The Keiskamma Art Project in Hamburg, South Africa, has become known for its large-scale embroidery projects. Many are inspired by other works of art -- for example the "Keiskamma Tapestry" from 2003, a 120-meter (394-foot) work reminiscent of the 11th Century Bayeux Tapestry. It and other artworks are now on display at Constitution Hill, in Johannesburg.
The Keiskamma Art Project in Hamburg, South Africa, has become known for its large-scale embroidery projects. Many are inspired by other works of art -- for example the "Keiskamma Tapestry" from 2003, a 120-meter (394-foot) work reminiscent of the 11th Century Bayeux Tapestry. It and other artworks are now on display at Constitution Hill, in Johannesburg.
Anthea Pokroy/Keiskamma Trust
Many of the project's best known and large-scale artworks are being exhibited together for the first time in a show called "Umaf' evuka, nje ngenyanga / Dying and rising, as the moon does." The Keiskamma Art Project was kickstarted by Dr. Carol Hofmeyr in 2000, who believed art was a route to empower local women in Hamburg.
Many of the project's best known and large-scale artworks are being exhibited together for the first time in a show called "Umaf' evuka, nje ngenyanga / Dying and rising, as the moon does." The Keiskamma Art Project was kickstarted by Dr. Carol Hofmeyr in 2000, who believed art was a route to empower local women in Hamburg.
Anthea Pokroy/Keiskamma Trust
The community's art often reflects the lived experiences of its creators. The "Keiskamma Altarpiece" (2005) is one example. Inspired by the "Isenheim Altarpiece" (1512-1516), painted by German Renaissance artist Matthias Grünewald, the Keiskamma artwork shows women in mourning and grandmothers becoming caregivers to their grandchildren, after the devastating impact of HIV/AIDS.
The community's art often reflects the lived experiences of its creators. The "Keiskamma Altarpiece" (2005) is one example. Inspired by the "Isenheim Altarpiece" (1512-1516), painted by German Renaissance artist Matthias Grünewald, the Keiskamma artwork shows women in mourning and grandmothers becoming caregivers to their grandchildren, after the devastating impact of HIV/AIDS.
Anthea Pokroy/Keiskamma Trust
Like the "Isenheim Altarpiece," the "Keiskamma Altarpiece" opens up to reveal a scene depicting resurrection and redemption. More vibrant and hopeful, nature features heavily and the world grows anew, while angels watch from the sky.
Like the "Isenheim Altarpiece," the "Keiskamma Altarpiece" opens up to reveal a scene depicting resurrection and redemption. More vibrant and hopeful, nature features heavily and the world grows anew, while angels watch from the sky.
Anthea Pokroy/Keiskamma Trust
The final panels of the "Keiskamma Altarpiece" introduce a new medium: photography. Grandmothers and grandchildren were brought together for portraits, and the images embellished with wirework foliage.
The final panels of the "Keiskamma Altarpiece" introduce a new medium: photography. Grandmothers and grandchildren were brought together for portraits, and the images embellished with wirework foliage.
Anthea Pokroy/Keiskamma Trust
Among the project's most famous and evocative works is the "Keiskamma Guernica" (2010). The 3.5 x 7.8-meter (11.5 x 26.6-foot) work invokes Pablo Picasso's painting "Guernica," which depicts the destruction of the titular town in 1937, during the Spanish Civil War. The exhibition curators describe the "Keiskamma Guernica" as expressing searing sorrow and rage, depicting the devastating impact of HIV/AIDS on the Hamburg community.
Among the project's most famous and evocative works is the "Keiskamma Guernica" (2010). The 3.5 x 7.8-meter (11.5 x 26.6-foot) work invokes Pablo Picasso's painting "Guernica," which depicts the destruction of the titular town in 1937, during the Spanish Civil War. The exhibition curators describe the "Keiskamma Guernica" as expressing searing sorrow and rage, depicting the devastating impact of HIV/AIDS on the Hamburg community.
Anthea Pokroy/Keiskamma Trust
A detail from the "Keiskamma Guernica." The work is every bit as intense as Picasso's, featuring dying children and adults, and weeping women. In the center of the Keiskamma Art Project's tapestry is a stabbed cow, in place of Picasso's gored horse.
A detail from the "Keiskamma Guernica." The work is every bit as intense as Picasso's, featuring dying children and adults, and weeping women. In the center of the Keiskamma Art Project's tapestry is a stabbed cow, in place of Picasso's gored horse.
Anthea Pokroy/Keiskamma Trust
Created in response to the coronavirus pandemic, "Covid Resilience Tapestry" (2022) is 2.5 x 7.5 meters (8 x 23 feet). The tapestry depicts the natural world watching on as humans navigate the difficult period from isolation, hospitalization and death to vaccination and reunion.
Created in response to the coronavirus pandemic, "Covid Resilience Tapestry" (2022) is 2.5 x 7.5 meters (8 x 23 feet). The tapestry depicts the natural world watching on as humans navigate the difficult period from isolation, hospitalization and death to vaccination and reunion.
Anthea Pokroy/Keiskamma Trust
The "Creation Altarpiece" (2007) is a work in dialogue with the "Ghent Altarpiece" (1432) by brothers Hubert and Jan van Eyck. The artwork created in Hamburg deviates significantly from the van Eycks', featuring embroidered musicians and myriad birds, as well as photographs. Beyond the two altarpieces' shape, they do share one distinct similarlity: both contain a central animal. In the "Ghent Alterpiece" it is the lamb of God, in Hamburg it is a traditional Xhosa sacrificial bull, say the curators.
The "Creation Altarpiece" (2007) is a work in dialogue with the "Ghent Altarpiece" (1432) by brothers Hubert and Jan van Eyck. The artwork created in Hamburg deviates significantly from the van Eycks', featuring embroidered musicians and myriad birds, as well as photographs. Beyond the two altarpieces' shape, they do share one distinct similarlity: both contain a central animal. In the "Ghent Alterpiece" it is the lamb of God, in Hamburg it is a traditional Xhosa sacrificial bull, say the curators.
Anthea Pokroy/Keiskamma Trust
"Women's Charter Tapestries," a series of circular works commissioned for the Women's Living Heritage Monument in Tshwane in 2016. Each of the 12 tapestries reference the Women's Charters of 1954 and 1994, and clauses the artists created for themselves in 2016, say the curators, reflecting the themes of equality and freedom for women in South Africa. The tapestries with a muted color pallete denote 1954, while the more vibrant works denote more recent times. The Keiskamma Art Project says the work's message is that freedom cannot be won for a section of the population while women remain oppressed.
"Women's Charter Tapestries," a series of circular works commissioned for the Women's Living Heritage Monument in Tshwane in 2016. Each of the 12 tapestries reference the Women's Charters of 1954 and 1994, and clauses the artists created for themselves in 2016, say the curators, reflecting the themes of equality and freedom for women in South Africa. The tapestries with a muted color pallete denote 1954, while the more vibrant works denote more recent times. The Keiskamma Art Project says the work's message is that freedom cannot be won for a section of the population while women remain oppressed.
Anthea Pokroy/Keiskamma Trust
Designed as a response to "The Fall of the Rebel Angels" (1562) by Renaissance artist Pieter Bruegel the Elder, "A New Earth" focuses on the natural world. The Keiskamma Art Project's work reconfigures the downward descent into hell featured in Bruegel's painting, to suggest that heaven is, in fact, on Earth.
Designed as a response to "The Fall of the Rebel Angels" (1562) by Renaissance artist Pieter Bruegel the Elder, "A New Earth" focuses on the natural world. The Keiskamma Art Project's work reconfigures the downward descent into hell featured in Bruegel's painting, to suggest that heaven is, in fact, on Earth.
Anthea Pokroy/Keiskamma Trust