Bogenfels Artist's Retreat Exhibition, 2021 by StArt Art Gallery

Bogenfels Artists’ Retreat 2021 a catalogue for the exhibition

Bogenfels Artists’ Retreat Exhibition October 2021 Art, and especially contemporary art, can be a thought-provoking agent for promoting and discussing unusual or challenging ideas. Art is also a pleasure to look at and contemplate. It stirs up thoughts and inspires philosophical debate. The idea of the Sperrgebiet (now Tsau ||Khaeb National Park), an enormous forbidden zone in Namibia – fabled to hold countless treasures in terms of diamonds, human and natural histories as well as endless pristine landscapes - has the power to inspire artists to create work which activates the imagination and stimulates debate. The 10 day Bogenfels Artists’ Retreat saw 7 artists living and working in the ‘Pink House’, an old hospital building in the abandoned mining town of Bogenfels. Artists Barbara Böhlke, Hercules Viljoen, Nicky Marais, Ndinomholo Ndilula, Jade Tune, Actofel Ilovu and Charné Witbooi worked alongside each other and the desert landscape to produce a variety of artworks ranging from paintings to linoleum block prints to video and site specific work. The group formed a mix of artists with early to established careers, from different backgrounds and varied approaches to their work. A retreat like this allows artists to be inspired by, and learn from, the environment they are in, and also from each other. While not on the retreat, local Oranjemund artists Annis Schlechter and Aurelia Sieberhagen have also contributed their experiences of the Sperrgebiet to this exhibition. 1

Deconstruction is a theme that is carried through many of these artworks, a clear influence from the time spent surrounded by eroding houses, residues of a past life, a past community. While the environment of the former Sperrgebiet is thought of as unspoilt due to its restricted access, it too has been deconstructed, dug up, sifted, sorted and placed back onto the earth. Indeed the relationship between people and the land seems to be a recurring theme in various iterations. Thoughts around human influence on the land, and in return the effects of a harsh environment on human life, as well as the land as a witness to many hundreds and thousands of years of movement, stillness and change, are evident in many of the works made during this retreat. With Namdeb’s Life of Mine extension, the future of mining and the associated positive economic and social impact is ensured. In addition, the rehabilitation of land has always been, and remains a priority for Namdeb into the future, especially considering its unique location and conservation role in the Tsau //Khaeb National Park. While it is imperative for the future of Oranjemund that different industries are developed beyond a reliance on the mine, this extension means organisations like OMDis can keep working on developing these industries to ensure a sustainable future for Oranjemund and its residents. Reflections from this retreat are therefore pertinent as we consider our place in the world, in various tangible and intangible contexts from individuals to communities. This exhibition leads us as a collective to contemplate the sustainability of our actions, industries and activities for our planet. 2

Exhibition opening at Berronies, 9th street, Oranjemund, 16 October 2021 3

Actofel Ilovu (b. 1984) Actofel Ilovu was born in Ondangwa and now lives and works in Windhoek. Ilovu graduated from the College of the Arts in 2010 and received a Higher Diploma in Visual Art and Advertising from the University of Namibia in 2016. Ilovu is an integral part of the Namibian art community working as a curator and artist, conceptualizing both collaborative and solo projects. Ilovu is well known for his smoke paintings on paper. While his work often reflects on and critiques the socio-political landscape of Namibia, Ilovu also uses imagery derived from his unique personal experience. As a child Ilovu suffered severe burns from a fire and says that “because of the fire that burnt me, I was rejected by many, including myself, while growing up; it wasn’t easy to look different from other kids. As an adult I have fallen in love with my scars and I look at myself as an art piece created by that fire.” In his most recent body of work Ilovu continues to grapple with the human experience. In the ‘I See…’ and ‘I Heard…’ series’, Ilovu works with linocuts, smoke paintings and the motif of the marula nut. Reflecting on his eperience of the retreat Ilovu wrote: “A wrong path in the desert may take you out of the desert, equally using the wrong lines in an art work could lead you to another masterpiece.” (Actofel Ilovu) Left: I See A-Frames Linoleum block print on paper 430 x 590 mm 4

Actofel Ilovu I Heard, Ekololo Smoke, ochre and pencil on paper 500 x 650 mm

Actofel Ilovu I Heard A-Frames Smoke, ochre and pencil on paper 500 x 650 mm

Actofel Ilovu I See / Bogenfels Arch 1, 2, 3 Linoleum block print on paper 423 x 430 mm

Actofel Ilovu Ondiwete Ekololo / Ndapuka Linoleum block print on paper 280 x 320 mm

Actofel Ilovu Ondiwete / Oil Linoleum block print on paper 330 x 420 mm

Nicky Marais (b. 1962) Nicky Marais is an artist, educator and activist who lives and works in Windhoek. Marais is well-known for her abstract artworks created using a personal vocabulary of abstract forms and colour relationships derived from everyday life as well as the socio-political history of Namibia and icons from around the continent. Marais describes her practice as a “constant hunt for significant shapes”, which are subjected to a process of near-obsessive repetition, appearing multiple times in different combinations. Much of her work explores the relationship between physical and spiritual worlds, which extends into an investigation of the relationship between the tangible and the intangible, the signifier and the signified. Marais has exhibited extensively in Namibia and abroad. She is recently retired from an eleven year posting as the Head of Department of Visual Arts at the College of the Arts in Windhoek. Marais most recent solo exhibtion in 2020 took place at Guns & Rain Gallery in Johannesburg and was titled, ‘Connections’. Reflecting on her eperience of the retreat Marais wrote: “Layers of years and centuries and millennia, going back to the eocene to the laying down of strata, and then forward to the holocene, to the anthropocene. The Orange River floated the exotics down to the sea, the sea then high up, way beyond where the waves break now, pushing pebbles up onto the beaches, and down into the pockets, carrying a precious burden. Forward then the years and centuries and millennia, past the just past present of heaping and sifting and sieving and building and bowling alleys, past the roads and signs and sea wall breaches. To a time when our short existence on earth is reduced to a layer high up at Bundfeldshue. Layer on layer of agate and human and houses opening up and returning to the earth.” (Nicky Marais) 10

Nicky Marais Deep Time Acrylic paint on canvas 760 x 910 mm 11

Left: Nicky Marais Openhouse Acrylic paint on canvas 610 x 910 mm

Right: Nicky Marais Pink House Agate Acrylic paint on canvas 760 x 1010 mm 13

Nicky Marais Weather

Fault Lines 505 x 505 mm

305 x 230 mm

Smokehouse Dreams 305 x 230 mm

Acrylic paint on canvas 14

The General’s House

Escape 200 x 200 mm

Paper Thin 305 x 230 mm

A-Frame 505 x 505 mm

255 x 255 mm

Kegelbaan 255 x 255 mm

Nicky Marais Plank Barn Opening Acrylic paint on canvas 1015 x 760 mm 15

Jade Tune (b. 1998) Jade Jane Tune graduated from the College of the Arts in 2019, and is currently a visual art student at the University of Namibia. Tune’s artistic approach incorporates a dialogue between concept and materiality, allowing her concept to feed her choice of materials while also allowing the nature of materials to inform her process. Since graduating, Tune has participated in group exhibitions including ‘New Beginnings’ in 2021. Tune also collaborated with former lecturer and fellow artist Nicky Marais on an installation that was selected for display in the Bank Windhoek Triennial 2020 at the National Art Gallery of Namibia. This installation, titled “Represent””, is now part of the permanent collection of the National Gallery of Namibia. Reflecting on her experience of the retreat Tune wrote the folowing: “Energy Vibrations, Sand ripples are created by the wind which blows away all excess sand and leaves behind more solid objects, in this way diamonds can be revealed, then found and picked up. For me it’s about blowing away all the unnecessary energy from our lives to find the diamonds within. We all have some shine within us that makes us special.” (Jade Tune)

Jade Tune

1908-1914 Mixed media: cotton, wood glue, sand, bleach 1230 x 960 mm

The Caves Mixed media: cotton, wood glue, sand, bleach 1400 x 900 mm

Jade Tune

General’s House Mixed media: cotton, wood glue, sand, bleach 680 x 460 mm

Sinkhuis Mixed media: cotton, wood glue, sand, bleach 700 x 360 mm 19

Jade Tune

Night Sky Mixed media: cotton, wood glue, sand, bleach 1460 x 560 mm

The Land Mixed media: cotton, wood glue, sand, bleach 735 x 420 mm

Jade Tune The Process Mixed media: cotton, wood glue, sand, bleach 1460 x 810 mm

Barbara Böhlke (b. 1958) Barbara Böhlke specialises in large-scale painterly works, using locally sourced natural pigments, ash and charcoal. Born and raised in Swakopmund, Böhlke spent her youth between the desert and the ocean, where she grew to appreciate the immense open spaces the surrounding environment presents. Tapping into memories and associations, she uses this connection to transform her paintings into a physical embodiment of a vast inner landscape. On her preference for natural pigments – predominantly crushed ochre from the Kaokoveld – Böhlke says, “When I spread the pigments, I can smell the Commiphora and the earth in which it grows, and that smell brings a certain association with the landscape, not in its physical form, but with its inner space.” Over the years, Böhlke developed a technique of mastering pigments onto canvas with sponges, softened with the occasional brush stroke, and textured through layering, scratching and scaling. Böhlke has been an active member of the local arts community since 1989, after graduating, cum laude, with a BA (Hons) in Fine Arts from the University of Stellenbosch in South Africa. She has exhibited extensively and her work features in many collections across the globe. She lives and works in Windhoek, where she has established a private art school. Reflecting on her experience of the retreat Böhlke wrote the folowing: “Aren’t we strange creatures in that we take possession of inhospitable landscapes, sifting and shifting nature in search of tiny stones? I loved being here, experiencing this immense and inspiring space, living and working with fellow artists. A huge thank you to Namdeb, OMDis and everyone who made this possible!” (Barbara Böhlke) 22

Barbara Böhlke Built on Sand Natural ochre pigments, ash, charcoal and white crylic paint 1020 x 760 mm

Left: Barbara Böhlke

Above: Barbara Böhlke

House of Cards

Last Light

Natural ochre pigments, ash, charcoal and white acrylic paint 760 x 1015 mm

Natural ochre pigments, ash, charcoal and white acrylic paint 455 x 1220 mm 25

Left: Barbara Böhlke Left: To the Cave Right: Drawing the Bogenfels Natural ochre pigments, ash, charcoal and white acrylic paint 760 x 375 mm each

Right: Barbara Böhlke Left: Treasures II ‘Othonna furcata’ Right: Treasures I Natural ochre pigments, ash, charcoal and white acrylic paint Left: 700 x 497 mm Right: 1010 x 760 mm 26

Ndinomholo Ndilula (b. 1984) Ndinomholo Ndilula is a Windhoek based interdisciplinary artist who is inspired by the myths that keep communities together, and the myths that separate them. Ndilula works primarily in the medium of performance art as a theatre actor, a live performance artist “Ondani”, and as a self-taught new performance dramaturg. Ndilula is a graduate of the University of Pretoria with an Honours degree in Drama and is currently working on a Masters degree in Arts Administration from Indiana University. During this artists’ retreat Ndilula further developed The Komesho Artwork which is an ongoing series that explores the everyday conflicts former soldiers experience during peace times. The theme of the artwork is inspired by the end of historical and modern wars and the narrative of returning from exile with whatever can be packed in a box (hopes, dreams, shoes, etc). The Komesho Artwork draws from these resilience narratives in response to the chaos and conflict of the current day, both in the external world of the physical environment and the interior world of human emotion. No one wants to be in conflict or in exile, physically or emotionally. Everyone wants to be home, to be at peace. Reflecting on his eperience of the retreat Ndilula wrote the folowing: “The Bogenfels Artists’ Retreat in the Tsau //Khaeb (Sperrgebiet) National Park presented an opportunity for me to explore the conflict and harmony of human-nature engagements in this wilderness. In an area rich with sand, seaweed, insects, landscapes, history, plants and precious stones, the national park continues to hold a record of time and remembers the appearance of plant-animal-human life. It has seen conflict come and go, life come and go, and will be here long after. It is we who are privileged to learn from it, conserve it, use it and traverse it today. We are these soldiers (emotional, tempestuous, eager, awestruck, young) passing through on our way home.” (Ndinomholo Ndilula) 28

Ndinomholo Ndilula

Efuta

Omamanya

Acrylic on canvas 150 x 150 mm

Acrylic on canvas 255 x 205 mm 29

Ndinomholo Ndilula KOMESHO Mixed Media Installation, dimensions variable

Ndinomholo Ndilula In Deterioration Acrylic on canvas 300 x 1015 mm 32

Ndinomholo Ndilula

Thumb Technology

Not a Ventifact

Acrylic on paper 335 x 215 mm

Acrylic on paper 595 x 419 mm 33

Hercules Viljoen (b. 1957) Hercules Viljoen was born in Gibeon, and now lives and works in Windhoek. He has a Master’s degree in Fine Arts from the University of South Africa, Pretoria, and an Honours degree (Cum Laude) from the University of Stellenbosch. He is a former Professor and Head of Department in Visual and Performing Arts at the University of Namibia, Windhoek, and a visual arts professional making interactive sculptures and installations using wood and sticks, but also plastic and mass-produced found objects, drawings and photography. Viljoen also served as the Director of the National Art Gallery of Namibia. He has exhibited and participated in international artists’ workshops in Namibia, Zimbabwe, Botswana, South Africa, UK, Germany and France. Reflecting on his eperience of the retreat Viljoen wrote: “The artists’ retreat in the Sperrgebiet has been a wonderful inspiration that I will continue to build on for a long time. Sharing a special space with such talented artist colleagues was a rare opportunity for creative exploration and learning. Thank you very much Colleagues, Namdeb and OMDis!” (Hercules Viljoen)

Right: History, deconstructed Acrylic on paper 610 x 860 mm 34

Hercules Viljoen

Exploring

Love Dance

Acrylic on paper 860 x 610 mm

Acrylic on paper 1015 x 660 mm

Hercules Viljoen The Miner’s House (deconstructed) I Acrylic on paper 200 x 405 mm

Hercules Viljoen The Miner’s House (deconstructed) II Acrylic on paper 200 x 200, 200 x 400 mm

Hercules Viljoen Coming and Going Acrylic on paper 660 x 1010 mm 38

Hercules Viljoen Bogenfels Close-up Acrylic on paper 1015 x 660 mm

Hercules Viljoen Finding Gems Acrylic on paper 200 x 200 mm

Charné Witbooi (b. 1994) Charné Witbooi works as a project officer at OMDis Town Transformation Agency in Oranjemund where she grew up. Witbooi is also a practicing artist. Reflecting on her eperience of the retreat Witbooi wrote: “The Bogenfels Art Exhibition is my first exhibition as a painter. In these artworks I tried to capture historical emotions from the 1900s. The landscape, nature, mining operations and buildings are signified in the work. As a born Oranjemunder, I’ve always tried to live up to my dreams and visions while growing up in this diamond mining town in Namibia. Art has played a vital role in my life, through meeting other artists and attending the first art classes in Oranjemund. This journey has built up confidence in me. Diamonds are forever, just as is the legacy of Oranjemund and its people.” (Charné Witnooi)

Charné Witbooi Breaking New Ground Oil paint on canvas 840 x 595 mm 41

Charné Witbooi Choo Choo Train Oil paint on canvas 420 x 590 mm

Charné Witbooi The Village Featuring Pink House Oil paint on canvas 420 x 595 mm

Charné Witbooi Harsh Environment (featuring Monsonia lavrani with violet magenta flowers) Oil paint, spray paint and sand on canvas 250 x 250 mm each 43

Aurelia Sieberhagen (b. 1969) Aurelia Sieberhagen is an Orangemund based artist who, although unable to attend the retreat, has worked with Sperrgebiet inspired themes extensively during her artistic career.

Aurelia Sieberhagen

Gemsbok at Bogenfels

Ostrich with Chicks

Forbidden Area

Oil paint on board 200 x 150 mm

Oil paint on board 150 x 150 mm

Oil paint on board 200 x 150 mm

Annis Schlechter (b. 1965) Annis Schlechter is an Orangemund based artist. While she was unable to attend the Bogenfels retreat she contributed to the exhibition, inspired by the buildings left behind by past mining operations.

Annis Schlechter Pomona Residence Oil paint on board 300 x 420 mm 45

Right, (right to left): Nicky Marais, Hercules Viljoen, Charné Witbooi, Jade Tune, Actofel Ilovu, Barbara Böhlke, Ndinomholo Ndilula

Ronel van der Merwe Moments from the retreat Instax photographic prints Mixed Media Installation, dimensions variable 46

If you are interested in purchasing an artwork by one of the artists featured here please contact StArt Art Gallery: info@startartgallery.com To find out more about the work that OMDis is doing please visit www.omdis.co You can explore more works of contemporary Namibian art at www.startartgallery.com Photography: Gina Figueira Layout: Helen Harris Curation: StArt Art Gallery

The artists’ retreat and exhibition form part of the Art Can Transform project initiated by OMDis with support from Namdeb. It is OMDis’ mission to ensure economic diversification in Oranjemund so that the town has a sustainable future ahead of it, a process known as Town Transformation. Given its rich history, biodiversity and the general mystery associated with the town, tourism as an industry is a vital part of this transformation. “The inspirational effect of art and culture on tourism has been proven around the world. The tourism sector of many European and African cities is driven by their cultural wealth. Art and culture do not only have the potential to create local jobs but could stimulate tremendous interest in a town or city as a preferred destination. Once a unique identity has been established and positive feedback is spread nationally and internationally by previous visitors, a town with an art focus could become an irresistible magnet to tourists and investors.” Hercules Viljoen, participating artist.