Art history at the NAA

The Namibian Arts Association (NAA) invites the public to view a selection of the Arts Association Heritage Trust (AAHT) collection in an exhibition tracing the arts organisation’s formation and evolution from 1948 to the present day.

Simply titled ‘The History of the AAHT and NAA’, the showcase features pre-independence linocut prints by John Muafangejo, decades-old prints concerned with life, African problems, education and culture by Papa Shikongeni, Peter Mwahalukange, Kapanda Nangombe and David Amukoto, as well as a treasure of traditional items such as beer pots, dolls, hippo-calling drums, Himba headrests and sculpture.

Moving into the mid-90s and the early 2000s, artists such as Herman Mbamba, Walter Amadhila, Joseph Madisia, Alpheus Mvula and Asser Karita employ painting and mixed media to consider new horizons, identity and information dissemination,
while artists Tuli Mekondjo, Fillipus Sheehama and Hage Mukwendje retool the colonial archive, drape ancient beads and pay homage to blessings and rituals as they round out the 2020s.

Curated by Actofel Ilovu and conspicuously short on work by women and non-binary artists, the exhibition does feel deficient of particular perspectives, all the way from pre-independence into the contemporary era.

“We wanted to showcase the collection and at the same time we wanted to acknowledge the Namibian artist which happened to be black men artists. Black women were more on the craft at that time,” says Ilovu.

“The exhibition has a lot of modern artworks and a few contemporary artworks that include young black women artists such as Tuli Mekondjo, and young men as well,” Ilovu says.

“That shows that Namibian art is growing, not only in quantity but also with regard to themes and making it globally. We see much growth and development in Namibian art, especially with regard to concepts and where the art movement is heading now.”

While the focus of this AAHT selection is said to be black, mostly male artists, Ilovu points to another reason for the lack of featured black women artists and the recognition of black artists in Namibian art history in general.

“We also observed that in Namibian art history there were many artworks done by white women at the time, not because they are the only type of people who know how to do art but because the black community was not exposed to art,” says Ilovu.

Ilovu also suggests that black artists were regarded with suspicion and the creation of artworks may have been viewed as ritualistic or practising witchcraft.

“Art was still slowly developing from the craft side among the black community.”

Asked to name his favourite piece of the selection, Ilovu is partial to Walter Amadhila’s ‘The Smart Look’ (1993), an oil and acrylic painting of two stylish figures in black and light pink suits rendered in almost naïve style.

An interesting glimpse into the AAHT archive and featuring a number of uncredited works keen for identification, ‘The History of the AAHT and NAA’ is currently on display at the Namibian Arts Association at 122 Robert Mugabe Avenue.
– martha@namibian.com.na ; Martha Mukaiwa on Twitter and Instagram; marthamukaiwa.com