Johan Louw Stegmann - Afrikaners vir Suid-Afrika

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Johan Louw Stegmann

Johan Louw Stegmann (gebore 1988) is ’n visuele kunstenaar en gekwalifiseerde meganiese ingenieur gebaseer in Johannesburg. Sy blootstelling aan die kunswêreld het in 2011 begin toe hy in ateljees soos dié van William Kentridge en Louis Olivier gewerk het. Van daar af het hy sy artistieke loopbaan ontwikkel deur groepuitstallings regoor Suid-Afrika, en is hy as finalis in verskeie kompetisies aangewys. Stegmann is ’n alumnus van mentorskapprogramme soos RMB Talent Unlocked en die Meta Foundation se The Problem with African Art Is… - projek. Hy het residensies by Modern Art Projects in Richmond en Intaglio Studio in Kaapstad voltooi. Stegmann se solouitstallings het in museums (Ncome Monument), kommersiële galerye (Everard Read en Circa Gallery) en by kunstefeeste (KKNK 2023 en Aardklop 2021 binne die Voortrekkermonument) plaasgevind. Hy neem tans deel aan die uitstalling The Gardener of Eden by Lizamore and Associates in Rosebank, Johannesburg.

Johan Louw Stegmann (gebore 1988) is ’n Suid-Afrikaanse kunstenaar wat bekend is vir sy besonder gedetailleerde houtskooltekeninge en etse in ’n klassieke (Euro-sentriese) styl, maar met ’n ondermynende wending. Sy werk bied versmeltinge van verskillende tydperke in die geskiedenis waarin botsende identiteite, perspektiewe, ideologieë en menings saamkom. As ’n wit Afrikaanse man omarm Stegmann sy eie identiteit met ’n performatiewe doel, soos gesien in sy installasies, openbare interaksies en videowerke. Stegmann gee hom oor aan ’n problematiese stemvoering tot op die punt waar dit iets anders word—iets lewendig met dualiteit.

Benewens sy werk as visuele kunstenaar is Stegmann ’n kurator, ontwerper en gekwalifiseerde meganiese ingenieur wat in Johannesburg gebaseer is. Sy blootstelling aan die kunswêreld het in 2011 begin met ’n geleentheid om in die ateljees van William Kentridge en Louis Olivier te werk. Van daar af is hy geïnspireer om sy artistieke loopbaan deur groepuitstallings regoor Suid-Afrika te ontwikkel en mentorskapprogramme soos RMB Talent Unlocked en die Meta Foundation se The Problem with African Art Is…-projek te voltooi. Stegmann se solouitstallings het in museums (Ncome Museum, KwaZulu-Natal), monumente (Voortrekkermonument), kommersiële galerye (Everard Read en Circa Gallery) en by kunstefeeste (KKNK) plaasgevind. Hy is tans betrokke by nisontwerpoplossings vir William Kentridge en die Workhorse Bronze Foundry, asook by die organisering van verskeie gemeenskaps- en liefdadigheidskunsprojekte. Johan is die hoofkurator van ’n liefdadigheidsprojek wat kuns aan katarakpasiënte wys wat vir die eerste keer kan sien.

We Are The Good Guys het eintlik ontstaan uit die werk wat hy saam met die gerespekteerde kunstenaar en akademikus Lawrence Lemaoana begin doen het. Saam het hulle Is Ons Nog ’n Ding? (Are We Still A Thing?) in 2022 en 2023 saamgekurateer - ’n uitstalling wat Afrikaner-kontemporêre kunstenaars aangemoedig het om werk oor hul identiteit te maak- sowel as Hoe is Vlugteling ’n Ding? (How is refugee a thing?), wat die gesprek uitgebrei het om te reageer op die ongekende wêreldwye fokus op Afrikaners en hul verhouding met hul tuisland, Suid-Afrika.

johanstegmann.co.za

Organisasies 1

Afrikaners vir Suid-Afrika

1780 Lede

Bekyk Webwerf

Wie en wat ons is Hierdie forum het ontstaan uit ’n verklaring waarin 48 progressiewe Afrikaners hul kommer uitgespreek het oor disinformasie dat Afrikaners slagoffers van ’n beweerde volksmoord is en oor die algemeen in Suid-Afrika te na gekom word. Hierdie d...

Ander Lede

Ali van Wyk

Anneliese Burgess

Barend La Grange

Chris Heymans

Chris Otto

Dawie Jacobs

Deborah Steinmair

Dr. Cornel Malan

Dr. Lindie Koorts

Dr. Marilet Sienaert

Dr. Pepe Marais

Dr. Petrus Strijdom +1767 meer

Kunswerke 2

Voortrekker Momentum

Linocut • 2025

Linocut 12.6" x 11" 2025

The Voortrekker Monument, located just south of Pretoria in South Africa, is a granite structure located on a hilltop, and was raised to commemorate the Voortrekkers (Pioneers) who left the Cape Colony between 1835 and 1854. Stegmann's linocut "Voortrekker Momentum" transforms the Voortrekker Monument from a fixed symbol of Afrikaner history into something seemingly in motion — lifting off like a spacecraft and leaving the ground behind. In a political context, the image can be read as a reflection on the Afrikaner’s uneasy relationship with the past, identity and place in contemporary South Africa. The monument, once closely associated with Afrikaner nationalism and the political mythology of the apartheid era, becomes something almost futuristic: no longer rooted in one particular landscape or political moment, but carrying its history into an uncertain future. The image also hints at a tension within Afrikaner identity today. Is the past something to remain anchored to, something to escape from, or something that must be carried forward and reinterpreted? By giving the monument momentum, Stegmann turns a symbol of permanence into a symbol of movement — suggesting that Afrikaner identity, like South Africa itself, is not a finished story.

'n Goeie Dag vir 'n Slag (Triptych)

Linocut • 2025

Linocut 23.8" x 58.3" x 1.4" 2025

An anachronistic and thought-provoking retelling of the story of Blood River - a foundational battlefield in the history of Afrikanerdom, and seen by some as “ground zero for race relations in South Africa”. The Battle of Blood River (16 December 1838) was fought on the banks of the Ncome River, in what is today KwaZulu-Natal, South Africa, between about 500 Voortrekkers (“Pioneers”), led by Andries Pretorius, and an alleged 25,000 to 30,000 Zulu warriors. Estimates of casualties amounted to over 3,000 of King Dingane’s soldiers, while the Voortrekkers suffered only four wounded. A commando of Voortrekkers (Pioneers), on a mission of reprisal against the Zulu warriors, strategically formed a laager and possibly provoked the Zulu army through the use of one of their cannons. Their prayers and promise to God to always celebrate this day should they be victorious were apparently answered with a stunning defeat of a vastly more numerous army of Zulu warriors. It ended a year-long war that had begun with the murder of Voortrekker leader Piet Retief and his party while negotiating with King Dingane for land. Today, the battlefield looks similar to this artwork, with a privately owned Afrikaner monument of bronze wagon replicas forming the laager, and a “bridge of reconciliation” connecting it to the state-owned Ncome Museum on the other side of the river. Sadly, every year on the national holiday of Reconciliation Day, the Afrikaners celebrating their traditional “Geloftedag” (Day of the Covenant) inside the bronze laager reliably insist on closing the gate of the bridge - even when the Reconciliation Day celebrations at the Ncome Museum are attended by South African President Cyril Ramaphosa. The pile of stones on the right-hand panel depicts the story of veterans from both sides of the war celebrating “Geloftedag” together on 16 September 1866. The artist has moved it from its real location, which is the centre of the laager. Having himself celebrated Reconciliation Day at the Ncome Museum a few times, the artist believes that many of the Voortrekkers who witnessed the horrors of this war would be ashamed of their descendants’ cold disregard for the wonderful olive branch extended to them in the form of this bridge. The Bridge of Reconciliation across the Ncome river with the Ncome museum in the background.

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