A week after the opening of their solo exhibition So She Was Turned To a Pillar of Salt at The Project Room in Windhoek, Jo Rogge also facilitated a workshop for aspiring female artists at the gallery. Squeezing in a workshop in the few days they were in Namibia is an affirmation of their commitment to the advancement of art in the country. This is despite having been forced out of Namibia in 2016 when, after 30 years of living and working there, Rogge’s work permit was not renewed. They relocated to neighbouring South Africa.
Rogge is a cultural worker who wears many hats – artist, curator, activist, educator and mentor. They have founded some of the nation’s most thriving art institutions.
For the new show, Rogge tackles burning issues by employing diverse media and forms including paintings, drawings, sculptures from found materials and text-based textiles. In one colourful, confrontational painting called The Lady Chatelaine was Always Going to be a Prince, Rogge addresses the reality of homophobic hate killings in Namibia. This is done by humanising the mutilated figure of Sexy Fredericks lying on a bed of roses. The transgender woman was murdered earlier this year.
