South Africa’s Iziko Re-Opens with New Exhibition

After being closed to the public since 1 March 2010, the Iziko South African National Gallery re-opened its door on Thursday, April 15th.

The much anticipated exhibition, 1910-2010: From Pierneef to Gugulective, will offer a fresh look at a century of South African art, curated by Riason Naidoo, Director of Arts Collections at Iziko.

The exhibition “1910-2010: From Pierneef to Gugulective,” curated by Riason Naidoo, newly appointed Director of Arts Collections at Iziko, provides insight into the soul of our nation, spanning the length and breadth of this country, from the hilltops near the Union Buildings to the townships of Cape Town. The exhibition showcases the history and diversity of modern and contemporary South African art, from the formation of the Union of South Africa a century ago, to the present.

It starts with the period under British colonialism - when the idea of a modern South African state had parallel developments in the art world - which began to articulate a unique identity in relation to the rest of the world.

The exhibition has two primary aims: to show the Gallery’s permanent collection as well as a reflective selection of art from around the country. While the exhibition aims to showcase prominent artists and art works, many of the loans also offer exposure of some less known artists and pieces. It simultaneously endeavours to reflect on important moments in South African history during the last century.

Audiences can look forward to modern gems and rare treasures by Gerard Sekoto, Irma Stern, George Pemba, Maggie Laubser, Gerard Bhengu, Durant Sihlali, Dumile Feni and Jane Alexander’s Butcher Boys. The exhibition acknowledges important developments in local art history such as Polly Street, Rorke’s Drift, DRUM Magazine, Resistance Art, and the rise of South Africa’s energetic contemporary art scene with contemporary pieces by artists such as Nandipha Mntambo, Stuart Bird and Nicholas Hlobo.

While reflecting on art from around the country over this period, it is also important that we take cognisance of the dangers of nationalism. One of the most traumatic events since the new democracy came into being has been the sporadic xenophobic attacks in 2008, which left many bodies in its wake and thousands mentally scarred. With this in mind, we have also included the exhibition US, curated by Bettina Malcomess and Simon Njami. Artists such as Justin Brett, Frances Goodman and Donna Kukama are some of the featured young artists that give expression to this issue, which allows the overall exhibition to include a whole new generation of emerging artists and bring the making of art in this country over the last century full circle.

1910-2010: From Pierneef to Gugulective is a must-see exhibition which coincides with the expression of a new vision for the National Gallery under director, Riason Naidoo. “The new vision - one that is more inclusive of the audiences we appeal to, more critical in the selection of our exhibitions and in the work that we acquire for our collections, more diverse in the people that make up our committees and in the staff that we hire and more inclusive on a national level – will facilitate and enhance the representation and relevance of the gallery as well as putting it at the forefront of change,” says Naidoo.

John Muafangejo's 4th Catalogue

Last week, the artist’s fourth catalogue was launched at the National Art Gallery – a truly remarkable feat, considering that not many other Namibian artists have had even one catalogue printed.

But who is this phenomenal man, the artist and the legacy he has left for us through his artwork?

Advocate Vekuii Rukoro, Group CEO of FNB Namibia Holdings Ltd, shed some light on the artist at the official launch of Muafangejo’s catalogue.

According to Rukoro, there were many reasons why Muafangejo was widely recognised as Namibia’s foremost art protagonist. Rukoro said that Muafangejo’s lifestyle and courage during the struggle for independence was portrayed in his works, which were displayed only in part at the exhibition, which is currently on at the NGN and also the works contained in the catalogue.



Rukoro said: “The tragedy is that his early death denied him the pleasure to experience Namibia’s independence, an outcome to which he made a significant contribution through his determined, lasting and significant critical and socio-political comments.

“He shaped the perceptions of an apartheid dominated society through his dignified humanity and his belief in the value and role of art as a means of recording the political, the personal and the social injustices and possibilities that prevailed nonetheless. He never wavered in his belief that love and compassion were more enduring than hate.

“Muafangejo’s work is, to a large extent, autobiographical and often accompanied with explanatory texts which interpret the graphic content in an emotive and humorous way. In personal interviews, Muafangejo explained that he mostly derived his inspiration and themes for his works from the interpretation of his personal feelings, experiences, radio news, songs and traditional music. His close connections to the Anglican Church, his love of Biblical stories and the pervading consciousness of the struggle of the black people living in a country divided by racism and the horror of the war, informed many of his works.



“John Ndevasia Muafangejo is a Namibian artist but he is more than that. He has made the most crucial contribution to contemporary African art. His works are known and appreciated both for their graphic quality and skill and for the authentic artistic expression, which reflect African culture and the racial conflicts of the African continent. His works will always stand as a testimony to his community and the times in which he lived.

“He remains a positive role model for young artists in Namibia and in Africa, because his art continues to celebrate African culture while it also strives for excellence through total commitment to art for its own sake. He did not hide behind life’s disadvantages or the colour of his skin. He lived life in the fullest way possible and used his skills to challenge what was wrong.

“Muafangejo will always be a pivotal figure in Namibian and African art history and his legacy as the first black Namibian artist to receive international acclaim remains an inspiration for many Namibians who are aspiring for a career in the arts.

“We have a responsibility to ensure that the legacy of John Ndevasia Muafangejo, as an artist, and through his work, must remain two of the most significant elements in the history of the visual arts in Namibia.

Throughout his short and often difficult life, he openly expressed his doubts and joys with unselfish honesty.

He was equally concerned that there were no other young black Namibians following in his footsteps, who were making a living through their art. It was one of his dreams to be able to contribute to the teaching and education of young Namibians.

“Muafangejo refused to lose the hope of reconciliation. What an inspiration and role model to show that, with the correct mindset and determination, there is no reason not to reach greatness.”

Source: New Era, Newspaper for New Namibia