Madisia On Mbamba

THIS constructive review comes in the wake of the critical analysis of artist and gallery owner John Sampson, who missed a number of important points in his critical review that recently appeared in The Namibian Weekender, dated March 16 2007.

The aim of this review is to give constructive balance on different levels to Sampson’s critical opinion. The Director of NAGN takes full responsibility for showcasing the artworks of Herman Mbamba, and has the following reasons to offer for his actions as authority of NAGN: It is the first time in the history of Namibia that a young black Namibian will ever graduate with a Master’s degree in Visual Art.The exhibition needs to be contextualised as an issue of identity by Herman Mbamba who studies in a foreign country (Norway) where he finds himself as an African and thus can clearly experience his existence as part of the minority among many whites.That is why one can find names of import revolutionaries in African history such as Steve Biko and Marcus Garvey in the titles of Herman’s artworks.Sampson’s critical analysis can cause inestimable damage that may demoralise the young artist who is in his final year for his Masters Degree in Norway.Another question; why did he not make any effort to interview the artist or the Director of NAGN ? The body of works clearly supports and clearly shows substance and will convince any viewer who is truly African in body and soul that Herman is trying to make his fellow African youths aware of what he had seriously contemplated during his time of studies in Norway.A resume was offered by email to Sampson because the PRO of NAGN had copied it also to the NAGN Director.But he might have ignored it deliberately.It may appear to the reader who only saw two conveniently selected images among others reflected in the Weekender, which can create the misleading impression to those who never visited Herman’s exhibition that the artist cannot draw.But what would the ones who actually saw the artwork say about the drawing quality? Because some of the artworks clearly reflects the quality of line which doesn’t need to be representational, or an extension of real life.It has all the ingredients such as line, colour, shape and texture that gives harmony on the canvas.Another question arises as to why did Sampson not delve into the history of world art, because he may imply that important artists such as Mark Rothko and Jackson Pollock in the history of this planet called earth could also not draw.”Ready-mades” is a term in world art history e.g.of an artist such as Marcel Duchamp who took the industrially produced urinal as an artwork into the gallery.Duchamp appropriated the urinal and did not rework anything on it, but just placed it in its original shape in the gallery.But it becomes a problem to Sampson if Herman Mbamba pasted photocopied images of African heroes, icons and victims in his artworks.These images may have been long gone for Sampson at his age, but not for a young artist like Herman who feels it is his responsibility to create awareness among his peers in Namibia who grow up in a world of “Nike”, “Bubblegum” and “Globalism”.It is also a revolutionary act of Mbamba to break away from the obvious student drawings and cardboard of JMAC students to something that is unusual but simple for Namibian art society expectations.The use of felt-tip pens to create bold lines blended with the pasted images is akin to the cardboard technique so much over emphasised by young artists during the 1990s.We do agree that Mbamba is not a painter but support the fact that he was very brave and honest to challenge the concept of the graphic medium in the Namibian art scene.Such an act in itself is already revolutionary and bold.We also do welcome this initiative of The Namibian newspaper, the brave and bold step taken by Mr Sampson to create at last the long-awaited intellectual dialogue that had been lacking for so long (15 years) on the Namibian art scene.Thus we congratulate Mr Sampson in this regard.We also have no objections to Sampson’s critical review but he needs to do more research to substantiate his statements in order to make an objective critical review.It was also necessary to submit this statement because it may create the impression that the NAGN is intellectually challenged when it comes to the interpretation, understanding, promotion and appreciation of art.Herman Mbamba is an authentic indigenous born and bred young Namibian artist, NAGN takes pride in showcasing his artworks.This exhibition has been extended until end of March 2007, in order to give viewers the opportunity to make their own opinions – NAGN Director’s prerogative.Joseph Madisia Director: NAGN Note: This contribution has been shortened and insulting remarks about the reviewer omitted.Unfortunately it is not possible to attach the works of Mbamba referred to in this piece as you have requested.Some of those referred to are depicted in the Weekender this week.You are also aware that Samson approached Mbamba for his resumé, and the latter only responded after the review had been published.You also forwarded a copy of his resumé, but unfortunately after Samson’s deadline had passed (the Weekender goes to press on a Wednesday evening).It would also be fair to point out that the reviewer has a limited word count for his review each week, substantially less space than has been allocated to your letter! As you yourself have said, art reviews have been a long time coming in this country and John Sampson is the person who has risen to the challenge.Several other artists have been approached in the past, but were opposed to doing reviews because of reluctance to be controversial, and art critics, as we all know, are in short supply in this country! Whether one agrees or disagrees with Sampson’s views (and everyone, including yourself, is entitled to do so) those who want to respond must do so as a reader’s letter, and not as an ‘alternative review’.Visitors to the exhibition will surely form their own opinion of the works and through this, of Sampson’s reviews.EdThe Director of NAGN takes full responsibility for showcasing the artworks of Herman Mbamba, and has the following reasons to offer for his actions as authority of NAGN: It is the first time in the history of Namibia that a young black Namibian will ever graduate with a Master’s degree in Visual Art.The exhibition needs to be contextualised as an issue of identity by Herman Mbamba who studies in a foreign country (Norway) where he finds himself as an African and thus can clearly experience his existence as part of the minority among many whites.That is why one can find names of import revolutionaries in African history such as Steve Biko and Marcus Garvey in the titles of Herman’s artworks.Sampson’s critical analysis can cause inestimable damage that may demoralise the young artist who is in his final year for his Masters Degree in Norway.Another question; why did he not make any effort to interview the artist or the Director of NAGN ? The body of works clearly supports and clearly shows substance and will convince any viewer who is truly African in body and soul that Herman is trying to make his fellow African youths aware of what he had seriously contemplated during his time of studies in Norway.A resume was offered by email to Sampson because the PRO of NAGN had copied it also to the NAGN Director.But he might have ignored it deliberately.It may appear to the reader who only saw two conveniently selected images among others reflected in the Weekender, which can create the misleading impression to those who never visited Herman’s exhibition that the artist cannot draw.But what would the ones who actually saw the artwork say about the drawing quality? Because some of the artworks clearly reflects the quality of line which doesn’t need to be representational, or an extension of real life.It has all the ingredients such as line, colour, shape and texture that gives harmony on the canvas.Another question arises as to why did Sampson not delve into the history of world art, because he may imply
that important artists such as Mark Rothko and Jackson Pollock in the history of this planet called earth could also not draw. “Ready-mades” is a term in world art history e.g.of an artist such as Marcel Duchamp who took the industrially produced urinal as an artwork into the gallery.Duchamp appropriated the urinal and did not rework anything on it, but just placed it in its original shape in the gallery.But it becomes a problem to Sampson if Herman Mbamba pasted photocopied images of African heroes, icons and victims in his artworks.These images may have been long gone for Sampson at his age, but not for a young artist like Herman who feels it is his responsibility to create awareness among his peers in Namibia who grow up in a world of “Nike”, “Bubblegum” and “Globalism”.It is also a revolutionary act of Mbamba to break away from the obvious student drawings and cardboard of JMAC students to something that is unusual but simple for Namibian art society expectations.The use of felt-tip pens to create bold lines blended with the pasted images is akin to the cardboard technique so much over emphasised by young artists during the 1990s.We do agree that Mbamba is not a painter but support the fact that he was very brave and honest to challenge the concept of the graphic medium in the Namibian art scene.Such an act in itself is already revolutionary and bold.We also do welcome this initiative of The Namibian newspaper, the brave and bold step taken by Mr Sampson to create at last the long-awaited intellectual dialogue that had been lacking for so long (15 years) on the Namibian art scene.Thus we congratulate Mr Sampson in this regard.We also have no objections to Sampson’s critical review but he needs to do more research to substantiate his statements in order to make an objective critical review.It was also necessary to submit this statement because it may create the impression that the NAGN is intellectually challenged when it comes to the interpretation, understanding, promotion and appreciation of art.Herman Mbamba is an authentic indigenous born and bred young Namibian artist, NAGN takes pride in showcasing his artworks.This exhibition has been extended until end of March 2007, in order to give viewers the opportunity to make their own opinions – NAGN Director’s prerogative.Joseph Madisia Director: NAGN Note: This contribution has been shortened and insulting remarks about the reviewer omitted.Unfortunately it is not possible to attach the works of Mbamba referred to in this piece as you have requested.Some of those referred to are depicted in the Weekender this week.You are also aware that Samson approached Mbamba for his resumé, and the latter only responded after the review had been published.You also forwarded a copy of his resumé, but unfortunately after Samson’s deadline had passed (the Weekender goes to press on a Wednesday evening).It would also be fair to point out that the reviewer has a limited word count for his review each week, substantially less space than has been allocated to your letter! As you yourself have said, art reviews have been a long time coming in this country and John Sampson is the person who has risen to the challenge.Several other artists have been approached in the past, but were opposed to doing reviews because of reluctance to be controversial, and art critics, as we all know, are in short supply in this country! Whether one agrees or disagrees with Sampson’s views (and everyone, including yourself, is entitled to do so) those who want to respond must do so as a reader’s letter, and not as an ‘alternative review’.Visitors to the exhibition will surely form their own opinion of the works and through this, of Sampson’s reviews.Ed