Triennial explores Namibian identity
The 2025/2026 Bank Windhoek Triennial Exhibition officially opened at the National Art Gallery of Namibia in Windhoek on Tuesday, marking the return of one of the country’s central platforms for contemporary visual art and creative excellence.
Hosted by the National Art Gallery of Namibia in partnership with Bank Windhoek, the competition returned under the theme *Namibian Identity: The Linework of a Country’s Contours and Wealth*. The event, which stands as the largest visual arts competition in the country, drew 277 submissions from artists across the nation.
Josef Madisia was named the overall winner of the competition. Loide Ashipala received second prize alongside the Emerging Artist Award, while Gideon Magameno Kashile was awarded third prize. Nambowa Malua received the Judges’ Special Mention Award.
Lifetime Achievement Awards were presented to Dörte Berner, Josef Madisia, and Nicky Marais in recognition of their long-standing contributions to the national artistic landscape.
As the first-prize winner, Madisia receives N$50,000 and a solo exhibition. The second and third-prize winners receive N$35,000 and N$25,000 respectively.
Bronwyn Moody, head of strategic communication and social impact at Bank Windhoek, said the organisation's support reflects a commitment to developing the creative sector. Moody stated that supporting the Triennial represents both a cultural and developmental commitment, adding that a successful nation must invest in imagination and identity alongside infrastructure and commerce. Moody noted that since its inception in 2008, the showcase has strengthened the visibility of local artists and encouraged growth across the visual arts landscape.
Delivering the keynote address on behalf of Sanet Steenkamp, the minister of education, innovation, youth, sport, arts and culture, deputy executive director Edda Bohn described the competition as more than a showcase of talent. Bohn said national art competitions allow the country to assess the health and vibrancy of its art landscape, which is shaped by the broader social fabric and political economy.
Bohn stated that identity is never fixed, but rather travels across time, culture, language, politics, and ideology, describing it as something remembered collectively that is still being written. She noted that a close reading of the entries suggests Namibian identity remains evolving and negotiated.
While many entries drew on familiar national symbols such as the flag, the desert, the oryx, Christuskirche, and the liberation struggle, Bohn said the exhibition also reveals silences around the in-between identities many Namibians live and negotiate. She described the display as a form of visual catharsis that both celebrates and questions the nation, raising questions about belonging, marginalisation, wealth, access, and who benefits from natural and cultural resources. Some artworks acknowledge natural wealth as a sign of national resilience, while others reflect on how wealth creation leaves marks on the environment and social class.
Bohn added that the return of the Triennial comes at a key moment following the adoption of the new Arts, Culture and Heritage Policy, which creates space for sustained investment in art education, residencies, and sponsorship. However, she warned that policy alone is only an invitation, stating that it falls to artists, institutions, the National Art Gallery, and corporate partners to fill that void with new work and energy.
The public can view the artworks free of charge at the National Art Gallery of Namibia.
