It has been 23 years since the first Tulipamwe and the spirit of togetherness is stronger than ever. The 2017 edition of the Tulipamwe has brought together artists from11 countries to create, learn and share with one another.

Tulipamwe means “we are together”, and this is the spirit that fills the gallery during the exhibition. The feeling of community and UBUNTU is what has kept the project running for all these years. The first Tulipamwe International Artists’ Workshop was initiated by the Visual Arts Department at the University of Namibia in 1994, when 10 international artists were invited to work alongside 15 local artists for a two-week period. Since then, at least 13 similar international (as well as a number of regional workshops) have been held in Namibia. The project has involved more than 300 international and Namibian artists.

This year the workshop is based at the Etupe Co-operative in Northern Central Namibia. Etupe is nestled at the base of the Otavi mountains, 25 km north of Otavi. This farm will be home to 25 artists for 2 weeks from 18 February 2017- 4 March 2017. The geographical isolation of the venue is ideal for an artists’ workshop, where artists find inspiration in the surrounding habitat with its contrasting colours, varied textures and wide open spaces, to create the work that make up this exhibition.



Lukas Amakali, Namibia │Sem Amuthitu, Namibia │ Alejandra Aviles, Mexico│
│Isaac Chibua, Botswana │ Vera Luisa Coelho Gonçalves, Portugal │
│Lara Diez, England│ Actofel  Iilovu, Namibia │Saima Iita, Namibia │
│Filemon Kapolo, Namibia │Lonwabo Kilani, South Africa│ Nicky Marais, Namibia│ │Mwandale Mwanyekwa , Tanzania│ Tulina Nakashona, Namibia │
│Sheila Nakitende, Uganda│ Danisile Ncube, Zimbabwe │
│Thabo Pitso, South Africa│ Rudolf Seibeb, Namibia│ Petrus Shiimi, Namibia│
 │Nukwasa Tembo, Zambia │ Kent Wahlbeck, Sweden │ Sanmari Steenkamp, Namibia │ Tuaovisiua Katuuo,  Namibia│


Evoking Origin

ARTIST Oshosheni Hiveluah
OPENING DATE 16 March 2017
VENUE NAGN Upper Gallery
DURATION 16 March- 1 April 2017

Evoking ORIGIN


Evoking Origin is a multimedia digital installation that showcases work that explores the origin and source of life. The exhibition consists of motion picture and 360˚ virtual reality (VR).


Everything in this exhibition has a beginning, an original source and a set of instructions to help you navigate through whatever may come.


This multi-media digital installation is the first of its kind in Namibia. Namibian filmmaker, Oshosheni Hiveluah, has curated, shot and directed all the works on display exploring some of the technological forms now available. In this exhibition we are ushered into the new digital age.


Evoking Origin is taken from the root and explores the Afrikan’s understanding and handling of new media and virtual reality. The exhibition questions and explores how it can fit into our authentic cultures and traditions.


Authenticity doesn’t only have one look. This exhibition is an honest reflection of Hiveluah’s own reality. This authenticity can be ‘fabricated’, ‘recreated’ and ‘relived’ in the VR experience.


Through this exhibition we are led to question whether we are the one’s making ourselves fit into this new digital age. Is it causing us to disregard of our roots, origins, cultures and values? Or can it become an equally authentic part of our reality?


New Beginnings


VENUE NAGN Upper Gallery and Foyer
DURATION 26 January-11 March 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition New Beginnings 2017, which is on in the Upper Gallery and Foyer of the NAGN from 26 January to 11 march 2017



Every year the College of the Arts (COTA) holds an exhibition of work by graduates of the Visual Art Department. ‘New Beginnings’ is now in its 8th iteration celebrating yet another year of success in teaching, learning, thinking and making. After 14 years of tuition, the COTA Visual Art Department has become an established institution in the field, producing some of Namibia’s most exciting and innovative artists. Their accredited three year Visual Art Diploma programme teaches a variety of art and craft skills and allows students to major in a technique of their choice in the final year.

With each passing year the ‘New Beginnings’ exhibition takes on a different identity, influenced by the concerns of the present day and shifting with the addition of new minds and ideas added to the pool of graduate artists. Students at the College of the Arts come from diverse backgrounds, often leaving their homes and families to study art in the capital city, Windhoek. These personal histories are often present in the work that they create, as is evident in the work of Laimi Mbangula whose textiles are patterned using motifs derived from traditional utensils and tools. Similarly the works of Elisia Nghidishange and Innovandu Katuuo draw heavily on their culture and traditions; in the case of Nghidishange we see a questioning of the role and place of these traditions in contemporary Namibia.

This contemporaneity and deep investment in the present moment is clearly evident in the works of Sem Amuthitu, Jeremiah Haihambo, Sidney Lamberth, Viola Rantsch and Vaughn Riekert. Their works, which stem from concerns with social issues prevalent in Namibia today, allow this exhibition to touch on the topics of alcohol abuse, malaria, land ownership and gender-based violence.

Amuthitu’s series, ‘A Sugar-coated Message’, asks the audience to question their own behaviour in relation to alcohol. Amuthitu uses a Jackson Pollock inspired technique to paint people suffering from the effects of drinking too much. With this body of work Amuthitu requests, without judgment, that we consider a new beginning for ourselves.

Margareth Twamoneni and Gerson Ndongo, on the other hand, base their work on their personal narratives, drawing from self-examination and exploration. In her work, Twamoneni delves into an understanding of her physical being, stemming from an emotional connection to the notion of mortality. If we look to Ndongo’s works we can see that he creates layered pieces inspired by magazines, television and street culture. His work is a celebration of his connection to the unstoppable energy of youth, rejoicing in his experience of the current urban moment.

Johannes Heroin’s evocative sculptures of children at play show fragments of a moment; something that is only half remembered.  These nostalgic representations stand in this exhibition as a reminder that the remnants of past ‘New Beginnings’ exhibitions filter into the present and will continue on into the future. With this new beginning, the first exhibition of 2017, the NAGN welcomes new artists to the fold and looks to the future with optimism.

For more information please contact:

Nicky Marais, Head of Department: Visual Art, College of the Arts

+264 61 277308, +264 81 273 5044,


Who Killed Mr. Art?

ARTIST Mystery Artist

VENUE NAGN Main Gallery 
DURATION 2 February-4 March 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Who Killed Mr. Art, an exhibition of artworks by a mystery artist which is on in the Main Gallery from 2 February 2017 until 4 March 2017.


This exhibition stands as testimony of the Mystery Artist’s love of art and art history. However this playful attitude is accompanied by a depth of knowledge and a sense of humour that cannot fail to please. ‘Who Killed Mr Art’ is an exhibition that explores a puzzling crime and is shrouded in intrigue. In his pursuit of solving the crime our Mystery Artist presents us with a portrait series that depicts eight suspects. Which of them killed Mr Art?


Speculations are pointing in the direction of The Aristocrat, who is known for her tireless campaigning for animal rights. She happens to be fond of nude protesting, having done so topless for the banning of fox hunting and bottomless for the eradication of the fur trader. She had a quarrel with Mr. Art regarding this violence against animals that she expressively protests against. Another suspect in this bizarre killing is The Guest who once was restricted from punching Mr. Art because he alluded to The Guest as even a bigger fool if he thought that it were ever possible that Poussin would be less boring if he’d stuck to bacchanals.

Then there is the more mischievous then evil suspect, The Imp who likes to rile the art world cognoscenti by comparing the likes of Schnabel and Hirst to the likes of Degas and Rodin. “Tracey Emin’s filthy, unmade bed speaks volumes,” he declared. “The Bedroom at Arles, by comparison, seems tediously self-pitying.” Irritated, Mr Art snatched the trident from his hands and popped his Koons Balloon Dog.

Making murderous remarks about Mr.  Art places The Historian at the centre of speculations.

In The Historian’s book, Renoir: The Greatest Impressionist, Mr Art wrote; “A blind man could read brushstrokes by touch better than she can see them. Her attraction to all things mawkish and sentimental makes one suspect she’s the kind of woman with a huge teddy bear collection.”

The Historian reacted by saying that The Boating Party would be even more sublime if it had included Mr Art’s head on a plate.


The other suspects are The Nymph, The Spy, The Critic and The Performer who equally have had encounters with Mr. Art that places them in the circle of people who want him dead, and to discover who our mystery artist is, come to the grand reveal on 2 February at 18:00.




Urban Mythology

ARTIST Chris Snyman
OPENING DATE 13 December 2016
VENUE NAGN Main Gallery
DURATION 13 December 2016- 28 January 2017

The National Art Gallery of Namibia (NAGN) kindly invites you to the opening of Urban Mythology, a solo exhibition by Chris Snyman, on Tuesday 13 December 2016 at 18h00 in the Main Gallery of the NAGN. Chris Snyman was born in 1967 in Bethlehem, South Africa. Snyman studied art at the Pretoria Technikon School of Art and has completed a Goldsmith apprenticeship. Snyman moved to Namibia in 2005 and has been living and working in the country ever since. Snyman has exhibited solo and as part of group exhibitions, locally and abroad. In 2011, Snyman was awarded Bronze in the two-dimensional art category of the Bank Windhoek Triennial.

Snyman works across a variety of media, in both two- and three-dimensions, using media such as cement, aluminium, bronze, oil, pen and ink and mixed media. Snyman’s artworks are generated through an exploration of interpersonal relationships as well as content with an aspect of social critique.


This unique exhibition eloquently captures the spirit and mission of a modern Namibia like no other. Urban Mythology bridges the role from presentation of modern folklore consisting of fictional stories to cutting-edge contemporary art with the aim of interweaving the historical and contemporary events that have shaped and continue to impact our country and its inhabitants. The exhibition is devoted to contemporary art practice in a broader socioeconomic and historical context to examine the changing image of Namibia from the local grassroots level to the international perspective. Urban Mythology unites an extremely compelling and symbolic selection of paintings and sculptures, made of bronze, steel and concrete, to explore the diverse ways in which the country was constructed by public imagination.

Urban Mythology is on display from from 14 December 2016 to 28 January 2017 in the Main Gallery of the National Art Gallery of Namibia.  


Narratives of Space

ARTIST Various

DURATION 8 December 2016- 21 January 2017

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Narratives of Space, which is on at the NAGN from 8 December 2016 to 21 January 2016.



“Space is the breath of art." - Frank Lloyd Wright

The permanent collection of the National Art Gallery of Namibia (NAGN) houses a large variety of works collected from the inception of the gallery as an institution in 2005. The mandate of the NAGN is to collect, preserve, study, exhibit and stimulate appreciation for and advance knowledge of works of Namibian art and art about Namibia. Specifically, this mandate prioritises artworks which collectively showcase the broadest spectrum of human achievement at the highest level of quality, all in the service of the public and in accordance with the highest professional standards. The Permanent Collection of the NAGN echoes this mandate by striving to preserve and exhibit works that show artistic talent in Namibia, as well as offer a voice to issues and themes pertinent to Namibian society.

The NAGN Permanent Collection is as varied as our society is diverse. As such, there is a broad spectrum of ways in which to exhibit it. Part of advancing our collective knowledge of Namibian art and artists is to continue engaging with works from our past and our present in new and interesting ways, to open up possibilities of continual learning.

There are many ways in which we can conceptualise the idea of space throughout art history, artistic practice and indeed the works represented in the Permanent Collection. We see space as a metaphorical place, as well as a literal place in many artworks. Metaphorical spaces can be constructed through surreal, conceptual, abstract, and many other approaches to create artworks. Literal spaces may be rendered figuratively in depictions of physical spaces. Literal spaces may also be the inspiration for the construction of metaphorical spaces. Whatever the processes engaged in, the spaces that are produced drift between the real and the imagined, the historical and the contemporary, the local and the global, the abstract and the symbolic, and the specific and the generic. Space is therefore a complex topic to engage in. It is this complexity that is of interest in this collection of artworks as it allows for a multiplicity of narratives to emerge.

Metaphorical and abstract spaces in art and culture have historically been, and continue to be used as platforms from which to visually reflect on the state (or space) of being. This ‘state of being’ could be that of an individual, artist or another person,  as well as that of a larger entity; social issues, land issues, politics, a nation, war, etc. Exploration of this kind is also constructed through figurative, realistic renderings of people in spaces, spaces themselves etc. These explorations of space and state of being therefore use varying tools to speak to the multiplicity of voices represented through the artworks. Arguably, any representation of space is linked to the different ways in which they are perceived, experienced and imagined. It is important to look at the space an artwork creates, and is created from, as well as the space an artwork is seen in and the space of society and state of being at the time that the artwork is produced. Through this process, we may reflect on our collective space as a Namibian society as well as move toward an open, accommodating space for the future to grow into.

*This exhibition includes two artworks on loan from the Arts Association Heritage Trust (AAHT). The NAGN gives great thanks for the generosity of the AAHT in contributing to this exhibition. Between the collections of the NAGN and the AAHT, there is a wide representation of Namibian art and art history.  


UNAM Visual Arts Graduates Exhibition 2016

ARTIST UNAM Visual Art Graduates

VENUE NAGN Main gallery and Foyer
DURATION 10 November- 7 December 2016

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition UNAM Visual Art Graduates Exhibition 2016, which is on in the Main Gallery and Foyer of the NAGN as well as at the Franco Namibian Cultural centre from 10 November to 7 December 2016.



The Visual Arts Section at UNAM presents work by their students in the subjects; Art for Advertising, Ceramics Studies, Creative Expression, Fashion Studies and Textiles Studies.

Visual Arts subjects are intended to benefit students through personal development with an academic foundation. This helps to develop creative and conceptual abilities while preparing graduates with the knowledge and skills necessary for employment in the arts sector.

Creative Expression is another term for Visual Art. It is about making Art. In Creative Expression students are introduced to a variety of drawing techniques and creative strategies. Students learn how to use different art-making materials and processes such as painting, collage, print-making, clay, mixed-media and found objects/recycling to create artworks. Making Art allows students to express ideas, values and emotions, this helps students to understand and comment on - themselves, culture, society and environment. 

In Textile Studies students learn about the fabric that is part of everyone’s life. Textiles are seen as an expression of culture that can be aesthetically appraised. In Textile Studies students are introduced to a variety of ways in which to decorate and create fabric with a focus on product development that includes the basic principles of interior decoration.

Art for advertising is a course which deals with foundational aspects of visual advertising, concentrating on the ideas which drive advertising and basic practical elements of advertising in print media (magazines, brochures, posters, television) such as typography (use of alphabet forms), pictures and text and how they are organised in advertising layout (composition of advertisements and other printed media). Advertising is an integral part of popular culture, and as such, gives expression to ideas and values that are also expressed through communication media and forms of art such as cinema, popular music and fashion.

The fashion course is structured to equip students with necessary skills to start up their own business or follow other careers within the fashion and the creative sector. The practical portion of this course includes three major areas; creative work, pattern making and garment construction. All three components carry equal weight as they form the foundation principles in fashion design.

In Ceramics Studies students are firstly introduced to a variety of ways to work with clay to produce both practical and aesthetic expressions. They also learn how to design and manufacture products with regard to market demands.


Forms and Figures

ARTIST Francois de Necker

VENUE NAGN Main gallery
DURATION 3 November- 3 December 2016

The National Art Gallery of Namibia (NAGN) is pleased to announce the exhibition Forms and Figures, which is on in the Main Gallery from 3 November to 3 December 2016.


Having presented a solo exhibition almost every fourth year of his creative life in Namibia Francois de Necker was awarded a Lifetime Achievement Award at the 2014 Bank Windhoek Triennial for his illustrious career as an artist and art educator in Namibia. Born in South Africa in 1944, de Necker grew up and studied in Johannesburg. In 1984 de Necker established the Department of Visual Arts at the University of Namibia.

Having exhibited extensively throughout SADC and Europe, the National Art Gallery of Namibia (NAGN) is glad to welcome him back for this solo exhibition held in our upper gallery.

The title ‘Forms and Figures’ brings together the two main threads that epitomise the subject matter of the artworks on display. Throughout his career de Necker has made largely non-figurative work, focusing on form and abstracting shapes from his immediate environment. Many of these forms, drawn from the Namibian landscape, are reoccurring and have become emblems in his work. The cloud, the hill and the tree are three such recurrent structures, each standing for a multiplicity of meanings that de Necker happily leaves to the viewer to interpret and connect with. 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. In this moment of exchange, de Necker’s forms re-emerge as both background and context, as equal players in the tale that unfolds. 

This exhibition stands as testimony to de Necker’s ability to create an entire story on a single plain. Paying careful attention to the forms and figures, and the relationships between them, we become immersed in a contemplative world of abstraction.


Muafangejo: Memory and Activism

ARTIST John Muafangejo
DURATION 3 October - 5 November 2016


The National Art Gallery of Namibia (NAGN) in collaboration with the Arts Association Heritage Trust (AAHT) and the John Muafangejo Art Centre (JMAC) is pleased to host 'Muafangejo: Memory and Activism', an exhibition of works by the late Namibian printmaker, John Ndevasia Muafangejo. This exhibition forms part of the John Muafangejo Season, a new project initiated by JMAC which aims to honour the remarkable legacy of John Muafangejo through a programme of community engagement activities with local and guest practitioners from the Southern African region.

The 2016 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:
• Develop and promote new work geared towards socio-cultural activism.
• Dialogue, share ideas, information and skills on relevant contemporary art and curatorial practices in the context of activism and archivism in Africa.
• Create a platform for cultural exchange between practitioners from the region and beyond

As part of this season, 'Muafangejo: Memory and Activism' is on at the NAGN in the Foyer from 3 October to 5 November 2016. Additionally, the NAGN will house a JMAC ARTiculation Session on 5 October 2016 around the theme ‘Muafangejo as memory for protest today’.


The Daily Life

ARTIST Tity Tshilumba
OPENING DATE 13 October 2016
VENUE NAGN Main Gallery
DURATION 13 October - 5 November 2016

The National Art Gallery of Namibia (NAGN) is pleased to invite you to the opening of the exhibition The Daily Life artist Tity Tshilumba. The opening will take place on Thursday, 13 October 2016 at 18h00 in the Main Gallery of the NAGN.


Tity Tshilumba’s contribution to the Namibian art scene has been coloured by his passion for everyday life and stories. 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.

“The people I painted are mostly the people around me, my neighbours and even passersby who interest me. I often take a quick snap shot so that I can use the scene later in my work.”

After 16 years in Namibia Tshilumba’s style and approach has grown and adapted yet still maintains its distinctive edge. Tshilumba considers himself both a realistic and abstract painter and describes his style as being based in movement. A number of the works on ‘The Daily Life’ were inspired by a desire to increase awareness about the current drought that Namibia is facing;

“Three years ago for an exhibition with Kaleb Haipinge I painted a piece called ‘Red Alarm’, a man moving with cattle from dry land to new pastures. 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.”

Tity Kalala Tshilumba graduated with a distinction in painting from the Institute des Beaux Arts in Lubumbashi/ Congo DR in 1998. He was born in 1976 in Lubumbashi, the Democratic Republic of Congo (DRC). Due to political instability he left the country and in 2000 arrived in Namibia. In 2007 Tshilumba participated in his first group exhibition in Namibia titled; ‘The Congolese Connection’ which saw him joining forces with his fellow countrymen. Tshilumba built a name for himself and in 2010 exhibited for the first time at the National Art Gallery of Namibia. In 2011 he became a member of the organisation Visual Artists - Namibia (VA-N). Tshilumba’s first solo exhibition in Namibia, ‘La Passion de Vivre’ was held at the Franco Namibian Cultural Centre in 2014. Since then Tshilumba has held several solo exhibitions and has been exhibited internationally in Switzerland (2013) and Germany (2016). Several of Tshilumba’s works now reside in the Government of the Republic of Namibia’s Collection adorning the walls of various buildings including that of the Auditor General, the Ministry of Poverty Eradication and Social Welfare and the Ministry of Industrialization, Trade and SME Development. Tshilumba has also participated in Tulipamwe (Tulipamwe is a two-week annual international artist’s workshop held in Namibia).


Bank Windhoek 30 by 30 Art Competition

ARTIST  Amateur and Scholar artists
OPENING DATE 14 October 2016
VENUE Upper Main Gallery
DURATION 14 - 29 October 2016

The National Art Gallery of Namibia is pleased to invite you to the Exhibition Bank Windhoek 30 by 30 Art Competition by Amateur and Scholar artists. The opening will take place on Friday 14 October 2016 at 18h00 in the Upper Gallery of the NAGN.


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., intended materials and/or written text. 

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.


Come cycle with me

ARTIST Trudi Dicks
OPENING DATE 8 September 2016
DURATION 8 September- 01 October 2016

 Trudi Dicks was born in South Africa and has lived and worked in Na­mibia since the 1960s, becoming a Namibian citizen in 1967. In 1986 Dicks received her degree from the University of South Africa. Dicks is well known for her printmaking and large-scale sculpture that is often inspired by nature. Her close at­tention to form, pattern and detail result in complex two-dimensional and three-dimensional pieces. Dicks has exhibited extensively both locally and internationally (in Spain, France, Scotland, Botswana, South Africa, the USA, Slovenia, Germany and Norway). Artworks by Trudi Dicks have been collect­ed by both the collection of the Art Association Heritage Trust and the permanent collection of the National Art Gallery of Namibia.

About her familiarity with the subject of this exhibition Trudi said:

“My relationship with cycling has come a long way and I have cycled regularly for many years. I started off with a few friends, some who have left, others who no longer cycle. Most of the time I take myself out to Otji­hase mine and cycle there on my own. I select times when there are many cyclists and I feel safe and happy.”


Amazing Namibian Women

ARTIST Various
OPENING DATE 16 August 2016
DURATION 16 August - 10 September 2016

 The National Art Gallery of Namibia (NAGN) kindly invites you to the exhibition Amazing Namibian Women, which opens Tuesday 16 August 2016 at 18h00 in the Foyer of the National Art Gallery of Namibia. The opening will function as an auction of artworks. Amazing Namibian Women was conceptualised and organised by Kleopas Nghikefelwa and the NAGN, and has received crucial support from the Namibian Airports Company (NAC). This project aims to celebrate women in our Namibian society, in their diversity of backgrounds, roles and achievements. For this project, the NAGN and Sister Namibia created a list of a few Amazing Namibian Women from which artists could select who to portray. Artists were invited to create portraits in any medium: paint, photography, print, digital or mixed media.

 The women selected range from ‘celebrity’ status, to the less ‘well-known’ figures in Namibian society, all of whom are equally amazing in their contributions to their communities. The various backgrounds and fields of these women include: civil-rights activists, doctors, writers, entrepreneurs, politicians, performers, teachers, models, social workers, and many more. 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. As such, this exhibition opens with an auction of all artworks created, from which proceeds will be donated to Sister Namibia’s initiative Power Pad Girls. Power Pad Girls works to provide re-usable pads to girls in primarily rural areas, along with comprehensive education. Power Pad Girls offers girls basic dignity by allowing increased school attendance and therefore contributing towards the completion of young girls’ primary and high school education. The artists participating in this celebratory and charitable project include: Petrus Shimii, Frans Nambinga, Rasai Haindere, Nicky Marais, Ismael Shivute, Saima Iita, Mateus Shilongo, Tafadzwa Mitchell Gatsi, Nambowa Malua, Vaughn Riekert, George Edward, Hildegard Titus, Julia Hango and Nicola Brandt.

 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. We also give thanks to the women, those depicted and those who aren’t, whose achievements are shared by the nation and have helped us progress away from patriarchal patterning and towards equality.

As part of this exhibition and the goal of raising funds for Power Pad Girls, the NAGN will host a Power Pad Girls Quiz Night on Tuesday 23 August 2016. Amazing Namibian Women runs at the NAGN from 16 August – 10 September 2016.


Freeing My Mind

ARTIST Petrus Amuthenu
OPENING DATE 11 August 2016
VENUE NAGN Main Gallery
DURATION 11 August - 3 September 2016

The National Art Gallery of Namibia (NAGN) is pleased to invite you to the opening of the exhibition Freeing My Mind by Namibian artist Petrus Amuthenu. The opening will take place on Thursday, 11 August 2016 at 18h00 in the Main Gallery of the NAGN.

Petrus Amuthenu was born in the coastal town of Swakopmund and grew up in northern Namibia in Uukwaludhi. In 1991 he moved to Windhoek where he attended school. From early on Amuthenu entertained himself by drawing and sketching. In 2002 a chance encounter with the late artist Samuel Mbingilo at the Katutura Community Art Centre (KCAC) gave Amuthenu his first introduction to the Namibian art world. Following on from this encounter Amuthenu enrolled in art classes with the John Muafangejo Art Centre (JMAC) and completed two years of study with the College of the Arts (COTA).

In 2015, Amuthenu held his first solo exhibition; Urban style / Kasi style at the Franco Namibian Cultural Centre (FNCC). This year his work has been exhibited internationally at the Cape Town Art Fair and at Muesum Würth in Germany.

In this second solo exhibition, we see his process from sketchbook to final product as a literal ‘freeing of his mind’. Amuthenu’s training in cardboard printmaking has left his work with a distinct style. 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. Amuthenu’s works draw on pop-culture and related motifs. 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.

Freeing My Mind runs at the NAGN from 11 August – 3 September 2016.


Kyle Weeks : a solo exhibition

ARTIST Kyle Weeks
OPENING DATE 2 August 2016
DURATION 2 - 27 August 2016

The National Art Gallery of Namibia (NAGN) is pleased to invite you to the opening of the exhibition Kyle Weeks: a solo exhibition. The opening will take place on Tuesday, 2 August 2016 at 18h00 in the Upper Gallery of the NAGN.

Kyle Weeks was born in Namibia, and is currently working and residing in Cape Town, South Africa as a photographer. Weeks studied photography at Stellenbosch University and graduated with a Bachelor of Arts in Photography in 2013. 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.

Making up Weeks’ first solo exhibition in Namibia, this show brings together two series’ of photographic portraits that span four years of collaboration with Himba men. 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. In both photographic series’ Weeks looks at the dynamics of representation and identity formation through the complex lens of photography.

Weeks has just recently been awarded the Fine Art Single Image 2016 Magnum Photography Award for one of the images that will be on display. 

Kyle Weeks: a solo exhibition runs from 2 August - 27 August 2016 at the National Art Gallery of Namibia.

The artist will also give a walkabout and talk at 16h00 on 5 August 2016.



ARTIST Various
OPENING DATE 14 July 2016
DURATION 14 July - 6 August 2016

 The National Art Gallery of Namibia (NAGN) is pleased to invite you to the opening of the exhibition Conversations: a call for collaborations. The opening will take place on Thursday, 14 July 2016 at 18h00 at the NAGN.

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. In the history of Namibian art specifically we can trace confluences of interest, sometimes surrounding an institution, whose students and lecturers band together to create work or even form ‘Artists Collectives’. Both the John Muafangejo Art Centre (JMAC) and the Katutura Community Arts Centre (KCAC) have proven to be such sites of nexus. 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. In one word: Ubuntu.

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:

14/7 – Haymich Oliver: a dance performance

19/7 – Dominance: a performing arts narrative in collaboration with Goethe Institut

28/7 – Concrete Melodies: Michael Pulse & Shikulo Pinehas

5/8 – State of moving into bodies, places & times: Oudano wa Afrika theatre making company

6/8 – Film screening ‘Home of Heart’

Conversations runs at the NAGN until 6 August 2016.


Old School Spirit

ARTIST Papa Shikongeni & Andrew van Wyk
OPENING DATE 12 July 2016
VENUE NAGN Foyer & Upper
DURATION 12 July - 30 July 2016

Old School Spirit is an exhibition of works by Andrew Van Wyk and Ndasuunje “Papa” Shikongeni, two of Namibia’s well known printmakers.  They have paired up to present an exhibition of works that they hope will inspire and create a much needed dialogue between the new generation of artists that are now entering the art market  and the ‘Old School Spirits’ that have been part of  the Namibian art industry for some time. 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.

The ‘Old Schools Spirits’ would like their audience to walk away having gained something from this exhibition. Van Wyk and Shikongeni would like to inspire the new generation to take the medium even further. “We are making work that will inspire the younger artists like creating a light in the darkness” Shikongeni said as he described their work. The Old School Spirits would like to invite you to view the exhibition at their “mother” - the National Art Gallery of Namibia, the place where they grew to become the artists that they are today.


Perspectives: a creative dialogue between Namibian and Chinese photographers

OPENING DATE 9 June 2016
VIEWING 9 June - 9 July 2016
VENUE NAGN Main Gallery

The National Art Gallery of Namibia hosts Perspectives: a creative dialogue between Namibian and Chinese photographers. Perspectives is an exhibition created in collaboration with the NAGN, the Chinese Association of Photographers and Way Way Namibia Travel & Tours. 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:

How do images taken by Namibian photographers compare to those taken by Chinese photographers?

How do we photograph what is unfamiliar to us?

Do our photographs tell us about the world we see or about how it sees us?

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.


New Beginnings 2016

OPENING DATE 10 May 2016

The National Art Gallery of Namibia invites you to attend the opening of "New Beginnings 2016", an exhibition of artworks by Graduates of the College of the Arts.

The exhibition will be opened by JMAC Project Manager Jacques Mushaandja at 18h00 on 10 May 2016 in the NAGN Foyer.


1 College of the Arts
1 Visual Art Department
13 Years of Tuition
2 years of NQA Accreditation
7 “NEW BEGINNINGS” Exhibitions
11 Graduation Ceremonies
99 Graduates

New Beginnings is a springboard exhibition for graduate visual artists from the College of the Arts. 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: Visual Art, College of the Arts
+264 61 277308, +264 81 273 5044,



ARTIST Ismael Shivute
OPENING DATE 2 June 2016
VIEWING 2 June - 2 July 2016
VENUE NAGN Upper Gallery

Ismael Shivute was born in Ombome, a small village in Northern Namibia near to the town of Outapi, in 1988. 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. They would also spend hours in the dry season making clay oxen in the dried out water pans called “Oshanas” which in turn formed part of complicated games involving miniature cattle-posts and communities. Shivute completed his schooling at Onesi Senior Secondary School in 2006 and the following year attended a short art workshop in Outapi. This encouraged him to apply to the College of the Arts in Windhoek the following year to study Product Development in the Department of Visual Art and Craft. He completed the three year diploma course in 2010.

Since 2010 Shivute has had the opportunity to take part in many group exhibitions both in Namibia and abroad. Internationally Shivute’s work has been seen in Berlin Germany, Nottingham UK and Kuünzelsau Germany. Shivute’s latest body of work is made up of depictions of his community, drawing images from the area in which he lives. 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.

“As an artist I am only inspired by my environment, recycled or used materials and the feel of things made by hand. 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. ” - Ismael Shivute


JUST: A group exhibition

OPENING DATE 28 April 2016
VIEWING 28 April - 4 June 2016

JUST is a group exhibition by Namibian artists including Maria Caley, Kirsten Wechslberger, Fillipus Sheehama and Melanie Sarantou. In this exhibition the artists explore, in various art genres and media, themes such as marginalisation, equality, stratification, journeys, passages, fringes and narrativity.

Read more here.


Remembrance Through Cloth

ARTIST Lynette Diergaardt
OPENING DATE 21 April 2016
VIEWING 21 April - 21 May 2016
VENUE NAGN Upper Gallery

The National Art Gallery of Namibia invites you to the opening of Remembrance Through Cloth, the first solo exhibition by textile artist Lynette Diergaardt on Thursday, 21 April at 18:00.

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.


Art Inside 2016

ARTIST Various
OPENING DATE 24 March 2016
VIEWING 24 March - 23 April 2016

The project Art Inside, which was first launched in 2014, 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. By installing the artworks, the project aims to celebrate visual art as an important mode of creative communication, and to foster an appreciation for visual art as inherent part of government’s working environment.

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. From these, the best pieces were first exhibited at the NAGN and then purchased for the Government of Namibia Art Collection.

The Art inside 2016 exhibition will run from 24th March to 23rd April 2016 at the National Gallery of Namibia.



ARTIST Various
OPENING DATE 22 March 2016
OPENING TIME 18:30 (Opening at FNCC)
VIEWING  22 March - 16 April 2016
VENUE NAGN Upper Gallery

For the celebrations of the Independence of Namibia, Art in the House Namibia,National Art Gallery of Namibia, Franco-Namibian Cultural Centre, John Muafangejo Art Centre and the Association Art Heritage Trust – will exhibit a collection of works focusing on and hailing Namibian Printmaking.

The extraordinary exhibition will be at the FNCC and NAGN and will focus on inspiring appreciation for Namibian art, promoting the unique technique of contemporary printmaking in Namibia and reflect how it has developed from the John Muafangejo era up until present. The exhibition will introduce printmaking to the new generation via Art Talks, exhibitions and workshops.

The opening will take place at the Franco-Namibian Cultural Centre on the 22nd of March at 18:30, and will continue on accross the street at the National Art Gallery of Namibia later in the evening.

Will run until 14th April at the FNCC, and 16th April at the NAGN

Entry is free!


ARTIST Yasiel Palomino
VIEWING 9 Feb - 12 March 2016

Colourful follows close on the heels of Colourless.

Palomino's second solo show in Namibia which took place at the Franco Namibian Cultural Centre in 2015.

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.



ARTIST Various
OPENING DATE 04 Feb 2016
OPENING TIME 18:30 - 14:00
VIEWING 4 Feb - 12 March 2016

The exhibition, curated with the German artist/ curator Spunk Seipel, is an attempt to approach a very difficult chapter of our history. The German colonial era in Namibia lasted from 1884 and 1915.

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.


AVAMP Traveling Exhibition

ARTIST Various
OPENING DATE 21 Jan 2016
VIEWING 21 Jan - 31 March 2016
VENUE COSDEF Centre, Swakopmund

The NAGN, together with the AAHT, is glad to announce that the exhibition AVAMP 2015 will be travelling to the COSDEF Arts and Crafts Centre in Swakopmund.

The opening will take place on the 21st Jan 2016, at 18h00.
The exhibition will run until 31 March 2016.


UNAM Annual Visual Arts Student Exhibition

ARTIST Various
OPENING DATE 5 November 2015
VIEWING 5 Nov 2015 - 30 Jan 2016
VENUE NAGN All Galleries

Showcase of University of Namibia student's works produced during the 2015 Academic year. Variety of artforms including fashion textiles, paintings, sculptures and installations.

30 x 30 Art Competition

ARTIST Various
OPENING DATE 17 October 2015
VIEWING 17 - 31 October 2015
VENUE NAGN Upper Gallery

Bank Windhoek and the National Art Gallery of Namibia (NAGN) have jointly launched 30x30 art competition to promote Visual Arts in Namibia.

The competition, entitled, ‘Bank Windhoek 30x30 Art Competition’, required participants to translate their creative ideas in any medium on a 30x30 sized canvas.

The Art Competition aims to discover new and fresh talent in Namibia and encourage artistic creativity, excellence, quality and individual expression.

A total of 124 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.


25 Years Later

ARTIST Various
OPENING DATE 16 October 2015
VIEWING 16 - 31 October 2015
VENUE NAGN Main Gallery & Foyer

25 Years Later…” is an art project which is being organized by the National Art Gallery of Namibia (NAGN). The theme was chosen as a theme to address issues of importance in our society 25 years after of independence.

This exhibition offered a platform for artists’ personal exploration and expression on life in Namibia 25 years after 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.


We would like to invite you to come and view this diverse group exhibition.


Tulipamwe International Artists Exhibition

ARTIST Various
OPENING DATE 1 September 2015
VIEWING 1 Sept - 3 Oct  2015
VENUE NAGN Upper Gallery & Foyer


The Ladies

OPENING DATE 18 August 2015
VIEWING 18 - 29 August  2015
VENUE NAGN Upper Gallery

The National Art Gallery of Namibia (NAGN) cordially invites you to the exhibition THE LADIES by Saara Nekomba, Inatu Indongo and Findano Shikonda.


The Erich Mayer Collection

ARTIST Erich Mayer
OPENING DATE 13 August 2015
VIEWING 13 - 29 August  2015
VENUE NAGN Main Gallery

The inaugural exhibition of a donation of Erich Mayer artworks will open at the National Art Gallery of Namibia on 13th August 2015. The NAGN had the privilege of receiving the valuable donation of artworks by the pioneer artist from a relative, Mr Hubert Hartl, from Berlin. Erich Mayer was a German born draftsman and painter who lived and worked in Namibia (then South West Africa) and South Africa where he worked as land surveyor at the turn of the 1900’s.


Luanda Nights

ARTIST Michael Propper
OPENING DATE 9 July 2015
VIEWING 9 July - 1 August 2015
VENUE NAGN Upper Gallery

‘Luanda Nights’ by German artist Michael Pröpper who is painting an ongoing series of night scenes from African cities - not only Luanda.  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.


My past, my future, my present

OPENING DATE 9 July 2015
VIEWING 9 July - 1 August 2015
VENUE NAGN Main Gallery

My past, my present, my future is a photo-art exhibition that combines portraits of people from the Northeast of Namibia with short life stories. 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.  To exhibit faces and narratives of people from the Kavango region as expressions of the fascinating stories life tells, is envisioned as a way of using art to empower and ‘empride people.


An Exploration of Plastics as a Visual Metaphor of Poverty and Overconsumption

ARTIST Various
VIEWING 4 - 27 Jun 2015
VENUE NAGN Main Gallery

The artworks explored the transformation of discarded plastic bags that inform the creation of visual metaphor. The images of street dogs and refuse plastic were collected to be used in artwork that addressed poverty, and over consumption in Windhoek. The images of street dogs in artwork are used as a visual metaphor that represents poor people those affected by poverty. Artworks have also explored the use of plastics as a visual metaphor to reflect consumer culture that lead to over consumption in Windhoek.

Olympia: Future Archive Part II

ARTIST Frauke Stegmann
OPENING DATE 28 May 2015
VIEWING 28 May - 9 August 2015
VENUE NAGN Upper Gallery

In Part II of “Olympia: Future Archive”, Frauke Stegmann wants to direct the gaze of the
viewer towards the magical and pristine biodiversity which occurs amidst us in the city
of Windhoek via natural biodiversity pockets and riverbed-systems, which host extraordinary
creatures and plants. These are in danger of being consumed by a fast developing
and growing city. “If we want to sustain the occurrence of the spectacle of species for
future generations, we need the so called “ordinary citizen”, the “non-specialist”, to
believe in the value of these untouched spaces within the city. Development will always
take place and take us into the future, but while this is happening, we have the power
and opportunity to bring the original (biodiversity) with us into the future.” (Frauke
Are these biodiversity pockets and riverbed-systems not part of the “culture of the
city or do they too need to be consumed by the whims and wishes of wealthy developers?”
(Wallpaper* Magazine, Instagram Post, accessed 20 May 2015)
Stegmann’s work focusses on the “Craft of Design” and the “Site-Specific” - as in the
“Olympia”/Future Archive Part II exhibition which takes a specific location in the suburb
“Olympia” as the site of art, where she informally archives the biodiversity spotted
- “a record of nocturnal, crepuscular and daylight occurrences of naturally inhabited
biodiversity loosely noticed at the edge of an expanding city in the suburb “Olympia”
in Windhoek, Namibia, during 2012 and 2013. Mixture of memory, nostalgia, mythology and
fact, remembered and re-imagined”. (From “Future Archive Part I”, which took place at
the Omba Gallery, Windhoek, in 2014)
The Environmental Management Division of the City of Windhoek have made extensive studies
on the biodiversity in and around Windhoek, and the amount of species documented is
remarkable. Their tireless efforts have thus far ensured that we can still access biodiversity
pockets and pristine riverbed-systems within our city:
“Biodiversity refers to the different forms of life and plays an important role in the
well-being of our environment and humankind. The City of Windhoek has various ecosystems
that support vast numbers of different forms of biodiversity such as our river courses
and open spaces. The river courses are of significant importance as they serve as biological
corridors that provide safe habitats and facilitate the movement of animals and
support a large number of plant species. Humans derive a lot of benefits from biodiversity
(such as clean air, recreational and aesthetic value). However, Windhoek’s biodiversity
and their habitat are threatened by a high rate of urbanisation and environmental
degradation. Windhoek has an opportunity to learn from other cities that has lost their
biodiversity and should avoid such trends by devising strategies that will promote the
conservation and sustainable utilisation of its biodiversity. This is a responsibility
of all residents of Windhoek not only the municipality.” (Olavi Makuti, Environmental
Specialist, Environmental Management Division, City of Windhoek)

For Tony

ARTIST Various
VIEWING 6 - 23 May 2015
VENUE NAGN Main Gallery

The National Art Gallery of Namibia (NAGN) will be hosting a benefit exhibition for well known Namibian photographer Tony Figueira. The exhibition titled ‘For Tony’ will be opened by Supreme Court Judge, Dave Smuts on Wednesday, 6 May 2015 at 18h00 in the Main Gallery of the NAGN.


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. Since he is our colleague and friend and has contributed an immense amount to photography in this country through partnerships, exhibitions and training, to name but a few examples,  the NAGN thought it right  to arrange a benefit exhibition. 


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.


‘For Tony’ will open on Wednesday, 6 may 2015 and run until Saturday 23 May 2015.



OPENING DATE 23 April 2015
VIEWING 23 - 13 May 2015
VENUE NAGN Upper Gallery

The National Art Gallery of Namibia (NAGN) will be hosting the exhibition of Namibian-based artists Actofel Iluvo, Robert Narciso and Friends as they set up an Installation Art Exhibition at NAGN in the month of April. The exhibition, which is titled ‘UNIT’ will open on Thursday, 23 April 2015 at 18h00 in the upper gallery of the NAGN.


Actofel and Robert have been friends since Robert moved to Windhoek in the middle of 2014. 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.  The two artists will start this installation by dividing the floor space into “plots”, each “plot” will be given to a separate artist. These artists will then be asked to create a space with in their plot. Together the individual space will create a “Unit” and collectively the installation will create a “Unit”.


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. Both Actofel and Robert hope that more youth led art projects will continue at the NAGN in the future.


‘UNIT’ will open of Thursday, 23 April 2015 and run until Saturday, 16 May 2015.



ARTIST Genivaldo Amorim
OPENING DATE 9 April 2015
VIEWING 9 - 25 April 2015

The National Art Gallery of Namibia (NAGN) will have the honour of hosting the exhibition of Brazilian artist Genivaldo Amorim in the month of April. The exhibition, which is titled ‘Skin’ will open on Thursday, 9 April 2015 at 18h00 in the Main Gallery of the NAGN.

Born in 1973, Genivaldo Amorim is artist (self-taught), curator and cultural producer. He Lives and works in Valinhos (a city 100 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. At the exhibition the skin question is treated in two ways, in “Soft-bodied Creatures, but with good skin” installation we talk about our use of other bodies to satisfy our own body. 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: "3rd Degree Burns" series, the result of a photo shoot done in a setting destroyed by fire. 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. 22 works will be exhibited.


For more information on the artist please visit:


Art Inside 2015

ARTIST Various
OPENING DATE 30 March 2015
VIEWING 30 March - 18 April 2015

The National Art Gallery of Namibia (NAGN) is pleased to announce the Official opening of the Art Inside 2015 exhibition. The Opening took place on Tuesday, 17 March 2015 at 18h00 at the NAGN.



The project, titled Art Inside, which was launched last year, is a Government Art Project which aims to celebrate Namibian art and to foster an appreciation for visual art as an inherent part of government’s working environment.


This year the National Art Gallery of Namibia (NAGN) has earmarked the amount of N$ 750,000 to purchase artworks for allocation to Regional Ministry offices as well as all Namibian Diplomatic Embassies.


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.


Art Inside 2015

The Art Inside 2015, was opened by the Deputy Minister of Youth, National Service, Sport and Culture, (MYNSSC) Honourable Juliet Kavetuna, took place during the week leading up to Namibia’s 25th Independence Day celebrations and will be a part of the Independence week celebration programme under the MYNSSC.


The exhibition will be on displayuntil Saturday, 18 April 2015. Once the exhibition comes to a close the purchased artwork will be installed at Government premises by the NAGN curatorial and technical team.


Land, Light, Space

ARTIST Paul van Schalkwyk and Wasserfall Munting Architects
OPENING DATE 5 March 2015
VIEWING 5 March - 4 April 2015
VENUE NAGN Main Gallery

The National Art Gallery of Namibia would like to invite the public to view the exhibition, Land, Light, Space – Photographs, Buildings and Place. The exhibition which was part of Namibia’s contribution to the 2014 Venice Biennale will be showing in the Main Gallery of the NAGN from Friday, 6 March 2015 until Saturday, 4 April 2015.

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 exhibition ran from June to November 2014 in Venice and has now in part returned to Namibia for display at the National Art Gallery of Namibia.

The Venice Architecture Biennale was established in 1980 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 228,000 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.

The exhibition which will be showing at the NAGN from Friday, 6 March 2015 until Saturday, 4 April 2015.


ARTIST Lok Kandjengo
VIEWING 5 Feb - 28 Feb 2015
VENUE NAGN Main Gallery

On Thursday, 5 February at 18h30 the NAGN will host the opening of young Namibian visual artist Lok Kandjengo. The exhibition which is titled ‘Multifarious’ will be a milestone in the career of the young artist, as it will be his first solo exhibition to be hung at the NAGN.

Kandjengo was born in the small village called Okaku in northern part of Namibia in 1988 and grew up in a self-employed, family. “I believe that from a very young age, my mum’s work’s exposed me to the world of art as I used to help her when she was designing and making her cultural and traditional outfits,”

After completing high school, Kandjengo spent three years at the John Mwafangeyo Art Centre, where he gained a certificate in Visual Art.  “I studied life drawing, printing, ceramics and textiles.” Thereafter Kandjengo was accepted for the three year diploma course at the College of Art, where he graduated in 2011 with an Applied Arts diploma, specialising in Cardboard Print in his third year.

Today, Kandjengo describes himself as a self-employed freelance artist

‘Multifarious’ is an exhibition made up of cardboard prints and paintings. Kandjengo said the exhibition was inspired by the different faces and prospectives of the past. “The subject matter in my work is very nostalgic; I went back in time to draw my inspiration.” Kandjengo credits Namibian greats such as John Muafangejo and Joseph Madisia as having influenced his style. “The print making technique that I use is more or less the same as Muafangejo and Madisia, however I work with more colour, I can use up to 20 colours on one print.”

Lok Kandjengo’s Multifarious’ exhibition will open on Thursday, 5 February 2015 at 18h30 in the Main Gallery of the NAGN. The exhibition will run until Saturday, 28 February 2015.


Fragility and Vulnerability of the Human Being

OPENING DATE 13 Nov 2014
VIEWING 13 Nov 2014 - 31 Jan 2015
VENUE NAGN Upper Gallery

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 1652 to encompass universal psychic and physical pain to become the symbol of the suffering endured by all humans. Elements from books, art history, Afrikaner history, the artist’s personal history and the collective history of mankind were portrayed to utilize the exhibition space to create a narrative of abuse and fragility not only in Afrikaner history, but most importantly, in a universal history.

There is thus the hint of an autobiographical rendering but it is mostly a therapeutic act to make sense of life on earth. The artist aims to touch people’s lives and their souls and hopefully this exhibition will help the viewer to confront our past, to re-examine our place in the world and to make the present and the future a better place to live in.


Christine Marais Retrospective Exhibition

ARTIST Christine Marais Retrospective
VIEWING 6 Nov 2014 - 8 Feb 2015
VENUE NAGN Main Gallery

The National Gallery of Namibia will be honouring one of Namibia’s great artists, Christine Marais, with a retrospective exhibition of her work, opening on Thursday 6 November 2014 at 18h30 in the Main Gallery of the NAGN.

Christine Marais lived in Namibia from the age of 35 until her death at the age of 77 in 2012, 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.

The works included in the Christine Marais Retrospective Exhibition are drawn from personal collections of her work belonging to her family and friends, and are representative of many years of this artist’s prolific creative career. 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.

A catalogue of the works on the retrospective will be available at the exhibition, including a memoir of her life and a collection of anecdotes by those who worked closely with her on various projects.

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 Earth Inside

ARTIST Nicola Brandt
OPENING DATE 31 July 2014
VIEWING 31 July - 29 August 2014
VENUE NAGN Main Gallery

Curated by Vid Simoniti

Guest Speaker: Professor Peter Katjavivi

Nicola Brandt's exhibition The Earth Inside at the National Art Gallery of Namibia is the artist’s first solo show. The multimedia installation consists of video, photographs, audio, archival materials and found objects.

It is widely documented that between the years 1904 to 1908 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.' The repercussions of these events are still powerful today. 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.


Nikon Moments

ARTIST Tony Figueira
OPENING DATE 26 June 2014
VIEWING 26 June - 26 July 2014
VENUE NAGN Main Gallery

Well known Namibian photographer and owner of Studio 77, Tony Figueira will host an exhibition titled ‘Nikon Moments’ in the National Art Gallery of Namibia. The exhibition will be opened by Hilda Basson-Namundjebo on Thursday, 26 June 2014 in the Main Gallery of the NAGN at 18h30.

Finish Memories of Northern Namibia

ARTIST various
OPENING DATE 14 May 2014
VIEWING 14 - 30 May 2014
VENUE NAGN Upper Gallery

The Museums Association of Namibia (MAN), in association with the Embassy of Finland will present an exhibition of some of the earliest known photographs of northern Namibia. The exhibition, titled ‘Black and White: Finnish Memories of Northern Namibia’ will be open to the public from at the National Art Gallery of Namibia on Wednesday, 14 May 2014 until Friday, 30 May 2014. 


VIEWING 8 - 31 May 2014
VENUE NAGN Main Gallery

An Exhibition by well known Namibian sculptor. The exhibition will open on Thursday, 8 May 2014 in the Main Gallery of the NAGN at 18h00.


ARTIST Chikonzero (Chiko) Chazunguza
VIEWING 7 - 26 May 2014

The National Art Gallery of Namibia will host the exhibition of Zimbabwean artist Chikonzero (Chiko) Chazunguza titled “IMINDIMIIVO-IVONDIVOIMI” which translates to“They are you-you are they”. 

The exhibition will open on Wednesday, 7 May 2014 in the NAGN Foyer at 18h00.

Chiko who since 2009 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.


The exhibition will open on Wednesday, 7 May 2014 and will close on Monday, 26 May 2014.


Moments of Light

ARTIST Various
OPENING DATE 8 April 2014
VIEWING 8 April - 3 May 2014
VENUE NAGN Upper Gallery

The National Art Gallery of Namibia hereby invites all visual artists to contribute to the upcoming exhibition Moments of Light – An Exhibition of Miniatures’. The exhibition is conceived of as a way to mobilise support from the entire visual art community for the Dias Machate Benefit Fund. 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 2014 he suffered a stroke and has since then been unable to work, walk or speak. The NAGN has recently established the Dias Machate Benefit Fund. All proceeds from the exhibition “Moments of Light – An Exhibition of Miniatures” will be donated to the Dias Machate Benefit Fund to assist him to enjoy better medical care and home care.

Originally from Mozambique, Dias Machate participated in Tulipamwe International Artists’ Workshop in 1994 where his amazing versatility as sculptor and his practical knowledge of alternative clay firing methods inspired local artists. Soon afterwards he accepted a contract post atUNAM as lecturer in 3-dimensional studies. Dias stayed on to make Namibia his home and eventually obtained permanent residence. He also taught ceramics, sculpture and drawing at theCollege of the Arts at the Katutura Community Art Centre and at JMAC, where he inspired young artists and helped shape many successful careers. 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


Namibia Sun Pictures

ARTIST Paolo Solari Bozzi
OPENING DATE 3 March 2014
VIEWING 3 March - 1 April
VENUE NAGN Lower Gallery

Born in Rome in 1957, Paolo Solari Bozzi has dual Italian and Swiss nationality and lives in Switzerland. 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 1982, 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 2003, he started to devote his free time to printing and added the medium format to the Leica format. On changing direction in 2010, 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.

For 5 months in 2012, with his wife Antonella and their Land Rover TD5, Paolo travelled through Southern Africa. Using mechanical medium format cameras and wide angle lenses, Paolo depicts, in 53 black and white images printed in his own darkroom, some aspects of the lives of Damara, Himba and Bushmen, exulting in the ‘quiet elegance’ (as written by Cara Weston, that excellent photographer, and granddaughter of the extraordinary Edward) perceived when looking into the intense eyes of the Namibian peoples.

Paolo’s 2012 photographs, together with those shot in 2010 during his previous journey to Namibia, form the raw material for his first book “Namibia Sun Pictures”, and this exhibition in Windhoek offers visitors a more intimate means of seeing Paolo’s work, now with intensity and on a larger scale than found in the book.


Art Inside 2014

ARTIST Various
OPENING DATE 20 Feb 2014
VIEWING 20 Feb - 28 March 2014

Art Inside - an art project for government is an art awareness project organized by the National Art Gallery of Namibia (NAGN) in collaboration with the Ministry of Youth, National Service, Sport and Culture (MYNSSC). 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 500 art works by the 31 January closing date. Of this number, almost 200 pieces have been selected to be part of the Art Inside 2014 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.


The Art Inside 2014 Exhibition will take place on Thursday, 20 February 2014 at 18h00 at the National Art Gallery. The exhibition will be officially opened by the Honourable Minister of Youth, National Service, Sport and Culture Jerry Ekanjo, MP and will be on displayed in the NAGN, FNCC and Goethe Centre galleries until 29 March 2014.



ARTIST Isabel Pinto
VIEWING 4 Feb - 14 Feb 2014
VENUE NAGN Main Gallery

The Portuguese Embassy and the National Art Gallery of Namibia are excited to present Familia, an exhibition by Portuguese photographer, Isabel Pinto.

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 46664 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. “The loving bond and emotional connection inside Family, the way it shapes who we are and where we belong to, how it roots individuals has always attracted me in such a powerful way, like an addiction. 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!” says Pinto.

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. Unadorned and unaware, Pinto’s subjects reflect the honest and warm way in which she sees the world.


Akwata Ondjuhwa Komulungu

ARTIST Olaniyi Rasheed Akindiya
OPENING DATE 21 Nov 2013
VIEWING 21 Nov - 2 Dec 2013
VENUE NAGN Upper Gallery

The National Art Gallery is excited to announce that, Nigerian/United States artist Olaniyi Rasheed Akindiya Akirash will be exhibiting at the NAGN on Thursday, 21 November in the Upper Gallery at 18h00. 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.

His exhibition is titled ‘Akwata Ondjuhwa Komlungu’ which in Oshindonga means ‘He Caught the Chicken on the Mouth’, “I choose this title to send a message to people of Namibia who think the country owns them something, many people are awaiting a miracle of some sought to happen to them, this is a proverb to say that is time to wake up / raise up early before the cock crow and be ready to work, to contribute to the development of this great nation Namibia.”

The exhibition will comprise of mixed media paintings, performances and sculpture installations. All the art works in the exhibition were created during his stay in Namibia “Most of the works are inspired by what I see, how people, especially the youth respond to everyday life. My work is mostly influenced by the time, space, moment and environment I find myself,” he says. Akirash admits that when he started work for this exhibition he did not consciously think of a theme but say that the work come together as he was working “ As I continued working it come together to give the same message, which is that people need to wake up before the cock crows.

‘Akwata Ondjuhwa Komlungu’ by Akirash will open in the Upper Gallery of the NAGN on Thursday, 21 November at 18h00 and will run until Monday, 2 December.


Art Horizons

ARTIST Various
OPENING DATE 13 Nov 2013
VIEWING 13 Nov - 29 Nov 2013
VENUE NAGN Main Gallery

The University of Namibia (UNAM) presents its 2013 Annual Student Art Exhibition ‘Art Horizons’ at the National Art Gallery of Namibia

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 2001, 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. Visual and Performing Arts at UNAM and the National Art Gallery of Namibia have a long relationship that lately is deepened by the fact that four of the staff of the gallery are UNAM graduates.

An exhibition of further work can also be seen at the Standard Bank Gallery at UNAM.


National Ceramics Biennale

ARTIST Various
VIEWING 3 Oct - 30 Oct 2013

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 29.09.13 from 09:00 – 12:00 at the National Art Gallery.  The invited judge Mrs Catherine Brennon from South Africa and Mrs Cathy Mc Roberts from Windhoek will be doing the selection and judging on Monday 30.09.13.


As in previous years has Bank Windhoek sponsored us with a very generous amount of N$ 46 600.00, which we are very grateful for. 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.

For more information on the Biennale or the workshop presented by Catherine Brennon please do not hesitate to contact us on


Creatures Great and Small

ARTIST Various
VIEWING 4 Oct 2013 - 18 Oct 2013
VENUE NAGN Upper Gallery

‘Creatures Great and Small’ an exhibition in aid of the SPCA by students of the
Barbara Böhlke Art School will open on Friday, 4 October 2013 at 18h30
A hundred and seven paintings by seventy students aged between seven and seventy
of the Barbara Bohlke Art School will be exhibited in the Upper Gallery of the National
Art Gallery of Namibia. Having animals as a theme, the exhibition is entitled
‘Creatures, Great and Small’ and the proceeds will be donated to the SPCA of
Namibia. 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.